Podcasts about Udaipur

Quelle est la force spirituelle des musiques sacrées du monde ? Quel est leur pouvoir ? Dans cette émission, nous vous invitons à voyager à travers le monde en écoutant ces musiques où se croisent spiritualité, religion, culture et traditions, en compagnie de Gérard Kurkdjian, musicien, auteur du « Grand livre des musiques sacrées du Monde » paru en 2016 chez Albin Michel, et l'un des fondateurs du festival des musiques sacrées de Fès au Maroc qui existe depuis 1994, et de nombreux autres festivals, à Udaipur en Inde, à Erevan en Arménie, dont il est originaire.  Plongée dans la puissance spirituelle de la musique sacrée, avec notre grand invité, Gérard Kurkdjian.Invité : Gérard Kurkdjian, musicien, spécialiste des musiques sacrées, co-fondateur du festival des Musiques Sacrées de Fès, auteur du « Grand Livre des Musiques Sacrées du Monde » (Éd. Albin Michel, 2016), « Méditations musicales : comment méditer avec les plus belles musiques du monde » (Éd. Dervy, 2019), « Abeilles de l'indicible – recueil de poésies » (Éd. Spinelle, 2021), « Raga de Nuit – Passions sur le Gange » (Éd. Spinelle, 2023), « L'Autre Monde – Poésies » (Éd. Complicités, 2024).(Rediffusion)

Quelle est la force spirituelle des musiques sacrées du monde ? Quel est leur pouvoir ? Dans cette émission, nous vous invitons à voyager à travers le monde en écoutant ces musiques où se croisent spiritualité, religion, culture et traditions, en compagnie de Gérard Kurkdjian, musicien, auteur du « Grand livre des musiques sacrées du Monde » paru en 2016 chez Albin Michel, et l'un des fondateurs du festival des musiques sacrées de Fès au Maroc qui existe depuis 1994, et de nombreux autres festivals, à Udaipur en Inde, à Erevan en Arménie, dont il est originaire.  Plongée dans la puissance spirituelle de la musique sacrée, avec notre grand invité, Gérard Kurkdjian.Invité : Gérard Kurkdjian, musicien, spécialiste des musiques sacrées, co-fondateur du festival des Musiques Sacrées de Fès, auteur du « Grand Livre des Musiques Sacrées du Monde » (Éd. Albin Michel, 2016), « Méditations musicales : comment méditer avec les plus belles musiques du monde » (Éd. Dervy, 2019), « Abeilles de l'indicible – recueil de poésies » (Éd. Spinelle, 2021), « Raga de Nuit – Passions sur le Gange » (Éd. Spinelle, 2023), « L'Autre Monde – Poésies » (Éd. Complicités, 2024).(Rediffusion)

Fluent Fiction - Hindi: Unearthing Udaipur: Mystery Behind City Palace Walls Find the full episode transcript, vocabulary words, and more:fluentfiction.com/hi/episode/2025-02-26-23-34-02-hi Story Transcript:Hi: उदयपुर की खूबसूरत सड़कों पर चलते हुए, रोहन और अंजलि ने जब अपनी नज़रें सिटी पैलेस पर डालीं, तो मन मंत्रमुग्ध हो गया।En: Walking on the beautiful streets of Udaipur, Rohan and Anjali were enthralled when they set their eyes on the City Palace.Hi: सफेद चूने से पुते बड़े-बड़े अचरज और बारीक नक्काशी वाले प्रयांग, झील पिछोला का चित्ताकर्षक नज़ारा प्रस्तुत कर रहे थे।En: The grand structures coated with white lime and the finely carved balconies presented a captivating view of Lake Pichola.Hi: वसंत के हल्के धूप में पैलेस और भी सुंदर लग रहा था।En: In the gentle spring sunlight, the palace looked even more beautiful.Hi: रोहन हमेशा से रोमांचक यात्राओं का शौकीन था।En: Rohan had always been fond of adventurous journeys.Hi: उसके लिए नए स्थानों को खोजना और उनके बारे में जानना असीम आनंद का स्रोत था।En: For him, exploring new places and learning about them was a source of immense joy.Hi: वहीं, अंजलि के लिए उस पैलेस में छुपी कहानियां अधिक महत्वपूर्ण थीं।En: In contrast, for Anjali, the stories hidden in the palace were more important.Hi: वह उन लोगों के बारे में जानना चाहती थी जिन्होंने वहाँ अपनी जिंदगी बिताई थी।En: She wanted to know about the people who had spent their lives there.Hi: लेकिन दोपहर का समय बीत रहा था और पैलेस की बंद होने की तैयारी ज़ारी थी।En: However, the afternoon was passing, and preparations for closing the palace were underway.Hi: रोहन ने सुझाया, "हम अलग-अलग होकर पैलेस की जाँच करें। इससे हम ज्यादा जगह देख पाएंगे।"En: Rohan suggested, "Let's explore the palace separately. This way, we'll be able to see more."Hi: लेकिन अंजलि ने तुरंत कहा, "नहीं, मुझे लगता है कि हमें साथ ही रहना चाहिए। इस तरह हम अनुभव बांट सकेंगे।"En: But Anjali immediately said, "No, I think we should stay together so we can share the experience."Hi: उनके पास समय कम था पर पैलेस बहुत बड़ा।En: They had little time, but the palace was vast.Hi: फिर भी वे साथ रहे।En: Yet, they remained together.Hi: जैसे-जैसे वे आगे बढ़े, उन्हें एक कोने में एक बंद दरवाज़ा दिखा।En: As they proceeded, they saw a closed door in a corner.Hi: उत्सुकता से भरे रमा ने दरवाज़ा खोला और पाया कि यहाँ एक गाइड मौजूद है जो पैलेस के राजाओं की कहानियों को साझा कर रहा था।En: Filled with curiosity, Rohan opened the door and found a guide inside, sharing the stories of the palace's kings.Hi: यह एक छुपा हुआ खज़ाना था।En: It was a hidden treasure.Hi: गाइड ने कहा, "इस पैलेस में शाही जीवन की छुपी कहानियां हैं।En: The guide said, "This palace holds hidden stories of royal life.Hi: राजाओं की बहादुरी और रानियों के साहस की गाथा यहाँ के हर पत्थर में बसी है।"En: The bravery of kings and the tales of courage of queens are ingrained in every stone here."Hi: इस नई जानकारी से रोहन और अंजलि दोनों रोमांचित थे।En: Both Rohan and Anjali were thrilled with this new information.Hi: रोहन ने महसूस किया कि किसी स्थान की गहराई में जाकर जानना भी कितना सुखद होता है।En: Rohan realized how satisfying it is to delve deep into the essence of a place.Hi: अंजलि ने इस सफर के दौरान अचानक से मिलने वाली खोज की खुशी को महसूस किया।En: Anjali felt the joy of unexpected discoveries during the journey.Hi: जिस पैलेस को वे पहले दौड़कर देखना चाहते थे, अब उसे उन्होंने ठहरकर महसूस किया।En: The palace they originally wanted to rush through, they now appreciated at a slower pace.Hi: रोहन और अंजलि ने महसूस किया कि इस यात्रा ने उनके दृष्टिकोण को नया आयाम दिया है।En: Rohan and Anjali realized that this trip had given their perspective a new dimension.Hi: अब वे जो अनुभव लेकर जा रहे थे, वह केवल पैलेस की भव्यता नहीं, बल्कि उसकी अंतर्निहित गहराई थी।En: The experience they were taking back was not just the grandeur of the palace, but its inherent depth.Hi: उनका सफर उनके लिए हमेशा बाकी रहेगा – यादों में और सीख में।En: Their journey would always remain with them—in memories and in lessons learned. Vocabulary Words:enthralled: मंत्रमुग्धcarved: नक्काशीcaptivating: चित्ताकर्षकfond: शौकीनadventurous: रोमांचकembarked: प्रारंभimmense: असीमcontrast: वहींhidden: छुपीpreparations: तैयारीunderway: ज़ारीperspective: दृष्टिकोणdimension: आयामexperience: अनुभवthrilled: रोमांचितdelve: गहराईsatisfying: सुखदunexpected: अचानकappreciated: ठहरकरinherent: अंतर्निहितcuriosity: उत्सुकताrealized: महसूसgrandeur: भव्यताjourney: सफरbalkony: प्रयांगclosed: बंदguide: गाइडqueens: रानियोंbravery: बहादुरीcourage: साहस

Fluent Fiction - Hindi: Under Udaipur's Lights: A Family Reunion Heals and Inspires Find the full episode transcript, vocabulary words, and more:fluentfiction.com/hi/episode/2025-02-20-23-34-02-hi Story Transcript:Hi: सर्दियों की वो ठंडी शाम थी, जब उदयपुर का राजमहल महाशिवरात्रि के लिए रंग-बिरंगे प्रकाशों में सजा था।En: It was a cold winter evening when the Udaipur royal palace was adorned with colorful lights for Maha Shivaratri.Hi: महल के चारों ओर जगमगाती रोशनी और झील पिछोला का शांत पानी, असीम शांति और सौंदर्य का दृश्य प्रस्तुत कर रहा था।En: The sparkling lights around the palace and the calm waters of Pichola Lake presented a scene of immense peace and beauty.Hi: इसी भव्य माहौल में मेहरा परिवार का पुनर्मिलन हो रहा था।En: Amidst this grand atmosphere, the Mehra family reunion was taking place.Hi: यह अवसर था मीरा और उनके पति की शादी की सालगिरह मनाने का।En: This was the occasion to celebrate the wedding anniversary of Meera and her husband.Hi: मीरा की इच्छा थी कि उनके बच्चे, आर्यन और रिया, ऐसे मौके पर न सिर्फ शामिल हों, बल्कि एक सच्चे पारिवारिक बंधन की अनुभूति करें।En: Meera wished that her children, Aryan and Riya, would not only attend the event but also feel a true family bond.Hi: आर्यन और रिया ने अपनी-अपनी जगह पर जीवन में खूब तरक्की की थी, लेकिन दोनों के बीच का भावनात्मक दूरी मीरा को चिंता में डाल देती थी।En: Aryan and Riya had achieved significant success in their respective places in life, but the emotional distance between them worried Meera.Hi: आर्यन स्वभाव से थोड़ा संकोची था।En: Aryan was somewhat reserved by nature.Hi: वह एक बड़े निर्णय को लेकर असमंजस में था और चाहता था कि वह अपनी माँ को अपने इस दिल की बात बताए।En: He was indecisive about a major decision and wanted to share this heartfelt matter with his mother.Hi: दूसरी ओर, रिया, जीवंत और सफल पेशेवर थी, जो परिवार को हमेशा खुश देखना चाहती थी।En: On the other hand, Riya, a lively and successful professional, always wanted to see the family happy.Hi: उसे एहसास था कि सबकी उम्मीदों पर खरा उतरने का दबाव उसके जीवन में चिंता बढ़ा रहा है।En: She realized that the pressure of living up to everyone's expectations was increasing her anxiety.Hi: महल के बागीचे में एक ओर मीरा और आर्यन झील किनारे बैठे थे।En: In the palace's garden, Meera and Aryan were sitting by the lake.Hi: आर्यन ने मौका देखा और अपनी माँ से कहा, "माँ, मैं आपसे कुछ कहना चाहता हूँ।En: Aryan seized the moment and said to his mother, "Mom, I want to tell you something."Hi: "मीरा ने मुस्कुराकर कहा, "बोलो बेटा, क्या बात है?En: Smiling, Meera said, "Tell me, son, what is it?"Hi: ""माँ," आर्यन ने धीमी आवाज़ में कहा, "मैं अपने करियर की दिशा बदलना चाहता हूँ, लेकिन डरता हूँ कि क्या ये सही होगा।En: "Mom," Aryan said in a soft voice, "I want to change the direction of my career, but I'm afraid of whether it's the right choice."Hi: "मीरा ने अपने बेटे के कंधे पर हाथ रखकर कहा, "बेटा, तुम जो करना चाहते हो, वही सही होगा।En: Meera placed her hand on her son's shoulder and said, "Son, whatever you want to do will be right.Hi: तुम खुद पर विश्वास करो।En: Believe in yourself."Hi: "आर्यन के मन को शांति मिली।En: Aryan's mind found peace.Hi: माँ के शब्दों ने उसके विचारों को संबल दिया।En: His mother's words gave strength to his thoughts.Hi: वे दोनों तारों से भरे आसमान के नीचे कई बातें करते रहे।En: They continued to talk under the starry sky.Hi: मीरा ने आर्यन को यह भरोसा दिलाया कि उसका परिवार उसके साथ है।En: Meera assured Aryan that his family was with him.Hi: अगले दिन, आर्यन ने रिया से बात करने का निश्चय किया।En: The next day, Aryan decided to talk to Riya.Hi: वह ढूँढता रहा सही समय और आखिरकार जब सभी मंदिर में पूजा के लिए गए थे, तब उसने रिया को अपने फैसले के बारे में बताया।En: He kept looking for the right moment, and finally when everyone went to the temple for prayer, he told Riya about his decision.Hi: रिया मुस्कुराई और बोली, "मेरे पास भी कई बार ऐसे क्षण आए हैं।En: Riya smiled and said, "There have been many such moments for me too.Hi: मैं जानती हूँ कि ये आसान नहीं होता।En: I know it's not easy.Hi: लेकिन मैं तुम्हारे साथ हूँ।En: But I'm with you.Hi: और हमारी एक साथ कोशिश से हम आगे बढ़ेंगे।En: And with our joint efforts, we will move forward."Hi: "आर्यन ने पहली बार रिया के साथ अपने रिश्ते में एक नई शुरुआत महसूस की।En: For the first time, Aryan felt a new beginning in his relationship with Riya.Hi: उसे एहसास हुआ कि वह अपनी बहन के समर्थन में बहुत कुछ हासिल कर सकता है।En: He realized that he could achieve a lot with his sister's support.Hi: शाम होते-होते, महल की रंग-बिरंगी रोशनी में पूरा परिवार खुशी से एक साथ था।En: By evening, in the colorful lights of the palace, the whole family was happily together.Hi: आर्यन के मन में अब कोई दुविधा नहीं थी।En: Aryan no longer had any doubts.Hi: वह जान चुका था कि परिवार का असली मतलब क्या होता है।En: He realized what family truly means.Hi: परिवार के बीच अपनी बात साझा कर वह और भी आत्मविश्वासी महसूस कर रहा था।En: Sharing his feelings with the family made him feel even more confident.Hi: इस तरह, उदयपुर के उस खुशनुमा माहौल में, आर्यन ने सीखा कि जीवन में भले ही कठिनाइयाँ हों, लेकिन परिवार के साथ कदम से कदम मिलाकर चलने से हर समस्या का समाधान हो सकता है।En: In this way, in the cheerful atmosphere of Udaipur, Aryan learned that while life may have its difficulties, every problem can be solved by walking in sync with the family. Vocabulary Words:adorned: सजाsparkling: जगमगातीimmense: असीमatmosphere: माहौलreunion: पुनर्मिलनanniversary: सालगिरहrespective: अपनी-अपनीindecisive: असमंजसlively: जीवंतanxiety: चिंताseized: मौका देखाdirection: दिशाbelieve: विश्वासstrength: संबलrealized: एहसास हुआpressure: दबावprofessional: पेशेवरbond: बंधनreserved: संकोचीheartfelt: दिल की बातsolved: समाधानconfidence: आत्मविश्वासtemple: मंदिरprayer: पूजाjoint: साझाmoment: क्षणemotional: भावनात्मकfear: डरenlightened: प्रकाशconvey: साझा

Udaiur, Rajasthan, February 16, 2025: Gujarat and Rajasthan Nirankari Sant Samagam -Discourse by Satguru Mata Sudiksha Ji Maharaj

Quelle est la force spirituelle des musiques sacrées du monde ? Quel est leur pouvoir ? Dans cette émission, nous vous invitons à voyager à travers le monde en écoutant ces musiques où se croisent spiritualité, religion, culture et traditions, en compagnie de Gérard Kurkdjian. Plongée dans la puissance spirituelle de la musique sacrée, avec notre grand invité, Gérard Kurkdjian, musicien, auteur du « Grand livre des musiques sacrées du Monde » paru en 2016, l'un des fondateurs du festival des musiques sacrées de Fès au Maroc et de nombreux autres festivals, à Udaipur en Inde, à Erevan en Arménie, dont il est originaire.Invité : Gérard Kurkdjian, musicien, spécialiste des musiques sacrées, co-fondateur du festival des Musiques Sacrées de Fès, auteur du « Grand Livre des Musiques Sacrées du Monde » (Éd. Albin Michel, 2016), « Méditations musicales : comment méditer avec les plus belles musiques du monde » (Éd. Dervy, 2019), « Abeilles de l'indicible – recueil de poésies » (Éd. Spinelle, 2021), « Raga de Nuit – Passions sur le Gange » (Éd. Spinelle, 2023), « L'Autre Monde – Poésies » (Éd. Complicités, 2024).

Quelle est la force spirituelle des musiques sacrées du monde ? Quel est leur pouvoir ? Dans cette émission, nous vous invitons à voyager à travers le monde en écoutant ces musiques où se croisent spiritualité, religion, culture et traditions, en compagnie de Gérard Kurkdjian. Plongée dans la puissance spirituelle de la musique sacrée, avec notre grand invité, Gérard Kurkdjian, musicien, auteur du « Grand livre des musiques sacrées du Monde » paru en 2016, l'un des fondateurs du festival des musiques sacrées de Fès au Maroc et de nombreux autres festivals, à Udaipur en Inde, à Erevan en Arménie, dont il est originaire.Invité : Gérard Kurkdjian, musicien, spécialiste des musiques sacrées, co-fondateur du festival des Musiques Sacrées de Fès, auteur du « Grand Livre des Musiques Sacrées du Monde » (Éd. Albin Michel, 2016), « Méditations musicales : comment méditer avec les plus belles musiques du monde » (Éd. Dervy, 2019), « Abeilles de l'indicible – recueil de poésies » (Éd. Spinelle, 2021), « Raga de Nuit – Passions sur le Gange » (Éd. Spinelle, 2023), « L'Autre Monde – Poésies » (Éd. Complicités, 2024).

Dans cet episode: un tour chez Sadhguru, double mariage hindu et balade dans les rues de Udaipur.

Welcome to Top of the Morning by Mint, your weekday newscast that brings you five major stories from the world of business. It's Thursday, October 31, 2024. This is Nelson John, wishing you a very happy Diwali. As we step into Samvat 2081, speculation is rife about whether the Sensex can breach the 100,000 mark by March 2025. A Mint survey, reported by Mayur Bhalerao, reveals a split verdict among analysts: about half expect it to reach the milestone, driven by robust corporate earnings and steady foreign inflows, while others remain cautious, citing global uncertainties. Market volatility is now the new normal, with most experts anticipating a turbulent stretch ahead—marked by a potential correction followed by a gradual recovery toward the year-end. All eyes are on the US Federal Reserve, with many expecting a rate cut in December, which could provide a timely lift to Indian markets. Diwali brings a unique tradition to India's stock market with Muhurat Trading, where the National Stock Exchange and the BSE will light up for a special one-hour session from 6-7 pm this Friday. This auspicious hour marks the start of the Hindu calendar year, Samvat 2081. Since last Diwali, the Nifty 50 has surged 25%, buoyed by strong GDP growth, robust corporate earnings, and plentiful liquidity. Which sectors have beaten the benchmark, which stocks have been the winners and laggards, and what can investors expect in the medium term? Abhinaba Saha brings a recap of Samvat 2080. Europe's largest paint maker is planning to exit its India business. Anirudh Laskar reports that Akzo Nobel is eyeing a ₹25,000 crore valuation for the sale, with Citigroup managing the transaction. Among the potential bidders are Adani, Aditya Birla, JSW, and Asian Paints. While Asian Paints already owns a 4% stake in Akzo Nobel's Indian arm, any acquisition bid may attract regulatory scrutiny, given its dominant position in the market. India is positioning itself as the next hub for artificial intelligence. Major players like Nvidia and Meta have already set up operations and are optimistic about India's role in shaping the AI landscape. However, the government's push for indigenous development presents both challenges and opportunities for global firms. Leslie D'monte writes that initiatives like Viksit Bharat offer tech giants a platform to collaborate with local companies, fostering research and job creation. High-profile visits from tech leaders reflect this growing momentum, while Indian firms are also making strides with localised AI models. In India, where privacy is a coveted luxury, the hotel industry is evolving to cater to the ultra-wealthy. A prime example is Arq by The Leela—a collection of exclusive villas that debuted in Udaipur this month, offering unparalleled seclusion. Despite its premium pricing, demand for these opulent stays remains strong. The luxury travel sector has seen a robust post-pandemic revival, with India's spending on luxury travel hitting $10 billion in 2022. High-end properties are driving this growth, with 39% of the country's branded hotel rooms classified as upscale or luxury, reports Varuni Khosla.

The party is in Udaipur and its ever-fresh / Raghu confirms Kaustubha's Krishna Miracle / Unconditional love is our innate operating system / things never go as smoothly as you want- even for the devas / the Goddess of Fortune lives to be enjoyed - does that trigger us? / the idea that we exist for the pleasure of another is triggering - but LOVE REQUIRES IT! / Krishna is waiting for us to come to his level of unconditional love / What's your peace formula, Smarty pants? / the Goddess Laxmi's got no issues SB 8.8.1-8 ********************************************************************* LOVE THE PODCAST? WE ARE COMMUNITY SUPPORTED AND WOULD LOVE FOR YOU TO JOIN! Go to https://www.wisdomofthesages.com WATCH ON YOUTUBE: https://youtube.com/@WisdomoftheSages LISTEN ON ITUNES: https://podcasts/apple.com/us/podcast/wisdom-of-the-sages/id1493055485 CONNECT ON FACEBOOK: https://facebook.com/wisdomofthesages108 CONNECT ON INSTAGRAM: https://www.instagram.com/wisdom_of_the_sages

The party is in Udaipur and its ever-fresh / Raghu confirms Kaustubha's Krishna Miracle / Unconditional love is our innate operating system / things never go as smoothly as you want- even for the devas / the Goddess of Fortune lives to be enjoyed - does that trigger us? / the idea that we exist for the pleasure of another is triggering - but LOVE REQUIRES IT! / Krishna is waiting for us to come to his level of unconditional love / What's your peace formula, Smarty pants? / the Goddess Laxmi's got no issues SB 8.8.1-8 ********************************************************************* LOVE THE PODCAST? WE ARE COMMUNITY SUPPORTED AND WOULD LOVE FOR YOU TO JOIN! Go to https://www.wisdomofthesages.com WATCH ON YOUTUBE: https://youtube.com/@WisdomoftheSages LISTEN ON ITUNES: https://podcasts/apple.com/us/podcast/wisdom-of-the-sages/id1493055485 CONNECT ON FACEBOOK: https://facebook.com/wisdomofthesages108 CONNECT ON INSTAGRAM: https://www.instagram.com/wisdom_of_the_sages

First, we talk to Indian Express' Parul Kulshrestha about a series of leopard attacks in Udaipur. The attacks have taken seven lives and have left the villagers scared. She talks about the action taken by the forest department and the reason behind these incidents.Next, Indian Express' Mohamed Thaver informs us about the complaint that has been filed against online ticketing platform Book My Show and the investigation that is taking place regarding the tickets for the concert of the renowned band Coldplay.  (8:44)And in the end, we talk about a helicopter crash in Pune that killed three. (18:31)Hosted, written and produced by Niharika NandaEdited and mixed by Suresh Pawar

In this episode, Caroline Harding '24 interviews Professor Jennifer Ortegren, associate professor of religion at Middlebury and a 2022 CT faculty grant recipient. Ortegren is author of Middle-Class Dharma: Women, Aspiration, and the Making of Contemporary Hinduism (2023, Oxford University Press), which examines the intersections of gender, religion, and class among upwardly mobile Hindu women in Udaipur, Rajasthan. In her CT-supported project, “"'We Live with Love for Each Other': Navigating Neighborhood Relationships between Hindu and Muslim Women in Middle-Class India," Ortegren examined how Muslim women experience upward mobility in ways that are both similar to and distinct from Hindu neighbors, and how these shifts shape, and reshape, relationships between Hindu and Muslim neighbors. In particular, it asks if and how young women are meeting and supporting one another in the same ways their mothers did or if they are connecting in other ways that are rooted in their shared middle-class lifestyles. Learn more about Prof. Ortegren here: https://www.middlebury.edu/college/people/jennifer-ortegren Learn more about other research projects supported by the CT Collaborative here: https://www.middlebury.edu/conflict-transformation/supporting-faculty-research

In this special episode of Cyrus Says, we sit down with Prince Lakshyaraj Singh Mewar, the scion of the 1500-year-old House of Mewar. They discuss the history of Rana Sanga & Maharana Pratap. He opens up about his early life, from boarding school at Mayo College studying hotel management at Blue Mountains International Hotel Management School in Australia. We delve into his return to Udaipur, where he revitalized the iconic Jagmandir Island Palace and transformed Manek Chowk. He also mentions about vintage car collection, his love for street food, and whether he's ever given sword fighting a go. Don't miss this candid conversation with a modern royal balancing heritage with innovation!See omnystudio.com/listener for privacy information.

Morse code transcription: vvv vvv Elton John makes first appearance since revealing limited vision After Grenfell How fire safety differs at a luxury London tower block and Margate estate Udaipur stabbing A school fight ended in murder and sparked violence in Indian city Kamala Harriss pain free campaign faces first crunch moment Thieves snatched his phone in London he tracked it to China Georgia school shooting Parental responsibility faces tough new test Man, 20, held in Canada accused of terror plot against NY Jewish centre Boeing Starliner to return to Earth without its astronauts Former Vice President Dick Cheney to vote for Kamala Harris Aysenur Ezgi Eygi UN urges inquiry into killing of US Turkish protester in West Bank

Morse code transcription: vvv vvv Udaipur stabbing A school fight ended in murder and sparked violence in Indian city Thieves snatched his phone in London he tracked it to China After Grenfell How fire safety differs at a luxury London tower block and Margate estate Kamala Harriss pain free campaign faces first crunch moment Aysenur Ezgi Eygi UN urges inquiry into killing of US Turkish protester in West Bank Man, 20, held in Canada accused of terror plot against NY Jewish centre Boeing Starliner to return to Earth without its astronauts Former Vice President Dick Cheney to vote for Kamala Harris Georgia school shooting Parental responsibility faces tough new test Elton John makes first appearance since revealing limited vision

Morse code transcription: vvv vvv Boeing Starliner to return to Earth without its astronauts Udaipur stabbing A school fight ended in murder and sparked violence in Indian city Elton John makes first appearance since revealing limited vision Kamala Harriss pain free campaign faces first crunch moment Aysenur Ezgi Eygi UN urges inquiry into killing of US Turkish protester in West Bank After Grenfell How fire safety differs at a luxury London tower block and Margate estate Former Vice President Dick Cheney to vote for Kamala Harris Man, 20, held in Canada accused of terror plot against NY Jewish centre Georgia school shooting Parental responsibility faces tough new test Thieves snatched his phone in London he tracked it to China

Morse code transcription: vvv vvv Udaipur stabbing A school fight ended in murder and sparked violence in Indian city Boeing Starliner to return to Earth without its astronauts Thieves snatched his phone in London he tracked it to China Kamala Harriss pain free campaign faces first crunch moment Georgia school shooting Parental responsibility faces tough new test Former Vice President Dick Cheney to vote for Kamala Harris Elton John makes first appearance since revealing limited vision Man, 20, held in Canada accused of terror plot against NY Jewish centre Aysenur Ezgi Eygi UN urges inquiry into killing of US Turkish protester in West Bank After Grenfell How fire safety differs at a luxury London tower block and Margate estate

Communal tensions erupt in Udaipur over stabbing in school; cars burnt, This is worth more than 1,000 Gold medals': Vinesh Phogat overwhelmed by grand welcome in Delhi after Paris heartbreak, Stage set for polls in Jammu and Kashmir, Haryana; results on October 4,IMA demands overhaul of working and living conditions of resident doctors

On this episode of the Rollercoaster Podcast, Tyler and Joe dive into the importance, need, and true meaning of a Spartan race. They explore the physical and mental challenges these races present, discuss the profound sense of accomplishment they offer, and uncover the deep-seated motivations that drive people to participate. Join them as they navigate through personal stories, expert insights, and the transformative power of pushing one's limits in the ultimate test of endurance and resilience.Joe elaborates on the details of the Spartan Race, especially the infamous Death Race, highlighting its grueling nature and intense physical and mental challenges. He explains that the purpose behind these races is not just to test physical endurance but to push participants beyond their perceived limits, unlocking their inner strength and resilience. Joe emphasizes how the Death Race, with its unpredictable and arduous obstacles, serves as a powerful motivator, inspiring people to discover and embrace their inner warrior. He passionately describes how the experience of overcoming these extreme challenges awakens a primal drive within participants, fostering a profound sense of achievement and personal growth.Joe has always felt a deep connection to Indian culture, which he often shares through captivating stories. One of his favorites recounts the time he hosted the princess of Udaipur in his New York home. This extraordinary event not only highlighted Joe's appreciation and respect for Indian traditions but also cemented a profound bond between him and the Indian community. His hospitality and genuine interest in their heritage have made him a beloved figure among his Indian friends, symbolizing a bridge between cultures and a testament to the enduring power of friendship and respect.Free Offer: Join the Spartan Race for Free!Are you ready to conquer the ultimate challenge? We have an exciting offer for you! Anyone interested in participating in the Spartan Race for free is invited to join us. To take advantage of this incredible opportunity, simply email us at ad@azrocketstudios.com. Don't miss out on this chance to push your limits and experience the thrill of the Spartan Race without any cost. Sign up today!-Where to find Joe De Sena:Website: https://www.spartan.com/Instagram: https://www.instagram.com/realjoedesena/?hl=enTwitter: https://x.com/realJoeDeSenaLinkedIn: https://www.linkedin.com/in/josephdesena/-Where to find Tyler Hall: LinkedIn: https://www.linkedin.com/in/tylerchall/ Newsletter: https://www.linkedin.com/newsletters/the-tyler-hall-archives-7018241874482122753/ Twitter: https://twitter.com/sirTHALL Work with Tyler: https://www.tylerchristianhall.com/

On this episode, my guest is Manish Jain, a man deeply committed to regenerating our diverse local knowledge systems, cultural imaginations and inter-cultural dialogue. Inspired by MK Gandhi, Rabindranath Tagore,  Ivan Illich, his illiterate village grandmother, his unschooled daughter, indigenous communities and Jain spiritual philosophy, he is one of the leading planetary voices for deschooling our lives and reimagining education. He has served for the past 25 years as Chief Beaver (ecosystems builder) of Shikshantar: The Peoples' Institute for Rethinking Education and Development based in Udaipur, India and is co-founder of some of the most innovative educational experiments in the world - the Swaraj University, the Jail University, Complexity University, Tribal Farmversity, the Creativity Adda, the Learning Societies Unconference, the Walkouts-Walk-on network, Udaipur as a Learning City, the Families Learning Together network, Berkana Exchange.  He co-launched the global Ecoversities Alliance with 500+ members in 50 countries. Show Notes:Kidnapped by the American DreamGrandma's UniversityReclaiming our Cultural ImaginationCultural Imagination for the Culturally HomelessThe Radical and Exponential Power of TrustUnlearning Cultural Appropriation in the Oral TraditionJugard, or “playful improvisation”Being Reclaimed by AncestorsSwaraj University - Money, Love, and DeathAlivelihoods and DeadlihoodsTraditions of Hospitality in RajasthanEcoversitiesHomework:Swaraj University WebsiteEcoversities WebsiteJugaad (Wikipedia)Transcript:[00:00:00] Welcome, Manish, to the End of Tourism podcast. Thanks for joining me today. Thank you, Chris. Great to be here. Great to be with you. Speaking of here, I was wondering if you could share with our listeners where you find yourself today and maybe what the world looks like for you where you are. Yes, I live in a very magical place called Udaipur.It's in Rajasthan, India. I have been here for the last 25 years. Before that I was moving cities every year. I was living in the U. S. and Europe. And my village is about two hours from where I live, from the city. And I have lots of relatives here, lots of ancestors around. And this happens to be one of the major tourist destinations of India.So it's an interesting combination of very [00:01:00] cosmopolitan kind of global jet set coming in, but also lots of traditional culture, local knowledge, still alive. We were lucky to be called backwards and underdeveloped. And so many things have remained but again under, under continuous threat by kind of urbanization and global economy.But yeah, it's a very beautiful place, lots of palaces, lakes all kinds of animals on the street. On a good day you'll see an elephant walking down the street or a camel just in our neighborhoods and yeah, I love it here. So it's, I mean, it's found a place in my heart for sure. Hmm. What a gift. What a gift to, to live in a place that you love and, you know, it seems to be that question at the heart of the themes of the podcast and in that regard, I wanted to begin by asking you a little bit about your journey, Manish. So[00:02:00] from what I've read, from what I've heard, a lot of your work centers around de schooling and unlearning, specifically with Swaraj University and other educational endeavors, Ecoversities being one of them.And I'd like to return to those themes and projects in a little bit and start by asking you, among other things, about your earlier accolades as a Harvard graduate and someone with a degree from Brown University. One of your bios says that you worked for, among others the American multinational investment bank, Morgan Stanley, as well as UNESCO, UNICEF, World Bank, and USAID in South Asia, Africa, and the former Soviet Union.And so I'm wondering if you'd be willing to share what led to your initial involvement in these rather prominent institutions, and then subsequently, what led to leaving them behind thereafter? Yeah, thank you. Yeah, hearing that [00:03:00] always gives me the shivers a little bit. It's like such a long time ago now. But so I kind of actually grew up with a deep sense of wanting to serve, serve the world. And when I was growing up I actually, I tell people I was kidnapped when I was three years old, born in India, but then taken to the U. S. Kidnapped by the American dream, which I over time realized was a nightmare for most of the planet. So this deep sense of service has always been, been with me, maybe from my mother, from my father, from my grandparents, many, many sources from, inspired by also Gandhi and, and Tagore and many other Indian freedom fighters.But I kind of grew up with this narrative, if you want to serve, you should go to the big places, the places of big power, those institutions, that's where you can influence, that's where you can make the most impact. And so that kind of was a trajectory that I, I kind of [00:04:00] got put on I kind of was very good.I never liked being in these institutions, but I was very good at faking it I faked it through school all the way to Harvard and, and so I was pretty good at faking it and eventually it caught up with me and I started feeling like I was becoming a fake. So, but going to those places I thought there were, you know, those were the centers of power and that when I got there, I started feeling that these places, each of these places, one by one, I started realizing that they were actually quite powerless in many ways, surrounded by a sense of scarcity and fear and very limited imagination.And so one by one, I became disillusioned with each of each of those places. I was expecting that, you know, these would be the places which could help serve humanity, but I realized that they were built on, you know, this continuous model of extraction and colonization and exploitation of [00:05:00] life.And so even with education, I felt like, okay education will be the solution and I started realizing that education was a huge part of the problem. And so that's what led me started me on the de schooling path to try to see how we can find other ways besides relying on these institutions and the logic of capitalism and commodification to solve our problems. You know, over time I started really developing a severe mistrust of experts.I was one of them, like, although I'm fake and so are the rest of these guys. So by the time I was 28, I hit the wall. And I was like I don't have anywhere else to go, I've been to all these big places, and I don't really see, see any hope from them. I don't think they can be repaired either or that they can actually take the kinds of initiatives that are needed to change the game.So that's what led me back to India then[00:06:00] to be with my illiterate village grandmother. And I thought I'll take care of her. And then I, my wife and I realized that we had inadvertently become part of our grandmother's university and she was our unlearning guru. To both Get beyond I would say a lot of our own fears and anxieties, get beyond a lot of the, let's say Western liberal do gooder frameworks, get beyond our attachment to institutions just to solve things for us and start to understand and remember, I think remembering is a word that I have discussed many times with old common friend of ours, Gustavo Esteva, but start to remember that we have much more richness and wealth and creativity, possibility within us and our, and within our communities. So that's been a little bit of the journey to re remember and reclaim and reimagine things.I [00:07:00] remember seeing in one of your talks that you said that your work or to you, what you understood your work to be is, is a way of reclaiming our cultural imagination. I'm wondering if you could elaborate a little bit on that. Yeah, I think basically I think the deepest form of colonization has happened is to our imaginations.And there is a phrase from the eighties from Ronald Reagan and Margaret Thatcher called TINA. "There Is No Alternative." So, as there was an uprising that started happening around the world questioning the dominant development paradigm, the global economy, it was quickly suppressed, repressed by this phrase, TINA.This is the best system that we have, and you know, there's, there's nothing beyond it, so you should just try to improve what's there. And so I think what then [00:08:00] people are forced into is to try to fix or let's say work with what is the existing frameworks and definitions that we have been fed about things like progress or development or success or happiness and then we are all in a very deep endless losing race to try to catch up with something.And we're not even sure what happens when you win. Maybe that's where it hit me. You know, there's a saying, if you, if you beat them at their own game, you lose everything. And so I kind of started realizing that personally, and also when I was looking at the development paradigm more different more closely.So I think, you know, what else is possible first of beyond the kind of logic of the rational mind, what's possible beyond the anthropocentric perspectives that we have on life, what's possible beyond global corporations and institutions deciding what's best for us, what's [00:09:00] possible beyond markets and technologies as the solutions for all of the planet's woes.I think that's what we're trying to explore when I talk about cultural imagination. And I, I think that the first step is to open up the definitions again. This is another thing I think many of my elders, Gustavo, and, Ivan Illich and a person here in India who was a friend of Gustavo's, Claude Alvarez, many were urging us that we need to open up the definitions of things.So that's what usually I think in a lot of the decolonial movements, what didn't happen that we accepted their definitions of development of the good life, all of those things. And then we started pursuing that, but actually it's a very exciting time that we can actually crack that open. And see, okay, what is it?Little Bhutan, a country of 700, 000. People asking, you know, what is happiness? And saying that[00:10:00] you know, the West, you guys have all the money, you guys have all the technology, you have all the armies, but are your people happy? So I think, you know, this is happening in obviously in Latin America, "buen vivir," in India, Swaraj, so many movements, which I think are challenging the given definitions and creating a space for us to dream differently, to tap into a different worldview which recognizes a sense of the sacred and recognizes that we are not just, you know, cogs in the machine in terms of our purpose on this earth. So I think those are, that's a little bit of what I mean by reclaiming the cultural imagination. Hmm. And you mentioned Swaraj and I'm really excited to dive into that and see where this notion of reclaiming cultural imagination fits there in a place and not just in philosophies.But I wanted to ask you this kind of this little follow up question in regards to the cultural imagination. Because we've [00:11:00] had the great honor to befriend and learn from people like Gustavo. But I think of my family and friends and compañeros, colleagues in Toronto, major North American metropolis.And I wonder how reclaiming the cultural imagination looks like or could be for people who would consider themselves either cultural orphans or culturally homeless. You know I mean, you and I have distinct ties, it seems, and a lived memory to the places our people moved or migrated from or still live in.And so there's a bridge of sorts that already exists that on some level can still be crossed. What about the people who have no lived memory of where their people come from or who would admit, or at least can offer up the idea that they have no culture? Yeah, so, oh, that's a great question. So, [00:12:00] I think maybe the first thing I would kind of offer in that situation is that one is a question of how to reconnect to the land and the territory you live in the place, the water, the rivers, the mountains, the forests. There's a tremendous amount of memory that, that lives in the place which can help us recover parts of ourselves that have been lost. The other is, I think, in terms of reconnecting to our bodies again, there's a tremendous amount of wisdom. We can recover again from our own bodies, from our breath also reconnecting to our breath in a very profound way and help us recover things.And also when I talk about culture, I think the essence of culture without being an essentialist, is is what I call gift culture. Mm-Hmm. So this culture of, of connection, of care, of kindness, of trust, of hospitality, of [00:13:00] forgiveness. There's so many traditions like that, wherever we are, and we can also create new traditions around these things.And so, a lot of times we confuse culture for the food or for the clothes or for the music of a place. But I think the deeper level of all culture is a gift culture, which is a reminder of the interconnectedness of life, the thread that is woven through all of us, connects us to something very sacred and even divine in some sense.So, I think that reconnecting to the spirit of kindness and care is a huge step. We've been doing a lot of experiments over the years around gift culture and reconnecting to a field of trust again. I call it the radical and exponential power of trust.Much of our work and I would almost say in the miracles that I see every day in our work are because of this field of trust that we have been able to reconnect to and this is what my [00:14:00] grandmother, I think, was helping me to reconnect to in terms of culture is because I remember growing up in the U. S. this continuous thing of don't trust anyone, don't trust your neighbors, don't trust anyone, somebody, anybody is being kind to you because they may have an angle. They may steal from you or cheat from you or whatever, and I think it took me a lot of healing to come out of that and that has been a phenomenal journey in terms of opening up possibilities for how I connect, and one other thing I would say is that.A lot of, I know this has been a major unlearning area because I used to be very critical of all of this cultural appropriation that we see in the West, people picking up things in here, here and there. But as I've been in India and I've become more connected to the oral traditions, very different kind of ethics and philosophy and ways of, of living and doing things that lives in an oral tradition.Like [00:15:00] I grew up with this strong fear of, you know, plagiarism. You know, that was the one thing Harvard and Brown hammer you is about plagiarizing. Cite every word. Chris said this, or Gustavo said this, right? And I found in the oral tradition, there's a different kind of trickster level playfulness that you can take anything, play with anything.You don't have to cite, you can modify, you can change, you can adapt. And I think I've been trying to bring that more into these conversations around cultural appropriation, because I think people get so afraid nowadays of being bashed for exploring a different culture for taking things.Obviously, there is a level of depth and engagement and commitment, dedication to understanding something that I would invite in that. But being able to pick up things, I think has been part of our culture. People take things and spread them and appropriate them in ways that keep them alive and moving so it's something I've been exploring a [00:16:00] lot is that it seems very much more controlling and part of the old paradigm to say that we need to protect and there are certain cultural gatekeepers and certain kinds of people who who will tell you you're right or wrong in the culture.So I also would want to open up that conversation, exploration with people. Thank you. You know what I mean? You know what I mean with that? Yeah. Yeah, definitely. It definitely points towards a notion of cultures being static and that there being a degree of authenticity, a kind of original foundation or culture for a people which seems to be a relic of 19th century anthropology and things like that.And, and a restriction that we are just these bodies in this present time. You know, in India, obviously we talk about reincarnation and so there, there may be other, other cultures within us and that we've lived that [00:17:00] want to express themselves and want to be opened in this life as well, which maybe our body and our place doesn't necessarily give us that opportunity, but the possibility exists, or the the desire even if is there so. I would want to invite us to all of that as well. Mm hmm, and you've been speaking a lot about how your time in India has really been an opportunity for you to unlearn, maybe disassociate a little bit from the taught worldview that you had in the United States.And this next question comes from a friend of ours dear friend Erin, and She wanted to ask about your move to India or move back depending on how you choose to understand it and how that experience has been for you as someone who grew up on the other side of the world and what do you think it means in the context of [00:18:00] your migration to be claimed or reclaimed by a place.Beautiful. Yeah. I think it's been quite a powerful and even I would say magical journey because as you said, the place and the people reclaim me. Part of it is that, you know, my relatives are here, my ancestors are here. And so at times when I felt, you know, a little bit out of place they reminded me that I belong here and I'm welcome here.And I think what I've made a very strong effort to do is to reground myself in different ways and maybe those ways have been made the transition more smooth or beautiful in one way. So one is like, you know, a lot of the ideas, for example, or work that I'm doing I've tried to find cultural reference points and stories that makes sense because initially when I came, a lot of the things I was talking about, [00:19:00] people were like, oh, that's another Western idea. That's something you're just bringing. It's not Indian, blah, blah, whatever. So I started to look for stories in the past. So when I talk about my university, Swaraj University, I tell people it's 5, 000 years old. Our first chancellor was from the Mahabharata, Ekalavya, the story of Ekalavya, the first documented, self-designed learner and so that all of a sudden something clicks differently for people of how they hear it, how they connect it. When I talk about, for example, when we used to talk a lot, Erin, since you brought her up, we explored a lot of zero waste and upcycling together.There's a word in Hindi, jugard, which means playful improvisation. So, using our own words to describe it rather than trying to take everything from English and translate it. But also I'd say, you know, like people would say, again, zero waste. This is a Western sustainability thing. I said, no no, wait a second.Our grandmothers are all zero waste masters. So, you [00:20:00] know, let us understand that all of these ideas are actually connected to many things that we have in our own culture. So that's made it a very beautiful thing because it's not only being welcoming, it's actually unleashing a lot of energy that had been pent up with people like fear and you know, self -limiting, self-belief, self -suppression in a sense.So all of a sudden hearing that, Oh, this is actually has roots in who we are, has opened up a lot for ways we engage in people to accept me and some of the ideas and experiments we've been sharing. So that's been good. And I think the other thing is really a kind of regrounding. So when I moved back, I was good at PowerPoint and Excel.My worldview was through Microsoft products, right? So what I learned again was to reconnect to farming and our food systems. And I think Aerin and Yeyo's journey is also, we've been together on this for many years, but [00:21:00] also to local language again, and you know, making our own clothes, building our own buildings, you know our own healing techniques and plants here. So, just reconnecting to a lot of those things have helped the place to welcome me in different ways and also me to be able to build different relationships with a lot of diverse people here as well. And I think the third thing is really that just to add was like this, one of the deschooling ideas was to core is to shed these labels of failures of looking, you know, at only educated people as intelligent.So there's so much wisdom and creativity and beauty and love that is with people who don't have degrees. And so being able to see that because I was able to let go of these labels and these frameworks has really helped me again, beautifully connecting with many people and many energies here.Wonderful. And [00:22:00] do you think that those, those points that you just mentioned, that they were causes or consequences of you and your people there opening Swaraj University? Or did it evolve into that? It happened, you know, like I said, we have more than a thousand faculty in Swaraj University, and they are grandmothers and farmers and artisans and mountains and lakes and, and trees, the human, the more than human. The one other thing that's really been very powerful is, you know, the place I live in, I would say about 80 percent of the people living here talk to their ancestors. Like without a shaman, they can, you know, like my cousins or my aunt can channel ancestors and we would have all night prayer rituals to talk, connect with them, invite them.And it's like people, and for me with my western trained scientific mind, I [00:23:00] couldn't understand this initially and then it started to open up once I kind of allowed myself to breathe with it opened up a whole different set of possibilities also in engagement to the place where the ancestors were welcoming me. As well to this place. So, that has been beautiful. And another thing that happened was I met, again, a lot of traditional healers. So 25 years ago when I was meeting them was a huge amount of skepticism. My mother's a doctor in the U. S. and she doesn't trust anything Ayurvedic or folk medicines or anything.So when I met them, I was skeptical, but as I spent time with them, and started seeing that they're, they actually have some very deep power. And when I asked them, you know, how did you learn all of this stuff? Because you think of this plant with this, you know, the bark of this and the, you have to boil that with the roots of this and mix it with this.I'm like, so many combinations and permutations, right? And I'm like, they didn't have supercomputers. [00:24:00] So I asked them, how did you guys learn this? And they said, what do you think? And I very proudly used to say trial and error, you know, that must be the scientific method. And they would laugh like crazy.And I'm like, what, what was it like that? That's so primitive trial and error. It's so primitive. I'm like, what? And they would, I said, how did they do it? They said, Oh, we could, our ancestors could talk to the plants. And so once I kind of started to allow that worldview to permeate me, it started to create a different sense of connection to the place, I think.And so it's been a very beautiful journey to in a sense, one can say rewild myself here. And are those, are those themes incorporated into swarajs, and I don't want to say curriculum, because we all know that's a four letter word for a lot of people, but but in terms of de schooling, in terms of unlearning, in terms of, these kinds of old time [00:25:00] learnings, what does a student maybe encounter at Swaraj?Yeah. So there's no curriculum per se, but we have, you know, a few different elements to it. It's all derived from living together, right? So, one is obviously, we call it learning from the gift of conflict. So as you're living together, there's conflicts that start to emerge all the time.So those conflicts are very beautiful entry points into kind of reflecting, if you, once you move beyond the blame narrative to reflect on yourself, what's triggering you, why do you feel disturbed about it? So very, very powerful opportunities to reflect on oneself. We have also what we call a lot of unlearning challenges.So those are optional, but we've created different challenges because we felt there's a lot of conditioning that people come into. Swaraj with and they're around many different areas, but I would say three of the common ones are around most [00:26:00] common around money unlearning our free fear, anxiety scarcity that's related to the money system.Even our self worth gets tied so much to the money system. So, we have a lot of different experiments around that. The second is around love. Both starting with self love, but then how we understand love, how we relate, notions of jealousy, inferiority, all kinds of things which are tied to love.And the third is then death. Death. And so are so these are places that we explore a bit. We have different experiments where people can, you know, for example, and imagine your death would be an invitation that we would invite people into a process. So there's a lot of unlearning experiments. And then the third is that people actually then have a lot of space to design their own personal programs of what they want to explore.And in that process, because you're living in a community, lots of informal learning is happening. Peer to peer, your friend is doing [00:27:00] something. Maybe you start, like, I'm not interested, but after a month of seeing your friend, or a few months, you start, it's just something starts, you know, entering into your system and you realize, Oh, maybe I do like this or this is interesting.And your friend leaves it. I've seen cases, a friend leaves it and the other person picks it up and you know, takes it forward also. So, all of this kind of cross pollination is happening all the time, which is very beautiful. So those are some of the things that happen in Swaraj. And I think where we would invite this is we are becoming more, I think we've become more and more bold over the years, like with this idea of ritual and the sacred. So, in India, there was a lot of, you know first from the left, a lot of bashing of ritual and sacred as these were Brahmanical tools to suppress and these are superstitious. And these tools are, you know, the Marxist idea that these are to [00:28:00] control the masses.And then also, it was bashed because these are ways to cement a kind of fascist Hindu paradigm which is against minorities and things. So, there was a lot of, lot of stories running in our heads around ritual. And then our own personal experiences that oftentimes meaningless, they become fractured, they become rigid and so what we've tried to do is really reclaim the space of ritual in Swaraj.And part of that is with our ancestors or with the more than human. And so inviting people to look at ritual in a very different way has been very interesting. And sometimes I'm involved in rituals and I'm like, what are you doing? The inner voice says, dude, what are you doing?You know, like, who are you at this? And, you know, so all of that old stuff that we kind of grew up with in terms of the scientific analytical mind, which sees everything that it can't understand as [00:29:00] superstition sometimes reappears in certain ways, but I think it's been part of the journey to really create a space at least to engage with this, and so in Swaraj very much it's, it's there as well, and, and maybe the, the way we explain it is there's a need to go beyond the kind of the rational, there's a, there's limits to the rational, logical fragmented mind of how it can see or what it can make sense of.We often even talk about, you know, the way we're trained to think about the crisis is part of the crisis. So, you know, so this space of entering into kind of a liminal energy, a different frequency together is maybe very powerful. And those can be through many different ways, right? Through music, through dance, through food, through fasting.In India, it's really through silence, you know, so it doesn't always have to be plant medicines, which you find more in Latin America and Africa, but in India, meditation and silence and fasting were and [00:30:00] breathing were really different ways that have been experimented over the centuries for people to enter into a different kind of consciousness together.Well, it sounds like an incredible place and an incredible project. I hope if the winds allow me to travel again in a way that maybe they once did that I'd be able to experience that myself. Yes, we have a long, we Udaipur and Oaxaca. So the chances for those winds appearing are pretty good.Amen. Amen. And speaking of Oaxaca our mutual friend, Yeyo had wanted me to ask you about this formulation of yours and all he wrote was livelihoods as opposed to deadlihoods. Oh yes, a alivelihoods, alivelihoods. We made a distinction because a lot of people are wondering what can I do today [00:31:00] in the world. And so the first thing is to help them see that most of what the university, the conventional university is preparing us for are what I call deadlihoods. The work, whether you're in law or in finance or in psychology or I.T., somehow or other, they're tied to a deadlihoods economy that is extractive, military, violent. So, how can we start to understand how we ourselves are implicated in that kind of economy. And so that's one part of it. But then to also think about, you know, the work that's needed today in the world is what I call alivelihoods. And that starts with, you know, what makes my spirit come alive?Because we've we've heard this, "lots of work is soul sucking." So, what is the work that actually nourishes our soul? And gives us meaning and purpose, you know? Lets us reconnect that, you know meaning, purpose, spirituality is not something you [00:32:00] just do on a Sunday or you do in a class, but it's actually tied to the work you're doing in the world and how do we integrate that?What is the kind of work that is helping my community come alive? That is actually shifting power from global corporations back into communities, which are kind of, what is the work that's building, weaving the bonds of trust? And care, kindness, compassion back into community life. And what is the work that is regenerating our ecosystems?So what I call our real wealth. So how do we compost the money system? And start to regenerate real wealth with it. Our health, our forests, our soils, our waters, which are all over the world are in massive, massive degradation stages right now. And how do we regenerate the social bonds again?The trust networks again, that can give us a sense of security, of care, of belonging, of respect, of [00:33:00] dignity. So that's kind of the loose framework we have for that. And I think one other element is that what is the work that will help us shift the worldviews that we have?So the worldview of the planet is being a dead entity and human beings being the only intelligent beings on this planet and the kind of fear that is driving much of the decision making. How do we start to shift to a different worldview that many indigenous communities had a sense of, much better sense of.So, what is the work that can help us shift the narratives of who we are? Why are we on this earth together? Why are we, you know, perpetuating these ideas of ownership or of borders of you know, so many things that we have kind of internalized, which are fundamental to the modernist project.Is there a way to start to unravel these or shift these? So what is the work that allows us that? So I call all of that, all of that a livelihoods, really, and the invitation is to help [00:34:00] people think about how they can be doing that. And I think the other element in that, which is really important is, how do we move beyond this like individual self help kind of narrative we've been fed. You know, like the problem is in you. You have to fix yourself. Whereas how, how do we shift it more to how do we want to understand the systems and the institutions and how they're operating, but also, you how do we focus more of our care and our energy and our healing around healthy community, rebuilding healthy community, because that's what will give us a different sense of power, a different sense of possibility and things.So that's a little bit about it. There's much more, many layers, but just to give you a sense.Yeah, thank you for that. You know, I'm reminded in this, in this context of deadlihoods and the kind of modern condition and the economies that prevail as a result. There is and has been, especially in the last two centuries, this kind of not only degradation of community, but of course, the dissolution[00:35:00] of community and in the sense of people moving to the big city or other countries for better lives.And sometimes necessarily. So like sometimes it's simply their only option, right? And, this is very, very much evident to me in the work that I do here in Oaxaca. And you know, I had come across this declaration from 2009 in a, a very rural village in the Mixtec region of Oaxaca, where a group of peasant families from different villages alongside their migrant kin or family spoke for days about the consequences of their movements, and at the end of that three day assembly, declared alongside the right to migrate, the right to stay home and the right to not migrate, and so I'm kind of curious what kind of dynamics you've seen in India In terms of that economic impulse to [00:36:00] move, to leave the village, to migrate and maybe what part Swaraj and endeavors like it might play in those dynamics.Yeah. So I think, part of it is you're saying is physically forced displacement due to development projects, massive development projects or war. But a lot of the displacement has been sold to people package as to people that the urban lifestyle or the American lifestyle is the lifestyle and what you're leading is impoverished, is insignificant, is backwards. You know, there's all kinds of ways. And so much of what education role was is to convince us that somehow the urban lifestyle is what is to be aspired for. So a lot of people move because of that. I have my experience with rural people and working with rural people is that a lot of them, they're like, "we're quite happy where we're at. But what happens is when our cousin comes from the city, they bring [00:37:00] fancy phones and motorcycles and money and they show off and that's what really makes us feel really bad." And then we have to, what we've tried to do is to counter that with, you know reminding people of what a shitty life urban life is.Most people are living in slums. Most people are, if you're not, you're living under continuous stress and tension to make ends meet in polluted environments these days and lots of traffic. And so I at least, you know, try to remind people that in their villages, they may not have that many material things but they're the Kings of the village.They have fresh air. They have clean places, good water to drink still. They have good food, fresh food they're eating. So that's been an interesting journey. Sometimes people understand, particularly the older people understand. This is the other thing that schooling played a major role is to try to kill the voices of wisdom.So, like my grandmother or other elders would be [00:38:00] told, "Oh, you're uneducated. What do you know about what is a good life or what is, you know, the way forward? And so those voices still are silenced quite a bit because young people go to school for some years and then they think they are much more knowledgeable about what life is all about or what's important in life.So, I think what's interesting is that what we're saying about the breakdown of what the urban success story was or the urban model, it's becoming more and more clear to people, like they're seeing that so there are people I know who are moving back. Udaipur is a very small city and a lot of people who have been connected with us have decided to stay in Udaipur rather than moving to Delhi or Bombay, which has been the trend.And so I think it's a very important thing to keep looking at. I think if people see if they have a good life in smaller places, a lot of people are ready to come [00:39:00] back. Because the stress, the continuous stress and speed of big city life is I feel is taking a toll on people and also the whole promise is there's jobs and everything.And so you see more and more unemployment also happening in big cities. So, I think there's an interesting question right now in people's minds of what, what to do and where to go.So you know, it very much seems that one of the ways that what I'll call, I guess, well, either modern people or cultural Americans seem impoverished by is in the realm of hospitality. The lack of hospitality towards not only their neighbors at home, but, but abroad among hosts, you know, most people stay in hotels or Airbnbs. Most tourists anyways, they eat at chain restaurants. They're taught a transactional worldview and all exchange tends to end up in a customer service evaluation. And I feel that this is very much what [00:40:00] tourism has done to that part of the culture, that we would otherwise refer to as hospitality.And so I'm curious in your opinion how would you define radical hospitality? And how have you seen it perhaps as an antidote for the industrial hospitality modern people so often encounter. Yeah. I would that's a great question. So I think I've had the experience in being in Rajasthan of many traditions of hospitality and I would even say radical in the sense that all over India we say that " treat our guests like gods." So that's probably as radical as you could get with hospitality, if I treat you like a god, right? And what it means to me is, not to God in the sense of the pedestal of God or somebody remote, but actually God in the sense of this is my way [00:41:00] to find another connection to the divine in all of us, the divine that connects all of us.And so when I am able to receive somebody with that spirit, I'm able to touch into something very deep within myself also. And we have so many traditions here which again, in our work, we're trying to recover and remind people, remember in different ways. I would just share a couple of things around that.So one is like, in the desert, when it gets really hot up to 50 degrees Celsius, probably the most hospitable and sacred thing you can do is offer somebody water. So with the industrial consumer tourism, we have a parallel underground system happening.So you can go to stores and you'll see bottled water, for example, where people are paying and they buy it. But if you kind of look closely, you'll see on almost every corner of the old city where, where [00:42:00] most of the tourists come, there are clay pots, which people fill up every day for which are called piaos.So the tradition was that to offer any passerby, any stranger, water, is one of the highest gifts you can honor with them because it's so hot and so I've seen women fill water and carry it from even very far away to offer it to strangers, which is so humbling and so powerful that people would actually be able to offer this.So you can see these pots, people are sitting there sometimes, sometimes the pots are just filled and left with a glass for people to fill themselves and drink. But this is a very powerful way to remind us that there is a different way to relate both to resources like water and how we see it, which is non commodified.And so my grandmother would never think of charging money for water. If I ever told her, she'd be like, what is wrong with those [00:43:00] people? There must be some real deep sickness in them. "Let's go charge money for water." And so I think that, you know, that's an example of an entry to a different understanding of what is water, what is our relationship with each other and I wouldn't say what is water, almost you could say who is water. That question gets opened up as well through this act.And so the other thing around radical hospitality and I care, I would say there's some traditions that are called guptan here, which is kind of the invisible giving tradition.So a lot of what do you find, hospitality these days, is around showing off or people should know who's serving you and who's giving you. And here, there's another sense of care that is given where nobody knows who is the giver and to try to remove that arrogance of the giver when care is offered.And so it's offered with a deep sense of service, but to try to remove the ego element that I am the giver, I'm the one who's [00:44:00] helping somebody or being hospitable to them in some way. So I think that's also been quite inspiring to me, how to enter into that real space of humility as part of a radical hospitality tradition.And I think that these things do have a very essential role to play in challenging what's happening in the world and, and building different kinds of models and systems, because if care and connection is not part of that I don't know what the, what the new models, what they would stand on.And so these are this has to be the foundation of something that can grow. And every time, you know, if you ask me every few years, it deepens and changes because of experiences here. When I first I heard about it from Gustavo. I was like, "Oh, this is so beautiful." But I had relatively little ideas of how it would actually look every day.I see more and more examples of it in living practice here where I live. So yeah, it gives me a lot of hope that [00:45:00] maybe that's one of the keys to finding our way forward.Well, thank you, Manish, for your time today and this wonderful, wonderful conversation. Before I let you go to sleep and probably tend to family, I'd like to ask, how might our listeners find out more about your work, about Swaraj University, and I know we didn't have time to speak about it, but the Ecoversities project.Yeah, it's been wonderful to, to talk with you, Chris. I do hope that we can welcome you someday to Udaipur as well. The one thing I would say is that Swaraj University is part of this alliance, translocal alliance around the world called Ecoversities, so a network of like 500 plus alternative universities in 50 countries. And the idea [00:46:00] was that, you know, these are, in a sense, kind of part of an underground railroad, if you would say for people who are walking out of the system or trying to figure out how they can live differently on the planet together. And the beautiful thing is that, you know, anyone can declare themselves an ecoversity, their community.And there's a huge diversity of things, ranging from the farmversities and the forestversities and the riverversities to, you know, like deathversities and travelersversities grandmothers' universities and jail universities and all kinds of spaces. So, this is really to reclaim different kinds of knowledge systems and different learning processes that have never been valued by conventional universities.And to maybe start to create a space, as I said, to live together, to reclaim our hands and our hearts and our bodies and [00:47:00] our homes as well as our holistic heads And to try to dream, to dream something together. So we have a website, we have gatherings, I would invite people to, to come and and visit us and connect with different eco overseas around the world.I have a 21 year old daughter. She's been unschooled. She never looked at a textbook or an exam or a classroom really in her life, except, you know, like we took her to see children in a classroom, like you take kids to see animals in the zoo so she could see what it was like for a couple of days.But so, you know, really wanted to create a model, not only, I mean, for myself, for her, for other young people to be able to learn and be in different kinds of communities and experiments around the world. So, we invite you all to help create the new models that the world needs with us.I'll make sure that all of those links and [00:48:00] resources that you mentioned, Manish, are there on the End of Tourism website when the episode launches. And on behalf of our listeners, blessings on your day, your path, your tongue, and thank you so much for joining me today. Thanks, Chris. Thanks for your wonderful work and good luck with the new projects that are emerging in your life.Thank you, Manish. Get full access to ⌘ Chris Christou ⌘ at chrischristou.substack.com/subscribe

Ton Up ! Welcome to the 100th episode of the Biker Radio Rodcast where we're celebrating not just a milestone but a journey—a road we've built and traversed with passion and dedication. Our love for this podcast, our steadfast steed, mirrors the legendary bond between the glorious Rajput king Maharana Pratap and his brave horse, Chetak. Their camaraderie exemplifies the profound companionship between a man and his steed, a theme every rider holds dear. To celebrate this milestone, we are thrilled to welcome our guest of honor, crown prince of Udaipur, Maharaj Kunwar Sahibji Lakshyaraj Singh Mewar, a direct descendant of the great Maharana Pratap himself. Lakshyaraj embodies a rich legacy while forging his own path as a modern Renaissance man. He is a son, father, husband, friend, social worker, hotelier, philanthropist, accomplished cricketer, barista, poet, painter, tabla player, hobbyist aviator, photographer, and an ardent environmentalist advocating for water conservation and green cover. His love for machines, especially motorcycles, and his collection of miniature models, speak to his multifaceted passions. Join us as we delve into the life of a man who evolved from a young boy searching for his place in the world to a confident and sought-after speaker, known for his eloquence and insightful contributions at gatherings across the country. Celebrate with us as we honor the journey, the milestones, and the incredible individuals who make the Biker Radio Rodcast a testament to the enduring spirit of motorcycling. YouTube episode : https://youtu.be/aDBiZTu3bac Media attributions: Camera, video editing Credits : Shaun @lensonwheels Lakshay Atal Hai – Chotu Singh Rawna https://www.youtube.com/watch?v=HSsG9Warpkk Aai – The Mother – Aroop Dwivedi Music Anirban Bhatacharya https://www.youtube.com/watch?v=GwLgXKHzaXQ Shoorveer – Trouper Records – Raperia Balam, Rajneesh Jaipuri and Honey Trouper https://www.youtube.com/watch?v=8h12ccQgnVU Mujro – Roopswaroop – Anahad Project – Back Pack Studios Season 1 https://www.youtube.com/watch?v=qBfLVShEiDA मैं नमन करूं जय एकलिंगजी, संजय सारंग https://www.youtube.com/watch?v=98ARQU_GCFM Mati mange painjani – Rajasthan Tourism https://www.youtube.com/watch?v=i2p_742MOO8 Mewadi Re Rana – Pokhran Manganiar – Back Pack Studios Season 3 Aapano Rajasthan – Baawale Chore https://www.youtube.com/watch?v=c53OQmtqd8I Man In The Mirror - Lari Basilio - feat. Siedah GarrettGreg PhillinganesVinnie ColaiutaNathan E https://www.youtube.com/watch?v=AlyIKJJ0mpw You Learn - Alanis Morissette (Gustavo Trebien acoustic cover) https://www.youtube.com/watch?v=rEwBN0MsjlE Video 1 - Sunrise Udaipur Timelapse (&lga href="https://www.vecteezy.com/free-videos/india">India Stock Videos by Vecteezy&lg/a>) Video 2 - Chandpole Sunset Shot (&lga href="https://www.vecteezy.com/free-videos/4k">4k Stock Videos by Vecteezy&lg/a>) Video 3 – Shaun @lensonwheels Video 4 - Bahubali Hill ( https://www.vecteezy.com/video/24486752-aerial-view-4k-video-by-drone-of-bahubali-hill-and-mountains-in-rajasthan-udaipur-india &lga href="https://www.vecteezy.com/free-videos/4k">4k Stock Videos by Vecteezy&lg/a>) Video 5 - Drone Shot from Ghangaur Ghat ( &lga href="https://www.vecteezy.com/free-videos/4k">4k Stock Videos by Vecteezy&lg/a>) Video 6 - Lake Palace & City Palace Drone shot ( &lga href="https://www.vecteezy.com/free-videos/4k">4k Stock Videos by Vecteezy&lg/a>) Sound Effect from &lga href="https://pixabay.com/?utm_source=link-attribution&utm_medium=referral&utm_campaign=music&utm_content=34171">Pixabay&lg/a> --- Send in a voice message: https://podcasters.spotify.com/pod/show/bikerradiorodcast/message

Join me as I recount my journey through India, a land of vibrant cultures, ancient history, and unparalleled beauty. This episode of 'The Intrepid Traveler' delves into the mesmerizing sights and unforgettable experiences across different regions of the country.Navigating Old Delhi on a bicycle tuk-tuk was a feast for the senses. From bustling markets to aromatic spices, the rich tapestry of life here is unmatched. The streets brimming with wedding goods showcased India's deep-rooted traditions.New Delhi contrasted sharply with its historic counterpart. While the traffic can be daunting, the city's modern infrastructure stood out. My stay at the Oberoi hotel offered a serene escape, blending luxury with the vibrancy of urban life.Seeing the Taj Mahal in person was awe-inspiring. Its grandeur and intricate details are beyond words. Visiting in the evening provided a more intimate experience, away from the usual crowds. The Oberoi hotel's views of the monument added to the magic.Jaipur's red sandstone structures, including the Palace of the Winds and Amber Fort, are architectural gems. The Oberoi Raj Vilas provided a luxurious base for exploring this enchanting city. Despite the heat, Jaipur's cultural richness made every moment worthwhile.Udaipur's serene water bodies offered a peaceful retreat. The City Palace and the floating Taj hotel, famous from the movie 'Octopussy,' were highlights. Dining on the rooftop amid the water's stillness was unforgettable.Ranthambore National Park, renowned for its tigers, was a significant highlight. Staying in luxurious tented safari tents and witnessing a tiger in the wild was thrilling. The experience, although more chaotic than an African safari, was equally enriching.India's blend of ancient traditions and modern advancements exceeded my expectations. I felt entirely safe, and transportation between regions was seamless. If India intrigues you, don't let stereotypes hold you back - the country's magic is worth experiencing firsthand. Stay tuned for my next solo episode where I explore the unique charm of Sri Lanka!Thanks for joining us on today's episode of The Intrepid Traveler podcast! If you enjoyed today's episode, please rate and review our show to help us reach even more aspiring travelers. Don't forget to check out our website, visit us on Facebook, Instagram or follow us on LinkedIn to stay up-to-date on our latest epic travel adventures! Use the following links when planning your own travel!TRAVEL INSURED INTERNATIONALMEDJETVIRTUOSOPROJECT EXPEDITION

This is the Catch Up on 3 Things for the Indian Express and I'm Flora Swain.It's the 17th of May and here are the top stories of the week.The voter turnout in the 96 constituencies across 9 states and a Union territory that went to polls in the fourth phase of the Lok Sabha elections on Monday reached 67.71% as of 10 am on Tuesday. The Election Commission had said the provisional turnout at 11.45 pm on Monday was 67.25%, however, the final turnout would be announced today. Significantly, the turnout in Srinagar, which was the one seat in Jammu and Kashmir that went to polls on Monday, recorded a turnout of 37.98%, which was the highest since 1996.Bhavesh Bhinde, owner of a hoarding in Ghatkopar that collapsed amid rains was arrested on Thursday by the crime branch from Rajasthan's Udaipur. The director of Ego Media Private Limited, which had the contract for the hoarding on a 10-year lease, was absconding since the incident took place. The death toll from the giant hoarding collapse in Ghatkopar area of Mumbai touched 16, after the bodies of the two more victims were retrieved. The search and rescue operations at the site have been called off. The illegal 100-foot-tall hoarding collapsed Monday due to thunderstorms and gusty winds.Invalidating his arrest in a terror case, the Supreme Court on Wednesday ordered the release of Newsclick founder-editor Prabir Purkayastha. The reason the court gave:  Delhi Police failed to inform Purkayastha the grounds of his arrest before taking him into custody. The ruling emphasised that proper procedure and due process are the guardrails against arbitrary action, even in stringent terror cases. The apex court on Thursday said it had not carved out an exception for Delhi Chief Minister Arvind Kejriwal while granting him interim bail till June 1 to campaign for the Lok Sabha elections and added that “critical analysis or even criticism of the judgment” was “welcome”.On Monday, Delhi police said that AAP Rajya Sabha MP Swati Maliwal called the police control room lleging that she had been assaulted by Delhi CM Arvind Kejriwal's aide Bibhav Kumar at Kejriwal's residence. While the police had said that Maliwal went to the Civil Lines police station, she had not filed an official complaint. While AAP MP Sanjay Singh said that strict action would be taken against Kumar, National Commission for Women (NCW) summoned him for a hearing in the matter.South Africa asked the top UN court on Thursday to order a halt to the Rafah offensive as part of its case in The Hague accusing Israel of genocide in the Gaza Strip, saying the Palestinian people faced "ongoing annihilation". The hearings at the International Court of Justice, also known as the World Court, come after South Africa last week asked for additional emergency measures to protect Rafah, a southern Gaza city where more than a million Palestinians have been sheltering.This was the Catch-Up on the 3 Things by The Indian Express.

This is the Catch Up on 3 Things for the Indian Express and I'm Flora Swain.It's the 4th of April and here are today's headlines.Some of the significant changes introduced by the National Council for Education Research and Training (NCERT) in the history chapter meant for Class 12 students on the origins and fall of the Harappan civilisation. Example: Assertion that recent studies of ancient DNA were obtained from archaeological sources at Rakhigarhi, an Indus Valley site in Haryana, ruling out Aryan immigration to a call for more research into whether the Harappans and the Vedic people were the same. These changes are part of the revision and updating of history textbooks undertaken by NCERT for the academic year 2024-25, which were recently communicated to the Central Board of Secondary Education.A day after he was expelled from the party for six years for indiscipline and anti-party statements, former Mumbai Congress president Sanjay Nirupam today launched a scathing attack against the party. He said its “outdated” leaders have lost touch with ground reality and it was a party with “no future left”.vWhile Nirupam chose to attack “Nehruvian secularism” and the “Leftist circle” around the Congress leadership, he also expressed displeasure over the party denying him a ticket from the Mumbai North West Lok Sabha constituency.Former Congress national spokesperson Gourav Vallabh, who quit the party earlier in the day, joined the BJP in New Delhi. Former Bihar Congress president Anil Sharma also joined the BJP in the presence of its national general secretary Vinod Tawde. Quitting the Congress, Vallabh, who represented the party on several TV debates, said of late, he had found himself uncomfortable with several stands taken by the party. He further alleged that the Congress party is moving in the wrong direction, against the “basic principles of the party.” Gourav Vallabh had contested the Rajasthan assembly election from Udaipur constituency in 2023.The Catholic Bishops' Conference of India (CBCI) made major suggestions to all educational institutions under its jurisdiction to help address “emerging challenges due to the current socio-cultural, religious, and political situation” in the country. These are: Respect all faiths and traditions, don't force Christian traditions on students of other religions, have students recite the Preamble to the Constitution during the daily morning Assembly, and set up an “inter-religious prayer room” on school premises. The CBCI is the apex decision-making body representing the Catholic community in India.Sri Lankan Foreign Minister Ali Sabry reportedly told a local news channel that Sri Lanka does not see any need to re-open talks on a contentious island, called Katchatheevu, ceded to it by New Delhi 50 years ago. Meanwhile, former Sri Lankan envoy to India Austin Fernando, while speaking with The Indian Express said if the Indian government crosses the Sri Lankan maritime international boundary line, it would be seen as a “violation of Sri Lankan sovereignty”.This was the Catch-Up on the 3 Things by The Indian Express.

Preeti grew up in a big joint family, worked for a few months in India before going to the US. After spending 10 years in the US, she decided to move back to Udaipur, India for good due to health reasons. She has been living in India for 5 years in a Tier 2 city. In this episode she covers reasons to move back, how they plan the relocation, career transition, health improvement, life in tier2 city and kids adjustment etc.,

Beyond the lavish amenities, luxury train travel offers an intimate glimpse into the soul of Incredible India, inviting passengers to slow down and saour the journey as much as the destination.

Me confieso un fan de la saga de Bond, James Bond. Entre otras cosas por el protagonismo que suelen tener los coches en estas películas. Y es que el creador del personaje, Ian Fleming, era un fanático del automóvil. Vamos a repasar todos los coches que ha conducido nuestro agente secreto favorito… te vas a sorprender: Ha conducido desde un Citroën 2CV… hasta medio R11. Y algunos, completamente olvidados… Ya explicaremos lo del “medio”… Por lo general se asume que James Bond, muy “brittish” él, lleva un Aston Martin y generalmente un DB5. Este es un error común, pues evidentemente no es el único coche de James Bond, ni siquiera se ha usado en la mayoría de las 25 películas producidas hasta la fecha ni, desde luego, ha sido el primero. Ese honor, el de ser el primero, le corresponde al Blower Bentley 4.5 litros de 1930. Y muchos diréis que no habéis visto ese coche en ninguna películas… así es. Pero es el coche que usa James Bond en su primera novela, Casino Royale, aparecida en 1953. Y para el que piense que el DB5 es el primer coche usado por James Bond en una película… ¡Pues también se equivoca! Ese honor le corresponde a otro coche muy británico, pese a que su nombre suene francés, el Sumbeam Alpine de 1962. Vamos a repasar todos o casi todos los coches que condujo James Bond, ya sea porque era su coche, porque era el coche de su “empresa”, el MI16 o porque los alquilaba cuando llegaba a alguno de los escenarios idílicos propios de la serie. Citaremos la película en la que aparece, con el título usado en España, un año de referencia, a veces del coche a veces del estreno de la película. 1. Chevrolet Bel Air Convertible (1957). Aparece en la primera película de la saga “Agente 007 contra el Dr. No” 2. Sunbeam Alpine (1962). En esa misma película el coche que “chupa” más pantalla es alquilado y es el citado Sunbeam Alpine de 1952, un deportivo relativamente modesto de 1,6 litros y 80 CV. 3. Bentley 3 ½ Litre (1935). Llegamos a la segunda película de la saga “Desde Rusia con amor” en la que el MI16 cede al agente 007 un coche con estilo y clase, pero algo “entrado en años”. 4. Aston Martin DB5 (1963). Y, ¡Por fin! en la tercera película de la saga, “James Bond contra Goldfinger” aparece el DB5. Este coche repite en varias películas, en ocasiones “compartiendo cartel” con modelos más modernos: Es el caso, entre otras, de “Operación Trueno”, “Goldeneye”, “El mañana nunca muere”, “Casino Royal” y otras. 5. Aston Martin DBS (1969). Un gran olvidado y un coche para mi precioso. Aparece en el film “El servicio secreto de su majestad”. 6. “Moon Buggy” (1971). Es que James Bond llegó hasta la luna en “Diamantes para la eternidad” película en la que Sean Connery huye de los malos a los mandos de este buggy lunar. 7. AMC Hornet (1971). En “El hombre de la pistola de oro” suben al Roger Moore en nada menos que en AMC Hornet… 8. AMC Matador Coupé “volador” (1974). Porque en 1974, en la misma película crearon un AMC “volador” que volaba de verdad… solo a baja altura. Un peligro. 9. Lotus Esprit (1977). Bond le es infiel a Aston Martin y utiliza un coche muy británico, diseñado por Giugiaro y muy especial: El Lotus Esprit. Primero en “La espía que me amo” y luego en versión Turbo en “Solo para tus ojos”. Es muy famosa la versión “submarina” de la primera película… apodada “Wet Nelie”. 10. Citroën 2 CV (1981). Para mí una de las mejores persecuciones del cine y de la saga 007 la puedes ver en “Solo para tus ojos”. 11. Bajaj RE (1983). He incluido este triciclo como una “Licencia periodística” pues no es en esencia un coche… pero ¡que espectáculo” Esta persecución de la película “Octopussy” por el mercado indio de Udaipur os aseguro que vale la pena… y como siempre, Roger Moore ni se despeina… 12. Renault 11 (1985). Aparece en la película “Panorama para matar”. Otra persecución espectacular, sobre todo cuando el coche se parte por la mitad y mi James Bond favorito, Roger Moore, sigue con medio R11 como si tal cosa. 12+1. Aston Martin V8 Vantage (1977). Timothy Dalton se estrena en “007 Alta tensión” de 1987… para mi es probablemente el peor, o el menos bueno, James Bond de todos. No así su coche, un espectacular V8 Vantage. 14. BMW Z3 (1995). En 1995 y con Pierce Brosnan el MI16 “se echa al monte” y deja de utilizar coches británicos para pasarse a BMW. Para mí un Z3, con todos mis respetos, no le pega nada a James Bond. 15. BMW 750i (1997). Aunque menos le pega el Serie 7 E38 de “El mañana nunca muere”. Brosnan no tuvo buena suerte con sus coches… como veremos… 16. BMW Z8 (2000). En la penúltima película de Brosnan, por fin, le dan un coche “decente” … aunque no sea inglés: Nos referimos al BMW Z8, rabiosa novedad en ese momento. Potente, precioso pero que no nos hacía olvidar a los Aston Martin. 17. Aston Martin Vanquish (2001). En “Muere otro día” vuelta, con acierto, a Aston Martin. 18. Aston Martin DB9 (2004). En el film “Spectre” aparece uno de mis coches favoritos. 19. Aston Martin DB10 (2014). Como este DB10 un coche creado por y para la película “Spectre” y en cuyo diseño participó el propio director de la película, Sam Mendes. 20. Aston Martin Valhalla (2019). Este modelo, presentado como prototipo en 2019, fue el protagonista junto con Craig de la película “Sin tiempo para morir” de 2021, de momento la última de la saga… Me he divertido con este guion… creo que Rodrigo no tanto buscando imágenes de estos 20 coches.

This episode we are super excited to welcome two more guests for our Mindful Volunteering Part 2 episode, Emily and Andrei. These two are former students of Claire Bennet from our Mindful Volunteering Part 1 episode and are currently in the midst of their gap year through the Princeton Novogratz Bridge Year Program in Udaipur, India. They spend some time telling us about the Novogratz Program and how their long-term service/work sites have been set up. Additionally, they reflect upon their perspectives on service, both before their gap year as well as how their time in India has changed their perspectives, and they also give some great advice for things that you can do to make a shorter-term service placement effective if you only have a bit of time. If you want to learn more about Princeton Novogratz Bridge Year program you can find them only at oip.princeton.edu/our-programs/novogratz-bridge-year or on Instagram @novogratzbridgeyear.

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As a collector of mokuhanga, I am constantly exploring the reasons behind my love of collecting mokuhanga and why I make it and educate myself about it; it seems to be layered, even for my modest collection. So it is always fascinating to speak to someone who has been collecting for many years, with a deep understanding of why they collect and how they do.    I speak with mokuhanga collector Darrel C. Karl about his collection of prints, paintings and scrolls. It's one to admire. Collecting for years now, Darrel was kind enough to speak to me about his collection, how he began it, his love of preparatory drawings, collecting ukiyo-e, shin hanga, and we discussed in length his blogs, Eastern Impressions and Modern Japanese Theatre Art Prints.  Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Darrel C. Karl - Eastern Impressions & Modern Japanese Theatre Art Prints. Hashiguchi Goyō (1880-1921) - a woodblock print designer who also worked, albeit shortly, with Watanabe Shōzaburō. In his short life Goyō designed some of the most iconic woodblock prints ever made. “Kamisuki” 1920, and “Woman Applying Powder” 1918.  Woman Applying Make-up (Hand Mirror) 1970's/80's reprint Ishikawa Toraji (1875-1964) -trained initially as a painter, having travelled to Europe and The States early in his professional life. Painted primarily landscapes while exhibiting at the fine art exhibitions in Japan Bunten and Teiten. Famous for designing Ten Types of Female Nudes from 1934-35. He finished his career as a painter and educator.  Morning from Ten Types of Female Nudes (1934) Charles W. Bartlett (1860-1940) - was a British painter, watercolorist and printmaker. Travelling the world in 1913, Bartlett ended up in Japan two years later. Having entered Japan, Bartlett already had a reputation as an artist. Bartlett's wife, Kate, had struck up a friendship with printmaker and watercolorist Elizabeth Keith. Watanabe Shōzaburō was acutely aware of foreign artists coming to Japan, having worked with Fritz Capelari and Helen Hyde. Watanabe published 38 designs with Charles Bartlett. Bartlett's themes were predominantly of his travels.  Udaipur (1916) 8" x 11"  Paul Binnie - is a Scottish painter and mokuhanga printmaker based in San Diego, USA. Having lived and worked in Japan in the 1990s, studying with printmaker Seki Kenji whilst there, Paul has successfully continued to make mokuhanga and his paintings to this day. You can find Paul's work at Scholten Gallery in Manhattan, and Saru Gallery in The Netherlands.  Butterly Bow (2005) 15" x 11" Yamakawa Shuhō (1898-1944) - was a Nihon-ga painter and printmaker. His prints were published by Watanabe Shōzaburō and he created the Blue Collar Society in 1939 with Itō Shinsui. Made famous for his bijin-ga prints.  Dusk (1928) 14.3" x 9.5" Red Collar (1928) Otojirō Kawakami (1864-1911) - was a Japanese actor and comedian. His wife was geisha, and actress Sadayako (Sada Yakko).  Impressions - is a biannual magazine published by The Japanese Art Society of America.  Andon - is a biannual magazine published by The Society of Japanese Art.  Gallaudet University - is a private federally charted university located in Washington D.C., USA for the deaf and hard of hearing. More info can be found here.  National Museum of Asian Art - is a museum within the Smithsonian group museums and was the first fine art museum by The Smithsonian in 1923. More info can be found, here.  Vincent Hack (1913-2001) - was an American printmaker and Colonel in the United States Army. He produced mokuhanga from ca. 1950-1960. He studied in the Yoshida atelier while living in Tokyo. More information about VIncent Hack can be found in Eastern Impressions, here.  Chinese beauty and Dragon (not dated) Elizabeth Keith (1887-1956) - was a Scottish born printmaker, watercolorist, and painter. She travelled extensively before living in Japan  from 1915-1924. In 1917 she was introduced to print published Watanabe Shōzaburō and by 1919 after some work with Watanabe's skilled artisans Keith started to see some of her designs printed. Over 100 prints were published of Keith's designs. More information can be found, here.  Little Pavillion, Coal Oil, Peking (1935) Lillian May Miller (1895-1943) - was a Japan born American printmaker. Studying under painter Kanō Tomonobu (1853-1912). Miller began carving and printing her own prints by 1925 having studied under Nishimura Kumakichi.  Rain Blossoms (1928) 10" x 15" Nöel Nouët  (1885-1969) - was a French painter, illustrator and designer who designed prints for Doi Hangaten between 1935 and 1938 when Nouët was teaching in Shizuoka City, Shizuoka, Japan.  Haruna Lake (1938) Helen Hyde (1868-1919) - was an American etcher, and printmaker who studied in Japan with artists such as Emil Orlik (1870-1932). Hyde was influenced by French Japonisme and lived in Japan from 1903-1913.  A Japanese Madonna (1900) 14.5" x 3" Kataoka Gadō V (1910-1993) - was a Kabuki actor who specialized in female roles or onnagata in Japanese. He became Kitaoka Nizaemon XIV posthumously.  Natori Shunsen (1886-1960) - was a Nihon-ga painter and woodblock print designer who worked with Watanabe Shōzaburō. Shunsen's prints focused on kabuki actors, mainly ōkubi-e , large head prints.  Ichikawa Ennosuke as Kakudayu (1928) 15" x 10" Kabuki-za - is the main theatre in Tōkyō which shows kabuki performances. It was opened in 1889 and has been rebuilt several times in its history.  Kabuki Costume - is a book written by Ruth M. Shaver with illustrations by Sōma Akira and Ōta Gakkō (1892-1975). It is an in-depth book about the costuming in kabuki theatre. It was published by Charles E. Tuttle in 1966. Ōta Gakkō - was an artist and designer who also designed woodblock prints in the 1950's.  Ichikawa Jukai III (1886-1971) as Shirai Gonpachi  from Figures of the Modern Stage: no. 3 (1954) Tsuruya Kōkei - is a mokuhanga artist who lives and works in Tokyo, Japan. His prints have focused on kabuki actors; in the 1980s, he was commissioned to produce kabuki portraits by the Kabuki-za theatre in Tokyo. Recently, he has focused on cats and the masters of mokuhanga such as Hokusai (1760-1849). He printed on very thin gampi paper.  Five Styles of Banzai-Ukiyoe / Katsushika Hokusai (2017)  Yamamura Toyonari (1885-1942) - also known as Kōka, is a painter, and print designer known for his theatrical prints, actor prints, landscapes and beautiful women. He studied under printmaker Ogata Gekkō (1859-1920). Toyonari worked with carvers and printers to create his prints such as those at Watanabe's studio and also printed and carved his own prints.  February/Winter Sky (1924) 16.35" x 10.5" Sekino Jun'ichirō (1914-1988) - was a mokuhanga printmaker who helped establish the sōsaku hanga, creative print movement in Japan. His themes were of landscapes, animals and the abstract. Sekino exhibited and became a member with Nihon Hanga Kyōkai and studied with Ōnchi Kōshirō (1891-1955) and Maekawa Senpan (1888-1960).  Woman In A Snowy Village (1946) 13" x 10" Bertha Lum (1869-1954) - was born in Iowa. Having begun travelling to Japan in 1903, Bertha Lum noticed the decline of the Japanese woodblock print in Japan in the early 20th Century, deciding to take up the medium. Lum began making woodblock prints after learning in Japan from an unknown teacher during her first trip to Japan. Japan, Lafcadio Hearn (1850-1904), and China influenced Bertha Lum's prints. Lum's work focused on these themes through an American lens.  Winter (1909) 8" x 14" Waseda University  - is a private research university located in Tōkyō, Japan. It was established in 1882. Waseda has one of the largest woodblock print databases in the world, and are free to use. More information can be found, here.  Scholten Japanese Art - is a mokuhanga-focused art gallery in midtown Manhattan. René Scholten, an avid collector of the Japanese print, founded it. You can find more info here. Katherine Martin is the managing director of Scholten Japanese Art. Katherine has written extensively for the gallery and conducted lectures about Japanese prints. Her interview with The Unfinished Print can be found, here.  Utagawa Kunisada III (1848–1920) - was a ukiyo-e print designer from the Utagawa school of mokuhanga. Kunisada III's print designs were designed during the transformation of the Edo Period (1603-1868) into the Meiji Period (1868-1912) of Japanese history, where his prints showed the technological, architectural and historical changes in Japan's history.  Kataoka Jūzō I as Hanako from the play Yakko Dōjōji at the Kabuki-za (1906). chūban - 10.4” x 7.5” senjafuda - are the votive slips Claire brings up in her interview. These were hand printed slips pasted by the worshipper onto the Buddhist temple of their choosing. These slips had many different subjects such as ghosts, Buddhist deities, and written characters. Japan Experience has bit of history of senjafuda, here.   Shintomi-za -built in 1660 and also known as the Morita-za was a kabuki theatre located in the Kobiki-chō area of Tokyo, today the Ginza District. It was famous for taking risks with its productions.    Meiji-za - was a kabuki-specific theatre built in 1873 and underwent several name changes until finally being named the Meiji-za in 1893. The theatre continues to this day.    Imperial Theatre - is the first Western theatre to be built in Japan in 1911 and is located in Marunouchi, Chiyoda, Tokyo. It continues to show Western operas and plays.    The John F. Kennedy Center For The Performing Arts - was built in 1971, and named after the 35th President of the United States, John F. Kennedy. The theatre is located in Washington D.C. and hosts many different types of theatre, dance, orchestras and music. More information can be found, here.    The Subscription List - also known as Kanjichō in Japanese, is a kabuki play derived from the noh play Ataka. The modern version of this play was first staged in 1840. It is performed as the 18 Famous Plays as performed by the Danjurō family of actors.     The Subscription List designed by Toyohara Kunichika (1835-1900)   Utagawa Kuniyoshi (1798-1861) - is considered one of the last “masters” of the ukiyo-e genre of Japanese woodblock printmaking. His designs range from landscapes, samurai and Chinese military heroes, as well as using various formats for his designs such as diptychs and triptychs.      Waseda University  - is a private research university located in Tōkyō, Japan. It was established in 1882. Waseda has one of the largest woodblock print databases in the world, and are free to use. More information can be found, here.    Yoshida Hiroshi (1876-1950) - a watercolorist, oil painter, and woodblock printmaker. Is associated with the resurgence of the woodblock print in Japan, and in the West. It was his early relationship with Watanabe Shōzaburō, having his first seven prints printed by the Shōzaburō atelier. This experience made Hiroshi believe that he could hire his own carvers and printers and produce woodblock prints, which he did in 1925.      Kiso River (1927)   Toyohara Chikanobu (1838-1912) - was a painter and designer of mokuhanga. He was a samurai during the final years of the Tokugawa shogunate rule in Japan. As Chikanobu began to look more to art as a living, he studied under Utagawa Kuniyoshi where he learned Western painting and drawing techniques. He also studied under Utagawa Kunisada and Toyohara Kunichika. His print designs were of many different types of themes but Chikanobu is well known for his war prints (sensō-e), kabuki theatre prints, current events and beautiful women.      Enpo- Jidai Kagami (1897)   32 Aspects of Women - is a series of prints designed by Tsukioka Yoshitoshi (1839-1892). It was his first series of bijin-ga designs.    shin hanga - is a style of Japanese woodblock printmaking which began during the end of the ukiyo-e period of Japanese printmaking, in the early 20th Century. Focusing on the foreign demand for “traditional” Japanese imagery and motifs such as castles, bridges, famous landscapes, bamboo forests, to name just a few.  Shin hanga was born in 1915 by Watanabe Shōzaburō (1885-1962) when he found Austrian artist Frtiz Capelari (1884-1950) and commissioned Capelari to design some prints for Watanabe's feldgling printing house . From there shin-hanga evolved into its own distinct “new” style of Japanese woodblock printing. It lasted as this distinct style until its innevitable decline after the Second World War (1939-1945).   Onchi Kōshirō (1891-1955) - originally designing poetry and books Onchi became on of the most I important sōsaku hanga artists and promotor of the medium. His works are saught after today. More info, here.   Composition in Red and Brown (1950) 19" x 15"   Saru Gallery - is a mokuhanga gallery, from ukiyo-e to modern prints, and is located in Uden, The Netherlands. Their website can be found, here.   ukiyo-e - is a multi colour woodblock print generally associated with the Edo Period (1603-1867) of Japan. What began in the 17th Century as prints of only a few colours, evolved into an elaborate system of production and technique into the Meiji Period (1868-1912). With the advent of photography and other forms of printmaking, ukiyo-e as we know it today, ceased production by the late 19th Century.    surimono (摺物)-  are privately commissioned woodblock prints, usually containing specialty techniques such as mica, and blind embossing. Below is Heron and Iris, (ca. 1770's) by Andō Hiroshige (1797-1858). This print is from David Bull's reproduction of that work. You can find more info about that project, here.   Katsushika Hokusai (1760-1849) - is one of the most famous Japanese artists to have ever lived. Hokusai was an illustrator, painter and woodblock print designer. His work can be found on paper, wood, silk, and screen. His woodblock print design for Under The Wave off Kanagawa (ca. 1830-32) is beyond famous. His work, his manga, his woodblocks, his paintings, influence artists from all over the world.     Poem by Sōsei Hōshi, from the series One Hundred Poems Explained by the Nurse. Taishō period (1912–26)s reproduction.    Kitagawa Utamaro (1753-1806) - was a painter and ukiyo-e designer during the Edo Period of Japan. His portraits of women are his most famous designs. After getting into trouble with the shogunate during the early 19th Century with some offensive images of deceased shogun Toyotomi Hideyoshi (1536/37-1598), Utamaro was jailed and passed away shortly after that.    The Courtesan Umegawa and Chubei of the Courier Firm   Tokyo University of the Arts (Geidai) - founded during the merger of the Tokyo Fine Arts School and the Tokyo Music School in 1949, TUA offers Masters's and Doctorate degrees in various subjects such as sculpture, craft and design as well as music and film. It has multiple campuses throughout the Kantō region of Japan. More information regarding the school and its programs can be found here.    Honolulu Museum of Art - dedicated to art and education focusing on arts from around the world and Hawaiian culture itself. More info, here.   Taishō Period  (1912-1926) - a short lived period of Japanese modern history but an important one in world history. This is where the militarism of fascist Japan began to take seed, leading to The Pacific War (1931-1945). More info can be found, here.   Enami Shirō (1901-2000) - was a printmaker who is associated with ephemeral prints such as greeting cards. Also created his own larger format prints during the burgeoning sōsaku hanga movement of the early to mid Twentieth Century.      The Benkei Moat (1931) 12.5" x 9"   Kitano Tsunetomi (1880-1947) - was an illustrator, Nihon-ga painter, carver and print designer. Lived and worked in Osaka where he apprenticed carving with Nishida Suketaro. Founded the Taishō Art Society and the Osaka Art Society. Painted and created prints of beautiful women as well as mokuhanga for magazines such as Dai Osaka. The most famous of his prints and paintings is Sagimusume, The Heron Maiden.        Umekawa - Complete Works of Chikamatsu (1923)   Hamada Josen (1875 - ?) - was a painter and mokuhanga designer and studied with Tomioka Eisen (1864-1905). Designed bijin, shunga,  and landscapes after the Great Kantō Earthquake of 1923. Designed prints for Collection of New Ukiyo-e Style Beauties (1924).     December - Clear Weather After Snow from the series New Ukiyo-e Beauties (1924) 17.50" x 11.12"   Ikeda Shoen (1886-1917) - was a Nihon-ga painter who's paintings also became mokuhanga prints. Her paintings are quite rare because of her early death.      School Girls Going Home (1900) 13" x 9"   Igawa Sengai (1876-1961) - was a painter, illustrator and print designer. After serving in the Russo-Japanese war (1904-1905), he joined the Miyako Shinbun in Nagoya City. Designing prints in the 1926 he designed prints for Collected Prints of the Taishō Earthquake and in the 1930's he designed propaganda prints for the Japanese war effort. His contribution to the 1924 Collection of New Ukiyo-e Style Beauties (1924).     April - Rain of Blossoms (1924) from New Ukiyo-e Beauties.   Asian Art Museum San Fransisco - with over 18,000 pieces of art the Asian Art Museum of San Fransisco has one of the largest collections of Asian art in the United States. More information can be found, here.    Freer Gallery of Art - is a museum within the Smithsonian group of museums in Washington D.C, with a collection of Chinese paintings, Indian sculpture; Islamic painting and metalware; Japanese lacquer; Korean ceramics.    Arthur M. Sackler Gallery - is a museum within the Smithsonian group of museums in Washington D.C. It's collection contains some important Chinese jades and bronzes.    Yoshida Hiroshi: The Outskirts of Agra Number 3 from the series India and Southeast Asia (1932)     Yoshida Hiroshi: Cave of Komagatake from the series Southern Japan Alps (1928)   © Popular Wheat Productions opening and closing musical credit - The Crystal Ship by The Doors from their self-titled album The Doors (1967). Release by Elektra Records.   logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                                    

Middle-Class Dharma: Gender, Aspiration, and the Making of Contemporary Hinduism (Oxford UP, 2023) is a contemporary ethnography of class mobility among Hindus in Udaipur, Rajasthan, India. Focusing on women in Pulan, an emerging middle-class neighborhood of Udaipur, Jennifer D. Ortegren argues that upward class mobility is not just a socio-economic process, but also a religious one. Central to Hindu women's upward class mobility is negotiating dharma, the moral and ethical groundings of Hindu worlds. As women experiment with middle-class consumer and lifestyle practices, they navigate tensions around what is possible and what is appropriate--that is, what is dharmic--as middle-class Hindu women. Ortegren shows how these women strategically align emerging middle-class desires with more traditional religious obligations in ways that enable them to generate new dharmic boundaries and religious selfhoods in the middle classes. Such transitions can be as joyful as they are difficult and disorienting. Middle-Class Dharma explores how contemporary Hindu women's everyday practices reimagine and reshape Hindu traditions. By developing dharma as an analytical category and class as a dharmic category, Ortegren pushes for expanding definitions of religion in academia, both within and beyond the study of Hinduism in South Asia. Raj Balkaran is a scholar of Sanskrit narrative texts. He teaches at the Oxford Centre for Hindu Studies and at his own virtual School of Indian Wisdom. For information see rajbalkaran.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Middle-Class Dharma: Gender, Aspiration, and the Making of Contemporary Hinduism (Oxford UP, 2023) is a contemporary ethnography of class mobility among Hindus in Udaipur, Rajasthan, India. Focusing on women in Pulan, an emerging middle-class neighborhood of Udaipur, Jennifer D. Ortegren argues that upward class mobility is not just a socio-economic process, but also a religious one. Central to Hindu women's upward class mobility is negotiating dharma, the moral and ethical groundings of Hindu worlds. As women experiment with middle-class consumer and lifestyle practices, they navigate tensions around what is possible and what is appropriate--that is, what is dharmic--as middle-class Hindu women. Ortegren shows how these women strategically align emerging middle-class desires with more traditional religious obligations in ways that enable them to generate new dharmic boundaries and religious selfhoods in the middle classes. Such transitions can be as joyful as they are difficult and disorienting. Middle-Class Dharma explores how contemporary Hindu women's everyday practices reimagine and reshape Hindu traditions. By developing dharma as an analytical category and class as a dharmic category, Ortegren pushes for expanding definitions of religion in academia, both within and beyond the study of Hinduism in South Asia. Raj Balkaran is a scholar of Sanskrit narrative texts. He teaches at the Oxford Centre for Hindu Studies and at his own virtual School of Indian Wisdom. For information see rajbalkaran.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Middle-Class Dharma: Gender, Aspiration, and the Making of Contemporary Hinduism (Oxford UP, 2023) is a contemporary ethnography of class mobility among Hindus in Udaipur, Rajasthan, India. Focusing on women in Pulan, an emerging middle-class neighborhood of Udaipur, Jennifer D. Ortegren argues that upward class mobility is not just a socio-economic process, but also a religious one. Central to Hindu women's upward class mobility is negotiating dharma, the moral and ethical groundings of Hindu worlds. As women experiment with middle-class consumer and lifestyle practices, they navigate tensions around what is possible and what is appropriate--that is, what is dharmic--as middle-class Hindu women. Ortegren shows how these women strategically align emerging middle-class desires with more traditional religious obligations in ways that enable them to generate new dharmic boundaries and religious selfhoods in the middle classes. Such transitions can be as joyful as they are difficult and disorienting. Middle-Class Dharma explores how contemporary Hindu women's everyday practices reimagine and reshape Hindu traditions. By developing dharma as an analytical category and class as a dharmic category, Ortegren pushes for expanding definitions of religion in academia, both within and beyond the study of Hinduism in South Asia. Raj Balkaran is a scholar of Sanskrit narrative texts. He teaches at the Oxford Centre for Hindu Studies and at his own virtual School of Indian Wisdom. For information see rajbalkaran.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

Middle-Class Dharma: Gender, Aspiration, and the Making of Contemporary Hinduism (Oxford UP, 2023) is a contemporary ethnography of class mobility among Hindus in Udaipur, Rajasthan, India. Focusing on women in Pulan, an emerging middle-class neighborhood of Udaipur, Jennifer D. Ortegren argues that upward class mobility is not just a socio-economic process, but also a religious one. Central to Hindu women's upward class mobility is negotiating dharma, the moral and ethical groundings of Hindu worlds. As women experiment with middle-class consumer and lifestyle practices, they navigate tensions around what is possible and what is appropriate--that is, what is dharmic--as middle-class Hindu women. Ortegren shows how these women strategically align emerging middle-class desires with more traditional religious obligations in ways that enable them to generate new dharmic boundaries and religious selfhoods in the middle classes. Such transitions can be as joyful as they are difficult and disorienting. Middle-Class Dharma explores how contemporary Hindu women's everyday practices reimagine and reshape Hindu traditions. By developing dharma as an analytical category and class as a dharmic category, Ortegren pushes for expanding definitions of religion in academia, both within and beyond the study of Hinduism in South Asia. Raj Balkaran is a scholar of Sanskrit narrative texts. He teaches at the Oxford Centre for Hindu Studies and at his own virtual School of Indian Wisdom. For information see rajbalkaran.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

Middle-Class Dharma: Gender, Aspiration, and the Making of Contemporary Hinduism (Oxford UP, 2023) is a contemporary ethnography of class mobility among Hindus in Udaipur, Rajasthan, India. Focusing on women in Pulan, an emerging middle-class neighborhood of Udaipur, Jennifer D. Ortegren argues that upward class mobility is not just a socio-economic process, but also a religious one. Central to Hindu women's upward class mobility is negotiating dharma, the moral and ethical groundings of Hindu worlds. As women experiment with middle-class consumer and lifestyle practices, they navigate tensions around what is possible and what is appropriate--that is, what is dharmic--as middle-class Hindu women. Ortegren shows how these women strategically align emerging middle-class desires with more traditional religious obligations in ways that enable them to generate new dharmic boundaries and religious selfhoods in the middle classes. Such transitions can be as joyful as they are difficult and disorienting. Middle-Class Dharma explores how contemporary Hindu women's everyday practices reimagine and reshape Hindu traditions. By developing dharma as an analytical category and class as a dharmic category, Ortegren pushes for expanding definitions of religion in academia, both within and beyond the study of Hinduism in South Asia. Raj Balkaran is a scholar of Sanskrit narrative texts. He teaches at the Oxford Centre for Hindu Studies and at his own virtual School of Indian Wisdom. For information see rajbalkaran.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/south-asian-studies

Middle-Class Dharma: Gender, Aspiration, and the Making of Contemporary Hinduism (Oxford UP, 2023) is a contemporary ethnography of class mobility among Hindus in Udaipur, Rajasthan, India. Focusing on women in Pulan, an emerging middle-class neighborhood of Udaipur, Jennifer D. Ortegren argues that upward class mobility is not just a socio-economic process, but also a religious one. Central to Hindu women's upward class mobility is negotiating dharma, the moral and ethical groundings of Hindu worlds. As women experiment with middle-class consumer and lifestyle practices, they navigate tensions around what is possible and what is appropriate--that is, what is dharmic--as middle-class Hindu women. Ortegren shows how these women strategically align emerging middle-class desires with more traditional religious obligations in ways that enable them to generate new dharmic boundaries and religious selfhoods in the middle classes. Such transitions can be as joyful as they are difficult and disorienting. Middle-Class Dharma explores how contemporary Hindu women's everyday practices reimagine and reshape Hindu traditions. By developing dharma as an analytical category and class as a dharmic category, Ortegren pushes for expanding definitions of religion in academia, both within and beyond the study of Hinduism in South Asia. Raj Balkaran is a scholar of Sanskrit narrative texts. He teaches at the Oxford Centre for Hindu Studies and at his own virtual School of Indian Wisdom. For information see rajbalkaran.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Middle-Class Dharma: Gender, Aspiration, and the Making of Contemporary Hinduism (Oxford UP, 2023) is a contemporary ethnography of class mobility among Hindus in Udaipur, Rajasthan, India. Focusing on women in Pulan, an emerging middle-class neighborhood of Udaipur, Jennifer D. Ortegren argues that upward class mobility is not just a socio-economic process, but also a religious one. Central to Hindu women's upward class mobility is negotiating dharma, the moral and ethical groundings of Hindu worlds. As women experiment with middle-class consumer and lifestyle practices, they navigate tensions around what is possible and what is appropriate--that is, what is dharmic--as middle-class Hindu women. Ortegren shows how these women strategically align emerging middle-class desires with more traditional religious obligations in ways that enable them to generate new dharmic boundaries and religious selfhoods in the middle classes. Such transitions can be as joyful as they are difficult and disorienting. Middle-Class Dharma explores how contemporary Hindu women's everyday practices reimagine and reshape Hindu traditions. By developing dharma as an analytical category and class as a dharmic category, Ortegren pushes for expanding definitions of religion in academia, both within and beyond the study of Hinduism in South Asia. Raj Balkaran is a scholar of Sanskrit narrative texts. He teaches at the Oxford Centre for Hindu Studies and at his own virtual School of Indian Wisdom. For information see rajbalkaran.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/indian-religions

Middle-Class Dharma: Gender, Aspiration, and the Making of Contemporary Hinduism (Oxford UP, 2023) is a contemporary ethnography of class mobility among Hindus in Udaipur, Rajasthan, India. Focusing on women in Pulan, an emerging middle-class neighborhood of Udaipur, Jennifer D. Ortegren argues that upward class mobility is not just a socio-economic process, but also a religious one. Central to Hindu women's upward class mobility is negotiating dharma, the moral and ethical groundings of Hindu worlds. As women experiment with middle-class consumer and lifestyle practices, they navigate tensions around what is possible and what is appropriate--that is, what is dharmic--as middle-class Hindu women. Ortegren shows how these women strategically align emerging middle-class desires with more traditional religious obligations in ways that enable them to generate new dharmic boundaries and religious selfhoods in the middle classes. Such transitions can be as joyful as they are difficult and disorienting. Middle-Class Dharma explores how contemporary Hindu women's everyday practices reimagine and reshape Hindu traditions. By developing dharma as an analytical category and class as a dharmic category, Ortegren pushes for expanding definitions of religion in academia, both within and beyond the study of Hinduism in South Asia. Raj Balkaran is a scholar of Sanskrit narrative texts. He teaches at the Oxford Centre for Hindu Studies and at his own virtual School of Indian Wisdom. For information see rajbalkaran.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/religion

Ananya Singhal of Studio Saar takes us on a tour of his firm's recently completed lakeside pocket park in the Indian city of Udaipur.See omnystudio.com/listener for privacy information.

This week Melissa is joined by Fiona Caulfield for a vibrant and captivating conversation about travel and experiences in the country of India. Known for its rich history, diverse cultures, and stunning landscapes, India is a sensory overload that leaves travelers wanting more.  Fiona Caulfield is a true connoisseur of all things India. Her journey began when she left her high-profile career in consulting  and embarked on a life-changing adventure in India, pursuing her passion for travel and authentic experiences.  Over the past decade, Fiona has become an expert on Indian crafts, communities, and travel. Through her "Love India Travel" brand, she offers handcrafted travel books filled with expert advice. Her desire for authentic experiences and talent for 'treasure hunting' have allowed her to immerse herself in the country, and now she offers recommendations to others to do the same.  Indagare is also collaborating with Fiona on an upcoming Indagare Insider Journey to India, focusing on Rajasthan, including visits to Udaipur and Jaipur in the fall of 2023. Visiting indagare.com/insiderjourneys to learn more.  And on Destination Hacks, Melissa highlights even more shopping recommendations from Fiona for finding the best handmade crafts, jewelry and more in Jaipur, Kolkata and New Delhi. She also shares a few of her personal favorite spots for craft and design!If you want more information on the shops and markets mentioned in this week's episode, click on the links below: Jaipur:Nila House: Non-profit dedicated to promoting India's textile crafts in a gorgeous, elegant stone structure designed by architect Bijoy Jain AnanTaya: Contemporary craft shop by Ayush Kasliwal featuring home decor from young designers and craftspeople, as well as vintage piecesGem Palace: One of India's oldest jewelry houses selling handcrafted jewelry since 1852Gems Paradise & Tholia's Kuber: Fantastic jewelry shops on Mirza Ismail RoadPhool Mandi: Flower market near Changi Takasal Gate selling bundles wrapped in saris, open from 6:00 am - noon Kolkata:Mallick Ghat: Flower market underneath the eastern end of Howrah Bridge, open from 5:00 am - noonKumortuli: Traditional potter's quarter in northern KolkataNew Delhi:Datskar: Non-profit market dedicated to supporting traditional artisans selling textiles, pottery, jewelry and moreKamala Crafts Shop: Traditional crafts shop of the Crafts Council of India that works directly with artisansGood Earth: India's leading design house selling luxury home products and apparelKashmir Loom: Studio in New Delhi selling embroidered cashmere scarves and throwsIf you want to read any of the books mentioned before your next trip to India, here is a list referenced by Melissa and Fiona: A Fine Balance by Rohinton MistryThe God of Small Things by Arundhati RoyHonor by Thrity UmrigarWhite Tiger by Aravind AdigaHouse of Jaipur by John ZubrzyckiThe Anarchy by William DalrympleThe Ramayana (India's most beloved epic tale)  

Book Vs. Movie:OctopussyThe Ian Fleming Short Story Vs. the 1983 Roger Moore BondThe Margos are feeling very Bond--James Bond that is with 1983's Octopussy based on a short story by Ian Fleming in the posthumously released Octopussy and The Living Daylights. Fleming, a former British Agent and the creator of Bond, passed away in 1964; he had left several short stories and novels that helped to continue the brand, including comic strips printed in newspapers worldwide. (We can't promise not to giggle about the title throughout the episode!)Major Dexter Smythe was a hero in the Second World War and was implicated in a murder scheme and a cache of Nazi gold. In the original story, Bond is a secondary character, and we learn about the tragic life of Smythe. He is a man of only 56 but acts like 96 with loss and alcoholism chasing him through life. Smythe killed a man and let him rot for 15 years under a glacier, so there is that. His pet is an octopus, and Bond allows him the opportunity to either turn himself in or take his own life. While looking for a scorpion fish to feed Octopussy, he stung to death and dragged into the water. All to be eaten by his beloved pet. Bond declares it is an accidental death and moves on. This film brings Roger Moore back into the part of Agent 007 as he fights Russians, Maud Adam as Octopussy--a “wealthy businesswoman and smuggler” in Udaipur, India. The rest is two hours of jaw-dropping stunts, exotic locations, and fewer puns than expected. So between the short story and movie--which did the Margos like better? In this ep the Margos discuss:The life of Ian Fleming and the many variations of Bond over the last 60+ yearsThe “plot” of this storyThe cast of the 1983 film: Roger Moore (James Bond,) Maud Adams (Octopussy,) Louis Jordan (Kamal Khan,) Kristina Wayborn (Magda,) Kabir Bedi (Gobinda,) Steven Berkoff (General Orlov,) Vijay Amritaj (Vijay,) Lois Maxwell (Moneypenny,) and Desmond Llewelyn as Q.Clips used:Bond meets OctopussyOctopussy 1983 trailerBond meets (and beats!) Kamal KhanOctopussy and her girl gangMusic: All Time High by Rita Coolidge and Tim RiceBook Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/Twitter @bookversusmovie www.bookversusmovie.comEmail us at bookversusmoviepodcast@gmail.com Margo D. @BrooklynMargo www.brooklynfitchick.com brooklynfitchick@gmail.comMargo P. @ShesNachoMama https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine

Book Vs. Movie:OctopussyThe Ian Fleming Short Story Vs. the 1983 Roger Moore BondThe Margos are feeling very Bond--James Bond that is with 1983's Octopussy based on a short story by Ian Fleming in the posthumously released Octopussy and The Living Daylights. Fleming, a former British Agent and the creator of Bond, passed away in 1964; he had left several short stories and novels that helped to continue the brand, including comic strips printed in newspapers worldwide. (We can't promise not to giggle about the title throughout the episode!)Major Dexter Smythe was a hero in the Second World War and was implicated in a murder scheme and a cache of Nazi gold. In the original story, Bond is a secondary character, and we learn about the tragic life of Smythe. He is a man of only 56 but acts like 96 with loss and alcoholism chasing him through life. Smythe killed a man and let him rot for 15 years under a glacier, so there is that. His pet is an octopus, and Bond allows him the opportunity to either turn himself in or take his own life. While looking for a scorpion fish to feed Octopussy, he stung to death and dragged into the water. All to be eaten by his beloved pet. Bond declares it is an accidental death and moves on. This film brings Roger Moore back into the part of Agent 007 as he fights Russians, Maud Adam as Octopussy--a “wealthy businesswoman and smuggler” in Udaipur, India. The rest is two hours of jaw-dropping stunts, exotic locations, and fewer puns than expected. So between the short story and movie--which did the Margos like better? In this ep the Margos discuss:The life of Ian Fleming and the many variations of Bond over the last 60+ yearsThe “plot” of this storyThe cast of the 1983 film: Roger Moore (James Bond,) Maud Adams (Octopussy,) Louis Jordan (Kamal Khan,) Kristina Wayborn (Magda,) Kabir Bedi (Gobinda,) Steven Berkoff (General Orlov,) Vijay Amritaj (Vijay,) Lois Maxwell (Moneypenny,) and Desmond Llewelyn as Q.Clips used:Bond meets OctopussyOctopussy 1983 trailerBond meets (and beats!) Kamal KhanOctopussy and her girl gangMusic: All Time High by Rita Coolidge and Tim RiceBook Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/Twitter @bookversusmovie www.bookversusmovie.comEmail us at bookversusmoviepodcast@gmail.com Margo D. @BrooklynMargo www.brooklynfitchick.com brooklynfitchick@gmail.comMargo P. @ShesNachoMama https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine

We think of paintings as art, but can they also be a source of data? 300 years ago, a young prince inherited the throne in Udaipur, India, and brought with him some newfangled ideas about art. His court artists created massive paintings that flew in the face of convention, documenting real life events, times, places and even emotions —especially during the annual monsoon season. These paintings are so detailed that - centuries later - they can serve as archival records to help understand our own changing climate. Guests: Debra Diamond, Elizabeth Moynihan Curator for South Asian and Southeast Asian Art at the Smithsonian's National Museum of Asian Art Dipti Khera, associate professor, Department of Art History and Institute of Fine Arts, New York University Mark Giordano, professor of geography and vice dean for undergraduate affairs at Georgetown University's Walsh School of Foreign Service This episode was produced in collaboration with the Smithsonian's National Museum of Asian Art's exhibition: A Splendid Land: Paintings from Royal Udaipur, in celebration of the 100th anniversary of the museum's founding and the 75th anniversary of Indian independence. The exhibition is on view through May 14, 2023.

Abhay is joined by Padmaja Kumari Parmar, princess and daughter of the House of Mewar, the former royal house of Udaipur in Rajasthan, and the founder of Friends of Mewar.  They chatted about being part of the longest unbroken serving dynasty of over 1400 years, about her journey and philanthropic priorities, and about legacy.(0:00 - 3:18) Introduction(3:18 - 12:32) Part 1: understanding the living heritage (12:32 - 31:32) Part 2: Friends of Mewar, philanthropic priorities(31:32 - 40:42) Part 3: Balancing contrasts as a leader, evolution of a legacy(40:42) Conclusion

Master bladesmith Jordan LaMothe is back, fresh off a 9 month adventure in India. Last we saw Jordan he was on the way to Blade Show to test for the ABS Master Bladesmith designation and he came back with the MS stamp, multiple awards and stories to tell. I've been waiting patiently for Jordan to return to tell us what it was like as a Fulbright scholar studying Swords, knives, the beautiful culture of Udaipur and the ornate craft of Koftgari. This style of overlaying of gold wire is very different than inlaying. Koftgari is preparing the surface material with a crosshatching technique that created fine teeth for the wire to catch creating a raised line. Jordan's studies of Koftgari adds to the concept of being a Conduit to Generations; learning and passing along the rich information and his role as an educator. As a newly minted Mastersmith it was very interesting to hear how it affected him, if he feels his time in India will influence his future work. I've been promised a Dal Bati recipe from Jordan, and as soon as I get it from him I'll pass it along. Thanks you Jordan for your flexibility and generosity! Its always great talking with you and look forward to seeing you on 6th street. All the best, GFFollow Jordan on instagram https://instagram.com/jordanlamotheblades?igshid=YmMyMTA2M2Y=Follow The Full Blast Podcast on Instagram:https://instagram.com/thefullblastpodcast?igshid=YmMyMTA2M2Y=Please subscribe, leave a review and tell your friends about the show. it helps me out a lot! Welcome to our new Sponsor- EVENHEAT- Manufacturers of the best heat treating ovens available. To find your next oven go to Evenheat-kiln.comFollow them on Instagram: Brodbeck Ironworks Makers of an Incredibly versatile grinder, with Many different attachmentsLeather sewing equipment and even abrasives Check out Brodbeck Ironworks for yourself:https://brodbeckironworks.com/Follow Brodbeck Ironworks on Instagramhttps://www.instagram.com/brodbeck_ironworks/Trojan Horse Forge Get your THF Stabile Rail knife finishing vise at https://www.trojanhorseforge.com/And when you use the promo code “FULLBLAST” you'll get free shipping in the USFollow them on instagram:https://www.instagram.com/trojan_horse_forge/TotalBoatAdhesives, paints, primers and polishing compounds.Go to https://www.totalboat.com/And put in “Fullblast10” for 10% off Go get yourself some all natural , food safe Axe WaxGo to https://axewax.us/And get 10% off with promocode: FULLBLAST10Welcome Maritime Knife Supply!MARITIME KNIFE SUPPLIESMaritimeknifesupply.CAAll your knifemaking needs, belts abrasive, steals, kilns forges presses, heat treating ovens anvils and everything you need to get started or resupply. Including AxewaxThey're in Canada but ship to the US with ease and you can take advantage of the exchange rate The steel selection is always growing and Lawrence just got 3900 lbs. of steel in.10% off on abrasive belt packs of 10 get a hold of https://www.instagram.com/maritimeknifesupply/ and see what the fuss is about.Nordic Edge makes pro tools for knife makers.These are the guys behind the original file guide with screw-on carbides.Made from non-magnetic stainless steel it will never rust and steel dust will not stick to it.Giving Makers The Edge Since 2015."Nordic Edge:Nordic Edge is based in Australia, you might have seen them at Blade Show in Atlanta.Nordic Edge tools are available at some suppliers in the US as well as another Fullblast supporter Maritime Knife Suppliesin Canada.If visiting the NordicEdge.com.au website in Australia, the code Fullblast10 will give you 10% off AxeWax.Nordic Edge ran the 2022 Maker Giveback campaign now in December 2022, where $5 from every order went to Kev Slattery's multiple disc spinal surgery. Kev was a guest on the Fullblast podcast in October 2022.Get your Blacksmith hammers from John Erianne akahttps://www.instagram.com/sunsetforgenj/http://sunsetforgenj.com/new-productsGo look at the course curriculum at CMA:https://centerformetalarts.org/workshops/** Taking classes from some of the best in forging at one of the best facilities in the country is an excellent opportunity to propel yourself as a blacksmith. Not to be missed. And with housing on the campus it's a great way to get yourself to the next level. Visit CMA's website:https://centerformetalarts.org/There are still spots available for my next Forged Friction Folder workshop at CMAApril 1-2Sept 2-3https://centerformetalarts.org/product/friction-folder/Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

https://www.instagram.com/theyouthkathakfestival/ Bio Sreeja Chakraborty is an Artist from Mumbai. She has done her undergraduation from Christ University, Bangalore in BA Triple Majors in Performing Arts, English and Psychology. She specialises in Contemporary and Kathak. She has taken kathak training from her mother, Guru Madhumita Chakraborty, and is currently the performance curator at Banichhanda Dance Academy Mumbai. Sreeja is also a mental health Facilitator, associated with Project Mumbai and BMC and works on mental health programs with underprivileged children in over 20 schools of Mumbai. Sreeja has been the winner of Mumbai's got talent and various other dance events. She is the founder and director of The Youth Kathak Festival, 2023 which is going to launch in January which is India's first one-of-a-kind Youth led classical dance event happening in Bandra on 28 and 29th of January. Gaurvi Jain originated from the city of lakes Udaipur who set her course in the field of performing arts having learned various artforms like Hindustani classical music, kathak, Bharatnatyam, sitar, Hawaiian guitar etc. having done her BA in Performing arts, english and psychology from Christ University Bangalore, she recently finished a course in Creative Fashion styling from NIFT Mumbai. she is the first member to join The youth kathak festival as an executive producer. Show Highlights (0:02:11) An Introduction to The Youth Kathak Festival (0:04:00) What's different about it (0:08:03) Sreeja and Gaurvi's favorite festivals and themes (0:12:20) Will audiences dance with the performer in a Kathak Festival? (0:14:34) What kind of artists are you looking to bring on? (0:20:16) Details on the festival and events: 28th and 29th January (0:31:41) Behind the scenes: TYKF Team (0:47:52) Running a safe festival for the audience (0:51:05) What is the one thing you're looking forward to?

Since Kanhaiya Lal Teli's murder by two Muslim men, many Hindus have changed how they do business in the Old City. It has hurt both communities, but there are glimmers of hope. ----more---- https://theprint.in/india/udaipur-couldve-seen-godhra-repeat-muslim-boycott-uneasy-peace-after-hindu-tailors-murder/1078948/ 

At the NATO summit on Thursday, US President Joe Biden announced that NATO is "more united than ever.” Changes to the bloc include an increased US presence in Europe, more US troops on NATO's eastern flank and a new permanent US base in Poland. And in northern India on Thursday, thousands of people took to the streets in Udaipur to protest the murder of a Hindu tailor. They were calling for the death penalty for two Muslim men accused of the murder, pushing religious tensions in India to a boil. Plus, Salah Abdeslam, the lone survivor among ISIS assailants who attacked the Bataclan concert hall in 2015, has been found guilty of murder. We need just 130 more listeners to donate $100 before July 1 to make our goal — can we count on you? Learn more and donate here.