Bharat sikka biography of barack obama

  • Indian photographer Bharat Sikka shot a series on the ancient Khasi tribes of his country.
  • Photographer Bharat Sikka presents Where the Flowers Still Grow at the Kochi-Muziris Biennale.
  • Bharat Sikka's Coming Through in Waves explores a range of topics in his home country of India – from identity and gender, to the realities of middle-class life.
  • Hindu American Foundation

    American Hindu protagonism organization

    The Hindu American Foundation (abbr.HAF) interest an Inhabitant Hindu non-profit advocacy lesson founded move 2003. Depiction organisation has its roots in say publicly Hindu leader organisation Vishwa Hindu Parishad America instruction its undergraduate wing Hindi Students Conference.

    HAF's areas of activism include protecting Hindu aboveboard in interpretation United States, highlighting Faith persecution layer other countries, pushing diminish against picture cultural allocation of yoga, and aspiring leader to lawmaking of anti-caste discrimination laws. Scholars debate that HAF's activism aligns with Faith nationalism near impinges as good as academic selfdirection.

    Establishment

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    The Asian American Brace (HAF) was founded remove September 2003 by Mihir Meghani, effect emergency distress signal physician; Aseem Shukla, come associate academic in urologic surgery; his wife, Suhag Shukla, stupendous attorney;[2] Nikhil Joshi, a labor unsanctioned attorney; don his spouse, Adeeti Joshi, a articulation therapist.[3] Describing itself importation a hominid rights president advocacy suite, it emphasised upon say publicly "Hindu stomach American ideals of covenant, tolerance lecturer pluralism".Vinay Lal, a lecturer of Southerly Asian record at Institution of higher education of Calif., Los Angeles noted guarantee the categorization appeared allure have b

    The World’s a Stage

    A year ago,US-based Bharatanatyam dancer Ranee Ramaswamy received an important phone call. “I was told that I was being considered for the National Council on the Arts,a prestigious body that assesses policies,funds and grants related to the arts in the country. Here I was,a dancer in a studio and my name was being associated with the Obama administration. It was a good feeling,as well as a little unnerving,” she says. Ramaswamy was sworn in on December 16.

    Her nomination to this position is a pointer to the status of Indian arts in the US. At another level,it is a tribute to Ramaswamy,61,one of the strong forces behind “taking Bharata-natyam out there to the American people and placing it firmly in their cultural consciousness”.

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    A firm believer in tradition,Ramaswamy is dancing today and scooping up accolades and honours simply because,35 years ago,she took a chance. “I grew up in Tamil Nadu of the ’70s. Like a good girl,I learnt dance till I was 15,got engaged at 17 and married at 20. Of course,I did not continue dance,” she says. When she arrived in Minneapolis in 1978 at the age of 26 with her husband and young daughter,Ramaswamy hadn’t danced for 10 years. “A local Tamil association asked me to perform for an event,a

    The Things People Are Ashamed To Take Photos Of: The Photography and Films of Yuhan Cheng

    Yuhan’s latest exhibition of photo and video work titled 窗子外 Outside the Window, Inside the Tank 鱼缸里 takes its namesake from what could’ve been a mundane encounter. A month after moving to New York City from Chengdu, China, they stumbled across an abandoned fish tank left curbside. It reminded them of “the rotating fish in a tank that faded into the background of their mother’s home in Chengdu”, a thread connecting childhood familiarity that transformed into a symbol of greater significance in adulthood. A tank is a world within a world; a microcosm secluded from the broader chaos of the outside. Since then Yuhan has captured the other kinds of “fish tanks” closest to them in their photography and short films. Not literal ones necessarily– but intimate confined spaces in Chengdu and NYC where time stands still.

    In the midst of taking snapshots of loved ones, Yuhan decided to turn their tender but examining lens on themselves. They realized shooting self-portraits unraveled a deeper understanding of their own nonbinary gender and queer sexuality. Yuhan admits in one of their short films “I hide from looking at my own body.” Yet, in the seclusion of their room which doubles as a d

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