“Today (02/25/2017) I had a huge honor of meeting the Princess of Sweden. Very humbled by the experience of sharing my story to her and the members of End Violence Against Children & also the World Childhood Foundation. Can’t wait to become an advocate and speak for those who feel aren’t heard or feel safe. #sexualassaultprevention #endviolenceagainstwomenandgirls #worldchildhoodfoundation” - @italian.muva on Instagram
Madeleine was still in New York as of yesterday, February 25th where she attended a event with the World Childhood Foundation.
Shahla Sherkat (b. 1956) is one of
the pioneers of the women’s rights movement in Iran. She is a psychologist and
journalist who has been outspoken about the situation of women in the country,
often experiencing legal issues because of it.
She is the founder of
Zanan magazine, considered the most
important women’s journal published after the Iranian revolution. She often had
to appear in court for publishing content deemed controversial, in areas
ranging from politics to sex, and at one point even had to spend four months in
prison. In 2005 she received the Courage in Journalism Award from the
International Women’s Media Foundation.
Glorious Gems of MP - The Woven History of Chanderi
The fabric of Chanderi has great tales woven into them. The name of the town itself is synonymous with the world of exquisitely hand-crafted saris. The unique warp and weft of chanderi saris are one of the best kept secrets of this town. The saris are woven out of very fine threads making them extremely lightweight and wearable all year long. And the trade of these sarees has been passed on from one generation to the other, and each member of the family makes a significant contribution to the craft.
Chanderi saris use cotton and silk for the base, and zari butis are woven using extra weft technique. It is amazing to watch each motif being created by hand, one thread at a time. The more complex designs on borders and pallu are now made by dobby and jacquard (complex cards are added to the loom). The beautiful colours (neembu-lemon, narangi-orange, tamatari-tomato) and motifs (leaves, mango, chana-peas) are all inspired by nature.
With a background in Textile Design, I was completely drawn to the painstakingly detailed process of weaving. During my graduate programme I had to make a number of table loom samples and if that was challenging for me, Chanderi weaving is a class apart in its mastery. The simplest of Chanderi sari takes at least 3 days to weave, depending on the motifs and complexity of the design. All the weavers have soft hands enabling them to work with extremely fine threads. There are about 5000 weavers working on looms in Chanderi today.
Later, I got an opportunity to meet a few master weavers and visit their homes. The little time I spent with them will remain in my memory forever. The honesty and sincerity of these talented craftsmen humbled me. I was gazing with wide eyes at the beautiful sari being made right in front of me and in that moment I gained deep respect for these guys, for it takes a colossal effort to set up the loom. With the meticulous addition of each buti (motif), I saluted them for the enormous creativity, patience, skill and sincerity required to master this process.
Looking at my enthusiasm, one of the weavers narrated a small couplet for me:
“In the city of Chanderi where weavers dwell, women rule whereas men fill water”
Master weaver Abdul Fareed, who has been in this business since the last 20 years, showed me some of his sarees. His favourite color is Gajari Pink (Carrot Pink) and favourite motif is Keri (Mango).
Spending time at the weavers’ basti, I was curious to know about the origins of these Bunkars (weavers). “How did the city of looms come to be?”, I enquired. And my guide Kalle bhai, a very erudite man told me the story of the weaver community.
It is believed that they came from the lost city of Gaur Lakhnauti - an ancient city that thrived on the India-Bangladesh border. Kalle bhai’s quest to search the origins of this ancient city led him to Bangladesh in 2011 where he discovered art, crafts and even dialect similar to that of Chanderi. He has penned his research and findings in a deeply engrossing book.
Another highlight of Chanderi saris is the kaala tika (black spot) that each weaver puts on the sari marking its originality and more importantly to protect it from the evil’s eye - a practice common in India.
Some of the traditional designs are Masrai Dadia Sari, Do Chashmi (both sides can be worn), Daadi Dar, BaaneBar and Mehandi Bhari Haath. One master weaver has been weaving the Mehandi Bhari Haath sari since 1976. Chanderi fabrics are so precious that they are treated like a newborn baby, with utmost care. Legend has it that Chanderi was the most prized fabric of Akbar’s court. With diminishing royalty, Chanderi fabric also saw downfall in production and skilled craftsmen. When Madhav Rao Scindia I inherited the throne, he established a training centre for the weavers of Chanderi.
A centre that is making waves across the city and the country is Chanderiyaan- a cluster of weavers part of Digital Empowerment Foundation (DEF) and Media Lab Asia. It is a social entrepreneurial initiative towards sustaining livelihoods of the Chanderi weavers community. Set up in the Raja Rani Mahal where heritage seeps through each and every wall, Chanderiyaan is an opportunity for weavers to bypass the hefty network of middlemen and sell their creations directly in the global market. That’s why they call it the Digital village of Chanderi.
Designers from all over the country come to Chanderiyaan to develop their weaves and saris. It felt great to see digital empowerment allowing the craft to live long and prosper.
The looms shall be etched in my memory for years to come and the weavers shall continue to remind me of their rich heritage, pride and modesty. The exquisitely crafted saris will wrap me around in their sheer radiance. With a hope to return someday, I bade salaam and left this magnificent city.
About the artist
Neethi Goldhawk is an independent illustrator and textile print designer who loves drawing all things dreamy, inspired by nature and life. She has illustrated for platforms like Redbull Amaphiko and Launchora. Her pen name (Goldhawk) was concocted in the crowded space of her mind full of absurd characters, who are but little children at heart. She is an avid Tumblr blogger and can be found here
International Media Meeting, Edited by Theo van der Aa, Agora Foundation, Maastricht, 1982.
Edition of 500 copies.
Produced on the occasion of the program of discussions, intermedia presentations and panel discussions held at the State University of Limburg, Maastricht, 19 - 24th April, 1982.
W/ Ulises Carrión, Raul Marroquin, Nan Hoover, Rod Summers, Christiaan Nastiaans, Tobe J. Carey, Jaime Davidovich, Herve Fischer, Dieter Froese, Henryk Gajewski, Alexandre Gherban, Madelon Hooykaas, Elsa Stansfield, John Hopkins, Paul Muller, Thor Elis Palsson
Authorities are calling it “the most gruesome murder in Thailand history”, but the tragedy and shocking details of the crime itself have almost been buried under the baffling reaction of the public, the killers’ attitudes and the way the local media has covered the story.
Let’s start by the beginning. On May 25, 2017, the body of 23 year old Warisara Klinjui (in the first two pictures) was discovered in the Khao Suan Kwang district, in the northeast of Thailand. Not only had she been strangled and beaten, but her body had been cut in half with a saw and disposed in garbage bins. Warisara worked at a karaoke bar and had last been seen alive on May 23.
Police quickly identified the suspects as Preeyanuch “Preaw” Nonwangchai (24), Kawita “Earn” Ratchada (25) and Apiwan “Jae” Sattayabundit (28), three women who were soon dubbed “Murder Babes”. The three alleged killers escaped to Myanmar after the crime, but didn’t try too hard to hide. They were caught in CCTV shopping with colorful backpacks and found jobs in local bars.
The case caused a sensation in Thailand. Preaw in particular became some sort of twisted idol, and TV networks even went as far as to show footage found of her having phone sex with her boyfriend. People took advantage of the popularity and started selling merchandising with the women’s faces, copies of the infamous backpacks and even a keychain with a handsaw, as you can see above.
Eventually, the three women were caught and taken back to Thailand in mid July. The situation only got more controversial as the suspects were seen laughing and applying makeup before facing the cameras, taking pictures with police and even wearing face masks. No remorse at all and what many felt was a too lenient treatment by authorities. They confessed to killing Warisara, and explain that it had started with Preaw wanted to give her a lesson because Warisara had given police information about her drug dealing boyfriend. It had ended with her beating and strangling her, and after she was dead they’d stopped at a hardware store to buy the saw they used to dismember her.
As for the frenzy over the killers, in an interview with the Bangkok Post, Uajit Virojtrairat, director of the Foundation for Media Studies, explained: “There are a lot of people like Preaw out there and they see her as an idol now. Since she’s now being accepted by people as a hero instead of the lead suspect in a murder case, many people will try to be like her.”
Lillian Luthor and Cadmus hatch another nefarious plan to torment the aliens of National City, using Cat and CatCo as a tool to get their message to the masses. Kara’s identity is compromised and lives are put in danger when the building is held hostage by an unbalanced Cadmus scientist.
James takes up the mantle of rescuer from outside as he calls in assistance from Lucy and the DEO in the absence of Alex and Maggie.
Unexpected assistance from Lena Luthor, and from Carter, could mean the difference between saving dozens of lives or collapsing the very foundations of CatCo Worldwide Media. Team Supergirl must determine who to trust in the blink of an eye to protect their own.