Dress Designing & Garment Manufacturing Curriculum
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The Jails and the Women Prisoners As They Exist……
CHAPTER - 1 THE JAILS AND THE WOMEN PRISONERS AS THEY EXIST……. The state of Punjab is a prosperous region known for its industrious and hardworking people. But even as these tall well built people cope with numerous specific regional problems, accept changes and grow in a global world – the glaring fact that needs specific attention, is the growing incidence of crime and even more so - the growing incidence of crime committed by women. The changing nature and patterns of these crimes require serious consideration. Most jails had little or no provisions for women to start with - later some arrangements were made to accommodate them. With the increase in women prisoners in each jail the area of confinement is deficient in many ways. Taking up the region of Punjab, which is the focus of the present study, we find that all the prisons located in the various parts of Punjab do not have provisions to keep women prisoners. Only the District and Central jails, which are eight in number, have some provisions to keep women prisoners. There is one exclusive jail for women at Ludhiana, which houses only women prisoners. Once convicted, the women from all the other eight jails are supposed to be sent to this jail. However, a large number of under- trails are also lodged here. Women are under detention in the dowry act cases, drug trafficking- NDPS act, excise act, theft, murders due to family disputes and illicit relationships. A majority of the women prisoners belong to the lower socio-economic strata, a few to the lower middle class and a very few belong to the middle middle class strata of society. -
The Indian Culture By: Rachita Vinoth
The Indian Culture By: Rachita Vinoth Red, pink, yellow, green, purple, orange, blue, white. Colors float and wave around me. They are in front of me, beside me, behind me, everywhere! There are so many colors that it feels like I am in the sun where all the colors are combined. But to tell you the truth, I am in India. India is a place full of colors, and everywhere you look, everything is so lively and beautiful. There are so many varieties of everything here. India is even called “The Land of Diversity” because of the varieties of food, entertainment, traditions, festivals, clothing, religions, languages, and so much more. Every direction you look, from food to religion, you will see so many unique things. It helps you, it gives you energy, it is the thing that keeps you moving and working - it’s food. There are so many famous foods in India that it is called the land of spices. People from Northern India desire foods like Mughlaifood. Famous foods in Southern India are dosa, idli, and more rice-based dishes. Some foods that people across the country like are chole bhature, all kinds of bread like roti and naan, and of course the all time favorite biryani! Some Indian desserts that are famous are kheer, rasgulla, gulab jamun, and more different varieties. Indians like to play a musical game called antakshari. They also like to watch movies, and the movies are mostly musical, including many types of songs and dances. The movie industry, Bollywood, is almost as big as Hollywood now. -
Textile Designs - 1
Textile Designs - 1 1. Crewel Work, Kashmir Textile Designs - 1 2. Embroidered Dorukha Shawl, Kashmir Textile Designs - 1 3. Kinnaur Shawl, Himachal Pradesh Textile Designs - 1 4. Embroidered Chamba Rumal, Himachal Pradesh Textile Designs - 1 5. Bagh Phulkari, Punjab Textile Designs - 1 6. Banarasi Zari Saree, Uttar Pradesh Textile Designs - 1 7. Chikan Embroidery, Kurta, Uttar Pradesh Textile Designs - 1 8. Block Printing, Rajasthan Textile Designs - 1 9. Bandhani Printing, Rajasthan Textile Designs - 1 10. Applique Work, Gujarat Textile Designs - 1 11. Mirror Embroidery, Gujarat Textile Designs - 1 12. Paithani Silk Saree, Maharashtra Textile Designs - 1 Hkkjr us gLrf'kYi dh Js"B ijaijk dks èkjksgj osQ :i esa izkIr fd;k gSA lqUnjrk ls India has inherited a great tradition of handicrafts which has its iw.kZ o lkekftd mi;ksx dh oLrqvksa dh jpuk gsrq ekuo dh ewy vko';drk esa bl beginnings in Man's basic need for creating objects of beauty and social utility. Even simple household articles such as pots, mats and furniture ijaijk dk izkjaHk fufgr gSA ;gka rd fd] crZu] pVkbZ;ka vkSj est] oqQlhZ tSlh lkèkkj.k have been decorated with stylised motifs inspired by nature. ?kjsyw oLrqvksa dks Hkh izo`Qfr izsfjr 'kSyhxr vfHkizk;ksa ls vyao`Qr fd;k tkrk gSA Apart from other handicrafts, India is also famous for the excellence it vU; gLrf'kYiksa osQ vfrfjDr Hkkjr] oL=kksa dh le`f¼ lEcaèkh Js"Brk osQ fy, Hkh has achieved in the rich variety of textiles. Excavations show that, as far izfl¼ gSA [kqnkbZ ls irk pyrk gS fd dkiQh igys] r`rh; 'krkCnh bZlk iwoZ esa lwrh back as in the third millennium B.C, cotton fibre was woven into cloth and rUrq dks oL=k :i esa cquk tkrk Fkk rFkk Nis gq, oL=kksa osQ uewus Hkh izkIr gq, gSaA samples of printed fabrics have also been found. -
World Bank Document
PROJECT INFORMATION DOCUMENT (PID) APPRAISAL STAGE Report No.: 87726 Project Name Developing Artisanal Livelihoods in Rural Pakistan ‘RANG’ Project Public Disclosure Authorized Region SOUTH ASIA Country Pakistan Sector Other Industry (100%) Project ID P145420 Borrower(s) Indus Heritage Trust #13, 4th. Floor, 109 West Sardar Begum Plaza, Blue Area, Islamabad. Implementing Agency Indus Heritage Trust Environment Category [ ] A [ ] B [X] C [ ] FI [ ] TBD (to be determined) Date PID Prepared April 21, 2013 Date of Appraisal March 29, 2013 Authorization Public Disclosure Authorized Date of TF Approval I. Country and Sector Background Country Context 1. Pakistan’s population exceeds 180 million with over 60% living in rural areas. The United Nations Human Development Report of 2011 puts Pakistan in “low human development category” ranking 145 out of 187 countries. The current social and political unrest, conflict and economic downturn in Pakistan have had an impact on the development and economic growth initiatives of the country. Men, women and youth have few employment opportunities at the Public Disclosure Authorized local level, which has led to internal displacement, forced migration, crowding of urban centers, and increased political and social instability. 2. The Government of Pakistan seeks to restore the country’s economic growth rate to between 5 and 7 percent per year by stimulating growth and creating employment opportunities. Looking at the composition of employment within the country, while agriculture dominates the formal sector, crafts and related trades comprise 15 percent of formal sector employment, coming third behind unskilled labor. In the informal sector, crafts and related trades provide 31 percent of the jobs, of which 54 percent are filled by women. -
Traditional Indian Textiles Students Handbook + Practical Manual Class XII
Traditional Indian Textiles Students Handbook + Practical Manual Class XII CENTRAL BOARD OF SECONDARY EDUCATION Shiksha Kendra, 2, Community Centre, Preet Vihar, Delhi-110301 In collaboration with National Institute of Fashion Technology Traditional Indian Textiles – Class XII Students Handbook + Practical Manual PRICE : ` FIRST EDITION : 2014 © CBSE, India COPIES : No Part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical photocopying, recording or otherwise without the prior permission of the publisher. PUBLISHED BY : The Secretary, Central Board of Secondary Education, Shiksha Kendra, 2, Community Centre, Preet Vihar, Delhi - 110301 DESIGNED & LAYOUT : M/s. India Offset Press, A-1, Mayapuri Industrial Area, Phase-1, New Delhi - 110064 Hkkjr dk lafo/kku mísf'kdk ge Hkkjr ds yksx Hkkjr dks ,d ^¿lEiw.kZ izHkqRo&laiUu lektoknh iaFkfujis{k yksdra=kRed x.kjkT;À cukus ds fy,] rFkk mlds leLr ukxfjdksa dks % lkekftd] vkfFkZd vkSj jktuSfrd U;k;] fopkj] vfHkO;fDr] fo'okl] /keZ vkSj mikluk dh Lora=rk] izfr"Bk vkSj volj dh lerk izkIr djkus ds fy, rFkk mu lc esa O;fDr dh xfjek vkSj jk"Vª dh ,drk vkSj v[k.Mrk lqfuf'pr djus okyh ca/kqrk c<+kus ds fy, n`<+ladYi gksdj viuh bl lafo/kku lHkk esa vkt rkjh[k 26 uoEcj] 1949 bZñ dks ,rn~}kjk bl lafo/kku dks vaxhÑr] vf/kfu;fer vkSj vkRekfiZr djrs gSaA 1- lafo/kku ¼c;kfyloka la'kks/ku½ vf/kfu;e] 1976 dh /kkjk 2 }kjk ¼3-1-1977½ ls ÞizHkqRo&laiUu yksdra=kRed x.kjkT;ß ds LFkku ij izfrLFkkfirA 2- lafo/kku ¼c;kfyloka la'kks/ku½ -
Clothing of Ancient India
Clothing of Ancient India India has a strong connection to its history and traditions. This is especially evident in traditional Indian dress. Many people still wear traditional garments, although the use of Western clothes has increased markedly. Indian clothing is very diverse and varies by region and religious group. One of the most common garments for women is the sari. A sari is a wide strip of cotton cloth, 1.5 to 2.75 metres long, which is draped around the body. There are many methods for draping a sari. One common method is to wrap it around the waist like a skirt and then drape the end over the left shoulder. Saris are usually worn over a petticoat and a tight fitting blouse, or choli. Also common is the salwar kameez, a loose shirt over loose trousers. Men often wear a dhoti, which is similar to the sari. It only covers the lower half of the body and is worn with a traditional or Western-style shirt. Both the dhoti and the sari are ancient garments, possible dating back thousands of years. Men in some parts of India. On formal occasions men may wear a long, fitted coat called a sherwani. The turban was once a common head covering, but its use is in decline. Questions 1. Write a summary of the text. 2. True or False: (3 marks) a. Traditional Indian dress is diverse and is still worn today. b. Most Indians now wear Western-style cothing. c. The turban has undergone changes in popularity over the years. -
ABC Schedules Black Workshop WEDNESDAY — MAY 4 Workshop *3: "Black Religion" by Douglas F.Gonzalez Keynote Address Speaker: Dr
,Black Revolution: Where Do We Go From Here, ABC schedules Black Workshop WEDNESDAY — MAY 4 Workshop *3: "Black Religion" by Douglas F.Gonzalez Keynote Address Speaker: Dr. Joseph Thompson, Speaker: Dick Gregory Doctor of Religious The Association of Black 8:15 p.m. — C.C. auditorium Philosophy. Collegians at Allegheny College Reception: Black Cultural 2:30 p.m. — Black Cultural Center will begin its seventh annual Center (Murray Hall) Black Workshop: Tuesday, May Immediately following Keynot Address. Dramatic Presentation: "Life of 3, with an opening convocation a King" at 7:00 p.m. in the C.C. THURSDAY — MAY 5 8:15 p.m. — C.C. auditorium Auditorium. Black Orchid Dance Show 8:15 p.m. — C.C. auditorium Cabaret: Live band and disco. The theme of this year's 11:00 p.m. — South Dining workshop is, "Black Revolution: FRIDAY — MAY 6 Hall Where Do We Go From Here?" Workshop*1: "Black Econom- SUNDAY MAY 8 Black Workshop chairman Hale ics" Gospel Concert Dick Gregory will present the keynote address for Black Thompson advises that, "It is Speaker: Dean John McCray Conducted by: -Rev. Paul Mason workshop tommorrow evening at 8:15 p.m. in the C. C. Auditor- ium. essentail for all Allegheny stu- 3:30 p.m. — Black Cultural and the First University dents to participate in this year's Center Church Choir. 3:00 p.m. — C.C. activities workshop, for there's a need to Schreiber relates Colloquy Black Orchid Dance Show room. realize the changes which have 8:15 p.m. — C.C. auditorium taken place in the methods of According to ABC, past Black Workshops at Allegheny to own work black revolution. -
Northern Serbia. Photo By: Dragiša Deljanin
Male and Female folk dress, Srem region, Vojvodina, Northern Serbia Northern Serbia. Photo by: Dragiša Deljanin Central Serbia The Serb folk dress of Central Serbia are divided into two groups: the Dinaric and Morava styles Šumadija folk dress, Central Serbia Photo by: By Dragiša Deljanin Eastern Serbia The Serb folk dress of Eastern Serbia is part of the Morava style, but also take some small The costumes of Pirot are richly decorated, male costume influences from the Dinaric and Pannonian styles. As part of a cultural zone consists of natural-white zobun, black-red belt, black or red with Bulgaria and Romania, the attire has likeness to those in adjacent Bulgarian and Romanian provinces. Traditional shepherd attire, typical for this attire is woolen vests and trousers and subara on the head. Women wear white dresses capes (from sheep), walking sticks, etc. under black zobun, which has gold stripes on borders, decorated aprons and white kerchiefs around their heads. Serbian Dance group from Sombor, in East Serbian folk attire. Photo by: Orjen Photo by: Björn Láczay Southeastern Serbia The traditional urban dress of Vranje is a mix of local tradition and oriental influences. The male costume consists of dark trousers and gunj with red stripes at the end of its sleeves, red silk belt and the black shoes. Women wear black plush skirts, white blouses and highly decorated libada embroidered with gold srma, dimije (shalwar pants), pafta around waist and tepeluk on the head. Photo by: Petar Milošević Western Serbia The Serb folk dress of Western Serbia are part of the Dinaric style, but also take some small influences from the Adriatic, Morava, and Pannonian styles. -
The Sixth String of Vilayat Khan
Published by Context, an imprint of Westland Publications Private Limited in 2018 61, 2nd Floor, Silverline Building, Alapakkam Main Road, Maduravoyal, Chennai 600095 Westland, the Westland logo, Context and the Context logo are the trademarks of Westland Publications Private Limited, or its affiliates. Copyright © Namita Devidayal, 2018 Interior photographs courtesy the Khan family albums unless otherwise acknowledged ISBN: 9789387578906 The views and opinions expressed in this work are the author’s own and the facts are as reported by her, and the publisher is in no way liable for the same. All rights reserved No part of this book may be reproduced, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without express written permission of the publisher. Dedicated to all music lovers Contents MAP The Players CHAPTER ZERO Who Is This Vilayat Khan? CHAPTER ONE The Early Years CHAPTER TWO The Making of a Musician CHAPTER THREE The Frenemy CHAPTER FOUR A Rock Star Is Born CHAPTER FIVE The Music CHAPTER SIX Portrait of a Young Musician CHAPTER SEVEN Life in the Hills CHAPTER EIGHT The Foreign Circuit CHAPTER NINE Small Loves, Big Loves CHAPTER TEN Roses in Dehradun CHAPTER ELEVEN Bhairavi in America CHAPTER TWELVE Portrait of an Older Musician CHAPTER THIRTEEN Princeton Walk CHAPTER FOURTEEN Fading Out CHAPTER FIFTEEN Unstruck Sound Gratitude The Players This family chart is not complete. It includes only those who feature in the book. CHAPTER ZERO Who Is This Vilayat Khan? 1952, Delhi. It had been five years since Independence and India was still in the mood for celebration. -
Ancient Civilizations Huge Infl Uence
India the rich ethnic mix, and changing allegiances have also had a • Ancient Civilizations huge infl uence. Furthermore, while peoples from Central Asia • The Early Historical Period brought a range of textile designs and modes of dress with them, the strongest tradition (as in practically every traditional soci- • The Gupta Period ety), for women as well as men, is the draping and wrapping of • The Arrival of Islam cloth, for uncut, unstitched fabric is considered pure, sacred, and powerful. • The Mughal Empire • Colonial Period ANCIENT CIVILIZATIONS • Regional Dress Harappan statues, which have been dated to approximately 3000 b.c.e. , depict the garments worn by the most ancient Indi- • The Modern Period ans. A priestlike bearded man is shown wearing a togalike robe that leaves the right shoulder and arm bare; on his forearm is an armlet, and on his head is a coronet with a central circular decora- ndia extends from the high Himalayas in the northeast to tion. Th e robe appears to be printed or, more likely, embroidered I the Karakoram and Hindu Kush ranges in the northwest. Th e or appliquéd in a trefoil pattern. Th e trefoil motifs have holes at major rivers—the Indus, Ganges, and Yamuna—spring from the the centers of the three circles, suggesting that stone or colored high, snowy mountains, which were, for the area’s ancient inhab- faience may have been embedded there. Harappan female fi gures itants, the home of the gods and of purity, and where the great are scantily clad. A naked female with heavy bangles on one arm, sages meditated. -
The Nineteenth Century (History of Costume and Fashion Volume 7)
A History of Fashion and Costume The Nineteenth Century Philip Steele The Nineteenth Century Library of Congress Cataloging-in-Publication Data Copyright © 2005 Bailey Publishing Associates Ltd Steele, Philip, 1948– Produced for Facts On File by A history of fashion and costume. Bailey Publishing Associates Ltd The Nineteenth Century/Philip Steele 11a Woodlands p. cm. Hove BN3 6TJ Includes bibliographical references and index. Project Manager: Roberta Bailey ISBN 0-8160-5950-0 Editor:Alex Woolf 1. Clothing and dress—History— Text Designer: Simon Borrough 19th century. 2. Fashion—History— Artwork: Dave Burroughs, Peter Dennis, 19th century. Tony Morris GT595.S74 2005 Picture Research: Glass Onion Pictures 391/.009/034—dc 22 Consultant:Tara Maginnis, Ph.D. 2005049453 Associate Professor of the University of Alaska, Fairbanks, and creator of the website,The The publishers would like to thank Costumer's Manifesto (http://costumes.org/). the following for permission to use their pictures: Printed and bound in Hong Kong. Art Archive: 17 (bottom), 19, 21 (top), All rights reserved. No part of this book may 22, 23 (left), 24 (both), 27 (top), 28 be reproduced or utilized in any form or by (top), 35, 38, 39 (both), 40, 41 (both), any means, electronic or mechanical, including 43, 44, 47, 56 (bottom), 57. photocopying, recording, or by any information Bridgeman Art Library: 6 (left), 7, 9, 12, storage or retrieval systems, without permission 13, 16, 21 (bottom), 26 (top), 29, 30, 36, in writing from the publisher. For information 37, 42, 50, 52, 53, 55, 56 (top), 58. contact: Mary Evans Picture Library: 10, 32, 45. -
Annual Report 2012 13.Pdf
12 Annual Report 13 Mahindra & Mahindra Financial Services Limited ADAM SAAB JAGAT SINGH KARAMJIT SINGH Village - Manvi, Taluka - Manvi, Village - Jubbli, The Chopal, Village - Jeondan, Taluka - Rampura Phul, District - Raichur, Karnataka, District - Shimla, Himachal Pradesh, District - Bhatinda, Punjab, Pin code - 584 123 Pin code - 171 210 Pin code - 151 103 o ENVISION. ELEVATE. o EMPOWER. RAJENDRA KUMAR MEENA DADARAO BABARAO HOLGANDE NANDESWAR DAIMARY Village - Chatrapura, Village - Gondala, Post Office - Khudaj, Village - Nalbari, Post Office - Khanpura, Taluka - Sengaon, District - Hingoli, Post Office - Kacharison, District - Jhalawar, Rajasthan, Maharashtra, Pin code - 431 542 District - Sonitpur, Assam, Pin code - 326 038 Pin Code - 784 117 o MAHINDRA FINANCE o o CONTENTS o GROUP STRUCTURE 02 38 81 Mahindra 37 79 172 & Mahindra Limited CORPORATE STATUTORY FINANCIAL OVERVIEW REPORTS STATEMENTS 02 Corporate Information 38 Directors’ Report Standalone 03 Envision. Elevate. Empower 50 Report on Corporate Governance 81 Independent Auditors’ Report 04 Paving the Road to Rural 70 Management Discussion and 84 Balance Sheet Empowerment Analysis 85 Statement of Profit and Loss 06 Core Philosophy 86 Cash Flow Statement 08 Presence 88 Significant Accounting Policies and Mahindra & 12 Financial Highlights Notes Mahindra 16 Operational Highlights 127 Statement Pursuant to Section 212 Financial 20 Supporting Dreams with a Services Deadline Consolidated Limited 22 No Customer is Ever Remote 129 Independent Auditors’ Report (51.2%) 26 Thinking