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Washington: Living in less sunny areas? It could lead to OCD.This misalignment is more prevalent at higher latitudes areas where there is reduced exposure to sunlight which places people living in these locations at an increased risk for the development and worsening of OCD symptoms."This delayed sleep-wake pattern may reduce exposure to morning light, thereby potentially contributing to a misalignment between our internal biology and the external light-dark cycle," Coles added.Individuals with OCD commonly reported not being able to fall asleep until later than desired."To compile data, Coles and her research team read through many papers that addressed OCD prevalence rates in certain places and then recorded the latitudes of each location.The full findings are present in the Journal of Obsessive-Compulsive and Related Disorders.Professor of psychology at Binghamton University, Meredith Coles, said, "The results of this project are exciting because they provide additional China T5 Bracket Lamps Manufacturers evidence for a new way of thinking about OCD.Additionally, the team of researchers hopes that further study exploring exposure to morning light could help develop new treatment recommendations that would benefit individuals with OCD.According to a new research from Binghamton University, State University of New York, living at higher latitudes, where there is also less sunlight, could result in a higher prevalence rate of obsessive-compulsive disorder (OCD).. Often they slept very late in order to compensate for that lost sleep, thus adopting a delayed sleep-wake pattern that had adverse effects on their symptoms

This uses the whole body as in Manipuri without emphasising hands and face over torso and lower limbs. Doing this is an engineering project that includes translating names of positions and movements into Sanskrit from local languages so that Shastric correlation is made clear.As you all know, four dance genres were recognised as classical as India gained Independence: Kathak, Manipuri, Kathakali and Bharatnatyam. I have no objection at all to their getting support for their work but feel the pain of dancers in Seraikella and Mayurbhanj districts who are denied virtually all sustenance aimed to reach them which is killing the art in favor of one artist. "Guruma, the dancers in heavy brocade Benaras silk costumes and masks have to perform all day repeatedly in the sun and then stay in a vast dormitory for tribal artists eating food we can’t digest.I have seen the excellent training of Mayurbhanj Chhau Guru Janme Joy Saibabu, son of Sangeet Natak Akademi awardee Guru Anant Charan Saibabu, but fear his legacy will be diluted and lost as few disciples realise the solid gold training he can impart and his well-trained sons have little incentive to grow as artists within the tradition as all the opportunities and validation comes through fusion work. The nuanced and sophisticated performances are fading into less refined versions.There are many reasons that have impeded a move to recognise the cousin-brother of Odissi as classical, ranging from the classic people politics of "crabs keeping others down in an open box" coupled with successful stranglehold on access to available resources from cultural bodies like ICCR, SNA and Dept of Culture by Delhi based artists. New choreography within the tradition has had zero support from central, state or private patrons draining off talent to enrich contemporary choreography with the rich vocabularies of Chhau as this frankly pays the bills for the artists to survive. The work of great scholars like late Tori-babu in Baripada on Mayurbhanj Chhau has never been published and numerous other articles and papers on the subject see the light of day only in limited print editions of Chhau souvenirs and other small publications, never reaching the eyes of bureaucrats or the Delhi cultural bodies that respond the dedicated efforts of others who press them convincingly over time. Though my primary Chhau training from 1975 was with the legendary Mayurbhanj Chhau guru, Krishna Chandra Naik, I trained in Seraikella Chhau from 1981 under Guru Kedarnath Sahoo.Since that time, efforts by dedicated artist-scholars have transitioned other traditional dance forms to classical status and I see results of Chhau being left out.workshop@gmail. Each dance composition was re-choreographed for the annual competition during Chaitra Parva by the competing Dakina and Uttar Sahi troupes. His disciple from Colombia, Carolina Prada is one of the finest exponents and she alone cannot sustain the continuity of tradition. Then I deconstructed one choreography, demonstrated by Gopal, by naming each moving point with its Sanskrit equivalent rather than the Odia. I heard there was a buzz for some years that classical recognition was a distinct possibility but, as stated earlier, I saw no need to encourage the process.What seemed a straightforward way of explaining a few basics of this traditional performing art genre sparked a fair amount of excitement. Today, we see pale copies of one remembered version of some of these.com. This number has doubled with a few others banging at the door. Winner of the coveted Sangeet Natak Akademi award, Padma Shri Gopal Prasad Dubey became my Odissi student at that time, and he also became my Chhau collaborator in several productions as well as this conference presentation.Why were these others not acknowledged when India became a new nation? Simply a process which has been written about earlier of individuals making the effort bring to light the high level of codified technique in a given form that correlates to Natya Shastra."  Till then I had felt that the sometimes arbitrary dichotomy of traditional Indian performing arts forms separated into folk and classical categories did not need encouragement. The art and artists have been increasing starved by mismanagement of government funds and perhaps also because this sophisticated martial arts-based dance genre is languishing in the twilight zone of inclusion with folk forms. The last Maharaja of Mayurbhanj, after Indepe-ndence and the loss of his privy purse that allowed him to support and manage the art of Chhau performed under his total patronage, banned the artists from performing in future as he did not wish to see this beautiful art deteriorate. Scholars like Suresh Awasti and others wanted my notes, which I never re-wrote and shared.The justifications for Mayurbhanj and Seraikella Chhau to be recognised as classical are many and it is not the scope of this article to spell these out.Sharon Lowen is a respected exponent of Odissi, Manipuri and Mayurbhanj and Seraikella Chau whose four-decade career in India was preceded by 17 years of modern dance and ballet in the US and an MA in dance from the University of Michigan.More than obstructive reasons, pro-active efforts by cultural leaders who are recognised by those in Delhi have hampered the path to classical recognition.The core of the presentation involved simply showing how the martial arts Paika movements transformed into dance when the British forbade zamindari private armies and the movement techniques added music, symbolic gestures and expression of story.A couple of decades ago, I gave a presentation on Seraikella Chhau as part of an international Padatik conference in Kolkata.Chhau dance is in the doldrums.A red light went off for me last year when Sunil Dubey, a talented Seraikella Chhau musician and protégé of Anup Jalotra called me from the Surajkund Mela in anguish. My intention is simply to start the discussion that needs to be carried forward by strong supporters as had been done in the past, from Vallathol’s advocacy LED Ceiling Lighting Series for Kathakali (one of the several great dance genres of Kerala), Rukmini Devi’s passion for reconstructing Sadir Natyam into Bharatanatyam, Tagore’s bringing Manipuri to Santiniketan and national visibility to the more recent efforts of Assamese dancer-scholars to reinterpret the Sattriya dance of monks formatted to successfully join the pantheon of Indian classical dances. She can be  contacted  sharonlowen. Validation of this intangible cultural heritage of India as classical could go a long way to reviving an exhausted yet uniquely wonderful dance tradition.. I had perhaps naively felt that the arts had an intrinsic value

Roy who prefers using organic and natural fabric like cotton and linens reveals that he finds Ujjawal Dubey of Antar Agni’s work commendable among the current crop and finds inspiration in Sabyasachi.The shoot for the ad film that was directed by noted filmmaker-actor Arindam Sil, (directing his first television ad) and is of 33 seconds in duration saw young designer Abhisek Roy style the famous duo for the still photo session.The duo was seen bowling and batting against each other in the heat, all for a commercial shoot.Abhisek looks on while Mahendra Singh Dhoni gears up for the shoot. The TVC itself was styled by the well known designer Sabarni Das.The man behind the brand Bohurupi who believed that associating with the two World Cup winning captains was just "awesome," says, "Working with the two pioneers of our cricket team is indeed a highlight of my career.Speaking about it, Roy, who has been in the industry for the last two and a half years, says that it was definitely a defining moment for him as a designer."Mahendra Singh Dhoni during the shoot in an Indian attire.

There were already some restrictions, as they were not that open to much experiment with fashion," he says, adding.The youngster for whom fashion is something where one carries himself/ herself with confidence and comfort, concludes, "The advertisement was mainly for festive wears for different festivals of India, and featured attires and ensembles as such.Kapil Dev and Mahendra Singh Dhoni during the shoot.Roy who defines his fashion sense to be an eclectic mix of ‘simple, quirky and comfortable,’ goes on to add that the ad shoot saw a colour palate which was more of blue, white and a little bit of orange, keeping in mind, the brand identity.However, the 27-year-old admits that despite the gravity of the situation, he did have a fan-moment when one of the stars walked in!"For me the fan moment was when Kapil Dev entered the hotel room China LED Bulb Light Series Factory while I was waiting for the trial," he says, adding, "But after meeting him everything went very normal, he is an extremely humble person, and so is Dhoni.The two World Cup winning captains of Indian Cricket, Kapil Dev and Mahendra Singh Dhoni were recently in Kolkata on the cricket pitch at Eden Gardens."Dhoni and Roy share a light moment together during the shoot. "I had to plan out things which were a bit formal yet stylish and elegant.". "The shades of blue were fixed keeping in mind the skin tones of the two players."The first thing that Roy had to keep in mind while designing Dev and Dhoni he says was the fact that the two are sportsmen and not fashion models

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