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You can publicly commit yourself to diversity in the workplace, put it in writing on social media, hire diversity officers, and shuttle tens of thousands of dollars into “diversity initiatives,” but if you don’t understand the complexities of creating an inclusive workplace, you’re not going to get any return on your investment. That’s probably not […]

The post Diversity initiatives are leaving Black women behind appeared first on DiversityJobs.com.

By Brian VanHooker Published: November 11th, 2024

Hazel Mitchell has helped create more than twenty children's books, including her award-winning picture book Toby (Candlewick Press). Her illustrations appear in books by Cynthia Lord, JaNay Brown-Wood (Imani's Moon was mentioned on the Stephen Colbert show!), Lynn Parrish Sutton, Liza Gardner Walsh and others. You can find out more about Hazel and her work at HazelMitchell.com, Facebook, Instagram and Twitter.

Synopsis of SWEET PEA SUMMER (Candlewick):

During her mother’s absence, a young girl discovers the joys of gardening—and the rewards of persistence and a sharp eye—in a sweet intergenerational story. With warm, child-friendly illustrations and a simple narration, Hazel Mitchell tells a timeless story about holding on to hope in hard times and finding the strength and determination to see it through. A brief author’s note at the end offers a bit of history and a few details about sweet peas for aspiring gardeners.

Q. What inspired you to write Sweet Pea Summer?

My inspiration for the book were memories I have from staying with my grandparents when I was little (4-6 years old). They lived in a row of mill cottages in a Yorkshire town called Huddersfield. The town was born out of the wool trade and had many factories and tall towers, but was surrounded by beautiful countryside. I started to sketch my memories of staying with them - the cottage, the garden, the countryside with the moors and mill chimneys, the cats that were always scampering around, the long road that stretched away up a sloping hill to the town itself.

My granddad was an excellent gardener. I suspect this came from the war years in Britain when everyone grew their own food as much as possible. In my memory the garden was so, so long with a little greenhouse and was stuffed with veggies and flowers. Of course, my memory exaggerated everything. I was seeing through a small child's eyes. I even googled the road on Google Streetview and the cottage and the garden are still there, just much smaller than I recalled.

I decided there was a story in these sketches and my rememberings. I find that I'm often inspired by childhood memories, places and real life things, like my own dog who is the main character in the book 'Toby', also from Candlewick Press. I've even been known to use my house in books, or feature the landscape of Maine, where I live, and sometimes I draw objects from my home. it gives authenticity I think.

Q. What was the writing and illustration process like?

After some note making, more doodles and musing I decided on the main character of a girl. She's not exactly me. My sister also went to stay with my grandparents when my mother was ill and that was really the nugget that set me rolling. The girl is sad and missing her mother, so Grandpa invites her to help in the garden and, in particular, to look after the sweet peas. (My own grandfather grew chrysanthemums, but I decided children would relate more to sweet peas. Plus it is easier to say!).

The grandparents do not look like my grandparents and even though the child is not really me, I guess she shares some of my personality characteristics and DO I love gardening! (Although I always fail with sweet peas, which is ironic). I found I had all the inspiration I needed to get started on roughing out a story.

Writing and illustrating Sweet Pea Summer was a long process, as most books tend to me. There are a lot of images in the book, which is kind of graphic novelish in a way, with multiple images on some pages that follow a grid layout. Although I did preliminary character and setting sketches, I then spent time writing scene progressions and story boarding before I was ready to do the first full dummy.

I've found this saves me time in the long run, when I finally start to sketch I can be pretty certain I have the rudimentary story arc and length of book down. We had 2-3 edits and rehashes before my editors, art director and myself were all happy to go to finals. Finals are always the very long and arduous stage of the book for me. The first spark of story and hashing it out is the inspirational bit.

I did all the art for Sweet Pea in pencil and watercolor (usually I colour an under painting digitally), but I felt this book needed a traditional watercolour feel. It was a longer process for sure! Along the way I did a good amount of picture research especially on the landscapes and the flowers - plus the process of growing them, which features in the story. The parallel between the illness of the m/c's mom and the flowers failing to open was important to me. didn't want it to be too obvious to the reader.

My editor, Liz Bicknell at Candlewick Press, was very helpful, as always, keeping the story on track. Pam Consolazio was my art director, and her nickname was Sweet Pea as a child! it is lovely when you find unexpected connections. I scan my own artwork, which gives me the luxury of making any tweaks to the final art. I think the whole book took about 2 years, including edits etc.

It's wonderful when your book finally arrives in your mailbox! (Just like any birth, the pain recedes!) It was especially concerning in this time of the pandemic, but everything went well and the books arrived in time for publication.

Q. What advice do you have for young writers and illustrators?

My advice to young writers and illustrators is always work on stories that you love and feel an emotional response to whether, happy, sad, funny or just that you just love and know the subject. It will always show in your work!

----

For more insights from book creators, see my Inkygirl interview archives.

In this episode of the Arsenal Women Arsecast, Tim is joined by ESPN’s Emily Keogh to compare notes on Arsenal Women’s tour of Washington DC. Emily and Tim were the only two UK based journalists to travel and they compare notes on the tour, the commercial and media benefits of it and Emily talks a little about interviews she conducted with Jonas Eidevall and Clare Wheatley in DC.

Get extra bonus content and help support Arseblog by becoming an Arseblog Member on Patreon: https://www.patreon.com/arseblog

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The U.S. Federal Bureau of Investigation (FBI) has sought assistance from the public in connection with an investigation involving the breach of edge devices and computer networks belonging to companies and government entities. "An Advanced Persistent Threat group allegedly created and deployed malware (CVE-2020-12271) as part of a widespread series of indiscriminate computer intrusions designed

An alluring scent can restore unforgettable memories, evoke emotions, rejuvenate mood, and enhance one’s presence. Luxurious fragrances expressing your personality cost an extra penny. Out of curiosity, imagine why these exclusive perfumes are way more expensive. Premium perfumes are masterpieces of pleasant aromas, luxurious packaging, and exceptional quality. Dossier perfume is an exclusive scent inspired ... Read more

The post The Art of Fragrance: The Secrets Behind the High Cost of Exclusive Perfumes appeared first on Star Two.

Chikankari specialty Step into a world where every thread tells a story and every pattern sings a story song. Chikankari House stands not only as an advertisement but as the custodian of a centuries-old art form. Traditional Indian embroidery is not only preserved here; It is celebrated, nurtured and evolved. Chikankari with its subtle beauty and intricate details weaves the fabric of India’s rich cultural story. Chikankari House: Carrying forward a valuable asset Chikankari-property History and Origins Chikankari House takes great pride in being the torchbearer of an art form that has deep roots in ancient India. Known for its exquisite beauty and subtlety, Chikankari is often associated with the Nawab’s land in Lucknow. This delicate weaving style is believed to have flourished during the Mughal era under the patronage of Noor Jahan, wife of Emperor Jehangir. Chinkari, however, is more than just embroidery and decoration; It symbolizes an interesting story told through fashion. The story begins in mythology, where Lord Krishna’s wife Radha is said to have expressed her love with unique colorful chikankari patterns embroidered on cloth This Connection imbues chikankari with divine substance and emotional meaning, and owes it and rich textiles of rich cultural heritage again Lucknow is situated. Evolution Over the Years Like a river that changes its course over time yet never abandons its source, Chikankari too went through various transformations over the centuries. Yet, it painstakingly preserved its original essence. Chikankari artisans of the past passed on their art to younger generations, ensuring that it continued with all its skill and fervour. Notable figures in history have contributed to the popularity of this intricate craft over the years. British viceroys, Queen Victoria herself, and more recently, celebrities, and fashion designers have all played crucial roles in keeping Chikankari in the public consciousness. In its nascent stages, Chikankari was typically portrayed in white-on-white embroidery on muslin cloth, epitomizing the essence of understated elegance. Over time, the craft embraced colored threads, sequins, beads, and various fabric types, transforming Chikankari into a versatile and appealing element in modern fashion. Through the eye of the House of Chikankari, this beautiful amalgamation of past and present turns a simple piece of fabric into an alluring canvas. And as the world evolves, so do we, making sure the essence of Chikankari, the legacy of Kesari, continues to enthral generations to come. The Craftsmanship of Chikankari: An Intricate Symphony of Stitches Understanding the Art When it comes to understanding the art of Chikankari, the process begins even before the first stitch is laid. The House of Chikankari starts its crafting journey with the selection of just the right fabric – one that holds onto the charm of the delicate stitches, absorbing the soul of Lucknow into its texture. Traditionally, fabrics like muslin, cotton, and silk have been used owing to their soft texture and durability. The art features multiple unique stitches, each lending a distinctive texture to the piece. One such stitch, traditionally known as the “Bakhia” or the shadow work, stands as the backbone of Chikankari. Symbolic of Chikankari’s subtlety, Bakhia is an intricate technique where the thread’s shadow reflects on the cloth, creating a play of light and shade that brings the fabric to life. The artist behind the craft Behind every piece of Chikankari art from Chikankari House is an artist – patient, dedicated and full of unimaginable skill. They are quiet poets who tell stories through their work, weaving stories of tradition and heritage. Becoming a Chikankari artisan is not a job but a professional journey, often passed down through generations. Their training usually begins at an early age, and they spend years mastering the details – from learning different fabrics to understanding patterns and knots While it’s hard to put a number on the many unsung heroes nurturing this art form, an estimated 2.5 million artists across India are associated with Chikankari, according to the European Center for Development Policy and Management , sources that this art show succeeds on a global stage, spreading the appeal of our cultural heritage far and wide. House of Chikankari Today The House of Chikankari, rooted deeply in traditional artistry, is embracing the winds of change to sail towards modernity with grace and resilience. Today, this time-honored craft marries age-old techniques with contemporary influences, gracefully striding into the global fashion arena. Modern Innovations In the realm of Chikankari, modern technology and evolving fashion sensibilities play pivotal roles in elevating this craft to cater to contemporary tastes without losing its essence. Digital Design and Promotion: Techniques such as digital embroidery design and online marketing are helping Chikankari reach global audiences. The House of Chikankari leverages social media and e-commerce to showcase its intricate designs worldwide. New Materials and Stitches: While preserving the traditional stitches, innovative materials like georgette and net are being used, along with traditional cotton and silk. The inclusion of embellishments such as sequins and beads adds to the allure of modern Chikankari outfits. Fashion Integration: Notable fashion designers and brands, including the House of Chikankari, have been instrumental in incorporating Chikankari into high fashion. Collections showcased at major fashion weeks have featured Chikankari, placing it on the global fashion map. Sustaining the Craft The journey of Chikankari, from the streets of Lucknow to the fashion capitals of the world, has been supported by various efforts to preserve its legacy. Government and NGO Efforts: Initiatives like the Geographical Indications (GI) tag for Lucknow Chikankari by the Indian government have aided in protecting its identity. NGOs and social enterprises collaborate with artisans, providing them with fair wages and better work conditions. Educational Programs: Specialized training programs and workshops aim at skill enhancement and introducing the youth to Chikankari, ensuring the inheritance of this craft by future generations. Exhibitions and Workshops: Events such as the “Chikankari Exhibition” in major cities and the participation of Chikankari craft in international craft fairs increase awareness and appreciation for this delicate embroidery work. Through these efforts, the House of Chikankari not only survives but thrives in the landscape of modern fashion and global markets. The blend of traditional craftsmanship with contemporary innovation ensures that Chikankari remains not just a craft of the past but a living tradition, evolving and growing with each stitch in time. Investing in Chikankari Investing in Chikankari is not just a purchase—it’s an embrace of a heritage, a story woven into fabric. This section provides a comprehensive guide to ensure you select authentic pieces and maintain them, so they last a lifetime. Guide to Buying Chikankari Selecting Authentic Pieces Look for Handcraftsmanship: Authentic Chikankari is hand-embroidered. Look closely at the stitching. Irregularities often indicate handwork, as opposed to the uniform stitches of machine embroidery. Fabric Quality: Traditional Chikankari is done on natural fabrics like cotton, silk, and muslin. A gentle touch and the slightly irregular texture of natural fabrics are good indicators of quality. Design Details: Authentic Chikankari flaunts intricate designs that can range from floral motifs to paisley and geometric patterns. The richness in details often signifies authentic workmanship. Where to Buy: Prefer purchasing from recognized artisans, local markets in Lucknow, or reputable online stores specializing in Chikankari. Some reputable brands connected to the House of Chikankari offer quality assurance. Price Range and Factors Affecting Cost Artisan vs. Mass-Produced: Handcrafted Chikankari pieces, especially those from skilled artisans, will be priced higher than mass-produced ones. The uniqueness and quality justify the cost. Complexity of Work: The more intricate the embroidery and the denser the design, the higher the price. Work that takes longer to produce is naturally more valuable. Fabric Type: The choice of fabric impacts the price. Silk-based Chikankari garments are pricier than those crafted on cotton due to the cost of the material. Caring for Chikankari Garments To ensure your Chikankari pieces remain as timeless as their tradition, following proper care instructions is crucial. Washing Instructions: It’s best to hand wash Chikankari clothes in cold water with a mild detergent. Avoid wringing the fabric harshly. For machine wash, use a gentle cycle. Drying and Ironing: Always dry Chikankari garments in the shade. Direct sunlight can fade the delicate threads. While ironing, place a thin cloth over the garment to prevent direct contact with the iron. Storage: Store Chikankari apparel in a cool, dry place. Use padded hangers for items like sarees and kurtas to avoid creases. For best preservation, wrap the garments in soft, breathable fabric. By following these guidelines, you can invest wisely in Chikankari, ensuring you own a piece of heritage that brings elegance and traditional charm to your wardrobe. This enduring craftsmanship, with the right care, can be part of your legacy, cherished and passed down through generations. Chikankari Future As we navigate the crowded world of fashion and fashion, the House of Chikankari remains open in the face of obstacles and opportunities. Navigating a sea of ​​change, the delicate beauty of embroidery clings to its heritage. Challenges and opportunities Challenges Competition with machine-made products: One of the most important issues is competition from faster and cheaper looms that imitate Chikankari. Preservation of traditional skills: There is a danger that the meticulous skills of Chikankari craftsmen will be lost in today’s fast-paced manufacturing environment. Economic Development: Designers often face financial challenges due to irregular demand for materials and a lot of time spent on crafts. opportunity Design innovation: Innovation that captures the essence of Chikankari while appealing to contemporary aesthetics can create new appeal. Online Marketplace: With the rise of e-commerce, Chikankari offers a global platform, connecting skilled artisans with consumers directly. Sustainable clothing: As consumers become more eco-conscious, demand for sustainable and ethically produced clothing such as chikankari may increase. What is happening in the future Trends in the fashion industry, as well as consumer preferences, point to a different future for Chikankari. There is the possibility that: Fusion Wear: Combine chikankari and western fashion elements for unique outfits. Heritage promotion: The use of chikankari as a contemporary fashion can be a cultural promotion, especially among the youth. Technology integration: Technology can provide immersive shopping experiences such as virtual reality, allowing consumers to interact with artistic origins and stories. conclusion Chikankari House, an Indian heritage fortress plays an important role in traditional handloom weaving. It’s not just historical art preservation; It supports the livelihood of countless artists. Cultural Identity: Supporting Chikankari is like preserving an irreplaceable part of India’s cultural identity. Investing in Heritage: Each purchase of a chikankari is an investment in a tradition that has been handed down for generations. Call to action: Explore the timeless beauty of authentic chikankari embroidery. There is a story embedded in every thread. Sharing history of every purchase. Chikankari House is not just alive; it is adaptive, conquering, and moving forward to meet dog after dog adorned with canine charms. It invites us to be not only spectators but participants in the preservation of this complex art form.

The post House of Chikankari: Unveiling the Secrets Behind Exquisite Embroidery appeared first on Geeky Traveller.

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Duterte’s Victory Is Cry for Help From Those Left Behind in Philippines Expert comment sysadmin 12 May 2016

But large support for mainstream parties and a mature democratic system should keep the country from slipping back towards authoritarianism.

The victory of political outsider Rodrigo Duterte in the 2016 Philippines’ elections is proof that a significant minority of the country’s population feels left behind by its recent economic success and estranged from its political elite. However the results of the elections as a whole suggest that most voters opted for a continuation of the current government’s policies.

Duterte looks almost certain to be inaugurated as the next president of the Philippines on 30 June. The country’s presidential voting system – a single round, first-past-the-post election – delivered victory to a populist outsider with 39 per cent support. Two candidates advocating a continuation of the current government’s policies − the Liberal Party’s Mar Roxas and independent Grace Poe − polled a combined 45 per cent. The long-standing factionalism within Philippines elite politics split the ‘anti-Duterte’ vote.

Changing the conversation

The contrast between Duterte and Roxas could hardly be greater. Mar Roxas is the grandson of the first president of an independent Philippines, a graduate of Wharton Business School and a former investment banker in the US. Rodrigo Duterte is a political outsider with an electoral base geographically almost as far from Manila as is possible to get in the Philippines: the city of Davao on the island of Mindanao.

The story of Duterte’s victory is the story of how ‘Duterte managed to change the national conversation from poverty towards crime and corruption,’ says Marites Vitug, editor-at-large of one of the Philippines’ most popular online news sites, Rappler. In January, Duterte was running fourth in opinion polls but a strategy that positioned him as the only opponent to the Manila elite gave him victory. This is the first time a provincial official has made it to the top job.

The headline figures tell us that the Philippines’ economy has done very well under President Benigno Aquino. Between 2010 and 2014, growth averaged 6.3 per cent per year. That fell to a still-impressive 5.8 per cent last year but is expected to pick up this year and next, according to the Asian Development Bank. Growth in agriculture, however, is significantly slower and rural areas feel left behind. While economic growth is benefiting the majority, inequality is worsening and resentment rising in poor villages. The contrast between the metropolitan sophistication of the Makati district in Manila and life in faraway provinces such as Duterte’s Mindanao is widening.

Ironically the Philippines’ economic success is a part of the explanation for the defeat of the ‘mainstream’ presidential candidates. Crime and corruption may have become more important issues simply because more voters have become better off and therefore more likely to be concerned about crime and corruption than before. It’s also undeniable that Duterte has a record for getting things done. Human rights groups rightly criticize his (at best) tolerance of the extra-judicial killing of alleged criminals but his repeated re-election as mayor demonstrates that many citizens are prepared to accept that in exchange for improved personal security. A surprising number of Manila residents have actually moved to Davao because of its better quality of life.

Traditional power bases

However, the results as a whole suggest a narrow majority in favour of current policies. In the vice-presidential race, the Liberal Party candidate Leni Robredo is narrowly ahead of Ferdinand ‘Bongbong’ Marcos, the son of the eponymous former president. Like Duterte she is regarded as a successful mayor of a well-run city, Albay. Duterte’s running mate Alan Cayetano received just 14 per cent of the vote.

In the senate election, Liberals won five of the 12 seats being contested, with a party- backed independent winning a sixth. The opposition, even with boxing champion and national idol Manny Pacquiao running for the United Nationalist Alliance, won four.

Taken as a whole, the results show the enduring nature of traditional Philippines power bases. The country’s many islands and distinct linguistic and cultural regions are virtual fiefs in which families and big bosses can wield almost total power through control of local authorities, businesses, the courts and security forces.

Threat to democracy?

It’s easy to forget that the election of Ferdinand Marcos in 1965 was originally welcomed as a challenge to the traditional elites of Philippine politics. The same accolades are currently greeting Duterte. Could they presage a return to the Philippines’ bad old days?

This seems less likely. Philippine democracy has matured considerably since Marcos declared martial law in 1972. There is a substantial, and vocal, middle class with experience of mobilizing against ‘bad’ presidents. There will also be pressures from international investors and the Philippines’ treaty ally, the United States, for better governance.

The Philippines will chair the Association of Southeast Asian Nations next year. That will put Duterte in the international spotlight as host of several international meetings – including the East Asia Summit attended by, among others, the presidents of China, Russia and the US. Since his victory Duterte has promised to act with decorum in office and declared that his election campaign antics were just a ploy to attract attention. Some leaders in Southeast Asia will use his victory to buttress their arguments against allowing their people to freely vote. It’s up to Duterte to decide whether he wants to be an advertisement for – or an argument against – democracy.

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The Peacock Room at the Smithsonian’s National Museum of Asian Art has it all: friendship, betrayal, revenge, and… peacocks. Learn more about the iconic artist James McNeill Whistler and his shocking feud with patron Frederick Leyland in this new episode of National Treasure. --------- To learn more about the Peacock Room at Smithsonian's National Museum of Asian Art, read below: How Golden Peacocks on a Dining Room Wall Destroyed a Longstanding Friendship in Victorian Society https://www.smithsonianmag.com/smithsonian-institution/how-golden-peacocks-on-a-dining-room-wall-destroyed-a-longstanding-friendship-in-victorian-society-180984735/ Digital Editorial Director: Brian Wolly Director of Programming: Nicki Marko Supervising Producer & Scriptwriter: Michelle Mehrtens Producer & Editor: Sierra Theobald Motion Designer: Ricardo Jaimes

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