News Updates’Not A Habitual Offender’ : Delhi Court Grants Bail To ‘Pinjra Tod’ Activist Devangana Kalita In FIR Over Daryaganj CAA Protests Karan Tripathi2 Jun 2020 8:38 AMShare This – xA Delhi Court on Tuesday granted bail to Devangana Kalita, an activist of ‘Pinjra Tod’, in an FIR registered by Daryaganj police over anti-CAA protests held in December 2019. While granting bail, Duty MM Abhinav Pandey of Tihar Court Complex noted that the accused is not a habitual offender or a previous convict and all the other criminal proceedings pending against her relate to…Your free access to Live Law has expiredTo read the article, get a premium account.Your Subscription Supports Independent JournalismSubscription starts from ₹ 599+GST (For 6 Months)View PlansPremium account gives you:Unlimited access to Live Law Archives, Weekly/Monthly Digest, Exclusive Notifications, Comments.Reading experience of Ad Free Version, Petition Copies, Judgement/Order Copies.Subscribe NowAlready a subscriber?LoginA Delhi Court on Tuesday granted bail to Devangana Kalita, an activist of ‘Pinjra Tod’, in an FIR registered by Daryaganj police over anti-CAA protests held in December 2019. While granting bail, Duty MM Abhinav Pandey of Tihar Court Complex noted that the accused is not a habitual offender or a previous convict and all the other criminal proceedings pending against her relate to the similar incidents. The FIR had mentioned offences under sections 147,148,149,153A, 436, 437, 323, 325, 332, 362, 186, and 120B of the Indian Penal Code. While going through the records, the court observed that the CCTV footage also does not specifically show the accused to be involved in any violent activity. After perusing the medical report of the accused the court went on to highlight that: ‘Disclosure statement made before the police and the injuries on the accused reflected in the MLC which got conducted by the accused on her own accord, is not sufficient to make strong prima facie case so as to deny bail to the accused.’ The court also observed that the question as to whether the accused instigated mob violence or merely participated in a peaceful protest that later turned violent, will only be decided after appreciating the evidence at trial stage.Despite the bail, Kalita will not be able to secure release as she is under custody in relation to a case registered by Delhi Police crime branch alleging conspiracy behind Delhi riots.’Pinjra Tod’ activists Devangana Kalita (30) and Natasha Narwal (32) were arrested by Delhi Police on May 23 in relation to an FIR registered by Jafrabad police over the sit-in protests staged against CAA/NRC in February.Though the Magistrate granted them bail in the Jafrabad case observing that they were merely protesting without any violence, the Crime Branch immediately sought their arrest in relation to Delhi riots. Upon that, the Magistrate remanded them to 2-days custody of Crime Branch, which is being subsequently extended from time to time.Click Here To Download Order[Read Order] Next Story
– Advertisement – Yemoja crops up in my work a lot. I first discovered her when I was living in New York in the 1990s, trying to grapple with being a young mother and having a career — it felt like a real balancing act. I did a piece then called “Cool Maman,” who is balancing actual pots and pans on her head, all white enamelware. I see Yemoja as not only helping me in terms of patience and balance and child rearing but also as a watery, life-giving spirit who nourishes my creative process.For your “Topsy Turvy” show in 2018 at L.A. Louver, you turned Topsy, the enslaved character from “Uncle Tom’s Cabin,” into these fierce warrior girls. You even did a mixtape for the show, “Angry Songs for Angry Times.” How would you describe the source of your anger, and was it tricky for you to channel or unleash it?- Advertisement – – Advertisement – Conking is a type of hair processing where a lot of really toxic ingredients strip the hair of what makes it curl. Early on one of the ingredients was lye. By straightening her hair, this woman was eating the “lye” or “lie,” trying to separate herself from her African-American body, and that’s why I show her head separated from her body. I did a lot of severed heads at one point — I guess I’ve had anger in my work for a while.Do you think it’s fair to say that a survey of your work is also a survey of things Black women do to their hair?Yes [laughs]. I’m a little obsessed with hair. I think part of it is being biracial and very fair-skinned, to the point of being perceived as white; my hair is the one thing that feels like a real connection to my African-American ancestry. And much of my young life was spent going with my mother to salons and going through these hilarious, hair-straightening rituals with my cousins in the kitchen. These figures are defiant but tender; they are beautiful warriors. Do you think about that contradiction? – Advertisement – I think it’s always about a balance, and that comes back to the Yemoja character, balancing so much on her head. A lot of my life has been a balancing act between anger and a kind of serenity, and that’s also reflected in my process. I start by thinking about things, dreaming about things, but the actual work involves chain saws and hammers and knives and blades and a lot of bandages — I get cut a lot. The physical grappling with materials is very aggressive.You have a history of using scavenged materials, whether painting on seed sacks or sculpting with ceiling tin. When did you discover ceiling tin as a material, and what does it give you that you couldn’t get from more traditional mediums like stone or wood?When I moved to New York from Los Angeles in the ’80s, I had a job at the Studio Museum of Harlem, working as a sort of registrar before I became an artist in residence there. Walking to the museum, I saw all of this amazing ceiling tin out on the curb from people renovating townhouses. I would drag it into my studio. On the one hand, it covered up imperfections in the wood sculpture underneath — I was using wood from the dumpster that had holes and cracks. But it also created a kind of skin or armor. I loved the pattern because it reminded me of African scarification, which in some ways is an external biographer, telling us who you are married to or what group you belong to. Your new sculpture for Pomona shows Yemoja, the Yoruba goddess associated with childbirth and rivers, carrying a stack of heavy pails on her head. What does Yemoja represent to you? You come from a family of artists. Your mother is Betye Saar. Your father, Richard Saar, was a conservator and ceramist. Your sister Lezley Saar is an artist. Did you ever consider doing anything else for a living?I really wanted after high school to get out from under the shadow of my mother’s reputation. So when I was studying at Scripps, I worked with Dr. Samella Lewis and was looking to be an art historian specializing in the African diaspora and non-Western culture. I did a dual major: fine arts and art history. I just think, at the end of it, I felt I was better suited to making art than writing about it. It was more gratifying. It was something I had been trained to do all my life. Alison Saar likes to make sculptures of strong Black women standing their ground: broad shoulders, wide stance, unmovable in their convictions. She made a bronze monument of Harriet Tubman that presides over a traffic island at 122nd Street in Harlem. She created a small army of enslaved girls turned warriors, inspired by Harriet Beecher Stowe’s character Topsy for a major gallery show in Los Angeles. And now Ms. Saar, 64, has a new public sculpture on the Pomona College campus, commissioned by the Benton Museum of Art there: “Imbue,” a 12-foot-tall bronze evoking the Yoruba goddess Yemoja.“Imbue” accompanies her biggest museum survey yet, “Of Aether and Earthe,” which will be held in two venues: the Armory Center for the Arts in Pasadena, which plans to open its section in January; and the Benton, in Claremont, Calif., where her show is installed and ready to open when the state’s coronavirus guidelines allow. Below are edited excerpts from a conversation with the artist about her new show and ongoing obsessions. You recently made a benefit print honoring Black Lives Matter, titled “Rise,” which shows a woman making a power fist. Was there a particular source for your image?I looked at a lot of images of women from the Black Panther movement with their Afros and fists raised and then contemporized the hairstyle to say we’re still fighting the same battle. I didn’t want it to be one woman. I love Angela Davis, but there are a lot of other women that don’t get recognized, and I’m paying tribute to them all. Some people see the Black Panthers as militant and frightening. To me, the women were very much involved in education, free food, taking care of the elderly, these incredible community practices that are always being erased by the image of the guy holding the rifles. I’ve always wanted my work not to just be angry but point toward some resolution or express some optimism. But it’s been harder and harder to come up with something positive. After Obama was elected, we started seeing these horrible things bubbling up on social media — about growing watermelons at the White House or casting him and Michelle as monkeys.Since then, with Trump and the white supremacists, things have been getting even darker and more frightening. In “Topsy Turvy,” the last piece was “Jubilee,” a figure cutting her hair off and dancing, removing the social shackles and all the pain we are carrying around. But it’s still a painful piece in my eyes. I basically stopped worrying about putting out a positive message anymore; I felt that it was OK to express being furious. Printmaking is one of the most populist art forms, connected historically to ideas of accessibility and, at times, democracy. Do you see printmaking as a political tool?I’ve never really thought of my printmaking as political but very much about it being populist, accessible and affordable. I love the history of broadsides where people would print out a poem and plaster the city with them, and I’ve done a couple with poets. Your Benton show includes a disturbing sculpture, “Conked,” where a woman swallows her own long hair, made of wire. I take it the title refers to the old-school hair straightening process?
RelatedPosts Pirlo not out to copy anyone after Juventus’ comfortable opening win Super Eagles stars model new national team jersey EPL: Calvert-Lewin treble fires Everton past West Brom Alex Iwobi said he is “getting better every day” under the tutelage of Carlo Ancelotti – and the forward is keen to “get in on the act” after watching fellow widemen Theo Walcott and Bernard score in Everton’s past two games. Iwobi missed six weeks after injuring his hamstring against former club Arsenal back in December and confessed his period out “felt like a year”. He returned for Everton’s rollercoaster 3-2 victory at Watford this month – when Walcott struck the decisive goal in stoppage time – and is aiming for a start at his old Emirates Stadium stomping ground when the Blues tackle Arsenal on Sunday. And Iwobi insisted that the blend of Ancelotti’s individual coaching and the decorated manager’s preference for narrow wingers are combining to unlock the player’s attacking talent. “I have grown up playing on the left or as a number 10 and he has combined the two (in one position),” Iwobi told evertonfc.com. “It feels natural and I am comfortable in the system, it has been bringing the best from me in training. “The way he (Ancelotti) tells me to come inside is helping my body position, so I receive the ball in a better place (on the field). “It means my first touch takes me where I should go and I can come infield at the right time to be free and able to turn and play forward. “He is helping me a lot and I am benefiting in training. “I feel I am getting better every day with him.” Iwobi signed a five-year deal when he joined Everton from boyhood club Arsenal on transfer deadline day back in August. He has made 21 appearances and scored on his first two starts for the Club. The 23-year-old’s bright beginning to his Everton career was disrupted when he hurt himself early in the meeting with Arsenal on the day of Ancelotti’s appointment as boss.Tags: alex iwobiCarlo Ancelottieverton fcTheo WalcottWatford
May 8, 2000DesertKnights musicians and belly dancers perform on the Arcosanti stage at theColly Soleri Amphitheater. Photo by Yakov Leytush
Citation: Monsanto CEO and others to leave after Bayer takeover (2018, May 7) retrieved 18 July 2019 from https://phys.org/news/2018-05-monsanto-ceo-bayer-takeover.html Monsanto Chairman and CEO Hugh Grant will leave the company after it’s acquired by Germany’s Bayer AG. The St. Louis company said Monday that Grant will work to see the $57 billion deal through and oversee operations before it closes. Bayer expects the deal to close in the second quarter.A number of Monsanto’s top executives will depart with Grant as well.Monsanto shareholders approved a bid from the pharmaceutical and chemical business in December.Monsanto sells seeds and crop protection chemicals to the agricultural sector. Monsanto shares jump on report of US approval of Bayer deal This document is subject to copyright. Apart from any fair dealing for the purpose of private study or research, no part may be reproduced without the written permission. The content is provided for information purposes only. Explore further © 2018 The Associated Press. All rights reserved.