Sanon Wangsrangboon, deputy governor of Bangkok, says the festival is aimed at supporting Thai people of Indian descent. Moreover, it encourages Indian tourists to travel to Thailand by learning about the culture of Thai people of Indian descent.

The Thai capital only celebrates Chinese New Year, Songkran, and Christmas, he explained. No Indian festivals have ever been observed in Thailand, he said.

It is the perfect time to celebrate the 75th anniversary of diplomatic relations between Thailand and India by holding the Diwali festival this year. Phahurad, also called Little India, will be promoted as one of Bangkok’s prominent landmarks.

In particular, Lakshmi, the Hindu goddess of prosperity, is associated with the festival. This festival is popular among Hindus, Jains, and Buddhists. According to Hindu lunisolar calendars, the festival usually lasts five days between mid-October and mid-November.

The post Celebrate The Festival Of Light- Diwali in Bangkok For 3 Days Starting From October 21, 2022 appeared first on Indo Thai News Channel - Travel l Culture l News & Event l Food.

About

In Thai, “Sawang Sawai” means bright, and by continually connecting people to new experiences, we at SIWILAI aspire to shine a bright light of hope into the unknown future. Taking place from 3-27 March 2022, our latest initiative, SAWANG SAWAI SIWILAI, is an in-person community platform aimed at cultivating positivity, creativity, and conversation through the power of art and culture.

The multiweek art festival sees all SIWILAI venues (SIWILAI Store, SIWILAI Café, SIWILAI City Club and SIWILAI Sound Club) and designated areas throughout Central Embassy as well as Central: The Original Store in Charoenkrung, activated as living, breathing art spaces. Proudly presenting a nearly all-Thai artist roster, SAWANG SAWAI SIWILAI is a one-of-a-kind gathering, extensive and eclectic in its support and amplification of the local art scene.

Art and Culture

SIWILAI founder Barom Bhicharnchitr explains: “We at SIWILAI are conscious of the role we can play in promoting progress and positivity within our society and local communities. We strongly believe in the power of art and culture as vehicles of hope, of a future worth striving for, especially in the face of current circumstances. Therefore, we are honored to be able to provide a central platform where the works and voices of Thai artists can be more widely seen and heard.”

He continues: “One of the main objectives of SAWANG SAWAI SIWILAI is to spark new, dynamic ways of contemplating, appreciating, and engaging with art that is accessible to all. The festival also offers art collectors of all levels a unique opportunity to support homegrown talents by investing in one-off pieces that poignantly capture a defining moment in contemporary Thai art. In order to ensure a comprehensive representation of artists and artworks, SIWILAI has teamed up with three of the country’s leading contemporary art galleries to jointly curate this very special exhibition. Gallery VER, ARTIST+RUN, and Bangkok CityCity Gallery will be our co-hosts throughout this deep dive into the present and future of contemporary Thai art, bringing together some of the industry’s most influential and up-and-coming names.”

“Furthermore, we’ve collectively put together live events, workshops, and limited-edition collectibles created by the artists just for this occasion, providing infinite possibilities for everyone to experience art in their own unique way. We hope that SAWANG SAWAI SIWILAI will be just the first of many future endeavours doing its part to drive contemporary Thai art forward, domestically, and internationally—all the while, spreading happiness, hope, and inspiration through the power of art and culture.”

Festival

Founder of ARTIST+RUN, Angrit Ajchariyasophon adds: “An event like SAWANG SAWAI SIWILAI helps to create an open environment for collaboration and participation. The festival’s multifaceted format gives rise to fresh, exciting opportunities for experiencing contemporary art in a way that values freedom and creative critical thinking.”

For 25 days only, the public audience is invited into the private minds and personal processes of fifteen of the country’s foremost artists, including painters, sculptors, videographers, animators, installation artists, and performance artists. Rare as well as newly commissioned works from the likes of Rirkrit Tiravanija, Thaiwijit Puengkasemsomboon, Mit Jai Inn, Thasnai Sethaseree, Haritorn Akarapat, Jakkai Siributr, Eiji Sumi, Som Supaparinya, Korakrit Arunanondchai, Dhanut Tungsuwan, Harit Srikhao, Nutdanai Jitbunjong, Nuttapon Sawasdee, Saroot Supasuthivech, Alisa Chunchue and more are to be unveiled, many for the first time.

The festival’s theme of ‘Freedom’ takes inspiration from the graffitied artwork Untitled 2016 (freedom cannot be simulated/August 20, 2015) by Rirkrit Tiravanija, the Relational Aesthetics pioneer now widely recognized as one of the most influential artists of his generation. For SAWANG SAWAI SIWILAI, Rirkrit has created an interactive station in SIWILAI Store wherein participants can silkscreen and take home DIY T-shirts boldly bearing his piece’s namesake phrase, “Freedom cannot be simulated.’ For the artist, the text-on-T-shirt acts like a road sign, eliciting individualized responses that can be recontextualized depending on what is going on in our daily life. By wearing the T-shirts in public spaces, the text responds to the current situation where freedom has become increasingly suppressed.

Thaiwijit Puengkasemsomboon

Rikrit is joined by his internationally renowned contemporary, the abstract painter and sculptor, Thaiwijit Puengkasemsomboon who presents three sets of works that succinctly capture his whimsical-yet-functional aesthetics. Sawang Sawai Siwilai (2021) comprises abstract acrylic-based paintings created especially for this eponymous exhibition and utilizes the essence of bright lights as a metaphor for the hope for life. Soulid Ground (2021) features pots sculpted from scrap materials, housing Euphorbia plants selected by the artist himself. Adapted for survival in harsh, arid conditions, these beautiful, unusually shaped succulents are in themselves living sculptures made by nature. The Leftover (2020) is a series of small sculptures each made from steel and plastic to form the shape of a squatting chair. Like much of his work, these sculpted seats, while playful in appearance, speak to deeper concerns on the impact of manmade waste on the natural environment.

Mit Jai Inn

Yet another established name in the Thai art scene is painter Mit Jai Inn, whose works defy the conventional boundaries of painting. True to form, Mit’s creation for SAWANG SAWAI SIWILAI, titled Siam Rainbow Republic, disregards traditional methods of display. Unstretched, unframed two-sided paintings hang suspended in an open space, creating an area of freedom where viewers are invited to immerse themselves beneath without any confining walls. Created through a physically rigorous and repetitive labor cycle of mixing, applying, overlaying, and eroding pigments, his paintings don’t merely serve as an object of sight but are transformed into giant sunblinds. Constantly changing their colour based on the time of day, the site-specific pieces become an ever-evolving meditation on light and time.

Thasnai Sethaseree

In the realm of installation art, Thasnai Sethaseree’s  make it like home . . . anywhere? (2002 – 2014) comprises and contemplates on the personal effects and positive memories shared with the artist by Thai migrants living in Chicago. The work reveals the nagging tensions between the nostalgic image of a graceful past and the yearning for a dazzling future; the fight for a better life versus the longing to return home—a home that they used to know yet a home that they no longer belong to. Mixed feelings push migrants into making critical decisions where choices are few. This further reflects the crisis of life in the modern world in a broader sense where the constant of time is torn apart.

Haritorn Akarapat

Sculptor, Haritorn Akarapat, whose own commentary on the modern age and its effects on humankind can be seen in his large-scale work, On Human Nature (2016). In it, a series of hypnotic free-hand sculptures resembling human heads peer out menacingly at passers-by in a commercial setting. Their raw, almost repulsive expressions are in direct contrast to their glossy surroundings selling alluring images of parallel-dreamed lifestyles. His works seem to awaken viewers from the consumerist maze, reminding them of the dangers caused by modern-day delusions.

Jakkai Siributr

Initiated in 2021 during the COVID-19 lockdowns, Jakkai Siributr’s community art project Phayao-a-Porter continues to support the artisans of Phayao on their road towards economic recovery. What started as bespoke jackets commissioned by the artist’s friends—often bearing the likeness of their beloved pets—have evolved into one-of-a-kind wearable works of art, each one intricately embroidered by Phayao’s local seamstresses. In addition to fair wages, 30 percent of the sales of each jacket go back to the community as scholarships, welfare, and emergency funds. For SAWANG SAWAI SIWILAI, Jakkai will be creating a limited number of bespoke embroidered jackets with proceeds being unneled directly back into the community.

Eiji Sumi

The Tokyo-born-Bangkok-based visual artist, Eiji Sumi is known for his light-filled, interactive urban installations that merge art-science practices and social issues with his eclectic sensibility. Using the playground as a metaphor for exploring the political landscape, Here and There (2018) features a stage with a seesaw-like mechanism that plays with weight and gravity as per classical physics. Under the law of momentum, the beam structure needs ‘force’ to support the circular stage that inevitably has two sides that need to stay balanced. A commentary on Thailand’s societal and political history, the stage represents the situations where things aren’t always what they seem, where perceived solutions for some may be the source of problems for others. Furthermore, the stage’s round shape creates difficulty in deciphering left from right, giving rise to unclear directions or sides. Regardless of where we stand, on the stage or as a spectator, we are reminded that the differences depend on how we look at things. 

Som Supaparinya

Visual artist, Som Supaparinya, whoose more recent projects focus on the history and impact of human activities on other existences as well as landscapes presents 10 Places in Tokyo [RGB] (2021); a revision of the original 2016 version which featured video footage of the top ten locations in Tokyo that reportedly consumed the most electricity in 2010. Despite the Fukushima disaster in 2011, the city remains reliant on nuclear power, and in her polychromatic color videos, Som incorporates the effects of the atomic bomb on Hiroshima in 1945, which caused an enormous white flash in the sky. The space is also suffused with an eerie red glow as if making visible the hidden radioactivity from Fukushima. By combining two historical events that were triggered by nuclear technology, the work raises concerns over issues related to local and global energy demand and consumption.  

Korakrit Arunanondchai

Visual artist, filmmaker, and storyteller, Korakrit Arunanondchai employs a versatile practice to tell stories embedded in cultural transplantation and hybridity. He produces reality-bending, cross-sensory experiences spanning a multitude of mediums and subject matters primarily based on the lives of family members, friends, and colleagues as much as taking inspiration from local myths. Far from being a solitary artist, he has created videos, performances, and music with an extensive list of collaborators, as evident in his piece, There will be no music in this room, only scars left on the face of this planet, 2021. Alongside this, the artist has chosen to exhibit two additional video and performance based pieces. Taking its numerical name from the Buddhist calendar, ​Painting with History Archive – 2556 (2013)​ he weighs in on the age-old dispute as to what art is and what it is not, simultaneously illuminating on the artist’s own process of self-actualisation. Meanwhile, Painting with history in a room filled with people with funny names 3, 2015 ​centres around a conversation between ‘The Denim Painter’, an amalgamated representation of the artist, and ‘Chantri’, an omniscient spirit. Within his intimate letter to the latter, fragments of Korakirt’s thoughts on spirituality, technology, and geopolitics fuse to narrate his views towards contemporary society.

Dhanut Thungsuwan

Emerging artist, Dhanut Thungsuwan blends imagery and information gleaned from films, the Internet, and other modern-day media with fragments of his own memories, the two often becoming indistinguishable. His longtime love for sci-fi films, with their exciting escapades into far-flung dimensions, collides with personal experiences as a young creator existing in this era of hyperconnectivity and information overload wherein technological advances have become borderline invasive. What results are vivid oil-on-canvas paintings that are flatly, yet deftly applied with emotionally charged brushstrokes, juxtaposing familiar and outlandish images that traverse time and spaces.

Harit Srikhao

Upon discovering that much of his adolescent memories were built on media-spawned nationalistic propaganda, new gen artist, Harit Srikhao took to photography as an outlet for expressing his dismay. In Mt. Meru (2017), Harit uses surrealism and fetishism to create an alternate reality to that of Thailand’s political history between 2007-2010: one of intense political and social disruptions following the 2006 coup. Some photographs are recreations of iconic mythological imagery, while others feature unknown figures in gimp suits. Others still highlight the imposition of colonialism throughout the country’s history. These striking visuals ultimately raise questions on faith and morality in Thai society.

Nutdanai Jitbunjong

Nutdanai Jitbunjong uses a research-based and process-oriented artistic approach to explore power structures within the sociopolitical context. His Pillars Babel (2021) takes inspiration from the Tower of Babel, built in the second millennium B.C. in the ancient city of Babylon (present-day Iraq). The tall edifice aimed towards the heavens has become a well-known symbol of human ambition, one ultimately disrupted and brought down by God. As the origin myth goes, the city was never completed; its citizens were dispersed all over the earth, giving rise to different languages. Nutdanai’s version—comprising 112 con-blocks positioned circularly in the shape of a tower nearly touching the ceiling—similarly symbolises the ambition of the people to embark on the path towards true democracy and freedom of expression that has long been suppressed.

Nuttapon Sawasdee

Nuttapon Sawasdee works with diverse media, including film, sound, installation, and performance, to examine personal values and beliefs as well as current social issues. His sound installation, entitled Never wish to exist, yet never hope to disappear (2021), uses the soundscapes of various Bangkok-based locations to reflect the identity of said spaces where economics and politics overlap. The soundscapes vary greatly, ranging from the sound of people to the sound of poverty to the sound of anger to sounds that are sometimes inaudible. Conflictingly, while trying to save these sounds, the artist simultaneously wishes them to somehow disappear.

Saroot Supasuthivech

Mixed-media artist, Saroot Supasuthivech is interested in the oral histories and personal narratives of places that have never been recorded before. CCTV OF THE SECURITY GUARD (2019) builds upon the artist’s previous work, Security Guard (2017), a video installation exploring the memories of a security guard at the Bangkok Art and Culture Centre (BACC). Divided into multiple screens similar to a CCTV monitor, the footage recalls ghost stories and other tales of mystery encountered by the secret guard—this time with additional images that capture the after-hour emptiness from different areas throughout the art centre. The convergence of the site-specific history with the memories of the security guard evokes senses that the art centre as a living organism, while the CCTV footage naturally shifts the viewers to a surveilling point of view.

Alisa Chunchue

Alisa Chunchue’s works are an investigation into the body and self. By unearthing the unique essence of her chosen materials, be they synthetics or liquids, the visual artist enters into a deep exploration of the physical world at its most fundamental levels. Her site-responsive, public art project Muscle and Pharynx (2020-2021), situated at SIWILAI City Club, aims to merge art and everyday life. Focusing on the senses of touch and taste as primal, physiological human needs, the work consists of objects found in the artist’s home; pieces of jewellery, textiles, utensils, and bronze sculptures have been reinvented and cast in the shape of her mouth. The objects, created by Bangkok-based craftswomen, function as tableware with which diners-turned-participants can enjoy specially curated dishes and drinks while reflecting on the dichotomies of privacy and sociability, intimacy, and aloofness.

Emphasising immersive and interactive experiences, SAWANG SAWAI SIWILAI puts forth a four-weekend series of artist talks, workshops, musical performances, art tours, art markets, and food-and-art based collaborations. Highlights include a dinner dreamt up by two world-renowned creators, artist Rirkrit Tiravanija and chef, David Thompson; a night of live performances by artists Korakrit Arunanondchai and Dhanut Tungsuwan, together with their musical guests; a pasta-making masterclass by Nam Nam Pasta and Tapas, inspired by the works of Mit Jai Inn; a drawing workshop with illustrator, Juli Baker; and Thaiwijit Puengkasemsomboon’s takeover and transformation of the Siwilai Cafe into an artistically inspired ‘Soulid Ground’ Cafe. Plus, musical happenings and lively events from the likes of Quay Records, Horoza, and other creative collectives complete this comprehensive line-up.

Additionally, property developer AP THAILAND has transformed Central Embassy’s Level 4 gallery into ‘THE IDEAL WORLD STORE,’ a mixed-use concept space posing the profound question: “Are we suffering from forgetting how to dream of a better world?” Rather than proposing a singular answer, the interactive exhibition explores not one but millions of versions of the ideal world in which all lives can represent a form of ideal living, just in different ways.

Join us for this unprecedented gathering, taking place 3-27 March 2022 at all SIWILAI venues (SIWILAI Store, SIWILAI Café, SIWILAI City Club, and SIWILAI Sound Club) and designated areas throughout Central Embassy as well as Central: The Original Store in Charoenkrung. Entry to the festival is free of charge and open to all. To ensure the safety of all our participants, we will be stringently observing official COVID-19 health and safety protocols. For updates and additional information on festival happenings, including workshop and event schedules, be sure to follow www.facebook.com/SawangSawaiSiwilai

About SIWILAI

SIWILAI is a continuously forward-thinking multi-purpose platform that anticipates the ever-changing tastes of a cosmopolitan lifestyle. Offering from some of the world’s and local best-known brands, to fresh and locally sourced coffee, modern Thai and international cuisine and social experience, SIWILAI’s purpose is to be the centre of all things culturally relevant.

Our platform enables us to express our pride in what Thailand has to offer, whilst still being able to showcase the finer things in life from all corners of the world.

Whether it is the Store, Café, or Social Clubs, Siwilai is designed to capture the sense and style of an authentic, yet contemporary luxury lifestyle in a Thai way.

The post SAWANG SAWAI SIWILAI – A gathering of Art & Culture by SIWILAI appeared first on Indo Thai News Channel - Travel l Culture l News & Event l Food.

India is a developing country where tourism and entertainment avenues have been developing over the last few decades. As Indians, as we started to enjoy leisure parks and entertainment zones, aside from festivals (One great festival is Chhatt Puja) more and more such centers were established. I think a key example of this development in India is the Kingdom of Dreams in Gurgaon adjoining Delhi. I believe that this is India’s first theatre, leisure entertainment, and live entertainment destination. It is popular with locals in Delhi and Gurgaon and also popular with tourists visiting this region from India and from all over the world. This entertainment destination was inaugurated in 2010 and has since become a major attraction in Gurgaon over the last decade and a place that I found worth visiting. Kingdom of Dreams is located in Gurgaon over a spread of 6 acres of land and there are many fun attractions at these leisure destinations.

The Kingdom of Dreams – A Truly Indian Experience

This is a beautiful and truly authentic Indian leisure travel destination in India. I found it to be a one-stop destination to witness the different diverse cultures within India. Sampling the various cuisines of India and even getting a look at the famous Bollywood movies and musicals was a major attraction for me. It was like visiting a destination as a leisure and entertainment zone and getting a one-stop location to see a mini version of India. I would recommend the Kingdom of Dreams as a perfect weekend getaway destination in Gurgaon. The entire leisure destination is designed in such a way that it showcases the history and the culture of India. The following are some of the main attractions I found interesting at the Kingdom of Dreams in Gurgaon:

Nautanki Mahal

The main tourist attractions I saw in the Kingdom of Dreams in Gurgaon, is the Nautanki Mahal. This is a grand auditorium that has been designed like a grand palace. It regularly showcases original productions, musicals, and top Indian and international plays and musicals. I believe this is an interesting place to visit at Kingdom of Dreams as it provides a cinematic theatre experience for the audiences. The productions usually feature Indian culture, Bollywood, and I noticed that they are usually based on brilliant plots and stories. I was told that Nautanki theatre has productions that showcase world classical theatre, musical plays and Indian songs, and dance productions. I would recommend Zangoora – The Gypsy Prince, which is a play staged at Nautanki Mahal as it is an original live Bollywood Musical play that is performed here. I liked visiting the auditorium as it was palatial and also had a Maharaja Lounge which provided wonderful snacks and drinks during play intervals.

Showshaa Theatre

I was very excited to visit the Showshaa Theatre at the Kingdom of Dreams. This is a one of a kind multi-dimensional space that uses many theatrical modern types of equipment and special effects to create cinematic events and productions. The audiences have an option of retractable chairs, theatre-style seats and even round table setups that can seat 6 people at each table. This is a spectacular setting for an acrobatic sound and light show with special effects and beautiful productions which are regularly performed here. I like the technological brilliance as it has an advanced light and sound system. The Big Fly Entry at the beginning of the show itself set the stage for an epic display and it was truly a great tourist attraction at the Kingdom of Dreams. I enjoyed the spectacular display of revolving stages, projection screens and especially aerial technology which was breathtaking.

Culture Gully

India is a beautiful but extremely large country and it is difficult for tourists to travel the length and breadth of the country. I liked how Culture Gully at the Kingdom of Dreams has become a one-stop destination to see the culture and sample the cuisines of different regions of India. It is an air-conditioned indoor “Street of India” which means that it is filled with pavilions that display the culture and architecture of different states in India. I liked exploring every pavilion dedicated to different states of India and the Culture Gully is truly a vibrant depiction of Indian culture at the Kingdom of Dreams. It is a great shopping destination as well because authentic Indian souvenirs and handicrafts can be bought at Culture Gully.

I loved the themed restaurants that offer authentic cuisines from all over India, the beautiful arts and crafts villages of India, and the ethnic jewelry and ethnic home décor store. It is a great place to visit as I even enjoyed visiting the Mystic Center and the India Tea House and Library. There is a coffee shop and also many restaurants that offer Asian cuisine at Culture Gully. Indian Culture is on full display at the Culture Gully and the Carnival of Indian Folk Art and Dance which takes place here every day is something worth watching especially for tourists.

IIFA Buzz Cafe

International Indian Film Academy or IIFA Awards are very popular and seen throughout the world by Bollywood lovers all over the world. I am a Bollywood fan, a Hindi film lover and for me visiting the IIFA Buzz Café at the Kingdom of Dreams in Gurgaon was a remarkable experience. This place gives visitors a complete Bollywood experience. The café showcases thematic décor, props, music from the best films and also has special effects that make it a true Bollywood experience. The IIFA Buzz café in Kingdom of Dreams has been decorated using large Bollywood film posters, famous records, and memorabilia from celebrities and movies in Bollywood. This was a beautiful experience for me and many film enthusiasts found the IIFA buzz café extremely charming experience.

As mentioned above, the Kingdom of Dreams in Gurgaon was unique and once in a lifetime experience for me as tourists. There is something for everybody at this special leisure tourism destination in Gurgaon. It is a great place to visit near Delhi and is as popular with domestic and foreign tourists as it is with locals in Delhi and Gurgaon.

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The Culture, The Trend, and The Status Quo of Today

What comes to your mind when you hear about Indian Wedding? Off course, a rich cultural exhibition, variety of delicious food, a stately decorated venue, ethically and mesmerizingly attired groom and bride, and lots of dance. Yes, this is the norm of Indian wedding scenes.

Now, how about if I say that people can go to such length that they end up spending crores and crores of rupees, enlivening everything associated with the wedding as magnificent and grand as they can.

Also here is an article you might like: 10 shades of Indian Bride

Without further ado

Welcome to Big Fat Indian Weddings and the world of magnificence & Grandeur? 

What exactly you can call as a Big fat Indian Wedding?

Spotting a big fat wedding isn’t a rocket science after all. When you come across a wedding celebration that has everything written and presented in the utmost grandest way, millions and millions of spending incurred; this is a big fat wedding. And in India, it has turned out to be a way for affluent and wealthy people to show how much they can do for their family when it comes to their D-day, as well as to flaunt their riches.

These types of weddings have all things reflecting luxury, lavishness and extravagance. So, no worry that Indian wedding industry is in itself a very big industry, with world-class and famous wedding planners, decorators, caterers, clothing for Indian brides & grooms and jewellery designers (some of the big names in the industry), performers (even some Bollywood names grace their presence performing in such Indian weddings for a hefty fee) chefs and other vendors flourishing.

I have seen around and have been to a few such Big Fat Indian marriages, and the average spending can range from Rs. 8-10 crores to over a Rs. 100 crore. Big names, including industrialists, politicians, and celebrities, as well several other big guns in their societies possess the prowess and throws out such big wedding event affairs.

Explicit Aspects that Puts Big fat Indian Weddings Different than Other Normal Weddings

• Exotic Locales – Think of an Indian wedding, and you would understand why the even or the wedding location holds so much of significance. Big fat Indian weddings usually don’t take place in the normal venues, but some mega places like a huge palace, a stadium, a fort or private huge farmhouses. Just booking such venues is a big spend. Destinations weddings have also become popular in such a trend.
• Decor – Lavish and lavish. Yes, everything related to the venue décor, right from entrance to stage, and every basic element involved is a big splendour in itself.
• Attendees –Just like everything else grand, the number of guests invited is also huge. You can easily expect to see 4000-5000 people attending a big fat Indian wedding. And these includes some prominent names in the society, on the national and international level as well, depending on hosts’ links and who they are inviting.
• Food – As the food becomes the focal point of a wedding, usually and as there is a huge guest list involved, you can expect to find food delicacies in a wide variety and numbers, representing different food cultures and cuisines. And about drinks? Yes, you will easily get a feeling of a complete bar full with all types of different drink options. Even the serving of food and drinks is magnificent. Get a feel of what royal Indian food is like, read about the rich & royal Indian Rajasthani Thali
• Invitation Cards – For a middle-class person, the wedding invitation is all about getting the details on it and sending it across to contacts, at least possible expense as possible. But for affluent people, the wedding invitation is all about creating the bold statement right at the first impression. Right from gold embossed invitations with studded diamonds to other stately invitations, coupled with boxes of sweets, fruits and expensive gifts is a common method to invite people.
• Jewellery – What is an Indian wedding if there is no display of the jewellery, especially gold. Whether as cultural norm or for whatever other reason, gold usually takes up a large chunk of Indian wedding expenses. And big fat Indian weddings take this many steps further.

Apart from these, the gifts right from extravagant cars to, several other things presented to the Indian groom by the bride’s family is a sight to behold.

Some of the famous Biggest Fat Indian Weddings:

• Rohan Mehta and Roshni Khemlani wedding – Rs. 140 crore approx.
• Sanjay Hinduja and Anu Mahtani wedding – Rs. 125 crore approx.
• Seemanto Roy and Sushanto Roy’s wedding – Rs. 550 crore approx.
• Shrishti Mittal and Gulraj Behl wedding – Rs. 500 crore approx.
• Vanisha Mittal and Amit Bhatia wedding – Rs 220 crore approx.

Well, such whopping spends is the kind amount people dream of to earn throughout their life. And then there are affluent people who splurge this much on a single occasion.

So, what’s your take on big fat Indian weddings? Do you think that such spends are unnecessary? Give us your opinions on what you think of this culture that only seems to be getting bigger and fatter.

Loved this post? Why not Pin it for later!

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If you have ever been to Thailand or fond of going to a Thai restaurant or try the Thailand’s cultural cuisines, you would have definitely heard about or tried Pad Thai – the most popular Thai street food.

For you and for all other unversed about this dish, Pad Thai is Thailand’s national dish, a typical Thai street food, which is in the form of stir-fried noodle dish.

What Exactly is Pad Thai?

Pad Thai, basically is a stir-fried noodle dish that is made with egg, chopped tofu, and consists of ingredients like tamarind pulp, fish sauce, shallots, garlic, dried shrimp, palm sugar and red chilli pepper.  A variety of textures and umami flavours make this into a delicious meal which is often served with chopped roasted peanuts and lime wedges, resulting in a flavourful and tasty meal that is loved by everyone.

Origin of Pad-Thai

Pad Thai is a part of popular, globally present stir-fried noodles. Phibunsongkhram, also known as Phibun, who became Thai PM in 1938 is belied to have propagated the creation of a new national dish of Thailand, which ultimately resulted in Pad Thai. It is also believed that the rice shortage after World War II prompted the Thai government to encourage use of noodles which paved the way for making Pad Thai so much popular as it is now.

While Pad Thai was created in its simplest form, it was not long before different ingredients and textures were added to create varieties of Pad Thai dish. However, there are still many vendors around Thailand where you can find Pad Thai in its original recipe.

What is So Special About Pad Thai?

When I was on a trip to Thailand, as an avid foodie I wanted to experience everything indigenous what Thai culture had to offer me. This is when I heard about a popular saying from famous chef and Thailand native Nick Srisawat, “we try Pad Thai first, because that is a way to judge how good a restaurant is.” And as it turned out, I fell in love with Pad Thai from the very first beginning. I tried varieties of Pad Thai across different regions including the original recipe and one made with Chanburi rice noodles and crushed peanut, bean curd and egg. But the original and traditional one was what I loved the most, and I recommend it to everyone visiting Thailand.

Pad Thai is a special and staple street food in Thailand and is sold in city streets as well as in villages. It’s an easy-to-make dish and is usually found in 5 different flavours – salty, sweet, bitter, sour and spicy.

An interesting fact about Pad Thai is that although it is national dish in Thailand, this is inspired from Chinese stir-fried noodle food culture.

And for all those, wondering what is ‘Pad’ in Pad Thai; it actually means ‘fried’.

Some of the Popular Pad Thai Restaurants in Thailand

• Thip Samai (also known as Pratu Pee, meaning ‘ghost gate’)
• Baan Phadthai Restaurant
• Pad Thai Mae Am
• Sukhumvit Soi 38 Street
• Yaowarat Street (Chinatown)

So, whenever you are in Thailand, these places are a must visit for you to try some lip-smacking, delicious Thai national dish.

We also have packing tips for you if you’re planning to visit the wonderful country of Thailand.

The post What Exactly is Pad Thai? appeared first on Indo Thai News Channel - Travel l Culture l News & Event l Food.

The two-day World Trade Expo had 10 nation introductions and more than 2,000 B2B gatherings among 5,000 representatives. World Trade Expo is an astonishing stage to advance fares and interest in Maharashtra. The two-day event will generate cross-country collaboration through trade, technology transfer, investment, tourism and cultural exchange

Highlights:

Mr. Suresh Kakani, IAS, Vice Chairman and Managing Director, Maharashtra Airport Development Company Ltd, in his location expressed:

1. The vision of Government of Maharashtra is to make the express a favored goal for flying by 2025.
2. He has asked business people to tap the tremendous potential in the developing avionics industry of the state.
3. In the following five years, MADC means to create and work around six new air terminals in Tier – II and Tier – III urban communities of Maharashtra.
4. Shirdi Airport is the quickest developing air terminal in India; the traveler dealing with limit of the air terminal will twofold to 1.4 million in the coming years.
5. Mr. Kakani welcomed ventures to set up units at Asia’s biggest preparing SEZ, MIHAN, found contiguous the International air terminal in Nagpur.India’s driving flight organizations, for example, Tata Aviation, Dassault Reliance, Indammer, Air India and others have set up activities in this SEZ.

Mr. P. Mallikarjunaiah, Regional Director (Western Region), The Development Commissioner (Handicrafts), Ministry of Textile, Government of India referenced: “India’s rich handiwork area utilizes more than 60 lakh craftsmans crosswise over 32 significant artworks and in excess of 100 sub-makes that together fare USD 4 billion worth items yearly. In any case, India’s painstaking work sends out speak to barely 3% of world fares and subsequently there is incredible breadth for expanding our fares.”

The opening session of the Expo was by Ambassadors, Consular Corps, government authorities and agents of exchange and industry from around 30 nations. The Exhibition at the occasion included exchange advancement offices from in excess of 30 nations, 50 MNCs and numerous Indian organizations.

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