Banner front page headlines such as “Love at First Right”, “Rainbow Nation” and “Independence Day” greeted the verdict of the top court to strike down the heart of Section 377, a law introduced by British rulers in 1861.

Many said the five justices may have opened the doors to demands for greater civil rights for long-marginalised gays and lesbians, including same-sex marriage.

The conservative Hindu newspaper called the verdict “a reaffirmation of the right to love” and “a welcome depature from centuries of ‘hetero-normative’ thinking”.

The judges had “furthered the frontiers of personal freedom and liberated the idea of personal rights from the pressure of public opinion,” it added in an editorial.

The Hindusan Times warned that the lesbian, gay, bi-sexual, transgender community will still face condemnation from their families and colleagues.

“Harassment and violence will continue to occur,” it warned.

“But if the long legal battle and the courage of queer people and communities are anything to go by, this fight for equal rights will not end. It will grow even stronger now that even the apex court has said there is no going back.”

Amid pictures of celebrating activists, Google India put out a rainbow flag on its homepage and Facebook changed its display picture to a multi-hued icon.

The United Nations and rights activists around the world gave Twitter support to the Supreme Court ruling.

But Prime Minister Narendra Modi’s right-wing government has yet to make a comment on the ruling.

Modi’s administration had initially opposed dismantling Section 377, though in July government lawyers said they would give in to the “wisdom” of the top court.

Justice D.Y. Chandrachud said the government should have taken a categorical stand one way or the other instead of being ambivalent, the Hindu newspaper reported the judge as saying.

The Indian Express daily said the ruling Bharatiya Janata Party’s silence on the issue was “deafening” and “deceptive”.

India’s main opposition Congress and other small regional parties have welcomed the verdict.

The BJP’s ideological Hindu nationalist backer, the Rashtriya Swayamsevak Sangh (RSS), said it does not consider homosexuality a crime but it did not support same-sex relations.

“Traditionally, Indian society does not accept such relations,” it said in a statement.

Pride mingled with nervousness yesterday afternoon as five Thai writers gathered at the Dusit Thani Hall of Dusit Thani Hotel to receive royal shields of Her Royal Highness Princess Maha Chakri Sirindhorn in recognition of their victory at the 15th Seven Book Awards.

“I’m delighted that these Seven Book Awards have been so well received by both authors and the reading public that we are now in our 15th year,” says Suwit Kingkaew, senior vice president of CP All.

“This recognition aims to encourage good reading and writing habits and take our country another step forward on the road to the development of the country. It is consistent with our policy of promoting education and developing young people.”

Nirunsak Boonchan, Prof Dr Ruenruthai Sujjapun, Niwat Tarapan, Naowarat Pongpaiboon, Assoc Prof Supannee Varatorn, and Prof Keerati Boonjua, the judges for the 15th Seven Book Awards.

These winners, who also receive Bt100,000 in cash, are Pornchai Saenyamoon, aka Good G, for his poetry collection “Jai Pajjuban”; Prachakom Lunachai for his novel “Nai Kupdak Lae Klang Wonglom”; Kajchakul Kaewkate for his cartoon “The Things Behind That Door: Thuk Yang Muean Pueng Kerd Khuen Muea Wan”; Khunkhao Sinthusen Khejornbutr for the young-adult fiction “Assawin Utu Kap Pisaj Thang 8”, and Green World Foundation chairperson Saranarat Kanjanavanit for her documentarystyle book “City Sight – Muang Thi Mong Mai Hen”.

“Most of the poetry submitted for the awards had strong content and a good writing style, clearly demonstrating the development of the author’s thoughts. Every year, we see good poems and books. What we lack is quality literature and readers,” says well-known poet Naowarat Pongpai boon, judge of the poetry category, which saw Khongrak Khampairoj’s “Nai Ta Rudo Kaln” and Long Jongrawee’s “Suan Duangjai” come in second and third place.

“Jai Pajjuban”

“It is a very important stage to encourage and develop writers of all literary genres as well as publishers and readers. These three novels are outstanding with their different types of writing styles. When we talk about deep-sea fishing, the name Prachakom Lunachai always springs to mind. Like his previous books ‘Fang Sangchan’, ‘Khon Kham Fun’, ‘Klang Thalay Luek’ and ‘Thiew Ruea Sudthai’, ‘Nai Kupdak Lae Klang Wonglom’ also tells the story of men going deep-sea fishing but it is very different from his other works because the main characters are disabled and have no fishing experience. The story reveals how these disabled people struggle to live by fishing and how they steer their boat through the many obstacles they face. Their success doesn’t depend on their boat or their equipment but on their ability, skills, experience, and knowledge. This novel is a fun read about a depressing subject,” says Prof Dr Ruenruthai Sujja pun, a judge in the novel category.

“Nai Kupdak Lae Klang Wonglom”

Dr Ruenruthai was also impressed by the works of the first and second runnersup. The main character in “Nee Khue Sing Samkan”, which dwells on capitalism and consumerism, tries to rebel against both but learns how to live with them in his own way. “Khon Nai Nithan”, meanwhile, is based on local wisdom, thought and folk culture and offers a look at community and original agriculture.

“‘The Things Behind That Door’ is about a girl who finds a secret door and discovers many monsters behind it. After passing through the door, however, she realises that friendship doesn’t always come with a beautiful face. And when she grows up, she finds that no matter how good or bad society is, there is one person still standing beside her,” comments Niwat Tarapan, the judge of the comic book (cartoon) category.

“Assawin Utu Kap Pisaj Thang 8”

The runnersup in this segment are Sirin’s “Phi Tesakan” and “Phra Chao 500 Charti” by Om Rajawet, Manas Hasadam, Karin Hukkhunthod, Romrat Rajawet, Pornthep Chookul and Krij.

“‘Phi Tesakan’ is beautifully done in terms of the line drawing and in the way several ghost-related festivals are presented. ‘Phra Chao 500 Charti’, meanwhile, is about the past lives of the Buddha such as Brahma, Dhevada, and a lion who used his morals and intelligence to solve several problems. Again it is beautifully drawn in traditional Thai style.”

Nirunsak Boonchan, one of the judges responsible for the short story category, is pleased to see new and professional writers emerging in a world where print media is all but disappearing. He is also grateful that the Seven Book Awards offer a stage for writers to show their work. Nineteen short stories were submitted this year but none was felt to be appropriate for the winning prize. Nirunsak therefore named Pongwut Sujichakorn’s “Luemta Tuen Aik Khrang …  Nai Wela Un Somkuan” and Pakarang’s “Dekchai Thi Plom Tua Pen Nangsue Dokmai Lae Uen” as the first and sec¬ond runnersup.

“The Things Behind That Door: Thuk Yang Muean Pueng Kerd Khuen Muea Wan”

“The former is penned by a new generation writer who has a talent for interpreting social problems. He shows off his individual writing style by satirising society. The latter work has eight short stories, each based on a different boy. I like it because it brings to the fore the sentiments of kids that adults should acknowledge and under¬stand,” explains Nirunsak.

Assoc Prof Supannee Varatorn selected “Assawin Utu Kap Pisaj Thang 8” by Khunkhao Sinthusen Khejorn butr as the best youngadult fiction, and Ngamphan Vejjachiwa’s “Loke Khong Mod Dang Kap Tangkwa (Aoey Duay)” and Choti Srisuwan’s “Bueng Nam Haeng” as the runnersup.

“‘Assawin Utu Kap Pisaj Thang 8’ is like a fairytale portraying the eight bad habits of man that are transformed into eight monsters and observed by an assawin [warrior]. Anger is depict¬ed as a monster with red eyes, hatred as a monster with black eyes, and fear as a  monster with white eyes. Finally, the warrior can win over all eight mon¬sters with consciousness and concen¬tration.

“City Sight – Muang Thi Mong Mai Hen”

“‘Loke Khong Mod Dang Kap Tangkwa (Aoey Duay)” is a reflection on society in the era of technology. The author is telling us that people who are fascinated by technology tend to be far away from nature. We should live together with technology and nature. ‘Bueng Nam Haeng’ is about several species of animals, led by the common teal. It teaches us more about nature and animals and is also entertaining.”

Prof Keerati Boonjua is happy to talk about the winning documentary book and the first runnerup – New Klom’s “Himalai Mai Mee Jing”, which share a similar theme. He chose Sujane Kaprit’s “2310 Aowasan Krung Sri” as the second runnerup.

“‘City Sight’ is based on the author’s thoughts and analysis of nature. Mankind is the greatest enemy of nature, as nature never dies. If we destroy nature, it will pay us back with several natural disasters. The book is about the environment in the city that balances life and nature and while instructive, it is also easy to read. In ‘Himalai’, the author argues against the common perception that climbers attempt to reach the top of the Himalayan range to conquer nature. He suggests that we should go there in order to study and understand nature, then build harmony with nature. Men should be a part of nature, not its enemy.”

In their art installation, Rotganzen dives into the symbolic meanings behind the little bits of coloured paper so often used for celebrations and traditions around the world. They express how the papers themselves are symbols for magic, joy and community. By oversizing them and integrating them into the space and architecture of 72 Courtyard, the designers explore what it’s like to magnify the moments of pure bliss that we have all experienced in one form or another.

Join the designers Robin Stam and Joeri Horstink behind the creation on September 15, as they launch the installation with a confetti bar themed party by Johnnie Walker, complete with aperitivos and complimentary confetti cocktails from 5pm onwards. They’ll be joined by DJs Guyboy and Supersonic, spinning their best beats throughout the whole event.

Established in 2009, Rotganzen is managed by designers Robin Stam and Joeri Horstink, together with managing partner Erik Schilp. The collective aims to build a bridge between art and design by finding the extraordinary in ordinary everyday objects and scenarios. Their work guarantees to catch the viewer by surprise both visually and conceptually, urging us to constantly question life and the world around us.

72 Courtyard is home to craft beer specialist Beer Belly, Japanese gastropub Lucky Fish, tapas joint Toro and the nightclub Beam.

Find out more by calling  (02) 392 7999 or visit Facebook/72courtyard.

A range of activities has been developed to aid in self-reflection, ensuring clarity and precision in the way people regard themselves.

“Mirror and Self: Look to Discover” on G Floor involves peering into nine different types of mirrors, each one reflecting a different dimension of the observer. The exercise helps you see yourself in ways that other people see you.

Components are mixed to create distinctive portrayals, but only you can decide which of the nine images is the most accurate depiction.

“The David’s: Answer to Discover” on the second floor tests whether you can be honest with yourself through a series of questions posed by a replica of Michelangelo’s famed statue of David. You use augmented-reality stickers to express your answers.

Part of the fun is finding out if there are individuals with similar combinations of thoughts to yours.

On the first floor is “Who exactly are you? Explore to Discover”. Here, more questions await your responses, this time probing your interests and preferences. Interactive devices are used to answer the psychologically challenging questions and an LED screen will form a likeness of your character, based on your replies, recommending the styles that suit you.

“Eyes: Look to Discover” on the fourth floor poses a significant question: “When was the last time you saw yourself in the closest and the clearest way?”

You peer through a microscope and your eyeballs appear massively magnified on a large projection screen. Are your eyes really the windows to your soul?

There are also inspiring “self-talk” sessions with guest speakers sharing their personal stories of self-discovers. On September 9 at 3pm, Anont Thitiprasert will be relating how he became Thailand’s first World Latte Art Champion.

A world-class gaming team is also lined up, as is Peetachai Dechkraisak, founder of Siam Organic and “Chivas Venture” winner.

A new application that aims to upgrade the Thai textile industry was launched late last month at Quaint on Sukhumvit Soi 61 and is already delighting those who can’t resist the Kingdom’s fabrics by serving as a sort of online catalogue.

The Colour ID Labelling app is part of the “Adding Value to Natural Coloured Handwoven Fabric” project being run by the Department of Science Service.

“Our aim was for natural coloured handwoven fabrics to gain a wider following, especially among designers who want to make clothing out of Thai fabric. Each maker of textile has its own signature in fabric weaving and colouring so for the app we use a scientific technique to indicate the shade in international colour code format. That allows users of the app to select the colour they require more conveniently and directly place an order from one of the manufacturing sites provided on the app. We hope it will increase the capability of Thai textile enterprises in Thailand to attain recognition globally,” the department’s director general Umaporn Sukmoung said at the launch.

The app offers the natural coloured handwoven textiles from the 20 best sources in 6 provinces, namely Sakon Nakhon, Nakhon Phanom, Mukdahan, Chaiyaphum, Buriram, and Surin. Each category is identified through the different colour shades according to the materials and ingredients used in the colouring procedure and combined with QR and AR code technology that displays the production process in both stills and video format.

The majority of the producers hail from Sakon Nakhon and include the Textile Village of Phuthai Runni, the Textile Village of Ban Lao Yai, Women’s Community Enterprise Moo 8, Community Enterprise of Indigo Dye in Ban Choeng Doy, Mae Thongsiri’s second Women’s Textile Weaving Group, the Indigo Dye Group of Ban Nong Krong, the Indigo Dye Group of Ban Nakham, Ban Panna Natural Coloured Textile Group, and the Loom Woven Textile Group of Ban Na Ngua.

Nakhon Phanom’s sources are listed as the Ban Na Koy Self-Sufficient Village Learning Centre, and Ban Khok Saad Women’s Cotton Textile Weaving Group; Mukdahan offers the Mae Wiang Ban Kam Aa-Haun Group, the Ban Khun Ya Hand Woven Fabric Group, and the Silk Community Enterprise Group of Ban Phu and Surin has the Ancient Mudmee Hol in Natural Colour, Natural Colour Silk from Bandu, and Ban Rangol Silk.

Hailing from Chaiyaphum are the Nong Bua Daeng Community Enterprise of Natural Coloured Textile, and the Sericulture Village of Ban Kwao subDistrict; and bringing up the rear is Na Pho District Handicraft Centre in Buriram.

The launch included an exhibition of exquisite natural dye Thai textiles along with a fashion show showcasing Nadyn Jadyn’s designer and creative director Nattiya Sooksathan’s “Blue Voyage and Passage of Petals” collection inspired by the flowing river and Illuminated Boat Procession ceremony of Northeast Thailand, which uses flower petals and heartwoods as the dyes. A special outfit from the same collection was also part of the exhibition and, like the other clothes in the collection, transmitted the flow of the river through a combination of geometric shapes and pleats. Texture was added through the use of natural linen fabric making it ideal for daily wear and the ensemble was completed with the traditional Thai shawl.

Nattiya’s creations received loud applause from the designers and celebrities in the audience, among them Pattarat Ardwong, Pimsiri Nakswasdi, Arisa Aswanichakorn, Amata-Pasara Chittasenee, Yuwared Sarutanond, Dr Thitiporn Sanguanpiyapan, Nattakorn Choonhavan, Natprapa Choonhavan, Karuna Vatchanaphukka, Pavenelak Limpichart, Siripa Intavichein, Wanchana Eiampikul, Pattaporn Salirathwipak, Pattapan Salirathwipak, Chaninthida Chantarubeksa, Kittinan Tungsirimanakul, Pipatchara Kaeojinda and Vichada Poolphol.

“I had the opportunity to experience the way of life of the people in Isaan and saw for myself how determined the weavers are to preserve traditional Thai wisdom and their elaborate craftsmanship. I want to present this experience in my own style and used my favourite pieces of textile in modern outfits. I wore a pink dress made of Mudmee fabric when I went to India and received many compliments and requests for photos,” said Amata, who is better known as fashionista Pearypie.

Chaninthida too loves Thai textiles and studied them for a while. “My favourite is a fabric fermented in mud because it’s so comfortable to wear. I make trousers or skirts and match them with an ordinary top or make accessories such as headbands and shawls from Thai fabric. I’m particularly interested in fabric with distinctive patterns. On special occasions like religious events or meetings with senior relatives, I always wear Thai fabric and feel so proud when people give positive feedback,” she said.

Yuwared says the unique charm of Thai textile is that it looks appropriate and refined. “I recently wore costume from Thai fabric when I met the Supreme Patriarch. My favourite textile is mudmee silk because of the variety of patterns. The fabric is so versatile, it can be styled in a fashionable way by matching a silk skirt with a chic shirt and complete the look with a purse made from Thai fabric,” she said.

“I grew up with Thai textiles as my mother [Pimpawan Limpichart] wore them a lot. I’ve followed in her footsteps and use Thai fabrics for a casual and wearable look. I prefer simple natural coloured textiles without a pattern for trousers and wear them with a sleeveless top and crafted silver pieces. I wore this style of costume to a fashion show in England, and many foreigners became very interested in Thai textiles,” said Pavenelak.

The Color ID Labeling app – note the American spelling – is available for download now via App Store and Play Store.

It revolves around specific individual wellness goals, supported by alternative therapies and rituals, enriching fitness and lifestyle activities, healthy eating plans, a dedication to pure, authentic ingredients and specially designed spaces for relaxation and reflection.

“With an intense focus on offering truly personalised wellness, Asaya guests experience a hands-on, carefully curated and intuitively guided experience that unlocks the possibilities to achieve their specific goals,” says Niamh O’Connell, Rosewood’s group vice president.

Based on personal wellness, fitness and nutrition, Asaya offers six customizable one to 14-day wellness retreats that are designed to promote mindful eating, ideal balance, healthy sleep, inner peace, meditation and yoga immersion to help guests re-engage with any loss of synergy and balance in their life.

The options include Chi Nei Tsang therapy, a synergy of Chinese and Thai massage and meditation techniques to guide the healing energy flow throughout the system, Watsu therapy, Reiki healing, Life Force therapy and Chakra Balancing sound therapy to help guests achieve balanced energy.

All individual treatments or personalised programs are curated by resident wellness practitioner Steve Harvey, who has treated some of the most recognisable names in Hollywood as well as top athletes and high-performing executives.

“Wellness-conscious guests are looking for more than a traditional spa and want to explore deeper realms of holistic well-being for the body, mind, and spirit,” says Harvey.

“We strive to help guests achieve a more profound self-understanding so that they can more easily embrace self-acceptance and in turn be guided on their own path to true wellness.”

Asaya is set within charming gardens that offer guests a sensory experience, transitioning from the sweet fragrances of jasmine and gardenia to refreshing and energising lemongrass and Thai mint scents further into the grounds.

The garden’s red and sweet basil, kaffir lime, lemon balm, murraya koenigii (Thai curry leaf) and pandanus ingredients are crushed and blended into individual recipes for use in customised scrubs, wraps, masks and herbal compresses.

Guests can choose their medicinal herbs and help prepare these mixtures. The fresh Thai healing herbs are also incorporated into powerful aromatic oils that are used in Asaya Atelier Body Path rituals to encourage deep relaxation, energy, mental clarity, relaxation, detox or muscle release, and are also applied in traditional Thai, deep tissue and foot massages.

The spa offers both indoor and outdoor spaces including several open-air areas for relaxation before and after treatments or for energy rebalancing at a daily Tibetan singing bowls ritual. Each of five double treatment suites features an outdoor relaxation area with rain shower and deep soaking tub.

The Signature Asaya Villa is an ideal setting for couples or small groups of friends to heighten their emotional connection and includes a spacious double treatment room, Watsu pool, Himalayan salt sauna with steam shower, oversized day bed, outdoor private Yoga Sala, and al fresco soaking tub and rain shower.

Guests can enjoy a tailored selection of drinks and indigenous light bites to complement their wellness journey. Also on offer are yoga, meditation and mat pilates in the tranquil beachfront gardens and High Intensity Interval Training (HIIT) on the secluded shore by Emerald Bay.

Find out more at RosewoodHotels.com/phuket

Nishimoto took up photography in her 70s and now has more than 130,000 followers on Instagram. “A camera is a wonderful tool for enjoying life,” she said with a playful smile.

She takes many of her creative photos using the self-timer on a single-lens reflex camera, then edits and arranges them on a computer. She’s turned one room of the house where she lives alone into a studio.

Some of her more “active” shots have her running at the same speed as a vehicle and hanging from a laundry pole. “Actually, I have a bad back and can’t move very well,” she said.

Born in Brazil to a family of Japanese immigrants, Nishimoto was the second-oldest daughter of seven siblings. Her family returned to Japan when she was 8 years old. After managing a beauty salon in Kumamoto and doing other jobs, she married a civil servant and raised three children. Her husband died in 2012 at age 86.

SLIDE 1 OF 1

The Yomiuri Shimbun

“I want to keep taking pictures forever,” Nishimoto said in her son’s studio in Kumamoto.

Nishimoto’s date with photographic destiny came at age 72. A friend encouraged her to take a photography course being supervised by her oldest son, Kazutami, who’s a graphic designer.

Although she showed little skill, Nishimoto felt that looking through the viewfinder gave her a glimpse into a different world. She was hooked. “Even if I’m bedridden, I’ll keep taking pictures of the ceiling,” she said.

One of the assignments during the course was to take a self-portrait. Wanting to do something fun, she took a picture of herself with pens up her nose. Her friend and others liked it, and a fascination with selfies was born.

She learned how to use a computer and imaging-processing technology.

At age 82, she had her first solo exhibition at the Kumamoto Prefectural Museum of Art Chibajo Branch. In 2016, a photo essay book titled “Hitori Janakayo” (Not alone) was published by Asukashinsha Publishing Co.

Her Instagram account gets positive comments from all over the world, and 16,000 people came to a solo exhibition in Tokyo’s Shinjuku Ward in December and January.

This year the magazine “Tsuhan Seikatsu” published a feature on her called “Jidori no Kimi-chan” (Selfie lover Kimi-chan). It also featured her in a TV commercial.

Nishimoto was shown using a tea kettle as a curling stone, inspired by the performance of the Japanese women’s curling team at the Pyeongchang Winter Olympics. A member of the magazine’s editorial department said they chose to feature Nishimoto because “we were moved by her appeal, which doesn’t make you feel her age.”

“She doesn’t have any particular talent. It’s like all kinds of ideas come to her as she’s enjoying taking pictures,” said son Kazutami.

“I guess my age got away from me. It makes me happy when I see the faces of people who like my photos,” Nishimoto said.

Thailand’s traditional high-art performance of khon staged by the Support Foundation under the royal patronage of Her Majesty Queen Sirikit of King Rama IX returns to the stage in November after being put on hold for the last two years due to the death of the monarch.

This year, the foundation is presenting the “The Allegiance of Phiphek” episode of the Ramayana epic, portraying the significance of loyalty, honesty, and moral excellence in a nod to the tenth edition of the annual show.

Since its inception in 2007, the Royal Khon Performance as it used to be known, has put on seven episodes of the Ramakian, as the Ramayana is known in Thai, starting with “The Battle of Phrommas” and continuing with “Nangloy or the Floating Lady”, “The Battle of Maiyarap”, “Jong Tanon”, “The Battle of Kumphakan: Mokkasak”, “The Battle of Indrajit: Nagabas”, and “The Battle of Indrajit: Phrommas”.

The press conference was held on Tuesday and an excerpt from the new show performed at Thailand’s Cultural Centre’s small hall and offered an advance taste of what local audiences can enjoy come November.

Khon is a genre of Thai classical dance drama and a complex art form that embodies the comprehensive knowledge of many interrelated arts, among them refined and elaborate masks and costumes, magnificent props and set, graceful dancing postures and more. It is a unique cultural heritage that had been practised and transmitted through the successive courts since the Ayutthaya period. The story of “Rama” or “Phra Ram”, one of the incarnations of Vishnu, has inspired much of Thai literature.

This great tale, which predates Buddhism, was made popular in India by the rishi poet, Valmiki, who wrote the epic of the Ramayana, based on the original story. The Ramayana story became so well known that it extended to Southeast Asia, being picked up by Indonesia, Malaysia, Myanmar, Laos, Cambodia and Thailand. Each country took into account its native literature and the story and characters were adapted to the beliefs, cultures and characteristics of each locality. As a consequence, the story of Ramakien in each country varies to a greater or lesser degree from Valmiki’s original Ramayana epic. In Thailand there are many versions of the “Ramakien” scripts – the poem, the lyrics, and the narratives written by King Rama I, King Rama II, and King Rama VI.

Part of “The Allegiance of Phiphek” episode was performed on an outdoor stage during last year’s Royal Cremation but now audiences can enjoy the story in its entirety.

Artistic director, Pramet Boonyachai, explains that the script for this year’s performance has been reconstructed from several previous compositions including those of Kings Rama I, II and VI, as well as from the foundation’s previously performed version. The music and accompanying songs have been carefully selected for the performance.

Act I: Subin Nimit, which is divided into five scenes, sees Phiphek being sent into exile, his farewell to his wife and daughter, the exile proper, his meeting with Nilaek, the Monkey Commander, and his allegiance to Phra Ram.

Act II has four scenes: the Monthop ledge at the end of war, the battlefield, the tying of Todsakanth’s hair, and the Kabilaphat Spear.

“Phiphek played a major role in advising Phra Ram as he fought against Tosakanth, the Demon King of Longka. However, he has never been in the spotlight, so this time we would like to introduce him to the audience. He is the only demon in Phra Ram’s troops and even though he is a younger brother of Tosakanth, his honesty and great virtue won him Phra Ram’s trust. In terms of the war strategy, this character is considered very important,” he explains.

Phiphek was an avatar of the god Vessuyan, commanded by the supreme god Siva to support Phra Ram in the fight against evil. He was adept at astrology, with the gift of accurate prophecy. When Tosakanth began having bad dreams, he consulted Phiphek about them. Phiphek related that the dream foretold a terrible war for the demons and that he should return Sita to Phra Ram. The suggestion made Tosakanth angry, and as a result, he chased Phiphek out of the city. Phiphek afterwards changed sides and pledged his loyalty to Phra Ram and soon became the astrologer of the army. He swore he would serve and advise only Phra Ram. With Tosakanth’s plans sabotaged, he marched his army to battle again, this time to kill Phiphek but Phra Ram was aware of the plot, and assigned his brother Phra Lak to protect Phiphek.

Phiphek wore a green costume, had one face and two arms. His masked headgear takes the form of a round bottle gourd, while his weapon is a mace. He was crowned the fourth King of Longka after the death of Tosakanth by Phra Ram.

“Over the past decade, the khon performance by the Support Foundation has seen great improvement. We spent four years in the research and development of the production before staging the first episode in 2007,” Pramet explains.

“We received a great deal of feedback from both Her Majesty the Queen and Her Royal Highness Princess Maha Chakri Sirindhorn as well as general public. For example, the connectivity between Act I and Act II should have better and smoother. We also became even more careful in our attention to detail, introducing exquisite props and sets created by Sudsakorn Chaisem. This time the audience will see the magnificent sailing boat on stage, which has never been done for a khon performance.

“My research has shown that there are the differences in the manner of Phiphek’s exile from Longka. In the versions of Kings Rama I and VI, he flew but in King Rama II’s version, Phiphek sailed to see Phra Ram,” he explains.

“Meanwhile for the music, there are two highlights, the “Wa” and the “Sathukarn” songs. Normally, the Wa song has only melody but we have discovered that lyrics were written. The Sathukarn song was composed during the reign of King Rama VI at Suan Kularp Palace and we’ll perform this as the ceremonial song for the Queen.”

Every year, in keeping with the goal of preserving the national heritage, young performers are invited to audition for the cast. Two years ago those auditions drew a record number of students from dramatic arts institutes and of the 772 applications received, 26 youngsters won scholarships and the chance to participate in the grand performance as the main cast and will at last be able to show off their skills.

“As the feedback appears to be even greater than in previous years. I’d like to encourage everyone to reserve tickets now as the show will only run for one month,” adds Thanpuying Charungjit Teekara, Her Majesty Queen Sirikit’s private secretary and chairperson of the Khon Performance.

“The Khon Performance by the Support Foundation has not only integrated and supported many kinds of traditional arts but is also supporting local artists as well as artists within the foundation. Her Majesty has always praised Thai people for having artistry in their blood and thus wished to preserve our traditional, rich heritage,” she adds.

Wonders of khon return

– The Khon Performance by the Support Foundation will run from November 3 to December 5 at the Thailand Cultural Centre.

– Tickets cost Bt420, Bt620, Bt820, Bt1,020, Bt1,520 and Bt1,820 for public rounds and Bt220 for student rounds.

– They are available from today at Thai Ticket Major counters, by calling (02) 262 3456 and online at http://www.ThaiTicketMajor.com

– For more information visit Facebook: Khon Performance.

The fifth edition will focus on Beauty & Cosmetics, Hair & Nail, Herbal & Health, OEM & Packaging, Aesthetics & Dermatology, and Spa & Wellness.

Professionals from around the world will be sharing ideas and an anticipated 850 exhibitors will be offering great bargains. More than 18,000 trade visitors are expected. Find out more at http://www.BeyondBeautyAsean.com.

Hua Hin’s fun with food

The Choke-Dee Food Market is returning to Centara Grand Beach Resort & Villas Hua Hin on September 26 with a free fun fair. Food and drink meet crafts, spectacular performances and exciting games meant to evoke the seaside resort of the 1950s.

Get the details at (032) 512 021

Nowhere is somewhere

Nowhere BKK’s second-anniversary celebration on the sixth floor of the City Loft Hotel on Ekkamai Soi 6 will have a Nowhere All You Can Eat Brunch, organic and vegan market, Saturday Manicure, DJs Chamapoo and Ekception and live music by John Will Sail.

Gourmet food and beverages of distinctly Eurasian appeal will be the main attraction at the rooftop venue, with brunch costing Bt966 with advance reservations and Bt1,166 at the hotel. Otherwise the celebration is free. Check out “nowherebkk” on Facebook.

Suthee clothes the stars

Suthee Muenwaja, the costume designer on hit GTH and GDH films including “Pee Mak”, “Hello Stranger” and “Brother of the Year”, will talk about the outfits he made for Feng Xiaogang’s “Youth” at the Bangkok Art and Culture Centre on September 9. That’s followed by a screening of “Cinema Diverse 2018: The Invisible Hands”.

Admission is Bt60. The screening is at 5pm, in English with Thai subtitles. The post-screening chat will be in Thai with English translation.

With richer nations enjoying an increasingly comfortable, sedentary lifestyle, a study by the World Health Organization said a third of women and a quarter of men worldwide are in the firing line for killer conditions such as heart disease, diabetes and cancer unless they up their physical activity.

“Insufficient physical activity is a leading risk factor for non-communicable diseases, and has a negative effect on mental health and quality of life,” said the study of world exercise levels published Wednesday by The Lancet Global Health Journal.

The WHO recommends each adult do at least 150 minutes “moderate-intensity” exercise — such as brisk walking, swimming or gentle cycling — each week, or 75 minutes “vigorous-intensity” activity — such as running or team sports.

The study tracked activity levels of 1.9 million people in 168 countries across the world during 2016.

Researchers found there had been no improvement in physical activity levels since 2001, despite numerous public health initiatives extolling the benefits of exercise.

More than a quarter of the world’s adults (1.4 billion people) were insufficiently active, according to the data.

“We definitely haven’t done enough” to encourage people to exercise, the WHO’s Regina Guthold, lead study author, told AFP.

“We have seen basically no progress.”

The study authors highlighted several worrying trends, including a stark divide in exercise rates between poor and rich nations, and between men and women.

Wealth, gender gaps

Levels of insufficient activity to guard off non-communicable killers, including dementia and cardiovascular diseases, are more than twice as high in high-income countries compared to developing nations.

Guthold said the link between the lifestyle in wealthier nations — more time indoors, longer office hours, more easily accessible high-calorie foods — and lower exercise levels, was part of a “clear pattern” of poorer health coming with urbanisation.

“As countries urbanise, people who used to be, say, farmers, and got a lot of physical activity through their work all of a sudden live in an urban environment where they might be without work or move to a sedentary job, so societies need to compensate,” she said.

In four countries — Kuwait, American Samoa, Saudi Arabia and Iraq — more than half of adults were classified as insufficiently active.

In Kuwait, an oil-flush gulf state where temperatures regularly top 45 Celsius (113 Fahrenheit), a whopping two-thirds (67 percent) of adults weren’t exercising enough.

Melody Ding of the University of Sydney, who worked on the paper, said there were a variety of reasons why some countries were more active than others, including “biological, psychosocial, institutional, cultural and environmental barriers”.

“I consider one of the biggest barriers being our environment — physical activity has been engineered out of life, with desk-based jobs replacing labour jobs, lifts replacing stairs, cars replacing active travel,” she told AFP.

“Technological advancement has made our life more convenient but also less active.”

Women still lag behind men in nearly every region of the world, with the gender exercise gap highest in Bangladesh, Eritrea, India, Iraq and the Philippines, the study found.

“In these settings, women are often expected to be at home, take care of the children, manage the household and so sometimes don’t always have time to exercise,” said Guthold.

One bright spot on the global exercise map was southeast Asia, where women were equally as active as men in the only region where inactivity has decreased since 2001.