DasJati Newsletter - September 2017 by Ohsamu Musik Studio

NEWSLETTER

September 2017

ON MUSIC

AND BUDDHISM Somtow Sucharitkul · June 21, 2017

Music has long been considered a sort of “direct line” to God. The earliest forms of song and dance that survive today seem mostly to be about the Other, that which is Greater Than Ourselves. Some of the most glorious classical music is religious in its inspiration: Bach’s B Minor Mass, the Verdi Requiem, Handel’s Messiah, and the thousands of surviving masses, motets, and settings of liturgy from the Middle Ages to the Present. Islam and Hinduism have stunning religious music, from the ecstatic qawwali derived from sufi mysticism to such devotional songs as the gorgeous Bhaja Govindam by Adi Shankarachya. So sometimes, my friends in the west do ask me, “Where is the Buddhist music?” They feel that every religion should come with a huge repertoire of psalms and canticles, of stirring hymns and passionate outpourings of praise. Buddhism in Thailand does come with a certain amount of music — for example, the traditional funeral music which represents the soul’s flight and its liberation from the body and its journey towards the next incarnation. But Thai Buddhism doesn’t possess a large body of Buddhism-specific music, and the reasons are rooted in

the very nature of Buddhist philosophy. Buddhism is not “theist”. Therefore, if you define a religion as being about worship of some kind of divine being, Music has long been considered a sort of “direct line” to God. The earliest forms of song and dance that survive today seem mostly to be about the Other, that which is Greater Than Ourselves. Some of the most glorious classical music is religious in its inspiration: Bach’s B Minor Mass, the Verdi Requiem, Handel’s Messiah, and the thousands of surviving masses, motets, and settings of liturgy from the Middle Ages to the Present. Islam and Hinduism have stunning religious music, from the ecstatic qawwali derived from sufi mysticism to such devotional songs as the gorgeous Bhaja Govindam by Adi Shankarachya. So sometimes, my friends in the west do ask me, “Where is the Buddhist music?” They feel that every religion should come with a huge repertoire of psalms and canticles, of stirring hymns and passionate outpourings of praise. Buddhism in Thailand does come with a certain amount of music — for example, the traditional funeral music which represents the soul’s flight and its liberation from

the body and its journey towards the next incarnation. But Thai Buddhism doesn’t possess a large body of Buddhism-specific music, and the reasons are rooted in the very nature of Buddhist philosophy. Buddhism is not “theist”. Therefore, if you define a religion as being about worship of some kind of divine being, Buddhism is not a religion at all. It is a way of looking at the world. In terms of Buddhist philosophy, all of us are on this epic journey towards a moment when we will finally perceive that nothing truly exists, a moment that frees us from the shackles of time, space, and everything in between. Buddhists, therefore, have always felt free to participate in other religions. Buddhism doesn’t say that God, or the Gods, don’t exist; it says that existence itself is an illusion. Its traditions of meditative observance and withdrawal from the world outside, of exploring the inner universe, don’t lend themselves to big celebratory symphonies. Indeed, Buddhist monks take a series of vows, one of which is to avoid listening to music at all. (To be fair, every cleric I have talked to says that the DasJati operas are an exception to this, because they can be said to be

— withdrawal, impermanence — may not be the “stuff ” of operatic discourse — but these stories are, and moreover they are a vehicle by which Buddhist ideas may be presented to the world in a way that people can grasp, because they are at their heart stories about people, with comprehensible dilemmas, struggling in a believable milieu. No matter that these stories take place in worlds in which magic exists and in which dragons and giants talk and love and fight. They are still stories about us. My second answer is that composers around the world have drawn inspiration from eastern philosophy including from Buddhism. Richard Wagner, who composed the “biggest opera in the world” (assuming I don’t live to finish DasJati) wanted to write an opera about the Buddha’s life called Die Sieger. He never quite managed it but the musical ideas ended up, in large measure, in his final masterpiece, Parsifal. Indeed, there will be a conference about Wagner and Buddhism in August in Bayreuth, and it is there that the European premiere of The Silent Prince will happen. Ideas found in Zen Buddhism have wormed their way into works by composers like John Cage and one major twentieth century movement, minimalism, can fairly be said to flirt with the Buddhist philosophy of being and non-being. The history of western art has a lot of episodes in which creative

artists ransack the east for new ideas and inspirations and “make them their own.” Perhaps with DasJati I’m doing the opposite; reinventing a western art form in a distinctly eastern image. Instead of having the west teach us what our philosophy “means”, perhaps its time for us to show the west what “their” art forms can mean. And yes, I do have a third answer which is simply this: Buddhism has a huge inventory of great art, sculpture, and architecture – despite the fact that Buddhism’s central tenet is a withdrawal from these “impermanent things”. So, why not music, too? After all, music is the most impermanent of all impermanent arts. A painting or a building can stand for centuries or millennia; a music may live for centuries in the written notes, but a performance of music begins to cease from the very first moment of its performance. When the song is sung, all that remains is the air in which the song once vibrated. In this sense, music is the art form closest to evoking the heart of Buddhist philosophy. We grasp music only in the vanishing. In the end, to make music happen is to show Buddhism in action. By making DasJati into a series of ten operas, I’m not trying to preach ten sermons, but to show ten examples of a human quest for meaning and understanding of the universe.

Das Jati • Newsletter - September 2017 - Page 3

teaching religion as much as much as to be “entertainment.”) If this is true, why DasJati? One might well ask this. And my first answer would be that there is growing understanding now that Buddhism is for the world, not just for professed Buddhists. The lessons of peace and harmony, the idea of the middle way, the idea of letting go and not holding on to material values, happen to be really important right now, in a world in which greed and selfishness threaten to destroy everything for everyone. The lessons of DasJati are, in my opinion, applicable in situations far beyond the lives of Buddhists. Buddhism as practiced in its purest form is not, in any case, a “religion” if you define a religion as “whom do you worship?” ... Buddhism is not in itself theistic, though in each country where it has taken root, it has taken on some religious aspects of preexisting cultures — in Thailand there is a substratum of animism and a layer of Hinduism as well. The ten lives of the Buddha as narrated in the DasJati are not intended as literal history, but are parables, ten life stories that teach valuable lessons about mindfulness, humility, perseverance, and dignity. They are exciting stories — love stories, adventure stories, moral tales, soaring fantasies. They speak to what is human in us, not to any one particular religion. The central tenets of Buddhism

“THE STATUE MOVES!”

Cassandra Black on DasJati Somtow Sucharitkul · February 13, 2017

The statue moves! is an unforgettable moment from the third chapter of the ten-part DasJati series of music dramas. Cassandra Black, American dramatic soprano who created the role, shares her thoughts about it. Sitting in her Houston home as the floodwaters have been rising, Cassandra contributed her insights to the DasJati newsletter.

a year later I was presented with the opportunity to be involved with Das Jati and I couldn’t believe my good fortune. The role of the Statue in Suwana Sama comes to life to sing her demanding aria about two thirds of the way through the show. While Somtow was writing it he presented the easy-way-out where upon the company would create a statue of me and, with smoke and mirrors, switch me out for my sculpture double at some point so I wouldn’t have to remain immobile for so long. Who doesn’t want a life-sized statue of one’s self?! As any performer knows, it’s much harder to stand still on stage than to be moving! But there’s one thing Somtow and I have always seen eye to eye on: drama. I knew that if I could be still for that long, the moment the statue came to life would

As of now I am three days into the massive event known as Hurricane Harvey. Houston, home of 7-9 million people, my current home, and the home of the first performance of Das Jati is under the third constant day of flooding. We have now started controlled releasing of our dams, flooding hundreds of homes to save thousands. Zilkha Hall, where Das Jati was first performed is tragically under water. Like Opera Siam, I have faith that Houston will hold together and live to dream another day. Houston and Bangkok are not so different in that our size has never made us less of a community. Thailand has a true hold on my heart. I cannot put it in words. My experiences there have been a daily salve on my thirst for life. The country has taught me still-

be truly magical. I offered to be the statue the whole show. Never has a role been more physically demanding. I prepared by going to Wats every day to practice stillness, at first five minutes, building to an hour and a half. As a westerner, meditation came to mean something else to me entirely. After sitting still in the make-up chair for two hours before the role, there is something almost religious in the experience every night that no other role has ever done for me.

ness within chaos, excitement within monotony, and true friendship with those from the other side of the globe. I tear up every time I say goodbye to her and feel something missing in myself when I’m away from her. The language, the pace, and most of all the people have become a part of who I am at my core. And it all started with a wonderful conductor introducing me to the maker of the Snow Dragon.

ne never forgets the first time one meets Somtow Sucharitkul. I’d had the honor of singing for a wonderful conductor, Viswa Subbaraman, for a few years when he called me and said, “A great composer I know is casting a dramatic soprano for a world premiere he’s working on called The Snow Dragon. Would you be interested?” Having some experience with twentieth century composers I was very keen and the idea of playing a dragon was beyond exciting! I remember getting the score and being so moved by how Somtow treated the subject matter, the orchestration, and the melody in a fantasy world I’d never yet dreamed of; one could swim in it! The role was a perfect fit. From the costume to the plot, the staging to the gorgeous music, it was a conscience dream. On the opening weekend Somtow came to see the show. I was fascinated by this person who seemed to have lived ten lives, himself. Never had I met such a renaissance man; he was about as quirky and strange as you might imagine any genius to be. It was love at first sight. About

— Cassandra Black

DAMIAN WHITELEY

ON “DASJATI”

Somtow Sucharitkul · February 13, 2017 Sama, The Silent Prince European tour and most recently more intensely for The Chariot of Heaven. Apart from of course getting the music learnt and rehearsed, I have tried to put an emphasis on developing the skills of the very young singers who make up the chorus and to encourage them to use their voices in a healthy way whilst still meeting the challenges which Somtow sets them. Their performance in The Chariot of Heaven is testament to the wonderful progress the chorus has made and establishes their importance in the company and its raison d’être.

How did you come to be involved in the DasJati project? My first contact with Somtow was singing the world premiere of his extremely emotional Japanese opera Dan no Ura in 2014. After the success of that I was asked to play the comical evil brahman Alambayana in Bhuridat (the 3rd of the cycle which Somtow wrote).

What are your impression of the work itself, so far? Having now sung in 4 of the 5 written so

What were the challenges of working with such an unorthodox company and in such unusual venues? Needless to say Opera Siam operates on a slim budget and indeed shows that grand opera can be put on within tight timetables and budgets, if the will and creative innovative energy is there. Whilst the two venues in which I have performed (TCC & Rangsit University) are magnificent performing spaces, the rehearsal venues are much smaller and more often improvised which brings a set of unique challenges. “Time becomes Space” could well be the motto of Opera Siam as miracles happen within conditions and timetables that other companies I have worked with would find impossible and too pressured. You also trained the chorus. What was that like? I began to work with the chorus during the preparation of Bhuridat, and continued in smaller or greater capacity for Suwana

Das Jati • Newsletter - September 2017 - Page 5

Talk about the various roles you played and which ones you’re particularly into. Alambayana is a lot of fun, a very physical role with an extremely interesting vocal line which delineates the character very clearly. The double role of King of Heaven/ King of Kashi in Suwana Sama is a very challenging sing with lush lines in the first role and almost G&S patter and coloratura in the second, a comic character who undergoes a stunning redemption at the end of the opera with a beautiful remorse arioso. The various bass roles in The Silent Prince (the first of the DasJati cycle) are extremely challenging ranging from high lying Indra in the opening scene to the deeper set Death, which with its angular lines against strong orchestral colours is perhaps my favourite to sing. The most recent role in The Chariot of Heaven the first time I only played a ‘goody’ but the compensation was getting a stunning duet to sing with coloratura soprano.

far, I ask myself what riches are still to come from the music mind of this composer, having heard so many highlights in the pieces so far (the death march in Suwana Sama, the 33 Gods scene, the exotic beauty of The Silent Prince, the ecstatic Finale of Bhuridat to name a few). I am also starting to fathom the dramaturgical arc and profound philosophical themes dealt within the narrative and to admire the web of leitmotivs and musical ideas which could rival that of Wagner’s Ring.

Thailand is rapidly moving into the operatic universe. What does Thailand have to offer, and what lessons does Thailand need to learn? Thailand has a stunning wealth of natural vocal talent (as well as quite stunning young orchestral musicians!) with the potential to establish a very strong operatic tradition. Emphasis must be put on the methodical development of vocal talents,with both vocal technical tuition at the highest level and performance opportunities catering to every level of development. Language skills (in the sense of operatic diction and comprehension) are most important and need to be addressed. Where practicable, the production process can take more into account the time needed to keep production values high and the singers/musicians/dancers not fatigued from overly intense rehearsal periods, this without losing the particular spontaneity and improvisational strengths which make Thailand unique in the opera world.

“SWAN SONG” OR “REBIRTH”?

Das Jati • Newsletter - September 2017 - Page 6

Stan Gayuski in Bangkok Post · August 22, 2017

The final production of Opera Siam’s Sixteenth Season this month at the Thailand Culturak Center was a revival of the much-praised third work in Somtow Sucharitkul’s ten part DasJati - Ten Lives of the Buddha, the story of a young boy named Sama whose devotion to his parents was so exemplary that it overcomes even death itself. In the opera, a statue of an ancient yakkhini comes to life to inform the citizens of Varanasi that the slain youth, once her son seven lifetimes before, is a Bodhisattva. The boy returns to life, and the ruler and people of Varanasi learn that a mother’s love can extend across worlds and generations. The plot could be a metaphor for the 17-year-old Opera Siam itself. This was the opera’s fifty-seventh staged opera production, and in addition the various orchestras, educational programs and concert series — hundreds of them by now — have revolutionised the way classical music is experienced in Bangkok and the international community’s view

of Thailand as a classical music city. Yet when Artistic Director Somtow came out on the opera’s closing night to speak directly to the audience, he didn’t talk much about Opera Siam’s successes. Instead, he told us that we might be watching the opera’s very last performance. Instead, he explained that for a year now, the foundation had been on the brink of collapse because of trying to make up a deficit that occurred when a major municipal body reneged on a grant to send the opera on tour in Europe — after they had already left for Europe. Somtow didn’t name the entity, but Andrew Biggs, in a Bangkok Post column from September 11 of last year, tells the story in detail. Somtow chose not to rail against anyone, but to speak of the social media campaign he ran in the weeks before the production, and of the hundreds of small donations that came in from all over the world, which by the time of the closing night had reached 87% of the amount needed to bring one of Thailand’s

most visible cultural institutions back from the edge of the cliff. He thanked the audience and said, “Your love is bringing us back.” Watching this production of Sama The Faithful Son therefore, the audience was primed for an emotional experience, and were not disappointed. This was the same production from 2015 in Rangsit which already received rave reviews in the European opera magazines, but everything about the production was tighter, smoother, better sung. As a divine messenger, Stacey Tappan, a Bangkok favorite, was thrilling, and as the God Indra and the evil King Piliyakka, Damian Whiteley showed an extraordinary range from nobility to rapacity and repentance. The opera’s coup de theâtre appears in the second act, when dramatic soprano Cassandra Black, playing an ancient statue, who has been sitting completely still on stage for almost two hours, comes to life and sings one searing aria before turning back into stone. This is proba-

DASJATI

In the Middle of the Middle Way Somtow Sucharitkul · September 7, 2017

Stan Gayuski is a member of the International Mahler Society and a commentator on classical music.

After the premiere of Nemiraj — Chariot of Heaven in January of this year, the composition of my 10-work cycle DasJati would appear to have reached the downhill part of the journey; the first five works are done and “only” five remain. At the halfway mark then, I want to report on how things are going and what the future holds in store. As our friends know, 2016 was a difficult year for Thailand … and on a different level, also difficult for Opera Siam, with the abrupt cancellation of the BMA’s funding putting our entire operation into a tailspin. And on a national level, of course, we have been in a one-year mourning period for the loss of King Rama IX, and therefore certain things have taken up our attention … in particular the 48 Forever Project which involves the presentation of His Majesty’s compositions and the creation of and preservation of symphonic arrangements of his songs. Chariot of Heaven was postponed a few times by our Ministry of Culture and finally was presented on the 100-day commemoration of His Majesty’s death. The new date has pushed forward the presentation of the sixth work in the series, The Architect of Dreams. It was first delayed to the beginning of 2018, but now the Ministry of Culture have definitely offered me a clear date which is not until June of 2018. There are five Lives of the Buddha remaining in the series. Architect is particularly important because when it is completed, the whole sequence of I through VI will be done. The sixth Jataka Tale, Bhuridat — The Dragon Lord was begun before I came to the realization that one of my life’s missions would be to complete all ten and thus create a Wagner-like mega-music-drama. No. 5 is also a very big work — the plot is among the most complicated in the Jataka series, with 101 armies descending on the city, magic parrots and mynah birds, mysterious tunnels, battle scenes, and an abduction, plus a magical pavilion that springs up overnight. What this would mean, however, is that between the premieres

of Chariot of Heaven and its immediate sequel there would be eighteen months — in fact, two years since the Chariot was originally scheduled to open, a rescheduling occasioned by the fact that the Thailand Cultural Center had accidentally been double-booked. It seems to me therefore that by the time No. 5 reaches the stage, I may have already complete No. 7 Chandakumar — The Sacrifice, which is on a smaller scale and can be done in a smaller venue than is needed for No. 5. So it’s possible that the audience will be seeing the works out of sequence yet again. It also would seem that the mourning period for our beloved King Rama IX may have the ancillary effect of pushing the opening of the entire DasJati epic to 2021 or even later. I’m not averse to that — after all, Wagner spent a lot more time composing The Ring, which is only four operas — but I don’t want to create a George R.R. Martin situation for those anxiously awaiting the next instalment (if any). Luckily, the Jatakas are a couple of thousand years old, so I don’t have to worry about these music dramas having to catch up with a novel that hasn’t been published yet. I do have to worry about running out of time. I’m one year from what, in America, would be considered retirement age. Of course, artists don’t retire. But I don’t have another twenty years to compose this in. The world has all the time it wants to produce it, to have it grow into an iconic thing — or not, as the case may be — but I, myself, do not. And there are a few health issues too. Nothing serious but I do need to slow down a little bit. So. This series already has many people who are eagerly awaiting the next event. Please bear with me. The birth of something this big must inevitably be a tortuous process. I’ll keep everyone informed as we go. Meanwhile, the first five music dramas are having unprecedented success and the recent restaging of The Faithful Son had a stunning response from the audience.

Das Jati • Newsletter - September 2017 - Page 7

bly one of the most daring gestures in a modern opera and this reviewer imagines it could easily go wrong, but Black’s ability to sit completely motionless, her hands clasped in an elegant wai, made her aria all the more thrilling. A special mention should be made of the local singers who participated in this production. Jak Cholvijarn as the Bodhisattva sang sweetly and with conviction; young sopranos Ashira Supalaknaree, Areeya Rotjanadit, and JC Manar, tenor Chaiporn Phuangmalee and baritone Yotsawan Meethongkum are young singers who all show that we are developing real opera singers of a high standard. Most engaging was countertenor Puntwitt Asawadejmetakul whose voice has developed a range and power uncommon in this type of voice, and is clearly bound for an international career. Somewhat less impressive was the dance element this time around, only warming up towards the end. But in general the staging was dynamic and colorful and thematically of a piece with the other four Buddha operas seen so far. Ryan Attig’s lighting was imaginative and expressive. Conductor Trisdee na Patalung kept a tight rein on the work, building huge climaxes and delicately nuanced textures. The work is scored for two chamber orchestras, one on either side of the conductor, underscoring the duality of its subject matter. Trisdee made Somtow’s transparent orchestration shine. And this year’s chorus demonstrated a quantum leap in the standard of choral singing in this country, also seen elsewhere when a Thai choir won first prize in the important international competition in the Czech Republic at about the same time. If this were indeed to be Opera Siam’s “swan song”, it would have been a worthy capstone. Artistic Director Somtow announced that he would take a couple of months to restructure the opera so that existential crises can be avoided. It seems likely that this won’t be a swan song but a rebirth. This is very much hoped for; Opera Siam has been a gem of Thailand’s cultural scene.

ati" uc-

hen cycle

ion.

Become a Charter Subscriber to the

With this form, you can sign up as a charter member of the DasJati Project. You will be part of the most ambitious music theatre project in history. Your name will be enshrined in program books and memorial volumes for as long as "Das-Jati" continues to be performed by Opera Siam or its future production companies.

With this form, you can sign up as a charter member DasJati Project. You will be part of the most ambitiou theatre project in history. Your name will be enshrin program books and memorial volumes for as long as continues to be performed by Opera Siam or its futur tion companies.

You agree to pledge a certain amount per year until 2020, when the first complete Das-Jati Festival will occur and the entire cycle will be performed. As a charter member, you will receive perquisites each year.

You agree to pledge a certain amount per year until 2020, when Thidaporn You agree to pledge a certain amount per year until 2 Sermchai the first complete Das-Jati Festival will occur and the entire cycle the first complete Das-Jati Festival will occur and the Phra Prommangkalachan will be performed. As a charter member, you will receive will be performed. As a charter member, you will rec Apsarini perquisitesThapana each year.Sirivadhanabhakdi perquisites each year.

Opera Siam would like to thank you for sharing this bold vision.

Opera Siam would like to thank you for sharing this bold vision. Choopong Opera Siam would like to thank you for sharing this b Kiangsiri M.L. Poomchai Chumbala

Das•Jati Project

Given Name(s) and Surname

Please give your real name(s) and surname (for our records only; you may choose to be listed anonymously in the program books) _____________________________________________________________

Name to be published in Program Books

You may be listed under your real name, as "anonymous" or you may use another name or the name of a person you wish to honour

Real Name Anonymous Donor others _____________________________________ Your Address

Please print your complete postal address so that program books and reminders may be sent to you.

____________________________________ ____________________________________ ____________________________________ ____________________________________ Phone Number

The best number to reach you at.

__________-_________________________ Your Email Address (very important!) Most notifications are sent by email.

____________________________________ With this form, you can sign up as a charter member of the DasJati Project. You will be part of the most ambitious music Level of Donation theatre project in history. Your name will be enshrined in Please choose the level at which you would like to contribute per annum. If the program books and memorial volumes for as long as "Das-Jati" amount you wish to contribute is not listed, you may list it as "other". You will continues performed by the Opera Siamtoorbutitsnotfuture producbe listed un to thebe program book under title closest exceeding your contribution. tion companies. Naga (1,000 THB) You agree Apsarini to pledge(2,000 a certain amount per year until 2020, when THB) the first complete Das-Jati Festival will occur and the entire cycle Apsara (5,000 THB) will be performed. As a charter member, you will receive perquisitesDevi each(10,000 year. THB) Deva (50,000 THB) Akkradeva Opera Siam would like(100,000 to thankTHB) you for sharing this bold vision. Mahadeva (200,000 THB) Follower of Dharma (500,000 THB) Guardian of Dharma (1,000,000 THB) Ambassador of Dharma (2,000,000 THB) others ____________________________________ Any Message or Instructions

___________________________________ ___________________________________ ___________________________________ ___________________________________ Form of Payment *

You need not make payment at this time. Our staff member will contact you regarding payment.

credit card bank transfer cheque others ____________________________________ Installment plan *

If you are pledging more than 10,000 baht per year, you may opt to pay in installments. We will send you a reminder.

I will make a single payment each year I would like to make quarterly payments others ____________________________________

Das•Jati Project

Advisory Board of ‘Das Jati’ Project

Ted and Jeanne Shibuya

Prisna Pongtadsirikul

Bjorn Lindstrom

Rex Morgan Given Name(s) and Surname

Please give Vichit your real name(s) and surname (for our records only; you may choose Chinalai to be listed anonymously in the program books)

M.R. Sukhumbhand Paripatra Dr. Surin Pitsuwan _____________________________________________________________ Dr. Sumet Jumsai na Ayudhya Arthit Ourairat Name toDr. be published in Program Books You may beHarald listed under your real name, as "anonymous" or you may use another Link name or the name of a person you wish to honour

Real Name

‘Das Jati’ Fund Pledges Anonymous Donor Mahadeva others _____________________________________ Thai Yarnyon Co., Ltd. Dr. Arthit Ourairat Your Address Please printDr. yourNadaprapai complete postal address so that program books and reminders Sucharitkul may be sent to you. Pisit Laosirirat ____________________________________ Prayuth Mahagitsiri ____________________________________ Dr. Sompong Sucharitkul

Dag Johanessen Given Name(s) and Surname Daniel Desjardins Please give your real name(s) and surname (for our records only; y be listed anonymously in the program books) EricatoCrutchley Jiraros Kewjaila ____________________________________________________ Kimball Gallagher Panporn NamePuangchaipruek to be published in Program Books You may Lekrungruangkit be listed under your real name, as "anonymous" or you m Peerapong name or the name of a person you wish to honour Viswa Subbaraman

Real Name Anonymous Donor others _____________________________

Naga (Anonymous) Dr. Arnond Sakworanich Your Address print your complete postal address so that program books an CheePlease Wong may be sent to you. Cipriano De Guzman Jr. ______________________________ Divina Anatan Kant ______________________________ Lormsomboon Lormsomboon ____________________________________ Korn______________________________ Ratana Roipornkasemsuk Akkradeva ____________________________________ ______________________________ Siriwat Chantaro Institute of Metropolitan Development Phone Number Phone Number Thalassa Tapiia-Ruano Ferrand (Mahakorn 3) The best number to reach you at. The best number to reach you at. Thidaporn Sermchai Christian Ham __________-_________________________ __________-___________________ Piyabutr Cholvijarn “DasJati/ 400” Members Santi Pranich Your Email Address (very important!) Your Email Address (very important!) 1. Tanong Platinumthailand Yos Euarchukiati Most notifications are sent by email. Most notifications are sent by email. 2. Chaiyoporn Chinaprayoon ____________________________________ ______________________________ With this form, you can sign up as a charter member of the Deva You will be part of the most ambitious music 3. Sasichome Noi Xoomsai DasJati Project. Level of Donation of Donation 4. Big CLevel Sukhsawat Somtow Sucharitkul theatre project in history. Your name will be enshrined in Please choose the level at which you would like to contribute per annum. If the Please choose the level at which you would like to contribute per 5. Michael Proudfoot program books and memorial volumes for as long as "Das-Jati" Dr. Thanat Khoman and Family amount you wish to contribute is not listed, you may list it as "other". You will amount you wish to contribute is not listed, you may list it as "o continues performed by the Opera Siamtoorbutitsnotfuture producBunsupaporn be listed un to thebe program book under title closest exceeding your 6. Kanya be listed un the program book under the title closest to but not e contribution. tion companies. 7. H.E.contribution. Dr. Peter Prügel Devi Naga (1,000 THB) Naga (1,000 THB) 8. Somkiat Towanamchai You agree(Anonymous) to pledge(2,000 a certain amount per year until 2020, when Apsarini THB) Apsarini (2,000 THB) Karen Schur-Narula the first complete Das-Jati Festival will occur and the entire cycle9. Anupong Khanthiphol Apsara (5,000 THB) Apsara (5,000 THB) 10 Dean Shibuya Michael Proudfoot will be performed. As a charter member, you will receive Devi (10,000 THB) Devi (10,000 THB) 11 Mink Sucharitkul perquisites each year. Preecha Udomkijdecha Deva (50,000 THB) Deva (50,000 THB) 12. Thaithow Sucharitkul Raksak Kananurak Akkradeva Opera Siam would like(100,000 to thankTHB) you for sharing this bold vision.13. Joey Shoji Akkradeva (100,000 THB) Suchart Milsted Mahadeva (200,000 THB) Mahadeva (200,000 THB) 14. Premika Sucharitkul Tom Page Follower of Dharma (500,000 THB) Follower ofDonor Dharma (500,000 THB) 15-24. An Anonymous Guardian of Dharma (1,000,000 THB) Guardian of Dharma (1,000,000 THB) 25. Supawan Napachotsiri Apsara Ambassador of Dharma (2,000,000 THB) Ambassador of Dharma (2,000,000 THB 26. Thida Adireksarn Chaiporn Chinaprayoon others ____________________________________ others ___________________________ 27. Andrew Biggs Chongkonnee Wongpashukchot 28. Porama Chansue Gerard Any Message or Isaacson Instructions Any Message or Instructions 29. Chalantorn Kaewtang Lesley D. Junlakan ___________________________________ ____________________________ 30. Soonthorn Asavanant Linda Cummings ___________________________________ ____________________________ 31. Yaowadee Yipintsoi Orapin Kanchanagorn ___________________________________ ____________________________ 32. Klaomard Yipintsoi Patrick Drnec ___________________________________ ____________________________ 33. Sompong Sucharitkul Sakda Lormsomboon 34. Markus Thierstein Sirikarn Luengvarintra Form ofSunetra PaymentRasmussen * FormMoynihan of Payment * 35. Maura You need not make payment at this time. Our staff member will contact you regarding payment.

credit card bank transfer cheque others ____________________________________ Installment plan *

If you are pledging more than 10,000 baht per year, you may opt to pay in installments. We will send you a reminder.

I will make a single payment each year I would like to make quarterly payments others ____________________________________

You need not make payment at this time. Our staff member wil regarding payment.

credit card bank transfer cheque others ___________________________ Installment plan *

If you are pledging more than 10,000 baht per year, you may op installments. We will send you a reminder.

I will make a single payment each year I would like to make quarterly payments others ___________________________