25 YEARS!

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N A M A S K A A R F O U N D AT I O N 25 YEARS OF MUSIC, DANCE & THEATER

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25 CELEBRATING

YEARS

and

from

of

MUSIC DANCE THEATER

INDIA and around the

WORLD

FEBRUARY 2, 2013 Palace Theater, Stamford, CT PACO PENA and FLAMENCO DANCE COMPANY NORTH INDIAN CLASSICAL MUSIC Eric Fraser, Bansuri Naren Budakar, Tabla 3

Namaskaar Foundation was formed in 1988 with a

specific goal to promote, preserve and raise greater

awareness of Music, Dance and Theatre from India

among Indians and our American friends.

In 1999, as part of our audience development

initiative, World on Stage was introduced to develop

new audiences by sharing the cultural heritage of the

world through traditional Music and Dance.

We have been very successful in our efforts to

encourage an unusually diverse audience for our

presentations. We are also proud to say, thousands of

children and under privileged families have had an

opportunity to experience and learn about world

culture through our progam for the first time.

This success has been achieved with financial support

from State & local grants, contributions from

corporations, foundations and individuals like you.

Their combined generosity and our loyal audience

have nurtured and kept Namaskaar Foundation alive

for 25 years!

THANK YOU!

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25 YEARS!

Altria City of Stamford Covidien GenRe GenWorth IBM Krishnamurthy Tandon Foundation Lasersystems Pitney Bowes Rao & Rao Stamford Board of Educations Stamford Center for the Arts State of Connecticut United Technologies Xerox Foundation

and other corporations

and our

Anonymous Teeve & Madhu Barbella Ling Ong Bello Kirit & Panna Desai Sunil & Pratibha Deshmukh Christine & Nicolas Edwards Robert Gerouard Anil & Meena Gupta Ravi & Rama Iyer J Krishna & Suneeta Prasad Dr. Chitti & Ranjana Moorthy Pallavi Moorthy Manhar & Trupti Patel Frank & Lolita Savage Ashwin & Jayshree Shah Viresh Sharma Ranjan & Chandrika Tandon and other individuals

loyal audience

THANK YOU!

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NAMASKAAR- warmest welcome to all of you!

As we celebrate Namaskaar Foundation's 25 years of cultural and educational service to our diverse communities in the Unites States I would like to thank its founder, Vrunda Patel whose vision and passion for the arts led us to this happy occasion. My thanks also go to its most dedicated Board of Directors for giving me the opportunity to participate in fulfilling a very noble mission, that of educating the public, particularly the young people, so they may learn to understand, accept, and respect the cultural diversity in our world through the language of the arts: dance, music, and theater.

Namaskaar has presented and promoted the traditional arts and culture of India and many other countries from Asia, Europe, Africa and America through its WORLD ON STAGE programs. Its outstanding activities have served as vehicles in transporting the minds and imagination of its audience to the remotest places that gave birth and origin to distinct cultures of people around the globe. Nothing is more rewarding than to watch children's eyes as they sit still in the theater, totally captivated by the stimulating sound vibrations, rhythmic dance movements, rich, colorful costumes, and dramatic, vivid expressions of foreign actors and performers on stage. This is art that triumphs: a transformation of the mundane into a spiritual and intellectual discipline and experience.

It is to all of YOU that Namaskaar owes its success. Your collaborative effort as individual supporters, corporate contributors, local government, teachers, students, and loyal audience. You made it possible to bring the very best of international artists to perform in our local stage. You have made our world smaller, our understanding of other cultures deeper, our tolerance for diversity stronger, and our love for humankind, universal.

Congratulations to Namaskaar and to you!

Lolita Valderrama Savage Board Member and Gala Chair 2013

Silappadhikaram

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PACO PEÑA

Paco Peña embodies both authenticity and innovation in flamenco. As guitarist, composer, dramatist, producer and artistic mentor he has transformed perceptions of this archetypal Spanish art form.

Born in the Andalucian city of Córdoba, Paco Peña began learning guitar from his brother at the age of six and made his first professional appearance at the age of 12. In the late 1960s he left Spain for London, where his recitals of flamenco music captured the public imagination.

Venues for his solo performances have included the intimate Ronnie Scott’s Jazz Club and the monumental Royal Albert Hall in London, New York ’s Carnegie Hall and the Concertgebouw in Amsterdam . He has shared the stage with fellow-guitarists, singers and instrumental groups, bridging diverse musical genres, including classical, jazz, blues, country and Latin American.

In 1995 The New York Times declared that: “Mr Peña is a virtuoso, capable of dazzling an audience beyond the frets of mortal man.

He combines rapid-fire flourishes with a colourist’s sense of shading; this listener cannot recall hearing any guitarist with a more assured mastery of his instrument.“ It should come as no surprise that readers of America’s Guitar magazine judged Paco Peña Best Flamenco Guitarist of the Year for five consecutive years.

In 1981 he founded the Centro Flamenco Paco Peña in Cordoba, later becoming Artistic Director of the Córdoba International Guitar Festival. Plans are underway for a new educational initiative in Peña’s hometown, complementing his work as the world’s first Professor of Flamenco Guitar, a role established in 1985 at Rotterdam Conservatory in the Netherlands.

Since 1970 Paco Peña has performed regularly with his own hand-picked company of dancers, guitarists and singers in a succession of groundbreaking shows. The Paco Peña Flamenco Dance Company has taken flamenco into the realm of music-theatre with regular seasons in London (Royal Festival Hall, Sadler’s Wells Theatre and Barbican) and festival appearances in Edinburgh, Adelaide, Amsterdam, Athens, Israel, Istanbul, Singapore and Hong Kong . 1999 brought the most ambitious production yet: Musa Gitana.

Peña based the piece on the life and work of another artist from Córdoba, the painter Julio Romero de Torres. Its seven-week season at the Peacock Theatre in London’s West End stands as the longest-ever run of a flamenco show and a further London season followed in Spring 200.

Another landmark was Misa Flamenca, a 1991 setting of the Mass that juxtaposed Peña’s company with a classical choir. Its premiere at London’s Royal Festival Hall, given with the Choir of the Academy of St Martin-in-the-Fields , was followed by a staging at the 1992 EXPO in Seville. Misa Flamenca has also been seen in Australia, New Zealand, Poland, German, the Netherlands, Belgium and the USA. In 1997 he was proud to be named Oficial de la Cruz de la Orden del Merito Civil, an honour bestowed by King Juan Carlos of Spain.

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HISTORY OF FLAMENCO DANCE AND MUSIC Flamenco has an extensive historical background reflecting the various cultures that have arrived in the Iberian peninsula. Beginning with the ancient Greeks and Romans, continuing on with the arrival of the Moorish and Jewish peoples and the emigrants from India, the music and dance in Southern Spain is a dazzling continuum of cultural interaction over centuries. Today’s Flamenco, quintessential to the province of Andalucia, relies on improvisational technique and is the result of myriad cultures interacting, blending together over centuries. The gypsies and other oppressed ethnicities first performed in caves as a dramatic, personal expression. But their passion and bravura overtook society at large, so the music and dance rapidly flourished, evolved, and by the 1700s, the compositional structure of the dance can be recognized as Flamenco. The hearty voice of the singer began to take a supporting role once the dance became a stunning display of rhythm and emotion in the cafÊs cantantes (musical cafes). There is no one single Flamenco dance since the performance depends upon the pervading mood, the set of melodic phrases, and even the cultural context each song brings to mind. There are more than 50 distinct palos (types of Flamenco dance). The interaction between dance and music involves a great deal of personal, spontaneous improvisation, yet always within the strict confines of musical tradition and rhythmic patterns.

FLAMENCO DANCERS So it all begins with the dancer typically standing motionless, absorbing the guitar strums, the clapping, the singing, until the special moment of inspiration launches him/her onto the dance floor. The inspiration is why the dancer can have an emotional intensity resounding in complex footbeats and intense facial expressions that contrast dramatically against aerial, graceful arms. Male and female dancers lock eyes and perform against each other in vividly competitive duets, displaying a fierce passion and spiritual tension.

FLAMENCO MUSIC Music and Dance live together in Flamenco. The dancer interprets the singer who is often the voice of lament relating the adversity fixed time and again upon the persecuted peoples integral to Flamenco’s history.

Undeniably the singing is fundamental; in fact, Flamenco was originally comprised purely of Cante (singing) accompanied by Palmas (handclapping) or knuckle-rapping. Only in the 1800s did the guitar, a descendant of the Arabic Oud, become gradually part of Flamenco music.

Upon closer study of the music, one hears the pervading influence of distant music and song coming from India, Persia, Arabia.

"the godfather of world music" - George Harrison

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Pandit Ravi Shankar 1920-2012

MUSIC gives voice to our emotions that cannot be expressed in language, but which can be felt,

recognized and understood by all human beings.

HeRITAGE OF INDIAN MUSIC We will always remember Ravi Shankar as an extraordinarily talented musician, sitar legend and an equally great composer, who passed away recently at the age of 92. Ravi Shankar was the ambassador for India's music in the West. He was truly a world musician who collaborated with the likes of Yehudi Menuhin, John Coltrane, Philip Glass, and influenced the Beatles; George Harrison studied the Sitar with Ravi Shankar who performed at many fancy concert halls and world-famous festivals, including the Woodstock Festival in 1969.

Ravi Shankar won many honors and accolades from the world over, including three Grammy awards, the Padma Bhushan, the Padma Vibhushan and the Bharat Ratna, the three highest civilian honors in India. Ravi Shankar's star will never fade; his music was serious, spiritual, deep, classical, sometimes light, sometimes folk, sometimes new age, but always sublime!

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INTRODUCTION TO INDIAN MUSIC It is through the medium of the arts that people of different nations and backgrounds are able to communicate and understand each other better.

HISTORY AND HERITAGE The music of India and its history, far too complex to be adequately described here, still deserves an attempted introduction so those who are new to it may be helped towards appreciating its beauty. With a very long, unbroken tradition over centuries, Indian music can be traced back nearly 2,000 years to the Vedic era. Modern India’s culture came about through the interaction of many races and cultures; the Negrito, the Mongoloids, the Dravidian, and the Aryan peoples have all made their marks upon Indian music. North Indian music is popularly known as Hindusthani music, and South Indian as Karnatic; although their origins are the same, their approaches and styles differ. When and how these two main schools crystallized suggests a provocative line of study, yet the earliest treatises of Indian music make no distinctions between Northern and Southern schools.

INFLUENCES Islam and Persian music are two of the strongest and most significant influences. But the Muslim invasion and a few centuries of Muslim rule only changed the perspective of the North Indian musical style; the structure for the most part continued on as before. Once Indian music was fostered outside the places of worship, the element of physical pleasure, particularly the courtier’s, became predominant. One must also note the influence of Indian music upon sculpture and painting. The meaning of the artwork is through graceful integration, and this is truly analogous to Indian musical melody--smoothly united motions, curving lines containing definite units of musical forms. In fact a genre of Indian painting is the depiction of Ragas and Raginis, the male and female musical forms.

GROWTH AND STRUCTURE Long continuous growth is the outstanding quality of Indian music. Definite laws of theory, practice and comprehensive appreciation have evolved over the centuries. The theory and practice of Indian music are the logical result of a distinctive, consistent developmental process and play an integral part in Indian history and culture. Therefore, ideally, the Western listener should set aside counterpoint, harmony, mixed tone colors and just relax into the rhythmic and melodic patterns of a great cultural heritage.

Each melodic structure of Raga has something akin to a distinct personality that subjects itself to the prevailing mood. Aspects of Hindu worship, enabling the musician to enter into the mood of a particular Raga and perform it successfully, are apparent in theoretical works about the music. Each Raga is described by a short verse formula, enabling the musician to visualize its essential personality during meditation prior to the performance. Early Indian writers have associated the Ragas with the status of minor divinities.

Theater in India has a rich tradition of ancient rituals and seasons of the country. It is believed that Lord Brahma created Natyaveda, the fifth Veda on Natya (action), as a mode of recreation for all classes of society by incorporating words from the Rig Veda, music from Sama Veda, action from Yajur Veda and emotion from Adharva Veda. Sage Bharata who perfected the dramatic art and wrote the Natya Shastra, a great compendium of the science and technique of Indian drama, dance and music, dedicated the first drama to an audience of Devas (celestials). Through the medium of drama, humankind received further sacred lore and mythology.

According to the Natya Shastra, dancing and dramatic representation are inter-related. Drama eventually moved from depicting mythological themes to contemporary social issues. Indian cinema and serials on the mini-screen are nothing but offshoots of this age-old culture.

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“Hands that sang a soulful song” -The Hindu

“Every note I play is a call to Eshwar(God).”

Ustad Shultan Khan 1940-2011 13

Bharat Ratna, Ustad Bismillan Khan 1916-2006

TECHNICAL ASPECTS Neither a scale nor a mode, Raga is, however, a scientific, precise, aesthetically subtle, melodic form with its own peculiar ascending and descending movements through a full octave or a series of 5 or 6 notes. There are 72 Melas (parent scales) on which Ragas are based. The omission of a jarring or dissonant note, the emphasis on a par ticular note, the slide from one note to another; the use of microtones along with other subtleties, distinguish one Raga from another.

Each Raga has its own principal mood such as tranquility, devotion, eroticism, loneliness, pathos, heroism, etc., and according to its mood, an association with a particular time of day/night or season. Through improvisation, an essential feature of Indian music, a great artist can communicate and instill in his listener the mood of the Raga. The second important aspect of Indian music is Tala. These are rhythmic cycles ranging from 3 to 108 beats. The divisions and the stress on the first beat are the most important features of these cycles.

Talas having the same number of beats may have a stress on a different beat, e.g. a bar of 10 beats may be divided as: 2-3-23, or 3-3-4, or 3-4-3. Within the framework of the fixed beats, the drummer can improvise to the same extent as the principal artist, and after going their separate ways, return together upon the stress on the first beat, altogether a marvelous journey for the seasoned listener.

GLOSSARY Alap: is the first movement of the Raga. It is a slow, serene movement acting as an invocation and it gradually develops the Raga.

Jor : begins with the added element of rhythm which (combining with the weaving of innumerable melodic patterns) gradually gains in tempo and brings the raga to the final movement.

Jhala: is the final movement and climax. It is played with a very fast action of the plectrum which is worn on the right index finger.

Gat: is the fixed composition. A gat can be in any Tala and can

be spread over from 2 to 16 of its rhythmic cycles in any tempo, slow, medium or fast.

A gat (or fixed composition), whether vocal or instrumental, has generally two sections. The first par t is called “pallavi” South Indian term - or “asthayi” - North Indian term - which opens the composition and is generally confined to the lower and middle octaves. The following part of the composition is called the “anupallavi” (or antara) which usually extends from the middle to upper octaves. In South Indian music fur ther melodic sections called “charana” follows the “anupallavi”.

Talas: Dadra rhythmic cycle of 6 beats divided 3-3.

Rupak rhythmic cycle of 7 beats divided 3-2-2.

Jhaptal rhythmic cycle of 10 beats divided 2-3-2-3.

Ektal rhythmic cycle of 12.

Adha-Chautal rhythmic cycle of 14 beats divided 2-4-4-4.

Teen-Tal rhythmic cycle of 16 beats divided 4-4-4-4.

NORTHERN FORM Dhrupad compositions have four parts pr stanzas, viz. Asthayi, Antra, Sanchari, and Abhog. Dhrupad is accompanied only by the tanpura and pakhawaj. Dhrupad is considered to be the oldest classical vocal form of Hindusthani music.

Hori Dhamar: These compositions are akin to Dhrupad and enjoy identical status. Despite the variations in the themes of these compositions, all of them are associated with the festival of Holi (playing of colours) and the compositions are all of 14 beats time cycle.

Khayal: The Dhrupad style of music was replaced by the romantic Khayal (the word Khayal means imagination, idea). The most important features of a Khayal are 'Tans' or the running glides over notes and 'Bol-tans' which clearly distinguish it from 'Dhrupad'. The slow (Vilambit) and fast (Drut) styles of Khayal are the two recognized types today.

Tappa: This is a distinct style having its origin in the Punjab. Its beauty lies in the quick and intricate display of various permutations and combinations of notes. It is strange that even though the Tappa lyrics are in Punjabi, Tappa is not sung in the 15

Punjab. Banares and Gwalior are the strongholds of Tappa.

Bengal has also been greatly influenced by the Tappa style.

Thumri: Thumri originated in the Eastern par t of Uttar Pradesh. Its most distinct feature is the erotic subject matter picturesquely portraying the various episodes from the lives of Lord Krishna and Radha. The beauty of Thumri lies in the ar tist's ability to convey musically as many shades of meaning as the words of a song can bear. It is a much freer form than 'Khayal'.

SOUTHERN FORM Varnam: A composition usually sung or played at the beginning of a recital. It reveals the general form of the Raga.

The Varnam is made up of two parts: (1) The Purvanga or first half and (2) The Uttaranga or second half. The two halves are almost equal in length.

Kriti: A composed song set to a certain Raga and fixed Tala (rhythmic) cycle. It is a highly evolved musical form.

Ragam: A melodic improvisation in free rhythm played without mridangam (drum) accompaniment.

Tanam: Another style of melodic improvisation in free rhythm.

Pallavi: This is a short pre-composed melodic theme with words and set to one cycle of Tala. The pallavi has the following main features - around the words of the Pallavi.

Here the soloist improvises new melodies built around the word pallavi. Neraval means 'filling up'.

Trikalam: Is the section where the Pallavi is played in three tempi keeping the Tala constant.

Swara-Kalpana: is the improvised section performed with the drummer on medium and fast speeds.

Pandit Jasraj

Ragamalika: This is the final par t of the Pallavi where the soloist improvises freely and comes back to the original theme at the end.

Ustad Alla Rakha 1919 - 2000

Zakir Hussain

Odissi

Nrityagram Dance Ensemble

HeRITAGE OF INDIAN DANCE Indian dance is a way to communicate Bhava (expression of emotion) using the body as a medium. The art of dance is perhaps the most refined of all arts, and yet it can be easily understood. Indian dance is a blend of Nritta (the rhythmic movement of the body without any expression of emotion), Nritya (the combination of rhythm and expression through eyes, hands and facial movements) and Natya (the dramatic element). Dance is performed with Abhinaya (expression), rasa (emotion to convey the essence) and mudras (hand gestures). All Dances follow the 'nava rasas'(the nine common emotions of happiness, anger, disgust, fear, sorrow, courage, compassion, wonder and serenity). Most Indian dances are inspired by Indian mythology and folklore.

There are eight classical dance forms such as Odissi, Bharatnatyam, Kathak, Kathakali, Kuchipudi, Manipuri, Mohiniattam and Kshatriya Dance, each representing the culture of a particular region of India.

Apart from classical dances, India is also rich in the folk idiom. Chhau dance of Bihar, Garba of Gujarat, Bhangra of Punjab and Banjara Dance of Andhra Pradesh, are a few of the popular folk dances.

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ODISSI DANCE Odissi traces its origins to the ritual dances performed in the temples of ancient northern India. Today the name Odissi refers to the dance style of the state of Orissa in eastern India. Like other classical arts of India, this ancient dance style had suffered a decline as temples and artists lost the patronage of feudal rulers and princely states, and by the 1930s and 40s, there were very few surviving practitioners of the art.The current form of Odissi is the product of a 20th century revival. Dedicated scholars and dance enthusiasts carefully researched manuscripts and studied the sculpture, painting and poetry of the region. They also met and observed the performances of the few existing performers, in order to revive and restructure Odissi as a unique classical dance style, and adapted it to the requirements of formal stage presentation. Over the years Odissi has become one of the most popular classical dance styles. Like other Indian classical dance forms, Odissi has two major facets: Nritta or non-representational dance, in which ornamental patterns are created using body movements in space and time; and Abhinaya, or stylized mime in which symbolic hand gestures and facial expressions are used to interpret a story or theme. The divine love tales of Radha and the cowherd God Krishna are favourite themes for interpretation, and a typical recital of Odissi will contain at least one or two ashtapadis (poem of eight couplets) from Jayadeva's Gita Govindam, which describes in exquisite Sanskrit poetry the love of Radha and Krishna.

The technique of Odissi includes repeated use of the tribhangi, or thrice deflected posture, in which the body is bent in three places, approximating the shape of a helix. This posture and the characteristic shifting of the torso from side to side, make Odissi a difficult style to execute. When mastered, it is the epitome of fluid grace and has a distinctively lyrical quality that is extremely appealing.

BHARATA NATYAM DANCE By the time the Devadasis (maidens of God) had fallen, due to lack of state patronage and changed social mores, the revival of Bharat Natyam by pioneers such as E Krishna Iyer and Rukmini Devi Arundale brought the dance out of the temple precincts and onto the proscenium stage though it retained its essentially devotional character.

Today Bharata Natyam is one of the most popular and widely performed dance styles and is practiced by male and female dancers all over India. Due to its wide range of movements and postures and the balanced melange of the rhythmic and mime aspects, lends itself well to experimental and fusion choreography. Degree and Post Graduate courses covering the practice and theory of Bharata Natyam, as well as the languages associated with development are available at many universities of India.

CHHAU DANCE The Chhau dance is indigenous to the eastern part of India. It originated as a martial art and contains vigorous movements and leaps.

During the eighteenth and nineteenth centuries, many of the princely rulers of the Orissa region took a keen interest in the development of this art. They maintained troupes that performed on special occasions and festivals. Some Chhau dances use large stylized masks. The depiction of birds and animals is a distinctive feature. There are also heroic dances with sword, bow or shield, with which dancers demonstrate their dexterity. In keeping with the martial origins of Chhau, some of the themes include the depiction of mythological heroes, such as Parashurama, Mahadev, Indrajit and others, from the Mahabharata and Ramayana epics. Over the course of time, female characters and more diverse themes have been added.

There are three recognized schools or styles of Chhau. These are the Seraikella, Purulia and Mayurbhanj varieties. Mayurbhanj Chhau dancers do not wear masks. In recent times, Mayurbhanj Chhau has become popular as a medium of choreography, with its wide range of postures and movements that adapt well to modern as well as traditional movements.

KATHAK DANCE This dance form traces its origins to the the nomadic bards of ancient northern India, known as Kathakars, or story tellers. These bards, performing in village squares and temple courtyards, mostly specialized in recounting mythological and moral tales from the scriptures, and embellished their recitals with hand gestures and facial expressions. It was quintessential theatre, using instrumental and vocal music 20

along with stylized gestures, to enliven the stories. With the advent of Mughal culture, Kathak became a sophisticated chamber art. Patronized by art loving rulers, the practitioners of Kathak worked at refining its dramatic and rhythmic aspects, delighting elite audiences with their mastery over rhythm and the stylized mime.

The technique of Kathak today is characterized by fast rhythmic footwork set to complex time cycles. The footwork is matched by the accompanying percussion instruments such as tabla and pakhawaj, and the dancer and percussionists often indulge in a virtuoso display of rhythmic wizardry.The dance movements include numerous pirouettes executed at lightning speed and ending in statuesque poses.

The interpretative por tion, based on tales of Radha and Krishna and other mythological lore, contains subtle gestures and facial expressions. Lucknow, Banaras and Jaipur are recognized as the three schools, or gharanas, where this art was nurtured and where the interpretative and rhythmic aspects were refined to a high standard.

KATHAKALI DANCE Kathakali is one of the oldest theatre forms in the world. It originated in the area of southwestern India now known as the state of Kerala. Kathakali consists of a group presentation, in which dancers take various roles in performances traditionally based on themes from Hindu mythology, especially the two epics, the Ramayana and the Mahabharata.

One of the most interesting aspects of Kathakali is its elaborate make-up code.

Characters are categorized according to their nature. This determines the colors used in the make-up. The faces of noble male characters, such as virtuous kings, the divine hero Rama, etc., are predominantly green. Certain characters who are royalty but have an evil streak, such as the demon king Ravana, are allotted a similar green make-up, slashed with red marks on the cheeks. Extremely angry or excessively evil characters wear predominantly red make-up and a flowing red beard. Forest dwellers such as hunters are represented with a predominantly black make-up base.

Women and ascetics have lustrous, yellowish faces.

The technique of Kathakali includes a highly developed language of gesture, through which the artist can convey whole sentences and stories. The body movements and footwork are very rigorous. To attain the high degree of flexibility and muscle control required for this art, a Kathakali dancer undergoes strenuous periods of training, and special periods of body massage. The dancers wear large head-dresses, and the contours of the face are extended with moulded lime. The extraordinary costumes and make-up serve to raise the participants above the level of mere mortals, so that they may transport the audience to a world of wonders.

Kathak

The orchestra of a Kathakali performance includes two drums known as the chenda and the maddalam, along with cymbals and another percussion instrument, the ela taalam. Normally, two singers provide the vocal accompaniment. The style of singing 21

Mohiniattam

particular to Kathakali is called Sopaanam. The orchestra of a Kathakali troupe is unique and provides not only the background to the dancing, but also serves as a highly expressive special effects team. In the traditional village ambiance, the percussionists also provide publicity for the event by playing outside the venue for some hours before the star t of the show. A traditional Kathakali performance begins in the evening and continues throughout the night, culminating at the auspicious hour of dawn, when Good finally conquers Evil.

Today, however, it has been modified for the proscenium stage, and urban audiences can participate in this ritualistic theatre experience in the comfort of a plush auditorium, within the span of a couple of hours.

KUCHIPUDI DANCE Sculptural evidence from all parts of India and the surrounding region points to a rich tradition of dance and music that flourished over a thousand years ago. All over ancient India, it would seem, dance and music were seen not merely as ways to celebrate but also as offerings of worship and thanksgiving to the Divine. Over the course of time, the dance forms practiced in the different parts of the country were codified and developed distinct identities according to the geographic, socio-economic, and political conditions of each region.

The dance form Kuchipudi developed in what is now known as the state of Andhra Pradesh in southern India. Kuchipudi derives its name from the village Kuchelapuram, where it was nurtured by great scholars and artists who built up the repertoire and refined the dance technique.

The technique of Kuchipudi makes use of fast rhythmic footwork and sculpturesque body movements. Stylized mime, using hand gestures and subtle facial expression, is combined with more realistic acting, occasionally including dialogues spoken by the dancers. In this blend of performance techniques, Kuchipudi is unique among the Indian classical dance styles. Kuchipudi today is performed either as a solo or a group presentation, but historically it was performed as a dance drama, with several dancers taking different roles. The themes are mostly derived form the scriptures and mythology, and the portrayal of cer tain characters is a central motif of this dance form. One example is Satyabhama, the colourful second consort of Lord Krishna. Another unique feature of Kuchipudi is the Tarangam, in which the performer dances on the edges of a brass plate, executing complicated rhythmic patterns with dexterity, while sometimes also balancing a pot of water on the head. Kuchipudi is accompanied by Carnatic music. A typical orchestra for a Kuchipudi recital includes the mridangam, flute and violin. A vocalist sings the lyrics, and the nattuvanar conducts the orchestra and recites the rhythmic patterns.

Manipuri

MANIPURI DANCE Manipuri is one of the most beautiful dance styles of India. Nurtured in the mountainous region of the northeast, it takes its name from the name of the

area, Manipur, which is now a state. Manipur literally means a jewel of a land, and the state is set like a gem in the verdant hills. The legend goes that the gods drained a lake in the beautiful countryside in order to find a place to dance. No wonder then, that dance is an inherent part of the rituals of daily life, such as weddings and homage to ancestors. The Lai Haroba, a ritualistic dance depicting the Creation, is considered the precursor of Manipuri as seen today. The Lai Haroba is still an important living tradition, while Manipuri has expanded and gained popularity as a performing art in group and solo presentations.

Among the important constituents of the Manipuri repertoire are the Sankirtana and the Raas Leela, based on the devotional theme of Krishna and Radha. The Raas Leela depicts the cosmic dance of Krishna and the cowherd maidens. The beautiful embroidered skirts of the dancers, long and flared from the waist, and the transluscent veils, along with Krishna's costume with the tall peacock feather crown, add to the radiant appearance of this dance, as the performers sway and twirl to an ascending tempo. Another vibrant feature of Manipuri is the Pung Cholam or Drum dance, in which dancers play on the drum known as Pung while dancing with thrilling leaps and turns to a fast rhythm.

MOHINIATTAM DANCE The dance form of Mohiniattam was nurtured in the region of Kerala in southwestern India. The name Mohiniattam literally means 'Dance of the Enchantress,' and it does have a mesmerizing quality. The white and gold costume, arresting hairstyle and the highly graceful movements in medium tempo, contribute to this aesthetic effect. Mohiniattam is characterized by swaying movements of the upper body with legs placed in a stance similar to the plie position. The eyes play an important role in accenting the direction of the movement.

Mention of Mohiniattam is found in some eighteenth century texts, but the practical aspect of the style was revived in the reign of Maharaja Swati Tirunal, a 19th century ruler who was a great patron of the arts. Under Swati Tirunal, Mohiniattam crystallized as a solo dance tradition with musical compositions set to the Carnatic style of music and a distinct repertoire. Later, in the twentieth century, the great poet Vallathol established the Kerala Kalamandalam to promote the arts of Mohiniattam and Kathakali. Here, further research was done and Mohiniattam was codified and revived. Over the past few decades, the repertoire of Mohiniattam has been developed and expanded by dedicated performers who have ensured that this beautiful dance style retains a distinct identity among the classical dance styles of India. Apart from mythology, Mohiniattam contains a range of themes from nature.

FOLK DANCES Indian folk and tribal dances range from simple, joyous celebrations of the seasons, of the harvest, or the birth of a child to ritualistic dances to propitiate demons and invoke spirits. There are dances involving balancing tricks with pitchers full of water, or jugglery with knives. Quite a few highlight activities like fishing, ploughing and threshing. In certain cases, the dances are extremely simple with a minimum of steps or movement. Most, however, burst with verve and vitality. The costumes are invariably flamboyant with extensive use of jewellery by both sexes. Some of these dances are performed by men and women exclusively but most have them dancing together. Nearly all involve singing by the dancers. Many folk instruments provide musical accompaniment to these dances. The drum, of which numerous varieties exist in India, is the most common instrument.

There are literally hundreds of Indian folk and tribal dances as each ethnolinguistic group – and there are several in every region of India – has its own stock of dances. The dances by masked lamas, in Ladakh, Sikkim and Darjeeling are slow in tempo and simulate combat between good and evil spirits. From the picturesque valley of Kashmir hails Rauf, a seasonal dance in which dancers link their arms and glide forward and backward. The Kud dance of Jammu exhibits swaying, sinuous movements. Similar lateral glides and flowing movements characterize the folk dances of the western Himalayan regions. Noteworthy is the Mahasu of the Gaddis of Himachal Pradesh.

A wide range of leaps and jumps, and dancing while balancing other dancers on one’s shoulders are part of the vigorous Bhangra of Punjab. Mock actions of harvesting an abundant crop are common to Bhangra, and the Dhamal of Haryana, which is notable for the sounds of pounding feet and beating daffs. Other folk dances from Haryana are Phag, Guga, Loor and Khoria. The last, performed by 23

women at weddings, is marked by happy cajoling and joyful teasing. It resembles the Ghoomar dance of Rajastan in its steps. Gair, Terahtali, Chari, Walar, Jhamar, Ghoomra, Gavri – the list of Rajastani folk dances is endless. Various folk instruments and articles like pots topped with lighted lamps, sticks, shards of glass and swords are used in these dances.

Kuchipudi

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The chief feature of folk dances from neighbouring Gujarat is the use of sticks. Each performer of Garba, Garbi, Garbo and Dandiya Raas holds two sticks which are struck alternately to the right and left while the group progresses diagonally, clockwise or anti-clockwise with dancers looping around one another in complicated formations at a fast tempo. The Lavni dance emphasizes erotic, acrobatic movements and gestures, and belongs to Maharashtra. Central India has several pockets peopled by tribes like Bhils and Gonds. Their major representative dances can be seen on the occasion of the Bhagoria Dance Festival. Dances from Bihar can be divided into tribal (Munda, Santhal, Oraon, Kharia, Ho) and non-tribal (Bhojpuri, Mahji, Maithili).

These generally center around agricultural or hunting occupations, are unsophisticated and express feline grace. Oriya folk perform Dandanata (a repertory of ritual dances), Chaitighoda (using a dummy horse), Dalkhai, Medha (mask dance), Paika Nritya (battle dance) and Karma dances, some on special occasions and others throughout the year.

Exotic head-dresses of feathers and animal relics, ornaments of beads and cowrie shells are worn by tribal dancers of north-east India. About 60 tribes inhabit this region and nearly all lay claim to a dozen different dances.There are the exciting dances of the Nagas and the Bihu dances of Assam which celebrate spring and harvesting. On the same occasion, the Kabuis of Manipur perform a thanksgiving dance with gay, rapid movements. In Meghalaya, the Garos dance Wangala, the Jaintias Laho and the Khasis Shed Nongkrem. Bamboo which grows in abundance in the north-east is used to advantage by Mizos in the Chiraw and Nagas in the Kuki dance, the locally woven colorful dresses, eyecatching headgear, gleaming spears and ornaments distinguish the dancers of one tribe from another.The South is home to more than one folk dance. Karnataka is famous for its dummy horse dance, and the Pattida Kunita, performed by men carrying gaily-ribboned poles topped by silver/brass umbrellas. A unique dance from Tamil Nadu is Koklikatai in which dancers move about on stilts tied with bells. Folk, tribal or classical, each Indian dance form is the product of centuries of development. And the dancer’s skill, the fruit of rigorous abhasya (practice).

Kathakali

Edited by Sonal Vora

Avigna Dance Company

Bharat Natyam

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Sammy

theater Indian tradition of theatre is rich and evolved with the ancient rituals and seasons of the country. It is believed that Lord Brahma created Natyaveda, the fifth Veda on Natya (action) as a mode of recreation for all class of the society by incorporating words from Rig Veda, music from Sama Veda, action from Yajur Veda and emotion from Adharva Veda. Sage Bharata who perfected the dramatic art and wrote Natya Shastra, a great comprehensive work on the science and technique of Indian drama, dance and music enacted the first drama to the audience of 'Devas'. Through the medium of drama, common man was presented with the Ithihasas, Puranas, and Mythology.

Dance has played an important role in the birth of theatre. According to Natya Shastra, dancing and dramatic representation has an intimate relationship. Drama gradually moved from deficting mythological themes to social issues of today. Cinema and serials on the mini screen are nothing but offshoots of this age-old culture.

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Ballet Folklorico de Mexico

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3 BARYNYA

world

on

stage

The pleasure, power and art of movement, DANCE is a powerful form of human expression, an emblem of cultural

identity, and an expression of religious worship.

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A WORLD OF DANCE

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AFRICA - CHINA - ECUADOR - JAPAN - INDIA - IRELAND - KOREA - PHILIPPINES - POLAND - RUSSIA - SPAIN - CUBA

BULGARIA - MONGOLIA - BURUNDI - MEXICO - COLOMBIA - INDONESIA - PERU - UKRAINE - PAKISTAN - HUNGARY

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A WORLD OF DANCE

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BULGARIA - MONGOLIA - BURUNDI - MEXICO - COLOMBIA - INDONESIA - PERU - UKRAINE - PAKISTAN - HUNGARY

AFRICA - CHINA - ECUADOR - JAPAN - INDIA - IRELAND - KOREA - PHILIPPINES - POLAND - RUSSIA - SPAIN - CUBA

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Abantu Mu Buntu, Uganda

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Since 1988

Shultan Khan

Pandit Jasraj

Vishwamohan Bhatt

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Manna Dey

Asha Bhonsle

Shivkumar Sharma

L. Subrimaniam

Zakir Hussain

Bishmillah Khan

Ustad Alla Rakha

Maharajapuram Santhanam

Rongchun Zhao

Jin Hi Kim

Sonu Nigam

Anupam Kher

Ghulam Ali

Jagjit Singh

Paresh Rawal

Birju Maharaj

Naseerruddin Shah

Lilete Dubey

Miya Masaoka

Pankaj Udhas

Anup Jalota

and many more 37

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thrills and challenges of running an art organization Vrunda Patel, Founder & Executive Director

With a vision and a passionate love for the art and culture of India, the Namaskaar Foundation was launched on February 2, 1988. It is hard to believe that we are now celebrating 25 YEARS!

From its very inception I was adamant that Namaskaar would always adhere to high standards, presenting the finest Indian artists and focusing on educating Indians and Non-Indians about Indian Music and Dance. I have to confess that I did not have knowledge of Indian classical music and dance. But I had the ability to appreciate and identify the highest qualities in an artist. Twenty-five years later I still may not be an expert but I’ve learned more about the performing arts of India in America than I did, growing up in India.

I had no idea what I was getting into when I started the Namaskaar Foundation. My goal was to set-up an organization, implement high standards and then step down in five years. The first concert I organized was that of none other than Grammy award winner, Zakir Husain & Shivkumar Sharma. BOOM! Nine hundred people showed up! On that day, a man kept walking behind me with a $1,000 check in his hand to donate to the Namaskaar Foundation. But I refused to accept it because our tax-exempt application was still being processed. However, this gentleman refused to take no for an answer

One year later I received a $500 check with a letter from Robert Gerouard, saying that he had helped a gentleman with his house project and who insisted on paying for the labor. Robert asked him to write a check to the Namaskaar Foundation, instead. As of today, I have yet to meet this kind donor so that I could tell him in person, how much his thoughtful gesture meant to me. The following year another donation popped up in the mail without any note, followed by a second and then a third such check. I got to know this person’s identity, from his signature. Now I sort of feel validated in the confidence that these three total strangers had in me and in my mission.

Delivering the highest standards was easy. But getting an audience into the theatre was not. Namaskaar was growing and presenting some of the biggest names around, but the concerts were barely breaking even. Grants and corporate contributions were not enough. In order to make up for losses on classical music and dance programs, I had to include popular, crowd pleasing artists in our presentations. After some fruitful years, we got involved with an artist requested by our community, a name that I had never even heard of. When the Wall Street Journal referred to this individual as a “commodity” we thought it was ok to have him perform at a fundraising event. It was a big mistake, however, and I still regret it. I had a big financial disaster on my hands and I felt solely responsible for it. Walking away was not even an option Then, in 1999, God sent Howard Jennings to me from the Stamford Public School system and with him came Pitney Bowes.

Together we presented our first concert by one of the finest Dance companies from India at the Rich Forum, the Nrityagram Dance Ensemble. The concert was free to all and the house was almost full. The next day, I received a phone call from a non-

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Indian. She said, “My friends went to see the concert last night but I missed it. Could you please add me to your mailing list?”

Soon after that another stranger called and left a message on my voice mail, again a non-Indian. “I was at the Border’s bookstore today and I overheard two women discussing your performance last night at the Rich Forum and I thought I should let you know. I was there in your dance concert too.” These words still linger with me today. You see, encouraging words from strangers, kept me going.

We established the “World on Stage” name as part of our audience development program. Our product was good and I was confident that I could hook a non-traditional audience for our performances, IF I could just get them into the theater. Since we first opened our doors, we had always relied heavily on direct mail marketing. But now I needed to reach a much bigger and more diverse audience.

The First International Festival was planned for September 1999. For the past ten years, I was able to get away with marketing designed by my own hand using Indian Folk arts without spending money. But now I was very frustrated and unable to create designs without technical knowledge that I wanted for that first festival. I had to hire a professional graphic designer who billed us $3,000 for the beautiful work she did. Unfortunately, we did not have enough money to continue to pay for professional graphic design.

I decided to go back to school to earn a graphic design diploma. Two years later I was back in business and we did not have to spend money for graphic design ever again! With our partnership with the Stamford Public Schools and Pitney Bowes we were able to reach the parents of 14,000 students and a few thousand Pitney Bowes employees without spending money on postage. A few years later we started mailing 30,000 to 60,000 postcards to a very diverse array of households in Fairfield and Westchester counties. Today, we are still mailing postcards to 30,000 to 60,000 households, and 60,000 patrons regularly receive our email about our programs. We have been reaching the poorest and the richest, oldest and youngest in the community. We announced, in our postcards, that complimentary tickets were available, to first time audience members, and people who couldn’t afford to purchase tickets.

Today, we have also established relations with the Yerwood Center, Inspirica or St. Luke’s Lifeworks, Domus, Boys and Girls Clubs of America, Boys and Girls Scouts, Intake, and other organizations and we regularly provide comp tickets to school students and their parents for all of our presentations. We have always encouraged dance and music schools to bring their students to our programs for free or for a small fee.

Our audience and programming is now more diverse and growing in numbers. Corporate contributions and grants, however, have slowly shrunk and are in fact, disappearing. That leaves us almost completely dependent on ticket sales. We have had to raise ticket prices but continue to provide comp tickets for the underprivileged. Given the lack of corporate support and grants, this has become a serious concern.

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2012 marked one of the most challenging years in Namaskaar's history. There was not one overriding reason for this. Rather, it was a combination of things such as a lack of administration, Mother Nature, a disaster with post office delivery, missing deadlines, and cancellation of a concert. It has become apparent to me that this organization will not be able to continue without professional staff. We had booked A WORLD OF DANCE SERIES almost two years ago as part of our 25th anniversary celebration, and the anticipation of seeing stellar performers onstage in Stamford, kept my spirits up. Canceling was not even an option.

Then my friend and Board member, Lolita Savage, jumped in and pulled in all of you today for a celebration of diversity. A human dynamo, Lolita’s leadership skill is unbelievable. Even I could not keep up with her emails and phone calls every five minutes demanding –can you please take care of this NOW! She worked on this 25th anniversary celebration around the clock and made everyone work with her. She was very confident that her friends would stand behind her commitment. And here we are today, celebrating 25 YEARS with you! Thank you very much for showing up!

I of course need to mention our newest advocate, Fernando Alvarez, who exudes the boundless energy that Namaskaar Foundation has been lacking for many years now. He has just joined our team but he quickly learned the value of our organization and gives me hope that Namaskaar will continue long after me. Furthermore, Christine Edward, a good friend and long time board member has always been there for me, and Ling Bello has been my right hand for the past few years. Inni Dhingra had been a loyal audience member for many years. She joined Namaskaar in our glory days and will soon be learning the ups and downs of an art organization now from the back stage. Her negotiating and organization skill was much needed.

Barbara Viner, one of our volunteers, is always ready to help publicize our events. She makes sure to bring groups of senior citizens to our concerts. And I of course want to mention our legal adviser, Joe Khanna from Mastercard.

Over the years, Namaskaar Foundation has received nearly half a million dollars in grants, corporate and individual contributions to fund our high quality performances. But, as of today, Namaskaar Foundation has remained a 100% volunteer organization, with a small team of volunteers and Board members from different ethnic backgrounds. If a next generation of leadership takes charge of this organization it will need significant support from endowment funds.

I hope that what I have shared with you today will give you at least some insight into the thrills as well as the, challenges of running an organization such as Namaskaar, without a staff. I have a vision that a young generation of leaders will soon take Namaskaar on to the next level.

Thank you for a truly remarkable 25 years! I will never forget any of you and all of your generous support and encouragement.

Aa

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PITNEY BOWES congratulates the Namaskaar Foundation / World on Stage on its 25th anniversary!

We are proud

to support Namaskaar’s legacy of educating diverse audiences through the celebration of art, talent and cultures. We are very

pleased to be one of Namaskaar’s earliest sponsors, and like other members of the community, we have been enriched by the

many outstanding and diverse performances that Namaskaar has brought to the Fairfield County stage over the past 25 years.

We commend you on engaging so many members of our community with vibrant and powerful experiences in music, dance and

theater from around the globe. We also commend Vrunda Patel on her passion, commitment and dedication, and extend our

gratitude to all of Namaskaar’s volunteers and supporters. Thank you for your creative expansion of community through innovation, artistic expression, and beauty.

25th Anniversary concert by Paco Pena is made possible by contributions from The Hinduja Foundation Indra Nooyi Chairman & CEO, Pepsi

Loida Nicolas Lewis Chairman & CEO, TLC Beatrice, LLC

Pitney Bowes Savage Holdings Xerox Foundation Purdue Pharma Foundation for Filipino Artists Mastercard Day Pitney LLP Fernando Alvarez Galley Chevron Saw Mill Package Store Inc. Printech MA-YI Theater Company Sheraton Hotel Diageo - Pan Asian Club and The Latin Connection

THANK YOU! 42

Paul & Sangeeta Ahuja Myrna Anover & Richard Schuster Bessie Badilla Aida Bartolome Beverly Behan Ling Ong Bello Graciela Cabrera K. O. Cao Doreen Chambers & Philippe Monrougie Robert & Laurie Cooper Ravi & Inni Dhingra Nick & Christine Edwards Dominique Gallego Dilip Hanumara Eva Heit Glenn Hemmeroe Duane & Leana Hill Remi & Shauna Hinduja Martin & Mary Jacobson Juanita James Howard & Mary Jennings Joe & Ruchi Khanna Randy & Susan Kinder Krish & Bala Krishnamurthy Thomas E. Kruger & Maureen Bailie Sujata & Vijay Kumar Dr. Bridget Patterson-Marshall Osby McMillan Pankaj & Baiju Mehta Butch Rene & Pam Meily Alex & Mariene Mendoza Claude & Diane Montgomery Jorge Ortoll Kunjan Patel & Punam Patel Payton Patterson Brett Raffael Frank & Lolita Savage F. Antoine Savage Frank Alexander Savage Shirley Truman-Smith Kabir Valencia Patric J. Waide, Jr. Cliff & Valeria G. Wells Joseph & Sarah Yakuboff

Printing, courtesy of PRINTECH - www.iprintech.com

THANK YOU! Namaskaar Foundation Inc. WORLD ON STAGE www.worldonstage.org world@worldonstage.org