KUTUMBA Kutumba, more than just performers

Kutumba is a folk instrumental ensemble committed to the research, that will divide us as a people. preservation and celebration of the diversity that exists in indigenous In this unique time period as Nepal is going through a Nepali music. Kutumba firmly believes that the richness in Nepali complete re-evaluation of identity on all fronts, we are also faced music is directly significant of the rich diversity that exists in the with forces of globalization. This affects our young generations Nepali people. more than any other category of the Nepali population. As they As we become more aware of the multiculturalism in Nepali find themselves negotiating an identity that struggles not only society, be it in Kathmandu or other parts of the country, with hormones but national politics as well as global cultures political, social and developmental attention is trained on packaged attractively by television and other media, Kutumba recognizing differences and ensuring rights for our diverse feels now is a good time to reach out to young Nepalis and groups of people. Kutumba sees the possibility of finding respect encourage them to find respect, dignity and entertainment by promoting our multiculturalism through the medium of our through the creative and stabilizing energy and beauty of our indigenous music art forms as apposed to seeing it as a threat unique music art forms.

Kutumba performs at the Janaki Temple in Janakpur, October 2008. L to R: Arun, Pavit, Binay, Siddhartha, Rubin, Raju and Kiran. BIOGRAPHY

Arun Manandhar on , Arbajo Pavit Maharjan on Percussion Arun is one of the few musicians who play the Tungna today. Pavit works magic on percussions and is a vital binding force in the Originating in the high altitudes of the Himalayas in the early 19th ensemble. Kutumba was born when ‘the guys’ got together at Pavit’s century, the Tungna is a that has a body carved shop. They wanted to show young people like themselves that folk from a single piece of wood and a resonating chamber made from music was fun. goatskin. Pavit started playing the since he was a child, but it was only Arun learnt to play the guitar from his elder brothers when he was after grade 12 and a friends’ influence that he decided to start taking young and moved on to learning the Tungna when he joined Kutumba. music on professionally. It was then that he picked up the keyboards Arun also sings during his free time. His favorite Nepali artists are and has since moved on to playing in big events such as Shikhar Deep Shrestha and Deepak Kharel. tours, Kantipur TV, Taal, Shukrabar and more. Besides Kutumba, Pavit manages his shop, teaches keyboard at Shuvatara School and enjoys painting. Kiran Nepali on Kiran grew up with music at home. He is a third generation Sarangi Raju Maharjan on Percussion player, and says he is greatly influences by his grand father, father Inspired by his father, Raju is today considered one of the best and uncles who were all Sarangi players of their times. Last year, percussionists in Nepali. From the Madal to the , there probably Kiran spend 4 weeks studying the Sarangi in the Batulechaur area, a isn’t a percussion instrument Raju cannot play. His specialty is the well known Gandharva settlement close to Pokhara. Kiran also plays , in which he has a Masters degree from Allahabadh. the guitar. Raju loves upbeat folk tunes but also enjoys singing slow melodious Having recently joined Kutumba, Kiran says he feels great energy ones. In fact he recently recorded a few songs, but will we ever get to within the ensemble and is looking forward to future projects together. hear them? “It’s for my personal interest only” he claims. Raju teaches music at Shuvatara School and got married a year ago. BIOGRAPHY MANAGEMENT TEAM

Rubin Kumar Shrestha on Flute At age 12, Rubin took a fancy to the way Lord Krishna played the Bhushan Shilpakar, Manager flute. He began learning the instrument while in school. Today, at 20, Bhushan has been working with Kutumba for the last two he has completed his Bachelors degree in classical music. He plays years as Manager with a special focus on event coordination. about 15 other instruments and also composes and arranges music. Professionally he has otherwise been engaged as a webmaster He has toured in France, Norway, China, India and various parts of and graphic designer in various media houses including Himal Nepal. Media and Y! Enterprise.

Currently he teaches music to elementary school students for regular income and spends his remaining time with composing for and performing with Kutumba. NayanTara Gurung Kakshapati PR, & Promotions

NayanTara is a photographer by profession and has been Siddhartha Maharjan on Effects involved in promotion and marketing for Kutumba for the past With a father who runs a record label and music shop in Thamel, two years. With a special interest in audio visual Siddhartha developed a taste for music from a very young age. He documentation, she freelances for various publications. joined Kutumba in 2007 and plays effects, that includes instruments such as the ghunguru, murchunga, bhushya, sishya, and so on.

Besides music, Siddhartha also loves sketching and painting and firmly believes that there is great scope for art in Nepal. He is currently a full time student at Sirjana College of Fine Arts.

Arun Gurung on Sound Arun, who plays Bass Guitar in the band, has been in the music industry for the last 7 years performing and organizing music events. Arun looks after all sound and technical requirements for Kutumba. His networks within the music industry is a great asset to any Kutumba initiative.

RELEASES

Kutumba: Evergreen Nepali Folk Tunes Folk Roots Naulo Bihani 2004 2005 2006

Kutumba released their debut album titled Kutumba: Evergreen Nepali Folk Instrumentals in 2004. Released by Mahaboudha Records, this album has sold an estimated 20,000 copies till date. Kutumba's second album titled Folk Roots was released by East Meets West Music Box in 2005 and has sold an estimated 15,000 copies. Both these albums were Kutumba's renditions of popular Nepali folk tunes. In 2006, Kutumba released Naulo Bihani their third and latest album, a collection of original tracks by Kutumba. It is selling at the range of 5000 copies at the moment. Kutumba has also recently released a cassette compilation of popular folk tunes including some original compositions which has sold 230 copies till date. At present, Kutumba is working on their fourth album, expected to be released in 2009. Kutumba: Our Folk Tunes 2008 SOCIAL INITIATIVES

The word ‘Kutumba’ holds a special meaning in the Nepali language; it stands for a unique bond amongst community members. Kutumba believes in bringing people together through traditional Nepali music to create new sounds, ideas and energy. Members of Kutumba find themselves invested in social initiatives individually as well as collectively throughout the year.

Special performance for Community based Disaster Preparedness Program in the inner town area of Thimi, November 2006. FUNDRAISING

Concerts are great fundraisers and Kutumba performs to fund raise on many occasions with college students, t social organizations and independently. In the past year Kutumba has put on various such fundraising concerts for Kutumbasangai Change, Barta and Binod, Hope For Education, Fight Hunger, Stop Global Warming and Climb to the Top of The Barta Ra Binod World, Help Koshi, Charity show for Bright Future Nepal, and others.

Saturday, 20 September, 5 PM Patan Museum, Patan

Ticket Rs. 300 only

www.kutumba.com.np/barta

Kutumba performing with female artists to fundraise for conflict affected children, July 2008. COMMUNITY COLLABORATIONS

Most often, concerts in Kathmandu are accessible to a select few. Kutumba believes folk culture belongs with the people and limits itself if contained in recorded albums and isolated performances. They often stage free public performances in towns and villages in various parts of the country. All are welcome to attend including young people, housewives, grandparents and so on. Towns such as Harisidhi, Kirtipur, Bandipur and so on have seen such lively get-togethers.

Kutumba performing for Harisiddhi, November 2007. SPECIAL PROJECTS

Kutumbasanga Hatemalo Hand in Hand with Kutumba

Kutumbasanga Hatemalo is a special project designed and believes that the richness in Nepali music is directly significant of implemented by Kutumba and funded by the Danish Cultural Fund. the rich diversity that exists in the Nepali people. At a time when Each phase takes Kutumba to a different place in Nepal where they political and social attention is trained on recognizing differences and interact with local musicians to learn from them and perform with ensuring rights for our diverse groups of people, Kutumba sees the them. possibility of finding respect and identity through the medium of our indigenous music. Committed to the research, preservation and celebration of the diversity that exists in indigenous Nepali music, Kutumba firmly Visit www.kutumba.com.np/projects

Naubaja guru, Ganesh Man Duwal watches Kutumba perform for Panauti. Local musicians perform with Kutumba at Batulechaur, Pokhara. SPECIAL PROJECTS

Peace in Harmony

In December 2007, Peace in Harmony was a peace building project implemented in association with Search for Common Ground, an international organization that works in conflict transformation and peace building. It involved interacting with ex-army, ex-Maoist, Madhesi, Tharu and other groups of people from different walks of social and political life, and coming together to write peace songs. These songs were released as an album and plans to tour the country to perform these songs are underway.

Meditating together at the peace song retreat. Raju sharing songs with ex-Maoist fighter. CORPORATE

Kutumba’s popularity invites them to open various corporate affairs such as product launches and venue openings. These events help market the ensemble and pay the bills.

Launch of Sony Bravia TV, December 2007. IN SOUTH ASIA

In August 2007, Kutumba traveled to India to perform at the Freedom Concert organized by the Center for Youth Development and Activities (CYDA) on the eve of the Indian Independence day in Pune. Kutumba also performed for students, teachers and parents at the Orchid School, a school with special curricular emphasis on music and cultural education.

This visit to India was Kutumba’s first tour experience outside of Nepal. The tour was an opportunity to celebrate a mutual appreciation for music that transcends national identities and cultures.

In January 2009 Kutumba will open Chobi Mela, an international photography festival in Dhaka, Bangladesh. The opening ceremony also includes video conferences with Noam Chomsky, Stuart Hall, Mahasweta Devi, Shahidul Alam, Kunda Dixit, Marcelo Brodsky and others. Kutumba at Orchid School atrium.

Listen to how their instruments communicate- when some of them get loud, the others are soft, when the soft ones get loud, the others give them space- there is space for everyone.

- Shilpa Solanki, Principal of the Orchid School told her students FILMS

Kutumba has been involved in the production of two film soundtracks; Malami, a short film by Nepali film maker Subarna Thapa and God Lives in the Himalayas, a feature film by Sanjay Srinivas.

www.godlivesinthehimalayas.com Tailor video - http://in.youtube.com/watch?v=i8t2Z8x7Ky4 INSTRUMENTS

Kutumba's musical repertoire is based on more than 54 indigenous Nepali instruments, many of which are rarely played today. Among them, these are a few highlights;

Dhimay The , known for producing multiple reverberating echos, originates in the Kirati period. Constructed traditionally Arbajo from a cylindrical hollowed tree trunk, It is believed that the instrument Arbajo was the Dhimay is made of brass and other handed down by Saint Bhrama Bharat to metals these days. It has skin pads human beings in the Satya Yug. Back then the at both ends; the left skin is known instrument was used to deliver messages from as Nasah, and the right skin is called one place to another. The Arbajo is similar to a Mankah or Haima. Mankah carries a Guitar but slightly smaller in size. It is regarded tuning paste inside. Skin straps are used as the male partner of the Sarangi and is played to fasten the skin on both ends. The dhimay is in consortium to produce balanced harmony. It played by beating one side with a bamboo stick that consists of four strings that are used to produce has a spiral head and by hand on the other side. rhythmic sounds. When a musical group performs the usually plays the lead. Murali is also a type of Bansuri which is made up of wood and Bansuri (Flute) its has a higher tone. The Murali is used predominantly in Newar Bansuri is made by bamboo with communities. holes on it and it is blown from one end. It is a very popular instrument not only in Asia, but globally. The size of the bansuri differs according The dholak (or dholaki ) is a percussion to its different scales. The instrument played popularly in Southern with lower scales are big and thicker Nepal, North India and Pakistan. The nâl whereas the ones with the higher is a more modern version. The dholak has scales are smaller. a simple membrane on two sides and a There are seven holes in a Bansuri. In the seven holes, one is used handle on the right-hand side. The left-hand for blowing while the other six each have a relative note progression membrane has a special coating on the inner according to itself. In these six holes fingers are used to press or open surface. This coating is a mixture of tar, clay and sand (dholak the holes to get the desired note. masala) which lowers the pitch and provides a well-defined tone. A When a musical group performs the Bansuri usually plays the dholak may have traditional lacing or turnbuckle tuning. The wood lead. Murali is also a type of Bansuri which is made up of wood and used for the body is usually made of teak wood, also known as its has a higher tone. The Murali is used predominantly in Newar "sheesham". The process of hollowing out the drum determines the communities. sound and quality of the dholak. INSTRUMENTS

Sarangi The sarangi belongs to the Gandharva caste and was traditionally used as a storytelling instrument. It is a four-string instrument that usually produces C, C and G, G notes and is played with a bow. The structure of a Sarangi Madal is very interesting; it has got no fret boards or The madal is a double-headed Nepali drum made of hand-carved fingering frets- notes are changed by putting wood and water buffalo hide. Its skins are made in the same way as fingers in-between the strings and shortening the Tabla, with two layers on both sides and a black paste called Khari the length of vibrations. It has no joints and is applied in several layers to produce the desired sound. The strips of traditionally the body is carved out of a single material at the sides of the drum may be moved to adjust its pitch. block of Khhira wood, but is often replaced these The madal is often used in processions, such as the parading of days by Saaj wood. A wooden key is used to tune deities through the streets, religious holidays such as Dasain and the strings and a small piece of wooden block Tihar, weddings, and everyday gatherings. It has a strap that is usually is used as a bridge on top of the skin piece. The worn over the head or on the waist, leaving both hands free to strike traditional horsetail bow is often replaced by a the two ends of the drum. nylon bow now.

Tungna Murchunga The tungna is a 19th century string instrument The Murchunga is shaped like the base of a Shivalinga and is made that is usually carved from a single piece of of iron and copper. Due to its small size it is usually carried around wood of white rhododendron that is found in one's pocket and thus has traveled widely increasing its popularity. only above 3500 feet. These days the wood is The Murchunga is played by placing the index and middle finger on often replaced by Salla wood. The tungna has a the upper and lower jaw respectively while the middle part lies in the waisted resonating chamber with a goatskin belly open space. The stem in the middle in moved back and forth. The and strings made from sheep intestine. These vibration of the stem and the hollowness of the mouth causes sound days nylon strings are more common. It is played to be created. The murchunga is also known around the world as the with a small, attached plectrum and is popular in Jews Harp. the Himalayan region among the Sherpa people. IN THE PRESS IN THE PRESS IN THE PRESS IN THE PRESS IN THE PRESS IN THE PRESS IN THE PRESS IN THE PRESS IN THE PRESS SOUND REQUIREMENTS

#Siddhartha Maharjan #Raju Maharjan Effects (1mic) Percussion (4 mics) #Arun Manandhar #Pabit Maharjan Tungna (1 con. mic) Percussion (5 mics)

#Rubin K. Shrestha #Kiran Nepali Flute (1 mic) Sarangi (1DI)

1. 14 microphones (unidirectional) with adjustable boom stands (7 Medium, 7 Large)

- 2 out of 14 should be Shure BETA 52 or similar condenser microphones

- 11 should be Shure 57-58 (minimum 1 58 for flute)

- 1 should be FM mic for MC (recommended Shure or Senheiser UHF)

2. Minimum 16 channel mixer (recommended Mackie or Soundcraft)

3. Minimum 2 stage monitors *400 watts (recommended Mackie SRM 450 or JBL EON G2)

4. Speakers according to venue size, outdoor/ indoor (recommended Mackie or JBL)

5. Lights according to venue, indoor/outdoor, time of performance (recommended par 61/64) CONTACT

KUTUMBA FOR CONTACT IN US

PO Box: 3105 Shisir Khanal Kathmandu, Nepal Executive Director [email protected] Sarvodaya USA www.kutumba.com.np 122 State Street, Suite 510 Madison, WI 53703

608-442-5945 (Office) 608-215-3627 (Mobile)

[email protected] www.sarvodayausa.org