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Home , Birju Maharaj, Ghungroo, Kishori Amonkar, Parveen Sultana, Sitara Devi, Sonal Mansingh

October 2007 Volume 5 Sandesh Sandesh Issue 3 “The Message” A Newsletter from IndUS of Fox Valley

From Editors’ Desk and Dances: A Brief Introduction Dear Readers, By B. S. Sridhar Each year the October issue of Sandesh is dedicated to the theme Classical Indian Music is a projection of artist’s inner spirit. of upcoming annual IndUS ban- The origin of Indian music is said to be The current classification of can be quet. The theme of IndUS-2007 is rooted in the Vedas (1000-1700 B.C.). traced to two seminal works by great Music & Dances of and the Over the centuries classical music has musicologists: Svaramelakalanidhi by articles in this issue are a prelude evolved into two distinct schools, namely, Raamamaatya (c. 1550 AD) and to such a rich and diverse compo- Hindustani (the North Indian) and Carnatic Caturdandi Prakaasikaa by Venkatamakhi nent of Indian culture. (the South Indian). (1660 A.D.). The ten principal families of ragas in Hindustani are: Asavari, Bhairav, The lack of space prevents us to Carnatic music is devotional in nature, with , Bilawal, Kafi, Kalyan, Khamaj, cover many other interesting attention on melody and rhythm, heavy Marwa, Purvi and Todi. Carnatic labels for forms and important aspects of emphasis is placed on sahitya or lyrics. The ragas generally differ but there are Indian music and dance. We are music is often in praise of equivalent ragas in both systems. sure that at the banquet you will pantheon and often the poets are known to discover interesting and informa- express other emotions such as love, anger, Tala refers to rhythmic cycles. Indian tive exhibits and a truly enriching envy, disappointment, and dejection in music has developed a unique system of cultural experience. We also hope defining their relationship with the deities. intricate and sophisticated rhythmic that these articles will intrigue The concerts tend to be fairly structured patterns. These cycles can range from a those who are not able to attend around varnams, alapana, kritis, kalpana three-beat cycle (teen or aadi tala) to the event and generate enough swaras, padams, , and tani cycles consisting of hundred and eight interest to further explore Indian avartams. beats! Within the fixed framework of these beats, the percussionist is afforded music and dance. The most important and recent changes in unlimited opportunity to improvise. The Hindustani music can be traced to the most exciting moment for a seasoned period between fourteenth and eighteenth listener is when two performers after their SandeshSandesh centuries when the musicians in the north extensive individual improvisations, come An IndUS of Fox Valley came in contact with Persian music via the together on the first beat of the next cycle Publication Mughals. Hereon, emphasis was on the called sum. The most popular talas are: abstract and aesthetics. In Hindustani, there Teental, Dadra, Rupak, Jhaptal, Ektal and Editors are ten main forms or styles of Ada Chautal. Dr. Badri Varma performance: Dhrupad, Dhamar, Hori, Laya the tempo of the exposition of each Ms. Manjari Chatterji Khayal, Tappa, Chaturang, Ragasagar, raga proceeds through three phases. During Tarana, Sargam and . The main Mr. Dnyanesh Patkar the slow and deliberate alap, the artist Mr. C. Shekar Rao elements of Indian music are Raga and Tala. engages in a serene exploration of the range Dr. Sandhya Sridhar and depth of the melodic scale, without any Raga (that which colors the mind) refers to Advisor percussion. Rhythm enters the scene during a melodic scale with a precise, subtle the jor, without the drum accompaniment, Dr. B. S. Sridhar ascending and descending array of notes. when innumerable variations of raga’s The views expressed in the articles There are seventy two distinct ragas, each theme are elaborated. During the third are not necessarily those of the creating a distinct mood (rasa) such as the phase, jhala side strings are played at a Editors or IndUS of Fox Valley romantic, fearful, heroic, anger, disgust, rapid pace. Drums join in during gat, a kindness, peaceful, wonder, and humor. A fixed composition when improvisation is Page 2 Sandesh appropriate! Take your cue from the saris, jewelry and hair ornaments, and With the advent of Muslim rulers in India aficionados. specifically applied facial and body (circa 12th century) underwent a Any attempt to list notable performers is make-up. They dance to a traditional major transformation. From a temple a controversial effort. Therefore, south Indian Carnatic orchestra dance it evolved as a brilliant form of admitting this major limitation, let me consisting of voice, strings, percussion, entertainment. In deference to the Islamic generate an illustrative, not an exhaustive and flute. proscription of idolatry, in the royal list of artists. uses three aspects or courts of Moguls, the emphasis shifted from the devotional and mythological The great composers in the Carnatic modes of kinetic expression that span the range of aesthetic possibilities: Nritta, aspects toward the development of the tradition are Purandaradasa (1484-1564), aesthetic and technical dimensions of the Tyagaraja (1767-1847), Muthuswami , and Natya. Nritta is abstract or "pure" movement- is it pure dance devoid art. The new school incorporated into its Dixitar (1775-1835), Shyama Shastri form spectacular elements as fast (1762-1827), Swati Tirunal (1813-1846), of emotional expression wherein dancers use body movements and pounding pirouettes, intricate rhythm, brisk and Mysore Vasudevacharya (1865- movement and fast footwork. Kathak of 1961). The great performers include; MS rhythmic footwork to create visual geometric patterns vibrating with today represents a beautiful fusion of the Subbalakshmi, Aryakudi Ramanuja Hindu and the Persian cultures. Iyengar, ML Vasantha Kumari, DK dynamic energy. Nritya is lyrical dance that interprets poetry. Dancers use Pattammal, M. Balamuralikrishna, Among the great exponents of Kathak conventional hand gestures called Maharajpuram Santanam (all vocalists), are: , Lachchu mudras along with facial expressions and TR Mahalingam and Sikkil sisters (flute), Maharaj, Durg Lal, Sitara , and feelings to express the meanings or S. Balachander (), Lalgudi Maya Rao. Jayaraman and MS Gopal Krishnan interpretations of the lyrics or text. (violinists), Palghat Raghu (), Finally, Natya describes dance-drama Vikku Vinayakaram (). that enacts a narrative or idea. In Natya, dancers use both pose and expressional Kathakali is a unique dance-drama that The famous Hindustani artists of the past aspects along with mime to create drama. originated in Kerala, a southwestern state and present are: Ustads Bade Ghulam Ali Like fresco painting in Christian of India, nearly 500 years ago. Kathakali Khan, Kareem Khan, Bhimsen churches, the original purpose of literally means “story play” and therefore Joshi, , Shrimati , Bharatanatyam was to educate the public is always based on Hindu mythological , , Veena about the scriptures. Today, stories. The characters in Kathakali do Sahasrabuddhe (vocalists), Pandit Bharatanatyam remains a thriving art not speak. Rather, communication is Shankar and Ustad (), form, one that attempts to raise the level achieved through an intricate but highly Ustad s and Amjad Ali of spiritual consciousness of its viewers sophisticated system of hand gestures, or Khan (, Pandit Hariprasad so they may achieve rasa, the experience Mudras. Two singers in the background Chaurasia and Pannalal Ghosh (flute), of joy or bliss. provide the dialogue by singing in a Pandit Shiv Kumar Sharma (), variety of ragas (tunes). Sung-texts Ustad (shehanai), Dr, N. An illustrative list of great teachers and contain narrations to introduce the Rajam (violin), Ustads Allaha Rakha and performers of Bharatanatyam are: characters as well as the dialogue (). Rukmini Devi Arundel, Bala Saraswati, between them. The characters in Classical Dance Forms of India Bali, Padmini Kathakali can be broadly classified into Ramachandran, Padma Subramanyam, four types. Pacha (green) represents Much of the sophisticated grammar and Mrinalini Sarbhai and . benevolent kings or divine figures; Kathi idiom of classical Indian dances are (knife) depicts an arrogant kings. Evil traced to , a sacred treatise Kathak characters are represented by Thadi attributed to Sage Bharata (approxima- Kathak is probably the most important of (beard) and forest dwellers or aborigines tely between 200 B.C. and 200 A.D). the major schools of classical dances by Kari (black) characters. Minukku originating from North India. The word Bharatanatyam (glittering) denotes saint. The costumes kathak is derived from the word worn by the artists are quite elaborate and Bharatanatyam is one of the oldest, katha, meaning “a story”. A kathakar is a colorful. In addition to facial painting, beautiful, and purest classical dance storyteller who recounts mythological masks are commonly used to broaden the forms of India. It combines artistic stories in temples. Nurtured in the holy expressive potential. Kathakali exponents expression with a sense of spirituality. precincts of Hindu temples, kathakars (a and performers of note are: Thottam Highly trained dancers perform precise community of story tellers/dancers/ Chandu Panicker, Kalamandalam hand gestures, use intricate footwork, actors) traveled throughout the country to Krishnan Nair, Chennithala Chellappan vivid facial expression, and fluid recite and enact stories of humanity, Pillai, Nelliyodu, and Vasudevan movement; dancers wear traditional epics and folklore employing the medium Nambuthiri. costumes consisting of specially made of dance, rhythm, music and mime. Sandesh Page 3 derived from the Carnatic tradition (e.g. in terms of types of dance (e.g. Samjukta Panigrahi and Raghunath tarangam), costumes and movements. Flowing movements and graceful poses Panigrahi) or Hindustani tradition (e.g. Similarly, Mohiniattam of Kerala is (tribhangi) characterize Odissi, yet Kelu Charan Mahapatra). More distinct and yet an offshoot of another major dance form from India. recent celebrities include: Sonal Man Bharatanatyam. Jhaveri sisters made the The temple architecture of Orissa has a Singh, Kum Kum Mohanty, and late graceful dance form of Manipuri, from great impact leaving the audience Protima Gauri (nee Bedi). Himalayan province of Manipur, famous. wondering if the dance is the dynamic Unfortunately, fewer and fewer students representation of architecture or the Other Classical Dance Forms are to be found and the threat of losing architecture are friezes of the dance some of these ancient gems of our movements! There is some evidence that Any essay, given the severe space civilization is real.  the origins date back to second century limitations; can hardly be expected to have both breadth and depth. , BC as found in the archeological artifacts Dr. Sridhar currently chairs the Cultural found in Rani Gumpha caves in a dance form developed in Andhra Committee of IndUS of Fox Valley and had Udaygiri, Orissa. The revival of Odissi Pradesh has a large following, thanks to been its founder President for a long time. He coincides with the advent of Vaishnava exponents such as Vempati has been instrumental in bringing Indian poets, chief among them being Jayadeva. Chinnasatyam. Yamini Krishna Murthy, classical musicians as well as dancers of To day, Odissi has become synonymous Radha and Raja Reddy. Though great prominence to the Valley. He is a with Jayadeva’s beautiful erotic poetry in Kuchipudi shares a great deal of professor at the Business School, University Sanskrit: Gita Govinda. Depending on similarity with Bharatanatyam, it has also of Wisconsin-Oshkosh. the exponents of this dance, the music is developed several significant differences

About Indian Classical Music Concerts By Vinitha Mahadevan and Shreemayee Kar

There are two different systems of The artist first improvises the song with tala (rhythm). In fact raga and tala classical music in India; “Hindustani and Alap, or an improvisation of notes in together constitute classical music. The Carnatic” prevalent in the Northern and slow tempo. The Alap proceeds leisurely, song-texts of a Khayal are composed Southern parts of India respectively. without being particular about the time within the framework of a specific tala Basic principles for both the systems are measure, but laden more with the cycle. Usually Bada Khayals are set in almost same but they vary in language emotional content of the raga. Then s/he Ektaal (12 beat) and Chota Khayals in and the style of rendering. What makes starts the Bol-Alaap, an improvisation of Teen Taal (16 beats). In most concerts Indian Classical music unique is the notes in slow and medium tempo with both in Hindustani & Carnatic music, the creative imagination and extempore the wordings of the song. This is percussion (Tabla) accompanists also improvisation of a Raga by the artist. A followed by Sargam. Sargam is the gets to perform complex patterns of Raga (also known as Raag) is the improvisation of notes of that Raga rhythm and display their skill. Many medium through which emotional rendered in medium and fast tempo in times the main vocalist and the Tabla experiences are expressed in terms of a various rhythmic patterns with suitable accompanist engage in a rhythmic succession of svaras (notes). During a combination. The last is Taans, an dialogue until the main artist picks up the concert, one Raga chosen by the artist improvisation of notes taken in medium melody once again. forms the basis for improvisation. and fast tempo. The Khayal in Vilambit Some of the other popular forms of Hindustani Music (slow) tempo then is followed by another Hindustani music are Thumri, Tappa, khayal song, set to drut laya (fast tempo). Dhrupad, Dhamar, Ghazzals. The most popular form in Hindustani This is also called Chota Khayal, in music is Khayal. In a concert, the artist which the artist displays his virtuosity Carnatic Music begins with a Bada khayal composition mostly through sargams and taan in very A Carnatic concert (called a kutcheri) of a chosen Raga in vilambit (slow) laya fast tempos. Following the main usually lasts about three hours, and (tempo). The song consists of typically composition, the concert continues with comprises a number of varied two parts, asthayi and antara. Asthayi is shorter and lighter songs. Some of the compositions. Carnatic songs are restricted to the mandra (lower) and types of songs performed towards the composed in a particular raga, which madhya (middle) saptakas (octaves). end of the concerts are Taranas (Tarana means that they do not deviate from the Then follows antara, rendered in the is based upon the use of meaningless notes in the raga. Each composition is set madhya saptaka, in which first few syllables in a very fast rendition) or with specific notes and beats, but svaras from the tara (upper) saptaka also bhajans (devotional songs). performers improvise extensively. is used. Equally vital to the concept of raga is Improvisation occurs in the melody Page 4 Sandesh of the composition as well as in using the to the rules of the raga and returns to Following the main composition, the notes to expound the beauty of the raga. beginning of the cycle of beats smoothly, concert continues with shorter and lighter Concerts usually begin with a varnam joining the swaras with a phrase selected songs. Some of the types of songs which is composed with an emphasis on from the kriti. The artist then begins the performed towards the end of the swaras of the raga, but also has lyrics. It main composition with a section called concerts are tillanas & thukkadas - bits is lively and fast to get the audience's raga alapana exploring the raga. In this, of popular kritis or compositions attention. An invocatory item, may artists use the sounds aa, ri, na, ta, etc. requested by the audience. Every concert alternatively, follow the varnam. After instead of swaras to slowly elaborate the that is the last of the day ends with a the varanam and/or invocatory item, the notes and flow of the raga. This begins mangalam, a thankful prayer and artist sings longer compositions called slowly and builds to a crescendo, and conclusion to the musical event.  kirtanas (commonly referred to as kritis). finally establishes a complicated Shreemayee Kar has a Sangeet Visharad Each kriti sticks to one specific raga, exposition of the raga that shows the performer's skill. All of this is done degree in Hindustani Classical music. She although some are composed with more has been in IT industry for last 15 years and than one ragas; these are known as without any rhythmic accompaniment, or beat. With the raga thus established, the is involved in rural development work at the ragamalika (a garland of ragas). grassroot level in India. song begins, usually with lyrics. In this, After singing the opening kriti, usually, the accompaniment (usually violin, Vinitha Mahadevan is a singer of Carnatic as the artist sings the kalpanaswaram of the sometimes veena) performs along with well as of Hindustani classical music. raga to the beat. The artist improvises a the main performer and the percussion Currently she is based in Detroit and is a senior IT professional. string of swaras in any octave according (such as a mridangam).

Appreciating Women’s Folk Songs By Kirin Narayan

Recordings of folk music from different gra since I was a student. Since the pri- close attention--particularly if one is un- regions of India are increasingly avail- mary rationale for women’s group sing- familiar with the dialect or dialects in able on the market, a delight to the ear ing is ritual and celebratory, I soon which women are singing—but it is enor- for their wide diversity in performance learned that these events are more an ex- mously rewarding to discover the poetry styles. These recordings are all so differ- pression of a community’s solidarity than and emotion embedded in the songs. Of- ent, even as they carry echoes of familiar a chance for a particular individual to ten, singers themselves have helped me ragas, instruments, and words; a reminder draw attention to her own talents. Singing appreciate these texts by interpreting the of the lively interchange between “folk,” women cluster together, seated close or underlying meanings. “classical,” “devotional” and even standing, simultaneously performers and As women in Kangra explained to me, “” music. For commercial re- audience to the ritual event. Meeting such some women had the “sukinni” (shauk) cordings, the folk songs we hear often songs in their actual ritual contexts, then, or particular interest in singing. They feature fairly short items, sung by trained one listens less for a particular artist’s enjoyed songs for the melodies (tarj) and performers, and accompanied by instru- virtuosity, and more to the mingling and appreciated a good voice (gala). To re- mentation. I want to take the opportunity joining of diverse voices in a flowing member songs, they said, required a good to reflect on a kind of folk music that river of sound. brain (dhimag). The song texts them- rarely finds its way into commercial re- Joining many voices together is a logisti- selves were appreciated also for the wis- cording: the long, often repetitive- cal challenge, and so such women’s dom (gyan) and the feelings (bhavana) sounding songs chorused by groups of songs are often repetitive: the same mel- they contained. I found that women also nonprofessional women singers who ody repeats across verses, the same lines referred to the therapeutic aspects of ex- have assembled for happy occasions cele- may be repeated twice, and the ending pressing emotions through song, and a brated by a community. These occasions lines or refrains may be the same across include births and birthdays, first hair- sense of connection to other women who the song. Such repetition opens out per- had experienced the same feelings. As cuts, sacred thread ceremonies, weddings formance to any interested women who of human and divine couples, and even Sangeeta Devi, in her 70s, told me wants to join in, even if she is not famil- “Those who don't have troubles will sing, unexpected good news like an unem- iar in advance with the song. But also, ployed son finally getting a job. Such this repetition can seem dull to ears ac- but they won't know what they're singing songs are sometimes called mangal, customed to more variation. If one sur- about. Those who do have troubles will “auspiciousness” in different regions of renders to the repeating currents of mel- recognize the pain. Everyone will sing, India. ody, listening to the changing text, one is but it's only when you know pain that I have been interested in women’s folk carried forward into an almost hypnotic you really understand the song." songs from the Himalayan region of Kan- space. Following the words requires Sandesh Page 5

As an example, I present a song I taped Henna is red. had denied her their support in the form in November of 1990, during an after- of an oil lamp filled with oil, and on I climb the sixth step. noon gathering in honor of the wedding reaching the husband, he too rejects her. I’m beside the bed. of Saili, a local form of Tulsi, the sacred The second time, she is lit up with the basil Goddess. About fifteen women sat Henna is red. blessings of her female in-laws, and is together near five burning lamps, all of Are you sleeping? Are you awake? warmly welcomed by the husband, too. us looking comically raccoon-like as we Your woman is here. The assembled group burst out laughing had just applied blessed lampblack to our Henna is red. and joking as they concluded the song. lower eyelids and this had smudged. Someone explained to me that this was Songs flowed from those that addressed I’m not sleeping, I’m not awake. about a girl being married young and not the Goddess herself to larger themes of Go away, go back. being fully accepted by her female in- marriage. Henna is red. laws and her husband; only later, when This song is set in a joint family of the The evening has come, the day is she comes of age, is she really integrated past, with the stereotypical figures of the done. into family and welcomed by her hus- mother-in-law (sas) and husband’s sister The oil lamps cry out for oil. band. Someone else said that no, this was (nanad) standing as an obstacle to a new Henna is red. about second wives and how husbands, bride’s closeness to her husband. It is having lost one, would cherish the second Mother-in-law gives me a lamp. also set in a time of oil lamps rather than more. Several women present, I knew, electricity. The refrain “henna is Sister-in-law pours in oil. had been married as teenagers to older red” (mahendiye rongliye) refers to the Henna is red. widowers, and so, it seemed, they were red patterns on the hands of a bride, mak- I climb the first step. commenting on their own lives and also ing this a song in which negotiating inti- Stars fill the night. teasing each other. macy in the joint family is as challenging Henna is red. On my last visit to Kangra, I met an older as walking alone through the night in woman in the same settlement. She com- frighteningly uncertain weather. For the I climb the second step plained of the growing popularity of DJs full effect, one would of course need to The night glitters. with loudspeakers for celebratory events. hear the music. Henna is red. “It’s so that loud you can’t hear any- The evening has come, the day is done. thing,” she said, “So how can women I climb the third step. Oil lamps cry out for oil. sing?” “What kind of music do the DJs The moon lights the sky. Henna is red. play?” I asked. “Any kind that sets your

Henna is red. feet moving by themselves!” she said I ask my mother-in-law for a lamp. with a smile. “Punjabi songs, filmi songs, I climb the fourth step. I ask my sister-in-law for oil. even Pahari songs—but only the type that My torch leaps bright. Henna is red. are for dancing.”

Henna is red. Mother-in-law won’t give me a lamp. Listening to women’s celebratory songs

Sister-in-law refuses me oil. I climb the fifth step. may not move one’s feet, particularly

Henna is red. I find my . when these are unadorned by the accom-

Henna is red. paniment of instruments or drums. Such I climb the first step. songs are emotionally moving though,

Lightning streaks the sky. I climb the sixth step and reward the patience of attentive lis-

Henna is red. I’m beside the bed. tening with insights into the feelings gen-

Henna is red. erated within particular ways of life.  I climb the second step.

Mud weighs down my feet. Are you sleeping? Are you awake? Kirin Narayan is author of several books:

Henna is red. Your woman is here. Storytellers, Saints and Scoundrels: Folk I’m not sleeping, I’m not awake Narrative in Hindu Religious Teach- I climb the third step. ing, Mondays on the Dark Night of the Come into my arms. The night is pitch black. Moon: Himalayan Foothill Folktales (in col- Transposing a walk through the wilder- laboration with Urmila Devi Sood), Henna is red. ness with an ascent up indoor stairs, the and Love, Stars and All That, a novel. She I climb the fourth step. heroine sets out the first time through a teaches in the Department of Anthropology at the University of Wisconsin-Madison Her My torch is extinguished. night that is stormy, windy, and muddy; latest book, My Family and Other Saints, will Henna is red. her second climb unfolds under a calm be published by the University of Chicago sky lit up by the moon and stars, her own Press in November. I climb the fifth step, torch burning bright. During her first as-

I lose my anklet. sent, her mother-in-law and sister-in-law Page 6 Sandesh

Indian Classical Dance - A Deep Ocean By Meenakshi Ganesan Indian arts & culture have a distinct full of adavus with challenging rhythm with religious themes. Traditionally, identity & recognition in today's world. patterns. Varnam is presented as the Kuchipudi dance was performed solely Ancient Indian dance forms originating centerpiece of a recital. Varnam means by men hailing from the from the temples speak volumes of the color & this piece is the most difficult, community. Such families were known great cultural heritage of India. These long and challenging blend of popularly as Bhagavathulu of Kuchipudi. dance forms as practiced & performed expressions and rhythmic patterns. today have captured global attention. Padams follow the Varnam, as they are The movements in Kuchipudi are quick Bharatanatyam is among the oldest & dances in praise of the Hindu deities and and scintillating. Invariably accompanied most popular Classical dance styles of create room for self-expression. Thillana, by Carnatic music, it shares many India. Its heritage is a matter of cultural is presented as the finale and is full of features with Bharatanatyam. body movements, hand gestures and pride and celebration, especially for the Mohiniattam and Kathakali both hail sculpturesque poses. A Mangalam, people of Southern India. The term from the state of Kerala. Literally thanking the Guru finishes the recital. "Bharatanatyam" comes from the words meaning, the dance of the enchantress, The costumes worn by the dancers are bhava, which means expression; raga, Mohiniattam is a classical dance form of made of pure silk with gorgeous jewels which means melody; thala, which Kerala performed solely by women. It and hair decoration. The music to means rhythm; and natyam, which means was originally performed in the temples Bharatanatyam, is based on Indian dance. Performed on stage as a blend of of Kerala. Kathakali is a classical dance- classical Carnatic music form South body movements, rhythmical drama style art form. Katha means 'story', India. expressions, and dramatization, while Kali is the enacting of stories Bharatanatyam is said to have been based There are other classical dance forms in through mime and movement. Rooted in on the books Natyasasthra and Abhinaya India as beautiful and ancient as the soil of Kerala, Kathakali is primarily Darpanam. Bharatanatyam is composed Bharatanatyam. Odissi comes from a dance drama form and is extremely of three elements, nritta (rhythmic Orissa, the eastern coast of India. Like colorful with billowing costumes, element), nritya (combination of rhythm Bharatanatyam, it was originally intended flowing scarves, ornaments and crowns. and expression) and natya (dramatic to be performed in temples, its The dancers use a specific type of element). It is based on adavus (steps) outstanding feature being its intimate symbolic makeup to portray various roles and hasthamudras (hand gestures). The relationship with temple sculpture. An which are character-types rather than dancer uses the adavus, mudras and Odissi dancer wears a saree with the individual characters. Various qualities, abhinaya (expressions) to narrate a story typical patola designs, characteristic of human, godlike, demoniacal are well- or sing the praise of a Lord/Goddess to Orissa. The style of draping the saree is depicted through fantastic make-up and the audience. identical with that of Bharatanatyam. costumes. However, the jewelry that the Traditionally, a Bharatanatyam recital To summarize, each of these classical dancer wears is all in silver including an commences with dance forms from India has its own ornate broad silver belt around her waist a Pushpanjali. distinct character and beauty, reflecting along with intricate head piece. Pushp (flowers) the rich cultural diversity and heritage of

and anjali Kathak happens to be the major classical the Indian subcontinent.  (offering) is an dance form practiced in northern India. It Meenakshi Ganesan is the founder and invocation dance is characterized by rhythmic footwork, Artistic Director of the Kalaanjali School of piece in praise of under the weight of hundreds of ankle Dance & Music, Madison, Wisconsin. She Lord Ganesha, the bells, spectacular spins, and the dramatic started learning Bharathanatyam at the elephant headed representation of themes from Urdu tender age of 6. She has won several awards God, whereby the poetry alongside those of Hindu and gold medals for her performances for dancer bows to mythology. Kathak arose from the fusion both Bharathanatyam and Folk Dances in his/her teacher, of Hindu and Muslim cultures that took and Kolkatta, India. In 1996, Meenakshi was conferred the prestigious title the lord & the audience for a successful place during the Mughal period. performance. Then presented is Alarippu, of Nritya Mayuri ("Dancing Peacock") by the Ministry of Education, Govt. of India. a symmetrical presentation with folded Kuchipudi from the state of Andhra hands followed by Jathiswaram, a dance Pradesh, originated as a dance drama

"There will be no wisdom, no learning, no art, nor craft, no device, nor action that is not found within natya." - Sage Bharata, Author of Natya Shastra, a treatise on dance and drama, circa 1st century BCE Sandesh Page 7

Kathak- A Classical Dance from Northern India By Kamal Varma

Growing up in North India and especially The influence of the Persian dancers was own style. is another famous in the city of , the capital of clearly shown when dancers started per- name among today’s dancers. Uttar Pradesh, Kathak Dance was a part forming their footwork with straight legs The Jaipur is characterized by of my daily vocabulary. Lucknow Gha- and with 150 ghungroo (bells) on each strong rhythmic elements and it was de- rana (a style in Kathak) is from the ankle. The footwork in Kathak is usually veloped in the courts of the Kachchwaha Lucknow School of Dance, It is a narra- reserved for the very last tempo, and kings of Jaipur. This style explores dif- tive dance form characterized by fast dancers often enter into playful rhythmic ferent talas (rhythmic cycles), and pro- footwork (tatkar), spins (chakkar) and competition with their tabla (drums) ac- vides a vigorous and forceful form. innovative use of bhav (Emotions) in ab- companists in the form of a duet, called hinaya (Acting). jugalbandi. They develop creative im- Banaras Gharana is characterized by the natwari bols (medium rhythmic sylla- The word Kathak derives from Katha, a provisation with the accompanists and bles), which are different from the tabla story, and it begins in ancient times with intensify the energy to leave the audience and the pakhawaj bols. Use of Chakkars the performances of professional story- spellbound. The chakkars (spins) of is kept at a minimum in this style of tellers called kathakars who recited or Kathak are mesmerizing as dancers spin dance. sang stories from Indian epics, mythol- with precision and control. ogy and the scenes from the lives of gods Lucknow, Banaras and Jaipur are recog- Today often dancers mix styles from dif- with some elements of dance. Popular nized as the three (schools) ferent gharanas in their performances. performances included Sri Krishna’s ex- where this art was nurtured and where the Kathak today is a theater art, but it still ploits in the holy land of Vrindavan, and interpretative and rhythmic aspects were draws its inspiration from the literature of tales of Krishna-Leela (Krishna’s child- refined to a high standard. Each gharana , from the ancient stories of hood). The traditions of the kathakars has prominent dancers. the gods, and the devotional love poetry were passed on through generations. The Lucknow Gharana is characterized of medieval India. It also remains a solo There are literary references from the by precise, finely art form, based on personal interpretation third and fourth centuries BCE which detailed move- and emotional value. The beautiful, gen- refer to these kathakars. ments and an em- erous and abundant jewellery and cos- After the 15th century Kathak began to phasis on the ex- tumes of the dancers combined with po- acquire its distinctiveness from the position of thumri, etic narration tell fabulous tales of drama, Mugals that conquered northern India. a semi classical triumph, and tragedy to create a magical The dance forms of Persia began to influ- style of love song. world.  ence Kathak. Dancers were allured from The one pre- the temples to the Mugal courts by gifts eminent dancer of Kamal Varma hails from Lucknow, a city of gold, jewels, royal favors and patron- that time was Bin- known for kathak dance besides its rich age from the kings. Dancers from the dadin Maharaj Mughal heritage. At young age she learned kathak for three years and could perform Middle East and temple dancers from who danced 16 hours continuously to win twenty to twenty five chakars at a stretch. She North India adopted from each other’s a competition between him and his ac- resides in Appleton, Wisconsin and is an ac- dance styles and became a common link companist. The contemporary famous tive member of IndUS of Fox Valley. between Hindu and Muslim cultures. name is Pandit Birju Maharaj who is a legend of this century and has created his

"Dance is your pulse, your heartbeat, "Art and life are not two different things Without music, life would be a mistake your breathing. It's the rhythm of your for me. Both teach you to relate to things … I would only believe in a God who life. It's the expression in time and at the sublimal and ordinary levels. knew how to dance. movement, in happiness, joy, sadness Music helps you deal with every - Friedrich Nietzsche and envy." - Jaques D'Amboise situation. It soothes and matures you”. - Ustad "Dancing in all its forms cannot be excluded from the curriculum of all Dance, like music, knows no geographi- noble education; dancing with the feet, cal boundaries, no linguistic barriers "Dance has to unfold with the grace of a with ideas, with words, and, need I add and no racial divisions. All walls crum- tree giving out leaves, flowers and then that one must also be able to dance with ble where art is concerned. It is a great tiny fruit. Nothing so beautiful can be the pen?" unifying and integrating force." done in haste". - Pt. Birju Maharaj - Friedrich Nietzsche - Vempatti Chinna Satyam Page 8 Sandesh

Etiquette for Indian Cultural Programs By Anu Varma

If you have never attended an Indian cul- ‘speaking to you’. out loud to encourage the artists: “Wah, tural program and are intimidated by the ♫ If you are at a dance performance and Wah.” This is pronounced not like the prospect of appearing to be a novice, here the artists on stage are making facial ex- annoying cry of a baby but more like the are some helpful hints. pressions that lead you to believe that ‘Baa Baa’ of the nursery rhyme Black ♫ At a performance, the artist will enter they are in pain or anguish, rest assured Sheep, if the sheep was making a sound the stage to loud applause. They will that they are fine. Most classical Indian of exultation. Generally speaking, this is greet the audience with a bow, Namaste dance is similar to ballet in that it is the the equivalent of Bravo. (hands clasped as if in prayer) or a Sa- telling of a story. It is not the pain of Following these simple guidelines during laam (a gentle bow and salute with a pounding barefoot footwork on a cold a performance will have the audience cupped hand). Don’t be alarmed if they wood stage that leaves them in anguish; it believing that you are truly an aficionado next begin to tune their instruments. In- is usually love lost, love forsaken, love of Indian culture. Of course, be careful dian artists share the experience of instru- betrayed, love unrequited…. with this tactic as it may lead to queries ment preparation with their audience. ♫ If, during a piece, the artist performs and expectations of in-depth discussions ♫ If you find yourself enjoying the per- something unusual, exciting, amazing or of the artists or the art. Should this hap- formance, nod your head from side to electrifying and you would like to let pen, you may try smiling and swaying side as if in negation. Contrary to what them know that you enjoyed it, you can your head back and forth as if in nega- you may think, the artists or the other applaud. Indian audiences believe in pro- tion.  audience members will not perceive this viding the artists with instant gratification Anu Varma, an IT manager by profession, as rude. It will be a sign that you are instead of making them wait till the end enjoys Indian music and dance, classical as truly enjoying the music and are ‘feeling of the piece. well as folk. Her passions include reading, it’. If this is a music performance, you ♫ If you are exceptionally moved by a writing, and learning about the plight of the may consider closing your eyes as you performance (or a piece of a perform- people around the world, whose voices are nod your head back and forth. This ance), you may also recite these words not heard. Issues related to women are of should only be done if the music is really especial concern for her. WXWXWWXWX

News … folk dancing lesson using beautiful on August 15, 2007 and invited IndUS to Dandiya sticks they had painted the pre- participate in this festivity. Kamal and IndUS joins hand with Midwest vious day. The parents too joined in the Badri Varma represented IndUS. While iChild to celebrate India Heritage dance, making it a joyous finale for a Kamal gave a presentation on IndUS, Day wonderful day. India association, and the Indian commu- nity in the valley, Badri gave a brief his- On July 28th 2007, IndUS played an im- The day was a tory of India, ancient, pre-colonial, colo- portant role in creating a sense of heri- nial, and postcolonial periods. IndUS tage in children adopted from India. Sev- great suc- cess. Our provided Indian appetizers and AFI ar- enty-five children and their parents at- ranged a very elaborate Indian lunch. tended India Heritage Day in Green sincere Lake, Wisconsin. It was organized by thanks go Foods of All Nations to Razia Midwest iChild in collaboration with In- On September 22, 2007, Fox Cities Rotary dUS and India Association NEW. The Husain, Multicultural Center (FCRMC) organized daylong activities included outdoor Rakesh & Priya Kaushika, Praveena, the 10th Foods of All Nations at the City games: langdi, kabbadi and cricket, cook- Nikhil & Datta Maslankar, Richa Mehro- Center Plaza, Appleton. At this highly suc- ing demo of chhole and , rangolis tra, Radhika Raj, Divya Ravel, Nikunj cessful gala event more than 600 people with colored sand, mehendi tattoos, mak- and Kirti Ringwala, Shakti & Deepak relished two dozen dishes of authentic ing wall hangings with their names writ- Shukla, Sameer, B.S. & Sandhya Sridhar. foods from all the five continents and en- ten in , and indoor games: chess, India’s Independence Day Celebra- joyed music and dances from around the shells, Indian Parchessi, sagargote and tion at the American Family Insur- world. Since IndUS of Fox Valley is a hop-scotch. member organization of FCRMC, its ance, Appleton. presence was highly visible. Several In- In the evening, after dressing up and a The American Family Insurance, Apple- dUS members were involved in setting up sumptuous Indian dinner at American ton celebrated India’s Independence Day the place, food serving, and in cleaning up Legion, in Princeton, the children got a Sandesh page 9

The Board of Directors the place. Also, facilitated the discussion at the round ta- Kaarthika and ble for the high school educator’s group , Mr. Tim Higgins Manish Wallajapat which shared ideas about “What works Chairman performed dances and for you”. Dr. H. S. Dugal B.S. Sridhar, like in IndUS – 2007 Ms. Beth Heuer previous years took Dr. Laxman Kailas control of the sound The preparations for this gala celebration system. Moreover, Ms. Ruth Mansukhani are in full swing. Different committees Nancy Heykes, and dozens of volunteers are busy giving Ms. Shakti Shukla Jeff Kuepper, Ram Shet, Sandhya Sridhar, a final touch to their efforts. As an- Mr. Shekar Rao nounced earlier in our June issue, it will Ms. Kavita Shet Ashok Tannan, Kamal Varma, be held on Saturday, October 27, 2007 at Ms. Susan Stachowiak and Badri Reeve Memorial Union, University of Mr. Michael Van Asten Varma were Wisconsin Oshkosh and this year’s theme Mr. Kurt Wanless members of the is Music and Dances of India. The exhibi- Dr. B. S. Sridhar (Ex-President) Steering Com- tion area will have visual exhibits, audio- Ms. Meenakshi Agarwal mittee and were visual multimedia presentations, musical (India Association: ex-officio) involved in or- performances, and dance demonstrations. ganizing the event. IndUS is proud to be Chef Professor Peter D’Souza, UW-Stout, The President, Vice President, Secretary, an internationally acclaimed culinary art- and Treasurer of IndUS Exe. Committee one of the vibrant threads of diversity, are ex-officio members of the board. which strengthen this Fox valley commu- ist, returns with his new creations and as a nity. part of the cultural program a creative extravaganza that blends the best of the Diversity Resource Fair and Round The Executive Team dance and music traditions of India waits Table for Educators Mr. Mahendra Doshi to please your eyes and ears. On October 9, 2007 the Fox Cities Rotary President Tickets are still available, please contact Multicultural Center organized a Diver- Kamal Varma, 920.731.0834 or Dr. Badri Varma sity Resource Fair and Round Table Vice President [email protected]. One has to register Discussions for Educators at the Univer- for this event in advance and tickets are Mr. Kulkarni sity of Wisconsin-Fox Valley, Menasha. not sold at the gate. Secretary It was a project of the center’s Education A Tribute to Srimathi S. Balakuntala Mr. Prateek Mehrotra & Outreach committee, which Ruth Man- Treasurer sukhani and Kamal Varma currently co- Srimathi S. Balakuntala, a Benefactor Mr. Ashok Tannan chair. member of IndUS of Fox Valley, passed away on September 30, 2007. She was Member-at-Large There were 17 booths representing differ- Dr. Ritu Subramony mother of Dr. B. S. Sridhar, Ex-president ent organizations and about 70 partici- of IndUS, but was ‘Amma’ for everybody Member-at-Large pants at- in the Indian community also. She took tended the great interest in all the activities of IndUS Team Leaders fair, and attended its events on a regular basis. Dr. B. S. Sridhar (Cultural Programs) which She was an accomplished singer, and read included voraciously. She kept herself mentally Dr. Sandhya Sridhar & Kamal Varma area (Education & Outreach) young by these activities-a role model for school us all. Mr. Rajeev Dugal (Fund Raising) teachers, principals, counselors, and administrators. She will be remembered as a kind and genuinely caring individual and a great Please visit our website at Mahendra Dosi and Kamal Varma were at the IndUS booth to answer questions friend of IndUS. We are with the Sridhar www.indusfoxvalley.org about IndUS, India, and local Indian com- family to share this bereavement. munity. At the table there were flyers of IndUS of Fox Valley IndUS of Fox Valley and the IndUS-2007 IndUs is dedicated to creating cultural 18 Woodbury Court event, which the participant found useful awareness. Sandesh is your forum to Appleton WI 54915 and the pakoras were a hit as usual. express your ideas on any topics of gen- eral interest. We invite your suggestions, (920) 832-9101 While Ruth Mansukhani was busy with ideas and write-ups. [email protected] the over all arrangements, Badri Varma IndUS Future Fund: An Appeal IndUS of Fox Valley promotes Indo-American friendship and goodwill by serving the community through social, cultural, educational and charitable activities. IndUS is justifiably proud of its record of its charitable activities over the years. Volunteers from Seva, the charitable arm of IndUS have served meals at Salvation Army, Appleton for over 13 years, and have collaborated with Rotary Club in packing medical equipment and supplies as a part of Sharing Around the World Medical Project (SAMP). Our contributions have helped Salvation Army, Firefighters of New York, Shama Inc. and earthquake victims of , India. This past year, IndUS raised over $200,000 to help victims of Asian tsunami, hurricane-affected fellow Americans and more recently to bring relief to earthquake ravaged children of India and Pakistan. We have awarded scholarships amounting to $5000 to students in the Valley. Starting this year, IndUS has launched a new 5-year initiative: “Investing in Future.” Under this program, IndUS will lay a foundation in science and mathematics among socio-economically disadvantaged children of Fox Valley and their cohorts in India. Future projects will include healthcare, social services, and community enrichment initiatives. Naturally, we wish to create a perpetual source of funding for our community service activities. IndUS has joined hands with Community Foundation of Fox Cities to establish IndUS Future Fund. Each year, IndUS will use the fund’s investment income for charitable causes. Sixty percent of the income will be devoted to local causes. IndUS aspires to reach a target of $100,000 by the year 2008. This should enable IndUS to make a sustained, effective contribution to the community. The effort Community Foundation will has given IndUS a matching grant. Our current accumulations stand at $35,000. In June, 2007, we have received a 8 pledge s for $ 18, 8000. Theer will be further follow up efforts in this regard. Your generous support will strengthen us in our resolve and our effort as we build IndUS Future Fund! In the coming weeks, IndUS will hold a strategy session to get input from our friends and supporters. We need donors and promoters who can help achieve our target. We hope that you will attend and bring along friends and family who would participate enthusiastically in this exciting endeavor!

IndUS Of Fox Valley 18 Woodbury Court Appleton WI 54915

IndUS of Fox Valley Presents

A Celebration of Indo American Friendship and Goodwill Music & Dances of India

Saturday, October 27, 2007 5:00 to 9:00 p.m. Reeve Memorial Union UW—Oshkosh

Exhibition Social Hour Authentic Indian Cuisine Cultural Program