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Home , Anindo Chatterjee, Birju Maharaj, Nayan Ghosh, Raghunath Seth, Thavil

Saturday, February 27, 2016, 8pm Sunday, February 28, 2016, 3pm Zellerbach Hall

Chitresh Das Dance Company z t i r o M

o g r a M Shiva

Cal Performances’ – season is sponsored by Wells Fargo. IN MEMORIAM i t a s a C

d r a w d E

IN MEMORIAM Chitresh Das November 9, 1944 –January 4, 2015

Pandit Das was first and foremost a master and Pandit Das founded the Chitresh Das Dance virtuosic performer of the classical tra - Company & Chhandam School of Kathak dition. Based on his concept of “innovation (CDDC) in 1980. Thirty-six years later, with in tradition,” Pandit Das explored the CDDC boasts one of the foremost Indian boundaries of kathak technique and perform - classical dance companies, and one of the ance, creating compelling new works and world’s largest kathak institutions, with cen - techniques that are inventive, yet deeply ters in the San Francisco Bay Area, Boston, rooted in the kathak tradition. Toronto, Canada, and , . A child prodigy trained from the age of His collaboration with tap star Jason Samuels nine by his guru, Pandit Smith, India Jazz Suites (IJS), was named one , Pandit Das was schooled in the two of the top ten productions of the year in 2010 by major kathak traditions. His performing ca - the Boston Globe . IJS has toured India seven reer was launched in India when he was in - times (including a 2013 U.S. State Department vited by Pandit to perform in funded India tour), Australia, and the US. Upaj: the first Rimpa Festival in Benaras. In 1970 Improvise, a film documenting the collabora - he was brought to the United States on a tion, has screened at numerous film festivals in - Whitney Fellowship to teach kathak at the ternationally, including its US premiere at the University of Maryland and to learn modern Mill Valley Film Festival, and in London at the dance. In 1971 the renowned Indian classical Raindance Film Festival. Upaj: Improvise aired musician Ustad invited him nationally on PBS in January 2014. to establish a dance program at the Ali Akbar In 2009 the National Endowment for the College of Music in San Rafael, California. Arts chose Pandit Das as a National Heritage

PLAYBILL IN MEMORIAM

Fellow, the highest award bestowed to a tra - works and collaborations. Das’ commitment ditional artist by the US government. In 2013 to training and empowering the next genera - he was honored by the Governor of West tion has left a legacy of hundreds of students Bengal for his artistic commitment to kathak who have trained directly under him, and and Indian classical arts in India and around thousands who have learned and are learning the world. from his disciples and students. An uncom - Das not only effectively established an promising and tireless advocate for integrity, awareness and appreciation of kathak in this depth of knowledge, and seva (service), and country, he simultaneously preserved the deep - possessing a wicked sense of humor, Das’ fire est of the kathak tradition — the traditional as a guru and human being, and profound solo — while simultaneously pushing the en - gifts as an artist, live on in his students all velope of the art form through innova tive those he touched.

PROGRAM

PROGRAM

Chitresh Das Dance Company Shiva

Choreographer Pandit Chitresh Das Additional Choreography Charlotte Moraga Composer Pandit Chitresh Das

CAST Charlotte Moraga Shiva Seibi Lee Guru of the Tantric Sadhus Rachna Nivas Tantric Sadhu Joanna Meinl Tantric Sadhu, Yakshini, Parvati, Tantric Sadhvi Anjali Nath Tantric Sadhu, Tantric Sadhvi Labonee Mohanta Tantric Sadhu, Rati Cimeron Ahluwahlia Madan, Tantric Sadhvi

Shefali Jain Tantric Sadhu Preeti Mann Tantric Sadhu, Tantric Sadhvi Ahana Mukherjee Tantric Sadhu Poonam Narkar Tantric Sadhvi

Music Arrangement and Direction Jayanta Banerjee Lighting/Scenic Design David Robertson Video/Media Design Ian Winters Sound Design/Engineer Brian Mohr Makeup Design/Artist Eddie Shine Costume Design Alka Garg Stage Manager Patricia Mahoney Production Manager David Robertson

Memorial Video on Pandit Chitresh Das Editor Hoku Uchiyama Interviewer/Producer Shipra Shukla Upaj: Improvise footage courtesy of Hindipendent Films

MUSICIANS Debashis Sarkar Vocals & Harmonium Jayanta Banerjee Satyaprakash Mishra Ben Kunin Jim Santi Owen Thavil Jay Gandhi Sekhar Sarukkai Narrators Pratibha Patel, Poonam Narkar

PLAYBILL PROGRAM

Chhandam Dance Company

Senoir Dancers Ishani Basak, Gauri Bhatnagar, Ishani Chakraborty, Ojaswee Chaudhary, Sarina Chitre, Amidala Geetaumesh, Esha Gupta, Shreeya Indap, Ishika Kamchetty, Shreya Khandewale, Vanita Mundhra, Shruti Pai, Meera Pala, Richa Patwardhan, Ruchira Rao, Atmika Sarukkai, Anushka Shah, Kritika Sharma, Saavani Vaidya

Junior Dancers Nupur Agarwal, Mahak Bandi, Srija Bhattacharya, Suhani Chaudhary, Sana Indap, Simran Mohanty, Aishi Rao, Anushka Rao

Apprentice Dancers Samika Agarwal, Amithi Chordiya, Ishaani Dayal, Ananya Dutta, Jaimin Ellinghuysen, Jenna Ellinghuysen, Anusha Kothari, Sharra Kutty, Riddhee Mehta, Namita Nair, Sia Puri, Samika Saxena, Aranya Shukla, Grishma Shukla

Shiva has been made possible in part by funders: William & Flora Hewlett Foundation, Zellerbach Family Foundation, Walter & Elise Haas Fund; sponsors: SanDisk Corporation, HCL Corporation; and major donors: Amar & Vinita Singh, Sekhar & Rajashree Sarukkai, Kashyap & Shruti Deorah, and Samiran & Ajanta Basak. TEXTS & TRANSLATIONS

Slokas (chants) Performed by students from Pandit Chitresh Das’ institution, the Chhandam School of Kathak Dance.

Guru Sloka Gurubrahma guruvishnu Gurudevo maheshvara Gurusakshat param brahma Tasmai shri gurave nama(ha) The guru is none other than the creator, Brahma; The guru is like the preserver, Vishnu; Truly, guru is Maheshvara, the destroyer, The incarnation of the supreme creator, Brahma; To such a guru, I offer my respect

Pancha Bhuta Brahman, akasha, vayu, teja, appa, prithvi Space, air, wind, fire, water, earth, the body that dances on the earth for the divine is ta-thei-ee

Yato Hasta Yato hasta, stato drishti Yato drishti, stato mana(ha) Yato mana(ha), stato bhavo Yato bhavo, stato rasa Wherever go the hands, so follows the gaze of the eyes; Wherever go the eyes, so follows the attunement of the mind; Wherever goes the mind, so follows the expression of feeling; Wherever goes the feeling, so follows the essence of mood

PLAYBILL PROGRAM NOTES

ACT I DEVOTION his head in deep meditation. Lacking the strength, the disciple falters. The Guru focuses Scene 1 – Adimantra his anger into a curse. Before the Guru can Sadhus sit in the crematory grounds, on the curse his disciple, a worshipper intervenes, banks of the river Ganga; deep in meditation pleading to the Guru to forgive his disciple, as they invoke a vast spiritual energy through imploring him to forgive him and singing the their tantric chants and rituals. power and gifts of knowledge that only a guru can provide. Scene 2 – Chaturdisha Pranaam As the chanting intensifies, the Sadhus rise ACT III REDEMPTION and pray to the four directions and perform rituals seeking spiritual power and enlighten - Scene 6 - Madan Bhasma ment. As the intensity of their meditation The Guru invokes the story of Madan increases, they enter into a trance. Bhasma, to seek inspiration from the power - ful Lord Shiva to find forgiveness for his dis - Scene 3 – Shiva Awahan ciple. After the loss of Sati, Lord Shiva went Shiva, in the form of Bhairava, comes into the into a deep meditation, renouncing the rest minds of the ascetics. They believe they are see - of the universe. Sati is reincarnated in the ing Shiva as a result of their intense practice. form of Parvati whose offerings and devotion to Lord Shiva fail to awaken him from his ACT II DISTRACTION deep meditation. Rejected, Parvati goes into a deep ascetic meditation. Rati, the goddess of Scene 4 – Prolobhan lust, convinces her husband, Madan, the god The spiritual practice of sadhana is rife with of love, to break Lord Shiva’s meditation so uncertainty and distractions. Temptation, that his eyes may fall on Parvati. Frightened fear, doubt, and self-absorption lay in wait by the wrath of Lord Shiva, Madan reluctantly ready to distract the devotee from achieving agrees, and shoots the arrow of love, break - sach chit ananda , pure joy and illumination. ing his meditation. Lord Shiva becomes furi - ous with Madan, opens his third eye and The elements that distract the Sadhu must be burns Madan to ashes. Rati begs Lord Shiva kept in harmony: the tree spirits — the yaksi - for the life of Madan. Ever forgiving, Lord nis , the flying, wailing spirits — the dakinis , the Shiva says that Madan will return once a year grahas and grahis ready to protect or seize. But in the hearts of all people, as Spring. the balance has shifted and the bhutas and pisacas (ghosts and ghouls) have overwhelmed Scene 7 – Ardhanariswara the Sadhu and preyed on his weakness. As seasons pass, Shiva and Parvati meditate through many cycles of creation, preserva - Scene 5 – Prayaschit tion, and destruction, only to make way for Enraged at the weakness of the disciple, the new creation. The Sadhus and Sadhvis come Guru admonishes him and for atonement, the together to worship once again and invoke disciple must challenge his physical and men - the mighty Lord Shiva. tal limits by holding a smoldering skull above PROGRAM NOTES ABOUT SHIVA Shiva is a work that pushes the boundaries of Das often spoke of looking beyond right kathak dance. It reflects how Pandit Chitresh and wrong, that there was only harmony and Das always dug deeply into his art form and disharmony. While as humans we have cate - the cultural tradition in which he was raised gorized, sectioned off and determined the and trained, to create works that made the value of the various aspects of the lives we concepts of ancient India visceral and sear - lead — nature holds no such categorization. ingly relevant in contemporary times. These Das was constantly searching for deeper un - concepts have powerful elements that chal - derstanding. It was for this reason that the lenge the way people lived then and live tantric practices fascinated him. They were now — Das was not afraid to challenge him - seeking deeper understanding beyond the self, his students or the audience. confines of normal society and they were One of the manifestations of Das’ ability to seeking power — the power to reach the di - innovate within his tradition is how, in Shiva , vine. But Das also said that even in trying to he utilized bols (the words or syllables that seek that power, one still had, ultimately, no comprise the rhythmic language of North control. He talked about the concept of ma - and music) as a seed hakala , which translated loosely, means time mantra for the chanting of the sadhus. beyond time or universal time, citing that Traditionally parhanth (recitation of rhythmic even tantric sadhus, who renounce every - compositions of bols ) is performed by a solo thing toward to reach the divine, still strug - dancer who recites the composition that is gle in achieving this goal. Das said for him then translated by the dancer into percussive that mahakala meant that one can call to the footwork, pirouettes, movement and even divine and even seek the divine through ex - mime, and translated by the tabla player and treme practices, but the divine has the divine’s musicians into percussion and music. In own time. In Shiva , the tantrics are chanting, Shiva , Das took a rhythmic composition and performing slokas (poetic, spiritual verses) had the sadhus repeat it at increasing speeds, and meditating intensely, but Shiva only ap - creating the energy of chanting or mantra . pears in Shiva’s time. The intensity of this chanting leads the sad - Shiva always fascinated Das. He spoke of hus into a trance. Shiva not as a deity, but as a being, as an In Shiva , Das was exploring the world of entity that represented powerful concepts. the tantrics, the ascetics who renounce every - The concepts of sadhana , deep spiritual prac - thing in order to seek a connection to the di - tice through which to develop one’s artistry, vine through intensive yogic practices and ones mind and, ultimately, the connection to rituals, including chanting and deep medita - the divine. Shiva’s representation of the full tion. The various techniques practiced, many cycle of life: the creation, preservation, of which are viewed as extreme by Indian so - and destruction in order to make way for ciety, enable the tantric to test his or her abil - new creation. ity to see the divine in everything, such as Das was an artist who created and taught meditating sitting on dead bodies, eating with great intention and sense of purpose be - scraps to survive, and eating and drinking out yond one’s self. He believed strongly in in - of human skulls. Das grew up in Kolkata, vesting in the next generation and in creating India, a center of tantra. He was fascinated by and empowering the legacy to move beyond the tantric sadhus he saw while visiting holy him. He had expressed, somewhat propheti - cities and temples as a child with his family. cally, that he wanted to do this work as a way Inspired by his own experience and curiosity, of handing the legacy and tradition down to he created this work on tantrics, which is not his disciples who comprise the Chitresh Das traditional kathak subject matter. Dance Company.

PLAYBILL ABOUT THE ARTISTS i t a s a C d r a w d E

The Chitresh Das Dance Company is an Haran , Yatra, and Shiva . She performed her award-winning company recognized as an in - first solo in 2002. Charlotte has performed in - ternational leader in Indian classical dance, ternationally, notably at the Bali Arts Festival, featuring some of the most powerful women American Dance Festival, and Shaniwarwada to emerge from today’s generation of kathak Festival. The San Francisco Chronicle wrote of artists. Company members exemplify Pandit her solo performance at Yerba Buena Center Chitresh Das’ emphasis on the technical, for the Arts: “Thursday night’s triumph be - graceful, and dramatic aspects of kathak longed to Charlotte Moraga, as fast and fo - dance, each an established soloist in her own cused as an arrow, delighting the crowd with right. The company produces traditional, in - double turns that stopped on a dime. She has novative, and collaborative works that are technical virtuosity, but more importantly she evocative and commanding, combining the has intention, and an intelligence that shapes richness of ancient India with a fiery, con - every step.” In 2007 Charlotte received the temporary sensibility. Visit the Chitresh Das Shenson Performing Arts Fellowship and Dance Company & Chhandam School of toured as a solo artist throughout Kathak at www.kathak.org. and co-created Sangam , a collaboration with tap dancer, Chloe Arnold in Pandit Das’ India Charlotte Moraga is Co-Artistic Director of Jazz Progressions . She created a new work in the Chitresh Das Dance Company & residence with CounterPULSE’s Performing Chhandam School of Kathak (CDDC/ Diaspora, on the 12th century mystic poem, Chhandam). A dancer from the age of nine, ‘Conference of the Birds’, collaborating Charlotte began her study of kathak with with composer and musician Prasant Pandit Chitresh Das at SFSU and joined the Radhakrishnan and performed an excerpt at Chitresh Das Dance Company (CDDC) in the 2013 Ethnic Dance Festival. Charlotte has 1996. She has been a principal dancer and contributed choreography to many pieces for soloist in his award-winning works, Pancha CDDC under Pandit Das and choreographed Jati , East as Center , , Subali Sugriwa , pieces for the Chhandam Youth Dance Sampurnam , India Jazz Progressions , Sita Company (CYDC), of which she is the Director. ABOUT THE ARTISTS

Seibi Lee is Artistic Co-Director of Joanna Meinl began her career in 1990, train - CDDC/Chhandam and is a kathak soloist and ing and performing in ballet, jazz and hip-hop. principal member of the CDDC. She began She moved to California in 1995, and she was her study of kathak with Pandit Chitresh Das introduced to the enthralling art of kathak at in 1991. Seibi Lee delved deeply into the tra - San Francisco State University where she dition to find her own original voice through began her 20-year journey studying under the development of a great range of dramatic Pandit Chitresh Das. As a performing mem - performances: Mantara , Vishwamitra , ber of CDDC since 1998, Joanna has toured Hanuman , and Marich , as well as numerous nationally and internationally, including three performances of the traditional kathak solo. tours of India. She trained as a soloist with Seibi has toured throughout the U.S. and Guruji and presented her first traditional India with CDDC and often leads the educa - kathak solo in 2005. She has performed in tional activities while on tour. She began many Company productions including mentoring dancers in 2002 and has curated Darbar , Pancha Jati , Sampurnam , Shabd and several shows including An Evening of Kathak Sita Haran . As a member of CDDC she has Dance: Next Generation , Pacific Pathways , and been nominated for an Isadora Duncan Dance Harvest Moon Festival . She has also forged her Award for best Company performance of the own creative path with her work Houyi and year. Joanna is also an exceptional dance in - Chang’e, a beloved Chinese story told in structor and avid arts educator teaching kathak style. She trains students and teachers kathak at Das’ Chhandam School and in and choreographs, including for the CYDC. schools and arts programs throughout the Bay Area for over 15 years. Rachna Nivas is the Artistic Co-Director of CDDC/Chhandam has been cast in lead roles Anjali Nath was introduced to kathak dance for multiple, critically acclaimed CDDC pro - in 1997 in Gretchen Hayden’s kathak class at ductions, including being nominated for an Tufts University. Gretchen is the senior disci - Isadora Duncan Dance Award as part of ple of Pandit Das and Artistic Director of Pandit Das’ work Shabd . Deemed “charis - Chhandika (Boston). Anjali moved to the Bay matic” and “revelatory” by the San Francisco Area to train with Pandit Das and joined Chronicle , she performed her first traditional CDDC in 2003, performing in several award- solo in 2008 and has toured across the U.S and winning company productions and touring India, with CDDC and as a soloist, at presti - extensively throughout the U.S. and India. gious venues like National Centre for During this time Anjali also became a senior Performing Arts, Mumbai, National Center instructor and head of the San Jose Branch of for Kathak, Shaniwarwadha Festival, and All- the Chhandam School. She also served as di - Star Concert at LA Tap Fest, among many oth - rector of Chhandam briefly in 2007. Most re - ers. In 2013 Rachna developed a new solo cently, Anjali has performed in the critically work on the Hindu mystic princess, Meera . acclaimed CDDC performances such as Rachna teaches and choreographs for Shabd , featuring Das’ innovative technique of Cupertino and Mountain View students of the kathak yoga , and played the lead as Sita in Sita Chhandam School. Rachna’s new collabora - Haran and Ramayana . tive work SPEAK , brings together kathak, tap, and spoken-word, also including Rina Mehta, Labonee Mohanta began her training in kathak and Dormeshia Sumbry-Edwards and kathak under Pandit Chitresh Das when she Michelle Dorrance, tap, which premiered in was eight years old. She has established herself San Francisco this past December. as a solo artist to watch, having performed

PLAYBILL ABOUT THE ARTISTS traditional kathak solos in dance festivals Preeti Mann began studying at Chhandam in throughout the U.S., Canada, and India. She 1999, has performed in many CDDC pro - also employs Panditji’s innovation of kathak ductions and is a teaching assistant at the yoga , where she simultaneously sings the Berkeley branch. rhythmic cycle, dances complex mathemati - cal patterns, and plays the harmonium. Ahana Mukherjee started studying at Labonee is also a member of CDDC and tours Chhandam in 1999 and is a graduate of the with Panditji’s award-winning productions: pre-professional Chhandam Youth Dance Shabd , Sita Haran , and Darbar . She is the di - Company, studying directly under Pandit Das rector at the Fremont branch of the for over 10 years. She is a teacher at Chhandam School of Kathak. Chhandam’s Fremont branch.

Cimeron Ahluwahlia began her study of Poonam Narkar began studying at kathak with Pandit Chitresh Das at San Chhandam in 2007 and received training di - Francisco State University in 1999, where she rectly under Pandit Das, has performed in also became an assistant. In 2003 she toured several CDDC productions and is a teacher at with CDDC to India, performing throughout the school’s Berkelely branch. the state of West Bengal. She has performed with CDDC in such productions as MUSICIANS Sampurnam , Sita Haran , Darbar , Shiva and most recently, Yatra . Over the past ten years, Debashis Sarkar, vocals & harmonium, is a Cimeron has taught at and directed the celebrated vocalist who received his training Mountain View and San Francisco branches in the Ghazal genre under the guidance of and is currently a senior instructor at the Ustad Ghulam Mohammad Khan. He has ac - Chhandam School’s Fremont branch. companied some of India’s finest performers including the late Odissi master Guru Chitresh Das Dance Company Kelucharan Mahapatro, and notable Kathak Apprentice Dancers artists such as Pandit Birju Maharaj, Pandit Chitresh Das, Pandit Vijay Shankar, and Nilima Dave started studying at Chhandam Pandit Rammohan Mishra, among many oth - in 1999, has performed in multiple CDDC ers. He is also an accomplished harmonium productions and is a teacher at Chhandam’s accompanist and percussionist. Mountain View/Cupertino branches. Jayanta Banerjee , sitar, was born into a mu - Darlene Dhillon began her study with Pandit sical family, and started learning sitar from Das in 2001, has performed in numerous the late Amit Prosonno Mukherjee, and later CDDC productions and is a teacher at the with Pandit Santosh Banerjee and Pandit Robi Chhandam School of Kathak’s Berkeley Chakroborty through the Rampur and branch. Maihar . He has performed as a soloist and accompanist extensively in over Shefali Jain began her study of kathak with 13 countries, including the US, UK, Australia, Pandit Das’ senior-most disciple, Gretchen and New Zealand. He has accompanied Hayden in 2003 and also studied intensively some of the world’s greatest Indian classical under Pandit Das. She is an instructor at dancers and musicians including Pandit Chhandika, Boston and Co-Director of the Chitresh Das, Pandit Birju Maharaj, Dr. L Chhandika Youth Ensemble. Subramanium, Pandit Rajan and Sajan ABOUT THE ARTISTS Mishra, Pandit , Pandit At Cal Arts, Owen studied jazz with Charlie , Ustad Sabir Khan, Pandit Haden, James Newton, and Tootie Heath, and Bhawani Shankar, and Pandit Ramesh African drumming and dance from the Mishra. Jayanta is also a successful composer Ladzekpo brothers. He also studied the art of and arranger, including work with Pandit accompaniment for the traditional Indian Chitresh Das on his production of Sita Haran dance known as kathak under one of its mas - and many others. ters, Pandit Chitresh Das. Owen holds a Bachelors of Humanities from the New Satyaprakash Mishra, tabla, is son and dis - College of California and a Masters degree in ciple of Pandit Kalinath Mishra. At age four World Music from California Institute of the he accompanied the great Pandit Hariprasad Arts. Chaurasia on a bhajan . Since then he has ac - companied the maestros like Pandit Chitresh Jay Gandhi, bansuri, a truly outstanding Das, Suresh Wadekar, Shankar Mahadevan, young disciple of the world-renowned Sanjeev Chimalgi, Kathak Queen bansuri maestro, Pandit Hariprasad Ji, Pandit Pratap Pawar, and many others. He Chaurasia, he initially trained in vocal music has performed in major festivals such as Kala under Smt. Kum Kum Sanyal and later Ghoda Festival, Mumbai Festival, Harivallabh bansuri under Pt. Ronu Majumdar, Pt. Vijay Festival Jalandhar, Raindrops Festival, and Raghav Rao, and Pt. Raghunath Seth. others. His style of playing is marked by Inspired to gain deeper knowledge of both “thaap” and “baiyaan gunj” and strong laykari the gayaki ang (vocal style) as well as the and tayari . In addition to touring with his fa - tantrakari ang (stringed instrument style), Jay ther and eminent artists internationally, has also taken guidance from Pt Vidyadhar Satyaprakash is also a recording artist. Vyas (vocal) and Pt. ( sitar , tabla ). A recipient of the prestigious AIIS Ben Kunin, sarod, trained for more than 20 Performing Arts Fellowship, Jay has per - years at the Ali Akbar College of Music in San formed to great acclaim for audiences across Rafael, CA under the legendary Maestro Ali the globe. Akbar Khan. He also learned tabla for many years under Pandit Swapan Chaudhuri at Sekhar Sarukkai, mridangam, started study - AACM. He trained with Pandit Chitresh Das ing mridangam under the illustrious vidwan and the Chhandam School of Kathak Dance T.A.S. Mani in Bangalore at the age of nine. since 2006. He performs frequently as a Sri T.A.S. Mani, a disciple of the late Palghat soloist and accompanist. Raja Mani Iyer, inculcated the art of a precise yet subtle style of accompaniment in him. He Jim Santi Owen , thavil, is an American per - has accompanied a number of artists in India cussionist, teacher, and performer based in and the U.S. including on TV and AIR, and the San Francisco Bay Area. Drumming since senior Bay Area artists including Srikanth the age of eight, he has been studying tabla Chari and Jayashree Varadarajan. He is the since 1991 from Pandit Swapan Chaudhuri at current President of the Board of Directors of the Ali Akbar College of Music, at the Chitresh Das Dance Company and California Institute of the Arts, and in India. Chhandam School of Kathak, and is also a Since 1995 he has been studying South Indian proud parent of two daughters, one a current percussion instruments including mridan - and one an alumni member of the Chhandam gam , , , and from T.H. Youth Dance Company. Subash Chandran and thavil from K. Sekar.

PLAYBILL