This catalog is published by De Kulture Music Private Limited.

No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission in writing from the publisher. (c) Copyright 2012 De Kulture Music. All rights reserved. Printed In India.

de kulture events
m u c h m o r e t h a n artists agency
At De Kulture Events we want to change the image of Indian folk music perceived as something not represented in professional manner, by providing specialized services and management of artists, and at the same time keeping the spirit, soul, improvisation and authenticity inherent to folk and traditional music. We have years of experience in organizing performances of different folk groups. DKE is also currently producing an unprecedented traditional music festival in India. RESEARCH and identification of talented and accomplished artists from various corners of the country SELECTION of the artists to be promoted at international platforms REHEARSALS, arranging and programming music with artists for every concert CREATIVE WORK including preparing audio, video, photo, graphic design, press, copywriting, etc PROMOTION by social media, offline media, collaborations, newsletters, etc LOGISTICS - preparing, managing, assisting and facilitating artists for international travels (passports, visas, permissions, even birth certificates) MANAGEMENT English/Hindi speaking tour manager PRESENTATION - artistic direction, sound, light, choreography, ambience, lyrics, translations, musical expertise

de kulture music
behind the s c e n e
Researching, identifying, recording, documenting and promoting unique Indian artists since last 7 years - against the increasing musical homogeneity and extinction of traditional, local music-making practices. OBJECTIVE: ACTIONS: ROSTER: RECORD LABEL: DISTRIBUTION: METHODOLOGY: ARCHIVE: SOCIAL IMPACT: To promote and preserve the diverse authentic Indian music Live shows, festivals, album publishing, digital downloads and licensing More than 2000 vocalists and instrumentalists 50 albums (with literature and handicraft packaging) released 400 outlets in India, first international outlets, digital distribution Natural performances and on locale/field recordings Database of traditional genres, artists and their culture Sustainable model of art promotion - all the profits are being reinvested in new projects dedicated in different forms of promotion and creating an archive of Indian folk music

VAST EXPERIENCE AND EXPERTISE as DE KULTURE MUSIC p r o d u cin g e v e n t s a n d f e s t i v a l s i n I n d i a, r eco r d l a b el , dist r ib ut io n

featured artists
H ow to select just a fe w na m e s from a n oc e a n of excel l en t an d u n iq ue folk musicia ns of Indi a ? How t o re pres en t cen tur i es o f t r a d i tion and enrichm e nt of m u s i c a l s t y l e s th ro ug h o ut th e gen e rations in few ex a m pl e s only ? Seve n a r t i s ts p res en ted b e l ow are the best i l l u s t ra t i ons of how di sti n ctive a u t h entic Indian styl e s c a n be c om bi ne d w i t h i nc red i bl e t a l e n t and charisma i n fa s c i na t i ng bl e nd. R a z a Kh an , wh o s e singing is no t hi ng l i ke you have he a rd b efo re ( WO MEX 2012 selec t i on) a nd Ba chu K ha n, who s e s mal l p o s t ure contradicts hi s powe rfu l a nd vi bra nt voice ( AW ME 2 0 1 2 selection) a re a l re a dy i nt e r na t i ona l ly reco g n i z ed I n d i an perfor mers. M u r ra La l a Fa fa l a nd M u s t a fa Al i Jat, o n e extraver t and fun, ot he r i nt ros pe c t ive a nd s p i r i tual , re p re sent two dif ferent ba s i c m oods of fol k . Da l ba r S i n g h t r y i n g to save wild a nd ra re P u nja bi pe rfor m a n ce s ty l e, M o h ini Devi g roup who popu l a ri z e d Indi a n Gy p s y d an ce a b ro ad and Sharif Id u g ivi ng a nc i e nt l ove s ong s i n ten s ive an d ab r up t feel al l m a ke for De Kulture Eve nt s hi g hl i g ht s for 2 0 1 3 .

raza khan

On Stage: 7+2 Indoor/Outdoor Big Stage

R a z a K h a n re p re s e n t s S u fi t r a d i t i o n , wh i ch o r i g i n a t e s i n my s t i c a l d i m e n s i o n o f I s l a m , i n wh i ch m u s i c i s a way o f PERFORMED a ch i ev i n g p e r s o n a l c o n n e c t i o n w i t h G o d . H oweve r, R a z a , b e i n g ABROAD REGION: Punjab a C h r i s t i a n ( Pe n t e c o s t ) , a d o p t e d S u fi p h i l o s o p hy fo r h i s c re e d MOOD: Devotional a n d e n r i ch e d w i t h i n s p i r a t i o n s t h a t h e b ro u g h t f ro m h i s t r ave l s GENRE: Sufi t o Pa k i s t a n . H e s i n g s i n U rd u a n d P u n j a b i a n d h i s w i d e vo c a l INSTRUMENTS: Tabla r a n ge , wh i ch s t re t ch e s f ro m l owe r re g i s t e r t o fa l s e t t o, a l l ow s h i m e f fo r t l e s s ly t o m a t ch t h e u p p e r a n d l owe r r a n ge o f t h e Claps h a r m o n i u m . N o t o n ly vo c a l s c a l e , bu t h i s a b i l i t y t o m o d u l a t e Harmonium h i s vo i c e a n d p a s s e a s i ly b e t we e n d i f fe re n t r a n ge s , s e t s h i m a p a r t f ro m o t h e r S u fi a r t i s t s i n t h e wo rl d . B y c o m p o s i n g s i m p l e , bu t i n t e n s e m u s i c R a z a K h a n wa n t s t o e n ga ge t h e a u d i e n c e a n d s h a re h i s p ro fo u n d s p i r i t u a l ex p e r i e n c e w i t h h i s l i s t e n e r s .

A c c o rd i n g t o h i s ow n b e l i e f s , R a z a wa s d e s t i n e d t o b e c o m e a n a r t i s t l o n g b e fo re h e wa s b o r n i n a s m a l l v i l l a ge o f P u n j a b i n a re l i g i o u s fa m i ly o f m u s i c t r a d i t i o n . R a z a s t a r t e d t o l e a r n i n g m u s i c f ro m h i s fa t h e r wh e n h e wa s 7 ye a r s o l d . H e h a s b e e n i n s p i re d by N a z a k a t A l i K h a n , S a l a m a t A l i K h a n , M i a S h a u k a t K h a n , bu t h i s m a i n g u r u wa s S h a f q a t A l i , wh o i n t ro d u c e d h i m t o a five h u n d re d ye a r o l d m u s i c a l t r a d i t i o n o f S h a m C h o u r a s i G h a r a n a . A l t h o u g h h e p e r fo r m s S u fi ge n re s l i ke G h a z a l s , Q aw wa l i s , K a l a m s o r K a fi s , h i s s t r ive fo r i m p rov i s a t i o n , m a ke s h i m i n t ro d u c e t h e e l e m e n t s o f I n d i a n a n d We s t e r n cl a s s i c a l m u s i c o r eve n j a z z i n h i s c o m p o s i t i o n s . H e h a s b e e n p e r fo r m i n g o n b i g s c e n e s i n I n d i a s i n c e 1 9 9 4 a n d re c e n t ly b e g u n t o p e r fo r m a t i n t e r n a t i o n a l p l a t fo r m s ( G e r m a ny, N e t h e rl a n d s , C z e ch Re p u bl i c , Po l a n d , G re e c e ) . H oweve r, R a z a i s a lway s e a ge r t o p e r fo r m fo r re l i g i o u s p u r p o s e , a s h e b e l i eve s t h a t t h e re s h o u l d a lway s b e h a r m o ny i n t h e way o n e p e r fo r m s t h e m u s i c a n d l ive s t h e l i fe .

bachu khan
On Stage: 7+2 Indoor/Outdoor Small/Big Stage

v i l l ag e si ng er w h o t r a v e l l e d t h e w o r l d

Fro m T h a r d e s e r t re g i o n c o m e s u n i q u e c a s t e o f m u s i c i a n s , L a n ga s , wh o s e m a i n p ro fe s s i o n wa s t o s i n g a n d d a n c e fo r t h e i r PERFORMED p a t ro n s . B a ch u K h a ns fa t h e r p e r fo r m e d ye t fo r t h e Roya l fa m i ly ABROAD o f Jo d h p u r R a t h o re G h a r a n a . Wi t h t h e e n d o f roya l t y s t a t e REGION: Rajasthan f u n c t i o n o f L a n ga s , t h e i r m u s i c s t a r t e d t o f l o u r i s h d u r i n g a l l MOOD: Celebratory o c c a s i o n s i n cl u d i n g we d d i n g s , b i r t h s , e n ga ge m e n t s a n d fe s t iva l s . GENRE: Darbari A c c o rd i n g t o t h e D a r b a r i ( roya l ) t r a d i t i o n o f s eve r a l c e n t u r i e s L a n ga s s t i l l s i n g l ove s o n g s i n t h e i r m o t h e r t o n g u e , M a r wa r i , INSTRUMENTS: Algoza d e p i c t i n g o n e s l o n g i n g fo r t h e l ove r, j oy o f re u n i o n a n d h o p e s Sarangi, Khartal Matka & Dholak t h a t l ove r s p u t i n t h e f u t u re . I n s t r u m e n t s i n u s e a re S a r a n g i ( s t r i n g i n s t r u m e n t ) , M u rl i a n d A l goz a ( wo o dw i n d i n s t r u m e n t s ) , M o rch a n g ( Je w i s h h a r p ) a n d K h a r t a l ( wo o d e n c a s t a n e t ) .

B a ch u K h a n wa s i n t ro d u c e d t o m u s i c by h i s fa t h e r, bu t h i s re a l m a s t e r, wh o t a u g h t h i m R a j a s t h a n i fo l k re p e r t o i re wa s H a j i B . K . K h a n . A t t h e a ge o f t we l ve B a ch u K h a n gave h i s fi r s t p u bl i c p e r fo r m a n c e a n d j u s t a ye a r l a t e r h i s fi r s t i n t e r n a t i o n a l s h ow t o o k p l a c e . B a ch u K h a n h a s g ive n h u n d re d s o f p e r fo r m a n c e s a b ro a d w i t h h i s g ro u p s M a h a r a j a , M u s a fi r a n d D i l M a s t a n a , u n t i l h i s p a s s p o r t s we re n o t a bl e t o a c c o m m o d a t e a ny m o re s t a m p s . B a ch u K h a n ' s h i g h - p i t ch e d , o p e n - t h ro a t e d , ve r y p owe r f u l vo i c e , s u p p o r t e d by t h e b a ck i n g vo c a l i s t s i s p e r fe c t ly c o m p l e m e n t e d by t h e wo o dw i n d a n d s t r i n g i n s t r u m e n t s , fo r m i n g a m e l o d i o u s a n d s e n s u o u s m u s i c a l s c o re . U n i q u e a n d va l u a bl e i n B a ch u K h a ns l i fe a n d wo r k i s h i s a b i l i t y t o e n ga ge t r a d i t i o n a n d c o n t e m p o r a r y. B e i n g t h e fa t h e r o f five d a u g h t e r s h e wa n t s t o p a s s t h e m u s i c t r a d i t i o n t o t h e m , a ga i n s t t h e t r a d i t i o n o f h i s c o m m u n i t y, wh e re wo m e n a re fo r b i d d e n t o p e r fo r m m u s i c . H e i s a lway s e a ge r t o ex p e r i m e n t a n d i m p rov i s e w i t h d i f fe re n t m u s i c s t y l e s , a s h e d i d by p a r t i c i p a t i n g i n G y p s y C a r ava n p ro j e c t a n d c o l l a b o r a t i n g w i t h N a t a ch a A t l a s , D u q u e n d e a n d A n t o n i o E l P i p a , a m o n g others.

murra lala fafal

as fun and charismatic as folk singer can be

On Stage: 5+2
Indoor/Outdoor Small/Big Stage

M u r r a L a l a Fa fa l i s a s u c c e s s ive s i n ge r f ro m a r u r a l fa m i ly o f M a r wa d a M e g h wa l s , wh o s e t r a d i t i o n o f s i n g i n g goe s b a ck e l eve n ge n e r a t i o n s . I n Ku t ch re g i o n a s we l l a s i n m a ny o t h e r REGION: Gujarat t r a d i t i o n a l c o m m u n i t i e s , ch i l d re n a re t a u g h t t o s i n g by o l d e r MOOD: Fun m e m b e r s o f t h e fa m i ly. M u r r a L a l a s t a r t e d h i s m u s i c a l GENRE: Kafi e d u c a t i o n by p l ay i n g M a n j e e r a s a n d s i n g i n g. A l re a dy a t t h e a ge INSTRUMENTS: Ghada, o f 1 6 h e wa s a c cl a i m e d t o b e a n exc e p t i o n a l m u s i c i a n . M u r r a Ghamela & u s e d t o p e r fo r m o n ly d u r i n g fe s t iva l s i n G u j a r a t , bu t fe w Jodia Pawa p ro j e c t s h e d i d w i t h fa m o u s I n d i a n cl a s s i c a l a n d B o l ly wo o d c o m p o s e r s , m a d e h i s m u s i c m o re fa m o u s a c ro s s I n d i a . H e s i n g s s o n g s i n Ku t ch i , d e p i c t i n g s e p a r a t i o n s a n d re u n i o n s o f l ove r s . H i s m a i n i n s p i r a t i o n a re ve r s e s o f I n d i a n a n d S u fi p oe t s ( K a fi ) re fe r r i n g t o re l i g i o n a n d a t t a i n i n g e n l i g h t e n m e n t , a n d d evo t i o n a l a n d p h i l o s o p h i c a l t h e m e s o f B h a j a n s .

M u r r a L a l a Fa fa l l ive s h i s l i fe s i n g i n g. H i s j oy f u l s p i r i t , h a b i t o f m a k i n g m u s i c a l j o ke s a n d fi n d i n g a s o n g fo r eve r y o c c a s i o n m a ke s h i s p e r fo r m a n c e o n e o f t h e k i n d . M u s i c i a n s a c c o m p a ny i n g M u r r a L a l a p l ay i n s t r u m e n t s l i ke S a n t a a r ( s t r i n g i n s t r u m e n t ) , G h a d a G h a m e l a ( p e rc u s s i o n i n s t r u m e n t ) , Jo d i a Pava ( l o c a l wo o dw i n d i n s t r u m e n t ) a n d M a n j e e r a s . To ge t h e r, ex p re s s i n g t h e e s s e n c e o f fo l k fe s t ive m e n t a l i t y, t h e y c re a t e dy n a m i c c o m p o s i t i o n s wh i l e M u r r a s i n g s i n h i s ch a r a c t e r i s t i c s t ro n g h i g h - p i t ch e d vo i c e . M u r r a L a l a Fa fa l c o n t i n u e s t r a d i t i o n o f h i s fa m i ly n o t o n ly by s i n g i n g , bu t t h ro u g h e d u c a t i n g n e w ge n e r a t i o n a s we l l . Pe r fo r m i n g o n h i s 3 0 0 ye a r s o l d S a n t a a r h e i s l i t e r a l ly h o l d i n g t r a d i t i o n a n d h e r i t a ge o f p rev i o u s ge n e r a t i o n s i n h i s h a n d s . M u r r a i s awa re o f t h e re s p o n s i b i l i t y c o m i n g f ro m s u ch a p o s i t i o n a n d h e i s s t r iv i n g t o p a s s t h e k n ow l e d ge a b o u t h i s c u l t u re a n d m u s i c t o h i s ch i l d re n a n d t o eve r y b o dy wh o i s re a dy t o ge t e n ch a n t e d by h i s ch a r i s m a a n d e n o r m o u s m u s t a ch e .

On Stage: 3+1
Preferably indoor Small Stage

mustafa ali jat

l ong i ng v oi ce of e v a n e s c e n t b h e t h m u s i c
REGION: Gujarat MOOD: Spiritual

GENRE: Bheth INSTRUMENTS: Surando, Ghunghroo & Ghado

Tr a d i t i o n o f B h e t h c a m e a ve r y l o n g way t o e n a bl e u s t o l i s t e n t o i t e m b o d i e d i n p e r s o n o f M u s t a fa A l i Ja t . B h e t h wa s o r i g i n a l ly t h e m u s i c o f Ja t M u s l i m s , wh o b ro u g h t i t f ro m I r a n v i a Pa k i s t a n t o Ku t ch re g i o n i n I n d i a . Ja t M u s l i m s we re m a l d h a r i ( c a t t l e h e rd e r s ) a n d t h e i r m a i n o c c u p a t i o n b e s i d e s b re e d i n g wa s p ro c e s s i n g m i l k a n d t r a d i n g i t s p ro d u c t s . M u s t a fa A l i Ja t a n d h i s g ro u p a re c o n t i n u i n g t h a t t r a d i t i o n , bu t i t i s t h e r a re s t y l e o f m u s i c t h e y m a s t e re d , t h a t m a ke s t h e m exc e p t i o n a l . T h e y p e r fo r m d u r i n g we d d i n g s , f u n e r a l s a n d fe s t iva l s i n G u j a r a t a n d B h e t h c o m p o s i t i o n s a re s u n g a u t o n o m o u s ly o r c o m b i n e d w i t h o t h e r t y p e s o f m u s i c ch a r a c t e r i s t i c fo r Ku t ch re g i o n .

T h e i n s p i r a t i o n o f M u s t a fa l i e s i n S h a h Jo R i s a l o a 1 8 t h c e n t u r y S u fi p oe t r y c o m p i l a t i o n , wh i ch h a s b e e n p a s s e d o r a l ly i n m a ny c o m m u n i t i e s a s a n o c e a n o f t h e m e s by p re s e n t i n g 3 6 b a s i c s t o r i e s o r m o o d s c o nve y i n g my s t i c a l i d e a s , s y m b o l s a n d b e a u t i f u l l ove t a l e s . T h e m a i n a c c o m p a ny i n g i n s t r u m e n t o f B h e t h , S u r n a d o i s t h e l a s t i n s t r u m e n t o f t h i s k i n d i n I n d i a . I t s b a s e i s m a d e f ro m o n ly o n e p i e c e o f wo o d s h a p e d p re c i s e ly i n c u r ve s . I t s t o p i s c r a f t e d i n t r i c a t e ly, a n d fo r s t r i n g s h a i r f ro m a h o r s e s t a i l i s u s e d . S u r a n d o i s s a i d t o b e ve r y d e m a n d i n g t o m a s t e r a n d O s m a n Ja t , a t r u ck d r ive r by p ro fe s s i o n , m ay b e t h e l a s t o n e o f i t s i n s t r u m e n t a l i s t s . T h e t r i ck o f p l ay i n g S u r a n d o l i e s i n t h e a b i l i t y t o p l ay t h e s a m e m e l o dy t o c re a t e c o n t i n u o u s m i l i e u fo r t h e vo c a l s . O t h e r s i n s t r u m e n t s u s e d a re G h a d a ( e a r t h e r n p o t u s e d p rev i o u s ly t o a t t r a c t d e e r s ) a n d G h u n g h ro o s ( a n k l e b e l l s ) . M u s t a fa s l o n g i n g , s o n o ro u s , bu t p owe r f u l vo i c e c o m b i n e d w i t h s u c c e s s ive p l ay i n g o f t h e s a m e m e l o dy o n S u r a n d o c re a t e s t h e a t m o s p h e re o f i n t i m a t e s p i r i t u a l ex p e r i e n c e . I n n o c e n t a n d t r u e s p i r i t o f M u s t a fa ex p re s s e d a n c i e n t p h i l o s o p h i c a l t a l e s m a ke s t h e p e r fo r m a n c e d e l i c a t e ye t t o u ch i n g d e e p e s t s t r i n g s o f t h e s o u l .

dalbar s ingh
w ild da n c e straight from ind ian fair

On Stage: 8+2
Preferably outdoor Interactional/ Dance Small/Big Stage REGION: Punjab MOOD: Partying GENRE: Malwai Giddha INSTRUMENTS: Bhukchu, Dholki, Algoza, Ektara, Chimta, Sap, Kato, Ghada & Gabda

Dalbar Singh is a Sikh scholar and music activist, who performs Malwai Giddha - a very old folk dance of Punjab. Dalbar Singh group, as per tradition of that genre, constitutes of men only. They simultaneously sing, jump, dance and play indigenous instruments to celebrate festive occasions. Dancers play various instruments while balancing them in such a manner to be able to dance while carrying it. Malwai Giddha is usually performed when the groom returns home with the bride and it is an informal collective celebration rather than a performance. The themes revolve around romance and relationships with family and friends thereby giving the performance its tease and enthusiastic raptures, accompanied by the furious beating of the drum called Dholki.

10

DeKulture Music was founded to develop, sustain and evolve a network of audio archives and an entertainment resource that delivers Indias diverse musical expressions in an sings a few and informative way via and mediums and This indigenous Punajbi dance begins where a lead vocalist interesting lines addressing others all builds up formats possible. At De a point where the backing vocaliststhat while This is when the technology allows greater the emotional tempo to Kulture Music, we firmly believe join him. communication instruments are played access toand all dance to the rhythm, until once commercialization also bring with is encouraged in his solo as well lost forms of music, the pressures of again the lead vocalist sings and them the risk of increasing musical homogeneity and blurringfrom the other participants. There are many cycles of singing and collective performance with joyous shouts of regional identities. dancing in one performance. A detuned Algoza (a local woodwind instrument) continually produces the same notes and melody provides appropriate background for the vocals. However, the dance itself is totally freestyle. Dalbar Singh, from his early years, was fascinated with Malwai Giddha dance and decided to devote his life to study, perform and preserve this vanishing part of Punjabi culture. He wrote series of books and articles and was awarded for his achievements by Punjab University. Dalbar Singh proves wrong the ongoing loss of culture of collective celebration nowadays by making his performances so engaging, integrating and wild, that one easily finds himself dancing among colorful turbans and checked printed lungis (Indian skirt-like man garment).

11

m o h i ni d e v i k a l b e l i y a
w hi r l i n g w o r l d o f g y p s y d a n c e

On Stage: 7+2
Indoor/Outdoor Dance PERFORMED ABROAD REGION: Rajasthan MOOD: Partying GENRE: Kalbeliya Dance INSTRUMENTS: Poongi, Dholak, Dafli & Manjeera

T h e s t o r y o f K a l b e l i ya s i s a n ex a m p l e o f h ow t h e ch a n ge s i n s o c i e t y a n d c u l t u re i n f l u e n c e t r a d i t i o n a l m u s i c i a n s a n d t h e i r l i fe s t y l e . Fro m a re g i o n o f B a r m e r i n R a j a s t h a n o r i g i n s a n o m a d t r i b e o f G y p s i e s c a l l e d K a l b e l i ya s , wh i ch we re t r a d i t i o n a l ly k n ow n a s s n a ke ch a r m e r s . T h e y u s e d t o re m ove s e r p e n t s f ro m h o u s e s a n d t r a d e s n a ke ve n o m . Wo m e n u s e d t o a c c o m p a ny m e n o n t h e i r way o f t r a d e f ro m h o u s e t o h o u s e , a s t h e y b e g ge d fo r a l m s wh i l e d a n c i n g a n d s i n g i n g. T h e y u s e d t o g ive p u bl i c s h ow s a s we l l , wh i ch i n cl u d e d va r i o u s s n a ke t r i ck s . I n d i a n Wi l d l i fe P ro t e c t i o n A c t o f 1 9 7 2 b ro u g h t a b a n o n s n a ke p e r fo r m a n c e s s o K a l b e l i ya s h a d t o t r a n s fo r m t h e i r s h ow s g i rl s re p l a c e d s n a ke s .

12

Mohini Devi group representative of nowadays Kalbeliyas is an ensemble of about seven musicians who did not receive any formal education, but were instead learning music from an early age from their guru Kalunath Kalbeliya. They have gained international recognition and many of the dancers lived, performed and even taught this style abroad. In India Kalbeliyas are invited mostly for weddings, cultural programs and festivals. Mohini Devi group is also proficient at many other dances like Bhavai, Chari, Ghummar, Terah Taali and add on elements of fire shows and acrobatics in their performance. Spheres of Kalbeliyas act are divided: men plays instruments and women dance. The main instrument is Been an Indian woodwind instrument originally used to hypnotize snakes. Its both plaintive and seductive tones are accompanied by beats of Dhap and Dafli, creating very energetic and compelling rhythms. Dancers wear traditional black ankle-length skirt and top. Both are richly embellished with colorful strips and complemented with beautiful jewelery made from tiny pearls and silver hangings. Outfit completes a dupatta a long loose flowing stole pinned to dancers heads. Kalbeliya dancers spinning fast, swaying their hips, swirling tassels and shawl can mesmerize viewer for long hours.

13

sharif idu
On Stage: 4+1
Indoor/Outdoor Small /Big stage PERFORMED ABROAD

haun t i n g l o v e s o n g s o f p u n j a b

14

S h a r i f I d u i s a S u fi a r t i s t f ro m P u n j a b wh o re p re s e n t s fo u r h u n d re d ye a r s o l d D h a d h i , a t r a d i t i o n t h a t o r i g i n a t e d f ro m g re a t S i k h g u r u H a rgo b i n d . C h a r a c t e r i s t i c fo r h i s way o f s i n g i n g a re REGION: Punjab MOOD: Romance a b r u p t ye t ex t re m e ly c o n t ro l l e d b re a k s i n m e l o d i c s t r u c t u re t h a t bl e n d w i t h a c c i d e n t a l n o t e s p l aye d o n S a r a n g i ( s t r i n g i n s t r u m e n t GENRE: Sufi Dhadhi c a l l e d t h e i n s t r u m e n t o f a h u n d re d c o l o r s ) . S h a r i f I d u p e r fo r m s INSTRUMENTS: Sarangi & a l o n g w i t h h i s a c c o m p a n i s t s wh o p l ay D h a d h ( s m a l l d r u m f ro m Dhadh wh i ch t h e n a m e o f t h e s t y l e i s d e r ive d ) a n d b a ck i n g vo c a l i s t s . T h e s o n g s evo l ve a ro u n d t h e c e n t u r i e s o l d c o m p o s i t i o n s t e l l i n g t r a g i c l ove s t o r i e s o f P u n j a b, I n d i a . H i s o p e n t h ro a t e d vo i c e w i t h a n a c c o m p a n i m e n t o f a h u n d re d ye a r o l d d e t u n e d S a r a n g i i n f u s e s s u ch d e p t h o f e m o t i o n t h a t o n e c a n e m o t i o n a l ly re l a t e t o a n d fe e l t h e p e r fo r m a n c e w i t h o u t u n d e r s t a n d i n g t h e ly r i c s .

Sharif Idu

Sharif Idu is one of the rarest musicians of the Dhadhi tradition, which once used to be popular in Punjab for its combination of both classical and local folk tunes, but now due to the lack of patronage is on a verge of extinction. Being a Muslim, Sharif represents musical stream called Sufi Dhadhi. The genre was born along with the spread of the Sufi belief in Punjab, when performers began to sing Sufi compositions to the tunes of Sikh devotional music. The philosophy of the Sufis, tunes of Sarangi and the beats of Dhadh complement each other in expressing heart-rending extremes of love. Sharif has dedicated his life to Dhadhi music, which aims in stimulating emotions of courage and heroism. Having no regular education, he was introduced to music being just 5 years old and is performing continuously for last 50 years. Awarded by former president of India and recognized internationally, Sharif Idu believes in the mission of popularizing his evanescent musical tradition which combines in a unique way the intensity of romance and the depths of philosophy.

15

charismatic voices
D ive r sity of traditio na l Indi a n c u l t u re fi nds i t s mus i cal ex p res s i o n i n th e va r ie t y of extraordi na r y a nd di s t i nc t ive Indi a n vo cal i s ts . E mo ti o n al i n t en sity and sur pris i ng e nga ge m e nt i nt o s t or y, s u n g i n th e l an g uage we d o nt even underst a nd m a ke a c om m on cha r acter i s ti cs o f th e p h en omenon of cha ri s m a t i c Indi a n voi c e s . Ru sti c an d fearl es s t im b re of the last Wa a i s i nge r ( M e e t ha K ha n) , l o n g s us tai n ed v ib r a nt notes of mos t e ne rge t i c a l P u nja bi g ra nd ma ( G ur meet B awa ) and high pitche d Ja ng da s ong s s u m m on i n g th e b i rd s ( M u ltan Khan) an u ni qu e voc a l s e l e c t i on of I n d i an fo l k to ch o o s e from.

17

On Stage: 3+1
Indoor/Outdoor

me e t h a k h a n
Meetha Khan and Jan Mohammad Jat hail from a tiny village in Kutch and are descendants of the Jat Muslims from Baluchistan. They are the last representatives of a rare music genre called Waai. The Waai style was created by renowned Sufi saint Shah Abdul Latif Bihtai of Sindh, as an expression of basic human need to connect to a higher power through music.

Small Stage REGION: Gujarat MOOD: Spiritual GENRE: Waai INSTRUMENTS: Dhambhuro

The Fakirs (saints) were the first to use this style of music. Khans ancestors brought the Waai style of music to India through the hardy landscape and the massive length of Sindh (Pakistan). Meetha and Jan are accompanied by Dhambhuro (a bigger version of Tandoora having three or five strings). As the compositions grow in tempo, Khans raw, high-pitched voice travels from one octave to another, clearly corresponding to the feeling of the rough landscape his community dwells in.

18

On Stage: 6+2
Indoor/Outdoor Big Stage PERFORMED ABROAD

gurmeet bawa
REGION: Punjab

Gurmeet Bawa is a multi-talented folk singer from Punjab, India, who has been practicing music since early childhood and has been performing for MOOD: Celebratory the past three decades. Folk instruments like Matka, Dholak, Algoza and GENRE: Punjabi Folk Tumbi and relentless clapping by accompanying artists along with the INSTRUMENTS: Dholak, Gurmeets enigmatic voice create a wonderful performance. The Punjabi Matka, Harmonium & Tumbi folk shows are participatory in nature involving the festive flow and the audiences active presence. Performance themes revolve from seasons and festivals of Punjab to romance with a subtle sexual overtone to it. Lyrically, the performance is unstructured and has an extremely improvisational character the singer often includes the name of friends and relatives of the audience, making the performance even more fun and engaging. The rich, yet earthy sound of Gurmeets voice and her effortlessly holding the long-sustained notes with passionate rapidity of the accompanists make the act unforgettable.

19

On Stage: 6+2
Indoor/Outdoor

Multan Khan belongs to the Manganiyar community from Rajasthan, REGION: Rajasthan which has lived for centuries on the patronage of the nobles and kings. MOOD: Celebratory They are Muslims by religion, but their patrons have been both Muslims GENRE: Jangda and Hindus. Manganiyar music tradition of singing called Jangda is INSTRUMENTS: combining the folk and classical forms of the region. Over the years very Harmonium, Dholak versatile repertoire has been developed themes of the songs vary from Khartal & Kamaycha standard love and romance stories to topics such as day, all seasons, festivals, rituals and animals. The Multan Khan group sings in an emotive, high-pitched and expressive style, experimenting with a lot of rhythmic patterns in the space of a single song. Multan and Luna Khan sing in unison with the backing vocalists, which is a general defining characteristic of Manganiyar performances. Rustic vocals and the complexity of classical compositions accompanied by centuries old lyrics, make for an extraordinary experience.

mu l t a n k h an

Small/Big Stage

ethnic adventure
T h e lesser known fa c e of Indi a a re t he t ri ba l c o mmun i ti es , wh i ch still constitu t e t he m a jori t y of popu l a t i o n i n many I n d ia n states and have deve l ope d fa s c i na t i ng a r t fo r ms ver y fe w p eople know abo u t . In t hi s s e c t i on we wa nt t o un ear th an d p res e nt the authent i c e t hni c m u s i c i n i t s di f fe ren t fo r ms s t a r t ing from animali s t i c ri t u a l s of Sa ha ri ya t ri be ( H ar i kes h S in g h) and spiritua l s ong s from Bhe e l c om m u ni ty ( Vel a D a n a Bheel). Wander i ng a s c e t i c s s i ng i ng ol d my t ho l o g i cal t a le s (Babunath Jogi , R a je ndra Ja nga m ) a nd hy pn o ti z i n g m e l o dies played by s na ke cha r m e rs ( K a m bhi r Kh an ) im m e diately invoke t he fe e l i ng of wha t i ndi ge nou s I n d i a i s a l l a bout.

21

On Stage: 8+2
Indoor/Outdoor Theatre/Dance PERFORMED

ABROAD The Sahariya Tribe is the last primitive tribe of Rajasthan. As a part of REGION: Rajasthan their rich culture, this community performs Swang Dance, literally meaning drama and dance. Swang is a vibrant and full of life theatrical performance MOOD: Fun and it is being practiced by vivacious Sahariya group from Shahbad village GENRE: Swang Dance in Rajasthan, headed by Harikesh Singh. Dramas are depicting stories of INSTRUMENTS: Jhanjhar Hindu gods like Rama, Shiva, Tejaji and sung along with folk songs like Harmonium, Nagadi, Dholaki & Manjeera Fag, Rasia and Langhuria with folk instruments like Harmonium, Nagri, Dholki, Majhira and Ginghra. Dance is performed traditionally during festival of colors (Holi) by a group of eight to twelve men and it involves theatrics, mimicry, dialogue and imitation of different animals and characters. During their performance the artists engage the audience with comic moments, teasers or questions. Sahariyas often use colorful body paints and face masks to depict different themes that are inspired by religion, mythology and folklore.

har ik e s h s i n g h

22

On Stage: 3+1
Indoor/Outdoor Small Stage REGION: Gujarat MOOD: Hindu Devotional GENRE: Bhajan INSTRUMENTS: Santaar, Manjeera & Ghada Ghamela

The Bheels are a tribal community native to various parts of India. Vela Dhana Bheel comes from a village called Gadhada in Gujarat. He plays the Santaar (string instrument) and sings Hindu devotional songs called Bhajans. The lyrics depict the lives of eminent saints and heroes. In India, almost every indigenous community has a Bhajan group consisting of musicians, who sing spiritual songs.

v ela dan a bheel

The Bheel tribe has always lived a semi-nomadic life. They developed distinctive culture of music, which have evolved over years of social bonding and improvising instruments from materials in their natural environment. Vela Dhana Bheel sings philosophical and spiritual songs, accompanied by Manjeeras and Ghada Ghamela. In repetitive sounds of Santaar and rough voice of Vela Dhana one can still feel the nomadic past. His inspirited face while singing leaves no doubt about the spiritual connection happening thanks to his music.

23

On Stage: 4+1
Preferably indoor Small Stage

babunath jogi
Babunath Jogi hails from the Goraknath sect in rural district of Eastern Rajasthan. Jogis from this sect go through oral learning process as they follow the guru-shishya learning (teacher-student) unlike most other folk music where it is passed down in the family as a part of their heritage. At the age of 60, Babunath can effortlessly recite epics on Shiv, Gopichand, Gogaji and many more Hindu and folk deities.

REGION: Rajasthan MOOD: Devotional GENRE: Bhajan INSTRUMENTS: Bhapang, Jogia Sarangi, Matka & Dholak

Jogis, according to the traditions, are never invited to perform, but they travel to different places on their own to share their knowledge. Babunath Jogi true to his invocation is always on a move with little or no material possessions. He plays Jogia Sarangi and is accompanied by a Bhapang (rare single stringed percussion instrument). The mesmerizing melody of the Jogia Sarangi and the Babunaths rustic voice can tell stories of Hindu deities, brave kings and noble men to any audience.

24

On Stage: 5+2
Preferably outdoor Small/Big stage REGION: Punjab MOOD: Devotional GENRE: Jangam INSTRUMENTS: Dafli, Khartal, Khanjari & Bells

rajen dra jan gam

Jangam is a style of devotional music sung by followers of Shiva. The Jangam Jogis are wandering ascetics and priests who travel all across India propagating Shivite beliefs by way of singing prayers, mythological stories and philosophical chants. Being travelers, their instruments are small and portable and include the Dafli, Khanjari (drums) and Khartal (castanets). Their music is easily recognizable across the country and chants like Om Namah Shivaya are commonly sung without the use of any melodic instrument.

Jangam claim not to be confined to static, material ideas but follow the dynamic element of nature on the path to self-realization. Rajendra Jangam, true to his invocation, performs music for the Almighty and for peoples happiness and prosperity. Mantras chanted in deep and clear voice of Rajendra to the rhythmical tribal drumming and lack of melodic instrumentation give Jangam music kind of a modern groove and trance feeling.

25

On Stage: 3+1 Indoor/outdoor

Kambir Khan and Lal Khan belong to the Manganiyar community of Rajasthan, but unlike other artists from their cast, they are snake charmers. The main instrument used for hypnotizing snakes is Murli a woodwind instrument, accompanied by the melodic Suranda and rhythmic Dholak. The Murli, made out of fruit case with different pipes, can simultaneously create a root, melodic and rhythmic notes and this incredible aspect makes it one of the most distinct musical instruments in the world.

kambir khan

Small Stage REGION: Rajasthan MOOD: Festive GENRE: Folk Instrumental INSTRUMENTS: Murli, Suranda & Dholak

The instrument has a uniquely shrill tonal quality that is unabashedly seductive, therefore it is not surprising that, legend has it, the sounds of Murli, if played out by a true master, have the power to awaken and allure mythological serpents into being. Kambhir Khan plays energetically hypnotizing melodies and the tribal ritual revives in its indigenous form as crying voice of Murli tells stories of deserts and mysteries.

folk party
Tr a d i tional = Boring? N o t h ing could be mo re m is l e ading. Fun and fe s t ivi t y a re i n t h e foundations of m os t of fol k m u s i c fo r m s, which many t i m e s s t i l l re s e m bl e r a t h er infor mal socia l ga t he ri ng s t ha n We s t e r n m u s i c p er fo r mances. Dance a nd m ove m e nt s , powe rfu l p erc u ssion, infor mal m ood a nd e nga g i ng ch a r a cter are making t he fol k pa r t y rock . Wed d ing festivity lea d by t ra nc e s ou nds o f b a gpipe (Gyan Sing h M e m i ) or c a r n ival procession of a bra s s orche s t ra ( M a n ohar Brass Band ) c a n l ive n u p a ny c rowd. In Indian folk eve n a s ol o p er fo r mer can be fun e m bodi e d ( Da na B h a r mal). Upbeat tea s i ng Lok ge e t s ong s ( B a l v inder Mast) or u p-t e m po ri f fs of dr u m s ( O m Prakash Dholi) w i l l bri ng you ri g ht t o t h e m ood of countr ys i de c e l ebra t i on.

27

On Stage: 7+2 Preferably outdoor Bigger stage

g y an s ingh me mi
So-called bagpipe of India - Veen is a soulful, enunciating woodwind instrument heard at many fairs, festivals and weddings in Punjab. Gyan Singh Memi - a Sikh musical group playing this bagpipe, has been performing at different party occasions since the last 40 years. The performance is known as Veen Vaja; simply meaning which can be played.

In Motion REGION: Punjab MOOD: Partying GENRE: Veen Vaja INSTRUMENTS: Veen, Chimta, Big Dhol, Tambur & Side Drums

The musicians not only bring the audience into trance, combining high and energetic sounds of Veen with percussion sounds of Dhol and Chimta, but they also dance and enchant with their bright colored traditional Sikh costumes and turbans.The bagpipes are made locally out of bladder and wooden pipes and traditionally decorated with the vibrant cloth streamers and colored tassels. Visual feast is competing with fast rhythms and captivating melodies, as one is in doubt if just to admire the beautiful spectacle or join the crazy party happening in front of ones eyes.

28

On Stage: 12+2 Preferably outdoor Big Stage In Motion

manohar b rass b and

Brass Bands make an essential part of Indian popular culture. Ensemble REGION: Rajasthan of brass instruments was brought by the British in the 18 th century and MOOD: Celebratory GENRE: Brass Band for its popularity states the fact that there are over 2000 brass bands in INSTRUMENTS: Clarinet, Rajasthan alone. However, the way of playing brass instruments and the Elphonium, Trumpet, compositions performed have been strongly influenced by Indian folk, Trombone, Bass Drum, Bollywood and pop - nowadays brass bands play Hindi film songs and Side Drum & Cymbal traditional folk tunes as they feature almost every north Indian wedding procession. During those processions wedding guests dance, rejoicing the occasion, and enjoying the vivid rhythms of brass instrument. The instruments in use are like in most other brass bands - Clarinet, Elphonium, Trumpet, Trombone, Bass Drum, Side Drum, Clarinet, Maracas and Cymbals. Colorful bright costumes still reflect the military origins of the genre. The Manohar Brass Band from Ajmer plays folk tunes of the region as they divert the public during carnivals, festivals and weddings.

29

On Stage: 2+1
Indoor/Outdoor

dan a b h a r ma l

Small Stage

The folk strive to create music with simple objects and compose songs REGION: Gujarat based on themes of everyday life finds its representative in a solo MOOD: Fun performer Dana Bharmal, from the village Hodka in the Kutch region of GENRE: Kafi Gujarat. Being a one-man orchestra, he uses no melodic instrument, but INSTRUMENTS: Ghada, his compelling and fun voice tells stories of romance, separation and Ghamela & Ghunghroo union. Open minded spirit makes him improvise with not only Kutchi and Sindhi languages, but also with English, of which he knows very little. He plays the Ghada Ghamela (percussion instruments) with his hands, upon which are tied strings of bells. He sings mostly Kafis utilizing religious verses of Sufi poets and Dohas - short poetry verses expressing subtleties of love and the nature of existence. Danas cheerful spirit and excellent use of his talent to modulate his voice, create an engaging and entertaining show.

30

On Stage: 4+1
Indoor/Outdoor Small/Big Stage PERFORMED ABROAD

True to his name, singer and musician Balvinder Mast (Mast in Hindi REGION: Punjab means 'fun or cool') sings lively songs in the local Punjabi dialects MOOD: Fun following the festive beats of the Dholak and the Matka (percussion GENRE: Punjabi Folk instruments) and the tunes of the Harmonium and Tumbi. His INSTRUMENTS: Tumbi, wide-ranging repertoire consists of spiritual Sufi compositions and Dholak, Harmonium & traditional Lokgeet (folk songs) of Punjab and most popular of all, Matka songs of love and separation. Tracing its origins to the songs of the farmers working on the fields of Punjab, his music has characteristic countryside flavor. Balvinder has been performing in India and across the globe for the last 20 years. His crisp voice is able to narrate all kind of stories with a zest and passion characteristic of his region. Love and romance motives find their intensive expressions in open-throated, deep voice of Balvinder accompanied by the most characteristic for Punjabi music high-pitched string instrument called Tumbi.

balv in der m ast

31

On Stage: 4+1
Preferably outdoor Small/Big stage In Motion REGION: Rajasthan MOOD: Partying GENRE: Folk Instrumental INSTRUMENTS: Dhol

om p r a k as h d h o l i
The Dhol is the most popular Indian double-sided barrel drum. The origin of the instrument that has become famous beat of India worldwide dates back to the 15 th century when this drum reached India from Persia. The Dhol was used in times of war by Sikhs to accentuate war cries, generate enthusiasm in the troops or even for transmitting messages across large distances. From here it went on to become indispensable to the dynamics of the Bhangra music in India and weddings of all communities and regions.

Members of Om Prakash band, as it is customary for other Dholis as well, hang their Dhols from the shoulder or place it on their lap and play it with two wooden sticks. Om Prakash has inherited the tradition of playing Dhol from his ancestors and he warms up the audience at different community occasions with the powerful and energetic beats of his drum.

spiritual experience
T h e re is a reason for Indi a be i ng a s pi ri t u a l de s t i n ati o n fo r cen tur i es . Al l ty p es an d gen res o f I ndian music, be i t fol k , Bol ly wood or cl a s s i c a l , are s un k i n to rel i g i o s i ty an d d evo ti o n a s n atural for Indians a s m ons oon ra i ns , s u n a nd mo o n . Refer r i n g to th e Ab s o l ute an d p e r for ming for Divi ni t i e s a re t he cha ra c t e ri s t i c s co mmo n fo r mo s t tr ad i ti o n al I n d i an m u s ic. Inter nationa l ly fa m ou s t ra di t i on e nroot e d i n s uch d evo ti o n i s Mus l i m S ufi gen re ( S h a ukat Ali). Howeve r, l e s s m u s i c a l ly re c og ni z e d S i kh rel i g i o n b ecame th e ab o d e o f ver y d i s t inctive spiritual m u s i c for m s - Gu r m a t Sa ngeet ( G ur n am S i n g h ) an d D h ad h i ( Jas d ee p a n d Har meet Kaur), whi ch we fe e l a re wor t h pre s en ti n g to wi d er aud i en ce.

33

On Stage: 7+2
Indoor/Outdoor Small/Big Stage PERFORMED ABROAD

Qawwali is the most popular form of Sufi devotional music nowadays. REGION: Punjab Its purpose is to build up sacred ecstasy through inspiring words and MOOD: Devotional emotional music. Tracing its origins to 8th century Persia, the Qawwali GENRE: Sufi Kalam style of music used to be performed at the Sufi shrines before INSTRUMENTS: Tabla conquering concert halls all over the world. Shaukat Ali who studied Dholak,Claps & this genre since he was 7 years old - is performing with a group of Harmonium singers, who repeat verses of poetry to accentuate the buildup of both lyrics and music. Harmonium, Tabla and Dholak are accompanying the voices, but it is the consistent clapping, which is the most characteristic to the audio memory of a Qawwali. Each composition can be prolonged, as it is being improvised every time. Not only liberating lyrics or trance rhythms, but also Shaukat Alis deep voice, seek to uplift the listener from immediate reality and guide them into an experience of the sublime.

shaukat ali

34

On Stage: 3+1
Indoor Small Stage PERFORMED ABROAD

j as d e e p a n d h a r me e t k aur

Dhadhi is a Sikh devotional yet energetic singing style that originated four REGION: Punjab hundred years back during the rule of Emperor Jahangir. Themes evolve MOOD: Heroic around heroism and bravery taking forms of ballads or improvised GENRE: Sikh Dhadhi episodes of Sikh warriors and martyrs. Characteristic sounds of the Dhadh INSTRUMENTS: are created thanks to subtle rhythm and modulate ornamentation as it is Sarangi & Dhadh struck with fingers and hands. The female vocalists sing together in Malwai language and notes of Sarangi follow their high pitched clear sonorous voice. Unusual rhythm patterns and the rendering of sustained notes is integral to this performance. Jasdeep and Harmeet Kaur are sisters from Ludhiana, Punjab and along with their brother playing Sarangi form Dhadhi Jatha traditional ensemble consisting of two or more singers. The group has received many national and international awards and successfully performed in India and abroad since last 10 years.

35

On Stage: 5+2 Indoor Small/Big Stage PERFORMED ABROAD REGION: Punjab MOOD: Spiritual GENRE: Gurmat Sangeet INSTRUMENTS: Tabla, Dilruba/Taus, Rabab, Swarmandal & Harmonium

gurn am sin gh

Gurmat Sangeet is a genre of Sikh devotional music. Gurnam Singh is a professor and head of the Gurmat Sangeet Department at the Punjab University. An expert musician and a scholar, he has performed at various locales in India and around the world and has published research books, papers and dissertations on Sikh and Punjabi music. One way of presenting Gurnam Sangeet, which in unique way combines Indian classical music characteristics and folk tunes, is called Shabad Kirtan. The term Shabad refers to the holy hymns of Sikh religion, which has been sung and developed by generations of gurus and musicians. Dr. Singh was introduced to this musical tradition at an early age by his father and later studied under Professor Tara Singh of Patiala. Today he sings in a soft, mellifluous voice that creates a peaceful and contemplation atmosphere and brings sonorous and spiritual experience.

visual delight
Fo l k mu si c wa s a lway s mean t to b e p erfo r med and a bs or be d wit h a ll t he s e ns e s . H e nc e , m any t r a di t i o n a l m u si c fo r ms are i n se p arabl e fro m t he v is ua l p e r for m a nc e . A s exc e lle nt ex am p l e c a n se r ve Terah Taal i (Gan ga B ai Kamad ) a d a nc e p e r for m e d in s it t ing p os it ion, co m b i n i n g a c ro b a t i cs an d n atu ral l i gh t ef fects i n a ll- s e ns uous ove r whe lm ing ex p e r ie nc e . C h an g da n c e ( Ja g d i s h P rasan d Dan d h ) an d Der u d a nc e ( L a d ur a m ) , a lt houg h bot h hav ing t r i b al a n d pa r t y ch aracteri sti c wh ere mu si ci an s d a nc e while p lay ing d r um s , a re a bove a ll b e au t i ful spec t a cl e s. Pabu ji Ki P h ad trad i ti o n (Gh eva r a m ) is illus t r a t ing t he m us ic wit h a n o r n am en t e d cl o t h , o n wh i ch th e fi gu res seem to b e d a nc ing t o s ha king lig ht of a la m p.

g a n g a b ai kam ad
On Stage: 6+2
Preferably indoor Dance/Acrobatics PERFORMED ABROAD REGION: Rajasthan MOOD: Festive GENRE: Terah Taali INSTRUMENTS: Tandoora, Manjeera & Dholak

37

Terah Taali is an ancient dance performed to appease the local deity of the Kamad community known as Baba Ramdeo. Ganga Bai and her dancers move to the reverberating sounds of Terah, or thirteen cymbals (Manjeeras), that are fastened to their waist, wrists, elbows and hands. It is almost impossible to say whether the dance is being performed to music or it is producing music by way of its dynamics. Visually striking aspects of Terah Taali performance are the balancing of multiple pots placed the dancers head, holding of a sword between ones teeth, or lit oil lamps on ones palms, or dancing on upturned glass tumblers. Gangas husbands fingers speak of the years they have strummed Tamboora, while her son vividly strikes Dholak drum, and peace on Gangabais face as she strikes cymbal after cymbal, is reminiscent as this art is for them - a way of simple and beautiful life.

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On Stage: 10+2

j a g d i s h p r a s a d dhan d

Preferably outdoor Dance In Motion

REGION: Rajasthan MOOD: Fun GENRE: Chang Dance INSTRUMENTS: Chang, Bansuri, Ghunghroo, Nagadi & Manjeera

The beginning of spring season in India is celebrated by Holi festival of colors. As in many other cultures, it is the time of joy and happiness, and finds its expression in Rajasthani Chang dance. It is very participatory in spirit and everybody, regardless of community or class, is invited to take part. However, traditionally, Chang Dance of which Jagdish Prasad group is an excellent exponent consists of male dancers only, where one of them personifies female, while the rest dance around. Boys carry and play Chang - a polygonal shallow drum, which gives a down-tempo rhythm. Melodies are complemented by Bansuri, Ghunghroo, Manjeera and Dholak. Easy-listening, expressive representation of lively emotion and enthusiastic spirit corresponds with time of such informal and common celebration. Jagdish Prasad has been performing Chang Dance since last 20 years and is dedicated to promote it as a part of his culture.

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On Stage: 3+1
Indoor/Outdoor Small/Big Stage

REGION: Rajasthan MOOD: Devotional GENRE: Folk Instrumental INSTRUMENTS: Rawanhatta

g h e varam

Pabuji Ki Phad, an ancient storytelling folk tradition performed by temple priests called Bhopas, consists of two important components - a cloth painting that serves as visual background as well as moving temple and indigenous two-string fiddle called the Rawanhatta. This instrument, made out of dry coconut and bamboo with small bells adjusted, accompanies the legends sung by Ghevaram. The performance is illustrated with beautiful painting being revealed in fragments by the soft light of lamp. Both festal and devotional, story moves from one scene to another. It is believed that this ritual, performed since the 14 th century for a local deity, wards off ill health and misfortunes. This episodic tribal tradition straight from Rajasthan is a combination of theatre, religious ceremony and musical performance, but its main function is to enchant and teach the audience with the mythological stories, which are to be carried to next generations.

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On Stage: 8+2 Preferably outdoor Small/Big Stage In Motion REGION: Rajasthan MOOD: Festive GENRE: Deru INSTRUMENTS: Deru, Harmonium, Dholak, Thali & Ghunghroo

Region of Rajasthan has a dance which transcends religious differences. Deru is performed both by Hindu Nayaks and Muslim Mirasis (community converted from Hinduism to Islam). However, most of the song themes originate in myths and legends of Hindu, and refer to themes like births, deaths and weddings. Traditionally, Deru dance is gender-divided, but Laduram groups consists of men only. Leading instrument is Deru, which is an hourglass shaped drum with changeable pitch. Surnai (double reed instrument) and Kamaycha (string instrument) complete devotional compositions. Spontaneous and picturesque dance of men is interrupted by their periodic singing. Deru is performed at local festivals, but never quits its devotional nature. Loyal to this tradition is Laduram, who has been performing for local saints for almost 50 years. He introduced Deru to many audiences around the world, but still performs locally. Energetic and festive Laduram spectacle is simply unforgettable.

l a d u r am

b lu e lo t u s f e st i v al 2 0 13
Blue Lotus Festival is an upcoming project of De Kulture Events an unprecedented festival bringing together the Best of Indian Sufi, Folk, Traditional, Gypsy, Tribal, Devotional, Spiritual and Indigenous Music. Our mission is not only to present and popularize this amazing musical diversity and quality among international and national visitors, but we aim to transform it into an Indian Music EXPO where festival organizers, agents, media and world music professionals can get a glimpse of what Indian traditional music is all about and identify undiscovered genres and artists of this diverse country. We will be happy to provide delegate and discounted passes to people from music industry, who would express a wish of attending this all-Indian-music-at-one-place event. PLACE Pushkar ancient town of cultural and historical importance in India. Multiple venues - the lake, sand dunes, picturesque temples, streets, ghats, pilgrimage and heritage centers. MISSION To endorse ethnic, cultural and artistic diversity of India To present true and fascinating voices of Indian soil at one place To revive the rituals and traditions standing behind ancient musical forms To discover sounds of india

AUTHENTIC MUSIC OF INDIA 350 artists from incredible states of India REGIONS Rajasthan, Gujarat, Punjab, Tamil Nadu, Karnataka, Madhya Pradesh, Kashmir, Himachal Pradesh, Nagaland, Chhattisgarh, Kerela, West Bengal and many more! GENRES Qawwali, Bhajan, Kafi, Bheth, Waai, Chang Nritya, Kalbelia, Shram Geet, Deru, Folk Instrumentals, Jangda, Lokgeet, Bhangra, Luddi and many other musical genres THEMES Joyful wedding festivities Spiritual ceremonies Tribal rituals from the depths of the forest Folk dances of ancient communities Love songs from the desert peripheries, Mythological tales of wandering ascetics HIGHLIGHTS Over 40 performances over a period of 6 days Concerts at ghats, streets, temples and heritage centers Special night showcases at sand dunes 350 artists from incredible states of India Rare instruments and traditional genres on the verge of extinction Camel safaris, music workshops and film screenings Local crafts and cuisine from across India WWW.BLUELOTUSFESTIVAL.COM For enquiries, contact: events@dekulture.com, project@bluelotusfestival.com

TRADITIONAL INSTRUMENTS OF INDIA

ALGOZA BANKIYA BANSURI BHAPANG CHANG CHIKARA CHIMTA DAFLI/ DAPH DAKLA DERU DHADH DHOL DHOLAK DHOLKI GHADA GHAMELA GINGHRA GHUNGHROO HARMONIUM JHANJH JODIA PAVA woodwind pair of flutes played together to traditional Punjabi, Rajasthani and Gujarati songs. brass tubular trumpet played mostly along with the drums that boosts the mood and tempo of ceremonies in Rajasthan. woodwind instrument made of single bamboo stick and an inherent characteristic of Indian countryside music. unique single-stringed percussion instrument made of hollow shell of the dry pumpkin. circular and shallow drum framed with leather - the heart of Chang dance. three stringed, fiddle-like instrument used mostly in Eastern Rajasthani folk music. household tongs completed with metal discs creates reverberating sound and used across India. tambourine-like instrument , with double row of bells on wooden frame and a playing surface made up of leather. hourglass shaped drum mounted with leather on both ends with exceptional method of playing which release it from accompaniment of other instruments. an hourglass shaped drum with changeable pitches accompaniments ritual chants and folk songs in Punjab and Northern Rajasthan. hourglass shaped drum similar to Deru and Damru but with different technique of playing beating leather membrane by hands and fingers. double-sided barrel drum framed with leather on both ends, originated in 15th century. two-headed hand-drum, most popular percussion instrument in Indian traditional music. smaller version of Dholak earthen or metal pitcher that is played by striking its sides and changing sounds by opening and closing its mouth. steel vessel used to store grain, played together with Ghada with metal rings tied along the fingers. bigger version of Khanjari varying in size, its a cluster of small metallic bells worn by dancers on ankles or held in hands. keyboard instrument with hand operated bellows that breath air through reeds inspired by imported French precursor. pair of big brass or bronze discs, which are struck against each other, very resonant sound. pair of two flutes where one produces root notes while second one creates melody.

JOGIA SARANGI KAMAYCHA KHANJARI KHARTAL MADAL MANJEERA MASHAK/VEEN MATKA MORCHANG MURLI/BEEN NAGARA NAGARI RAWANHATTA SANTAAR SARANGI SATARA SHEHNAI

an old version of Sarangi with 3 main strings and played mostly by ascetics in Eastern Rajasthan popular Indian string instrument with large circular resonator played with curved bow. idiophone instrument of circular shape covered with a skin on one side, variations across India. percussion instrument used mostly in Rajasthan, consists of two wooden blocks clapped together at high tempo. hollow wooden drum with goat leather membranes that is played with palms or sticks. easy to play on instrument consisting two copper cymbals tied together and creating high pitched sound by striking plates against each other. single reed Indian bagpipe that can produce drone likewise melody. earthen pot which is played by blowing across its opening, typical instrument for Langa community. known as Jews harp, it is both wind and string instrument played while placing it against the teeth. woodwind instrument of one wide pipe at one end and two wider pipes at the other and this instrument is a symbolic characteristic for Kalbeliya dance of snake charmers tradition. drum mounted on one side with leather having a great role in Indian celebrations. smaller version of Nagara one of the oldest string instruments in India consist a long piece of bamboo set into a coconut shell and one main string for melody. well-known Indian drone string instrument of a large rounded base. 40-stringed instrument played with a bow, nails and pads, considered to be one of most difficult Indian instruments. pair of flutes played together for the melody and the drone by the Langa community. one of traditional woodwind instruments that gained a place among the classical instruments of India.

SINDHI SARANGI variation of the Sarangi - different in amount of strings but same in shape or the way of playing. SURANDO TABLA TANDOORA THALI TUMBI single-pieced wood string instrument, rich in sound and at the edge of extinction as only few can master it. pair of hand drums that differentiate in size and timbre one for deep bass tone and other to complement the melody. also called dhamburo, five-stringed drone instrument of the changeable pitches. percussion instrument created by transmitting new musical function to metal plates in which normally food is served. single stringed instrument of a long wooden stick and wooden resonator covered with skin.

con t a c t u s
B E R ENIKA ROZANSK A Re p resenting De Kult u re A r t i s t s a broa d A d m i nistration of Int e r na t i ona l Show s , Book i ng s & To u r Management, P rodu c e r of Bl u e Lot u s Fe s t iva l 2 0 1 3 eve n t s@ dekulture.com S A M BHAV BOHRA Fo u n der and Director of De Ku l t u re M u s i c A r t i s tic Director of Bl u e Lot u s Fe s t iva l 2 0 1 3 s a m b hav@dekulture.c om M A RTA KUCNER P ro m otion & Media p ro m otion@dekulture . c om S H A RON GENEVIVE R A JA N A r t i s t Management a r t i s t @dekulture.com O F F ICE A d d ress: 423, Gauta m M a rg , R a ni Sa t i Na ga r ( Nir man N agar ) , A j m e r Road, Jaipur - 3 0 2 0 1 9 . R a ja s t ha n, Indi a P h o ne: +91 0141 40 2 3 9 6 7 Fa x : +91 0141 2812 6 7 1 in fo @dekulture.com in fo @bluelotusfestiva l . c om w w w. dekulture.com w w w. bl u e l ot u s fe s t iva l . c om

Content
Featured Artists
R aza Khan Bachu Khan Murra Lala Fa f a l Mustafa Ali Ja t D albar Singh Mo hini Dev i K a l be liya Sharif Idu 2 4 6 8 10 12 14

Ch arism atic Voic e s

Me e tha K han Gurmeet Bawa Multan Khan

17 18 19

Spiritual Experience

Folk Party

Gyan Singh Memi Manohar Brass Band Dana Bharmal Balvinder Mast Om Prakash Dholi

27 28 29 30 31

Shaukat Ali Jasdeep & Harmeet Kaur Gurnam Singh

33 34 35

Ethnic Adventur e

Harikesh Singh Vela Dana Bhee l Babunath Jo g i R aje ndra Janga m Kam bir K han

21 22 23 24 25

Visual Delight

Ganga Bai Kamad Jagdish Prasad Dandh Ghevara m Laduram

37 38 39 40

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