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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 internationalplatforms

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CREATIVE WORK including preparing audio, video, photo,graphic design, press, copywriting, etc

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MANAGEMENT – English/Hindi speaking tour manager

PRESENTATION - artistic direction, sound, light, choreography,ambience, lyrics, translations, musical expertise

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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.

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VAST EXPERIENCE AND EXPERTISE as DE KULTURE MUSIC producing events and fest ivals in India , record label , distr ibution

How to se l ec t jus t a few names f rom an ocean of exce l l ent and unique fo lk mus ic ians of India ? How to represent centur i e s of t rad i t ion and enr ichment of mus ica l s ty l e s throughout the genera t ions in few examples on ly ? Seven ar t i s t s presented be low are the bes t i l lus t ra t ions of how di s t inc t ive authent ic Indian s ty l e s can be combined wi th incred ible ta l ent and char i sma in fa sc inat ing blend . Raza Khan , whose s ing ing i s noth ing l ike you have heard before (WOMEX 2012 se l ec t ion) and Bachu Khan , whose smal l pos ture contrad ic t s h i s powerfu l and v ibrant vo ice (AWME 2012 se l ec t ion) a re a l ready inte r nat iona l ly recognized Indian per for mers . Mur ra La la Fafa l and Mustafa Al i Ja t , one ex t raver t and fun , o ther in t rospect ive and sp i r i tua l , represent two d i f fe rent bas ic moods of fo lk . Dalbar S ingh t r y ing to save wi ld and ra re Punjab i per for mance s ty l e , Mohin i Dev i g roup who popular ized Indian Gypsy dance abroad and Shar i f Idu g iv ing anc ient love songs in tens ive and abr upt fee l – a l l make for De Kul ture Events h igh l ights for 2013.

featured art ists

Raza Khan represents Sufi t rad i t ion , which or ig inates in myst i ca l d imens ion of I s l am, in which mus ic i s a way of ach iev ing persona l connect ion wi th God. However, Raza , be ing a Chr i s t i an (Pentecos t ) , adopted Sufi ph i losophy for h i s c reed and enr iched wi th insp i ra t ions that he brought f rom hi s t rave l s to Paki s tan . He s ings in Urdu and Punjab i and h i s wide voca l range , which s t re tches f rom lower re g i s te r to fa l se t to, a l lows h im ef for t l e s s ly to match the upper and lower range of the har monium. Not only voca l sca l e , but h i s ab i l i ty to modula te h i s vo ice and pass eas i ly be tween d i f fe rent ranges , s e t s h im apar t f rom other Sufi a r t i s t s in the world . By compos ing s imple , but in tense mus ic Raza Khan wants to engage the audience and share h i s profound sp i r i tua l exper i ence wi th h i s l i s t eners .

REGION: PunjabMOOD: Devotional

GENRE: Sufi INSTRUMENTS: Tabla Claps Harmonium

On Stage: 7+2

Indoor/Outdoor

Big Stage

PERFORMEDABROAD

raza khan

2

According to h i s own be l i e f s , Raza was des t ined to become an a r t i s t long before he was bor n in a smal l v i l l age of Punjab in a re l ig ious fami ly of mus ic t rad i t ion . Raza s ta r ted to l ea r n ing mus ic f rom hi s fa ther when he was 7 year s o ld . He has been insp i red by Nazakat Al i Khan , Sa lamat Al i Khan , Mia Shaukat Khan , but h i s main gur u was Shafqat Al i , who int roduced h im to a five hundred year o ld mus ica l t rad i t ion of Sham Chouras i Gharana . Al though he per for ms Sufi genres l ike Ghaza l s , Qawwal i s , Ka lams or Kafi s , h i s s t r ive for improv i sa t ion , makes h im int roduce the e l ements of Indian and Wester n cla s s i ca l mus ic or even j azz in h i s compos i t ions .

He has been per for ming on b ig scenes in India s ince 1994 and recent ly begun to per for m at in te r nat iona l p la t for ms (Ger many, Netherlands , Czech Republ ic , Poland , Greece) . However, Raza i s a lways eager to per for m for re l ig ious purpose , a s he be l i eves that there should a lways be har mony in the way one per for ms the mus ic and l ives the l i fe .

3

From Thar deser t re g ion comes unique cas te of mus ic ians , Langas , whose main profes s ion was to s ing and dance for the i r pat rons . Bachu Khan’s fa ther per for med ye t for the Roya l fami ly of Jodhpur – Rathore Gharana . With the end of roya l ty s ta te funct ion of Langas , the i r mus ic s ta r ted to f lour i sh dur ing a l l occas ions including weddings , b i r ths , engagements and fes t iva l s . Accord ing to the Darbar i ( roya l ) t rad i t ion of severa l centur i e s Langas s t i l l s ing love songs in the i r mother tongue , Marwar i , dep ic t ing one ’s long ing for the lover, joy of reunion and hopes that lover s put in the future . Ins t r uments in use a re Sarang i ( s t r ing ins t r ument) , Murl i and Algoza (woodwind ins t r uments) , Morchang ( Jewish harp) and Khar ta l (wooden cas tanet) .

bachu khan

REGION: RajasthanMOOD: Celebratory

GENRE: Darbari INSTRUMENTS: Algoza Sarangi, Khartal Matka & Dholak

On Stage: 7+2

Indoor/Outdoor

Small/Big Stage

PERFORMEDABROAD

v i l l age s inger who trave l l ed the wor ld

4

Bachu Khan was in t roduced to mus ic by h i s fa ther, but h i s rea l maste r, who taught h im Rajas than i fo lk reper to i re was Haj i B . K . Khan . At the age of twe lve Bachu Khan gave h i s fi r s t publ i c per for mance and jus t a year l a te r h i s fi r s t in te r nat iona l show took p lace . Bachu Khan has g iven hundreds of per for mances abroad wi th h i s g roups Mahara ja , Musafi r and Di l Mastana , unt i l h i s passpor t s were not able to accommodate any more s tamps . Bachu Khan ' s h igh-p i tched , open- throated , ve r y powerfu l vo ice , suppor ted by the back ing voca l i s t s i s per fec t ly complemented by the woodwind and s t r ing ins t r uments , for ming a melodious and sensuous mus ica l score .

Unique and va luable in Bachu Khan’s l i fe and work i s h i s ab i l i ty to engage t rad i t ion and contemporar y. Be ing the fa ther of five daughter s he wants to pass the mus ic t rad i t ion to them, aga ins t the t rad i t ion of h i s communi ty, where women are forb idden to per for m mus ic . He i s a lways eager to exper iment and improv i se wi th d i f fe rent mus ic s ty l e s , a s he d id by par t i c ipat ing in Gypsy Caravan pro jec t and co l l abora t ing wi th Natacha At la s , Duquende and Antonio ‘E l P ipa ’ , among others .

5

Mur ra La la Fafa l i s a success ive s inger f rom a r ura l fami ly of Marwada Meghwals , whose t rad i t ion of s ing ing goes back e l even genera t ions . In Kutch re g ion as we l l a s in many other t rad i t iona l communi t i e s , ch i ldren a re taught to s ing by o lder members of the fami ly. Mur ra La la s ta r ted h i s mus ica l educat ion by p lay ing Manjeeras and s ing ing. Al ready a t the age of 16 he was accla imed to be an except iona l mus ic ian . Mur ra used to per for m only dur ing fe s t iva l s in Gujara t , but few pro jec t s he d id wi th famous Indian cla s s i ca l and Bol lywood composers , made h i s mus ic more famous across India . He s ings songs in Kutch i , dep ic t ing separa t ions and reunions of lover s . His main insp i ra t ion are ver ses of Indian and Sufi poet s (Kafi ) re fe r r ing to re l ig ion and a t ta in ing en l ightenment , and devot iona l and phi losophica l themes of Bha jans .

REGION: Gujarat MOOD: Fun GENRE: Kafi

INSTRUMENTS: Ghada, Ghamela & Jodia Pawa

On Stage: 5+2

Indoor/Outdoor

Small/Big Stage

murra la la fafa las fun and char ismat ic as

fo lk s inger can be

6

Mur ra La la Fafa l l ive s h i s l i fe s ing ing. His joyfu l sp i r i t , hab i t of making mus ica l jokes and finding a song for ever y occas ion makes h i s per for mance one of the k ind . Mus ic ians accompanying Mur ra La la p lay ins t r uments l ike Santaar ( s t r ing ins t r ument) , Ghada Ghamela (percuss ion ins t r ument) , Jodia Pava ( loca l woodwind ins t r ument) and Manjeeras . Together, express ing the e s sence of fo lk fe s t ive menta l i ty, they c rea te dynamic compos i t ions whi l e Mur ra s ings in h i s charac te r i s t i c s t rong h igh-p i tched vo ice . Mur ra La la Fafa l cont inues t rad i t ion of h i s fami ly not only by s ing ing , but through educat ing new genera t ion as we l l . Per for ming on h i s 300 year s o ld Santaar he i s l i t e ra l ly ho ld ing t rad i t ion and her i tage of prev ious genera t ions in h i s hands . Mur ra i s aware of the re spons ib i l i ty coming f rom such a pos i t ion and he i s s t r iv ing to pass the knowledge about h i s cu l ture and mus ic to h i s ch i ldren and to ever ybody who i s ready to ge t enchanted by h i s char i sma and enor mous mustache .

7

Tradi t ion of Bheth came a ver y long way to enable us to l i s t en to i t embodied in person of Mustafa Al i Ja t . Bheth was or ig ina l ly the mus ic of Ja t Mus l ims , who brought i t f rom Iran v ia Pak i s tan to Kutch re g ion in India . Ja t Mus l ims were maldhar i (ca t t l e herders) and the i r main occupat ion bes ides breed ing was process ing mi lk and t rad ing i t s products . Mustafa Al i Ja t and h i s g roup are cont inu ing that t rad i t ion , but i t i s the ra re s ty l e of mus ic they maste red , that makes them except iona l . They per for m dur ing weddings , funera l s and fe s t iva l s in Gujara t and Bheth compos i t ions a re sung autonomous ly or combined wi th other types of mus ic charac te r i s t i c for Kutch re g ion .

REGION: GujaratMOOD: Spiritual

GENRE: Bheth INSTRUMENTS: Surando, Ghunghroo & Ghado

On Stage: 3+1

Preferably indoor

Small Stage

mustafa a l i j at long ing vo ice of evanescent bheth mus ic

8

The insp i ra t ion of Mustafa l i e s in ‘Shah Jo Risa lo ’ – a 18 th centur y Sufi poet r y compi la t ion , which has been passed ora l ly in many communi t i e s a s an ‘ocean’ of themes by present ing 36 bas ic s tor i e s or moods convey ing myst i ca l ideas , symbols and beaut i fu l love ta l e s . The main accompanying ins t r ument of Bheth , Sur nado i s the l a s t ins t r ument of th i s k ind in India . I t s base i s made f rom only one p iece of wood shaped prec i se ly in cur ves . I t s top i s c ra f ted int r i ca te ly, and for s t r ings ha i r f rom a horse ’s t a i l i s used . Surando i s sa id to be ver y demanding to maste r and Osman Ja t , a t r uck dr iver by profes s ion , may be the l a s t one of i t s ins t r umenta l i s t s . The t r i ck of p lay ing Surando l i e s in the ab i l i ty to p lay the same melody to c rea te cont inuous mi l i eu for the voca l s . Others ins t r uments used a re Ghada (ear ther n pot used prev ious ly to a t t rac t deer s ) and Ghunghroos (ankle be l l s ) .

Mustafa ’s long ing , sonorous , but powerfu l vo ice combined wi th success ive p lay ing of the same melody on Surando crea tes the a tmosphere of in t imate sp i r i tua l exper i ence . Innocent and t r ue sp i r i t of Mustafa expressed anc ient phi losophica l t a l e s makes the per for mance de l i ca te ye t touching deepes t s t r ings of the sou l .

9

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.

REGION: PunjabMOOD: Partying

GENRE: Malwai GiddhaINSTRUMENTS: Bhukchu, Dholki, Algoza, Ektara, Chimta, Sap, Kato, Ghada & Gabda

On Stage: 8+2Preferably outdoor

Interactional/ Dance

Small/Big Stage

da lbar s inghwi ld dance stra ight from ind ian fa ir

10

DeKulture Music was founded to develop, sustain and evolve a network of audio archives and an entertainment resource that delivers India’s diverse musical expressions in an interesting and informative way via all mediums and formats possible. At De Kulture Music, we firmly believe that while communication technology allows greater access to lost forms of music, the pressures of commercialization also bring with them the risk of increasing musical homogeneity and blurring of regional identities.

This indigenous Punajbi dance begins where a lead vocalist sings a few lines addressing others and builds up the emotional tempo to a point where the backing vocalists join him. This is when the instruments are played as well and all dance to the rhythm, until once again the lead vocalist sings and is encouraged in his solo performance with joyous shouts from the other participants. There are many cycles of singing and collective 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

The s tor y of Ka lbe l iyas i s an example of how the changes in soc ie ty and cu l ture inf luence t rad i t iona l mus ic ians and the i r l i fe s ty l e . From a re g ion of Bar mer in Ra jas than or ig ins a nomad t r ibe of Gyps ie s ca l l ed Ka lbe l iyas , which were t rad i t iona l ly known as snake char mers . They used to remove se rpents f rom houses and t rade snake venom. Women used to accompany men on the i r way of t rade f rom house to house , a s they begged for a lms whi l e danc ing and s ing ing. They used to g ive publ i c shows as we l l , which included var ious snake t r i cks . Indian Wild l i fe Protec t ion Act of 1972 brought a ban on snake per for mances so Ka lbe l iyas had to t rans for m the i r shows – g i r l s rep laced snakes .

REGION: RajasthanMOOD: Partying

GENRE: Kalbeliya Dance INSTRUMENTS: Poongi, Dholak, Dafli & Manjeera

On Stage: 7+2Indoor/Outdoor

DancePERFORMED

ABROAD

mohin i dev i ka lbe l i yawhir l i ng wor ld of gypsy dance

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. It’s 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

REGION: PunjabMOOD: Romance

GENRE: Sufi Dhadhi INSTRUMENTS: Sarangi & Dhadh

On Stage: 4+1Indoor/OutdoorSmall /Big stage

PERFORMED ABROAD

Shar i f Idu i s a Sufi a r t i s t f rom Punjab who represents four hundred year s o ld Dhadhi , a t rad i t ion that or ig inated f rom g rea t S ikh gur u Hargobind . Charac te r i s t i c for h i s way of s ing ing a re abr upt ye t ex t remely contro l l ed breaks in melodic s t r ucture that blend wi th acc identa l notes p layed on Sarang i ( s t r ing ins t r ument ca l l ed ‘ the ins t r ument of a hundred co lors ’ ) . Shar i f Idu per for ms a long wi th h i s accompanis t s who p lay Dhadh ( smal l dr um f rom which the name of the s ty l e i s der ived) and back ing voca l i s t s . The songs evo lve a round the centur i e s o ld compos i t ions t e l l ing t rag ic love s tor i e s of Punjab, India . His open throated vo ice wi th an accompaniment of a hundred year o ld detuned Sarang i infuses such depth of emot ion that one can emot iona l ly re l a te to and fee l the per for mance wi thout unders tanding the ly r i c s .

s h a r i f i d uhaunt ing love songs of pun jab

14

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

Divers i ty of t rad i t iona l Indian cu l ture finds i t s mus ica l express ion in the var i e ty of ex t raord inar y and d i s t inc t ive Indian voca l i s t s . Emot iona l in tens i ty and surpr i s ing engagement in to s tor y, sung in the l anguage we don’t even unders tand make a common charac te r i s t i c s of the phenomenon of char i smat ic Indian vo ices . Rust i c and fearl e s s t imbre of the l a s t Waai s inger (Meetha Khan) , long sus ta ined v ibrant notes of most energe t i ca l Punjab i g randma (Gur meet Bawa) and h igh p i tched Jangda songs summoning the b i rds (Multan Khan) – an unique voca l s e l ec t ion of Indian fo lk to choose f rom.

char ismat ic vo ices

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.

The Fakirs (saints) were the first to use this style of music. Khan’s 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, Khan’s raw, high-pitched voice travels from one octave to another, clearly corresponding to the feeling of the rough landscape his community dwells in.

REGION: GujaratMOOD: Spiritual

GENRE: Waai

INSTRUMENTS: Dhambhuro

On Stage: 3+1

Indoor/Outdoor

Small Stage

meetha khan

17

Gurmeet Bawa is a multi-talented folk singer from Punjab, India, who has been practicing music since early childhood and has been performing for the past three decades. Folk instruments like Matka, Dholak, Algoza and Tumbi and relentless clapping by accompanying artists along with the Gurmeet’s enigmatic voice create a wonderful performance. The Punjabi folk shows are participatory in nature involving the festive flow and the audience’s 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 Gurmeet’s voice and her effortlessly holding the long-sustained notes with passionate rapidity of the accompanists make the act unforgettable.

REGION: Punjab

MOOD: CelebratoryGENRE: Punjabi Folk

INSTRUMENTS: Dholak, Matka, Harmonium & Tumbi

On Stage: 6+2Indoor/Outdoor

Big Stage

PERFORMED ABROAD gurmeet bawa

18

Multan Khan belongs to the Manganiyar community from Rajasthan, which has lived for centuries on the patronage of the nobles and kings. They are Muslims by religion, but their patrons have been both Muslims and Hindus. Manganiyar music tradition of singing called Jangda is combining the folk and classical forms of the region. Over the years very versatile repertoire has been developed – themes of the songs vary from 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.

multan khanREGION: Rajasthan

MOOD: CelebratoryGENRE: JangdaINSTRUMENTS: Harmonium, Dholak Khartal & Kamaycha

On Stage: 6+2

Indoor/Outdoor

Small/Big Stage

19

The l e s se r known face of India a re the t r iba l communi t i e s , which s t i l l const i tu te the major i ty of popula t ion in many Indian s ta te s and have deve loped fasc inat ing a r t for ms ver y few people know about . In th i s sec t ion we want to unear th and present the authent ic e thnic mus ic in i t s d i f fe rent for ms – s ta r t ing f rom animal i s t i c r i tua l s of Sahar iya t r ibe (Har ikesh S ingh) and sp i r i tua l songs f rom Bhee l communi ty (Vela Dana Bhee l ) . Wander ing asce t i c s s ing ing o ld mytholog ica l t a l e s (Babunath Jog i , Ra jendra Jangam) and hypnot iz ing melodies p layed by snake char mers (Kambhir Khan) immedia te ly invoke the fee l ing of what ind igenous India i s a l l about .

ethn ic adventure

REGION: RajasthanMOOD: FunGENRE: Swang DanceINSTRUMENTS: Jhanjhar Harmonium, Nagadi, Dholaki & Manjeera

On Stage: 8+2Indoor/Outdoor

PERFORMEDABROAD

Theatre/Dance

The Sahariya Tribe is the last primitive tribe of Rajasthan. As a part of their rich culture, this community performs Swang Dance, literally meaning drama and dance. Swang is a vibrant and full of life theatrical performance and it is being practiced by vivacious ‘Sahariya’ group from Shahbad village in Rajasthan, headed by Harikesh Singh. Dramas are depicting stories of Hindu gods like Rama, Shiva, Tejaji and sung along with folk songs like 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 ikesh s ingh

21

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.

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.

REGION: GujaratMOOD: Hindu Devotional

GENRE: Bhajan INSTRUMENTS: Santaar, Manjeera & Ghada Ghamela

On Stage: 3+1

Indoor/Outdoor

Small Stage ve la dana bhee l

22

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.

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 Babunath’s rustic voice can tell stories of Hindu deities, brave kings and noble men to any audience.

REGION: RajasthanMOOD: DevotionalGENRE: BhajanINSTRUMENTS: Bhapang, Jogia Sarangi, Matka & Dholak

On Stage: 4+1

Preferably indoor

Small Stage

babunath jog i

23

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.

REGION: PunjabMOOD: Devotional

GENRE: Jangam INSTRUMENTS: Dafli, Khartal, Khanjari & Bells

On Stage: 5+2

Preferably outdoor

Small/Big stage ra jendra jangam

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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.

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.

REGION: RajasthanMOOD: FestiveGENRE: Folk InstrumentalINSTRUMENTS: Murli, Suranda & Dholak

On Stage: 3+1

Indoor/outdoor

Small Stagekambir khan

25

Tradi t iona l = Bor ing? Nothing could be more mis l ead ing. Fun and fes t iv i ty a re in the foundat ions of most of fo lk mus ic for ms , which many t imes s t i l l re semble ra ther infor mal soc ia l ga ther ings than Wester n mus ic per for mances . Dance and movements , powerfu l percuss ion , in for mal mood and engag ing charac te r a re making the fo lk par ty rock . Wedding fe s t iv i ty l ead by t rance sounds of bagpipe (Gyan S ingh Memi) or car n iva l process ion of a bras s orches t ra (Manohar Brass Band) can l iven up any c rowd. In Indian fo lk even a so lo per for mer can be fun embodied (Dana Bhar mal) . Upbeat t eas ing Lokgeet songs (Ba lv inder Mast) or up- tempo r i f f s of dr ums (Om Prakash Dhol i ) wi l l br ing you r ight to the mood of countr ys ide ce l ebra t ion .

fo lk party

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’.

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 one’s eyes.

REGION: PunjabMOOD: Partying

GENRE: Veen VajaINSTRUMENTS: Veen, Chimta, Big Dhol, Tambur & Side Drums

On Stage: 7+2

Preferably outdoor

Bigger stage

In Motiongyan s ingh memi

27

Brass Bands make an essential part of Indian popular culture. Ensemble of brass instruments was brought by the British in the 18th century and for its popularity states the fact that there are over 2000 brass bands in Rajasthan alone. However, the way of playing brass instruments and the compositions performed have been strongly influenced by Indian folk, Bollywood and pop - nowadays brass bands play Hindi film songs and 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.

REGION: RajasthanMOOD: Celebratory

GENRE: Brass BandINSTRUMENTS: Clarinet, Elphonium, Trumpet, Trombone, Bass Drum, Side Drum & Cymbal

On Stage: 12+2Preferably outdoor

Big Stage

In Motion manohar brass band

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REGION: GujaratMOOD: Fun

GENRE: Kafi

INSTRUMENTS: Ghada, Ghamela & Ghunghroo

On Stage: 2+1

Indoor/Outdoor

Small Stage

The folk strive to create music with simple objects and compose songs based on themes of everyday life finds its representative in a solo performer Dana Bharmal, from the village Hodka in the Kutch region of Gujarat. Being a one-man orchestra, he uses no melodic instrument, but his compelling and fun voice tells stories of romance, separation and 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. Dana’s cheerful spirit and excellent use of his talent to modulate his voice, create an engaging and entertaining show.

dana bharma l

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True to his name, singer and musician Balvinder Mast (Mast in Hindi means 'fun’ or ‘cool') sings lively songs in the local Punjabi dialects following the festive beats of the Dholak and the Matka (percussion instruments) and the tunes of the Harmonium and Tumbi. His wide-ranging repertoire consists of spiritual Sufi compositions and traditional Lokgeet (folk songs) of Punjab and most popular of all, 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.

REGION: PunjabMOOD: Fun

GENRE: Punjabi Folk

INSTRUMENTS: Tumbi, Dholak, Harmonium & Matka

On Stage: 4+1Indoor/OutdoorSmall/Big Stage

PERFORMED ABROAD ba lv inder mast

30

REGION: RajasthanMOOD: Partying

GENRE: Folk Instrumental

INSTRUMENTS: Dhol

On Stage: 4+1Preferably outdoor

Small/Big stageIn Motion

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 15th 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.

om prakash dho l i

31

There i s a reason for India be ing a sp i r i tua l des t inat ion for centur i e s . Al l types and genres of Indian mus ic , be i t fo lk , Bol lywood or cl a s s i ca l , a re sunk into re l ig ios i ty and devot ion as natura l for Indians a s monsoon ra ins , sun and moon. Refer r ing to the Absolute and per for ming for Div in i t i e s a re the charac te r i s t i c s common for most t rad i t iona l Indian mus ic . Inte r nat iona l ly famous t rad i t ion enrooted in such devot ion i s Mus l im Sufi genre (Shaukat Al i ) . However, l e s s mus ica l ly recognized S ikh re l ig ion became the abode of ver y d i s t inc t ive sp i r i tua l mus ic for ms - Gur mat Sangeet (Gur nam Singh) and Dhadhi ( Jasdeep and Har meet Kaur) , which we fee l a re wor th present ing to wider audience .

sp ir itua l exper ience

Qawwali is the most popular form of Sufi devotional music nowadays. Its purpose is to build up sacred ecstasy through inspiring words and emotional music. Tracing its origins to 8th century Persia, the Qawwali style of music used to be performed at the Sufi shrines before conquering concert halls all over the world. Shaukat Ali – who studied this genre since he was 7 years old - is performing with a group of 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 Ali’s deep voice, seek to uplift the listener from immediate reality and guide them into an experience of the sublime.

REGION: PunjabMOOD: DevotionalGENRE: Sufi Kalam

INSTRUMENTS: Tabla Dholak,Claps & Harmonium

On Stage: 7+2Indoor/OutdoorSmall/Big Stage

shaukat a l iPERFORMED ABROAD

33

Dhadhi is a Sikh devotional yet energetic singing style that originated four hundred years back during the rule of Emperor Jahangir. Themes evolve around heroism and bravery – taking forms of ballads or improvised episodes of Sikh warriors and martyrs. Characteristic sounds of the Dhadh are created thanks to subtle rhythm and modulate ornamentation as it is 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.

j asdeep and harmeet kaurREGION: Punjab

MOOD: Heroic

GENRE: Sikh Dhadhi

INSTRUMENTS: Sarangi & Dhadh

On Stage: 3+1Indoor

Small StagePERFORMED

ABROAD

34

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.

gurnam s inghREGION: Punjab

MOOD: SpiritualGENRE: Gurmat Sangeet

INSTRUMENTS: Tabla, Dilruba/Taus, Rabab, Swarmandal & Harmonium

On Stage: 5+2Indoor

Small/Big StagePERFORMED

ABROAD

35

Folk mus ic was a lways meant to be per for med and absorbed wi th a l l the senses . Hence , many t rad i t iona l mus ic for ms are inseparable f rom the v i sua l per for mance . As exce l l ent example can se r ve Terah Taa l i (Ganga Ba i Kamad) – a dance per for med in s i t t ing pos i t ion , combin ing acrobat ic s and natura l l i ght e f fec t s in a l l - sensuous overwhe lming exper i ence . Chang dance ( Jagdi sh Prasand Dandh) and Der u dance (Laduram) , a l though both hav ing t r iba l and par ty charac te r i s t i c where mus ic ians dance whi l e p lay ing dr ums , a re above a l l beaut i fu l spectacle s . Pabuj i Ki Phad t rad i t ion (Ghevaram) i s i l lus t ra t ing the mus ic wi th an or namented cloth , on which the figures seem to be danc ing to shak ing l ight of a l amp.

v isua l de l i ght

REGION: RajasthanMOOD: Festive

GENRE: Terah Taali

INSTRUMENTS: Tandoora, Manjeera & Dholak

On Stage: 6+2

Preferably indoor

PERFORMED ABROAD

Dance/Acrobatics

ganga ba i kamad

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. Ganga’s husband’sDholak drum, and peace on Gangabai’s face as she strikes cymbal after cymbal, is reminiscent as this art is for them - a way of simple and beautiful life.

fingers speak of the years they have strummed Tamboora, while her son vividly strikes

37

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 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.

REGION: RajasthanMOOD: FunGENRE: Chang Dance

INSTRUMENTS: Chang, Bansuri, Ghunghroo, Nagadi & Manjeera

On Stage: 10+2

Preferably outdoorDance

In Motion

j agd ish prasad dhand

lively emotion and enthusiastic spirit corresponds with time of such

38

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 14th century for a local deity, wards off ill 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.

REGION: RajasthanMOOD: Devotional

GENRE: Folk InstrumentalINSTRUMENTS: Rawanhatta

On Stage: 3+1

Indoor/Outdoor

Small/Big Stage

ghevaram

health and misfortunes. This episodic tribal tradition straight from Rajasthan is a

39

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 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.

REGION: RajasthanMOOD: FestiveGENRE: DeruINSTRUMENTS: Deru, Harmonium, Dholak, Thali & Ghunghroo

On Stage: 8+2

Preferably outdoor

Small/Big Stage

In Motion

l aduram

by their periodic singing. Deru is performed at local festivals, but

40

b lue lotus fest iva l 20 13Blue 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.

PLACEPushkar – 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 INDIA350 artists from incredible states of India

REGIONSRajasthan, Gujarat, Punjab, Tamil Nadu, Karnataka, Madhya Pradesh, Kashmir, Himachal Pradesh, Nagaland, Chhattisgarh, Kerela, West Bengal and many more!

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

JOGIA SARANGI – an old version of Sarangi with 3 main strings and played mostly by ascetics in Eastern RajasthanKAMAYCHA – popular Indian string instrument with large circular resonator played with curved bow.KHANJARI – idiophone instrument of circular shape covered with a skin on one side, variations across India.KHARTAL – percussion instrument used mostly in Rajasthan, consists of two wooden blocks clapped together at high tempo.MADAL – hollow wooden drum with goat leather membranes that is played with palms or sticks.MANJEERA – easy to play on instrument consisting two copper cymbals tied together and creating high pitched sound by striking plates against each other.MASHAK/VEEN – single reed Indian bagpipe that can produce drone likewise melody.MATKA – earthen pot which is played by blowing across its opening, typical instrument for Langa community.MORCHANG – known as Jew’s harp, it is both wind and string instrument played while placing it against the teeth.MURLI/BEEN – 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.NAGARA – drum mounted on one side with leather having a great role in Indian celebrations.NAGARI – smaller version of NagaraRAWANHATTA – 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.SANTAAR – well-known Indian drone string instrument of a large rounded base.SARANGI – 40-stringed instrument played with a bow, nails and pads, considered to be one of most difficult Indian instruments.SATARA – pair of flutes played together for the melody and the drone by the Langa community.SHEHNAI – 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 – single-pieced wood string instrument, rich in sound and at the edge of extinction as only few can master it.TABLA – pair of hand drums that differentiate in size and timbre – one for deep bass tone and other to complement the melody.TANDOORA – also called dhamburo, five-stringed drone instrument of the changeable pitches.THALI – percussion instrument created by transmitting new musical function to metal plates in which normally food is served.TUMBI – single stringed instrument of a long wooden stick and wooden resonator covered with skin.

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Content

Raza Khan 2 Bachu Khan 4 Murra Lala Fafal 6 Mustafa Ali Jat 8 Dalbar Singh 10 Mohini Devi Kalbeliya 12 Sharif Idu 14

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Meetha Khan 17 Gurmeet Bawa 18 Multan Khan 19

Harikesh Singh 21 Vela Dana Bheel 22 Babunath Jogi 23 Rajendra Jangam 24 Kambir Khan 25

Gyan Singh Memi 27 Manohar Brass Band 28 Dana Bharmal 29 Balvinder Mast 30 Om Prakash Dholi 31

Ganga Bai Kamad 37 Jagdish Prasad Dandh 38 Ghevaram 39 Laduram 40

Shaukat Ali 33 Jasdeep & Harmeet Kaur 34 Gurnam Singh 35

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