44 th

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Happy Jaya Nama Ugadi & Sri Ramanavami
Best wishes from:
2014 TAGC Executive Committee, Board of Directors , & Sponsors
2014 President’s Message
ప్రియామైన TAGC సభ్యులకు మరియయ చికాగో పాిాంత తెలుగయ
వారాందరికీ ఉగాది మరియయ శ్రీరామనవమి శుభాకాాంక్షలు.
మయాందుగా నాకీ సాంవతసరాం ఈ అధ్ుక్షుడు అవకాశాం ఇచిి
ననుు ఎాంతో పర ి తసహిసు ునుాందుకు మీఅాందరికి నా
ధ్నువాదమయలు.
ఈ సాంవతసరాం నా మయఖ్ు కోరిక ఏమిటాంటే, మనమాందరాం, మన
ప్రలలలు మరియయ మన శ్రయో
ీ
భిలాషులతో కలిసర TAGC
కారుకీమాలు అన్ుాంటిలో పాలగొన్ ప్ితి కారుకీమాన్ు జయప్ిదాం
చేదద ాాం. మీ అాందరికి తెలుసు ఇది ఒక సాంఘ సేవేనన్. మా
TAGC కమిటీ సభ్యులాందరమూ మా ఉదయ ుగ వాుపార సాంసార
జీవితాలతో పాటు, మేమయ ఈ TAGC సాంఘాన్కి ఎనను గాంటలు
ప్ెడితే కాన్ ఈ రోజు ఈ కారుకీమాన్ు మీమయాందుకు
ఉాంచగాలిగామయ. కావున మీరాందరూ అరధ ాం చేసుకున్ ,ఏదెైనా
తప్ుులన్ప్రసేు మీరు ఒక సదుదేదశాం తో తీసుకున్ మా అాందరికి
సహకరిాంచి మనమాందరాం కలిసర మన ప్ాండుగలను
జరుప్కుాందాాం. మనాందరి పాిాంతాలు భ్ూగోళికాంగా గా
విడిపర తునాు, మనమాందరాం మాతిాం ఎప్ుటి లాగే ఒకరి
అభిపాియాలను ఇాంకొకరు గౌరవిసత
ు , ఒకరికి ఒకరు
సహకరిాంచుకుాంటూ, చికాగో లో ఒక తెలుగయ కుటుాంబాం గా
జీవితాన్ు సాగన్దాదాం. మనమయ ఎప్ుుడత కూడా ఇతర భాష
ప్ిజలకి ఒక ఆదరశాంగా న్లుదాదాం. దాన్కి అవసరమైన
జాగీతులన్ు తీసుకుాందాాం.
44
th
Year of Celebrations
తరువాత, మీ అాందరికి కొన్ు మయఖ్ు సాందేశమయలు. మన
సాంఘాం నడవాలాంటే మనకు మనుషులతో పాటు ఆరిధక
సహకారాం కూడా కావాలి. దాన్కి మీఅాందరి చేయి కూడా
ఉాండాలి. మీరు ఇాంకా 2014 సభ్యుతాున్ు తీసుకోకపర తే దయచేసర
వాంటనే తీసుకోవలసరాందిగా పాిరిదసు ునాు. అలాగే ఈ సాంవతసరాం
మనకి సహకరిసు ును మన చాందదారులుకి కూడా నా
ధ్నువాదమయలు తెలుప్ుకుాంటునాు. తరువాత, మన యయవతన్
మనాం ఇాంకా పర ి తసహిసు త, మనతో పాటు వాళ్ళన్ కూడా మన
ప్ాండుగలోల మరియయ ఇతర కారుకీమాలలో పాలుప్ాంచుకునేటు ు
చేదద ాాం.
చివరిగా, మనమాందరాం TAGC ప్ితి కారుకీమాలోల
పాలగొాంటూ మనమయ మన సాంసకృతినే కాకుాండా ఇప్ుుడు మన
దెశమైన ఇకకడ చికాగో లో కూడా మనాం ఈ పాిాంతాన్కి ప్న్కి
వచేి కొన్ు మాంచి కారుకీమాలు చేస,ర మనకాంటూ ఈ సమాజాం
లో మరికొాంత గయరిుాంప్ున్ తెచుికొన్, మన లక్షుాం 'సరేే జనా
సుఖినన భ్వాంతు' అన్ తెలుగయ వారు ఎకకడ ఉనాు అాందరి
సాంతోషాలు ఆశిసాురన్ న్రూప్రదద ామయ. మనాం చేయి చేయి కలిప్ర
దేన్నైనా సాధిదద ాాం.
మీ శ్రీనివాస్ పెదమల్లు
President:
President Elect:
Secretary:
Joint Secretary:
Treasurer:
Joint Treasurer:
2014 TAGC Board of Directors
Srinivas Pedamallu
Jagan Bukkaraju
Hari Raini
Ravi Upad
Ram Ade
Raghav Jatla
Ramesh Garapaty
Narendar Chemarla
Kalyan Anandula
Sujatha Appalaneni
Satya Kondapalli
Anji Reddy Kandimalla
Pradeep Kandimalla
Malathi Damaraju
Bhargavi Nettem
Siva Pasumarthi
Kiran Mattey
Murthy Pisipati
Vandana Reddy
Dinkar Karumuri
Srinivas Chada
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Kuchipudi is a Classical Indian dance from Andhra Pradesh, India and it is also popular all over South India.
Kuchipudi is the name of a village in the Divi Taluka of Krishna district that borders the Bay of Bengal and with
resident Brahmins practicing this traditional dance form, it acquired the present name. Ornaments worn by the
artists are generally made of a lightweight wood called Boorugu. It originated in the seventh century.
Kuchipudi dancers are quicksilver and scintillating, rounded and fleet-footed, they perform with grace and fluid
movements. Performed to classical Carnatic music, it shares many common elements with Bharatanatyam. In its
solo exposition Kuchipudi numbers include 'jatiswaram' and 'tillana' whereas in nrityam, it has several lyrical
compositions reflecting the desire of a devotee to merge with God. In an era of the degeneration of dance due to
exploitation of female dancers, an ascetic, Beyond the stylistic differences of Kuchipudi and Bharatanatyam steps,
there are certain types of dances that are unique to Kuchipudi.
The songs in Kuchipudi are mimed with alluring expressions, swift looks and fleeting emotions evoking the rasa. In
Tarangam at times they places a pot full of water on her head and dances on the brass plate. The song
accompanying this number is from the well known Krishna Leela Tarangini, a text which recounts the life and
events of Lord Krishna.
Over 2,800 Kuchipudi dancers, including 200-plus natyagurus created a Guinness World Records on December 26,
2010 performing Hindolam Thillana at the GMC Balayogi Stadium in Hyderabad.
Happy Ugadi & Sri Rama Navami
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Bharata Natyam is a classical Indian dance form that is popular and nurtured in the Indian state of Tamil
Nadu. This dance form denotes various 19th- and 20th-century reconstructions of Sadir, the art of temple
dancers called Devadasis. A possible origin of the name is from Bharata Muni, who wrote the Natya
Shastra to which Bharata Natyam owes many of its ideas. This etymology also holds up to scrutiny better
since Bharathanatyam is considered to be 'short form' (kuril) wherein "Bhavam" means expression and
"ragam" meaning music, "thalam" meaning rhythm and natayam meaning dance, consist the 'long form'
(nedil). Hence the initialization proposed above is more probably a backronym. Today, it is one of the most
popular and widely performed dance styles and is practiced by male and female dancers all over the
world.
Bharata Natyam is considered to be a fire-dance — the mystic manifestation of the metaphysical element
of fire in the human body. The movements of an authentic Bharata Natyam dancer resemble the
movements of a dancing flame. Bharata Natyam proper is a solo dance, with two aspects, lasya, the
graceful feminine lines and movements, and tandava Ananda Thandavam (Tamil) (the dance of Shiva),
masculine aspect, which is identical to the Yin and Yang in the Chinese culture. In most solo performances,
Bharata Natyam involves many split characters that are depicted by the dancer. The dancer will take on
numerous characters by switching roles through the swift turn in circle and creates a story line that can be
easily followed by the feat of one individual. The characters will be understood by the narrative of the
song and the expression, or "abhinaya”.
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Kathakali - Popular belief is that Kathakali is emerged from "Krishnanattam", the dance drama on
the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (15851658 AD).
A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented
training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role.
The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by
the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and
bodily movements. The expressions are derived from Natyashastra (the tome that deals with the
science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also
undergo special practice sessions to learn control of their eye movements. A distinguishing
characteristic of this art form is that the actors never speak but use hand gestures, expressions and
rhythmic dancing instead of dialogue (but for a couple of rare characters).
As a part of modernising, propagating, promoting and popularizing Kathakali, the International
Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new
plays based on not only traditional and mythological stories, but also historical stories, European
classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's
Othello and Greek-Roman mythology of Psyche and Cupid.
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The Chhau dance from West Bengal is mainly performed during regional festivals, especially the spring
festival of Chaitra Parva which lasts for thirteen days and in which the whole community participates. The
Chhau blends within it forms of both dance and martial practices employing mock combat techniques
(called khel), stylized gaits of birds and animals (called chalis and topkas) and movements based on the
chores of village housewives (called uflis). The dance is performed by male dancers from families of
traditional artists or from local communities and is performed at night in an open space,
called akhada or asar, to traditional and folk music, played on the reed pipes mohuri and shehnai. A variety
of drums accompany the music ensemble including the dhol (a cylindrical drum), dhumsa (a large kettle
drum) and kharka or chad-chadi. The themes for these dances include local legends, folklore and episodes
from the Ramayana and Mahabharataand other abstract themes. Seraikella Chhau uses masks that employ
elaborate headgear decorated with artificial pearls, beads and zari work. Masks in this form of the dance are
of three main types representing human characters - both mundane and depicting characters from Hindu
mythology, masks that represent animals and birds and objects thought of as having human faces and masks
that represent ideas and seasons. This last category includes masks representing
marumaya (mirage), basanta (spring season) and ratri (night). Purulia Chhau uses masks that are less
elaborate and they represent characters from Hindu mythology. These masks are crafted by potters who
make clay images of Hindu gods and goddesses and is primarily sourced from Chorda, a village in the Purulia
district of West Bengal.
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Garba (most popular dance in Guajrat)is a Sanskrit word literally meaning womb and so implies
gestation or basically-Life. The dances are traditionally performed around a centrally lit lamp or a
picture or status of the Goddess Shakti/Durga, thus honouring the female form of Divinity. The
dance take place in concentric circles and both men and women participate in it with equal
enthusiasm. The circles signify the Life process which adhere to Hindu beliefs, that is birth, death,
rebirth, the only thing which is constant during all this is the Goddess, hence her statue or image is
kept in the centre to depict her immortality and stationary position.
Garba during Navratri is an extremely high powered event which can also be seen as a mixture of
various kinds of dance forms, including Sufi dance styles and even modern dance styles. Men and
women wear colourful clothes, preferably with a lot of mirror work which addes to the vibrancy of
the night. Women wear a three piece choli, with has a lehenga or a long, flowy skirt which has a
lot of volume in bright colours like red, yellow, pink, a colourful Blouse and a dupatta worn in the
traditional Gujrati style. The cholis are elaborately designed, brightly coloured and decorated with
beads, mirrors, shells,bandini work embroidery work and the women also adorn themselves with
heavy and blingy jewellery. So if you are thinking about wearing that large gold necklace you have,
go ahead, you’ll fight right in. The dressing for men is a bit complicated, as boys and men wear
kafni pyjamas, though very spacey and made of light materials like cotton, they could be a little
uncomfortable for first timers. On top, men wear a kediyu, which is a shirt with a rounded bottom
and they also have to wear a pagdi, a head turban made from a dupatta, generally red in colour, in
Gujarati style which can only be made by experts.
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Lezim Dance from Maharashtra - The word Lezim' is a Sanskrit word, which means beauty. With its
beautiful pattern of sound and music, the dance attracts large number of people. Students from
various schools proved this, as they beautifully displayed the lezim patterns. Traditionally dressed
children completely regaled the spectators.
The Lezim dance, a performance, combines the two, physical exercise and the art of dancing. Done
with a Lezim or a small mallet, it is a fascinating dance performed in the formation of a circle, in twos
or fours. The accompanying instruments are the drums. It involves a lot of stepping, hopping,
bending, squatting, etc. to the perfect timing of the strikes of the Lezim. A large group of boys and
girls wearing colourful costumes doing Lezim dance presents a beautiful sight while the Lezims strike
rhythmically in perfect unison.
Lezim is a folk dance form, from Maharashtra, India. Dancers carry a small musical instrument with
jingling cymbals called the Lezim, after which the dance form is named.This dance is named after a
wooden idiophone to which thin metal discs are fitted which produce a jingling sound and the
dancers use this while dancing. Dholki, a drum instrument is used as the main percussion music. It is
performed dressed in colourful costumes.[2]The dance is frequently used as a fitness drill by schools,
militias and other institutions because it involves many calisthenic moves and can be quite
strenuous.[3] Lezim is much a vigorous physical exercise and drill as a dance; the formations are in
twos and fours and even in a circle.
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or to any temple back home in India
with tax benefits in USA?
Our TDF program may be able to help you to make it happen!
Contact us at [email protected] or Visit www.TAGC.org
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Bhangra is a lively form of music and dance that originated in the Punjab region in Southeast Asia. As
many Bhangra lyrics reflect the long and often tumultuous history of the Punjab, knowledge of Punjabi
history offers important insights into the meaning of the music. While Bhangra began as a
part of harvest festival celebrations, it eventually became a part of such diverse occasions as weddings
and New Year celebrations. Moreover, during the last thirty years, Bhangra has enjoyed a surge in
popularity worldwide, both in traditional form and as a fusion with genres such as hip-hop, house, and
reggae. As Bhangra continues to move into mainstream culture, an understanding of its history and
tradition helps to appreciate it.
Bhangra has been first known to offspring to North America about 100 years ago with the first
generation of Punjabi Americans that immigrated to California. Bhangra competitions have been active
in the United States and Canada for over 25 years. North America has a great history of elite bhangra
competitions and bhangra teams.
In the West, unlike in the Punjab, there is less emphasis on traditional songs and more focus on the
flow of a mix; many teams mix traditional bhangra music with hip-hop or rock songs. This synergy of
the bhangra dance with other cultures parallels the music's fusion with different genres. University
competitions have experienced an explosion in popularity over the last five years and have helped to
promote the dance and music in today's mainstream culture.
Bhangra in Los Angeles has become one of the biggest bhangra competitions in the U.S. Teams from
all over United States and Canada come together to compete and show their talent.
Happy Dasara & Deepavali
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needs at
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Tel 773-262-4377
[email protected]
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Enjoy mouthwatering food with efficient service
Banquet Hall suitable for business meetings, family
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Reservations: 630-579-9500
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Bhavai is one of the traditional folk dances of Rajasthan. This is a very difficult form of dance and can only
be performed by skilled artists. This dance basically involves women dancers balancing 8 to 9 pitchers on
their heads and dancing simultaneously. This nail biting , suspenseful dance, the well skilled dancers
balance a number of earthen pots or brass picthers and then sway with the soles of their feet perched on
the top of a glass and also sometime on the edge of a naked sword or on the rim os a brass thali (plate)
during the performance. This artistic form of dance is belived to be originated in the neigbouringing state
Gujrat and was soon picked up and adapted by the local tribal men and women and gave it a distinctive
Rajasthani essence. This traditional folk dance, performed by the womens of the Jat, Bhil, Raigar, Meena,
Kumhar, and Kalbelia communities of Rajasthan evolved from the extraordinary quality and capacity of the
these communities to carry a number of pots of water on head over a long distance in the desert.
The male musician, playing the background music are the accompaniment of this artistic Bhavai dancers.
Generally a melodious Rajasthani folk song are being sung by the musicians, adding to beauty of the Bhavai
dance. Many instruments like pakhwaja, dholak jhanjhar, sarangi, harmonium are played while the
performance of the Bhavai dance as a background music. The dancers are adorned beautifully. They are
dressed traditionally in colourful Rajasthani dresses, making the dance more attractive.
On many occasions Bhavai dance is performed. In festive occasion as well as in marriages also Bhavai dance
performance can be seen. The government has taken all necessary measures to revive this fast dying
tradition of folk dance. Many non government organizations are also taking active role in the promotion of
this folk culture. This artistic folk dance is promoted in different part of India as well as overseas also.
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Odissi traces its origins to the ritual dances performed in the temples of ancient northern India. Today the
name Odissi refers to the dance style of the state of Orissa in eastern India. Like other classical arts of India,
this ancient dance style had suffered a decline as temples and artists lost the patronage of feudal rulers
and princely states, and by the 1930s and 40s, there were very few surviving practitioners of the art.
The current form of Odissi is the product of a 20th century revival. Dedicated scholars and dance
enthusiasts carefully researched manuscripts and studied the sculpture, painting and poetry of the region.
They also met and observed the performances of the few existing performers, in order to revive and
restructure Odissi as a unique classical dance style adapted to the requirements of formal stage
presentation. Over the years Odissi has become one of the most popular classical dance styles.
Like other Indian classical dance forms, Odissi has two major facets: Nritta or non-representational dance,
in which ornamental patterns are created using body movements in space and time; and Abhinaya, or
stylized mime in which symbolic hand gestures and facial expressions are used to interpret a story or
theme.
The divine love tales of Radha and the cowherd God Krishna are favourite themes for interpretation, and a
typical recital of Odissi will contain at least one or two ashtapadis (poem of eight couplets) from Jayadeva's
Gita Govindam, which describes in exquisite Sanskrit poetry the complex relationship between Radha and
her Lord.
The technique of Odissi includes repeated use of the tribhangi, or thrice deflected posture, in which the
body is bent in three places, approximating the shape of a helix. This posture and the characteristic shifting
of the torso from side to side, make Odissi a difficult style to execute. When mastered, it is the epitome of
fluid grace and has a distinctively lyrical quality that is very appealing.
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Dollu Kunitha (dance), is a major form of art, occupies the pride of place among folk dances. Dollu Kunitha is a
popular drum dance of Karnataka accompanied by singing. It provides both spectacular variety and complexity of
skills in the process of demonstration.
Dollu Kunitha is one of the ancient & famous folk dance forms of South India especially in Karnataka and Andra
Pradesh. This dance form is known as the masculine art, with vigour.Once upon a time a demon named “Dollu”
prays to Lord Shiva Impressed by his penance Lord Shiva appears and offers a boon. Dollu Requests for
immortality which Shiva refuses. Enraged Dollu swallows Shiva. This enrages Shiva, who tears out of dollu’s
stomach. Shiva then uses the abdomen of dollu as instrument and nerves as the rope, hands as tala. Shiva takes
up the Raudra Avatara and dances to quench his anger.
Shiva later handsover this instrument to his devotees, the “Halu Kurubas” and asks them to use it, thus worship
him during their festivities. The “Halu Kuruba” tribes in shimogga follows this tradition even today.
Dollu dance has gone on uninterruptedly generation after generation with renewed vigour and raciness of
performance. Hardly any religious performance of a ritualistic ceremony or any village festival can ever take
place without this dance, especially in North Karnataka. On all these occasions, the Dollu dance becomes the very
centre of activity around which other important things get built up. Since this dance demands strength, muscle
power and the spirit of endurance, only well-built sturdy persons of enough stamina alone can take to it.
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Kathak is one of the most important classical dances of India. Kathak is said to be derived from
the word katha, meaning "the art of storytelling." The Kathak dance form originated in north
India and was very similar to the Bharatnatyam dance form. In ancient India, there were
Kathakars or bards who used to recite religious and mythological tales to the accompaniment
music, mime and dance.
Under the influence of Persian and Muslim traditions Kathak dance assumed the form of courtly
entertainment. Under the patronage of medieval rulers and Nawabs a class of dancing girls and
courtesans emerged to entertain the palaces and courts. Medieval traditions imparted Kathak a
distinct Hindu-Muslim texture. Thus, with the passage of time Kathak went on changing its form
and character. This change was also reflected in the dress of Kathak dance.
During the nineteenth century Kathak enjoyed a revival and gained prominence among the kings
and zamindars (feudal lords) not only as a form of entertainment but also as a classical art form.
Slowly and gradually Gharanas or schools of Kathak emerged. The Jaipur Gharana of Kathak
emphasized technical mastery of pure dance. In the court of Wajid Ali Shah, the Nawab of Oudh
(a student of Kathak), Kathak dance emphasized dramatic and sensuous expression and
developed into a distinct style called the Lucknow Gharana. This Gharana is said to have
originated with Wajid Ali Shah's court dancer Thakur Prasadji.
Kathak dances are performed straight-legged and the ankle bells worn by the dancers are
skillfully controlled. In Kathak dance the emphasis is more on footwork as against hasta mudras
or hand formations in Bharatnatyam dance. Kathak dance can be performed by both men and
women. A Kathak dancer is not required strictly to stick to fixed steps and stages in. He or she can
change the sequence of steps to suit his or her skill and style of dancing.
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The Rouf is a simple but a fascinating spring harvesting dance of the valley of Kashmir.
The female dancers attired in rich skirts, and draperies and laden with silver jewellery
face each other in two rows, and dance forwards and backwards holding one another by
arms over the head and shoulder. While they dance their bodies bend above the waist
delicately forward like creepers laden with flowers and fruits. The accompanying song is
either in the form of a chorus or a simple question-answer dialogue form. These may
sometimes have a philosophical and mystical touch. TheHikat is again a simple harvest
and spring time dance performed by the boys and girls in groups and pairs. It is danced
annually in April-May. The participants boys and girls interlock their arms and perform
the simple dance to the accompaniment of melodic chants sung by the dancers. These
songs full of sheer joy and gay abundance of life, are from local stock and pertain to the
various aspects of nature there; the fascinating plants and trees, rivers, streams, lakes
and lotuses in them, snow and village greens and the like. Occasionally there is also a
strand of love and romance mixed with that of nature and environment. The girls wear
ghaghara, a brocade cap called taich, chunari and various kind of silver and gold
ornaments. It begins with a slow tempo but gradually hots up into a fast dizzying
footwork and speed requiring perfect balancing and timing on the part of the
performers.
Happy Holi