This is the Bottle Dance aka. Uveges, at the Disney Concert Hall!

I am wearing a yellow skirt with a black apron without embroidery.

Dreams do come true!

Violet

Advertisement on the LAPhil website for the show!

Friday night I had the honor to dance at the Walt Disney Concert Hall with the group I am involved with, Karpatok Hungarian Folk Dance Ensemble. The performance was tied in with the theme of the night which was titled “Focus on Eötvös: Midori Plays Eötvös,” a Hungarian themed music night. We performed right after their show was done in the reception area.

They concert is going on today and tomorrow as well if you want to check it out. But no after party like last night. Maybe another time! They said we might be able to come back. They were very nice!

Here are a bunch of photos from that night from a couple people. I will post videos of the show in a separate blog!

Backstage at the Disney Hall

As we were walking to the space to rehearse I had only one half of my hair done, hehe. It was great, we got to be backstage!

Disney Concert Hall After Party crowd!

Here is a view from above of the after party. There were a lot of people there! In between us performing there was a singer and a piano player (the piano player actually got us this gig, very cool!).

Marianna and Me Backstage

We had two costume changes, the one above was for the bottle dance and the one below was for Kalacsai.

I’m on the right!

Dan as Hungarian Buso

Dan was asked to dress up as a Hungarian “busó,” an oversized, wooly mask worn by Carnival or “Farsang” revelers in southern Hungary to scare off the winter chill and celebrate the start of spring, for the beginning of the after party to help direct people coming out of the hall and into the reception area. They had loud wooden instruments too that were so loud! It was really cool.

Dan & me after the show

Group photo! Not everyone is in it unfortunately. (I’m on the bottom left)

Girl’s part.

Weeee!

We started the show with the girl’s bottle dance! It was a great attention grabber for the audience! We had actual glass bottles filled with wine balanced on our heads as we spun around and even dropped them into each others hands.

The second dance was an all boys dance with fun acting and an exciting part where they exchanged their hats around a circle.

Our third dance was a couple’s dance called Kalacsai; a high-energy dance containing jumps and intricate movements.

Fellow Dancer, Stof & Me

A funny side note to this night was we drove all the way to the concert hall (about 50 minutes) until I realized I forgot my shoes and my glass bottle!! Thank goodness we were there early because we had to drive alllll the way back, which thankfully traffic was better and made it in 30 minutes, and then drive BACK to the concert hall. I was only 10 minutes late from the time we were supposed to be there and had plenty of time to rehearse and get ready. WHEW! Next time going to keep everything packed together, hahaha.

It was a magical and honorable night and I can’t wait to perform there again (if they ask us back) and to perform with our group all over. Hope you enjoyed the photos and I will be posting videos shortly!

Over & Out,

Violet

P.S. – If you would like to book Karpatok Hungarian Folk Dance Ensemble for a performance get in touch with them through the link ^.

These are the things you have to do once you go to Udaipur:

1. City Palace: 

City Palace towers over the Pichola Lake. Maharana Uday Singh initiated in the construction of the palace but succeeding Maharanas added several palaces and structures to the complex retained a surprising uniformity to the design.

Balconies, cupolas and towers surmount the palace to give a wonderful view of the lake.

The main part of the palace is now preserved as a museum displaying a large and diverse array of artefacts. Down steps from the entrance is the armoury museum exhibiting a huge collection of protective gear, weapons including the lethal two-pronged sword.

2. Boat Trip @Lake Pichola

This is without any doubt, one of the most hypnotizing landscapes in India, especially when contemplating the sunset while you take a boat trip around this artificial fresh water lake created in the year 1362 AD, which is the oldest and largest lake in Udaipur

Boat trip at Lake Pichola

3. Taj Lake Palace

While you’re contemplating the view around Lake Pichola, you can see how a beautiful marble structure emerges, catching all eyes.

Taj Lake Palace

Besides this, all Udaipur community is very proud of this, because the movie Octupssy (James Bond, 1983), was filmed here, and it’s played almost every night in every cafe there:

4. Ranakpur Jain Temple

The best religious place in India, ranked #1 attraction to visit in Udaipur , this a must-see because of its architecture. Ranakpur temple showcases spectacular carvings on over one hundred domes, walls and 1442 pillars.

“It sure can be rated within the top 20 wonders of the world”.

Jain Temple, Ranakpur

This place is also a delight for photographers and people who like ancient architectures. Tips: Don’t forget to visit the main Jain Sun Temple which is 300 meters to the side of the Marble temple.

5. Bagore Ki Haveli: Folk dance and Puppet Show

Just right next to the Lake and the City Palace, you can find Bagore Ki Haveli, where every day at 7pm, there are performances showing the best of Rajasthan Culture. It’s totally worth it going there and knowing you’re helping to sprea this beautiful culture.

6. Horse Riding

If you are one of those who wants a little bit more of an adventure, you can go for horse riding really near to the city. You’re gonna be amazed by the contrast between life in the villages and the beautiful landscapes it has for you. Prices are exceptionally cheap and horses look strong and well-kept.

Beautiful landscapes in the surroundings of Udaipur

Now, if you want to do something a little bit more “indian style”, you can also take a camel ride around Fatehpur Lake, while enjoying the awesome view it also offers.

7. Just go around the city

There’s something magical in Udaipur streets and you notice it from the very first moment you step in the city. The city is clean, people are very kind and it’s so far, the place with more Roof-Top Restaurants in India, and all of them offer beautiful views of the surroundings.

View from a roof-top restaurant

Udaipur streets

So, what are you waiting for? If you come to India, you should definitely go to Udaipur!

Extra: Try an fruits salad, it can be very energizing and it’s 100% healthy

Delicious fruits, yogurt and cereal snack in Udaipur

EU Expansion

One of the regions in the World where immigration is a topic that leads to lively debates is the European Union. The EU is at present an economic and political union of 27 member states, however, its origin traces back to the European coal and steel community that was founded after the second world war by 6 countries.

Enlargement of the union took place gradually and most of the western European countries became members of the union by the end of the  20th century. Ten new member states from eastern Europe gained entry in the year 2004 followed by Bulgaria and Romania in 2007.

Ever since the expansion of the union in 2004, and the opening up of the labor market  to the people of the new member states, rate of migration from newly joined east european states to the old west european states increased exponentially, which lead to increased people to people contacts and cultural exchanges.

Bridging Gaps

East European communities such as for example the Bulgarian community account for a sizeable portion of the expatriate community in areas such as the German city of Cologne. Some of these communities have developed strong networks among them by establishing student associations, culture clubs, dance groups etc, which are helping them not only to feel part of their community but also to create increased awareness about the culture aspects of these countries among the local people.

Monika Kresteva, a Bulgarian living in Germany since 7 years, has founded a folk dance group in Cologne. The group meets every week in the student mensa of the university of Cologne and rehearses traditional dance. Overtime, the group also started giving performances and they were invited to perform in several cities across Germany.

Although it was intended as a cultural grouping for Bulgarians living in Cologne area of Germany, it gained popularity, and people from other nationalities started visiting the group performances and practice sessions. They also started showing interest in Bulgarian culture and folk dance, according to Ms. Kresteva.

Language plays an important role in the process of integration. One has to learn the local language in order to be able to interact with the local community and with out it, integration is impossible, says Monika in fluent German.

More about Ludi Mladi:

Azerbaijan Tradition Dress

Ushering into the new year (and considering the fact we survived the “end of the world”) now is the best time to reflect upon the success of last years production by the department I grew up in for the past three years. University Malaya’s Performing Arts Group (KESUMA) showcased 14 dance repertoires, consisting of dances from the Malay world, to end the year on a high note. The dances were mostly from classwork materials that were learned throughout the semester, and I am honored to be a part of this wonderful production, both as a performer and spectator (from the sides of the stage drapes). The MC for the night was none other than the dazzling and lovely Bilqis Hijjas.

The exciting night began with the Asyik dance, a classical royal court dance popular in Patani and Kelantan. According to Hikayat Patani, Asyik (literally “beloved”/”besotted”) was created in 1644 to entertain the grieving Ratu Kuning over the loss of her favorite bird. The dance’s name “the beloved” could have been referring to the lost bird. The performance begins with six beautifully costumed dancers entering the space and sitting gracefully in a semicircle shape, while the prima donna, also known as Puteri Asyik (played by Adeline Kai Min) sat in the middle, as the dance began with gracious and delicate body movements and gestures. The seven dancers also sang along to the graceful tune of the music, as they showered the stage with beautiful and flowing movements of the hands with flexed fingers, never in a hurry, never done with hesitation.

Timang Burung is another Malay classical dance showcased on that night. According to records, the Timang Burung dance of the Gamelan repertoire was first introduced in Terengganu during the wedding ceremony of Tengku Mariam, a Pahang princess, and Tengku Sulaiman, the scion of Tengku Zainal Abidin from Terengganu. The eight dancers, dressed in bright red colored costumes, danced with two fans, using it to mimic a bird. The Tarian Timang Burung evolved from a dance portraying the movements of the sultans lost pet bird. The dance is accompanied by a gamelan musical piece called Kicauan Burung (The Chirping Bird).

As always, a night of malay dances would be incomplete without the Zapin. The three Zapin dances performed on that night were the exciting Zapin Kores, the beautiful and flowing dance of the Zapin Melayu Johor and the energetic Zapin Hanuman. The zapin, a dance with strong Persian/Arab influence, is a popular dance in Malaysia, especially in the state of Johor. It is believed to have been introduced by Arab, Muslim missionaries from the Middle East in the fourteenth century. The original form of Zapin is known as Zapin Arab and has since evolved into numerous substantive forms and now has been collectively known as the Zapin Melayu. The Zapin Melayu Johor performed on that night is one of the original forms that were revived by Mohd Anis Md Nor in the 90s, from the dance to the music. The dance was performed in pairs and were accompanied by the sounds of traditional music instruments like the gambus, accordion, violin, marwas (bongos), rebana (drum) and dok. The beautiful dancers were flowing in steps, light in its movements and gestures of the hands and feet, but at the same time carried a heavy feel in it, always remained grounded to earth with bent knees.

In Zapin Kores and Zapin Hanuman, the dancers portrayed the swift and vivacious movements in its steps, with the latter having a much more energetic feel, danced to a faster tempo. The Zapin Kores originated from the Batu Pahat district, while the word “Kores” literally means lekok or curves, like the curves in the flowing rivers. The six male dancers demonstrated their talent in showcasing the fluidness of intertwining arm gestures, coupled with tricky steps of the legs, as they moved along in a steady, continuos stream of movements. The performers also danced in the style of “playing” (or bermain) to cheerful music in the background. The Zapin Hanuman is much more agile and energetic compared to Zapin Kores. Inspired by the epic tale of Ramayana, the dance involves a lot of jumps, swift turns and fast leg gestures, depicting the vigorous, warrior-like movements of the monkey king Hanuman, which were wonderfully portrayed by the six male dancers on stage.

The Zapin Kores
The Zapin Hanuman

The most upbeat and popular form of traditional dance is the joget dance. Normally performed at joyous occasions like weddings, the joget dance involves pairs of men and women performing swift and graceful movements. On this night, two Joget repertoires were presented, the Joget Pancang Jermal and the Joget Serampang Dua Belas. It is traditionally accompanied by a gamelan orchestra, which includes instruments like the violin, rebana and gong. Resplendently attired in their colourful costumes, the dancers mesmerized audiences with their fluid style of dancing, which is performed to the beat of the traditional musical instruments.

Joget Pancang Jermal
Joget Serampang Dua Belas

The entire showcase was performed by all the students of the Dance Department, University of Malaya ranging from different backgrounds and races (Malay, Chinese, Indian, Kadazan, and students from China) who are well-trained to perform the Malay dance with very high calibre. Also performing amongst the current students were a few former members of the Kumpulan Seni Persembahan Petronas, who are currently furthering their studies here at the Dance Department. The students also presented a few dances from the 1970s repertoire MAWARKU, patronized by Kompleks Budaya Negara not too long ago. Among the dances were Tarian Cinta Sayang which was created by Dato’ Zulkifli Zain, a Malaysian actor and former dancer/member of MAWARKU back in the days. Also among these repertoires was the cheerful Tarian Canggung and the unique and cheeky Tarian Tempurung. The Tarian Tempurung was danced by all female dancers using two coconut shells, knocking it against each other in synchronized and coordinated beats to create a clanking sound which goes along with the rhythms and tempo of the music.

Tarian Tempurung
Tarian Cinta Sayang
Tarian Canggung

On this wonderful night, a special presentation of the Kulintangan dance was presented, performed by our international students, Wayland Quintero & Desiree, along with guest performers Bernard, Christine, and none other than, me! It was a wonderful experience to be able to perform in the traditional Kulintang ensemble, as I had the chance to learn about a different culture. I was given the responsibility to play the babandil, a single, narrow-rimmed Philippine gong used primarily as the “timekeeper” of the Maguindanao kulintang ensemble. And it was such an amazing experience, playing along with a bunch of wonderful (crazy) and talented people. Among other instruments used were the dabakan, a single-headed Philippine drum, primarily used as a supportive instrument in the kulintang ensemble (played by Wayland), the agong, a set of two wide-rimmed, vertically-suspended gongs used by the Maguindanao, Maranao, Sama-Bajau and Tausug people of the Philippines as a supportive instrument in kulintang ensembles (played by Desiree and Christine) and the traditional kulintang instrument, which is a row of small, horizontally-laid gongs that function melodically (played by Bernard). The ensemble performed three pieces, and Desiree did a solo dance in the second piece while my hands were constantly trying to “keep time” with the super-fast tempo (okay, not that fast, but playing diddles with both hands, for 2 minutes non-stop, it definitely took a toll out of me).

All in all, it was a successful night celebrating dance and our culture. It was also a golden opportunity for many like myself to witness a range of colorful and indigenous dance repertoires, not only from Malaysia, but from Indonesia as well like the Tarian Inang Cik Minah Sayang and Tarian Inang Pulau Kampai, choreographed by our fine lectures, specialized in each of these dances. Looking forward for another wonderful production in 2013!

Tarian Inang Masri
Tarian Inang Cik Minah Sayang
Tarian Inang Pulau Kampai

“The photos tell a million words…..Although I have missed the performance due to my research commitments in Bangladesh….I knew somehow that the aura of UM dance ensemble (Kesuma) will continue to shine as it glows in your hearts as always! Congratulations!” – A quote from our beloved Prof. Dr. Mohd Anis Md Nor.

Photos credited to James Quah (Facebook)

Lavani Dance of Maharashtra – an Indian Dance:
Lavani dance of Maharashtra is the integral part of Maharashtra tourism. You can learn many things about the culture of Maharashtra through Lavani dance. Lavani is famous for its high beats and rhythm.

Lavani dance of Maharashtra is the dance of Sringara Rasa – a flavor of beauty, attraction and love. The word Lavani is derived from the Sanskrit word Lavanya which means beauty. Lavani is a popular dance and music genre of Maharashtra. It is believed that Lavani was originally performed to boost the morale and to entertain the tired soldiers in war time in Maharashtra.Lavani songs and many actions of Lavani dance are naughty, romantic and somehow erotic in nature.
Rani Mukherji – an established Bollywood actress also performed Lavani dance in Aiyaa movie in 2012.

Happy 2013 Dancers!

I’m so excited to start our marvelous journey into dance!  4 days and counting; have you signed up yet?  Reserve your space today before spaces fill up!  If you haven’t already, visit my previous blog posts to find out what wear on Saturday, why Ethnic Dance is for you, and some of the various styles you will encounter along the way!  If you have any questions, please contact me!

terminal 3 in delhi is ultra-modern

wi-fi access is available and free

grabbed some quick bite at mcdonalds while waiting for my flight

four square kilometers of space

i read that the airport has 97 of these automated walkways ( where i accidentally tripped over on my own shoelaces!)

met with these statues depicting yoga poses of sun salutation as i walked to my assigned gate number

i would want to try yoga, but.. will i be able to bend myself like that?!

the surya namaskar, meaning salute to the sun, more info here

*      *      *

i arrived in jaipur airport and was picked up by ‘ashish sharma’ a local whom i contacted thru couchsurfing.  ash made my jaipur experience a great one, acting as a ‘free’ tour guide in the pink city.

we went straight to a dandiya raas festival and i saw this crowd of people in colorful, vibrant ethnic costumes

dandiya raas is a traditional dance played with ‘dandiyas’, a pair of decorated sticks as they move in various hand and feet movements.

the celebration was marvelous and though i felt a little out-of-place (everyone was local and some were giving me a curious look!) i still managed to enjoy the experience!

Sluk Woman – Gipsy Dance

Imagine having wings and traveling the world through dance and rhythm using your body as a passport! Enjoy a fun, energetic and holistic workout while dancing to everything from Afro-Brazilian to Tahitian dance! No shoes or experience necessary!

• Learn about various cultures through dance and music
• Release stress, lose weight, and tone your body
• Get a quality workout
• Build confidence and strength in your movements and yourself
• Awaken your inner spirit!

No experience required. All ages welcome. !

The Thai king decided to celebrate his birthday while I was in Bangkok. At least, that’s the way I like to look at it. Now, I’ve been living in Asia long enough to know that most festivals are a little odd at best. But, Korean folk dancing at the Thai King’s 85th? That surprised even me.

(Banga, 2008)

If you haven’t already known, I am on-board to help co-direct and co-coordinate UC Irvine’s Pilipino-American Cultural Night’s (PACN) Maria Clara cultural dance suite this coming Spring 2013. As a trained Filipino-American cultural dancer/instrumentalist for more than 7 years now, giving back a piece of myself, my family, my home, and my  culture to my peers means a lot to me. This opportunity is exciting and nerve-wrecking and, as a result, has led me to retouch base with the past 7 years of my involvement in the KARIKTAN Dance Company.

It was a slow, sunny afternoon in early July. At 12-years-old, I nervously walked into a small dance studio located near my two older brothers’ high school. Clad in a cropped, bright-orange Monkey ringer t-shirt with my long, dark-brown hair casually slung behind one ear and over my two shoulders, it was the end of an afternoon’s dance practice. Teenage girls and boys of Filipino descent were all around, walking through doors, lacing their shoes, packing their bags, grabbing slices of pizza to eat as mothers and fathers casually chatted with their kids and other parents. People were laughing, talking, eating. The head artistic director–a seemingly-scary older woman–was sitting in a chair at the front of the studio talking with some of the dancer’s parents. There was a strong, familial sense throughout the entire studio; it seemed that this whole community of kids, parents, and conjoined families, all created a second-family together. Trying to find my brothers with the motive of leaving, with my mom waiting inside the car, I went back outside with my oldest brother following behind.

I hear a woman behind me say, “Who’s that girl?” I hear continued mumbling. “The girl in the orange,” she confirms.

Within just a few steps of exiting, my brother taps me on the shoulder, telling me to go back inside. He signals me to the head director, Tita Polly, who wants to talk to me.

I nervously head over. She asks me who I know. “I’m their sister,” I reply shyly. She insists on my joining. I hear her talk with the parents next to her. “She’s at the perfect age. She’s still young. She’ll be an expert when she grows up!”

After having gone out with my mom to watch and support my brothers perform with the company for the past 5 months, I was secretly excited that she wanted to recruit me so I could tell my mom to let me join.

Seeing to it that I was still so young, shy, and still figuring out who I am and what my place in this world is, I remember watching my brothers perform and thinking to myself, “Wow, that’s so cool… I want to do that too!”

That also reminds me of the time my brother bought his first electric guitar. Hearing and watching him play, I, naturally being the “baby” and youngest of the family, wanted to join in. I insisted on him letting me play, curiously strumming random strings and notes, telling him to teach me how to play something. Sooner or later, I found myself taking my first guitar lesson with my guitar instructor telling me, “You know, you’ve got a natural aptitude for playing guitar. I’ve taught a lot of people over the years and you’re one of the few who have picked it up so easily…” The rest is history now. [youtube.com/rachelanncauilan]

Gathering all of my family’s KARIKTAN dance videos over the past years this past Thanksgiving weekend–from our annual full show DVDs 2005-08, to appearances on TV, to our SF Ethnic Dance Festival auditions and other special events and performances–I’ve been able to see, re-live, and retouch base with the truths that lied in the group then and now.

(Scottish Rites Temple, 2006)

What particularly stuck me the most was how easy it was to see each performer’s life and personality through the way they danced, and the dances they found themselves in. Seeing the same faces appear dance after dance, solo after solo, it was easy to see which dancers may have been favoritized, who really knew how to dance, who tried so hard to get a spot in the limelight, or just were plain in it because of their friends or their parents.

Weirdly enough, it was so weird to see how much I myself have personally grown in this group over the years. As a mere shy, little girl from the start surrounded by all these confident ladies years older than me, you could see how shy and uncomfortable I was–yet, how much I tried–to fit in or just be comfortable through my dancing. And, scanning over the DVDs year after year, you could see myself growing, changing, and becoming more comfortable in my own body–to the point of finding myself dancing solos in which two men would “court” me for my love! (Sound familiar?)

(Flor de Manila, 2008)

But, aside from all the technicalities of being a part of this family and dance company, I have not only have re-found myself, my values, my motives and insecurities back then, but I’ve re-discovered why this all has become so important to me.

Being a part of the KARIKTAN Dance Company not only introduces you to the Philippine culture through dance, music, and song but, you also become a part of a family. Naturally run and created by the Herrera family themselves, this dance company was all started by local Filipino families with their 1st-generation American children who all found a piece of themselves in this group. We’ve all grown together and learned together, and, as I have found that a big part of the Filipino culture relies on family, that quality has even reciprocated into being a part of a group like this. Perhaps what has made us all stay for so many years is that fact that we have not only seen ourselves grow, learn, or make our parents proud, but we’ve created a family with each other.

(Annual Full Show, 2005)

It seems obvious to see that most of my distinguishing qualities have all started from a want to “copy” someone older than me (as from my dancing and playing guitar), I have found that being a part of this group has helped me embrace the woman inside of me. With no real strong female influence on my growing up (being the tomboy I first was upon joining the group, thanks to my two older brothers), the older “sisters” of this group had a strong impact on my growing up. During my first full show in 2005, I remember having to have my picture taken and an older “veteran” dancer helped me to put on my make-up for me. For the first time, after having my hair and make-up done, she gave me a mirror as I saw myself and jumped up in my seat, scared by my own reflection (I couldn’t recognize myself!). She laughed, assuring me how pretty I was. “What a transformation, right?!” A dad of the group told me, “Ah, maganda! Ganda-ganda mo!” (Maganda is a Tagalog term for a female meaning “beautiful”; men use this to describe an attractive lady, or, more accurately, a lady’s heart who is “sweet, kind, and thoughtful”.) From an early age, I was immersed into a community, and world, embracing culture, family, and my own woman-hood.

(Tutup, 2009)

One other thing I have noticed over the years is the type of people we have all become in this group. The people in this group have become known to me as the most humble, down-to-earth, family-centered, and truly good-hearted people I have ever known and met. One once told me, “The people a part of our group are so unique … You have to be genuinely good people to be a part of this.” The people who have grown up in this group are good people, which is why the younger dancers, like I myself once was, was inspired by, and soon became one of, the veteran dancers; young people want people to look up to, to “teach them the ropes” and whatnot, which is what made this group one that not only brings families together, but also fosters a youth’s own self-confidence, growth, talent, and character by looking up to one’s who’ve already gone through it all.

Aside from that, I have learned something about myself. As a generally lonely person who often went through high school questioning her own angst and loneliness, I’ve found that the comfort I find in being a part of dancing, playing music, and the few intimate relationships I have in my life give key to my character. Coming from a small family who lacked a bigger family growing up, finding a family within KARIKTAN has helped us all in so many different, unimaginable ways. It not only brought my own family–my mother, two brothers, and myself–all closer together, all becoming involved in KARIKTAN and becoming a staple involvement in all of our lives, it introduced us to our world and community around us. It opened our eyes to a culture that would have otherwise gone to dust with our immigrant parents who tend to leave their Philippine culture back on the plane coming to America (creating an otherwise fully-American persona).

(Annual Full Show, 2007)

Even though being a part of this has given us all something to look forward to at one (or many) point(s) in our lives, perhaps there was a bigger message that was living and breathing throughout all of us at the moment that we would not have otherwise noticed. As purely American children, being as “white-washed” as we could, the only link we had to our culture, or had known of it, was of the culture we found in the dances, and of the family we created in it. That is what the Philippine culture has become to me. That is what I have known of it. And that is what I have grown up to know about it. Embracing culture, and creating a family.

(Lazos de Amor, 2008)

As a young, Filipino-American seeking to find her place in this world… and perhaps as the sum of those significant people I have looked up to and have openly “copied”… My identity has been created by this. I grew up in a white community. I’ve gone to Catholic private schools all my life. I’ve never been raised by a father. I’ve found solace in guitar. I’ve found family in dancing. And I’ve found faith in my living.

This is what my life has become known to me. KARIKTAN has helped foster the confidence I have in my being, and in finding my own true self–what it is I value, respect, love… After living a life full of looking up to and copying others, always seeking out some sort of “spiritual” or “musical mentor” all her life, perhaps now, at this point in my life, I have become freed of the chains of mere “student” and “apprentice”, but a full-fledged being and independent woman, free to share and re-create a piece of herself, her family, her home, her culture, and her upbringing with all those who willingly choose to walk into her life.

Is that not the goal of all our livings?

P.S. and gosh darnit, can I just add that the Philippine culture is just so darn beautiful and breath-taking?! This is all still an art-form, and in Art there is a Beauty… Feel it, be open to it, and stay witness to it.

(Visit us at kariktan.org)

(Published by CCTV)

This is a Xinjiang folk dance.  Since people in Xinjiang are born to be good singers and dancers, so they are good at showing their feelings through bodies. In my opinion, it is not easy for dancers to learn the special movements of Xinjiang dance, because the feelings of movements can’t be learnt unless you live in Xinjiang and have the same life style of Xinjiang people. However, this dance is shown by a girl from Shandong. I believe she must spare more efforts to learn this dance.

The music is the famous folk song” why are the flowers so red?”  And there are more  folk drum beats are added to the music, which are quite helpful for dancers to follow the rhythem. In addition, becuase people know this music well, this dance can share the emotion in this dance with the dancer.

This dance won the third prize in CCTV dance competition.

Kerala offers a wide variety of performing arts, most of them springing from folk tradition. The finesse, rhythm and elegance of the classical dances of Kerala are a result of the various cultural influences that took place in the state. These dance forms are a delicate fusion of ancient classical texts and folk traditions, making them distinctive and unique.

Folkdance on a new level

About five hours drive south through Rajasthan was Udaipur. We wound our way through narrow mountain roads, and over streams and grass, things I haven’t really seen since being in Jodhpur. We arrived late at night, and checked in to the hotel. We found a place recommended in lonely planet called the Lotus café, where we found some other travelers. I had a phone interview for an on-campus job, but I had a chance to slurp down my chicken chow-mein before that occurred. Before Udaipur, I was missing noodles and pizza, very much. Thankfully, I had the opportunity to indulge myself with both while visiting. Udaipur was a lot more westerner oriented than Jodhpur is. The shops and restaurants all seemed to be more geared towards tourists. This was definitely nice for a change, but I’m almost glad that I’m living in Jodhpur where I don’t have constant interaction with other foreigners, because I think this has been a real test of my adaptability.

With that said, Udaipur was a beautiful place to visit. It’s called the “City of Lakes”, as the city is situated around a few large lakes. These huge water bodies made the temperature a lot more comfortable than the baking desert climate of Jodhpur. We were able to visit the city palace, a beautiful and elaborate place designed for the previous Maharana’s of Udaipur. We then took a boat ride out to a garden on the lake. One thing Udaipur is most noted for is the beautiful lake Palace and Hotel, an immense structure which stands in the middle of the lake. Because the climate of Rajasthan is so fluctuant, water bodies in this region often dry up or are exhausted during the time of winter. This is most likely what made the building of such a structure possible, as our tour guide, Reena, actually told us she remembered seeing the lake dry at one point, which is very hard to imagine, as it was such an immense body of water.

We also got to watch some traditional Indian folk dancing at the Bagore Ki Haveli, where we sat cross legged on blankets as we watched women in beautiful traditional dresses do some amazing dancing. The last dance was performed by a very large and older woman, which reminded me of the saying “it’s not over ‘til the fat lady sings.” This seems less inappropriate for folk dancing than opera, but I was surprised by the grace and power this woman displayed. Balancing 10 urns on her head in decreasing size, she was still able to flit about as if she were twenty years younger than she looked. I was truly astonished by the display, and I think it was a good indicator of the spirit of Rajasthani women.

Also, in Udaipur it’s more common to find a restaurant with rooftop seating than without it. We ate at multiple restaurants, and not one time did we eat inside. All of the restaurants were open or outdoor seating, probably because the temperature stayed so perfect year-round. It’s truly remarkable eating on the rooftops and looking out over the lake, especially at night when the temperature is a comfortable 70 degrees. So my point is, if you have a chance to go to Udaipur, don’t pass it up. I hope to have more to share next week, as I may be traveling to Bombay for Diwali! But plans are always subject to change.

Pushkar, the holy city in Ajmer district of Rajasthan is one of the five sacred dhams or pilgrimage sites for Hindus. A famous tourist attraction in India, Pushkar has so much to offer. Many people associate the origin of the city with Lord Brahma, the Hindu God of creation. It is said that Lord Brahma performed penance in Pushkar for 60,000 years. During this period, a lotus fell from his hand and the holy Pushkar Lake came into existence. Today, Pushkar is not just famous for the great Brahma Temple or the sacred Lake.

Before starting the festivities, people take a holy dip in the lake water to seek the blessings of Lord Brahma for the wellness of the festival. The fair transforms the quiet city of Pushkar into a vibrant lively party bustling with people, colors, music, dance, drama and puppet shows. Peculiar competitions like the Moustache competition, Matka Phod (Break the Pot) competition and the bridal competition are the highlights of the festival. The fair features many camel competitions such as camel race and camel dance with colorfully dressed camels from all over Rajasthan. These competitions are organized in the vast, specially-built Amphitheatre on the outskirts of the town.

Pushkar fair is now one of Asia’s largest cattle fairs, with over 50,000 livestock. While men engage in buying and selling camels and other animals, women who are colorfully dressed with lots of tinkling jewellary visit various stalls for local shopping and eateries. Crazy carnival atmosphere can be sensed in the entire town. Camping is prevalent here and tourists from across the world come here for the festival. In the evening, people gather around campfires listening and dancing to Rajasthani folk ballads. At dusk, during the beautiful Deepdaan ceremony, thousands of diyas or clay lamps on leaf boats are set afloat on the sacred Pushkar Lake. With so many vibrant activities, contests, folk dance and music and fireworks, this fair truly captivates you.

The annual Pushkar fair will be held this year between 20th – 28th November 2012. Our bags are already packed. What about you?

I’d heard great things from backpackers – mainly about these so-called ‘ruin bars’ – basically decrepit old warehouses converted into massive bar/clubs.

They are the type of place if you are sober they make you feel tipsy, if you are tipsy they make you feel drunk and if you are drunk they make you feel smashed – fitted out with chairs hanging from the roofs, graffiti spewing over the walls and corridors painted like black and white spinning circles.

I’d show you photos but my camera has recently decided it doesn’t do night photos any more, though it’s debatable it ever did them in the first place.

My first taste of the ruin bars was spent in the company of – for the first time in a very long time and I forgot how much I missed them – typical New Zealand blokes – one of which I knew I knew from somewhere.

Amazingly, turned out it wasn’t from Christchurch where we both studied, nor the Wellington suburb where we both lived, but from London where he was one of the poor sods I tried to voxpop (the charity street-collecting, cold-calling of journalism) while working as an Olympic reporter.

My other night at the ruin bars were spent in the company of two newly legal English girls and a Wall Street broker we adopted sitting solo at the end of our table trying to pull off the whole smart-casual look – with a hoodie underneath his business jacket.

We bonded over a carrot, which waitresses walk around trying to sell tourists as apparently it’s a ‘bar tradition’ and in particular me calling him a ‘walking tourist trap’ after he bought one.

And, I’m pretty sure this ‘oh no you didn’t’ photo was taken shortly afterwards.

I could have had another night at the ruin bars too but decided against it given the hostel buddy who invited me had just spent the last hour trying to convince me over a steaming bowl of free goulash (everything tastes better when it’s free) that cannibalism is nothing more than an ‘irrational taboo.’

I played it safe given that day I’d received an email from my Dad with the bolded words – TRUST NO-ONE.

I blame his recent visit to the movies to see Taken 2 for that.

As an aside – damn you Liam Neeson. Because of you I am now banned from visiting Albania and have to check in daily with the parentals.

I felt really safe in Budapest though, apart from the two nights I slept with a chair against the door at the incredibly homely Fortuna two bed apartment hostel due to the seriously strange Chinese guy in the other room.

He rubbed me up the wrong way by smoking inside despite the giant ‘do not smoke’ sign and the fact he sneakily converted the living room into a bedroom for his friend so for the next two days and nights they could sit opposite each other on their laptops playing war games.

And, the only time we had anything even remotely resembling a proper conversation was when I confronted him over why the hell he barged into my room at 7am one morning without knocking.

Grumbling over. Back to Budapest…. A number of backpackers had told me there wasn’t much to see by day.

I disagree and think a few of them convince themselves of that because they’re too hungover from the ruin bars to actually see Budapest by day.

The city is un-expectantly stunning and I spent three full days just walking around – in jandals I might add – soaking up the incredible late Autumn heat.

Of all the places I stumbled across my favourites were: their riverfront Parliament buildings, which are the second largest in the world.

The castles and numerous panoramic viewpoints on the Buda side.

These retro roof tiles on the Matthias Church, which are a remarkably similar pattern to the polar fleece side of my new reversible sleeveless puffer jacket bought from one of Budapest’s many bargain op shops.

The Hungarian changing of the guard for somewhat obvious reasons.

The so-called Parisian Champs-Élysées of Hungary – Andrassy Avenue – with Heroes’ Square at the end.

And, just behind that in the Botanical Gardens – the Szechenyi Medicinal Baths – which I surprisingly enjoyed despite my morbid fear of public swimming pool floaties, old sweaty sauna men, ladies’ posing for near pornographic poolside shots and the fact that with quite sensitive skin being in a hot bath is akin to putting a crayfish in boiling water.

Traditional Hungarian folk dancing I enjoyed less so.

There were a few things going on there. One, the teacher gave all his instructions in Hungarian. Two, as in that’s the number of left feet my dance partner had. Three, he also had profusely sweaty palms. Four, a slapstick sense of rhythm. And five, would get quite frustratedly grumpy with me for doing it wrong despite the fact as the man he was meant to be leading.

I lasted an hour before fleeing to the sanctuary of a ruin bar.

I also found solace at a ruin bar the next night after yet another romantic boat cruise for one down the Danube, sitting next to four fur wearing, diamond dripping American woman who amazingly managed to stretch out a conversation about silverware for the entire hour.

But of all the things I experienced in Hungary the thing I enjoyed the most was learning how they end their fairy tales.

Like the rest of the world their fairy tales begin with these four little words:

But, it’s the first time I’ve ever heard of a fairy tale ending with the disclaimer – ‘they lived happily ever after…. Until they died.’

Any country that ends fairy tales with such a hearty dose of realism is a winner in my books.