March 11, 2005
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March 11 - March 18, 2005
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This is the calendar of world music for the Triangle of NC for the week of March 11 - March 18, 2005. If you have not received a calendar recently, it is probably because we did not send one out (sometimes this task of maintaining the World Music Email List is quite time-consuming). Also, a note to organizations and bands: our apologies if we did not advertise your event. Thanks so much to those of you who have offered words of encouragement for us to continue!

Also, in conjunction with one of the sponsoring organizations, we are giving away two tickets to one great show happening in this read the calendar carefully!

We almost always welcome feedback about our calendar or about shows you attend.

sKiNs of an oRcHeStRa,
the folks behind

DISCLAIMER: Although we try our best to provide complete information, it is never a bad idea to check with the venue or presenter before any particular event to confirm the date, time, location, cost and/or ticket availability.

For information on how to submit information about events, see bottom of this email.

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March 11 - March 18, 2005
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in the Triangle, NC

Friday, March 11. 2005 -- 8:00 pm
--Page Auditorium, Duke University, Durham, NC. / 919-684-4444 or
COST: $20 & $25 Reserved Seating, $5 Duke students; available through web site |, or Duke Box office: 919-684-4444.
Presented by Scottish Cultural Organization of the Triangle (SCOT) and Dukes Living Traditions Series.
Internationally acclaimed fiddler Alasdair Fraser along with cellist Natalie Haas featuring their 2004 Scottish Traditional Music Award Album of the Year (Fire and Grace) will join the award winning dancers from the Jo Kalat School of Scottish Highland Dance who will stage choreographed works (including four premier productions) to traditional and contemporary music. Raleigh Scottish Country Dancers will also perform. Live music provided by Jennifer Licko (Traditional Celtic soloist) as well as the NC State Pipe and Drums Band. Mick McKenna, a writer for Scottish Public Television and National Public Radio, will narrate the performance.World-renowned master Scottish fiddler Alasdair Fraser is recognized throughout the world as one of the finest fiddle players Scotland has ever produced. He has been featured on over 100 television and radio broadcasts, two films, and has appeared as guest with The Chieftains and fellow fiddler Itzhak Perlman. His dynamic fiddling, engaging stage presence and deep understanding of Scotland's music have made him a major force behind the resurgence of traditional Scottish fiddling in his homeland and in the U.S. Rhythms of Scotland is a dance and music extravaganza that tells the story of Scotland through both traditional highland dances (Tulloch and Sword Dance, step dances) and modern interpretations of Scottish Dance. North Carolina is home to more people of Scottish descent than any other state or country, including Scotland!

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Saturday, March 12, 2005 -- 2:00pm
NIGERIA: FOOD & CULTURE (Nigerian culture)
--Global Village Square, Exploris, 201 East Hargett St., Raleigh, NC 27601 / (919) 834-4040 /
COST: Free with admission to the museum
Join Kole Heyward-Rotimi of The Rotimi Foundation for an exploration of Nigerian food, arts and culture! Hear Nigerian music and learn about the harvest and preparation of the African yam. See and touch Nigerian textiles and learn about everyday life in Nigeria! Presented by Exploris. Exploris is a private non-profit dedicated to engaging people in our changing and interconnected world.

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Saturday, March 12, 2005 -- 7:00pm
featuring Sangeet Samrat Chitravina N Ravikiran
and Flute Maestro Shashank
--Nelson Hall Auditorium, NCSU, Raleigh. Directions to the hall :
COST: General admission $15; Seniors and full-time students, $10; FREE for ICMDS members
Presented by Indian Classical Music & Dance Society (ICMDS) / . This concert is co-sponsored by the Center for South Asia Studies and the Geet Bazaar radio program (WKNC 88.1 FM, Sundays 10am).
This is an instrumental concert of Indian classical music featuring the Chitravina (a fretless lute similar to a slide guitar) and the bamboo flute. The performers are child prodigies and virtuosos on their instruments and in Indian music. Ravikiran, on the Chitravina, has been called the 'best slide player in the world', and Shashank, on the flute, has been called a 'magician flautist'.
MORE INFO: In their first ever joint tour to North America, Ravikiran and Shashank endeavour to create a harmonious blend between two exquisite but very diverse instruments. The chitravina, one of the most challenging instruments made by man, can be coaxed into bringing the highest levels of instrumental excellence with a voice like quality if one is up to meeting its demands. Only a handful of artistes of have ever managed to achieve this in the history of mankind. The flute has been one of the most popular instrumental choices both for artistes and listeners right from Lord Krishnas times. It is renowned for its speed, continuity and tonal range and it has mesmerized people all over the world.
Ravikiran and Shashank, who have extended the boundaries of their respective instruments as soloists, have worked seriously towards extending their own horizons in this collaboration and complementing each others ideas and ideals without jeopardizing their individual strengths or approaches. The concerts will, in the best traditions of Carnatic music, blend both compositions and improvisation. The music is enhanced several fold when blended with attractive percussion support from the likes of Vizianagaram Satishkumar and Phalgun.
Chitravina N Ravikiran, hailed as Perhaps the world's greatest slide player, (Radio National, Australia), stormed into the music scene as the worlds youngest musician, at the age of two (in 1969). His could identify and demonstrate 325 ragas, 175 talas and answer numerous other questions posed by maestros including Pt Ravi Shankar, Semmangudi Srinivasa Iyer, M S Subbulakshmi and Alla Rakha. He presented his first vocal concert at the age of 5 and first chitravina recital when he was 11. In 1985, at the age of 18, he presented a record non-stop recital for 24 hours. Ravikiran, a busy globe-trotter, has presented both instrumental and vocal concerts throughout the world. Ravikirans unique style with its, Infinite capacity for micro-tonal shadings reminiscent of the human voice and teasing precision (New York Times) have firmly placed him among the all time great instrumentalists as an arresting virtuoso (Los Angeles Times). Ravikiran has also made a significant impact as a composer. He discovered a new raga, Choodamani (named after his mother) when he was two and has discovered several more like Keshavapriya, Snehapriya and Shivamanohari. He has composed over 500 pieces in 5 languages including music-dance creations such as Lakshmi Prabhavam, Savithri, Cosmos and Vinayaka Vaibhavam. He is the only composer to have created compositions in each one of the 35 talas of the Carnatic music system. Ravikiran has also composed several pieces for Western classical and jazz orchestras using a novel concept of his called Melharmony. He has collaborated with leading musicians and composers from all over the world such as Taj Mahal, Glen Valez and Jovino Santos Neto and with orchestras such as the BBC Philharmonic. For more info, please
Flute Maestro Shashank, born on 14th Oct, 1978, was initiated to music at a very early age. As advised by Flute Maestro T R Mahalingam, he learnt only vocal music from veteran musicians including K V Narayanaswamy. At six Shashank picked his fathers flute and stunned onlookers by playing, spontaneously. His maiden flute concert was at Adelaide, Australia in Sept 1990 when he was eleven followed by his debut in India on Dec 20, 1990. Since then, has performed in the company of top ranking artistes in India and abroad. He became the youngest musician to have been invited to play the prestigious "SADAS" concert on Jan. 1, 1991 at the Music Academy, Madras. Shashanks introduction of multi flute transposed fingering technique to merge flutes of different frequencies / lengths to the tonic note (the adhara shadja) producing deep bass to the shrill sounds gave flute an enviable position in Indian music and has been acclaimed world over by music lovers as his significant contribution. Shashank's performances feature an extraordinary range of musical expression - from the deepest meditations to youthful fun and astonishing virtuosity. Audiences respond enthusiastically to Shashank's flair and unpretentious style. Shashank's percussionists add pizzazz to the performances with rhythmic texture that ranges from colourful, sparse punctuation to driving motives that swell to exhilarating levels during solo passages. He has several albums discs to his credit. For more on him, please visit .
++++++WIN TICKETS TO THE ABOVE INDIAN MUSIC SHOW* -- deadline Friday, March 11, 6:00pm - instructions at bottom of this email.

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Sunday, March 13, 2005 -- 3:00pm to -4:00pm
GAELWYND (Celtic music)
--Daniels Auditorium, North Carolina Museum of History, Downtown Raleigh
COST: Free
Presented by PineCone and the North Carolina Museum of History, as part of the Music of the Carolinas Series.
The Celtic spirit is strong in the Carolinas, where many modern inhabitants still bear the surnames of their Scottish, Irish and English ancestors. That creative and passionate spirit shines forth in the music of Gaelwynd. Gaelwynd delivers an energetic and distinctive blend of traditional Scottish and Irish music melded with world rhythms, driving fiddle, haunting whistles, joyful percussion and intricate guitar work. During their warm and lively performances, the members of Gaelwynd play traditional jigs and reels, along with waltzes, marches, and other old Celtic forms of music. The talented and experienced band members are musicians who share a passion for the evocative and nostalgic character of traditional music from the British Isles. Gaelwynd has its roots in a band called St. Steven's Green which was formed in the Fall of 1999. After several member changes and a new name, Gaelwynd now includes Fred and Caite McKinney, Nora Garver, and Rhiannon Giddens. Hailing from Greensboro, North Carolina, are Fred and Caite McKinney. Fred McKinney, a former member of the contra dance band Reel Shady, is a guitarist of remarkable sensitivity whose voicings are outgrowths of his classical guitar training as well as a study of traditional styles. Caite McKinney, a native of Arizona and married to Fred, draws from her Irish heritage and her extensive experience as a classical clarinetist to enrich the band's lively sound with the sounds of her high and low whistles.
On fiddle is Nora Garver, who formerly played for Scottish Highland games and country dances in the Washington, D.C. area. Now a resident of Winston-Salem, she blends Irish, Cape Breton, and Old Time influences with the drive and warmth of traditional Scottish fiddle. Rhiannon Giddens is a veteran contra dancer, caller, and gifted vocalist who earned a music degree in opera at the Oberlin Conservatory. She also plays banjo, fiddle, and percussion, and lives in Greensboro, NC.
For directions and more information, please call (919) 807-7900, or visit

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Sunday, March 13, 2005 -- 5:00pm
EDUARDO MORAN and LVARO RAM풅Z (Mexican Guitarist And Singer)
--CHICLE, 101 E Weaver St.. Third Floor, Suite G-1, Carrboro, NC -- / 919-933-0398.
COST: $5.00 donation requested.
Eduardo Morᮠand lvaro Ram�z, guitar and voice: Two young musicians from Mexico. New Trova sung and played by Eduardo Morᮠand Mexican folk and popular music by lvaro Ram�z. 23 years old, from Guerrero, Mexico, Eduardo Morᮠrevives Nueva Trova, the music from the 1960s and 70s that was made famous by Silvio Rodr�ez, Pablo Milan鳬 and others from Cuba. The New Trova Movement was formed in 1967 when La Casa De las Americas, the Primer Encuentro de la canci��rotesta, with the attendance of Silvio Rodr�ez, Pablo Milan鳠and Sara Gonzᬥz, who already had written hymn-like compositions, popular among the youth. New Trovas members recognized the varied influence of the Beatles, Bob Dylan and Joan Baez, Daniel Viglietti, and Violeta Parra - with the inclusion of South American rhythms and instruments - and also Joan Manuel Serrat. Songs are based in content, generally very elaborately poetic, covering from political to love themes.

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Thursday, March 17, 2005 -- 8:00pm
CATHIE RYAN (Irish Music)
--Stewart Theatre, NCSU Campus, Raleigh
COST: General admission $25; $20 for members; and $12 for students. Reserved seating is available. To purchase tickets, call the NCSU Ticket Central box office at (919) 515-1100.
Presented by PineCone.
Fans who have been following Ryan since her early days with Cherish the Ladies know that she is a major artistic talent, equally at home amid the deepest strains of the Irish tradition or the cutting edge of the contemporary songwriter movement. The daughter of Irish immigrants, Ryan was born in Detroit, Michigan. Her father was a tenor and very much in demand at the Gaelic League, where her family spent much of their time. As a child she often visited her grandparents in Ireland. They had a profound effect on her singing and songwriting. Her paternal grandmother, Catherine Ryan, was a fine fiddler and singer and her maternal grandfather, Patrick Rice, was a gifted storyteller who mesmerized Ryan with tales of Irish myth and history.
From the age of seven, Ryan was a popular fixture at Gaelic League sesiuns. She learned the rudiments of sean nos competing in feis' in Detroit. After moving to New York, she began to study with legendary sean nos singer Joe Heaney. Other musical influences came from growing up in an American city ripe with music to absorb. Her best friend's parents were from Appalachia and from them she learned about mountain music. And all around her were the burgeoning sounds of Motown whose influence can be heard in the groove of many of her quicker numbers, and in her complex, undulating bodhran playing.
In 1987, Ryan was invited to join the Irish traditional women's ensemble Cherish the Ladies. As lead vocalist she moved easily from sean nos to English language Irish songs to her own compelling compositions. Her moving paean to Irish immigrants, "The Back Door," was the title-song for Cherish's second album and has already become an Irish folk standard. Her seven year contribution to the group helped place them in the vanguard of Irish music. In 1995, however, Ryan left the band to pursue a solo career and has not looked back/ In 1997 Shanachie Records released Ryan's self-titled solo CD to critical acclaim. Her second CD, The Music of What Happens, has met with even greater success. It was called "a showcase of impeccable musicianship" by the Irish Voice and has been selected Best Celtic CD for 1998 by numerous critics and folk radio programs nationwide. In 2000 Cathie was named Irish Female Vocalist of the Decade by the Irish American News in Chicago and one of the Top 100 Irish Americans by Irish America magazine.
When Cathie is not singing she is one of the hosts of pledge programming on New York, New Jersey and Connecticut's PBS, WNET, Channel 13 - America's most watched public television station. She also co-leads tours of Ireland focusing on Celtic Mythology with Dr Michael Paull and noted Jungian author, Sylvia Perera.

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Friday, March 18, 2005 -- 8:00pm
CHULRUA - The ArtsCenter's Annual St. Patrick's Concert (Irish music)
--ArtsCenter, 300-G East Main Street, Carrboro, NC. / 919-929-2787 or
COST: $16, $14 ArtsCenter Friends
Chulrua, which means red back in Irish (and was ancient hero Fionn MacCumhaill's favorite wolfhound) is an Irish trio, led by button accordion legend Paddy O'Brien. He is a four-time Oireachtas champion, All-Ireland senior accordion champion and an NEA grant recipient. Tipperary man Pat Egan sings and plays guitar and Patrick Ourceau, armed with a unique knowledge of regional styles, rounds out the trio on fiddle. This is The ArtsCenter's third annual St. Patrick's Day concert and the floor will be open for dancing!


Friday, March 18, 2005 -- 7:00pm
Saturday, March 19, 2005 -- 7:00pm
THE GODS ARE NOT TO BLAME (theatre / African)
--Durham Arts Council PSI Theater, 703 Foster Street in Durham, NC
COST: $20 General Public, $15 Students
INFO (and reservations): 919.680.8080
Presented by The Rotimi Foundation.
The Gods Are Not To Blame is a re-working of Oedipus the King in Yoruba terms. The classic tale is given vivid life by its transposition to Africa and some new dimensions. There have been many other such transpositions or adaptations of Greek and European classics into African settings some of which have become major works in their own right. Rotimi's play follows almost exactly the Sophoclean story line, but there the similarity ends, as the treatment is entirely from a Nigerian perspective, revealing West African attitudes to predestination and religion. The Aristotlean tragic flaw finds a specifically Yoruba interpretation: Rotimi says: 'The Yoruba believe that there is a father of all Gods known as Olodumare. They believe that after Olodumare has created each human, the human being must genuflex and choose what he or she wants in life. Having done so the person is sent down to earth where he/she fulfils his/her choice. In King Odewale's case, he did not choose to kill his father and marry his mother, rather he chose to be heroic, a defender of his tribe. He, however, took his patriotism too far; defended his tribe senselessly and awesome fate took over'. One might also reflect that this play was written when the Nigerian civil war, the Biafran war, was at its height.
The play is not being performed in translation. It was written in English, the official language of Nigeria, in which a considerable proportion of the Nigerian plays are written. But this is not English English. The phrasing does not trip easily off the modern tongue: 'How does the body feel? Not as well as the heart wishes my lord'.
Rotimi is conscious that the traditional languages as it is spoken by our fathers in the rural setting is imagistic and has its own poetry. One way of capturing this speech and style is through proverbs. It is not surprising then that Rotimi's plays with traditional settings are suffused with proverbs graphically translated from the source language. (Towards the Evolution of a new Nigerian Theatre, Effick Bassey Uwatt). Excerpt by Yvonne Brewster, Director Talawa England.


Saturday, March 19, 2005 -- 5:00pm to 6:00pm (NC time)
DRUMMING IN ONE WORLD BEAT -- one hour of simultaneous drumming around the world
On March 19 2005 people around the world will send out a message of peace and unity: Drumming in One World Beat! DRUMMING IN ONE WORLD BEAT uniting the people of the global village - through music THE VISION: The vision is to unite people and drummers in different cities around the world simultaneously in one hour of drumming in unity. The world has become a true global village and - more than ever before - we are connected with each other. Through the new technologies and the global impact of events, our lives are linked together - we are dependent on each other,what affects one affects us all, and each of us can make a difference for the better. One World Beat uses the power of music to create a positive message of solidarity and we want to invite you to join us. HOW TO PARTICIPATE: We are inviting drummers, drum circles, youth organizations, peace organizations, drum and percussion schools, musicians, bands, individuals, and volunteers to join this global event. The project is coordinated by the non-profit organization One World Beat and our aim is to unite as many people as possible. All the participating groups, events and partners will be listed on the One World Beat website.

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(Ptg. 140S, CA 140AS, AAAS 140S)
May 20 to July 2, 2005
Getting to know Brazil through popular culture!! Samba, futebol, carnival, capoeira, candombl頭- the world often defines Brazil through its rich and diverse popular culture. But how do Brazilians think of their culture? What's the relationship between cultural tourism and social empowerment?
The Department of Romance Studies and the Office of Study Abroad of Duke University will offer a two- course, six-week program in Brazil during summer 2005 under the direction of Department of Romance Studies Professor Leslie Damasceno. Designed as a two-part course with readings and group discussion integrated into visits and on-site research in Brazilian popular culture and language, the program will be located in Rio de Janeiro and be hosted by the Programa Avan硤o de Cultura Contempor⮥a / Advanced Program in Contemporary Culture, the organizing institute for integration of interdisciplinary studies at the post-graduate level of the Federal University of Rio de Janeiro. Complementary to the experience in Rio, a segment of the program will take place in Salvador, Bahia.
Cidade maravilhosa: Marvelous city, it's called! Famous for its natural beauty, sculpted by beaches and mountains, its diverse architecture that spans five centuries, and for Carnival, Rio de Janeiro is also a center of Brazilian cultural activity that includes a lively on-going music and literary scene, theater, film, performance and the plastic arts, and numerous cultural centers that dot the city's neighborhoods. Beach 'work' is on your own, but the program will sponsor activities that introduce students to artists, social activists and intellectuals that can orient student projects.
Bahia de Todos os Santos: The city of Salvador in the state of Bahia is world famous as the center of Afro-Brazilian culture. Four days in Salvador will be an integral part of Duke in Brazil coursework, with visits to historical sites and cultural centers, like Ilꠁiyꬠinvolved in community organization.
For more information, contact: Prof. Leslie Damasceno, 660-3120 or Prof. Magda Silva, 660-8436 .

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