{"id":4862,"date":"2015-02-18T01:24:00","date_gmt":"2015-02-18T01:24:00","guid":{"rendered":"http:\/\/joelasqo.com\/blog\/?p=4862"},"modified":"2015-05-27T19:43:16","modified_gmt":"2015-05-27T19:43:16","slug":"indo-encounter-zones-western-instrument-crossover-in-todays-indian-classical-music-%e2%97%89-set-1-north-indian-teed-rockwell-touch-style-veena-peter-van-gelder-sitar-samrat-kakkeri","status":"publish","type":"post","link":"https:\/\/joelasqo.com\/blog\/2015\/02\/18\/indo-encounter-zones-western-instrument-crossover-in-todays-indian-classical-music-%e2%97%89-set-1-north-indian-teed-rockwell-touch-style-veena-peter-van-gelder-sitar-samrat-kakkeri\/","title":{"rendered":"Indo-Encounter Zones: New Western instruments in today’s Indian classical music \u25c9 Set 1 – North Indian: Teed Rockwell: touch-style veena, Peter van Gelder: sitar, Samrat Kakkeri (\u0938\u092e\u094d\u0930\u093e\u091f \u0915\u0915\u094d\u0915\u0947\u0930\u0940), tabla \u25c9 Set 2 – South Indian: Prasant Radhakrishnan (\u0c2a\u0c4d\u0c30\u0c36\u0c3e\u0c02\u0c24\u0c4d \u0c30\u0c3e\u0c27\u0c3e\u0c15\u0c43\u0c37\u0c4d\u0c23\u0c28\u0c4d), saxophone + Rohan Krishnamurthy (\u0bb0\u0bcb\u0b95\u0ba9\u0bcd \u0b95\u0bbf\u0bb0\u0bc1\u0bb7\u0bcd\u0ba3\u0bae\u0bc2\u0bb0\u0bcd\u0ba4\u0bcd\u0ba4\u0bbf), m\u1e5bdangam, Sun 22 Feb @ Berkeley Arts Festival"},"content":{"rendered":"

\"\"<\/a>I have the honor to assist in organizing and presenting a unique concert at Berkeley Arts Festival<\/em><\/strong><\/a> (<\/em><\/strong>2133 University Avenue, Berkeley, CA \u2013 map<\/em><\/strong><\/a>)<\/strong> on Sun 22 Feb<\/span><\/strong> <\/span> (see set times below).<\/span><\/span><\/strong><\/p>\n

<\/strong><\/p>\n

<\/span><\/em><\/strong><\/p>\n

\"Sarasvat\u012b<\/a>

Sarasvat\u012b (\u0938\u0930\u0938\u094d\u0935\u0924\u0940) on her animal mount, the swan; painting by Navneet Parikh (\u0928\u0935\u0928\u0940\u0924 \u092a\u093e\u0930\u093f\u0916)<\/p><\/div>\n

\n
The phenomenon of Western-instrument crossover in North & South Indian classical music during the 20th century is a fascinating one, accelerating a long process that began with the first adoption of the violin into South Indian music around the time of the American Revolution. This concert showcases two of the foremost Bay Area musicians who are working in this area.<\/div>\n
\n
\"Sarasvat\u012b<\/a>

Sarasvat\u012b (\u0938\u0930\u0938\u094d\u0935\u0924\u0940), goddess of music, at the touch-style veena<\/p><\/div>\n<\/div>\n

\n

\u25c9 Set 1, 8pm<\/span><\/strong>:<\/span> North Indian Jugalbandi (<\/strong>\u091c\u0941\u0917\u0932\u092c\u0902\u0926\u0940<\/strong>)<\/strong><\/p>\n

<\/strong><\/p>\n

\"Teed<\/a><\/strong>

Teed Rockwell and the Touch-Style Veena<\/p><\/div>\n

Western instrument: Chapman Stick \u00ae type touch-guitar, modified into a “Touch-Style Veena”<\/strong><\/p>\n

Jugalbandi<\/strong> (\u091c\u0941\u0917\u0932\u092c\u0902\u0926\u0940) expands the solo format of classical Hindustani (North Indian) music to combine two melody instruments playing together with tabla drums. However, it can’t be seen as a step in the direction of a band or orchestra. It is instead a completely different perspective altogether: two soloists in interactive conversation with each other. This form was developed by Indian music greats Ravi Shankar<\/strong> (\u09b0\u09ac\u09bf \u09b6\u0982\u0995\u09b0<\/strong>) and Ali Akbar Khan<\/strong> (\u0639\u0644\u064a\u00a0\u0623\u0643\u0628\u0631<\/strong> <\/strong>\u062e\u0627\u0646<\/strong>), and for this concert it will be expanded even further by two of Ali Akbar Kahn\u2019s most dedicated disciples, with the assistance of a pioneer of Kathak tabla.<\/p>\n

Line-up:<\/p>\n

\"Teed<\/a>

Teed Rockwell<\/p><\/div>\n

\u2014\u00a0Teed<\/strong> Rockwell<\/strong><\/a> is the only person in the world to play Indian music on the touchstyle veena <\/em>– a modified Chapman Stick type instrument which is played by tapping the strings with the fingertips, making it possible to play a separate part with each hand. He took over a hundred classes with Ali Akbar Khan<\/strong> (\u0639\u0644\u064a\u00a0\u0623\u0643\u0628\u0631<\/strong> <\/strong>\u062e\u0627\u0646<\/strong>), and also studied extensively with sitarist Shahid Parvez Khan<\/a> (\u0634\u0647\u064a\u062f\u00a0\u0628\u0631\u0648\u064a\u0632<\/strong> <\/strong>\u062e\u0627\u0646<\/strong><\/a>).<\/div>\n
\"The<\/a>

The album Snakes And Ladders, by Australian Bebop Ragas<\/p><\/div>\n

His group Australian Bebop Ragas<\/strong><\/a>, which combines Indian ragas and rhythms with the playing of didjeridu master Stephen Kent<\/a>, has received extensive air play and has performed in concerts throughout the United States. He frequently performs in the Festival of Harps concert series with harpist Diana Stork<\/a>, and is featured on the Polygram album Harpestry<\/strong><\/a>, which has sold over 200,000 copies.<\/p>\n

\"Neither<\/a>

Neither Brain nor Ghost, by Teed Rockwell<\/p><\/div>\n

In his spare time, Teed is an academic philosopher of consciousness and teaches at Sonoma State U<\/a>. In his recent book, Neither Brain nor Ghost: A Nondualist Alternative to the Mind-Brain Identity Theory<\/em><\/strong><\/a>, he rejects both dualism and the mind-brain identity theory and instead proposes that mental phenomena emerge not merely from brain activity but from an interacting nexus of brain, body, and world. The mind can be seen not as an organ within the body, but as a “behavioral field” that fluctuates within this brain-body-world nexus.<\/p>\n

\n
\"Peter<\/a>

Peter van Gelder<\/p><\/div>\n

\u2014\u00a0Peter <\/strong>van Gelder<\/strong><\/a> \u2013 (sitar) first appeared on the San Francisco music scene playing bass guitar & soprano sax in the seminal rock band The Great Society<\/strong> with Grace Slick<\/a>.<\/p>\n<\/div>\n

<\/div>\n
\n
\"The<\/a>

The Great Society - Grace Slick, Jerry Slick, Darby Slick, and Peter van Gelder<\/p><\/div>\n

He was one of the first American disciples of India\u2019s great maestro Ali Akbar <\/strong>Khan<\/strong> (\u0639\u0644\u064a\u00a0\u0623\u0643\u0628\u0631<\/strong> <\/strong>\u062e\u0627\u0646<\/strong>), and one of the very few people to have studied with the great Annapurna Devi<\/a> (\u0905\u0928\u094d\u0928\u092a\u0942\u0930\u094d\u0923\u093e \u0926\u0947\u0935\u0940<\/a>), sister of Ali Akbar <\/strong>Khan<\/strong> (\u0639\u0644\u064a\u00a0\u0623\u0643\u0628\u0631<\/strong> <\/strong>\u062e\u0627\u0646<\/strong>) and wife of Ravi Shankar<\/strong> (\u09b0\u09ac\u09bf \u09b6\u0982\u0995\u09b0<\/strong>). Peter has performed with world famous musicians including Zakir Hussain<\/a> (\u0632\u0627\u0643\u064a\u0631\u00a0\u062d\u0633\u064a\u0646<\/a>), the late Chitresh Das<\/strong> (\u091a\u093f\u0924\u094d\u0930\u0947\u0936 \u0926\u093e\u0938<\/strong>), and Lalgudi Krishnan<\/a> (\u0bb2\u0bbe\u0bb2\u0bcd\u0b95\u0bc1\u0b9f\u0bbf \u0b95\u0bbf\u0bb0\u0bc1\u0bb7\u0bcd\u0ba3\u0ba9\u0bcd<\/a>). His lucid sitar style has won praise from audiences around the world, from Europe to the Fiji Islands as well as India and China.<\/p>\n

\"Samrat<\/a>

Samrat Kakkeri (\u0938\u092e\u094d\u0930\u093e\u091f \u0915\u0915\u094d\u0915\u0947\u0930\u0940)<\/p><\/div>\n

\u2014\u00a0Samrat <\/strong>Kakkeri<\/strong><\/a> (\u0938\u092e\u094d\u0930\u093e\u091f \u0915\u0915\u094d\u0915\u0947\u0930\u0940<\/a>)<\/strong> – tabla, comes from a long line of musicians. He inherited his talent from his father Pandit Mohan Rao Kakkeri<\/strong> (\u092e\u094b\u0939\u0928 \u0930\u093e\u0935 \u0915\u0915\u094d\u0915\u0947\u0930\u0940<\/strong>), professor of tabla at Thyagaraja School of Music & Dance, who was his first teacher.<\/div>\n
\n
\"Samrat<\/a>

Samrat Kakkeri (\u0938\u092e\u094d\u0930\u093e\u091f \u0915\u0915\u094d\u0915\u0947\u0930\u0940)<\/p><\/div>\n

He was a child prodigy who received acclaim as an accomplished tabla player from an early age and has performed both as a solo artist and accompanying artist all over India. Samrat is additionally skilled in the specialized genre and unique demands of tabla playing for the Kathak classical dance of North India, where the dancer uses ankle bells and foot stamps as a co-percussionist in intricate interlacing rhythms. He’s accompanied many prominent Kathak dancers including Urmila Nagar<\/a> (\u0909\u0930\u094d\u092e\u093f\u0932\u093e \u0928\u093e\u0917\u0930<\/a>) and Nilima Devi<\/a> (\u0928\u0940\u0932\u093f\u092e\u093e \u0926\u0947\u0935\u0940<\/a>) as well as master musicians such as Vishwa Mohan Bhatt<\/a> (\u0935\u093f\u0936\u094d\u0935 \u092e\u094b\u0939\u0928 \u092d\u091f\u094d\u091f<\/a>), Kankana Banerjee<\/a> (\u0995\u0982\u0995\u09a8\u09be \u09ac\u09cd\u09af\u09be\u09a8\u09be\u09b0\u09cd\u099c\u09c0<\/a>), Irshad Khan<\/a> (\u0625\u0631\u0634\u0627\u062f \u062d\u0633\u06cc\u0646\u00a0\u062e\u0627\u0646<\/a>), and Satish Vyas<\/a> (\u0938\u0924\u0940\u0936 \u0935\u094d\u092f\u093e\u0938<\/a>).<\/p>\n

R\u0101gas P\u016briy\u0101 Dhan\u0101\u015br\u012b<\/em> (\u092a\u0941\u0930\u093f\u092f\u093e \u0927\u0928\u093e\u0936\u094d\u0930\u0940)<\/strong> and Jog<\/em> (\u091c\u094b\u0917)<\/strong> will be performed.<\/p>\n

\"South<\/a>

South India's Saxophone Sisters will be the subject of a documentary film at San Francisco's Asian Art Museum on 15 June 2015<\/p><\/div>\n

\u25c9 Set 2m 9pm<\/span><\/strong>:<\/span> Classic South Indian format<\/strong><\/p>\n

Western instrument: saxophone<\/strong>.<\/p>\n

\"Kadri<\/a>

Kadri Gopalnath (\u0c95\u0ca6\u0ccd\u0cb0\u0cbf \u0c97\u0ccb\u0caa\u0cbe\u0cb2\u0ca8\u0cbe\u0ca5\u0ccd)<\/p><\/div>\n

Due to the pioneering virtuosity of \u201cPadmashri\u201d Dr. Kadri Gopalnath<\/a> (\u0c95\u0ca6\u0ccd\u0cb0\u0cbf \u0c97\u0ccb\u0caa\u0cbe\u0cb2\u0ca8\u0cbe\u0ca5\u0ccd<\/a>), the Western saxophone has joined the violin and mandolin as a prominent cross-over instrument in Karnatic (South Indian) classical music.<\/p>\n

\"(L\u2192R)<\/a>

(L\u2192R) Kadri Gopalnath (\u0c95\u0ca6\u0ccd\u0cb0\u0cbf \u0c97\u0ccb\u0caa\u0cbe\u0cb2\u0ca8\u0cbe\u0ca5\u0ccd) and Prasant Radhakrishnan (\u0c2a\u0c4d\u0c30\u0c36\u0c3e\u0c02\u0c24\u0c4d \u0c30\u0c3e\u0c27\u0c3e\u0c15\u0c43\u0c37\u0c4d\u0c23\u0c28\u0c4d)<\/p><\/div>\n

\u2014 Prasant <\/strong>Radhakrishnan<\/strong><\/a> (\u0c2a\u0c4d\u0c30\u0c36\u0c3e\u0c02\u0c24\u0c4d \u0c30\u0c3e\u0c27\u0c3e\u0c15\u0c43\u0c37\u0c4d\u0c23\u0c28\u0c4d<\/a>)<\/strong> is the foremost disciple of \u201cPadmashri\u201d Kadri Gopalnath<\/a> (\u0c95\u0ca6\u0ccd\u0cb0\u0cbf \u0c97\u0ccb\u0caa\u0cbe\u0cb2\u0ca8\u0cbe\u0ca5\u0ccd<\/a>), with whom he studied in the traditional gurukulam<\/em> format for about a decade, and whom he accompanied in hundreds of concerts.<\/p>\n

Prasant has\u00a0performed with luminaries such as M.S. Anantharaman<\/strong> (\u0b8e\u0bae\u0bcd. \u0b8e\u0bb8\u0bcd. \u0b85\u0ba9\u0ba8\u0bcd\u0ba4\u0bb0\u0bbe\u0bae\u0ba9\u0bcd), Guruvayur Dorai<\/a> (\u0d17\u0d41\u0d30\u0d41\u0d35\u0d3e\u0d2f\u0d42\u0d7c \u0d26\u0d4a\u0d30\u0d48<\/a>), Mannargudi Easwaran<\/a> (\u0bae\u0ba9\u0bcd\u0ba9\u0bbe\u0bb0\u0bcd\u0b95\u0bc1\u0b9f\u0bbf \u0b88\u0bb8\u0bcd\u0bb5\u0bb0\u0ba9\u0bcd<\/a>), Srimushnam Raja Rao<\/a> (\u0cb6\u0ccd\u0cb0\u0cc0\u0cae\u0cc1\u0cb6\u0ccd\u0ca8\u0c82 \u0cb0\u0cbe\u0c9c \u0cb0\u0cbe\u0cb5\u0ccd<\/a>), Poovalur Srinivasan<\/a> (\u0baa\u0bc2\u0bb5\u0bb2\u0bc2\u0bb0\u0bcd \u0b9a\u0bc0\u0ba9\u0bbf\u0bb5\u0bbe\u0b9a\u0ba9\u0bcd<\/a>), V. Suresh<\/a> (\u0bb5\u0bc0. \u0b9a\u0bc1\u0bb0\u0bc7\u0bb8\u0bcd<\/a>), B. Rajashekar<\/a> (\u0cac\u0cc0. \u0cb0\u0cbe\u0c9c\u0cb6\u0cc7\u0c96\u0cb0<\/a>), as well as superstars of the younger generation such as B.U. Ganesh Prasad<\/a> (\u0baa\u0bc0. \u0baf\u0bc2. \u0b95\u0ba3\u0bc7\u0bb7\u0bcd \u0baa\u0bbf\u0bb0\u0b9a\u0bbe\u0ba4\u0bcd<\/a>), P. Satish Kumar<\/a> (P. \u0b9a\u0ba4\u0bc0\u0bb7\u0bcd \u0b95\u0bc1\u0bae\u0bbe\u0bb0\u0bcd<\/a>), Embar S. Kannan<\/a> (\u0b8e\u0bae\u0bcd\u0baa\u0bbe\u0bb0\u0bcd \u0b8e\u0bb8\u0bcd. \u0b95\u0ba3\u0bcd\u0ba3\u0ba9\u0bcd<\/a>) and Delhi P. Sunderrajan<\/a> (\u0ba4\u0bbf\u0bb2\u0bcd\u0bb2\u0bbf P. \u0b9a\u0bc1\u0ba8\u0bcd\u0ba4\u0bb0\u0bcd\u0bb0\u0bbe\u0b9c\u0ba9\u0bcd<\/a>), among others.<\/p>\n

\"Prasant<\/a>

Prasant Radhakrishnan (\u0c2a\u0c4d\u0c30\u0c36\u0c3e\u0c02\u0c24\u0c4d \u0c30\u0c3e\u0c27\u0c3e\u0c15\u0c43\u0c37\u0c4d\u0c23\u0c28\u0c4d)<\/p><\/div>\n

In parallel with his meteoric development as a Karnatic artist, Prasant immersed himself in jazz at the U. of\u00a0 Southern California, and after moving to the Bay Area, founded the acclaimed Indo-jazz band VidyA<\/strong>, as well as performing in Sameer Gupta’s<\/a> (\u0938\u092e\u0940\u0930 \u0917\u0941\u092a\u094d\u0924\u093e<\/a>) Indo-jazz band Namaskar<\/strong> and with Indo-jazz musician George Brooks<\/a>.<\/p>\n

Prasant has been commissioned by the de Young Museum Cultural Encounters Initiative and Intersection for the Arts, as well as being awarded with grants and fellowships such as a Zellerbach grant and the prestigious AIIS Senior Performing Arts fellowship to study in Chennai.<\/p>\n

\"Rohan<\/a>

Rohan Krishnamurthy (\u0bb0\u0bcb\u0b95\u0ba9\u0bcd \u0b95\u0bbf\u0bb0\u0bc1\u0bb7\u0bcd\u0ba3\u0bae\u0bc2\u0bb0\u0bcd\u0ba4\u0bcd\u0ba4\u0bbf)<\/p><\/div>\n

\u2014 Rohan Krishnamurthy<\/a> (\u0bb0\u0bcb\u0b95\u0ba9\u0bcd \u0b95\u0bbf\u0bb0\u0bc1\u0bb7\u0bcd\u0ba3\u0bae\u0bc2\u0bb0\u0bcd\u0ba4\u0bcd\u0ba4\u0bbf<\/a><\/strong>), m\u1e5bdangam.<\/p>\n

Acclaimed an \u201cinternational m\u1e5bdangam performer\u201d by USA Today and \u201cpride of India\u201d by India’s leading newspaper, The Times of India, Dr. Rohan Krishnamurthy<\/a> initially received m\u1e5bdangam training with Damodaran Srinivasan<\/strong> (\u0d26\u0d3e\u0d2e\u0d4b\u0d26\u0d30\u0d7b \u0d36\u0d4d\u0d30\u0d40\u0d28\u0d3f\u0d35\u0d3e\u0d38\u0d7b<\/strong>) and continued advanced training from maestro, Guruvayur Dorai<\/a> (\u0d17\u0d41\u0d30\u0d41\u0d35\u0d3e\u0d2f\u0d42\u0d7c \u0d26\u0d4a\u0d30\u0d48<\/a>).<\/p>\n

Rohan has shared the stage with the leading artists of Indian classical music, including Mangalampalli Balamuralikrishna<\/a> (\u0c2e\u0c02\u0c17\u0c33\u0c02\u0c2a\u0c32\u0c4d\u0c32\u0c3f \u0c2c\u0c3e\u0c32\u0c2e\u0c41\u0c30\u0c33\u0c40\u0c15\u0c43\u0c37\u0c4d\u0c23<\/a>), T.N. Krishnan<\/a> (\u0d1f\u0d3f.\u0d0e\u0d7b. \u0d15\u0d43\u0d37\u0d4d\u0d23\u0d7b<\/a>), N. Ramani<\/a> (\u0b8e\u0ba9\u0bcd. \u0bb0\u0bae\u0ba3\u0bbf<\/a>), the late R. K. Srikantan<\/strong> (\u0c86\u0cb0\u0ccd.\u0c95\u0cc6 \u0cb6\u0ccd\u0cb0\u0cc0\u0c95\u0cbe\u0c82\u0ca4\u0ca8\u0ccd<\/strong>), T.N. Seshagopalan<\/a> (\u0b9f\u0bbf. \u0b8e\u0ba9\u0bcd. \u0b9a\u0bc7\u0b9a\u0b95\u0bcb\u0baa\u0bbe\u0bb2\u0ba9\u0bcd<\/a>), Chitravina N. Ravikiran<\/a> (\u0c9a\u0cbf\u0ca4\u0ccd\u0cb0\u0cb5\u0cc0\u0ca3\u0cc6 \u0c8e\u0ca8\u0ccd. \u0cb0\u0cb5\u0cbf\u0c95\u0cbf\u0cb0\u0ca3\u0ccd<\/a>), Shashank<\/a> Subramanyam (\u0b9a\u0b9a\u0bbe\u0b99\u0bcd\u0b95\u0bcd<\/a> <\/strong>\u0b9a\u0bc1\u0baa\u0bcd\u0baa\u0bbf\u0bb0\u0bae\u0ba3\u0bbf\u0baf\u0ba4\u0bcd\u0ba4\u0bbf\u0ba9\u0bcd), T. M. Krishna<\/a> (\u0b9f\u0bbf. \u0b8e\u0bae\u0bcd. \u0b95\u0bbf\u0bb0\u0bc1\u0bb7\u0bcd\u0ba3\u0bbe<\/a>), O.S. Thyagarajan<\/a> (\u0b93. \u0b8e\u0bb8\u0bcd. \u0ba4\u0bbf\u0baf\u0bbe\u0b95\u0bb0\u0bbe\u0b9c\u0ba9\u0bcd<\/a>), and “Ranjani & Gayatri<\/a>” (\u0bb0\u0b9e\u0bcd\u0b9a\u0ba9\u0bbf – \u0b95\u0bbe\u0baf\u0ba4\u0bcd\u0bb0\u0bbf<\/a>).<\/p>\n

Having intensely studied many styles of music, he has also spearheaded new cross-musical collaborations with eminent symphony orchestras, jazz ensembles, and musicians including Grammy Award-winners Glen\u00a0Velez<\/a> &\u00a0Vishwa Mohan\u00a0Bhatt<\/a> (\u0935\u093f\u0936\u094d\u0935 \u092e\u094b\u0939\u0928\u00a0\u092d\u091f\u094d\u091f<\/a>), Anoushka\u00a0Shankar<\/a> (\u0905\u0928\u0941\u0937\u094d\u0915\u093e\u00a0\u0936\u0902\u0915\u0930<\/a>), Jamey\u00a0Haddad<\/a>, and Ayano\u00a0Ninomiya<\/a> (\u4e8c\u5bae<\/a>\u3042\u3084\u306e).<\/p>\n

\"West<\/a>

West coast premiere of the Rohan Concerto by Payton MacDonald @ the San Francisco Conservatory of Music (photo - Emily Sevin)<\/p><\/div>\n

He recently premiered Rohan<\/em><\/strong>, a concerto for South Indian percussion and Western percussion ensemble written for him by composer and percussionist Payton MacDonald<\/a>, on both coasts at The Juilliard School in NYC and SF Conservatory of Music.<\/p>\n

\"Rohan<\/a>

Rohan Krishnamurthy (\u0bb0\u0bcb\u0b95\u0ba9\u0bcd \u0b95\u0bbf\u0bb0\u0bc1\u0bb7\u0bcd\u0ba3\u0bae\u0bc2) with a special m\u1e5bdangam of his own patented design<\/p><\/div>\n

An innovator, Rohan designed a new drumhead tuning system that won him first place in Eastman\u2019s New Venture Challenge entrepreneurship competition. His work was published in the premier music journal, Percussive Notes<\/em><\/strong>. Rohan conducted acoustical research on his new design and has been regularly invited to present his work at the Acoustical Society of America\u2019s international conferences. Rohan has also received a patent for his invention. He is currently a professor in the Music Department at Ohlone College.<\/p>\n

____<\/p>\n

In a globalizing world where building a future planetary culture is an existential imperative, cross-cultural encounter zones and their creolization vectors are where some of the most beautiful and important action is happening.<\/p>\n

Come vibrate with us in this particularly exciting\u00a0encounter zone!<\/p>\n

<\/strong><\/p>\n

\u092b\u093f\u0930 \u092e\u093f\u0932\u0947\u0902\u0917\u0947…<\/p>\n

Joe<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

I have the honor to assist in organizing and presenting a unique concert at Berkeley Arts Festival (2133 University Avenue, Berkeley, CA \u2013 map) on Sun 22 Feb (see set times below). The phenomenon of Western-instrument crossover in North & … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/posts\/4862"}],"collection":[{"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/comments?post=4862"}],"version-history":[{"count":83,"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/posts\/4862\/revisions"}],"predecessor-version":[{"id":4935,"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/posts\/4862\/revisions\/4935"}],"wp:attachment":[{"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/media?parent=4862"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/categories?post=4862"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/tags?post=4862"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}