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eastside arts alliance & Naka dance theater present
Ghadar Geet: Blood and Ink
March 21-23, 2025
eastside cultural center 

LIVE ARTS IN RESISTANCE / ARTES VIVAS EN RESISTENCIA is a dynamic series of performances, artist residencies, and community town halls to address racial inequality and Eurocentric chauvinism in popular culture. Collectively, we contribute to a new cultural consciousness of self-determination and indigenous knowledge as integral to our resistance to systemic oppression and imperialism.​

Artistic Director/Choreographer: Joti Singh

Naka Dance Theater Artistic Director/Co-Producer: Jose Navarrete

EastSide Arts Alliance Production Manager/Co-Producer: Susanne Takehara
Choreography Collaborators: Stephanie Chen, Jessica Pfisterer, Angel Adedokun, Nadhi Thekkek, Rasika Kumar
Performers: Angel Adedokun, Stephanie Chen, Priya Chatwani, Renuka Garg, Rasika Kumar, Jessica Pfisterer, Shabnam Sigman, Joti Singh
Vocalist: Ishmeet Narula
Keyboard: Navi Mahey
Dholak/Tabla: Neil Prasad
Dhol: Bongo Sidibe
Spoken Text:
Written by Joti Singh, Bhagwan Singh Gyanee. performed by Joti Singh, Angel Adedokun

Music
“Shuru Karein”:
   Artist: Rovalio    
   Believe Music (on behalf of Giraffe Pakistan), and 2 Music Rights Societies
“Firangi”:

Lyrics: Bhagwan Singh Gyanee
Composition: Ishmeet Narula
“Tere Bina”:
   Lyrics and Composition: Ishmeet Narula
"Inquilab Zindabad"
   Original Beat composition: Dgijui on the Beat'z
   Lyrics: Joti Singh
“Sachi Pukar”
   Lyrics: Bhagwan Singh Gyanee
   Composition: Ishmeet Narula


Director, Motion Graphics: Joanna Ruckman
Motion Graphics: Brian Williams, Darlene Cruz
“Blood and Ink” Graphic: Nisha Sethi
Stage Manager: Kimi Harvey-Smith
Lighting Design: Jose Maria Francos

Gaffer: Francisco Zuniga

A/V Technician: Ashley Munday
Sound Engineer: Hatuey Hernandez

Box Office: Shaunnah Ray, Jean Pham, Alizarin
Duniya Dance and Drum Company Managing Director: Kimi Harvey-Smith
Duniya Dance and Drum Company Social Media Manager: Kenta Despe

In the early 1900s, Joti Singh’s great-grandfather, Bhagwan Singh Gyanee, lived in San Francisco and was the president of the Ghadar Party, a political party fighting for the independence of India from the British, through militancy (blood) and revolutionary literature (ink). “Ghadar Geet: Blood and Ink” interweaves the political action of the Ghadar Party with present-day activism, linking the party’s strategic diversity with today’s uniting of minority movements- can it say contemporary solidarities between radical justice movements. The performance explores the Ghadar party’s desire to restructure society, not only overthrowing the British but creating a new economic equality as well. Several of the songs (geet) in this piece are originally poems written by Joti Singh’s great-grandfather in 1915 that were distributed in Ghadar publications throughout the world.

Show Order

I: The Turning Point

What made Bhagwan Singh a radical? How did he end up in the United States? This piece explores the conditions in Punjab that prompted Bhagwan Singh Gyanee and others to dream of independence.

II: The Crossing

Wanted dead or alive by the British imperial government, Gyanee fled from India. He evaded capture several times during his journeys through Asia, Central America and North America.

III: Dot or Feather

Facing racism on two fronts–at home in India and in North America–the Ghadar Party strategized to mobilize citizens of Hindustan (the name for much of South Asia at that time).


What is the legacy of colonialism and how do we experience it today in the United States. This section calls on South Asians today to rise up, to look beyond material wealth, to reject the model minority myth and work towards liberation of all people.

IV: Jaldi Karo

Inspired by Bhagwan Singh Gyanee's poem of the same name, Jaldi Karo recontextualizes Bhangra movements and rhythms to tell this revolutionary story. West African movement vocabulary intertwines with that of Singh's first dance language: Punjabi movement. Through embodying these languages in conversation Singh creates a dance language that speaks to this story of revolution. It is a revolution that continues to unite people across religious, caste, and economic boundaries, an international movement that sought solidarity with all oppressed people across the world. The choreography aims to honor that spirit of unity and resistance.

Gyanee was forced to run from place to place, away from British counter-intelligence, and change his name and identity several times. The dancers embody this struggle: changing rhythms, tempos, dance styles. The music recontextualizes a traditionally joyful Bhangra rhythm to bring forth feelings of urgency, militancy, revolutionary movement.

V: Firangi

The lyrics describe how the European powers are going all over the world trying to take over other countries. Indians are characterized as brave soldiers put on the front lines by the British, who stay in the background devising schemes and looting India of all its riches. Gyanee’s poet name was Pritam, and at the end of this poem he tells all the brave Indians to rise up against the British and that he will be there with them.

VI: Harbans Kaur

We all have different parts to play in the revolution. In this section, with an original song composed by Ishmeet Narula, we pay homage to the women, to Singh's great-grandmother, who stayed back in India to take care of the home and family. She was often harassed by British counter-intelligence who wanted to know the whereabouts of her husband.

VII: Inquilab Zindabad

Long Live the Revolution. This section was choreographed by Joti Singh and dancers Angel Adedokun, Stephanie Chen, Jessica Pfisterer. The lyrics were written by Singh, and a few lines are direct translations of Gyanee's poetry. The costumes in this piece were designed and printed by Joanna Ruckman.

VIII: brown man's burden

At the dawn of World War One, Ghadar Party members sought alliances with Germany, to fight their common enemy: Great Britain. Germany supplied Ghadarites with resources to ship arms to India and various locations in the diaspora to foment an uprising. British intelligence intercepted communications - as a result several German officials and Ghadar Party members were arrested and tried in what was known as the Hindu-German Conspiracy Trial. Singh's great grandfather was sentenced to 18 months at McNeill Island Federal Penitentiary- one of the longest sentences. The trial ended in a dramatic climax.

IX: The American Dream

Where is it? Does it still exist? What would our Freedom Fighters think of what has become of the world today?

X: Sachi Pukar

The closing song comes from Gyanee's poem of the same name, and is composed by Ishmeet Narula. It is a call to action that we hope will stay with you well after the show.

Rough translation of some of the lyrics:
Everybody is restless and in trouble
Why don’t you wake up?

Your clothes are torn, body is weak
Why don’t you have courage and strength?

The whole world is calling us thieves
Why aren’t your children (Indians) living comfortably?

You’re not left with any of that beauty that you used to have
Not the honor and nice appearance you had
Why don’t you have that anymore?

Get up brave lions!

Special thanks: Balwinder and Darshan Singh, S.P. Singh, Samip Mallick, Nadhi Thekkek, Preeti Ramaprasad, Barnali Ghosh, Anirvan Chatterjee, Prabhjot Singh, Vanessa Sanchez, Riddhi Kapoor, Deepika Tamuly

Live Audio Description (Sunday, 3/23): Ian Buchanan of Gravity Access Services is generously supported by the Ford Foundation

ASL Interpretation (Saturday, 3/22): Harshada Kadu and Debby Kajiyama

T-Shirt Design: Joanna Ruckman

T-Shirt Printing: Distant Klash / Kelly Kusumoto

EastSide Arts Alliance/Live Arts in Resistance thanks the many members of our community who have nurtured this work. Special thanks to our wonderful LAIR volunteers including Jean Pham and Alizarin. We are so very grateful to the artists who have brought us this deeply inspiring work; and to Debby Kajiyama of NAKA Dance Theater, Jose Maria Francos and David Hartenstein for their endless technical and moral support, and to the members of the EastSide Arts Alliance collective who provide continual support, feedback and inspiration for this series and the performing arts in general at the EastSide Cultural Center. 

 

EastSide Arts Alliance relies on the support of our community to continue our programs. Now in our 25th anniversary year, please sign up to be a Roots Supporter and to receive our monthly e-newsletter at www.eastsideartsalliance.org

Thank you to our funders!

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