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PALO ALTO UNIFIED SCHOOL DISTRICT
Notice is hereby Given that proposals will be received by the Palo Alto UniďŹ ed School District for bid package: Contract Name: Interactive White Board & Classroom Audio system Contract No. WBS-2 & WBS-3 DESCRIPTION OF THE WORK: The work includes, but is not limited to: The supply and installation of Interactive White Boards and Classroom Audio Systems at four elementary schools and one middle school. Work includes the removal and disposal of older existing Interactive White Board, the removal and replacement of standard white boards, Installation/ ModiďŹ cation of tack able wall surface. Patch and paint wall surfaces as may be necessary. Bidding documents contain the full description of the work. There will be a mandatory pre-bid conference and site visit at 1:00 p.m. on October 27, 2010 starting at the District Facilities OfďŹ ce located at 25 Churchill Building D. Palo Alto, California Bid Submission: Proposals must be received at the District Facilities OfďŹ ce building D, by 10:00 a.m. for WBS-2 and 10:30 a.m. for WBS-3 on November 15, 2010. Bonding required for this project is as follows: Bid Bond 10% of the total bid, Performance Bond to be 10%, Payment Bond is to be 10%. PREVAILING WAGE LAWS: The successful Bidder must comply with all prevailing wage laws applicable to the Project, and related requirements contained in the Contract Documents. Palo Alto UniďŹ ed School District will maintain a Labor Compliance Program (LCP) for the duration of this project. In bidding this project, the contractor warrants he/she is aware and will follow the Public Works Chapter of the California Labor Code comprised of labor code sections 1720 – 1861. A copy of the Districts LCP is available for review at 25 Churchill Avenue, Building D, Palo Alto, CA 94306. 1. A pre-job conference shall be conducted with the contractor or subcontractors to discuss federal and state labor law requirements applicable to the contract. 2. Project contractors and subcontracts shall maintain and furnish to the District, at a designated time, a certiďŹ ed copy of each payroll with a statement of compliance signed under penalty of perjury. 3. The District shall review and, if appropriate, audit payroll records to verify compliance with the Public Works Chapter of the Labor Code. 4. The District shall withhold contract payments if payroll records are delinquent or inadequate. 5. The District shall withhold contract payments as described in the LCP, including applicable penalties when the District and Labor Commissioner establish that underpayment of other violations has occurred. Bidders may examine Bidding Documents at Facilities OfďŹ ce, Building “Dâ€?. Bidders may view the Plans and SpeciďŹ cations at the Districts Facilities ofďŹ ce. All questions can be addressed to: Palo Alto UniďŹ ed School District 25 Churchill Avenue, Building D Palo Alto, CA 94306-1099 Attn: Alex Morrison Phone: (650) 329-3927 Fax: (650) 327-3588
Arts & Entertainment
Dance
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Bali steps with exquisitely precise fluidity, every muscle taut, each finger’s controlled tremolo expressive of deep emotion. Indian dancer Anjana Dasu’s face conveys delight, hesitation, surprise, anticipation, joy and hope by turns as her body bends and stretches in graceful stylized movements. When the two dancers finally lock eyes, you feel you could truly be witnessing the climactic meeting of Rama and Sita, one of the peak moments in a religious and mythological tradition shared by the majority of both Indians and Balinese. The collaboration between the Abhinaya Dance Group of San Jose, founded by Mythili Kumar in 1980, and the Gamelan Sekar Jaya (which marked its 30th anniversary last year), is a tribute to the power of dancing traditions that have not only survived the transfer to America but are thriving, changing and gaining strength from one another. Abhinaya is roughly translated as “the art of expression.� In the South Indian classical style known as bharatanatyam, dancers are trained to reflect a sometimes mesmerizing gamut of emotions as the hands perform complex mudras or gestures, each with a specific meaning. The Balinese style, by contrast, is more abstract and more subtle, says Kumar, without the strongly stylized mime element for which bharatanatyam is famous. Mythili Kumar was among the first of the intrepid Indian classical dancers to establish their art in the Bay Area. She began performing and teaching 30 years ago, after studying from the age of 8 in Bombay (Mumbai) and then Hyderabad. After gaining a master’s degree in nutrition there, she came to the U.S. on a Rotary scholarship, later studying biochemistry at U.C. Davis where she met her husband. A computer scientist, who also sang in the Indian classical tradition, B.
Kumar helped provide the musical underpinnings for Mythili’s solo dance recitals and later for their two daughters’ solo debuts. Earlier this year, Abhinaya staged a collaboration with a taiko drumming group, showing how far this art form has come in its willingness to experiment. “Bharatanatyam is not stagnant at all; it’s completely evolving, in Europe, India and here,� said Kumar, who regularly brings master dancers and musicians from India to teach her students and perform as guest stars. An Oct. 24 Palo Alto performance with Gamelan Sekar Jaya will celebrate the strong bond between two cultures that take the epic poems “Ramayana� and “Mahabharata� as their central myths. Many members of the audience will know that the meeting of Sita and Rama is not just love at first sight, but a reflection of the eternal bonding of their earlier incarnation, the god Vishnu and goddess Lakshmi. Though the story was first written about 2,400 years ago, Sita is a distinctly modern princess. “Swayambara,� one of the dances to be performed by the ensemble, means “choosing a relationship by oneself,� Kumar said. The moment when Sita chooses Rama is still powerful, especially in a culture where most Hindu marriages are arranged by the families to this day. Many of the characters in the story are male — Sita’s father and her suitors, for example — but they are danced with power and assurance by young Indian-American women, most of whom have demanding careers to manage as well as their dancing commitments. Rasika Kumar, for example, is both choreographer and principal dancer at age 27. The older daughter of Mythili Kumar, she has a master’s degree from M.I.T., and works as a computer scientist at Google. Taught classical dance from the earliest age by her mother, Rasika has an impressive command of the language
CITY OF PALO ALTO NOTICE OF PUBLIC HEARING NOTICE IS HEREBY GIVEN, PURSUANT TO Government Code Section 55022.3, that the City Council will hold a public hearing on Monday, November 8, 2010, at the hour of 7:00 p.m. or as soon thereafter as the matter may be heard in the Council Chambers, City Hall, 250 Hamilton Avenue, Palo Alto, California. to consider adoption of the 2009 Edition Of The International Fire Code, As Amended By The State of California, Also Known As The 2010 Edition of the California Fire Code, With Local Amendments And Related Findings (Chapter 15 of the Palo Alto Municipal Code). Copies of the of the 2009 International Fire Code and the 2010 California Fire Code are on ďŹ le in the City Clerk‘s OfďŹ ce and open to public inspection during normal business hours. Additional copies of the 2009 International Fire Code, the 2010 California Fire Code and local amendments are on ďŹ le in the Fire Department and open to public inspection during normal business hours. This notice is being published in accordance with Government Code Section 6066. DONNA J. GRIDER, MMC City Clerk
of bharatanatyam. “Expression is a huge part of what it means to be a bharatanatyam dancer. It’s not just facial expressions, but posture, demeanor, gestures, how all contribute. The audiences should feel all the shades of emotion without it being obvious or melodramatic. “ As the Demon King Ravana, Rasika Kumar conveys both the emotion and the comedy of a powerful, disdainful character who considers defeat beneath him. In order to portray such legendary characters, Kumar said, “You have to soul search. You have to delve into the character and discover how you would portray that, then control every muscle in your body and all your facial muscles to sustain it.� It is a climactic moment when Ravana fails in his attempt to lift a massive bow that once belonged to the Lord Siva, and crumbles — while struggling not to show his disappointment in failing to win the Princess Sita. Part of Abhinaya’s goal is to keep such stories alive for the Indian community in the West. In India, the dances are performed for audiences who know the stories intimately, but with modern Bay Area audiences, this familiarity with culture and traditions cannot be assumed. The conventions of a stylized art form are not always understood either, so people who expect instant entertainment may find they need to work harder to understand the complexities. One way to understand them is to learn to perform the dance. It takes enormous discipline and hard work to master bharatanatyam, which in India involves countless hours of immersion in every aspect of the art. In Mythili Kumar’s studio, most students take classes only once or twice a week. But the benefits go way beyond the dance itself, Rasika said. “It’s not just the dance, it’s a culture you’re learning when you come to a dance class. That’s awesome, because when you’re exposed like this it’ll become a part of your identity.� N What: The Abhinaya Dance Company of San Jose marks its 30th anniversary with a performance with the Balinese music and dance ensemble Gamelan Sekar Jaya. When: 4 p.m. Sunday, Oct. 24 Where: Oshman Family Jewish Community Center, 3921 Fabian Way, Palo Alto Cost: Tickets are $20 general and $15 for students and seniors. Info: Go to abhinaya.org or call 408871-5959.
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