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Music & Dance of Bali Gamelan Galak Tika: Music & Dance of Bali Friday, March 5, 2010 at 10AM Bowker Auditorium Study Guides for Teachers are also available on our website at www.fineartscenter.com - select For School Audiences under Education, then select Resource Room. Please fill out our online surveys at http://www.umass.edu/fac/centerwide/school/index.html Thank you! 1 Welcome Information for Teachers and Parents Our goal is to offer high quality performances for young people in a safe and comfortable setting. Please help us by following the below guidelines. Please arrive early. You should arrive at the theatre 30 minutes prior to the noted start time. Allow for travel time, parking, being seated and bathroom visits. It is important that we begin our performances on time so that all schools can meet their lunch and/or dismissal times. Be sure to check the location of the performance when making your bus reservations. Performances take place in the Fine Arts Center Concert Hall or Bowker Auditorium in Stockbridge Hall. Please see the map at the end of this guide for driving and drop-off instructions. Upon arrival your group will be greeted by an usher either at your bus or in the lobby. W e do not issue individual tickets for performances. Your usher will direct your group to their reserved seats. Both theaters are accessible for Mobility Impaired members. An infrared listening system is available in both theaters. Access parking is available adjacent to the theaters. An Access permit should be clearly visible in the parked vehicle. To better meet your needs, please inform us of any special seating requirements one month prior to the performance by calling 413-545-2116. For the comfort of all our seated patrons, we request that backpacks, lunches and other gear be left on the bus. Also, please remove all hats when seated in the theater. Food, drinks other than water, smoking, candy and gum are all not allowed in the theater. The use of cell phones, portable music players, cameras or any other recording device, including non-flash photography and cell phone cameras, is strictly prohibited. PLEASE BE SURE TO TURN OFF ALL CELL PHONES. Any teasing, disruptive and rude behavior by students towards each other or to others seated close-by during a performance is not acceptable. Teachers and chaperones will be held responsible for any such incident reported to the Fine Arts Center staff. All complaints received will be forwarded to the schools involved. Repeated offences from the same school/s may result in cancellation of future reservations for shows. 1 Theatre Etiquette Please read and review the following information with your students. W E expect everyone to be a good audience member. Good audience members… … … .. Are good listeners ñ Keep their hands and feet to themselves ñ Do not talk or whisper during the performance ñ Do not eat gum, candy, food or drink in the theater ñ Turn off all cell phones and do not use portable music players, cameras or any other recording Devices ñ Stay in their seats during the performance ñ Do not disturb their neighbors or other schools in attendance “Theatre is not theatre without an audience.” Table of Contents Live theatre differs from watching television or movies. Remember 1. Theatre Etiquette … … .. 2 2. The Artists … … … … … .. 3 that performers can see and hear you. As an audience member you are 3. The Art Form… … … … .. 5 a vital contributor to the performance experience that you and those 4. Curriculum Frameworks . 7 around you will have. How you behave and how you react to the 5. Learning Activities … … . 11 show will affect the artists’ performances. That is why each perform- 6. Resources … … … … … … 12 ance is a unique experience, it will never be repeated exactly the same. 7. Vocabulary… … … … … ...13 8. Evacuation Map … … … ..14 Talking to your neighbor, sending text messages, and other similar 9. Parking & Directions … ..16 behaviors are distracting to the rest of the audience and to the artists. 10. Campus Map … … … … ...17 Please be respectful of the artists on stage performing for you by lis- tening quietly. Of course, it is appropriate to react to what you are seeing – some things may make you laugh, gasp out loud, or you may be asked to respond by answering questions from the performers, singing along or clapping. Most of all, it is important to be present “in the moment” by being attentive and enjoy the performance. And of course – show your enthusiastic appreciation by applause at the end of the performance! 2 ¨ Artists EVAN ZIPORYN Artistic Director Gamelan Galak Tika Composer/clarinetist Evan Ziporyn is a founding member of the Bang on a Can All-stars (Musical America‘s 2005 Ensemble of the Year), with whom he has toured the globe since 1992. He redefined the clarinet with his 2001 solo CD, —This Is Not A Clarinet,“ which made numerous Top Ten lists across America. He recorded the definitive version of Steve Reich‘s solo clarinet New York Counterpoint for Nonesuch and, as a member of the Steve Reich Ensemble, the Grammy Award winning Music for 18 Musicians. His music provided the soundtrack for the PBS film "Tail-enders", and his playing was featured in Tan Dun's soundtrack for the film "Fallen." He has also recorded with Paul Simon, Matthew Shipp, and Ethel. He is Founder and Artistic Director of Boston‘s Gamelan Galak Tika, a group dedicated to new music for Balinese gamelan, which he has studied for almost 30 years. Evan received a Fulbright in 1987, and in 1990 began composing an ongoing series of groundbreaking cross-cultural works, combining gamelan with saxophones, guitars, electronics, Chinese and African instruments, and full orchestra. His fusion opera, "Shadow Bang," a collaboration with master Balinese dalang W ayan W ija, was the centerpiece of the 2006 Amsterdam GrachtenFest; his works have also been featured at festivals in London, New York, and the Sydney Olympics. His work as a composer and performer led to his receiving the 2007 USArtists W alker Award and the 2004 American Academy of Arts and Letters Goddard Lieberson Fellowship. His music has been commissioned and performed by the Kronos Quartet, W u Man, the American Composers Orchestra, the American Repertory Theater, Maya Beiser, So Percussion, and the Boston Modern Orchestra Project, with whom he recorded his 2006 orchestral CD, "Frog's Eye." Recordings of his works have been released on Cantaloupe, Sony Classical, New Albion, New W orld, Koch, Innova, and CRI. He has collaborated with some of the worlds most creative and vital living musicians, including Brian Eno, Ornette Coleman, Thurston Moore, Meredith Monk, Iva Bittova, Philip Glass, Terry Riley, Don Byron, Louis Andriessen, Cecil Taylor, Henry Threadgill, W u Man, W ayan W ija, and Kyaw Kyaw Naing. He is Kenan Sahin Distinguished Professor at the Massachusetts Institute of Technology, and has two children, Leo (15) and Ava (8). His most current work is an opera based on the life of Colin McPhee. 3 CHRISTINE SOUTHW ORTH Co-founder Ensemble Robot In her work with robots and automated music systems as co- founder and Director of Ensemble Robot, Christine is making groundbreaking music based on the interaction between science, technology and creativity. Employing sounds from man and nature, from Van de Graaff Generator to honeybees, Balinese gamelan to seizmic data from volcanos, Southworth is introducing a brand new genre of music to Boston, born out of the area‘s complex community of scientists and artists. Her 2005 & 2007 performances of Zap! overfilled the Boston Museum of Science‘s Theater of Electricity with energized crowds of students, professors, artists, children, and adults. The Boston Phoenix called the show —truly electrifying,“ describing that —Ever since Bob Dylan, ”going electric‘ has had many connotations, but this was something different: though Zap! utilized the talents of a flutist, two keyboardists, a cellist, a guitarist, a bassist, a drummer, a vocalist, a double-helix-shaped robotic xylophone, sound engineers, and computer programmers, the centerpiece of Southworth‘s performance was electricity itself, as millions of volts buzzed, fizzled, and sparked in deafening cracks that punctuated her music.“ (W ill Spitz, Boston Phoenix) Southworth received a B.S. from MIT in 2002 in mathematics and music and M.A. in Computer Music & Multi- media Composition from Brown University in 2006. She composes for W estern ensembles, Balinese gamelan, and mixed ensembles of gamelan, western instruments, electronics, and robots. Her compositions draw from her interests in modern American and European music, jazz, Balinese music, and rock and roll, and have received awards and recognition from the LEF Foundation, American Composers Forum, Meet the Composer, New England Foundation for the Arts (NEFA), the MIT Eloranta Fellowship, and Bang on a Can. Her music has been played throughout the U.S., Europe, and Indonesia by ensembles including Gamelan Galak Tika, the Calder Quartet, and Ensemble Robot. Her music is available on Airplane Ears recordings Zap! (2008) and Gamelan Galak Tika: Bronze Age Space Age (2009) Christine is currently writing a new piece entitled Concerning the Doodle for the Bang on a Can All-Stars, commissioned by the Bang on a Can People's Commissioning Fund and accompanied by an animated film by Amy Lovera, Christina Spangler, and Jessica Gidal, and a piece for Kronos Quartet and Gamelan Galak Tika's new electronic gamelan (designed by Alex Rigopulos of Harmonix Music.) I M ADÉ BANDEM M aster Dancer I Madé Bandem is widely regarded as the foremost living expert on traditional Balinese dance and drama; his groundbreaking book, —Balinese Dance in Transition,“ was the first extensive study of the art form to be published in the west.
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