RAGAMALA DANCE COMPANY Tuesday, March 5, 2019

Welcome Home! Join us for the 2018-19 Season as we explore the themes of home, belonging RAGAMALA DANCE and finding connections to one another through the arts. As we journey through COMPANY this season of educational programming, Tuesday, March 5, 2019 take a moment to discover what home means to you. 12:30 p.m.

Marise Evadne Gustafson Fund within the Community Foundation for the Fox Valley Region, Inc.

A note from our education series partner—Bemis Company

“The series provides a rich learning experience to thousands of students each year. We hope that it enriches the growth of our young people and our community by broadening our perspectives and increasing our passion for the arts.” -Tim Fliss, SVP and Chief Human Resources Officer, Bemis Company When entering the Fox Cities Performing Arts Be prepared to arrive early – You should plan on arriving to the Center, remember to show respect for others by Center 30 minutes before the show. Allow for travel time, waiting your turn and speaking quietly. parking and trips to the restroom.

Remember that during the performance the live Security – All bags entering the building are subject to search performers can see and hear you. Even the and prohibited items will not be allowed. Teachers and smallest sounds can be heard throughout the chaperones are discouraged from bringing bags, however, theater, so it is best to remain quiet so everyone necessary backpacks, or bags may be searched and tagged can enjoy the performance. before being allowed in the theater. We ask that students leave their backpacks at school for Bemis Company Education Applause is the best way to express how much Series performances, however if students do bring them, they you enjoyed the performance! are subject to search and will need to be checked at the registration table in the lobby upon entry. Important things to remember: • Gum, beverages (including water bottles) Know your needs – To best serve the needs of you and your and food are not allowed in the theater for students, please indicate in advance if you have individuals who Bemis Company Education Series require special services or seating needs upon making your performances. reservation. • Cell phones should be turned off and stowed. Seating – Seating is based on a number of factors including • Note that recording or taking photos in the when the reservation is made, size of group, students’ ages and theater is strictly prohibited; however, photos any special seating needs. may be taken in the lobby. It’s a long way down – please do not drop • This study guide was created for you by the Education Team items off balconies. as a part of The Boldt Company Beyond the Stage Education program. To download copies of this study guide or to find additional resources for this performance or view past study guides please visit: www.foxcitiespac.com.

Questions about your show reservation? Contact our education sales team at [email protected] or call (920) 730-3726. ENJOY THE SHOW! 3 To assist you in your planning, the key themes and the Wisconsin Academic Standards that are most likely to connect with this performance are listed below.

KEY THEMES • Culture • Folk dance • India • World music

WISCONSIN ACADEMIC STANDARDS

ART AND DESIGN EDUCATION • A.8.6: Students will identify ways in which art is basic to thinking and communicating about the world. • B.8.1: Students will explore how artists and cultures throughout history have used art to communicated ideas and to develop functions, structures and designs • B.8.2: Recognize ways in which form, function, meaning and expressive qualities of art and design change from culture to culture and artist to artist.

DANCE • CRITICAL THINKING: Students will develop critical and creative thinking through their dance experience. • COMMUNICATION AND EXPRESSION: Students will understand the expressive power of dance as a means of communication and understand that it is subject to multiple interpretations. • APPRECIATION: Students will reflect upon and appreciate dance as an art form past and present.

MUSIC • CONNECT: Students will relate prior knowledge and personal experience with music to cultural and historical context. • RESPOND: Students will critically interpret intent and meaning in order to evaluate artistic work.

SOCIAL STUDIES • SS.BH3: Students assess the role that human behavior and cultures play in the development of social endeavors. • SS.Geog5: Students will evaluate the relationship between humans and the environment.

THEATER • A.4.1: Attend a live theater performance and discuss the experience: explain what happened in the play; identify and describe the characters; say what they liked and didn’t like; describe the scenery, lighting, and/or costumes.

4 Founded in 1992 and acclaimed as one of the Indian diaspora’s leading dance ensembles, Ragamala Dance Company seamlessly carries the South Indian classical dance form of Bharatanatyam into the 21st century. Informed by the echoing past and the fleeting present, Artistic Directors Ranee and Aparna Ramaswamy’s evocative choreography defies chronology. Ranee and Aparna—mother and daughter— are proteges of the legendary dancer and choreographer Alarmel Valli, known as one of India’s greatest living masters. They embrace the philosophy, spirituality, myth and mysticism of their heritage to create not works of worlds—visceral, universal experiences that use Indian art forms to express their contemporary point of view. They see the classical form as a dynamic, living tradition with vast potential to convey timeless themes and present-day ideas.

Ragamala Dance Company has toured extensively, highlighted by performances at the Kennedy Center in Washington, D.C., American Dance Festival in Durham, NC, Music Center in Los Angeles, CA, Getty Center in Los Angeles, CA, Krannert Center in Urbana, IL, Edinburgh Fringe Festival in Scotland, Bali Arts Festival in Indonesia and National Centre for Performing Arts in Mumbai, India.

Sacred Earth explores the interconnectedness between human emotions and the environments that shape them. Performed with live music, dancers create a sacred space to honor the divinity in the natural world and the sustenance we derive from it. Inspired by the philosophies behind the ephemeral arts of kolam and Warli painting and the Tamil Sangam literature of India, Sacred Earth is a vision of the beautiful, fragile relationship between nature and man.

5 DANCE AROUND THE WORLD

OBJECTIVES • To understand how dance is used to express culture and history • To understand how dance is used to communicate stories, moods and feelings • Work together to research the anthropology of a particular folk dance and to create a presentation about it

MATERIALS • Internet access • Library access or books about dance from different cultures and time periods • CD/tape player (optional) • Audio/visual equipment (optional) • Materials to create props/scenery/costumes for presentations

PREPARATION • Generate a list of various folk dances from different cultures and time periods. You should have one folk dance for each small group of students. Write or print the name of each dance on a small slip of paper for students to draw. Examples include: • Bhangra • Polka • El Jarabe Tapatio • Contra dance • Cotton-Eyed Joe • Salp’uri • Ribbon dance • Adzohu • Irish jig • Troika • Generate a “Folk Dance Research Guide.” Include the following questions for students to answer about their folk dance: 1. What does this dance look like? (include movements and costume) 2. What music traditionally accompanies this dance? 3. What culture and people traditionally perform this dance? Why? 4. When was this dance developed? 5. What was occurring in this place and culture during that time period? 6. Does this dance tell a story? If so, what? 7. What else about the history and/or culture does this dance express?

ACTIVITY Students will be split into groups and each group will present on a different dance. • During their presentation, students can perform the dance, show the dance on a video, play the music that accompanies the dance or draw or act out what was happening in history that may have inspired the dance. • All presentations should provide the historical and cultural context for the dance and answer the questions in the Folk Dance Research Guide. • Each student should have a role in the final presentation.

6 EVALUATION • Student participation and engagement • An increased understanding and appreciation of different cultures • An increased understanding of how dance expresses history, tells a story and expresses moods and feelings • Students’ working together to research and prepare presentations

CLOSING DISCUSSION • Have students watching the presentations have a piece of paper out in front of them. They should write down one thing they learned from the presentation and one question they still have regarding the dance/culture/etc. • Encourage students to ask the group their question when the presentation is completed.

Source: www.sedl.org/afterschool/lessonplans/index.cgi?show_record=37

KOLAM AND WARLI PAINTING

KOLAM This Hindu belief, geometric designs created out of rice flour, is placed in the entrance of houses in order to invite Goddess Lakshmi into the household and drives away unwanted evil spirits. Different kolams are attributed to various deities. Kolams are applied daily to the houses sometimes applied with rice paste (rice flour and water) so the design doesn’t rub off as easily. Rice flour is used for these designs because it provides food for ants and other small insects.

WARLI PAINTING This is an Indian art form dating back to 3000 B.C. These paintings are intricate geometric patterns of everyday activities. This art form also uses rice paste and is applied to the traditional red ochre background by a bitten bamboo stick. The goal of the paintings are to make the viewer think about being environmentally conscious and finding the joy in the simple things. These paintings want us to believe in harmony between nature and man.

Sources: www.indian-heritage.org/alangaram/kolams/kolams.htm www.craftsvilla.com/blog/warli-art-history-maharashtra/

7 WHAT IS CULTURE

OBJECTIVES • Students will examine the complexity of culture • Students will develop a working definition of culture

MATERIALS AND PREPARATION • Handout Document: Who Am I? (Page 10 and 11) • Chart paper and markers or chalkboard/whiteboard • Create a chart with the following three columns: • Elements of Culture • Cultural Groups • Importance of Culture

INTRODUCTION • On a sheet of paper or the board, create a chart with the following three columns: • Elements of Culture • Cultural Groups • Importance of Culture • Begin the lesson by having students brainstorm a list of words and phrases that come to mind when they hear the word “culture.” • List these responses in the first column under “Elements of Culture.” • Ask the students to identify the cultural groups that exist in their school community and write these responses in the second column. • Complete the chart by asking students to brainstorm the importance of culture and listing their responses in the third column.

EXAMPLE

ELEMENTS OF CULTURAL IMPORTANCE OF CULTURE GROUPS CULTURE Food Mexican American Shared history

Customs Southerner Traditions and celebrations

Language Muslim Sense of belonging

8 ACTIVITY • Distribute the Who Am I? handout. Divide students into small groups and assign each group a scenario to discuss from the handout. • Reconvene the class and have each group report to the class their response to the discussion questions. • After all the scenarios have been discussed, ask students to look back at the chart created. Give them an opportunity to add ideas to chart’s columns from the introduction based upon what they have learned.

CLOSING DISCUSSION • Conduct a class discussion about culture using the following questions as starting points: • Is it possible for someone to belong to several cultural groups? Give some examples. • If someone belongs to several cultural groups, what are some ways that he or she might determine his or her primary culture? What are some instances when a person might feel the need to identify his or her primary culture? • Do you have to be born into a cultural group to understand the culture? Explain. • How is cultural identity taught to people (e.g., family celebrations)? • Is cultural identity “fixed”? If change is possible, what might cause a change? • Are there instances when a discussion on culture or cultural heritage might be difficult for a person? Explain (e.g., being adopted). • Why is it important for people to have the opportunity to define their own cultural identity as opposed to allowing themselves to be labeled by others as belonging to one group or another? • Using the material discussed during this lesson, have students come together to develop a working definition of culture. Post the definition in the classroom (the following definition of culture from the Anti-Defamation league can be used as a guide: The pattern of daily life learned by a group of people. These patterns can be seen in people’s language, art, customs, music, food, holiday celebrations and styles of clothing).

Source: www.adl.org/sites/default/files/documents/assets/pdf/education-outreach/ABSG-Secondary-Sample-Lesson.pdf

RANEE RAMASWAMY Ranee Ramaswamy, the Founder, Artistic Director, Choreographer, and a Principal Dancer in Ragamala, has been a master teacher and performer of Bharatanatyam in the U.S. since 1978. Since her first cross-cultural collaboration with poet Robert Bly in 1991, followed by her founding of Ragamala in 1992, she has been a pioneer in the establishment of non-Western dance traditions in Minneapolis and in pushing the boundaries of Indian classical dance on the global scene. Among her many awards are 14 McKnight Artist Fellowships for Choreography and Interdisciplinary Art, a Bush Fellowship for Choreography, an Artist Exploration Fund grant from Arts International, two Cultural Exchange Fund grants from the Association of Performing Arts Presenters, and the 2011 McKnight Foundation Distinguished Artist Award. Most recently, Ranee was the recipient of a 2012 United States Artists Fellowship, and was nominated by President Barack Obama to serve on the National Council on the Arts.

Source: www.elsieman.org/artist-roster/ragamala-dance-company/ 9 Who am I? Worksheet

10 Who am I? Worksheet

11 Don’t let this experience end with the drop of the curtain. Keep the conversation going with your students and reflect on the performance that you just attended. Here are a few questions to get the conversation started!

• What did you learn about culture from this performance?

• What was your favorite part of the performance?

• Which moment do you remember most from the performance? What was happening?

• How did the dancers use movement to influence location? Did costumes and/or lighting also help with this?

• Describe the music you heard. How did the music add to the mood or help tell the story?

• If you were going to tell a friend about the performance, how would you describe it in one sentence?

12 Look closely at the picture above and answer the following questions in essay form: • What colors are featured in this picture? Are they complimentary colors? Are there a lot of colors used? How do these colors make you feel? • How does the dancer’s movement compliment the pattern on the floor? • What story or idea do you think is being communicated with the audience?

13 After the performance, reflect on what you saw. Did you like it? Why or why not? Have you ever seen a performance like this before? If yes, what were some differences? Would you see a performance like this again?

14 What was a light bulb moment that your students had? What was something new they learned? Was it anyone’s first time to the Center? We would love for you to share!

After your class attends the show we would appreciate photos, letters, posters, cards, etc.—be creative! This is to help us share with our partners what your students are learning.

The Center’s education programs are not possible without the support of our Annual Partners and grant funders. They enjoy learning about the schools and students that participate in the education programs so we would appreciate your help in telling the story.

Items may be sent via email to [email protected] or mailed/dropped off at: Fox Cities Performing Arts Center Attn: Amy Gosz 400 W. College Ave. Appleton, WI 54911

Please note items will not be returned and will be shared with our partners and/or displayed at the Center.

Thank you for your help in sharing the great work you are doing in the classroom with our partners!

15 BOOKS CULTURE “The Kite Runner” by Khaled Hosseini (Afghanistan) “The God of Small Things” by Arundhati Roy (India) “I Am Malala” by Malala Yousafzai (Packistan) DANCE “Appreciating Dance: A Guide to the World’s Liveliest Art” by Harriet Lihs “Indian Classical Dance: Tradition in Transition” by Leela Venkataraman and Avinash Pasricha

WEBSITES Example of a Kolam design www.youtube.com/watch?v=ma6Oz1eOi0o

For more information on Ragamala Dance Company www.ragamaladance.org/

IndUS of Fox Valley www.indusfoxvalley.org

The Kennedy Center Arts Edge-arts integration lessons http://artsedge.Kennedy-center.org

This educator resource guide is created as part of The Boldt Company Beyond the Stage Education Program.

Fox Cities Performing Arts Center Education Department 400 W. College Avenue • Appleton, WI 54911 [email protected] • (920) 730-3726 16