resource guide 2012-2013 Ragamala Dance
Wednesday, April 24, 2013 11 am – 12 Noon Power Center
School Day Performance
UMS Youth Education Program TABLE OF CONTENTS 04 ATTENDING THE PERFORMANCE 05 Being an Audience Member 06 The Details 08 Venue 10 Maps and Directions 1 1 Accessibility 12 THE ARTISTS 13 Ragamala Dance 14 Interview with Founder Ranee Ramaswamy 16 Company Members 20 Cultural context: India 21 Bharatnatyam 22 South Indian Arts Overview 24 Costumes + Make-Up 25 Gestures 26 ON STAGE 27 Sacred Earth 28 Visual Art
30 Bibliography 32 UMS: BE PRESENT 33 About UMS 34 Thank You! ATTENDING THE PERFORMANCE
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4 s . www.um 734.615.0122 www.ums.org 5 734.615.0122 thers our Experience with O sharing it with others. This can include whispering to your whispering to include This can sharing it with others. friends your talking to seat neighbor during the performance, on the bus back to like and didn’t liked about what you when about the performance family your school, or telling home. get you part of the performance, please do not boo or shout anything do not please the performance, part of creating in to went work hard of a lot Remember, derogatory. courage great and it takes watching are you the performance his or her art with you. share to the performer for Share y performance. Any enthusiasm you might have for the for have might you enthusiasm Any performance. if So, better. perform the performers may make performance it! Maybe know they sure seeing make are what you like you when However, up and cheer. or stand and holler, hoot clap, the performance, of enjoyment personal own your expressing will be able members audience fellow your whether consider will they happening on stage or whether see or hear what’s to are you the sound and movement of because miss something a until wait best to often it’s consideration, this making. Given or sound, movement, pause of (a pause in the performance the audience to bow the performer(s) until wait or to energy) with them. enthusiasm your share to • An important part of any performing arts experience is arts experience performing any part of • An important • Out of respect for the performer(s), if you do not like some like do not if you the performer(s), for respect • Out of • As an audience member, you are also part of the also part of are you member, • As an audience ther ther
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of the performance space with other audience members. So, members. audience with other space the performance of and the leg rest arm sharing the are you whether consider seat neighbors and your you that both in such a way room comfortable. are will prevent your seat neighbors or other audience members audience or other seat neighbors your will prevent movie or in concerts rock in large hearing. Often from talk can that you up so loud the sound is turned theaters, However, experience. listening anyone’s disturb and not the sound experiences, theater and live concerts in other could noise and the smallest (or just quiet), is unamplified line of miss an important seat neighbor to your cause cell (from or lights Movements phrase. or musical dialogue attention neighbors’ audience your may also distract phones) miss important them to the stage, again, causing from away performance! in live replay no instant action...and there’s Audience Members Audience Sharing the Perf are identifiable by their big name badges. They are there are big name badges. They by their identifiable are have and if you as possible be as comfortable help you to or go, to about where the performance, a question (about feel ask them, and don’t please is), about what something so. in doing or hesitant embarrassed, shy, most grand and beautiful buildings you might ever visit, so be ever might you and beautiful buildings most grand group’s your an usher to follow you while around look to sure seat. in your are you seats or once Your Surroundings Your • At a performance, you are sharing the physical components components sharing the physical are you a performance, • At • Consider whether any talking you do during the performance do during the performance talking you any whether • Consider • UMS Ushers will be stationed throughout the building and the building will be stationed throughout • UMS Ushers • Concert halls and performing arts venues are some of the some of are arts venues and performing halls • Concert
A “concert of the concept address to it is important arts event, performing a live for students When preparing also help can etiquette concert of a discussion behavior, disruptive prevent helping Aside from etiquette.” are considerations The following experience. performance live unique and exciting the enjoy fully students members. all audience for an ideal environment promote to listed G AN BEIN f The Pre Attending Attending The Preformance THE DETAILS
VENUE
Power Center, 121 Fletcher St., Ann Arbor, MI 48109
TICKETS
We do not use paper tickets for School Day Performances. We hold school reservations at the door and seat groups upon arrival.
ARRIVAL TIME
Please arrive at the Power Center between 10:30-10:50am to allow you time to get seated and comfortable before the show starts.
SEATING & USHERS
When you arrive at the auditorium, tell the Head Usher at the door the name of your school group and he/she will have ushers escort you to your block of seats. All UMS School Day Performance ushers wear large, blue laminated badges with their names in white letters.
BEFORE THE START
Please allow the usher to seat individuals in your group in the order that they arrive in the auditorium. Once everyone is seated you may then rearrange yourselves and escort students to the bathrooms before the performance starts. PLEASE spread the adults throughout the group of students.
DURING THE PERFORMANCE
At the start of the performance, the lights wIll dim and an onstage UMS staff member will welcome you to the performance and provide important logistical information. If you have any questions, concerns, or complaints (for instance, about your comfort or the behavior of surrounding groups) please IMMEDIATELY report the situation to an usher or staff member in the lobby.
PERFORMANCE LENGTH
One hour with no intermission.
6 734.615.0122 www.ums.org 734.615.0122 www.ums.org 7 734.615.0122 CK ORMANCE of volunteers staff School Day Performances and will be ready to help or direct lost and to help or direct ready and will be Performances Day staff School volunteers of feedback from students, so after the performance please send us any letters, artwork, or academic or artwork, letters, send us any please the performance so after students, from feedback OOD group is released, please exit the performance hall through the same door you entered. A UMS entered. the same door you hall through the performance exit please is released, group your nce orma TIENCE or drink is allowed in the theater. or drink is allowed food in your group loses an item at the performance, contact the UMS Youth Education Program Program Education the UMS Youth contact at the performance, an item loses group someone in your NO F No PA seats and buses into from people 1,000 get aim to we in 20 minutes patience; your for in advance Thank you that happen. to make as possible as efficiently will work ITEMS LOST If the item. help recover to attempt to ([email protected]) SENDING FEEDBA LOVE We 881 N. Program, Education UMS Youth the performance: to in response create students that your papers MI 48109-1011. Ann Arbor, Ave., University P BUS PICK UP When bus. your to you to direct staff member will be outside Performance School Day STUDENTS LOST A small army students. wandering ERF AFTER THE P each release to the stage and come member will A UMS staff seated. remain ends, When the performance seats. your of the location based on individually group f The Pre Attending Attending The Preformance VENUE: POWER CENTER
8 734.615.0122 www.ums.org 734.615.0122 www.ums.org 9 734.615.0122
The Power Center for the Performing Arts grew out of a realization that the University that a realization out of Arts grew the Performing for Center The Power arts. Hill the performing for theater proscenium-stage Michigan had no adequate of and the most productions for limited and technically massive too was Auditorium this supply to built was Center The Power small. too was Theatre Mendelssohn Lydia missing link in design and seating capacity. make wished to with their son Philip, together Power, and Sadye In 1963, Eugene supporting in interested immediately were The Powers the University. a major gift to and federal that state realizing theater, a new build to desire the University’s of construction for the financial support provide to unlikely were governments a theater. contradictory the seemingly achieved Center Opening in 1971, the Power intimacy. of level with a unique space a soaring interior providing of combination the orchestra from leading staircases spiral large two include features Architectural The glass panels on the exterior. mirrored known and the well balcony the to level tapestries: Modern hand-woven two features presently Center the Power of lobby The Power Picasso. Pablo by (Arabesque) and Volutes Lichtenstein Roy by Tapestry 1,300 people. approximately seats Center nce orma
ct Number: a WER CENTER ont y Emergenc 121 Fletcher St 121 Fletcher MI 48109 Ann Arbor, C PO reach this number to Call ora UMS staff person member at theaudience performance. 734.764.2538 734.764.2538 f The Pre Attending Attending The Preformance MAPS +
DIRECTIONS 121 Fletcher St., Ann Arbor, 48109
Bussing/Transportation Directions
Ragamala Dance Drop-Off Zone is on the East side of Fletcher from Huron to University. If no space School Day is available in the Drop-Off Zone, circle the block (see above) until space becomes Performance available. Please arrive between 10:30am-10:50am. Wednesday, April 24, 2013 11:00am-12:00pm Power Center and Mall Bus Parking driving directions on the next page. Power Center The best visitor parking: Palmer Dr. Parking Structure behind Power Center: $1.10/hr
o rg Need Day-of Help? Call Omari on his cell phone: 734-730-9202.
10 s . www.um 734.615.0122 Attending The Preformance MAPS + DIRECTIONS
From I-94: From US-23 South Take State Street Exit 177. Head north. Continue on State Street Take US-23 North to the Washtenaw Exit and go West (towards approximately 2 miles to the main campus area. From State, Ann Arbor) on Washtenaw. Take Washtenaw to Observatory and turn right on N. University. From N. University, turn Left onto turn left. Observatory becomes N. University. From N. University, Fletcher, where you can drop-off your students on the right. turn Right onto Fletcher, where you can drop your students off on the right, as shown on the map. From US-23 North Take US-23 South to M-14 West. Take Downtown Ann Arbor exit From I-96 East (& US-23) (exit 3) which puts you on Main Street. From Main Street, turn Take I-96 East to US-23 South. Follow the directions from left on Huron St. Turn right on State. Turn Left on N. University. US-23 South. From N. University, turn Left onto Fletcher, where you can drop your students off on the right, as shown on the map. From I-96 West (& M-14) Take I-96 to M-14 West. Take Downtown Ann Arbor exit (exit 3) which puts you on Main Street. From Main Street, turn left on Huron St. Turn right on State. Turn Left on N. University. From N. University, turn Left onto Fletcher, where you can drop your students off on the right, as shown on the map.
Accessibility
The following services are available WHEELCHAIR ACCESSIBILITY to audience members: The Power Center is wheelchair accessible and has 12 seats for • Wheelchair, companion, or other special seating audience members with special needs. • Courtesy wheelchairs • Hearing Impaired Support Systems BATHROOMS ADA Compliant toilets are available in the green room (east corner) PARKING of the Power Center for both men and women. There is handicapped parking very close to the Power Center on Fletcher Street and in the parking structure behind the Power ENTRY Center on Palmer Drive. The first three levels of the Palmer The front doors are not powered; however, there will be an Drive structure have 5 parking spots on each level next to each usher at that door opening it for all patrons. elevator. There are a total of 15 parking spaces in the garage. www.um s . o rg 734.615.0122
11 THE ARTISTS
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12 More from Ranee and Aparna! http://www.youtube.com/watch?feature=player_embedded&v=Eclm1u5gKkM s . www.um 734.615.0122 The Artist Ragamala Dance
Ragamala Dance is a dance company of international acclaim based in Minneapolis, Minn. that explores the full dimensions of Bharatnatyam dance, the ancient classical Indian dance form. They infuse their performances of the ancient art form with contemporary ideas and social themes. The company includes dancers and musicians and they often collaborate with composers, choreographers, poets, playwrights, and artists. The name ‘Ragamala’ is derived from the terms “raga” meaning tune and “mala” meaning garland.
Our work re-frames the cultural specificity of Bharatanatyam, bringing the eloquence of the form to universal themes in order to move beyond the personal and spark a global conversation. It is this focus that allows our work to transcend barriers of culture, ethnicity, nationality and geography and speak to a broad audience.
With each project, we aim to find a new way to answer the question of what it means to be a 21st century American choreographer working within a classical, Indian tradition. In an era in which innovation is so often seen as a rejection of the past, we are committed to the philosophy that it is vital to retain roots in our collective history while reaching into the future.
—Ranee Ramaswamy and Aparna Ramaswamy
Co-Artistic Directors www.um s . o rg 734.615.0122
13 734.615.0122 14 www.ums.org Ranee Ramasw WITH F INTER The Artist the expression is. the morebea involved thear experience. Themo about theentire about gesture, it’s Bharatnat y VIEW ounder am isnot utifl tist
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amy The Artist
In your opinion, what is Ragamala? It is an American dance company that shows old forms of dance in new ways. It uses stories from mythology, philosophy, even using the idea of Japanese Guardians interacting with Hindu Gods. Ragamala takes ideas and puts it on a contemporary stage.
How do you live up to your mission statement, especially the phrase: “[being] committed to the philosophy that it is vital to retain roots in our collective history while reaching into the future”? One-hundred percent, we never breakaway from that, no matter what. The art form of Warli painting is depicted without changing paintings. Kolams are treated the same way, as well. The performance is being performed by dancers born and raised in the US, but the technique learned from our teacher is always there. We keep the integrity of Bharatnatyam and these art forms.
Describe your early years of learning Bharatnatyam.
I was so eager to take what my teacher gave me; my desire to learn was so much. While my peers would learn three steps, I would learn five. I loved the challenge of learning and, taking it as a challenge, it becomes more interesting to learn.
What is one important thing to know about Bharatnatyam?
Everyone thinks that Bharatnatyam is about understanding hand gestures. Bharatnatyam is not about gesture, it’s about the entire experience. The more involved the artist, the more beautiful the expression is. The most important part of Bharatnatyam is the way the dancers communicate with an audience.
Why did you choose the environment as the focus of your piece?
The concept of taking care of the Earth is new in Western culture, but in India it has been a long standing tradition. Even when you walk the streets in India, they say you should walk lightly or Bhumadevi (the Goddess of the Earth) will awake. There must be awareness that the Earth is not just given to you but it is a privilege. For thousands of years people have said the Earth was important, and we have to take care of what has been given to us.
Portrait of How do you feel when you perform Sacred Earth? Ranee Ramazwamy It is almost like a religion to me, there is a deep spirituality in it. The music is beautiful, as is Photo Credit, the whole idea of the dance. We feel very present and while we all may be dancing the same McKnight Fund basic moves, through study with our masterful teacher, we are able to bring out our individual personality while dancing too. www.um s . What were the motivations behind including Warli wall painting and Kolam floor designs in Sacred Earth?
I started making Kolams when I was five years old for the Goddess of Prosperity. Not many o rg 734.615.0122 know about the idea of Kolams. It’s a way of giving back. Similarly, Warli people live at one with nature; everything is included from ants to lions. 15 16 734.615.0122 www.ums.org MEBERS COMPAN Y The Artist Rissa D Nadel tamar Ramasw Aparna avid ger amy Sw Rajna Dlouhy Amanda Ramasw ranee aminathan amy Sw Anjna Fiala Jessica aminathan Subramania Lilit Ramasw Ashwini amy www.ums.org 17 734.615.0122
Artistic Director o- rna Ramaswamy Apa C Choreographer Principal Dancer Ramaswamy Aparna in the U.S., in India and raised Born artist Alarmél Bharatanatyam legendary of is a protégé Described as living masters. greatest India’s one of Valli, clarity” (Dance agility and sculptural buoyant of “a marvel and “an three-dimensional,” ), “thrillingly Magazine ), She Times York (The New beautiful dancer,” enchantingly serves currently Aparna honors, several has been awarded a B.A. in USA. She has Dance of Trustees of on the Board College. Carleton from Relations International ounder F Choreographer Artistic Director Principal Dancer o- C Ranee Ramaswamy on the Arts by President Obama. President on the Arts by anee Ramaswamy has been a master teacher and teacher has been a master anee Ramaswamy
the Çudamani ensemble (Indonesia), and Wadaiko (Indonesia), and Wadaiko ensemble the Çudamani R
such as poet Robert Bly, jazz musician Howard Levy, Levy, jazz musician Howard Bly, Robert such as poet fellowships are 13 McKnight Artist Fellowships, a Bush Artist Fellowships, 13 McKnight are fellowships Ensemble Tokara (Japan). Among her many grants and grants Among her many (Japan). Tokara Ensemble
performer of Bharatanatyam since 1978. Since founding founding Since 1978. since Bharatanatyam of performer
Ragamala in 1992, she has worked with celebrated artists with celebrated she has worked in 1992, Ragamala legendary composer/violinist Dr. L. Subramaniam (India), L. Subramaniam Dr. composer/violinist legendary also just recently been nominated to the National Council Council the National to been nominated also just recently Fellowship, and an Artist Exploration Fund grant from Arts from grant Fund and an Artist Exploration Fellowship, McKnight Foundation Distinguished Artist for 2011. She has Distinguished Artist for Foundation McKnight International. Most recently, Ranee has been chosen as the Ranee recently, Most International.
BERS MEM Y MPAN CO The Artist The Artist COMPANY MEMBERS
.01 .02 .03 .04
.01 .03 Tamara Nadel Jessica Fiala Dancer Dancer A disciple of Ranee and Aparna Ramaswamy, Tamara Nadel has Jessica Fiala has been performing with Ragamala since 2006 been performing, touring, and teaching with Ragamala since and has toured with the company throughout the U.S. and 1994. She has toured extensively with the company, performing to India and the U.K. She has also performed locally with throughout the U.S. and in Russia, Taiwan, Japan, Indonesia, Kaleena Miller and Vanessa Voskuil. Jessica completed a India, and the U.K. Tamara recently began studying Carnatic master’s degree in liberal studies with a focus in museum music under Lalit Subramanian. She also serves as Ragamala’s studies at the University of Minnesota in 2008. This fall Development & Outreach Director, and has a degree in Religious Jessica is leaving a position as Registrar and Membership Studies and Dance from Macalester College. Coordinator at the Alliance Française to join Forecast Public Art as their new Artist Services Program Assistant.
.02 .04 Amanda Dlouhy Ashwini Ramaswamy Dancer Dancer Amanda was introduced to Bharatanatyam by Ranee Ashwini Ramaswamy has studied Bharatanatyam with Ramaswamy and Aparna Ramaswamy in 2004. She has Ragamala’s Artistic Directors Ranee Ramaswamy and Aparna been touring with Ragamala Dance since 2005, performing Ramaswamy—her mother and sister—since the age of five and has toured extensively with Ragamala, performing throughout throughout the U.S. as well as in India, Indonesia, and the U.K., the U.S. and in Russia, Taiwan, Indonesia, Japan, the U.K, and and she also teaches in the Ragamala School. She is a graduate India. Ashwini is Ragamala’s Director of Publicity & Marketing of the University of Minnesota in history and currently works as and also works as a freelance publicist for the publishing Program Assistant at Nonprofits Assistance Fund in Minneapolis. company The Penguin Group in New York. She holds a degree in
o rg English Literature from Carleton College and currently sits on the board of Arts Midwest.
18 s . www.um 734.615.0122 www.ums.org 1919 734.615.0122 .08
.07 than .08 .07 Violinist ina Anjna Swam Sri Parur violin maestro of is a disciple Anjna Swaminathan Sri H.K. Narasimhamurthy. M.S. Gopalakrishnan and Mysore violin and provides violin concerts solo She performs She has performances. music and dance for accompaniment In 2009, violin and Bharatanatyam. also studied Western the Maryland from award a Master/Apprentice Anjna received dance unique to study songs that are to Arts Council State Lalitha Swaminathan. vocalist with her mother, performances productions dance for accompaniment Anjna has provided Ink and The Spilling Dance such as Ragamala with companies concert Anjna had her solo 2010, In the Summer of Project. of at the University a freshman debut in India. Anjna is currently majoring in Theatre. Park, in College Maryland Lalit Subramaniam Vocalist of Pune in the state in the city of and raised born Lalit was connoisseurs of a family hails from India. He Maharashtra, him into initiated and his parents Music, Indian Classical of the disciple is currently age. He at a young training vocal Carnatic of S. Girish, who is the grandson Sri Tiruvarur of and protégé the of bearer Brinda and the torch T. Smt. Kalanidhi Sangeetha also periodically Dhanammal. He Veena unique bani of very R. Santhanagopalan. Sri Neyveli instruction from receives Rajalakshmi Smt. from training his initial vocal received He and Bharatanatyam violinist, vocalist, Pichumani, a renowned in training extensive has also undergone He instructor. Shekhar under Pandit training Music Hindustani Classical Abhishekhi. Jitendra Pandit of who is a disciple Kumbhojkar, .06
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.05 Rajna Swaminathan is an accomplished artist in the field is an accomplished Swaminathan Rajna – mridangam. She is a percussion South Indian classical of Umayalpuram mridangam maestro of and protégé disciple female a handful of only is one of Rajna K. Sivaraman. many She has accompanied mridangam artists in the world. and India. She in the US, Canada, musicians widely renowned Festival Music at the December extensively has also performed and performs dancers with several works in Chennai. Rajna at universities and workshops demonstrations lecture Arts such as Percussive events, percussion and prominent has a base in Rajna (PASIC). Convention International Society (South Bharatanatyam and has also learned piano classical an She is currently some years. for dance) Indian classical at and French Anthropology Cultural of student undergraduate Park. in College Maryland of the University ina Rajna Swam
Technical Director Technical Mridangist David Riisager is a freelance lighting designer. He has designed He designer. lighting Riisager is a freelance David Cities and on in the Twin shows Ragamala’s of several for lights The Children’s for also works He the country. throughout tour Electrician, as Minnesota) (Minneapolis, Company Theater and Assistant Electrician, Master Tour Operator, Spot Follow at The Southern Manager Production was He Designer. Lighting and currently years, four for (Minneapolis, Minnesota) Theater area. in the Minneapolis small theaters many for designs lights a id Riss Dav
BERS MEM Y MPAN CO The Artists .06 CULTURAL CONTEXT: INDIA
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+ natya tala | a Indi ontext: raga | raga |
bhava mood & emotion
The Bharatnatyam style originated in South India in the Tamilnadu region and is part of the wider and is part of region in South India in the Tamilnadu originated style The Bharatnatyam all other which originated from umbrella is the overarching The Natyashastra style. dance Natyashastra forms: Indian dance classical past just being a has moved the years and over in the Hindu tradition began as a dance Bharatnatyam been has Dance Ragamala spaces. and performance courts ritual, into religious to connected movement of the full range explore to worked in the US and has actively movement revivalist a Bharatnatyam part of who people interested them to and extending traditions the maintaining form, dance in the expressiveness non-south Asian descent. of men and students instance, — for in the art form been involved not have typically Oddissi, Kathakali, Kathak, Manipuli, Kuchipudi, Mohiniyattam, Bharatnatyam, and Sattriya. Bharatnatyam, Mohiniyattam, Kuchipudi, Manipuli, Kathak, Oddissi, Kathakali, Bharatnatyam is derived from the following Sanskrit words: the following from is derived Bharatnatyam
bhava bhava Y RATNAT BHA C al Cultur Cultural Context: India South indian arts overview
Complex and ancient, the artisans of this style have been passing down their craft from generation to generation.
Although Indians are bound together by their national pride, each respective state in India has not only its own history but also a distinct array of cultural characteristics. Ragamala Dance reflects south Indian culture most prominently in its work. o rg
22 s . www.um 734.615.0122 Cultural Context: India
Visual Art Each state in India has its own sense of visual art. For instance, in the state Tamil Nadu, there is an artistic style known as Tanjore in which Hindu deities are depicted adorned in precious and semi-precious stones. Complex and ancient, the artisans of this style have been passing down their craft from generation to generation. These images can span an entire wall or be as small as a figurine sized idol. Artisans from South India also often just work with precious metals (like gold and bronze) and stone.
MUSIC Ragamala Dance incorporates Carnatic music into their performances. Carnatic music originated from south India mostly as a form of devotional Hindu music. Lyrical elements of Carnatic music (played by the violinist and vocalist) are called sangeet and the rhythmic elements (played by the mridangam drum) are called tala. Improvisation plays a significant role in Carnatic music.
Dance Besides Bharatnatyam, several other dance forms are prominent in South India, including Kathakali, Mohiniyattam, and Kuchipudi.
Kathakali is a group presentation in which elaborately face-painted dancers take on various character roles in performances traditionally based on themes from Hindu mythology. Evil folklore characters are painted green while ascetics and men who are considered good are painted in hues of yellow.
Mohiniyattam is similar to Bharatnatyam stylistically. Though also performed in the temples by priestesses, Mohiniyattam is based on love in all its facets – carnal, devotional, and maternal – and has
been considered a more feminine dance form. www.um s .
Kuchipudi technique involves use of fast rhythmic footwork and sculpturesque body movements, hand
gestures and subtle facial expression, as well as more realistic acting and occasional dialogues by the o rg 734.615.0122 dancers. Kuchipudi is unique among the Indian classical dance styles and its themes are mostly derived
from Hindu scriptures and mythology. 23 Cultural Context: India Costumes + Make-up
Costumes Flowers A classical Indian dance costume reflects the history and Flowers decorate the hair of a dancer and may be real tradition of the region from where the dance originated. Tamil flowers or fake flowers made of soft paper often in colors of Nadu, the region where Bharatanatyam originated, features orange and white. a costume made of colorful silk fabric containing borders embroidered with fine gold thread. There are two styles of Bharatanatyam costumes known as the pant-style costume Make-Up (pant costume) and the saree costume (skirt costume). Eyes: The pant-style costume includes: To accentuate and elongate the eyes, a dancer uses black Blouse eyeliner and applies it in thick layers around the curves of Davani (wraps around the blouse) the eyes. Pants Pleats (fan-like piece attached to both pants legs) Cheek bones: Seat (hugs the pants and the fan at the hip area To define the facial features, red blush is used to accentuate the cheeks. The saree costume includes: Blouse Lips: Davani (wraps around the blouse) Dark-colored shades of lipstick such as maroon complete the Skirt overall facial appearance of the dancer. Pleats (fan-like piece attached to both pants legs) Fan (a small fan that is tied around the waist Pottu: Dot on the forehead.
Jewelry and Accessories Painted feet and fingers: South Indian dance jewelry is called “temple jewelry.” Red dye known as alta is used to paint the fingertips of the It is traditionally made of rubies, gold, and pearls. hands and toes of the feet to resemble henna. These days, many dancers wear artificial “costume” jewelry. The red color accentuates the hand gestures and feet movements of the dancer. The jewelry includes: Chutti (head piece) Sun and Moon (jewels attached on the top of the head on each side of the chutti) Necklace Mattal (jewels attached to the earrings and run over the ears) Earrings Jimiki (dangling jewels of the earrings) Mukuthi (side nose ring) Bullaku (center nose ring) Bangles (gold bracelets)
24 734.615.0122 www.ums.org 734.615.0122 www.ums.org 25 734.615.0122 . fear Calm Bhaya peace Shoka sorrow is an emotion ya asha Has Ut wonder Vismaya heroism laughter ti Ra ava anger Krodh delight disgust Jugupsa Bh the actor/dancer by portrayed is the emotion Bhava a fearful Shant Karuna pathetic peaceful naka Bhaya a ya Veera Has heroic Adbhut wondrous humorous a Indi ontext:
tsa udra
erotic odious terrible Ra Bibha Mudras used to are hand gestures dance, . In pure mudras called are They in Bharatnatyam. important are gestures Hand 28 are There a story. tell sign language to used like are they dance, In expressive the body movements. complement things, depending on different mean many one can Each gestures. double-handed and 24 gestures single-handed with it. used are expressions and what facial moves, the dancer the way the body, around it is held how Rasa the audience. by expereinced is the emotion Rasa is the emotion portrayed by the by portrayed is the emotion and bhava expression facial a performer’s of because the audience by experienced . rasa-abhinaya is called the two of and the combination actor, rasas Nava rasa In Bharatnatyam, dances. Bharatnatyam used during traditional expressions facial are Navarasas es ur Gest C al Cultur Shringar ON STAGE
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Ear ed r Sac t On S The indigenous Warli people of western India western of people The indigenous Warli with coexistence perfect in the land and live revere as inspiration, lives their everyday Using nature. in the find the spiritual paintings their dynamic wall South of Sangam poets the Tamil For everyday. sacred. was CE), the Earth India (300 BCE-300 interwoven that human activities are Recognizing inner between parallels drew they creation, with all of Each morning, women in southeastern India perform in southeastern women morning, Each designs on flour making rice kolam, ritual of the silent Earth. Mother to offerings as conscious the ground and becomes space a sacred ritual creates This daily of home and the vastness the intimate a link between the outside world. Sacred Earth explores the interconnectedness the interconnectedness explores Earth Sacred that and the environment human emotions between the dancers music, with live shapes them. Performed the divinity in the honor to space a sacred create it. from derive we sustenance and the world natural behind the ephemeral the philosophies by Inspired and the Tamil painting Warli and kolam arts of and is Ranee Earth India, Sacred of Sangam literature the beautiful, vision of singular Ramaswamy’s Aparna and man. nature between relationship fragile 28 734.615.0122 www.ums.org actually make intricate flowers that look like hibiscus gardens. and thendrawing designs around theminteardrop shapes thatinterconnect. Skilled designers can A geometrical pattern, theKolam isconstructed often withrice flour by creating series of potta ordots (Hospitality isanIndianvirtue.) conveying thatthedoors of thegiven homeare opento thosewhoseekaplace to stayorrest. in thehomesuchasgivingbirth orcoming of age.Kolams can alsobeasignof hospitality to travelers inhabitants, connect theinhabitants to theworld outsidethehouse,orsignifymajorevents occurring A Visu On St kolams, whichare created onthefront porches of homesasamethod to purifythehouseandits India are usually theoneswhoare themostactive intheprocess of creating andmaintaining the The Kolam istheTamil namefor theritualof geometric pattern decoration. Women insoutheastern K OLAMS rice flower, andimagination. shapes. Allyou’ll needissomepavement orflatsurface, for students to express themselves andcreate geometric This kolam artproject offers simple andcreative ways http://www.ikolam.com/video-beginners Draw AK Rt a ge
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ainting all P arli W W An ancient life. daily depict to paintings used wall people or warla The Warli other distinct from the images are alive, that has been kept tradition they because in the Indian subcontinent, and artistic endeavors architectural in their the people of the life but rather deal with Hindu mythology, do not the Warli of members by today created still being are tribe. These paintings images like modern incorporate can form, art tribe and though an ancient and cars. trains with a prepared are walls huts, the home’s on the inside of When created used is made from red mud. The paint dung and cow of combination fortified – women by the art is created Typically, stalks. with twigs and rice paste rice wall. spans the entire usually – and the painting the kolams like offer to a lot have though simplistic in design, actually paintings, wall The Warli Their reverence mythology. and their own people the Warli in understanding the and through paintings, the wall of is a theme in many the Earth for they how of the history show paintings the wall interactions, daily of depictions the good and bad. – both the Earth treated have
al ge a u Vis Art Photo Credit Photo Rayachoti Saritha Rao t On S Bibliography
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ala (English).“
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amaswamy to National Council on the Arts.” Council National to amaswamy
agamala Dance | New Art, Ancient Vocabulary.” Vocabulary.” Art, Ancient New | agamala Dance
ala and Synonyms of R of ala and Synonyms
anee R agamala Dance.” CityPages. agamala Dance.”
aga M
ala : Definition of R ala : Definition e Have This CyberDance? R This CyberDance? e Have ay W ay aga M agamala Dance Company: Company: agamala Dance “M http://www.ragamala.net/the_company http://www.ragamala.net/the_company R 2012: Company “Best Dance www.citypages.com/bestof/2012/award/best-dance-company-2455252/ “R American Dance Festival. Web. 22 Feb. 2013. 22 Feb. Web. Festival. Dance American R 2013. 22 Feb. Web. N.p., n.d. 2013. Feb. 22 Web. N.p., n.d. News. Radio Public Minnesota www.minnesota.publicradio.org/collections/special/columns/state-of-the-arts/ archive/2012/07/president-obama-nominates-ranee-ramaswamy-to-national-council-on- the-arts.shtml in India.” Problems “Environmental 2013. 22 Feb. Web. N.p., n.d. WWF. wwf.panda.org/who_we_are/wwf_offices/india/india_environmental_problems/ Period” The Modern Painting: Indian of “History Chatanya. Kirshan and Form” History “Bharatanatyam www.dictionary.sensagent.com/raga+mala/en-en/ R Obama Nominates “President ThinkQuest. Oracle Foundation, n.d. Web. 22 Feb. 2013. 22 Feb. Web. n.d. Foundation, Oracle ThinkQuest. www.library.thinkquest.org/04oct/01260/history1.html Bharatanatyam.” of “Description Dances of India. N.p., n.d. Web. 22 Feb. 2013. 22 Feb. Web. N.p., n.d. India. of Dances www.rangashree.org/bharatanatyam-description.html#dist Y APH GR BIBLIO BE PRESENT
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32 s . www.um 734.615.0122 www.ums.org 33 734.615.0122 ment rt gement Depa ush oeder taff S Fischer Ken UMS President Jim Leija Director R Mary Engagement Community of Manager Associate Omari R Manager Education ommunity Enga tion and C
Interns Barkakati Emily Bhattacharjee Indira Sigal Hemy Reischl Charlie Mailing Address Mailing Tower Memorial 100 Burton Ave University 881 North MI 48109-1011 Ann Arbor, Learning is core to UMS’s mission, and it is our joy to provide creative learning experiences for our entire our entire for experiences learning creative provide to mission, and it is our joy UMS’s to is core Learning focusing on activities Community Engagement and Education of a spectrum offer season, we Every community. We communities. and ethnic and cultural adults, families, students, university teens, teachers, students, K-12 seen, before haven’t things they them to exposing alike, and old young in each person, a spark create to exist arts. and the performing creativity passion for and lifelong them with an ongoing and leaving One of the oldest performing arts presenters in the country, UMS is committed to connecting audiences with audiences connecting to UMS is committed in the country, arts presenters performing the oldest One of in steeped With a program and engaging experiences. uncommon in the world around artists from performing 60-75 approximately presenting by community cultural a vibrant to UMS contributes and theater, music, dance, sponsors work, new activities each season. UMS also commissions educational 100 free and over performances partners. and international national, with local, projects collaborative and organizes artist residencies,
UMS UT ABO Be Present UMS Educa Be Present THANK YOU!
Thank you for your interest in learning about or attending one of our UMS School Day Performances. www.ums.org 35 734.615.0122 am. tion Progr niversity of Michigan of niversity U Endowment Fund Endowment JazzNet Endowment JazzNet Kielb Janice and Mark Kluge and Arnold Jean Foundation L. Knight S. and James John Legatski and Kathy Leo Fund Gras Mardi Foundation Corporation Masco McCarus and Adele Ernest Lynch Merrill Affairs Arts and Cultural for Michigan Council Council Michigan Humanities P.L.C. Paddock and Stone, Canfield, Miller, Heydon] R. & P. [of FOUNDATION THE MOSAIC the Arts for Endowment National Live Masters NEA Jazz Northrup Quincy and Rob A. Payne Lisa PNC Foundation Foundation The Power Education K-12 and Amnon Rosenthal Prudence and Susan Snyder Ren Stout and Gail Ferguson W. John Systems Stout Stutz and David Karen Taubman Reyes S. and Julia Robert Toyota Committee UMS Advisory Chinese Studies for Michigan (U-M) Center of University Union U-M Credit System U-M Health Affairs Academic for Provost of the Senior Vice U-M Office Research for President of the Vice U-M Office Fund Endowment Wallace Wicha and Sheila Crowley Max ellon Foundation ellon
. M ush Edited by Omari R The Andrew W The Andrew
Youth Educa of the UMS Youth Guide is the product cher Resource Nancy Bishop, Associate Broker Associate Bishop, Nancy attorneys& William Stapleton, rched and written by arched Rese Bhattacharjee Indira This Tea Bernard and Raquel Agranoff and Raquel Bernard H. Romani and John A. Anderson Barbara Foundation Schools Educational Public Ann Arbor Anonymous Arts at Michigan Fund Touring Arts Midwest Arts Presenters Performing Association of Axe and Linda John Ann Arbor Bank of Bernstein Bendit and Mark Rachel Brown and Robert Benton Kathy S. Berger Richard Brademas Ellen Mary Canter and Valerie David Surgery Plastic and Reconstructive for Center Realtors, Company, Reinhart Charles Hill PLC Clark Southeast Michigan for Foundation Community Michigan of at the University Institute Confucius Dort and Sharon Dallas Foundation Charitable Doris Duke Fund Endowment Foundation Charitable Doris Duke Foundation Energy DTE Eisenberg and Frances Kenneth Featherman and Jo-Anna David Foundation and Stuart Frankel Maxine Glendon Anne and Paul Goldberg and Barbara Fred Goldberg and Tom Kathy Green and Stephen Patricia Drs. and Ann Greenstone Robert Herbert and Norman Debbie Fund Endowment Herzig and Phyllis David LLP and Cohn Schwartz Miller Honigman Borgsdorf W. Charles P.C., Hathaway, Hooper These performances are made possible through the generous support of individuals, corporations, and corporations, individuals, of support the generous through possible made are performances These Supporters: Engagement and Community UMS Education the following including foundations, www.ums.org