Béla Fleck & Abigail Washburn

Home , Abigail Washburn, Bass banjo, Bela Fleck, Keith style

2018-19 UMS LEARNING GUIDE Echo in the Valley Béla Fleck & Abigail Washburn BE PRESENT

BE PRESENT 1 Table of Contents

04 05 06 16 ATTEND THE DETAILS LEARN CONNECT

07 Why? 17 Being an Audience Member 09 Artist 20 Arts Online 11 Art Form 21 Recommended Reading 13 Performance 23 Writing About Live Performance with Your Students 26 About UMS 38 Credits and Sponsors February 7 UMS SCHOOL DAY PERFORMANCE

Echo in the Valley Béla Fleck & Abigail Washburn

Thursday, February 7 // 11 am Hill Auditorium

BE PRESENT 3 Attend

Coming to your email inbox!

Map and Driving Directions Logistical Details (drop-off/pick-up locations) Venue Information

734.764.2538 ——— UMS.ORG

BE PRESENT 4 The Details

CELL PHONES We ask that all audience members turn off their cell phones during the performance.

ACCESSIBILITY We aim to maximize accessibility at our performances, and below are details regarding this performance’s points of accessibility. If you have further questions, e-mail [email protected] or call 734.615.0122.

PARKING There is handicapped parking very close to the Power Center on Fletcher Street and in the parking structure behind the Power Center on Palmer Drive. The first three levels of the Palmer Drive structure have 5 handicapped parking spaces on each level next to each elevator. There are a total of 15 handicapped parking spaces in the garage. VENUE ADDRESS Hill Auditorium, 825 North University Avenue, Ann Arbor, MI 48109 WHEELCHAIR ACCESSIBILITY Courtesy wheelchairs are available for audience members. Hill Auditorium is EMERGENCY CONTACT NUMBER wheelchair accessible and has 12 seats for audience members with special needs. 734.764.2538

BATHROOMS ADA ARRIVAL TIME ADA-compliant toilets are available in the green room (east corner) of the Hill Between 10:30-10:50am Auditorium for both men and women.

TICKETS ENTRY We do not use paper tickets for School Day Performances. We hold school The front doors are not powered; however, there will be an usher at that door reservations at the door and seat groups upon arrival. opening it for all patrons. There is a ramp entrance on the west side of the auditorium. FOOD No food (including school lunches), drinks, or chewing gum are allowed in the theater.

BE PRESENT 5 Learn

Béla Fleck and Abigail Washburn – Banjo

734.764.2538 ——— UMS.ORG

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Why? UMS EDUCATION ARTISTSIC STATEMENT

Echo in the Valley is the follow-up to the acclaimed, self-titled debut that earned Béla Fleck and Abigail Washburn a 2016 Grammy for Best Folk Album. This time around, their mission was to take their double- banjo combination of three-finger and clawhammer styles to the next level. Their rules for the recording: all sounds must be created by the two of them, the only instruments used were banjos (they have seven between them, ranging from a ukulele to an upright bass banjo), and they had to be able to perform every recorded song live. Echo in the Valley connects us to our past through wild re-imaginings of traditional Appalachian tunes, with original songs inspired by a man who ferried Syrian refugees to safety and by Native American voices lamenting a distancing from nature.

UMS invites audiences to bask in the colorful, soulful, and unexpected sounds of the banjo duo and partake in the musical stories they tell. We hope that Béla’s and Abigail’s virtuosity and soulfulness will inspire The banjo is an often-misunderstood instrument. While the circular- students to view the banjo in a new light — as an instrument bursting bodied, guitar-like instrument is most often associated with folk music with color, depth, and character. of the American South, bluegrass, and the Beverly Hillbillies, the banjo’s roots originated with slaves from Africa who brought their music and instruments to the Americas. The banjo has since evolved to find a place in many styles of music, from bluegrass to jazz, in an effort led by several virtuosos of the instrument. Throughout their musical careers, Béla Fleck and Abigail Washburn, a husband-and-wife team, have each pushed the instrument’s technical abilities into new territory and placed the banjo in unexpected contexts.

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Why? ONLINE: CONNECTING TO THE PERFORMANCE

Listen to Béla Fleck’s and Abigail Washburn’s self-titled debut album on Spotify.

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Artist BÉLA FLECK AND ABIGAIL WASHBURN: FIVE THINGS TO KNOW

01 Béla Fleck and Abigail Washburn met at a square dance and began playing music together over a decade ago, marrying shortly thereafter. Fleck had long been interested in the banjo, but Washburn’s path to a music career was more roundabout: a record deal in the halls of a bluegrass convention in Kentucky changed her trajectory from becoming a lawyer in China to a traveling folk musician.

02 03 Echo in the Valley is the follow-up album to Béla An undisputed virtuoso of the instrument, Béla Fleck has virtually reinvented the image and Abigail’s acclaimed, self-titled debut that and the sound of the banjo through a remarkable performing and recording career that earned the 2016 Grammy for Best Folk Album. has taken him all over the world on a range of solo projects and collaborations. Béla Currently, Abigail and Béla are touring the world has collaborated with Chick Corea, the Marcus Roberts Trio, Brooklyn Rider, and the as a “trio” with their little boy, Juno. Nashville Symphony Orchestra, to name a few, on projects ranging from original jazz duos to arrangements of classical music by Bach, Debussy, and Paganini.

04 05 The recipient of multiple Grammy Awards and Abigail Washburn was named a TED fellow and gave a talk at the 2012 TED Convention nominations going back to 1998, Béla Fleck’s in Long Beach about building US-China relations through music. In March 2013, she total Grammy count is 15 Grammys won, with was commissioned by New York Voices and the NY Public Theater to write and debut a 30 nominations. He has been nominated in theatrical work, Post-American Girl, which draws from her 17-year relationship with China more categories than any instrumentalist in and addresses themes of expanding identity, cultural relativism, pilgrimage, the universal Grammy history. appeal of music, and opening the heart enough to fold it all in. Abigail was recently named the first US-China Fellow at Vanderbilt University.

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Artist ONLINE: GETTING TO KNOW BÉLA FLECK AND ABIGAIL WASHBURN

In this video, watch Abigail Washburn’s TED talk about In this video, watch and learn about the differences building US-China relations… through banjo. between Béla Fleck’s Three-Finger style and Abigail Washburn’s Clawhammer style of banjo playing, which they combine to create the duo’s unique sound.

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Art Form INSTRUMENTS: THE BANJO FAMILY

The banjo is a four-, five-, or six-stringed instrument with a thin membrane Two techniques closely associated with the five-string banjo are rolls and stretched over a frame (or cavity) as a resonator, called the head. The body, drones. Rolls are accompaniments of right-hand fingering patterns that or pot, of a modern banjo typically consists of a circular rim generally made of consist of eighth notes that subdivide each measure. Drone notes are usually wood, though metal was also common on older banjos, and a tensioned head, played on the fifth (short) string and fill in around the melody notes. Both of similar to a drum head. The membrane, or head, is circular and typically made these techniques are idiomatic to the banjo in all styles, and their sound is of plastic or animal skin. Most modern banjos also have a metal “tone ring” characteristic of bluegrass. assembly that helps further clarify and project the sound. Modern banjos are typically strung with metal strings. Usually, the fourth string is wound with Bluegrass music, which almost exclusively uses the five-string resonator banjo, is either steel or bronze-phosphor alloy. Some players may string their banjos with played in several common styles. These include “Scruggs” style, named after Earl nylon or gut strings to achieve a mellower, old-time tone. Scruggs; “melodic,” or Keith style, named for Bill Keith; and “three-finger style” with single-string work, also called Reno style after Don Reno. In these styles, the The modern banjo derives from instruments that had been used in the emphasis is on arpeggiated figures played in a continuous eighth-note rhythm, Caribbean since the 17th century by enslaved people taken from West Africa. known as rolls. All of these styles are typically played with fingerpicks. However, the banjo is frequently associated with folk, Irish traditional, and country music. Historically, the banjo occupied a central place in African- 4-STRING BANJO – “OLD TIME” American traditional music before becoming popular in the minstrel shows of Four-string banjos are typically used for chordal accompaniment (as in early the 19th century. The banjo, along with the fiddle, is a mainstay of American old- jazz), for single-string melody playing (as in Irish traditional music), in “chord time music. It is also very frequently used in traditional jazz. melody” style (a succession of chords in which the highest notes carry the melody), in tremolo style (both on chords and single strings), and a 5-STRING BANJO mixed technique called duo style that combines single-string tremolo and The modern five-string banjo is a variation on the instrument popularized rhythm chords. by Joel Walker Sweeney, an American minstrel performer from Appomattox, Virginia. The fifth string is usually the same gauge as the first, but starts from the fifth fret, three quarters the length of the other strings. This allows the string to be tuned to a higher open pitch than is possible for the full-length strings. Because of the short fifth string, the five-string banjo uses a re-entrant tuning — the string pitches don’t move from lowest to highest across the fingerboard. Instead, the fourth string is lowest, then third, second, first, with the fifth string as the highest.

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Art Form TECHNIQUE: BANJO PLAYING STYLE & TECHNIQUE

There are many ways to play the banjo, and slight differences in playing styles particular, the duo of a fiddler playing melody alongside a driving clawhammer vary greatly by region. Each style is characterized by its unique technique and accompanist once served as a basic Appalachian dance band, as recalled method of sound production. Two widely popular styles are the “clawhammer” by Ralph Stanley in his autobiography, Man of Constant Sorrow. (or “frailing”) style and the “three-finger” (or “Scruggs”) style. It is very rare for a single person to play both of these styles because the techniques are so different from each other. THREE-FINGER (“SCRUGGS” STYLE) – BÉLA FLECK Scruggs style is the most common style of playing the banjo in bluegrass CLAWHAMMER (“OLD-TIME” OR “FRAILING”) music. It is a fingerpicking method, in which the player usually wears picks on STYLE – ABIGAIL WASHBURN their thumb, index, and middle fingers. It is named after Earl Scruggs, whose Historically, the banjo was played in the clawhammer style by the enslaved innovative approach and technical mastery of the instrument have influenced Africans who brought their version of the banjo with them to the Americas. generations of bluegrass banjoists ever since he was first recorded in 1946.

Clawhammer consists of downward striking one or more of the four main The strings are picked rapidly in repetitive sequences or rolls; the same string strings with the index and/or middle fingers while the drone or fifth string is is not typically picked twice in succession. Melody notes are interspersed played with a “lifting” (as opposed to downward pluck) motion of the thumb. among arpeggios, and musical phrases typically contain long series of staccato, The notes typically sounded by the thumb in this fashion are usually on the or short, notes, often played at very rapid tempos. The music is generally off-beat. Melodies can be quite intricate, adding techniques such as double syncopated, meaning that musical emphasis is often placed on the off-beat. thumbing and drop thumb. Earl Scruggs introduced a vocabulary of “licks,” short musical phrases that are Although much traditional clawhammer banjo playing is highly rhythmic, it reused in many different songs. Because these licks were widely copied (with typically includes elements of melody, harmony, rhythm, and percussion. The variations) by later players, they have become one of the defining attributes of possibilities include sounding individual melodic notes, strumming harmonic the style, and give it its characteristic sound. These licks often contain fretting- chords, strumming and picking to produce rhythmic and percussive effects on hand embellishments such as slides, chokes (bends), hammer-ons, or plucking the strings, as well as making percussive effects by brushing or thumping the the strings with the fretting hand (left hand pizzicato), which add to the thumb or fingers upon the banjo head or skin. This range of musical sounds harmonic and rhythmic complexity. and effects gives clawhammer banjo its artistic solo potential in addition to its traditional role as a rhythmic accompaniment to other musicians. In

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Performance BÉLA FLECK AND ABIGAIL WASHBURN

My whole drive is to make sure that music is a common space where we search for beauty and share it. It needs to be louder than any conversation. That’s where we have to go as a human race.

–ABIGAIL WASHBURN

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Performance

Echo in the Valley Béla Fleck and Abigail Washburn Thursday, February 7 // 11 am Hill Auditorium

Banjo players Béla Fleck and Abigail Washburn, who met at a square dance over 10 years ago, have been playing music together ever since, touring the globe and performing with musicians such as Chick Corea, Chris Thile, and Wu Fei. Echo in the Valley is the follow-up to their acclaimed, self-titled debut that earned the duo a 2016 Grammy for Best Folk Album. This time around, their mission was to take their double-banjo combination of three-finger and clawhammer (rhythmic strumming) styles to the next level. All of the musical sounds were created by them, and the only instruments used were banjos (they have seven between them, ranging from a ukulele to an upright bass banjo). Echo in the Valley connects us to our past through wild re- imaginings of traditional Appalachian tunes, with original songs inspired by a man who ferried Syrian refugees to safety and by Native-American voices lamenting a distancing from nature.

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Performance ONLINE: BÉLA FLECK AND ABIGAIL WASHBURN

Watch the banjo duo’s NPR Tiny Desk Concert, featuring songs from their newly released album, Echo in the Valley.

BE PRESENT 15 Connect

Being an Audience Member Arts Online Writing about Live Performances with Your Students About UMS Credit and Sponsors

734.764.2538 ——— UMS.ORG

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Being an audience member AUDIENCE ETIQUETTE 101

• No talking, unless audience participation is requested by the performers. WHEN SHOULD I CLAP?

• Avoid fidgeting and moving around in your seat during the performance. The audience claps to welcome the performers as they come on stage. Slumping sideways blocks the view for audience members behind you, and extra movements can be distracting to your neighbors. The audience also claps at the conclusion of each piece on the program, but not between movements of a single piece. This can be • Do not take flash photography. The flash can be distracting to the tricky, because many musical works have several movements with performers on stage. pauses in between. A work’s movements will be listed in the program or announced at the performance. Not sure when the piece is over? Watch • Turn off and put away cell phones and other electronic devices. the conductor, who will lower their hands at the end of the piece. • If you need to cough during the performance, wait for the pause between movements of a piece or try to “bury” your cough in a loud When in doubt, it’s always safe to wait and follow what the rest of the passage of music. audience does.

• If you need assistance, please speak to a UMS usher.

• Most importantly, relax and enjoy the performance!

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Being an audience member ENGAGING WITH THE PERFORMANCE

Encourage your students to engage with and reflect on the performance GLOSSARY: ELEMENTS OF PERFORMANCE by asking these questions: Space – venue/building, stage, distance between objects

• How did the performance make you feel? Lighting – location of light, use of darkness, color, movement, light in the audience • What does this performance remind you of? Sound – sound created by voices or movements of performers and • What was the most memorable part of the performance for you? audience members, the location of the sound (behind the stage or • How does this performance relate to where you live? offstage), use of musical instruments or recorded music

• During the performance, close your eyes and imagine a “mind movie” Movement – movement of performers, images, objects, or audience using the performance as a soundtrack. What did you see in your mind? members; speed, size, or shape of movements

• Did the performance tell a specific story? People: • Dancers • Do you have any questions about the performance? • Actors • Musicians • Stage Crew • Ushers • Audience Members

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Being an audience member CONNECTING TO OTHER ART FORMS

Béla Fleck and Abigail Washburn will perform songs from Echo in the Valley, connecting us to our past through re-imaginings of traditional Appalachian tunes. Banjos are derived from instruments that had been played in the Caribbean and Africa. Their instruments and music recollect folk traditions, just as this watercolor represents a visual folk style. This painting was made by an unknown artist, likely a woman, by placing stencils of leaves and fruit in a pattern and then filling them in with watercolor.

United States, Artist Unknown Basket of Fruit, ca. 1825 Stenciled watercolor Gift of the Daniel and Harriet Fusfeld Folk Art Collection, 2002/1.184

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Arts Online: Explore and Discover SITES WE SUGGEST

UMS NEW YORK PHILHARMONIC MICHIGAN RADIO ums.org nyphil.org michiganradio.org

UMMA AMERICAN THEATRE PBS: PUBLIC BROADCASTING SERVICE umma.umich.edu americantheatre.org pbs.org

THE KENNEDY CENTER, ARTSEDGE DANCEMAGAZINE NEW YORK TIMES ArtsEdge.org dancemagazine.com nytimes.com

ANN ARBOR DISTRICT LIBRARY NPR: NATIONAL PUBLIC RADIO aadl.org npr.org

2018-19 SCHOOL DAY PERFORMANCES: ARTIST WEBSITES

JAKE SHIMABUKURO ABIGAIL WASHBURN jakeshimabukuro.com www.abigailwashburn.com

WYNTON MARSALIS BÉLA FLECK AND THE FLECKTONES wyntonmarsalis.org www.flecktones.com

JAZZ AT LINCOLN CENTER LAS CAFETERAS www.jazz.org lascafeteras.com

CAMILLE A. BROWN & DANCERS MARTHA GRAHAM www.camilleabrown.org www.marthagraham.org

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Recommended Reading

Continued.

KIDS Jazz A-B-Z by Wynton Marsalis Learn about 26 great jazz musicians through alphabet poetry. Ukulele Hayley by Judy Cox When the school board decides to stop funding the music program, Haley Marsalis on Music by Wynton Marsalis decides to join together with her band friends to keep it afloat. Fun analogies memorably teach fundamentals of music.

Roots and Blues: A Celebration by Arnold Adoff Banjo Granny by Sarah Martin Busse Read about the blues style and its reflection of American history through Baby Owen’s grandmother learns that he is wiggly, jiggly, and all-around giggly powerful poetry and paintings. for bluegrass music, so with her banjo, she travels by curious means to visit and play for him. Musical Instruments by Ade Deane-Pratt (How Things Work Series) This hands-on book introduces main instrument families with a “How does it Danza!: Amalia Hernandez and El Ballet Foklorico de Mexico work?” section for each group and provides instructions for making your own Celebrate Mexico’s rich folk dancing history and the woman who founded El instruments with household objects. Ballet Folklorico, combining traditional Mexican folk dancing with modern dance and ballet. Firebird: Ballerina Misty Copeland Shows a Young Girl How to Dance the Firebird by Misty Copeland Ballet for Martha: Making Appalachian Spring by Jan Greenberg Accomplished ballerina Misty Copeland encourages a young dancer to follow An introductory look at the work of Martha Graham, Aaron Copland, and Isamu her aspirations. Noguchi’s Appalachian Spring.

I See the Rhythm: A Story of African American Music by Toyomi Igus Appreciate the history of black music in America with poetic descriptions of musical styles.

Swing Sisters: The Story of the International Sweethearts of Rhythm by Karen Deans Travel back in time to 1939, when the all-female jazz band Sweethearts of Rhythm emerged from a school in Jackson, Missouri, and quickly became internationally recognized.

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Writing about Live Performance with Your Students

A LETTER TO PERFORMERS Once the performance is done, have students write down their notes, Grade Level: Elementary School Students (K-5) observations, and reflections. They will use these notes to help them write their letters. Students will compose a personal letter to a performer from the School Day Performance. The student will write about their feelings, observations, and questions from the performance. With a teacher’s AFTER THE PERFORMANCE assistance, students may send these letters to the performers. Instruct students to write a letter to the performers. In completing this exercise, students should: BEFORE THE PERFORMANCE Discuss the following with your students: • Use standard letter-writing conventions (“Dear…,” “Sincerely,”) • Mention when and where the performance took place 1. Live Performances • Use the notes they took to share their experiences, observations, and 2. The Art Form questions with the performers 3. The Artist 4. Origin of the Art Form or Artist

DURING THE PERFORMANCE To help students organize their thoughts during the performance, encourage them to consider the following:

I Notice... I Feel... I Wonder...

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Writing about Live Performance with Your Students

TWO THUMBS UP: WRITING A PERFORMANCE REVIEW AFTER THE PERFORMANCE Grade Level: Middle and High School Students (6-12) Instruct students to compare their pre-performance notes to their post- performance observations and write a 2-3-page review. BEFORE THE PERFORMANCE Have students, in groups or as individuals, conduct background research Things to consider when writing a review: on the performance they will be attending. Students should research A critic’s job is to: and take notes on the following: 1. Share an experience – what did it feel, sound, look like? • Art Form 2. Provide context – a broader frame of reference around what • History of the Art Form happened to help the reader understand importance or • Terminology significance of the experience • The Artist 3. Evaluate – was it any good? • Comparisons to similar artists and art form A strong review answers these three questions: Some of this information may be found in this Learning Guide. For more 1. What is the artist trying to do? information on artists and art forms, follow the sources in the “Sites We 2. How well are they doing it? Suggest” and “Recommended Reading” sections of this Learning Guide. 3. Was it worth doing in the first place?

Before the performance begins, consider the following questions: Critics typically use two modes of thought when writing a review: • What expectations do I have for the performance? 1. Analytical – describing the grammar of the art, its execution and • Do I already have an opinion about what I will experience at the performance? interpretation by the performers, and its historical, cultural, and social relevance; using concrete language, terminology, and facts DURING THE PERFORMANCE 2. Impressionistic – describing the overall experience; using Ask students to take mental notes during the performance. As soon as abstract language, feelings, and emotions the performance ends, have students write down thoughts and words that come to mind related to the performance. Encourage students to take a strong stance on aspects of the performance, just so long as they can back up their argument with Encourage students to consider these prompts: evidence. If a student writes, “I didn’t like…” or “I particularly enjoyed…,” • What is striking to me? ask them to elaborate. • Is it vastly different from what I thought it would be? • Has the venue transformed into something else during the performance? How? • Are there images or ideas popping into my head? What are they? • Is there something about the performance I may remember forever? What made it so? • Is the audience quiet and drawn in to what is happening? Are they loud? Are they interacting directly with the performers? Are the performers directly interacting with the audience? BE PRESENT 24 CONNECT

Writing about Live Performance with Your Students

MORE WRITING PROMPTS FOR REFLECTION, EXPLORATION, AND DISCOVERY:

• What was your overall reaction to the performance? Did you find • How did the style and design elements of the production (e.g. sets, the production compelling? Stimulating? Intriguing? Challenging? costumes, lighting, sound, music, if any) enhance the performance? Memorable? Confusing? Evocative? Bizarre? Unique? Delightful? Did anything in particular stand out to you? Why? Meaningful? Explain your reactions. • What was your favorite musical selection from this performance? • What themes of the play especially stood out in production? What Why? themes were made even more apparent or especially provocative in • During the performance, imagine a story or movie playing out in your production/performance? Explain your responses. mind, set to the music or action on stage. After the performance, write • Is there a moment in the performance that specifically resonated with a story based on the narrative you imagined. you either intellectually or emotionally? Which moment was it, and • All of these performances involve one or more performers on stage at why do you think it affected you? any given moment. Which performer did you relate to the most? Why? • Describe the pace and tempo of the performance (e.g., slow, fast, varied). Did it feel like the pace of the production maintained your interest throughout? Were there any moments in which you felt bored, rushed, lost, or confused? What elements of the work or interpretation led you to feel this way? • Was there a moment during the performance that was so compelling, intriguing, or engaging that it remains with you in your mind’s eye? Write a vivid description of that moment. As you write your description, pretend that you are writing about the moment for someone who was unable to experience the performance.

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About UMS

UMS EDUCATION AND COMMUNITY UMS was selected as one of the 2014 recipients of the National Medal of Arts, the nation’s highest ENGAGEMENT DEPARTMENT public artistic honor, awarded annually by the president of the United States at the White House to those who have “demonstrated a lifetime of creative excellence.” The National Endowment for the Arts STAFF oversees the selection process.

MATTHEW VANBESIEN One of the leading performing arts presenters in the country, UMS is committed to connecting UMS President audiences with performing artists from around the world in uncommon and engaging experiences. With a program steeped in music, dance, and theater, UMS presents approximately 60-75 performances and JIM LEIJA Director of Education and Community over 100 free educational activities each season. Engagement At UMS, diversity is embraced as both a powerful educational resource and a guiding value for all our SHANNON K. FITZSIMONS MOEN work. Our educational philosophy is dedicated to multidisciplinary artistic and educational experiences Campus Engagement Specialist that represent a range of cultural traditions and viewpoints. Understanding our similarities and differences informs our culture, our values, and helps us navigate the world. By learning together, TERRI PARK we can discover something new and extraordinary about each other. Throughout our K-12 Education Education Coordinator Season, we invite educators and students to celebrate diversity in order to inform, strengthen, and unite us as community. EMILIO RODRIGUEZ Community Programs Manager

ALLIE TAYLOR Student Staff

LEVANA WANG Student Staff

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About UMS 2017-18 SCHOOL DAY PERFORMANCES

Jake Shimabukuro, ukulele Wednesday, November 7, 11 am

Big Band Holidays Jazz at Lincoln Center Orchestra with Wynton Marsalis Wednesday, November 28, 11 am

Wynton Marsalis by Joe Martinez ink Camille A. Brown & Dancers Friday, January 25, 11 am

Echo in the Valley Béla Fleck and Abigail Washburn Thursday, February 7, 11 am Camille A. Brown & Dancers by Marina Levitskaya Las Cafeteras Thursday, February 21, 11 am

Martha Graham Dance Company Friday, April 26, 11 am

Las Cafeteras by Rafa Cardenas

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Thank You! CREDITS AND SPONSORS

WRITTEN & RESEARCHED BY UMS YOUTH EDUCATION PROGRAM SUPPORTERS: ($5,000 OR MORE) Sean Meyers Reflects donations to UMS education programs recognized at $5,000 or more, made between July 1, 2017

EDITED BY and May 1, 2018 Terri Park

ADDITIONAL INFORMATION PROVIDED BY University of Michigan The Andrew W. Mellon Foundation Pamela Reister (UMMA) & Kayla Coughlin (Ann Arbor District Library)

Anonymous THE MOSAIC FOUNDATION (of R. & P. Heydon)

Arts Midwest Touring Fund National Endowment for the Arts

Community Foundation for Southeast Michigan New England Foundation for the Arts

Jim and Patsy Donahey PNC Foundation

DTE Energy Foundation Mary R. Romig-deYoung Music Appreciation Fund

David and Jo-Anna Featherman Prudence and Amnon Rosenthal K-12 Education Endowment Fund Eugene and Emily Grant Family Foundation Stout Systems David and Phyllis Herzig Endowment Fund UMS Ambassadors Richard and Lillian Ives Endowment Fund University of Michigan Credit Union Michigan Council for Arts and Cultural Affairs

Miller, Canfield, Paddock and Stone, PLC

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