TRADITIONAL ARTISTIC PERCEPTION (AP) ® CLASSICAL CREATIVE EXPRESSION (CE) Artsource CONTEMPORARY HISTORICAL & CULTURAL CONTEXT (H/C) The Music Center’s Study Guide to the Performing Arts EXPERIMENTAL AESTHETIC VALUING (AV) MULTI-MEDIA CONNECT, RELATE & APPLY (CRA)
ENDURING FREEDOM & THE POWER THE HUMAN TRANSFORMATION VALUES OPPRESSION OF NATURE FAMILY
Title of Work: About the Artwork: Malagueña Salerosa Malagueña Salerosa is a standard selection in the mariachi repertoire and is an example of the Creators: Producer: Mariachi Los Camperos de Nati Cano Mexican ‘singing style’ which was influenced by Musical Director: Natividad Cano b. 1933 19th century Italian opera, and grew in popularity in Mexico during the same period. The vocal soloist Background Information: in Malagueña is expected to demonstrate the ability It is no surprise that Natividad (Nati) Cano chose music to sustain a beautiful high pitch in segments of the as a career. Born in Ahuisculco, Jalisco, Mexico, he grew verse and refrain. Audiences reward the successful up in a family of jornaleros (day workers) who considered soloist with applause and ‘gritos.’ The song also music a necessity, a means for earning additional money, illustrates two distinctive characteristics often found as well as a joyous outlet from working the soil. His in mariachi music, changing and simultaneous grandfather played the guitarron, the bass instrument of meters. Sometimes the meter alternates between 6/8 mariachi ensembles. His father, a versatile musician, and 3/4 (sesquialtera), at other times the two meters played all of the instruments of the mariachi, except the occur simultaneously (ritmo colonial). trumpet. Cano began to play the vihuela at the age of six, Creative Process of the Artist or Culture: and at age eight he began six years of violin lessons at the Traditionally, musicians of the mariachi memorize Academia de Musica in Guadalajara. Gradually, Cano’s their repertoire, often strolling among patrons as musical experiences, technical skills and knowledge broad- they play. They respond to requests which range ened as he played locally with his father, with the from the traditional sones to caciones rancheras Academia Chamber Orchestra, and later with two (country), musica Tejana (Texas-Mexican), musica professional mariachi groups. As the youngest member huasteca (north-eastern regional) and musica jarocha of Mariachi Chapala in Mexicali, Cano was selected to (Veracruz). Los Camperos performs compositions be the group’s arranger. He later joined the Tijuana- from different regions, however, Cano’s arrangements based Mariachi Aguila, and after becoming its musical adhere to the mariachi director, changed the name to Los Camperos. In 1969 instrumentation (violins, guitars, the group became permanently based in Los Angeles vihuelas, trumpets, harp and where it established a reputation for offering the best in guitarron), while retaining the mariachi music. In recognition of his outstanding musicianship, spirit of its various origins. Cano received a National Heritage fellowship from the Los Angeles National Endowment for the Arts in 1990. Notable “Lose yourself in music U.S.A. and you will find beauty.” among their recordings are two which were made with MEXICO Gulf Natividad Cano of Linda Ronstadt, Canciones de Me Padre and Mas Canciones. Mexico Jalisco Discussion Questions: Sample Experiences: After listening to the audio recording: Level I • There are various string instruments featured in * • Learn Mexican folk songs which are sung on special Malagueña Salerosa. Which string instrument occasions, such as Las Mañanitas (a morning greeting) sounds did you recognize? and Mañanitas Tapatia (a birthday greeting). Sing the • What did you hear in the vocal solo that songs in Spanish and English on appropriate occasions. demonstrates its 19th century Italian opera roots? • Learn Mexican game songs which are played in (sustained high-pitch, and resemblance to ‘recitative’ much the same manner as game songs from other in the verse) countries. Examples: Al Citron and Find the Ring; La • In most instrumental groups specific instruments Vibora de la Mar and London Bridge. constitute the rhythm section. Which instruments • Put on the music and let students discover ways to in the mariachi ensemble usually provide the basic dance to it. rhythm? (guitarron, vihuela, and sometimes the harp) Level II • Early mariachi ensembles were string ensembles. • Two similar holidays, Día de los Muertos and In the early thirties, when mariachi radio broadcasts Halloween, both occur in the autumn. Compare and emerged, groups began to add trumpets. Why do contrast the two observances. Learn a song suitable for you suppose this instrument was added? both celebrations. Create movement to illuminate the lyrics and illustrate the form. Multidisciplinary Options: • Play Malagueña Salerosa and listen for techniques of • In Mexico, as in other countries, different types of playing the violin, i.e. arco (bowing) and pizzicato music developed in the various states and regions (plucking). If possible, invite musicians to present within the country. Read to discover the historical, demonstrations. geographical and cultural/ethnic origins of the * • Select several standard mariachi selections and listen following kinds of music: musica huasteca, musica for the various playing techniques employed. Discuss Tejana (or conjunto), musica jarocha and musica how these techniques contribute to the unique sound mariachi. of mariachi music. • Mexico’s proximity to the United States has had a Level III cultural impact on the southwestern states, in * • Practice these rhythms: a three-beat rhythm with an particular (Arizona, California, New Mexico and accent on the first beat; a six-beat rhythm with accents Texas). Give examples of this cultural overlap as seen on the first and fourth beats; and a six-beat rhythm in food, clothing, sports, celebrations, architecture, with accents on the first, third and fifth beats. Perform names (streets, cities, parks, etc.) and the arts. the first two rhythms simultaneously and the first and Audio-Visual Materials: third rhythms alternately. Discuss, then listen for these examples in Malagueña Salerosa. Listen to an • Artsource® audio recording: Malagueña Salerosa, orchestral composition which incorporates these courtesy of Mariachi Los Camperos de Nati Cano, 1992. different Mexican folk melodies and rhythms. Additional References: Example: El Salón México (Copland). • Recordings: Mas Canciones (1991), Linda • Divide the class into groups and ask each to study a Ronstadt. Electra Entertainment; El Super different style of Mexican music. Provide recorded Mariachi, Mariachi Los Camperos de Nati Cano. examples for study and presentation. Encourage them Latin International, 1968. to plan unique ways to present their work.
* Indicates sample lessons 2 MUSIC LAS MAÑANITAS (Birthday Song) THE HUMAN FAMILY
LEVEL I Sample Lesson
INTRODUCTION:
Music is a central point of celebration for many cultures. One of the most popular occasions for celebration is a birthday. In the American culture people sing the Happy Birthday song on each person’s special day. In the Mexican culture, people sing a Mariachi song entitled Las Mañanitas.
OBJECTIVES: (Student Outcomes)
Students will be able to:
• Sing a traditional Mexican song entitled Las Mañianitas. (Historical and Cultural Context) Mariachi Los Camperos de Nati Cano Photo: courtesy of Natividad Cano • Identify the 3/4 meter and clap and sing the song. (Artistic Perception)
• Gain a greater appreciation for the traditions of the Mexican culture. (Historical and Cultural Context)
• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Aesthetic Valuing)
MATERIALS:
• Artsource® audio recording of Malagueña Salerosa and Las Mañanitas.
PROGRESSION:
• Give some background information on Mariachi music and the instruments used.
• Listen to the recording of Malagueña Salerosa and identify the instruments being used (trumpet, violin, guitar, etc.).
• Listen to the recording again and clap on the beat.
• Ask the students to give their impressions:
• What do you think the musicians are communicating through their music? • How does the music make you feel? 3 • Give some background on Las Mañanitas and explain that it is also played in the style of Mariachi music. Play the Artsource® audio cassette recording and see if they can recognize what is the same about both pieces.
• Read the lyrics to Las Mañanitas in both Spanish and English.
• Learn the song. Las Mañanitas (Birthday Song)
Esta son las mañanitas Que cantaba el rey David A las muchachas bonitas Se las cantamos aqui
Despierta mi bien, despierta, Mira que ya amanecio Ya los pajarillos cantan La luna ya se metio
Que linda esta la mañana En que vengo a saludarte Venimos todos con gusto Y placer a felicitarte
(Chorus) El día a que tu naciste Nacieron todas las flores Y en la pila de bautismo Cantaron los ruiseñores
Ya viene amaneciendo Ya la luz del día nos vio Levantate de mañana Mira que ya amanecio
(Verse) Quisiera ser un San Juan Quisiera ser un San Pedro Pa venir a saludarte Con la musica del cielo
De las estrellas del cielo Quisiera bajarte dos, Una para saludarte Y otra para decir adios
(Chorus) Ya viene amaneciendo Ya la luz del día nos dio Levantate de mañana Mira que ya amanecio 4 Las Mañanitas (Birthday Song) English Translation- Ed Barguiarena and Susan Friel
These are Las Mañanitas As sung by David the King To the beautiful young ladies; Now I come to you, to sing.
Awake, my good one, awake, Wake up and meet the day. The morning birds are singing; The moon has gone away
How beautiful is this morning In which I come to greet you. My heart is filled with happiness And pleasure to meet you.
The day that you were born The flowers were born too; The Nightingales were singing In the baptismal morning dew. The translation is not intended to be an English (Chorus) version of the song but The Sun is now upon us, a poetic representation. Its rays are breaking through; It does not rhythmically Wake up, this special morning, match the melody – the This day is for you. song should be sung in Spanish only. I wish I were a Saint Like Saint Peter or Saint John; Coming from grace to greet you To sing this heavenly song.
From the stars up in the heavens I’d like to bring down two: One brings you a greeting, The other bids adieu.
(Chorus) The Sun is now upon us, Its rays are breaking through; Wake up, this special morning, This day is for you.
5 • Learn a three beat meter (3/4). Place the first count on your lap or a desk, and clap the remaining two counts. Be sure you can repeat it.
Example:
desk clap clap
• Use the extension questions below to extend the experience for your students.
EXTENSIONS:
• Think of other clapping combinations that you can use with this song.
e.g. 1. clap-desk-clap 2. desk-clap-clap 3. (with a partner clap own legs-clap own hands-clap partners hands)
• Learn the names of the traditional Mariachi instruments in Spanish
trumpet trompeta violin violin (vio-lean) guitar guitarra bass guitarron
• Listen to Malagueña Salerosa or another Mariachi recording and make a drawing inspired by the mood of the music. (Drawings can include instruments, words, colors, abstract shapes and lines, etc.)
VOCABULARY: rhythm, lyric, culture, instrument, meter
ASSESSMENT: (Aesthetic Valuing)
DESCRIBE: Describe what makes a birthday so special.
DISCUSS: Discuss things in nature that are ‘reborn’ (recreated) everyday. (sun, moon, stars, flowers, etc.)
ANALYZE: Analyze the differences and similarities between Las Mañanitas and Happy Birthday.
CONNECT: What are some of the special things your family does to celebrate a birthday?
6 7 8 MUSIC CELEBRATE RHYTHM THE HUMAN FAMILY
LEVEL II Sample Lesson
INTRODUCTION:
Rhythm is an important aspect of Mariachi music. It is the most fundamental element of any music, even more fundamental than melody. Rhythm is a key element in establishing the style or flavor of any music. Many cultures have traditional rhythms that have been in use for a long time. Often these rhythms are named after a dance (Tango, Mambo, Rhumba, Jig, Waltz, etc.) There is a big difference between a rhythm and a beat. A beat is a primary pulse in music (the part that you dance to), and a rhythm is how a beat gets divided (what the instruments play). A beat is implied in the music, while rhythms are literal. Rhythm is the most defining quality of any musical style.
No Rhythm -- No Music. Wynton Marsalis
OBJECTIVES: (Student Outcomes)
Students will be able to:
• Identify and clap the pulse in a Mariachi song.
• Clap and count the meter of a Mariachi song.
• Clap simple rhythmic patterns in 3/4 time.
• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Aesthetic Valuing)
MATERIALS:
• Artsource® audio recording of Malagueña Salerosa or another Mariachi CD of your choice. (See additional references of recordings.)
PROGRESSION:
• Give some background information on Mariachi music and the instruments used. (See page 17)
• Give some background information on Malagueña Salerosa (See the Unit page)
• Listen to the recording of Malagueña Salerosa and clap to the beat.
• Review and use some of the ‘Discussion questions’ on page 2.
• Listen to the recording of Malagueña Salerosa and walk to the beat. As students are walking to the beat have them clap to the beat so that hands and feet are in unison.
9 • Without the music, walk and clap at the same time and count to three continuously. Explain that these groupings of three are the fundamental rhythmic foundation of Mariachi music and are called measures. (Three beats equal one measure in 3/4 time.)
• Have the students alternate between walking and clapping (4 measures - 12 counts) and only walking (4 measures - 12 counts).
• Explain that when they are not clapping, what they are doing is called a rest, which is a counted rhythm. When you are resting you still have to silently feel the beat and rhythm of the music.
• Have your students learn and practice the following rhythmic patterns. Make sure they can repeat each pattern several times.
• Divide the class into three groups and assign each group a rhythmic pattern. Have each group play their pattern four times without a pause in the rhythm.
• Once each group has learned to play their pattern four times, put all the groups together and have them play in sequence. Group one (4 times), group two (4 times), group three (4 times), all without a break in the rhythm.
• Have all the patterns play at the same time.
• Change the length of the patterns, 4, 5, 8, 12 or 16 times.
• Change the volume of all the groups or an individual group.
• Play the music again and have the students clap their rhythmic patterns with the music. Use all of the combinations you practiced earlier. As you get more familiar with the music you can have the entire group or individual groups find places to start and stop their rhythmic pattern. This will make it more challenging and interesting.
EXTENSIONS:
• Explore other music in 3/4 time. (Viennese waltzes, music of Huasteca, Irish folk music)
• Try the following example of walking and clapping.
10 Example:
VOCABULARY: rhythm, pulse, measure, beat, meter, rest
ASSESSMENT: (Aesthetic Valuing)
DESCRIBE: Describe the difference between a rhythm and a rest.
DISCUSS: Discuss the experience of playing the rhythmic patterns in individual groups and as a large group with three rhythmic patterns being played at the same time.
ANALYZE: Analyze the differences and similarities between playing the rhythmic patterns in class and how the instruments interact in a Mariachi band. (Do the instruments play all the time?)
CONNECT: What other types of rhythmic patterns occur in the world around us? Do people have individual rhythms in the way they walk, talk, learn, play, etc.? What kind of rhythms are found in nature? (seasons, life cycles, migrations, etc.)
11 MUSIC
MEMORIES OF MEXICO TRANSFORMATION
LEVEL III Sample Lesson (4th grade and above) INTRODUCTION:
American composer Aaron Copland visited the famous Salón Mexico in Mexico City, where he heard several different instrumental groups perform traditional Mexican music. The music he heard inspired him to write the composition El Salón México. It was premiered in Mexico City on August 27th, 1937, conducted by Mexico’s distinguished composer-conductor, Carlos Chavez.
OBJECTIVES: (Student Outcomes)
Students will be able to:
• Recognize the themes and rhythms in an orchestral composition as based on traditional Mexican music. (Artistic Perception and Historical and Cultural Context)
• Perform traditional rhythms found in Mariachi music. (Artistic Perception and Historical and Cultural Context)
• Demonstrate a greater appreciation for the complexity of Mariachi music. (Historical and Cultural Context)
• Discuss how different cultures borrow musical styles from one another. (Historical and Cultural Context)
• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Aesthetic Valuing)
MATERIALS:
• Recording: Copland’ Greatest Hits, El Salón México (Copland). New York Philharmonic, Leonard Bernstein. CBS Masterworks, MS 7521, 1984, or Twentieth Century America, El Salón México” (Copland). Bowmar Orchestral Library, BOL 74, 1967.
• Copies of the “Rhythm Patterns” and “Listening Guides.” (See the copy-ready forms at the end of this lesson.)
• Woodblock or toneblock.
PROGRESSION: (This lesson may require two sessions.)
• Part I Using the woodblock or toneblock, tap Rhythm Pattern #1, then have the class tap with you, using pencils on desks. Call attention to the accented first beat. 12 Rhythm Pattern #1
Tap
• Clap Rhythm Pattern #2, then ask the students to clap the pattern with you, emphasizing the accented beats.
Rhythm Pattern #2
Clap
• Explain that in the music of Mexico and other Latin American countries, these two patterns often occur simultaneously. This technique is called ‘ritmo colonial.’ It can be heard in the song Malagueña Salerosa.
• Divide the class into two groups and assign each a different rhythm pattern. Have the students tap and clap the rhythms simultaneously. Start group #1, and when the rhythm is assured, start group #2 when #1 begins a new measure.
Example A: (ritmo colonial)
Tap
Clap
• Discuss the effect of performing the two rhythms simultaneously.
• Teach Rhythm Pattern #3. Call attention to the different accented beats.
Rhythm Pattern #3
Clap
• Review Pattern #1. Have the students play Patterns #1 and #3, alternating from one to the other, measure by measure, as indicated in Example B (below). This technique is called ‘sesquialtera.’ It produces a pattern that is heard quite often in the dance music of many Latin American countries. Call attention to the double meter signature.
Example B: (sesquialtera)
Clap 13 • Ask the students to compare Pattern #1 with Pattern #4. Ask them to find the one difference. (The first quarter note has been changed to two eighth notes.)
#1
#4
• Play Pattern #4 alternately with Pattern #3. Explain that this is a slight variation of the pattern in Example B.
Example C: (sesquialtera)
Clap
Part II • Review Examples B and C, the sesquialtera (alternating) rhythms.
• Explain that an American composer, Aaron Copland, created a composition which became famous for capturing the spirit of Mexico with his use of the rhythms and folk melodies of that country. (See the Introduction to this lesson.) The title of the piece is El Salón México. Explain that it is the first of several compositions Copland wrote which incorporate the folk rhythms of a country or culture. (See the Artsource® Dance Unit, Eugene Loring.)
• Tell the students that the sesquialtera rhythm they learned is featured in El Salón México. Ask them to listen for this rhythm in the introduction. Play the recording for approximately 25 seconds. Have the students signal when they hear the rhythm pattern. (Use your own method for having the students signal.) Play it again to be sure everyone has an opportunity to hear the pattern.
• Explain that Copland used several popular Mexican dance rhythms in El Salón México. In addition, he also incorporated three folk melodies that he heard (La Jesuscita, El mosco and El palo verde).
• In preparation for listening to the entire composition, distribute the Listening Guides for El Salón México. Ask the students to follow and complete as many items as possible as they listen.
• Have the students discuss their responses. Provide the answers when necessary, so that the students may complete the Listening Guide. If time permits, play El Salón México again as the students follow their guides, or have them do so during the next session. 14 EXTENSIONS:
• Listen for the sesquialtera rhythm in Leonard Bernstein’s America from West Side Story. The entire composition is based on this rhythm.
VOCABULARY: accented beats, alternating rhythm, ritmo colonial rhythm, sesquialtera rhythm
ASSESSMENT: (Aesthetic Valuing)
DESCRIBE: Describe the difference between traditional folk music and a piece of music that borrows ideas from folk music.
DISCUSS: Discuss the experience of playing rhythmic patterns that have a compound time signature (meter). (This would be one measure of 6/8 followed by a measure of 3/4.)
ANALYZE: Analyze the differences and similarities between music performed by an orchestra and a traditional folk ensemble. (An orchestra always reads music while they play. Folk musicians are often given the liberty to improvise and alter the music they play. What instruments do they have in common? Why?)
CONNECT: What cultural practices or philosophies (traditional or modern) do you use in your own life?
Aaron Copland (1900-1991) The most celebrated American classical composer of the 20th century Photo: Victor Kraft
15 LOS CAMPEROS DE NATI CANO
LISTENING GUIDE EL SALÓN MÉXICO AARON COPLAND ______Review the questions before listening to the recording. Please mark your answers with an X.
1. Name the instrument which plays a solo on the first folk theme.
___piccolo ___trumpet ___cello
2. Is the first theme primarily a chord patterns or a scale pattern?
___scale ___chord
3. Is the rhythm in the second theme even or uneven?
___uneven ___even
4. Name the instruments which introduce the third theme.
___violins ___flutes ___bassoon
5. The third folk theme is based upon the . . . Huichol musician from Santa Catarina, Jalisco Artist: Luis Covarrubias ___ritmo colonial rhythm ___sesquialtera rhythm
6. The second folk theme is repeated by the . . .
___violins ___flutes ___French horns
7. After the violins re-play the second folk theme the dynamics become . . . ___louder ___softer, and the tempo becomes . . . ___slower ___faster
8. Listen to the remainder of the composition and be prepared to discuss the composer’s use of repetition and variety. (repetition - themes and rhythm patterns, variety - dynamics, tempo, rhythms, tone color and mood)
9. The introduction and coda feature which of the two rhythms?
___ritmo colonial ___sesquialtera
16 THE ORIGINS OF THE TERM “MARIACHI”
The word mariachi is a term that can be used to describe the individual musician, the ensemble or the musical genre itself. A definitive origin has never been established. Perhaps the most common misconception is that the term is derived from the French word for marriage (mariage). The theory is that these unnamed ensembles were often hired by the French court in Mexico during the Maximilian epoch (1861-1867) to play at fiestas and weddings. Soon the Mexicans began calling these groups of strolling musicians mariachis. There are many theories which verify that the term predates the French occupation. Many Mexican scholars assure us that groups called mariachi were already in existence by 1830.
A letter written by a cleric in 1952 makes reference to the diversions created by musical groups called mariachis. In 1840 a gentleman named Placido Rebolledo organized a musical group that he called mariachi in Tecalitlan. This group later became Mariachi Vargas de Tecalitlan in 1898 and is still in existence.
Scholarly investigations also support possible indigenous roots. Evidence substantiates the existence of an Indian mariachi that used a single-head skin drum. One investigation suggests that the term derives from the yutonahuatl language group signifying a hard floor or dance area called a mariache or tarima. Another hypothesis suggests that the term comes from celebrations honoring the Virgin known as Maria H - Maria Hache - that evolved into mariachi. Finally, many older rural mariachi musicians in the states of Jalisco and Colima, assumed that the name somehow derived from the woman's name Maria.
THE INSTRUMENTS OF THE MARIACHI
The mariachi originated in the rural areas of Western Mexico particularly from the states of Jalisco, Colima, Michoacan, Nayarit and Sinaloa. The original groups were string-based ensembles, therefore the term “mariachi band” is inappropriate since bands, by definition, emphasize instruments of the brass and woodwind families. The mariachi instrumentation consisted primarily of violins and the diatonic harp. The harp provided rhythmic and harmonic support. The violins provided melodic lines.
A small, generally five-string, flat-back guitar - known as the quinta or guitarra de golpe - supported the rhythm. In the area around Cocula, where for reasons not completely understood, a rounded-back set of instruments developed. The five string vihuela, a rounded-back instrument, along with the more recent addition of the guitar, provide the harmonic rhythm essential for the musical sound of every mariachi.
The guitarron, a large rounded-back instrument, provided the bass line. The original guitarron used four or five gut strings and eventually the instrument became standardized with six nylon strings that allowed for doubling the bass line for greater volume. For reasons of portability and key restrictions the guitarron eventually replaced the harp in most ensembles.
In the early 1930s the ensembles added a trumpet when they began to think in terms of arrangements and commercial possibilities. The rationale was that their addition would provide a better sound for radio broadcast. Throughout the years, mariachis have become standardized with two trumpets, although it is not uncommon to find three or more in today's groups.
Contemporary mariachis use highly professional arrangements, trained musicians and a refined sense of showmanship. It is a musical form that continues to evolve.
Articles by José Delgado. 17
ADDITIONAL RESOURCES
POPULAR MARIACHI SONGS
Jalisco Yo Soy Mexicano Ojos Tapatillos
ADDITIONAL INSTRUMENTS USED IN OTHER REGIONAL MUSIC OF MEXICO
Vera Cruz Huasteca Nortena Guitarra de Golpe Huapanguera Contrabajo Arpa Violin Accordion Huapanguera
ADDITIONAL RECORDINGS:
Viva el Mariachi! Nati Cano’s Mariachi Los Camperos Smithsonian Folkways, 2002.
La Mas Completa Coleccion Mariachi Vargas De Tecalitlan Universal Music Mexicao, 2005.
WEB SITES
International Folk Culture Center at San Antonio www. n-link.com/ifccsa/index.htm
18
rtsource ® A The Music Center’s Study Guide to the Performing Arts
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Introduction
ARTSOURCE®: THE MUSIC CENTER’S STUDY GUIDE TO THE PERFORMING ARTS
Artsource® highlights works of art and artists of stature from diverse cultures. It represents early to contemporary art forms in the disciplines of dance, music and theatre and complements the programs and performances of the Music Center’s resident companies and artist roster.
The arts are ancient, enduring and universal forms of communication. Artists present their perceptions, reflections, and points of view which influence, and are influenced by, the culture and period of time in which they exist. Artsource ® Contributors
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Writers: Dance Susan Cambigue-Tracey Diana Cummins, Carole Valleskey, Madeleine Dahm, Deborah Greenfield, Barbara Leonard, Melinda Williams
Music Rosemarie Cook-Glover Ed Barguiarena, Susan Cambigue-Tracey, Barbara Leonard, Connie Hood, Annette Simons, Marilyn Wulliger, Diana Zaslove, John Zeretzke
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Mark Slavkin Vice President for Education Melinda Williams Director of Education