2016-17 UMS LEARNING GUIDE Sphinx Competition HONORS CONCERT

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BE PRESENT 1 Table of Contents

04 05 06 22 ATTEND THE DETAILS LEARN CONNECT

07 Why? 23 Being an Audience Member 09 Artist 26 Arts Online 14 Art Form 28 Writing About Live Performance 19 Performance 31 About UMS 33 Credits and Sponsors february 10 february UMS SCHOOL DAY PERFORMANCE

Sphinx Competition HONORS CONCERT

Friday, February 10, 2017 // 12 pm Orchestra Hall, Detroit, MI

BE PRESENT 3 Attend

Coming to your E-mail Inbox!

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

UMS.ORG / 734.615.0122

BE PRESENT 4 The Details

VENUE ADDRESS ACCESSIBILITY Orchestra Hall, 3711 Woodward Ave, Detroit, MI 48201 We aim to maximize accessibility at our performances and below are details regarding this performance’s points of accessibility. If you have further EMERGENCY CONTACT NUMBER question contacts dso.org/ContactUs.aspx or call 313-576-5100. 313-576-5111 (box office) The following services are available to audience members: • Wheelchair, companion, or other special seating ARRIVAL TIME • Courtesy wheelchairs Friday Concert: Between 11:30-11:50 P.M. • Hearing Assistance Devices Sunday Concert: Between 1:30-1:50 P.M.

PARKING TICKETS Parking is available for $7 in the Orchestra Place Parking Structure located on We do not use paper tickets for the Honors Concert. We hold school Parsons just south of the Max M. Fisher Center. Handicap parking is available. reservations at the door and seat groups upon arrival.

BATHROOMS The Finals Concert is ticketed through the DSO. Click here to purchase tickets. Compliant, barrier-free toilets are available in all areas of the Fisher Center.

FOOD ENTRY No food or drinks (including school lunches) are allowed in the theater. The center is equipped with powered front doors.

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Sphinx Competition Honors Concert

UMS.ORG / 734.615.0122

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Why? UMS EDUCATION ARTISTIC STATEMENT

The Sphinx Organization is the Detroit-based national organization dedicated to while an undergraduate student at the University of Michigan, to address the stark transforming lives through the power of diversity in the arts. Led by Afa S. Dworkin, under-representation of people of color in classical music. President Obama’s first its President and Artistic Director, Sphinx programs reach over 100,000 students, appointment to the National Council on the Arts, Aaron P. Dworkin currently serves as well as live and broadcast audiences of over two million annually. Afa Dworkin’s as dean of the University of Michigan’s School of Music, Theatre & Dance. work as the organization’s long time Artistic Director, and now President, has been recognized globally. She was named one of the 30 Most Influential People In telling the Sphinx story, Aaron Dworkin stresses the importance of diversity in by Musical America, Detroit’s “40 Under 40” by Crain’s Detroit Business, in addition the arts, “The ability to express oneself—to share one’s culture and identity with to being a frequent speaker on the importance of inclusion and music education at others—is paramount to a civil society, and so we train that ability in young people. conferences nationwide and abroad, including the League of American Orchestras, If this incredible art form doesn’t reflect the full mosaic of who we are as a nation, Chamber Music America, Americans for the Arts, International Arts and Ideas then not only are those communities diminished, but our entire society is.” Festival and beyond. Ms. Dworkin also serves as faculty for Roosevelt University’s Master’s Program in Performing Arts Administration. UMS and Sphinx are thrilled to present these brilliant young musicians on the basis of both their extraordinary musicianship and the importance of the Sphinx vision. The organization’s founding and mission were informed by the life experiences of Aaron Dworkin, who, as a young Black violinist, was acutely aware of the lack of diversity both on stage and in the audience in concert halls. He founded Sphinx

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Why? ONLINE: CONNECTING TO SPHINX

Watch this video to learn more about the history, progress, and mission of the Sphinx Organization.

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Artist SPHINX COMPETITION: FIVE THINGS TO KNOW

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The 2017 competition finalists are chosen based on the excellence they display during a rigorous selection process. First, applicants from all over the country send in recorded auditions. Candidates compete in one of two age categories, the junior division (under 18) or the senior division (18 to 30). Judges choose 9 musicians from each category to play in a live semi-final round. In the last round, three finalists from each group will perform with the Sphinx Symphony, an orchestra made up of Black and Latino musicians, as they compete for the grand prize.

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Sphinx chooses competition Evaluating artistic achievement The senior division finalists The Sphinx Organization is more repertoire to showcase the is a difficult and delicate process; compete for a $50,000 prize than just a competition. It also performers’ technical proficiency the judges for each phase of the and the junior division finalists offers educational programs that and musical creativity. The pieces competition use their knowledge compete for a $10,000 prize. have reached more than 30,000 are of similar difficulty, making it as accomplished teachers and young people across the country. easier to compare performances performers to choose a winner. In addition, the Sphinx Global across the different instruments— Learn more about the judges on Scholars initiative brings the , , , and bass. This the Sphinx Website. organization’s vision of diversity year’s repertoire will include: to 15 countries.

Click here to see this year’s junior and senior division repertoire.

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Artist GETTING TO KNOW FOUNDER: AARON DWORKIN

Named a 2005 MacArthur Fellow, a Member Uncommon Rhythm, an autobiographical poetry of President Obama’s National Arts Policy collection entitled They Said I Wasn’t Really Committee, and Mr. Obama’s first nominee Black, and the children’s book The 1st Adventure to the National Council on the Arts, Aaron P. of Chilli Pepperz. A passionate advocate for Dworkin serves as dean of the University of excellence in music education and diversity in Michigan’s School of Music, Theatre & Dance, the performing arts, Mr. Dworkin serves regularly which is ranked among the top performing as a panelist on influential arts committees arts schools in the nation. Mr. Dworkin is such as Independent Sector’s Advisory Group, the Founder and President of the Sphinx the Michigan Council for Arts and Cultural Organization. Affairs, the MetLife Awards for Excellence in Community Engagement, the National An author, social entrepreneur, artist-citizen, Assembly of State Arts Agencies, the National and avid youth education advocate, he has Association of Arts Presenters, Chamber Music received extensive national recognition for his America, The National Endowment for the Arts, vast accomplishments. He has been featured Michigan Council for Arts and Cultural Affairs, in People Magazine, on NBC’s Today Show Surdna Foundation Arts Teachers Fellowship and Nightly News with Brian Williams, and Program, and others. Mr. Dworkin has been named one of Newsweek’s “15 People Who a keynote speaker and lecturer at numerous Make America Great”. He is the recipient of the national service organizations and conferences National Governor’s Association Distinguished including The Aspen Ideas Festival and Service to State Government Award, the Detroit Chautauqua. A lifelong musician, Mr. Dworkin is Symphony’s Lifetime Achievement Award, an accomplished acoustic and electric violinist Michiganian of the Year (2003), Crain’s 40 and a spoken-word and visual artist. He also Under 40, BET’s History Makers in the Making has strong interests in politics, world history, Award, and the AT&T Excellence in Education and issues of economic and social justice, and Award. Mr. Dworkin authored the memoir enjoys travel and culinary arts.

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Artist GETTING TO KNOW PRESIDENT AND ARTISTIC DIRECTOR: AFA SADYKHLY DWORKIN

Ms. Dworkin has worked with the panel, as well as the MetLife Awards Sphinx Organization since 1999. In her administered by The League of American current role, she handles oversight and Orchestras, National Endowment for programmatic design of all artistic and the Arts, as well as Charlotte Arts and educational affairs, in addition to all Sciences Council grants, Independent fundraising for the organization. She has Sector’s American Express NGen appeared as a speaker and presenter awards, Florida and Oklahoma State Arts at national conferences, including Council grants, and Symphony’s Chamber Music America (opening Talent Development Program juries. address), the National Association Ms. Dworkin is a trustee for the Detroit for Schools of Music, the League of Symphony, member of the Advisory American Orchestras, ICSOM, Americans Committee for the Ben Holt Memorial for the Arts, University of Michigan’s Recital Series hosted by Lawrence MLK panel discussion, Bowling Green University Conservatory of Music, as University, Central Michigan University, well as formerly the Board of Trustees Lorraine College Signature Artist Series, of Walnut Hill School for the Arts (the San Francisco Symphony’s National premiere arts preparatory high school). Orchestral Forum, and various media Currently, she serves as a Trustee for outlets, including The Toledo Blade, the National Guild for Community Music Interlochen Public Radio, Greensborough Education, and INTAKE Organization. Public Radio, and Michigan Radio. Ms. Dworkin has also participated as a grant review panelist for the Michigan Council for Arts and Cultural Affairs, Association of Performing Arts Presenters Young Performers Career Advancement photographer: Kevin Kennedy

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Artist GETTING TO KNOW CONDUCTOR THOMAS WILKINS

Thomas Wilkins is Music Director of the Omaha His commitment to community has been Symphony, Principal Conductor of the Hollywood demonstrated by his participation on several Bowl Orchestra, and the Germeshausen Family Boards of Directors, including the Greater Omaha and Youth Concert Conductor chair with Chamber of Commerce, the Charles Drew Health the Boston Symphony. Past positions have Center (Omaha), the Center Against Spouse included Resident Conductor of the Detroit Abuse in Tampa Bay, and the Museum of Fine Symphony, the Florida Orchestra (Tampa Bay), Arts as well as the Academy Preparatory Center and Associate Conductor of the Richmond (VA) both in St. Petersburg, FL. Currently he serves Symphony. He also has served on the music as chairman of the board for the Raymond James faculties of North Park University (), the Charitable Endowment Fund and as National University of Tennessee in Chattanooga, and Ambassador for the non-profit World Pediatric Virginia Commonwealth University in Richmond. Project, headquartered in Richmond, VA, which provides children throughout Central America Devoted to promoting a life-long enthusiasm and the Caribbean with critical surgical and for music, Thomas Wilkins brings energy and diagnostic care. commitment to audiences of all ages. He is hailed as a master at communicating and A native of Norfolk, Va., Thomas Wilkins is a connecting with audiences. graduate of the Shenandoah Conservatory of Music, and the New England Conservatory of During his conducting career, he has led Music in Boston. He and his wife, Sheri-Lee, orchestras throughout the United States, are the proud parents of twin daughters, Erica including the Orchestra, the and Nicole. Cleveland Orchestra, the New York Philharmonic, the Rochester Philharmonic, the Boston Pops, and the symphonies of Atlanta, Cincinnati, Detroit, Dallas, Houston, Baltimore, New Jersey, Utah, San Diego, Grant Park, and the National Symphony in Washington, D.C., to name a few.

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Artist ONLINE: 2017 SEMI-FINALISTS

Meet the talented 2017 Semi- Finalists on the Sphinx Website (Scroll to the bottom of the page).

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Art Form THE

DEFINITION A concerto is a musical composition featuring a solo instrument accompanied by an orchestra. Some are written for two or three soloists. Concertos showcase the soloist’s technical and artistic virtuosity and the best qualities of his or her instrument.

STRUCTURAL ELEMENTS: Many concertos, especially those written in the “Classical period” before 1800, share a structure of three movements, each portraying a slightly different character or idea. The first movement of such a concerto often follows Sonata form, a common way of organizing musical content. Sonata form also involves three different sections:

Exposition: Sonata form begins with the exposition, an opening Recapitulation: Once the new material of the development draws to a statement during which the composer introduces the piece’s main close, the composer brings back the musical themes from the exposition, musical ideas, or themes. This section is often played twice. this time treating them as an ending rather than an opening statement.

Development: In the development, the composer explores new ways of The recapitulation often concludes with an exciting flourish, or coda. presenting the music of the exposition, often deconstructing its musical The structure provided by Sonata form gives listeners a road map for themes, moving to new key areas, and combining musical ideas in new navigating longer pieces of music. Listen for Sonata Form in the violin, ways. Composers use the development to build tension and excitement viola, cello, and bass concertos played in this competition. and to test radical musical ideas.

Cadenza: many concertos include a section in which the soloist performs unaccompanied (alone without the orchestra) to display the soloist’s utmost virtuosity and musicianship. Originally, cadenzas were improvised, giving the soloist a chance to show off their skills and creativity. Nowadays, most cadenzas are written down and serve as an integral part of the concerto as a whole.

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Art Form MUSICAL INSTRUMENTS: STRINGS

5 THINGS YOU SHOULD KNOW: ORCHESTRAL STRINGS

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String instruments can be played Despite their different sizes, the Traditionally, string instruments A person who makes or with a bow or by plucking the violin, viola, and cello all come from used gut strings, which are repairs string instruments strings with the fingers (). the viola da braccio family and are produced from the lining of sheep is called a . The bow consists of a wooden closely related in their construction, and goat intestines. Today, there is stick stretched end-to-end with materials, and design. a wide variety of string materials bowhairs made from a horse’s available including steel, aluminum, tail hairs. is applied to the and synthetic materials. bowhairs so the hairs can grip the strings and produce clean articulation in the sound. The strings vibrate and produce sound when the bow moves across them.

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Several famous from the 16th-18th centuries are known for producing the highest quality string instruments ever made. Notable luthiers include: Stradivarius, , , and Steiner. Many of these rare instruments are kept by museums and organizations and have become famous for their sound, appearance, and use by famous performers.

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Art Form MUSICAL INSTRUMENTS: STRINGS

Continued.

VIOLIN VIOLA CELLO

• The violin is the smallest and • Compared to the violin, the • Although the cello is the • Lowest pitched member of highest pitched member of the viola is larger in size and lower second largest instrument in string family string family. in pitch. the orchestral strings family, • Also called the “contrabass” or the cello is the lowest sounding • In orchestras and string quartets, • Violists in orchestras and simply the “bass” instrument in a , the tend to have the string quartets usually play the an ensemble composed of a • Unlike the other violin, viola, and melody more often than the other harmony, supporting the violin’s cello, viola, and two violins. cello, the double bass’s strings strings. melody. are tuned in 4ths: E, A, D, G. • The cello’s strings have the same • The concertmaster of an • Many composers love to write names as viola, but they sound • The double bass is equally at orchestra is a violinist and sits in music for the viola because of one octave lower: C, G, D, A. home in the jazz idiom and is the front of the violin section on its rich, dark tone quality and critical part of the rhythm section the conductor’s left side. expressive abilities. • In an orchestra, the in a jazz band or combo. almost always sit stage left (the • Strings tuned in 5ths: G, D, A, E • Strings are tuned in 5ths like audience’s right side). • Famous classical double • Famous violinists: Itzhak the violin, but instead of the bassists: , • The name cello is actually a Perlman, Hillary Hahn, Jascha violin’s high “E” string, the viola Giovanni Bottesini, Gary Karr, shortened version of its full Heifitz, Joshua Bell has a low “C” string. The strings Oscar Zimmerman are: C, G, D, A Italian name, Violoncello. • Famous violists: Tabea • Famous cellists: Yo-Yo Ma, Zimmerman, Kim Kashkashian, Pablo Casals, Jacquelin du Pre, Jennifer Stumm, Paul Hindemith Mstislav Rostropovich (who was also a well-known German composer!)

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Art Form COMPETITION REPERTOIRE: ABOUT THE COMPOSERS

JUNIOR DIVISION:

Edouard Lalo (1823-1892) was a French Max Bruch (1838-1920) was a German Serge Koussevitsky (1874-1951) was a violinist, teacher, and composer of Spanish Romantic composer best known for his Russian-born American conductor, publisher, descent. He studied violin at the Paris virtuoso violin concerti. Born in Cologne, double bass virtuoso, and advocate of modern Conservatory and made an early career as a Germany, he made a career as a teacher, music. He studied the double bass in Moscow member of a string quartet. He was an avid conductor, and composer. In 1891, he became and gave recitals featuring his own virtuosic composer of chamber music—writing string professor of composition at the compositions. His quartets, piano trios, and other works for Academy. As a composer, Bruch was a master (1905) has become a repertoire standard strings—however, he did not gain international of writing lyrical, expressive, and tuneful for the instrument. While in Russia, he went fame as a composer until he was 50 years melodies like his Romanze for Viola, Op. 85 on to start his own orchestra and establish old. Lalo as a composer is best known (1911), which showcases the rich tone and a publishing firm for Russian music, but left for his expressive melodies and clarity of lyrical abilities of the viola. in 1920. From 1924-1949, he conducted the orchestration in orchestral works. His Spanish- Boston Symphony orchestra, where he gave flavored Symphonie espagnole (1875) is a first performances of works by contemporary popular piece in the violin repertoire, and his American composers including Aaron Copland. in D minor (1876) was featured In 1940, Koussevitsky established the in Season 2 of the recent television hit series Tanglewood Music Center in Boston where he Mozart in the Jungle. taught conducting.

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Art Form COMPETITION REPERTOIRE: ABOUT THE COMPOSERS

Continued.

SENIOR DIVISION:

Jean Sibelius (1865-1957) was Bela Bartok (1881-1945) was a Edward Elgar (1857-1934) was Giovanni Bottesini (1821-1889) a Finnish composer who helped Hungarian composer, pianist, and a largely self-taught English was an Italian Romantic composer, establish Finland’s national identity ethnomusicologist. Like many composer. English classical music conductor, and double bass through music. A prolific composer, eastern European composers and had been relatively unknown to virtuoso. He originally began Sibelius was best known for his artists in the 20th century, Bartok was the world since the 1600s, but studying violin, but when he applied orchestral works which include fascinated with his native culture Elgar’s fame helped reignite an to study the Milan Conservatory, seven symphonies and several and sought to define his national international interest in English there were no scholarships large-scale tone poems. He drew identity through his work. As an music. His famous orchestra available for violin; the only artistic inspiration from nature and ethnomusicologist, he traveled to piece, Enigma Variations, is a scholarships left were for bassoon Nordic mythology, and many of his remote Hungarian communities set of musical variations on the and double bass. He took up the works are noted for their musical to study their cultural practices. countermelody to “a well-known double bass instead, winning the clarity and organic unity of form. He brought wax cylinders—early song”. To this day, no one has scholarship, and he would study to Listen for the extended cadenza recording equipment—to record and been able to decipher the original eventually become the “Paganini in the first movement of his Violin write down their music. In turn, Bartok tune—hence the enigma! After of the Double Bass”. Also a well- Concerto (1904-5); it takes the used many of these native tunes in undergoing a risky surgery to have known opera conductor, Bottesini place of the development in the his original compositions. Bartok’s his tonsils removed, Elgar woke would perform virtuosic fantasies movement’s Sonata form. final work, the (1945) up, asked for pencil and paper, based on the opera’s themes remained a series of sketches after and wrote the opening melody for during intermission. His Concerto his death until it was completed his Cello Concerto (1919), which No. 2 for Double Bass (1925) draws by violist Tibor Serly. The Concerto would become a cornerstone of the inspiration from Bel Canto style of is an important standard in the repertoire. opera which emphasizes virtuosity, viola repertoire and contains many vocal-like lyricism, and expressivity. elements of Hungarian folk music— driving rhythms, odd meters, and altered scales.

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Performance SPHINX COMPETITION HONORS CONCERT

I believe in the transformational power of the arts, in their ability to change lives, inspire people, spark creativity. I also believe in the arts reflecting the diversity inherent in our society today: that gives me the courage and a sense of purpose to speak on the issue as much as I am able… Think about the value that the arts have had in your life, your sphere, your world and then assess the potential impact of their absence. Everyone must become a spokesperson, an advocate, a leader, a catalyst for change.

-AARON DWORKIN

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Performance

Sphinx Competition HONORS CONCERT

Friday, February 10, 2017 // 12 pm Orchestra Hall, Detroit, MI

SPHINX ORGANIZATION Aaron P. Dworkin, Founder Afa Sadykhly Dworkin, President and Artistic Director

After a brief introduction the three soloists will each perform one piece, accompanied by the Sphinx Ensemble. The Sphinx Ensemble will then perform briefly while the judges discuss what they have just heard. When the committee reaches a decision, it will announce the 2017 junior division winner.

SPHINX COMPETITION FINALS CONCERT Sunday, February 12, 2017 // 2 pm Orchestra Hall, Detroit, MI

The three soloists will each perform one piece, accompanied by the Sphinx Symphony Orchestra. There will be an intermission, at which time the audience can participate in an Audience Choice Award by texting who their favorite performer is! When the committee reaches a decision, it will announce the 2017 junior division winner. Stay to hear the University of Michigan Men’s Glee Club take the stage with the Sphinx Symphony under the direction of Eugene Rogers.

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Performance ONLINE: JUNIOR AND SENIOR DIVISION WINNERS

For information regarding the 2016 winners visit the website.

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Being an Audience Member Arts Online Writing about Live Performance About UMS Credit and Sponsors

UMS.ORG / 734.615.0122

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Being an audience member WATCHING AND LISTENING

When preparing to attend a live performing arts event, we hope you will think about the concepts of concert conduct and manners. This is not just about saying “please” and “thank you;” rather, it’s like an unspoken agreement you have with everyone else in the performance space, to be thoughtful and considerate in what you do so that everyone can fully engage with the unique and exciting live performance experience. Here’s what we mean:

YOUR SURROUNDINGS • Concert halls and performing arts venues are some of the most grand and • As an audience member, you are also part of the performance. Any beautiful buildings you might ever visit, so be sure to look around while you enthusiasm you might have for the performance may help the performers follow an usher to your group’s seats or once you are in your seat. perform better. So, if you like what you are seeing, make sure they know it! Maybe clap, hoot and holler, or stand up and cheer. However, when • UMS Ushers will be stationed throughout the building and are identifiable expressing your own personal enjoyment of the performance, consider by their big name badges. They are there to help you be as comfortable as whether your fellow audience members will be able to see or hear what’s possible and if you have a question (about the performance, about where happening on stage or whether they will miss something because of the to go, or about what something is), please ask them, and don’t feel shy, sound and movement you are making. Given this consideration, it’s often embarrassed, or hesitant in doing so. best to wait until a pause in the performance (a pause of sound, movement, or energy) or to wait until the performer(s) bow to the audience to share SHARING THE PERFORMANCE HALL WITH OTHER AUDIENCE MEMBERS your enthusiasm with them. • Consider whether any talking you do during the performance will prevent your seat neighbors or other audience members from hearing. Often in • Out of respect for the performer(s), if you do not like some part of the large rock concerts or movie theaters, the sound is turned up so loud that performance, please do not boo or shout anything derogatory. Remember, a you can talk and not disturb anyone’s listening experience. However, in lot of hard work went in to creating the performance you are watching and it other concerts and live theater experiences, the sound is unamplified (or takes great courage for the performer to share his or her art with you. just quiet), and the smallest noise could cause your seat neighbor to miss an important line of dialogue or musical phrase. Lights (from a cell phone SHARE YOUR EXPERIENCE WITH OTHERS or music player, for instance) and movements (body wiggling or shaking) • An important part of any performing arts experience is sharing it with others. may also distract your neighbors’ attention away from the stage, again, This can include whispering to your seat neighbor during the performance, causing them to miss important action...and there’s no instant replay in talking to your friends about what you liked and didn’t like on the bus back to live performance! school, or telling your family about the performance when you get home.

• At a performance, you are sharing a small physical space with other audience members. So, consider whether you are sharing — the arm rest and the leg room, for instance — in such a way that both you and your Special thanks to Emily Barkakati for her role in developing this resource. neighbors are comfortable. BE PRESENT 23 CONNECT

Being an audience member RULES AND TOOLS

We share the following “Rules and Tools” to help audience members at UMS School Day Performances connect with the performance and environment around them. As a general suggestion, we encourage audience members to Notice, Feel, and Interpret.

1. BE PRESENT. If something is boring after Being bored means you’re not engaging. In the performance, you might feel any of the following: two minutes, try it for four. If happy sorrow pain horror inspiration confused pride content still boring, then eight. Then joy sad beauty enlightened sixteen. Then thirty-two. The beauty of live performance is the connection between the audience and artist and the energy they share and pass between each other. Have you ever given a Eventually one discovers that presentation and spoken better because people in the room were smiling at you? You have an ability to affect the performance as an audience member and we it is not boring at all. encourage you to use it during the performance.

2. INTERPRET: YOU CAN CHOOSE WHAT IT MEANS. JOHN CAGE, Sometimes an artist will share what the performance is supposed to mean or share COMPOSER the performance’s story. Sometimes there won’t be a story or any meaning beyond creating movement or sound. Either way, feel empowered choosing what the performance means to you or imagine your own story...you can change your mind at any point too.

3. CHECK YOUR OWN EMOTIONS & FEELINGS. Ask yourself: How am I feeling? Am I tired, sore, in a bad mood, sad, upset, sick, (Renowned composer John Cage is simply saying sometimes it takes etc.? These feelings and emotions can affect how you perceive the performance. a little longer than expected to find a point of personal interest in a Be open to letting the performance improve your condition or make you think performance, so don’t give up the search too quick.) differently or more deeply about your condition.

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Being an audience member RULES AND TOOLS

QUESTIONS POEM The following questions are used during TalkOut* and can help audience Consider how the poem below relates to your field trip, the performance venue, or members connect with or reflect on a performance: the performance: • How does this performance relate to where I live? • What does this performance remind me of? “Museum Piece” by Richard Wilbur • What moment in the performance will I remember? The good gray guardians of art • What question will I ask my teacher back at school? Patrol the halls on spongy shoes, Impartially protective, though *For more information about TalkOut, visit http://bit.ly/18rzBzh. Perhaps suspicious of Toulouse.

ELEMENTS Here dozes one against the wall, Disposed upon a funeral chair. At any point during a performance, you should feel empowered to notice or A Degas dancer pirouettes focus on any element of the performance — on stage or off stage. Upon the parting of his hair. SPACE: venue/building, stage, distance between objects See how she spins! The grace is there, But strain as well is plain to see. LIGHTING: Degas loved the two together: location of light, use of darkness, color of light, movement of light, light in the Beauty joined to energy. audience

SOUND: Edgar Degas purchased once sound created by voices or movements of performers or audience members, A fine El Greco, which he kept the location of sound (behind the audience or off stage), use of musical Against the wall beside his bed instruments or recorded music To hang his pants on while he slept.

MOVEMENT: Special thanks to Emily Barkakati, Sigal Hemy, Jim Leija, Lisa Murray, and Anna movement of performers, images, objects, or audience members; speed, size, Prushinskaya for their roles in developing this resource. ount of clothing on people, or shape of movements facial or emotional expressions of people PEOPLE: performers or audience members, the number of people, type and am

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Arts Online:Explore and Discover SEARCH LIKE A DETECTIVE

Consider the following suggestions and ideas when searching for information online.

TRIANGULATE AND FORM OPINIONS SLOWLY SEEK OUT IDENTIFIABLE SOURCES When looking for information online: Reputable articles, journals, or magazines should cite an author whose identity can be verified and cite a list of sources, either throughout the SEARCH, SEARCH AGAIN, AND THEN SEARCH piece or in a bibliography. 01 AGAIN CHECK THE DATE THEN COMPARE INFORMATION FROM YOUR 02 SEARCHES Consider whether the content is old or outdated. Has the site been maintained? 03 THEN SEARCH ONE MORE TIME BASED ON WHAT YOU’VE DISCOVERED IN YOUR COMPARISON LOOK FOR BIAS Is the site or its author’s objective to sell you something? Is the site’s content overly positive or negative? Does the site’s content lean toward only one viewpoint? Does the site’s content clearly omit facts? If your answer to any of these questions is yes, then the site might not represent a reliable information source.

BEWARE Sites with an abundance of advertising, especially ads that look cheap, are neon and blinking, or constantly pop up on the screen. Sites with grammar, spelling, and formatting errors.

Note: Good looking sites don’t necessarily have fair, unbiased, or accurate information (for instance, sites for political candidates are often beautiful, but contain information that ONLY portrays their candidate positively).

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Arts Online: Explore and Discover SITES WE SUGGEST

GO TO THE SOURCE LESSON PLAN SOURCES If searching for information about an artist or organization, first try The following sites have a variety of standards-based lesson plans for visiting their homepage where they are likely to post information, links, teachers and interactive learning resources for families that celebrate an and media they approve. art form, connect the arts to the full range of non-arts subjects, or offer cultural context for the global arts. For instance: Wynton Marsalis - WyntonMarsalis.org ARTSEDGE PBS Hubbard Street Dance Chicago - HubbardStreetDance.com ArtsEdge.org pbslearningmedia.org UMS - UMS.org NATIONAL GEOGRAPHIC EDSITEMENT RELIABLE SITES (GENERALLY): education.nationalgeographic.com edsitement.neh.gov .EDU educational institutions THREE ‘GO TO’ SITES .GOV The following sites are consistently good and reliable sources of government (particularly good for statistics and reports) information about arts and culture. .ORG organizations (though, only those without a political bias or advocacy THE NEW YORK TIMES THE GUARDIAN agenda) nytimes.com theguardian.com

NATIONAL PUBLIC RADIO (NPR) SEARCHING FOR VIDEO .org You will find the best videos online when you search for ones posted by the artist or posted by the “generally reliable” sites having the characteristics VISIT UMS detailed in this document. Avoid bootleg videos Let us do the work for you! Visit our sites ums.org and umslobby.org for posted by random individuals with no relationship to great and engaging videos, blog posts, photos, and web links about artists the artist, as the video might not be representative of and art forms. the artist’s work.

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Writing about Live Performance

The following writing exercises were developed by 826michigan, a non-profit organization dedicated to supporting students ages 6 to 18 with their creative and expository writing skills, and to helping teachers inspire their students to write. For more information about 826michigan and its free programs for students, visit 826michigan.org.

A LETTER TO PERFORMERS AFTER THE PERFORMANCE Primary Audience: Elementary School Students Use your observations to help you write a letter to the performer(s). Remember, these artists are real people who want to know what BEFORE THE PERFORMANCE audiences think about their work. This letter is your opportunity to Before you attend the performance, make a list of what you already share your impressions with the people who created the art you just know about the following things: experienced.

1. Live Performances When starting your letter, be sure to use a greeting like “Dear 2. The Art Form [performer’s name].” Next, be sure to tell the performer(s) where and 3. The Artist(s) when you saw them. Every live performance is different, so it will help 4. Origin of the Art Form or Artist(s) them to know which show you are talking about. Then you can use the notes you took about the performance to share your experience with DURING THE PERFORMANCE the performer(s). At the end of your letter, be sure to include any other To help you organize your observations during the performance, information—about yourself or the performance you saw—that you consider the following: think the performer(s) would like to know. To finish the letter, include a closing like “Your fan” or “Thank you!” and then sign your name. Your I Notice... teacher or parent can help you find the best way to get your letter to the I Feel... performer! I Wonder...

Once the performance is done, write down your notes as soon as possible (either on the bus or back in the classroom) to help you remember your observations of the performance.

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Writing about Live Performance

TWO THUMBS UP: WRITING A REVIEW FOR PUBLICATION AFTER THE PERFORMANCE Primary Audience: Middle and High School Students After the performance has concluded—back in class, riding home on the bus, or back at home—think back on what you just saw; it’s like looking at the BEFORE THE PERFORMANCE performance in a rear-view mirror. Take the list of words and thoughts you Imagine your local newspaper has asked you to write a review of the event wrote and compare it with the words you wrote beforehand. Now, remove you are going to see: this will be your opportunity to write an argument all the words that came up twice. These words, the most obvious ones that about your opinions and explain your reasoning. Reviewers attempt to sort come to mind, are off limits (you can use synonyms), but the remainders will through the feelings they’re already having in advance of a performance— help you remember how you felt about the performance. Take these less not to put those feelings aside, but rather so that they are aware of what obvious words and expand upon them. In the first draft of your review get effect pre-performance opinions may have on the review. all of your ideas down on paper. Make sure to include your thoughts on the performance and how they may have changed, stayed the same, or morphed Before the performance begins, answer the following questions: into new feelings. Discuss any preconceptions you may have had and how • What expectations do I have for the performance? • Do I already have an opinion about what I will experience at the performance? they changed or stayed the same after viewing the performance. (Additionally, consider the some of the Questions and Elements outlined in the “Being an Audience Member” section of this guide.) When you’re ready to work on your second draft, read back through your writing and try to identify the main idea of your review—what themes DURING THE PERFORMANCE keep coming up? What is the tone? What do you ultimately feel about the During the performance, take mental notes about the performance—the performance? Use that main idea to come up with a hook (a bold, attention- key is making a little note of something of interest while being aware of the getting statement to set the review in motion and give your readers a entirety of the performance. As soon possible after the performance ends, sense of what’s to come). write down (using whatever paper or electronic device is handy) thoughts Things to consider: and words that come to mind related to the performance. Remember – this review will take a stance on the performance based on the ways you’ve interpreted the elements you considered before, during, and after the Things to consider: show. Your teacher, parents, or friends (or a broader audience if you’re writing for a • What is striking to me? newspaper) are very interested in your thoughts about the performance, and you can • Is it vastly different from what I thought it would be? pretend they’re on the fence about it—try and persuade them over to your side with • Has the venue transformed into something else during the performance? How? your views about the performance. Don’t be afraid to make strong statements—just • Are there images or ideas popping into my head? What are they? be sure you can back up your argument with evidence you collected throughout the • Is there something about the performance I may remember forever? What made it so? performance! A cold, play-by-play of exactly what happened isn’t fun to read, and it • Is the audience quiet and drawn in to what is happening? Are they loud? doesn’t let the readers, who likely didn’t get to see the same performance that you did, Are they interacting directly with the performers? use their imaginations to tell the story and fill in some (but not all) of the blanks. Are the performers directly interacting with the audience?

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Writing about Live Performance

THE SUN IS RED NOISE: POETRY ABOUT PERFORMANCE AFTER THE PERFORMANCE Primary audience: Elementary, Middle, High School Students Younger students: Pick one thing that you heard or saw in the performance and try to In white pleated trousers, peering through green describe it in a new way to someone who wasn’t at the performance. sunshades, looking for the way the sun is red Use all five senses in your descriptions. Even if you didn’t smell noise, how locusts hiss to replicate the sun. something, what do you imagine the art could smell like? -Elizabeth Alexander, from “Stravinsky in LA”

The poem excerpted above and “Museum Piece,” the poem by Richard Older students: Wilbur at the beginning of this guide are examples of ekphrastic poetry. • For five minutes straight (time can be adapted based on age group), Ekphrastic poetry is written in response to a piece of art, theatrical write down everything you can remember about the performance you performance, writing, or music. The poem can be written about art, from attended. Every detail that comes to mind is an important one. the point of view of a character or the artist, or about the experience of • Take at least three things that you remember and create an image viewing/hearing the art. around each of them with using some of the tools in your poetry toolbox. BEFORE THE PERFORMANCE • Use one (or all) of these three images to start your poem about the • Think about the way you describe the music that you like to a friend. performance. If it made you feel a certain way (happy, angry, afraid, How would you describe your favorite song to someone who had alone, joyful), use words and images that match that mood to start never heard it? What kinds of words and images would you use to write a joyful • How about to someone who could not hear? poem? A lonely one? • List the tools in your poetry toolbox (description, simile, metaphor, • Can you use repetition in the poem in the same way it was used in the and imagery) that will help you describe the art in new ways. music you heard? If you saw a play, can you use language that reflects what you heard? DURING THE PERFORMANCE • Imagine you are the artist who created/composed the work of art on Keep a record of: the day you were inspired to create it. What did you see, hear, smell, • Words and phrases that come to mind in response to performance. taste, touch, experience? Write a poem that takes us through that day, • Feelings you had about the art, the stage, the audience, the event. using the images you’ve crafted already. • Images (like colors, ideas, memories, smells) that came to mind while

you were listening to the music. Special thanks to Catherine Calabro, Erin Mernoff, Jeremy Peters, David Riva, and • Songs/images/ideas repeated throughout the performance. Kati Shanks for their roles in developing this resource.

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About UMS

UMS EDUCATION AND COMMUNITY ENGAGEMENT DEPARTMENT Beth McNally, Allen Elementary, 2016 DTE Educator 2016 DTE School of the Year of the Year STAFF

KEN FISCHER UMS President

JIM LEIJA Director

SHANNON K. FITZSIMONS MOEN Campus Engagement Specialist

TERRI PARK Education Coordinator

MARY ROEDER One of the oldest performing arts presenters in the country, UMS is committed to connecting audiences Manager of with performing artists from around the world in uncommon and engaging experiences. With a program Community Engagement steeped in music, dance, and theater, UMS contributes to a vibrant cultural community by presenting approximately 60-75 performances and over 100 free educational activities each season. UMS also GRACE BYDALEK commissions new work, sponsors artist residencies, and organizes collaborative projects with local, Intern national, and international partners.

SEAN MEYERS Learning is core to UMS’s mission, and it is our joy to provide creative learning experiences for our entire Intern community. Each season, we offer a fun and fascinating lineup of workshops, artist Q&As, conversations, and interactive experiences to draw you in and out of your comfort zone, connect you to interesting people and unexpected ideas, and bring you closer to the heart of the artistic experience. We exist to create a spark in people, young and old alike, exposing them to things they haven’t seen before, and leaving them with a lifelong passion for creativity and the performing arts.

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About UMS 2016-17 SCHOOL DAY PERFORMANCES

Dorrance Dance Thursday, October 20 // 11 am

Jake Shimabukuro Wednesday, November 16 // 11 am

Jake Shimabukuro Beyond Sacred: Voices of Muslim Identity Ping Chong + Company Friday, February 17 // 11 am

DakhaBrakha Wednesday, March 29 // 11 am Beyond Sacred

A Far Cry with Roomful of Teeth Wednesday, April 12 // 11 am

Roomful of Teeth

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Thank You! CREDITS AND SPONSORS

WRITTEN & RESEARCHED BY UMS YOUTH EDUCATION PROGRAM SUPPORTERS: ($5,000 OR MORE) Terri Park, Sean Meyers Reflects donations to UMS education programs recognized at $5,000 or more, made between July 1, 2015 and May 1, 2016 EDITED BY Terri Park

ADDITIONAL INFORMATION PROVIDED BY The Andrew W. Mellon Foundation University of Michigan Pamela Reister (UMMA) and 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 Quincy and Rob Northrup DTE Energy Foundation PNC Foundation David and Jo-Anna Featherman Mary R. Romig-deYoung Music Appreciation Fund Maxine and Stuart Frankel Foundation Prudence and Amnon Rosenthal K-12 Education Eugene and Emily Grant Family Foundation Endowment Fund David and Phyllis Herzig Endowment Fund Stout Systems Richard and Lillian Ives Endowment Fund Toyota Mardi Gras Fund UMS Ambassadors Michigan Council for Arts and Cultural Affairs University of Michigan Credit Union Miller, Canfield, Paddock and Stone, P.L.C.

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