sign in sign up
<<
Home , The Magic Flute

2019/20 UMS LEARNING GUIDE Isango Ensemble: The Magic BE PRESENT

BE PRESENT 1 2019/20 Table of Contents

04 05 06 18 ATTEND THE DETAILS LEARN CONNECT

07 Why? 19 Being an Audience Member 09 Artist 22 Arts Online 12 Art Form 23 Recommended Reading 15 Performance 25 Writing About Live Performance 28 About UMS 30 Credits and Sponsors October 17-18 UMS SCHOOL DAY PERFORMANCE

Isango Ensemble: The Magic Flute

Thursday, October 17 // 11 am Friday, October 18 // 11 am Power Center

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

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.

The following services are available to audience members: • Wheelchair, companion, or other special seating • Courtesy wheelchairs • Hearing Impaired Support Systems

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 five parking spots on each level next to each elevator. There are a total of 15 parking spaces in the garage. VENUE ADDRESS Power Center, 121 Fletcher St, Ann Arbor, MI 48109 WHEELCHAIR ACCESSIBILITY The Power Center is wheelchair accessible and has 12 seats for audience EMERGENCY CONTACT NUMBER members with special needs. 734.764.2538

BATHROOMS ADA ARRIVAL TIME Compliant toilets are available in the green room (east corner) of the Power Between 10:30-10:50 am Center 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.

FOOD No food or drinks (including school lunches) are allowed in the theater.

BE PRESENT 5 Learn

Isango Ensemble: The Magic Flute

UMS.ORG ——— 734.615.0122

BE PRESENT 6 LEARN

Why? UMS EDUCATION ARTISTSIC STATEMENT

Isango Ensemble is a South African theater company known for its unique and vibrant re-imaginings of classics from the Western theater canon. The company finds new context for works from Shakespeare to Puccini, placing them within a South African setting and reflecting the company’s national heritage through vibrant storytelling injected with wit and infectious joy.

In the company’s retelling of Wolfgang Mozart’s famous The Magic Flute, Isango Ensemble music director Mandisi Dyantyis trades Mozart’s orchestra of strings and woodwinds for an orchestra of marimbas and drums, and a spirited takes on the voice of the work’s titular magical instrument. Isango Ensemble’s retelling is instantly familiar and fits perfectly with the original opera’s themes of faith, good conquering evil, and finding true love.

UMS is excited to introduce the Isango Ensemble’s joyful and uplifting version of Mozart’s beloved and timeless story.

BE PRESENT 7 LEARN

Why? ONLINE: CONNECTING TO THE PERFORMANCE

Watch Isango Ensemble warming up for a performance of The Magic Flute. Watch Isango Ensemble perform excerpts from their re-imagining of Mozart’s classic work.

BE PRESENT 8 LEARN

Artist ISANGO ENSEMBLE: FIVE THINGS TO KNOW

01 02 03 Director Mark Dornford-Mayand and Music In addition to her role as Isango’s The Magic Flute (also known in South Africa as Director Pauline Malefane formed what is music director, Pauline Malefane is an Impempe Yomlingo), features Mozart’s score now the core of Isango Ensemble in Cape advocate for The Global Fund to Fight transposed by Mandisi Dyantyis for an orchestra Town in 2000. From the beginning, the AIDS, Tuberculosis, and Malaria. She saw of marimbas. It broke box office records when company has drawn its performers from worldwide success playing the role of it played in repertoire with A Christmas Carol the previously disadvantaged townships Carmen, both on stage and in the Golden (Ikrismas Kherol) at the Young Vic in London. The surrounding the city. Bear-winning feature film U-Carmen Magic Flute then went onto win an Olivier Award eKhayelithsa, for which she won a for Best Musical Revival when it transferred to the Golden Thumb from Roger Ebert. Duke of York’s Theatre for a season in the West End and received the Globes de Cristal for Best Opera Production following a sold-out season at the Théâtre du Châtelet in Paris. 04 05 Isango Ensemble is committed to creating Isango Ensemble’s educational engagement accessible theater for South Africans and to initiatives include collaborations with Injongo contributing to a more united South African Primary School and the Liwa School in South nation. Isango’s award-winning film, uCarmen Africa. Isango recruited young actors from these eKhayelitsha, and a second film, Son of Man, schools to join the ensemble in its production were filmed on location in Khayelitsha and of A Man of Good Hope at London’s Young Vic propelled this historically disadvantaged theatre and BAM in New York. Isango and Young township into the international spotlight. Vic are collaborating with Injongo and Liwa Local residents were given the opportunity to schools on a new play Fable by Luke Barnes, be part of the films. Isango intends to further a theatrical response to A Man of Good Hope. develop this process by building a truly mixed audience, reflecting and uniting a diverse South African nation. BE PRESENT 9 LEARN

Artist ONLINE: GETTING TO KNOW ISANGO ENSEMBLE

Watch Isango Ensemble’s Pauline Malefane discuss the ensemble’s artistic process during rehearsals of their 2012 production of La Bohème in Cape Town, South Africa.

Follow Isango Ensemble on Facebook Follow Isango Ensemble on Twitter @isangoensemble

BE PRESENT 10 LEARN

Art Form OPERA

OPERA Did You Know? Opera combines many art forms — singing, instrumental music, dancing, visual art and more — into one major production. It involves hundreds of people on, behind, and under ’s actual the stage. Many people and departments work together toward a common goal, and each 01 full name is Johannes Chrysostomus part is equally important to the process. Wolfgangus Theophilus Mozart. As a child, he would jokingly sign letters An opera is like a modern-day musical, in which all the characters’ lines are sung rather with his name backwards: “Trazom.” than spoken. However, the musicians and opera singers do not use microphones or speakers. The sets and the characters’ costumes are often as elaborate and finely crafted as the words and music, and the entire production is led by a director whose artistic Mozart composed over 600 works vision determines the way these elements take shape and combine in performance. 02 of classical music during his brief 35-year life, including 41 symphonies, more than 20 piano concertos, and more than 20 . Mozart WOLFGANG AMADEUS MOZART (1756–1791) completed his first symphony in 1764, when he was only eight years old! Mozart was born in Salzburg, Austria and was considered a child prodigy. He composed his first piece of music at the age of five; his first piece was published at age seven, and he wrote his first opera when he was only 12! By the age of six, he was a proficient pianist Wolfgang’s older sister Maria Anna and violinist, traveling all over Europe and performing for royalty with his sister and father. 03 Mozart, nicknamed “Nannerl,” was A remarkably prolific composer, Mozart remains popular today, and many of his solo, a talented performer and composer chamber, and symphonic works had a lasting influence on Western art music. as well. The Mozart siblings performed as touring musicians throughout their childhood.

BE PRESENT 11 Cadenza A passage of music usually found at the end of an aria. Cadenzas showcase the singer’s skill and virtuosity, and are rhythmically free and highly ornamented.

Choreographer The person who creates the steps for dances within a production.

Chorus A large group of singers who sing together, portraying unnamed characters. The chorus is often called the “ensemble.”

Coloratura Elaborate singing involving vocal runs, trills, LEARN and leaps. The “ ” is a classification of singer who specializes in coloratura repertoire.

Composer Art Form The person who writes the music for the OPERA opera. Wolfgang Amadeus Mozart is the composer of The Magic Flute.

THE ABC’S OF OPERA: A GLOSSARY

Aria A A song for solo voice with accompaniment from the orchestra. Arias reveal L The “little book” in Italian. The libretto contains all of the words and stage important information about the opera’s characters and story, whereas directions for the opera, much like the script for a play. recitatives move the plot of the opera forward. Librettist The person who writes the words to an opera. is the librettist of The Magic Flute.

Baritone B An adult male singing voice between (highest) and (lowest) range.

Bass Mezzo-Soprano The lowest pitched ordinary male . M A female singing voice whose lies between the soprano (high) and contralto (low).

Cadenza c A passage of music usually found at the end of an aria. Cadenzas showcase the singer’s skill and virtuosity, and are rhythmically free and highly ornamented. Orchestra O The group of musicians who perform the music of the opera. A conventional Choreographer opera orchestra usually includes a large group of stringed instruments along The person who creates the steps for dances within a production. with woodwinds, brass, and percussion. The orchestra for Isango Ensemble’s production of The Magic Flute consists mainly of marimbas —percussion Chorus instruments with pitched wooden bars — and various drums. A large group of singers who sing together, portraying unnamed characters. The chorus is often called the “ensemble.” The musical introduction to the opera. A traditional opera overture is purely Coloratura instrumental, with no singing, and sometimes incorporates melodies from the Elaborate singing involving vocal runs, trills, and leaps. The “” opera’s arias. Many famous are often performed on their own as is a classification of singer who specializes in coloratura repertoire. concert pieces.

Composer The person who writes the music for the opera. Wolfgang Amadeus Mozart is the composer of The Magic Flute. BE PRESENT 12 LEARN

Art Form OPERA

Continued.ind

Recitatives R Sung or spoken passages, often monologues or dialogues, that move the plot of the opera forward.

Role The character an actor or singer portrays.

Score S A printed book that contains all of the music and words for the opera.

Singspiel An opera sung in German that has both singing and spoken word. While operas were traditionally written for royal courts to enjoy, the was written to appeal to wider audiences. Mozart’s The Magic Flute is an example of a Singspiel.

Soprano The highest-pitched standard voice type.

Supertitles A translation of the libretto that is projected onto a screen above the stage.

Tenor T The highest of the ordinary adult male singing range.

BE PRESENT 13 LEARN

Performance ISANGO ENSEMBLE: THE MAGIC FLUTE

This is what we strive for at Isango: we want to entertain, we want people to enjoy the singing and story, but we want people to relate to what is going on… This is why we don’t use traditional orchestras. It’s not because we don’t want to, but it’s because we want to draw a different kind of audience and get more people to come and see the township where we come from.

–PAULINE MALEFANE

BE PRESENT 14 LEARN

Performance ISANGO ENSEMBLE: THE MAGIC FLUTE

Isango Ensemble: The Magic Flute Directed by Mark Dornford-May Thursday, October 17 // 11 am Friday, October 18 // 11 am Power Center

Isango Ensemble is a South African theater company that draws its artists from the townships surrounding Cape Town. The company reimagines classics from the Western theater canon while finding new context for the stories within a South African township setting, thereby creating inventive work relevant to the heritage of the nation and a “joyful fusion of two cultures.” (Boston Globe) For their UMS School Day Performance debut, they present their production of The Magic Flute, which features Mozart’s score transcribed for an orchestra of marimbas, and tells the enchanting story of Prince Tamino and his quest to rescue Pamina, the daughter of the Queen of the Night. The ensemble is known for its high-spirited, kinetic, and creative productions that fuse incredible music, singing, and dance.

BE PRESENT 15 LEARN

Performance ONLINE: ISANGO ENSEMBLE

Watch this excerpt from Isango Ensemble’s newest production Fable. Written by Luke Barnes, directed by Maddi Kludje, and filmed by Tristan Shepherd, the story of Fable formed a three-part film performed by three groups of children and teenagers in London, Brooklyn and Cape Town.

BE PRESENT 16 LEARN

Performance ISANGO ENSEMBLE: THE MAGIC FLUTE

VOICE TYPES IN THE MAGIC FLUTE

The German (pl. Fächer) system is a method of classifying opera singers by the range, color, and weight of their voices. The seven main roles and large ensemble in Mozart’s The Magic Flute comprise several different Fächer.

Soprano: Pamina, the Queen of the Night’s daughter The highest-pitched ordinary female voice type. Papagena Two of the Three Ladies, attendants to the Queen

Coloratura Soprano: The Queen of the Night A classification of singer who specializes in elaborate singing involving vocal runs, trills, and leaps.

Mezzo Soprano: One of the Three Ladies, an attendant to the Queen A female singing voice whose vocal range lies between the soprano (high) and contralto One of the Three Spirits (low).

Tenor: Tamino, a prince The highest of the ordinary adult male singing range. Priests Men in Armor Slaves

Baritone: Papageno, a birdcatcher An adult male singing voice between tenor (highest) and bass (lowest) range. Monostatos, chief slave of the temple

Bass: Sarastro, high priest of the Egyptian goddess The lowest-pitched ordinary male voice type. Speaker of the Temple

Learn more about the German Fach system.

BE PRESENT 17 LEARN

Performance ISANGO ENSEMBLE: THE MAGIC FLUTE

ABOUT THE MAGIC FLUTE The piece was composed for a suburban theater in Vienna (Freihaus-Theatre auf der Timeline Wieden), with which Mozart had a close relationship. The theater was run by actor and of Notable impresario Emanuel Schikaneder, who also wrote the libretto and played the role of Papageno the bird-watcher at the opera’s premiere. Performances

Unlike many operas in which the dialogue is entirely sung, The Magic Flute alternates 1791 Premiere: September 30, 1791 musical numbers with spoken dialogue, much like a modern-day musical. This type of at Freihaus-, opera is called a Singspiel. While operas were traditionally written for royal courts to Vienna (two months before Mozart’s enjoy, the Singspiel was written to appeal to wider audiences. The alternation of music death) and spoken dialogue, fairy tale story and setting, and memorable characters made this opera perfect for suburban Viennese audiences. The Magic Flute was an instant success 1792 September 1792: First performance at its premiere, and remains one of the most often performed operas today. outside of Vienna, in Lemberg (in modern-day Ukraine)

1792 100th performance: November 1792

1802 Production in Theater-an-der-Wien

1833 First performance in New York City

BE PRESENT 18 LEARN

Performance ISANGO ENSEMBLE: THE MAGIC FLUTE

SYNOPSIS OF THE MAGIC FLUTE The opera begins with an instrumental Overture, which Mozart famously composed last.

ACT I ACT II Tamino, a prince, is alone in the woods, fleeing a deadly serpent. He faints but is With the series of tests about to begin, Sarastro explains that he kidnapped saved by three ladies who are the attendants of the Queen of the Night. Tamino Pamina from her evil mother, the Queen of the Night, because Tamino and wakes up and hears someone coming: it’s Papageno, a bird catcher. Tamino Pamina are meant to be together. Papageno is also promised a wife if he assumes that it was Papageno who saved him, and the two become friends. The successfully completes the trials. In preparation, they must remain silent — three ladies return and explain that they were the ones who saved Tamino, and Tamino and Papageno are not allowed to speak. they give him a picture of Pamina, the Queen of the Night’s daughter. Meanwhile, The Queen appears before Pamina and tries to convince her to kill Tamino falls in love with the portrait, but is told that Pamina has been kidnapped Sarastro. The Queen sings her famous aria, “Der Hölle Rache”, which translates as by Sarastro, a high priest. Tamino vows to rescue Pamina. Hearing this, the Queen “A hellish rage burns in my heart.” But the Queen of the Night’s efforts are in vain. arrives and offers Tamino her daughter’s hand in marriage if he is successful. To aid in their quest, Tamino is given a magic flute, and Papageno is given a set of Tamino and Pamina meet again, but because he is not allowed to speak, Pamina magic bells. fears Tamino no longer loves her. The three spirits reassure Pamina that Tamino does indeed love her. Tamino declares he is ready to be tested, and — together Tamino and Papageno are led to Sarastro’s temple by three spirits. Papageno with Pamina — faces the trials of water and fire. With the aid of the magic flute, scouts ahead; he finds Pamina and he reassures her that she will soon be they are successful. rescued. Tamino sneaks into the temple and goes in search of Papageno and Pamina. They all run into Sarastro and his followers. It turns out Sarastro is kind Papageno, meanwhile, plays his magic bells and his destined mate, Papagena, and wise, and he insists that Tamino must undergo a series of tests to prove appears. He is filled with joy. Papageno and Papagena sing their signature duet, himself worthy of Pamina. Allegro: “Pa- pa- pa- ...”.

Meanwhile, the evil Monostatos, the angry Queen, and the Three Ladies attempt to destroy the temple, but they are vanquished and cast into eternal darkness. All ends happily when Sarastro unites Tamino and Pamina in marriage. Sarastro’s Watch this animated synopsis of The Magic Flute. followers praise the couple, and all watch the sunrise together.

BE PRESENT 19 Connect

Being an Audience Member Arts Online Recommended Reading Writing about Live Performances About UMS

734.764.2538 ——— UMS.ORG

BE PRESENT 20 CONNECT

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!

BE PRESENT 21 CONNECT

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

BE PRESENT 22 CONNECT

Connecting to Other Art Forms

IMAGE IMAGE INFORMATION DESCRIPTION CONNECTION/INTERPRETATION

Accession Isango Ensemble – The Magic Flute This Bwa flute from Burkina Faso may Number not possess magical powers, but 1985/1.144 Isango Ensemble is a South African and whistles play a special role in theater company that draws its artists from masquerade performances across the Title the townships surrounding Cape Town. The African continent. Masked dancers are Whistle/Flute company reimagines classics often announced by instruments and from the Western theater canon while the performers are heard before they Artist(s) finding new context for the stories within are seen. At funerals, young men play Bwa ; Mossi a South African township setting, thereby each play a different range of tones, creating inventive work relevant to the which combine to form an other-worldly Object Creation Date heritage of the nation and a “joyful fusion melody. 1900-1985 of two cultures.” (Boston Globe)

Medium & Support For their UMS School Day Performance Wood debut, they present their production of The Magic Flute, which features Mozart’s score Dimensions transcribed for an orchestra of marimbas, 16 in x 3 1/4 in x 1 and tells the enchanting story of Prince 5/16 in (40.7 cm x Tamino and his quest to rescue Pamina, the 8.3 cm x 3.3 cm) daughter of the Queen of the Night. The ensemble is known for their high-spirited, Credit Line kinetic, and creative productions that fuse Gift of Dr. Harold incredible music, singing, and dance. Lockett.

The artwork was provided by the University of Michigan Museum of Art to connect to the 2019/20 UMS School Day Performance series. UMMA has a long tradition of service to K-12 students and educators of Southeast Michigan. This work is currently on exhibition in the museum. For more information about the University of Michigan Museum of Art and their programs for youth, teens, teachers and schools, visit the UMMA website.

BE PRESENT 23 CONNECT

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

2019-20 SCHOOL DAY PERFORMANCES: ARTIST WEBSITES

ISANGO ENSEMBLE DORRANCE DANCE dorrancedance.com/ isangoensemble.co.za/

CHINEKE! ORCHESTRA THE BELIEVERS ARE BUT BROTHERS chineke.org/ javaadalipoor.co.uk/babb

MARIACHI VARGAS DE TECALITLÁN orchestraoftheamericas.org/people/mariachi-vargas- de-tecalitlan/

BE PRESENT 24 CONNECT

Recommended Reading

The following listing of literature for teens and youth was developed by the Ann Arbor District Library to connect to the 2019/20 UMS School Day Performance Series. All titles are in circulation at the library. For more information about the Ann Arbor District Library and their programs for youth, teens, teachers and schools, visit the Ann Arbor District Library website.

KIDS Mariachi Vargas de Tecalitlán Isango Ensemble: The Magic Flute The Best Mariachi in the World, by J.D. Smith The Magic Flute, by Christopher Raschka Picture book Picture book Everyone in Gustavo’s family is in a mariachi band — everyone except Gustavo, This illustrated book for children retells the story of the Mozart opera, in which that is. They all play violins, trompetas and guitarrones. They all make wonderful the noble Prince Tamino seeks the fair Pamina against a backdrop of the battle music in restaurants and at wedding parties. Gustavo would love to join the between darkness and light. band, but he can’t play any of the instruments. What’s a wannabe mariachi to do? Follow Gustavo as he finds his place in the family mariachi band. Baby Mozart: A Concert for Little Ears CD Dorrance Dance Mozart’s The Magic Flute adapted for young listeners. Tot Tap: A fun-filled introduction to the world of tap dance for kids. DVD Sing Me a Story: The ’s Book of Opera Stories for Children, by Learn basic tap dance moves in this instructional DVD for kids. Jane Rosenberg Picture book Tasha the Tap Dance Fairy, by Daisy Meadows An illustrated retelling of the plots of 15 well-known operas, including The Magic Fiction book Flute. Part of the popular Rainbow Magic series, in this installment tap dance is used to help a fairy recover a missing item from an evil goblin. S is for South Africa, by Beverly Naidoo Picture Book Rap A Tap Tap, by Leo and Diane Dillon This photograph-filled book presents an A to Z look at some of the people, Picture book places, items, and customs of South Africa. Illustrations and rhyme describe the dancing of Bill “Bojangles” Robinson, one of the most famous tap dancers of all time.

BE PRESENT 25 CONNECT

Recommended Reading

Continued.

Chineke! Orchestra TEEN/ADULT Isango Ensemble: The Magic Flute The Walkabout Orchestra: Postcards from Around the World, by Chloe Peramau Picture book The Magic Flute The orchestra have an important concert to play… but all of the musicians have DVD gone walkabout! Help the maestro and his faithful assistant track them down This Swedish film is part of the Criterion Collection. A scintillating screen using clues from their postcards from all over the world. Learn about all of the version of Mozart’s beloved opera showcases Ingmar Bergman’s deep instruments in an orchestra as you find the musicians! knowledge of music and his gift for expressing it cinematically. Casting some of Europe’s finest soloists, the director lovingly recreated the baroque theater Duke Ellington: The Piano Prince and His Orchestra, by Andrea Davis Pinkney of Sweden’s Drottningholm Palace to stage the story of the prince Tamino and Biography his zestful sidekick Papageno, who are sent on a mission to save a beautiful The Coretta Scott King Award-winning biography that recounts the career of princess from the clutches of evil. Duke Ellington, the jazz musician and composer who, along with his orchestra, created music that was beyond category. The Magic Flute CD The Story of the Orchestra, by Robert Levine The London Philharmonic Orchestra plays Mozart’s opera. Nonfiction book This book, accompanied by a CD, allows you to listen while you learn about the Sunlight & Shadow: A Retelling of The Magic Flute, by Cameron Dokey instruments, music and composers who wrote the music in an orchestra. Fiction book A baby girl is born on the longest night of the darkest month of the year. When her father looks at her, all he sees is what he feared: by birth, by name, and by nature, she belongs to the Dark. So when Mina turns 16, her father takes her away from shadow and brings her into sunlight. In retaliation, her mother lures a handsome prince into a deadly agreement: If he frees Mina, he can claim her as his bride. Now Mina and her prince must endure deadly trials — of love, fate, and family — before they can truly live happily ever after.

BE PRESENT 26 CONNECT

Recommended Reading

Continued.

The Operas of Mozart, by Robert Greenberg Hateland: A Long, Hard Look at America’s Extremist Heart, by Daryl Johnson Lecture DVD Nonfiction book A discussion of Mozart’s most important operas, including a 45-minute lecture An in-depth analysis of the current threat from domestic terrorism and its on The Magic Flute. growing menace. Johnson throws a stark light on the darkest segments of American society and offers suggestions for dealing with their violent threats. THE BELIEVERS ARE BUT BROTHERS Alt-Right: From 4chan to the White House, by Mike Wendling Radicalization: Why Some People Choose the Path of Violence, Nonfiction book by Farhad Khosrokhavar Media accounts to the contrary, the alt-right didn’t just burst out of nowhere Nonfiction book in 2016. They have been building their network quietly for years, using online In the wake of recent terrorist attacks, fears over ‘homegrown terrorism’ bulletin boards and social media to spread a toxic hybrid of technological have surfaced to a degree not seen since September 11, 2001. A sought- utopianism, reactionary philosophy, and racial hatred. Wendling traces the rise after commentator in France and a widely respected international scholar of of the movement and the evolution of its ideas, and he introduces us to some of radical Islam, Farhad Khosrokhavar has spent years studying the path towards its key figures. radicalization, focusing particularly on the key role of prisons. Mariachi Vargas De Tecalitlán Two Sisters: A Father, His Daughters, and Their Journey into the Syrian Jihad, 100 Anos de Mariachi by Åsne Seierstad CD Nonfiction book Mariachi music from the past century performed by various artists and groups. A riveting story of two sisters’ journey to the Islamic State and the father who tries to bring them home. Åsne Seierstad puts the problem of radicalization into painfully The Guilty, by Juan Villoro human terms, using instant messages and other primary sources to reconstruct a Short story collection family’s crisis from the inside. This is a relentless thriller and a feat of reporting with A brilliant prize-winning collection of stories that beautifully and hauntingly profound lessons about belief, extremism, and the meaning of devotion. describes Mexican culture and ways of life, by Mexico’s most important living writer.

BE PRESENT 27 CONNECT

Recommended Reading

Continued.

Dorrance Dance Ellington & the Modern Masters: Music of African-American Composers Tap Dance History: From Vaudeville to Film CD DVD This film explores the history of tap dance from its beginnings to the modern Violin Concertos by Black Composers of the 18th & 19th Centuries day. Tap dance enthusiasts will especially enjoy the rare footage of tap dancing CD in films from the 1930s and 1940s. I Got Thunder: Black Women Songwriters on Their Craft, by LaShonda Barnett What the Eye Hears: A History of Tap Dancing, by Brian Seibert Nonfiction book Nonfiction book A collection of essays by Black female songwriters and composers, discussing Tap is both dancing to music and dancing as music. We don’t just watch it; we their processes for songwriting, composing, and performing. hear its rhythms and feel them in our muscles and bones. Like jazz, tap was born in the United States. It’s a hybrid of traditional African dances brought over by slaves and jig, clog, and other folk-dance forms from the British Isles. Brian Seibert’s history illuminates tap’s complex origins. He charts tap’s growth in the vaudeville circuits and nightclubs of the early 20th century, chronicles its spread to ubiquity on Broadway and in Hollywood, analyzes its post-World War II decline, and celebrates its reinvention by new generations of American and international performers.

Chineke! Orchestra

William Grant Still, by Catherine Smith Biography William Grant Still was dubbed “The Dean” of African-American composers and was the first African-American to conduct a major American symphony orchestra. He composed more than 150 works during his lifetime, including five symphonies and eight operas.

BE PRESENT 28 CONNECT

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...

BE PRESENT 29 CONNECT

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 30 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 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.

BE PRESENT 31 CONNECT

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 TERRI PARK Interim Director of Education and over 100 free educational activities each season. Community 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 University Programs Manager 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, EMILIO RODRIGUEZ we can discover something new and extraordinary about each other. Throughout our K-12 Education Community Programs Manager Season, we invite educators and students to celebrate diversity in order to inform, strengthen, and unite us as community. CHRISTINA MOZUMDAR Education and Community Engagement Assistant

MADDIE WILDMAN University Programs Assistant

LEONARD BOPP KRISTIN HANSON ALLIE TAYLOR Student Staff

BE PRESENT 32 CONNECT

About UMS 2019/20 SCHOOL DAY PERFORMANCES

Isango Ensemble: The Magic Flute Thursday, October 17 // 11 am Friday, October 18 // 11 am Power Center

The Believers Are But Brothers

Isango Ensemble: The Magic Flute Thursday, January 23 // 11 am Arthur Miller Theatre

Mariachi Vargas de Tecalitlán Thursday, February 13 // 11 am Hill Auditorium

Dorrance Dance: Myelination

The Believers Are But Brothers Friday, February 21 // 11 am by The Other Richard Power Center

Chineke! Orchestra Thursday, April 23 // 11 am Hill Auditorium

Mariachi Vargas de Tecalitlán

BE PRESENT 33 CONNECT

Thank You! CREDITS AND SPONSORS

WRITTEN & RESEARCHED BY UMS YOUTH EDUCATION PROGRAM SUPPORTERS: ($5,000 OR MORE) Sean Meyers and Terri Park UMS is grateful to the following donors for establishing permanent endowment funds or making annual contributions of $5,000 or more between July 1, 2018 and April 15, 2019 to support Youth Education Programs. Their generosity makes it EDITED BY possible for over 7,000 K-12 students and educators to connect with artists in creative learning experiences through the arts. Terri Park

Additional Information provided by Grace VanderVliet (UMMA) and Elizabeth University of Michigan The Andrew W. Mellon Foundation Pearce (Ann Arbor District Library).

Anonymous Michigan Medicine

Akervall Technologies Charles Stewart Mott Foundation

Rachel Bendit and Mark Bernstein Ruth Mott Foundation

Elaine Bennett National Endowment for the Arts

Community Foundation for Southeast Michigan New England Foundation for the Arts

DTE Energy Foundation PNC Foundation

David and Jo-Anna Featherman Mary R. Romig-deYoung Music Appreciation Fund

The Hagerman Foundation Prudence and Amnon Rosenthal K-12 Education Endowment Fund David and Phyllis Herzig Endowment Fund Saint Joseph Mercy Health System Richard and Lillian Ives Endowment Fund Richard and Norma Sarns Matt and Nicole Lester Family University of Michigan (U-M) The Mardi Gras Fund U-M Credit Union Arts Adventures Program Michigan Council for Arts and Cultural Affairs

BE PRESENT 34 UMS.ORG

BE PRESENT 35