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Isango Ensemble: The Magic Flute

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2019/20

Table of Contents

07 Why?09 Artist12 Art Form15 Performance

06LEARN

05THE DETAILS

04ATTEND

19 Being an Audience Member22 Arts Online23 Recommended Reading25 Writing About Live Performance28 About UMS30 Credits and Sponsors

18 CONNECT

Isango Ensemble: The Magic Flute

U M S S C H O O L D AY P E R F O R M A N C EO

ctober 17-18

Thursday, October 17 // 11 amFriday, October 18 // 11 amPower Center

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7 3 4 . 7 6 4 . 2 5 3 8 ——— U M S. O R G

Coming to your email Inbox!

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

Attend

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The Details

VENUE ADDRESS Power Center, 121 Fletcher St, Ann Arbor, MI 48109

EMERGENCY CONTACT NUMBER734.764.2538

ARRIVAL TIMEBetween 10:30-10:50 am

TICKETSWe do not use paper tickets for School Day Performances. We hold school reservations at the door and seat groups upon arrival.

FOODNo food or drinks (including school lunches) are allowed in the theater.

ACCESSIBILITYWe 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 umsyouth@umich.edu 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

PARKINGThere 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.

WHEELCHAIR ACCESSIBILITYThe Power Center is wheelchair accessible and has 12 seats for audience members with special needs.

BATHROOMS ADACompliant toilets are available in the green room (east corner) of the Power Center for both men and women.

ENTRYThe front doors are not powered; however, there will be an usher at that door opening it for all patrons.

Isango Ensemble: The Magic Flute

Learn

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U M S . O R G ——— 7 3 4 . 6 1 5 . 0 1 2 2

L E A R N

Why?

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 Amadeus Mozart’s famous opera 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 trumpet 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.

U M S E D U C AT I O N A R T I S T S I C S TAT E M E N T

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Why?

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.

O N L I N E : C O N N E C T I N G T O T H E P E R F O R M A N C E

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L E A R N

https://youtu.be/h8dtaG3nyM4https://youtu.be/G2am6PD7rbwhttps://youtu.be/G2am6PD7rbwhttps://youtu.be/h8dtaG3nyM4https://youtu.be/G2am6PD7rbw

Artist

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L E A R N

I S A N G O E N S E M B L E : F I V E T H I N G S T O K N O W

01Director Mark Dornford-Mayand and Music Director Pauline Malefane formed what is now the core of Isango Ensemble in Cape Town in 2000. From the beginning, the company has drawn its performers from the previously disadvantaged townships surrounding the city.

02In addition to her role as Isango’s music director, Pauline Malefane is an advocate for The Global Fund to Fight AIDS, Tuberculosis, and Malaria. She saw worldwide success playing the role of Carmen, both on stage and in the Golden Bear-winning feature film U-Carmen eKhayelithsa, for which she won a Golden Thumb from Roger Ebert.

03The Magic Flute (also known in South Africa as Impempe Yomlingo), features Mozart’s score transposed by Mandisi Dyantyis for an orchestra of marimbas. It broke box office records when it played in repertoire with A Christmas Carol (Ikrismas Kherol) at the Young Vic in London. The Magic Flute then went onto win an Olivier Award for Best Musical Revival when it transferred to the 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.

04Isango Ensemble is committed to creating accessible theater for South Africans and to contributing to a more united South African nation. Isango’s award-winning film, uCarmen eKhayelitsha, and a second film, Son of Man, were filmed on location in Khayelitsha and propelled this historically disadvantaged township into the international spotlight. Local residents were given the opportunity to be part of the films. Isango intends to further develop this process by building a truly mixed audience, reflecting and uniting a diverse South African nation.

05Isango Ensemble’s educational engagement initiatives include collaborations with Injongo Primary School and the Liwa School in South Africa. Isango recruited young actors from these schools to join the ensemble in its production of A Man of Good Hope at London’s Young Vic theatre and BAM in New York. Isango and Young Vic are collaborating with Injongo and Liwa schools on a new play Fable by Luke Barnes, a theatrical response to A Man of Good Hope.

https://youtu.be/0pSXFOcK_7A

O N L I N E : G E T T I N G T O K N O W I S A N G O E N S E M B L E

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L E A R N

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 FacebookFollow Isango Ensemble on Twitter@isangoensemble

Artist

https://youtu.be/e7F7UYEMFJAhttps://youtu.be/e7F7UYEMFJAhttps://youtu.be/e7F7UYEMFJAhttps://www.facebook.com/isangoensemble/https://www.facebook.com/isangoensemble/https://twitter.com/isangoensemblehttps://twitter.com/isangoensemblehttps://youtu.be/e7F7UYEMFJA

L E A R N

O P E R A

O P E R A

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 the stage. Many people and departments work together toward a common goal, and each part is equally important to the process.

An opera is like a modern-day musical, in which all the characters’ lines are sung rather 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 vision determines the way these elements take shape and combine in performance.

W O L F G A N G A M A D E U S M O Z A R T ( 1 7 5 6 –1 7 9 1 )

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 and violinist, traveling all over Europe and performing for royalty with his sister and father. A remarkably prolific composer, Mozart remains popular today, and many of his solo, chamber, and symphonic works had a lasting influence on Western art music.

Did You Know?Wolfgang Amadeus Mozart’s actual full name is Johannes Chrysostomus Wolfgangus Theophilus Mozart. As a child, he would jokingly sign letters with his name backwards: “Trazom.”

Mozart composed over 600 works of classical music during his brief 35-year life, including 41 symphonies, more than 20 piano concertos, and more than 20 operas. Mozart completed his first symphony in 1764, when he was only eight years old!

Wolfgang’s older sister Maria Anna Mozart, nicknamed “Nannerl,” was a talented performer and composer as well. The Mozart siblings performed as touring musicians throughout their childhood.

Art Form

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T H E A B C ’ S O F O P E R A : A G L O S S A RY

Art Form

CadenzaA 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.

ChoreographerThe person who creates the steps for dances within a production.

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

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

ComposerThe person who writes the music for the opera. Wolfgang Amadeus Mozart is the composer of The Magic Flute.

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Aria A song for solo voice with accompaniment from the orchestra. Arias reveal important information about the opera’s characters and story, whereas recitatives move the plot of the opera forward.

LibrettoThe “little book” in Italian. The libretto contains all of the words and stage directions for the opera, much like the script for a play.

LibrettistThe person who writes the words to an opera. Emanuel Schikaneder is the librettist of The Magic Flute.

Mezzo-SopranoA female singing voice whose vocal range lies between the soprano (high) and contralto (low).

OrchestraThe group of musicians who perform the music of the opera. A conventional opera orchestra usually includes a large group of stringed instruments along with woodwinds, brass, and percussion. The orchestra for Isango Ensemble’s production of The Magic Flute consists mainly of marimbas —percussion instruments with pitched wooden bars — and various drums.

OvertureThe musical introduction to the opera. A traditional opera overture is purely instrumental, with no singing, and sometimes incorporates melodies from the opera’s arias. Many famous overtures are often performed on their own as concert pieces.

BaritoneAn adult male singing voice between tenor (highest) and bass (lowest) range.

BassThe lowest pitched ordinary male voice type.

CadenzaA 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.

ChoreographerThe person who creates the steps for dances within a production.

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

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

ComposerThe person who writes the music for the opera. Wolfgang Amadeus Mozart is the composer of The Magic Flute.

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L E A R N

O P E R AArt Form

Continued.ind

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

RoleThe character an actor or singer portrays.

ScoreA printed book that contains all of the music and words for the opera.

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

SopranoThe highest-pitched standard voice type.

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

TenorThe highest of the ordinary adult male singing range.

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L E A R N

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.

– PA U L I N E M A L E FA N E

I S A N G O E N S E M B L E : T H E M A G I C F L U T EPerformance

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L E A R N

Isango Ensemble: The Magic FluteDirected by Mark Dornford-May Thursday, October 17 // 11 amFriday, October 18 // 11 amPower 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.

Performance I S A N G O E N S E M B L E : T H E M A G I C F L U T E

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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.

O N L I N E : I S A N G O E N S E M B L E

L E A R N

Performance

https://youtu.be/0pSXFOcK_7Ahttps://youtu.be/0pSXFOcK_7Ahttps://youtu.be/0pSXFOcK_7A

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Performance

V O I C E T Y P E S I N T H E M A G I C F L U T E

Soprano:The highest-pitched ordinary female voice type.

Pamina, the Queen of the Night’s daughterPapagenaTwo of the Three Ladies, attendants to the Queen

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

The Queen of the Night

Mezzo Soprano:A female singing voice whose vocal range lies between the soprano (high) and contralto (low).

One of the Three Ladies, an attendant to the QueenOne of the Three Spirits

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

Tamino, a princePriestsMen in ArmorSlaves

Baritone:An adult male singing voice between tenor (highest) and bass (lowest) range.

Papageno, a birdcatcherMonostatos, chief slave of the temple

Bass:The lowest-pitched ordinary male voice type.

Sarastro, high priest of the Egyptian goddess IsisSpeaker of the Temple

Learn more about the German Fach system.

I S A N G O E N S E M B L E : T H E M A G I C F L U T E

The German Fach (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.

http://halifaxsummeroperafestival.com/?page_id=3270

L E A R N

A B O U T T H E M A G I C F L U T E

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

Unlike many operas in which the dialogue is entirely sung, The Magic Flute alternates musical numbers with spoken dialogue, much like a modern-day musical. This type of opera is called a Singspiel. While operas were traditionally written for royal courts to enjoy, the Singspiel was written to appeal to wider audiences. The alternation of music 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 at its premiere, and remains one of the most often performed operas today.

Timeline of Notable Performances

Premiere: September 30, 1791 at Freihaus-Theater auf der Wieden, Vienna (two months before Mozart’s death)

September 1792: First performance outside of Vienna, in Lemberg (in modern-day Ukraine)

100th performance: November 1792

Production in Theater-an-der-Wien

First performance in New York City

Performance

1791

1792

1792

1802

1833

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I S A N G O E N S E M B L E : T H E M A G I C F L U T E

L E A R N

SY N O P S I S O F T H E M A G I C F L U T E

The opera begins with an instrumental Overture, which Mozart famously composed last.

Performance I S A N G O E N S E M B L E : T H E M A G I C F L U T E

ACT ITamino, a prince, is alone in the woods, fleeing a deadly serpent. He faints but is saved by three ladies who are the attendants of the Queen of the Night. Tamino wakes up and hears someone coming: it’s Papageno, a bird catcher. Tamino assumes that it was Papageno who saved him, and the two become friends. The three ladies return and explain that they were the ones who saved Tamino, and they give him a picture of Pamina, the Queen of the Night’s daughter.

Tamino falls in love with the portrait, but is told that Pamina has been kidnapped by Sarastro, a high priest. Tamino vows to rescue Pamina. Hearing this, the Queen 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 magic bells.

Tamino and Papageno are led to Sarastro’s temple by three spirits. Papageno scouts ahead; he finds Pamina and he reassures her that she will soon be 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 and wise, and he insists that Tamino must undergo a series of tests to prove himself worthy of Pamina.

ACT IIWith the series of tests about to begin, Sarastro explains that he kidnapped Pamina from her evil mother, the Queen of the Night, because Tamino and Pamina are meant to be together. Papageno is also promised a wife if he successfully completes the trials. In preparation, they must remain silent — Tamino and Papageno are not allowed to speak.

Meanwhile, The Queen appears before Pamina and tries to convince her to kill Sarastro. The Queen sings her famous aria, “Der Hölle Rache”, which translates as “A hellish rage burns in my heart.” But the Queen of the Night’s efforts are in vain.

Tamino and Pamina meet again, but because he is not allowed to speak, Pamina 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 with Pamina — faces the trials of water and fire. With the aid of the magic flute, they are successful.

Papageno, meanwhile, plays his magic bells and his destined mate, Papagena, appears. He is filled with joy. Papageno and Papagena sing their signature duet, 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 followers praise the couple, and all watch the sunrise together.Watch this animated synopsis of The Magic Flute.

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https://youtu.be/-laVXO0IYKY

Being an Audience Member

Arts Online

Recommended Reading

Writing about Live Performances

About UMS

Connect

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7 3 4 . 7 6 4 . 2 5 3 8 ——— U M S. O R G

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C O N N E C T

Being an audience member A U D I E N C E E T I Q U E T T E 1 0 1

• No talking, unless audience participation is requested by the performers.

• Avoid fidgeting and moving around in your seat during the performance. Slumping sideways blocks the view for audience members behind you, and extra movements can be distracting to your neighbors.

• Do not take flash photography. The flash can be distracting to the performers on stage.

• Turn off and put away cell phones and other electronic devices.

• 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 passage of music.

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

• Most importantly, relax and enjoy the performance!

WHEN SHOULD I CLAP?

The audience claps to welcome the performers as they come on stage.

The audience also claps at the conclusion of each piece on the program, but not between movements of a single piece. This can be tricky, because many musical works have several movements with 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 the conductor, who will lower their hands at the end of the piece.

When in doubt, it’s always safe to wait and follow what the rest of the audience does.

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E N G A G I N G W I T H T H E P E R F O R M A N C E

C O N N E C T

Encourage your students to engage with and reflect on the performance by asking these questions:

• How did the performance make you feel?

• What does this performance remind you of?

• What was the most memorable part of the performance for you?

• How does this performance relate to where you live?

• During the performance, close your eyes and imagine a “mind movie” using the performance as a soundtrack. What did you see in your mind?

• Did the performance tell a specific story?

• Do you have any questions about the performance?

GLOSSARY: ELEMENTS OF PERFORMANCE

Space – venue/building, stage, distance between objects

Lighting – location of light, use of darkness, color, movement, light in the audience

Sound – sound created by voices or movements of performers and audience members, the location of the sound (behind the stage or offstage), use of musical instruments or recorded music

Movement – movement of performers, images, objects, or audience members; speed, size, or shape of movements

People:

• Dancers

• Actors

• Musicians

• Stage Crew

• Ushers

• Audience Members

Being an audience member

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C O N N E C T

Connecting to Other Art Forms

IMAGE IMAGE INFORMATION DESCRIPTION CONNECTION/INTERPRETATION

AccessionNumber1985/1.144

TitleWhistle/Flute

Artist(s)Bwa ; Mossi

Object Creation Date1900-1985

Medium & SupportWood

Dimensions16 in x 3 1/4 in x 15/16 in (40.7 cm x8.3 cm x 3.3 cm)

Credit LineGift of Dr. HaroldLockett.

Isango Ensemble – The Magic Flute

Isango Ensemble is a South Africantheater company that draws its artists from the townships surrounding Cape Town. The company reimagines classicsfrom 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 their high-spirited, kinetic, and creative productions that fuse incredible music, singing, and dance.

This Bwa flute from Burkina Faso maynot possess magical powers, but flutesand whistles play a special role inmasquerade performances across theAfrican continent. Masked dancers areoften announced by instruments andthe performers are heard before theyare seen. At funerals, young men playeach play a different range of tones,which combine to form an other-worldly melody.

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.

https://www.umma.umich.edu/

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Arts Online: Explore and Discover S I T E S W E S U G G E S T

C O N N E C T

UMSums.org

UMMAumma.umich.edu

THE KENNEDY CENTER, ARTSEDGEArtsEdge.org

ANN ARBOR DISTRICT LIBRARYaadl.org

NEW YORK PHILHARMONICnyphil.org

AMERICAN THEATREamericantheatre.org

DANCEMAGAZINEdancemagazine.com

NPR: NATIONAL PUBLIC RADIOnpr.org

MICHIGAN RADIOmichiganradio.org

PBS: PUBLIC BROADCASTING SERVICEpbs.org

NEW YORK TIMESnytimes.com

2019-20 SCHOOL DAY PERFORMANCES: ARTIST WEBSITES

ISANGO ENSEMBLEisangoensemble.co.za/

THE BELIEVERS ARE BUT BROTHERSjavaadalipoor.co.uk/babb

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

DORRANCE DANCEdorrancedance.com/

CHINEKE! ORCHESTRAchineke.org/

http://ums.orghttp://umma.umich.eduhttp://ArtsEdge.orghttp://aadl.orghttp://nyphil.orghttp://americantheatre.orghttp://dancemagazine.comhttp://npr.orghttp://michiganradio.orghttp://pbs.orghttps://www.nytimes.com/https://isangoensemble.co.za/http://www.javaadalipoor.co.uk/babbhttp://orchestraoftheamericas.org/people/mariachi-vargas-de-tecalitlan/http://orchestraoftheamericas.org/people/mariachi-vargas-de-tecalitlan/https://www.dorrancedance.com/https://www.chineke.org/

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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

Isango Ensemble: The Magic FluteThe Magic Flute, by Christopher RaschkaPicture bookThis illustrated book for children retells the story of the Mozart opera, in which the noble Prince Tamino seeks the fair Pamina against a backdrop of the battle between darkness and light.

Baby Mozart: A Concert for Little EarsCDMozart’s The Magic Flute adapted for young listeners.

Sing Me a Story: The Metropolitan Opera’s Book of Opera Stories for Children, by Jane RosenbergPicture bookAn illustrated retelling of the plots of 15 well-known operas, including The Magic Flute.

S is for South Africa, by Beverly NaidooPicture BookThis photograph-filled book presents an A to Z look at some of the people, places, items, and customs of South Africa.

Mariachi Vargas de TecalitlánThe Best Mariachi in the World, by J.D. SmithPicture bookEveryone in Gustavo’s family is in a mariachi band — everyone except Gustavo, that is. They all play violins, trompetas and guitarrones. They all make wonderful music in restaurants and at wedding parties. Gustavo would love to join the 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.

Dorrance DanceTot Tap: A fun-filled introduction to the world of tap dance for kids.DVDLearn basic tap dance moves in this instructional DVD for kids.

Tasha the Tap Dance Fairy, by Daisy MeadowsFiction bookPart 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.

Rap A Tap Tap, by Leo and Diane DillonPicture bookIllustrations and rhyme describe the dancing of Bill “Bojangles” Robinson, one of the most famous tap dancers of all time.

Recommended Reading

C O N N E C T

https://aadl.org/

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Continued.

C O N N E C T

Chineke! Orchestra

The Walkabout Orchestra: Postcards from Around the World, by Chloe PeramauPicture bookThe orchestra have an important concert to play… but all of the musicians have gone walkabout! Help the maestro and his faithful assistant track them down using clues from their postcards from all over the world. Learn about all of the instruments in an orchestra as you find the musicians!

Duke Ellington: The Piano Prince and His Orchestra, by Andrea Davis PinkneyBiographyThe Coretta Scott King Award-winning biography that recounts the career of Duke Ellington, the jazz musician and composer who, along with his orchestra, created music that was beyond category.

The Story of the Orchestra, by Robert LevineNonfiction bookThis book, accompanied by a CD, allows you to listen while you learn about the instruments, music and composers who wrote the music in an orchestra.

TEEN/ADULT

Isango Ensemble: The Magic Flute

The Magic FluteDVDThis Swedish film is part of the Criterion Collection. A scintillating screen version of Mozart’s beloved opera showcases Ingmar Bergman’s deep knowledge of music and his gift for expressing it cinematically. Casting some of Europe’s finest soloists, the director lovingly recreated the baroque theater of Sweden’s Drottningholm Palace to stage the story of the prince Tamino and his zestful sidekick Papageno, who are sent on a mission to save a beautiful princess from the clutches of evil.

The Magic FluteCDThe London Philharmonic Orchestra plays Mozart’s opera.

Sunlight & Shadow: A Retelling of The Magic Flute, by Cameron DokeyFiction bookA 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.

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The Operas of Mozart, by Robert GreenbergLecture DVDA discussion of Mozart’s most important operas, including a 45-minute lecture on The Magic Flute.

THE BELIEVERS ARE BUT BROTHERS

Radicalization: Why Some People Choose the Path of Violence, by Farhad KhosrokhavarNonfiction bookIn the wake of recent terrorist attacks, fears over ‘homegrown terrorism’ have surfaced to a degree not seen since September 11, 2001. A sought-after commentator in France and a widely respected international scholar of radical Islam, Farhad Khosrokhavar has spent years studying the path towards radicalization, focusing particularly on the key role of prisons.

Two Sisters: A Father, His Daughters, and Their Journey into the Syrian Jihad, by Åsne SeierstadNonfiction bookA 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 human terms, using instant messages and other primary sources to reconstruct a family’s crisis from the inside. This is a relentless thriller and a feat of reporting with profound lessons about belief, extremism, and the meaning of devotion.

Hateland: A Long, Hard Look at America’s Extremist Heart, by Daryl JohnsonNonfiction bookAn in-depth analysis of the current threat from domestic terrorism and its growing menace. Johnson throws a stark light on the darkest segments of American society and offers suggestions for dealing with their violent threats.

Alt-Right: From 4chan to the White House, by Mike WendlingNonfiction bookMedia accounts to the contrary, the alt-right didn’t just burst out of nowhere in 2016. They have been building their network quietly for years, using online bulletin boards and social media to spread a toxic hybrid of technological utopianism, reactionary philosophy, and racial hatred. Wendling traces the rise of the movement and the evolution of its ideas, and he introduces us to some of its key figures.

Mariachi Vargas De Tecalitlán100 Anos de MariachiCDMariachi music from the past century performed by various artists and groups.

The Guilty, by Juan VilloroShort story collectionA brilliant prize-winning collection of stories that beautifully and hauntingly describes Mexican culture and ways of life, by Mexico’s most important living writer.

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Dorrance Dance

Tap Dance History: From Vaudeville to FilmDVDThis film explores the history of tap dance from its beginnings to the modern day. Tap dance enthusiasts will especially enjoy the rare footage of tap dancing in films from the 1930s and 1940s.

What the Eye Hears: A History of Tap Dancing, by Brian SeibertNonfiction bookTap is both dancing to music and dancing as music. We don’t just watch it; we 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 SmithBiographyWilliam 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.

Ellington & the Modern Masters: Music of African-American ComposersCD

Violin Concertos by Black Composers of the 18th & 19th CenturiesCD

I Got Thunder: Black Women Songwriters on Their Craft, by LaShonda BarnettNonfiction bookA collection of essays by Black female songwriters and composers, discussing their processes for songwriting, composing, and performing.

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Writing About Live Performance with Your Students

C O N N E C T

A LETTER TO PERFORMERSGrade Level: Elementary School Students (K-5)

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 assistance, students may send these letters to the performers.

BEFORE THE PERFORMANCEDiscuss the following with your students:

1. Live Performances2. The Art Form3. The Artist4. Origin of the Art Form or Artist

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

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

Once the performance is done, have students write down their notes, observations, and reflections. They will use these notes to help them write their letters.

AFTER THE PERFORMANCEInstruct students to write a letter to the performers. In completing this exercise, students should:

• Use standard letter-writing conventions (“Dear…,” “Sincerely,”)• Mention when and where the performance took place• Use the notes they took to share their experiences, observations, and

questions with the performers

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C O N N E C T

TWO THUMBS UP: WRITING A PERFORMANCE REVIEW Grade Level: Middle and High School Students (6-12)

BEFORE THE PERFORMANCEHave students, in groups or as individuals, conduct background research on the performance they will be attending. Students should research and take notes on the following:• Art Form• History of the Art Form• Terminology• The Artist• Comparisons to similar artists and art form

Some of this information may be found in this Learning Guide. For more information on artists and art forms, follow the sources in the “Sites We Suggest” and “Recommended Reading” sections of this Learning Guide.

Before the performance begins, consider the following questions:• What expectations do I have for the performance?• Do I already have an opinion about what I will experience at the performance?

DURING THE PERFORMANCEAsk students to take mental notes during the performance. As soon as the performance ends, have students write down thoughts and words that come to mind related to the performance.

Encourage students to consider these prompts:• What is striking to me? • 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?

AFTER THE PERFORMANCEInstruct students to compare their pre-performance notes to their post-performance observations and write a 2-3-page review.

Things to consider when writing a review: A critic’s job is to:

1. Share an experience – what did it feel, sound, look like? 2. Provide context – a broader frame of reference around what

happened to help the reader understand importance or significance of the experience

3. Evaluate – was it any good?

A strong review answers these three questions:1. What is the artist trying to do?2. How well are they doing it?3. Was it worth doing in the first place?

Critics typically use two modes of thought when writing a review:1. Analytical – describing the grammar of the art, its execution and

interpretation by the performers, and its historical, cultural, and social relevance; using concrete language, terminology, and facts

2. Impressionistic – describing the overall experience; using abstract language, feelings, and emotions

Encourage students to take a strong stance on aspects of the performance, just so long as they can back up their argument with evidence. If a student writes, “I didn’t like…” or “I particularly enjoyed…,” ask them to elaborate.

Writing About Live Performance with Your Students

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MORE WRITING PROMPTS FOR REFLECTION, EXPLORATION, AND DISCOVERY:

• What was your overall reaction to the performance? Did you find the production compelling? Stimulating? Intriguing? Challenging? Memorable? Confusing? Evocative? Bizarre? Unique? Delightful? Meaningful? Explain your reactions.

• What themes of the play especially stood out in production? What themes were made even more apparent or especially provocative in production/performance? Explain your responses.

• Is there a moment in the performance that specifically resonated with you either intellectually or emotionally? Which moment was it, and why do you think it affected you?

• Describe the pace and tempo of the performance (e.g., slow, fast, varied). Did it feel like the pace of the production maintained your interest throughout? Were there any moments in which you felt bored, rushed, lost, or confused? What elements of the work or interpretation led you to feel this way?

• Was there a moment during the performance that was so compelling, intriguing, or engaging that it remains with you in your mind’s eye? Write a vivid description of that moment. As you write your description, pretend that you are writing about the moment for someone who was unable to experience the performance.

• How did the style and design elements of the production (e.g. sets, costumes, lighting, sound, music, if any) enhance the performance? Did anything in particular stand out to you? Why?

• What was your favorite musical selection from this performance? Why?

• During the performance, imagine a story or movie playing out in your mind, set to the music or action on stage. After the performance, write a story based on the narrative you imagined.

• All of these performances involve one or more performers on stage at any given moment. Which performer did you relate to the most? Why?

Writing About Live Performance with Your Students

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About UMS

C O N N E C T

UMS was selected as one of the 2014 recipients of the National Medal of Arts, the nation’s highest 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 oversees the selection process.

One of the leading performing arts presenters in the country, UMS is committed to connecting 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 over 100 free educational activities each season.

At UMS, diversity is embraced as both a powerful educational resource and a guiding value for all our work. Our educational philosophy is dedicated to multidisciplinary artistic and educational experiences 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, we can discover something new and extraordinary about each other. Throughout our K-12 Education Season, we invite educators and students to celebrate diversity in order to inform, strengthen, and unite us as community.

UMS EDUCATION AND COMMUNITY ENGAGEMENT DEPARTMENT

STAFF

MATTHEW VANBESIEN UMS President

TERRI PARK Interim Director of Education and Community Engagement

SHANNON K. FITZSIMONS MOEN University Programs Manager

EMILIO RODRIGUEZ Community Programs Manager

CHRISTINA MOZUMDAR Education and Community Engagement Assistant

MADDIE WILDMAN University Programs Assistant

LEONARD BOPP KRISTIN HANSON ALLIE TAYLOR Student Staff

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Mariachi Vargas de Tecalitlán

2 0 1 9 / 2 0 S C H O O L D AY P E R F O R M A N C E S

C O N N E C T

Isango Ensemble: The Magic FluteThursday, October 17 // 11 amFriday, October 18 // 11 amPower Center

The Believers Are But BrothersThursday, January 23 // 11 amArthur Miller Theatre

Mariachi Vargas de TecalitlánThursday, February 13 // 11 amHill Auditorium

Dorrance Dance: MyelinationFriday, February 21 // 11 amPower Center

Chineke! OrchestraThursday, April 23 // 11 amHill Auditorium

Isango Ensemble: The Magic Flute

The Believers Are But Brothersby The Other Richard

About UMS

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UMS YOUTH EDUCATION PROGRAM SUPPORTERS: ($5,000 OR MORE)

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 possible for over 7,000 K-12 students and educators to connect with artists in creative learning experiences through the arts.

Anonymous

Akervall Technologies

Rachel Bendit and Mark Bernstein

Elaine Bennett

Community Foundation for Southeast Michigan

DTE Energy Foundation

David and Jo-Anna Featherman

The Hagerman Foundation

David and Phyllis Herzig Endowment Fund

Richard and Lillian Ives Endowment Fund

Matt and Nicole Lester Family

The Mardi Gras Fund

Michigan Council for Arts and Cultural Affairs

Michigan Medicine

Charles Stewart Mott Foundation

Ruth Mott Foundation

National Endowment for the Arts

New England Foundation for the Arts

PNC Foundation

Mary R. Romig-deYoung Music Appreciation Fund

Prudence and Amnon Rosenthal K-12 Education Endowment Fund

Saint Joseph Mercy Health System

Richard and Norma Sarns

University of Michigan (U-M)

U-M Credit Union Arts Adventures Program

University of Michigan

Thank You! C R E D I T S A N D S P O N S O R S

C O N N E C T

WRITTEN & RESEARCHED BY Sean Meyers and Terri Park

EDITED BY Terri Park Additional Information provided by Grace VanderVliet (UMMA) and Elizabeth Pearce (Ann Arbor District Library).

The Andrew W. Mellon Foundation

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U M S. O R G

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