1UMS 10-11T E A C H E R R E S O U R C E G U I D E 2 0 1 0 – 2 0 1 1

B A B Y L O V E S S A L S A

2 UMS 10-11

The Andrew W. Mellon Foundation

University of Michigan

Anonymous

Arts at Michigan

Arts Midwest’s Performing Arts Fund

The Dan Cameron Family Foundation/Alan and Swanna Saltiel

CFI Group

Community Foundation for Southeast Michigan

Doris Duke Charitable Foundation Endowment Fund

DTE Energy Foundation

The Esperance Family Foundation

David and Jo-Anna Featherman

Forest Health Services

David and Phyllis Herzig Endowment Fund

JazzNet Endowment

W.K. Kellogg Foundation

John S. and James L. Knight Foundation

Masco Corporation Foundation

Michigan Council for Arts and Cultural Affairs

THE MOSAIC FOUNDATION [of R. & P. Heydon]

National Dance Project of the New England Foundation for the Arts

National Endowment for the Arts

Prudence and Amnon Rosenthal K-12 Education Endowment Fund

PNC Bank

Target

TCF Bank

UMS Advisory Committee

University of Michigan Credit Union

University of Michigan Health System

U-M Office of the Senior Vice Provost for Academic Affairs

U-M Office of the Vice President for Research

Wallace Endowment Fund

This Teacher Resource Guide is a product of the UMS

Youth Education Program. UMS thanks Matthew

Mejia, Linda Grekin, Jose Conde, Pam Reister, the

University of Michigan Museum of Art, and Omari

Rush for their feedback and support in developing

this guide.

SUPPORTERS

3UMS 10-11T E A C H E R R E S O U R C E G U I D E 2 0 1 0 – 2 0 1 1

U M S Y O U T H

E D U C AT I O n P R O G R A M

BABY LOVES SALSAMonday, January 31, 2011 • 10 AM - 11AM and 12 NOON - 1 PM • LYDIA MENDELSSOHN THEATRE

ATTEnDInG THE YOUTH PERFORMAnCE6 Coming to the Show8 Map + Directions9 Lydia Mendelssohn Theatre10 Being an Audience Member

ABOUT SALSA12 What is Salsa?15 Big Names in Salsa16 Percussion in Focus

TABLE OF CONTENTS

BABY LOVES SALSA20 Ensemble Story22 Individual Bios24 Repertoire26 Visual + Performing Artists

RESOURCES29 National Standards30 Curriculum Connections32 Additional Resources

ABOUT UMS46 What is UMS?47 Youth Education Program49 Contacting UMS

Short on time?If you only have 15 minutes to review this guide, just read the sections in black in the Table of Contents.

Those pages will provide the most important information about this performance.

4 UMS 10-11

5UMS 10-11

www.babylovessalsa.com

AT T E n D I n G T H E Y O U T H P E R F O R M A n C E

6 UMS 10-11

TICKETS We do not use paper tickets for

Youth Performances. We hold school reserva-

tions at the door and seat groups upon arrival.

DOOR EnTRY A UMS Youth Performance

staff person will greet your group at your bus

as you unload. You will enter through the

main entrance (south) of the League Building.

BEFORE THE START Please allow the usher

to seat individuals in your group in the order

that they arrive in the theater. Once everyone

is seated you may then rearrange yourselves

and escort students to the bathrooms before

the performance starts. PLEASE spread the

adults throughout the group of students.

DURInG THE PERFORMAnCE At the

start of the performance, the lights well

dim and an onstage UMS staff member will

welcome you to the performance and provide

important logistical information. If you have

any questions, concerns, or complaints (for

instance, about your comfort or the behavior

of surrounding groups) please IMMEDIATELY

report the situation to an usher or staff mem-

ber in the lobby.

PERFORMAnCE LEnGTH One hour

(approximately) with no intermission

AFTER THE PERFORMAnCE When the

performance ends, remain seated. A UMS

staff member will come to the stage and

release each group individually based on the

location of your seats.

SEATInG & USHERS When you arrive at

the front doors, tell the Head Usher at the

door the name of your school group and he/

she will have ushers escort you to your block

of seats. All UMS Youth Performance ushers

wear large, black laminated badges with their

names in white letters.

ARRIVAL TIME Please arrive at Mendelssohn

between 9:30-9:50am for the 10:00am Youth

Performance and 11:30-11:50am to allow you

time to get seated and comfortable before the

show starts.

DROP OFF Have buses, vans, or cars drop off

students on westbound (north) side of North

University Avenue in front of the Michigan

League Building. If there is no space in the

drop off zone, circle the block until space

becomes available. Cars may park at curbside

metered spots or in the visitor parking lot

behind the power Center. Buses should wait/

park at Briarwood Mall.

DETAILS

C O M I N G T O T H E S H O WWe want you to enjoy your time with UMS!

PLEASE review the important information below about attending the Youth Performance:

TICKETS

USHER

7UMS 10-11

BUS PICK UP When your group is released,

please exit the performance hall through the

same door you entered. A UMS Youth Perfor-

mance staff member will be outside to direct

you to your bus.

AAPS EDUCATORS You will likely not get

on the bus you arrived on; a UMS staff mem-

ber or AAPS Transportation Staf person will

put you on the first available bus.

LOST STUDEnTS A small army of volun-

teers staff Youth Performances and will be

ready to help or direct lost and wandering

students.

LOST ITEMS If someone in your group loses

an item at the performance, contact the UMS

Youth Education Program (umsyouth@umich.

edu) to attempt to help recover the item.

AAPS

SEnDInG FEEDBACK We LOVE feedback

from students, so after the performance please

send us any letters, artwork, or academic

papers that your students create in response

to the performance: UMS Youth Education

Program, 881 N. University Ave., Ann Arbor,

MI 48109-1011.

nO FOOD No Food or drink is allowed in the

theater.

PATIEnCE Thank you in advance for your

patience; in 20 minutes we aim to get 620

people from buses into seats and will work as

efficiently as possible to make that happen.

ACCESSIBILITY There is a barrier free access

located at the North University entrance to

the building, with elevator access to the main

floor of the theater level. Wheelchair seating is

available on the rear of the main floor.

Lydia Mendelssohn Theatre is equipped with

assistive listening devices. Earphones may be

obtained upon arrival. Please ask an usher for

assistance.

EnTRAnCES + ELEVATORS The Lydia

Mendelssohn Theatre is located in the

Michigan League Building on the University of

Michigan’s central campus. The main entrance

is off of North University, in front of the

Michigan League Building. Elevators for access

to the both the Main Floor and Balcony are

located in the middle of the Michigan League

along the main hallway.

8 UMS 10-11

M A P + D I R E C T I O N SThis map, with driving directions to the Mendelssohn Theatre, will be mailed to

all attending educators three weeks before the performance.

MAP

E Washington St Palmer Dr

E Huron St

E Liberty St

William St

N University Ave

Fletcher St

Church St

State St

Washtenaw

Ave

Thayer St

Mall Parking &

→

→

→

→

N

RACKHAM

HILL

ParkingMEN

DELSSO

HN

POWER

Enter

VENUE

9UMS 10-11

LY D I A M E N D E L S S O H N T H E AT R E

LOCATED WITHIn the Michigan League

building on the central campus of the

University of Michigan, the Lydia Men-

delssohn Theatre is an intimate, shoe-box

theatre seating 658. Decorated with solid

oak paneling that creates an atmosphere

of elegance and charm, the Mendelssohn

Theatre is perfect for smaller conferences.

Just down the hallway in the Michigan

League are similarly designed, tasteful

private dining rooms and a large ball-

room. The Mendelssohn Theatre is also

used extensively for theatrical produc-

tions and solo recitals.

Opening on May 4, 1929, the theatre

was designed by the Chicago architec-

tural firm of Allen Pond & Pond, Martin

& Lloyd. In 1995, new carpeting and

seats were installed, and the proscenium

curtain was replaced. Its lighting equip-

ment is modern.

The Mendelssohn Theatre is one of the

few theaters in the United States to have

a “cyclorama,” a curved wall at the back

of the stage. The cyclorama improves

sound in the theater and can be used for

creative lighting effects.

Notwithstanding an isolated effort to es-

tablish a chamber music series by faculty

and students in 1938, UMS regularly be-

gan presenting artists in the Lydia Men-

delssohn Theatre in 1993, when Eartha

Kitt and Barbara Cook graced the stage

for the 100th May Festival’s Cabaret Ball.

Today, the Lydia Mendelssohn Theatre is

used primarily for theatrical productions

and song recitals.

LYDIA MEnDELSSOHn

THEATRE

911 north University Ave

Ann Arbor, MI 48109

(734) 763-333

Emergency Contact

number:

(734) 764-2538

(Call this number to reach a UMS staff

person or audience member at the perfor-

mance.)

10 UMS 10-11

DETAILS

WHEn PREPARInG STUDEnTS for a

live performing arts event, it is impor-

tant to address the concept of “concert

etiquette.” Aside from helping prevent

disruptive behavior, a discussion of concert

etiquette can also help students fully enjoy

the unique and exciting live performance

experience. The following considerations

are listed to promote an ideal environment

for all audience members.

YOUR SURROUnDInGS

Concert halls and performing arts •

venues are some of the most grand

and beautiful buildings you might ever

visit, so be sure to look around while

you follow an usher to your group’s

seats or once you are in your seat.

UMS Ushers will be stationed through-•

out the building and are identifiable

by their big black and white badges.

They are there to help you be as

comfortable as possible and if you

have a question (about the perfor-

mance, about where to go, or about

what something is), please ask them,

and don’t feel shy, embarrassed, or

hesitant in doing so.

SHARInG THE PERFORMAnCE HALL

WITH OTHER AUDIEnCE MEMBERS

Consider whether any talking you do •

during the performance will prevent

your seat neighbors or other audience

members from hearing. Often in large

rock concerts or in movie theaters,

the sound is turned up so loud that

you can talk and not disturb anyone’s

listening experience. However, in other

concerts and live theater experiences,

the sound is unamplified or just quite,

and the smallest noise could cause

your seat neighbor to miss an impor-

tant line of dialogue or musical phrase.

Movements or lights (from cell phones)

may also distract your audience neigh-

bors attention away from the stage,

again, causing them to miss important

action...and there’s no instant replay in

live performance!

At a performance, you are sharing the •

physical components of the perfor-

mance space with other audience

members. So, consider whether you

are sharing the arm rest and the leg

room in such a way that both you and

your seat neighbors are comfortable.

As an audience member, you are •

also part of the performance. Any

enthusiasm you might have for the

performance may make the perform-

ers 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 express-

ing your own personal enjoyment of

the performance, consider whether

your fellow audience members will be

able to see or hear what’s happening

on stage or whether they will miss

something because of the sound and

movement you are making. Given this

consideration, it’s often 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 your enthusiasm

with them.

Out of respect for the performer(s), if •

you do not like some part of the per-

formance, please do not boo or shout

anything derogatory. Remember, a lot

of hard work went in to creating the

performance you are watching and it

takes great courage for the performer

to share his or her art with you.

SHARE YOUR ExPERIEnCE WITH

OTHERS

An important part of any performing •

arts experience is sharing it with others.

This can include whispering to your

seat neighbor during the performance,

talking to your friends about what you

liked and didn’t like on the bus back to

school, or telling your family about the

performance when you get home.

MORE InFORMATIOn

For more specific details about coming •

to the concert (start time, bathroom

locations, length), see pages 6-8 of this

guide.

B E I N G A N A U D I E N C E M E M B E R

11UMS 10-11

A B O U T S A L S A

W H AT I S S A L S A ?

ABOUT

BACKGROUnD

Salsa, born in the 1960s and maturing

into the 1970s, finds its roots in New

York City, America’s cultural nexus. With

Jazz and R&B holding popularity in night

clubs where the Cuban Son and Puerto

Rican Bomba and Plena genres were

played and developed into the mambo,

the next generation naturally created

a mezcla, or mixture. Salsa is a dance

genre, with syncopated beats shaped

around the clap of the clave. Its lyrics

are typically in Spanish, but its rhythms

are universal. Horns (typically trumpets

or trombones) are prominent and used

as accents to the arrangement. What is

interesting about Salsa music is that it is

not typified by any one style of music (it

encompasses many Latin music styles like

Son and Mambo, for example), but it is

somehow all encompassing and is easily

identifiable. The biggest name in Salsa is

the Fania record label, boasting its “All-

Star” lineup of the greatest names in the

business, including the masterful duo of

Willie Colón and Hector Lavoe as well as

the politically-minded Colombian, Ruben

Blades. Once Salsa matured in the 1970s,

it was a full-blown Latin American move-

ment. The addition of Blades to the label

brought the genre heavily into the social

and political movements of oppressed

South and Central American peoples. In

the 80s, Salsa found itself dichotomized

into sub-genres such as Salsa Romántica.

While these sub-genres found success

in much of Latin America, it alienated

original Salsa lovers in New York. It was

not until the 1990s when Pop Salsa sing-

ers such as Marc Anthony and La India

gained fame (led by producer Sergio

George) that youthful Salsa fans returned

to the dance floors of New York City.

A look at the most immediate Latin roots

of Salsa music requires a tip of the hat

to the big three big band Mambo kings:

Tito Rodriguez, Machito and his Afro-

Cubans, and, of course, Tito Puente.

The Palladium Ballroom in Manhattan

saw some of the greatest performers of

Latin music and dance the world has ever

known. The big three led the way in craft

and skill of the Mambo dance craze of

the 1950s, providing a capricious sound-

track for the Mamboniks to react to. At

the same time, there were many other

factors at play to bring about the recon-

ciliation of the next generation’s amal-

gam known as Salsa, a term coined by

Fania Records’ Jerry Massucci, intended

for improved marketing. The traditions of

many Latin American cultures use Salsa

as a meeting point, but it was surely the

impression left by the Palladium Ballroom

mixed with the unrest of Barrio Poverty

that acted as the spark to ignite the Salsa

movement.

12 UMS 10-11

13UMS 10-11

“The music today is now a hugely popular form in Europe, Asia and

Africa in addition to its traditional popularity in the Caribbean as well as

North and South America. Like jazz most of the pioneers of the form are

getting up in age if THEY HAVE nOT ACTUALLY PASSED

AWAY BUT THE TRADITIOn IS KEPT VERY MUCH

ALIVE BY nEO-TRADITIOnALISTS , experimentalists and the

vast majority who rest somewhere in between the two. In its simplest

form SALSA MARRIES AFRICAn DERIVED RHYTHMS

WITH SPAnISH MELODIES and language and mixes these two

traditions up with instruments that hail largely from Cuba and Western

Europe. Other countries like Puerto Rico and to a lesser extent Colombia,

Panama, Venezuela and Peru have all contributed something important

to the development of Salsa both as performers and consumers of this

musical and dance-based form. TODAY HOWEVER WE FInD

SALSA CLUBS In TEL AVIV + TOKYO AnD TExAS

and the cross section of people practicing the form both as dancers and

players mirrors this new global diversity and interest.”

– From the Baby Loves Salsa website http://babylovessalso.com/parents/

14 UMS 10-11

SALSA: DAnCE OR MUSIC?

Salsa was a musical form first and the

word “Salsa” means “sauce” in Span-

ish. It takes ingredients from mambo,

boogaloo, traditional jibarito (term for

Puerto Rican farmers) music, bomba,

plena, bolero, cha-cha-cha, rumba, son,

and many other Latin American musical

styles. Being representative of so many

Latin American styles, Salsa music gained

much popularity and support from the

Latin American world during the 60s and

70s when Fania Records was prominent.

Typically, with new music comes new

dance, and in response to Salsa music,

people began developing intricate dance

moves based on relatively simple steps

with origins in the mambo dance form.

The mambo already had significant popu-

larity with New York’s Hispanic commu-

nity through the city’s Palladium Ballroom

and it was the children of Palladium and

of Puerto Rican and Cuban immigrants—

who grew up with salsa music, the

mambo movemets, and American pop

culture—that eventually combined styles,

creating a new dance form: the Salsa.

CULTURAL IMPACT

As a movement in America, outside of

New York City, Salsa had a surprisingly

unimpressive cultural impact. While they

were able to sell out Yankee Stadium,

that was exclusively to the large His-

panic popluation in the area. Their main

success lay in Latin American countries.

Salsa had particular success with its social

message songs in oppressed nation-

states like Colombia. As time has passed

and an appreciation for a greater variety

of styles of past and present has become

normative in the United States, Salsa has

seen success in its adaptations and reflec-

tions. Regaton is born of a similar past

as Salsa and often samples Salsa classics

directly. Marc Anthony arrived late on

the Salsa scene and has had continued

success even today throughout all of the

Americas. There are many examples such

as these where Salsa music has had a di-

rect cultural impact. In terms of Salsa as a

dance form, it is one of the most popular

forms today, featured on television shows

like Dancing With The Stars. It is danced

in night clubs by young and old alike,

and it has even inspired the creation of

the M Salsa club here at the University

of Michigan. Salsa dance and music

have the same root benefit of a sense of

freedom and power, while maintaining

familiarity and flow. www.babylovessalsa.com

15UMS 10-11

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

ABOUT

FAnIA RECORDS – main record label of

the Salsa movement; founded by Johnny

Pacheco

JERRY MASSUCCI – a lawyer who front-

ed money for Fania Records and became

a business partner to Johnny Pacheco

and business manager of Fania Records

JOHnnY PACHECO –original founder

and CEO of Fania Records, as well as a

clarinetist and band leader in his earlier

years as a musician

WILLIE COLón – the original Fania All-

Star; trumpet player and a main song-writ-

er for the label; his first album “El Malo” is

what put Fania Records on the map

HECTOR LAVOE – lead vocalist for many

Fania albums; usually worked with Willie

Colón on his albums

RUBEn BLADES – late comer to the

Fania family; became very well-known for

his socially aware songs; very popular in

Central and South America where there

was much political strife at the time of

Fania’s prevalance

CELIA CRUz – known as the “Queen

of Salsa” as well as “La Guarachera de

Cuba;” had a successful career before

joining the Fania family; the first major

female salsa artist

P E R C U S S I O N I N F O C U Sinstrument descriptions from www.pbs.org/wgbh/latinmusicusa/#/en/exp/salsa/read

INSTRUMENTS

16 UMS 10-11

CLAVES Made from a pair of wooden

dowels, claves are struck against each

other to create a short, sharp click.

Although clave-like instruments appear

wherever sticks are found, claves are gen-

erally thought to have developed in 17th

century Havana shipyards, from the dow-

els used in shipbuilding. There the claves

kept time and marked the two-measure

rhythmic cell characteristic of West

African music. It was not until the 1940s

that this rhythmic cell became known as

the clave, by which point claves were an

essential instrument of Rumba and the

popular Son from eastern Cuba. Though

easy to play, the claves’ role in marking

the clave rhythm makes them an impor-

tant instrument, and the person playing

them an essential timekeeper in Afro-

Cuban and Salsa ensembles.

COnGAS Conga drums, also known as

tumbadoras in Spanish, are one of the

principal percussion instruments in Afro-

Cuban music. They are primarily used

to play a drum pattern called tumbao,

although in the hands of a master conga

player, or conguero, they are powerful

improvisational instruments. Congas are

uniquely Cuban, probably first made by

covering empty rum barrels with animal

hides, and tuned by heating the hides

with a flame. Congueros normally played

only one drum, but in the 1950s, this be-

gan to change: playing congas as a set

of two, three, or four became popular;

tuning systems with lugs and bolts al-

lowed for greater precision; and synthetic

heads helped standardize the sound. The

result was an instrument with a variety of

tones and timbres that made it suitable

for a wide range of different musical

styles, evident today by the ubiquitous

presence of congas in Latin music and

their frequent appearance in other

genres.

TIMBALES A creolized version of the

timpani or kettledrum, timbales appeared

in late 19th century Cuba and became

essential to the sound of the popular

Danzón. Timbales are shallow, open-

bottom drums with a metal shell (cás-

cara). Like many Afro-Cuban percussion

instruments, they come in “sexed” pairs,

with the macho (male) slightly smaller

than the hembra (female). To allow the

player (timbalero ) to play while stand-

ing, timbales are mounted on a stand

that can also accommodate cowbells,

woodblocks, and even cymbals, making

a sort of Latin drum kit. Timbaleros usu-

ally play with a pair of wooden sticks, but

also use their hands to produce a wide

range of sounds, including the cáscara

rhythm that is played, as the name sug-

gests, on the metal shell. The Latin Jazz

ensembles of the 1940s were the first to

include the timbales, bongo and conga,

forming the core rhythm section that is

central to Latin Jazz and Salsa.

BOnGO The bongo is made of two

differently-sized hand drums joined with

a piece of wood. Bongoceros (bongo

players) usually play seated, with their

instrument placed between their knees.

Unlike the many drums found in Cuba

that originally came from Africa, the bon-

go was developed in the eastern Oriente

region of Cuba. Oriente is also where

Son music developed, and the bongo

was essential to the popular sextets

and septets that, starting in the 1920s,

performed Son throughout Cuba. In the

1940s, when Arsenio Rodríguez trans-

formed the Son septeto (septet) into the

brass, piano, and conga-enhanced Cuban

conjunto, his bongosero also doubled

on the compana (cowbell), switching

from bongo to compana during the

intensive montuno (call-and-response)

passages. Played primarily with the

fingers, the piercing, high-pitched tones

of the bongo allow it to stand out, even

in large orchestras. As Son traveled

to the United States, so did the bongo.

The Cuban bongo, conga and timbales

became essential to the rhythm sections

of Latin Jazz orchestras, and, years later,

Salsa ensembles.

CLAVES BOnGO

TIMBALES

COnGAS

18 UMS 10-11

O T H E R S A L S A B A N D I N S T R U M E N T SWhile the claves, timbales, and congas are the instruments of a typical salsa ensemble percussion section, other

complementary instruments make up the full ensemble, including the following:

GUITARMARACAS

STRInG BASS

CUATRO

19UMS 10-11

www.babylovessalsa.comB A B Y L O V E S S A L S A

20 UMS 10-11

A S TAT E M E N T F R O M B A B Y L O V E S S A L S A

ABOUT

“Rhythm is a language which the human body responds to instantaneously regard-

less of whether the listener has learned how to dance or not, or whether the listener

knows the language of the song. As soon as a strong rhythm is repeated over and

over again in a few cycles, a trance will take hold on the listener no matter what his

level or degree of listening or his age. This is why salsa is so popular. It is an instantly

gratifying feeling that happens when the great tropical rhythms begin to flow into

your ears.

And this bi-lingual, cross-cultural, rhythmic mélange flows from the first note of

a Baby Loves Salsa (BLS) show. It is a smooth and subtle sound that inspires and

provides an atmosphere for young people and families to enjoy music and dance

together, and share educational themes both for kids and adults, including brief

journeys into clave land (the backbone of salsa), and the live building up of a “son”(

a Cuban rhythm and the foundation of salsa). Featuring some of the top musicians

in contemporary Latin music, BLS spins out of the recently established tradition and

success of the Baby Loves Disco and the Sharon Jones led Baby Loves Jazz record and

band. We believe that music that is geared towards children should not be “chil-

dren’s music” necessarily

Founded by singer/songwriter/arranger, Jose Conde (Ola Fresca), BLS performs songs

in different rhythms under the umbrella of salsa. From Cuban son, to Colombian

Cumbia, from Descarga, to Puerto Rican plena, from cha-cha-cha, to merengue

to rumba guaguanco. The shows are like a journey through the tropics to African

roots and to imaginary places. The band is made up of friends who play together on

many occasions and have separate projects in the New York area but come together

here in Baby Loves Salsa. The bi-lingual lyrics in the songs are about cats and dogs,

going to the beach, the family of music, a drum that wants more respect from the

piano etc. Some of the songs are original and the rest are original BLS “salsafied”

renditions of children’s classics such as Old Macdonald and “Wheels on the Bus”.

We love and encourage Audience participation BLS shows J!!! Baby Loves Salsa

has recorded one cd to date and it is called “Songs for Gatitos y Perritos” which

means, songs for little cats and little dogs!“

- Baby Loves Salsa

WHAT TO ExPECT...

The band will play salsa-style

songs aimed towards a child

audience. Songs are typically

bilingual and are often directed

towards teaching Spanish to

young English-speaking (or teach-

ing English to young Spanish-

speaking) audience members.

Themes include members of the

family, colors, instruments of the

band, and dancing. The venue has

a stage, a small orchestra pit, and

a house consisting of a main floor

split into 3 sections with a balcony

above. While this is not an optimal

space for dancing, we do encour-

age audience members to get up

and dance at their seats if they are

so moved.

22 UMS 10-11

J O R G E , J O S E , M A R V I N + A L E x

PEOPLE

JOSE COnDE - Singer

Musical traveler, adventurer, poet, and

chef of melodies, Jose Conde was born

in Chicago, Illinois, but was raised in the

multicultural and topical paradise of Mi-

ami, Florida by a Cuban immigrant single

mom. At a very early age, Conde began

his musical training by singing along to

the radio and imitating the recorded

sounds of humans and the instruments

that humans play. Jose became an expert

“hummer” and could sing songs and

recite whole guitar solos like the one

on the Eagles Hotel California on “neer,

ni neer ni neer ni neer neer”….. This

was the beginning of his education in

musical vocabulary. Many years later he

supplemented this early exploration with

formal musical studies at Berklee College

of Music.

As he grew up Conde came into contact

with many tropical music sounds from

musical and non musical sources, includ-

ing, Cuban son, and mambo, funk, pop,

rock salsa, etc, as well as non musical

sounds that implied music, which he

found abundant in South Florida. Even-

tually he started writing and arranging

songs blending all of his influences and

inspirations. Jose Conde has recorded

three albums to date, two with his band

Ola Fresca and one with the Baby Loves

Salsa band. He has a new self-titled

record that will be released worldwide

in June of 2011 and will be accompa-

nied by touring and shows with his new

band, nu Latin groove. Conde’s music has

appeared in numerous compilation CDs,

including Putumayo, Rough Guide, and

Universal, and his music has also been

used in films on PBS and Cable channels.

The winner of the 2008 Best Latin Record

in the Independent Music Awards, Jose

Conde has played many great festivals

and venues throughout North America

and hopes to present his first European

shows this summer or soon thereafter.

JORGE BRInGAS - Bass

Havana, Cuba native, Jorge Bringas,

came to the US following his family in

the late 1990’s. In Cuba, he studied

with Carlos del Puerto and played and

toured with Omara Portuondo of Buena

Vista Social Club fame. In the US, he

first settled in Miami and toured and

recorded with international Cuban diva

Albita and the late great Celia Cruz. He

later lived briefly in Minneapolis where

he joined the band of former Cubanismo

pianist Nachito Herrera and was one of

the founding members of the Timba

band Tiempo Libre. Later Jorge came to

New York where he immediately asserted

himself as one of the top Latin bass

players on the scene. In New York he has

performed with Chico O’ Farrill, Marc

Ribaud, Juan Carlos Formel, ex-Bamboleo

Yordamis, Pedrito Martinez and the LP

allstars, and Jose Conde y Ola Fresca

amongst others. “Jorgito” loves to crack

jokes and make fellow musicians and

friends laugh until their ribs ache. He is

currently also performing with the very

caliente band from NY LA Exelencia, as

well as working on a book about Cuban

bass technique and his first solo album.

MARVIn DIz - Percussion

Marvin Diz comes from Habana, Cuba

and a family of distinguished musicians.

As a boy he quickly moved from playing

imitative percussive licks on buckets and

furniture to las tumbadoras or congas.

The boy that was enamored with percus-

sion went on to study it formally as a

young man and in doing so, he received

tutelage from some of the best percus-

sionists in Cuba including the percussion

legend “Changuito.” Marvin left Cuba

in 1999, defecting to Costa Rica where

he performed with a number of bands

and musical projects. After a brief time

in Mexico City, he relocated to New York

in 2002. New York has provided the

possibility to record in productions with

Conjunto Chocolate, xiomara Laugart,

Miguel Valdes, Edmar Castañeda, Pedro

Martinez, Grupo Huracanes, Bobby

Carcases, Minimo, Grupo Ibboru, Chiemi

Nakai, Yorgis Goiricelaya, and Jose Conde

y Ola Fresca. He was part of Brian Lynch’s

CD Simpático which won a Grammy for

best Latin Jazz record. Marvin’s innova-

tive percussionist vision is on full display

in his acclaimed solo record Habla el

Tambor, which he released on his own

label in 2008.

23UMS 10-11

ALEx FERnAnDEz FOx - Cuban Tres

Alex Fernandez Fox is a New York born

Cuban-American artist, multi-instrumen-

talist, composer, singer, and songwriter.

Alex plays guitars and other instru-

ments, performing primarily on the tres,

a Cuban cousin of the Spanish guitar.

He has performed at festivals and local

music venues throughout North America

and in Europe with many ensembles in

many configurations. He holds degrees

from Duke University, where he played

piano in the Duke Jazz Ensemble, and

from Georgetown University. He studied

classical guitar at the Mannes College of

Music and guitar and percussion at the

National Arts School (ENA) in Havana,

Cuba. Alex’s new album, UNO, his first

collection of original songs, was recently

released on the Del Zorro record label

and is now available online.

24 UMS 10-11

L I K E LY T O B E P E R F O R M E D

REPERTOIRE

Baby Loves Salsa is likely to perform the following three pieces (in addition to other repertoire)

during the Youth Performance: “Pititi y Titi,” “Arsenio Ruf Ruf,” and “Mi Familia es la Musica.”

Where available, below are video and audio links as well as lyrics for the songs.

PITITI Y TITI

–by Jose Conde

from Jose Conde y Ola Fresca’s

album Revolucion

Video: http://www.facebook.com/video/

video.php?v=191212324224

(English Translation)

With Pititi and titi

We are going to play a riquitiki

tiki tiki ta tiki tiki tiki ta

with titi and pititi

The papa of Pittiti

Had an obsession

Dreamed that his son would be

doctor en profession,

But with a name like pititi

He just had no choice

From the day he was born he was lost

To percussio

With Pititi and titi

We are going to play a riquitiki

tiki tiki ta tiki tiki tiki ta

with titi and pititi

Titi was a girl

With eleven older brothers

Who intervened in her affairs

And made her life imposible

She wanted to sing and dance

In a small group that played son

When she met Pititi She escaped

And followed her eternal passion

With Pititi and titi

We are going to play a riquitiki

tiki tiki ta tiki tiki tiki ta

with titi and pititi

(French)

Avec Pititi et Titi

Nous allons jouer un riquitiki

tiki tiki ta tiki tiki tiki ta

avec Titi et Pititi

Le papa de Pittiti avait une obsession

Il a rêvé que son fils sera

un docteur dans la profession,

Mais avec un nom comme Pititi

Il n’y avait rien a faire

Depuis le jour ou il est ne’

Il la Perdue a la percussion

Avec Pititi et Titi

Nous allons jouer un riquitiki

tiki tiki ta tiki tiki tiki ta

avec Titi et Pititi

Titi était une fille

avec onze frères aine’s

Toujours jaloux de ses amours

Ne lui foutaient jamais la paix

Elle a voulu la danse et chante dans un

group de Son Elle a rencontré Pititi

et s’est échappée

et elle a suivi son passion interne

Avec Pititi et Titi

Nous allons jouer un riquitiki

tiki tiki ta tiki tiki tiki ta avec

Titi et Pititi

25UMS 10-11

ARSEnIO RUF RUF

(from the Baby Loves Salsa record)

Audio: http://www.youtube.com/

watch?v=7oCudVfHZ88 (original by

Arsenio Rodriguez)

This song is an homenaje (homage)

to the Cuban tres guitar and to the

great Cuban composer and tres gui-

tar player, Arsenio Rodriguez. He was

a blind musician who left Cuba at the

height of his career in the late 1940’s

and settled in New York where he

continued to write songs and influ-

ence the music that would become

“salsa” as we know it today.

Arsenio Ru Ru toca tu tres

Un dos tres toca tu tres

Arsenio ru ru play your tres

One two three play your tres

There is a Guitar

That is called a Tres

With Three pairs of Strings

Uno Dos Y Tres

The Tres Plays the Montuno

In Son And Changui

With a wooden Body and Metal

Strings

And a sound that’s brighter than

diamond rings

Arsenio Ru Ru toca tu tres

Un dos tres toca tu tres

Arsenio ru ru play your tres

One two three play your tres

MI FAMILIA ES LA MUSICA

(My Family is Music)

Audio: http://babylovessalsa.com/

mi_familia_es_la_musica.mp3

My Mom is mama

My dad is papa

Sister is hermana

Abuelo is grandpa

Auntie es mi tia

Uncle es mi tio

My brother is hermano

Abuelo is grandpa

Mi Familia es la musica

26 UMS 10-11

V I S U A L + P E R F O R M I N G A R T SThe following artwork is part of the University of Michigan Museum of Art Collection.

CONNECTIONS

Look at the images on pages x and Y

and consider the following:

How do these two images reflect your

perception of Latin American culture?

If you wrote or could pick a piece of

music to represent each of these images,

what kind of music would it be? Why?

How are these two images similar?

How are they different?

How do these two images physically

represent music?

What are three words you would use to

describe each image?

How do these three words relate to what

you know about Latin American culture?

How might each piece relate to the work

of Baby Loves Salsa?

What material (mode) are these images

made out of?

How does that affect how they appear

and what they represent?

Carlos Merida (Mexican, born Guate-

mala, 1891-1985)

Festival Dances of Mexico – Dance of

the Umbrellas

1893-1944

Color lithograph

Museum Purchase, 1944.10

Ch

et L

aMo

re (

Am

eric

an, 1

908-

1980

)

Do

g C

arn

ival

1940

-194

9

Lith

ogra

ph

Gift

fro

m t

he F

amily

of

Edw

in N

. Fer

don,

2003

/1.3

68

28 UMS 10-11

R E S O U R C E S

29UMS 10-11

N AT I O N A L S TA N D A R D S

ENGAGE

The following are national standards addressed through this Youth Performance and through the ideas in the following curriculum connections.

EnGLISH LAnGUAGE ARTS

English Language Arts K-12

NL-ENG.K-12.6 Applying Knowledge

NL-ENG.K-12.7 Evaluating Data

NL-ENG.K-12.8 Developing Research Skills

NL-ENG.K-12.12 Applying Language Skills

MUSIC

Music K-4

NA-M.K-4.6 Listening To, Analyzing and

Describing Music

APPLIED ARTS

Technology K-12

NT.K-12.9 Basic Operations and Concepts

NT.K-12.3 Technology Productivity Tools

NT.K-12.5 Technology Research Tools

SOCIAL SCIEnCES

Geography K-12

NSS-G.K-12.1 The World in Spatial Terms

NSS-G.K-12.2 Places and Regions

NSS-G.K-12.4 Human Systems

Civics K-4

NSS-C.K-4.2 Values and Principles of

Democracy

NSS-C.K-4.3 Principles of Democracy

NSS-C.K-4.4 Other Nations and World

Affairs

U.S. History K-4

NSS-USH.K-4.3 The History of the United

States: Democratic Principles and Values

and the People from Many Cultures

Who Contributed to its Cultural, Eco-

nomic and Political Heritage

NSS-USH.5-12.3 Revolution and the New

Nation (1754-1820s)

30 UMS 10-11

C U R R I C U L U M C O N N E C T I O N S

ENGAGE

THE UMS YOUTH PERFORMAnCE by Baby Loves Salsa gives students the chance to explore the music, geography, history, com-

munities, and cultures of America. To help connect these performances to classroom curriculum, pick one of these concepts and

activities or create an entire interdisciplinary curriculum with these as a base.

DESCRIPTIVE WRITInG

As an introduction to this concert ask

your class to define salsa.. If they

respond that it is a food or a sauce or a

dip, ask them what is in it. If you can,

have a salsa tasting with different kinds

of salsa and chips. Make a list of all the

words students can think of that describe

a taste. Have them pick which words

on the list describe the salsa. Define

metaphor and simile. Write together as a

class, or have students individually write

fun descriptions of the taste of salsa.

TRAnSPORTATIOn, COMMUnICATIOn

AnD GLOBALIzATIOn

Determine that salsa is made up of

several ingredients, not just one. Tell

them that they are going to hear salsa

music and that there are many kinds of

salsa music. Like the salsa we eat, which

is made up of many kinds of ingredients,

salsa music is made up of many kinds of

rhythms and melodies. Some say that it

has African rhythms, Spanish melodies

and is played with instruments from

Cuba and Western Europe. Ask older stu-

dents what transportation, communica-

tion and globalization might have to do

with salsa music. Discuss the way music,

like other things, spreads throughout

a country and from country to country,

often changing as it goes.

MUSIC RHYTHM, COMPARISOnS

Tell students that a man whose name

is Jose Conde is the leader of the band

they will hear and that his family came

from Cuba, so the salsa music he writes

and performs is made up of traditional

Cuban rhythms and style mixed with the

modern or contemporary sounds and

styles that he likes. Cuba’s early salsa

music incorporates a call-and-response

structure. Define this. Give students

some examples and sing some call-and-

response songs. What other cultures

use a call-and-response structure in their

music? Do we?

The Rhythm is important in salsa music.

The African influence can be seen in

the types of drums used. You might

find four sizes of Conga: tumba, conga,

quinto and requinto. The bongo, tim-

bales including chachacha bell, salsa bell,

wood block and cymbals and also shells,

maracas, and other shakers are used.

Look at pictures of these instruments and

listen to the way they sound. Music can

be found be googling salsa music and

instruments.

Jose Conde’s band is called Ola Fresca.

Ola Fresca is a Spanish name which

means fresh wave. Why does the band

have a Spanish name? Ask students why

they think the band is named fresh wave.

What could that mean or refer to when

you think about music? Tell students

that the name of a band can be impor-

tant. It can tell you about the music

the band plays or about how the band

thinks of itself. Tell students to pretend

that they have a band. What would they

name it? Why?

When people talk about salsa they may

also be talking about a kind of dance.

Ask students if they have ever done salsa

dancing or seen it done. Go to Youtube

and show students some salsa dancing.

Try it.

It is hard to sit still when you listen to

salsa music. It has a very distinctive

beat. Play some of this music and have

students move to the beat. If they have

talked about meter and rhythm in music

class, have them count to the music. Play

some other kinds of music with differ-

ent kinds of rhythm and have students

move to that. You might play a march

and a waltz. Tell students to use as many

descriptive words as they can to compare

the different kinds of music and rhythms

they hear.

31UMS 10-11

MAPPInG

Jose Conde was born in Chicago and

raised in Miami, Florida. His parents

came to this country from Cuba. There

are a lot of people who came to the

United States from Cuba living in Florida.

Ask students why they think this is so.

Take out a map and see if students can

find Cuba. Tell them to find Florida.

Now can they answer the question?

Figure out how many miles Cuba is from

Florida.

Cuba has only four letters. A fun

homework assignment would be to find

as many countries as you can with four

letters or less. Some examples are Iraq,

Iran, Figi, Peru, Oman, Laos.

FAMILY AnD COMMUnITY

Many Cubans live in Miami, Florida. They

form Cuban communities. Many speak

Spanish to each other and celebrate Cu-

ban holidays together. Why would they

settle near each other? How would that

help them live more comfortably in the

United States? Younger students study-

ing families and communitites might like

to learn about Cuban foods and culture

and holidays and compare the Cuban

family and community to their family and

community.

IMMIGRAnTS AnD IMMIGRATIOn,

PAST AnD PRESEnT

A person who comes from another

country to live in this country is called

an immigrant. Ask students if they have

relatives who were or are immigrants.

Make a list of the countries they came

from. Graph this.

Ask students if they have heard any

stories about the countries their relatives

came from or about their journey to The

United States. If so, share these.

Ask students why a person would leave

the country in which he or she was born

and raised and go to another country far

from friends and family where the lan-

guage and customs might be unfamiliar

and jobs hard to get. List some reasons

people immigrate. Think back to the

beginning of our country. Except for the

Native Americans, everyone was an immi-

grant. Why did the colonists come here

to live? Are the reasons for immigration

today the same as they were in the early

years of our country?

Are there any immigrants in Michigan to-

day, people coming from other countries

to live in our state? From which coun-

tries are they coming? In which parts

of the state are they settling? Why did

most of them come?

ASYLUM, ASYLUM SEEKERS, RE-

SEARCH SKILLS

Some people come to this country seek-

ing asylum. What is that? Define asy-

lum. If someone is seeking asylum here

because they are afraid to live in their

own country, are they always welcomed,

allowed in and allowed to become

citizens? Discuss immigration laws and

the rules that govern asylum seekers. At

this point talk about persuasive writ-

ing. Tell students to take a stand on

whether the United States should accept

all people seeking asylum. They should

write a paper expressing their opinion on

this topic and trying to persuade others

that they are right. This might also be a

good time to introduce a unit on debate

with asylum seekers the topic. Research

skills should be taught here and students

should be encouraged to use both print

and computer sources.

FORMS OF GOVERnMEnT, COMPARI-

SOnS, DEMOCRATIC PRInCIPLES

If you are studying our government and

the democratic principles on which it is

based, take a look at Cuba and see how

it differs from the United States. What

form of government do we have? What

form does Cuba have? How does the

form of government of a country affect

the every day life of the people who live

in the country? What are the democratic

principles upon which our country is

based? What is the bill of rights? What

kinds of things does our Constitution

assure each citizen has? How is this the

same or different in Cuba? (younger

students can learn the name of our

president and the name of the leader of

Cuba. They can learn that the two coun-

tries are governed differently and you can

explain in simple terms, perhaps using a

king as an example, how that is.)

CUBA, THE COUnTRY, RESEARCH

SKILLS

Divide your class into groups and tell

each group to reasearch one of the fol-

lowing topics and present their findings

to the class in an oral report, power point

presentation, podcast or video: Cuba’s

climate and a description of the land;

some of the history of Cuba; the popu-

lation of Cuba, some statistics about it in-

cluding ethnic background of the people;

plants and animals of Cuba; Cuba’s

government; Cuban art and Cuban artists

and other topics you and your students

might find interesting.

Ask students what language they speak

in Cuba. Tell them to pretend that they

are going to visit Cuba and will have

to know some Spanish to get along.

Have each child make a dictionary of

the words he or she thinks it would be

important to know when visiting Cuba.

If your students are studying Spanish,

have them put in both the Spanish and

the English words. Their dictionaries can

be illustrated.

32 UMS 10-11

A D D I T I O N A L R E S O U R C E S

ExPLORE

ORGANIZATIONS

University Musical Society

881 N University Ave

Ann Arbor, MI 48109-1101

(734) 615-0122

umsyouth@umich.edu

www.ums.org

Compás

Center of Music and Performing

Arts Southwest

Odd Fellows Building

8701 W Vernor Hwy

Detroit, MI 48209

(313) 554-0791

compascenter@yahoo.com

www.compascenter.org

University of Michigan

Center for Latin American and

Caribbean Studies

2607 Social Work Building

1080 South University St

Ann Arbor, MI 48109-1106

(734) 763-0553

lacs.office@umich.edu

www.ii.umich.edu/lacs

Wayne State University

Center for Chicano-Boricua Studies

3324 Faculty Administration Building

656 W Kirby

Detroit, MI 48202

(313) 577-4378

aa1941@wayne.edu

www.clas.wayne.edu/cbs

Artes Unidas de Michigan

P.O. Box 16088

Lansing, MI 48901-6088

(517) 335-0466

info@artesunidas.org

www.artesunidas.org

Tulipanes Latino Art & Film Festival

P.O. Box 1455

Holland, MI 49422-1455

(616) 394-0000

info@tulipanes.org

www.tulipanes.org

WEB SITES

Instruments of Puerto Rico

www.musicofpuertorico.com/index.php/

instruments/cuatro/

Baby Loves Salsa

www.babylovessalsa.com/

www.babylovessalsa.com/parents/

(Resources for Parents)

Latin Music USA

www.pbs.org/wgbh/latinmusicusa/#/en/

exp/salsa/read

new York Map

www.mustseenewyork.com/grid/map02.

html

U M S

34 UMS 10-11

W H AT I S U M S ?

UMS

THE UnIVERSITY MUSICAL SOCIETY (UMS) is committed to connecting audiences with performing artists from around the world

in uncommon and engaging experiences.

One of the oldest performing arts presenters in the country, the University Musical Society is now in its 132nd season. With a

program steeped in music, dance, and theater performed at the highest international standards of quality, UMS contributes to a

vibrant cultural community by presenting approximately 60-75 performances and over 100 free educational and community

activities each season.

UMS also commissions new work, sponsors artist residencies, and organizes collaborative projects with local, national, and

international partners.

UMS EDUCATIOn AnD COMMUnITY EnGAGEMEnT DEPARTMEnT

MAILInG ADDRESS

100 Burton Memorial Tower

881 North University Ave

Ann Arbor, MI 48109-1011

STAFF

Kenneth C. Fischer,UMS President

Claire C. RiceInterim Director

Mary Roeder Residency Coordinator

Omari RushEducation Manager

InTERnS

Caroline Buse

Neal Kelley

Matthew Mejía

Emily Michels

Britta Wilhelmsen

35UMS 10-11

K-12 SCHOOL PARTnERSHIPS

Working directly with schools to

align our programs with classroom

goals and objectives

• 14-year official partnerships with the

Ann Arbor Public Schools and the Washt-

enaw Intermediate School District.

• Superintendent of Ann Arbor Public

Schools is an ex officio member of the

UMS Board of Directors.

• UMS has significant relationships with

Detroit Public Schools’ dance and world

language programs and is developing

relationships with other regional districts.

• UMS is building partnerships with or of-

fering specialized services to the region’s

independent and home schools.

UnIVERSITY EDUCATIOn PARTnERSHIPS

Affecting educators’ teaching prac-

tices at the developmental stage

• UMS Youth Education is developing

a partnership with the U-M School of

Education, which keeps UMS informed

of current research in educational theory

and practice.

• University professors and staff are

active program advisors and workshop

presenters.

ACCESSIBILITY

Eliminating participation barriers

• UMS subsidizes Youth Performance

tickets to $6/student (average subsidy:

$25/ticket)

• When possible, UMS reimburses bus-

sing costs.

• UMS Youth Education offers person-

alized customer service to teachers in

order to respond to each school’s unique

needs.

• UMS actively seeks out schools with

economic and geographic challenges to

ensure and facilitate participation.

ARTS EDUCATIOn LEADER

One of the premier arts education

programs in the country

• UMS’s peer arts education programs: Car-

negie Hall, Lincoln Center, Kennedy Center.

• UMS has the largest youth education

program of its type in the four-state region

and has consistent school/teacher participa-

tion throughout southeastern Michigan.

• 20,000 students are engaged each sea-

son by daytime performances, workshops

and in-school visits.

• UMS Youth Education was awarded

“Best Practices” by ArtServe Michigan

and The Dana Foundation (2003).

U M S Y O U T H E D U C AT I O N P R O G R A M1 0 T H I N G S T O K N O W

UMS

QUALITY

Every student deserves access to

“the best” experiences of world arts

and culture

• UMS presents the finest international

performing and cultural artists.

• Performances are often exclusive to

Ann Arbor or touring to a small number

of cities.

• UMS Youth Performances aim to

present to students the same perfor-

mance that the public audiences see (no

watered-down content).

DIVERSITY

Highlighting the cultural, artistic,

and geographic diversity of the world

• Programs represent world cultures and

mirror school/community demographics.

• Students see a variety of art forms:

classical music, dance, theater, jazz,

choral, global arts.

• UMS’s Global Arts program focuses

on 4 distinct regions of the world—

Africa, the Americas, Asia, and the Arab

World—with a annual festival featuring

the arts of one region.

36 UMS 10-11

KEnnEDY CEnTER PARTnERSHIP

• UMS Youth Education has been a

member of the prestigious Kennedy

Center Partners in Education Program

since 1997.

• Partners in Education is a national con-

sortium of arts organization and public

school partnerships.

• The program networks over 100 na-

tional partner teams and helps UMS stay

on top of best practices in education and

arts nationwide.

PROFESSIOnAL DEVELOPMEnT

“I find your arts and culture work-

shops to be one of the ‘Seven Won-

ders of Ann Arbor’!”

–AAPS Teacher

• UMS Youth Education provides some

of the region’s most vital and responsive

professional development training.

• Over 300 teachers participate in our

educator workshops each season.

• In most workshops, UMS utilizes and

engages resources of the regional com-

munity: cultural experts and institutions,

performing and teaching artists.

TEACHER ADVISORY COMMITTEE

Meeting the actual needs of today’s

educators in real time

• UMS Youth Education works with a

50-teacher committee that guides pro-

gram decision-making.

• The Committee meets throughout

the season in large and small groups

regarding issues that affect teachers and

their participation: ticket/bussing costs,

programming, future goals, etc.

In-SCHOOL VISITS & CURRICULUM

DEVELOPMEnT

Supporting teachers in the classroom

• UMS Youth Education places interna-

tional artists and local arts educators/

teaching artists in classes to help educa-

tors teach a particular art form or model

new/innovative teaching practices.

• UMS develops nationally-recognized

teacher curriculum materials to help

teachers incorporate upcoming youth

performances immediately in their daily

classroom instruction.

UMS Youth Education Programumsyouth@umich.edu | 734-615-0122

www.ums.org/education

37UMS 10-11

S E N D U S Y O U R F E E D B A C K !UMS wants to know what teachers and students think about this Youth Performance.

We hope you’ll send us your thoughts, drawings, letters, or reviews.

UMS YOUTH EDUCATIOn PROGRAM

Burton Memorial Tower • 881 N. University Ave. • Ann Arbor, MI 48109-1011

(734) 615-0122 phone • (734) 998-7526 fax • umsyouth@umich.edu

www.ums.org/education

38 UMS 10-11

C O L O R I n G PA G E S

www.babylovessalsa.com