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                                      UMS 10-11   1

The Andrew W. Mellon Foundation                                     This Teacher Resource Guide is a product of the UMS
University of Michigan                                              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
Arts at Michigan                                                    this guide.
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


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


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

2        UMS 10-11
 Monday, January 31, 2011 • 10 AM - 11AM and 12 NOON - 1 PM • LYDIA MENDELSSOHN THEATRE

E D U C AT I O n

                                                                              UMS 10-11   3
                     TEACHER RESOURCE GUIDE 2010–2011
                                             TA B L E O F C O N T E N T S

                                                  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.

ATTEnDInG THE YOUTH                     BABY LOVES SALSA                         ABOUT UMS
PERFORMAnCE                             20 Ensemble Story                        46 What is UMS?
6 Coming to the Show                    22 Individual Bios                       47 Youth Education Program
8 Map + Directions                      24 Repertoire                            49 Contacting UMS
9 Lydia Mendelssohn Theatre             26 Visual + Performing Artists
10 Being an Audience Member
ABOUT SALSA                             29 National Standards
12 What is Salsa?                       30 Curriculum Connections
15 Big Names in Salsa                   32 Additional Resources
16 Percussion in Focus

4   UMS 10-11
  AT T E n D I n G T H E
YOUTH PERFORMAnCE                      www.babylovessals

                       UMS 10-11   5
                                                                   D E TA I L S

                                       We want you to enjoy your time with UMS!
                  PLEASE review the important information below about attending the Youth Performance:


TICKETS We do not use paper tickets for           DOOR EnTRY A UMS Youth Performance               DURInG THE PERFORMAnCE At the
Youth Performances. We hold school reserva-       staff person will greet your group at your bus   start of the performance, the lights well
tions at the door and seat groups upon arrival.   as you unload. You will enter through the        dim and an onstage UMS staff member will
                                                  main entrance (south) of the League Building.    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

ARRIVAL TIME Please arrive at Mendelssohn
                                                                  USHER                            report the situation to an usher or staff mem-

between 9:30-9:50am for the 10:00am Youth                                                          ber in the lobby.

Performance and 11:30-11:50am to allow you        SEATInG & USHERS When you arrive at
time to get seated and comfortable before the     the front doors, tell the Head Usher at the
show starts.                                      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       PERFORMAnCE LEnGTH One hour
                                                  wear large, black laminated badges with their    (approximately) with no intermission
                                                  names in white letters.

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                                                        AFTER THE PERFORMAnCE When the
becomes available. Cars may park at curbside                                                       performance ends, remain seated. A UMS
metered spots or in the visitor parking lot       BEFORE THE START Please allow the usher          staff member will come to the stage and
behind the power Center. Buses should wait/       to seat individuals in your group in the order   release each group individually based on the
park at Briarwood Mall.                           that they arrive in the theater. Once everyone   location of your seats.
                                                  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.

6    UMS 10-11
BUS PICK UP When your group is released,       SEnDInG FEEDBACK We LOVE feedback                ACCESSIBILITY There is a barrier free access
please exit the performance hall through the   from students, so after the performance please   located at the North University entrance to
same door you entered. A UMS Youth Perfor-     send us any letters, artwork, or academic        the building, with elevator access to the main
mance staff member will be outside to direct   papers that your students create in response     floor of the theater level. Wheelchair seating is
you to your bus.                               to the performance: UMS Youth Education          available on the rear of the main floor.
                                               Program, 881 N. University Ave., Ann Arbor,
                                               MI 48109-1011.                                   Lydia Mendelssohn Theatre is equipped with

                   AAPS                                                                         assistive listening devices. Earphones may be
                                                                                                obtained upon arrival. Please ask an usher for
AAPS EDUCATORS You will likely not get
on the bus you arrived on; a UMS staff mem-
ber or AAPS Transportation Staf person will
                                                                                                EnTRAnCES + ELEVATORS The Lydia
                                                                                                Mendelssohn Theatre is located in the
put you on the first available bus.            nO FOOD No Food or drink is allowed 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

LOST STUDEnTS A small army of volun-                                                            located in the middle of the Michigan League

teers staff Youth Performances and will be                                                      along the main hallway.
                                               PATIEnCE Thank you in advance for your
ready to help or direct lost and wandering     patience; in 20 minutes we aim to get 620
students.                                      people from buses into seats and will work as
                                               efficiently as possible to make that happen.

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.

                                                                                                                               UMS 10-11        7
                                                        E Huron St


                                                        E Washington St                                          Palmer Dr

                   State St

                                           Thayer St

                                                                                         Fletcher St

                                                                                                                                           Washtenaw Ave

    E Liberty St

                                                        N University Ave

    William St
                   Mall Parking &

                                                                                                                     Church St

                                    MAP + DIRECTIONS
                                    This map, with driving directions to the Mendelssohn Theatre, will be mailed to
                                            all attending educators three weeks before the performance.


8     UMS 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            League are similarly designed, tasteful   & Lloyd. In 1995, new carpeting and
building on the central campus of the         private dining rooms and a large ball-    seats were installed, and the proscenium
University of Michigan, the Lydia Men-        room. The Mendelssohn Theatre is also     curtain was replaced. Its lighting equip-
delssohn Theatre is an intimate, shoe-box     used extensively for theatrical produc-   ment is modern.
theatre seating 658. Decorated with solid     tions and solo recitals.
oak paneling that creates an atmosphere                                                 The Mendelssohn Theatre is one of the
of elegance and charm, the Mendelssohn        Opening on May 4, 1929, the theatre       few theaters in the United States to have
Theatre is perfect for smaller conferences.   was designed by the Chicago architec-     a “cyclorama,” a curved wall at the back
Just down the hallway in the Michigan         tural firm of Allen Pond & Pond, Martin   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
                                                                                        911 north University Ave
                                                                                        Ann Arbor, MI 48109
                                                                                        (734) 763-333

                                                                                        Emergency Contact
                                                                                        (734) 764-2538
                                                                                        (Call this number to reach a UMS staff
                                                                                        person or audience member at the perfor-

                                                                                                                     UMS 10-11      9
                                                            D E TA I L S


WHEn PREPARInG STUDEnTS for a                    members from hearing. Often in large          on stage or whether they will miss
live performing arts event, it is impor-         rock concerts or in movie theaters,           something because of the sound and
tant to address the concept of “concert          the sound is turned up so loud that           movement you are making. Given this
etiquette.” Aside from helping prevent           you can talk and not disturb anyone’s         consideration, it’s often best to wait
disruptive behavior, a discussion of concert     listening experience. However, in other       until a pause in the performance (a
etiquette can also help students fully enjoy     concerts and live theater experiences,        pause of sound, movement, or energy)
the unique and exciting live performance         the sound is unamplified or just quite,       or to wait until the performer(s) bow to
experience. The following considerations         and the smallest noise could cause            the audience to share your enthusiasm
are listed to promote an ideal environment       your seat neighbor to miss an impor-          with them.
for all audience members.                        tant line of dialogue or musical phrase.
                                                 Movements or lights (from cell phones)      •	 Out of respect for the performer(s), if
YOUR SURROUnDInGS                                may also distract your audience neigh-        you do not like some part of the per-
                                                 bors attention away from the stage,           formance, please do not boo or shout
•	 Concert halls and performing arts                                                           anything derogatory. Remember, a lot
                                                 again, causing them to miss important
  venues are some of the most grand                                                            of hard work went in to creating the
                                                 action...and there’s no instant replay in
  and beautiful buildings you might ever                                                       performance you are watching and it
                                                 live performance!
  visit, so be sure to look around while                                                       takes great courage for the performer
  you follow an usher to your group’s          •	 At a performance, you are sharing the        to share his or her art with you.
  seats or once you are in your seat.            physical components of the perfor-
                                                 mance space with other audience             SHARE YOUR ExPERIEnCE WITH
•	 UMS Ushers will be stationed through-         members. So, consider whether you           OTHERS
  out the building and are identifiable          are sharing the arm rest and the leg
                                                                                             •	 An important part of any performing
  by their big black and white badges.           room in such a way that both you and
                                                                                              arts experience is sharing it with others.
  They are there to help you be as               your seat neighbors are comfortable.
                                                                                              This can include whispering to your
  comfortable as possible and if you
                                               •	 As an audience member, you are              seat neighbor during the performance,
  have a question (about the perfor-
                                                 also part of the performance. Any            talking to your friends about what you
  mance, about where to go, or about
                                                 enthusiasm you might have for the            liked and didn’t like on the bus back to
  what something is), please ask them,
                                                 performance may make the perform-            school, or telling your family about the
  and don’t feel shy, embarrassed, or
                                                 ers perform better. So, if you like what     performance when you get home.
  hesitant in doing so.
                                                 you are seeing make sure they know it!
                                                                                             MORE InFORMATIOn
SHARInG THE PERFORMAnCE HALL                     Maybe clap, hoot and holler, or stand
WITH OTHER AUDIEnCE MEMBERS                      up and cheer. However, when express-        •	 For more specific details about coming
                                                 ing your own personal enjoyment of           to the concert (start time, bathroom
•	 Consider whether any talking you do
                                                 the performance, consider whether            locations, length), see pages 6-8 of this
  during the performance will prevent
                                                 your fellow audience members will be         guide.
  your seat neighbors or other audience
                                                 able to see or hear what’s happening

10   UMS 10-11

              UMS 10-11   11

                          W H AT I S S A L S A ?
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      ers such as Marc Anthony and La India       the 1950s, providing a capricious sound-
Willie Colón and Hector Lavoe as well as      gained fame (led by producer Sergio         track for the Mamboniks to react to. At
the politically-minded Colombian, Ruben       George) that youthful Salsa fans returned   the same time, there were many other
Blades. Once Salsa matured in the 1970s,      to the dance floors of New York City.       factors at play to bring about the recon-
it was a full-blown Latin American move-                                                  ciliation of the next generation’s amal-
ment. The addition of Blades to the label     A look at the most immediate Latin roots    gam known as Salsa, a term coined by
brought the genre heavily into the social     of Salsa music requires a tip of the hat    Fania Records’ Jerry Massucci, intended
and political movements of oppressed          to the big three big band Mambo kings:      for improved marketing. The traditions of
South and Central American peoples. In        Tito Rodriguez, Machito and his Afro-       many Latin American cultures use Salsa
the 80s, Salsa found itself dichotomized      Cubans, and, of course, Tito Puente.        as a meeting point, but it was surely the
into sub-genres such as Salsa Romántica.      The Palladium Ballroom in Manhattan         impression left by the Palladium Ballroom
While these sub-genres found success          saw some of the greatest performers of      mixed with the unrest of Barrio Poverty
in much of Latin America, it alienated        Latin music and dance the world has ever    that acted as the spark to ignite the Salsa
original Salsa lovers in New York. It was     known. The big three led the way in craft   movement.
not until the 1990s when Pop Salsa sing-      and skill of the Mambo dance craze of

12   UMS 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


 ALIVE BY nEO-TRADITIOnALISTS , experimentalists and the

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


 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


 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

                                                                           UMS 10-11   13
SALSA: DAnCE OR MUSIC?                       and it was the children of Palladium and       seen success in its adaptations and reflec-
Salsa was a musical form first and the       of Puerto Rican and Cuban immigrants—          tions. Regaton is born of a similar past
word “Salsa” means “sauce” in Span-          who grew up with salsa music, the              as Salsa and often samples Salsa classics
ish. It takes ingredients from mambo,        mambo movemets, and American pop               directly. Marc Anthony arrived late on
boogaloo, traditional jibarito (term for     culture—that eventually combined styles,       the Salsa scene and has had continued
Puerto Rican farmers) music, bomba,          creating a new dance form: the Salsa.          success even today throughout all of the
plena, bolero, cha-cha-cha, rumba, son,                                                     Americas. There are many examples such
and many other Latin American musical        CULTURAL IMPACT                                as these where Salsa music has had a di-
styles. Being representative of so many      As a movement in America, outside of           rect cultural impact. In terms of Salsa as a
Latin American styles, Salsa music gained    New York City, Salsa had a surprisingly        dance form, it is one of the most popular
much popularity and support from the         unimpressive cultural impact. While they       forms today, featured on television shows
Latin American world during the 60s and      were able to sell out Yankee Stadium,          like Dancing With The Stars. It is danced
70s when Fania Records was prominent.        that was exclusively to the large His-         in night clubs by young and old alike,
Typically, with new music comes new          panic popluation in the area. Their main       and it has even inspired the creation of
dance, and in response to Salsa music,       success lay in Latin American countries.       the M Salsa club here at the University
people began developing intricate dance      Salsa had particular success with its social   of Michigan. Salsa dance and music
moves based on relatively simple steps       message songs in oppressed nation-             have the same root benefit of a sense of
with origins in the mambo dance form.        states like Colombia. As time has passed       freedom and power, while maintaining
The mambo already had significant popu-      and an appreciation for a greater variety      familiarity and flow.
larity with New York’s Hispanic commu-                                                    
                                             of styles of past and present has become
nity through the city’s Palladium Ballroom   normative in the United States, Salsa has

14   UMS 10-11

             BIG NAMES IN SALSA

FAnIA RECORDS – main record label of         WILLIE COLón – the original Fania All-           CELIA CRUz – known as the “Queen
the Salsa movement; founded by Johnny        Star; trumpet player and a main song-writ-       of Salsa” as well as “La Guarachera de
Pacheco                                      er for the label; his first album “El Malo” is   Cuba;” had a successful career before
                                             what put Fania Records on the map                joining the Fania family; the first major
JERRY MASSUCCI – a lawyer who front-                                                          female salsa artist
ed money for Fania Records and became        HECTOR LAVOE – lead vocalist for many
a business partner to Johnny Pacheco         Fania albums; usually worked with Willie
and business manager of Fania Records        Colón on his albums

JOHnnY PACHECO –original founder             RUBEn BLADES – late comer to the
and CEO of Fania Records, as well as a       Fania family; became very well-known for
clarinetist and band leader in his earlier   his socially aware songs; very popular in
years as a musician                          Central and South America where there
                                             was much political strife at the time of
                                             Fania’s prevalance

                                                                                                                         UMS 10-11        15

                    instrument descriptions from

CLAVES Made from a pair of wooden            gan to change: playing congas as a set        include the timbales, bongo and conga,
dowels, claves are struck against each       of two, three, or four became popular;        forming the core rhythm section that is
other to create a short, sharp click.        tuning systems with lugs and bolts al-        central to Latin Jazz and Salsa.
Although clave-like instruments appear       lowed for greater precision; and synthetic
wherever sticks are found, claves are gen-   heads helped standardize the sound. The       BOnGO The bongo is made of two
erally thought to have developed in 17th     result was an instrument with a variety of    differently-sized hand drums joined with
century Havana shipyards, from the dow-      tones and timbres that made it suitable       a piece of wood. Bongoceros (bongo
els used in shipbuilding. There the claves   for a wide range of different musical         players) usually play seated, with their
kept time and marked the two-measure         styles, evident today by the ubiquitous       instrument placed between their knees.
rhythmic cell characteristic of West         presence of congas in Latin music and         Unlike the many drums found in Cuba
African music. It was not until the 1940s    their frequent appearance in other            that originally came from Africa, the bon-
that this rhythmic cell became known as      genres.                                       go was developed in the eastern Oriente
the clave, by which point claves were an                                                   region of Cuba. Oriente is also where
essential instrument of Rumba and the        TIMBALES A creolized version of the           Son music developed, and the bongo
popular Son from eastern Cuba. Though        timpani or kettledrum, timbales appeared      was essential to the popular sextets
easy to play, the claves’ role in marking    in late 19th century Cuba and became          and septets that, starting in the 1920s,
the clave rhythm makes them an impor-        essential to the sound of the popular         performed Son throughout Cuba. In the
tant instrument, and the person playing      Danzón. Timbales are shallow, open-           1940s, when Arsenio Rodríguez trans-
them an essential timekeeper in Afro-        bottom drums with a metal shell (cás-         formed the Son septeto (septet) into the
Cuban and Salsa ensembles.                   cara). Like many Afro-Cuban percussion        brass, piano, and conga-enhanced Cuban
                                             instruments, they come in “sexed” pairs,      conjunto, his bongosero also doubled
COnGAS Conga drums, also known as            with the macho (male) slightly smaller        on the compana (cowbell), switching
tumbadoras in Spanish, are one of the        than the hembra (female). To allow the        from bongo to compana during the
principal percussion instruments in Afro-    player (timbalero ) to play while stand-      intensive montuno (call-and-response)
Cuban music. They are primarily used         ing, timbales are mounted on a stand          passages. Played primarily with the
to play a drum pattern called tumbao,        that can also accommodate cowbells,           fingers, the piercing, high-pitched tones
although in the hands of a master conga      woodblocks, and even cymbals, making          of the bongo allow it to stand out, even
player, or conguero, they are powerful       a sort of Latin drum kit. Timbaleros usu-     in large orchestras. As Son traveled
improvisational instruments. Congas are      ally play with a pair of wooden sticks, but   to the United States, so did the bongo.
uniquely Cuban, probably first made by       also use their hands to produce a wide        The Cuban bongo, conga and timbales
covering empty rum barrels with animal       range of sounds, including the cáscara        became essential to the rhythm sections
hides, and tuned by heating the hides        rhythm that is played, as the name sug-       of Latin Jazz orchestras, and, years later,
with a flame. Congueros normally played      gests, on the metal shell. The Latin Jazz     Salsa ensembles.
only one drum, but in the 1950s, this be-    ensembles of the 1940s were the first to

16   UMS 10-11


     While 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:


                                                                                                         STRInG BASS


18    UMS 10-11

               UMS 10-11     19

                A S TAT E M E N T F R O M
                BABY LOVES SALSA
“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          WHAT TO ExPECT...
 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         The band will play salsa-style
 level or degree of listening or his age. This is why salsa is so popular. It is an instantly   songs aimed towards a child
 gratifying feeling that happens when the great tropical rhythms begin to flow into             audience. Songs are typically
 your ears.                                                                                     bilingual and are often directed
                                                                                                towards teaching Spanish to
 And this bi-lingual, cross-cultural, rhythmic mélange flows from the first note of             young English-speaking (or teach-
 a Baby Loves Salsa (BLS) show. It is a smooth and subtle sound that inspires and               ing English to young Spanish-
 provides an atmosphere for young people and families to enjoy music and dance                  speaking) audience members.
 together, and share educational themes both for kids and adults, including brief               Themes include members of the
 journeys into clave land (the backbone of salsa), and the live building up of a “son”(         family, colors, instruments of the
 a Cuban rhythm and the foundation of salsa). Featuring some of the top musicians               band, and dancing. The venue has
 in contemporary Latin music, BLS spins out of the recently established tradition and           a stage, a small orchestra pit, and
 success of the Baby Loves Disco and the Sharon Jones led Baby Loves Jazz record and            a house consisting of a main floor
 band. We believe that music that is geared towards children should not be “chil-               split into 3 sections with a balcony
 dren’s music” necessarily                                                                      above. While this is not an optimal
                                                                                                space for dancing, we do encour-
 Founded by singer/songwriter/arranger, Jose Conde (Ola Fresca), BLS performs songs             age audience members to get up
 in different rhythms under the umbrella of salsa. From Cuban son, to Colombian                 and dance at their seats if they are
 Cumbia, from Descarga, to Puerto Rican plena, from cha-cha-cha, to merengue                    so moved.
 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

20   UMS 10-11


JOSE COnDE - Singer                           band, nu Latin groove. Conde’s music has   friends laugh until their ribs ache. He is
Musical traveler, adventurer, poet, and       appeared in numerous compilation CDs,      currently also performing with the very
chef of melodies, Jose Conde was born         including Putumayo, Rough Guide, and       caliente band from NY LA Exelencia, as
in Chicago, Illinois, but was raised in the   Universal, and his music has also been     well as working on a book about Cuban
multicultural and topical paradise of Mi-     used in films on PBS and Cable channels.   bass technique and his first solo album.
ami, Florida by a Cuban immigrant single      The winner of the 2008 Best Latin Record
mom. At a very early age, Conde began         in the Independent Music Awards, Jose
his musical training by singing along to      Conde has played many great festivals      MARVIn DIz - Percussion
the radio and imitating the recorded          and venues throughout North America        Marvin Diz comes from Habana, Cuba
sounds of humans and the instruments          and hopes to present his first European    and a family of distinguished musicians.
that humans play. Jose became an expert       shows this summer or soon thereafter.      As a boy he quickly moved from playing
“hummer” and could sing songs and                                                        imitative percussive licks on buckets and
recite whole guitar solos like the one                                                   furniture to las tumbadoras or congas.
on the Eagles Hotel California on “neer,      JORGE BRInGAS - Bass                       The boy that was enamored with percus-
ni neer ni neer ni neer neer”….. This         Havana, Cuba native, Jorge Bringas,        sion went on to study it formally as a
was the beginning of his education in         came to the US following his family in     young man and in doing so, he received
musical vocabulary. Many years later he       the late 1990’s. In Cuba, he studied       tutelage from some of the best percus-
supplemented this early exploration with      with Carlos del Puerto and played and      sionists in Cuba including the percussion
formal musical studies at Berklee College     toured with Omara Portuondo of Buena       legend “Changuito.” Marvin left Cuba
of Music.                                     Vista Social Club fame. In the US, he      in 1999, defecting to Costa Rica where
                                              first settled in Miami and toured and      he performed with a number of bands
As he grew up Conde came into contact         recorded with international Cuban diva     and musical projects. After a brief time
with many tropical music sounds from          Albita and the late great Celia Cruz. He   in Mexico City, he relocated to New York
musical and non musical sources, includ-      later lived briefly in Minneapolis where   in 2002. New York has provided the
ing, Cuban son, and mambo, funk, pop,         he joined the band of former Cubanismo     possibility to record in productions with
rock salsa, etc, as well as non musical       pianist Nachito Herrera and was one of     Conjunto Chocolate, xiomara Laugart,
sounds that implied music, which he           the founding members of the Timba          Miguel Valdes, Edmar Castañeda, Pedro
found abundant in South Florida. Even-        band Tiempo Libre. Later Jorge came to     Martinez, Grupo Huracanes, Bobby
tually he started writing and arranging       New York where he immediately asserted     Carcases, Minimo, Grupo Ibboru, Chiemi
songs blending all of his influences and      himself as one of the top Latin bass       Nakai, Yorgis Goiricelaya, and Jose Conde
inspirations. Jose Conde has recorded         players on the scene. In New York he has   y Ola Fresca. He was part of Brian Lynch’s
three albums to date, two with his band       performed with Chico O’ Farrill, Marc      CD Simpático which won a Grammy for
Ola Fresca and one with the Baby Loves        Ribaud, Juan Carlos Formel, ex-Bamboleo    best Latin Jazz record. Marvin’s innova-
Salsa band. He has a new self-titled          Yordamis, Pedrito Martinez and the LP      tive percussionist vision is on full display
record that will be released worldwide        allstars, and Jose Conde y Ola Fresca      in his acclaimed solo record Habla el
in June of 2011 and will be accompa-          amongst others. “Jorgito” loves to crack   Tambor, which he released on his own
nied by touring and shows with his new        jokes and make fellow musicians and        label in 2008.

22   UMS 10-11
ALEx FERnAnDEz FOx - Cuban Tres             from Georgetown University. He studied
Alex Fernandez Fox is a New York born       classical guitar at the Mannes College of
Cuban-American artist, multi-instrumen-     Music and guitar and percussion at the
talist, composer, singer, and songwriter.   National Arts School (ENA) in Havana,
Alex plays guitars and other instru-        Cuba. Alex’s new album, UNO, his first
ments, performing primarily on the tres,    collection of original songs, was recently
a Cuban cousin of the Spanish guitar.       released on the Del Zorro record label
He has performed at festivals and local     and is now available online.
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

                                                                                         UMS 10-11   23

      L I K E LY T O B E P E R F O R M E D
                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                                (French)                                   (English Translation)
–by Jose Conde
from Jose Conde y Ola Fresca’s               Avec Pititi et Titi                       With Pititi and titi
album Revolucion                             Nous allons jouer un riquitiki            We are going to play a riquitiki
                                             tiki tiki ta tiki tiki tiki ta            tiki tiki ta tiki tiki tiki ta
                                             avec Titi et Pititi                       with titi and pititi

                                             Le papa de Pittiti avait une obsession    The papa of Pittiti
                                             Il a rêvé que son fils sera               Had an obsession
                                             un docteur dans la profession,            Dreamed that his son would be
                                                                                       doctor en profession,

                                             Mais avec un nom comme Pititi             But with a name like pititi
                                             Il n’y avait rien a faire                 He just had no choice
                                             Depuis le jour ou il est ne’              From the day he was born he was lost
                                             Il la Perdue a la percussion              To percussio

                                             Avec Pititi et Titi                       With Pititi and titi
                                             Nous allons jouer un riquitiki            We are going to play a riquitiki
                                             tiki tiki ta tiki tiki tiki ta            tiki tiki ta tiki tiki tiki ta
                                             avec Titi et Pititi                       with titi and pititi

                                             Titi était une fille                      Titi was a girl
                                             avec onze frères aine’s                   With eleven older brothers
                                             Toujours jaloux de ses amours             Who intervened in her affairs
                                             Ne lui foutaient jamais la paix           And made her life imposible

                                             Elle a voulu la danse et chante dans un   She wanted to sing and dance
                                             group de Son Elle a rencontré Pititi      In a small group that played son
                                             et s’est échappée                         When she met Pititi She escaped
                                             et elle a suivi son passion interne       And followed her eternal passion

                                             Avec Pititi et Titi                       With Pititi and titi
                                             Nous allons jouer un riquitiki            We are going to play a riquitiki
                                             tiki tiki ta tiki tiki tiki ta avec       tiki tiki ta tiki tiki tiki ta
                                             Titi et Pititi                            with titi and pititi

24   UMS 10-11
ARSEnIO RUF RUF                           MI FAMILIA ES LA MUSICA
(from the Baby Loves Salsa record)        (My Family is Music)

Audio:            Audio:
watch?v=7oCudVfHZ88 (original by          mi_familia_es_la_musica.mp3
Arsenio Rodriguez)
                                          My Mom is mama
This song is an homenaje (homage)         My dad is papa
to the Cuban tres guitar and to the       Sister is hermana
great Cuban composer and tres gui-        Abuelo is grandpa
tar player, Arsenio Rodriguez. He was
a blind musician who left Cuba at the     Auntie es mi tia
height of his career in the late 1940’s   Uncle es mi tio
and settled in New York where he          My brother is hermano
continued to write songs and influ-       Abuelo is grandpa
ence the music that would become
“salsa” as we know it today.              Mi Familia es la musica

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
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
                                                                              UMS 10-11   25

                   The following artwork is part of the University of Michigan Museum of Art Collection.

Look at the images on pages x and Y
                                               Carlos Merida (Mexican, born Guate-
and consider the following:
                                               mala, 1891-1985)
                                               Festival Dances of Mexico – Dance of
How do these two images reflect your           the Umbrellas
perception of Latin American culture?          1893-1944
                                               Color lithograph
                                               Museum Purchase, 1944.10
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?

26   UMS 10-11
Chet LaMore (American, 1908-1980)
Dog Carnival
Gift from the Family of Edwin N. Ferdon,

28   UMS 10-11

                    N AT I O N A L S TA N D A R D S
             The following are national standards addressed through this Youth Performance and through
                                  the ideas in the following curriculum connections.

EnGLISH LAnGUAGE ARTS                      APPLIED ARTS                              SOCIAL SCIEnCES
English Language Arts K-12                 Technology K-12                           Geography K-12
NL-ENG.K-12.6 Applying Knowledge           NT.K-12.9 Basic Operations and Concepts   NSS-G.K-12.1 The World in Spatial Terms
NL-ENG.K-12.7 Evaluating Data              NT.K-12.3 Technology Productivity Tools   NSS-G.K-12.2 Places and Regions
NL-ENG.K-12.8 Developing Research Skills   NT.K-12.5 Technology Research Tools       NSS-G.K-12.4 Human Systems
NL-ENG.K-12.12 Applying Language Skills
                                                                                     Civics K-4
                                                                                     NSS-C.K-4.2 Values and Principles of
MUSIC                                                                                 Democracy
                                                                                     NSS-C.K-4.3 Principles of Democracy
Music K-4
                                                                                     NSS-C.K-4.4 Other Nations and World
NA-M.K-4.6 Listening To, Analyzing and
 Describing Music

                                                                                     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)

                                                                                                              UMS 10-11     29

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                            MUSIC RHYTHM, COMPARISOnS                     they think the band is named fresh wave.
As an introduction to this concert ask         Tell students that a man whose name           What could that mean or refer to when
your class to define salsa.. If they           is Jose Conde is the leader of the band       you think about music? Tell students
respond that it is a food or a sauce or a      they will hear and that his family came       that the name of a band can be impor-
dip, ask them what is in it. If you can,       from Cuba, so the salsa music he writes       tant. It can tell you about the music
have a salsa tasting with different kinds      and performs is made up of traditional        the band plays or about how the band
of salsa and chips. Make a list of all the     Cuban rhythms and style mixed with the        thinks of itself. Tell students to pretend
words students can think of that describe      modern or contemporary sounds and             that they have a band. What would they
a taste. Have them pick which words            styles that he likes. Cuba’s early salsa      name it? Why?
on the list describe the salsa. Define         music incorporates a call-and-response
metaphor and simile. Write together as a       structure. Define this. Give students         When people talk about salsa they may
class, or have students individually write     some examples and sing some call-and-         also be talking about a kind of dance.
fun descriptions of the taste of salsa.        response songs. What other cultures           Ask students if they have ever done salsa
                                               use a call-and-response structure in their    dancing or seen it done. Go to Youtube
TRAnSPORTATIOn, COMMUnICATIOn                  music? Do we?                                 and show students some salsa dancing.
AnD GLOBALIzATIOn                                                                            Try it.
Determine that salsa is made up of             The Rhythm is important in salsa music.
several ingredients, not just one. Tell        The African influence can be seen in          It is hard to sit still when you listen to
them that they are going to hear salsa         the types of drums used. You might            salsa music. It has a very distinctive
music and that there are many kinds of         find four sizes of Conga: tumba, conga,       beat. Play some of this music and have
salsa music. Like the salsa we eat, which      quinto and requinto. The bongo, tim-          students move to the beat. If they have
is made up of many kinds of ingredients,       bales including chachacha bell, salsa bell,   talked about meter and rhythm in music
salsa music is made up of many kinds of        wood block and cymbals and also shells,       class, have them count to the music. Play
rhythms and melodies. Some say that it         maracas, and other shakers are used.          some other kinds of music with differ-
has African rhythms, Spanish melodies          Look at pictures of these instruments and     ent kinds of rhythm and have students
and is played with instruments from            listen to the way they sound. Music can       move to that. You might play a march
Cuba and Western Europe. Ask older stu-        be found be googling salsa music and          and a waltz. Tell students to use as many
dents what transportation, communica-          instruments.                                  descriptive words as they can to compare
tion and globalization might have to do                                                      the different kinds of music and rhythms
with salsa music. Discuss the way music,       Jose Conde’s band is called Ola Fresca.       they hear.
like other things, spreads throughout          Ola Fresca is a Spanish name which
a country and from country to country,         means fresh wave. Why does the band
often changing as it goes.                     have a Spanish name? Ask students why

30   UMS 10-11
MAPPInG                                       from friends and family where the lan-      form of government of a country affect
Jose Conde was born in Chicago and            guage and customs might be unfamiliar       the every day life of the people who live
raised in Miami, Florida. His parents         and jobs hard to get. List some reasons     in the country? What are the democratic
came to this country from Cuba. There         people immigrate. Think back to the         principles upon which our country is
are a lot of people who came to the           beginning of our country. Except for the    based? What is the bill of rights? What
United States from Cuba living in Florida.    Native Americans, everyone was an immi-     kinds of things does our Constitution
Ask students why they think this is so.       grant. Why did the colonists come here      assure each citizen has? How is this the
Take out a map and see if students can        to live? Are the reasons for immigration    same or different in Cuba? (younger
find Cuba. Tell them to find Florida.         today the same as they were in the early    students can learn the name of our
Now can they answer the question?             years of our country?                       president and the name of the leader of
Figure out how many miles Cuba is from                                                    Cuba. They can learn that the two coun-
Florida.                                      Are there any immigrants in Michigan to-    tries are governed differently and you can
                                              day, people coming from other countries     explain in simple terms, perhaps using a
Cuba has only four letters. A fun             to live in our state? From which coun-      king as an example, how that is.)
homework assignment would be to find          tries are they coming? In which parts
as many countries as you can with four        of the state are they settling? Why did     CUBA, THE COUnTRY, RESEARCH
letters or less. Some examples are Iraq,      most of them come?                          SKILLS
Iran, Figi, Peru, Oman, Laos.                                                             Divide your class into groups and tell
                                              ASYLUM, ASYLUM SEEKERS, RE-                 each group to reasearch one of the fol-
FAMILY AnD COMMUnITY                          SEARCH SKILLS                               lowing topics and present their findings
Many Cubans live in Miami, Florida. They      Some people come to this country seek-      to the class in an oral report, power point
form Cuban communities. Many speak            ing asylum. What is that? Define asy-       presentation, podcast or video: Cuba’s
Spanish to each other and celebrate Cu-       lum. If someone is seeking asylum here      climate and a description of the land;
ban holidays together. Why would they         because they are afraid to live in their    some of the history of Cuba; the popu-
settle near each other? How would that        own country, are they always welcomed,      lation of Cuba, some statistics about it in-
help them live more comfortably in the        allowed in and allowed to become            cluding ethnic background of the people;
United States? Younger students study-        citizens? Discuss immigration laws and      plants and animals of Cuba; Cuba’s
ing families and communitites might like      the rules that govern asylum seekers. At    government; Cuban art and Cuban artists
to learn about Cuban foods and culture        this point talk about persuasive writ-      and other topics you and your students
and holidays and compare the Cuban            ing. Tell students to take a stand on       might find interesting.
family and community to their family and      whether the United States should accept
community.                                    all people seeking asylum. They should      Ask students what language they speak
                                              write a paper expressing their opinion on   in Cuba. Tell them to pretend that they
IMMIGRAnTS AnD IMMIGRATIOn,                   this topic and trying to persuade others    are going to visit Cuba and will have
PAST AnD PRESEnT                              that they are right. This might also be a   to know some Spanish to get along.
A person who comes from another               good time to introduce a unit on debate     Have each child make a dictionary of
country to live in this country is called     with asylum seekers the topic. Research     the words he or she thinks it would be
an immigrant. Ask students if they have       skills should be taught here and students   important to know when visiting Cuba.
relatives who were or are immigrants.         should be encouraged to use both print      If your students are studying Spanish,
Make a list of the countries they came        and computer sources.                       have them put in both the Spanish and
from. Graph this.                                                                         the English words. Their dictionaries can
Ask students if they have heard any           FORMS OF GOVERnMEnT, COMPARI-               be illustrated.
stories about the countries their relatives   SOnS, DEMOCRATIC PRInCIPLES
came from or about their journey to The       If you are studying our government and
United States. If so, share these.            the democratic principles on which it is
                                              based, take a look at Cuba and see how
Ask students why a person would leave         it differs from the United States. What
the country in which he or she was born       form of government do we have? What
and raised and go to another country far      form does Cuba have? How does the
                                                                                                                    UMS 10-11      31

ORGANIZATIONS                                                           WEB SITES

University Musical Society       Wayne State University                 Instruments of Puerto Rico
881 N University Ave             Center for Chicano-Boricua Studies
Ann Arbor, MI 48109-1101         3324 Faculty Administration Building     instruments/cuatro/
(734) 615-0122                   656 W Kirby               Detroit, MI 48202                      Baby Loves Salsa                      (313) 577-4378               
Compás                                    (Resources for Parents)
Center of Music and Performing
Arts Southwest                   Artes Unidas de Michigan               Latin Music USA
Odd Fellows Building             P.O. Box 16088               
8701 W Vernor Hwy                Lansing, MI 48901-6088                   exp/salsa/read
Detroit, MI 48209                (517) 335-0466
(313) 554-0791                            new York Map                                                                 html
                                 Tulipanes Latino Art & Film Festival
University of Michigan           P.O. Box 1455
Center for Latin American and    Holland, MI 49422-1455
Caribbean Studies                (616) 394-0000
2607 Social Work Building
1080 South University St
Ann Arbor, MI 48109-1106
(734) 763-0553

32   UMS 10-11

                                   W H AT I S U M S ?
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.


MAILInG ADDRESS                              STAFF                      InTERnS
100 Burton Memorial Tower
                                             Kenneth C. Fischer,        Caroline Buse
881 North University Ave                     UMS President
Ann Arbor, MI 48109-1011                                                Neal Kelley
                                             Claire C. Rice
                                             Interim Director           Matthew Mejía

                                             Mary Roeder                Emily Michels
                                             Residency Coordinator
                                                                        Britta Wilhelmsen
                                             Omari Rush
                                             Education Manager

34   UMS 10-11

     U M S Y O U T H E D U C AT I O N P R O G R A M
                                            10 THINGS TO KNOW

                 QUALITY                                 ACCESSIBILITY                         K-12 SCHOOL PARTnERSHIPS

Every student deserves access to           Eliminating participation barriers             Working directly with schools to
“the best” experiences of world arts                                                      align our programs with classroom
and culture                                • UMS subsidizes Youth Performance             goals and objectives
                                           tickets to $6/student (average subsidy:
• UMS presents the finest international    $25/ticket)                                    • 14-year official partnerships with the
performing and cultural artists.                                                          Ann Arbor Public Schools and the Washt-
                                           • When possible, UMS reimburses bus-           enaw Intermediate School District.
• Performances are often exclusive to      sing costs.
Ann Arbor or touring to a small number                                                    • Superintendent of Ann Arbor Public
of cities.                                 • UMS Youth Education offers person-           Schools is an ex officio member of the
                                           alized customer service to teachers in         UMS Board of Directors.
• UMS Youth Performances aim to            order to respond to each school’s unique
present to students the same perfor-       needs.                                         • UMS has significant relationships with
mance that the public audiences see (no                                                   Detroit Public Schools’ dance and world
watered-down content).                     • UMS actively seeks out schools with          language programs and is developing
                                           economic and geographic challenges to          relationships with other regional districts.
                                           ensure and facilitate participation.
                                                                                          • UMS is building partnerships with or of-
                DIVERSITY                                                                 fering specialized services to the region’s
Highlighting the cultural, artistic,                                                      independent and home schools.
                                                  ARTS EDUCATIOn LEADER
and geographic diversity of the world
                                           One of the premier arts education
• Programs represent world cultures and    programs in the country
                                                                                                 UnIVERSITY EDUCATIOn
mirror school/community demographics.                                                                PARTnERSHIPS
                                           • UMS’s peer arts education programs: Car-
• Students see a variety of art forms:     negie Hall, Lincoln Center, Kennedy Center.    Affecting educators’ teaching prac-
classical music, dance, theater, jazz,                                                    tices at the developmental stage
choral, global arts.                       • UMS has the largest youth education
                                           program of its type in the four-state region   • UMS Youth Education is developing
• UMS’s Global Arts program focuses        and has consistent school/teacher participa-   a partnership with the U-M School of
on 4 distinct regions of the world—        tion throughout southeastern Michigan.         Education, which keeps UMS informed
Africa, the Americas, Asia, and the Arab                                                  of current research in educational theory
World—with a annual festival featuring     • 20,000 students are engaged each sea-
                                                                                          and practice.
the arts of one region.                    son by daytime performances, workshops
                                           and in-school visits.                          • University professors and staff are
                                                                                          active program advisors and workshop
                                           • UMS Youth Education was awarded
                                           “Best Practices” by ArtServe Michigan
                                           and The Dana Foundation (2003).                                           UMS 10-11       35

• UMS Youth Education has been a             Meeting the actual needs of today’s
member of the prestigious Kennedy            educators in real time
Center Partners in Education Program
                                             • UMS Youth Education works with a
since 1997.
                                             50-teacher committee that guides pro-
• Partners in Education is a national con-   gram decision-making.
sortium of arts organization and public
                                             • The Committee meets throughout
school partnerships.
                                             the season in large and small groups
• The program networks over 100 na-          regarding issues that affect teachers and
tional partner teams and helps UMS stay      their participation: ticket/bussing costs,
on top of best practices in education and    programming, future goals, etc.
arts nationwide.

                                               In-SCHOOL VISITS & CURRICULUM
     PROFESSIOnAL DEVELOPMEnT                             DEVELOPMEnT

“I find your arts and culture work-          Supporting teachers in the classroom
shops to be one of the ‘Seven Won-
                                             • UMS Youth Education places interna-
ders of Ann Arbor’!”
                                             tional artists and local arts educators/
–AAPS Teacher
                                             teaching artists in classes to help educa-
• UMS Youth Education provides some          tors teach a particular art form or model
of the region’s most vital and responsive    new/innovative teaching practices.
professional development training.
                                             • UMS develops nationally-recognized
• Over 300 teachers participate in our       teacher curriculum materials to help
educator workshops each season.              teachers incorporate upcoming youth
                                             performances immediately in their daily
• In most workshops, UMS utilizes and        classroom instruction.
engages resources of the regional com-
                                             UMS Youth Education Program
munity: cultural experts and institutions, | 734-615-0122
performing and teaching artists.   

36    UMS 10-11
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 •

                                                                                   UMS 10-11   37
                 C O L O R I n G PA G E S

38   UMS 10-11

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