Loading...
HomeMy WebLinkAbout2013-326 Arts - The Arts Center Spring 2013 Art Grant Agreement $1,500 Culp o ORANGE COUNTY ARTS COMMISSION Z m U R A N G F. COUNTY ART 5 SPRING,2013 GRANT AGREEMENT c Ca41 rtC5f0H 0 � U n c THIS AGREEMENT, entered into this 29th day of July, 2013, by and between Orange County ("County"), by and through the Orange County Arts Commission ("Arts Commission") and The ArtsCenter("Grant Recipient"). WHEREAS, the Arts Commission is a countywide arts agency that ensures the growth of local arts experiences by providing funding and support for diverse high quality programs and proj ects. WHEREAS, the Arts Commission administers the Spring and Fall Arts Grants Program to provide economic opportunities to Orange County artists and non-profit organizations coordinating arts projects benefiting the citizens of Orange County. WHEREAS, the Spring Arts Grants Program is supported by Arts Commission with funds from the Grassroots Program of the North Carolina Arts Council, an agency of the Department of Cultural Resources and the National Endowment for the Arts. WHEREAS, the Grant Recipient was selected by the Arts Commission to receive the Spring Arts Grant through the procedures duly adopted by the Arts Commission; and WHEREAS, both parties wish to promote and maintain the integrity and clarity of the Grant Recipient's ideas and statements and delineate the Grant Recipient's obligations to the County; NOW, THEREFORE, the County and the Grant Recipient, for the consideration and under the conditions hereinafter set forth, agree as follows: 1. Approved Grant Project. Grant funds are provided under this Agreement for the project ("Project") described in the Grant Recipient's Grant Application, attached hereto and incorporated herein as Exhibit A. 2. Grant Award. Grant funds in an amount not to exceed one thousand five hundred dollars ($1,500) have been awarded by the Arts Commission to the Grant Recipient for the approved Project. These funds must be matched at least dollar-for-dollar with cash from the Grant Recipient's funds not derived from either Orange County appropriations or the North Carolina Arts Council. 3. Contingency. This grant is contingent on North Carolina Arts Council Grassroots Program funding to the Arts Commission. Final decisions on Grassroots Program funds to the North Carolina Arts Council are subject to approval by the North Carolina General Assembly. 4. Responsibilities of the Grant Recipient 1 Revised May 2012 A. Implementation. The Project implementation shall take place between July 1, 2013 and June 30, 2014. The Project shall be implemented in the manner described in Exhibit A. Time is of the essence in the implementation of the Project. B. Modifications to project. Grant Recipient shall present major changes to the original proposal, including but not limited to changes in design, implementation schedule and increase in Project budget by more than 10%, in writing to the Arts Commission for approval. Arts Commission shall approve or disapprove Grant Recipient's request for modifications within seven (7) days of receipt thereof. Consent to project modifications shall not be unreasonably withheld. Arts Commission's decisions shall be in writing. In the event the Arts Commission fails to approve or disapprove the requested modifications within the time stated herein,the modifications shall be deemed approved. C. Non—assigninent. The grant cannot be assigned or transferred to a different project or artist without prior written approval of the Arts Commission. D. Records. Grant Recipient must maintain records and other evidence pertaining to costs incurred and revenues acquired during the Project implementation. Grant Recipient shall maintain financial records pertaining to the Project for three (3) years from the date of this Agreement, in case of audit. E. Use of Funds. Grant Recipient shall not use the grant funds to repay outstanding taxes or other debts of any nature. The grants shall be utilized solely for the purpose of implementing the Project and Project related expenses. F. Final Report. Grant Recipient shall submit to the Arts Commission a Final Report on July 7, 2014 . The Final Report shall be in the format required by the North Carolina Arts Council. Failure to submit the Final Report or late submission of the Final Report, for any reason, shall be grounds for denial and/or cancellation of grant funds for the Project and future grant proposals. 5. Responsibilities of the Arts Commission A. Payment. The Arts Commission shall release the grant funds in the amount of $1,500 to the Grant Recipient. 6. Publicity A. Acknowledgement. Credit must be given to the Orange County Arts Commission using the Arts Commission logo and if State funds are received to the North Carolina Grassroots Program in brochures, news releases, programs, and all other printed and online publications. Copies of such printed materials must accompany the evaluation report. When no printed information is used, verbal credit shall be given. In addition, all print and promotional material must include the following credit line(check all that apply): 2 Revised May 2012 i. County Funds Only. "This program is supported by the Orange County Arts Commission. " ii. x North Carolina Arts Council Funding. "This program is supported by the Orange County Arts Commission with funds from the Grassroots Program of the North Carolina Arts Council, a state agency. " B. The Grant Recipient must enter all events, exhibits and performances open to the public and related to this grant award on the ExploreChape1Hi11ARTS.com website and display ExploreChape1HillARTS.com publicity materials (postcards, brochures, etc.) prominently and consistently at their venue or performance space. In addition, the Grant Recipient must add a link to the ExploreChape1Hi11ARTS.com (ExploreChape1HillARTS.com logo preferred) to their main webpage. The Grant Recipient shall contact the Orange County Arts Commission for replacement ExploreChape1HillARTS.com publicity materials. 7. Indemnity. The Grant Recipient agrees to indemnify and hold harmless the County, the Arts Commission and the North Carolina Arts Council and their officers and employees from any and all claims or actual injury, damage or loss to a person, or real or personal property that results from or is in any way connected to the use of the grant funds. S. Independent Contractor. The Grant Recipient is an independent contractor and not an employee, agent or other representative of the County and/or the Arts Commission. Nothing contained in this Agreement shall be construed to create the relationship of principal and agent, or employer and employee, between Grant Recipient and Arts Commission or Orange County Government. Grant Recipient understands and agrees that he/she is not authorized to incur any expenses or any liability whatsoever on behalf of the County or the Arts Commission and has no authority, expressed or implied, to obligate or make representations on behalf of the County or the Arts Commission. In addition, Grant Recipient agrees to maintain his or her own worker's compensation insurance for himself/herself and his or her employees for the duration of the art work's installation. 9. Termination A. In the event of any of the circumstances set forth below(hereinafter referred to as "default"), the Arts Commission may immediately terminate this Agreement: (i) Any fraudulent representation in any verification required to obtain payment under this Agreement or other dishonesty on a material matter relating to the performance of services under this Agreement. (ii) Nonperformance, incomplete service or performance, or failure to satisfactorily perform any part of the Project or to comply with any provision of this Agreement, as determined by the Arts Commission in its sole discretion. 3 Revised May 2012 J r (iii) Failure to adhere to the terms of applicable county, state or federal laws, regulations, or stated public policy. B. In the event of default by the Grant Recipient, the Arts Commission has the discretion to elect to terminate this Agreement, in whole or in part and/or require the Grant Recipient to repay the grant funds within seven (7) from written notice of default or allow the grant recipient the opportunity to cure the default. This clause shall not be interpreted to limit the County's or the Arts Commission's remedies in law or in equity. 10. Miscellaneous. A. Entire Agreement. This Agreement and the attachments contain the final and entire understanding of the parties with respect to the subject matter of this Agreement. All modifications and amendments to this Agreement shall be in writing. This Agreement shall be binding upon the parties, their heirs, successors and assigns. B. Governing Law. This Agreement shall be interpreted in accordance with the laws of the State of North Carolina and the Orange County. IN WITNESS WHEREOF, the Orange County and the Grant Recipient have signed this Grant Agreement, effective on the last date this Agreement is signed by both parties as indicated by the dates set forth under signatures below. For and on ay"o the Grant Recipient The ArtsCenter Date For and on behalf of Orange County Government 1�-" 6" ` / � Frank W. Clifton, C Manager Date For and on behalf of Orange County Arts Commission/approved as to technical content tA _g 1� Steve rantley,f7conolmic Dev ent Director Date Appro s to and legal sufficiency Annett4 M. Moore, Staff Attorney Date 4 Revised May 2012 f This instrument has been pre-audited in the manner required by the Local Government Budget and Fiscal Control Act a 71 . Clarence G. Grier,Administrative and Financial Services Date 5 Revised May 2012 Arts Program Grant - Spring Of; 2013- 14 Application Form ORANGE COUNTY ARTS Orange County Arts Commission COMMISSION Promoting the artistic and cultural development of Orange County, North Carolina Evaluation Criteria • Artistic merit of program. • Populations served—impact for geographic&traditionally under-served populations. • Feasibility of proposed activity&effectiveness in fulfilling applicant's mission. • Cooperation between organizations and artists. • Evidence of feasibility of program, community support, and responsiveness to community needs. • Emerging organizations are encouraged to apply. 1 Applicant Information Applicant Name The ArtsCenter Mailing Address 300-G East Main Street Daytime Phone (919)929-2787 Fax Number (919)969-8574 Email Address Child rensPrograms(g-)-ArtsCenterLive.org Web Site www.ArtsCenterLive.org Project Director Brooke Kesterson Title School & Family Performances Coordinator DUNS Number 2 Project Director Information Project Director Home Address 5917 Loyal Ave Durham NC 27713 Daytime Phone (919)929-2787, ext. 214 Evening Phone (919)368-4995 Email Address Child rensPrograms(a)ArtsCenterLive.org 3 Grant Request Summary Arts Program Grant Request $1,500 Total Cash Match $89,675 Total Organizational Budget 2011-2012 $1,321,393 Past Year 2012-2013 $1,426,770 Current Year 2013-2014 $1,500,000 Projected for Next Year Summary Statement for Proposed Uses of Arts Program Grant The ArtsCenter's School Show Series brings learning to life through more than 20,000 experiences for area youth each year, ensuring that the arts remain a meaningful part of students' education. Through a combination of shows on-site at The ArtsCenter and shows booked in area schools the School Show Series makes a significant impact on students in Orange County, providing opportunities to see new things learn about different art forms, as well as different cultures In 2013-2014 the School Show Series will present 21 shows at The ArtsCenter by 11 different artists/groups and will also coordinate approximately 70 in-school shows. The season will feature a variety of art forms including storytelling music drama hip-hop and breakdancing and acrobatics Support from the Orange County Arts Commission would help to ensure that these unique learning opportunities and experiences are available to the youth in our community. Questions? Call us at(919) 968-2011 • Deliver Application to:501 West Franklin Street, Chapel Hill, NC The ArtsCenter:2013-2014 School Show Series I The ArtsCenter's Organizational Profile Over the course of its thirty-nine year history, The ArtsCenter in Carrboro, NC has grown from a single painting class into a vibrant and dynamic multi-purpose, multi-disciplinary,grass roots community arts center serving more than 84,000 people of all ages and walks of life. Constituents come mostly from Orange County and four surrounding counties in North Carolina, although audience members travel from throughout North Carolina and even from other states to attend specific music and theater performances presented during the year in the 355 seat Earl and Rhoda Wynn Theater. Attendees at music and theatre come from Chapel Hill & Carrboro (39%) and Durham & Raleigh (32%). The ArtsCenter is a non-profit, tax-exempt organization under section 501(c)3 of the Internal Revenue Code. It is governed by a board of directors which establishes policy, ensures that there are adequate financial resources for the organization to accomplish its mission, ensures that earmarked funds are managed according to the stipulation of funders, manages the organization's assets to protect its future and ensures that financial controls are in place. Mission: The ArtsCenter exists in order to inspire creativity and to enrich the lives of people of all ages. Vision: We envision a world in which people embrace the arts as a critical component of daily life. Guiding Values: Sustainability; Excellence;Accountability; and Inclusivity. Current Programs and Services The ArtsCenter is organized into five programmatic departments. ArtSchool. ArtSchool at The ArtsCenter is Orange County's most comprehensive non-profit resource for continuing education in the arts on a non-degree, community basis.The ArtSchool now offers more than 500 classes in all artistic disciplines for all experience levels and ages, awards more than 50 scholarships annually, and offers work-study opportunities. Youth Programs.The ArtsCenter has provided artistically excellent, age-appropriate and accessible arts experiences to Triangle families for more than 30 years. Currently,The ArtsCenter offers the School Show Series, the SuperFun Series for family audiences,ArtsCamp in the summer,AfterSchool Arts Immersion and Arts in Education during the school year to area youth and families. Also, Youth Arts Classes offer fine art classes and workshops in acting, musical theatre, dance, chorus, stage combat, radio drama, acting for the camera, and improv. Combined, The ArtsCenter's youth programs reach approximately 26,000 children in up to five counties. Theatre. International theatre at its most local, ArtsCenter Stage showcases the work of emerging and established artists hailing from next door to around the world.ArtsCenter Stage features new works with a historical perspective,while its second-stage series includes improvisation and storytelling, musicals and operas, stand-up comedy and film screenings, new works in development and theatre for younger and older audiences. ArtsCenter Stage is community-oriented theatre with a commitment to developing new artists and audiences. Concerts. The ArtsCenter presents some 60 concerts for adults each year, representing the spectrum of musical genres by local, emerging, and nationally touring artists including folk, blues, Celtic, rock, singer- songwriter, Louisiana French, old-time, and bluegrass. Gallery. The Nicholson Gallery features the work of local and regional artists on a rotating basis and highlights the work of more than 100 local and regional artists in 12 exhibitions a year. Proposed Uses of Grant Funds The ArtsCenter's School Show Series brings learning to life through more than 20,000 experiences for area youth each year. Through a combination of shows on-site at The ArtsCenter for groups on field trips and shows booked in area schools,the School Show Series makes a significant impact on students in Orange County.These programs ensure that the arts remain a meaningful part of students' education and provide opportunities to area youth to see new things, learn about different art forms, as well as different cultures. The ArtsCenter:2013-2014 School Show Series 2 Learning about aspects of North Carolina history from a Cherokee storyteller, seeing ancient skills from Chinese culture performed on stage, or hearing songs and stories from Latin America can bring history and culture to life for students. For some students, stepping into The ArtsCenter's theater may be the first time they have ever been in a professional performance space. Furthermore, engaging with history through an interactive play, for example, can enhance classroom study. Using the arts as a means of teaching curriculum embraces different ways of teaching and learning, thereby reaching students with different learning styles. The ArtsCenter respectfully requests $1,500 from the Orange County Arts Commission to help subsidize the artists' fees for the 2013-2014 School Show Series, which annually impacts thousands of youth in Orange County. More specifically, this support would help make the following activities possible: The School Show Series consists of high-quality, arts-based educational performances by local, regional, and national artists. School Shows take place on weekday mornings at The ArtsCenter and enhance classroom study by aligning with curriculum in the Common Core and NC New Essential Standards. Most School Show attendees come from K-8th grade,though every season contains at least one show that reaches high-school audiences. In addition to shows on-site, The ArtsCenter also coordinates performances in area schools by some of the season's artists. These in-school shows are made possible through a longstanding partnership with local schools' PTA Cultural Enrichment volunteers. In the 2013-2014 season, the School Show Series will present 21 shows at The ArtsCenter by I I different artists/groups. In addition, 10 performers will also conduct shows in area schools to provide approximately 70 in-school performances, and one group will lead two workshops with after-school programs. The season will feature a variety of art forms including storytelling, music, drama, hip-hop and breakdancing, and acrobatics. Through performances, students will have the opportunity to learn about science through an interactive theatrical variety show, about American history and key moments in the Civil Rights movement through two plays, about the traditions of acrobatics in Chinese culture, some stories and songs from Latin America, Native American stories and legends, as well as the history of blues music, hip-hop and street dance, and will be able to enhance their experience of reading through two plays based on books (see enclosed schedule). Through the School Show Series, we expect to reach a broad spectrum of youth from our community, similar in scope to The ArtsCenter's usual audience (52%White, 25%African-American, 14% Latino, 7%Asian-American, and 2% Native American). While the series may reach students in up to five nearby counties (Orange, Chatham, Durham, Wake, and Alamance), the impact on Orange County is most significant. For example, last season (2012-2013), 75%of the elementary and middle schools in Orange County (both Orange Co Schools (OCS) and Chapel Hill-Carrboro City Schools (CHCCS)) were impacted by the School Show Series. Students from four(out of seven) elementary schools in the OCS district participated in School Show programs (three attended shows at The ArtsCenter and one hosted a show at their school).All 10 elementary schools in the CHCCS district either had students attend a show at The ArtsCenter or hosted shows at their school, and one middle school from OCS and three middle schools in CHCCS had students participate in this program.The impact of the School Show Series on our county is felt in nearly all of the schools each year, spanning both districts. Making these programs accessible to area students is another objective of the School Show Series. School Shows are offered at an affordable cost ($7/ticket); scholarships are provided to students with special needs or on free/reduced lunch, and complimentary tickets are awarded to teachers. Last season (2012-2013),for example, 449 scholarship tickets were awarded, and 368 of them (approx. 82%) went to students in Orange County. All in-school performances are free to students and are made possible through collaboration between The ArtsCenter and the CHCCS' Cultural Enrichment Committee, which is made up of PTA volunteers from CHCCS area schools, in addition to a few representatives from OCS and area private schools.Through this partnership, The ArtsCenter serves as a liaison between the performers and the schools, handling all of the negotiation, scheduling,and coordination.This collaboration enables schools to bring in artists at a reduced rate, thereby making it possible for them to feature artists at their school they would otherwise not be able to afford, as well as saving them time in the booking process. The ArtsCenter: 2013-2014 School Show Series 3 Connecting with curriculum is also a vital component of the School Show Series. In our marketing to teachers, each show outlines the curricula it addresses and targets specific grade levels, making it easy for teachers to identify the most beneficial experience and to integrate the content into their instruction. Reinforcing the importance of this, over 75% of respondents to our School Show survey last year indicated one reason they chose to attend a performance was due to a curriculum connection. When available from the performer, The ArtsCenter also provides teachers with a study guide for the performance.These guides help prepare students for the shows and provide ideas on ways for teachers to extend the experience in the classroom before and after the performance (see enclosed sample guides). From our evaluations last year, we also learned that many teachers do use the study guides we provide for the School Shows, thus indicating to us that our shows are being integrated into the classroom study and are not always just a standalone experience. Additionally, as the series is planned, we make an effort to include people of different backgrounds and cultures, as we believe it is important for students to recognize the contributions made by different people to our culture and community and to provide students of different backgrounds a chance to celebrate their culture and to see others like themselves. Research has shown that experiencing live performances can provide benefits to the students that not only impacts their education but also has social and civic outcomes as well. For example,one study found "the arts' potential to foster positive dispositions for shared cultural diversity" (Schiller, W. (2005). Children's perceptions of live arts performances:A longitudinal study. Early Child Development and Care). Furthermore, the same study said, "Teachers reported noticing a stronger sense of harmony and understanding in the diverse climates of the schools as a result of the children's engagement with the live arts performances and their subsequent engagement in art-making." Additionally, "Participating children displayed playful engagement in learning and a confidence to experiment as a result of seeing the live arts performances." These benefits illustrate the way the School Show Series can make an impact on area youth and enhance their learning. The ArtsCenter has been serving children and families through targeted programs for more than thirty years. Having started as just a few performances for family audiences, The ArtsCenter's educational programming for youth has grown to include two performance series, an after-school program and art classes, summer camps, and an artist residency program that uses the arts to teach curriculum. Over the years, we have made changes to our programming to better serve our participants and keep in line with the needs of our community.We have, for example, adjusted the schedule of the School Show Series to better serve the students and teachers we reach. While our shows on-site used to begin in September and October, we recognized the increasing challenge for teachers to plan field trips during those first couple of months of the year; therefore, we now use that time at the start of the year to book shows in schools versus planning School Shows at The ArtsCenter. Our 2013-2014 School Show Series will offer in-school shows in September and October, for example, but will not begin the shows on-site at The ArtsCenter until November.We also seek feedback from teachers and key participants such as, the PTA Cultural Enrichment Committee, after shows. Conducting evaluations with our attendees has been helpful in learning information to assist in our planning of future programs and to ensure we are meeting the following objectives: 1)Artistic excellence through quality arts programming; (2)Accessibility by ensuring opportunities are available to all; (3) Community partnerships; (4) Educational merit& understanding. Making programming choices that keep their needs in mind are important to the success of the School Show Series. The arts are a valuable tool for learning, growth and development, community building, and fellowship. The benefits of The ArtsCenter's School Show Series are many. Not only do these programs enhance classroom study by exploring curriculum through the arts, but they also expose children to new ideas, art forms, cultures, and ways of thinking, as well as add excitement to a student's learning experience. Support from the Orange County Arts Commission would help to ensure that these essential learning opportunities and experiences are available to the youth in our community. 2013-14 Arts Program Application — Page Three G ORANGE COUNTY ARTS COMMISSION Financial Information Please provide a projected budget for your proposed project utilizing the format below. Project Expenses Cash = Grant Amount + Applicant Expenses Requested Cash Match A Personnel Administrative staff $27,600 $27,600 Artistic staff $59,235 $1500 $57,735 Technical/Production staff $940 $940 B Outside Fees and Services Artistic contracts Other contracts: C Space Rental D Travel $1.850 $1,850 E Marketing $1,450 $1,450 F Remaining Project Expenses $100 $100 G Total Cash Expenses $91,175 = $1,500 + $89,675 Project Income Cash Income A Admissions $25,700 B Contracted Services Revenue C Other Revenue(specify) Shows Booked in-schools $53,350 D Private Support Corporate support Foundation support $10,000 Other private support E Government Support Federal State/regional(not including this request) Local(not including this request) F Applicant Cash $625 G Grant Amount Requested $1,500 in this application H Total Cash Income $91.175 (must equal Total Cash Expenses, Item G above) � I 2013-14 Arts Program Application — Page Four ORANGE COUNTY ARTS COMMISSION Signatures i Signature of Project Dire for Dat ooke Kesterson School & Family Performances Coordinator Typed Printed Name— Project Director Sign t re of Authorizing Official Date Art Menius, Executive Director Typed or Printed Name —Authorizing Official INCOMPLETE APPLICATIONS WILL NOT BE FUNDED 2013-2014 Arts Program Grant—Spring I Orange County Arts Commission The ArtsCenter: School Show Series Artists' Biographies / Narrative Resumes LLOYD ARNEACH:An enrolled member of the Eastern Band of Cherokee Indians, Lloyd Arneach was born and reared on the Cherokee Reservation in Cherokee, North Carolina. He learned his first legends from two storytelling Uncles on the reservation. His father was Vice-Chief of the Eastern Band, his mother was the first woman ever elected to the Tribal Council and his Grandmother (Lula Owl Gloyne) was a Beloved Woman of the tribe. From 1970 to 1990, Lloyd traveled throughout the state of Georgia, lecturing on Cherokee history and culture. This was done in his spare time while working for AT&T's computer department in Atlanta. In 1990, he added storytelling to his presentations on culture and history and in 1993 began a full-time career as both storyteller and historian. Lloyd presents his stories in a style that is humorous, informative and extremely moving. Lloyd's stories range from the"old stories" of the Cherokee to contemporary stories he has collected; from creation stories to behind the scenes of"Dances with Wolves." He tells stories of different Native Americans: Floyd Red Crow Westerman; Billy Mills, an Olympic champion; a young Cree Indian girl with no stories to tell; and a postmaster on the Papago Reservation. He shares historical stories from a variety of Native American tribes. Some of these stories are difficult for Lloyd to tell because of the strong feelings associated with his experiences as a Native American. Lloyd lectures on Cherokee history and culture in schools, universities, libraries, museums, historical societies, and civic groups. If requested, he can bring a number of Native American artifacts to show and demonstrate. Lloyd also conducts workshops on Native American storytelling, building appreciation of Native American culture and what the stories mean to the cultures from which they grew. He has told stories at the Kennedy Center, National Folklife Festival (Washington, D.C.), the opening of the National Museum of the American Indian (Washington, D.C.), the Winnepeg International Storytelling Festival (Canada), festivals, schools, universities, Pow-Wows, theaters, and other venues throughout the United States. His CD Can You Hear the Smoke? features stories and legends adapted by Lloyd. In 1992, Children's Press published his book, The Animal's Ballgame, based on one of Lloyd's favorite Cherokee animal stories. During the summers of 2006 and 2008, Lloyd performed in the Cherokee outdoor drama Unto These Hills -A Retelling. He has told stories on the Discovery Channel. Lloyd wrote a book of Cherokee stories, Long-Ago Stories of the Eastern Cherokee, that was released in early 2008. The book is now in it's third printing (2011). He was included in an article on storytellers in the 2010 Winter issue of the American Indian magazine produced by the National Museum of the American Indian. He received the Mountain Heritage Award from Western Carolina University in September, 2011. Lloyd now lives in Cherokee, North Carolina. Information from artist's website (http://www.ameach.com) ARTSPOWER: ArtsPower's twofold mission is to provide young people, many for the very first time, with the unforgettable opportunity to experience the transporting power of outstanding theatre that entertains, stimulates, and educates; and to enhance "character education"among young people by creating theatre that fosters sound moral development, encourages self-expression, ignites the desire to read, and advances their development as productive members of society. 2013-2014 Arts Program Grant—Spring 2 Orange County Arts Commission The ArtsCenter: School Show Series Celebrating our 27th anniversary in 2012, ArtsPower is one of America's preeminent nonprofit producers and presenters of professional theatre for young and family audiences.With over 750 performances annually, ArtsPower has amassed an audience of more than 12 million people in 47 states. Since our start in 1985,ArtsPower has created 27 original musicals and dramas, many of which are based on highly-respected books for young readers including: E.L. Konigsburg's Newbery Medal-winning book, From the Mixed-Up Files of Mrs. Basil E. Frankweiler, Paula Danzinger's Amber Brown Is Not a Crayon, Patricia Reilly Giffs Newbery Medal Honor Book Lily's Crossing, Marcus Pfister's The Rainbow Fish,winner of the 1995 American Bookseller Children's Book of the Year Award, Harry the Dirty Dog, Lois Lowry's Anastasia Krupnik,Judy Blume's Otherwise Known as Sheila the Great, P.D. Eastman's Are You My Mother?, based on P.D. Eastman's classic picture book, Anne L. Fox's My Heart in a Suitcase, Four Score and Seven Years Ago, Anne of Green Gables, Hans Brinker and the Silver Skates, Olympic Spirit: The Jesse Owens Story, Laura Ingalls Wilder, Salem Justice, Mike Mulligan and His Steam Shovel, Patricia Reilly Giffs Fish Face, Ludwig Bemelmans' Madeline and the Bad Hat, Lois Lowry's The Silent Boy and James Preller's Jigsaw Jones and the Case of the Class Clown.ArtsPower has performed in hundreds of regional theatres, cultural centers, university auditoriums, and schools throughout the United States. ArtsPower is led by Founding Co-Directors Gary W. Blackman and Mark A. Blackman. Greg Gunning serves as Artistic Director and resident playwright. Kim Wood is ArtsPower's Senior Booking and Theatre Field Trip Coordination and Karen Bibbo is Company and Production Manager. Our sets are built by Tom Carroll Studios. ArtsPower has received generous support from numerous corporate, foundation, and government sources including: New Jersey State Council on the Arts, The Shubert Foundation, New Jersey Cultural Trust, Colgate-Palmolive, The Charles and Mildred Schnurmacher Foundation, Lillian Pitkin Schenck Fund, and Enterprise Rent-A-Car Foundation, as well as many valued individual donors.. Information from artist's website (h ttp://www.artspower.0 STAR TOURING THEATRE: Welcome to Bright Star Touring Theatre! Our upcoming season marks our eleventh anniversary of providing professional theatre to young audiences! This year we are touring from California to North Carolina, Florida to Massachusetts and all states in between expecting to provide more than 900 performances to young audiences in nearly every imaginable venue. We have actors joining us from across the nation,thirteen brand new shows and we are thrilled to welcome our westward expansion. Bright Star Touring Theatre was launched to provide high caliber, professional theatre at an affordable and all-inclusive price. Our objective has long been to make theatre as accessible as possible—and to reach as many young people as we could, a commitment we proudly stand by today. Our season is comprised of literary, curriculum- and character-education based classics that are as entertaining as they are educational. From historical productions like Heroes of the Underground Railroad to character-education based works like The Lady of Bullyburg and Sadie's Spectacular Saturday, Bright Star offers something for everyone. In fact,this year we have thirty different productions hitting the road with our season including puppets, science and nutrition shows for the first time ever! 2013-2014 Arts Program Grant—Spring 3 Orange County Arts Commission The ArtsCenter: School Show Series The founder of Bright Star Touring Theatre, David Ostergaard, is no stranger to the theatre world. Committed to professionalism, he has assembled a talented and dedicated team of actors, directors and designers. Information from artist's website (www.brightstartheatre.com) GUY DAVIS: Guy Davis is a blues musician, composer, actor, director, and writer. Davis has done residencies teaching about the blues to children at such prestigious locations as the Lincoln Center, NYC and Kennedy Center in Washington, DC. For this show, Guy will perform on the guitar and harmonica and present the traditional blues music and stories from the Mississippi Delta, providing both a geography and history lesson deeply rooted in the Black experience in America, making this a great celebration of African-American History, as well as exploration of music for students. Mr. Davis, notably the son of actors Ossie Davis, a Kennedy Center honoree, and Ruby Dee, an Academy Award winner, is a musician, composer, actor, director, and writer of worldwide acclaim. He performs solo, with his guitar, sharing heartfelt blues songs and stories. Guy grew up in a middle-class New York suburb and always had an interest in the varied experiences of some of his family members' lives and struggles in other parts of the country. That tied in with a special passion for acoustic blues music and, while he has had great acting experience, his current focus is his music and sharing that with eager crowds. Guy's television appearances include `Late Night with Conan O'Brien' and he has appeared on nationally syndicated radio shows including Garrison Keillor's `A Prairie Home Companion' and David Dye's `World Cafe'. As an educator Guy has performed residency programs for the Lincoln Center Institute, the Kennedy Center, the State Theatre in New Jersey, and works with "Young Audiences of NJ", doing classroom workshops and assembly programs all across the country, and in Canada for elementary, high school, and college students. Information from artist's website (http://Euydavis.com) DOKTOR KABOOM: Doktor Kaboom! is an interactive one-man Science variety show suitable for all audiences. The creation of Actor/Comedian David Epley, Doktor Kaboom! creatively blends theatre arts with the wonders of scientific exploration. Join him for a sidesplitting journey of increasingly spectacular, and often successful, experiments and demonstrations. Doktor Kaboom! keeps his crowds riveted with interest and rolling with laughter. Doktor Kaboom! takes his audience on an amazing educational tour of the modern scientific method, using humor and comedy while demonstrating spectacular applications of the physical sciences. Whether he is performing for school children, families, retirees, corporate executives, late-night cabaret, or Shakespeare sophisticates, Doktor Kaboom! leaves his audiences thoroughly fulfilled and cheering for more. David Epley has been fortunate enough to discover two passions in his life. Science, his first, took him to studies at the North Carolina School of Science and Mathematics. His second, performing, became his career, and for 20 years David has made his living writing, performing, and directing original interactive 2013-2014 Arts Program Grant–Spring 4 Orange County Arts Commission The ArtsCenter: School Show Series comedy across the US and Canada. He now brings his passions together with an explosive style that refuses to allow his audiences time to catch a breath. David lives in Yellow Springs, Ohio and is the proud papa of his five-year-old daughter,Jindalee. He believes strongly in service and volunteers as an EMT and firefighter with his local Fire/Rescue department. Information from artist's website (http://www.doktorkaboom.com) BILLY JONAS: Billy Jonas is one of those rare performers who can engage and delight both young and adult audiences. Billy's clear tenor voice is well-suited to a plethora of venues, from intimate settings and workshop sessions to large halls and outdoor festivals. For more than two decades, his creative and interactive performances have enchanted and inspired folks from all walks of life—touching hearts, souls, and minds world-wide. As a founding member of the acclaimed duo "The Billys," Billy Jonas has made innovative use of"found objects." He helps audiences discover the music within common items ... and within themselves. Billy Jonas' recordings and live concerts across the US and Canada have generated an enthusiastic following. His CD "What Kind of Cat are You?!" received multiple awards including a First Place/Gold from ARM (American Federation of Independent Musicians), and a Parent's Choice Gold. Jonas' videos have garnered critical acclaim, including Parents Choice Awards and a New York Times "Best" listing. In 2010 he was invited to present a concert at the White House! Information from artist's website (http://www.bilixionas.com) LI LIU: Li Liu was born in the city of Shenyang in The Northeast of China.At the age of six she began her acrobatic training, and the following year she was chosen to attend The Chinese National Circus School in the capitol city of Beijing. While in Beijing she trained for eight hours a day until she was 16. In 1984 her artistic cycling act won a gold medal at the prestigious Festival Mondial du Cirque de Demain in Paris, France. She often teamed with her sister Liu Ying to create duo acts that were conceived by her coach and father Liu Gui Ting. In 1995 their duo hand balancing act was selected to perform at The Wu Qiao International Circus Festival where they were awarded "The Golden Lion" prize. For many years Ms. Liu traveled extensively throughout Europe, Africa and Asia with The Liaoning Acrobatic Arts Troupe. She performed with Zirkus Knie in Switzerland, Circus Krone in Germany and with countless other touring shows in Italy, Holland, France, South Africa, Singapore,Japan and Indonesia. She came to the United States in 2000 with Ringling Brothers Barnum & Bailey Circus and toured all over the US for two years. She has been living in the US and working as a freelance performer since 2003. She is a regular on the NBA&WNBA half-time circuits and is also is a featured performer on Princess Cruise Lines. In September of 2010 Li appeared on The Late Show with David Letterman. Information from artist's website (h ttp://www.acrobat-liliu.coLn) • 2013-2014 Arts Program Grant—Spring 5 Orange County Arts Commission The ArtsCenter: School Show Series MIKE WILEY PRODUCTIONS: Acclaimed actor and playwright Mike Wiley has spent the last decade fulfilling his mission to bring educational theatre to young audiences and communities across the country. In the early days of his career, Wiley found few theatrical resources to shine a light on key events and figures in African-American history. To bring these stories to life, he started his own production company. Through his performances, Wiley has introduced countless students and communities to the legacies of Emmett Till, Henry "Box" Brown and more. His most recent works include a one-man play based on Tim Tyson's memoir Blood Done Sign My Name and The Parchman Hour, an ensemble production celebrating the bravery and determination of the Freedom Riders who risked their lives to desegregate Southern interstate bus travel in 1961. Mike Wiley has a Masters of Fine Arts from the University of North Carolina at Chapel Hill and is the 2010 Lehman Brady Visiting Joint Chair Professor in Documentary Studies and American Studies at Duke University and the University of North Carolina at Chapel Hill.In addition to his numerous school and community performances, he has also appeared on Discovery Channel, The Learning Channel and National Geographic Channel and has been featured in Our State magazine and on PBS' North Carolina Now and WUNC's The State of Things. Information from artist's website (Ln mikewiley_productions.com) NC SHAKES: Mark Woods and Stuart Brooks founded the North Carolina Shakespeare Festival in February of 1977 as a small, resident professional theatre company dedicated to producing the world's classics. Today, NCShakes continues to set the standard for creative excellence in theater and arts education in North Carolina. NCShakes' mission is to entertain, educate and enrich North Carolina students and citizens with quality professional productions of the world's great plays and with in-school and life-long learning opportunities. Since 1977, NCShakes has achieved the following: Mounted over 165 professional productions; Filled nearly 2 million seats at venues statewide; Made nearly 2,000 tour stops statewide; Performed in schools in every North Carolina county; Presented school matinees to over 12,000 students each year; Presented Dickens' A Christmas Carol annually since 1977. NCShakes attracts the highest caliber actors, directors, designers and technicians from all over the United States. NCShakes is associated with Actors' Equity Association,the union of professional actors and stage managers, and operates under an agreement between the union and the League of Resident Theatres. With Shakespeare To Go, NCShakes promises an interactive experience that will enrich your school's study of the world's greatest playwright. Shakespeare To Go features direct audience contact between actor and audience - literally. Actors incorporate the student audience into every performance, giving students the valuable experience of both observing and participating in a live performance of the Bard's work.The program offers minimal use of set and costumes, sharing with students a primary focus on the language of Shakespeare, while also allowing performances to take place in almost any venue a school can offer.The program encourages its audience to use its imagination and sense of play, as actors double and triple the roles they perform in any given production. Information from artist's website (http'//www.ncshakes.org) 2013-2014 Arts Program Grant—Spring 6 Orange County Arts Commission The ArtsCenter: School Show Series FELIX PITRE: Felix Pitre, born in Catano, Puerto Rico, has lived in the United States since the age of two. Raised in New York City, he attended The New York City High School ForThe Performing Arts and Hofstra University. As an actor he has worked in every medium including television, film, theatre and commercials. He has performed his bilingual program, Stories and Songs of Latin America (1974) throughout the United States including Washington's Kennedy Center and The Smithsonian's Discovery Theatre. He returned to the Smithsonian in 1993 with a commissioned piece, From Jibaros to Juan Bobo, Folk Tales of Puerto Rico. Other programs include, The Caribbean and Columbus,More to the Story, a look at the discovery from a native Puerto Rican's point of view,Animal Tales, learning lessons from humorous animal stories and songs while exploring our need to care for wildlife and the environment and Mexican Legends and Songs, exploring Mexico through stories, customs and old favorites like, "Cielito Lindo" and "La Cucaracha." His picture books,Juan Bobo and the Pig, and Paco and the Witch, (both illustrated by Christy Hale) were published by Lodestar Books, Penguin USA, 1993 and 1995 with a Spanish translation of the latter, Paco y la Bruja, (Osvaldo Blanco.) He also has contributed articles to La Nueva Hola, a national newsletter for The Hispanic Organization of Latin Actors and is featured in the anthology, Tales Once Told (Scholastic.) Mr. Pitre has also conducted workshops for students and teachers on Latin American culture, storytelling and writing including an annual appearance as guest lecturer at Long Island University's Summer Institute for teachers and for the Education Department of The Kennedy Center. His hobbies include reading, golf and an occasional discussion with his philosopher friend Santiago. He currently resides with his family in Putnam County, New York. Information from artist's website (http://www.felixpitre.com) PROJECT TRIO: PROJECT Trio is a passionate, high-energy chamber music ensemble comprised of three virtuosic composer/performers from Brooklyn, NY. Blending their classical training with an eclectic taste in musical styles, PROJECT Trio has made an impact on audiences of all ages. They also have workshops they like to do with music classes. Bursting onto the scene with their landmark videos, right out of the internet generation, PROJECT Trio is a musical experience defining a new level of entertainment! PROJECT Trio is taking chamber music to a whole new level. Greg Pattillo, flute, Eric Stephenson, cello, and Peter Seymour, bass, are pushing the boundaries of chamber music with a high-octane mix of classical,jazz, hip-hop, and rock. The Trio performs to enthusiastic audiences of all ages in concert halls, clubs, and classrooms around the world. Acclaim for the Trio and its members runs the gamut from Downbeat Magazine, which praises PROJECT Trio as "packed with musicianship, joy, and surprise" to the New York Times, calling beatboxing flutist Greg Pattillo "the best in the world at what he does." The Wall Street Journal hails the group's "wide appeal, subversive humor and first-rate playing." The Trio, now in its sixth year, was forged out of a collective love of performing high energy, top quality music to diverse audiences. They are drawing new audiences to classical music and reinvigorating existing fans of chamber music through their innovative performances, recordings, and their YouTube channel,which has over 71 million views and 78,000 subscribers, making PROJECT Trio one of the most watched instrumental ensembles on the Internet. The Trio,which performs over 70 concerts a year, plays to fans of all ages in venues around the world including Carnegie Hall, where they made their 2013-2014 Arts Program Grant—Spring 7 Orange County Arts Commission The ArtsCenter: School Show Series debut in 2010. In addition to their extensive performing schedule, the Trio is dedicated to arts education, inspiring a whole new generation of concert going music lovers. PROJECT Trio has performed for over 100,000 students on 3 continents, including over 35 states in the US. With appearances on popular TV shows on Nickelodeon and MTV, PROJECT Trio is instantly recognizable to students of all ages. By presenting instrumental music fused with hip-hop, rock, and pop, PROJECT Trio truly bridges the gap between classical music and pop culture. Information from artist's website (http://www.projecttrio.com/) SOUL STREET DANCE COMPANY: Soul Street Dance, a company from Houston, TX (Spring Branch) which was created by former members of Fly Dance Company, is unique for their way of incorporating different styles of street dance. Under the direction of Javier Garcia, Soul Street presents a new era in dance. While pushing the artistic boundaries in street dance, they maintain the true essence of the culture. The history of the company dates back to 1996, as a self-taught street crew competing for recognition in the Houston area. They quickly caught the attention of the artistic director of Fly Dance Company. They then became the company's principal dancers and helped turn Fly into a national touring sensation. Soul Street concerts consist of high-energy movement that will keep you at the edge of your seat. The music is an eclectic mix ranging from hip-hop to classical. It's a show that will make you laugh and keep audiences of all ages entertained. In conjunction with concerts, Soul Street offers educational and outreach performances that have taken audiences of more than 300,000 by storm across the country. Information from artist's website (http://Souistreetdonce.com) THEATREWORKS USA: The mission of Theatreworks USA is to create, produce, and provide access to professional theatre for young and family audiences nationwide, including disadvantaged youth and under-served communities. Since our founding in 1961, we have presented more than 90 million children and their families with opportunities to enjoy our theatrical productions in 49 states and Canada. Each season, three million children, many of whom have no other access to the performing arts, attend our original productions in venues as varied as local elementary school gymnasiums, regional fine arts centers, and major Broadway-sized theatres.Theatreworks USA tours approximately 16 shows each season from our repertoire of 133 plays and musicals. In addition, Theatreworks USA has an extensive multi-cultural roster of guest artists, including storytellers, puppeteers, poets, and magicians. The overarching goals of Theatreworks' programs are to: Create literary- and historically-based shows that stimulate reading and discussion on the cultural, historical, and/or social issues and themes represented in each show. Foster and nurture the wealth of talent that exists in young writers. Encourage young people to tap into their own reservoirs of creativity and talent. Present role models and encourage positive values through the shows' content. Enhance the theatre experience which children share with their friends and classmates, teachers, and families. Develop a life-long appreciation for the arts. Build the audiences of the future. Information from artist's website (http://www.theatreworksusa.org) Accrual Basis The ArtsCenter Profit & Loss by Class July 2011 thr%V94 J%rW412 Ordinary Income/Expense Income Individual contributions Individual giving 56,885.34 Scholarship Donations 4,433.00 Board Give&Get 27,420.00 Total Individual contributions 88,738.34 Corp.&foundation support Business Grants 18,170.63 Foundation Grants 250,678.79 Sponsorships 3,700.00 Total Corp.&foundation support 272,549.42 Government grants NCAC grants 49,997.00 Town of Carrboro Grant 15,000.00 Orange Co.Grant payment 3,000.00 Town of Chapel Hill grant 10,000.00 OCAC grant 6,900.00 Total Government grants 84,897.00 In-kind contributions Donated materials 18,951.16 Donated services 170.00 Donated assets 11,860.00 Total In-kind contributions 30,981.16 Performance Revenue Youth Performance Revenue 1,700.00 Theatre Revenue 112,340.62 Concert Revenue 135,605.32 Superfun Show Revenue 10,633.00 School Shaw Revenue 67,365.25 Performance Admission 3,212.00 Less Admission Discounts -429.00 Refreshment sales 50,079.31 Merchandise Commission 4,393.75 Total Performance Revenue 384,900.25 Program Revenue ArtSchool Tuition 210,211.68 AAI Tuition 58,819.50 ArtsCamp Tuition 134,251.50. ArtsCamp Registration Fees 8,040.00 Page 1 of 6 Accrual Basis The ArtsCenter Profit & Loss by Class July 2011 th%yg4 Jt%rW412 YAC Tuition 87,278.67 AIE Revenue 3,110.00 Less Tuition Discounts -410.40 Allowance for Scholarships -15,279.50 Transportation 15,182.10 Merchandise sales 35.00 Kids Food Sales 3,638.80 Total Program Revenue 504,877.35 Gallery revenue Gallery Registration Fee 370.00 Center Gallery sales 1,698.68 East End Gallery Sales 2,436.90 Total Gallery revenue 4,505.58 Investment Revenue Interest Revenue 8.65 Total Investment Revenue 8.65 Rental&Royalty Revenue Backline Rental 290.00 Space Rental 41,803.34 Total Rental &Royalty Revenue 42,093.34 Gain/Loss on sales of assets -6,660.54 Special events Event ticket sales 15,687.00 Auction revenue 7,425.00 Other event income 1,440.15 Total Special events 24,552.15 Other sales Credit Card Charges 21,010.50 Total Other sales 21,010.50 Advertising revenue Ad Revenue 17,688.00 Total Advertising revenue 17,688.00 Other revenue Other revenue 9,048.00 Total Other revenue 9,048.00 Total income 1,479,189.20 Page 2 of 6 Accrual Basis The ArtsCenter Profit & Loss by Class July 2011 th%ygq Jly&W412 Cost of Goods Sold Gallery Pieces Sold East End Gallery Pieces Sold 130.00 Center Gallery pieces sold 1,033.50 Total Gallery Pieces Sold 1,163.50 Bar Supplies Non-Alcoholic Beverage 2,800.66 Bottled Beer 3,366.67 Wine 2,180.91 Keg Beer 4,518.00 Bar Supplies-Other 1,800.50 Total Bar Supplies 14,666.74 Total COGS 15,830.24 Gross Profit 1,463,358.96 Expense Performance Expenses Performer Fees 219,857.21 Tech Fees 12,891.29 Equipment/Backline Services 2,030.00 Royalties 3,305.54 Food/Hospitality 6,117.70 Total Performance Expenses 244,201.74 Program Expenses Travel 2,042.61 Instructor Fees 204,300.41 Model Fees 3,250.00 Program supplies 36,723.68 Food Supplies 5,399.09 Transportation Fees 12,660.00 Rent 3,944.37 Total Program Expenses 268,320.16 Gallery Expense Gallery Coordinator Stipend 2,400.00 Total Gallery Expense 2,400.00 Salaries&related expenses General Labor 41,257.83 Bartender Pay 3,462.00 Page 3 of 6 Accrual Basis The ArtsCenter Profit & Loss by Class July 2011 th%Vg4 JyurW412 Staff salaries 322,697.71 House Managers 19,951.52 Social security&medicare 28,342.06 Total Salaries&related expenses 415,711.12 Employee benefits Health insurance 31,350.80 SEP-IRA matching contrib. 1,014.48 Total Employee benefits 32,365.28 Professional fees Program planning consultants 25,596.00 Payroll processing fees 3,540.20 Computer consultants 6,506.95 Contract temporary help 4,110.00 Facilitator Fees 4,000.00 Accounting/Auditor fees 8,358.04 Total Professional fees 52,111.19 Supplies Office supplies 3,241.42 Maintenance supplies 5,076.25 Total Supplies 8,317.67 Postage&delivery Postage&Mailing Services 7,637.30 Total Postage&delivery 7,637.30 Occupancy expenses Utilities Internet access 1,378.80 Telephone 6,655.36 Electricity 15,620.13 Water 5,380.68 Gas 2,643.44 Total Utilities 31,678.41 Exterminator Fees 1,125.00 Decorating&maintenance 9,405.25 Main St. Properties CAM 34,490.29 Total Occupancy expenses 76,698.95 Equipment rental &maint. Copier lease 3,348.00 Postage Meter lease 731.38 Page 4 of 6 Accrual Basis The ArtsCenter Profit & Loss by Class July 2011 th%Vqq J%W&2 Other equipment rental/maint. 2,063.80 Computer expense 755.55 Total Equipment rental&maint. 6,898.73 Printing&publications Printing&duplication 17,782.57 Total Printing&publications 17,782.57 Conferences&meetings Registration Fees 970.00 Membership Dues 1,454.08 Total Conferences&meetings 2,424.08 Financial Expense Mortgage Interest 54,876.72 Other Loan Interest 14,712.00 Finance Charges&Late Fees 1,001.38 Total Financial Expense 70,590.10 Depreciation expense Depreciation expense 32,631.15 Total Depreciation expense 32,631.15 Insurance Insurance-general 10,344.00 Workers'comp insurance 6,972.10 Total Insurance 17,316.10 Bank charges&fees Bank charges 689.20 Credit Card Charges 23,238.23 Total Bank charges&fees 23,927.43 Advertising Advertising 25,915.28 Total Advertising 25,915.28 Otherexpenses Meals/Entertainment 139.10 Other expenses 545.20 Sales taxes 3,957.03 Special Events 10,520.89 Other Taxes 112.00 Permits 870.00 Total Other expenses 16,144.22 Page 5 of 6 Accrual Basis The ArtsCenter Profit & Loss by Class July 2011 th%Vq4 4yunl?412 Total Expense 1,321,393.07 Net Ordinary Income 141,965.89 Net Income 141,965.89 Page 6 of 6 O o 0 °o, ° W o W O O o 0 0 0 !O-O I O O 0!O O 1 0 0= m 0 0 0 O l O O j 0 o m O O O Cl O W: O O O O O O O O O O O 0 1 0 O O N j 0 O O O I O O O O N !O O l m O O m O O C O A I O O O O r O V n O O O N O m l I r n I O m O 00 1 O O N N I O O M A 1 0 m O N O N W 0 0 0 O W O W m V m V m A V l r O W V O m M m V N M M O till I m!A 11 O N i W O I O I O O 07 M j O III m r v 0) CO m n l n,M N O Cl M co m O N I O LL mIN W t0 1 NI m M W10 M.i OI W tDl IN_!rl m. OOm M tfA O) ao nl !M 10 V ^ m V m aD N � 1 ! m M m II r m O 0, O CD CD CD O I p l 00 O°l O 0 o 0 1 1 0 O O O 1 0 0 mIO oio�o�o H ol m O O O O o o o O o O o O O m a m O N O 00 O O O w O N tO O N O O m O W O W O O m m N O V M 1 0 m m O M r N co C O O 1 O O O O r l r M m r! M!m 00 1 !O N m c 1 N M m mldlm NI-- --�IlMl—III II O I 0!0 o i_-- O oIo O I'---. °.f_. I 0 I.O O---- --:O -_I O!O O�O I O�O O I -..-_-,Ic5l cl O O O 0 o.'L�. -_..-. 1 4 �- m 1� 0 0 oIo O O -oIo O O !o O I O O o C 0 0 0 0�O O O i t- O j O 0 0 1 0�O O o nVp o o M b'C mmI OIO Cl OI OI O -O O OI mO Va h O tNO OmI M ° ° O N O'O ° 1O !N!a0 T at N', VItO rl W m MITI IN 7 r V V MI m m ;. M .O O O O O,O O O ,O O O --j O O ° O O O I O O O oIo O I p.p cl Cl) m M1jO 00 O_°,,O •,. !'m LO m a OD.N ml NI CS, O W �i c; O 6I t 0:N O co - NII Yj O O O O O O O -''O O 0 1 O O O v 0 6 0 O O o O O O M m O m a O t+� O M' v� H A n �Imin,elln n n A ml n N to WI m CD I m N m t7 N �W i � I A I._ - - oI o 0 0 of --� o oio M oro'IIo 0 o'oIO C. o 0 0 0' o �.IoIIN�,NNI'o �:I ti1 o 0 otol o 0 0 0 0 1 0 o i o o f O O O O O O O O �O d 0 N j C. O O O�I O N o m o 0 0'. o'I IIm m- '.m m,male o ao mI m ml 1M mI Imp IN m N N N'. �' G:. 0j r V',M All OII m1 00 CIS M A V!V.I ml n m V V t'7 M !N. m ml',. 7 C'u VI I M � II 01 O I I p p 1 O O a O I O O d p I !m�0 1 0 t O I O O .O O I _._ Io oIo o - °o.°o• o °o. of O, o o: I,oI :o v� olo cc,; o m m 0!olld o C! O.o,°o omoll °o, °o O oIo o o 1 O j o O o o a C>, t o t7 r:.N N N N O M C oIo CO o o l o Olt t o ui N C21 N i 0 O ! Oo V r m N I W Cal N m, m W! N co m M I, O> l O O n M:A M O I m r tO r W tO j m tO I m CO I LL �m m W Nj�I - Ntrl .. m m m o0 0 oI. o 01 c � to to o 0 0 0 0. 0 0 0 0 0 'o 'o o' o !oIo o,o'ollo of V o0 0 oIo oio o v 0 0 M O O O O O V O O W O O W O 4 N O m O N O N OI M o 0 O m O O O m I O m m!m m m O m I N m C 01 OI OI m N r A VI aD t- M V m n rl N W.r m m jm C6 rl U) III III �� o II,m a API I�"iIIajN CIO ° y � I oIo 0 0 01010 0 o talo CD o °° -o °oIo loll >_ m N O O O a_-- 0 0 0 O( O °I O O 0 O O l 0 M O O O m O m m M 0 I___f -li N O O O O O O O O O O ! O O!1 O O y O O O O O O O O O I O Cl O i 0 O O O m O O O r O m 7 m 1 to O O O ao it m O m m m W m C o Iro'. mI 0; o. 1111 V 1pI ' WI. Oij V n 11 IINi Ito o m 1n N N a r -It O � > r r I� �o a Q 0 0- 0 O- O O O 0 1. o!O a 0 0 0: I O r O -0 1 0 1 0 01 0 a 0 �O O O O O a 1.O O"1 o O O O tZ d L N 0 0 0 0 0 oio o, oIo 0 010 oI l0 0 olo o 010,0 o Ia o o.o oio °loll° v C., R r o o G o O o I o O I W 0 0 CD W !O O tV m l G N 1 N:O r 0) M 01 C O tO G O O N I O'N H Q-o m m. olo, o VI li vl Im 'N1 A,ao1 mjm m ao m Im -m N m Q.N > WI W'1 4.1° °-I � V oo. ealao m N I r NI, to o m Q Z N _ t0 m I V III M M I I_.W N — ^�_.._ T O m m M m, ao l L 7 II O O O 0 0 1 0 1 0 0 O a o 0 o Cl 0 1 0 01 0 0 0 0 0 o m l 0 O 0 0 0 0 o o m O O 0 1 0'0 0 l� oio a o'o o I 0 0 0 0 0 0 0!0 0: ao 0 0 0 0'',C! o m o I o N N!O O m Cl O O a W O O a I O Oi O O N O O O O O N OO M 6!O O N 0;0 O n O m Go r' m m O O O V N N O V I ImO b M n tmO I w d NII m 01 mi rl r- �' M! v' v c) Ai v vli eWi 1 Nla v1 MI _..- 0 0 0 01.-_._ Io 0 0 0 0 0l oll°0.110 1°ri•IOO•I,c °0•`1°on Ali co o °01 -- --- 0 0 0 0� �0 0 0 0 o oIo 0 0 0 oIp O o' °IO ° 'm`I °I° ! oIo m Cl A, c !m O 0 0 O O O O O O:O O O O O O O N A O c l m W N 0 0 N- O O O: ''.O O j W M W l m O n W m m!O m l col N m d VIcl O m. m 0 m'. ! 10 0. .m O I A g-It O WI nI O, to m'. m Cn V N N M M I�Im 101 m IN V m N II 1 I--I O O --- O O O C>:m O M ao M ° _ - - -- o c 0 0 0 0 0 oI to o o,°IMIm o II °o °lo o °o!'°oIo° o QI III°oIo oio 0 0 0 0 0 o pi 0 0 0 0l 0 0 0 0 0 0 6 0 0 0 01011 Im o oI 6:lri o 0100 MI o N s m'O m I I m 00 li O 00 m O m V W N l po W m. OD O a V' 'O n 0'I A. Cl m I ,Pi I N V r r W O j tO t0 w I m Q I(i tOI N.,.m 1MO 110! _O NI I P') ODI 1 NII .p WII�,I .I C d'.,MjI�I� �i 1' 0 0 0 O O Ii 01�O W P - C `O' S o 0 0 0 0 0 0'0 0 0 --- y - - - 0 0 0 0 oIo o'o olo o of o'o O O 0 0 O j W O Of .l 0 0 0 0 O 0 0 0 0 0 0 0 0 O O h j O O N m 0 0 m O W O O! O O O O 0 O m m O O 1!psp W O N r C', M �{ M O Na O N O V m O'O AI Nl m I m m ° N VII W M m N V m m l m _�I�I 7 - � N N I I O - O O m V A A N m M I I I I I 1 I l l Ii 1 II I O 7 m m' a ai I C dI - ;, yI o'' 71!31 ° wl c EI AI l I' III m I i 311 m II aI = m c .=, 011 TI d' 7 j w. ml p m� ILL o iu Ia O Of yl GI l o a �1 a o' m' i dl £I ml 1 m Oc m C '0, m H ` m C Ol C Y C m m R' m li m M m 7 C p N a N O ` m m 7 7 m O m l O O O N d > t`0 N .0 fl (� U C m m CI CI d m C,i > C Cj 311 LL' W U U m Y I R p1 C y > 7 C Oj{ G 7 m O N m m m m l j I L 3 m C 7 7 1 7 1•7 m O t0 ar N c .a t d ;I o �; c t w', W all of=',c £l cl °tl ml mly'L m m' m mI� cl~I'I~ICI of IN! £I =i rn o �'I � p' "6 .0 �+1.6l! U ()!Ui2 r', 01m m':rK � cIN £ clE mlc Q! QIa1 °' ; act o D:�o >! m °tfly uoi a1 m W o ml o' W m c € al d C 7 tl m' `o of mi ml Rl 7'' >I al of > 10 m . v W >. ml m 't O a L 't, L 7 F I m m LL OIi -' d - v v o ° o a ¢ 3 eol�- t� of ppm, o s o 7! O m m _I talc city a,� a m mI m ca r ° - m G o Q e I '01 F I_-_ U' U - ! 3 -U L f F U W i W C' -.:_H a -a Q� Q rQ 7 > m -3 lU o H O ° O a Y1-- o, i0 7 m I � - I I I I I I I 1 4 I I I - j I I 0 CD 0 'od d1. -0 0 0 of 'o 01 0 o o otu o co o Io 0 O 'Q '7 O•a0 a0 1 O 0 0 O O O O O d O O OI t0 6 0 O tt1 H to O N to DD ao: 1f1 R Oi 1 o O O O I _O O O O IMO I O O t0 M W n N O to ty t0 A O n I to O O O I N b O M W 1A t0 r N N NIM N to N'Id h' IO OI A d d' N n m M (O (O 1 M M t0 d a N M N 1A N to O p C N M � N N I _ F - -- - �I - _ _ r LL t0 • O O O O N N j O O O O {O O !O O NII t 1n N O t0 O O W b O N I O O A A 1 0 1 a0 W O O O O j t3 O O O O N N! W�W O O 10 M t0 d O O M 1ff O O O O O O O O O n n O O N o o M W W t0 III O M t'f o O O O n n O O O to W t0 t0 O W W f0 n f0 d N N O c b d d O q a�i IM co 'IN N N. AIM M rIIN to N t0 f0 I I N 7 r r f0 r r n N t� r r a 7 I I M I M m to 0 1 I I I I O o O O N N j o o o O O O ''o O A -- t0 O O W O O N w O'O O. n 1' O W cq o O O O I O O O O N N N: d' c!O'O l of to W a O O N :O o o N W O 1 6 O O o O d O O I O N co n co tG t0 n o 0 O-. W W '',(D to t0 f0 N to W W w co n M O N T to CD aD 1 0 O I N N A 'I M M I N M r M., M n O'I m r rL q r W o c.4 o!! o'o oo NI - -I Mo o_WNI 0 o 0 o to o of O n n O 0D a0 III i O O t0 N N M d; O O O M N O O O m N O O I O O o 1. o O o o' tp t0 O o oD o o to d co A r O: t0 I N n O O O O co co fD t0 N co co O to H d W A O j M Q. t0 n n o,.to W d M M N N n; III M M N'.N INr W M M, I N r c0 '..N N Wp l r O N Ln r n o O o w to o o o C:; O o 1 O O O O N N O'O O O O O O O n h to O i d O O W M 0D W c D O r O M O O!to o! O O °.. d e., t0 m W W W W n to ao'r N O m bl tp W M c N N V M M N j M M M A r n rL A n' N tV N r r r r r , O O O O N N.. ..O O O (o o o O A A o W OD O O O O b b 0 O M N N t0 O 1 0 Od! N N W La O�':O _M o O O o b o O O o O a0 W O O O o O O to O w d d M 1. O o O n d N t0 fD:. t0 t0 O co co n 1 O to d n m O to : W OI �M M N N O M M,. Nj co t0 M O to m H t0,I M M N r N N OD N LL ' I O' A n O W W O O O O oI, _M O O 0 1 a A I Oo 0 0 C III m a1 -N to --M _- M M M N co!W_n - of v 1--- I` O N O O O O N N O O O A b W O O O O O O O O W N N M f0 0 01 W W O W O O O O: W M t0 N.to to C to O' H fD 10 N.il N ONi O! r r M d N O O N N OIO O O �J m O O W N N A ao O O W d W M I O O W tA" O;O O 0. O O O N O bi n,tDI O O h O N t0 _ b O O O O o: o O O O w to o O A o O co co W I O to W W o O r O n A O O W c N t0 cc co m'�. N M tD N tD W (0 1 N 0 t0 M M! t0 to N N ...N N a0 M M r r A O I' aG lf) - d d N N' W W A N U' O .. O O O O-"-0 N N M to O O fo W N co - O m OD O O O O O N N�'. O O N W to O N O O n W d m O d L N o n A O p W O O O O O O O O O O CL C O O O b to M O O O O t0 to O G O O O A:N fo a0 O W d n Q.N > to W O 1O N N N a co W O to N O M N to co 'Q M co !N N d c t0 m t0 Q T 2 d teS to r 11 ail o j O O ',.N I r r r r O oo OO O O"- co 'O C -th - IO OI IAc0 co t0'ri ri ri N:_.__- 0 --- O O O O O O O O n l N N: O W co o W co M d o�I O O O O o M N N d H o o t0 I'll W N O O N O O O N h O O O O to O to d W O O d d co t0 O W O W f0 N W ONi V t0 n n an h� m t0, N N MI M Mi Nj N 1�I M t0 'col f0 O CIO d' N N III O '•I rI Ci W r r r 0 0 0, o co 0l }oy l! -.1 A at°oloo ooll'� t� n nlll. p o O O O O N N 0 0 0 O I O O cc O A 10 to O A n O co to O O o O b oo O O N N N 1 co O :0 0 01 0 0 !o o N o o co co o o solo O to n N M M to t0 co p W O t0 O to t0 to W d t0 N m O O IIN N N M MI, NtOlr WIN r W tO tb y I th M N cm 1 A : N N d � rI I IN O O c D O O O c c; t0 h p Go O 0 O O'., O O 1 0 O W N N( M t0 O O C7 M N M 0 to O O O 0 0 0 'O OO OI N NI 10 C NI O O n 101 c0!I� tV O C OI 'IO N O n A t0 tp- Ito t0 A O W� m w w ao 0) t01 10 cD IIN N Wj I,M M Ir MjN to dl cl Q ! d d W r r III col A W ! r r i O a0 O4. l o l fD o o-- t o 0 0 0 -_. r�_.. W N- o.e- o o N O O O O N N I O O O O O O O O O( N N O O10 0 to O N n O I O N N; O O O O O O�O I O O O O O O 10 1 O O r 1n M I W to,d A n A O I O co r O co co A n to t0 co co co to co to to W n O 1 w to d d n A N N a0 M M M N h N t0 01 to d 7 d d I III I N .NII r c' 1 L m, C 3 m j I ' m a vIIII rn aci: d �I m yll y�I a°i yl dI m m III m m ml' di_I �'' al E rn', ml > to a, >m t a a1 c1 o al rc TI d1 m1 0 !31 to o'. °f ? •Q ml ml p c aCi m c I = u c a m a c `«° o' c c m t o c rn of ° v ml a a m d' m1 m1 1 3Iml a. m V a �I m c, 'o U) ml _ to x x' m m c e�jl m > c ?' ml �I a al c al 'a o `m 4, o. W w:LL K K Tjml m I cix dl m1 m al to m to .c ml o.' I o.: o m m > a 16 c a o t7 Z ml olm ( m o. ° V o m m a aai 11 d cIm y m V s cl a>i >I ml ola YI m; c °•v m of tnj RIH MA C7'. d,, 'cl a6:'.v m � R d v Lltn, w �IO mQII o'. �I Z cC9! �I cI$ a mjy mj cli, li EII cll� m III ci� to o o! y > ¢10 O�UL° al;a I oI cL�IU�°'- a Zl'm 3 Yim o! Xlll8,ll3 a lo ra m a o w!mIN W -_ i_ -_- F.I.--ol t oI W O'O C/I.O O O l O I OOQ O O O O O 1 0 a O m O N M O O N O O O O N O O o O O 1 0 O N N N O O Ip O O N O O O O t0 O 01 t0 7 M n O O OJ O O O O 01 O O O O N N N m m N C mm tC O C M o l m O W N O N M NIM W M m N l m �T M N A V O O O V N m N n l m W m W m M m O I V O V O r r M m O A a} m n M Of r r N! a V Ip r r N Qw N m M N Ip IA r r W n IA N N W r t0 V W N N MIM N M V N r V :N-N n r M N n INI,V O r m N m N M W N N N m N I M ��r ( r M.M W M r -h III.-O O -.-- O O O m N O N 0 1 0 1 N V m�-._ 1 A m V t0 N o C o em0• O p -p I I I WIOIm m' c4 A�mim Mi.n� O O NiN O n O n! co m M) M N M �N t00 O e e� M 1N Ol I,Ni O MA LI t?I V M M N N r;N O� O W N' n "Dl r N N W) I r V m N N M c4 c4 V r r N N 'T r tq l N N I _�_-- _- -_I t._ 1 r -r N O+ -O p r OIO OIO OI 10 mi00 M OIr MO O t�OO Imp•Om of mlm r - r NI� p N °p Cl O 07 O O O N O O N O O O O O O O N O l o O O O O N O O n O 0 O O W n M O W O 11 n m V M N m 0 0 m O O O A I''O N m m m N M O W 'N O N m M M N:O N r N: OD M O M t0 :OI M 01 'N N tlD-N O O m W 1�1, m W NM N ^�i _ _-I N cc r .,.M IN N O M O N O o,N O O O I _ I O O• O O N O m m�l N O cD N'NI,O O;All OHO N O O O OIA OIIN N. tR,Im OIO IA O Oi In O O O M o G C C N AI P''O O CO Itjlo COI 1O O O OI OI.O.CO Ol '16 V M'ui m O o; m' Ip O o r N m M M W O O W j O O V N O n j m V r m j M MII N M N N O ^ r M _ r N W r V m Q n l 1 W W V N M c,41 M r m N N rl r m M M N N n M W m A m 1 r r O V I M M INI N I Q r N O O I O O O O O N O O N O 1 0 01 O 0 Ol O N O m O r r N r- --,O O O 00 - b L +O•O O OI O O:O O O',N,O OI 1�1 O'O O O O O O ICI OI Ip M I)1 m r! O O Q t" 0 0 0 0 GO 1 0 tG I o ui M N+O O O O 1. O O:m 0 to N A t0 v M III 1 ao A O ri�'I ui O Iri IO m O�011 O I O O 0 to M N N WI m � mi M I On I NCI N col O m WIm c r10f M r, IN N., I1,1A M'O Vim a0 Ir N IM N WI 'IM N.N'1N t'i Mli INI M M N li N M V r r r 1 - O O O O O I O N O O n O O O O O 0 1 0 r ` 00 11 Oo 1 O LO O - Op O N O O N O O O O O O 0 n O N W N m N O O N Old O O O M O N O to I O . OIN M NIO NI O O !O O O O I N N Aim O'm 0 O O I O O m to:N m N:.M m N''I O M m W O O V V O N N N m r m M N W N O N%O N N r V A N .1 N N -N M M i+f N N M M N III) m A LL N i a m M N A N V O , J._ -_ -t -1� clL IY_� Ilororo of-- ,,01010 oIN'oIr M�- !rl,r NI ol..o..oloio. O� - _ olp'--- OI N--- 1 - - I I _ cD cDl°oIcD of o ry�olo Aiolo of to o Io oI oIM o: Iq'1p rI, o,Io L. 18 a 0 0 00, M o 0 o N A o 0 o td o o Iti li o p N o o to n l to v M vi ao 0 0 11 0 0 0 m N m O O N, O o W O W N O N N C t'Wf A OI mi M O 01 M m; N N tii r'N m M nl mI li N N OI WI MIN N R M OI r l V M r N to 1. M: MII NI C0: NI' � } •--_I I _ I -___, ICI- ��-I 7 r M II .L+ -- _ __� t i— I- L Oi O N O O N!OO O 1L0 O O O N 6 N V± N IOO O O OIO O O� O�O`O O O OO O; O.N OIO Alo O o1 O o O1 O nI0 W ml N m O!O O •� 0 0 01,0 oI lolto!0'ui Mlolo N'I -o o'.. 'Ito oIV':o`M m nto a IM�Nm m o'.010 NI 101,0 c O m I 0 1 0 N O Cl O I O O N O V.N m I m: m! M M m N O N O N r N n V m _ r m -_ IrN m tin p ml IMI' I `,'I - II_._L ` M A N N _- N Y � m 1- r MIM 1 W I.� —__�-_ _c4 cb -_. A T I 1, I hD 1. V L A d N o 010,0 O wl o o n-.._I 1 - i eolm��, In1.m v MIN' -. - -. R > .+ Ol In O O O O O O N O O N O O O� O O O O N O M N N O O N 0 0 CD!0 U)' O O O ll L 0 1 0 O O O 1 0 o f A 1 0 W 10 N m O O O O V. O O O Q rp v O O O A Go O "Ni o N t0 IN O m'I. O O j O N to I m 0 O c 0 m O O O F N O N M V N m O O m W :O O m N N-N O W m m•i M INI O V N O N CL c4 > W OD AI N t0 V Lci N N m1 N1 OI WI Go co I�'1 r fAI N j OII W N M N o rI - r1 `.-I �N MI 7 I ,I _ O O O O O O N 0 O N O O O O O O O N O n W I r N 0 0 1 0 O O O O O O 0 0 1 0 1 0 O, O I N O O n I O O O 1 17 O.1 I o o n O � N It7 t0 r i o'o.c6 o O N' f O O O N o O O'IO O Om O N NI N',O OI, O O !O O O,C N I A'tD V' MIN m O 01c';10 m O'O O N oCo V N O O O'.ml m�, O OI iV N O:V O M m'Ir mI IMI M NIO M N I P N m V V i N m A m m. rI M A N N n M 1711 I O m aD n m NIA N M N1 ni N m O N`_.... N i- N `� -Ii.N M r IMI N+ N N O 0 0 0.0 0, o N o oIM o 0 o'I o- o� o�o�N o m oI N o 0 oloio 0 0l oIo 0 O 0 t.0 Iq tD r O i O N C'O i O,O Ip I N N O O O N'I, m l O' M N O A O O m O O O W N '!� m V M j N m l m C I O O CV O O O m O n l O O I N I O O m O O O A 1 0 O m A m l m M M O N I O 0 a N O N Q A W' NI. 101 V M r m V I N N n M'W n,A N r, ml r N N V N V N r V N R M: r W N m 'I. M r N O M r M N N I{O r N N -- .- M r M r cn N N O O Cl o o O W O O N"O O V O O 0 0 N O 1'0 0 p O O 0 O O O p o o'.o N. o N o 011- 0 O o'. o o 1.olo n oito eh v?'.�? r, olo'INlo o o'o N IoIo 0 N N O o O N' O,MI of N N NI O a;,• o OI 1,r O f0 O NI, A m V M In ml o oI of O V O O O N N;m Vm'•N M m n nl 0 O N N•,.N N. m m MI 1 M INII W O M NO N <n N ac Ip m V co V M M N N 'NIN O A j O N n m; r N�N a N 01 I r M V a7 ^ n rl N A N r M �I M M N M N ml,. N Cl) M V I cD r N'd1 p;.N N1 -._. OI OiMI r ml 010 MI'i. O OI II W OI O N M H, l NI' M ����MII o!III O �!II 00•I b �. N O O O N O' fw'. Vlep V N "1: IiM Cl -,N NI A NI WI G0 W m 1 V 1p Ir,Ni m. IN V N M Imo. •I m� ML�IN ��_ _� M1i _�NII - �•vi� tol --, M 1 I I I I 1 I v 1, I � II c II •' 1 � II I a 1 �; I ', IN y ! N N R Q t 1 ICI 7 Q N 1 I d to a; v I x I c I'I c awi m I m rn m a dII d dvl 1°il �lw c�c'Ia k KI m w'I ro� of 9i 2 m' al Y W m tL m R C' N li GIS R al c! C C' C 7 7 R 3 Re I ?I C X'. C'I d •O T R d l I C L a i N C'I a C C Q m 7 R'', N 11)l NI O1 wI y alQ d O R N p :+': it W:.,� m C m ° O m Q C m ppl 9 c R Q I« to [ x a s to R °� all R m' R o o1 ° £ LL °-� a u a C LL W 31 O w R' O RI a c l us C x IS a a',C A aci U `i CI R m yh �' GI, £ o'I AI Q QI I C O. o m I �I m m d y. Ip xI «ili £I7 o Q Im v R.� w j a QI, c, E 7 '. v; �p c.� , ta ela LL £ SI.t w `I yl Q W; x ��_ ati. cl to ai RI m r ° R = R'�y 7 d Q n r RI,v a+l £ ml v' c °'1 w mi. R �! at' m ' to Co 'ml T, EI al 1n °i ° Y' -1 0l of yl edil c� o CIS f- wlrcLLl9 o °- IQ LL's_ �I of RIrc7_'I o �IIIc9 m �nl°I °I o' E x U) 00 c aTa;o �Icilll_ o ol� I� o uj ol o a, _ R a w w o £ cI oIo n. m v o o R `� °� c7 � I — - ��l. - a �f RIO R d R _ f ` I I t0 '201 H tO O O O O O O O O OD OD O O O O O j 0 O O INI I O M O O O O M M 00 O I O O O fA O O OD t0 0.O O a d l O H r O O O j OD N O b W) O tO C 1� O I N I p W O O O )O N d In MM tO tO M N M N N. fO.M dIW M 1WO IOOWI a r 0°D IrO M d d r N N. M n A d N U M N N' Min h d cc M tO �I` to W O O r M M W O d M rr M n r r t0 r � N N 1 - I r r I t0 t0 tO. _-. 'r i I I I I I I I 1 LL I m (31 0 0' C! o _ I _. nl°.�IO Oo of ol1.0 llv vl `o c 1jo c of INI:)a�o �I Illo of Io _- -. . l0 0 o'Io o rnI o ° aW' dl M o M o o to N O n O O O'I co Go d o,'O!l o to I Fi j d N O O O O' O n l' li co 00, t0 1 d I M n M W I dp� N W 10 fA� r b r d N O --tO b N r d l_ - d l -,-M I M r 1 d l N N N N ty N 7 I I M .I o 0 o ooi rn olo °ol°o °o 1. °Io °O III o o° C" 0 0 LO:o W d o o o 0 o o 0 0 W l o 0 0 o W A old M ri. v iei..o 0 o M n m co� 0 o'Io d d o of 010 0 �...��,° 00 00!1 ID n d O W W M M 00 001 N N M ! a0 d d r _ i_ r M r d I-N N T r r d r tO M I :04:-!- r n l I r N n r W A - L A I N O – r oIW' oIc O.O 0 0 0 O N O -W d - O O O tO tO'.. O O O O O a0 O O O I' W olollo o to n oja r! ololo W W'll o of 0 0 0l to W O "t Flo o ev M ciao o o'lo d vj o o ',oleo of M o �! l0 0 %o -W d' W ml.. M, It>D : IN o; 1� �I l n �lr 001 ',..a all O. t0 eD )O C% d M tO M N d',. r r r r r I N I r N "M M �d w',,M H d M I O I< .0 O O CD LC) L0 1 O O O' O I OO O a.: O O W 0 0.0 1 0 CD: n O d O O O O) W O O O O O o) t� O t0 O OI OI c) O M. ` O N'' 'N 00 00 M L) M.I t0 O' O OI o W f0 r 1 N OOD W b b )O N r r td9 b b O O O O O O N O W d O h t0'I O O O l 0 O N a0 O CD: O O O M M M d M O O Oo "CD O 00 O O O d d O O O O -O 00 00 f0.n IO tO M O W�W bN M O) W MI.A MITI IO O. O ,p N AI d 0D t0 W M N:: Ni r,. ni '.I )_I r W:, d d l to 11 r r r r r LL r j N N N N I I II O..d O O'O Of W�,. O O I b l 0 b M N O t°O !O!_O O _- O 0. �0 0 0 oio o� n o W � o ° olt0 0l o 0 0 M co co d ui o 0 0 ni U) Go m o 0 0 li v v of ao o n C. O I. O -0 O d l W OD i M' ao -N O n ` I.d 0 d... tO n tO O O 1 0 1 C N tpl M aD M ao t0!. IOI tO ao INI dl r N r M'.,, i_ r 6)'. m ! N N Y)'I N N r r 7 I I r I----� -__-- --0 1 o O N d o 1 10 r ., 1 �'''.., Ilo o 'o. m O O O O O O O O O O W d 0 0 0 b b O O O O O' O C O O 01 O O O O W A O d O O.O W W j 0 O a W O M O O O O � OD 00: 7 O O O O M O OD M o j 0 O 7 O O O,o O!1 to 0 00 O O O!O ,7 t0 W O A M W co'... N co d N MM V M M M co d d d': NI b t0 N O' 1, n' WI d d WIQ to U W O N N tO t'f d N C4: O O Q > Y .. . - L T — - _i m O O 0 0 OO 0 0 N O W d O O O t0 to 1, 0 0 -0 O O''I t0 M O Wil O O O-0 per, o N N O O W O O O O W n o d O O O W W O O O O O M t0 O Of O O O O d d' d N:O.O n'. m 0,t>D O: O O O d d O O I Q 1 0 o I O O O O to O r t0 M W O W W 00 W OD 00 I b N M O O 00 00 t0 O W O o O o Q.N > t0 f0 r Lo W d N N t0 O N r l r A N N r d t0 00 r O d d W Q O N I ':.N tO ''I r III cl r W)1 N N - v c.._ rn o 0 0 o W n old .- ... to oo�W rn .II rNlo d,4 d h d C%4!I co In n N °'N r �'., I a n o o o M r O O I i N N � p 0 0 t0 0 ° 0 0 0 0 0 0) O 1 N W M O I N O 00 I, M W N O t0 NO W O N to M vi! _ O )O )O I O O T 0 0 0 0 O,.. A LO L O 0) r: G 0 -' ,O O O O O��j ° 00 G!,O O O O o7 1 0 W W I O co o O I 1 Cc, O N M M V to W) to M m to Ol 1'I o G o R d 0 0 O o o d t0 o o o o o M M fD O:N t0 A I W Go f0 OD N N N. O O W 0) d!W LO O CD, 1 O 6 d d O W U)11 00 1 00 tO M N '.N t0. i n n '.n n aD!.r O '.d d CD, I r m C4 N n 11 N N N ---- M M d O O I L 1- I G''� OD 0°0 11 0°0 6 N M I I,,� W, Owi ui 0°0 1. t i,o I O O I.O O I O O Go M O t0 00 00. t0 W!M t0 co W 00 W O O O 1 p) OI dl OI r tO b O>! N•rl rl r n 't0 t01 M tO d;N nl j d d W QN I M j N t0 1 r l a- r Ni of'rl Y1 j N N j I I I __. O o' O°l• 0 0 0 0 W n O W d 0 0.0I N to l O O O O d O O 1 ° O 0 o d O O j O O) W O O O O O M O d n!O tO A M tO 00 N O O O:d d M M I O O 0, f0 O d 1 O O 0 1 O W N t0 O W M tO co N O 1 A n : 1 t0 O 001 1 0 O O r '. )O O!d tD t.O N O. NI d O )OI MI Ni r tO !d 'Q 1q _ r 7 ty M M 'I � d j �)' N N 1 M - yl I a 11 m 'I, 1, to H 11 m m. I I•A rn I rn, ILL � m cc 1 C m CI III N O l0 U., 1 mII J 1 O)'.I > N N N C N O.' £ N m m',. C +7 01 C' N E W C m G I`! N m N m m x t6 1 N C p t0 li N m l a1j Y! m l N m N_ a I N N C = d n mI m t6.0 m eal °—"' c di to t-' 3 ml amii tni m of t 0, 0- d1 x cl c (D 01�o v d v m LL ! a ul « m a ° o. nI E LL cmi; c1 °..tl c O1Iwl aim o m'd � ots a m c1? n `�°j m E xl c 3',08 c a R I x aI xl m `o j o c. c rn m al ml m a v. 081 c m, c clt,A m.... o m £ -y .6 m m m O o a m E- m ml ml�l 3 £ 3 08 rn nl o f �I al m U c I U m1 > > cl� '=1 = cl al a' m m ° c rn,c m to ail WIrn plmc'1 .2 AG 01.2 of rn U n ml 0/ n ml c rn mI R vl RI °I a m, a y kv LL° !I.c p w1o1�,011 c o oI� Ul clan of o aI�I c tolM'OILLI cI t!QI a O O' m ° MI v a a1 rl UI alr, { to ci O O OI O O N 0 itl t01 O O O O O O O OI O t0 C O O 10 t0 N C tG I A.C O W OC M vW N O 00 0 10 I N-0 W 00 N P 0 N oD P 01 In PI tDI n WI W t? Ow lA LL O N UD N N N N III i N 0 N 00 O O o o W F M O 0 M O O O O O O 0 0i O N to O co A ' C 0'O O I,M M W M t0 CD V O 10 N N N N' M a- N I O o iI W C,I O O O O O O O O Ito o o to t0 O O m O to to tO0 CD D 0 N O C N M t0 00 O Cl at W P M M M M N C4, 1, 0 t0 I II O N O O � I O O O O C:, 0 O O O M t0 O O O O O O 0 O'i, t 0 t0 W OD M O O: O C O t0 t0 O N O O N t0 co M CO, to 0v O i f0D m I M Mil 42 1�0 M N n D' N N. I Cl) "i N N N t0 O O'1 O O O'O O'i O O W O O O O O O O 11 t0 O t0 t0 M O O !O 1 0 O M M O N O" O N W Cl) r W 0 r r N N M M W 0 a t0 I � N O O O O 0- O O o o O' O O O n O O O I O O O O I "�O t0 O- I O 0 I M I 7 O t0 O t0 a :0 O O tD 0 W CD LL r r M O O O O O O O O OI O O Ol O O O O cq 0 O O 1 O O O O O O I I tD O O to OD W tO0 I O O �',M N O'' 0 'Nti' OWi tfO1 C M N W M t0 t0 O W r N N NI O N r r r GS N L O- O O O O O O '.0 O O O O O 0 O O O 1,O O :0 0 O t0 O O O t0 P O O O '.O,C C P P: O NCO',O'.O N 10 t0 O CO 0 40 O O M V' It s V W N N :.t0 t0 M M a to (� 0 0 M O r r fp 7 O Ln tw OL 0 O N d O N O O O O O O O! O b O 0 O tO0 0OD r O 0 0 1 0 O t0 t[) O N O O O N N M �— Cl t0 O l0 O O M t0 O W N W CL N > W an N co Oct: M N w O Q 3 Z O 10 i r O I. 0 0 0 0 O -,O O 0 0 0 0 0 O 00 1� P O O O t{0p 0 O t0 O O t0 t0 N P P O O C I V V M N O�',0�O N N co U N W t0 n n l a- M C P I. N t0 O N 1 N N N M r� r a- O O O O Cl O O O O O O O O a M IOO O!NI,O;O'�O t0 M /0 N O O: O O O n n O N O O O N t+i 6 � C 0O0 000 O O I M I M M h OM! N N N M or °W'I, O W W o O M olloln Oo ch m' _a 0 0 o 0 0 0 0 o N t0 o N o O C O O O to t0 O N O O W M t0 O 40 PW M M M V O I N'--. - ---- Ic�nLo'.o'. — - 0 0 0 0 O O O O O 1,O O O O M P P O O O O O O to N N n P O O C n ki O tV O O O N n C N A 0 n r n n M M�'1 co O'•f Iti 7 co 0 ' I N 111 I I it I I V C ; R 7 m ICI� 111 I C II 1 is w y r 1 wI a Yt 1 e a E y wi p1 U: �: aitRi c Q to i0./ C W Z" E L C w N m 0 > d d O 'D W t0 I V 1 C x I m a to ,tx9!:A - W I fa d I'>O, XI bi U41. V I "w m O C O 'O--. O d t0 SL L d « r U) `o u c mIm > a; a to d11 O a' o c tD ml ¢ �Itn NI� a 3 m m U!� al_ �' S VI a II. o m 2013-2014 Arts Program Grant—Spring Orange County Arts Commission The ArtsCenter: School Show Series 2013-2014 Organizational Budget The ArtsCenter's 2013-2014 organizational budget has not been approved at this point. It will be available by July 1, 2013 and can be provided at that time to the OCAC upon request. 2013-2014 Arts Program Grant—Spring Orange County Arts Commission The ArtsCenter: School Show Series Artists' Contact Information Lloyd Arneach Billy Jonas World Headquarters NC-based artist PO Box 8391 info @Arneach.com Asheville, NC 28814-8391 For booking information: 828-232-9962 x2 Loyd Artists For booking information: Info @LoydArtists.com Peggy Baldwin www.LoydArtists.com peggy@loydartists.com 800-476-6240 Loyd Artists Concert Booking Agency 800-476-6240 www.loydartists.com ArtsPower Webster Commons 271 Grove Avenue, Building A Li Liu Verona, NJ 07044 li @acrobat-liliu.com info @artspower.org Phone: (347) 515-1096 or (347) 213-0340 Phone: 973.239.0 100 25 Chittenden Avenue 5-B Fax: 973.239.0165 New York, NY 10033 Bright Star Touring Theatre Mike Wiley Productions NC-based artist NC-based artist 136 Round Top Road (919) 619-0096 Asheville, NC 28803 mike @mikewileyproductions.com (336) 558-7360 www.mikewileyproductions.com booking @brightstartheatre.com For booking information: brightstartheatre.com Stephen Barefoot going barefoot inc 1410 Shepherd St Guy Davis Durham, NC 27707 For booking information: stephen @goingbarefoot.com Thom Wolke Management (919) 489-1541 678 Stage Road Plainfield, NH 03781 603-675-5454 NC Shakes NC-based artist NCShakes Spirit Center Campus Doktor Kaboom 807 West Ward Avenue contact @doktorkaboom.com High Point, NC 27260 For booking information: Phone: 336.841.2273 Simon Shaw Fax: 336.841.8627 Shaw Entertainment Group Mailing Address: simon @shawentertainment.com PO Box 6066 Ph: 413.274.0038 High Point, NC 27262-6066 Billy Jonas Felix Pitre NC-based artist (518) 827-7229 2013-2014 Arts Program Grant—Spring Orange County Arts Commission The ArtsCenter: School Show Series Artists' Contact Information For booking information: Managed through Theatreworks USA 151 West 26th Street New York, NY 10001 Main office phone: 212-647-1100 Main office fax: 212-924-5377 Project Trio Brooklyn, NY-based group Peter Seymour, main contact 305.496.8424 peter @whatisproject.org Soul Street Dance Company Artistic Director: Javier Garcia 3326 Spring Valley Rd. Houston, TX 77080 Phone: (713) 203-5803 E-mail: jgarcia @soulstreetdance.com For booking information: Gardner Arts Network 155 West 72nd Street, Suite 605 New York, New York 10023 Phone: (212) 496-9121 Fax: (212) 496-9123 E-mail: info @gardnerartsnetwork.com Theatreworks USA 151 West 26th Street New York, NY 10001 Main office phone: 212-647-1100 Main office fax: 212-924-5377 The ArtsCenter Staff Shirlette Ammons Youth Arts Coordinator Mandey Brown ArtSchool Assistant Heather Gerni Gallery Coordinator Adam Graetz Marketing Director Natalie Griffin Accounts Director Phaedra Kelly ArtSchool Director Brooke Kesterson School and Family Performances Coordinator Art Menius Executive Director Brad Porter Operations Director Jeri Lynn Schulke ArtsCenter Stage Director Tracy Thomas Arts in Education Coordinator Julie Tomkovick Development Director Louise Tremblay Summer Camps Coordinator T"DS U U U U 7 � 7 7 7 7 7 7 U U U U U Q U U U U s � U C N O O_ CD -p C (6 D J y °� IL E 3 -L- o O U E E O (A 0 Y U cc aj C A OE U V G 3 E U �° m Y ) c o c E 0 > � � E 0E 0° Y � � m 0 (D cn aO m� tm Q E aD ca_ m U @c> �— n E E (a m 16 Li 0 c E o L) (i Cl o U) (D n s -° fu a> c a) •O o - a) m � _ >E E @ E i = m E o H U ° _ o 6 0 me � O U vz Y m i EQ EQU O (L .0 Y O N 7# O 00 LO O O 00 O � 0) M N aj O C O �F � N c (O 0) M c N O W O V 0D O O N 0D 0D N 1- n N :co M O N N (O (o O O (� p N O O O O O O (M W d) 0) U S U = U U = U 2 0 2 2 U U w O N 00 O C) R N O 0 O v O O LO N M (O 0 O N 00 N T � LO � C?d) M 0) d1 d) CO Q d a1 t T cF � O p 3 _rn _W _rn _m _rn _rn _rn ao m Ga O O O O O 0) lA co O O_ N N 7 M U) ^ 00 N n 'p (O a) i` _V O N 65 C11 �• m r LO O O O m n ^ N O Lr) _ L C L Z N r 6) N N N N d N C'4 O U NZ EN cN v� U � U SZ NN Z5U m U N tiU mU mz 3Z E U > z z .- C7O >>U) O C _= 0 M 41 O E O C_ Q 7 O J ca ? 0 (/) a) y d 0 t6 0 N o f W ' z Cl) a U Q 0 C,4 O N m O °—n 00 a3 p N F— Q � (.) N0 (000 Loo) �U NS NU SOU M U n. o O O p p C) l0 o O p O o g N N N N N t N N N N N �I,I�'i� N x N a) ' — V L t difPriPr LM �7 7 M M 47 m a3 E E N li. L E -� Q O L O Q U O O f6 w .7 Q y L z N U U = 2 = }- r Q M r O Cl) O "@7 Cl) C\j 0) ZN O a U O N N •a } N N itCD Wo JN O OM Z 04 N cli +aa° 3: � Z W rn Qa m � mN Z � d co o Y Q p O w f= m ° ° O Y Q r Q , J Z (q W W O FQ Y W o 2 W -j Z M W O co Iti v, Q Q O O Q -� O O Q d z m U ti ON N 1- t- The ArtsCenter's 2013-2014 School Show Series SEPTEMBER: Sept. 9-10: in-school shows by Bright Star Touring Theater Professor Parsnip's Lab of Healthy Choices (PreK-5th): Wacky Professor Parsnip takes your young audience on an adventure through science, teaching how to make good choices in diet, exercise and environment along the way. Exciting science experiments from the lab of Professor Parsnip reinforce healthy habits and good character traits. Interactive and fun — make this science show a must-see! American Giants of Science (3rd-5th): Thomas Edison, Alexander Graham Bell, Benjamin Franklin, Steve Jobs and more all make their appearance in this celebration of American scientists and inventors. In a whirlwind tour through time, your young audience meets some of America's most famous inventors. The best part is the audience interaction in this show,which features audience volunteers on-stage— helping to fly Ben Franklin's kite, work with Alexander Graham Bell on placing a phone call and so much more. This rollicking educational adventure is laugh out loud funny. OCTOBER: Oct. 7-10: in-school shows by Project Trio (K-8th) PROJECT Trio in-school concerts can be offered as a 30-minute experience or a 50-minute show. The content is specialized for the particular grades in the audience. The focus of the show is on the music and the performers. The concert is a high octane chamber music experience that is both aurally and visually stimulating. PROJECT Trio takes the students on a journey through multiple genres and styles of music, including classical, jazz, rock, salsa, hip-hop, and our own unique original music. The concert features famous composers like Tchaikovsky, Mingus, Prokofiev, Brubeck, and Beethoven. Expect full audience participation and a beatbox tutorial that will have every kid (and teacher) beatboxing for the rest of the year! Oct. 24-25: in-school shows by NC Shakespeare To Go (4th-8th) Hamlet (60-min) (for middle/high-school grades) OR Comedy of Errors (45-min) (for 3rd-8th grades): Designed as an exciting, high-energy, interactive introduction to the most well-known works of Shakespeare, Shakespeare To Go brings a team of actors to schools, performing edited versions of entire plays. Shakespeare To Go provides performance experiences of Shakespeare's world and work, created especially for students. Through modern versions of these plays, students will learn that Shakespeare is accessible and fun, making his work more relatable to them as they reach middle and high school. NOVEMBER: Nov. 6-8: in-school shows by Felix Pitre (Stories & Songs of Latin America and Animal Tales ) Thursday Nov. 7: Stories & Songs of Latin America -- School Shows at The ArtsCenter STORIES & SONGS OF LATIN AMERICA (K-5th): In this interactive program, Felix Pitre shares many of the Hispanic traditions that were passed down to him from his own family, bringing to life the culture of Latin America with puppetry, stories, songs, instruments and dance. The ArtsCenter: 2013-2014 School Show Series Performed mostly in English in his own bilingual style, Felix Pitre takes the audience on a journey filled with laughter and learning. They may hear the story of Puerto Rico's folk hero,Juan Bobo or find the Jibaro's lessons in an alternate story, Paco and the Witch. After learning the origins of La Bamba they join in singing the chorus and later perform a tri-lingual song (Spanish, English and sign language,) Pollito-Chicken. And then there is Coqui, the lovable frog puppet who steals the show (and sometimes a kiss) while helping us to understand and appreciate people who speak with different accents. In the finale audience members play Latin American percussion instruments as everyone joins in the Cuban favorite, Guantanamera. ANIMAL TALES (ANIMALES) (best for K-2nd grades, can do K-4th): Sing and laugh along with Latin American singer-storyteller-musician extraordinaire, Felix Pitre, as he presents a collection of wonderful animal stories and songs celebrating the environment and teaching respect for creatures large and small.This audience-participation treat for young audiences includes stories from Brazil, Mexico, and Peru, with songs such as "Froggie Went a Courtin'," "Alouette," and "The Lion Sleeps Tonight," among others. Nov. 18-22: in-school shows by Lloyd Arneach( Native American Storytelling (K-8th)) Thursday, Nov. 21: School Shows at The ArtsCenter Born and raised on the Cherokee Reservation in Cherokee, North Carolina, Lloyd Arneach learned his first legends as a child. Delivered in a humorous, informative, and deeply moving style, Arneach presents traditional Cherokee legends that teach us about a culture whose history and presence is deeply woven into the cultural fabric of our own state. In addition to Cherokee stories, Arneach also presents modern tales from a variety of Native American tribes, emphasizing the significance and presence of the art of storytelling in contemporary times. Perfect for enhancing study of Native American History and celebrating North Carolina's heritage. He often performs at the National Folklife Festivals, the Native American Museum, the North Carolina History Museum each year. For K-5th: He offers a performance of traditional stories often with some flute music for elementary students. The stories are the "old stories" he learned from his uncles and usually are the Cherokee animal tales and other teaching tales. For 6th-8th : In this program, Lloyd includes some of these stories described above, as well as a story or two about being a Native American in modern times and usually at least one historical story from the Native view like the Trail of Tears or the story of Wounded Knee. He is on a national Elder's Council so the historical story may be Cherokee or may be from another tribe. DECEMBER: no shows JANUARY: Jan. 14-17: in-school shows by Li Liu (Traditions of Chinese Acrobatics (K-6th)) Thursday,Jan. 16: School Shows at The ArtsCenter Traditions of Chinese Acrobatics: In this show, students get a hands-on shot at trying some of the easier (and safer!) skills such as ribbon dancing and basic plate spinning.They learn the historical significance of traditional lion and dragon dances and are encouraged to think about what it might have been like to grow up in a different time and place.This will be a high-energy show featuring ancient Chinese skills. The ArtsCenter:2013-2014 School Show Series Jan. 29-31: in-school shows by Mike Wiley (One Noble Journey(3rd-up)) Friday,Jan. 31: School Shows at The ArtsCenter One Noble Journey is a wonderful one-man play. It is based on the miraculous true lives of three slaves who overcome seemingly insurmountable odds to gain a life free of Southern Shackles. Gripping from start to finish, Wiley becomes Henry "Box' Brown a black slave who sees no alternative but to mail himself in a small crate to freedom. Brown's life unfolds like a Mark Twain adventure, perilous and somber at times while humorous and heroic throughout. Willing students and adults join Wiley on stage quickly and quietly becoming characters propelling the historic action. FEBRUARY: Feb. I 1-12: in-school shows by Bright Star Touring Theatre (Lincoln & Tubman (3rd-8th)) Tuesday, Feb. 11: School Shows at The ArtsCenter Lincoln & Tubman (3rd grade & up): Two of the most iconic figures of the 19th Century come together to share their roles in ending slavery in America and teach young people on the importance of education. This production delves into the childhoods of these two remarkable figures while recreating the key moments and events that shaped both of their lives. The show seeks to honor and celebrate the many contributions of these two heroic Americans. Feb. 21-March 5: in-school shows by Soul Street Dance Company (Takin'it to the Streets OR No Bones About It (K-8th)) Thursday, Feb. 27: School Shows at The ArtsCenter Takin'It to the Streets (all ages): Catch the excitement of Street Dance, as these energetic dancers demonstrate its varied styles, discussing the distinctive features and origins of each. This inspirational group of young men, formerly considered at risk, found focus through dance and are now working as professionals. They take students on a high-flying participatory trip from Brazil's Capoeira to New York's break dance. The multi-component forms of Street Dance meets the music of the 17th century composer Vivaldi. No Bones About It (K-5th): These impressive dancers exhibit how the human body accomplishes seemingly super-human leaps and bounds through a network of bones, joints, muscles and the brain. Demonstrating with props and high-energy dance segments, the dancers reveal how signals from the brain tell muscles to stretch or contract allowing our bodies to move the way we want them to. MARCH: Mar. 10-12: in-school shows by Guy Davis (The Routes of the Blues (K-8th)) Tuesday, Mar. 1 1: School Shows at The ArtsCenter The Routes of the Blues: For this show, Guy will perform on the guitar and harmonica and present the traditional blues music and stories from the Mississippi Delta, providing both a geography and history lesson deeply rooted in the Black experience in America, making this a great celebration of African-American History, as well as exploration of music for students. The ArtsCenter:2013-2014 School Show Series Friday, Mar. 2 I:Are You My Mother? by ArtsPower (K-2^d) -- School Shows at The ArtsCenter At long last, Baby Bird emerges from her shell and expects to be greeted by her mother's song. But her mother is not there. Where is she? Why isn't she home? With the help of Dog, Cat, and Hen, Baby Bird sets out in search of Mother Bird in this colorful musical adventure based on P.D. Eastman's whimsical and well-loved picture book. APRIL: April 8-9: in-school shows by Doktor Kaboom! (4th-8th) Tues.. Apr. 8: School Shows at The ArtsCenter Look Out, Science is Coming! (4th-8th): Doktor Kaboom! is an original, interactive one-man Science variety show suitable for all audiences. The creation of Actor/Comedian David Epley, Doktor Kaboom! creatively blends theatre arts with the wonders of scientific exploration. Doktor Kaboom! takes his audience on an amazing educational tour of the modern scientific method, using humor and comedy while demonstrating spectacular applications of the physical sciences. Doktor Kaboom! keeps his crowds riveted with interest and rolling with laughter.Join Kaboom! for a sidesplitting journey of increasingly spectacular (and often successful) science experiments designed to involve, excite, educate, and entertain. Wed., April 16:Junie B.Jones by Theatreworks USA (K-5th) —School Shows at The ArtsCenter A musical based on the popular series Junie B Jones, filled with lots of humor and adventures as Junie B. navigates the world of I st grade. April 28-29: in-school shows by Billy Jonas Tues., Apr. 29: School Show at The ArtsCenter Everybody's In the Band! (K-5th): NC-based musician Billy Jonas gets kids to make music! Concerts include sing-a-longs, bang-a-longs, and an improvised song with audience suggestions. Instruments include voices, guitar and homemade, recyclable, object instruments. This show proves to each and every participant that they are indeed a musician. Themes include ecological awareness, community connection, and various curriculum-related songs. Bringing Billy in late April enhances Earth Day celebrations (Earth Day is Apr. 22) and focus on environmental awareness (he uses found objects and re-uses materials in his instruments). His high-energy show would be a fun way to end the year too. ACROBAT $C)400t z r, 3 .a rxs STUDY GUIDE } , 4� • Li Liu's Biography 7 -The History of Chinese Acrobatics • Fun Facts About China -The Traditions of Chinese NewYear •The Chinese Language # S N � VM/wacrobat-liliu.com Li Liu was born in the city of Shenyang which is located in Liaoning Province in The Northeast of China. When she was six years old she began her acrobatic train- ,. ing, and the following year she was chosen to attend The Chinese National Circus -°' School in the capitol city of Beijing. While in Beijing she trained for eight hours a :. day until the age of 16. During the evening she was required to study math, sci- g ence, the reading and writing of Chinese characters, and other academic subjects. In 1984 her artistic cycling act won a gold medal at the prestigious Festival Mondi- al du Cirque de Demain in Paris, France. She often teamed with her sister Liu Ying to create duo acts that were conceived of and coached by her father Liu Gui Ting. In 1995 their duo hand balancing act was selected to perform at The Wu Qiao International Circus Festival where they were awarded "The Golden Lion" prize. For many years Ms. Liu traveled extensively throughout Europe, Africa and Asia ; with The Liaoning Acrobatic Arts Troupe. She performed with Zirkus Knie in Switzerland, Circus Krone in Germany and with countless other touring shows in Italy, Holland, France, South Africa, Singapore, Japan and Indonesia. She came to the United States in 2000 with Ringling Brothers Barnum & Bai ley Circus and toured all over the US for two years. Li has been living in the US and working as a freelance performer since 2002. She is a regular on the NBA & WNBA half-time circuits and is also is a featured performer on Princess Cruise Lines. Li began performing in schools in 2005, at first collaborating with other circus E, artists, and eventually developing her own solo show. The performance includes hand balancing, plate spinning, trick cycling, foot juggling, ribbon dancing and Chinese water bowl manipulation. Li also touches on various aspects of Chinese language, geography and culture while sharing her work and travel experiences with the students and staff. The show is primarily geared toward elementary school audiences (grades K-6). „ Students get a hands-on shot at trying some of the easier (and safer!) skills such as ribbon dancing and basic plate spinning. They learn the historical significance :Of traditional lion and dragon dances and are encouraged to think about what it might have been like to grow up in a different time and place. f a THE HISTORY OF CHINESE Aci?03AT 4r The history of Chinese acrobatics is often said to date back at least two thousand years. Ancient texts document considerable activity during the Han Dynasty (221 BC -220 AD). Many of the props that were used by acrobats centuries ago were - common everyday items such as chairs, tables, bowls, jars or urns, and plates. These same objects are still in use today along with more modern inventions such as the bicycle. ' ; All acrobats in the Chinese system of training must first become proficient in the G basics of tumbling, hand balancing and dance. Together these three disciplines are called `ji ben gong" which loosely translated means "work coming from nothing." A more accurate English rendition of the phrase would be "foundation." It's only after mastering the basics or foundation that students are permitted to specialize and create their own acts. Despite the popularity of acrobatics in China, historically the performances ' themselves rarely took place in theaters because the art form was looked down on ' by the "feudal" or ruling class. It wasn't until The Communist Party came to power in 1949 that acrobatics was given new life. As many as 120 acrobatic schools were set up throughout the country and students were selected at a very young age to attend what were considered prestigious training facilities. Tragically, acrobats along with intellectuals, religious leaders and many other talented people were persecuted during the excesses of "The Cultural Revolution," the worst of which lasted from 1966 until 1969. Schools, universities and monaster- ies were shuttered and many acrobats were sent to the country to plant rice, work in factories or perform other physical labor that was meant to "clean their minds." - During this period training still continued but at a much lower level and in secret. In the 1970s acrobatics in China began a rebirth and the 1980s brought a true revolution in the level of training and performance. The Chinese government began to wake up to the fact that there was a lot of money to be made from exporting goods and services. Large troupes of acrobats were sent abroad to perform in Japan, Singapore, Western Europe, The United States, Canada. v Today competition for spots in the best acrobatic schools is still considerable, but with the rise of a white-collar class in China, more and more talented people are pursuing university degrees or going into fields that require less vigorous physical r ining. FUN FACTS ABOUT • China is the third largest country in the world with a landmass slightly larger u than that of the US and slightly smaller than that of Canada. • In terms of population China has more people than any other country on Earth with more than 1.3 billion inhabitants. The majority of these people are Han Chinese but there are 55 additional officially recognized ethnic groups or itA "minzu" as they are called in Mandarin. • One out of every five people in the world is Chinese or of Chinese origin. Construction on The Great Wall of China was started in the 7th Century BC and continued for more than 2000 years. In Chinese the structure is called "Chang Cheng" or "Long Wall." It is often said that the structure was built to keep out invaders from the north, but the original, smaller walls were erected by feudal warlords to protect their lands. Over the years these walls were joined together and by the time of The Ming Dynasty (1368-1644) the structure extended for approximately 6,000 kilometers or 3,600 miles. t • Only slightly less impressive than The Great Wall is The Grand Canal, which connects Beijing in The North with Hangzhou in The South. The oldest parts of the canal date back to the 5th century BC, and the various sections were finally combined during the Sui Dynasty (581-618 AD). Its length is just over 1,100 miles. The Grand Canal allowed trade over great distances and also meant AT, that soldiers stationed in the north of the country did not have to devote a lot of their time and resources to agriculture. Today the canal is used more for the transport of building materials such as bricks, gravel and sand, or fuels such as ` coal and diesel. • China is divided into 29 provinces the biggest of which is Xinjiang or "The New Territory" (sometimes called Sinkiang in The West) and Xizang which we know as Tibet. Guangdong Province in the south is the most populated province with almost 100 million people! `6 •- Despite an economic boom over the last two decades, China today is still largely a bicycle culture. People use their bikes to get to and from work, to take their children to school, for shopping, or to transport goods such as food, clothing sand even furniture! Bicycles share the many smaller city streets with cars, ,a „,1lucks' traveling vendors and pedestrians. ,. THE TRADITIONS OF � w t Chinese New Year is based on the lunar calendar and begins with the appearance `, - of the second new moon after the winter solstice. It runs for 15 days and is rich - in family and community traditions. Because a lunar year is about eleven days At- shorter than a solar year, the dates for Chinese New Year change slightly from one year to the next. For children this is an especially exciting time. Parents and grandparents give them little red envelopes called 'hong bao" which contain money. These envelopes � are supposed to confer monetary success on the children who receive them. The number five is considered lucky so the recipient might, for example, get $5.25. Amounts with the number four are avoided, as the pronunciation of the Chinese A word for "four" is too similar to the pronunciation of the word for "death." Traditional dragon, lion and ribbon dances are also performed in public places during Chinese New Year. These dances are believed to chase away bad spirits. The lion dance in particular requires a lot of skill as two acrobats must work very closely together in order to perform the intricate movements. The Chinese New Year holiday shares many similarities with Christmas celebra- tions here in The West. Families get together to spend time with one another, ex- change presents, and to eat dumplings. The preparation of the dumplings is very labor intensive and is considered a communal activity among Chinese women. Some of the dumplings are prepared and cooked with coins inside. People who N, eat a dumpling containing money will also be lucky in the coming year! The first day of Chinese New Year it is customary for people to wear new clothes, usually socks and a new shirt or sweater. The color red is considered propitious. Much in the same way that many people in The West believe in the signs of the zodiac, the Chinese people follow a calendar that is based on a twelve-year cycle. Every person's birth year is represented by an animal and people are considered' to have certain personality characteristics depending on the year of their birth. The twelve animals of the "Chinese zodiac" are, in order, the rat, ox, tiger, rabbit, dragon, snake, horse, sheep, monkey, rooster, dog and pig. 2010 is the year of the tiger,and 2011 will be the year of the rabbit. Pairings of husbands and wives or boyfriends and girlfriends are considered more or less favorable based on whether -- ot not their birth years are compatible. y. THE CHINESE fi The official language of The People's Republic of China is called "Putong Hua or "the common tongue." We refer to it in English as Mandarin. There is some disagreement among linguists as to just how many Chinese "languages" there " actually are because so many dialects are spoken in different parts of the country. This is due in large part to the fact that there are 56 officially recognized ethnic groups within the boundaries of present-day China. In the south of China, in addi- tion to speaking Mandarin, people also speak Cantonese or "Guangdong Hua." Mandarin is characterized by its four tones. Depending on what tone a word is given, its meaning can vary quite dramatically. Tonal languages are generally .'� thought of by westerners as being extremely difficult to learn. While this may be true, there are some enthrallingly easy aspects of spoken Chinese. For example, words do not change endings in the plural, there are no tenses and there are no verb conjugations! "Tomorrow, I will go to the store to buy some things" would be translated as „ "Mingtian wo qu shangdian mai dongxi" or "Tomorrow, I go store buy thing." Such foreign-sounding syntax takes some getting used to, but once the patterns are learned, they can be applied to communicate countless ideas. Additionally, a form of the roman script called pinyin can be used so that traditional Chinese characters called ideographs or Hanzi can be written using our alphabet! Following are some of the more common Chinese words and phrases, which are written in pinyin. If you have a classmate or a friend who speaks Chinese, ask him or her to help you out with the pronunciation. Pay special attention to the tones! Numbers Some Common Phrases ' One - Yi How are you? - Ni hao ma? Two - Er Good morning- Zaoshang hao (Morning good) ' Three - San Good night - Wan an (Night peaceful) b Four - Si Where are you going? - Ni dao nar qu? Five - Wu What's your name? - Ni jiao shenme mingzi? Six - Liu Please help me - Qing ni bang wo de mang Seven - Qi Please come in! - Qing jin! (Please near!) Eight Ba See you later - Zai jian Nine - Jiu Thank you - Xiexie ni fr „ Ten - Shi You are welcome Bu keji �s Q Mike Wiley Productions' ONE NOBLE JOURNEY: �i. r . t A BOX MARKED FREEDOM `Ih_y 31 years in education, I cannot remember any performance that matches this wonderful blend of humor, history, reflection, student `k involvement, and lasting impact. In just a matter of minutes, Mike Wiley won the undivided attention of every child in the room, and taught more history in forty minutes that could be taught in a week...His ability is truly a gift." "' Dr. Barry Redmond, Superintendent, Newton-Conover City Schools, Newton, NC ' �r 4: S >i, t rla rkr !N X11 A.a..^7.f CC 6 Fl A 1, u . "S ng and ha m F. ONE NOBLE JOURNEY: A BOX MARKED FREEDOM One Noble Journey: A Box Marked Freedom tells the true story about Henry"Box" Brown, an African American who was born a slave in 1816 in Louisa County, Virginia. At the age of thirty-three, he was bequeathed to his master's son, who sent him to work in his tobacco factory in Richmond. When Brown witnessed his wife and children °h< taken from him and sold to another state, he reached his breaking point and devised an escape plan that would have him sealed in a small wooden box and shipped to friends and to freedom in Philadelphia. In Mike Wiley's original historical drama, Brown's life unfolds like a Mark Twain -__ adventure, perilous and somber at times while humorous and heroic throughout. As is almost a trademark of Mike Wiley's one-person, multi-character theatre works, audience members join Wiley on stage, quickly and comfortably becoming pivotal players who help propel the historic action. One Noble Journey is available in a 50-minute student version with study guide for grades 3-up, in addition to a 90-minute full-length adaptation for general adult audiences. Mike Wiley, Playwright and Actor Actor and playwright Mike Wiley spent the first decade of his professional career fulfilling a focused mission to bring educational theatre to young audiences. His acclaimed work has now expanded to include audiences at performing arts centers and universities nationwide. In the early days of his career, Wiley found few theatrical resources to shine light on key events and figures in black history. To bring these often ignored stories to life, Wiley started his own production company. Through his work, he has introduced countless students to stories and legacies of Emmett Till, the Tuskegee Airmen, Henry "Box" Brown and more. Mike Wiley holds a Masters of Fine Arts from the University of North Carolina at Chapel Hill and has i appeared on the Discovery Channel, The Learning Channel and the National Geographic Channel. Profiled in Our State magazine, Wiley is currently gaining additional acclaim and multiple "Best Actor" awards at film festivals in the US and Europe for the impressive Rob Underhill film EMPTY SPACE. Wiley is currently the Lehman Brady Visiting Professor at Duke University's Center for Documentary Studies and was featured at the 2009 Black Theatre Festival. He has been jury-selected for professional industry showcases by both the Midwest Arts Federation and Performing Arts Exchange. Wiley's professional touring productions include Dar He: The Story of Emmett Till, the riveting Blood Done Sign My Name based on the bestseller 17 by Tim Tyson, and five additional original one-person/multi-character works. In 2011, Wiley debuts his play The Parchman Hour, an ensemble performance commemorating the 50th anniversary of the Freedom Riders. I� "An intensely physical actor and writer who can turn on the charm like nobody's business... When it comes to working a crowd, Wiley makes ±° Bill Clinton look like a wallflower." Independent Weekly goingbarefoot 919.489. 1541 208.870.7235 going barefoot.com ___..-- ._-----� _--- �,� �: `- ,., ��: ��: �� 1,.---} ..---�_---"J" �- -----"" �„ �fl„ G� ID S1 q� l Mike Wiley — The Playwright and Actor Actor and playwright Mike Wiley has spent the last decade fulfilling his mission to bring educational theatre to young audiences. In the early days of his career, Wiley found few theatrical resources to shine light on key events and figures in black history.To bring these often ignored stories to Iife,Wiley started his own production company.Through his work, he has introduced countless students to the stories and legacies of Emmett Till, the Tuskegee Airmen, Henry "Box"Brown and more.Most recently he has brought Timothy B.Tyson's acclaimed book "Blood Done Sign My Name" to the stage. Mike Wiley has a Masters of Fine Arts from the University of North Carolina at Chapel Hill, has appeared on the Discovery Channel,The Learning Channel y0w f Y, and the National Geographic Channel and was recently profiled in Our State magazine. N Synopsis Henry"Box" Brown was an African American born into slavery in 1816 in Louisa County,Virginia. Although he was not subjected to physical violence, Henry's story (the basis for One Noble Journey) demonstrates the cruelty of slavery was every bit as devastating to the heart as it could be on the body. At the death of his master, Henry's family was torn apart and parceled out to various beneficiaries of the estate.Henry,who was 33 at the time,was bequeathed to his master's son and sent to work in Richmond,VA.While there,he experienced the joys of marriage and children,only to have slavery lash his heart again. Henry's wife and children were taken from him, sold to North Carolina slave- holders and never seen again. This devastating incident marked Brown's breaking point;in response,he devised an ingenious escape plan,sealing himself in a wooden box that was shipped to friends and freedom — in Philadelphia. Eventually,he traveled the northern states telling his tale of liberation to abolitionist groups. One Noble Journey also recounts the daring and miraculous leap for freedom of Elizabeth Craft and her husband William,who were born into slavery in Georgia.* In December 1848, Ellen Craft,who was very light skinned,disguised herself as a sickly,white gentleman traveling to Philadelphia for medical treatment. Ellen and William, who acted as her slave throughout the journey, bravely traveled on public trains and steamers as they made their way up the eastern seaboard to Philadelphia.Eventually they were forced to sail for England after the Fugitive Slave Law enabled slave hunters to pursue them even in free states. *The story of the Crafts is only included in the full-length version of the play. 11r }, O Philadelphia, ?i .. Freedom,Love, ••- Determination Henry i Y } "Box" former slave Ellen former r former Slave Narrative 9 Abolitionist Emancipation Mulatto Middle Passage Slave • The Fugitive Slave Law Discussion Guestions = - The play opens with an African listing the horrors associated with the arrival of slave traders and the journeys of `those captured and enslaved.His last words are,"In the beginning there was freedom`:Now'there is only hope." Why did he choose the word"hope"?Why not"sadness;'despair"or"desperation'? Consider the words spoken by the"Founding Father" "V1/e hold These truths to be self-evident that all men are created equal,that they are endowed with certain unalienable rights;that among those are life,liberty and the pursuit of happiness:')andPatrick Henry( Is life so dear'or peace'so sweet,as to be purchased at the price of chains and slavery?Forbid it, Alaighty God t know not what course others may take;but as for me,give me liberty or giverrfe death.').Why weren't. these statements applicable to slaves(even those born in this country}? - The Crafts chose to"hide in plain sight"and succeeded in_ eir escape.What does this tell us about the perceptions of many southern citizens of the time regarding the abllrties and intellect ofAfrican Americans?Whoseescape scenario was more flaring—:the Craft's or Henry BoX"Browns? ` - Following heir escape,the Crafts'former owners"charged them with"stealing themselves and their clothes."Discuss the:wordiing of this charge as it relates to the relationship between slaves and their owners. - Define the word"pious."John F Allen,Henry Brown's overseer,considered himself a pious man—teaching children at Sunday school and shouting scriptures at working slaves.How might people like:McAllen have justified their treatment of slaves with respect to the teachings of the Bible? - He Brown and The Crafts made"desperate leaps"to gain theirApersonal freedom.Name some types of freedom you desire and the"leaps"you're taking or would be willing to take to'insure you obtain them." - Think about the physical restraints put on slaves to keep them bound to their masters.Now consider the mental "restraints"used.Cite some examples and explain how these tactics prevented slaves from seeking their freedom.Is one of these two approaches any crueler than the other or are they equally debilitating? - Henry Brown telis'us that many slaveholders on their deathbeds freed their slaves.What are some reasons these owners o may have taken this action?'As a token of appreciation?Disagreeing with the principles of slavery,but feeling compelled to participate based on their southern heritage?Out of concern for their destination in the afterlife? a, - Discuss the power and presence of love in;the stories of Henry,Brown and the Crafts.What risks'were the characters, r willing or forced to take to protect,honor or pursue love?Did it appear many siavehoiders were not willing to,believe., slaves were capable of feeling this emotion?If not,why? - In the preface to Henry Brown's slave narrative,Charles Stearns writes,"Here is the plain narrative of our friend,and is it asking too much of you,whose sympathies;may be aroused by the recital which follows,to continue to peruse these p es a• until the cause of all his suffering is depicted before you,and your duty is pointed out? "What 1s he speaking of? o� Are there current"stories of human suffering that motivate you to act on behalf of another? � Recommended Reading &Viewing Narrative of Henry Box Brown by Henry Brown and Charles Stearns Great Stove Narratives compiled byArna Bontemps Born a Child of Freedoml a Slave by Norece Jones Incidents in the Life of o Slave Girl by Harriet Jacobs American YaIue:Equality from Teaching Tolerance,visit http://www.tolerance.org/activity/american-value-equality Fie story of the Grafts is only included in the full-length version of the play. n,Etenry Box.Narrative of Henry Box Brown.Philadelphia,PA:Rhistoric Publications,1969.Print. t foducnons 931 Homestead Park Dr. Apex NC 27502 919.614.0096 www:mikewileyproduciions.com r `n r. v �} � .. s% r.j• �;� Via';�s6'�¢ r,� �.�•��" r_ e. f i ` r r .. �I �F F i _ .... ,: r - bit --_ 4•-"£T�,L't� Mg v - Mike Wiley is one man, with so many roles 3 By Byron Woods Reprinted by permission; originally published in the July 18,2012 issue of The Independent Weekly,Durham,NC ,> :3 r The Indies:2012 Triangle Arts Awards The Independent Weekly www.indyweek.com It sneaks up on you, the first time you see a solo stage work by documentary theater playwright and actor Mike Wiley.You're struck as he vividly impersonates a witness to an event from the history of race in our country, like the Montgomery bus boycott,Jackie Robinson's integration of major league baseball or the trial of the men who murdered Emmett Till. After that character has his say, someone from another walk of life takes center stage and contributes his testimony.Then a third, of a different gender, race and social or economic class, brings up a crucial fact not considered up to then.A fourth diSmiSSElS it, but a fifth responds differently to the revelation. "He's a modern-day, one-man Rashomon,"says producer Serena Ebhardt,who has directed Wiley in a number of his solo works and who wrote a history of Brown v.Board of Education that he performs on stage. "He explores all of the voices in a particular historical moment as a writer as well as an actor.Using his breath, body, eyes,face and voice, he is capable of literally making you believe he is all of the different people for whom he speaks.And he is really very good at looking at a picture from all sides." "It's almost a genre he's developing to tell the inexhaustible story of the African-American experience,"says Ray Dooley, head of UNC's Professional Actors Training Program,from which Wiley graduated in 2004. "You marvel at the chameleon nature of his character changes and the technique he uses to do that.And to see someone use that masterful technique in the service of such worthy, important and compassionate material—really, every time I see Mike, it's a highlight for me." Before, during and after his studies at UNC,Wiley toured his one-man shows at schools, community centers and theaters in Virginia, North Carolina and South Carolina.The odyssey garnered him a warning letter from the Department of Dramatic Art—before it won him the University's Graduate School Impact Award, for service to the state.That service also earned him a commendation in 2008 from then-Lt. Gov.Beverly Perdue, who termed him "an actor who challenges his audiences to consider how they think about our history and current events." Wiley's visibility as an artist has increased dramatically in the past couple of years.After Duke's Center for Documentary Studies and UNC': dramatic art department co-commissioned his first work for multiple actors—a history of the Freedom Rider movement called The Parchman Hour—a student production of it toured the South and clinched its subsequent professional premiere at PlayMakers Repertory Company. "The thinking was good,the writing was good and the sophisticated physical and gestural vocabulary was thrilling to me,"says PlayMakers Artistic Director Joseph Haj."It seemed a great opportunity for the organization, and I couldn't have been more pleased with the outcome." During that time, regional filmmaker Rob Underhill based his short films Empty Space and Wolf Call on sections of Dar He,Wiley's solo performance about the lynching of Emmett Till.After those films began receiving recognition and winning awards, Underhill began work on a full,feature-length version of that work—in which Wiley plays more than 30 characters on the screen. This year,the film version of Dar He has taken best film awards at the Black International Cinema Berlin festival and the North Carolina Black Film Festival and accolades at black film festivals in San Francisco, Newark and Charlotte,with additional screenings coming up in the fall. "Mike almost writes in a cinematic format:with smaller scenes, lots of impacts," Underhill says."On stage he wants to be very engaging with the audience, and that translates well in the editing room." Wiley used to cringe when people called his work a ministry."Gospel exploitation is alive and well in quite a few plays out there, and many have been made into films," he observes."But as a society, we have forgotten over time the milestones of African-American history.There are so many untold stories and unknown individuals. It finally hit me:These plays are a prayer for remembrance.And now that I have two sons, it goes a bit deeper for me:They're a prayer for hope as well.They're my attempt, as skillfully as possible,to put on the skin of each individual person in my shows." Wiley meticulously researches the stories he puts on stage. For his first production, One Noble Journey, he haunted Virginia's state library in Richmond,where manuscripts on Henry"Box" Brown, an intrepid 19th-century slave,were kept. For the adaptation of Tim Tyson's Blood Done Sign My Name,Wiley interviewed a number of principal characters during repeated trips to Oxford, N.C.,where the autobiographical novel was set.He routinely transcribes video or audiotape interviews while working on characters and scripts."On stage, he's literally takini, the words out of people's mouths," Ebhardt says, "and he honors all of their viewpoints.If Stokely Carmichael actually saw The Parchman Hour, 1 don't believe he'd be too pushed out of shape with how his words were used." The fall looks busy.In August, he's in Deep Dish Theater's season opener, August Wilson's Radio Golf. In September, he begins filming a screen adaptation of One Noble Journey with Underhill. For the spring, he's contemplating a solo piece—with jazz orchestra—on John Coltrane,Thelonious Monk and Nina Simone with Duke music professor John Brown.An adaptation of Danielle McGuire's At the Dark End of the Street is in the works, as are possible collaborations with regional playwrights Chaunesti Webb and Ashley Lucas;and novelist Paul Cuadros. Quite a few stories for one man.But Mike Wiley is clearly up to the challenge. 9S �J. f� PROJECT Trio Greg Pattillo, flute • Eric Stephenson, cello • Peter Seymour, bass PROJECT Trio is taking chamber music to a whole new level. Greg Pattillo, flute, Eric Stephenson, cello, and Peter Seymour, bass, are pushing the boundaries of classical music with a high-octane mix of jazz, hip-hop, and rock. The Trio performs to enthusiastic audiences of all ages in concert halls, clubs, and classrooms around the world. Acclaim for the Trio and its members runs the gamut from Downbeat Magazine, which praises PROJECT Trio as "packed with musicianship, joy, and surprise" to the New York Times, calling beatboxing flutist Greg Pattillo "the best in the world at what he does." The Wall Street Journal hails the group's "wide appeal, subversive humor and first-rate playing." The Trio, now in its sixth year, was forged out of a collective love of performing high energy, top quality music to diverse audiences. They are drawing new audiences to classical music and reinvigorating existing fans of chamber music through their innovative performances, recordings, and their YouTube channel, which has over 71 million views and 78,000 subscribers, making PROJECT Trio one of the most watched instrumental ensembles on the Internet. The Trio, which performs over 70 concerts a year, plays to fans of all ages in venues around the world including Carnegie Hall, where they made their debut in 2010. In addition to their extensive performing schedule, the Trio is dedicated to arts education, inspiring a whole new generation of concert going music lovers. Highlights of the Trio's 2012-13 season include concerts with the Charlotte Symphony, Los Angeles Chamber Orchestra, Milwaukee Symphony, New Jersey Symphony, Walla Walla Symphony, the Britt Festival, and the opening concerts of the Chicago Sinfonietta. The Trio will perform and lead masterclasses in schools, universities, festivals and other venues throughout the US, including New York, New Hampshire, Missouri, Indiana, Illinois, Kansas, Ohio, Oregon, North Carolina, Pennsylvania, Virginia and Wisconsin. PROJECT Trio was selected by the U.S. Department of State's Bureau of Educational and Cultural Affairs, in partnership with American Voices, as one of the ensembles for their 2012-2013 season of American Music Abroad. Chosen for their musical excellence and educational capability, they will tour throughout the former Soviet Union to present original American music through public concerts, master classes, workshops, jam sessions with local musicians and media outreach. Other international engagements include a second tour of Germany in addition to a performance with the Neubrandenburg Philharmonic this fall. In 2012, the Trio gave their first concert as Family Concert Artists in Residence with the Los Angeles Chamber Orchestra, as part of a three-year residency. Other performances last season included the Saint Louis Symphony, Charlotte Symphony, and tours to France, Germany, Austria and Canada. The Trio has also toured Australia and Hong Kong. GENEVIEVE SPIELBERG INC. zz Princeton Street, Summit, New Jersey 0790I phone: (9o8) 6o8 13z5 fax: (9o8) 6o8 13z6 e-mail: gspielberg @aol.com Project Trio's discography includes three recordings and a recently released DVD, PROJECT Trio: Live In Concert, and a fourth CD slated for release in Fall, 2012, all on the Trio's own record label, Harmonyville Records. Their catalog-spanning Random Roads Collection was released by Tummy Touch Records on May 8, 2012, and immediately rose to No. 2 and 15 on Billboard's Canadian and US classical music charts and, in a rare feat, simultaneously debuted at No. 17 on the trade magazine's jazz charts. Each of PROJECT Trio's recordings soared to the top of the iTunes charts upon their release. Their disc Project Trio was acclaimed by Jazz Review as "a glorious celebration of the music of our time." This disc builds on the sound that is at the foundation of the group's success, with heavy hitting originals such as Dr. Nick and Fast and reinterpretations of Sweet Child O'Mine by Guns and Roses and Dave Brubeck's Blue Rondo a la Turk. Their debut CD, Winter in June showcases the versatility of PROJECT Trio with 12 original compositions from classical to ,jazz, and hip-hop to experimental acoustic sounds. Their follow up disc Brooklyn collects well known staples from their live show, with covers and originals and even complete overhauls from the likes of Django Reinhardt, Duke Ellington, Theolonius Monk, JS Bach and Tchaikovsky, along with their own Brooklyn Suite, a collection of tone poems from the world they are surrounded by in the city of Brooklyn. After meeting at the Cleveland Institute of Music, they quickly realized that there was no repertoire written for the unique combination of bass, flute and cello. This forced the members to compose and arrange their own music, which they publish on their Harmonyville label. Original compositions by the trio are influenced by the sounds of jazz, hip-hop beatbox and rock. Their music can be heard in Nike and Smart Car commercials. Last year, the National Flute Association commissioned Pattillo to write "Three Beats for Beatbox Flute." Greg Pattillo recently demonstrated his beatbox style for Jay Leno and performed with the Tonight Show orchestra. Dedicated to engaging today's younger audiences, PROJECT Trio has performed and led workshops for over 100,000 students on three continents, including over 35 states in the US. PROJECT Trio is instantly recognizable to students of all ages as a result of their YouTube following and appearances on popular TV shows on Nickelodeon and MTV. Their educational programs are adapted to meet the National Standards for Music Education, with specialized curricula for age groups from elementary students through college. They held their first summer camp at the Bay View Music Festival in Michigan this summer. Based in Brooklyn, New York, Pattillo, Stephenson, and Seymour founded PROJECT Trio in Boulder, Colorado in the summer of 2005. The group initially came up with the idea to do one week "projects" in different cities around the US, with each project,including education/community outreach events and concerts of classical works and their own music. The Trio got its big break in 2006 when Greg Pattillo's Beatbox Flute video went viral on YouTube, receiving millions of views in its first week. Reaching out to audiences of all ages through the Internet, live performances, and recordings, PROJECT Trio has since become one of the worlds most championed and exciting instrumental ensembles. For more information on PROJECT Trio, visit www.projecttrio.com. Fall 2012. Please destroy all previously dated materials. Note:For printed programs,please use the above text as written. If further editing is required, please consult Genevieve Spielberg Inc. 908-608-1325(phone)or 908-608-1326(fax). Thank you. GENEVIEVE SPIELBERG INC. 12 Princeton Street, Summit, New Jersey 07901 phone: (9o8) 6o8 1325 fax: (9o8) 6o8 1326 e-mail: gspielberg,@aol.com PROJECT Trio Individual Biographies Greg Pattillo, Flute With a growing international following, flutist Greg Pattillo is known throughout the world for his redefinition of flute sound. Lauded by The New York Times as "the best person in the world at what he does," his groundbreaking performance videos on YouTube, showcasing beatbox flute have been viewed more than 45 million times. Classically trained as a student of Joshua Smith at the Cleveland Institute of Music, Pattillo earned his first job as principal flutist of the Guangzhou Symphony Orchestra. A desire to experiment with his sound led him to San Francisco where he became a founding member of the Collaborate Arts Insurgency, a group of writers, poets and musicians that performed shows of stylistic mash-ups throughout the bay area. This is where he began blending beatbox techniques and flute styles with the sounds of beat poetry and hip hop rhymes, ultimately developing his unique style combining classical music with the street art of beatboxing. After moving to NYC in 2005, he posted his first video on YouTube to show people what he did. The video "Inspector Gadget" instantly became one of the most watched videos on YouTube, leading Pattillo to numerous television appearances such NBC's Tonight Show with Jay Leno, Nickelodeon's iCarly, BBC's Lilly Allen Show, Fox's Best Damn Sports Show Ever, and MTV's It's On with Alexa Chung, and launching the success of beatbox flute and PROJECT Trio. Today, Pattillo enjoys a multifaceted career as a performer, educator, and clinician, and continues to love sharing and preaching his sound. In 2011, the National Flute Association commissioned Pattillo to write "Three Beats for Beatbox Flute" for the High School Soloist Competition. Greg performs exclusively on BRIO! Flutes. For more information on Greg Pattillo, visit Patti Ilostyle.com. Eric Stephenson, Cello An exceptionally versatile cellist, Eric Stephenson's style ranges from classical to jazz to rock and folk. He has performed with numerous orchestras like the IRIS Orchestra in Memphis, TN and the Colorado Music Festival in Boulder, CO. Eric was also a regular substitute for the Cleveland Orchestra. Eric earned his Bachelor and Master of Music Degrees with Honors from the Cleveland Institute of Music and was a recipient of the Ellis A. Feiman Award in Cello while a student of Stephen Geber. As a fellow at the Aspen Music Festival, he served as Assistant Principal Cello of the Aspen Festival Orchestra. He has appeared as a soloist with the Cleveland Institute of Music Symphony Orchestra and the National Repertory Orchestra in Breckenridge, Colorado. GENEVIEVE SPIELBERG INC. 12 Princeton Street, Summit, New Jersey 07901 phone: (908) 6o8 1325 fax: (9o8) 6o8 1326 e-mail: gspielberg@aol.com In 2006, Eric moved to NYC and has performed with countless ensembles and spends most of his time performing with PROJECT Trio. Composing and recording is a huge part of his life. He has engineered and mixed two full-length PROJECT Trio albums and premiered two works for trio and orchestra. In his spare time, he enjoys biking around Brooklyn and playing the tenor sax. Peter Seymour, Bass Dallas native Peter Seymour has performed with a multitude of highly acclaimed artists and ensembles. As a regular sub with the Cleveland Orchestra he performed under the baton of Franz Welser-M6st and as a member of the New World Symphony under the direction of Michael Tilson Thomas. He has also performed with the Houston Symphony, the Charlotte Symphony, and the Chicago Civic Orchestra. He was the recipient of the Downbeat Magazine Award for Best Jazz Soloist and has shared the stage with such luminaries as Wynton Marsalis, Roy Hargrove, and Bobby McFerrin. The son of an educator, Peter has been very active in planning and performing community outreach activities throughout the country and served as events coordinator for the New World Symphony Orchestra from 2001-2004. He received a Bachelor of Music degree from the Cleveland Institute of Music and a Master's Degree in Bass Performance from Rice University where he was a student of Paul Ellison. Peter is active composing and performing with the PROJECT Trio and presently resides in Brooklyn, New York. Fall 2o12. Please destroy all previously dated materials. Note:For printed programs,please use the above text as written. If further editing is required, please consult Genevieve Spielberg Inc. 908-608-1325(phone) or 908-608-1326(fax). Thank you. GENEVIEVE SPIELBERG INC. 12 Princeton Street, Summit, New Jersey 07901 phone: (9o8) 6o8 1325 fax: (9o8) 6o8 1326 e-mail: gspielberg,@aol.com PRESS(with Links) "PROJECT Trio is packed with musicianship, joy, and surprise!" Frank Alkyer - Downbeat Magazine http://www.downbeat.com/default.asp?sect=editorspicks201007 "The level of virtuosity is high and the players always come through".❑ Donald Rosenburg - The Plain Dealer❑ http://www.cleveland.con-%musiedancelindex.sst%2010/03;project r eview.html❑ "Greg Pattillo is the best in the world at what he does."❑ David Randall — NYTimes Llhttp://www.nytimes.com/2007/05/22/nyregion/22ink.html "PROJECT Trio is a glorious celebration of the music of our time."❑ Chuck Vicoli - JazzReview.com ❑http://www.jazzreview.com/ed/review-20997.btml ❑ ❑ "PROJECT Trio runs on high-octane chamber music!"El Mark Hinson — Tallahassee Democrat ❑http://www.tall ahassee.com/article/201003 05/ENT/3 05 03 08/100 5/ent/Trio-runs-on-high-octane-chamber-music(broken link) Quotes from Colleagues: "With guest musicians like PROJECT Trio, we have the opportunity to expand the audiences understanding of music in our time. It's hip, it's fresh, and it's immediately relevant." Alex Jimenez — Conductor and professor, FSU "PROJECT Trio is the rarest of musical ensembles; virtuosic, exuberant and as tight as a drum but also incredibly subtle and introspective. This trio is made up of some of the most creative people I know. They are not to be missed." Frank Rosenwein — Principal Oboe, Cleveland Orchestra; Professor of Oboe, Cleveland Institute of Music "PROJECT Trio lights it up everytime they play! I can't think of another "classical" ensemble with so many infectious grooves and such a brilliant sense of These guys are for real!" Ian Ding — Principal Percussion, Detroit Symphony; Percussion Professor, University of Michigan " PROJECT Trio is one of the most dynamic and energized ensembles I've ever had the privilege of seeing and hearing! Their original compositions push firmly to the future of classical/jazz/world-music synthesis while being completely accessible to all kinds of audiences! This group is a strong new presence on the music scene with an incredibly bright future!" Bjorn Ranheim — Cellist, St. Louis Symphony "PROJECT Trio really has it all. They combine the fire and refinement of the finest classical chamber ensembles with the stage presences and energy of rock stars". Adam Luftman — Principal Trumpet, San Francisco Opera "PROJECT Trio is one of the most unique and energetic groups I've ever heard. It's hard to tell who has more fun between the performers and their audience! If you haven't heard these guys, you have to check them out". Rebecca Corruccini — Violinist, Minnesota Orchestra "Whenever I get a chance to hear these guys, I'm always blown away. They're so committed to what they do and their concerts are electrifying. I love this group!" Joanna Patterson — Violist, Cleveland Orchestra " PROJECT Trio has an enthusiasm and uniqueness that is truly unmatched. If you're not having fun at a Project show, there's something wrong with you!" Alan Rafferty — Cellist, Cincinnati Symphony "PROJECT Trio is guaranteed to put on an amazing show. With "classically trained" virtuosity, they engage the audience like rock stars. Project bridges the ever-widening gap between the austere and the accessible". Scott Dixon — Bassist, Cleveland Orchestra Other Links of Interest: WIkipedia Page: http://en.wikipedia.org/wiki/Project_Trio Spinner Magazine: SXSW feature, Interview with Peter http://www.spinner.com/2010/02/28/sxsw-201 0-pro j ect-trio/ Contrabass Conversations: Popular bass player blog: http://contrabassconversations.com/ ug ests/episodes/peter-seymour/ WFSU Television: http://wfsu.org/tv/mother_classical.php WOSU — Columbus Public Media http://beta.wosu.org/classica1101/not-your-mamas-flute-trio-project- trio-plays-columbus-dec-12/ Los Angeles Chamber Orchestra article - http://chatsworth.patch.com/articles/hip-hop-peter-and-the-wolf-in-a- family-concert Chamber Music Columbus: http://more.cmcolumbus.org/blog/?p=74 Germany Friedberg Reiview: http://www.augsburger-allgemeine.de/friedberg/Alles-nur-aus-einem-Mund- idl5913336.html Radio: Our last album was rep'd by Max Horowitz who specializes in radio. Here is a link that has a lot of information about PROJECT Trio Radio play: http://crossovennedia.net/index.cfm?fuseaction=proj ects.map&pro j ectID=3 74 Radio Heartland, Minneapolis, MN: Interview and performance http://minnesota.publicradio.org/dispIgE/web/2009/1 1/1 I/project tr io/ 9 m O D y a 5' n � +' c °-n'7 5 0 N N N 3 N 75,S 7 -6 �' n 0 C 0 3 ! v °cQ -# ° .�:m O N fD 2 0, 3 a � N 3 ' o _ v v tT T.v v am Ov snm (D a LL N °' m O 3-v=i' < a'-^-6 O m p 'a v �D.ID x 'c tL9 pcY0N ° °-o m 3m3 3 Q° w 3 � x��'O V tD 6ID r I ID tr ID ui Vin ' °' 3 ° m o -O m o-o v � 3 am m „a m m m v ID 3 i2 N v � 3 1 3 v o 3 N '3D mN d F I m o N a o 3 m 3 3?t m s o n o N ao a am m m d ° N S o N N Dl ' +.� ViCl s T v s 3.m� m m p 3v ° m v N -" I'D 03 � { a ! Z ID 3 n ID CL N-� v N { . m a CD c � I vmm' W 3 c .Nr a n.N N O N 3 N (D N N lD N v Q N n X i -p v 3 m 3 vi fD N 0 3 ^ c v 3 a N � 70 Q n fA • • s; .; C A 0 < ?- ID 3 O � c < ° J N c 2. C s 3 O ID �. ° (DD 3 0 - Q m O O y Isis <C: :0 a Q E. a O Off:+ U�. (D a N 0 T7 ID O sn m O _ (D Q�, > • 1 i O 6' ID 'O N (D (D 01 ro ET v X n ° m CD 3 01 S a G m m m O( N O N 5 t� n ° F 3 ° rt y n m O rt D u C) pm m :3 flt _ c• p 9 CD o T ° N 3 3 3 m ° p p ,O O = m (D c0 m ti 3 � .v m Q o ^ c 3 3 m a a m o p p m Ln c m m � S3m ci mTNo 3 owu- ID c ao, m a N" s 3 p ° i, m m m 3 O v a a rU Z) - ° r+ m p( 'D 3 < o o y y O m o Q _......._. ° 0 0 5 C O ci c d � O a ♦A o co m 3 m o r o m °o 0 0 o ID ID t°c 0 m^^ a m o Q Lit (o ° c 3 C, 3 O o rt QN_ p ° 033 Nao� �To T C� 3 �3 tQ 3 (9 a N Q m .m I T< N N m S N Q 33 0.n 03° 0 C � m ID oo � 3 3 O m ' N to 3 rt 3 mQ° CD Lli a � m 0p e ® ort c ° m tQ JD `o'o. ° ° m s 'G as c ° I m C1 a ':tn c �� ° o T 3 a r m <_^ ° N n p 2 0 m o m (D 3D ID o w ID y a i 0 N C m z O d e tQ Oi m 1 N fD d N 0 0 S ?m O N ID to m ID a N o m ., rt 3 o N v m N v iD N 0 x m � Y O x m a w �C7 D m .. k 7 3 a n 3 m F a FD. (D ID G �a 3 � T�_ g �v T ". O >L ��--n yO. m OT. Ta l.. �-O O 3 Q or Q f 3 u' — 7 c O CT o a) :D; 3 cID o� o a°o a v r2 n 0 0 ?n N (D to n n (D O �(Q.O S O ry.D O N to 3 ¢ m d< O m N 6 d CL ° I vo 1 �I c 3w N v m a �o°6m A nil o m s -" c a= ID 3 m " V 151 West 26`h Street (212)647-1100 New York,NY 10001 wm.theatreworksusa.org presents Felix Pitre's STORIES AND SONGS OF LA TIN AMERICA Study Guide Felix Pitre's Stories and Songs of Latin America is a 45 minute program which gives the audience a taste of America Latina through its stories,songs, instruments and language. Although most of the program is in English (except La Bamba), Spanish words are used and explained throughout in Felix's unique bilingual style. The students sing Mexico's La Bamba after learning its history and meaning,experience Juan Bobo and the Pig or Paco and the Witch of Puerto Rican folklore and participate in a Latin American favorite,Pollito, Chicken complete with sign language. Coqui,the lovable puppet,speaks with an accent helping others to understand that everyone has some kind of accent and what we say is more important than how we speak. An author himself, Felix encourages the students to tell stories, write them down and continue developing these skills so that maybe someday they too may write a story for others to enjoy and possibly get published. La Bamba,the well known Mexican American favorite,opens the program. Felix explains the origin of the song as a tune played at weddings in Veracruz by the mariachis, the wedding musicians. The bride and groom dance while tying a ribbon on the floor into a bow with their feet! After a brief explanation on the role of the teeth,tongue and facial areas in speaking different languages and learning the meanings of the words used,Felix introduces a folktale from Puerto Rico: (ONE of the two following stories depending on age group) K-3 Paco and the Witch-This story,based on an old legend(and Felix's second book),tells of Paco,a boy living in the mountains of Puerto Rico with his family,who is sent to the village below to buy some turron (a nougat and wafer candy from Spain)for that night's fiesta. The boy stops by the woods on the way to the store and meets an old woman who is the witch his grandmother had warned him about. She traps him with a spell that can only be broken by guessing her name. Luckily,the friendly crab comes to his rescue. After the story the audience is asked what lesson, if any,Paco learned from his experience. Answers have ranged from"don't talk to strangers"to"don't take drugs"to the memorable"always be nice to crabs, `cause you never know when you might need their help." 4-12 Juan Bobo and the Pig-Based on the Puerto Rican folkhero,Juan Bobo,this story(which is also Felix's first book)recounts the adventures of Juan,whom everyone calls a fool. But.he manages to teach a lesson and prove he's not as foolish as others may think. Juan's mother dresses up and goes to church on Sunday leaving him in charge of the pig. As soon as she is gone the pig starts squealing and when it refuses Juan's offering of food(pork chops)and drink(soda)Juan comes to the conclusion that the pig wants to go to church too. He dresses the pig in his mother's best clothes and sends it to church. The pig, however,only wants to roll in the mud. The result,when Juan's mother returns,is the basis for a well known Puerto Rican saying that chides those who overdress and stresses the value of truth and sincerity. (OVER- j Stories and Songs of Latin America Page 2 Study Guide Sign Language Song(Pollito Chicken)-This is a favorite Latin American song used to teach children English words. Felix turns it around to teach Spanish and takes it one step further by using American Sign Language. After learning the song and the signs,two volunteers are invited to help Felix and the rest of the audience sing the song. Co ui-A coqui is a little frog that only lives in Puerto Rico. If you take a coqui from the island, it dies and no one knows why, Coqui(the puppet in our story)has come to visit and speaks with a Puerto Rican accent providing an opportunity to learn that everyone speaks with some kind of accent,be they from Cuba,Argentina, Chile,etc.,or from the many regions of the United States. He's learned to speak English by listening to the radio and watching television(as many others have)and sings his song with the help of an invited audience member. Finale-La Bamba is performed again,this time in a more Caribbean style with audience volunteers playing Latin percussion instruments-maracas, guiro, guira, pandereta(tambourine),campana(cow bell),palitos(claves)and tambor(drum). Each instrument is explained and after a quick demonstration of how it is played,Felix invites two dancers to help him perform the song. After this number there is a short version of Cielito Lindo and a discussion of the importance of all our cultures and how each one of us can contribute to making a better world. PRE-PERFORMANCE ACTIVITIES 1. The exploration of the new world by Spain was led by Christopher Columbus. Can you name any other Spanish explorers? English? Portuguese? What other languages besides Spanish are spoken in Latin America(for example,in Brazil, Haiti, etc.)? Why? 2. A special food from Puerto Rico is pasteles(made from green bananas with a meat sauce filling and wrapped in a banana leaf). Can you name any other foods from Latin America? Have you ever tasted any of them? 3. The coqui is a Puerto Rican frog only found on the island. Can you name other animals from Latin America? (Examples-- llamas-Peru, .jaguar-Brazil,etc.) Can you find pictures of these animals in books or magazines? (Check the library.) 4. Listen to some Latin American music. Can you name some of the dances? Can you dance any of them? AFTER THE PERFORMANCE 1. Do you know anyone who can speak more than one language? Can you? How did they learn it? What country is the language from? 2. Other than La Bamba, can you name an American song that has a Latin sound or origin? 3. Juan Bobo and the Pig. People made fun of Juan Bobo because they thought he was a fool. How did he prove them wrong? Can you remember three Spanish words from the story? What is a folk hero? Can you name another one? Is there a lesson to be learned from this story? 4. Paco and the Witch. What lesson did Paco learn from his experience? Have your grandparents or parents ever told you a ghost or witch story? Why did the crab help Paco? Can you remember the witch's name? Do you know another story about a person's name? How is it the same/different? Stories and Songs of Latin America Page 3 Study Guide 5. Why do people use sign language? Try to tell something to a friend without using words. Have you ever made up words to mean something special? 6. What kind of accent do you think you speak with? Can you imitate a British,French,or"Southern' accent? When you hear someone with a foreign accent,do you think that they are smart;not smart; funny;weird; interesting;or what else? Why? How many accents can you notice from watching television or listening to the radio tonight? Make a list. 7. How many instruments can you name from the performance? Which is your favorite? Do you play an instrument? Listen to a recording of Latin American music. Can you name the instruments that you hear? VOCABULARYLIST JUAN BOBO AND THE PIG GENERAL aretes earrings bobo fool agua water brazaletes bracelets bailar to dance chuletas pork chops(de cerdo) eollares necklaces capitan captain domingo Sunday gallina hen faja girdle gracia style,grace fango mud iglesia church guiro instrument made by jibaros country people of the Tainos from a Puerto Rico marimba gourd puerquito pig hola hello Zque quieres? what do you want? lapiz pencil si yes maestra teacher traje dress maracas instruments made by PACO AND THE WITCH the Tainos from the fruit of the higuera tree bruja witch palitos sticks(claves) caliente hot pandereta tambourine cangrejo crab piso floor coqui Puerto Rican frog pluma pen eotorra parrot el sol the sun pollito chicken fiesta party poquito a little bit gandules pigeon peas puerta door Jena firewood montana mountain rana frog nombre name ventana window refresco cool drink turr6n nougat wafer candy (OVER- j Stories and Songs of Latin America Page 4 Study Guide BIBLIOGRAPHY Alegria, Ricardo E. Discovery Conquest and Colonization of Puerto Rico 1493-1599. San Juan de Puerto Rico: Coleccion de Estudios Puertorriquenos, 1979. Belpre, Pura. The Tiger and the Rabbit and Other Tales. New York:J.B. Lippincott Company, 1965. Bloch,Peter. LA-LE-LO-LAI, Puerto Rican Music and Its Performers. New York: Plus Ultra Educational Publishers,Inc., 1973. Pitre, Felix. Juan Bobo and the Pig. New York:Lodestar Books,Dutton, 1993. Pitre, Felix. Paco and the Witch. New York: Lodestar Books,Dutton, 1995. Rivera,Jose Ramirez. Los Cuentos de Juan Bobo(Juan Bobo Tales). Mayaguez,Puerto Rico: Ediciones Libero, 1979. 1HOLIFEW11ann'Met 151 West 26"Street (212)647-1100 New York, NY 10001 www.theatreworksusa.org i TM �Arth er! UDY BUDDY ti Ct`?t AL'•7�JAiNG?HErt`.Ri j WHAT HAPPENS IN i OUR PLAY? Page 2 CAN YOU HELP BABY BIRD? Page 3 THE DI&STORY Page 4 1S THAT MINE? Page S LETTER TO FAMILIES Page 6 WRITE TO US! Page 7 WE ARE ARTSPOWER Page 8 ARTSPOWER NATIONAL TOURING THEATRE GARY W.BLACKMAN&MARK A.BLACKMAN Executive Producers ARE YOU MY MOTHER? Written and Directed by Greg Gunning Music by Richard DeRosa&Greg Gunning Lyrics by Greg Gunning Sets by Tom Carol[Scenery Costumes by Fred Sorrentino Study Buddy Writer:Andrea Skerratt Graphic Designer:Howard Levine ARTSPOWER National Touring Theatre Are You MY Mother? 'Whaf lappeal I Ova Plav? rl . � Are You My Mother? is a musical comedy based on the popular children's book of the same name by r P.D. Eastman. While Mother Bird is '} away hunting for food, Baby Bird cracks out of her shell and finds herself alone in the nest. But she is not alone in the forest. A Construction Worker is in the process of clearing trees—and Baby Bird's tree stands right next to the bulldozer! A Woman t�-rotester prevents the steam shovel from knocking down Baby Bird's tree, but the tree is shaken and Baby Bird falls out of her nest. Alone, just out of the egg, Baby Bird is lost in all senses of the word. She only knows one thing: she must find her mother. While stumbling through the neighborhood, she encounters Hen, Kitten, and Doy. All three realize that they, too, are lonely. The animals find that they make more progress towards their goals when they join together. With determination—and the help of her friends—Baby Bird finally finds her mother. REPRODUCIBLE STUDENT ACTIVITY PAGE ARTSPOWER National Touring Theatre Are Y©u Mf Mother? Can You Nelp Baby Bi rd And Moder Bird? Baby Bird has fallen out of the nest. Can you be Baby Bird's friend and help her find the way to Mother Bird? REPRODUCI73LE STUDENT ACTIVITY TAGS ARTSPOWER National Touring Theatre Are Ybit LV 1Z�1"? ■ Baby Bird's adventure showed up in the newspaper. The Sit ory Unfortunately, the pictures that should have been in the ' ' s i � story did not get printed. Can you draw them. NEEDS MOTHER 111K:: Local I Help in Search Early today, a small fell from a nest in the Large oak Baby Bird looked for her and asked for help from the animals she met. ALL three animals helped. Everything ended happily, as we can see in this drawing. REPRODUCIBLE STUDENT ACTIVITY PAGE ARTSPOWER National Touring Theatre Are You My Mother? Is Thaf J11,1109M Can you draw lines between the pictures that o together? r � � Baby Bird Steam Shovel Kitten Dog House Garbage Can Construction Worker 4 44! Mother Bird Dog ,t Chicks Hen RE-PRODUC113LE STUDENT ACTIVITY -PACE ARTSPOWER National Touring Theatre Are You Mu Mother? Letter to Families Dear Family, Today I saw a live musical theatre performance by ArtsPower National Touring Theatre of ARE YOU MY MOTHER. ArtsPower is a theatre company from Verona, New Jersey. This musical play was based on the children's book by P.D. Eastman. The story was about a baby bird who hatches while her mother is out looking for food. The baby bird leaves the nest to look for her mother. She makes a lot of new friends and learns a lot, but she still likes home best. Attending a live performance is very different from watching a television show or a movie. Please ask me about my favorite characters. I can tell you all the things I remember best. Love, We welcome your comments! Contact ArtsPower at 973 239-0100 or visit us on the Web at www.artspower.org RE-PRODUCIBLE STUDENT ACTIVITY PACE ARTSPOWER National Touring Theatre Are Mott MJ 11✓lotl2e3'? Wrife fo Ismi Teacher's Name Your School City, State Date ArtsPower National Touring Theatre 271 Grove Avenue, Bldg. A Verona, NJ 07044 Our class saw ARE YOU MY MOTHER? My favorite character was My favorite part was Your Name PLEASE PRINT! Or write to us Online! C-o to www.artspower.ory and click on "Contact Us.' REPRODUCIBLE STUDENT ACTIVITY RAC-E ARTSP+OWER National Touring Theatre Are Yalt My Mother? ArtsPower National Touring Theatre ArtsPower National Touring Theatre was founded in 1985 by Gary and Mark Blackman, award-winning musicians and nationally-traveled resident artists. ArtsPower has grown to become one of America's preeminent producers of professional theatre for young and family audiences. Each year, ArtsPower brings its original musicals and dramas to hundreds of the nation's finest regional theatres, cultural centers, university auditoriums, and schools throughout 47 states, including Alaska. ArtsPower's mission is to provide young people, many for the very first time, with the unforgettable opportunity to experience the transporting power of outstanding theatre that entertains, stimulates, and educates; and to enhance "character education" among young people by creating theatre that fosters sound moral development, encourages self-expression, ignites the desire to read, and advances their development as productive members of society. Visit www.artspower.org or call us at 973 239-0100. RE-PRODUCOLE STUDENT ACTIVITY PACE thea re New West '"Street New York,NY,Y,10001 WO&S www.TWUSA.00 www.TWUSA.org B* TARGET. Target is the National Tour Sponsor of this production. Study Guide DEAR TEACHER: We have created the following study guide to help make your students' theater experience with Theatreworks USA's production of Junie B. Jones as meaningful as possible. For many, it will be their first time viewing a live theatrical production. We have learned that when teachers discuss the play with their students before and after the production, the experience is more significant and long-lasting. Our study guide provides pre and post production discussion topics, as well as related activity sheets. These are just suggestions; please feel free to create your own activities and areas for discussion. We hope you and your class enjoy the show! THE STORIES Theatreworks USA's musical is based on several books about Junie B's first grade experiences, specifically, Junie B, First Grader (at last!), Junie B, Boss of Lunch, and Junie B, One-Man Band. The connective tissue tying these stories together is a fourth book, Top-Secret Personal Beeswax: A Journal by Junie B (and Me!), which features diary entries by Junie, which are designed to give children ideas, for their own writings. TOP-SECRET PERSONAL BEESWAX: A JOURNAL BY JUNIE B (AND ME!) Our musical opens with Junie celebrating her new top-secret personal beeswax journal, a gift from her mother, in which she can write and doodle anything, from her unique observations about the world, to drawings of wiener sausages. JUNIE B. FIRST GRADER (AT LAST!) It's Junie B's first day of first grade, and a lot of things have changed for her: Junie's kindergarten best friend, Lucille, doesn't want to be her best pal anymore, and on the bus Junie makes friends with the new kid at school, Herb. Also, Junie has trouble reading the blackboard and needs glasses. She is afraid of being teased by the other children because of her new eyewear, until Herb borrows Junie's glasses and declares that her eyes "must be very special" if she can see through them. JUNIE B. BOSS OF LUNCH While basking in the joy of having a brand new lunch box, Junie B notices that in first grade, most of the other children buy their lunches from Gladys Gutzman, who brought her kindergarten class cookies last year. When Junie B complains about no cookies in first grade, Mirs. Gutzman offers her an assistant position, folding napkins and welcoming the other schoolchildren to the lunchroom. But when Junie B smells lunch and loudly announces her distaste for the smell of tuna noodle casserole, the entire class foregoes their meal, and is angry at Junie B. Mrs. Gutzman arrives at .Junie B's class that afternoon, and asks her help in distributing cookies, and her class forgives her. JUNIE B. ONE MAN BAND Junie B prepares for the first grade kickball tournament by kicking her mother's watering can and badly stubs her toe. Since she and her injury-prone classmate Sheldon can't play, the teacher, Mr. Scary, suggests that they perform a halftime show. Junie's father suggests that she make the best of an unfortunate situation, and learn to juggle for the halftime show. As much as she practices, she can't get the hang of it. On the day of the tournament, the large crowd intimidates Sheldon, and he runs away, leaving Junie B by herself. The restless crowd throws biscuits at her, and Junie tries to juggle one more time, and is successful! Her proud family and friends rush onto the field to congratulate her. Junie has filled all the pages in her journal with her adventures, and Herb lends her more paper. The show closes with the entire company urging the audience to keep journals and to write down the story of their lives. PRE-PERFORMANCE DISCUSSION 1. If time permits, read Junie B, First Grader (at last!), Junie B, Boss of Lunch, and/or Junie 13, One- Man Band with your class. (Our show is based very closely on these books, and the students will enjoy hearing familiar dialogue and seeing the situations depicted in the books in our show.) Explain that they will see a musical (a live dramatic presentation that uses dialogue, songs, and dancing) to tell a story based on these books. What do students expect of the live performance after reading the books? 2. Junie B. Jones has a very unique way of speaking. She adds many parenthetical statements to the end of sentences, sometimes uses malapropisms (incorrect usage of a word), and occasionally uses poor grammar (much of this has improved in first grade, since the early kindergarten books). While students may find her use of language humorous, stress that it is not correct. While reading the books, you may ask them to identify Junie's grammatically incorrect phrases, and as a follow-up, you may use the attached worksheet: Junie-Speak 1.01 (appropriate for grades 2 and up). 3. Throughout the show, Junie B Jones keeps a "top-secret personal beeswax" journal, in which she writes about everything she says and does, and also her feelings, drawing, and anything else she can imagine. Do any of your students keep journals? What kinds of things do they write in them? Are their journals private? 4. In our play, there are fewer actors than characters. Ask your students to watch closely to see if they can tell which actors play more than one role (for example: Mr. Scary is also Mr. Woo;, Junie's father, and Gladys Gutzman.) POST-PERFORMANCE DISCUSSION 1. As soon as possible after the performance, engage your students in conversation about the production. How did the musical differ from the books? How were they similar? Discuss the fact that adult actors played children —why do they think the casting was done in this way? Why wasn't Junie's dog Tickle in the show? Why do they think some episodes from the book were omitted in the play? Who was their favorite character and why? 2. Junie B has to acclimate herself to many changes in first grade: a new teacher, a new bus friend, and new glasses. What kind of changes have the students experienced (for example, getting a new baby in the family, or moving to a different city or school)? Compare their adventures to Junie B's. Can change be good? Bad? Both at the same time? 3. When she gets her new glasses, Junie B worries that no one will like her because of the way she looks, and that no one will want to be her friend. She doesn't want to be different from her classmates (who in fact, are all unique in their own way!) Talk about Junie B's schoolmates and the things that make them special. For example: Sheldon is allergic to glue, dairy, and artificial meat; Camille and Chenille are twins; Herb is the "new kid" at school; Jose can speak Spanish. List some ways that being different can be good — and ways that having things in common can be good. 4. When Junie B helps Gladys Gutzman in the school cafeteria, she doesn't like the smell of lunch, and loudly announces it as "tuna noodle stinkle." What do your students do when they are asked to eat something that smells or looks unusual? Have they ever eaten something that looked or smelled questionable, but discovered they loved it? How about other nerve-racking new experiences — like the diving board at the pool or going in an airplane for the first time? How did your students feel before, during, and after these adventures? 5. Junie B is very disappointed that she can't play in the kickball tournament, due to her "smashed piggy toe." Her parents tell her the proverb: "when life gives you lemons, you make lemonade." What do they mean by this? Discuss times when your students ever had to make the best out of a bad situation. Can your students think of any other proverbs, and what they mean? (ie: "Where there's a will, there's a way," or "Man does not live by bread alone.") 6. Junie B and Sheldon perform at the halftime show during the first grade kickball tournament. To prepare, Junie B learns how to juggle, and practices constantly to get it right. (Another proverb: "Practice makes perfect!") Have your students ever had to practice for something (like for a soccer game, a choir concert, or even their spelling words)? Was that difficult for them? Did practicing help them achieve their goals? Why or why not? 7. Junie B Jones is a feisty first grader, and sometimes she makes mistakes or gets in trouble. But she always learns something. What lesson did she learn after she got her glasses? After helping Mrs. Gutzman? After the big halftime show? What does she learn from keeping a journal? ACTIVITIES (Note to teachers: some of these activities (and work sheets) are designed for older students, and some are intended for younger children — please use your judgment in deciding which are appropriate for your class.) 1. CREATIVE DRAMATICS: JUNIE B, STAR OF THE WHOLE ENTIRE CLASSROOM! Your class probably noticed the similarity between the Junie B books and our stage production. Your class can make their own Junie B play! Select one of the books in the series, and assign different chapters to each student, or groups of students, to dramatize. (Your students may want to look at published plays, to get an idea about clear formatting.) When all the groups have finished with their section, they can read them aloud for the class. If time and resources permit, they can even create simple props and costume pieces and perform for other classes, or for their parents. 2. MEMORY GAME: BABY'S GOT A BRAND NEW LUNCHBOX! Direct the class to sit in a circle, and instruct the first student to fill in the blanks: "In my lunchbox, I've got ---------------11 Going around the circle, the next student mentions the first item, plus a second. The next student mentions the first two items in order, plus a new lunch food, and so forth, so that by the end the circle might say "In my lunchbox, I've got an apple, a sandwich, milk, cookies, a fruit bar, chips, pizza..." et cetera. For an extra challenge, you might try eliminating students when they are incorrect — the last one in the circle who can remember all the food is the winner! 3. JOURNAL ACTIVITIES: WRITING DOWN THE STORY OF MY LIFE As Junie B sings in our show, "I am writing down the story of my life: what makes me scared or nervous, what makes me sad or blue." Your class can keep their own top-secret personal beeswax journals, and write (and draw) in them daily. You may wish to give them suggested topics to get them started. As Junie B and company sing: "If I want to draw a weiner sausage "Your favorite kind of popsicle, your allergy to glue, Or a picture of a beautiful day, How much you love your family, or what friendship means to you, Or list my favorite colors and foods, A picture of spaghetti or a lovely mountain view, Everything I want is A-OK." No matter what you think or dream or feel or say or do!" Older students can write about their lives, likes, and dislikes, and younger students who don't yet have writing skills may draw. 4. OUTDOOR FUN: KICKBALL TOURNAMENT During recess, split your class into teams, and have your own kickball game. The students can-name their teams after characters in the books. For example, the Purple Glasses, or The Sugar Cookies, or The Tuna Noodle Stinkos. If the children want to, they can even put together their own halftime show, like Sheldon and Junie B, or be cheerleaders, like Lucille, Camille, and Chenille, or read the rules of the game, like M ay. 1UNIFSPEAK1011 Junie B. Jones has a very unique (unusual) way of speaking. Sometimes, her grammar is not exactly perfect. And sometimes Junie B. mispronounces words. Below are several phrases from the books featured in TheatreworksUSA's musical. Rewrite the sentences to make them grammatically correct. (We've underlined the incorrect phrases, to give you a head start!) You can also read the Junie B. Jones books and pick out incorrect phrases of your own! 1) Me and Herb walked to Room One. 2) 1 quick opened my journal. 3) It was the funnest dream I ever had. 4) 1 do not know him that good. 5) 'Cause this wasn't as hard as I thought. 6) Mother made me pasketti and meatballs. 7) He played the cymbals very good. 8) Here is the bestest part of all! 9) This year shalt be no different! 10) My forehead had drops of sweaty. 1UNIE B'S WACKY STORY! Here's a story about Junie, and it's up to you to fill in the blanks! Under each blank is the name of a "part of speech.„ Pair up with a classmate and ask each other for each item in this list of types of words. Then fill these words into the blanks of the story, and read your crazy stories out loud! 1) Person's name: 10) Adjective 2: 2) Place 1: 11) Adjective 3: 12) Adjective 4 (with -est): 3) Place 2: 13) Verb 1: 4) Exclamation: 14) Verb 1 (past): 5) Noun 1 (plural): 15) Verb 2: 6) Noun 2: 16) Adverb: 17) Weather condition: 7) Noun 3: 18) Body part: 8) Noun 4: 9) Adjective l: One day, Junie B. Jones and decided to go to the When Person's name Place 1 they got there, Junie B. said ” ! Would you look at all these Exclamation Noun 1(plural) said "Let's over them!" Junie B. said "Hurray, hurray! Proper name Verb 1 That's a idea!" and Junie B. Adjective 1 Person's name Adverb and until they were very Verb 1(past tense) Verb 1(past tense) Adjective 2 Just then, a appeared in the sky! "Uh-oh, Adjective 3 Noun 2 Person's name said. "It looks like it's going to !" Junie B. and rode their Weather condition Person's name bicycles to the and waited for the to Place 2 Weather condition Verb 2 While they were there, Junie B. bought a "Thank you, Person's name Noun 3 Junie B," said. "I've always wanted a !" Just then, Junie Person's name Noun 3 woke up in her Noun 4 Body part and rubbed her She said, "That was the dream ever, I tell you!" Adjective 4 with -est WORD FUN WITH IUNIEB! Here's a crossword puzzle, full of words from Junie B. Jones! Word are hidden up-and-down, left-to-right, and even diagonally! Be sure and cross out words on the word list after you find them in the puzzle! S H E V H J I X M G Q 0 B WORD LIST: Y L W D H H E R B JZ C B B U I E I V C H T S E R E T Beeswax Cookies Cymbals E NJ R IM 0AW C E C C J Glasses Her b B C F B 0 B R A S VIN C S HI S I G K NJ K R W F I X Y Hola (Josh sometimes says this — Spanish for B B I S I T I NJ K Y A N I P M "hello!") L 0 P I D E Al I B X A D B Journal Junie B. Jones Kickball R X D I B S G I C R A S V A Lemon Lunchbox Mr. Scary G Al B I N D E K S H M R L Stinky Z J1 U I N I El B J 0 N E S FD T I J Y E A C L S J Q J O U R N A L B A F Y V D F I E V G L A S S E S BIBLIOGRAPHY There are currently(as of summer 2008) 27 books in the Junie B. Jones series by Barbara Park, illustrated by Denise Brunkus, published by Random House, plus a fill-in-the-blanks journal that students can complete; in 17 of these books, she is in kindergarten, and in 6 (and counting!) she is in first grade. Some of our favorites are: • Junie B, First Grader(at last!), 2001 • Junie B, First Grader: Boss of Lunch, 2002 • Junie B, First Grader: Toothless Wonder, 2002. • Junie B, First Grader: One-Man Band, 2003. • Junie B, First Grader: Cheater Pants, 2003. • Top-Secret Personal Beeswax:A Journal by Junie B (and Me!), 2003. INTERNET Visit Junie B. Jones at her home on the world wide web. This site has a letter to children from Junie B, a list of all the Junie B books, a biography of author Barbara s 3!s Park, and several fun activity sheets(we've incorporated some of our favorite activity A ,1 3 s : 1 I v.N I N,n 01 sheets into this study guide). bi ( S lit,) V I A' f P{ www.randomhouse.com/kids/junieb , i3 N 0 a 3, 1 :.N n D;z Random House has another site, especially designed for teachers, which feature 3 N w S 3 study guides for using the books in the classroom: v A S V N _) _) S fl i o x - www.randomhouse.com/teachers/junieb/act9.html �I 1 x -..i-..t a3 CI d 01 This site includes an interview with Barbara Park, and games based on the book ,k Xi 3 i, N N D; S H s!. series NIA S V N O I J D 8, www.kidsread.com/series/series-juni.asp I� 3 D,M N 0 N Another interview with Barbara Park: 3 S 1 H H n 3 n 8 ifl 3 HIH Q l A. www.rif.org/readingplanet/bookzone/content/park.mspx ai0;b 9,w x ! tjHA 3 H s j 13Ua1 Ia[5C3VJ 1p?SQ L juII)5D azaaus an slim f 4SIJJ noA apoIN PH 'qsu ySV F iootpm o burija) {+oo4? H i�! aJ) notS aap o4M i aM ;azaaus noh apoIN P4 OH rt1oo}1 4" k'- 'I:)Ouq'tpOU)i '+tP0". q:)OUN This joke is bestest of s you're Cause the one s malzes it up! LoOneY (Just write it in the space below) B. Jones 4! . J-P 0 Re� - 4- s Look just Like junie Bov. Cut out and color in the paper mask? below. Punch out a hole on either side of the mask? and use a string to attach the mash to your head. 4 r SONGSMITH • RE-PERCUSSIONIST Throw out the rules when Billy Jonas hits the stage! It's a It's Frank Zoppa musical conversation...a sonic celebration ... a meets Pete See splendiferous gathering of old and ger tYs Parliament- young, because at a Billy Jonas Funkadelic show, the ensemble is... and Spike Jones everyone. meet Mr. Rogers "My favorite instrument is It's Miriam the audience. I work to Makeba and Igor 'tribalize'the compositions Stravinsky meet rxx ... to create songs that Captain Kangaroo provide an immediate opportunity, on first hearing,for the listener to join in,as if the song had been a part of their life for a long time." wi Billy Jonas 11 His lyrics have been described as"wild winded word • magic"(Dirty Linen Magazine),opening hearts and A. bringing concert halls to life.Jonas excels in live performances that inspire all ages to use their own voices and any handy item to sing,dance,shake their keys, snap,tap,clap hands,and be part of the band. A singer-songwriter/"industrial re-percussionist," Billy Jonas'drum kit is made of found objects—buckets,pots, pans,a garbage can,and a 5 gallon water bottle.With jingles on his ankles and sticks coming out of his shoes,he transforms the mundane into the marvelous. WWW. BILLYJONAS.COM Representation: Loyd Artists I www.loydartists.com I 800.476.6240 SONGSMITH RE-PERCUSSIONIST The Billy Jonas Band The Concert Experience Led by guitarist/vocalist/industrial re-percussionist Billy Billy Jonas'music is percussion-based,making use of found Jonas,on selected dates the Billy Jonas Band also features objects(buckets,broom handles,bottles,key chains and the supreme talents of: more)as well as traditional instruments.But on any given •Ashley Farmer(vocals,percussion)- In turns soulful, day,the specific nature of this unforgettable neo-tribal Photographs©Tebbe Doves sensual and humorous,Ashley adds an exciting vocal hootenanny is largely determined and shaped by the and B Samantha B dimension to the Billy Jonas Band. audience.He tailors both his song selection and its •River Guerguerian(percussion,vocals)-River's presentation to suit the needs and vibe of each audience. "Billy Jonas'talent,wit and inventive and lyrical percussion highlights the exciting So every Billy Jonas concert is a unique experience.He obvious love for children and and mystical quality of Billy's songs. makes spirited,straightforward music that is accessible to learning make him and his music -joke Wolf(bass,percussion,vocals)-With a varied anyone and everyone,regardless of age or cultural irresistible.Whenever 1 see him background in classical,jazz and world music,Jake background.The big-tent festival quality of Billy's music perform,my face hurts from smiling." holds down the funky bottom for the band. facilitates connection and community while fostering -Alison Krauss -The audience(vocals,percussion)-because inspiration and...most importantly.-FUN. everybody's in the band! "While others...have tried to distinguish themselves with Billy Jonas has shared stages with many renowned artists, fashion or gimmicks,Billy Jonas uses genuine originality and Fun for All Ages including Patti Larkin,Ani DiFranco,David Wilcox,Richard a style that evolved naturally from his experience,to create Billy Jonas is one of those rare performers who can engage Thompson,and Pete Seeger.His upbeat,engaging memorable music that is both intellectually fascinating and and delight both young and adult audiences. Billy's clear presence(both onstage and off)encourages active frequently danceable,all the while avoiding the cliches." tenor voice is well-suited to a plethora of venues,from audience participation.His concerts are a magical mix of -George Graham(public radio host/music reviewer) intimate settings and workshop sessions to large halls and stagecraft and wholesome,open-ended,anything-con- outdoor festivals.For more than two decades,his creative happen spontaneity. "...the arch-elf of American music..."-Charleston Gazette and interactive performances have enchanted and inspired folks from all walks of life—touching hearts,souls,and Billy Jonas offers family and adult oriented concerts, Selected Venues minds world-wide. As a founding member of the acclaimed primarily with his three or four piece band. Billy's •Kennedy Center,Washington DC duo"The Billys,"Billy Jonas has made innovative use of educational concerts include study guide materials and •Florida Theater,Jacksonville FL "Found objects."He helps audiences discover the music are usually booked in conjunction with a public -The Ark,Ann Arbor MI within common items...and within themselves. performance in a community. •Cynthia Woods Mitchell Pavilion,Houston TX •McColl Theater at Imagin'On,Charlotte NC Billy Jonas'recordings and live concerts across the US The Workshop Experience •Chautauqua Grounds,NY and Canada have generated an enthusiastic following. The highly interactive texture of Billy's music naturally lends •Thousand Oaks Civic Center,Los Angeles CA His CD"What Kind of Cat are You?!"received multiple itself to workshop environments.Wanting to share his •Philadelphia Folk Festival,PA awards including a First Place/Gold from AFIM(American expertise,experience,and enthusiasm with global •Rocky Mountain Folk Festival,Lyons CO Federation of Independent Musicians),and a Parent's participants,Billy has developed a number of popular,in- •Lake Eden Arts Festival,NC Choice Gold. Jonas'videos have demand workshops.Each focuses on a component of his •Vancouver International Children's Festival,BC garnered critical acclaim,including lively music. •MerleFest,Wilkesboro NC Parents Choice Awards and a •Moab Folk Festival,UT New York Times These include: •Kerrville Folk Festival,TX "Best"listing. •Foraged,Found,and Homemade Instruments •Songwriting Discography •Performance and Presence For Family Audiences •Neo-tribal Hootenanny 101 •Happy Accidents(2008) •Teacher Training •Everybody's in the Band DVD/VHS(2004) •plus,other custom workshops can be developed •What Kind of Cat Are You?(2002) on request •Bangin'and Sangin'DVD/VHS(2000) " Others on Billy's Music For Adult/General Audiences "He engages the audience with a wild assortment of rhythm •Get Real(2004) and word play that usually leaves them both entertained, •Billy Jonas five(2002) and a little more in touch with their spiritual selves.He •Life So For(2000) eaches,through experience,that music is everywhere. The Time Has Come(as The Billys)i 19931 -Sing Out!Magazine •The Billys(as The Billys)(1991) "Billy Jonas is a multi-layered,percussion-driven,tribal-rhythm,urban-harmony,and folk music maestro." -Ear Candy WWW. BILLYJONAS .COM Representation: Loyd Artists I www.loydartists.com I 800.476.6240 MUSIC FROM ANYTHING! WITH BILLY JONAS An interdisciplinary program in making music and musical instruments from found,foraged and recyclable objects. TEACHING GUIDE and CURRICULUM SUPPLEMENT PROGRAM INCLUDES : • Workshops in instrument making, songwriting, and playing rhythms and music • A concert of fun, educational, participatory songs DISCIPLINES COVERED: • Music—vocal, instrumental,percussion, ensemble, composing, performing, and improvising • English—language arts, creative writing,vocabulary • Art—instrument design, construction and decoration; sonic sculpture • Environmental Studies—ecology,recycling, natural resources, relationship and responsibility of individual to the natural world • Physics—sound waves, sound generation, acoustics SHILLS AND ABILITIES DEVELOPED(using"Gardener's Theory of Multiple Intelligences"): • Logical/Mathematical—rhythm, rhyme schemes,pattern recognition and manipulation • Verbal/Linguistic—songwriting, verbal improvising, new vocabulary, enunciation • Visual/Spatial—instrument design and construction, creation of visual "musical scores" • Bodily/Kinesthetic—rhythm and movement coordination, hands-on building of instruments • Musical—singing, playing, composing, performing, improvising • Interpersonal—ensemble playing, group songwriting, cooperative building of instruments • Inteapersonal—conception and implementation of song and instrument ideas, creative self-expression INSIDE THIS GUIDE: I. Introduction II. Before the Program III. Program Overview I. INTRODUCTION 1. GOALS: to encourage any child's natural creative inclinations; to inspire creative exploration, self-expression, and cooperative group process. The doors of possibility will be thrown open! 2. FORMAT: "Music from Anything!" is an interdisciplinary educational program adaptable to any children in grades K-12. IT involves workshops in instrument making from recyclable objects, songwriting, and playing music, as well as a highly interactive concert. In addition to music, students learn about recycling and ecology. "Music from Anything!" is presented by Billy Jonas, a composer, songwriter and multi-instrumentalist from Asheville, NC. 3. PRINCIPLES: "Music from Anything!" is based on the idea that MUSIC IS POSSIBLE ANYWHERE, ANYTIME, WITH ANYTHING AND ANYONE. It is assumed that EVERYONE IS A MUSICIAN, regardless of training, experience, age and ability. Each component of the program(interactive concert and workshops) strives to create a balance between a cognitive/analytic approach (question and answer time; planning time) and a hands- on/experiential approach (implementing plans; experimenting and creating). "Music from Anything!" strives to stimulate an celebrate each of the seven modes delineated in"Gardner's Theory of Multiple Intelligences." This way each child's unique strengths and abilities are challenged and honored. Gardner's theory includes the following modes of learning and areas of natural affinity: 1. logical/mathematical; 2.verbal/linguistic; 3.visual/spatial; 4.bodily/kinesthetic; 5. musical; 6.interpersonal; Tintrapersonal II. BEFORE THE PROGRAM: PREPARATORY MATERIALS 1. WHO IS COMING? ( an optional discussion) In setting the stage for a successful program, it is helpful to discuss the upcoming concert and workshops with students. The items below should provide some answers to student's queries, or can be a guideline for a game of"Twenty Questions." "SOMEONE'S COMING.... A SPECIAL VISITOR....SEE IF YOU CAN GUESS WHO IT IS AND WHAT THEY DO: The person is.....a teacher; a musician; he sings; he plays many different instruments. WHAT KIND OF INSTRUMENTS? Instruments like his voice; a guitar.... And instruments made of recycled stuff, bottles; cans; buckets; frying pans; garden hoses; anything! WHAT DOES HE SING? He sings... songs; stories; poems; things he made up; things you'll make up! WHAT'S HE GONNA DO HERE? He will... play a concert; lead workshops in Linstrument making from recyclable stuff that YOU bring to school (each person should bring in AT LEAST 3 recyclable containers—a cardboard one, a plastic one and a metal one—so everybody start bringing in stuff soon!); 2.songwriting; and 3.music making. HOW ARE WE GONNA DO ALL THAT? We start small and keep on going, one step at a time. We can do whatever we dream of! 2. REDUCE * REUSE * RECYCLE ( an optional preparatory discussion) These are three keys to creating a healthy, sustainable society and planet. See if the students can differentiate between them, and generate examples of both the problems and potential solutions. REDUCE: Cutting down on the amount of things we buy and use; identifying things we buy or use that we don't really need(like extensive packaging) and cutting back on wasteful practices. REUSE: Keeping things from entering the "waste stream"by finding new and creative uses for old stuff, make a planter from and old shoe; make collages from magazines etc. RECYCLE: Both "reducing" and"reusing"are forms of recycling. But it is important to distinguish the process of"industrial recycling," or the process of mechanically and chemically breaking down used materials into a raw form, so that they can be remanufactured. Examples: turning old newspapers back into new newspapers; turning old bottles and cans into new ones. VOCABULARY: reduce reuse recycle sustainable waste stream landfill industrial mechanical chemical manufacture technology raw material byproduct 3. WHERE DO THINGS COME FROM? (optional exercises and vocabulary) All the different materials we will use to make our instruments ultimately come from the same place—the ground! Encourage students to discuss the origins and used of these materials: plastic, cardboard,wood, metal, glass and cloth (as well as any others they can think of!). EXERCISE: For younger students, generate a list of the materials that our houses and possessions are made of For older students, create a "Resource Tree"—a flow chart of where our materials come from and the stages involved in getting them to their present state. For example: PLASTIC materials come from....stores, which get them from a truck/train/boat/plane,which got them from a factory, which got them from chemists, who got them from petrochemicals, which come from oil,which come from oil wells(in Texas, Alaska, Saudi Arabia, etc.), which come from decomposed dinosaurs, which come from THE GROUND! VOCABULARY: natural resource petrochemicals petroleum refinery iron ore decompose erosion compost silicon fiber purveyor manufacture industrial factory mines miners extract process technology technique invention innovation invent create NOTE: EXERCISES AND VOCABULARY ARE OPTIONAL, and will be touched on during the program if they are not covered beforehand. 4. THINGS TO BRING: Materials for making instruments from recyclable objects. EACH STUDENT is encourage to bring AT LEAST 3 RECYCLABLE CONTAINERS: * 3 CARDBOARD BOXES (ANY SIZE) * 3 METAL CANS (RINSED) * 3 PLASTIC CONTAINERS (MILK JUG, SODA BOTTLE, ETC. RINSED) Students may bring more than one of each, as well as any additional items with musical or sonic potential. NO GLASS for the workshops....thanks! ADDITIONAL ITEMS that are good to have: * rubber bands, balloons,pencils, newspapers/magazines ESSENTIAL CRAFT MATERIALS that teachers should supply: • beans or rice or small stones for making shakers (1 lb. per 10 students) • masking tape (3 rolls per 10 students) • decorating materials (crayons, markers, scissors, construction paper) ADDITIONAL CRAFT ITEMS— optional but helpful "duck"tape, hammer, a few big nails for poking holes, pliers, glue gun III. PROGRAM OVERVIEW 1. THE CONCERT: Participation is the mane of the game! In sing-a-longs and bang-a-longs, everyone is invited to become part of an audience orchestra. Simple hand signals are used to tune—up and conduct the participants,using instruments they have created, or find(shoes, clothes and voices!). Themes of planet-care, recycling, creativity, self-discovery, and community are covered. TIME: 40 minutes to an hour, depending on the age group. 2. INSTRUMENT MAKING from recyclable objects: with a few examples, students will invent and make their original instrument or musical sculpture out of plastic, metal, and cardboard containers that they bring. Teachers should provide masking tape and shaker materials(see the"Things to Bring"list on previous page). TIME: 1 class period. 3. SONGWRITING: Anything goes! From nonsense songs to autobiographies and family histories, both written and improvised. Depending on time, we will discuss different types and forms of songs, as well as the poetical/lyrical devices used(verse, chorus,rhyme, alliteration, onomatopoeia etc.). Material can be tailored for ANY age group from K-12. TIME: 1 class period. 4. MUSIC PLAYING: No matter what the ability or previous training, everyone comes out a. musician! We will explore rhythm,polyrhythm,unison, call and response, harmony, dynamics, conducting, composing, and improvising. TIME: 1 class period. NOTE: ALL WORKSHOPS CAN BE COMBINED IN ONE CLASS PERIOD, IN_ FORESHORTENED VERSIONS. v V Llo dlecture on` her"okeehisto and culture m sf�ools, An enrolled member of the Eastern Band of Cherokee, Lloyd yd' N universities, libraries, museums and histo�caI soc ties , Arneach was born and reared on the Cherokee Reservation in . Cherokee,North Carolina,,where he still resides. ed his ; brings along a number of Native Amencan arhtects © ,F first legends from two storytelling Uncles on a on demonstrate.He also conducts workshopO ,w storytelling,building appreciation 91 Nati ' From 1970 to 1990,Lloyd traveled fhroughodtthe state of Geo�- what the stories mean to the culture r gia,lecturing on Cherokee history lture:Ths "as one in his spare time while working<for Atlanta ,In 1990, he ai culture and history a�s Our a v e storyteller and hi M� legends adap s his book The Am Lloyd presents his s u,, iorou;;, fe a veu vodte.0 erokee anima a ° and extremely movn eom�the"old sto- Stories o the Easte ries"of the.0 erokee oo ,he has collected; is now available.In this from cr ' a nes of "Dances with recounts tales such as how the first strawbe Wolves°� � e,�fs 've Americans: Floyd,,,,,,- Red(tg esterman,�B me champion;a young'° are historical accounts x Se uo ah,the man tte Cree lriian girl��no�s �antl a postmaster on the q Y Charmingly written lust`, Pap ago Reserly H, tonal,stories� om a g y � variety of Native Am rican1ribp #; e o ese storeis are dif- Elizabeth Ellison, th3 d ill V t fioelt for Lloyd tee because f w elan associated folklore and lives of th a . M p with his experien a I�6tive V Loyd has told sto lies an, nducted lectures on Cherokee %Ce d culture enues across _ United States. Some of the Ve_ de: ,­,National Mu the American Indian,Washington DC •The Kenned � ,ash ington, DC "� Folklife_Festival,Washington, DC• Merlefest,Wilkesboro, NC First 41 m Columbus, OH•Great Smoky Mountain National Park, Gatlinburg, TN Museum of the Cheroke ee, NC• High Museum,Atlanta, GA•Troy Hayner Cultural Center,Troy,OH Fort Blisa, Fo r •Securities and Exchange Commission,Washington, DC Living Heritage Muse hens,TN •Virginia Museum of Fine Arts, Richmond,VA Children's Museum of°Iredell'C' Statesville, NC• Monmouth University, West Long Beach, NJ Emory University,A lanta, GA•Schools throughout the Southeast Booking Contact: Loyd Artists` P.O. Box 3048, Asheville, NO 28802 800.416.6240 • info @lovdartists.com Soul Street Dance Company History SOUL STREET, a company from Houston, TX (Spring Branch) which was created by former members of Fly Dance Company, is unique for the way it incorporates different styles of street dance. Under the direction of Javier Garcia, SOUL STREET presents a new era in dance. While pushing the artistic boundaries in street dance, they maintain the true essence of the culture. The history of the company dates back to 1996, as a self-taught street crew competing for recognition in the Houston area. They quickly caught the attention of the artistic director of Fly Dance Company. They then became the company's principal dancers and helped turn Fly into a national and international touring sensation. SOUL STREET concerts consist of high-energy movement that will keep you at the edge of your seat. The music is an eclectic mix ranging from hip- hop to classical. It's a show that will make you laugh and keep audiences of all ages entertained. In conjunction with their concerts, SOUL STREET offers a wide variety of outreach performances and activities to fit the needs of any community. 155 West 72"d Street, Suite 605 New York, NY 10023 (212) 496-9121 FAX(212) 496-9123 info @gardnerartsnetwork.com www.gardnerartsnetwork.com o A. "PS s p "BREA " by SOUL STREET DANCE SOUL STREET DANCE of Houston, TX presents their newest concert — "BRE I " " — where bust y ' moves take on decades past. Four male street dancers perform their special contemporary of choreography to the most popular music of the decades. Music selections include Count Basie, to Avis Presley, to the Temptations, to , erosrnith to Michael Jackson, and more.. SOUL STREET DANCE DANCE appeals to all ages and all ethnicities and cultures" bringing their youthful enthusiasm to audiences everywhere. (21'2) 496-9121 FAX (2 121496-9 123 a f♦ is b SOUL STREET DANCE Featuring "BREAKIN' BACKWARDSYY bustin' moves take on decades past Our sold out audience was For Bookings Contact: reeling with excitement." - The ArtsCenter. Carrboro. NC "Awesome!...very family friendly, super entertaining, current, creative!" -Sweet Pea Festival. Bozeman,MT Gardner • •6 info@gardnerartsnetwork.com Soul Street Dance Company Outreach These scripted programs only require a performing space (ideally a stage), basic sound and lights. NEW "Breakin'Back To School"— where bustin'moves take on decades past Four male street dancers perform their special contemporary mix of choreography to the popular music of the decades...ranging from Vivaldi to Michael Jackson. (Appropriate for all grade levels— 1St through 120i) "No Bones About It" These impressive dancers exhibit how the human body accomplishes seemingly super-human leaps and bounds through a network of bones, joints, muscles and the brain. Demonstrating with props and high-energy dance segments, the dancers reveal how signals from the brain tell muscles to stretch or contract allowing our bodies to move the way we want them to. (Appropriate for Kindergarten— 5M) "Takin'It to the Streets" Catch the excitement of Street Dance, as these energetic dancers demonstrate its varied styles, discussing the distinctive features and origins of each. This inspirational group of young men, formerly considered at risk, found focus through dance and are now working as professionals. They take students on a high-flying participatory trip from- Brazil's Capoeira to New York's break dance. The multi-component forms of Street Dance meets the music of the 17th century composer Vivaldi. (Appropriate for all grade levels— 15t through 12th) 155 West 72"d Street,Suite 605 New York,NY 10023 (212)496-9121 FAX(212)496-9123 info @gardnerartsnetwork.co m www.gardnerartsnetwork.com SOUL STREET DANCE Workshop/Master class description The four young men dancers of SOUL STREET DANCE offer an educational and entertaining class demonstrating and teaching many types of street dance. Breakin' (break dancing) or what was originally known as b-boying and b-girling, was the second recognizable element of Hip Hop to come into existence. Once it became a fad, the competitions went to The Street for their competitions and onlookers watched and cheered. SOUL STREET will work with students on various forms of street dance — such as Power moves, weight sharing, b-boying tricks, poppin' n' lockin', tumbling and gymnastics. Classes run 60-90 minutes and should take place on a wooden floor — not cement. Students should wear loose clothing and sneakers. GARDNER AIMS NETWORK, INC. 155 West 72nd Street,suite 605 - New York,NY 10023 (212)496-9121 - Fax(212)496-9123 - F-Mail:infro(rgardnerartsnetwork.com Website:v^vw.gardnerartsnetwork.mm Recent & Future Touring SOUL STREET DANCE COMPANY Dancers' Workshop Artcore, Inc. Jackson Hole, WY Casper, WY CAM-PLEX Heritage Center Alberta Bair Theater Gillette, WY Billings, MT WYO Theater Francis Mason University Sheridan, WY Performing Arts Center Florence, SC Park County Arts Council Powell, WY Caldwell Arts Council J.E. Broyhill Civic Center Festival Dance & Performing Arts Lenoir, NC Moscow, ID The Grand Pend Oreille Arts Council Ellsworth, ME Sandpoint, ID Mahoosuc Arts Council The Cutter Theater Bethel, ME Metaline Falls, WA Wharton Center for Brooklyn Center for the Performing Arts Performing Arts East Lansing, MI Whitman Theatre Brooklyn, NY Barre Opera House Barre, VT Chuck Mathena Center Princeton, WV Ansonia Theatre Wadesboro, NC Kent State University @ Tuscaraswas Tryon Fine Arts Center New Philadelphia, OH Tryon, NC Jasper Art Center Cabarrus Arts Council Jasper, IN Concord, NH Martin County Arts Council City Opera House Williamston, NC Traverse City, Ml Banners Cultural Series Norwood Village Green Lake Charles, LA Concert Series Norwood, NY Cynthia Woods Mitchell Pavilion Woodlands, TX sweet pea A Festival of the Arts P.O. Box 1015, Bozeman, Montana 59771 (406) 586-4003 www.sweetpeafestival.org sod Air Ap. o� -evo' t Soul Street Dance is enjoyable, successful, original University of Minnesota Morris University Register— May 6, 2010 Angie Price Variety Editor May 1, 2010 the PAC Performing Arts was proud to present Soul Street Dance. The concept of the show was to use classical music through the ages and pair it with strong, energetic break dancing. The wonderful juxtaposition created a vibrant and original show that had the marvelous ability to capture several audience generations. The first notable attention grabber was the use of costumes. The coordination of the costumes with the music made the performance that much more pleasing. There were more variations from suit coats during the classical pieces, cardigans for the 1950's, canes and tux shirts for the 1920's and 30's, and track jump suits jackets for the 1980's. The correlation of costumes to music threw the visuals and made the very modern break dancing appear fitting for the generation of music. The dancing also complimented the music beautifully. The choreography of it either slowed down or sped up with the pace and energy of the music. The movement of the dancers was precise and flowing. The lighting design that went with the music matched up perfectly. Elizabeth Karges operated the light board and had the experience of running the lights as she saw appropriate. Her "on the fly" operations gave the entire show variety and amplified the energy on the stage. The audience was a huge part of the show as well. The dancers fed off the energy the audience put out, thus making the performance that much more lively. After all the choreographed numbers were done the audience had the pleasure of viewing the performers dance on the spot with no plan as to what they intended to do. The improvisation of the dancers was spectacular to witness. The free style dancing was full of energy, never choppy, and never looked unnatural. The dancers were very comfortable in their movements and showed obvious knowledge of body motion. All the components of the production beautifully collided into one energetic and exciting performance that appealed to all ages. The production was very original in concept and kept the audiences' attention from beginning to end'. UNIVERSITY OF MINNESOTA Morris Campus Office of Student Activities 600 East 4th Street Morris.MN 56267-2132 Office: 320-589-6080 ww",inorris.umn.edWserviees/.stad Email:umnutact @morris.umn.edu May 3, 2010 Jeannette Gardner Gardner Arts Network 155 West 72"d Street, Suite 605 New York, NY 10023 Dear Jeannette: Enclosed is the check for Soul Street Dance Company's appearance at UMM on Saturday, May 1. The show was wonderful!!! Lots of young boys in the audience, which does not often happen with our dance events. I overheard one parent phoning her husband at intermission to say he should bring their son up for the second half of the show. Even senior citizens came up to me at intermission/after the performance to say how great they thought it was. In addition to their great skill and artistry, the artists were some of the nicest people we've worked with. They were flexible, professional, and personable. Lots of folks stayed after the show for autographs and pictures and the dancers were very gracious, though exhausted. Our only disappointment was with the size of the audience, especially very few college students. We knew this was a risk so late in the semester with finals looming and all of the competing end-of-the-year events, but thought this particular event would still draw. Live and learn—no more May events on the UMM Series. N11any thanks for all of your Help in making the event a SLICUCSS! Sincerely, Sara Haugen Program Advisor ° r Ar cue Sh N p 5 vqy a. �r FOR TEACHERS llfcome� 6ttesh a a arts ky a =f.ice ry � for the and II k students 6e ng t= K. a o- r - Tea�hers treed t � at�Ckgroucstttnt " . ., tousa� hr tel 4 Mai � Mfortttation'Pages the oat wage and the art:. lfot��o#tc�rt -� Experiettce�� Nl2st the BttteS page 5 - Ttrie�xeprodudbft��: ttrht Actj rt BtuesiAtards;�i -bc— ��� "sloes Story. being Part of the Audience,page 8 Setect activities that' best suit your,needs _. arrd time constraints. v�a' Photocopy and distribute one page perstudentforeach m91i titiill 1111111 acttYity. The KtI1I edv (.'cntcr Teacher Information Page Introducing s 8lues r At the concert, Guy Davis performs Ask students to look at Picture 2. Tell traditional blues music and stories. He students: plays the guitar and harmonica, old- time blues instruments. Introduce "The oldest blues expressed hard times students to blues music's roots using and suffering. People created blues musi- Student Activity Page 5. cal styles while working hard. Early blues musicians made their own musical instru- Activity: ments because they could not afford to buy them. Meet the Blues Ask Invite students to - examine the pictures Meet the Blues "What are the workers in Picture 2 on Student Activity doing?"(Picking cotton) Resources Page 5 as you read Ask Enjoy blues music with and discuss the fol- '• recordings by: lowing text. "Why did early blues musicians make Blind Lemon Jefferson their own instruments?"(Instruments Lonnie Johnson Ask students to look M1' )s were too expensive.) Bessie Smith at Picture 1. Read Muddy Waters aloud: ` ,; Ask students to look at Picture 3. Read: Read: "The blues is a style of Jones,B.and Hawes,B.L.Step It Down. music.African-Americans living in the "Guy Davis is a professional musician liv- Games,Plays,Songs,and Stories from ing in New York City.He studies to learn the Afro-American Heritage.New York: southern United States created the blues over 100 years ago.Many people who cre- about blues styles of the past.We will Harper and Row,1972. ated blues music lived in a region called hear Guy Davis play old-time blues music Silverman,Jerry.Traditional Black the Mississippi Delta.Their music is some- at the Kennedy Center." Music.Chitdrem Songs,New York: times called the Delta blues. Look at the Ask, Chelsea House Publishers,1993. map of the United States and find the Delta—the triangular-shaped region "What style of music does Guy Davis v where the Mississippi River flows into the play?"(Old-time blues) Gulf of Mexico." Ask, "Why is early blues music sometimes called the Delta blues?"(People living in ` t the Mississippi Delta region created early Bessie Smith � " blues music.) 'IN RU, UM . �� 2b t - harmonica Y e r r LONNIE JOHNSON AND BESSIE SMITH PHOTOS FROIA NOTHING BUT THE BLUES.EDITED BY LAWRENCE COHN,ABBEYVILLE PRESS,NEW YORK Teacher Information Page and the B I ues Language Blues Words At the concert, students hear words used in unfamiliar ways. Blues artists like to play with words. Introduce students to blues words. Ask students, "What does it mean to feel blue?"(Feeling blue means feeling low or sad.) ,„ r "r Activity: Feeling Blue 9 {? Materials Required: crayons or colored pencils, blank drawing paper guitar Invite students to draw a picture about a time when they felt blue. Ask students, "What did you do to stop feeling blue?" Explain, Blues Story "When blues musicians feel blue,they sing At the concert, Guy Davis tells stories and plays sound and tell stories about how they feel." effects with his guitar and harmonica. Introduce students to sound effects with the story "Madison and the Pigs." Activity: Activity: Bluesslory Blues Words alup5 Blues Story e _ Distribute reproducible e. "'''"`' P Distribute reproducible Student Activity Page 6. , Student Activity Page 7 Direct students to look at the "Sound Tell students, » ' Effects" key on the activity "When blues musicians , ` page. Tell students: create songs and Stories, "We will create three different they like to play with °' sound effects for the story, words." 'Madison and the Pigs.— Direct students to read the s"Blue the Ask students to select one sound effect for each picture Phrases" and their "Meanings" es activity page. Ask students to write a in the key. Tell students: sentence using each blues phrase. "Although the blues grew out of hard times and suffering, blues songs and stories are not always sad.Like the story 'Madison and the Pigs,'many blues songs are funny.Now I will read the story'Madison and the Pigs.'Read along and create the sound effects we selected when you see them in the story." Teacher Information Page Your Concert Experience Going to the Kennedy Center Tell students: "Guy Davis:Stories and Songs of the Blues is performed at the Kennedy Center.The Kennedy Center was named to honor John F.Kennedy,who was President of the United States about 35 years ago.The Kennedy Center is a place where many ` J people go to see and hear performances of dance,theater,or music.The Kennedy Center has six theaters.You will hear the concert in the Theater Lab. When you enter the Kennedy Center Activity: you will walk into the Hall of States. It is called the Hail of States because flags of Being Part of the Audience the 50 states and Washington,DC hang Before the concert: To prepare students to participate high above you.To get to the Theater Lab, in the concert, reproduce and read together repro- you will ride inside a large elevator to the ducible Student Activity Page 8, "Being Part of the Kennedy Center's top floor.A large banner Audience." that says'Theater Lab'hangs on the wall outside the theater. In the theater,an After the concert: Lead students in a discussion about usher will direct you to your seats." the concert and their role as audience members. The Concert: What instruments did you hear? What parts of the concert did you like best? What new things did you learn? The Audience: How did the audience know it was time for the concert to begin? Did the audience quietly listen to the concert? Did anyone make it difficult for you to pay attention to the concert? If so, what did that person do? What would you tell other students to help them be good audience members? Activity: Remembering the Concert Invite students to draw a picture to remember the Kennedy Center or the concert. Student Activity Page Meet the B I ues 1 . The Mississippi Delta Birthplace of the Blues Louisiana $ , k >` Gulf of Mexico Mississippi River Delta 2. HardtTim,e,s and Hard Work J � Af , } t. 'r x i 5 � 4 a A ,.. 3. Guy Davis CORBIS-BETTMANN Student Activity Page B I ues WI'm in a blue mood. I feed blue. b11les- ,ve got the Blues Phrases Meanings blue sad high water flood bone orchard graveyard jelly bone jelly girlfriend , t Write a sentence using each blues phrase. rag l�. a kdd t� c 3. 4. N: Student Activity Page B I ues Stor y Madison and the Pigs Madison was a farmer who kept pigs in his yard. One evening he called the pigs f : - to tell them to come home for supper. But no pigs came. Ij Sound © He looked around and decided to call Madison calling the Pigs the pigs again. © Still, no pigs came. Madison climbed to the top of the house. © When he was standing on the roof, he looked around. He saw the pigs at the edge of the farm, near the woods. He called the pigs from the roof of Sound © the house. © He kept calling and calling. Madison climbing a ladder © Finally, the pigs began to come home. ' That evening Madison had not just his pigs, but every pig in the county, r• eating supper in his yard. t Sound p Pigs eating supper ILLUSTRATIONS BY TOM SWICK Student Activity Page Being Part of the Audience Directions: When you go to a , you Use this key to read Op 00*1 about going to a concert. are part of the ' o The is an important part of concert sloe 181pa a the Before the audience begins, the lights in the Theater Lab 0 o dim and go out. At this time the watch ' becomes quiet. During the Ali" listen 67jo O O and carefully. If you talk, The Kennedy Center clap people in the will not James A.Johnson Chairman Lawrence J.Wilker be able to President Derek E.Gordon Vice President,Education _ When the ends, Cuesheet/Guy Davis.Stories and Songs of the Blues Dawn Eddy Molloy if you liked the Marcia Daft or Marcia Daft Writer Paul Dupree Communications, San Francisco Design Cuesheetis funded in part through the support of the U.S.Department of Education,The Kennedy Center Corporate Fund,and The Morris and Gwendolyn Caf tz Foundation. ID 1998,The John F Kennedy Center for the Performing Arts 5/10/13 Edit form-[School Shows at The ArtsCenter Survey!]-Google Docs 39responses Summary See complete responses Which performance did your group attend? Migration by Hobey Ford's Golden Rod Puppets(11/16/12) 4 1 Migration by Hobe...- Tired Souls:King&the Montgomery Bus Boycott by Mike Wiley Productions(1/15/13) 2 Tired Souls:Kin g... Storytelling by Donna Washington(2/7/13) 3 - Heroes of the Underground Railroad by Bright Star Theatre(2/26/13) 4 1 Storytelling by D..._ Jabali African Acrobats(3/15/13) 7 1 Heroes of the Und... Rainbow Fish(3/19/13) 9 2 AThousand Cranes(3/22/13) 2 Jabali African Ac... Ballet Folklorico Mexico(4/18!13) 8 Rainbow Fish(3;'1.." A Thousand Cranes...- ,, 1 Ballet Folklorico... 0 2 4 6 8 10 Why did you choose this performance for a field trip? Curriculum Connection 30 77% a Y CurriculumCannec.. �'� f Fun or entertainment 20 51% Fun or entertainment To experience something new and unique 19 49% Other 4 10"% To experience som... People mayseiectmore than one checkbox,so percentages mayadd Other up to more than 100%. 0 6 12 18 24 30 How did you hear about The ArtsCenter's School Show Series? Poster distributed to me at school 6 15% Poster disinbute... Co-worker 8 21 Co-worker_- The ArtsCenter's website 11 28% _ Direct email 18% The ArtsCenter's... Social media 1 1 3°- Direct email-- School district's e-newsletter 2 5% Other 11 28°% Social media. School distnct's... Peopie may select more than one checkbox,so percentages may add up to more than 100°%. Other - 0 _ 2 4 6 g 10 12 Please answer the following questions about the School Show you attended:-Did the program sustain your students'interest? Yes,absolutely! 27 69% Mostly 8 21% Somewhat 3 8% Alittle 1 3% Not at all 0 0% https://docs.goog le.con Valartscenterl i%e.org/spreadsheettgform?key=OAW3oM 176yCwTdGV3WVNfRXFSaGZ3SIZpVniJi WXBOel E&g ridld=0#chart 1/5 5/10/13 Edit form-[School Shows at The ArtsCenter Survey!]-Goog le Docs Yes,absolutely! Mostly Somewhat A little>` Not at all 0 5 10 15 20 _ 25 30 Please answer the following questions about the School Show you attended:-Was the material appropriate for your students'grade level? Yes,absolutely! 30 77% Yes.absolutely! Mostly 4 10 Mostly- Somewhat 5 13% Somewhat Alittle 0 0% - Not at all 0 0%: A little Not at all 0 6 12 18 24 30 Please answer the following questions about the School Show you attended:-Was the length of the program appropriate? Yes,absolutely! 23 59% Yes,absolutely! Mostly 7 18° Mostly_ Somewhat 9 23% Alittle 0 0% Somewhat- Not at all 0 0°% A little Not at all 0 5 10 15 20 25 Please answer the following questions about the School Show you attended:-Would you attend this program again? Yes,absolutely! 24 Yes.absolutely! Mostly 9 23% Mostly- Somewhat 0 )% Alittle 5 13% Somewhat Not at all 1 3% A little- Not at all 0 5 10 15 20 25 Please answer the following questions about the School Show you attended:-Would you recommend The ArtsCenter's School Show Series to a co-worker? Yes,absolutely! 32 82% Mostly 5 13°% Somewhat 2 5% Alittle 0 0% Not at all 0 0% https://docs.g oog I e.corrVatartscenterl ioe.org/spreadsheettg form?ley=OAIBW 176yCwTdGV3W VNfRXFSaGZ3SIZpVrrJi WXBOel E&g ri did=O#chart 215 5/10/13 Edit form-[School Shows at The ArtsCenter Survey! ]-Google Docs Yes,absolutetyl ' ' Mostly Somewhat A little Not at all 0 6 12 18 24 30 36 What did you and your students like about this performance? Enjoyed her delivery ofthe story This was a fantastic performance.Ms.Washington was wonderful.The kids were so engaged by her and her stories.They all loved it as did all the parent chaperones.Would definitely see her again!Thank you!! The interaction with the actor. Donna Washington was amaang and very interactive. The actor-incredibly engaging and easyto understand!I wish I could teach like this! Animated storytelling:Audience involvement. Animated storytelling:Audierce involvement. Variety of puppets:unique form of puppetry story line V'eryorganized seating process.Enthusiasts ... What did you and your students not like about this performance? She told 2 very common stories,both which my child has heard many times.Would have kept her attention better if the stories were unfamiliar. Nothing All of it? Too short! Too short? Nothing Not enough action or interaction for this age.Good information was presented.but asking them to just listen to actors talking held their attention for about 20 minutes..The program was very short for the money,yet you could see the kids getting antsy due to the nature of the presentation(lots of listening)We couldn't always hear the question being asked.It needed to be repeated by the performer bef ... Did you receive a study guide from The Arts Center for this show? :1 Yes Yes 27 69 No 5 13% Don't know 6 151, If you answered Yes above,did you use the study guide to help integrate the show into your classroom study(either before or after the performance)? Yes 20 51% No 6 15 What are the most convenient times to attend a school performance at The ArtsCenter? 9:30 AM 3 8"-, 10:00 AM 4 10%, 10:30 AM 0 0% 11:00 AM 0 0% 11:30 AM 1 3% People may select more than one checkbox,so percentages may add up to more than 100%. hftps:/Idocs.goog le.com/a/artscenterliw.org/spreadsheettgfbrm?ley=OA'43W 176yCwTdGV3WVNfRXFSaGZ3SIZpVniJi WXBOeIE&g ridld=O#chart 3/5 5/10/13 Edit form-[School Shoves at The ArtsCenter Survey!J-Goog le Docs 9:30 AM 10:00 AM AM 10:30 AM 11:00 AM 11:30 AM ) 0 1 2 3 4 What is the biggest challenge to scheduling a field trip to The ArtsCenter? Cost 15 50% Cost Permission from parents 0 0% Permission from p... Reservation process 1 3% Transportation logistics 10 33% Reservation process, Other 10 33% Transportation to...■ People mayselect more than one checkbox,so percentages mayadd Other up to more than 100%. 0 3 6 9 12 15 Is there a particular performance you would like to see presented at The ArtsCenter in the School Show Series? more offerings for 5th grade and up Dance:Storytelling.lvtusic Dance.Storytelli ng.Mus ic Anything! Science or math related I've been happy with the variety of choices ? PaperHand puppet no,we have enjoyed ... What other places do you attend(or consider for)field trips? many museums Carolina Theater Art Museum,Historic Oakview,Poe Center Art Museum Historic Oakview,Poe Center Museums mostly Hands-on experiences with lots of kid interaction We don't attend other perfor ... When do you plan your field trips for the year? Beginning of school year 16 43% Beginning of scho... Throughout the school year 22 59% Throughout the sc... ._ Other 1 3% Othert People may select more than one checkbox,so percentages may add up to more than 100%, 0 4 8 12 16 20 24 How does The ArtsCenter's School Show Series compare to other field trips you take with your students in terms of the following?-Cost Excellent 15 38% Excellent Good 14 36% Good Okay 7 18% Poor 1 3 Okay Poor V., 0 3 6 9 12 15 How does The ArtsCenter's School Show Series compare to other field trips you take with your students in terms of the following?- hfps://docs.goog le.corr✓alartscenterl ive.org/spreadsheet/gform?key=OAM3oM 176yCwTdGV3WVNfRXFSaGZ3SIZpVmli VvXBOel E&g ridld=O#chart 4/5 5/10/13 Edit form-[School Shows at The ArtsCenter Surrey.I-Google Docs Quality Excellent 23 59% Exceiler,t Good 12 31% Good-- Okay 2 5% Poor 0 0°! Okay■ Poor 0 5 10 15 20 25 How does The Arts Center's School Show Series compare to other field trips you take with your students in terms of the following?- Variety Excellent 22 56% ExceFlent Good 12 31% Good Okay 2 5%, Poor 0 0, Okay Poor 0 4 8 12 16 20 24 How does The ArtsCenter's School Show Series compare to other field trips you take with your students in terms of the following?- Overall experience Excellent 21 54% Excellent Good 15 38% Good-_� Okay 0 0% Poor 0 0' Okay Poor 0 4 8 12 16 20 24 Thank you for taking the time to fill out this survey.Your feedback helps us to evaluate and plan our programs.Please feel free to share any other comments or thoughts below. Felt like the cost was a little much for a 45 minute show but overall enjoyed it Staff were super friendly and helpful? We had a wonderful time but it was FREEZINGi My kids kept their coats on the whole time. We are so grateful for these great programs to be open to our homeschooling familytt And to allow our 2 year old to come with us makes it possible.We love these,they are a highlight to our school year'll We have seen some excellent shows in the past,For older children and adults this show was just as good.I just don't feel that the presentation was the best format for younger childr ... Number of daily responses https://docs.g oog le.corr da/artscenterlive.org/Spreadsheettgfbrm?key=OAkBoM 176yCwTdGV3WVNfRXFSaGZ3SIZpVmJi WXBOeI E&g ridld=O#chart 515