UMS Teacher Resouce Guide - Ragamala Dance

res o u rc e g ui de 2012-2013

Ragamala Dance Wednesday, April 24, 2013 11 am – 12 Noon Power Center School Day Performance

UMS Yo uth Ed ucation Prog ram

TA BL E OF CO NT ENT S

04 ATTENDING THE PERFORMANCE 05 Being an Audience Member 06 The Details 08 Venue 10 Maps and Directions 1 1 Accessibility

12 THE ARTISTS 13 Ragamala Dance 14 Interview with Founder Ranee Ramaswamy 16 Company Members

20 Cultural context: India 21 Bharatnatyam 22 South Indian Arts Overview 24 Costumes + Make-Up 25 Gestures

26 ON STAGE 27 Sacred Earth 28 Visual Art

30 Bibliography

32 UMS: BE PRESENT 33 About UMS 34 Thank You!

ATT END I NG T HE PERFO RM ANC E

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BEING AN AUD I ENCE M E M B E R When preparing students for a live performing arts event, it is important to address the concept of “concert etiquette.” Aside from helping prevent disruptive behavior, a discussion of concert etiquette can also help students fully enjoy the unique and exciting live performance experience. The following considerations are listed to promote an ideal environment for all audience members.

Your Surroundings • Concert halls and performing arts venues are some of the most grand and beautiful buildings you might ever visit, so be sure to look around while you follow an usher to your group’s seats or once you are in your seat.

• UMS Ushers will be stationed throughout the building and are identifiable by their big name badges. They are there to help you be as comfortable as possible and if you have a question (about the performance, about where to go, or about what something is), please ask them, and don’t feel shy, embarrassed, or hesitant in doing so.

Sharing the Performance HaLl with Other Audience Members

• As an audience member, you are also part of the performance. Any enthusiasm you might have for the performance may make the performers perform better. So, if you like what you are seeing make sure they know it! Maybe clap, hoot and holler, or stand up and cheer. However, when expressing your own personal enjoyment of the performance, consider whether your fellow audience members will be able to see or hear what’s happening on stage or whether they will miss something because of the sound and movement you are making. Given this consideration, it’s often best to wait until a pause in the performance (a pause of sound, movement, or energy) or to wait until the performer(s) bow to the audience to share your enthusiasm with them.

• Out of respect for the performer(s), if you do not like some part of the performance, please do not boo or shout anything

• Consider whether any talking you do during the performance

derogatory. Remember, a lot of hard work went in to creating

will prevent your seat neighbors or other audience members

the performance you are watching and it takes great courage

from hearing. Often in large rock concerts or in movie

for the performer to share his or her art with you.

theaters, the sound is turned up so loud that you can talk and not disturb anyone’s listening experience. However, in other concerts and live theater experiences, the sound is unamplified (or just quiet), and the smallest noise could cause your seat neighbor to miss an important line of dialogue or musical phrase. Movements or lights (from cell phones) may also distract your audience neighbors’ attention away from the stage, again, causing them to miss important action...and there’s no instant replay in live performance!

Share your Experience with Others • An important part of any performing arts experience is sharing it with others. This can include whispering to your seat neighbor during the performance, talking to your friends about what you liked and didn’t like on the bus back to school, or telling your family about the performance when you get home.

• At a performance, you are sharing the physical components of the performance space with other audience members. So, room in such a way that both you and your seat neighbors are comfortable.

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consider whether you are sharing the arm rest and the leg

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T HE D ETA I L S VENUE Power Center, 121 Fletcher St., Ann Arbor, MI 48109

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

A RRIVA L TI M E Please arrive at the Power Center between 10:30-10:50am to allow you time to get seated and comfortable before the show starts.

SE ATING & USHERS When you arrive at the auditorium, tell the Head Usher at the door the name of your school group and he/she will have ushers escort you to your block of seats. All UMS School Day Performance ushers wear large, blue laminated badges with their names in white letters.

BEFORE THE STA RT Please allow the usher to seat individuals in your group in the order that they arrive in the auditorium. Once everyone is seated you may then rearrange yourselves and escort students to the bathrooms before the performance starts. PLEASE spread the adults throughout the group of students.

DURING THE PERFORMANCE At the start of the performance, the lights wIll dim and an onstage UMS staff member will welcome you to the performance and provide important logistical information. If you have any questions, concerns, or complaints (for instance, about your comfort or the behavior of surrounding groups) please IMMEDIATELY report the

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situation to an usher or staff member in the lobby.

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PERFORM A NCE LENGTH One hour with no intermission.

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A F TER THE PERFORMANCE When the performance ends, remain seated. A UMS staff member will come to the stage and release each group individually based on the location of your seats.

BUS PICK UP When your group is released, please exit the performance hall through the same door you entered. A UMS School Day Performance staff member will be outside to direct you to your bus.

LOST STUDENTS A small army of volunteers staff School Day Performances and will be ready to help or direct lost and wandering students.

LOST ITEM S If someone in your group loses an item at the performance, contact the UMS Youth Education Program (umsyouth@umich.edu) to attempt to help recover the item.

SENDING F EEDBACK We LOVE feedback from students, so after the performance please send us any letters, artwork, or academic papers that your students create in response to the performance: UMS Youth Education Program, 881 N. University Ave., Ann Arbor, MI 48109-1011.

NO FOOD No food or drink is allowed in the theater.

PATIENCE Thank you in advance for your patience; in 20 minutes we aim to get 1,000 people from buses into seats and will work as efficiently as possible to make that happen. w w w. u m s .o r g 7

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VEN U E: POWER CENT E R

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POWER CENTER

The Power Center for the Performing Arts grew out of a realization that the University

121 Fletcher St

of Michigan had no adequate proscenium-stage theater for the performing arts. Hill

Ann Arbor, MI 48109

Auditorium was too massive and technically limited for most productions and the

Emergency

Lydia Mendelssohn Theatre was too small. The Power Center was built to supply this

Contact Number:

missing link in design and seating capacity.

734.764.2538 Call this number to reach a UMS staff person or

In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major gift to the University. The Powers were immediately interested in supporting

audience member at the

the University’s desire to build a new theater, realizing that state and federal

performance.

governments were unlikely to provide financial support for the construction of a theater.

Opening in 1971, the Power Center achieved the seemingly contradictory combination of providing a soaring interior space with a unique level of intimacy. level to the balcony and the well known mirrored glass panels on the exterior. The lobby of the Power Center presently features two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes (Arabesque) by Pablo Picasso. The Power

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Center seats approximately 1,300 people.

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Architectural features include two large spiral staircases leading from the orchestra

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MA PS + D IRECT I O NS

121 Fletcher St., Ann Arbor, 48109

B u ss ing / Tr an s po rtat i o n Directions Ragamala Dance School Day Performance

Drop-Off Zone is on the East side of Fletcher from Huron to University. If no space is available in the Drop-Off Zone, circle the block (see above) until space becomes available. Please arrive between 10:30am-10:50am.

Wednesday, April 24, 2013

11:00am-12:00pm

Power Center and Mall Bus Parking driving directions on the next page.

Power Center

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The best visitor parking: Palmer Dr. Parking Structure behind Power Center: $1.10/hr

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Need Day-of Help?

Call Omari on his cell phone: 734-730-9202.

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MA PS + D IRECT I O NS From I-94:

From US-23 South

Take State Street Exit 177. Head north. Continue on State Street

Take US-23 North to the Washtenaw Exit and go West (towards

approximately 2 miles to the main campus area. From State,

Ann Arbor) on Washtenaw. Take Washtenaw to Observatory and

turn right on N. University. From N. University, turn Left onto

turn left. Observatory becomes N. University. From N. University,

Fletcher, where you can drop-off your students on the right.

turn Right onto Fletcher, where you can drop your students off on the right, as shown on the map.

From US-23 North Take US-23 South to M-14 West. Take Downtown Ann Arbor exit

From I-96 East (& US-23)

(exit 3) which puts you on Main Street. From Main Street, turn

Take I-96 East to US-23 South. Follow the directions from

left on Huron St. Turn right on State. Turn Left on N. University.

US-23 South.

From N. University, turn Left onto Fletcher, where you can drop your students off on the right, as shown on the map.

From I-96 West (& M-14) Take I-96 to M-14 West. Take Downtown Ann Arbor exit (exit 3) which puts you on Main Street. From Main Street, turn left on Huron St. Turn right on State. Turn Left on N. University. From N. University, turn Left onto Fletcher, where you can drop your students off on the right, as shown on the map.

Accessibilit y The following services are available

WHEELCHAIR ACCESSIBILITY

to audience members:

The Power Center is wheelchair accessible and has 12 seats for

• Wheelchair, companion, or other special seating

audience members with special needs.

• Courtesy wheelchairs • Hearing Impaired Support Systems

BATHROOMS ADA Compliant toilets are available in the green room (east corner)

PARKING

of the Power Center for both men and women.

There is handicapped parking very close to the Power Center on Fletcher Street and in the parking structure behind the Power

ENTRY

Center on Palmer Drive. The first three levels of the Palmer

The front doors are not powered; however, there will be an

Drive structure have 5 parking spots on each level next to each

usher at that door opening it for all patrons.

elevator. There are a total of 15 parking spaces in the garage.

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T HE ART IST S

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More from Ranee and Aparna! http://www.youtube.com/watch?feature=player_embedded&v=Eclm1u5gKkM

T he Art is t

Rag a mala Dance Ragamala Dance is a dance company of international acclaim based in Minneapolis, Minn. that explores the full dimensions of Bharatnatyam dance, the ancient classical Indian dance form. They infuse their performances of the ancient art form with contemporary ideas and social themes. The company includes dancers and musicians and they often collaborate with composers, choreographers, poets, playwrights, and artists.

The name ‘Ragamala’ is derived from the terms “raga” meaning tune and “mala” meaning garland.

Our work re-frames the cultural specificity of Bharatanatyam, bringing the eloquence of the form to universal themes in order to move beyond the personal and spark a global conversation. It is this focus that allows our work to transcend barriers of culture, ethnicity, nationality and geography and speak to a broad audience.

With each project, we aim to find a new way to answer the question of what it means to be a 21st century American choreographer working within a classical, Indian tradition. In an era in which innovation is so often seen as a rejection of the past, we are committed to the philosophy that it is vital to retain roots in our collective history while reaching into the future.

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—Ranee Ramaswamy and Aparna Ramaswamy Co-Artistic Directors

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IN T ERVI EW WITH Fo unde r Ranee Ramas wa m y

Bharatnatyam is not about gesture, it’s about the entire experience. The more involved the artist, the more beautiful

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the expression is.

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T he Art is t

In your opinion, what is Ragamala?

It is an American dance company that shows old forms of dance in new ways. It uses stories from mythology, philosophy, even using the idea of Japanese Guardians interacting with Hindu Gods. Ragamala takes ideas and puts it on a contemporary stage.

How do you live up to your mission statement, especially the phrase: “[being] committed to the philosophy that it is vital to retain roots in our collective history while reaching into the future”?

One-hundred percent, we never breakaway from that, no matter what. The art form of Warli painting is depicted without changing paintings. Kolams are treated the same way, as well. The performance is being performed by dancers born and raised in the US, but the technique learned from our teacher is always there. We keep the integrity of Bharatnatyam and these art forms.

Describe your early years of learning Bharatnatyam.

I was so eager to take what my teacher gave me; my desire to learn was so much. While my peers would learn three steps, I would learn five. I loved the challenge of learning and, taking it as a challenge, it becomes more interesting to learn.

What is one important thing to know about Bharatnatyam?

Everyone thinks that Bharatnatyam is about understanding hand gestures. Bharatnatyam is not about gesture, it’s about the entire experience. The more involved the artist, the more beautiful the expression is. The most important part of Bharatnatyam is the way the dancers communicate with an audience.

Why did you choose the environment as the focus of your piece?

The concept of taking care of the Earth is new in Western culture, but in India it has been a long standing tradition. Even when you walk the streets in India, they say you should walk lightly or Bhumadevi (the Goddess of the Earth) will awake. There must be awareness that the Earth is not just given to you but it is a privilege. For thousands of years people have said the Earth was important, and we have to take care of what has been given to us.

Portrait of Ranee Ramazwamy Photo Credit, McKnight Fund

How do you feel when you perform Sacred Earth?

It is almost like a religion to me, there is a deep spirituality in it. The music is beautiful, as is the whole idea of the dance. We feel very present and while we all may be dancing the same basic moves, through study with our masterful teacher, we are able to bring out our individual personality while dancing too.

floor designs in Sacred Earth?

I started making Kolams when I was five years old for the Goddess of Prosperity. Not many know about the idea of Kolams. It’s a way of giving back. Similarly, Warli people live at one with nature; everything is included from ants to lions.

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What were the motivations behind including Warli wall painting and Kolam

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COMPANY ME M B ER S

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Aparna Ramaswamy

ranee Ramaswamy

tamara Nadel

Amanda Dlouhy

Jessica Fiala

Ashwini Ramaswamy

David Rissager

Rajna Swaminathan

Anjna Swaminathan

Lilit Subramaniam

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COMPANY ME M B ER S

A pa rna Ramaswamy Co-Artistic Director Choreographer Principal Dancer Born in India and raised in the U.S., Aparna Ramaswamy is a protégé of legendary Bharatanatyam artist Alarmél Valli, one of India’s greatest living masters. Described as “a marvel of buoyant agility and sculptural clarity” (Dance Magazine), “thrillingly three-dimensional,” and “an enchantingly beautiful dancer,” (The New York Times), She has been awarded several honors, Aparna currently serves on the Board of Trustees of Dance USA. She has a B.A. in International Relations from Carleton College.

Ra nee Ramaswamy Founder Co-Artistic Director Choreographer Principal Dancer Ranee Ramaswamy has been a master teacher and performer of Bharatanatyam since 1978. Since founding Ragamala in 1992, she has worked with celebrated artists such as poet Robert Bly, jazz musician Howard Levy, legendary composer/violinist Dr. L. Subramaniam (India), the Çudamani ensemble (Indonesia), and Wadaiko Ensemble Tokara (Japan). Among her many grants and fellowships are 13 McKnight Artist Fellowships, a Bush Fellowship, and an Artist Exploration Fund grant from Arts International. Most recently, Ranee has been chosen as the also just recently been nominated to the National Council on the Arts by President Obama.

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McKnight Foundation Distinguished Artist for 2011. She has

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Tamara Na d el

Jessi c a F i a la

Dancer

Dancer

A disciple of Ranee and Aparna Ramaswamy, Tamara Nadel has

Jessica Fiala has been performing with Ragamala since 2006

been performing, touring, and teaching with Ragamala since

and has toured with the company throughout the U.S. and

1994. She has toured extensively with the company, performing

to India and the U.K. She has also performed locally with

throughout the U.S. and in Russia, Taiwan, Japan, Indonesia,

Kaleena Miller and Vanessa Voskuil. Jessica completed a

India, and the U.K. Tamara recently began studying Carnatic

master’s degree in liberal studies with a focus in museum

music under Lalit Subramanian. She also serves as Ragamala’s

studies at the University of Minnesota in 2008. This fall

Development & Outreach Director, and has a degree in Religious

Jessica is leaving a position as Registrar and Membership

Studies and Dance from Macalester College.

Coordinator at the Alliance Française to join Forecast Public Art as their new Artist Services Program Assistant.

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A man da Dlouh y

Dancer

Amanda was introduced to Bharatanatyam by Ranee

Ashwini Ramaswamy has studied Bharatanatyam with Ragamala’s Artistic Directors Ranee Ramaswamy and Aparna Ramaswamy—her mother and sister—since the age of five and has toured extensively with Ragamala, performing throughout the U.S. and in Russia, Taiwan, Indonesia, Japan, the U.K, and India. Ashwini is Ragamala’s Director of Publicity & Marketing and also works as a freelance publicist for the publishing company The Penguin Group in New York. She holds a degree in English Literature from Carleton College and currently sits on the board of Arts Midwest.

been touring with Ragamala Dance since 2005, performing throughout the U.S. as well as in India, Indonesia, and the U.K., and she also teaches in the Ragamala School. She is a graduate w w w. u m s .o r g

of the University of Minnesota in history and currently works as

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A sh w i ni Ramaswamy

Dancer Ramaswamy and Aparna Ramaswamy in 2004. She has

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Program Assistant at Nonprofits Assistance Fund in Minneapolis.

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David Rissager

Anjna Swaminathan

Technical Director

Violinist

David Riisager is a freelance lighting designer. He has designed lights for several of Ragamala’s shows in the Twin Cities and on tour throughout the country. He also works for The Children’s Theater Company (Minneapolis, Minnesota) as Electrician, Follow Spot Operator, Tour Master Electrician, and Assistant Lighting Designer. He was Production Manager at The Southern Theater (Minneapolis, Minnesota) for four years, and currently designs lights for many small theaters in the Minneapolis area.

Anjna Swaminathan is a disciple of violin maestro Parur Sri M.S. Gopalakrishnan and Mysore Sri H.K. Narasimhamurthy.

She performs solo violin concerts and provides violin accompaniment for music and dance performances. She has also studied Western violin and Bharatanatyam. In 2009, Anjna received a Master/Apprentice award from the Maryland State Arts Council to study songs that are unique to dance performances with her mother, vocalist Lalitha Swaminathan.

Anjna has provided accompaniment for dance productions with companies such as Ragamala Dance and The Spilling Ink Project. In the Summer of 2010, Anjna had her solo concert debut in India. Anjna is currently a freshman at the University of Maryland in College Park, majoring in Theatre.

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Rajna Swaminathan Mridangist

Lali t S u b rama ni am

Rajna Swaminathan is an accomplished artist in the field of South Indian classical percussion – mridangam. She is a disciple and protégé of mridangam maestro Umayalpuram K. Sivaraman. Rajna is one of only a handful of female mridangam artists in the world. She has accompanied many renowned musicians widely in the US, Canada, and India. She has also performed extensively at the December Music Festival in Chennai. Rajna works with several dancers and performs lecture demonstrations and workshops at universities and prominent percussion events, such as Percussive Arts Society International Convention (PASIC). Rajna has a base in classical piano and has also learned Bharatanatyam (South Indian classical dance) for some years. She is currently an undergraduate student of Cultural Anthropology and French at the University of Maryland in College Park.

Lalit was born and raised in the city of Pune in the state of Maharashtra, India. He hails from a family of connoisseurs of Indian Classical Music, and his parents initiated him into Carnatic vocal training at a young age. He is currently the disciple and protégé of Sri Tiruvarur S. Girish, who is the grandson of Sangeetha Kalanidhi Smt. T. Brinda and the torch bearer of the very unique bani of Veena Dhanammal. He also periodically receives instruction from Sri Neyveli R. Santhanagopalan.

He received his initial vocal training from Smt. Rajalakshmi Pichumani, a renowned violinist, vocalist, and Bharatanatyam instructor. He has also undergone extensive training in Hindustani Classical Music training under Pandit Shekhar Kumbhojkar, who is a disciple of Pandit Jitendra Abhishekhi.

Vocalist

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CULT URAL CONT EX T: IN D IA

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C u lt u r al Con text: Indi a

BHAR AT NAT YA M b h ava | raga | ta la | n a tya

B haratnatyam is der ived from th e fo l lowin g San sk rit wo rds:

bhava mood & emotion

+

raga tune

+

tala beat

+

natya drama

The Bharatnatyam style originated in South India in the Tamilnadu region and is part of the wider Natyashastra dance style. The Natyashastra is the overarching umbrella from which originated all other classical Indian dance forms: Oddissi, Kathakali, Kathak, Manipuli, Kuchipudi, Mohiniyattam, Bharatnatyam, and Sattriya.

Bharatnatyam began as a dance in the Hindu tradition and over the years has moved past just being a movement connected to religious ritual, into courts and performance spaces. Ragamala Dance has been part of a Bharatnatyam revivalist movement in the US and has actively worked to explore the full range of expressiveness in the dance form, maintaining the traditions and extending them to interested people who typically have not been involved in the art form — for instance, men and students of non-south Asian descent.

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C u lt u r al Con text: Indi a

S outh indian a rts ove rview

Complex and ancient, the artisans of this style have been passing down their craft from generation to generation.

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Although Indians are bound together by their national pride, each respective state in India has not only its own history but also a distinct array of cultural characteristics. Ragamala Dance reflects south Indian culture most prominently in its work.

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C u lt u r al Con text: Indi a

Visual Art Each state in India has its own sense of visual art. For instance, in the state Tamil Nadu, there is an artistic style known as Tanjore in which Hindu deities are depicted adorned in precious and semi-precious stones. Complex and ancient, the artisans of this style have been passing down their craft from generation to generation. These images can span an entire wall or be as small as a figurine sized idol. Artisans from South India also often just work with precious metals (like gold and bronze) and stone.

MUSIC Ragamala Dance incorporates Carnatic music into their performances. Carnatic music originated from south India mostly as a form of devotional Hindu music. Lyrical elements of Carnatic music (played by the violinist and vocalist) are called sangeet and the rhythmic elements (played by the mridangam drum) are called tala. Improvisation plays a significant role in Carnatic music.

Dance Besides Bharatnatyam, several other dance forms are prominent in South India, including Kathakali, Mohiniyattam, and Kuchipudi.

Kathakali is a group presentation in which elaborately face-painted dancers take on various character roles in performances traditionally based on themes from Hindu mythology. Evil folklore characters are painted green while ascetics and men who are considered good are painted in hues of yellow.

Mohiniyattam is similar to Bharatnatyam stylistically. Though also performed in the temples by priestesses, Mohiniyattam is based on love in all its facets – carnal, devotional, and maternal – and has

dancers. Kuchipudi is unique among the Indian classical dance styles and its themes are mostly derived

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been considered a more feminine dance form.

from Hindu scriptures and mythology.

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Kuchipudi technique involves use of fast rhythmic footwork and sculpturesque body movements, hand gestures and subtle facial expression, as well as more realistic acting and occasional dialogues by the

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C u lt u r al Con text: Indi a

Cost u mes + Mak e- u p Costumes

Flowers

A classical Indian dance costume reflects the history and

Flowers decorate the hair of a dancer and may be real

tradition of the region from where the dance originated. Tamil

flowers or fake flowers made of soft paper often in colors of

Nadu, the region where Bharatanatyam originated, features

orange and white.

a costume made of colorful silk fabric containing borders embroidered with fine gold thread. There are two styles of Make-Up

Bharatanatyam costumes known as the pant-style costume (pant costume) and the saree costume (skirt costume).

Eyes: To accentuate and elongate the eyes, a dancer uses black

The pant-style costume includes:

eyeliner and applies it in thick layers around the curves of

Blouse

the eyes.

Davani (wraps around the blouse) Pants Pleats (fan-like piece attached to both pants legs)

Cheek bones:

Seat (hugs the pants and the fan at the hip area

To define the facial features, red blush is used to accentuate the cheeks.

The saree costume includes: Blouse

Lips:

Davani (wraps around the blouse)

Dark-colored shades of lipstick such as maroon complete the

Skirt

overall facial appearance of the dancer.

Pleats (fan-like piece attached to both pants legs) Pottu:

Fan (a small fan that is tied around the waist

Dot on the forehead.

Jewelry and Accessories

Painted feet and fingers:

South Indian dance jewelry is called “temple jewelry.”

Red dye known as alta is used to paint the fingertips of the

It is traditionally made of rubies, gold, and pearls.

hands and toes of the feet to resemble henna.

These days, many dancers wear artificial “costume” jewelry.

The red color accentuates the hand gestures and feet movements of the dancer.

The jewelry includes: Chutti (head piece) Sun and Moon (jewels attached on the top of the head on each side of the chutti) Necklace Mattal (jewels attached to the earrings and run over the ears) w w w. u m s .o r g

Earrings

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Jimiki (dangling jewels of the earrings) Mukuthi (side nose ring) Bullaku (center nose ring) Bangles (gold bracelets)

C u lt u r al Con text: Indi a

Gest ur es Navarasas Navarasas are facial expressions used during traditional Bharatnatyam dances. In Bharatnatyam, rasa is an emotion experienced by the audience because of a performer’s facial expression and bhava is the emotion portrayed by the actor, and the combination of the two is called rasa-abhinaya.

Ras a

B hava

Rasa is the emotion expereinced by the audience.

Bhava is the emotion portrayed by the actor/dancer.

Shringar

e rot i c

Raudra

te rr i b le

Bibhatsa

odious

Hasya

Karuna

Rati

Ha sya

humorous

path etic

d e light

Veera

Bhayanaka

Krodh

a nge r

he rois m

Shanta

Jugupsa

Vismaya

heroic

Adbhuta

wondrous

fear fu l

peacefu l

d isgu st

Shoka

la u ghte r

so rrow

Utasha

Bhaya

wo nd e r

fe ar

Calm

p e ace

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Mudras Hand gestures are important in Bharatnatyam. They are called mudras. In pure dance, hand gestures are used to complement the body movements. In expressive dance, they are used like sign language to tell a story. There are 28 single-handed gestures and 24 double-handed gestures. Each one can mean many different things, depending on how it is held around the body, the way the dancer moves, and what facial expressions are used with it.

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ON S TAG E

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O n Stag e

S acr ed Earth Sacred Earth explores the interconnectedness between human emotions and the environment that shapes them. Performed with live music, the dancers create a sacred space to honor the divinity in the natural world and the sustenance we derive from it.

Inspired by the philosophies behind the ephemeral arts of kolam and Warli painting and the Tamil Sangam literature of India, Sacred Earth is Ranee and Aparna Ramaswamy’s singular vision of the beautiful, fragile relationship between nature and man.

Each morning, women in southeastern India perform the silent ritual of kolam, making rice flour designs on the ground as conscious offerings to Mother Earth.

This daily ritual creates a sacred space and becomes a link between the intimate home and the vastness of the outside world.

The indigenous Warli people of western India revere the land and live in perfect coexistence with nature. Using their everyday lives as inspiration, their dynamic wall paintings find the spiritual in the everyday. For the Tamil Sangam poets of South India (300 BCE-300 CE), the Earth was sacred.

Recognizing that human activities are interwoven with all of creation, they drew parallels between inner

and outer landscape and used the natural world as a metaphor to examine the intricacies of human emotion.

Currently India, like much of the global community, is struggling against the poor condition of the environment, for instance, due to pollution, overpopulation, deforestation, illegal wildlife trade, and generally a deficit of natural resources.

Many Indian artists have responded to this crisis through artistic expression, and Ragamala Dance is doing the same, though it is based in Minneapolis, Minn., because its roots are deeply vested in Indian traditions and culture. Sacred Earth has been a powerful opportunity for the company to beautifully express the respect we as inhabitants Earth must show to planet. Before every performance, each dancer performs the Tatthi Kumudu, essentially a salute to Mother Earth, God, their Guru, and the audience. As Sacred Earth builds from silent, meditative beginnings, the performers create a sacred space to honor the divinity in the natural world and the sustenance we derive from it. Reverence and respect for Mother Earth is a tenant held in the fundamentals of the Bharatnatyam dance style.

See this t r ailer fo r w w w. u m s .o r g

Rag a m ala Dance : Sacr ed Ea rth

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http://www.youtube.com/watch?feature=player_embedded&v=HvxpPvRCdqk#!

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Visual ARt KOLAMS The Kolam is the Tamil name for the ritual of geometric pattern decoration. Women in southeastern India are usually the ones who are the most active in the process of creating and maintaining the kolams, which are created on the front porches of homes as a method to purify the house and its

Draw A KOLAM http://www.ikolam.com/video-beginners This kolam art project offers simple and creative ways for students to express themselves and create geometric shapes. All you’ll need is some pavement or flat surface, rice flower, and imagination.

inhabitants, connect the inhabitants to the world outside the house, or signify major events occurring in the home such as giving birth or coming of age. Kolams can also be a sign of hospitality to travelers conveying that the doors of the given home are open to those who seek a place to stay or rest. w w w. u m s .o r g

(Hospitality is an Indian virtue.)

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A geometrical pattern, the Kolam is constructed often with rice flour by creating series of potta or dots and then drawing designs around them in teardrop shapes that interconnect. Skilled designers can actually make intricate flowers that look like hibiscus gardens.

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Visual Art

Photo Credit Saritha Rao Rayachoti

Warli Wall Painting The Warli or warla people used wall paintings to depict daily life. An ancient tradition that has been kept alive, the images are distinct from other architectural and artistic endeavors in the Indian subcontinent, because they do not deal with Hindu mythology, but rather the life of the people in their tribe. These paintings are still being created today by members of the Warli tribe and though an ancient art form, can incorporate modern images like trains and cars.

When created on the inside of huts, the home’s walls are prepared with a fortified combination of cow dung and red mud. The paint used is made from rice paste with twigs and rice stalks. Typically, the art is created by women – like the kolams – and the painting usually spans the entire wall.

The Warli wall paintings, though simplistic in design, actually have a lot to offer in understanding the Warli people and their own mythology. Their reverence for the Earth is a theme in many of the wall paintings, and through the depictions of daily interactions, the wall paintings show the history of how they have treated the Earth – both the good and bad. w w w. u m s .o r g 29

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Bibliog r aph y

www.ums.org

BIBLI O GRAP H Y

“May We Have This CyberDance? Ragamala Dance | New Art, Ancient Vocabulary.”

American Dance Festival. Web. 22 Feb. 2013.

Ragamala Dance Company: http://www.ragamala.net/the_company “Best Dance Company 2012: Ragamala Dance.” CityPages. www.citypages.com/bestof/2012/award/best-dance-company-2455252/ “Raga Mala : Definition of Raga Mala and Synonyms of Raga Mala (English).“ N.p., n.d. Web. 22 Feb. 2013. www.dictionary.sensagent.com/raga+mala/en-en/ “President Obama Nominates Ranee Ramaswamy to National Council on the Arts.”

Minnesota Public Radio News. N.p., n.d. Web. 22 Feb. 2013. www.minnesota.publicradio.org/collections/special/columns/state-of-the-arts/ archive/2012/07/president-obama-nominates-ranee-ramaswamy-to-national-council-onthe-arts.shtml “Environmental Problems in India.”

WWF. N.p., n.d. Web. 22 Feb. 2013. wwf.panda.org/who_we_are/wwf_offices/india/india_environmental_problems/ Kirshan Chatanya. “History of Indian Painting: The Modern Period” “Bharatanatyam History and Form” ThinkQuest. Oracle Foundation, n.d. Web. 22 Feb. 2013. www.library.thinkquest.org/04oct/01260/history1.html “Description of Bharatanatyam.”

Dances of India. N.p., n.d. Web. 22 Feb. 2013. www.rangashree.org/bharatanatyam-description.html#dist

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BE PRESENT

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B e Pr es en t

ABOU T UMS

One of the oldest performing arts presenters in the country, UMS is committed to connecting audiences with performing artists from around the world in uncommon and engaging experiences. With a program steeped in music, dance, and theater, UMS contributes to a vibrant cultural community by presenting approximately 60-75 performances and over 100 free educational activities each season. UMS also commissions new work, sponsors artist residencies, and organizes collaborative projects with local, national, and international partners.

Learning is core to UMS’s mission, and it is our joy to provide creative learning experiences for our entire community. Every season, we offer a spectrum of Education and Community Engagement activities focusing on K-12 students, teachers, teens, university students, families, adults, and cultural and ethnic communities. We exist to create a spark in each person, young and old alike, exposing them to things they haven’t before seen, and leaving them with an ongoing and lifelong passion for creativity and the performing arts.

UMS Education and Community Engagement Department Mailing Address

Staff

100 Burton Memorial Tower

Ken Fischer

881 North University Ave

UMS President

Ann Arbor, MI 48109-1011

Director

Emily Barkakati

Mary Roeder

Indira Bhattacharjee

Associate Manager of Community Engagement

Sigal Hemy

Omari Rush

Charlie Reischl

Education Manager

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Interns

Jim Leija

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B e Pr es en t

T HANK YOU!

Thank you for your interest in learning about or attending one of our UMS School Day Performances.

These performances are made possible through the generous support of individuals, corporations, and foundations, including the following UMS Education and Community Engagement Supporters:

The Andrew W. Mellon Foundation

Bernard and Raquel Agranoff Barbara A. Anderson and John H. Romani Ann Arbor Public Schools Educational Foundation Anonymous Arts at Michigan Arts Midwest Touring Fund Association of Performing Arts Presenters John and Linda Axe Bank of Ann Arbor Rachel Bendit and Mark Bernstein Kathy Benton and Robert Brown Richard S. Berger Mary Ellen Brademas David and Valerie Canter Center for Plastic and Reconstructive Surgery Charles Reinhart Company, Realtors, Nancy Bishop, Associate Broker Clark Hill PLC Community Foundation for Southeast Michigan Confucius Institute at the University of Michigan Dallas and Sharon Dort Doris Duke Charitable Foundation Doris Duke Charitable Foundation Endowment Fund DTE Energy Foundation Kenneth and Frances Eisenberg David and Jo-Anna Featherman Maxine and Stuart Frankel Foundation Anne and Paul Glendon Fred and Barbara Goldberg Kathy and Tom Goldberg Drs. Patricia and Stephen Green Robert and Ann Greenstone Debbie and Norman Herbert David and Phyllis Herzig Endowment Fund Honigman Miller Schwartz and Cohn LLP Hooper Hathaway, P.C., Charles W. Borgsdorf & William Stapleton, attorneys

University of Michigan

JazzNet Endowment Mark and Janice Kielb Jean and Arnold Kluge John S. and James L. Knight Foundation Leo and Kathy Legatski Mardi Gras Fund Masco Corporation Foundation Ernest and Adele McCarus Merrill Lynch Michigan Council for Arts and Cultural Affairs Michigan Humanities Council Miller, Canfield, Paddock and Stone, P.L.C. THE MOSAIC FOUNDATION [of R. & P. Heydon] National Endowment for the Arts NEA Jazz Masters Live Quincy and Rob Northrup Lisa A. Payne PNC Foundation The Power Foundation Prudence and Amnon Rosenthal K-12 Education Endowment Fund Ren and Susan Snyder John W. and Gail Ferguson Stout Stout Systems Karen and David Stutz Robert S. and Julia Reyes Taubman Toyota UMS Advisory Committee University of Michigan (U-M) Center for Chinese Studies U-M Credit Union U-M Health System U-M Office of the Senior Vice Provost for Academic Affairs U-M Office of the Vice President for Research Wallace Endowment Fund Max Wicha and Sheila Crowley

R es earc h e d and wri tten by

Edi ted by

Indira Bhattacharjee

Omari Rush

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This Teacher Resource Guide is the product of the UMS Youth Education Program.

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