2016/17 RESOURCE GUIDE The Nile Project

ONSTAGE

JERRY SH

ULM

AN

HA

BI GIRG

IS

FLIP NIC

KLIN

ABOUT OVERTURE CENTER

FOR THE ARTS

Overture Center for the Arts fills a city block in downtown Madison with world-class venues for the performing and visual arts. Made possible by an extraordinary gift from Madison businessman W. Jerome Frautschi, the center presents the highest-quality arts and entertainment programming in a wide variety of disciplines for diverse audiences. Offerings include performances by acclaimed classical, jazz, pop, and folk performers; touring Broadway musicals; quality children’s entertainment; and world-class ballet, modern and jazz dance. Overture Center’s extensive outreach and educational programs serve thousands of Madison-area residents annually, including youth, older adults, people with limited financial resources and people with disabilities. The center is also home to ten independent resident organizations.

RESIDENT ORGANIZATIONS

Bach Dancing and Dynamite Society Children's Theater of Madison

Forward Theater Company Kanopy Dance Company

Li Chiao-Ping Dance Company Madison Ballet

Madison Opera Madison Symphony Orchestra

Wisconsin Academy’s James Watrous Gallery Wisconsin Chamber Orchestra

Internationally renowned architect Cesar Pelli designed the center to provide the best possible environment for artists and audiences, as well as to complement Madison’s urban environment. Performance spaces range from the spectacular 2,250-seat Overture Hall to the casual and intimate Rotunda Stage. The renovated Capitol Theater seats approximately 1,110, and The Playhouse seats 350. In addition, three multi-purpose spaces provide flexible performance, meeting and rehearsal facilities. Overture Center also features several art exhibit spaces. Overture Galleries I, II and III display works by Dane County artists. The Playhouse Gallery features regional artists with an emphasis on collaborations with local organizations. The Wisconsin Academy of Sciences, Arts and Letters’ Watrous Gallery displays works by Wisconsin artists, and the Madison Museum of Contemporary Art offers works by national and international artists.

RESOURCE GUIDE CREDITS

Executive Editor Writer/Designer

Alanna Medearis Jim Burling

The Nile Project Overture Center – OnStage 1 

Dear Teachers,

In this resource guide you will find valuable information that will help you apply your academic goals to your students’ performance experience. We have included suggestions for activities which can help you prepare students to see this performance, ideas for follow-up activities, and additional resources you can access on the web. Along with these activities and resources, we’ve also included the applicable Wisconsin Academic Standards in order to help you align the experience with your curriculum requirements.

This Educator’s Resource Guide for this OnStage presentation of The Nile Project is designed to:

• Extend the scholastic impact of the performance by providingdiscussion ideas, activities and further reading which promotelearning across the curriculum;

• Promote arts literacy by expanding students’ knowledge of music,science, storytelling and theatre;

• Illustrate that the arts are a legacy reflecting the values, custom,beliefs, expressions and reflections of a culture;

• Use the arts to teach about the cultures of other people and tocelebrate students’ own heritage through self-reflection;

• Maximize students’ enjoyment and appreciation of theperformance.

We hope this performance and the suggestions in this resource guide will provide you and your students opportunities to apply art learning in your curricula, expanding it in new and enriching ways.

Enjoy the Show!

We Want Your Feedback!

OnStage performances can be evaluated online! Evaluations are vital to the future and funding of this program. Your feedback educates us about the ways the program is utilized and we often implement your suggestions.

Follow this link: https://surveymonkey.com/r/onstage_2016

and fill out an evaluation. We look forward to hearing from you.

Arts

Table of Contents

About The Nile Project ............................. 2

The Nile and Music of Many Cultures ........ 3

Instruments from The Nile Project ..............4

Focus On: Arts Integration .......................6

Activity: Collective Rights & Rhythms ........ 7

Books to Read ........................................9

Academic Standards .............................. 10

About Live Performance .........................11

Social Emotional Social Studies

Language Arts Science

Education Categories

Caption

The Nile Project Overture Center – OnStage 2 

About The Nile ProjectThe Nile Project is a collaborative group of musicians, educators and activists who work together to build awareness about and generate new ideas to address environmental challenges in the Nile River basin. It was founded in August 2011 by Egyptian ethnomusicologist Mina Girgis and Ethiopian-American singer Meklit Hadero, who both feel passionately about the power of music to make a difference in the Nile region. Bringing together musicians from the Nile countries to make new songs and tour around the region and beyond, The Nile Project shares the music and cultures of their river neighbors.

From its debut concert, captured live on the 2013 release entitled ASWAN, it was clear that the Nile Project was something completely new. National Public Radio named the recording one of five “Must Hear International Albums.” The New York Times described it as “a committed, euphoric international coalition.” One of the tightest cross-cultural collaborations in musical history, the Nile Project brings together artists from the 11 Nile countries, representing 437 million people, to compose new songs which combine the rich diversity of one of the oldest places on Earth. Harps and resonant lyres from the river’s sources in East Africa and Ethiopia to its deltas in Sudan and Egypt have reunited to learn new musical

modes while buzzing timbres and ingenious polyrhythms support vocals in more than ten languages.

The Nile Project also has the goal of education, working with universities to hold workshops that provide students with opportunities to learn more about the Nile River and develop ideas to create a more sustainable Nile Basin. The organization also offers a Nile Prize, which provides students a way to turn their inspiration and environmental knowledge into new and exciting sustainable solutions for the Nile ecosystem. Girgis and Hadero believe that the 437 million citizens of the 11 nations in the Nile River basin do not have many opportunities to connect with each other, and that these countries must work together to solve the environmental challenges facing the Nile River, such as food sustainability, climate change, water policy and pollution.

The Nile Project blends traditional musical idioms into one seamless Nile sound. But within the 35-member musicians collective is a model of contemporary organizations, an evolving series of interlocking programs that spring from the concert experience. The project works to inspire, educate and empower Nile citizens to collaborate on developing innovative solutions to the challenges at the root of their water conflict.

The Nile Project Overture Center – OnStage 3 

What is an Ethnomusicologist?

Thomas Burkhalter discusses what an Ethnomusicologist is, and the state of the field today:

https://vimeo.com/98120906

The Nile and Music of Many CulturesThe Nile River basin flows through many countries that show the influence of cultures from around the world. As part of a region often called the Horn of Africa, this has been an area of trade for centuries, with influence and control from parts of the world like the Indian Subcontinent, the Middle East, and Europe. Alongside traditional African music, the multitude of cultural influences mingle in the popular music styles taught today in the region.

The Nile Project musicians reflect influences from the many cultures and musical idioms. A few are described below, and could serve as a short project for further investigation by your students:

In Arabic music, a maqam is a set of notes, similar to a musical scale or mode (for example major or minor) in Western classical music. Each maqam has a built-in emotional character and rules which determine specific important notes, modulation and melodic development. Many maqams use microtones not found on the piano, the tuning of which varies across regions and towns. Chaabi means “of the people” in Arabic, and refers to a musical style that evolved in the 1970’s in Egypt. Chaabi became a medium to express the difficulties of life in urban Egypt. Lyrics are often funny, metaphorical and very political. In modern-day Egypt, it has evolved into “Electro Chaabi,” a genre that is grabbing international attention.

Taqsim is a term used in Arabic, Greek, Middle Eastern and Turkish music. It is a solo musical (melodic) or vocal improvisation based on the melodic nature of a maqam or family of maqams. It often introduces a song, but can also take place in the middle of a song or be performed alone. An artist’s ability to establish the mood of a maqam through taqsim, as well as modulate and return, can have great emotional effect on listeners.

The Ethiopian system of scales and modes is called Kinit. At the core of the Kinit tradition are 4 unique pentatonic scales, called Tizita, Batti, Ambassel and Anchihoye. Tizita and Batti each have major and minor versions, and the intonation and ornamentation of Kinit vary from region to region.

The Nile Project Overture Center – OnStage 4 

Instruments from The Nile ProjectIn curating the collective, co-producers Miles Jay and Mina Girgis highlighted the unique timbres of the following instruments, while also surrounding them with the complementary sounds of harps, zithers, wind instruments and percussion from each musical tradition.

Lyres

The oud is a stringed instrument with a pear shaped body found throughout the Middle East and North Africa, related to the European lute. The neck does not have frets, allowing musicians to play many microtonal notes. Ouds have between 5-7 pairs of strings, tuned differently from region to region, and are plucked with a long, thin pick.

The krar is another variation of the lyre found in the Amhara region of Ethiopia. The krar has five or six strings and a bowl-shaped body. The Egyptian simsimiyya is a lyre with 5-7 steel strings, found in a variety of sizes. Its musical ancestors are pictured in many Egyptian tomb paintings, illustrating musicians from antiquity entertaining the Pharaohs. The modern simsimiyya’s construction and strumming style comes from Port Said, Egypt. The entongoli is a lyre from the Basoga tribe of Uganda. It has six to eight strings that produce a buzzing sound by vibrating against the sound board, which is traditionally made of lizard skin. The instrument is played by griots, or praise singers, either solo or to accompany songs of praise.

Stringed Instruments

The Ugandan endingidi is 1-string bowed instrument, very similar and likely related to the rababa of Egypt. Its body is round and made of wood, and though similar in size to its relative spike fiddles, is often much deeper, giving the instrument a bassier, grittier tone.

The umuduri is a Ugandan instrument made of one string stretched across a bow. A gourd is attached to the bow, which the player holds against his or her body while striking the string with a wooden stick and a rattle. The string is separated into two sections of different lengths which produce two different notes.

Harps

The Ugandan adungu is an arched harp with 7-15 strings, different from many of the other harps of the Nile Basin in that the strings come off the top at a 90 degree angle. While traditionally it came in a few sizes, in the last 80 years it has been greatly expanded and ranges from large bass versions all the way up to small high-pitched ones. The adungu is used by the Alur people of northwestern Uganda, and closely resembles instruments carved into ancient hieroglyphics in Egypt.

Zither

The Rwandan inanga has around 20 strings running lengthwise end to end along a long rectangular shallow

The Nile Project Overture Center – OnStage 5 

wooden plate or trough. The inanga is played like a harp, with both hands, and usually has accompanying vocals. The strings of the inanga are made from natural fibers, and used to be made from animal gut. It was originally a court instrument that served specific functions for the mwami, or king.

Wind

The ney is a flute used throughout the Middle East in religious, classical and folk music. Egyptian neys are made of reed and have seven holes, one of which is played by the thumb in the back. The kawala is similar to the ney but has only six finger holes. It was originally used by shepherds and now is frequently heard at religious festivals and weddings. They are both played by placing the lips over the top of the instrument and blowing at an angle against the rim.

Percussion

The duff and the riq are both Egyptian wooden frame drums covered on one side with an animal skin

membrane. On the inside, small metal rings are attached to rattle and create sound. The duff is held with both hands and played with the fingers, and usually played by a singer as accompaniment. A riq is usually played without singing and might be shaken above the head and around the body.

The amadinda is from a family of Ugandan xylophones called “log” xylophones. Typically, the instrument is made by placing 12 wooden bars across two fresh banana tree trunks. Two or three different musicians, called the omunazi, omwawuzi and omukoonezi, sit on the two sides of the amadinda and use mallets to hit the wooden bars.

The ikembe originally came from the Congo and has migrated to several countries including Burundi, where it reaches the Nile River basin. It consists of a series of iron lamellae, or plates, fixed to a rectangular wooden soundbox. The soundbox is formed by hollowing out a soft rectangular block of wood from the side, placing a few seeds or pebbles inside, and covering it with a strip of wood and sealed with resin, rubber or honey.

The Nile Project Overture Center – OnStage 6 

Focus On: Arts IntegrationAs you know, the experience of attending an arts performance can have a lasting impact on your students. This guide is designed to help you extend the scholastic aspect of the performance before and after in your classroom. Additionally, live performances like the one your students will be attending provide great opportunities for deep, interdisciplinary lessons using an arts integration approach.

About Arts Integration

Across the nation there has been a growing interest in arts integration as an approach to teaching in which the arts leverage learning in other subject areas such as science, language arts, mathematics, and social studies.

At Overture Center, we are excited by the possibilities arts integration can bring to a school to:

• Motivate students to engage more fully with the related subject area, encouraging joyful, active learning.

• Extend how learners process and retain information by combining several learning modalities (visual, aural, and kinesthetic) and thus, reaching a wider range of students.

• Make content more accessible and allow for personal connections to content.

• Help students understand and express abstract concepts.

Through this model, the arts become the approach to teaching and the vehicle for learning. Students meet dual learning objectives when they engage in the creative process to explore connections between an art form and another subject area to gain greater understanding in both. For example, in a social studies classroom, students can meet objectives in both theater and social studies by dramatizing a historical event. By mutually reinforcing objectives in both theater and social studies, students gain a deeper understanding of the content and are able to demonstrate their learning in an authentic context.

Arts Integration Resources and Activities:

Overture Center offers a variety of Professional Development Workshops for Teachers in Arts Integration each year. To find out about our next workshops and other resources for your teaching, visit overture.org/residencies. For more information on Arts Integration, please visit ArtsEdge, The Kennedy Center’s online resources (https://artsedge.kennedy-center.org/educators/how-to/series/arts-integration/arts-integration).

The following sample activity was developed to give you a taste of an arts integration lesson and to encourage arts integration in your classroom.

The Kennedy Center’s Definition for Arts Integration

Arts Integration is an APPROACH to TEACHING

in which studentsconstruct and demonstrate

UNDERSTANDINGthrough an ART FORM.

Students engage in aCREATIVE PROCESS

which CONNECTSan art form and another subject area

and meets EVOLVING OBJECTIVES

in both.

The Nile Project Overture Center – OnStage 7 

Activity: Collective Rights & RhythmsAges 10-15, 40 min

Purpose: To understand the challenges of water usage and management, and collective action.

Objectives:

Music: Students will collaborate to create a group rhythmic performance.

Science: Students will practice producing a variety or tones based on water volume, and discuss water management practices.

Social Studies: Students will learn about water rights laws, and discuss how to distribute a limited water supply.

Materials:

• Several dozen or more drinking glasses or glass bottles

• Several measuring cups or other standardized container for measuring out water

• One large container for water

• Water

• Wooden sticks such as a pencil

• Paper

Procedure:

1. This activity works best with a smaller group of students. Split large classes into groups of 8 or fewer.

2. Provide each student with two glasses, and have them set the glasses up next to each other, and fill them with different amounts of water. The first should have just a little water while the next should be almost full.

3. Invite your students to experiment: Hit the glass with the least amount of water and observe the sound, then hit the glass with the most water. Which makes the higher sound? Hit other glasses and see what noise they make, see if you can get a tune going by hitting the glasses in a certain order. Each of the glasses will have a different tone when hit with the pencil, the glass with the most water will have the lowest tone while the glass with the least water will have the highest. Small vibrations are made when you hit the glass, this creates sound waves which travel through the water. More water means slower vibrations and a deeper tone.

4. Divide students into groups, if you have a large class. Invite each group to play a rythm in which each student plays a different pattern. For example, one student might count to 4, playing on 1 and 3. Ask your students to try and have both their own individual pattern, and find one that matches each other. Give them some time to work this out.

5. Then, invite the group to redistribute their water so as to adjust their tones, adding color and variety to their

Arts Integration Activity

The Nile Project Overture Center – OnStage 8 

music. Again, give them time to experiment (and clean up, if there are spills!). If you have extra time, they can perform for one another.

6. While the last two steps are happening, or in advance, write some of the following “water interests” on as many scraps of paper as you have groups of students. In addition to the name of the “water interest,” replace “Units” with whatever measuring amount you have for your water, and also give them a priority number from one up to however many groups you have. For example:

What is a Polyrhythm?

A polyrhythm is the simultaneous use of two different meters of music in the same time span. For example, a 3/4 and a 6/8 time. If you have students who are musically adept, or are feeling adventurous, you can have your students attempt to make a polyrhythm as part of the above activity. In this video, Percussionist Peter Magadini explains the basics of polyrhythms: https://youtu.be/Zn7YtjO6Mqc

1. City – 6 Units

2. Ranch – 2 Units

3. Lettuce Farm – 4 Units

4. Mine – 1 Unit

5. Power Plant – 1 Unit

6. New Housing Development – 2 Units

7. Environmental Trust – 1 Unit

8. Invent more interests as needed - ? Units

7. Explain to your students the next part of the activity, they will use their music to explore the concept of Water Rights. Different parts of the world, and indeed different parts of the United States, manage the right to use water in different ways. Many of the western United States, where water is more scarce, use a system called “prior appropriation,” where a person can divert water out of a stream to be used elsewhere. These rights resulted from the doctrine of prior appropriation, which evolved out of the California Gold rush, when miners needed water to process their ore. The miners did not own the land they mined; therefore, they could not assert “riparian rights,” – water usage based on land ownership. These rights belong to individuals in the order in which they apply for them. The first person to divert water from a river acquires the most senior right: “First in time, first in right.” In times of water shortage, those with more senior rights can use the full amount of water allotted to them, while those with more junior rights must make do with less or nothing.

8. Ask all the groups to empty all of their water into a single large container, and give each group one scrap of paper with a “water interest” on it. Explain to your students that they will now get to have their water back, and must try as hard as possible to recreate their previous music. However, each group can only take as many units of water as their “water interest” allows, and must do so in the order on the sheet. For example, in the list above, the “City” group could go first and take 6 units, which they may use amongst themselves to try and recreate their music. This proceeds until each group has taken their allowed units. Depending on your students, you can also act as a judge: who got their music the closest to how it sounded before? You can reward this group with additional units if you wish to add to the drama. If there is time, and interest, you can repeat the activity, but have a “drought,” decreasing the total amount of water by a significant degree, or “pass legislation” to reorder the appropriations.

Reflection:

Ask your students: How do you think rights to water should be managed? Who should decide who gets water? In regions like the Nile Basin, many different countries border and share the same water - how do you think these countries could work together to share their water? Should a larger country get more, or does it depend on specific needs?

The Nile Project Overture Center – OnStage 9 

Books to ReadBang, Molly. Common Ground: The Water, Earth, and Air We Share. New York: Blue Sky, 1997. Ages 6-8

Our common ground is the earth we all share. Molly Bang’s introduction to environmental issues gives young readers a simple, accessible means for understanding the difference between reckless consumption and careful use and conservation of the earth’s natural resources. Looking at fish, trees, fossil fuels and water, Bang explains how consuming them for short-term benefits such as more fish to sell, more money to make, and more products to buy only hurts all living things in the long run. Unlike the village common of long ago, when those who didn’t want to share the land could find someplace else to go, there is no place else to go for the people of our planet. That is why, Bang tells readers, we must work all work together to protect the earth’s resources. Bang has illustrated her short text with bright, colorful art that is both intimate and grand in scale and feeling--just like the message she conveys in this small (9x6-1/4”) and heartfelt book. CCBC categories: Issues in Today’s World; Understanding Oneself and Others; The Natural World. © Cooperative Children’s Book Center

Nivola, Claire A. Planting the Trees of Kenya: The Story of Wangari Maathai. New York: Farrar, Straus, and Giroux, 2008. Ages 7-9

As a child in the highlands of Kenya, Wangari Maathai did not know that she would grow up to be the first African woman to receive the Nobel Peace Prize. She only knew that she cared for the emerald-covered earth where fig trees, olive trees, crotons, and flame trees grew as far as the eye could see. Wangari left Kenya as a young woman to study biology in the United States. When she returned home, only five years later, she barely recognized the landscape she loved. Small farms that had once dotted the hillsides had expanded; large plantations had been established. As far as Wangari could see, dusty brown earth and tree stumps littered the land. The economy and landscape had changed drastically, and not for the better—Kenya was suffering. Wangari decided to plant trees. She urged women and children to plant trees as well, and taught them how. Claire A. Nivola, with delicate, detailed paintings and thoughtful prose, conveys the challenges Wangari Maathai faced in the development of the Kenyan Green Belt Movement. Since Wangari began her work thirty years ago, more than thirty million trees have been planted in her country. (TM) © Cooperative Children’s Book Center

Roth, Susan L., and Karen Leggett Abouraya. Hands around the Library: Protecting Egypt’s Treasured Books. New York, NY: Dial for Young Readers, an Imprint of Penguin Group (USA), 2012. Ages 7–12

“Once upon a time, not a long time ago, many people in Egypt were sad and sometimes angry because they were not free to speak or vote as they wished, or gather in groups. They knew about freedom, but only from books, or the Internet, or whispering inside these safe walls of our Alexandria Library.” A true story straight out of the Arab Spring describes the growing movement for democracy in Egypt early in 2011, and one particular event, on January 25, 2011. Some protests in Cairo had turned violent, and when a large crowd marched on the Alexandria Library, library director Ismail Serageldin spoke from the steps, saying only the will of the people could keep the library safe. And it did. One by one, individuals among the group of marchers broke from the crowd and joined Serageldin on the steps, eventually forming a human chain around the library. A moving story that makes a powerful statement for freedom, and for libraries as a place of free expression, is illustrated with beautiful collages and ends with a photo montage showing some of what happened that day. End matter provides more on the Alexandria Library—both ancient and modern—and on the January 25, 2011, Revolution .

Summaries via the University of Wisconsin Cooperative Children’s Book Center

The Nile Project Overture Center – OnStage 10 

Theatre:

A.4.1 Attend a live theatre performance and discuss the experience

• explain what happened in the play

• identify and describe the characters

• say what they liked and didn’t like

• describe the scenery, lighting and/or costumes

D4.1 Explain strengths and weakness of their own work and that of others

D.4.2 Identify strengths (what worked) and weaknesses (what didn’t work) in character work and scenes presented in class

D.4.3 Identify what they need to do to make their character or scene more believable and/or understandable

D.4.4 Share their comments constructively and supportively within the group

English Language Arts

B.8.1 Create or produce writing to communicate with different audiences for a variety of purposes

C.8.1 Orally communicate information, opinions, and ideas effectively to different audiences for different purposes

F.8.1 Conduct research and inquiry on self-selected or assigned topics, issues, or problems and use an appropriate form to communicate their findings

Science:

A.8.7 Design real or thought investigations to test the usefulness and limitations of a model

B.8.2 Identify and describe major changes that have occurred over in conceptual models and explanations in the earth and space, life and environmental, and physical sciences and identify the people, cultures, and conditions that led to these developments

C.8.1 Identify questions they can investigate using resources and equipment they have available

C.8.2 Identify data and locate sources of information including their own records to answer the questions being investigated

C.8.6 State what they have learned from investigations, relating their inferences to scientific knowledge and to data they have collected

E.8.5 Analyze the geologic and life history of the earth, including change over time, using various forms of scientific evidence

G.8.7 Show evidence of how science and technology are interdependent, using some examples drawn from personally conducted investigations

H.8.3 Understand the consequences of decisions affecting personal health and safety

Social Studies

A.8.7 Describe the movement of people, ideas, diseases, and products throughout the world

C.4.1 Identify and explain the individual’s responsibilities to family, peers, and the community, including the need for civility and respect for diversity

C.4.6 Locate, organize, and use relevant information to understand an issue in the classroom or school, while taking into account the viewpoints and interests of different groups and individuals

Music

F.4.2 Identify simple music forms upon listening to a given example

F.4.3 Demonstrate perceptual skills by listening to, answering questions about, and describing music of various styles representing diverse cultures

Academic Standards

The Nile Project Overture Center – OnStage 11 

About Live PerformanceTheater, unlike movies or television, is a LIVE performance. This means that the action unfolds right in front of an audience, and the performance is constantly evolving. The artists respond to the audience’s laughter, clapping, gasps and general reactions. Therefore, the audience is a critical part of the theater experience. In fact, without you in the audience, the artists would still be in rehearsal!

Remember, you are sharing this performance space with the artists and other audience members. Your considerate behavior allows everyone to enjoy a positive theater experience.

Prepare: Be sure to use the restroom before the show begins!

Find Your Seat: When the performance is about to begin, the lights will dim. This is a signal for the artists and the audience to put aside conversations. Settle into your seat and get ready to enjoy the show!

Look and Listen: There is so much to hear (dialogue, music, sound effects) and so much to see (costumes, props, set design, lighting) in this performance. Pay close attention to the artists onstage. Unlike videos, you cannot rewind if you miss something.

Energy and Focus: Artists use concentration to focus their energy during a performance. The audience gives energy to the artist, who uses that energy to give life to the performance. Help the artists focus that energy. They can feel that you are with them!

Talking to neighbors (even whispering) can easily distract the artists onstage. They approach their audiences with respect, and expect the same from you in return. Help the artists concentrate with your attention.

Laugh Out Loud: If something is funny, it’s good to laugh. If you like something a lot, applaud. Artists are thrilled when the audience is engaged and responsive. They want you to laugh, cheer, clap and really enjoy your time at the theater.

Discover New Worlds: Attending a live performance is a time to sit back and look inward, and question what is being presented to you. Be curious about new worlds, experience new ideas, and discover people and lives previously unknown to you. Your open mind, curiosity, and respect will allow a whole other world to unfold right before your eyes!

Please, don’t feed the audience: Food is not allowed in the theater. Soda and snacks are noisy and distracting to both the artists and audience.

Unplug: Please turn off all cell phones and other electronics before the performance. Photographs and recording devices are prohibited.

Help make arts experiences real for hundreds of thousands of people at overturecenter .org/ sup port

SPONSORS

Sponsored by American Girl's Fund for Children. Additional funding provided by the DeAtley FamilyFoundation, Kuehn Family Foundation, A. Paul Jones Charitable Trust, Promega Corporation, WisconsinArts Board with funds from the State of Wisconsin and the National Endowment for the Arts, Green BayPackaging/George F. Kress Foundation, Nancy E. Barklage & Teresa J. Welch, and by contributions toOverture Center for the Arts.

C.W

. HEW

SON