immersion: the art of puppetry

2 0 1 3 -2 0 1 4
UMS LEARNING GUIDE
IMMERSION:
THE ART
OF PUPPETRY
TA B L E
OF CONTENTS
05
13
18
22
THE IMMERSION
PUPPETS
RESOURCES
UMS: BE PRESENT
06 Overview
14 Intentions of
19 Organizations
23 About UMS
21 Readings
24 Sponsors and Credits
07 Presenters
12 Outline
Inanimate Objects
16 How-Tos
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U MS TEACH ER A N D COM M U N I TY WORKSH OP
IMB
TA
MLEER S I O N :
OH
T
F EC A
ORNTT E
ONFTPSU P P E T R Y
Saturday, November 2, 8:30 AM - 6:45 PM
U-M Alumni Center
NOV
2
3
LEA RN
FOREWORD:
F R A M I N G Y O U R D AY
A couple of Januarys ago, I was in New York for the big annual
arts industry conference, the Association of Performing
Arts Presenters’ Conference, known more colloquially by
its shorthand, “APAP.” An annual event, this conference has
indirectly given rise to a number of performance festivals
during the same timeframe set up to take advantage of the
inpouring of international industry folks who descend into
Manhattan for APAP. These festivals have become major
showcase opportunities for artists and companies from
around the world.
BY MARY ROEDER
UMS Associate Manger
of Community Engagement
So, it was the dead of winter, and I was trekking uptown/
downtown/crosstown to see 5+ performances a day. I was
tired. I was cold. I had seen a lot of interesting work, but
nothing that was really going to stay with me. And then I
entered into the La MaMa Experimental Theatre Club to see
a little show called The Table, a joint effort between them
and Under the Radar (one of those performance festivals
I mentioned above). All I knew up until that point was that
it was about a puppet named Moses who was apparently
going to have an existential crisis on a table. The makings of
riveting theater? Hmm…
Suffice it to say, I loved it. And not just because I was tired
and cold and ready for anything that made me laugh, even
just a little. I saw the show two more times in Edinburgh,
Scotland at the Fringe Festival and loved it just as much. And
not just because I had imbibed a pre-show pear cider (or
two). It’s a show simple in format and construct (it’s literally
a puppet on a table), but rich in craft and the love from the
cast for that little guy is obvious. You see it in every breath,
every pause, every thought, every (sometimes naughty) word
uttered and embodied. It takes a team of three working in
complete synchrony to give Moses life enough to warrant a
crisis, existential or otherwise.
I’m going to get sort of deep here for a second. There is a
quote I came across in the program notes for a dance theater
piece called Dark Matters by the Canadian company, Kidd
Pivot that’s stuck with me:
“GRACE APPEARS MOST PURELY IN THAT HUMAN
FORM WHICH EITHER HAS NO CONSCIOUSNESS
OR AN INFINITE CONSCIOUSNESS. THAT IS, IN THE
PUPPET OR IN THE GOD.”
– Heinrich von Kleist, On the Marionette Theater
This quote sums up really eloquently the reason why I
gravitate so strongly to puppetry, especially pieces like
Blind Summit’s The Table, or Complicite and Setagaya
Public Theatre’s Shun-kin seen in Ann Arbor earlier this
season. To see an inanimate object imbued with humanity
is to catch a glimpse of the true beauty and complexity of
what it means to be human. It’s different than just looking
in a mirror or people-watching on the street. I’m not sure I
can quite articulate how or why, but it is. Maybe you’ll be
able to answer that yourself after today’s Art of Puppetry
Immersion—after you’ve had the chance to breathe life into
something unalive without you.
Have fun!
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THE IMMERSION
Overview
Presenters
Outline
UMS.ORG / 734.615.0122
5
T HE I MMERSI ON
OVERVIEW
“ANTHROPOMORPHISM CARRIES
MANY IMPORTANT IMPLICATIONS.
FOR EXAMPLE, THINKING OF A
NONHUMAN ENTITY IN HUMAN WAYS
RENDERS IT WORTHY OF MORAL
CARE AND CONSIDERATION. IN
ADDITION, ANTHROPOMORPHIZED
From international artists to local artisans, this hands-on workshop explores styles and
techniques of puppetry and puppet-making, with a special emphasis on Bunraku, Japan’s
traditional puppet theater. The immersion includes a workshop with visiting guest artists from
Blind Summit (the creators of The Table), experiments with different types of puppetry, and
discussion of the history of animating objects.
Immersions are day-long, intensive workshops that focus on a specific culture, community, or art
form. They are designed in partnership with subject matter experts both locally and nationally
and are connected to UMS season programming.
ENTITIES BECOME RESPONSIBLE
FOR THEIR OWN ACTIONS — THAT
IS, THEY BECOME DESERVING OF
PUNISHMENT AND REWARD.”
6
T HE I MMERSI ON
PRESENTERS
08 CHRISTIANNE MYERS
08 CARRIE MORRIS
09 SEAN GARRATT
09 IRENA STRATIEVA
10 SHARY BROWN
10 MARK TUCKER
10 TOM CAREY
11
NAIA VENTURI
7
T HE I MMERSI ON
PRESENTERS
THEATRE DEPARTMENT, U-M SCHOOL OF MUSIC,
DANCE & THEATRE
DETROIT INSTITUTE OF ARTS
CHRISTIANNE MYERS
CARRIE MORRIS
Christianne Myers is Assistant Professor of Theatre & Drama at the University of
Michigan and a freelance costume designer (with work spanning theatre, opera,
industrial work, and film). Originally from Baltimore, Christianne spent 14 years living
and working in New York City. Highlights there include the Obie Award-winning
productions of Music Theatre Group’s Running Man and Blue Light’s production of
Dare Clubb’s Oedipus, starring Frances McDormand and Billy Crudup. In addition
to more than 15 productions at The Juilliard School, her other design credits include
productions for the Vermont Stage Company, Lincoln Center Institute, Clarence
Brown Theatre, Syracuse Stage, Indiana Repertory Theatre, Theatreworks/USA,
Caldwell Theatre, and Irondale Ensemble. At the University of Michigan, Christianne
has designed more than 20 shows for the School of Music, Theatre & Dance.
Christianne has also designed two independent feature films as well as a short film,
The Office Party, directed by Chiara Edmunds and starring Ralph Macchio, Carol
Kane, and Jon Stewart. Additionally, she has designed the clothes for more than
two dozen corporate industrials in New York, Atlanta, and Las Vegas.
Carrie Morris is a puppeteer and performance artist based in Detroit, Mich. She
has an MFA from the University of Michigan’s School of Art and Design, a BFA from
New York University’s Tisch School of the Arts, and is a J. William Fulbright grantee in
the field of performance art for creative work and research on multimedia shadow
puppetry in Solo, Indonesia. Her work has been seen internationally in Suriname,
Indonesia, Malaysia, and Canada, and nationally in Washington (The Annex
Theater), Ohio (Athens Museum of Art), New York (NYC International Fringe Festival),
Kentucky (Morehead University), Virginia (Flicker Film Festival), Detroit (Detroit
Institute of Arts) and Grand Rapids, Mich., where she was recently a guest artist with
the Grand Rapids Symphony. She is 2013-2014 Princess Grace grantee for her work
in puppetry, and is currently apprenticing with the puppet makers at PuppetART
Detroit. More of her creative work can be seen at www.carriemorris.com.
Since moving to Michigan, Christianne has found an artistic home at Jeff Daniel’s
Purple Rose Theatre Company (PRTC) in Chelsea, Mich., where she continues to
design each season. Favorite productions include White Buffalo and Gravity, both
at PRTC, A Midsummer Night’s Dream at the University of Michigan, and The Elixir
of Love at Opera Memphis. Christianne Myers is also a member of United Scenic
Artists, Local 829.
WHAT IS A PUPPET?
An object representing a human, animal, or other
creature that is manipulated by an operator to
give the appearance of life.
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T HE I MMERSI ON
PRESENTERS
B L I N D S U M M I T T H E AT R E
Puppetry innovation characterizes Blind Summit Theatre. The company was formed in 1997 by Mark Down and Nick Barnes to reinvent traditional Japanese Bunraku for
contemporary western audiences. They present new puppets in new places in new ways to new audiences, seeing puppetry as a radical part of the reinvention of theatre
in our time. The company now operates under its Artistic Director Mark Down and in addition to continuing to tour The Table around the world, they are creating and
performing new productions: The Puppet Monologues, Madam Butterfly (English National Opera), and A Dog’s Heart (Complicite and English National Opera).
S E A N G A R R AT T
I R E N A S T R AT I E V A
Sean Garratt has been a performer with Blind Summit for over two years. He
trained at East 15 Acting School, graduating in 2008. At that time he also took a
first step into comedy, trained by the late Ken Campbell in competitive comedy
improvisation. Now his work includes performing, puppetry, movement direction,
sketch comedy, improvisation, television, and radio.
Irena Stratieva has been a performer with Blind Summit for over two years. She
started her puppetry training in 2007 at the National Academy of Theatre and
Film Arts in Sofia, Bulgaria and continued her studies at Central School of Speech
and Drama in London. Now she works as a puppeteer, puppet maker, and theater
performer based in London.
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T HE I MMERSI ON
PRESENTERS
FESTIFOOLS
FESTIFOOLS
RUSTY NAIL STUDIO
MARK TUCKER
SHARY BROWN
TOM CAREY
Mark Tucker currently teaches art for the Lloyd Hall
Scholars Program at the University of Michigan. He is
also the Creative Director for WonderFool Productions
(http://WonderFoolProductions.org), a non-profit
organization formed to engage communities in
dynamic, educational, collaborative and entertaining
public art experiences. Two WonderFool Productions
in Ann Arbor, Michigan are FestiFools and FoolMoon.
FestiFools is an annual street performance of giant
hand-made puppets, and FoolMoon is a processional
and celebration of community-made luminary
sculptures and light-based artwork. Both events are
produced in a series of hands-on workshops created
by and for the community. Mark received his MFA in
Painting from the University of Michigan, and his prior
creative professional experience includes being the
art director for the Michigan Thanksgiving Parade,
building floats, designing stage sets, and working in
the movie industry as a scenic artist.
University Michigan alumnae Shary Brown retired in
2009 after producing art fairs in the Ann Arbor area for
two decades. She has organized many community art
events including the Ann Arbor Summer Art Fair, the
Holiday Art Fair, the Greektown Art Fair, and the Arbor
Street Art Fair.
Tom Carey began making shadow puppets in 2007
for a live presentation of Carey Loren’s double
album Children of Mu. After this initial experience
creating and performing with a menagerie of large
paper monsters, he began experimenting with the
possibilities of abstract, visual collages presented
with live instrumental music. In 2012, he was chosen
to be a featured artist in the DLECTRICITY Light Art
Festival in Detroit’s cultural center. For the festival, he
created pieces with clear narratives rooted in Hindu
and Russian mythology and incorporated music by
Dan Tower with narration provided by his daughter
Sonja Benjamins-Carey. For his most recent shadow
show, Tom created over 40 hand-made puppets
for a collaboration with Cary Loren to be presented
October 2013 at the Detroit Institute of the Arts.
She is currently a key volunteer for Festifools and
helped create FoolMoon, featuring community-made
luminary processionals and light-based art. Shary
has also consulted with the International Arts and
Crafts Promotion in Japan to help in the creation of
the 2009 Yokohama International Open-Air Art Fair,
and with the Global Artist Exchange, an organization
committed to developing international opportunities
for independent art fair artists. Shary was a member
of the national team that developed ZAPPlication, a
digital jurying process that has transformed the way
art fairs select their artists and that is now used by
more than 400 art fairs and 50,000 artists nationwide.
A founding board member of the Ann Arbor Area Arts
Alliance, she has also served on the boards of the Ann
Arbor Blues and Jazz Festival and of the Washtenaw
County Accommodations Ordinance Commission.
10
T HE I MMERSI ON
PRESENTERS
DREAMLAND THEATER
NAIA VENTURI
Naia Venturi is Founder and President of the Dreamland Theater as well as a
puppet maker, puppeteer, multimedia artist, producer, and director. In her early
teens, Naia performed original puppet shows at Ann Arbor Public Schools, the
Ann Arbor Yoga Center, and the Ann Arbor Street Art Fair. During her time as a
Physics student at the University of Michigan, she began a collaboration with
writer/composer Jess Rowland, which resulted in a number of comic but poignant
marionette shows for adults performed at venues in Detroit, Ann Arbor, Ypsilanti,
and San Francisco. In January of 2002, Naia started the Dreamland Theater, which
has produced and presented puppet shows, local independent plays, comedy
troupes, music performances, films, and variety shows. Puppet shows which Naia
wrote include Alice in Phantasmagoria, Surreptitious Sideshow, and The Cryptic
Triptychs. Reviews of Naia’s work as director, performer, puppet maker, and
theater owner have appeared in numerous publications including the Ann Arbor
Observer, Current Magazine, and the Detroit Metro Times. Naia’s marionettes
will be appearing in the film Jimmy P. (Psychotherapy of a Plains Indian), which is
scheduled to premiere at the 2013 Cannes Film Festival.
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T HE I MMERSI ON
OUTLINE
MORNING
AFTER LUNCH
Eye opener: Eye Bombing Exercise
Presenter: Christianne Myers
“Puppet Confessionals” begin; booth open for
the duration of the day
Welcome and Introductions
Rotating Sessions (with a break between rotations)
AFTER BREAK
Puppetry Speed Dating
Presenters: Tom Carey, Mark Tucker, Shary Brown,
and Naia Venturi
Reflection and Wrap Up
Puppetry 101: History and Background
Presenters: Carrie Morris and Christanne Myers
Manipulating Puppets: A Bunraku Workshop
Presenters: Sean Garratt and Irena Stratieva
Lunch Time Begins
Making Muppet Puppets
Presenters: Carrie Morris and Christianne Myers
Break Time Begins
SPECIAL THANKS!
The development of this Immersion’s rich content received tremendous support from Carrie Morris and Christianne Myers, in particular. Additional content
support came from Blind Summit Theatre, Tom Carey, Mark Tucker, and Naia Venturi. The UMS Advisory Committee, with lead support from Judy Cohen,
Linda Spector, and Fran Martin, organized a sewing party to help prep materials for this workshop and we appreciate that service greatly. Additionally, our
Education and Community Engagement Interns Jordan Miller and Charlie Reischl were very helpful in pulling together details, organizing materials, and
generally supporting this event’s execution. Four students studying puppetry at U-M also kindly offered their time and hands to this Immersion: Angela
Alvarez, Kelsey Socha, Elana Lantry, and Liz Raynes.
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PUPPETS
Intentions of Inanimate Objects
How-Tos
UMS.ORG / 734.615.0122
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PUP P ETS
I N T E N T I O N S O F I N A N I M AT E O B J E C T S
FUNCTION
TYPES
Puppetry is another form of masking: a form of theatre where the performer uses an
object, in addition to their voice, body, and imagination, to tell a story.
Hand Puppets are manipulated by using one or two hands, with the operator either
invisible or visibly interacting with the puppet. The mouth can articulate (like a sock
puppet), or can be fixed (like Punch & Judy).
The passive nature of a puppet demands active engagement by the operator/
performer, because a puppet that is not moving or focused is not “alive.”
Puppets can only perform the tasks they were designed to perform; there are
inherent limitations in all forms of puppetry.
Shadow Puppets are created by placing two-dimensional cut-outs in front of a
translucent screen and lighting them from behind. The puppets are manipulated
with rods and wires and can be fixed or articulated. Shadow play is a popular form
of storytelling and performance in various cultures, including Indonesia, China, India,
Greece, Nepal, and Turkey.
Audiences are very forgiving regarding puppetry; the object or puppet only needs
to give the impression of life instead of being ultra-realistic because the viewer
completes the picture.
Rod Puppets have a central rod as the main body support; it can have additional
wires or rods that control limbs.
The puppet operator does not need to be invisible for the viewer to be totally
engaged with the puppet.
Hand and Rod Puppets combine hand operation of the mouth with rod operation of
the arms. Examples are Sesame Street puppets.
Marionettes are puppets manipulated by strings and can have either fixer or
articulated mouths and eyes.
Bunraku is a type of puppet from Japan that is manipulated by three operators.
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PUP P ETS
I N T E N T I O N S O F I N A N I M AT E O B J E C T S
N A R R AT I V E
ACTING AS A VOICE
Types and purposes of stories usually associated with
puppetry:
• Puppets can allow a performer to bridge the gap
between the subconscious and imaginary worlds,
and the real or tangible worlds.
• Traditional Western and Eastern narratives
• Kids shows and contemporary adult narratives
• TV puppet narratives (especially, early 20th-century
midwestern puppetry)
• Puppet meta-narratives
• Functional narratives (for example, puppets as
therapy)
• Large scale puppets have been used in
propaganda, for instance in Soviet May Day
celebrations or during Chinese Cultural Revolution.
• Puppets can also be used as a voice of dissent
and often have the latitude to say things humans
cannot.
TRANSGRESSING
BOUNDARIES
There are new and ever-evolving forms of puppetry
that both honor and experiment with traditions. For
instance, Basil Twist uses traditional Vietnamese
Water Puppetry as inspiration for his more abstract
version of water puppetry and the both Handspring
Puppet Company (Cape Town, South Africa) and
Blind Summit Theatre (London) are pushing technical,
traditional, and artistic boundaries with contemporary
performance exhibitions of puppets.
QUICK TIP
A puppet only does what it does, and that’s what it does! The needs and tasks of a puppet must be built into its design.
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PUP P ETS
H O W -T O S
EYE BOMBING
FIXED MOUTH MARIONETTE
Probably the easiest way to have someone recognize something as alive is to put
eyes on it, and this process, popularly referred to as “eye bombing,” has become a
cultural fad.
Create a simple costumed marionette from found objects with a sculpted face, and
evoke a puppet character through movement and operator monologue.
Anything can be a face.
Puppets made by adding eyes do not have bodies (except for the material the
eyes are stuck to) and are not operated by a performer. They are intended to be
stationary statements.
No story line or words necessarily need to support an “Eye Bomb,” because
each person who encounters the puppet will interpret their own character.
Eye bombing may be one of the easiest ways to brighten someone’s day or
make them see the world in a new way.
Inspiration:
www.HavingaFace.tumblr.com
Marionettes are expressive tools that assist a storyteller by connecting physical
motion to words and sounds being produced by the puppet operator.
Marionettes are controlled by strings attached to the arms, legs, and head of the
puppet. The head and face of a fixed mouth marionette puppet are wonderful
canvases that should be designed to convey the character’s thoughts and the
spirit of what the puppet is trying to communicate.
Audiences generally forgive any inaccuracy of the marionette’s motions and are
able to focus on the puppet even if the operator is insight.
Inspiration:
www.bit.ly/bDPxgH
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PUP P ETS
H O W -T O S
SHADOW PUPPET
B O DY PA RT P U P P E T
These one-dimensional displays of puppetry have long-standing performance
histories and range from being minimal to intricate artistic expressions.
Even the already-alive human body can be animated into a puppet that is
differently “alive.”
Shadow Puppet performances take place with the performer(s), puppet(s),
and light source behind a white screen, which acts as a canvas for the shadows
forms the audience sees.
Any part of the body can be used: fist, chin, knee, or even full body.
Multiple performers may be necessary to operate the equipment that casts
shadows. Ideally the scenery, characters, and objects that puppets interact
with will have a distinct and unified style.
The performer may choose to only expose the body part(s) acting as a puppet
or dress up or decorate the body part(s) acting as a puppet.
The effect of shadow performance can be similar to animation; the possibilities
are limitless and greatly aided by music, environmental sounds, or audio
effects.
Body parts can be used to create shadows of objects, characters, or
landscapes.
Inspiration:
knee puppet: www.bit.ly/18LJbKt
puppet shadows: www.bit.ly/aCUe4j
fist puppet: www.bit.ly/1bjt1uX
Inspiration:
www.vimeo.com/11969915
QUICK TIP
When developing a puppet for performance, ask, “Why a puppet and not a performer?”
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RESOURCES
Organizations
Readings
UMS.ORG / 734.615.0122
18
R ESOURCES
O R G A N I Z AT I O N S
DETROIT INSTITUTE OF ARTS (DIA)
RUSTY NAIL STUDIO
WWW.D IA.ORG
W W W.R U S T Y N AI LS T U DI O. B LO G SP OT.CO M
The DIA owns the Paul McPharlin Puppetry Collection, one of the most significant
A project of artist Tom Carey, Rusty Nail Studio creates and performs with shadow
collections of historical puppets in the US. The wide range of puppets represented
puppets that are created in the ancient tradition of Chinese and Japanese shadow
includes folk, vaudeville, avant-garde and experimental, cabaret, and film and
theater. Carey’s puppets, constructed using small paper cutouts, colored gels, and
television puppets. The collection also features examples of stages and production
ink drawings, tell stories through the movements of their shadows. Two new plays
sets, detailed records of American puppet troupes, and rare books tracing the
featuring Carey’s work, The Legend of Mothman and Spookhaus Apokalypse! will be
ancient history of the puppet theater. The museum also regularly programs puppet
performed at the Detroit Art Institute this 2013 Halloween weekend.
performances for all ages as part of their weekend program series.
DREAMLAND THEATER
WWW.D R EAM L ANDT H E ATE R .CO M
Dreamland Theater is a small non-profit puppet theater and community space
located in downtown Ypsilanti, and its Dreamland Puppet Troupe performs original
puppet shows for both children and adults. The organization also engages the
community through classes in puppetry and other arts. In addition to presenting its
own performances, Dreamland hosts artists of other mediums including plays, music,
independent films, and art exhibitions.
FESTIFOOLS
WWW.FESTIFOO L S .O RG
Founded in 2007, Festifools is an annual public street theater event during which giant
papier-mâché puppets parade joyfully through the streets of Ann Arbor. The puppets
are created in community workshops and as part of several University of Michigan
TED TAL K :
H AN DSPRIN G PUPPE T CO MPA NY
Handspring is one of the world’s leading
producers, creators, and designers of theater
featuring puppetry.
http://bit.ly/gMjz28
courses. Festifools has also expanded to include FoolMoon, a nighttime version of
the event that involves luminary puppets and other light based artwork. The 2014
FoolMoon event will be held on April 4 from dusk until midnight on Washington Street
and Festifools will take place April 6 from 4:00 to 5:00pm on Main Street.
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R ESOURCES
O T H E R O R G A N I Z AT I O N S
BALLARD INSTITUTE AND MUSEUM OF PUPPETRY
The University of Connecticut’s collection of over 2,500 puppets from all over the
world as well as various media related to puppet history and performance.
H T T P: // B I M P.U CO N N. EDU/
DETROIT PUPPETEERS GUILD
The Detroit branch of the Puppeteers of America.
W W W. DE T RO I T PU PP ETEERSG U ILD.O RG
PUPPETEERS OF AMERICAN
National organization dedicated to the art of puppetry.
W W W. PU PPE T E E R S .ORG
THE JIM HENSON FOUNDATION
Find information about Henson and other contemporary puppeteers as well as
general information about puppet happenings.
W W W. H E N S O N FO U NDATIO N.ORG
UNION INTERNATIONALE DE LA MARIONETTE (UNIMA)
The world’s oldest theater organization dedicated to the art of puppetry.
W W W.U N I M A-U S A.ORG
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R ESOURCES
READINGS
BY JOAN ACOCELLA, THE NEW YORKER
AMERICAN PUPPET MODERNISM:
E S S AY S O N T H E M AT E R I A L W O R L D
IN PERFORMANCE
(APRIL 15, 2013)
BY JOHN BELL
A nice article that summarizes Basil Twist’s career
The chapter on Midwestern puppet history is
forms, a 15-page section on puppet creation, and
and creative process as a puppeteer and describes
especially useful and insightful.
another section illustrating the various possibilities for
“PUPPET LOVE: THE ARTISTRY
OF BASIL TWIST”
his use of puppets in his upcoming production of
The Rite of Spring.
“A NOTE ON BUNRAKU”
FROM WHERE THE STRESS FALLS
B Y S U S A N S O N TA G
INDIAN PUPPETS
BY S A M PA G H O S H A N D U T PA L B A N E R J E E
A tome! This useful resource covers the basics for
true novices, including a 3-page overview of different
controlling puppets.
ON THRONES OF GOLD:
T H R E E J A V A N E S E S H A D O W P L AY S
MAKING PUPPETS COME ALIVE
BY JAMES BRANDON
BY LARRY ENGLER AND CAROL FIJAN
The introduction is a great overview of Indonesian
A good reference for performing hand puppets (arm &
shadow puppetry performance.
hand posture, throwing words, etc…)
A four-page commentary on the practice of Bunraku
and the relationship between the performers and
the puppets.
PUPPETRY AND PUPPETS:
A N I L L U S T R AT E D W O R L D S U R V E Y
BY EILEEN BLUMENTHAL
Any chapter is great! Seriously. A gorgeous book that is
well written with excellent photographs.
QUICK TIP
Puppets are able and willing to do and say things that humans are not willing to do or say.
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UMS:
BE PRESENT
About UMS
Thank you
UMS.ORG / 734.615.0122
22
U MS: BE P RESENT
ABOUT
UMS
U M S E D U C AT I O N A N D
COMMUNITY ENGAGEMENT
D E PA RT M E N T
S TA F F
KEN FISCHER
UMS President
JIM LEIJA
Director
E M I LY B A R K A K AT I
Teaching Artist
SHANNON FITZSIMONS
Campus Engagement Specialist
CHARLIE REISCHL
Intern
MARY ROEDER
Associate Manager of
Community Engagement
OMARI RUSH
Education Manager
D T E E N E R G Y F O U N D AT I O N
E D U C AT O R O F T H E Y E A R M AT T
K A Z M I E R S K I I S C O N G R AT U L AT E D
B Y Y O - Y O M A AT T H E U M S F O R D
HONORS GALA.
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. Each season, we offer a fun and fascinating lineup of workshops, artist Q&As, conversations,
and interactive experiences to draw you in and out of your comfort zone, connect you to interesting people
and unexpected ideas, and bring you closer to the heart of the artistic experience. We exist to create a
spark in people, young and old alike, exposing them to things they haven’t seen before, and leaving them
with a lifelong passion for creativity and the performing arts.
23
U MS: BE P RESENT
CREDITS
AND SPONSORS
TH IS LEARN IN G G UI D E I S
TH E PROD U C T O F TH E UM S
ED U C ATION AN D CO M M UN I TY
EN GAGEM EN T PRO G R A M .
RESEARC H ED AND WR I TTE N BY
Carrie Morris, Christianne Myers,
and Mary Roeder
ED ITED BY
Omari Rush
Special thanks to Charlie Reischl and
Jordan Miller for their contributions
and support in developing this guide.
Additionally, special thanks to Professor
Joel Ebarb, Purdue University, for his kind
permission to use portions of his “Puppet
Bootcamp” materials in the development of
this Immersion and this Learning Guide. His
work originally appeared as part of USITT’s
2012 Costume Summer Symposium.
Immersions 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
Ann Arbor Area Community Foundation
Ann Arbor Public Schools Educational Foundation
Anonymous
Arts at Michigan
Bank of Ann Arbor
Community Foundation for Southeast Michigan
Confucius Institute at the University of Michigan
Dance/USA
Doris Duke Charitable Foundation
Doris Duke Charitable Foundation Endowment Fund
DTE Energy Foundation
The Esperance Foundation
David and Jo-Anna Featherman
Maxine and Stuart Frankel Foundation
David and Phyllis Herzig Endowment Fund
Hooper Hathaway, P.C., Charles W. Borgsdorf &
William Stapleton, attorneys
JazzNet Endowment
Mardi Gras Fund
Masco Corporation Foundation
Merrill Lynch
University of Michigan
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
New England Foundation for the Arts
Quincy and Rob Northrup
PNC Foundation
Prudence and Amnon Rosenthal K-12 Education
Endowment Fund
John W. and Gail Ferguson Stout
Stout Systems
Toyota
UMS Advisory Committee
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
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