THE LIED CENTER FOR PERFORMING ARTS PRESENTS

MOULIN ROUGE®

THE BALLETApril 1, 2012

This presentation is made possible in part with generous support from Liberty First Credit Union and Patron Friend Sponsors Kris L. Baack, Ph.D. & Dr. Cori S. Amend & Ryan Sothan.

In the spirit of the Moulin Rouge of Paris, Moulin Rouge® is a registered trademark of Moulin Rouge S.A.

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CANADA’S ROYAL WINNIPEG BALLETUnder the distinguished patronage of His Excellency

the Right Honourable David Johnston, C.C., C.M.M., C.O.M., C.D.Governor General of Canada

Founders: GWENETH LLOYD & BETTY FARRALLYArtistic Director Emeritus: ARNOLD SPOHR, C.C., O.M

Founding Director, Professional Division: DAVID MORONI, C.M.Founding Director, Recreational Division: JEAN McKENZIE

Ballet Masters TARA BIRTWHISTLE JAIME VARGAS

Guest Ballet Masters CAROLINE GRUBER CHELSEY LINDSAY CINDYMARIE SMALL

ArtistsVANESSA LAWSON NURZHAN KULYBAEV*

AMANDA GREEN EMILY GRIZZELL JO-ANN SUNDERMEIER DMITRI DOVGOSELETS ALEXANDER GAMAYUNOV

HARRISON JAMES YOSUKE MINO

CARRIE BRODA SERENA SANDFORD AMAR DHALIWAL ERIC NIPP

SARAH DAVEY YAYOI EZAWA BETH LAMONT SOPHIA LEE LIAM CAINES TRISTAN DOBROWNEY THIAGO DOS SANTOS ZHEN GUO CHEN

ApprenticesALANNA MCADIE CATHERINE RUTHERFORD ALEX LANTZ

AspirantsErin Brennan Katie Bonnell Liu Chenxin Victoria Clerico Anna O’Callahan Lydia Redpath Ryoko Sumitomo Manami Tsubai Sayaka Tsukui Caroline Vandenberg Linden Kuitenbrouwer

Tudor-Paul Moldoveanu Stephan Possin Yinan Wang

*On Leave

Artistic DirectorANDRÉ LEWIS

Executive Director JEFF HERD

Senior Ballet MasterJOHNNY W. CHANG

Music Director & ConductorTADEUSZ BIERNACKI

School DirectorARLENE MINKHORST

School Director of OperationsKATE FENNELL

School Principal,Recreational Division

KELLY BALE

School Principal,Professional Division

JACQUELINE WEBER

Director,Aspirant Program

STÉPHANE LÉONARD

Director, TeacherTraining Program

JOHANNE GINGRAS

Director of ProductionBOB STEWART

Production Stage ManagerINGRID KOTTKE

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Director, TeacherTraining Program

JOHANNE GINGRAS

ChoreographyMusic

Costume DesignSet & Properties Design

Lighting DesignDramaturge

Make-up Design

NATHALIEMATTHEW

TOULOUSE-LAUTRECZIDLER

LA GOULUEMOME FROMAGE

GYPSY MANGYPSY LADIES

INVESTORBAKER

WINDOW WASHERSTREET SWEEPER

FLOWER SELLERLAUNDERETTES

MODELREHEARSAL CANCAN GIRLS

Jorden MorrisVarious ComposersAnne Armit & Shannon LovelaceAndrew BeckPierre LavoieRick SkeneMelissa Gibson

Amanda GreenTristan DobrowneyYosuke MinoAmar DhaliwalSarah DaveyYayoi EzawaAlexander GamayunovEmily Grizzell, Alanna McAdie and Catherine RutherfordLiam CainesThiago Dos SantosStephan PossinZhen Guo ChenCarrie BrodaSophia Lee, Alanna McAdie, Anna O’Callahan, Serena Sandford, Catherine Rutherford and Beth LamontSophia LeeEmily Grizzell, Carrie Broda, Serena Sandford and Beth Lamont

Length: 2 hours, 10 minutes

®

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Thank you to Canadian Actors’ Equity Association for the appearances of Anna O’Callahan, Stephan Possin & Yinan Wang.

World Premiere (Royal Winnipeg Ballet): October 17, 2009, Northrop, MinneapolisAll Casting Subject to Change

In the spirit of the Moulin Rouge of Paris, Moulin Rouge® is a registered trademark of Moulin Rouge S.A.

CANCAN LADIES

TOP HATS

WAITERS / TAILORS

TANGO COUPLES

GREEN FAIRIES

Carrie Broda, Sophia Lee, Beth LamontCatherine Rutherford, Alanna McAdie and Anna O’CallahanAlexander Gamayunov, Liam Caines, Thiago Dos Santos, Eric NippAlex Lantz, Yinan Wang, Stephan Possin and Zhen Guo ChenVanessa Lawson and Eric NippCarrie Broda and Tristan DobrowneySarah Davey and Alex LantzCatherine Rutherford and Liam CainesAnna O’Callahan and Yinan WangAlanna McAdie and Stephan PossinSophia Lee and Zhen Guo ChenSarah Davey, Beth Lamont and Yayoi Ezawa

MOULIN ROUGE® – THE BALLET SYNOPSISThe most famous cabaret in history, the Moulin Rouge has been the subject of many books, paintings, movies and musicals — birthplace of the Quadrille, the Cancan and home to a cast of outrageous dancers known as the Diamond Dogs. When the Moulin opened, Paris was a city of exquisite contradiction; art was both elevated and abused, pomp and excess ran hand in hand with poverty and hardship, and the heady elixir of personal freedom bred lifestyles that were often reckless and addictive. Drawn to Paris by the city’s passion, a flame fuelled by the hearts of lovers and the souls of poets, Matthew and Nathalie tempt the fates as they seek love and destiny in the infamous cabaret . . . The Moulin Rouge.

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ACT I

As Paris awakes for another day, Matthew enters and is immediately robbed of his belongings by Gypsies. Nathalie is waiting for the other launderettes to arrive when she sees Matthew for the first time. As the couple dance together, the spark of love ignites. Zidler, the owner of the Moulin Rouge enters and everyone knows that he is the man who can take you from the streets to the spotlight, so the women dance for him, hoping to attract his attention. Nathalie outshines all the other girls so Zidler offers her a position at the Moulin Rouge! Nathalie says goodbye to her friends and Matthew, then leaves with Zidler. Toulouse-Lautrec arrives and sees Matthew sketching. Intrigued, he asks to see Matthew’s work and critiques it rather harshly. Matthew, not knowing who Toulouse is, gets quite upset. Toulouse offers a paintbrush to Matthew and the dueling paint off scene begins.

Zidler brings Nathalie into a cold, dark and somewhat frightening rehearsal space, where she is told to wait before rehearsal begins. The other dancers are not impressed that Nathalie is there and try to intimidate her. La Goulue challenges Nathalie to a Cancan competition and at the end Nathalie is victorious. She wins Zidler’s approval and the tower dressing room.

Toulouse and Matthew are in front of the Moulin Rouge cabaret with their paintings. Toulouse invites Matthew to the cabaret for the evening but Matthew is broke and underdressed. Toulouse brings in tailors who transform Matthew into a gentleman in a tuxedo. After the first Moulin Rouge show, Nathalie sees Matthew and the two of them rekindle the spark from their first meeting. Nathalie takes Matthew away from the Moulin Rouge so they can be alone. Zidler notices that Nathalie is gone and becomes suspicious; after searching the Moulin Rouge he closes it down and leaves to find her.

As people are leaving the cabaret, Nathalie and Matthew are on their way to a bridge by the Eiffel Tower. Zidler comes searching for her, but Toulouse distracts him to help the couple escape to the bridge where they dance a romantic pas de deux.

ACT II

Toulouse is painting while drinking absinthe, and as the painting continues we see a green fairy appear. She dances with Toulouse and inspires him to finish the painting.

Meanwhile, Nathalie is getting ready to meet Matthew at the Tango Café. She is happy and in love. Zidler has now become obsessed with Nathalie and does not want her to go out. He tries to seduce Nathalie and only Toulouse entering saves her. Zidler has no idea she is meeting Matthew at the Tango Café but follows and finds the couple together. Zidler threatens to kill Matthew so Nathalie leaves with him in an attempt to appease the tyrant and save Matthew from harm. But Matthew is

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left heartbroken and confused. He drinks absinthe with Toulouse and encounters the green fairies. After he wakes up, Toulouse creates a plan for Matthew to disguise himself as a waiter and get back into the cabaret.

At the show that evening, Matthew finds Nathalie and they try to escape through the mayhem of the Cancan. Zidler discovers them together and becomes enraged, stopping the show. He intends to kill Matthew, but Nathalie is mortally wounded instead. Matthew holds Nathalie as she takes her last breath.

MOULIN ROUGE® – THE BALLET MUSIC CREDITS

“LA VIE EN ROSE”(Piaf / Louiguy)Arranged by Shelly BergerBy arrangement with LES EDITIONS AD LITTERAM INCFor BEUSCHER-ARPEGE publisher and copyright owner.All Rights Reserved.

“UNDER PARIS SKIES”(Gannon / Giraud)Arranged by B. BridgesBy Arrangement with G. Schirmer, INC, publisher and copyright owner.445 Bellville Road, Chester New York 10918All Rights Reserved.

“DANSE SLAVE”(Charbrier / Ouvres)Public Domain

“FINAL APOTHEOSE”(Lehar)Used by arrangement with European American Music Distributors LLC, Canadian agent for Glocken Verlag, publisher and copyright owner.254 West 31st Street, 15th Floor, New York, NY 10001-2813All Rights Reserved.

“GALOP”(Offenbach / Rosenthal)ALPHONSE LEDUC – ROBERT KING, INC.140 Main Street, North Easton, MA 02356 and copyright owner.All Rights Reserved

“GOLLIWOGG’S CAKE WALK”(Debussy)Public Domain

“GLUCKSPILZE GAVOTTE”(Lehar)Used by arrangement with European American Music Distributors LLC, Canadian agentfor Glocken Verlag, publisher and copyright owner.254 West 31st Street, 15th Floor, New York, NY 10001-2813All Rights Reserved.

“LA FETE”(Massenet)Public Domain

“DIVERTISSEMENT”(Ibert)By arrangement with Boosey & Hawkes, Inc. Sole Agent in the US, Canada and Mexico for Durand S.A. Editions Musicales, a Universal Music Publishing Group company, publisher and copyright owner.35 East 21st Street, New York, NY 10010All Rights Reserved

“GAVOTTE”(Shostakovich / Atovmian)from Ballet Suite #3By arrangement with G. Schirmer, Inc. publisher and copyright owner.445 Bellville Road, Chester New York 10918All Rights Reserved.

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“DANCE”(Shostakovich / Atovmian)from Ballet Suite #3By arrangement with G. Schirmer, Inc. publisher and copyright owner.445 Bellville Road, Chester New York 10918

“CAN-CAN”(Offenbach / Rosenthal)By arrangement with Theodore Presser Company, agents for Editions Mario Bois, publisher and copyright owner.588 North Gulph Road, King of Prussia, Pennsylvania 19406All Rights Reserved

“TRITSCH TRATSCH POLKA”(Strauss II)Public Domain

“THUNDER AND LIGHTNING POLKA”(Strauss II)Public Domain

“WALTZ”(Shostakovich / Atovmian)from Ballet Suite #3By arrangement with G. Schirmer, Inc. publisher and copyright owner.445 Bellville Road, Chester, New York 10918All Rights Reserved.

“LEITCHES BLUT, OP 319”(Strauss Jr.)Public Domain

“CAN-CAN FROM MOULIN ROUGE”(Offenbach)Public Domain

“LYRIC WALTZ”(Shostakovich)by arrangement with G. Schirmer, Inc. publisher and copyright owner.445 Bellville Road, Chester, New York 10918All Rights Reserved.

“CLAIRE DE LUNE”(Debussy)Public Domain

“CHITARRA ROMANA”(Strauss Jr)Arranged by A. Sevastian & P. De Sotto.Public Domain

“LIBERTANGO”(Piazzolla)By arrangement with Cherry Lane Music Publishing Company / CURCI USA Music Publishing / Editzioni CURCI SRL(SIAE) / A. Pagani S.R.L. (SIAE)All Rights Reserved

“ADIOS NONINO”(Piazzolla)By arrangement with David Murphy Publishing Company / A. Pagani S.R.L. (SIAE).All Rights Reserved

“ADAGIO ASSAI”(Ravel)Public Domain

“GLUCKSPILZE GAVOTTE”(Lehar)Used by arrangement with European American Music Distributors LLC, Canadian agentfor Glocken Verlag, publisher and copyright owner.254 West 31st Street, 15th Floor, New York, NY 10001-2813All Rights Reserved.

“SEUFZER GALLOP, OPUS 9”(Strauss Jr.)Public Domain

“OHNE SORGEN, OPUS 271”(Strauss)Public Domain

“CAN-CAN No 3”(Offenbach / Rosenthal)By arrangement with Theodore Presser Company, agents for Editions Mario Bois, publisher and copyright owner.588 North Gulph Road, King of Prussia, Pennsylvania 19406All Rights Reserved

“FINALE FROM HERIODADE”(Massenet)Public Domain

“LE JARDIN FEERIQUE”(Ravel)Public Domain

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BIOGRAPHIESANDRÉ LEWISArtistic DirectorApproaching nearly 35 years with Canada’s Royal Winnipeg Ballet, 15 of them as artistic director, André Lewis has spent the majority of his career with Canada’s first professional dance company. A native of Gatineau, Québec, Lewis began his dance training in Ottawa before being accepted into the Professional Division of the Royal Winnipeg Ballet School in 1975 and joined the RWB Company in 1979 where he enjoyed an accomplished career as a dancer for over ten years.

In 1996, Lewis was appointed artistic director of the Royal Winnipeg Ballet after having served as associate artistic director for the previous five years and has been the driving force behind the new and innovative works that have dramatically rejuvenated the Company’s repertoire. In 1998 he commissioned Mark Godden’s blockbuster production Dracula and was instrumental in the 1999 creation of a new Nutcracker for the Company. In 2002, Lewis brought to Winnipeg the thrilling and passionate Carmina Burana by Argentinean choreographer Mauricio Wainrot and presented a new version of The Sleeping Beauty. In 2003, he commissioned Mark Godden to create a new ballet based on the opera The Magic Flute and in 2004 brought in choreographer Val Caniparoli to create A Cinderella Story, a retro retelling of the beloved fairy tale set to jazz and swing. Lewis commissioned choreographer and RWB alumnus Jorden Morris to create Peter Pan for the Company in 2006 and in 2009, for RWB’s 70th anniversary, Lewis commissioned Morris to create Moulin Rouge®

– The Ballet after the famous Parisian cabaret, which set record attendance levels at every performance and was the highest grossing

show in RWB’s history. Most recently, Lewis commissioned Mark Godden to create Svengali, an explosive new look at the original master of mind control.

JORDEN MORRIS ChoreographerAfter retiring from the stage as a principal dancer, Jorden began to study and explore choreography. He spent a summer at New York University studying dance and theatre arts under the direction of Dr. Gregory Scott. During this time Jorden also worked with Claude Bessy and Serge Golovine from the Paris Opera, studying early French choreography.

In 1999 Jorden premiered his first work, The Three Musketeers for RWBS School Director David Moroni. In 2000, Jorden choreographed a short work for the Alabama School of Fine Arts in Birmingham, Alabama. Elle est Quatre, set to the music of Aaron Copland was taken to the Birmingham Arts Festival. Jorden was commissioned by Royal Winnipeg Ballet Artistic Director André Lewis to choreograph two works for the visit of Her Majesty Queen Elizabeth in 2000. Faure, a pas de deux and Pas Espagnol, a classical group piece for the RWB Professional Division, were performed for Her Majesty and broadcast nationally on CBC Television. In 2005, Jorden choreographed the Celtic themed ballet Deverell.

In 2006, RWB presented the world premiere of Jorden’s full length classical ballet Peter Pan. The critically acclaimed work played to sold out houses over the Christmas season, making it the biggest box office success for the company to that point. Jorden’s recent creation, Moulin Rouge® – The Ballet had its world premiere in October 2009. Additional

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performances were added in Winnipeg and on tour due to box office demand for this one-of-a-kind production. Moulin Rouge® – The Ballet ticket sales surpassed Peter Pan and it is now the company’s biggest box office success to date. In the fall of 2010 Jorden re-staged Moulin Rouge® – The Ballet for Atlanta Ballet and in 2011 Pittsburgh Ballet presented Peter Pan.

ANNE ARMIT Costume DesignerAnne Armit was born in Scotland and moved to Ottawa at age four. She attended Seneca College, was named Student Designer of the Year in 1975 and was awarded a scholarship to the Ontario College of Art. After graduation, she worked for one year in the fashion industry before obtaining work as a seamstress at the St. Lawrence Centre. Armit also freelanced for organizations such as The National Ballet of Canada, Shaw Festival, Stratford Festival, Charlottetown Festival, the National Arts Centre and the Canadian Opera Company. A promotion to Junior Cutter at the St. Lawrence Centre was followed by an offer of employment from The National Ballet of Canada.

Armit joined Canada’s Royal Winnipeg Ballet in 1989 as Director of Wardrobe and this position has given her the opportunity to design productions such as L.I.F.E., La Bayadère, Raymonda, Creaturehood, The Sleeping Beauty, Peter Pan, Moulin Rouge® – The Ballet, Wonderland, Quantz by Quanz, In Tandem, Luminous and more.

This season Armit is designing costumes for Jorden Morris’ The Doorway and she was chosen by choreographic legend Twyla Tharp to design the costumes for her new work Twyla Tharp’s The Princess and the Goblin, a co-production between Atlanta Ballet and the RWB.

SHANNON LOVELACECostume DesignerWinnipeg visual artist and designer Shannon Lovelace received her training at the University of Manitoba and Concordia University in Montréal and in 1980 she graduated with a Bachelor of Fine Arts. Lovelace has exhibited her paintings extensively in North America and abroad.

In 1993 she began her association with the Royal Winnipeg Ballet, working as milliner, decorator, dyer and designer. Moulin Rouge®

– The Ballet, is the third full length ballet she has designed for the RWB. In 2001, she designed David Nixon’s Butterfly, followed by co-designing The Sleeping Beauty with Anne Armit.

Shannon has worked in the film industry as sketch artist, illustrator and costumer, but her real love remains in the world of dance. Her life studies and portraits can be found in private and corporate collections including Wood Gundy, KPMG LLP, Government offices and CP Calgary, Alberta. She is a longtime member of Mentoring Artists for Women’s Art.

ANDREW BECK Scenic Designer Andrew Beck was born in Staffordshire, England in 1961 and was brought to Winnipeg as a child. He was educated in the Fine Arts Department at the University of Manitoba and completed a thesis of painted steel sculptures in 1983. Since that time he has worked on landscape painting and steel sculptures.

In addition to his own work, Andrew has worked as a scenic artist and designer for more than fifteen years. In this capacity he has worked for the Royal Winnipeg Ballet, Royal Manitoba Theatre Centre and Rainbow Stage. Other credits include the National Aboriginal Achievement Awards

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and the TV series Falcon Beach. Previous designs for the Royal Winnipeg Ballet include Moulin Rouge® – The Ballet and Peter Pan.

PIERRE LAVOIELighting DesignerPierre Lavoie has been active in dance since 1982, first in Toronto as stage manager for most of the city’s modern dance companies, then in Montréal for Les Grands Ballets Canadiens. Lavoie started designing lights in the 90’s for Margie Gillis and has since designed every new work in her repertoire. He also creates lights for many independent modern dance artists in Montréal.

He has designed to rave reviews at Alberta Ballet and for Christopher Wheeldon’s Midsummer Night’s Dream, Val Caniparoli’s Lady of the Camellias and Jean Grand-Maitre’s Carmen, Cinderella, Romeo and Juliette and the acclaimed Fiddle and the Drum with Joni Mitchell. Other ballet credits include Don Quixote, Swan Lake, Taming of the Shrew and Nutcracker at Boston Ballet, Cinderella at Milwaukee Ballet and a mixed jazz program at Ballet Memphis.

Pierre has previously designed for several Royal Winnipeg Ballet productions including As Above, So Below, The Magic Flute, Anna Karenina and Moulin Rouge® – The Ballet.

RICK SKENEDramaturgeAs dramaturge for the RWB’s production of Moulin Rouge® – The Ballet., Rick Skene draws upon his extensive experience as a theatre and film professional. Rick is a highly respected playwright, director and physical theatre specialist (Royal Manitoba Theatre Centre, Theatre Projects, Rainbow Stage, Prairie Theatre Exchange, Manitoba Theatre for Young People, Manitoba Opera) having worked in professional theatre for

over 30 years. He is also considered to be the leading stage fight choreographer and film stunt coordinator/2nd unit director in Manitoba with over 140 film and television credits. Along with his diverse professional endeavours Rick has taught at the University of Winnipeg Department of Theatre & Film since 1986 where he specializes in physical theatre, acting, stage combat and film.

MELISSA GIBSONMakeup DesignerAfter graduating from high school, Melissa Gibson went into fashion retail while she figured out what she really wanted to do with her life. Since she had always loved make-up, a photographer friend of hers asked her to do the make-up for a fashion test. When she saw the photo blown up to life-size in front of the store she realized that she could make this a career.

Later, one of her teachers suggested that she work with MAC Cosmetics. Within a year she had moved up from the make-up counter to Creative Artist and went from store to store doing make-up, which was great training. There have been many memorable moments in her career including working with Cher and Tilda Swinton.

The Company in Moulin Rouge®– The BalletPhoto: Bruce Monk

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CANADA’S ROYAL WINNIPEG BALLET A SEVENTY-TWO YEAR HISTORY OF EXCELLENCE

Versatility, technical excellence and a captivating style are the trademarks of Canada’s Royal Winnipeg Ballet, qualities that have garnered both critical and audience acclaim. These qualities keep the RWB in demand as it presents more than 70 performances every season.

Founded in 1939 by Gweneth Lloyd and Betty Farrally, the Royal Winnipeg Ballet holds the double distinction of being Canada’s premier ballet company and the longest continuously operating ballet company in North America. In 1953, the Company received its royal title, the first granted under the reign of Queen Elizabeth II. In 1958, Arnold Spohr was appointed artistic director. Under his direction the Royal Winnipeg Ballet grew and developed to take its place among the world’s internationally renowned companies. To further the Company’s development, a professional school was created in 1970 under the direction of David Moroni. Today two-thirds of the Company’s dancers are graduates of the School. On March 7, 1996, André Lewis was named artistic director of Canada’s Royal Winnipeg Ballet. A native of Gatineau, Quebec, Mr. Lewis has maintained a nearly thirty-five year association with the RWB.

The Royal Winnipeg Ballet began to tour Canada in 1945; it completed its first American tour in 1954. Today, the Company spends 15 or more weeks a year on the road, performing in centres large and small. The Royal Winnipeg Ballet is compact in size, with 24 dancers, a production crew of seven and a semi-trailer that carries approximately 55,000 pounds of equipment. For full-length ballets, the Royal Winnipeg Ballet travels with two semi-trailers and an expanded company. The Royal Winnipeg Ballet has performed in the United States, South America, Europe, the Middle East, Russia, Japan, Asia, Mexico and in every province of Canada.

Throughout its history, the Royal Winnipeg Ballet has been a dance leader, recording innumerable firsts. It developed the concept of the regional ballet festival in the 1940s. It was the first Western company to perform in Cuba after the revolution. It received Gold Medals at the International Ballet Festival in Paris in 1968 and that same year became the first Canadian company to tour Russia and Czechoslovakia.

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The RWB’s 2011/12 Winnipeg season opened with the world premiere of Mark Godden’s Svengali. In December the Christmas classic Nutcracker is back to bring joy and warmth to the winter season. After more than a decade’s absence, the full-length masterpiece Giselle returns to the Centennial Concert Hall stage in March. And finally, a mixed-repertoire program entitled Pure Ballet closes the Winnipeg season, featuring Peter Quanz’s Luminous, Mauricio Wainrot’s Carmina Burana and The Doorway, a new work by Jorden Morris set to music by Leonard Cohen. Touring will see the RWB travel across Canada and the United States with Svengali, Wonderland, Nutcracker and Moulin Rouge® – The Ballet.

STAFF OF CANADA’S ROYAL WINNIPEG BALLET

ADMINISTRATIVE STAFFExecutive Director – Jeff HerdDirector of Finance & Administrative Operations – Dale SulymkaSenior Director of Marketing & Development – Judy SlivinskiDirector of Touring & Business Development – Christopher TurykExecutive Secretary – Jan RoutledgeAssistant to the Artistic Staff – Judy ArnasonPhysiotherapist – Sam Steinfeld Director, Corporate Partnerships – Susan FraserSenior Marketing Manager - Arlette AndersonPublicity Manager – Rebecca McCauleyOnline Marketing Manager – Tim FennellCustomer Service Manager – Joanne HawkinsGroups Manager – Nicole Verin-Treusch

PRODUCTION AND TECHNICAL STAFF Director of Production – Bob StewartHead of Wardrobe – Anne ArmitProduction Stage Manager – Ingrid KottkeCompany Manager – Anastasia GerasHead Carpenter/Crew Chief – Robert MravnikHead Flyman/Assistant Carpenter – Robert BurdeyHead of Properties – Tim HrabchackHead of Electrics – Marc GagnonAssistant Electrics – Drew DerbowkaHead of Audio – Shaun McleanHead Wardrobe Mistress – Brenda Belmonté Touring Wardrobe Assistant – Barry MalenkoAudio Visual Technician/Production Assistant – John KaminskiFootwear Manager – Janet AndersonTour Trucking – Arnold Brothers Transport

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BOARD OF DIRECTORS OF THEROYAL WINNIPEG BALLETMEMBERS OF THE BOARD

HONORARY CHAIR: Kathleen M. Richardson, C.C., O.M.

CHAIR EMERITUSJean Giguère

CHAIR:Martin Thibodeau

PAST CHAIR:Charlene Rocke

CHAIR, NOMINATIONS COMMITTEECharlene Rocke

CHAIR, AUDIT COMMITTEEDavid Reid

CHAIR, GOVERNANCE COMMITTEEJennifer Moncrieff

Barbara AxworthyGursh BarnardAndrew CalistaJim EldridgeCatherine FilmonDiane GrayDavid HochmanTina KeeperJim LudlowTamara Schock

HONORARY COUNCIL MEMBERSLynne AxworthySheldon BowlesDee Buchwald Dennis CarterDr. Alice Cheatley, C.M.Irena CohenJames CohenJane EmslieAshleigh EverettJohn F. FraserSusan Glass, C.M.Kerry HawkinsRichard KroftThe Hon. Otto Lang, O.C.Peter J. MacdonaldMarnie MarshallRuth MatasStuart MurrayArt PearsonKevin ReganDr. Robert T. RossDr. Leon RubinLouise SoubryArni ThorsteinsonW. Terrence Wright, Q.C.Senator Rod Zimmer, C.M.

The Royal Winnipeg Ballet would like to acknowledge the contributions made by the Women’s Committee, represented by Jane McGrigor, President and the Alumni Association, represented by Marilyn Marshall, President.

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SPONSOR STORYFor over 76 years Liberty First Credit Union has been providing members with a better way of banking. As a not-for-profit financial institution it is their mission to provide low cost loans and high rate savings products to anyone who works, lives, attends church, or goes to school in Lancaster County and those related to a membership-eligible person. A volunteer board of directors governs the credit union so decisions are made for members, not for shareholders. Today there are three Lincoln locations that provide a full range of banking services such as checking, savings, loans, credit cards, money markets, IRAs, and mortgages. In addition, the credit union offers over 28,000 ATMs worldwide that are surcharge-free and over 4,300 shared branching locations where members can complete transactions while out of town.

In addition to supporting programs at the Lied Center that fit an audience of all ages, the credit union focuses on raising funds for Children’s Miracle Network through Credit Unions for Kids. All funds raised stay here in Nebraska to help the Children’s Hospital in Omaha.

Liberty First believes that the arts enrich people’s lives by fostering flexibility, creativity, responsibility, and the ability to approach life cooperatively. These are all characteristics that the credit union strives to help build in its members. Angie Schreiner, Vice President of Marketing for Liberty First says that supporting the Lied Center is important to them because, “Providing the location and the events that help bring Lincoln to life not only enriches the entire community but each individual. The Lied Center allows a dream within each of us to grow and inspires each person who is touched by the arts to look inside and be amazed by not only what is seen on stage but also with what is inside of them.”

THE LIED CENTER FOR PERFORMING ARTS PRESENTS

SONS OF THEPIONEERS

April 7, 2012

This presentation is made possible in part with generous support from Legacy Retirement Communities.

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ABOUT SONS OF THE PIONEERSThe legendary Sons of the Pioneers are synonymous with the ultimate in Cowboy music. Western Music Association calls them “Living legends in their own time . . . known the world over.” American Cowboy Magazine proclaims them as “the world’s premiere cowboy singing group.” For over 75 years the Pioneers have musically painted unforgettable images and stories of horses, cattle, cowboys, “night herds”, tall timber, cool water, canyons and prairies. Their original and signature songs like “Tumbling Tumbleweeds”, “Cool Water” and “Ghost Riders in the Sky” are classics forever entwined into the lore and mystique of the American West. They carved out a whole new American style of music genre based upon the American Cowboy and the culture of the American West. Their signature songs have been recorded by a long list of who’s who in the music industry ranging from Boston Pops, Frankie Laine, Johnny Cash, The Supremes, Riders in the Sky and Michael Martin Murphy.

First started by Roy Rogers and gifted songwriters Bob Nolan and Tim Spencer the group garnered national and international fans through appearances in almost 100 western films during the ‘30s, ‘40s and ‘50s. Numerous albums were recorded under contracts with Decca, Columbia, RCA and others. The Pioneers provided songs for several John Ford westerns including the soundtrack for The Searchers starring John Wayne. Walt Disney called upon the Pioneers to supply the soundtrack for the film Pecos Bill. They were the first cowboy musical group to perform at Carnegie Hall and the first to headline in Las Vegas casinos. They enjoy the support of fans literally around the world.

As each prior Pioneer member retired there has always been a carefully selected talented replacement enabling the group to keep its identity continuous and unbroken. During their 77 year history only thirty-three men have been members. The sound today is still the sound which inspired the formation of numerous other Western singing groups. As Doug Green of Riders in the Sky put it, “Any of us who sing Western music, it all goes back to the Pioneers.”

The quality of work and longevity of the group’s career produced more coveted honors and awards than anyone in Western music. They are members of the Country Music Hall of Fame, the Western Music Association Hall of Fame, the National Cowboy Hall of Fame, Texas Swing Hall of Fame, and Hollywood Walk of Fame among others. Their renditions of both “Tumbling Tumbleweeds” and “Cool Water” have been inducted into the GRAMMY® Hall of Fame.

The Sons of the Pioneers hold a unique place in American music. The popularity of the Pioneers brand of Western music is not connected to charts and fads. It’s an eternal interest in the American West, its beauty, its values and its culture. Through their work a very special musical experience has been shared by the nation. The

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BIOSLUTHER NALLIENo one epitomizes the best of the Pioneers as does

“trail boss” Luther Nallie. The “trail boss” is the administrator and business leader.

There have only been two other “trail bosses” in the group’s entire history. With his native Texan personality Luther is respected by everyone for his gentlemanly manners and even-handed leadership, not to mention his consummate musical talent and dedication to the Pioneers’ heritage. Luther holds the third longest longevity with the Pioneers surpassed only by Lloyd Perryman and Dale Warren.

Luther’s contribution as musician and leader is immeasurable. As the main curator of the group’s sound he knows the lyrics and arrangements to all the Pioneer catalog. He is a multi-faceted musician who can sing any of the trio parts needed, add a guitar riff, provide a dixieland clarinet, play bass, develop a song’s voicing and arrangement or contribute in a hundred other ways. His voice can be heard on the group’s

recordings dating back to the 1960’s when he first joined the group. Initially he sang tenor, then switched to lead and ended up singing baritone. In a special tribute to past member Sunny Spencer, Luther’s clarinet delights an audience with Sunny’s arrangement of “Just a Closer Walk”.

Luther participated in many of the groups’ pinnacle moments. As the group was inducted into the Country Music Hall of Fame, Western Music Hall of Fame, Cowboy Hall of Fame and Texas Swing Hall of Fame, Luther was there. He was there when the Pioneers got their Star on the Hollywood Walk of Fame and there when they were awarded the Golden Boot Award. He was a member when “Tumbling Tumbleweeds” and “Cool Water” were elected to the GRAMMY® Hall of Fame

GARY LEMASTERGary LeMaster has spent his lifetime in music starting at the age of 3 in his home state of Kentucky, then later performed in national charting

rock n’ roll bands and subsequently landed

Smithsonian Institute named them a “National Treasure.” Acknowledging their impact, the web based music outlet Rhapsody notes “All in all, they’re just as influential to Americana culture —and Americana — as Levi’s, Baseball, and Betsy Ross.”

Anyone wanting more information on the Pioneers can spend some time on their website, sonsofthepioneers.org, where you can listen to a few songs, watch a video and read more about their history and awards. The Pioneers also invite you to become a “fan” on their facebook page at www.facebook.com/sonsofthepioneers.

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in Las Vegas in 1969 where he performed with his own band until becoming the Entertainment Director at Sam’s Town in 1980. When visiting his father-in-law and Pioneer member Sunny Spencer in 1986, the possibility of filling in for Roy Lanham was suggested to Gary and ultimately resulted in Gary becoming an official member later that same year. Fans are sometimes surprised to learn Gary’s longevity surpasses many of the former members. He was present in Oklahoma City when the National Cowboy and Western Heritage Museum inducted the Pioneers into the Western Performer’s Hall of Fame. Along with other members of the Pioneers he received a Golden Boot Award trophy in 2003.

Gary’s tenor voice is used both on harmony and solos. His lead guitar provides the key intros and turnarounds which create an artistic landscape for each song. He’s recognized everywhere he goes as one of the country’s very best guitarists. You never know from one performance to the next which guitar Gary is going to bring out from his vintage collection. Each performance is sprinkled with Gary’s humor and antics. On stage Gary is animated sometimes loping on his imaginary horse or sometimes searching the “sky” for ghost riders. Dale Warren once said, “Gary can do so many things in so many ways. I don’t know what we would do without him.”

Gary has great respect for the music and heritage of the Pioneers. He has spent years researching the group’s classic songs and developing arrangements for the current group. Gary recently penned “Pioneer Heaven” a re-write of the classic Tex Ritter “Hillbilly Heaven” but in his version paying homage to key past members of the Pioneers. From his past experiences

with former Pioneers he spins the types of stories fans enjoy.

KEN LATTIMOREKen Lattimore is the formal music scholar of the group holding a degree in music from Texas Tech University. A tenor, Ken provides the

higher harmonies. He also delights audiences with his fiddle solos and duets. Occasionally he will supply a mandolin to the mix. Ken composed the orchestral parts used as an accompaniment to recent Pioneers recordings of “Blue Prairie” and

“Everlasting Hills of Oklahoma”. Before joining the Pioneers, Ken had experience in a variety of music genres ranging from singing lead tenor in Gilbert and Sullivan productions to performing in Nashville’s Ryman Auditorium and at country music festival in Austria. For several years his “day job” was as a music teacher. Ken continues his diverse musical interests in the “off season” by joining the violin sections of several different symphony orchestras throughout Texas and Louisiana.

Ken’s interest in western music and particularly the Pioneers dates back to childhood when he became a fan after listening to his parent’s albums. The harmonies and lyrics roped in his interest. As an adult he found himself falling deeper under the spell of Pioneer music and committed many of their songs to memory. On a fateful 1997 stopover in Branson, Ken felt led to approach Dale Warren and give him a demo CD. Although Dale was friendly to Ken’s approach and accepted the CD, Ken did not expect to hear anything more. To his surprise Ken got a call from Dale the next day suggesting he try-out

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after Ken had learned his assigned part to six or so songs. Weeks later Ken returned for the try-out and got the nod. Ken says,

“Singing and playing violin with the greatest western singing group ever proves the old adage . . . at times your fondest dream can come true.”

When not working on his music Ken enjoys a variety of outside pastimes especially American history. Ken’s family roots dating back to the American colonies has led to his becoming a member of the 19th Texas Infantry, a group of Confederate army reenactors . The Marshall, Texas, native has “fought in battles” at Gettysburg and other locations across the country.

RANDY RUDDRandy Rudd’s dulcet baritone voice makes him a natural as the

“lead” singer of the group. When he joined the group in 2001, Dale Warren

likened Randy’s voice to that of earlier Pioneer Ken Curtis. An accomplished guitarist, Randy not only supplies rhythm guitar but occasionally adds a riff or short solo. Randy’s right hand approaches flamenco guitar speed as he provides rhythm on some of the up tempo tunes. Adding comedy with one of his ad libs or impersonations of famous celebrities, Randy’s personality easily connects with the audience.

He’s the only native Missourian of the group having grown up in Marshall and Blue Springs, Missouri. He began playing the piano at age 5 and by age 9 he was performing on the piano and guitar for local events. Starting in college Randy devoted himself to a full-time musical career. Randy acknowledges he always had

great admiration for the Pioneers songs, their style and their instrumentation but it wasn’t until he got to Branson and was performing in the same theater that he fully became a fan. Randy’s early musical influences were varied. He admired Merle Haggard, Larry Gatlin, Roy Orbison, Marty Robbins, James Taylor and guitarists Stevie Ray Vaughan and James Burton. Randy still enjoys playing the piano and keyboards although they are not used in connection with the Pioneers.

Asked about his association with the group Randy says, “Working with the other members is a treat beyond compare. I’m delighted to be a member of a group whose goal is to produce impeccable musical performances . When someone like American Cowboy magazine calls you

‘legends of western music’ you’ve got to give it all you’ve got in every performance.” Two of Randy’s favorite Pioneer songs are “Lillies Grow High” and “Blue Prairie”. He loves the music and it shows in every performance.

Prior to joining the Pioneers, Randy first performed in Branson working at Roy Clark’s beginning in 1990 and then seven years later he moved to Moe Bandy’s Theater. Dale Warren picked Randy as the group’s lead singer after hearing him perform at Bandy’s Theater.

RICKY BOEN When it comes to top Western style fiddle players, Ricky Boen heads the list. Competing against the best of the best he has won the titles of Texas State Fiddle

Champion and World Fiddle Champion. The Pioneers have always included an excellent fiddle starting with the likes of Hugh Farr and Billy Armstrong. Strike up

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“San Antonio Rose” or “Texas Plains” and Ricky’s Texas swing goes into overdrive.

Ricky is totally dedicated to the preservation and promotion of Western music. “It’s real music and it’s our heritage”, says Ricky. “I grew up in Texas and in the Western culture and this music is ours. It didn’t come from England or some foreign country. It is totally American. I just want everyone to have a chance of enjoying it the way I do.”

Ricky’s career began when he was given a fiddle at age 10. Growing up in Odessa, Texas, Ricky has always been tutored in Western swing by his father Darrell, a noted musician in his own right. So Ricky already had a keen interest in emulating the music of Bob Wills and Johnny Gimble. But Ricky’s dad believed in learning the right way so he insisted Ricky also have training in proper classic violin. He studied hard and took first chair in his high school and area orchestras. But Western swing still didn’t lose its hold on Ricky. By age 15 Ricky was playing in local dance hall bands.

While still in high school Ricky’s grandmother convinced him to enter a

“little fiddle contest” in Crockett, Texas. When Ricky showed up the day of the contest he discovered it was more than just a “little fiddle contest” it was the World Champion contest that had been held in Crockett since the 1920s and was attended by all the greats. Ricky didn’t win that year but the contest did inspire him to keep improving his talent. He returned every year to Crockett and at age 20 he won the title World Champion Fiddle Player. Ricky continued his formal education obtaining a degree in business from the University of Texas at Permean Basin.

Before coming to the Pioneers Ricky played in the bands of Michael Martin Murphey,

Asleep at the Wheel, and Red Steagall. He performed with Steve Wariner at the 1989 Inaugural Ball in Washington, D.C. While touring with his own Western swing band in 1999 he met Dale Warren in Tucson, Arizona, and the two became friends. In 2005, Ricky started his own show in Branson, Missouri. A few weeks later Ricky got an unexpected call from Dale inviting Ricky to become a member of the Pioneers. Ricky accepted and has been a key member of the Pioneers ever since.

MARK ABBOTT When it comes to knowing how to make a Western song sound great Mark Abbott has a wealth of experience. Mark anchors the lower registers with

his bass voice and upright string bass. He adds a dose of comedy to each performance with songs such as “I’m My Own Grandpa” or “Preacher and the Bear”. Mark also takes on the sound technical duties working with each venue’s sound engineer to get the right mix for the stage and house systems. If there is any problem Mark comes to the rescue.

As a small boy Mark’s mother persistently tried to get him to learn the guitar and Mark just as persistently refused. Then at about age eleven Mark was listening to radio station WWL in New Orleans and heard Bob Wills and the Texas Playboys play “Summit Ridge Drive” by Artie Shaw. The bass solo so captivated Mark that he drug the old guitar from his closet and started picking the solo out by ear on the lower four strings.

He continued working on the bass and soon found an opportunity to join an old time string band playing at his god parent’s theater. He asked his parents and got his

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own bass when he was 14. Meanwhile, he learned to read music in the public schools but as a brass horn player. At age 15 he again went to his parents, this time wanting a fiddle. Within a few months he had learned four fiddle tunes and confidently entered a local fiddle contest. But there was a problem. Three other kids were better than Mark leaving him in fourth place. Undaunted, Mark continued practicing his fiddle. With his fiddle bow experience the orchestra teacher put Mark in the school orchestra playing the upright bass with a bow and several All State championships followed.

Mark began picking up some paying jobs playing bass with local bands. One of the bands included Mark Chesnut, who had

yet to become well known. Then came a stint playing with Johnny Rodriquez. Deciding he wanted a different career Mark opted for a “day job” and dropped out of playing for 5 years. But he missed the music so when an opportunity to play with Janie Fricke came along he took it. Soon he was backing up Red Steagall and Don Edwards. When Sons of the San Joaquin, Willie Nelson or Marty Stuart headed into the recording studio to do western tunes it was Mark who got the call to play bass. His bass can be heard on many of the jazzy

“How the West Was Swung” albums by Tom Morrell and the Timewarp Tophands. He fulfilled a childhood dream by playing with the Texas Playboys under Leon Rausch. The last 12 years before joining the Pioneers Mark played with Ray Price.

“A Living Legend in their own time . . . an American institution.” – Western Music Association

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SPONSOR STORYLegacy Retirement Communities is proud to sponsor Sons of the Pioneers at the Lied Center for Performing Arts! As a locally owned and operated company since 1995, Legacy strongly believes in giving back to the community. The mission of Legacy Retirement Communities is to enrich the life of each person in our community by continuing the legacy and pursuit of excellence established by our founder Jerry Joyce. The Lied Center helps us meet this mission, as we enrich many of our residents’ lives by bringing them to Lied Center programs each year. The Lied Center provides such a culturally essential venue to Lincoln and we are very grateful to have such a wonderful facility in our local community.

Legacy Retirement Communities consists of three Lincoln campuses: The Legacy located at 56th and Pioneers, Legacy Estates located at 7200 Van Dorn, and Legacy Terrace and The Arbors Memory Care Community located at 57th and Fremont. We are proud to provide elegant yet affordable senior living options, offering independent living, assisted living and memory care. Each of our locations maintains our company values of Family, Compassion, Integrity, Community and Quality to assure that our residents are enriched during the years they spend with us.

Visit our website: www.legacyretirement.com

THE LIED CENTER FOR PERFORMING ARTS PRESENTS

RAGAMALA DANCE“SACRED EARTH”

April 11, 2012

This presentation is supported by Mid-America Arts Alliance with generous underwriting by the National Endowment for the Arts, Nebraska Arts Council and foundations, corporations and individuals throughout Arkansas, Missouri, Nebraska, Oklahoma, and Texas.

Program support is also provided by the National Dance Project of the New England Foundation for the Arts, and is made possible in part with generous support from the Burket Graf Endowment.

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Born and raised in south India, Ragamala Dance’s Artistic Directors Ranee Ramaswamy and Aparna Ramaswamy bring that culture’s unique sensibility of mysticism, myth and sanctity to the contemporary stage. Sacred Earth unifies Bharatanatyam with the ephemeral arts, classical music, and Tamil Sangam literature (300 B.C.E. – 300 C.E.) of India. Inspired by two ephemeral visual traditions—kolam floor drawings and Warli wall paintings—Sacred Earth’s choreography, ranging from contemplative to ecstatic, brings both internal and external landscapes to life.

Kolams are rice flour designs made each morning by women in southern India 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 Warli people of western India revere the land and live a life in perfect coexistence with nature. Using their everyday lives as inspiration, their dynamic wall paintings use art to find the spiritual in the everyday.

The choreographers use the philosophy and myth of these traditions to explore the interconnectedness between humans and the landscapes that shape them. As the evening builds from silent, meditative beginnings to a thrilling crescendo, the performers surrender to the beauty of this sacred earth that has been given to us to safeguard, cherish, and pass on to our future generations.

Concept: Ranee Ramaswamy and Aparna Ramaswamy

Choreography:Ranee Ramaswamy and Aparna Ramaswamy

Original Artwork:Anil Chaitya Vangad (Warli)Ranee Ramaswamy (kolam)

Original Compositions: Prema Ramamurthy

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Development of Score: Ranee Ramaswamy and Aparna Ramaswamy

with Lalit Subramanian, Anjna Swaminathan, and Rajna Swaminathan

Technical Director: David Riisager

Dancers: Ranee Ramaswamy and Aparna Ramaswamy, with Ashwini Ramaswamy and

Tamara Nadel (soloists)Bria Borcherding, Amanda Dlouhy, Jessica Fiala

Recorded Score:Lalit Subramanian (vocal), Rajna Swaminathan (mridangam - percussion), Anjna Swaminathan (violin), and Alison Kirwin (nattuvangam – cymbals)

Recorded in live performance at the Cowles Center for Dance and Performing Arts (Minneapolis, MN) by Zack Rose

Light Design:Jeff Bartlett

Tour Light Design:David Riisager

Photography:Ed Bock

Video Projection Design: Perimeter Productions (Robert C. Hammel, Michele Blanchard, and Caitlin

Hammel)

Exclusive tour representation by Siegel Artist Management, www.siegelartist.com

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ABOUT RAGAMALA DANCEAcclaimed as one of the Indian Diaspora’s leading dance ensembles, Ragamala seamlessly carries the South Indian classical dance form of Bharatanatyam into the 21st century. Born and raised in South India, Artistic Directors Ranee and Aparna Ramaswamy—mother and daughter—were surrounded by ritualistic art forms imbibed with philosophy, spirituality, mysticism, and myth. They are protégés of the legendary dancer and choreographer Alarmel Valli, known as one of India’s greatest living masters. Now living in the United States, Ranee and Aparna strive to create work that re-frames the cultural specificity of Bharatanatyam, bringing its eloquence to universal themes in order to move beyond the personal and spark a global conversation.

Ragamala’s work is deeply rooted in the classical form, which Ranee and Aparna see as a dynamic, living tradition that offers vast potential to convey timeless themes and contemporary ideas. Their original approach and dynamic artistry have inspired innovative ideas and collaborative partnerships with renowned composers, choreographers, poets, playwrights, and artists from around the world. Their goal is to transcend barriers of culture, ethnicity, nationality and geography in order to speak to a global audience.

Ragamala has toured extensively, both nationally and internationally, and has been presented by such venues as the Kennedy Center, (Washington, D.C.), New Victory Theater (Off Broadway, NY), New Jersey Performing Arts Center (Newark, NJ), CalTech’s Beckman Theater (Los Angeles, CA), Van Wezel Performing Arts Hall (Sarasota, FL), Walker Art Center (Minneapolis, MN), Lied Center (Lawrence, KS), Bali Arts Festival (Bali, Indonesia), Open Look Dance Festival (St. Petersburg, Russia), Festival of Spirituality and Peace (Edinburgh, U.K.), and Soorya Music and Dance Festival (eight-city tour of Kerala, India).

Most recently, Ragamala’s performance at the Kennedy Center in Washington, D.C. was hailed by The New York Times as, “movingly meditative . . . [Ragamala] showed how Indian forms can provide some of the most transcendent experiences that dance has to offer. This is an excellent company.”

THE WARLI PAINTINGS OF WESTERN INDIAThe indigenous Warli people of western India revere the land and uphold a deep belief in the divine balance between themselves and the earth. Using their everyday landscape as inspiration, their dynamic folk paintings depict a life lived in purposeful coexistence with nature, using art to find the spiritual in the everyday.

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For thousands of years, the Warlis have painted on the mud walls of their homes as an invocation or blessing during important rituals such as marriages and harvests. Using rice paste as a medium, and painted with brushes made from frayed twigs, these intricate designs embody the balance between masculine and feminine, individuals and nature.

In the 1970s, Warli artists began to use canvas and permanent paints, allowing them to create lasting works of art in what had formerly been an ephemeral tradition. The work of a few master artists drew the attention of collectors and critics in the Indian art world and brought national and international recognition to the art form. The opportunity to expand beyond the village-based ritual, domestic, and decorative context allowed Warli painting to emerge as a powerful medium for the expression of individual visions. The artists were inspired to create paintings that detail the interconnectedness of their way of life and the tension inherent in their struggle to strike a sustainable balance as forest-dwellers in a rapidly industrializing society.

THE KOLAM TRADITION OF SOUTHEASTERN INDIAEach day before sunrise, millions of women in southeastern India perform the silent ritual of kolam, using their fingers to create intricate designs out of rice flour on the ground in front of the main entrances to their homes. Patterns of dots are connected by lines and graceful curves to form these ephemeral “painted prayers,” which create a sacred space. Kolams invoke prosperity, joy, wisdom, health, and friendship, and welcome guests into the home.

Kolams form a link between the intimate home and the vastness of the outside world. In ancient times, wandering ascetics would enter a village, see the kolams gracing the thresholds of village homes, and know something of the lives of the inhabitants of each house. Abundance, hardship, aspirations were written on the earth with a few lines and dots or the absence of them.

Over the course of a day, the rice flour feeds birds and insects—a gesture of returning to the earth what we take from her. The designs scatter as people walk over them, blessing and being blessed as they enter and exit the home. Erased by sunset, kolams are a constant reminder that things of beauty do not last forever.

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THE POETRY OF SACRED EARTHInvocation of the goddess Lakshmi:

The goddess Lakshmi is honored as the personification of nature (Prakruti), multifaceted nature (Vikruti), and wisdom (Vidhya). In her dual forms as Bhudevi, or Mother Earth, and Sridevi, the spiritual energy within us and the universe, she is the embodiment of the superior, spiritual, feminine energy which purifies, empowers, and uplifts the individual and is therefore called the Goddess of Fortune. As the consort of Vishnu, the Supreme Being, she is known as Mother of the Universe.

According to myth, when the Earth was old and well-established, no longer a virgin field on which to stabilize life, the increasing sins of all creation caused her to sink below the surface of the primal waters, as the burden was too much to bear. Vishnu raised her from the depths of the ocean, restoring the Earth and sculpting the mountains, rivers, forests and deserts, forming the seven continents. Personified as Bhudevi, she forever resides on his left shoulder. As Sridevi, she dwells in his heart. This partnership between the Divine and the Earth is a paradigm for all human life, as expressed by Indian poets through the ages.

The Sangam Poetry of South India (300 BCE–300 CE):To the Sangam poets, the Earth was sacred. They wrote about the interconnectedness between humans and the landscape in which we live, and deployed nature as a metaphor to reflect on the intricacies of human emotion.

The Sangam poets wrote primarily of love, the emotion through which all other emotions come to light.

The Sangam poets conceived of five landscapes, known as tinais—mountain, forest, seaside, farmland and desert. Drawing parallels between inner landscape (aham) and outer landscape (puram), they used the flora, fauna, climate, animals, people and culture associated with each location as a metaphor for the mindset of the lovers in the poem. Invisibly, the poets shift from personal to natural to global, reaching the height of universality.

Of the five tinais, four are portrayed in Sacred Earth:

Kurinji: The kurinji tinai describes a mountainous landscape filled with the rare kurinji flower that blossoms only once every twelve years. Kurinji tinai describes the lovers’ union through the implicit metaphor of the mountain landscape—the slopes, the bees, and the black-stalked kurinji. The lover is portrayed metaphorically as the mountain; her love for him is bigger than the earth and higher than the sky.

Bigger than the earth, certainly, Higher than the sky.More unfathomable than the watersIs this love for this manOf the mountain slopesWhere bees make rich honeyFrom the flowers of the kurinjiThat has such black stalks —Tevakulattar, Kurunthokai 3

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Mullai: After the exhilaration and excitement of the kurinji tinai, the mullai tinai transports us to the evening time, when a woman is patiently waiting for her lover. Mullai tinai represents the fertility of the forest meadows as the rainy season approaches and the year comes full circle. The jasmine flower, which gives its name to the mullai tinai, remains fresh for several days after it is plucked, symbolizing the patient waiting and sustained hope of the woman, tinged by worry that her lover will not return.

On his hillsThe mullai creeper that usually sprawlsOn large round stonesSometimes takes to a sleeping elephantAt parting, His arms twine with mineHe gave me inviolable guaranteesThat he would live in my heartWithout partingFriend, why do you thinkThat is any reason for grieving? —Paranar, Kurunthokai 36

Neithal: The neithal tinai vividly portrays the latter stages of a relationship and the pangs of the lovers’ separation. The waves on the sea shore in the late afternoon before sunset, continuously moving forward and receding without stopping, symbolize the restless mind and sleeplessness of the woman. The overflowing water which causes the flowers’ downward movement is a metaphor of the pent up emotions of the woman who suffers within herself.

I am here: My lovelinessEaten away by pallorIs lost in the woods by the sea. My lover is comfortable in his hometown. All the guarded secrets of our loveAre all over the village square —Venputhi, Kurunthokai 97

Marutham: The subject of marutham tinai is the conflict that takes place between the lovers in the early morning hours before dawn. It describes the nuanced psychological reaction of the woman or her friend to the husband’s infidelity and his attempt at reconciliation. Represented in the agricultural lands, marutham tinai portrays the hero’s return to his lover symbolized by the farmers’ act of sowing the crops and coming home.

There was a time whenMy friend gave youBitter neem fruit and You called it Sweet lump of sugar. But now she gives youSweet waterFrom the ice-cool springsOf Pari’s Parambu hill Cooler in this month of ThaiAnd you call it hot and brackish. Is this the way Your love has gone? —Milai Kanthan, Kurunthokai 196

Kurinji: We return to the mountainous landscape of the kurinji tinai and the union of the lovers.

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ABOUT THE ARTISTS:RANEE RAMASWAMY (Founder/Artistic Director/Choreographer/Principal Dancer) has been a master teacher and performer of Bharatanatyam since 1978. Since 1984, she has been a disciple of Alarmél Valli, one of India’s greatest living masters. Ranee has worked with celebrated artists such as poet Robert Bly, jazz musician Howard Levy, legendary composer/ violinist Dr. L. Subramaniam, the Çudamani ensemble (Bali, Indonesia), and Wadaiko Ensemble Tokara (Nagano, Japan). Among her many grants and fellowships are 13 McKnight Artist Fellowships, a Bush Fellowship, and an Artist Exploration Fund grant from Arts International. Ranee’s work is supported by the National Endowment for the Arts, the National Dance Project, and the Japan Foundation, and has been commissioned by the Walker Art Center and the American Composer’s Forum. Most recently, Ranee has been chosen as the McKnight Foundation Distinguished Artist for 2011, and she and

Aparna were named “Artist of the Year” by the Minneapolis Star Tribune.

APARNA RAMASWAMY (Artistic Director/Choreographer/Principal Dancer) Born in India and raised both in India and the U.S., Aparta is a protégé of legendary Bharatanatyam artist Alarmél Valli, and has been featured at prestigious venues throughout the United States and abroad, both as a soloist and as principal dancer with Ragamala. Described as “a marvel of buoyant agility and sculptural clarity” (Dance Magazine), “thrillingly three-dimensional,” and “an enchantingly beautiful dancer,” (The New York Times), Aparna has been awarded several honors, including two McKnight Artist Fellowships, a Bush Fellowship, an Arts and Religion grant funded by the Rockefeller Foundation, two Jerome Foundation Travel Study Grants, and an Artist Exploration Fund grant from Arts International. Aparna’s work is supported by the National Endowment for the Arts, the National Dance

What could my mother be To yours? What kin is my fatherTo yours anyway? And howDid you and I meet ever? But in love our hearts are as redEarth and pouring rain: Mingled Beyond Parting —Cempulappeyanirar, Kurunthokai 40

Refrain:Endure forever, O beauteous Land! May the Clouds never fail but ever pourIn plenty, so that the River greatMay never be dry but ever full. —Paripattal

Epilogue:May this Earth, whosesurface undulates withmany gradients, and sustains an abundant variety of herbs and plantsof different potencies andqualities, support all humanbeings, in all their diversityof endowment, in mutually supportive harmony andprosperity —Prithvi Sukta (Hymn to the Earth), from the Adharva Veda

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Project, and the Japan Foundation. In 2010, Aparna was the first Bharatanatyam artist to be named one of “25 to Watch” by Dance Magazine. Most recently, she and Ranee were named “Artist of the Year” by the Minneapolis Star Tribune.

ANIL CHAITYA VANGAD (Visual Artist) is a traditional painter of the adivasi (indigenous) Warli craft, which has been in his family for three generations. Since 1991, his work has been exhibited at prominent festivals, museums and arts centers throughout India, highlighted by the Mumbai Festival (Mumbai), Government Craft Museum (New Delhi), Sarojini Naidu Hall (Hyderabad), Swobhumi Craft Mela (Calcutta), Shivaji Nagar Hall (Pune), Gandhi Shilp Bazar (Mysore), Neerja Modi Visual and Performing Art Center (Jaipur), Gramotsav, (New Delhi), and Mahalaxmi Saras (Mumbai). His many commissions include murals at the Bank of Muskat (Banglore), and the home of the Chairman of the Bhoruka Corporation (Bangalore), and he has led workshops at the International School of Bangalore and the National Traditional and Folk Artist Camp in Jaipur. He resides in the village of Ganjad in Maharashtra, India. addiwashi.blogspot.com

SMT. PREMA RAMAMURTHY (Composer) has been an outstanding vocalist and composer for more than four decades. She hails from a family of musicians from Bellary, India, and was initiated into music by her parents, Late.Sri.S.Nagaraja Iyer and Smt.Jayalakshmi, and her grandfather, Sri S. Srinivasa Iyer, the then Zamindar of Bellary. Prema has had further intensive training under the great Maestro ‘Padmavibhushan’ Dr. Mangalampalli Balamurali Krishna. She has also specialized in the art of ‘Pallavi singing’ from Vidwan Sri T. V. Gopalakrishnan, and has learned the art of singing ‘Padams & Javalis’ from the veteran musician, Mrs.

T. Muktha. One of the most sought-after artistes of South India, Prema is an A-TOP Grade Artist of All India Radio and Doordarshan TV. She has won critical acclaim as a composer, and has performed in many of the top venues and festivals of India, the U.S., Europe, Asia, the Middle East, Australia, Mexico, and South Africa.

BRIA BORCHERDING (Dancer) was first introduced to Bharatanatyam while studying abroad in Kerala, India. Since returning to the U.S., she has been training intensively with Ragamala Dance and has been touring with the company since 2009. Bria holds a degree in Kinesiology with emphasis in health and wellness administration from the University of Minnesota, where she is currently pursuing her M.A. in Sport Sociology.

AMANDA DLOUHY (Dancer) was introduced to Bharatanatyam by Ranee Ramaswamy and Aparna Ramaswamy in 2004. She has 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 of the University of Minnesota in history and currently works as Program Assistant at Nonprofits Assistance Fund in Minneapolis. Amanda is a recipient of a 2011 McKnight Artist Fellowship for Dancers, administered by Springboard for the Arts and funded by The McKnight Foundation.

JESSICA FIALA (Dancer) has been performing with Ragamala since 2006 and has toured with the company throughout the U.S. and to India and the U.K. She has also performed locally with Kaleena Miller and Vanessa Voskuil. Jessica completed a master’s degree in liberal studies with a focus in museum studies at the University of Minnesota in 2008. She currently volunteers as a tour guide and with the performing

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arts department’s SpeakEasy series at the Walker Art Center. This fall Jessica is leaving a position as Registrar and Membership Coordinator at the Alliance Française to join Forecast Public Art as their new Artist Services Program Assistant.

TAMARA NADEL (Dancer) A disciple of Ranee and Aparna Ramaswamy, Tamara has been performing, touring, and teaching with Ragamala since 1994. She has toured extensively with the company, performing throughout the U.S. and in Russia, Taiwan, Japan, Indonesia, India, and the U.K. She is the recipient of a 2006 McKnight Fellowship for Dancers, a 2011 Next Step Fund grant from the Metropolitan Regional Arts Council through a grant from The McKnight Foundation, a MN State Arts Board Career Opportunity Grant, and a Jerome Foundation Travel Study Grant for travel to India. Tamara recently began studying Carnatic music under Lalit Subramanian. She also serves as Ragamala’s Development & Outreach Director, and has a degree in Religious Studies and Dance from Macalester College.

ASHWINI RAMASWAMY (Dancer) 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 a 2011 recipient of a Minnesota State Arts Board Artist Initiative Grant for Dance and was recently accepted for one-on-one study with Bharatanatyam master Alarmel Valli. 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.

JEFF BARTLETT (Light Design) has been honored to light Ragamala Dance since A Canticle of Mary in 1994. He lit the first performances of Yathra at the Southern in 2008 as well as its recent performance at The O’Shaughnessy; other signature works for the company include The Transposed Heads, Body and Soul, Bhakti, Sthree, and Ihrah. A dance lighting specialist, Jeff has lit scores of artists in hundreds of productions over more than two decades. His design work has been recognized with 2010 and 2005 Sage Awards for Dance, in Design; a 2008 Artist of the Year listing in City Pages; and a 2003 McKnight Theater Artist Fellowship. He has recently taken a new position as Production Manager at the Weitz Center for Creativity at Carleton College.

ED BOCK (Photographer), a photographer and artist, has been creating promotional images for Ragamala Dance since 1991. For over 35 years Ed has done commercial assignment image work for many top corporations based in Minneapolis and around the country. More recently he has been exploring painting and mixed media art. (www.edbockeditions.com)

PERIMETER PRODUCTIONS (Robert C. Hammel, Michele Blanchard, and Caitlin Hammel—Video Projection Design) is a Design/Film Production Collective committed to finding new ways to make art available and accessible to a broader audience through developing arts programming on video, working with artists to help them discover new ways of reaching their audience, telling stories of individual artists, or documenting how the arts can change lives. Recent films include Solo: 1x2, a feature-length dance documentary, Dhvee: a Bridge Between Cultures and The Path is Hidden, both featuring Ranee Ramaswamy and Ragamala, Out of the Shadows, a film about

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Interact Center and Daisy’s Dilemma, a ScreenDance film. Perimeter worked on the video projection design for Flying Foot Forum’s Heaven at the Guthrie and are in production on several projects with Carl Flink’s Black Label Movement. A documentary on Sacred Earth is in preproduction.

DAVID RIISAGER (Tour Light Design, Technical Director) began working with Ragamala in 2000, and has been the company’s touring Technical Director and

Light Designer since 2004. He has designed Ragamala’s Sethu (Bridge) and Dhvee (Duality) at the Walker Art Center (Minneapolis), as well as several touring productions. David is also a freelance light designer and currently works with many small theaters in the Minneapolis area. David works for The Children’s Theatre Company in Minneapolis as Electrician, Follow Spot Operator, Tour Master Electrician, and Assistant Lighting Designer. Previously, he spent four years as Production Manager at The Southern Theater in Minneapolis.

For additional information about Ragamala, or to make a tax-deductible contribution, please contact us at:

Ragamala Dance711 West Lake Street, Suite 309Minneapolis MN 55408612-824-1968 • info@ragamala.net • www.ragamala.net

To sign up for Ragamala’s e-newsletter, please email us at info@ragamala.netBecome a fan of Ragamala on Facebook!

The creation and U.S. tour of Sacred Earth were made possible in part with funds provided by the National Dance Project of the New England Foundation for the Arts (with lead funding from the Doris Duke Charitable Foundation and additional funding from the Andrew W. Mellon Foundation, the Community Connections Fund of the MetLife Foundation, and the Boeing Company Charitable Trust).

Additional funding for Sacred Earth was provided by the National Endowment for the Arts, The American Composers Forum’s Live Music for Dance Minnesota program (in partnership with the American Music Center, with funds provided by the McKnight

Foundation and the Andrew W. Mellon Foundation), and generous support from members of Ragamala’s Rasika Circle.

Additional support for Ragamala’s work is provided by the Japan Foundation, the MidAtlantic Arts Foundation through USArtists International, the McKnight Foundation, Target, the General Mills Foundation, the Carolyn Foundation, the Travelers’ Arts &

Diversity Employee Committee, the RBC Foundation – USA, the Fredrikson & Byron Foundation, Summit Orthopedics, Bombay Bistro, the Ameriprise Matching Gift Program, the IBM Matching Gift Program, the U.S. Bank Matching Gift Program, the Rockwell Collins Matching Gift Program, the Minnesota State Arts Board, the Minnesota Arts and Cultural Heritage Fund (as appropriated by the Minnesota State Legislature with money from the Legacy Amendment vote of the people of Minnesota on November 4, 2008), and generous donors to Ragamala’s Board of Directors Institutional Growth Fund.

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SPONSOR STORYThe Lied Center for Performing Arts presents world-class artists and performances with the help of sponsors like the Burket Graf Endowment.

Burket Graf was a prominent Lincoln citizen for many years. He graduated and taught at the University of Nebraska-Lincoln and returned to Lincoln to open his architecture firm after serving in the Navy during World War II. His architectural work is still admired today.

Graf was an avid arts supporter. He was appreciative of the Lied Center’s fine acoustics and facilities. “Lincoln has supported the performing arts for a long time, but for years we had to make do with the Coliseum and strain to hear and see such diverse offerings as the Sadler-Wells Ballet, Paul Robeson, and the First Drama Quartet.” Graf felt the Lied Center filled a huge void in Nebraska’s performing arts community. “Now, with the Lied Center, we can and do have it all,” he stated. The Burket Graf Endowment has sponsored numerous performances in the Lied’s 22 seasons, from the Russian National Ballet to Harry Belafonte. When asked why he supported the arts, Graf did not hesitate: “How could one imagine a life without music, without dance, without the variety of human expression which art allows? What a dull life that would be!”

Burket Graf passed away on May 29, 2007, at age 89 in Lincoln. We invite you to enjoy his generosity through tonight’s performance by Ragamala Dance.

The Lied Center for Performing Arts would like to acknowledge Graf ’s tremendous impact on the arts and culture in our community, which you are about to witness first hand.

THE BURKET GRAF ENDOWMENT

Tickets now available Abendmusik.org | 402-476-9933

JAn 28 Luther College Nordic Choir in Concert

Feb 19 Choral Evensong with Organist Gerre Hancock

mAr 4 Song of Hope: AbENdCHOr Sings American Music

APr 28 War requiem by benjamin britten (Lied Center)

APr 29 The American boychoir

*All concerts will be held at First Plymouth Congregational Churchexcept the War requiem on April 28th at the Lied Center.

gAther with us For A seAson As rich

in beAuty And diversity As AmericA.

united stAtes oF Abendmusik 2011-2012 concert series

S655-21811-1 comp3 (Abendmusik-Lied Center Ad) Spring 2012 Ad#2-Final: 11/1/11Color: 4/c process; no bleed

Size: T - 4.875"W x 7.625" H

Thank You Red Cross First Aid Team

Thank you to these licensed emergency medical responders registered with the state of Nebraska for volunteering their time through the Cornhusker Chapter of the American Red Cross to make sure their neighbors are safe at the Lied Center and across the community.

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This is Tango Now: Identidad April 14

Kathryn Stott, pianoApril 17

Boyz II Men April 21

Benjamin Britten’s War Requiem with the LSOApril 28

COMING SOON TO THE LIED

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