1. 1
This guide contains:
ü Background information
about the artist, pg. 2-5
ü Follow-up activities,
pg. 6-8
ü Letter to parents,
pg. 9
ü Where to go for more
information, including
web sites! pg. 10-11
ü Visiting Artist Series
history, pg. 12
This study guide provides
supplementary information and
activities to enhance the
Visiting Artist performance
given at your school.
Developed to stimulate
learning in all areas of the
curriculum through the arts, the
activities involve students in
high-level thinking skills,
accommodate different
learning styles and help draw
connections across the
curriculum. If you have internet
access, click the links in
magenta and it will take you to
videos, definitions,
pronunciations and more!
Please feel free to use this
guide throughout the year.
PUBLIC
PERFORMANCE
ENSEMBLE
ESPAÑOL
SPANISH DANCE
THEATER
STUDY GUIDE
u JANUARY 2015Visiting Artist Series
SATURDAY, JANUARY 31, 2015
7:30 P.M.
$15 adult, $11 student, call 563-333-6251
GALVIN FINE ARTS CENTER
ST. AMBROSE UNIVERSITY
518 W. LOCUST ST., DAVENPORT, IA

2. 2
FAMILY ACTIVITY
Come see Ensemble Español Spansh
Dance Theater on Saturday,
January 31 at 7:30 p.m. at St.
Ambrose University’s Galvin Fine
Arts Center. Admission is just $15,
$11 for students, and can be
purchased by calling 563-333-
6251.
meet
ENSEMBLE
ESPAÑOL
Founded in 1976, the Ensemble Español Spanish Dance
Theater is chartered to share the rich traditions of the dance,
music, literature and culture of Spain.
Under the artistic direction of founder Dame Libby Komaiko
and associate artistic director, Irma Suárez Ruiz, Ensemble
Español is internationally recognized as the premier center for
Spanish dance, music and culture in America. Its 40 sensational
dancers, singers, instrumentalists with international guest artists
promotes Spanish dance culture in all its forms – from Flamenco
to traditional folkloric to classical renaissance to the XXI century.
In 1982, Dame Libby became the first American artist in
history to be decorated with Spain’s highest honor “Lazo de
Dama” (Ribbon of the Dame) by his Majesty Don Juan Carlos I,
King of Spain for her artistic, cultural and educational work
throughout the U.S. Ensemble Español has been in residence at
Northeastern Illinois University since 1976.
The Ensemble's extraordinary repertoire contains original work
by Dame Libby Komaiko, Edo, Maria Alba, Victorio Korjhan,
Roberto Lorca and Spain’s legendary dancers and
choreographers Juan Mata & Ana Gonzalez, founding
members and former first dancers of the National Ballet of
Spain. Works by Timo Lozano, Edo, Paco Alonso, folkloric
authority Juanjo Linares,and Flamenco master Manolete all
exemplify the Ensemble’s dedication to its Flamenco dramas
from a repertoire of over 125 choreographies.
ENSEMBLE ESPAÑOL
VIDEOS
Company Promotional Video
http://www.ensembleespanol.org/#/company-promo/4581885214
Bolero
https://www.youtube.com/watch?v=lqKY30eppGc
The History of Bolero
https://www.youtube.com/watch?v=A8GZaYfTKQk

3. 3
more on ENSEMBLE ESPAÑOL
Ensemble Español Spanish Dance Theater, Dame Libby Ko-
maiko, Founder & Artistic Director and Irma Suarez Ruiz, Associate
Artistic Director’ is now celebrating their 38th Anniversary season
in residency at Northeastern Illinois University, Chicago.
Flamenco Passion is their lavish two hour concert of original
Spanish Classical ballets, folkloric suites, and fiery Flamenco dra-
mas from a repertoire of over 125 choreographies. In addition, the
Ensemble performs Spain’s Dancing Rhythms a traveling program
for community residencies and smaller venues, Tales of Spain multi-
media lecture concert series for grade & high school children, and
Concierto Navideno (Christmas Concert). Ensemble Espanol also
appears with opera, chamber ensembles and orchestras and tours
throughout the United States, including Puerto Rico & Hawaii, and
has performed on four continents in the countries of Mexico, Costa
Rica, Poland, Australia, and most recently China.
The Ensemble’s extraordinary repertoire contains original work
by Dame Libby Komaiko, Edo, Maria Alba, Victorio Korjhan,
Roberto Lorca and Spain’s legendary dancers and choreographers Juan Mata & Ana Gonzalez, founding members
and former first dancers of the National Ballet of Spain. Works by Timo Lozano, Edo, Paco Alonso, folkloric author-
ity Juanjo Linares,and Flamenco master Manolete all exemplify the Ensemble’s dedication to its cultural and artistic
mission. Dame Libby Komaiko was the first American artist in history to be decorated with Spain’s highest honor-
“Lazo de Dama” “Ribbon of the Dame” by the King of Spain for her artistic, cultural and educational work through-
out the United States.
“...a huge success. 3000 people over three performances...so many standing ovations that if the curtain had not
finally dropped the audience would still be applauding.” Michael Uthoff, Dance St. Louis
more ENSEMBLE ESPAÑOL VIDEOS
Ensemble Español Booking Video
https://www.youtube.com/watch?v=age36eyFH84
Castinets Demonstration
https://www.youtube.com/watch?v=i4b65eIfBQI
The Creativity of Bolero
https://www.youtube.com/watch?v=ziIHBAcza1s

4. 4
Spanish Dance & Music
One of the most iconic images of Spain is that of a Flamenco dancer in her traditional, frilly dress. Although Flamenco is
without doubt the most famous of Spanish dance styles, it is most certainly not the only one. Other styles of Spanish dance
include the Fandango, the Bolero, the Sevillanas, the Sardana and the Jota. Many of these dances originated as folk dances
and were later choreographed, in order to standardise and preserve them.
Spanish Dance
Spanish dance has always been famous over the centuries as Spain is an example of a country where the art of dance has
been developed extensively. So much so, that dance could be said to be the national art of Spain. In fact, Flamenco has
been considered to be of such value to Spanish culture that UNESCO has named it an Item of Intangible Cultural Heritage of
Humanity.
Even the Romans, who conquered Spain in the 3rd Century, found the dancers of Cádiz to be most pleasing. Spanish dance
is also a resilient art form as it is intangible. This means it was protected from destruction by many forces such as the
Visigoths, who destroyed buildings and books during their stay in the Spanish peninsular. During these turbulent centuries,
dance was used to commemorate battles and wars as well as more personal subjects such as love and loss. The Moors,
unsurprisingly after their seven hundred year long stay in Spain, also helped to strengthen and enrich Spanish dances.
In the 15th Century, many Spanish regions began to form their own styles of dance which led to a huge collection of distinct
forms of dance. Together with hybrid dances, where two distinct styles had mixed together, there were over two hundred
separate dance styles in the region of Catalonia alone during the 15th Century.
©SpanishArts2011,http://www.spanish-art.org/spanish-dance.html
Sevillanas
However as Flamenco became more and more popular on the international and national stage, regional dances from the
early centuries suffered. No more so than under the dictatorship of General Francisco Franco, who banned anything that
could be consider regional or threatening to his idea of a traditional Castilian Spain.
Yet, Spanish dance still thrives today, in all of its forms, and is still continuing to evolve. This is the case with Flamenco where a
new style, 'Nuevo Flamenco' or New Flamenco, is becoming more widespread. Many people also learn some of the less
widespread dances as an introduction to the complex steps used in Flamenco. The Sevillanas for example are much simpler
and so are great for beginners. Furthermore, practising these Spanish dances is a great way to meet new friends and learn
the Spanish language.
Flamenco
With the expansion of the Spanish empire, many of the Spanish colonies
began developing their own styles of dance based on those performed by the
Spanish men and women. The Philippines is an excellent example of this as
they still dance some of the old Spanish folk dances, albeit with a little bit of a
twist. For example, while the Spanish Fandango would often be danced with
castanets, the philippino version of the dance is danced with candles carried
in small glasses.
The 18th Century, or the period of Enlightenment under the Bourbon Kings,
was a time where Spain made substantial progress. It was also the century
where Spanish dance was at its peak and where the Spanish dances that we
can recognise today grew in popularity.
Later in Spanish history, the gitano (gypsy) influence became the strongest
factor in the creation and evolution of dance in Spain. The gypsies arrived in
Spain during the Baroque period and it is thanks to them that we now have
Flamenco.

5. 5
B. Dance can tell a story and describe the characters in the story without
using words. A choreographer’s creativity can retell a familiar story
with the help of dancer(s) and music. Have students “choreograph”
their own story by drawing a series of pictures in a fashion similar to
cartoon cells.
Use these ideas as you tell your students about the program:
THE PERFORMANCE
before
A. Dance employs many tools necessary in everyday life:
communication, cooperation, discipline and problem solving.
Presenting dance with this set of common tools serves to make dance
less intimidating and, ultimately, more understandable and enjoyable
for everyone.
C. Dance is often about movement patterns. You might introduce your
students to the concepts of line and formations. Have younger students
draw stick figures of six dancers in different line configurations. Prompt
them to wear a pair of “dance eyes” and watch for line formations.
contributed by James Sewell Ballet, 2000
D. If you’d like to learn more, check out the Internet or your school library
(see the Resource Room page of this guide for websites and books)

6. 6
ACTIVITY:
DANCINGacross the curriculum
These exercises are designed to help teachers apply dance in general terms to their
regular curriculum. Students may create their own choreography in areas as diverse as
science, visual art and language studies.
Visual Art
1. Instead of a pencil, use a
brush and make a “move-
ment painting.”
2. Using your feet, make pat-
terns and designs on the
floor.
3. Dance colors - how would
“red,” “yellow” or “blue”
move?
Science
1. Animals
a. Ask the children to get the feeling of an animal, not to imitate. (Try to
keep them off their knees as they usually only crawl.)
b.Decide what kind of space, time and energy each animal requires.
2. Magnets: With a partner show magnetic force - both attracting and
repelling.
3. Butterfly: The metamorphosis of a butterfly allows all kinds of possibilities
for a dance.
4. Weather
a. Dance different kinds - wind, rain, snow, thunder, lightning, tornadoes
or the seasons. (A class studying ecology could incorporate their
knowledge of ecological relationships.)
b. The elements - earth, air, fire and water - how many different kinds of
water? How do they move?
English
1. Illustrate the images of poems
with movements.
2. Use sounds, vowels and conso-
nants to simulate dance move-
ments.
3. Make up nonsense words and
movements to go with them.
4. Describe in prose or poetry the
feelings a dance gives you.
Social Studies
1. Cooperation
a. Work out this idea in dance
movements.
b. Try non-cooperation - show
contrasting ideas and move-
ments.
2. Cultural communities express them-
selves in different ways - explore
these differences and encourage
others to try them.
Free Dance
If you have children willing to experiment, let them use
their choice of music and have them move however the
music makes them feel. Encourage them to vary their
movements so they do not end up repeating the same
thing over and over.
As they do the exercises, encourage the students to use their imaginations and think about the following questions:
1. What does it do?
2. How does it move?
3. What kinds of space, time and energy does it use?
Penmanship
1. Hold an imaginary pencil, write in space around you.
2. Make various shapes in space.
3. Imagine the pencil is in different parts of your body (elbow,
knee, etc.)
4. Write your name in space - can others see it?
contributedbyDanceKaleidoscope,1998

7. 7
ACTIVITY:
MOVE LIKE A DANCER
WARM-UP
Warm-up exercises can include anything from taking deep breaths, to rolling the shoulders, to lifting the arms, to
stretching the legs and jumping. They can be done in chairs or standing up. Develop the exercises according to
your class needs and abilities, i.e. more emphasis on relaxation v.s. high energy games of leaping over a flat
object.
EXERCISE: Start at the head, work down to the feet, concentrate on the spine, balance and fluidity. Make sure to
do everything on both sides equally. Let students identify and invent exercises that work on a specific muscle
group. For example, a triceps exercise can involve bending the arms with the elbows adjacent to the head,
clasping hands behind the head and then straightening the arms. NOTE: The warm-ups may hurt a little as the
muscles stretch, but there should never be a sudden snapping pain or a pain that lingers for more than a few
minutes.
COORDINATIONS
Try some of the following exercises:
• Pat your head and rub your stomach, then reverse directions.
• Draw a triangle in the air in front of you with one hand and a straight line up and down in front of you with the
other (rhythm of 3/4 vs. 2/4 resolves after 6 counts).
• Draw a circle with one hand and a square with the other (different qualities)
• Draw two circles with two hands: one drawn toward you and the other away
• While standing, move your head to the right 1-2, then left 3-4. At the same time, step to the right with one foot,
then together, repeat right, together, then step left, together, left together. Repeat the whole combination.
If some of the above exercises are too difficult at first, try isolating the different movements (like drawing the
triangle without the straight line), then adding the other element(s) later.
SPACE ORIENTATION EXERCISES
These exercises are done after the more static warm-up and coordination exercises. They are designed to teach
respect for one’s personal space and to introduce choice - a key concept in choreography, using dance as
communication. Allow the students to move around freely, but with frequent suggestions, like:
• “Always keep a foot of space between you and others.”
• “Stay narrow” / “Stay wide”
• “Vary your tempo.”
• “Choose stillness or slowness sometimes.”
• “Watch how others around you are moving, and try to make your movement different or similar.”
contributedbyJamesSewellBallet,2000

8. 8
DANCE VOCABULARY
• BEAT (beet) — The accent or stress in the rhythm of verse or music.
• RHYTHM (rith’-m) — Measured motion. Basically the regular
recurrence of grouped strong and weak beats in alteration.
• COOPERATION — The act of working together with another or others
for a common purpose.
• SHAPE (shay’-p) — A form or figure. The outward appearance of a
form in space or in an object — a pattern.
• PATTERN (pat’-ern) — A thing to be copied. A predictable way of
doing something like a movement.
• CHOREOGRAPHY: Movement sequences that are created, memo-
rized, and performed.
• POSITIVE SPACE: Space taken up by the performers’ bodies.
• NEGATIVE SPACE: Space not filled with the performers’ bodies.
• CANTILEVER: to support a protruding beam from only one end.
• BALANCE: To stack objects maintaining weight symmetry over a
vertical center so that none falls.
• TRUST: The knowledge that one is safe among friends. In Galumpha’s
case trust is the knowledge that no dancer would ever intentionally drop
another; that any creative idea, however absurd, would be respected
and considered by the others. Trust is essential to the creative process.
• TEAMWORK: Working together toward a common goal.
• FOCUS: To concentrate on a task to the exclusion of all else.
Pretend you are a newspaper reporter. Write a review of the
performance. Describe what you saw. What did you hear? How
did it make you feel? Would you recommend this performance to
a friend? Include as many vocabulary words as you can.
&
• PERSONAL SPACE — The space
that one occupies; it includes all
levels, planes and directions both
near and far from the body’s
center.
• GENERAL SPACE — Community
or shared space with others.
• LOCOMOTOR MOVEMENT —
Movement that travels from place
to place, usually identified by
weight transference on the feet.
Basic locomotive steps are the
walk, run, leap, hop and jump and
the irregular rhythmic
combinations of the skip (a walk
and a hop), slide (a walk and a
leap) and the gallop (a run and a
leap).
• AXIAL MOVEMENT — Any
movement that is anchored to one
spot by a body part using only the
available space in any direction
without losing the initial body
contact. Movement is organized
around the axis of the body rather
than designed for travel from one
location to another; also known as
non-locomotor movement.
• COLLABORATION: Creating
as a group without a leader.
Galumpha performers create
collaboratively, without any
director reserving the last word.
It is slow but rewarding, and we
strongly feel that the results of
our collaborative process speak
for themselves.
ACTIVITY:
ON THE
ENTERTAINMENT BEAT
DanceterminologyprovidedbyDanceKaleidoscope,1998andtheGalumphaoutreachguide.
(2nd-9th grade
language skills)

9. 9
Dear Family:
On ______________, Ensemble Español Spanish Dance Theater will perform at your child’s school as part of a
one-week residency with Quad City Arts’ Visiting Artist Series.
Ensemble Español Spanish Dance Theater, Dame Libby Komaiko, Founder & Artistic Director and Irma Suarez
Ruiz, Associate Artistic Director, is now celebrating their 38th Anniversary season in residency at Northeastern Illi-
nois University, Chicago.
Flamenco Passion is their lavish two hour concert of original Spanish Classical ballets, folkloric suites, and fiery
Flamenco dramas from a repertoire of over 125 choreographies. In addition, the Ensemble performs Spain’s
Dancing Rhythms a traveling program for community residencies and smaller venues, Tales of Spain multi-media lec-
ture concert series for grade & high school children, and Concierto Navideno (Christmas Concert). Ensemble Es-
panol also appears with opera, chamber ensembles and orchestras and tours throughout the United States,
including Puerto Rico & Hawaii, and has performed on four continents in the countries of Mexico, Costa Rica,
Poland, Australia, and most recently China.
Please read “Attending a Performance” (below) with your child. After the performance, ask your child about fa-
vorite songs, memorable moments and what your child
saw during the assembly.
We hope your child enjoys Ensemble Español’s
performance and that you have fun talking about the
experience.
Sincerely,
Susan Wahlmann
Performing Arts & Arts-in-Education Director
1715 SECOND AVENUE u ROCK ISLAND, IL 61201 u (309) 793-1213 u (309) 793-1265 FAX
Come see Ensemble Español on Saturday, January 31
at 7:30 p.m. at St. Ambrose University’s Galvin Fine
Arts Center. Admission is just $15, $11 for students,
and can be purchased by calling 563-333-6251.
VISITING
ARTIST
SERIES
Attending the Performance:
During the assembly, listen carefully to the performance
and watch the show. Remember:
u Enjoying the performance demands careful
listening and concentration.
u Talking to friends disturbs the performers and
other members of the audience.
u You can show your appreciation for what you
hear by applauding when the performance
ends. You will know when the performance
ends because the music will stop and the
performers will stop moving or even leave the
stage. The artist will be pleased to hear your
applause.
After the performance ends, stay seated until your
teacher tells you to leave.

10. 10
&
& &
&
!
FOLLOW-UP ACTIVITIESwhich may be applied to all the arts
Class discussion:
(All ages, 15-30 min.)
Go around the room and have students
tell what they liked best. What did they
like least? Was there anything they did-
n’t understand? For older students,
what did they learn? How can they
apply this new knowledge to what they
have studied in class? Answer any
questions that you can, using the study
guide or other reference materials.
Visual art:
Supply each student with a piece of
blank paper, and have them draw their
interpretation of the performance. Dis-
play in room as a “performance
gallery.”
(K-5, visual art, creative skills, 20 min. -
1 hr.)
Thank you notes:
Have students write thank you letters to
Ensemble Español Spanish Dance The-
ater describing what they liked best. To
get them started, call on several stu-
dents and list responses on the board.
Collect letters and send them to Quad
City Arts; staff will forward them to the
artist. (option: have students decorate
their letters with crayon drawings of the
performers, or other memories of the
performance)
(K-5, memory, writing, visual art skills,
30 min.)
Journal-writing:
Have students write a description of
what they saw during the performance.
Read samples aloud. Make a list on
the blackboard of different things stu-
dents remembered; for example, topic
of a song, movement of musician, his-
tory of the instrument, costume or dress
of performer.
(3rd & up, memory skills, non-fiction
writing, 15-30 min.)
Creative writing:
Ask students to write a short story about
what they saw during the performance.
List several terms on the board from the
performance to help them get started:
music, melody, dancers, warm up, prac-
tice, commitment.
(3rd & up, imagination builder, 30 min.)
Reading/Literature:
Read a short story to the class about
flamenco dance. See your school or
public librarian, or the resource lists in
this solo musicians, for suggestions.
(K-5, language arts, cultural explo-
ration, 10-30 min.)
Rhythm:
Have students make simple rhythm instruments (many books are available in the
library on this subject). Take turns having one student lead the class “rhythm
band.” Encourage students to try to duplicate rhythms they heard in the per-
formance.
(All ages, arts/crafts, music, leadership skills, 30 min. - indefinite amount of time,
can use instruments throughout the year)
Research and extra-credit:
Take the class on a trip to the school library, and give students a topic related to the
performance (ex. history of Spain, flamenco dance, life as a travelling musician).
Have them write a brief report on what they find OR assign topics to pairs of stu-
dents and have them make a brief class presentation on what they find.
(6th & up, library skills, oral presentation skills, non-fiction writing, 1-2 hrs. research,
optional 5-10 min. presentations later in the week)
quick & easy
KEY TO
CURRICULUM
ICONS:
Language Arts Visual Arts Music
Cultural &
Ethnic Diversity History & Social
Studies
Science & Envi-
ronment
!&
Creative movement:
Play some music and have groups of
students improvise a dance. While one
group performs, have the others guess
what the first is trying to convey.
(K-5, music, physical exercise, 15-20
min.)

11. 11
RESOURCE ROOM
Related curriculum areas: music, history
Internet- teachers are advised to preview content before classroom use
Ensemble Español has a web site,
www.ensembleespanol.org where you can find pictures,
video clips and more!
CyberDance: Dance on the Net
www.cyberdance.org
Over 3,500 links to Internet classical & modern dance sites. Includes extensive listings of
colleges & universities offering dance programs, dance camps and more. See the link for
“Other Dance Education Resources” for curriculum ideas & resources.
Sapphire Swan Dance Directory (formerly Dance Directory)
www.SapphireSwan.com/dance/
Links to dance styles (e.g. Balkan Folk, Ballet, Ballroom, Belly, Modern, etc.), and links to nu-
merous other dance-related websites.
KidZone
www.nyphilkids.org
Very fun site! The New York Philharmonic”s interactive web page for children. Includes bios
on conductors, puzzles, games and instructions on making home versions of orchestral in-
struments. Go to the Instrument Storage Room for sound clips and backgrounds on different
instruments.
Classics for Kids
www.classicsforkids.com
WGUC-FM in Cincinnati’s show Classics for Kids brings classical music’s great composers
to life through music and stories. The home website features teachers’ and parents’ re-
sources, archives of past shows, a dictionary of instruments, and opportunities for children to
write their own music and hear it played online.
MusicKit the Virtual Music Classroom
www.musickit.com
Songs & games, MIDI files and ideas for using music in the classroom.
Arts Edge Curriculum Resources
http://artsedge.kennedy-center.org/educators.aspx
Arts Edge is an excellent resource for teaching the arts in conjunction with other subject mat-
ters. Sponsored by the Kennedy Center in Washington D.C., the link above takes you to a
searchable database of lesson plans. The site also includes web links, information on arts
education advocacy and learning standards.
Books
The following books may help in
further research.
Thea Stilton and the Spanish
Dance Mission
by Thea Stilton
New York, NY : Scholastic Inc.,
[2013]
ISBN: 9780545556262
The Thea Sisters are visiting friends at
a lively festival in Spain. But the theft
of a precious fan turns their trip into
an investigation! They end up hot on
the trail of a secret treasure . . . but
they're not the only ones searching
for it. Can the mouselets solve the
mystery in time? It's a mission full of
flamenco dance!
Lupita's First Dance
by Lupe Ruiz-Flores
Houston, Texas : Piñata Books/Arte
Público Press, [2013]
ISBN: 9781558857728
Lupita is excited about dancing La
Raspa, a Mexican folk dance, with
her first-grade class at a celebration
of Children's Day, El Día de los
Niños, but just before the perform-
ance her partner, Ernesto, sprains his
ankle.
Let's Salsa
by Lupe Ruiz-Flores
Houston, TX : Piñata Books, 2013.
ISBN: 9781558857629
When Estella is banned from the
adult exercise dance class, she de-
cides to petition for childrens' rights--to
have salsa dance classes at the com-
munity center.
Ole Flamenco
by George Ancona
New York : Lee & Low Books Inc.,
c2010.
ISBN: 9781600603617
Information about Flamenco, a south-
ern Spanish art form that incorporates
song, dance, and music, tracing its
cultural history and focusing on a con-
temporary young girl and her brother
as they learn the traditional style of
movement and instrument playing. In-
cludes a glossary/pronunciation
guide and author's sources.

12. Performing Arts
Staff:
Susan Wahlmann,
Performing Arts &
Arts-in-Education
Director
All Quad City Arts programs are partially supported by Festival of Trees, Quad City Arts Partners Annual Giving Program and operating
grants from the Illinois Arts Council (a state agency) and the Iowa Arts Council, a division of the Department of Cultural Affairs. We also
receive significant support for the Visiting Artist Series from the following: Arts Midwest Touring Fund, Iowa Arts Council, National
Endowment for the Arts, Rauch Family Foundation I, Scott County Regional Authority, Rock Island Community Foundation, Moline
Foundation, Day Foundation, Community Foundation of Greater Muscatine, rental vehicles through area car dealerships, rooms at local
hotels, and performance space at Bettendorf High School, St. Ambrose University, River Music Experience, First Presbyterian Church,
Davenport and Redeemer Lutheran Church. Additional support comes from service fees paid by school districts, PTAs, service clubs and
businesses, as well as paid subscriptions to VAnguard.
National Award Winner — 1999 William B. Dawson Award for Programmatic Excellence
VISITING
ARTIST
SERIES
41st
SEASON
The 41st season of the Visiting
Artist Series will bring 31 artists in
11residencies to the Quad Cities,
reaching over 50,000 people in
schools and community locations.
Residencies will feature everything
from historical theater to Irish music
to jazz and more. “Since the
beginning of the series in 1974,
more than 300 artists have
performed for over two million
people of all ages,” said
Performing Arts & Arts-in-Education
Director Susan Wahlmann.
“Children who grew up with
Visiting Artists in their schools now
have children of their own who are
experiencing these high-quality live
performances. For many students,
this is their only chance to meet and
see nationally-touring artists perform
right in their own schools.”
The Visiting Artist Series brings
artists of international acclaim to the
Quad City region, offering
community members the opportunity
to see professional performances by
professionally-touring artists. One- to
two-week residencies provide in-
depth and often repeated contact
between the artist and audience.
Artists give 45 minute educational
performances in three schools or
community sites each day, creating
personal connections between the
artists and the community.
Outreach performances occur
mostly in schools, but also at
business locations, social service
organizations and public facilities.
The series offers programs for
workers in factories, members of
civic organizations and after-school
programs, senior citizens, the
disabled and underserved youth,
including alternative school students.
Each residency concludes with a
public concert in a traditional
concert hall. All of the concerts are
free or at a low ticket price. This
provides community members with
the opportunity to hear and see a
longer performance which
reinforces what they have seen
during the educational sessions
during the week. Families often
take this opportunity to enjoy
together the artists the students
have seen earlier at their own
school.
The Visiting Artists are selected
based on the quality of their work
and the ability to interact with
audiences of diverse backgrounds
and ages. We receive many letters
throughout the year that the artists
make a significant impact in the
lives of area students - often
inspiring them to take up the
performing arts on their own.
Professional musicians here in the
Quad Cities can network with the
Visiting Artists and compair notes,
trade secrets and maybe even get
in on a jam session with them. With
Visiting Artists, the possibilities are
endless.
See www.quadcityarts.com for
performance details.
1715 SECOND AVENUE
ROCK ISLAND, IL 61201
309-793-1213 FAX: 309-793-1265
INFO@QUADCITYARTS.COM
WWW.QUADCITYARTS.COM
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