“How can we reimagine a future in which we thrive as Black and Brown people, in which our bodies are rendered spaces of regeneration and potential and connection and community?”
– Shamel Pitts

Throughout his work, American choreographer and performer Shamel Pitts explores the idea of Black futures alongside the arts collective TRIBE, which he founded in 2019.

TRIBE works across mediums to create a platform for artists of color, both local and international, and draws inspiration from the Afrofuturism movement. Ultimately, they aim to humanize Black and Brown bodies and share “the colorfulness within Blackness that allows us to be multiplicitous.”

On March 14 & 15 UMS will present BLACK HOLE: Trilogy and Triathlon. Performed by TRIBE and choreographed by Pitts, three Black dancers share the stage in a narrative of unity, vigor and unrelenting advancement.

Ahead of the performance, take a deeper look at the rich history of Afrofuturism which inspired it.

Arts collective TRIBE performing BLACK HOLE: Trilogy and Triathlon

The term “Afrofuturism” was first coined by American cultural critic Mark Dery in his 1994 essay Black to the Future. The idea was then elaborated upon, most notably by writers Alondra Nelson, who led early conversations on the topic and Ytasha L. Womack, author of Afrofuturism: The World of Black Sci-Fi and Fantasy Culture.

“Afrofuturism is a way of looking at the future and alternate realities through a Black cultural lens. Black cultural lens means the people of the African continent in addition to the Diaspora, the Americas, Europe, etc. It is an artistic aesthetic, but also a kind of method of self-liberation or self-healing. It can be part of critical race theory and in other respects it’s an epistemology as well. It intersects the imagination, technology, Black culture, liberation, and mysticism.”
– Ytasha L. Womack

The cultural aesthetic was brought prominently into the mainstream in 2018 with Marvel’s Black Panther, which depicted an African nation far more technologically advanced than the rest of the world, providing a glimpse into an alternate reality unaffected by colonialism.

While the term ‘Afrofuturism’ wasn’t used until the ’90s, the culture of imagining and expressing alternate Black futures already abounded throughout the 1900’s. This label was applied after the fact to many artists and works that fit its themes.

Science fiction author and MacArthur Fellow Octavia E. Butler

Afrofuturism owes much of its foundation to seminal science fiction author Octavia E. Butler, who is sometimes called the “Mother of Afrofuturism.” Butler saw that the genre lacked representation of her lived experiences—so she wrote herself into it.

“I never bought into my invisibility or non-existence as a Black person. As a female and as an African American, I wrote myself into the world. I wrote myself into the present, the future, and the past.”
– Octavia E. Butler

In her work, Butler critiqued social hierarchies and explored themes of power, identity, and inequality. Her writing often featured Black protagonists who face racial and gender-based discrimination, yet also she depicted egalitarian futures unaffected by racism.

In particular, her 1993 novel Parable of the Sower explores a post-apocalyptic world dealing with climate disaster and societal collapse. Its protagonist Lauren Olamina, a Black teenager, must navigate this reality as she strives to establish a new home and community that aligns with her beliefs.

Sun Ra in his 1974 movie Space Is the Place

Though it’s most often associated with science fiction, Afrofuturism is an aesthetic that transcends genres and can be found in all artistic mediums.

One of the pioneers of Afrofuturism in music was jazz composer and synthesizer player Sun Ra who led the band, the Sun Ra Arkestra. He combined his avant-garde music with a mystical persona and outfits inspired by ancient Egypt and the Space Age. His 1974 movie Space Is the Place, depicts himself and the Arkestra preparing to settle on a new planet and start a new afro-centric civilization.

’70s artists like George Clinton and Earth, Wind and Fire, were also considered innovators of the aesthetic through their albums, lyrics, and bold performance attire. The 1975 outer space-themed album Mothership Connection by George Clinton’s band Parliament is an especially poignant example with lyrics that reference spiritual and protest songs.

Solange Knowles performing on Saturday Night Live

Contemporary Afrofuturism continues to build on the same aesthetic that came before while further reacting to the current world climate. Artists such as Solange, Missy Elliott, and Janelle Monáe have created poignant commentaries on police brutality, displacement, heritage and racist rhetoric. Many also use the aesthetic to explore intersecting identities like gender and sexuality.

In particular, Monáe is acknowledged as one of the foremost artists embracing Afrofuturist themes in music. Their albums Metropolis: The Chase Suite, The ArchAndroid, and The Electric Lady tell the story of their alter-ego Cindi Mayweather, an android on the run who becomes a messianic figure, liberating citizens from the control of a secret society.

Shamel Pitts and TRIBE continue to build on the rich legacy of Afrofuturism with BLACK HOLE: Trilogy and Triathlon.

The piece explores the transformative potential of the Black body. Within an evocative soundscape featuring samples from Sun Ra, Nina Simone, and more, the dancers embark on an hour-long, journey in movement. Their tenacity and grace are emphasized by cinematic video projections and stark, monochromatic lights.

“When people encounter my work, I would love for them to experience the power of dance and collaboration, and proclaim the pleasure and liberation through and beyond our bodies”
– Shamel Pitts

We hope you can join us March 14-15 for performances of BLACK HOLE at the Power Center. You can also join a free discussion with Shamel Pitts and Neil Barclay, President & CEO of the Wright Museum at the Charles H. Wright Museum of African American History on March 12.

More Info & Tickets

For 15 years, PNC Foundation has helped UMS meet a growing need for K-12 students throughout Southeast Michigan and beyond to have access to arts education programs that support their educational, social, and emotional well-being.

From music to theater to modern dance, UMS School Day Performances feature some of the world’s best performing artists, using the arts to ignite student imagination and support student growth and development.

K-12 students at a UMS School Day Performance

“There is now abundant evidence that engagement with the arts plays a critical role in K-12 education.” — James Coleman, PNC

James Coleman (left), with the PNC Foundation team

“We know that arts education activities help students develop the ‘Four C’s’ of collaboration, creativity, communication, and critical thinking skills along with socio-emotional learning, no matter the age or ability of the student or the environment in which the learning takes place. This is why it’s important for PNC to support arts education programs like those at UMS,” said James Coleman, PNC’s Director of Client and Community Relations for Southeast Michigan.

Coleman, who joined UMS’s Board of Directors in July, noted that PNC has been investing in arts and culture, K-12 education, and economic development for decades. Their signature program, PNC Grow Up Great, has invested $500 million in early childhood education since 2004 and has expanded to a bilingual initiative.

Terri Park, UMS Associate Director for Learning & Engagement, has overseen UMS’s K-12 programs for more than 10 years, and has seen increased demand for Mexican and Spanish-speaking artists among schools. Indeed, nearly 1,300 students will visit Hill Auditorium next month for a School Day Performance by Mexican-born singer/songwriter Sonia De Los Santos, with over 2,500 more watching in their classrooms via live stream. And the learning doesn’t stop there.

Every School Day Performance is complemented by a UMS learning guide to facilitate meaningful connections to classroom curricula. For select events, UMS also offers SDP+ workshops, where highly skilled and knowledgeable artist facilitators visit classrooms to offer arts-integrated experiences that prepare students for the performance. The 30-45 minute workshop (in-person or digital) connects directly to school curricula and allows students to actively explore, experience, and express the art form and themes from the performance right in their classrooms. After the performance, the UMS artist facilitator returns to lead students in discussion to help them synthesize what they learned.

Ukulele virtuoso Jake Shimabukuro with students after his School Day Performance

“One of the elements I love most about UMS’s approach to K-12 arts education is the care they take to meet every school, classroom, and student where they are,” says Coleman. “The downloadable learning guides and classroom workshops make it easy for teachers to prepare their classroom regardless of their own level of expertise in the subject. If a school serves primarily low-income students, our grant helps provide ticket and transportation subsidies. It’s a thoughtful approach that really levels the playing field so any school, any student can participate.”

“Philanthropic support from our corporate partners, foundations, and like-minded individuals is so critical to UMS’s K-12 programs. It allows us not only to share incredibly talented artists from all over the world with young people, but to do so in a way that is accessible to everyone,” noted Park. “PNC’s partnership and support these past 15 years have impacted thousands and thousands of students, inspiring curiosity, sparking conversation and dialogue, and fostering a global perspective of the world around them.”

K-12 students arriving at Hill Auditorium

Learn more about the variety of programs UMS offers for K-12 students and teachers.

L-R: Branford Marsalis, saxophone; Liz Ames, piano; Timothy McAllister, saxophone

Kansas City, Missouri is rich with a vibrant culture that is unlike any other place in the country…

It is home to artists like the legendary Count Basie Orchestra and is considered “The Home of the Sax,” referring to great saxophonists Charlie Parker, Coleman Hawkins, and Lester Young. Kansas City has served as a hub for many Jazz artists, especially during the Great Depression, when the public relied on accessible speakeasies and nightclubs to bring their city back to life.

On February 21, 2025, members of the University of Michigan community and legendary saxophonist Branford Marsalis will revisit this illustrious space and time in the world premiere of Kansas City Confidential, commissioned by UMS and written by six-time Grammy-winning composer Michael Daugherty for two saxophones and piano. Marsalis will be joined by distinguished classical saxophonist and U-M professor Timothy McAllister, accompanied by collaborative pianist Liz Ames.

L-R: Photos of Timothy McAllister and Branford Marsalis rehearsing Michael Daugherty’s Kansas City Confidential; Liz Ames rehearsing on piano and harmonica

Painting by Thomas Hart Benton (1889-1975)
Portrait of a Musician, 1949
From University of Missouri: Museum of Art and Archaeology

“For many years, Kansas City was also the residence of regionalist painter Thomas Hart Benton, whose colorful, provocative wall murals depicted jazz musicians, dancers, and gamblers in American nightclubs and speakeasies during Prohibition.

In addition, Benton was a skilled harmonica player who often hosted folk music gatherings on Saturday nights at his home.

My composition is in five movements, each named after a musical venue in Kansas City from the 1920s and 1930s and echoes a time when musicians from all walks of life gathered for legendary jam sessions.”

– Michael Daugherty

These venues have major historical significance, comparable to those in other major Jazz cities like New Orleans, New York, and Detroit.

In addition to Thomas Hart Benton’s house, Daugherty will take us on a musical tour of Kansas City’s Pla-mor Ballroom, Gem Theater, The Blue Room, and Dante’s Inferno Speakeasy, pictured below.

Clockwise from left: Pla-mor Ballroom, Gem Theater, Dante’s Inferno Speakeasy & The Blue Room

We hope you can join us and hear Branford Marsalis, Timothy McAllister, and Liz Ames give a virtuosic tour of historic Kansas City through Michael Daugherty’s unique musical storytelling!

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Clockwise from left: Drummer Christian Euman with the Akropolis Reed Quintet and composer/pianist Pascal Le Boeuf, jazz vocalist Samara Joy, tenor and U-M alumnus Nicholas Phan, Sō Percussion member Eric Cha-Beach, and banjoist Béla Fleck

The 2025 Grammy Awards ceremony was a particularly memorable celebration for UMS. Seven unique voting categories featured UMS guest artists and ensembles as winners! Discover them all and explore their award-winning music below:

Best Jazz Performance & Best Jazz Vocal Album

Sensational vocalist Samara Joy and pianist Sullivan Fortner both appeared in UMS’s 23/24 season. Joy made her exciting UMS debut in Hill Auditorium, and Fortner joined trumpeter Ambrose Akinmusire on the Rackham Auditorium stage.

Samara Joy in her UMS debut, March 2024

Sullivan Fortner with Ambrose Akinmusire in Rackham Auditorium

Joy and Fortner took home a 2025 Grammy for ‘Best Jazz Performance,’ for “Twinkle Twinkle Little Me,” part of Joy’s A Joyful Holiday album. The album ALSO won a Grammy for ‘Best Jazz Vocal Album.’

Listen to the full album on Apple Music or Spotify.

Best Jazz Instrumental Album

In his words, banjoist Béla Fleck explains that the album Remembrance is an emotional final document of the deeply creative and personal relationship that he and the late jazz pianist Chick Corea first explored in The Enchantment, which won a Latin Grammy in 2007.

Listen to the full album on Apple Music or Spotify.

Bela Fleck has performed five times with UMS since 2010, last appearing as a special guest on Shakti’s 50th Anniversary Tour in September 2023.

Béla Fleck in Hill Auditorium, September 2023

Chick Corea, one of the most prolific jazz greats of our time, passed away in 2021. UMS first presented Chick in 1994 at the Power Center and, most recently, in 2019 as part of his ‘Trilogy’ tour with Christian McBride and Brian Blade. In addition to his seven UMS appearances spanning nearly three decades, Chick’s remarkable discography of nearly 90 albums includes a special connection to Ann Arbor and Hill Auditorium.

Best Compilation Soundtrack For Visual Media

Yannick Nézet-Séguin with the Philadelphia Orchestra in Hill Auditorium, in April 2024.

Superstar conductor Yannick Nézet-Séguin is no stranger to UMS, having led performances by the Rotterdam Philharmonic, the Orchestre Métropolitain de Montréal, and multiple tours by The Philadelphia Orchestra across the past 10 years.

Nézet-Séguin coached actor Bradley Cooper in his portrayal of Leonard Bernstein in the film Maestro, and he also led the London Symphony Orchestra in its now Grammy-winning soundtrack.

Listen to the full album on Apple Music or Spotify.

Best Instrumental Composition

Ann Arbor’s own Akropolis Reed Quintet, composer and jazz pianist Pascal Le Boeuf, and celebrated drummer Christian Euman took home the Grammy for “Strands” from the album, Are We Dreaming The Same Dream?.

Listen to the full album on Apple Music or Spotify.

UMS had the honor of debuting this fantastically energetic ensemble and program in the 23/24 season, in advance of the album release.

Akropolis Reed Quintet with Pascal Le Boeuf and Christian Euman in Rackham Auditorium

Best Opera Recording

Tenor Nicholas Phan with pianist Martin Katz in a UMS Live Session digital performance from 2022.

Tenor and U-M School of Music, Theatre & Dance alumnus Nicholas Phan performed in the ‘Best Opera Recording’ featuring Finnish composer Kaija Saariaho’s second opera Adriana Mater, alongside maestro Esa-Pekka Salonen and the San Francisco Symphony.

Listen to the full album on Apple Music or Spotify.

Phan last joined UMS in 2022 for a special digital-exclusive recital of songs written by women composers. He was accompanied by pianist and distinguished Michigan faculty member Martin Katz, as well as U-M’s Calista String Quartet.

In 2019, Salonen led the Philharmonia Orchestra of London in two unique programs performed at UMS, including Salonen’s own cello concerto that had recently been premiered by Yo-Yo Ma.

Best Chamber Music/Small Ensemble Performance

Caroline Shaw

Just days after her January 2025 UMS recital with Gabriel Kahane, composer and musician Caroline Shaw won a Grammy alongside Sō Percussion for “Rectangles and Circumstance.”

Listen to the full album on Apple Music or Spotify.

UMS presented Sō Percussion in 2010 in performances at the U-M Museum of Art.

Sō Percussion in the UMMA Apse, 2010

At UMS, we love celebrating champions of artistic “marathons,” from our Marathon Series subscribers who get tickets to every event of the season, to guest artists who take a deep dive into a single composer’s entire catalog.

On February 7, internationally celebrated pianist Seong-Jin Cho makes his much-anticipated UMS debut in Hill Auditorium. This is not just any recital — it is a rare and extraordinary feat of artistry, stamina, and musical storytelling, as Cho will perform the complete solo piano works of Maurice Ravel in a program that is as ambitious as it is breathtaking.

“Since I was a child, Ravel has been one of my favorite composers…I’ve always been fascinated by the ideas, colors, and emotions.” — Seong-Jin Cho

Ravel’s music demands not only supreme technical ability but also a profound sensitivity, and Cho, renowned for his poetic touch and crystalline precision, is uniquely suited for this monumental endeavor. His accompanying all-Ravel album has been lauded for its nuanced interpretation and exquisite attention to detail.

Hear Cho speak more about his relationship with the composer’s works:

“It was my first time to perform and record one composer’s complete piano music, and I can now say that I understand Ravel’s music much better than before.”

From the haunting simplicity of “Pavane pour une infante défunte” to the jazz-inflected rhythms of “Le Tombeau de Couperin,” Cho’s interpretations exude musical impressionism and virtuosity.

Preview both of these masterpieces in new music videos from the album release:

Since winning the prestigious International Chopin Piano Competition in 2015, Cho has captivated audiences worldwide with his refined musicianship and deeply introspective performances. His command of the keyboard, combined with an innate sense of storytelling, makes him one of the most compelling pianists of his generation. It’s only fitting that his UMS debut is not just a performance but a milestone “marathon” event that will stay in the hearts and minds of those who experience it for years to come.

Ann Arbor joins only five other US cities (and is the only Midwest location) on Seong-Jin Cho’s limited recital tour. Join us on February 7 at Hill Auditorium for his journey through some of the most evocative and mesmerizing music ever written for piano.

More Info & Tickets

In the meantime, we encourage you to listen to Cho’s new Ravel album. Stream now and enjoy on Apple Music or Spotify.

La Marisoul is the stage name of Marisol Hernández, a Mexican-American singer and songwriter who is best known as the lead vocalist of the Grammy-winning band La Santa Cecilia. She is one of the most prominent voices in Mexican-American music today, creating original and innovative music that transcends borders and genres.

After her UMS debut with Mariachi Herencia de México in the 23/24 season, La Marisoul returns to the Hill Auditorium stage with La Santa Cecilia on March 9, joined by Sonia De Los Santos. Learn more about her distinctive and versatile voice that leaves audiences breathless.

La Marisoul was born and raised in downtown Los Angeles, where she was exposed to a diverse and vibrant musical culture. Introduced to song by her mother’s voice and her father’s love of music, she began to interpret various musical styles at an early age, ranging from traditional Mexican songs, to romantic boleros, to jazz classics and rock. Growing up part-time in Mexico and the United States created a duality of American pop culture and the roots of traditional folkloric music that shaped her unique voice.

Her voice is a reflection of her bicultural identity and her musical influences, switching between Spanish and English with ease and fluidity. (Check out her cover of Elton John’s “Rocket Man” below, featured in the HBO series Amsterdam.)

La Marisoul can adapt her voice to different genres and moods, from soft and sweet to powerful and passionate. She has a rich and expressive tone that can convey both joy and sorrow, love and pain, hope and despair. And, she can also improvise and scat with ease, adding her own signature flair and personality to performances.

She has collaborated with many artists from different backgrounds and genres, and he has performed with Los Lobos, Elvis Costello, Juanes, Café Tacvba, Lila Downs, Pepe Aguilar, Little Joe Hernández, and many others.

But perhaps the most inspiring aspect of La Marisoul’s voice is her ability to connect with the audience and the message of the songs. She sings with heart and soul, putting her own emotions and experiences into the lyrics, and her charismatic and captivating presence on stage radiates warmth and energy.

We hope you can join us March 9 to hear La Marisoul and La Santa Cecilia, joined by Sonia De Los Santos.

More Info & Tickets

“The universe (which others call the Library) is composed of an indefinite, perhaps infinite number of hexagonal galleries.”

This evocative opening line from “The Library of Babel,” a 1941 short story by Argentine author Jorge Luis Borges, sets the stage for a world brimming with mystery. The story, which explores themes of infinite knowledge and existential uncertainty, has inspired composers and musicians Caroline Shaw and Gabriel Kahane in their newest musical collaboration, Hexagons. The duo will perform this work in Ann Arbor on Thursday, January 23, 2025.

Borges, known for his masterful blend of fiction, poetry, essays, and translations, was a pioneer of postmodernism and magical realism. In “The Library of Babel,” he imagines a library of infinite proportions, structured as an endless maze of hexagonal rooms. Each room holds 120 bookshelves, each bookshelf has  32 books, and each book consists of 410 pages filled with a random arrangement of letters.

The result? Most books contain nothing but meaningless gibberish. Yet, within the vast expanse of the library, every possible combination of letters is contained, including every meaningful text that could ever be written. The library offers both an overwhelming sense of possibility and an existential question: can we ever truly find meaning in a world flooded with information?

As Borges’ characters grapple with the absurdity of this infinite repository, some spiral into despair, while others remain driven by the hope of discovery.

For Shaw and Kahane, this story’s profound meditation on meaning and the search for understanding resonated deeply.

“Gabe and I both had wanted to make something about this story, and we’ve decided to come together. There’s a mix of songs…and with a viola, and piano, and our voices, and a little bit of electronics, and a loop pedal, we’re constructing a world that doesn’t really tell the story of the Library of Babel, but maybe hints at the colors of the world that Borges constructs.” — Caroline Shaw

“It’s impossible to read the story in the 21st century without seeing the library as a metaphor for the internet age. But I don’t think either of us could have anticipated the extent to which Borges’ animating premise would resonate with our increasingly vexed information landscape.” — Gabriel Kahane

Hexagons marks the duo’s first large-scale collaboration, co-commissioned by UMS and several other presenters across the country. The multi-movement piece invites listeners to explore the intersection of joy, grief, wonder, and the bewilderment that arises from living in a world oversaturated with information.

Join Caroline Shaw and Gabriel Kahane in Rackham Auditorium, Thursday, January 23, and immerse yourself in the existential contemplation of infinity, human knowledge, and the complexities of our digital age.

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Before the audience hears Hexagons, Shaw and Kahane will perform some of their previous original compositions, announced from the stage. Both artists have the unique ability to blend diverse musical genres with intellectual depth, creating emotionally resonant works that explore complex themes and engage listeners in thought-provoking ways. Enjoy this sampling of some of our favorites:

2024 has been a transformative year of growth and outstanding programming at UMS! Join us as we revisit some of our favorite memories:

Starting With a Bang

Marlon Brando in The Godfather

2024 kicked off with a concert experience audiences couldn’t refuse…a film-in-concert presentation of The Godfather Live in Hill Auditorium. The Grand Rapids Symphony brought Nino Rota’s celebrated score to life, giving Francis Ford Coppola’s epic film a full sensory experience.

Snow Day School Day Performance

Mariachi Herencia de México in Hill Auditorium. Photo by Peter Smith Photography.

Ann Arbor schools were shut down because of inclement weather on the same day as our much-anticipated School Day Performance by Mariachi Herencia de México. Thankfully, we were able to livestream the performance and make it available to watch and listen on demand for nearly 60 classrooms and 5,000 students!

A New World Premiere

Standing ovation after the world premiere of Nkeiru Okoye’s When the Caged Bird Sings. Photo by Peter Smith Photography.

A huge collaboration between UMS and the U-M School of Music, Theatre & Dance featured a new commission and world premiere by American composer Nkeiru Okoye. When the Caged Bird Sings fused elements of oratorio, theater, and opera in a multi-movement musical ceremony, performed live in Hill Auditorium and recorded for a future album release on the Naxos label.

Martha Graham, Martha Graham!

Martha Graham Dance Company performing Rodeo in the Power Center. Photo by Peter Smith Photography.

The iconic Martha Graham Dance Company presented a novel twist on Agnes de Mille’s classic Rodeo, with Aaron Copland’s score reorchestrated for a bluegrass ensemble. Their program also included a new work, We the People, set to music by Rhiannon Giddens (perhaps foreshadowing Giddens’ return to UMS in the Fall…more on that below!).

The company immersed itself on the U-M campus and in the Ann Arbor community through masterclasses, a free You Can Dance! event for dancers of all ages and experiences, and a School Day Performance.

Two Superstar Debuts

Yunchan Lim and Klaus Mäkelä with Orchestre de Paris. Photo by Peter Smith Photography.

The Orchestre de Paris returned to Hill Auditorium for the first time since 2002, featuring the UMS debuts of two young superstar artists — music director Klaus Mäkelä and Van Cliburn gold medal-winning pianist Yunchan Lim — in a thrilling program of Debussy, Rachmaninoff, and Stravinsky.

Weeks after their performance, Mäkelä was named music director designate of the Chicago Symphony Orchestra.

Lim will be back in April 2025 for his UMS solo recital debut, performing J.S. Bach’s Goldberg Variations.

Undeniable Joy

Samara Joy performing in Hill Auditorium. Photo by Peter Smith Photography.

The 2023 Grammy winner for Best Jazz Vocal Album AND Best New Artist made a dazzling UMS debut to a nearly sold-out crowd in Hill Auditorium. Check out this timelapse of enthusiastic audience members waiting their turn to meet Joy after her performance!

 

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Back to the Freighthouse

Freighthouse crowd dancing to Las Guaracheras. Photo by Peter Smith Photography.

UMS presented multi-week residencies at the Ypsilanti Freighthouse in April and September, featuring an eclectic array of free or pay-what-you-wish performances and events for multi-generational audiences.

The Largest Gift in UMS History

UMS Board of Directors co-chairs Brian Willen and Christina Kim, Dick Caldarazzo and Eileen Weiser, and UMS president Matthew VanBesien

With a generous gift of $5 million, University of Michigan alumna Eileen Weiser and her husband Richard “Dick” Caldarazzo established the Weiser Caldarazzo Iconic Artists Endowment Fund at UMS. The fund supports two performances annually by significant artists or ensembles recognized as icons in today’s vibrant performing arts scene.

An Only-at-Michigan Kind of Residency

Kayhan Kalhor and Yo-Yo Ma. Photo by Eric Bronson.

Last year, Yo-Yo Ma’s management team approached UMS about an opportunity to host a one-of-a-kind musical gathering. After months of complex planning and preparation, this project came fully to life with a residency by the Orchestra of the Americas and a culminating sold-out performance with Yo-Yo Ma and Kayhan Kalhor.

Learn more about the residency or watch our recap video below:

Huge Student Turnout for Fight Night

U-M students attending Fight Night. Photo by Peter Smith Photography.

Our 24/25 mainstage season began with Fight Night, an interactive theater work centered around voting and democracy. Students made up over 40% of the audience across six performances, which included class groups from a diverse range of academic disciplines across the U-M campus: College of Engineering, Ford School of Public Policy, Knight-Wallace Journalism fellows, and departments of history, psychology, and acting, just to name a few!

A New Artist-In-Residence at U-M

Rhiannon Giddens and Silkroad Ensemble in American Railroad. Photo by Peter Smith Photography.

The Silkroad Ensemble, founded by Yo-Yo Ma and now led by Rhiannon Giddens, brought its American Railroad tour to Ann Arbor. The project illuminates the impact of the Transcontinental Railroad on the indigenous communities it displaced and the immigrant laborers who built it, and includes commissions by jazz artist Cécile McLorin Salvant and renowned pipa player Wu Man, as well as new arrangements by Giddens and other Silkroad musicians.

Listen to Silkroad Ensemble’s new American Railroad album

Days before the concert, it was announced that Rhiannon Giddens will become the University of Michigan Arts Initiative’s inaugural U-M Artist-in-Residence. This new program aims to bring innovative artists to campus in order to create, grow and impact the world while engaging the university community in the transformative power of the arts.

Bringing Jazz to the World

Tyshawn Sorey Trio at the Blue LLama. Photo by Peter Smith Photography.

UMS collaborated with Blue LLama Jazz Club to present Pulitzer prize-winning drummer/composer Tyshawn Sorey and his trio in two unique sets in the gorgeous downtown Ann Arbor space. Both sets sold out quickly, but free HD livestreams enabled us to share them with a global audience that included viewers and listeners as far away as Brazil and Finland!

A Milestone Visit

A standing ovation after Bruckner’s Symphony No. 5. Photo by Rob Davidson

The Berliner Philharmoniker has a rich history of performances in Hill Auditorium dating back to 1955 — the first year the orchestra ever toured the United States. In addition to two stunning, sold-out performances in Hill Auditorium, their return in November included extensive opportunities for audience and community engagement off the stage.

Read an event-by-event recap

UMS and the DTE Energy Foundation are pleased to honor Estabrook Elementary’s Tyler Rindo as the 2024 DTE Energy Foundation Educator of the Year.

The award recognizes and celebrates educators who value the importance of arts education and create a culture for the arts to flourish in their school communities. Rindo (he/they), who has taught music at Estabrook since 2017, has designed a student-centered curriculum, organized performances, and received multiple “Teacher of the Year” nominations from Embracing Our Differences Michigan and elsewhere.

Tyler Rindo teaching at Estabrook Elementary

A music graduate from the University of Wisconsin-Green Bay, Rindo is currently pursuing a master’s in Teaching and Learning with an ESL endorsement at Wayne State University.

The selection team was especially impressed by their experience supporting the arts in early childhood, historically teaching first-grade English and music in China, developing music programs for Kindergarten through 4th-grade classes in Wisconsin, and leading school-wide initiatives like Positive Behavioral Interventions and Supports (PBIS) and Unified Arts.

Rindo is also passionate about the performing arts and stage performance. A clarinetist outside of the classroom, he shines as a member of the award-winning local ensemble Djangophonique and supports art-making in the larger community in ways such as hosting the UMS Open Mic Night at the Ypsilanti Freighthouse in the fall of 2024.

They bring these qualities to the classroom, celebrating and showcasing the unique talents of Ypsilanti students through school-wide concerts and talent shows. Last April, Rindo organized field trips so that every single Estabrook student had the opportunity to enrich their education with a live performing arts experience hosted by UMS at the Ypsilanti Freighthouse.

“We’re so thrilled to present Tyler Rindo with the DTE Educator of the Year Award for 2024,” said Terri Park, UMS Associate Director of Learning & Engagement. “We’ve been able to see Rindo’s light firsthand through his continued participation in a variety of our K-12 programming and through working with him at the Ypsilanti Freighthouse. He so often uplifts and supports creativity in all students and we wanted to take this opportunity to uplift him.”

As part of the award, UMS will bring an artist for a class visit or provide an opportunity to meet with the artist at a UMS School Day Performance next season, in addition to a $250 award honorarium.

Terri Park (UMS associate director of learning & engagement), Tyler Rindo, and Patricia Hinojosa (Senior Strategist, DTE Energy Foundation)

“The DTE Energy Foundation is proud to support the University Musical Society and to honor Tyler Rindo,” said Rodney Cole, president, DTE Foundation. “Teachers play a crucial role in their students’ lives, and Tyler’s dedication to making the arts an integral part of education will have a lasting impact. His work exemplifies what it means to be the DTE Energy Foundation Educator of the Year.”

Berliner Philharmoniker in Hill Auditorium, November 2024. Photo by Rob Davidson

The Berliner Philharmoniker has a rich history of performances in Hill Auditorium dating back to 1955 — the first year the orchestra ever toured the United States. Their return this November marked the Philharmoniker’s milestone 10th visit to Ann Arbor, and included extensive opportunities for audience and community engagement on and off the stage. 

Revisit a remarkable week of performances and events:

Unique Among Orchestras

The Berliner Philharmoniker flew into Ann Arbor from Boston on Friday, November 22. That evening, UMS and the School of Music, Theatre & Dance held a free panel discussion with leadership from the Philharmoniker’s musicians and administrative staff. Together, they discussed what makes the Berliner unique among orchestras, including its governing structure, innovative educational and research initiatives, and the flagship Digital Concert Hall.

Panel discussion on U-M North Campus. Photo by Rob Davidson

Panelists included:

• Andrea Zietzschmann, Berliner Philharmoniker general manager
• Stefan Dohr, horn player and orchestra board member
• Katja Frei, director of education
• Olaf Maninger, principal cellist, and board member and general manager of Berlin Phil Media GmbH

The discussion was moderated by Kate Cagney, Director of the Institute for Social Research at U-M, with guest Shinobu Kitayama, Professor of Psychology and Director of the Culture & Cognition Program at U-M.

A Day of Learning on Campus

Horn masterclass led by Sarah Willis. Photo by Rob Davidson

Throughout the day Saturday, members of the Berliner Philharmoniker led more than a dozen different masterclasses with students from the U-M School of Music, Theatre & Dance. All events were free and open for the public to observe.

Clarinet masterclass led by Wenzel Fuchs. Photo by Rob Davidson

Cello masterclass led by Knut Weber. Photo by Rob Davidson

Trombone masterclass led by Jesper Busk Sørensen. Photo by Rob Davidson

Visiting Another Iconic Venue

Hill Auditorium is spectacular, but there’s another can’t-miss venue when visiting the University of Michigan campus…

Photo by Mark Jacobson

UMS president Matthew VanBesien welcomed our colleagues from the Berliner Philharmoniker to the Big House for the Michigan vs. Northwestern football game!

A Special Welcome Home

After the game, the Berliner Philharmoniker performed the first of two sold-out performances in Hill Auditorium. It was a joy to welcome soloist Benjamin Beilman back to Ann Arbor in a breathtaking performance of Korngold’s violin concerto, and he graciously treated audiences to an encore from J.S. Bach’s third violin sonata.

Standing ovation for violinist Benjamin Beilman and the Berliner Philharmoniker. Photo by Rob Davidson

No stranger to UMS and Ann Arbor, Beilman attended Community High School, where as a freshman he performed in the very first Neutral Zone / UMS collaboration Breakin’ Curfew in 2005! He is now one of the leading violinists of his generation and one of the youngest artists ever appointed to the faculty of the prestigious Curtis Institute of Music.

Chief conductor Kirill Petrenko brilliantly led the Philharmoniker throughout the evening, framed by Rachmaninoff’s hauntingly beautiful Rachmaninoff ‘Isle of the Dead’ and Dvořâk’s Symphony No. 7.

Berliner Philharmoniker chief conductor Kirill Petrenko. Photo by Rob Davidson

Photo by Rob Davidson

Sound of Science Day

On Sunday, UMS and the Ann Arbor Hands-On Museum presented a special opportunity to explore the science of sound. A brass quartet from the Berliner Philharmoniker and two ensembles from the U-M School of Music, Theatre & Dance — a string quartet and a flute/percussion duo — each gave three short performances, allowing kids to explore how different sounds work.

A brass quartet from the Berliner Philharmoniker performs for kids at the Ann Arbor Hands On Museum. Photo by Peter Smith

Additional hands-on activities were led by UMS 21st Century Intern Renata Rangel, who spent this past summer working in Berlin with the Philharmoniker’s education team. An instrument “petting zoo” was kindly provided by the Ann Arbor Symphony Orchestra.

Music Meets Medicine

Katja Frei, the Berliner Philharmoniker’s director of education, joined Medical Arts at Michigan for a discussion on a joint research project. Launched in 2001, Creativity During Pregnancy aims to learn how creative interventions like music can significantly reduce maternal stress factors.

A Rare Gem: Bruckner’s Fifth

On Sunday afternoon, the Berliner Philharmoniker’s Ann Arbor visit came to a triumphant close in Hill Auditorium. Chief conductor Kirill Petrenko masterfully led Bruckner’s fifth symphony — a rarely performed treasure, presented in a timely celebration of the 200th anniversary of the composer’s birth.

A standing ovation after Bruckner’s Symphony No. 5. Photo by Rob Davidson

In a glowing review of the Philharmoniker’s performance in Carnegie Hall last week, The New York Times remarked that “The orchestra’s agility is such that it can shift from pummeling roar to shining chorale to turbulence to hush, each turn precise and graceful.”

Our Ann Arbor audience, in an extended standing ovation, most certainly concurred.

Thank You to All Our Supporters

We thank all of our sponsors for their incredible generosity in support of the Berliner Philharmoniker’s Ann Arbor visit on their 2024 US Tour.

Title Sponsors

Menakka and Essel Bailey
Howard Bond
Richard Caldarazzo and Eileen Weiser

Presenting Sponsor

Principal Sponsors

Emily Bandera
Laura Chang and Arnold Chavkin
James and Nancy Stanley
Shaomeng Wang and Ju-Yun Li

Supporting Sponsors

Charles and Julia Eisendrath
Mr. and Mrs. Donald L. Morelock

The Berliner Philharmoniker’s residency is funded in part by a grant from the Arts Initiative at the University of Michigan

Kings Return

“When we come together to do this vulnerable thing called a cappella, it strengthens our bonds. It makes us tighter as a unit and as human beings.” – Gabe Kunda, bass

Discover the sounds of Kings Return before the quartet makes its UMS debut with Joyce DiDonato in KINGS ReJOYCE! on December 14.

Kings Return is a dynamic and soothing a cappella quartet that seamlessly blends genres and styles. Composed of tenor Vaughn Faison, bass Gabe Kunda, tenor JE McKissic, and baritone Jamall Williams, the Dallas-based group was drawn to a cappella’s inherent flexibility. Their brand of R&B is interwoven with spontaneous moments of jazz, soulful bursts of gospel, and bright touches of pop — all built on a solid, classical foundation.

The group’s name embodies their intentions as artists: “Kings” for their charismatic power and ability to move forward with confidence; and “Return” for their goal of giving back to the communities that have supported them along the way.

“We don’t use any instruments, and it can feel very vulnerable to perform on stage alone, especially as Black men — with all the stigma that entails,” says Kunda. “When we come together to do this vulnerable thing called a cappella, it strengthens our bonds. It makes us tighter as a unit and as human beings. We want to be examples for other men like us.”

Kings Return got its start in 2016, when Gabe Kunda asked some friends to join his graduation recital performance. Their vocals captivated the crowd, leading to some local gigs. But the group got their first taste of fame three years later when their soul-stirring rendition of “God Bless America,” went viral. The video was shot in the ensemble’s classic rehearsal spot, a stairwell at Cornerstone Baptist Church in Arlington, Texas, which became an early staple of the group’s identity.

“That stairwell had such excellent reverb … it’s a huge part of our success: We joke that it’s the fifth member of the group,” – Jamall Williams, baritone

The group’s popularity expanded as more of its videos went viral online, including a cappella renditions of “Ubi Caritas” and “Ave Maria.”

The quartet released their first album Merry Little Christmas in 2021, followed up a year later by ROVE. Their cover of the Bee Gees’ “How Deep is Your Love” on the album earned them a Grammy nomination for “Best Arrangement, Instrumental or A Cappella.” In 2023, they released We 4 Kings, their first full-length holiday album.

This year, the ensemble is celebrating the holiday season on tour with Grammy-winning mezzo-soprano Joyce DiDonato in a collaborative program, KINGS ReJOYCE!

The partnership was born from an impromptu comment left by Joyce DiDonato after discovering Kings Return’s a cappella arrangement of “Ave Maria” on YouTube. They replied almost immediately: “Thank you! We’re huge fans!”

On a whim, Joyce wrote back, “We should do something together!” Happily, Kings Return said “YES”.

“We completely lost our minds because she’s such a legend in the vocal music space, and getting her attention was truly an honor.” — Kings Return

The artists, united by a love of singing, a desire to share joy, and an attitude of saying “yes” present a program that blends their love for both sacred and secular music.

This special holiday concert arrives in Hill Auditorium on Saturday, December 14. Celebrate the unique way music can bring us home for the holidays with traditional favorites like “Ave Maria” and “Carol of The Bells” in addition to contemporary classics like “I’ll Be Home for Christmas” and more.

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This December 7 & 8, we warmly embrace our cherished holiday tradition of Handel’s Messiah in Hill Auditorium. Under the baton of Scott Hanoian, the Ann Arbor Symphony and the UMS Choral Union will take the stage with four remarkable soloists.

We are honored to be joined by Lauren Snouffer, Eric Jurenas, Lunga Eric Hallam, and Christian Simmons for our 2024 Messiah performances.

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Lauren Snouffer, soprano

Recognized for her unique artistic curiosity in world-class performances spanning the music of Claudio Monteverdi and Georg Frideric Handel through to Missy Mazzoli and Sir George Benjamin, American Lauren Snouffer is celebrated as one of the most versatile and respected sopranos on the international stage.

During the past season Lauren Snouffer made a Glyndebourne Festival debut as Pamina in Die Zauberflöte under the baton of Constantin Trinks and she created the principal role of Justine in the world premiere of Mikael Karlsson and Royce Vavrek’s opera Melancholia at the Royal Swedish Opera. Lauren Snouffer’s concert profile has yielded marvelous results with many of the world’s most distinguished conductors and orchestras including performances with Franz Welser-Möst and The Cleveland Orchestra, Rafaël Pichon and the Handel & Haydn Society, Maasaki Suzuki and the San Francisco Symphony, Manfred Honeck and the Pittsburgh Symphony, Jaap van Zweden and the New York Philharmonic, Alan Gilbert conducting the NDR Elbphilharmonie Orchester, Edo de Waart and the New Zealand Symphony Orchestra, and with Marin Alsop and the Orquestra Sinfônica do Estado de São Paulo.

Listen to Lauren Snouffer’s magnificent voice here:

Eric Jurenas, countertenor

Praised by The New York Times for his “beautiful, well-supported tone and compelling expression,” American countertenor Eric Jurenas has been featured on some of the world’s largest and most reputable stages. His dedication to baroque-era music, newly-created works, and everything in between, has established him as an influential voice.

Recent operatic engagements include productions at the Wiener Staatsoper, Komische Oper Berlin, Royal Opera House at Covent Garden, Theater an der Wien, Badisches Staatstheater Karlsruhe, The Santa Fe Opera, Michigan Opera Theatre, Opera Philadelphia, The Glimmerglass Festival, and Opera Lafayette.

A frequent concert performer and recitalist, he has been featured in programs of varied repertoire. Recent solo recitals include a program of Purcell, Ravel, and Mahler at New York’s Lincoln Center, British Heroes – a program of Handel’s English repertoire with La Chapelle Harmonique – at the Palace of Versailles, and Zeit steht still – a program of English lute song – at the Innsbruck Festival of Early Music. A frequent performer of Handel and Bach, he has performed countless works with both modern symphony orchestras and baroque ensembles, including Boston Baroque, Colorado Symphony, Winnipeg Symphony, American Bach Soloists, Harvard Baroque Orchestra, Juilliard 415, Dayton Philharmonic, and Colorado Bach Ensemble.

Preview this selection of Handel featuring the wonderfully talented Eric Jurenas:

Lunga Eric Hallam, tenor

This season, Hallam will make major orchestral debuts, singing Mozart’s Mass in C Major with Nathalie Stutzmann and the Atlanta Symphony Orchestra, later performing Handel’s Messiah with Masaaki Suzuki and the National Symphony Orchestra and also singing a baroque programme with Emmanuelle Haim and the Los Angeles Philharmonic.

He will also debut Schubert’s Mass no.5 in A-flat with the São Paulo Symphony and sing a recital with Craig Terry at the Kennedy Center in Washington for Vocal Arts DC. On the stage, Lunga will make a debut at Minnesota Opera returning to the role of Count Almaviva in Il Barbiere di Siviglia.

Hallam debuted last season with the Houston Grand Opera, Pittsburgh Opera and a return to Wolf Trap Opera for his first Ferrando in Cosi fan tutte. He began his career in Cape Town, where he studied at the University of Cape Town College of Music, and was in the Young Artist Programme at Cape Town Opera.

At the Lyric Opera of Chicago, Lunga appeared in the Harris Theater’s Beyond the Aria series alongside Joyce DiDonato, and his recent debut with the Chicago Symphony Orchestra and Riccardo Muti as the Judge in Un ballo in maschera. Recent performances at the Lyric Opera include the Sunday in the Park with Lyric’s Rising Stars concert, as well as in the Chicago premieres of Fire Shut Up in My Bones (Adult Nathan) and Le Comte Ory (First Courtier).

Hear Lunga Eric Hallam’s sensational voice in this performance of Bellini’s “La ricordanza” from Sole e Amore:

Christian Simmons, bass-baritone

Washington, D.C. native Christian Simmons, bass-baritone, was a winner in the 2023 Metropolitan Opera Eric and Dominique Laffont Competition. Simmons made his European debut with Deutsche Oper Berlin for the 2023-24 season, as a winner in the Opera Foundation’s 37th Annual Scholarship Competition.

With Deutsche Oper Berlin, Mr. Simmons was seen in Carmen, Anna Bolena, Tosca, Gianni Schicchi, Nabucco, Die Zauberflöte, Madama Butterfly, Lohengrin, La traviata, and La bohème. Also in the 2023-24 season, Simmons made his Atlanta Opera debut in La bohème and joined the Santa Fe Opera as an Apprentice Artist.

As a member of the Cafritz Young Artists of the Washington National Opera, Simmons has appeared on many stages within the John F. Kennedy Center for the Performing Arts. In the concert setting, Simmons was a featured soloist with Maestro Gianandrea Noseda and the National Symphony Orchestra, performing the bass soloist in Mozart’s Requiem and concert aria “Per questa bella mano” at the Kennedy Center Concert Hall.

Simmons has performed with various festivals and companies around the world including the Morgan State University Theater, Bel Cantanti Opera Company, Washington Opera Society, Castleton Music Festival, Amalfi Coast Music Festival, Berlin Opera Academy, Bare Opera Company, and the Maryland Opera Studio. Simmons has also been featured as the bass soloist in such works as G.F. Handel’s Messiah, J.S. Bach’s Magnificat, Gabriel Fauré’s Requiem, Giuseppe Verdi’s Requiem, and Franz Schubert’s Mass in G Major.

Hear Christian Simmons beautifully perform a selection from Mozart’s Don Giovanni:

“Giving back is fundamental to Golden Limousine’s mission and my personal values… It’s about creating a new bottom line that’s not focused solely on profit, but also about lifting the community as a whole.”

Sean Duval is the president and CEO of Golden Limousine International, an Ann Arbor-based private luxury and executive-level transportation service, and one of UMS’s generous corporate supporters. We asked Sean about his background in the arts, favorite UMS moments, and what makes giving back to the community such an important part of his company’s values.

Tell us a little about your background with the arts: First performing arts experience? Did you grow up with the arts or come to them as an adult?

I’ve always appreciated the arts, though my exposure to them grew as an adult. Moving around as an Army brat from community to community and attending various schools in different states allowed me to experience diverse cultural expressions, usually in church or school experiences. However, the exposure gave me an early respect for art in its many forms. It wasn’t until I became more involved in the Ann Arbor community, however, that I fully embraced the performing arts, especially through organizations like the Ann Arbor Symphony, Young People’s Theatre and UMS and later, the Detroit Opera House and Fisher Theatre. Over time, the arts have become an essential part of my life and my family’s life, enhancing our connection to the community.

We see Golden Limousine everywhere in our community. Tell us why is it important for you to give back?

Giving back is fundamental to Golden Limousine’s mission and my personal values. I believe that a strong business community should actively support the environment it operates in. By contributing time, resources, and services, we strive to make the Ann Arbor region vibrant and thriving. My involvement with organizations like the Shelter Association of Washtenaw County, Ann Arbor Area Community Foundation or Washtenaw Community College has shown me firsthand the positive impact businesses can have on the lives of our residents. It’s about creating a new bottom line that’s not focused solely on profit, but also about lifting the community as a whole.

What are your favorite UMS performance memories?

Trevor Noah’s Back to Abnormal tour was hands-down one of my favorite UMS moments. His humor was spot-on, and he tackled tough topics in a way that had everyone laughing while thinking. Nothing felt off-limits, and it was refreshing to hear someone just lay it all out there with such sharp humor. I also really enjoyed Fight Night — getting to be part of the action made it a fun and thought-provoking experience. It’s great that UMS brings these kinds of performances to Ann Arbor, in addition to all the great musical selections.

What role do you see the arts playing in the Ann Arbor community?

The arts bring people together, serving as a bridge across different backgrounds and experiences. In Ann Arbor, UMS and similar organizations enrich our cultural landscape, making the community more inclusive and more vibrant. Bringing UMS to Ypsilanti and the Ypsi Freighthouse was a stroke of genius. The arts also foster creativity and innovation — qualities that make Ann Arbor a unique and attractive place to live and work. Golden Limousine is proud to support these cultural efforts. It helps to fuel our local economy with visitors while enhancing the quality of life for all of us.

Golden Limo is a new corporate donor to UMS. What makes you most excited about this new partnership?

I’m thrilled to join UMS as a corporate donor, as it aligns perfectly with our commitment to enhancing the Ann Arbor community. Partnering with UMS allows us to connect with audiences who appreciate quality, sophistication, and community — a perfect match with Golden Limousine’s values. Beyond financial support, this partnership provides an opportunity for Golden Limousine to serve the community directly, offering comfortable, reliable transportation for events, potentially making the arts more accessible to a broader audience.

How does your support of UMS complement your relationships with other areas of the greater U-M community?

Supporting UMS enhances our commitment to the University of Michigan community, where Golden Limousine has long provided safe, reliable transportation services. We work with U-M athletics, academic departments, and various university events, and now, our relationship with UMS deepens that bond. It’s rewarding to know that we’re not only supporting the logistical needs of the university but also contributing to the broader cultural and artistic life on campus.

Finally, how is it working with your spouse?!

Working with Alina is both a joy and a challenge! She has an incredible eye for detail and a dedication that matches my own, which means we often push each other to be our best. Of course, we have our moments, like any couple working together, but we make it work by respecting each other’s strengths and knowing when to turn off “work mode” and just be a couple. It’s a unique partnership, and I’m grateful to have her by my side in both life and business. Having her support and insight has been invaluable, both personally and professionally. Plus, she’s not afraid to keep me grounded when needed.

Cloud Gate Dance Theatre performing 13 TONGUES, choreographed by Cheng Tsung-lung. Photo by Liu Chen-hsiang.

Thirteen can be a lucky number! After a 13-year absence, the world-renowned Cloud Gate Dance Theatre of Taiwan returned to Ann Arbor this past month to kick off their 2024 North American tour. The contemporary dance company presented 13 TONGUES, a work created by company artistic director Cheng Tsung-lung, which transforms his childhood memories of Taipei into a dreamlike fantasy world accompanied by Taiwanese folk song, Taoist chant, and electronica.

In addition to their two stunning performances at the Power Center, Cloud Gate connected with students and curious dancers in the community. They presented a masterclass to dance majors at the University of Michigan School of Music, Theatre & Dance and a free You Can Dance! workshop at the Riverside Arts Center.

Cloud Gate’s time in Ann Arbor was enhanced through a partnership with the Michigan Taiwanese American Organization (MITAI), which is dedicated to promoting cultural exchange between Michigan residents and Taiwanese Americans in Michigan. MITAI had a busy week as well, accompanying the artists throughout their time in Ann Arbor, providing meals and receptions for the artists, and hosting their own community engagement event to discuss the connections between 13 TONGUES and Taiwanese culture.

Take a look back at this terrific week!

From Hearts to Horizons

Sunday, October 20

MITAI prepared for the company’s arrival by partnering with the Ann Arbor District Library for 13 Tongues and 13 Taiwanese Tales, a series of presentations about the diverse and vibrant culture of Taiwan. Through food, healthcare, industry, arts, religion, and more, MITAI introduced the audience to elements at the heart of both Taiwanese society and Cloud Gate’s performance. Watch the full presentation on YouTube.

Welcome Back to Ann Arbor

Wednesday, October 23

Cloud Gate Dance Theatre first performed at the Power Center in 1979, and their most recent appearance was in 2011, when they presented Water Stains on the Wall. Since then, choreographer and founder Lin Hwai-min handed the reins of the company to current artistic director Cheng Tsung-lung, who, along with the company, arrived in Michigan early Wednesday morning (despite travel delays!)

MITAI President Theresa Yang 楊逸鴻 (right) and board member Tzywen Gong 龔姿文 (left) welcome Cloud Gate Dance Theatre artistic director Cheng Tsung-lung 鄭宗龍 (center) at the airport.

Masterclass

Thursday, October 24

Cloud Gate dancers Hsu Chih-hen and Huang Po-kai led a class for a group of 60 U-M School of Music, Theatre & Dance students. The pair put the full group through warm ups and somatic exercises before teaching some of the choreography found in the weekend’s performances.

Cloud Gate member Hsu Chih-hen leading the class through warm ups.

Good Friends and Good Food

Friday, October 25

MITAI hosted a dinner with Cloud Gate artists at China Palace in Ypsilanti. After lots of hard work and travels, everyone had a wonderful time getting to know each other, sharing stories and celebrating community the night before opening!

Members of the Michigan Taiwanese American Organization and Cloud Gate Dance Theatre of Taiwan

You Can Dance!

Saturday, October 26

Students weren’t the only ones who got to learn and move! Hsu and Huang also led UMS’s first You Can Dance! workshop of the season for the community-at-large. Thirty dancers of all ages and experience levels learned body awareness and contemporary vocal and movement basics before getting their own try at some of the choreography in 13 TONGUES.

Cloud Gate dancer Huang Po-kai modeling a fragment of the show’s choreography for the You Can Dance! participants.

The Hand Bell Sounds

Saturday, October 26 & Sunday, October 27

Beginning and ending with the sound of a single hand bell, 13 TONGUES captivated audiences in two performances. The brilliant colors of costumes and projections, the musicality of voices and electronica, and the sharp movements of the ensemble left audiences with impressions of spirituality, humanity, and journey.

Cloud Gate Dance Theatre performing 13 TONGUES, choreographed by Cheng Tsung-lung. Photo by Liu Chen-hsiang.

The title refers to a legendary 1960s street artist and storyteller known as “Thirteen Tongues,” who could conjure up all the characters of Bangka/Wanhua, Taipei’s oldest district, in the most vivid, dramatic, and fluently imaginative narratives. Choreographer Cheng Tsung-lung first heard about “Thirteen Tongues” when he was a child, through stories shared by his mother. Hear Cheng speak more about his inspiration and creation:

Bravo!

As the projection of the koi fish darted its way off of the curtain into the darkness, audiences leaped to their feet, recognizing both the artists and the choreographer for their illustrious work with several minutes of applause and bows.

Our Sincerest Appreciation

Every staff member at UMS played a significant role behind the scenes in bringing this residency to life. We especially thank our Programming, Production, and Learning & Engagement teams for their tireless dedication over the past months.

UMS has been supported by passionate university, individual, and corporate sponsors who were essential in supporting this residency at the University of Michigan. We thank all of our sponsors for their incredible generosity and commitment to our mission of connecting audiences and artists in uncommon and engaging experiences.

In particular, a special thank you to the Michigan Taiwanese American Organization for their partnership in presenting these wonderful artists.

Presenting Sponsor

Tim and Sally Petersen

Funded in Part by

Harry A. and Margaret D. Towsley Foundation

Media Partner

“Few artists are so fearless and so ravenous in their exploration” as Rhiannon Giddens, proclaimed the influential online music magazine Pitchfork.

We could not agree more. And it’s no wonder why legends like Yo-Yo Ma and Beyoncé have collaborated with Giddens during milestone moments in their own careers. Learn more about Giddens’ unique virtuosity and passion for a more accurate understanding of our country’s musical origins before she returns to UMS with the Silkroad Ensemble on Friday, November 8.

Rhiannon Giddens’ resume is beyond impressive. She is a two-time Grammy Award and Pulitzer Prize-winning singer and instrumentalist, a MacArthur “Genius” grant recipient, and a composer of opera, ballet, and film. Her rise to fame is a testament to her unique artistic vision, centered around lifting up people whose contributions to American musical history have previously been overlooked or erased.

“I believe that knowing your history as a musician is super important. It’s important as a person, it’s important as a country, it’s important as a people.”

Hear her elaborate in a 2017 TED Talk and performance:

Born in Greensboro, North Carolina, Giddens first gained national recognition as part of the Grammy Award-winning folk group Carolina Chocolate Drops (which UMS presented in 2010). Her powerful vocals, banjo, and fiddle skills were a noted focal point of the ensemble.

Hear Carolina Chocolate Drops in a cover of Blu Cantrell’s “Hit ‘Em up Style (Oops!)”

Giddens’ name recognition has skyrocketed in recent years, especially after a collaboration with one of the world’s biggest superstars. Beyoncé’s 2024 album, Cowboy Carter, features Giddens playing banjo and viola in the now-iconic (and TikTok viral!) “TEXAS HOLD ‘EM.”

Following the album’s release, Giddens spoke to ABC News about how she looks to reclaim the Black history of the banjo:

In 2022, Giddens took on a new role as the artistic director of the illustrious Silkroad Ensemble, succeeding Yo-Yo Ma. Ma founded Silkroad in 1998 to be both a touring ensemble composed of world-class musicians from all over the globe and a social impact organization making a positive impact across borders through the arts.

Under Giddens’ leadership, Silkroad creates music that engages difference, sparking cultural collaboration and passion-driven learning. The ensemble strives to help build a more hopeful and inclusive world through performances, the creation and commissioning of new music, social impact initiatives, and educational partnerships.

Silkroad’s upcoming album and tour, American Railroad, illuminates the impact of the Transcontinental Railroad and westward expansion on the communities it displaced and those who labored to build it, taking a more accurate look at the global diasporic origin of the American Empire.

We hope you can join us Friday, November 8, when Rhiannon Giddens and Silkroad Ensemble bring American Railroad to Hill Auditorium. This highlight of UMS’s 24/25 season is one of our most anticipated programs, featuring new commissions by other UMS audience favorites — jazz artist Cécile McLorin Salvant and renowned pipa player Wu Man — as well as new arrangements by Giddens and other Silkroad musicians.

We also encourage you to dive deeper into American Railroad on Silkroad’s website.

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Students look at a display of cereal boxes in Robin Frohardt’s immersive The Plastic Bag Store, January 2023. Photo by Peter Smith

Engaging Performance, a class that brings together resources from U-M and UMS, connects undergraduate students directly to the world-class touring artists who perform music, theater, and dance on the U-M campus. Students enrolled in the course attend live performances, talk with artists and arts administrators, and explore how the performing arts are an integral part of our lives and the world. 

IS IT FOR ME?

Engaging Performance is open to undergraduate students at all levels and across all departments at the University of Michigan; no previous experience or special training in arts is required!

Last year, Maddy Wildman, UMS’s University Programs Manager, spoke to three students to hear the key takeaways from their semester in Engaging Performance. Here are some excerpts from their conversations.

MW: What is your prior experience in the performing arts?

Student: I had no experience with it. I went to a couple of orchestra performances through field trips with my elementary school, and that’s about it.

Student: Not much. It wasn’t really until the pandemic that I experimented with costume design and makeup and a little bit of acting. I was in sports before that, and I thought about doing theater my senior year of high school, but it conflicted too much with varsity sports. I really got to dive deeper into the arts once I got to college.

Student: I’ve been writing poetry since I was about 10 years old and been singing all my life; I’ve always had an interest in the arts.

MW: Why did you sign up for this course?

Student: I’ve always loved the performing arts. I really enjoy classical music and I have a strong appreciation for it, but I never had the avenue to explore and attend these performances. I learned during orientation that many amazing performers come to campus, but first semester went by and I did not attend a single performance. I was busy and I just didn’t make time for it. When I saw this class I got really excited. The class forces you to attend these performances and it’s something I could finally make time for.

MW: What was the most memorable moment in the course?

Student: Attending the first performance, Latasha Barnes’ Jazz Continuum, with the group and discussing different points of view on the performance. The class is from a variety of backgrounds; it’s not just majors in SMTD (School of Music, Theater, and Dance) or Stamps (School of Art and Design), so you get a feel for people from business majors, STEM majors, etc. You get to understand their experience of a performance, even if they don’t know the lingo or comprehend what it means to put on a performance. Getting the opportunity to understand those points of views, collaborate with people, and see their perspectives from a non-artistic point of view was really interesting.

LaTasha Barnes’ The Jazz Continuum

MW: What surprised you the most in this course?

Student: I didn’t expect that the class was going to enhance my experience of the performances so much. I knew we were going to attend performances, but I wasn’t sure what we were going to do in class. I was surprised to interact with so many guests who helped us learn about the art forms and performances. It made me more excited to attend.

MW: How will what you’ve learned in this course affect you in the future?

Student: I want to work with youth and families. I’d like to host events and workshops that introduce children and youth to the arts. I want to ask them questions like, “Have you ever tried playing an instrument? Have you ever been to this type of performance?” You never know what things are pivotal until that person is older and they come back and tell you “Wow, this experience really made a difference for me.” You have to give people a chance to latch on to things and then see what blossoms from it. 

Student: As a business major, I see so many open roads and paths I can take, so I really value being well-rounded. Even as a person, it’s important to be well-rounded, building these experiences and learning how to appreciate other cultures. There’s a whole hidden language within the performing arts audience, like when you clap while watching an orchestra. Immersing yourself in different communities and learning to appreciate them is so important when you go into any career – and especially business careers – to share and connect with people.

MW: Would you recommend this course to a friend?

Student: I would definitely recommend it to a friend. This course is a chance to deepen your appreciation of performances and explore, have fun, and be surprised.

Student: I’d recommend it. It’s a great opportunity to see things that you’re already familiar with, but also to help you better understand performance as a whole. It can also open you up to new mediums that you may not have experienced before. I think it could really help people that aren’t as involved in the arts open up and see what they might like or want to explore further. For people that really love concerts, orchestra, and entertainment, I think it can deepen your understanding and appreciation for those forms.

Winter 2025 Class Information

Term: Winter 2025 // Course Name: Engaging Performance

Course Listing: MUSPERF 200, ALA 260, ENGLISH 290

Instructors: Jason Fitzgerald and Matthew Thompson

Credits: 3 Credits (Humanities Distribution)

Class Schedule: Tuesdays & Thursdays from 11:30 am – 1 pm, Room TBD (Central Campus)

Course Listing

Students will attend live performances of:

• Caroline Shaw and Gabriel Kahane – January 23 // 7:30 pm 
• Natalie Palamides’ Nate – A One Man Show – February 5-9 // 2:00 pm & 7:30 pm
• Branford Marsalis Quartet – February 19 // 7:30 pm
• Shamel Pitts | TRIBE’s BLACK HOLE: Trilogy and Triathlon – March 14-15 // 8:00 pm
• Peeping Tom’s Triptych – March 28-29 // 7:30 pm
• Les Arts Florissants – April 9 // 7:30 pm

These performances constitute the course’s primary “texts”, and the full package of tickets is available to students enrolled in the course for the reduced rate of $90. Additional funds are available for students who need financial support.

Engaging Performance is made possible through a partnership between the University of Michigan and the University Musical Society (UMS).

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