Danlee at Flower Mountain, Bali | Photo courtesy of Anita Mitchell
The Center for World Music mourns the loss of Professor Danlee Mitchell (October 5, 1936–July 31, 2024), a cherished board member who has been pivotal in shaping the organization since the early 1990s.
A pillar of the San Diego music community, Danlee served as professor of percussion in the School of Music and Dance at San Diego State University (1964-2001), where he was much loved as a teacher and known especially for his tireless advocacy for world music. A renowned percussionist, he achieved distinction nationally for directing and performing with the Harry Partch Ensemble and locally for his performances with the San Diego Symphony, the La Jolla Symphony & Chorus, and the San Diego Opera.
As a passionate music archivist, Danlee meticulously captured performances across genres through audio and video recordings, preserving countless artistic moments for future generations.
We are profoundly grateful for Danlee’s decades of dedicated, steadfast contribution to our mission. His legacy will continue to inspire us, and we will hold his memory close in our hearts.
Danlee Mitchell playing Partch instruments (1987) | Photo: Randy Hoffman
Danlee’s life touched so many of us and he will be greatly missed.
The Center for World Music proudly dedicates its 2025 Concert Series to the memory of Danlee Mitchell.
The bandura, a lute-like instrument regarded as the national instrument of Ukraine, has become a symbol of Ukrainian nationhood and resilience. Deeply entwined with Ukrainian history, the instrument has come to be known as “the voice of Ukraine.” From a musical perspective, the bandura unifies acoustic principles of both the lute and the harp, its sound resembling that of a harpsichord but with a broader range of notes and tonal control.
The bandura’s history can be traced back to a 6th-century Greek chronicle, which mentions Ukrainian warriors playing lute-like instruments. This early instrument, known as the kobza, was smaller, more circular, and had fewer strings than the modern bandura. Over time, additional strings were added, some positioned along the side of the instrument, rendering frets on its neck unnecessary.
Cossack playing a bandura (early 19th century), National Art Museum of Ukraine
During the Middle Ages, the bandura became prominent in the courts of Eastern Europe, much like the lute in Western Europe. It was used primarily for accompanying dance and song. It also enjoyed great popularity among the Kozaks (Cossacks), semi-nomadic warriors who developed a unique repertoire for the instrument. From their ranks arose a new school of Ukrainian professional musicians called kobzari (singular form is kobzar). The kobzari often accompanied the Kozaks during times of war.
The kobzari developed a unique epic song form known as the duma (plural: dumy), meaning thought or reflection. Sung to the accompaniment of the bandura, dumy depicted the heroic exploits of the Ukrainian Kozaks and their quest for freedom. By the 18th century, the kobzari were unlike their kozak fore-bearers. A tradition that required all kobzari to be blind had developed.
In 1873, at the Third Archeological Conference held in Kyiv, Western scholars and composers first heard dumy performed by a blind kobzar named Ostap Veresai. His moving performance inspired the publication of numerous articles and books on the subject and had a significant influence on the development of the musical form known as dumky (e.g., Dvorak’s “Dumky Trios” and Tchaikovsky’s “Dumka”).
The Bandura in the 20th Century
At the beginning of the 20th century, urban Ukrainians developed a renewed interest in the bandura. Bandura ensembles became popular, and demands for new instruments grew. During this time, considerable innovation and experimentation were made in instrument design and construction. New banduras began to be mass produced with many strings, tuned chromatically rather than diatonically (like a piano rather than a guitar), and levers were added to expedite rapid transposition (playing in a different key). Conservatory courses were organized, and professional composers were hired to create new compositions specifically written for this instrument.
This period of the history of the bandura coincided with the rise of Ukrainian patriotism and nationalism and a subsequent flourishing of the arts. Unfortunately, it did not last long. In 1935, the Soviet government lured blind kobzari to Kharkiv under the guise of an ethnographic conference, only to execute them, symbolizing the regime’s broader effort to suppress Ukrainian cultural identity. Persecution, arrest, and exile became a way of life for countless Ukrainian artists and bandurists.
Renown street bandura player Ostap Kindrachuk (1937-2024) | photo by Roman Koval
Throughout the Cold War Era, the Soviet government resolved to wipe out all vestiges of Ukrainian nationalism by attacking and destroying Ukrainian culture. However, the Soviet authorities quickly realized that it would be impossible to fully eliminate the bandura from what proved to be a resilient Ukrainian identity. Instead, they attempted to separate the bandura from its past and traditions by developing the modern Kyiv bandura. Training to play the bandura was taken in a more academic direction. Its traditional repertoire was abandoned for the alien works of Bach, Beethoven, and other classical composers.
Continued persecution, arrest, and exile became a way of life for countless Ukrainian Bandurists clinging to their traditions. Many headed West, seeking refuge in the United States and Canada, where they could continue practicing their art unhindered. The Ukrainian Bandurist Chorus, founded in 1918 in Kyiv, survived repression by relocating to the United States in 1949, where they settled together in Detroit.
The Ukrainian Bandurist Chorus of North America on stage
The Bandura Today
The bandura remains closely associated with vocal music, as it originally served as an accompaniment for singing. Bandura capellas, which combine the instrument’s orchestral capabilities with choral singing, are a natural expression of Ukrainian musical traditions. The Ukrainian Bandurist Chorus of North America is a leading example.
Today, there are three major types of banduras in concert use: The classical bandura, tuned diatonically with some 20 strings and wooden pegs; the Kharkiv bandura, tuned diatonically or chromatically with a single string mechanism and 34 to 65 strings; and the Kyiv bandura, with 55 to 64 strings tuned chromatically.
The bandura’s resilience and versatility reflect the enduring spirit of the Ukrainian people and their deep connection to their musical heritage.
Joko Sutrisno is a distinguished Javanese gamelan performer, composer, and educator whose career spans both Indonesia and the international stage. A graduate of the Indonesian Institute of Arts in Surakarta, Java, in 1987, Sutrisno has dedicated his life to sharing the beauty and complexity of gamelan music with diverse audiences worldwide.
He began his international teaching journey as the director of the gamelan ensemble at Victoria University in Wellington, New Zealand, a role he held for eight years. In 1995, he moved to Minnesota, where he served as the artistic director of the Sumunar Gamelan and Dance Ensemble until 2023.
Currently, Sutrisno holds dual appointments as a professor of gamelan at UCLA’s Herb Alpert School of Music and UC Riverside’s School of Music. Additionally, he is the consulting director for gamelan ensembles at Saint Thomas University, the University of South Dakota, Concordia College, and Hamilton College. In 2024, he was named an apprentice with the Alliance for California Traditional Arts (ACTA).
As a composer, Sutrisno has created over 20 original works that blend Javanese gamelan with a wide variety of art forms, including Western symphony and choir, Indian, Chinese, Arabic, Middle Eastern, and West African music. His innovative collaborations demonstrate his commitment to bridging cultural traditions and expanding the reach of gamelan music.
Sutrisno’s contributions have earned him numerous accolades, including the Creative Individuals Award from the Minnesota State Arts Board (2022, 2023), the Outstanding Alumni Award from the Indonesian Institute of Arts in Surakarta (2018), and a McKnight Composer Fellowship (2016).
Pak Joko in class at Canyon Crest Academy
Since 2010, Sutrisno has been a teaching artist with the Center for World Music, where he leads the Javanese gamelan program at Canyon Crest Academy High School. This thriving program reflects his dedication to inspiring the next generation of musicians. Alongside his wife and artistic partner, Tri Martodikromo, Sutrisno continues to share the rich traditions of Central Javanese court music, dance, and language.
It is a true privilege to have such a highly respected and accomplished artist as part of the Center for World Music’s teaching team in San Diego.
Videos for Further Exploration
Joko Sutrisno directing full gamelan performance with dancer:
And a short clip with Pak Joko playing gendèr:
https://centerforworldmusic.org/wp-content/uploads/2024/12/Joko-Sutrisno-Directs-UCLA-Java-Gamelan.jpg7501200Laurel Grinnell-Wilsonhttps://centerforworldmusic.org/wp-content/uploads/2014/06/logo_w_red_type_52.pngLaurel Grinnell-Wilson2024-12-09 10:49:582024-12-09 16:33:15Joko Sutrisno: 35 Years of Sharing Javanese Music
Originally from Plano, Texas, and raised in La Mesa, California, Quin Herron was drawn to traditional Irish music after being captivated by the sounds of James Galway and The Chieftains. Today, he serves as chair of the San Diego chapter of Comhaltas Ceoltóirí Éireann (Irish Gaelic: “Gathering of Musicians of Ireland”), an international organization dedicated to promoting Irish music, dance, language, and culture. Whenever he has the chance, Quin travels to Ireland to deepen his connection to the music and culture.
As a high school junior, Quin spent a year in Belgium as a Rotary exchange student. Later, while studying creative writing and music at the University of San Francisco, he completed a junior year abroad at Trinity College Dublin. This experience allowed him to travel extensively across Europe and especially in Ireland.
A skilled musician, Quin plays both the Irish tin whistle—a keyless, end-blown flute ideal for beginners—and the Irish flute, typically crafted from wood and based on the classical flute design of the 19th century. Known for its rhythmic, percussive, and expressive qualities, the Irish flute perfectly suits Ireland’s vibrant dance music. Quin honed his flute skills by studying with some of Ireland’s top musicians and playing in traditional music sessions across the country.
In addition to his instrumental work, Quin is an accomplished vocalist, performing Irish songs in the unaccompanied Sean-nós (old style) tradition. He also lends his voice as a tenor with the San Diego Master Chorale and serves as a cantor at Santa Sophia Catholic Church.
In his role with CWM’s World Music in the Schools program, Quin introduces students to Irish melodies on the tin whistle and teaches them traditional Irish songs. A tin whistle is available for each student thanks to donations from the community collected by Comhaltas.
If there’s traditional Irish music happening in San Diego, you’re likely to find Quin there. He’s a regular on Tuesdays at The Ould Sod in Normal Heights and on Saturdays at The Pub in Bay Park. His band, Gallowglass, is also preparing to release a new album.
Videos for Further Exploration
Gallowglass, with Quin on flute, performing “Over the Moor to Maggie”:
And a short clip with Quin on vocal:
https://centerforworldmusic.org/wp-content/uploads/2024/02/Quin-Herron-with-Tin-Wistle.jpg6751200CWM Staffhttps://centerforworldmusic.org/wp-content/uploads/2014/06/logo_w_red_type_52.pngCWM Staff2024-11-08 13:32:062024-11-12 11:58:10Quin Herron: Bringing People Together with Irish Music
Yale Strom is a San Diego-based violinist and leading authority on klezmer traditions of the Jewish and Roma communities of Central and Eastern Europe and the Balkans. A versatile and prolific artist, Strom’s expertise spans roles as a musician, composer, ethnographer, filmmaker, educator, playwright, and more. He regularly performs in San Diego, New York, and internationally, with a broad portfolio of creative work, as detailed on his Wikipedia page.
Born in Detroit in 1957, Strom’s journey with the violin began at the age of eight, sparked by free music lessons offered in his primary school. Growing up in a musically rich family—his mother a pianist, his father an avid music lover—he was naturally drawn to the world of music. In 1982, he formed his first band, Hot Pstromi, a project that has been central to his artistic life. Based in both San Diego and New York, Strom continues to compose and perform with the group, demonstrating his unwavering dedication to his craft.
Through the CWM’s World Music in the Schools Assemblies program, Strom and his now-renowned band introduce students to the diverse sounds of klezmer, blending Khasidic nigunim (vocal music) with Romani, jazz, classical, Balkan, and Sephardic elements. Whether in school programs or the CWM’s Access to the Arts for Seniors, Strom enriches performances with storytelling, helping audiences—whether familiar with klezmer music or not—discover the depth and history of this vibrant musical tradition.
Enjoy Yale Strom performing with Hot Pstromi at the historic Museum at Eldridge Street, New York City:
And Yale and Hot Pstromi at UCSD’s Park & Market in San Diego:
https://centerforworldmusic.org/wp-content/uploads/2024/09/Yale-Strom-Photo-by-Robert-Sanchez.jpg8001200Laurel Grinnell-Wilsonhttps://centerforworldmusic.org/wp-content/uploads/2014/06/logo_w_red_type_52.pngLaurel Grinnell-Wilson2024-09-30 16:36:022024-10-01 08:01:42Yale Strom: Bringing Klezmer Music to San Diego Schools
An internationally acclaimed musician and one of the foremost qanun players of his generation, Ali Paris is celebrated for his exceptional mastery and innovative artistry on his 14th-century traditional instrument. Blending the rich traditions of Middle Eastern music with elements of Western styles, Ali has captivated audiences around the world. He has been described as an “unrivaled, unique artist” by the legendary Quincy Jones and “one of the most eclectic and diverse artists” by Grammy-winning musician Paul Simon, who attended many of Ali’s concerts at Lincoln Center in New York.
Born in Morocco, Ali began his musical education at the age of five. By the age of nine, he was discovered by Simon Shaheen, a master performer and educator of traditional Arabic music. Recognizing Ali’s potential, Shaheen mentored him as a protégé. Soon, Ali was performing in prestigious concert halls, and by eleven, he had embarked on his first European tour.
Since then, Ali has garnered numerous international accolades, including the prestigious Marcel Khalife Best Artist of the Year award, which he won for four consecutive years. His career has expanded exponentially, earning him a degree from Boston’s renowned Berklee College of Music on a full scholarship. Throughout his journey, he has collaborated with an illustrious list of world-renowned artists, including the late Paco De Lucia, Buika, Alicia Keys, Bobby McFerrin, and Javier Limón.
Ali has performed at many of the world’s most esteemed venues, from the White House and the Newport and Montreux jazz festivals to the Royal Palace in Jordan, where he gave a solo performance for Queen Rania of Jordan. He has also performed as a soloist with the Boston Symphony Orchestra and the Michigan Philharmonic and was featured in the Grammy-winning Spanish documentary Entre2aguas, as well as the Hollywood film Noah.
Ali’s performances are distinguished by his exploration of fertile ground between Eastern and Western musical traditions, creating a powerful dialog between cultures and genres. His dedication to humanitarian causes has seen him collaborate with numerous world-class artists to support initiatives such as Doctors Without Borders, Save a Child’s Heart, and Keep A Child Alive. His work with Alejandro Sanz has also helped fund vital humanitarian projects in Africa and the Middle East.
If students walked away from one of my assemblies with one profound lesson, it would be the realization that music is not just a series of notes and rhythms but a powerful, universal language that bridges cultures, nurtures empathy, and celebrates diversity
Through the vibrant sounds of Arabic music, the unique textures of traditional instruments, and the joy of shared songs and dances, I want each child to understand that while we may come from different corners of the world, our hearts beat to the same rhythm. This rhythm, rooted in our collective human experience, reminds us that we are all connected.
—Ali Paris
In June 2023, Ali was featured in the CWM series Music on the Move at Mingei International Museum. He is deeply committed to education through his involvement with the CWM’s World Music in the Schools program, regularly visiting school partners to conduct dynamic workshops and assemblies. Through these programs, he shares the beauty and depth of Middle Eastern music and culture, providing students with an engaging introduction to Arabic music and traditions.
https://centerforworldmusic.org/wp-content/uploads/2024/07/Ali-Paris-LA-Concert-with-Save-a-Childs-Heart-Fnd.jpg6501156Laurel Grinnell-Wilsonhttps://centerforworldmusic.org/wp-content/uploads/2014/06/logo_w_red_type_52.pngLaurel Grinnell-Wilson2024-07-20 15:09:232024-09-05 15:36:21Ali Paris: Master of the Middle Eastern Qanun
James Stanley is a San Diego native who was raised embracing, embodying, and sharing Hawaiian culture and arts. He is the eldest son of Kumu (Hula Teacher) Kathy Heali’i Gore Stanley, the founder of San Diego’s Heali’i’s Polynesian Revue. As such, James was immersed in Polynesian arts and began performing dance and playing the ukulele at a very young age. His love of dance and movement eventually inspired him to earn a BA in kinesiology from CSU Northridge in 2018.
James Stanley performing traditional Hawaiian dance
James has performed with many of Hawai’i’s music legends, including HAPA, Na Leo Pilimehana, Amy Hānaiali’i, Makaha Sons, and Kalani Pe’a. Today, James is an alakaʻi (co-leader) and kāne director (men’s director) for Heali’i’s Polynesian Revue. He pours his aloha into nurturing his family’s hālau (Hawaiian dance school) through music, dancing, and traditional practices.
We are proud to have James as a teaching artist for the CWM’s youth education program, World Music in the Schools. James engages over 900 San Diego County school children a week with Hawaiian language and traditions, ukulele, and dancing.
James Stanley in a World Music in the Schools classroom
James’ brother, Anthony Kauka Stanley is also a teaching artist for the School’s program. Learn more about Anthony from his profile on our website.
For Further Exploration
Watch James Stanley on stage performing Hawaiian dance to the music of the Mākaha Sons.
Born in Mexico City, Silvio Diaz grew up in Ensenada and Tijuana in an artistic household. His family produced educational performances for children, featuring puppetry, theater, and music. At a young age, Silvio played various musical instruments, including the clarinet, guitar, and drum set, along with other forms of percussion. Additionally, he participated in his family’s puppetry, theater, and music productions, performing in Mexico, Spain, and the United States.
While performing with his family, Silvio pursued his interest in visual arts and Latin percussion. He attended an arts high school in Mexico City before earning a bachelor’s degree in music composition from the Universidad Nacional Autónoma de Mexico. His journey as a musician involved playing in several bands, each specializing in different genres—including reggae, rock, and Latin music—while pursuing his own musical goals.
In 2018, Silvio relocated to San Diego to join his father and brother in their percussion ensemble Drummers Without Borders. Since its formation, Drummers Without Borders has been dedicated to providing music education to underserved communities, schools, correctional facilities, and the general public. The group uses rhythm as a fundamental tool to engage students and help them feel a sense of accomplishment. Their programs sometimes end with a parade with large puppets and rows of children marching with drums.
Drummers Without Borders has performed for the Center for World Music in two recent series: “Music on the Move: Border Stories” at The Front Arte Cultura Gallery and “Sound of the Border | Sonido de la Frontera” at Mingei International Museum.As a teaching artist with the CWM’s World Music in the Schools program, Silvio introduces students to the percussive rhythms of Latin America. He encourages his pupils to start simple, try new things, collaborate, and express themselves. His goal is to inspire confidence and teamwork.
Thanks to a partnership between the CWM, San Diego Unified’s Visual and Performing Arts (VAPA) Department, the VAPA Foundation, and the California Arts Council, Silvio participated in a program at Balboa Elementary highlighting the music and rhythms of Spanish-speaking countries in Latin America.
San Diego’s KUSI News featured this class for bringing culturally relevant music programming into schools:
https://centerforworldmusic.org/wp-content/uploads/2024/01/Silvio-Diaz-Mingei-Performance.jpg6751200Stefanie Schmitzhttps://centerforworldmusic.org/wp-content/uploads/2014/06/logo_w_red_type_52.pngStefanie Schmitz2024-01-22 14:04:512024-02-03 14:19:06Silvio Diaz: Empowering Students through Latin Rhythms
Sharing her love of Indonesian arts through the CWM’s World Music in the Schools program, Kaylie Kirby is patient, passionate, and playful as a teaching artist.
Kaylie is no stranger to Balinese gamelan angklung (metallophone ensemble) in the K–8 classroom. She began her journey with Indonesian music and dance when she was in 5th grade at Museum School, the school in which she now teaches young students. There she studied Balinese gamelan and dance with master teachers I Nyoman Sumandhi and Ni Putu Sutiati, who were CWM distinguished visiting artists in San Diego back in the early 2000s. You can learn more about her full-circle performing arts journey from this feature story on our website.
After her first exposure to Indonesian arts as a 5th grader, Kaylie continued her studies, attending after-school classes in Balinese dance. Later, she joined Puspa Warsa, an ensemble of advanced students organized by former CWM teaching artists Alex Khalil and Kaori Okado. With that group, Kaylie performed all over Southern California for numerous universities and festivals, and on television.
Kaylie with daughter
She later studied under other Balinese masters, including I Nyoman Wenten, renowned Balinese musician and dancer, at CalArts and UCLA. In 2018–19, she was a member of the Balinese gamelan angklung ensemble Gunung Mas at the University of San Diego, directed by Dr. David Harnish.
Today Kaylie finds joy in sharing her passion for Indonesian music and culture, especially as her own children are now enrolled in the program at Museum School in San Diego’s Bankers Hill neighborhood.
https://centerforworldmusic.org/wp-content/uploads/2023/09/Kaylie-Kirby-USD-Gamelan-2018.jpg6281200Laurel Grinnell-Wilsonhttps://centerforworldmusic.org/wp-content/uploads/2014/06/logo_w_red_type_52.pngLaurel Grinnell-Wilson2023-12-18 09:20:262023-12-18 14:14:33Kaylie Kirby: Continuing a Legacy of Indonesian Arts
There’s a fascinating variety of traditional music to be found in the San Diego area. Mike De Smidt tells us about the weekly Irish music sessions at The Ould Sod, an Irish pub on Adams Avenue.
Many people became familiar with Irish traditional music in the 1990s with the emergence of the stage phenomenon Riverdance. Some may also be aware of something that has existed far longer and continues to be a vibrant affair for musicians and spectators alike: the session, best described as a group of musicians playing a spontaneous selection of dance music. Irish music has a very long history, dating back thousands of years, but the music that is heard today developed primarily in the past two hundred or so years.
One important aspect of Irish traditional music that makes it distinct from many other European musical traditions is its contiguous history, unbroken by shifts in the political climate or changes in cultural taste. Sessions are a great venue for the transmission of this tradition from one generation of musicians to the next.
The purpose is thus not only musical but also social. Friendships are forged and reinforced through the sharing of tunes from the participants’ repertoires. Sessions, moreover, play a vital role in building a sense of community.
The session at The Ould Sod on Adams Avenue in San Diego has engendered a wonderful musical climate for more than 20 years and serves as an anchor for the local community of Irish musicians. Every Tuesday night, between five and ten musicians gather in an alcove by the front door or in the beer garden area at the rear of the establishment and play a variety of tunes—jigs, reels, hornpipes, slides, and the occasional song—for themselves and for anyone else who wishes to listen.
This is an important thing to note about Irish sessions: the musicians, while certainly happy if other pub patrons enjoy the music, are primarily playing for their own enjoyment. That being said, it is a fairly inclusive affair as well. New musicians—of varying experience—are welcomed into the group, learning the shared repertoire and often adding to it with music they bring to the gathering on their own.
While it is a regular weekly event at The Ould Sod, the session still maintains an air of informality that adds to its charm and sense of inclusion. There is no amplification, the instruments are acoustic, and you will find a wide variety of them at that! There’ll be the fiddles, flutes, banjos, and guitars that most people are familiar with, but also more unusual instruments such as the uilleann pipes and the concertina.
Photograph by Michael Eskin
A session is an occasion to celebrate, enjoy a musical culture, and have a great night out with your friends. Tuesdays at The Ould Sod are certainly no exception.
— Mike De Smidt is a musician, ethnomusicologist, and instrument builder living near Santa Cruz, California.
https://centerforworldmusic.org/wp-content/uploads/2016/10/Kevin-C-JMP-Ruarri-S-at-The-Ould-Sod-sm.jpg8001200Mike De Smidthttps://centerforworldmusic.org/wp-content/uploads/2014/06/logo_w_red_type_52.pngMike De Smidt2023-11-29 15:02:212024-12-02 13:07:20San Diego’s Irish Music Sessions at The Ould Sod
The modern bandura is crafted with meticulous attention to materials and acoustic engineering, combining traditional techniques with modern innovations to achieve its distinctive sound. Combining elements of a lute and a harp, the bandura consists of a resonant body, a soundboard, strings, tuning mechanisms, a bridge, and decorative elements.
The body is typically made from high-quality woods like spruce, maple, or mahogany, chosen for their superior acoustic properties. The resonator amplifies the instrument’s sound and gives the bandura its characteristic timbre. The soundboard is the flat top of the body of the instrument and is often constructed from spruce or cedar. Modern banduras feature between 20 and 65 strings, made from steel or nylon, depending on the tonal and dynamic range desired.
The strings are arranged chromatically, covering nearly five octaves. The lowest notes are positioned at the top of the instrument, often on a separate bridge, while the higher notes are aligned parallel along the length of the instrument. The bridge supports the strings and transmits their vibrations to the soundboard. Each of the strings are tuned with tuning pegs made of metal or hard wood, and are designed for precise and stable tuning.
Many banduras are adorned with traditional Ukrainian motifs, showcasing intricate wood carving, inlays, or painted designs, reflecting the cultural heritage of the instrument.
