The Center for World Music would like to recognize Garit Imhoff for his years of dedication as an outstanding teaching artist in residence for the World Music in the Schools program.
Garit Imhoff is a professional mbira player, teacher, and all-around performer, specializing in storytelling and movement. He is a graduate of the California Institute of the Arts and has participated in world music ensembles for over forty-five years. He has studied and performed traditional Zimbabwean music extensively, both in the United States and in Zimbabwe, and has studied the traditional music, puppetry, and cultures of Java and Bali in Indonesia. Mr. Imhoff learned and practiced Zimbabwean music under the tutelage of many great teachers including Ephat Mujuru, Jacob Mafuleni, Stella Chiweshe, Tute Chigamba, Irene Chigamba, and Musekiwa Chingodza. As one of its cofounders, Mr. Imhoff is an active performing member of Zimbeat, a professional San Diego-based music ensemble that specializes in the traditional and popular music of Zimbabwe. He is also a performing member of Kembang Sunda, a San Diego-based traditional west Javanese gamelan orchestra.
In 2013 Mr. Imhoff was awarded a grant through the Artist Outreach Project of the Kenneth A. Picerne Foundation–funding to support teaching children in Encinitas at the Boys & Girls Club of San Dieguito. The Center for World Music partnered with the Picerne Foundation and Ticha Muzavazi, instrument builders and teacher of students with disabilities in Zimbabwe, to develop specially made small-sized Zimbabwean mbiras that could be easily played by young children. The resulting year-long project subsequently developed into Center for World Music classes in public and private primary schools throughout the County of San Diego.
Combining storytelling, dance, and singing to engage his students, Mr. Imhoff has been using the small-sized mbiras to instruct San Diego K-12 children in the compelling traditions of Zimbabwe. His music classes in the schools are supported by grants from the California Arts Council, the National Endowment of the Arts, and the local San Diego community.
https://centerforworldmusic.org/wp-content/uploads/2016/02/for-CWM-proile.jpg368565Monica Emeryhttps://centerforworldmusic.org/wp-content/uploads/2014/06/logo_w_red_type_52.pngMonica Emery2016-02-29 15:45:262017-06-23 20:54:32Garit Imhoff, Musician and Storyteller
Congratulations to Stefanie Schmitz, Teaching Artist for the World Music in the Schools program, for winning a grant from Rising Arts Leaders to attend the Teaching Artist Institute.
Multi-instrumentalist musical artist and teacher Stefanie Schmitz has been exploring the San Diego music scene since 2001. Her talents span an eclectic range of genres including jazz, classical, samba, choro, funk, musical theatre, playing the clarinet, tenor saxophone, Brazilian percussion, and more. Stefanie attended the University of California San Diego where she received bachelor’s degrees in Music Performance and in French Language Studies. She directs and performs with a number of San Diego-based music groups, including Choro Sotaque, Super Sonic Samba School, the Zicas, and Restoration One. She shares the same knowledge and enthusiasm she exhibits as a band leader with her students, teaching private and group lessons on clarinet, saxophone, and percussion to students over a range of ages and ability levels. As a teaching artist for the Center for World Music, she also works in school classrooms, sharing her passion for Brazilian rhythm with San Diego area K–12 students.
Under the sponsorship of the Center for World Music, Stefanie was selected in November 2015 to participate in the Teaching Artist Institute, a professional development program offered by Arts for Learning, an affiliate of Young Audiences/Arts for Learning. For a working musician who collaborates with schools as a teaching artist, this program is of tremendous value. Stefanie was awarded a matching grant from Rising Arts Leaders of San Diego to support her participation in the Teaching Artist Institute.
“In addition to learning about child development, lesson planning, and classroom management, I am connecting with other local teaching artists and developing my own personal mission statement as a performer, learner, and teacher. I’m looking forward to sharing my new energy and ideas with my students!”
Stefanie’s love affair with Brazilian music began when she took a samba drumming class. She started San Diego’s first choro group Choro Sotaque in 2009, performing traditional Brazilian folk music on clarinet. The group recorded its debut CD in 2015, which is available for purchase at chorosotaque.bandcamp.com. Stefanie has also performed with and led the community based Brazilian drum and dance group Super Sonic Samba School — a group which performs regularly for festivals and events around San Diego. Stefanie seeks out her yearly fix of new inspiration at California Brazil Camp — a weeklong music and dance camp in the redwoods of Sonoma County. In 2013 she left her staff position at UC San Diego to embark on a six-month musical odyssey to Brazil, where she absorbed Brazilian language and culture, and studied with masters of samba and choro in Rio de Janeiro, São Paulo, Olinda, and Jericoacoara.
As an associate artist for Lamb’s Players Theatre, Stefanie has played in the orchestras for several musicals, most recently in West Side Story. She also plays saxophone for the eclectic funk/rock/reggae band Restoration One, which was nominated for a 2014 San Diego Music Award. Most recently, she can be seen playing and singing with the Zicas, a new Brazilian music project.
When Stefanie is not playing music or teaching, you will find her making art, tap dancing, practicing yoga, or singing in her car. She blogs about her musical adventures at Everything Is Music, stefanieschmitz.blogspot.com, and she sells her original handmade jewelry in San Diego coffee shops and on Etsy.
Check out Stefanie’s website at www.stefanieschmitz.net for her upcoming performance schedule or to sign up for her mailing list.
The Center for World Music would like to welcome Marie Hayes to our family of outstanding teaching artists in residence, joining our World Music in the Schools program.
Marie Hayes has been singing Balkan harmony music ever since she attended a Kitka Women’s Vocal Ensemble concert in Oakland in 1990. There were ten woman on the stage, elbows linked in a semi-circle, singing the most captivating music she had ever heard. She was also struck by the rich, refined choral style of Le Mystère des Voix Bulgares, whose music initially amazed her. Ultimately, it was this exciting and expressive nature of the “village voice” sound that drew her in.
It wasn’t long before she found friends in San Diego who wanted to join her. Their quartet, Harmonija, whose motto was “Harmony Music from the Balkans and Beyond,” entertained people for the next decade. They performed at coffee houses and parties, and gave many concerts for San Diego Folk Heritage, often teaching workshops at that organization’s annual music festival. Marie performed for ten years singing and playing percussion with Eastern Exposure, a Balkan dance band that played live music for folk dancers all over Southern California. She has recently formed a new a cappella vocal group, Trio Zheni, with singers Mary Ann Downs and Stacey Barnett.
As a teacher of Balkan singing, Marie’s main goal is to help students learn to listen to each other and work together to produce a sound they can be really proud of—and feel the thrill of hitting a perfect chord that makes the whole room ring.
Marie takes workshops and private lessons regularly from world-renowned singing teachers sponsored by the Eastern European Folklife Center. These include Bulgarians Donka Koleva, Tatiana Sarbinska, and Iliana Božanova, UCLA Balkan Choir Director Tsvetanka Varimezova (and her daughter Tanya), Bosnian Mirjana Lausevič, and Macedonian Esma Redžepova. She has also studied with American master teachers such as Mary Sherhart and Michelle Simon for Balkan singing, Canadian Brenna MacCrimmon for Turkish singing, Christos Govetas for Greek singing, and Polly Tapia Ferber for doumbek (drum) and frame drum. Because Balkan rhythms are varied and sometimes quite complicated, she finds that a knowledge of drumming is essential.
Marie has a degree in sociolinguistics from UCSD, where she also studied music. She has taught English as a Second Language at Miramar College, been a tutor for the Laubach Literacy program, and spent seven happy years as a teacher at Mission Bay Montessori Academy, where she loved teaching music and movement to the preschoolers in her class.
Photograph by Steve Gould
https://centerforworldmusic.org/wp-content/uploads/2016/01/Marie-Hayes.jpg6271200Adminhttps://centerforworldmusic.org/wp-content/uploads/2014/06/logo_w_red_type_52.pngAdmin2016-01-04 19:28:302023-08-09 13:35:16Marie Hayes Sings Traditional Music from the Balkans and Beyond
Our friends at the Stephen W. Hawking Charter School have just posted a nice video showing their World Music in the Schools students engaged in the rhythms of North Indian tabla. Under the direction of Miles Shrewsbery, tabla master and CWM teaching artist, they seem to be having quite a bit of fun.
The World Music in the Schools tabla program has been going strong at the Hawking Charter School since August 2013.
On YouTube:
https://centerforworldmusic.org/wp-content/uploads/2015/12/HawkingTablaVideo.jpg6271200Lance Nelsonhttps://centerforworldmusic.org/wp-content/uploads/2014/06/logo_w_red_type_52.pngLance Nelson2015-12-27 08:51:072018-10-26 19:13:13North Indian Percussion at Hawking Charter School
The Center for World Music would like to give a warm welcome to Andrea Hernandez, who has recently joined our World Music in the Schools roster of teaching artists in residence.
Andrea’s vibrant creativity comes from growing up in a large family of singers, musicians, dancers, writers, and artists. Her imaginative home life inspired her to actively pursue all of these arts from a very young age. She grew up drawing, painting, writing, singing, dancing, and playing every instrument she could get her hands on. She has performed Balet Folclórico (traditional dance of all regions of Mexico) since she could first walk, and continues to do so to this day. Her insatiable curiosity and appetite to learn has persisted, as she continues to study many different arts including guitar, piano, drums, flamenco, and capoeira. When she first heard the Indonesian gamelan, she was naturally drawn to it because of its complex musical rhythms.
Andrea was introduced to gamelan while working at the Museum School in 2003 and has been in love with it ever since. She has studied and performed with many teachers including Dr. Alex Khalil, Putu Hiranmayena, Tyler Yamin, Djoko Walujo, and Made Lasmawan. Her primary focus has been Balinese gamelan angklung, but she has also studied Javanese gamelan, gender, and Indonesian dance under Wuri Wimboprasetyo.
Andrea is a member of the USD Gamelan Ensemble, Gunung Mas, and performs with them on a regular basis. At USD, her enthusiasm for learning and playing is almost unmatched and her participation is very much appreciated. She has taught beginning and intermediate gamelan angklung at the Museum School for about 10 years. Andrea is determined to continue developing her abilities and teaching skills so she can help her students find the inspiration to be creative in their daily lives.
On July 16, 2015 the California Arts Council (CAC) announced the investment of more than $4 million in arts education across the state. The Center for World Music is one of fifteen San Diego-based arts organizations to be funded through the CAC Artists in Schools grant program. The Center will receive $11,400 in support for World Music in the Schools, a program that integrates world music and dance into arts learning for San Diego students.
The CWM will use the grant to support four year-long, in-depth residencies providing instruction by professional native/native trained teaching artists in four selected K-8 San Diego area schools. Traditional music and dance from India, Africa, Iran, and Indonesia will be represented. Weekly classes will be offered to both beginning and advanced students. All classes will be hands-on, providing group dance and music lessons.
“This program is deeply appreciated by schools and students, and in high demand,” said Monica Emery, the Center’s executive director. “It is especially important in an environment in which funding for arts education has been drastically cut.” Emery cited studies demonstrating the positive effects of music education on self-esteem, discipline, and academic achievement.
For further information, contact Monica Emery, executive director, 619.363.3007.
https://centerforworldmusic.org/wp-content/uploads/2015/08/Javanese-gamelan-at-SDFAS.jpg6271200Lance Nelsonhttps://centerforworldmusic.org/wp-content/uploads/2014/06/logo_w_red_type_52.pngLance Nelson2015-08-25 12:39:582020-11-27 17:05:20CWM Awarded $11.4K Grant from CAC for World Music in the Schools
We extend a warm welcome to Hirotaka Inuzuka, who joins World Music in the Schools as a teaching artist. Hirotaka will be Balinese gamelan instructor at the San Diego French American school, beginning this fall.
A specialist in Indonesian gamelan music, Hirotaka began playing Balinese gamelan during his undergraduate studies in Ethnomusicology at UCLA. He continued to deepen his knowledge of Indonesian music and dance at California Institute of the Arts under the mentorship of I Nyoman Wenten, where he earned his MFA in World Music Performance. He continues to travel to Bali regularly to expand his expertise and study with Bali’s most renowned artists and teachers.
Currently Hirotaka is a prominent member of many gamelan groups in the greater Los Angeles area, such as Burat Wangi, Pandan Arum, and Bhuwana Kumala. He has performed in the United States, Japan, and Bali, participating in events such as the Bali Arts Festival and Bali Mandara Mahalango. In October of 2014, he played as part of Performing Indonesia at the Smithsonian Institute in Washington, D.C. Hirotaka has taught gamelan privately, as well as at workshops and community classes in Southern California, including the “Music of Bali” series at Art Share LA in 2014 and at Glendale Community College in 2015. In 2014, he established Sekaa Gambuh Los Angeles, a group dedicated to play the music of Gambuh dance drama. Facing extinction due to Bali’s modernization, Gambuh is one of the oldest surviving Balinese dance forms.
With his focus on teaching and performing gamelan music, Hirotaka has opened his own community gamelan studio in Tujunga, California, where he teaches and trains new players in order to further the preservation and performance of gamelan music in North America.
https://centerforworldmusic.org/wp-content/uploads/2015/08/Hirotaka-Inuzuka.jpg6271200Lance Nelsonhttps://centerforworldmusic.org/wp-content/uploads/2014/06/logo_w_red_type_52.pngLance Nelson2015-08-22 16:33:422018-08-03 15:09:28The Center Welcomes Gamelan Artist Hirotaka Inuzuka to World Music in the Schools
One of the most important things students do in Miles Shrewsbery’s music classes at the Museum School and at Hawking Charter School is take off their shoes.
This is no ordinary music class. An American tabla artist and teaching artist for the Center for World Music, Miles instructs students grades K–6 how to play a North Indian percussion instrument called the tabla. An essential part of studying the tabla, like many traditional world music instruments, is the passing on of the symbolic meaning and special significance of the instrument and its cultural origins. Miles teaches the geography of North India, its language, and the stories about the history and masters of the instrument. Students also learn the various customs surrounding this musical tradition.
“These elements are inseparable from the music. The context of music is what creates the unique feelings and expressions from a given culture,” says Miles.
Miles teaches his students that playing the tabla is more than the physical act of playing the drums. It’s also about understanding a worldview — something that Miles came to realize through his own study of the tabla in India and the US.
From the moment Miles first heard the tabla at age 17, “it was love at first sound.” He had an immediate connection with the instrument, even though he knew nothing about India and its culture.
Miles’ teachers, Abhiman Kaushal and Pandit Nandkumar Bhatlouande of Hyderabad, India, educated him about the rich context in which the tabla originates. “In addition to practicing, I studied the language, values and the cultural practices. For example, I learned about respect and responsibility for one’s family, one’s teacher and to the tradition of the tabla — the whole interchange.”
Removing your shoes before playing the tabla is one of the practices Miles encourages in his students. He explains, “we remove our shoes just before playing the tabla. Why? On the practical side, most activities in India are traditionally done sitting crossed legged on the ground, so this is a way of keeping the space clean. On the spiritual side of things, the idea comes from within Indian music. We believe that the instrument is a pathway to God, so in a sense, removing your shoes signifies both respect and cleanliness to the instrument and what it represents. We also never step over the instrument, much like the Indonesian gamelan, because it is disrespectful to show the bottom of one’s feet toward something as sacred as an instrument.”
The students of the Museum School and Hawking Charter School are exposed to many of the most important skills, knowledge, and wisdom Miles has gained from his years of dedication to the tabla. Each student is now part of a long continuum of musicians who have passed down the artform within one of the oldest musical traditions in the world. Not bad for an elementary school music class.
“We really underestimate how much children can register when it comes to developing a broader cultural understanding,” Miles says. “I’m always amazed at how much children can master, both at the level of playing the instrument and of understanding the cultural nuances of the tradition. I wish adults were such quick studies!”
Miles Shrewsbery is an American tabla artist and disciple of Sri Abhiman Kaushal and Pandit Nandkumar Bhatlouande of Hyderabad, India, as well as a co-owner of Avaaz Records. Miles is trained in the Farukhabad Gharana of his teachers and is a respected performer of its rich, aesthetic repertoire through his years of dedicated study and practice. Miles has performed all over the world in prestigious venues such as the Symphony Space (New York City), Smithsonian Museum (Washington D.C.), Tokyo Museum of Modern Art (Tokyo, Japan), Royal Horticultural Hall (London, England), and St. Paul Cathedral (New York City). He has performed with top musicians such as Shujaat Khan, Deepak Ram, Googoosh, Cheap Trick, and Yusef Lateef. Some notable soundtracks and recordings where Miles’ tabla and percussion can be found are: Sinbad (Dreamworks 2003), The Rundown (Columbia 2003), The Riches (FX 2007), Yusef Lateef and Adam Rudolph – Into the Garden (Meta Records 2003), Dave Stringer – Divas and Devas (Spirit Voyage 2007), and Dave Stringer – Yatra (Silenzio 2011). In 2004, Miles earned a B.A. in ethnomusicology from UCLA, and in 2009, he earned an M.A. in ethnomusicology from UCR. In 2012 Miles was awarded the American Institute of Indian Studies’ Senior Performing Arts Fellowship, which supported Miles to further his studies and practice in New Delhi, India for one year. Currently, Miles is a teaching artist in residence for the Center For World Music in San Diego, California.
To see video of Miles performing, please visit these links:
https://centerforworldmusic.org/wp-content/uploads/2015/07/994404_266645623488942_1203870603_n.jpg486800Monica Emeryhttps://centerforworldmusic.org/wp-content/uploads/2014/06/logo_w_red_type_52.pngMonica Emery2015-07-22 20:20:492019-05-30 10:09:45Miles Shrewsbery and the Cultural Context of the Tabla
We are pleased to share that Putu Hiranmayena, Balinese gamelan musician and much loved teaching artist for the Center for World Music, will be pursuing a Ph.D. at the University of Illinois Urbana-Champaign in Ethnomusicology in the fall of 2015.
To help bid Putu a happy journey we asked Phil Beaumont, Director of the Museum School and David Harnish, Ph.D., Chair and Professor, Music Department, University of San Diego, to write a few words on their experiences working with Putu.
When one walks into the classroom, whether young or old, one can immediately feel the essence of Putu’s passion for Balinese gamelan and, in particular, teaching it to children. HIs smile is contagious, and sets a tone for our students to learn to love the intricate music they play. Putu understands that music is meant to be enjoyed and to be a part of who we are. After teaching students the many possible variations of a piece, he allows them to take ownership as a group and develop their own arrangements for performance. In doing so, he has captured them as musicians, and they can then capture their audience. A true gift.
— Phil Beaumont, Director of the Museum School
For me, I Putu Adi Tangkas Hiranmayena just showed up. I had no idea that other parties (e.g., Alex Khalil, The Museum School, the CWM, and his father [I Made Lasmawan]) had played a part in bringing him to San Diego. Putu contacted me out of the blue, told me he was the son of Pak Lasmawan (a good friend), and volunteered to join the USD Gamelan Ensemble, which I had just started the previous year. What a stroke of luck! Putu had not done a lot of work directing ensembles before coming to San Diego, but he was a skilled musician and drummer and knew a number of tunes. I immediately arranged a stipend for him, and later asked that he direct our gamelan (Balinese gamelan angklung), which he did for two years.
I saw him blossom into a fine and dynamic director, adding his own innovative ideas here and there to the repertoire. He communicated well with our students and got everyone excited about playing as he increased the tempo. He also demanded that students play with precision. We at USD will really miss him and I will personally miss him a lot, but I am very proud of his accomplishments and know he will be in good hands at University of Illinois, where he will team with I Ketut Gede Asnawa and the ethnomusicology faculty. His ideas of metal and gamelan and contemporary music may come further to fruition. Hopefully, we will all see him again some day back in San Diego. I intend to visit him in Bali as well and to meet him at ethnomusicological conferences.
— David Harnish, Ph.D., Chair and Professor, Music Department, University of San Diego
We always knew Putu would one day continue his formal education in ethnomusicology and experimental arts academia. The Center for World Music bids him the best in all of his future endeavors, and thanks him for his contributions to our musical and cultural efforts in San Diego.
While pursuing his Ph.D., Putu will continue work in Balinese gamelan, improvisation, and high adrenaline activities. This includes development of theories in embodiment and creative practices. He hopes to start a gamelan ensemble emphasizing real-time composition.
https://centerforworldmusic.org/wp-content/uploads/2015/07/Putu-Alex-e1442949547435.jpg674900Monica Emeryhttps://centerforworldmusic.org/wp-content/uploads/2014/06/logo_w_red_type_52.pngMonica Emery2015-07-22 15:07:022015-08-22 15:22:28Fond Farewell to Putu Hiranmayena
Natasha Kozaily grew up on the small island of Grand Cayman in the Caribbean Sea, 180 miles south of Cuba and 195 miles west of Jamaica. Her parents came from opposite sides of the globe (her mother, a native Cayman Islander, and her father, far from his native Lebanon), resulting in Natasha’s deep love and curiosity for the wide world around her. This can be seen throughout her music, teaching, art, and life.
Natasha has been a teaching artist for the Center’s World Music in the Schools since 2015, when she conducted a 12-week residency teaching Caymanian song and folklore at the San Diego French American School. Natasha has subsequently taught for the CWM at several other schools, including Hearst Elementary and the Museum School, where she also teaches ukulele and songwriting.
A nomad and creative tour de force, Natasha embraces the arts in all its forms. Lover of the stage and theater, she honed her craft at The American Academy of Dramatic Arts in New York City where she graduated in 2007. She studied classical piano from the age of seven, and graduated in 2010 with a Bachelor of Arts in Music from Cardiff University in Wales, specializing in Ethnomusicology. Her undergraduate ethnomusicology thesis entitled “An Island’s Story: Told through the music of Julia Hydes” is celebrated and treasured as the first and only in-depth writing on Caymanian folk musician and drummer, Miss Julia Hydes (b. 1909, d. 2015). In 2014, Natasha was honored in celebration of Cayman’s National Heroes Day with The Emerging Pioneer Award for her significant contribution to the culture and heritage of the Cayman Islands.
After graduating, Natasha moved to San Diego, California where she now writes, records and performs music under the moniker NATULA. When Natasha is not touring she enjoys sharing the gift of music with others, teaching private piano, ukulele, and voice to students of all ages at Kalabash School of Music and the Arts in the Bird Rock neighborhood of La Jolla. She also teaches various workshops on Caymanian Folk Music and Songwriting to kids and adults in San Diego and abroad. She believes that music is not only a wonderful tool for self-expression, but also a key to understanding ourselves and humanity in this beautifully diverse world we all belong to.
https://centerforworldmusic.org/wp-content/uploads/2015/06/NatashaKozaily.jpg640960Monica Emeryhttps://centerforworldmusic.org/wp-content/uploads/2014/06/logo_w_red_type_52.pngMonica Emery2015-06-23 09:03:192018-10-25 10:09:55Natasha Kozaily, Nomad and Creative Tour de Force
In 2013 Mr. Imhoff was awarded a grant through the Artist Outreach Project of the Kenneth A. Picerne Foundation–funding to support teaching children in Encinitas at the Boys & Girls Club of San Dieguito. The Center for World Music partnered with the Picerne Foundation and Ticha Muzavazi, instrument builders and teacher of students with disabilities in Zimbabwe, to develop specially made small-sized Zimbabwean mbiras that could be easily played by young children. The resulting year-long project subsequently developed into Center for World Music classes in public and private primary schools throughout the County of San Diego.
