Africa Archives

Preserving Cultural Heritage Through Drumming: Teaching Artist Monette Marino

in CWM News, World Music in the Schools/by Laurel Grinnell-Wilson

Monette Marino is an accomplished percussionist, well-versed in several drumming traditions from around the world, including those of West Africa (Guinea and Mali), Cuba, Brazil, and Korea. She has studied with a multitude of revered master teachers, including Malian drummer Yaya Diallo, Korean drummer Kim Duk Soo, and particularly Guinean Master drummer Mamady Keïta.

Monette has performed globally for decades with elite folkloric drum and dance ensembles, including Mamady Keïta’s Sewa Kan, Sabougnouma GPS, Les Amazones, Omo Aché, Afrekete, Zinco, and Sol e Mar. Additionally, she has performed in the popular music arena with many notable local musicians as well as international stars. Appearing on American Idol and The Voice, she has played everything from jazz to salsa, samba, reggae, funk, disco, soul, R&B, rock, and even country music.

Monette continues to explore many drumming traditions and disciplines from around the world. She has a deep respect for the cultural heritage preserved and passed on through the language of the drum.

In addition to her robust performance career, Monette is a sought-after teacher. In 1995 she founded Baraka International Arts, since renamed the MO’RHYTHM School of Percussion. A non-profit organization, the school fosters participation in traditional West African drumming and dance, and seeks to preserve and transmit the Mandingue musical tradition, as a way of promoting tolerance, understanding, equality, and international peace.

Monette has extensive experience teaching West African djembe drumming in both private and group lessons to students young and old. In her World Music in the Schools drumming classes, students are inspired to take risks and express themselves. A patient and amiable instructor, Monette is passionate about bringing people together through music and seeing them smile.

Refugee Artists in San Diego, June 2018

in CWM News/by Admin

The Center for World Music celebrates the inaugural season of Songs and Stories: Refugee Artists in San Diego, a CWM project that bridges the distance between San Diego’s refugee population and the general the public through the performing arts.

San Diego County is known as a relocation hub for those fleeing persecution and violence. Over the past year, CWM project volunteers and staff worked with local refugee communities to identify performers and artistic leaders. We then facilitated opportunities for these artists to creatively interface with the public, allowing audiences to become immersed in the traditions, journeys, and voices of those finding refuge in San Diego. Through creative arts the CWM aimed to share refugee experiences and contributions, reduce the social distance between San Diego public and its refugee communities, and encourage support of refugee communities.

During the month of June 2018, 49 musicians performed in three locations across the City of San Diego. The events, which drew large and enthusiastic audiences, were hosted by the San Diego Public Library system.

The Songs and Stories series opened on June 6 with Voices of Hope from Africa at the San Diego Central Library The event featured Matrida Boazi, the Revelation Gospel Band, and Emmanuel Adamson, with the discussion led by Delores Fisher, musician and San Diego State University lecturer.

Here’s a short video of the Voices of Hope concert.

The next event was Musicians of the Middle East on June 16 at the Logan Heights Branch Library. Featured were Fouad Sawa and the Al-Salam Ensemble, along with Dlan Dary. The discussion was led by Dr. Alex Khalil, neurocomputational ethnomusicologist and project scientist at the University of California, San Diego.

See more of Musicians of the Middle East in this short video.

Culminating the series was Transformations Through Rhythm & Word on June 21 at the City Heights/Weingart Library and Performance Annex. The program featured storyteller Ari Honarvar, poet/songwriter Shadi Amini, and Shiffa: Refugee Women’s Drum Circle, lead by Dilkwaz Ahmed, Ari Honarvar, and Christine Stevens. The discussion was led by Vikas Srivastava, musician, author, and advocate of non-violence and social equity.

KPBS aired a nice video on Transformations Through Rhythm & Word.

This project was made possible with support from California Humanities, a non-profit partner of the National Endowment for the Humanities. Any views, findings, conclusions, or recommendations expressed in these programs do not necessarily represent those of California Humanities or the National Endowment for the Humanities.

This project was also made possible with matching funds from the Peacemakers Fund and through a partnership with the San Diego Public Library system.

Financial support was provided by the City of San Diego Commission for Arts and Culture.

The CWM expresses sincere thanks to the San Diego Refugee Forum, the International Rescue Committee, Musical Ambassadors of Peace, UpBeat Drum Circles, License to Freedom, and San Diego Newcomers Support & Development Programs.

September is Mbira Month

in CWM News/by Lewis Peterman

Celebrating Mbira Month

Mbira Month is a 30-day, global celebration of a Zimbabwean traditional musical instrument called the mbira. Mbira Month provides an international platform for celebrating and sharing traditional spiritual aspects of Zimbabwean Shona culture with all humanity. As both a musical instrument and a type of classical music, mbira is a “telephone to the spirits” associated with centuries-old cultural practices and religious beliefs. It is a vehicle for communicating deep human spirituality, both inside modern Zimbabwe and around the contemporary world. The Center for World Music celebrates Mbira Month by sponsoring and coordinating a series of events in San Diego and in Japan—lessons, meditations, public concerts, informal presentations, and an informal get-together for mbira players in Southern California. See events here.

—Lewis Peterman, Ph.D., Professor Emeritus, School of Music and Dance, San Diego State University

Nomsa Burkhardt, Teaching the Traditional Music of the Zulu and Xhosa Peoples of South Africa

in CWM News, World Music in the Schools/by Monica Emery

The Center for World Music is proud to include Nomsa Burkhardt in our family of outstanding teaching artists in residence. She is a vital contributor to our World Music in the Schools program.

Born in Soweto, Center for World Music distinguished teaching artist Nomsa Burkhardt is an extraordinary South African musician and dancer. She spent her formative years in KwaZulu, Natal, a region famous for its rich Zulu heritage and culture. There, she studied various traditional dance styles with master dancers, such as Indlamu, ukuQhobosha, and ukuSina. After immigrating to Philadelphia, she co-founded the African dance troupe HIMOSHA. Her artistic skills and passion for dance quickly propelled her into serving as both the director and lead choreographer for the troupe for seven years. She collaborated with well-known Philadelphia-based South African multi-instrumentalist and artist Mogauwane Mahloele at the Philadelphia Museum of Art, the Walt Whitman Cultural Arts Center, and at many universities and schools. She also performed and conducted workshops annually at the Philly Dance Africa Project. In 2000 she returned to South Africa to study with the accomplished ethnomusicologist Prof. Meki Nzewi at the University of Pretoria.

Upon her return to the USA in 2004, she joined the Grammy-nominated South African band Sharon Katz & The Peace Train. As part of the Peace Train Project at the National Liberty Museum in Philadelphia, Nomsa was instrumental in developing a teacher-training program that focused on South African history and conducted a series of educational performances. Nomsa has toured throughout the USA, South Africa, Israel, Italy, and Germany. She is the co-founder of IZINDE, an Afro-fusion band composed of performing artists from around the world.

Under the sponsorship of the Center for World Music, Nomsa was selected in September 2017 to participate in the Teaching Artist Institute, a professional development program offered by Arts for Learning San Diego, 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. Nomsa was awarded a Virgil Yalong matching grant from Rising Arts Leaders San Diego to support her participation in the Teaching Artist Institute.

Nomsa Burkhardt at Garfield Elementary

Nomsa is a distinguished teaching artist for Center for World Music’s NEA-funded hands-on schools program. Her student-centered curriculum exceeds California arts standards by bringing joy and heartfelt fun into San Diego classrooms, while addressing core learning outcomes. Through the study of the traditional music and dance of South Africa, Nomsa’s classes focus on the importance of history and culture in the creation of music, the use of musical instruments, and the expression of community unity and collaboration through the performing arts. Students learn the geographical origins of musical instruments, increasing their global awareness and providing them with a global context to the music and dance of Zulu and Xhosa cultures. Nomsa integrates the science of making musical instruments in her program, and her students enjoy a diversity of music-making through singing and games that involve stories and simple songs, enhancing the connections to other disciplines such as literacy and math.

World Music in the Schools and the children of San Diego are fortunate to have Nomsa Burkhardt spreading joy and understanding through the traditional music and dance of South Africa.

Maluju – Stop Xenophobia By Nomsa

Video of Nomsa teaching South African Zulu Music and Dance

Garit Imhoff, Musician and Storyteller

in CWM News, World Music in the Schools/by Monica Emery

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.

The Banjer, aka the Banjo

in World Music Instruments/by Curt Bouterse, Ph.D.

This article is one in a series of reports on the fascinating variety of musical instruments that audience members and students encounter through Center for World Music programs.

MORE INSTRUMENTS

The banjo (its city name), or banjer (its traditional country name) is often thought of as a uniquely American musical instrument. And that is true, as far as it goes. But, like almost everything that wasn’t already here before the Europeans landed, its origins lie elsewhere. When Africans were brought to the New World as slaves, they brought the knowledge of a wide variety of instruments with a neck and a body covered with skin. While there were similar ancient instruments elsewhere in the world, it is clear that the African pattern, especially the akonting, from the area of Senegal and the Gambia—even its style of playing—was the inspiration for the evolution of the banjo. The most likely crucible for such development was the Caribbean: the earliest observers and extant examples come from there. One of the distinctive marks of the instrument was the short, high-pitched string played as an intermittent drone.

A painting, before 1790, is perhaps the earliest depiction of the instrument in the United States.

Early chroniclers in the United States included Thomas Jefferson, who characterized it as a distinctive instrument of the slaves in Virginia. Somewhere along the way European influences such as tuning pegs and a flat fingerboard were added. Probably for practical reasons, the usual gourd-bodied construction was superseded by a drum-like shell and transformed into its modern form; early 19th century instruments are clearly recognizable as the banjo as we now know it.

A genre painting by William Sidney Mount, 1856, showing its early modern form.

A genre painting by William Sidney Mount, 1856, showing the instrument in its early modern form.

Follow these links to see videos of musicians playing a modern gourd banjo & fiddle, the author playing a small gourd banjo of his own making, the akonting (the banjo’s most likely ancestor), and the ngoni, another West African instrument.

— Curt Bouterse, Ph.D. is a member of the Center for World Music’s Advisory Board, and is a historical scholar, organologist, traditional musician, and instrument maker widely respected for his deep knowledge of Early and Medieval Music, World Music, and American Folk Music.

The Karimba Mbira of Zimbabwe

in World Music Instruments/by Garit Imhoff

This article is one in a series of reports on the fascinating variety of musical instruments that audience members and students encounter through Center for World Music programs.

MORE INSTRUMENTS

The mbira is a hand-held musical instrument that evolved in sub-Saharan Africa. In its many different forms, it is capable of producing both intimate singable melodies for meditation and vigorous percussive rhythms for dance. It can be used to delight and entertain, or it can be used to lend solemnity to religious ceremonies. Made from a small block of wood, with rows of tuned metal strips (lamellae) attached, the mbira naturally produces a subdued soft tone that can be amplified by placing it inside a large hollowed-out calabash gourd resonator (deze).

The mbira can be played as a solo instrument or as part of an ensemble, with other mbiras or with drums (ngoma) or rattle shakers (hosho). When two mbiras are played together, each renders a different but complementary interlocking musical part (kushaura or kutsinhira). As a native-trained teaching artist, I currently teach a type of solo mbira from Zimbabwe—the karimba—in the San Diego K-12 public schools.

— Garit Imhoff, World Music in the Schools Teaching Artist

See the mbira in action on YouTube. Also, San Diego students playing the Zimbabwean karimba.

View Teaching Artist Garit Imhoff in performance with Zimbeat on YouTube.

Where in the World is Matt? An Uplifting Video

in CWM News/by Lance Nelson

A must-see video if you haven’t seen it; wonderful to watch again from time to time if you have. Not traditional music, but otherwise embodies very nicely the spirit of the Center for World Music’s mission . . .

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