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Teaching Artist Matthew Clough-Hunter

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The Center for World Music is delighted to profile World Music in the Schools teaching artist Matthew Clough-Hunter.

Matthew Clough-Hunter is a Los Angeles-based performer, composer, and educator who specializes in several Balinese gamelan traditions including angklung, gong kebyar, gendèr wayang, gambuh, kecak, and gamut. He is a member of several gamelan ensembles based in Southern California: Burat Wangi, a community-based gamelan at CalArts directed by I Nyoman Wenten; Merdu Kumala, a community-based gamelan directed by Hirotaka Inuzuka that teaches gamelan workshops and performs throughout the country; Giri Kusuma, a gong kebyar ensemble affiliated with Pomona College; and Sekaa Gambuh, an ensemble that specializes in an ancient repertoire played with meter-long bamboo flutes.

Recently, Matthew taught gamelan at Opus 6 (a summer camp program organized by the Santa Monica Youth Orchestra), participated in Performing Indonesia at the Smithsonian Institute in Washington D.C., and performed with renowned Indonesian guitarist Balawan.

Matthew earned an MFA from California Institute of the Arts in World Music with a focus on Indonesian music and composition, and a BFA from Denison University in Music Performance on jazz guitar. Outside of his work in the realm of gamelan, Matthew enjoys songwriting and performing. His songs can be found under the artist name “Cloudhopper” on streaming sites such as Spotify. Music composition, performance, and education are among the strongest driving forces in Matthew’s life, and he feels “so happy when [he] can excite someone about the possibilities of their input in music.”

Matthew Clough-Hunter and Hirotaka Inuzuka performing gender wayang

Gamelan Merdu Kumala performing at the 2022 Balinese Gamelan Festival in Colorado

Kaylie Kirby: A Full Circle Experience

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Student Kaylie in Museum School class (back right)

In 1999, Kaylie took her first class in Balinese gamelan and dance at Museum School in San Diego. It was a new charter school with a new vision: to incorporate music and other creative arts—seen as fundamental to child development—into the standard curriculum. The Museum School reached out to the Center for World Music (CWM) for help. It was the very first year of the CWM’s youth education program, World Music in the Schools, and the beginning of what would become some of the organization’s most rewarding work: matching accomplished and experienced teaching artists to residency programs within San Diego area K–12 schools.

Kaylie Kirby was in 5th grade when the Balinese gamelan program was initiated at Museum School, where she studied under I Nyoman Sumandhi (music) and Ni Putu Sutiati (dance), and later Alex Khalil (music) and Kaori Okado (dance). Training in music and dance was offered to students at Museum School, which at the time included 3rd through 6th grade. There was also an after-school program for intermediate and advanced students. Kaylie thrived in this program, taking lessons during school hours and participating in the after-school program during her years attending Museum School.

Kaylie with daughter

Upon graduation from 6th grade, Kaylie continued her involvement with the Museum School’s gamelan and dance program by attending weekly rehearsals after school. Alex and Kaori had created a performing group with the advanced students called Puspa Warsa, in which Kaylie had the opportunity to perform for numerous universities, festivals, and news stations all over Southern California for several years. Throughout this time, she continued to assist with the intermediate students’ after-school program at the Museum School. She also had the opportunity to study under other Balinese masters, including Dr. I Nyoman Wenten, renowned Balinese performing arts director at CalArts and UCLA. In 2018–19, she was a member of the Balinese gamelan anklung ensemble at the University of San Diego, directed by Dr. David Harnish. 

Fast forward to today; Kaylie’s daughter is currently a kindergarten student at Museum School and a member of their Balinese gamelan program, now in its 22nd year. We are excited to welcome Kaylie, as she shares her expertise and passion for Balinese arts as a teaching artist of the gamelan ensemble at Museum School!

This is a true full-circle story that humbly reminds us that the work we do and have been doing for decades in the CWM’s World Music in the Schools program is valuable, important, and to many, life-changing.

Welcome back, Kaylie!

Gamelan Project Article by Alex Khalil

Alex Khalil’s Gamelan Project Smithsonian Article

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Gamelan aficionados and music educators alike with find much of interest in this great Smithsonian article on the value of music education for kids by Center for World Music board member Alexander Khalil, PhD. Dr. Khalil offers important observations on attention in children, impaired temporal processing, ADHD, and the benefits of bi-musicality.

Our research has found a connection between the ability to synchronize with an ensemble in a gamelan-like setting and other cognitive characteristics, particularly the ability to focus and maintain attention. Our current work explores whether improvements at interpersonal time processing, or synchrony, may translate into improved attention.

Also of interest in this article is Alex’s account of the history of the Center for World Music’s World Music in the Schools program, based on his experience as a founding instructor during and after the program’s 1999 inauguration in San Diego at the Museum School:

The gamelan program at the Museum School has its philosophical roots in [pioneering ethnomusicologist] Mantle Hood’s well-known concept of “bi-musicality.” Just as one who is bi-lingual must have fluency in more than one language, one must be fluent in more than one musical language to be considered bi-musical. Robert E. Brown, who studied under Hood at UCLA and subsequently founded the Center for World Music, made his first efforts to bring world music, a term he is credited with having invented, to the elementary classroom in 1973 through his “world music in the schools” program in the San Francisco Bay Area.

Read the full text of this article on the Smithsonian Institution’s National Museum of Asian Art website.

Find out more about Dr. Khalil’s work at UCSD’s Temporal Dynamics of Learning Center.

And here’s a nice video documenting the ongoing gamelan program at the Museum School.

Hirotaka Inuzuka

The Center Welcomes Gamelan Artist Hirotaka Inuzuka to World Music in the Schools

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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.

See Hirotaka Inuzuka on YouTube: Interview and Profile | Hirotaka’s YouTube Home Page

Fond Farewell to Putu Hiranmayena

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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

 

putuhiranmeyaWe 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.