BIOGRAPHY

royal hartigan is a percussionist, pianist, and tap dancer who has studied and performed the musics of Asia, Africa, Europe, West Asia, and the Americas, including indigenous West African drumming, dance, song, and highlife; Turkish bendir frame drum; Japanese taiko drumming; Philippine kulintang gong and drum ensembles; Chinese Beijing, Cantonese, and Kunqu opera percussion; South Indian solkattu rhythms; Korean pungmul drum and gong ensemble; Javanese and Sumatran gamelan; Gaelic bodhran; Native American drumming; Dominican merengue; Brazilian samba; Cambodian sampho drums, Vietnamese clapper percussion, European symphony; and African American blues, gospel, funk, hip-hop, and jazz traditions.

He performs, gives workshops, and records internationally with his own blood drum spirit ensemble and master artists (blood drum spirit, 1997 and 2003, Innova; ancestors and blood drum spirit: the royal hartigan ensemble live in china, both Innova, 2008), Juba (Look on the Rainbow, 1987), Talking Drums (Talking Drums, 1985 and Someday Catch, Someday Down, 1987) the Fred Ho Afro-Asian Music Ensemble (We Refuse to be Used and Abused and Song for Manong, 1988, Underground Railroad to My Heart, 1994, Monkey Epic: Part 1, 1996, Turn Pain into Power, 1997, Monkey Epic Part 2, 1997, Yes Means Yes, No Means No! 1998, Night Vision 2000), Hafez Modirzadeh's Paradox ensemble (Chromodal Discourse, 1993 and The People's Blues, 1996, The Mystery of Sama 1998), the David Bindman-Tyrone Henderson Project (Strawman Dance, 1993 and Iliana's Dance, 1996), Nathaniel Mackey (Songs of the Andoumboulou, 1995), Michael Heffley (Collaborations with Dead and Living Males and Females from Different Gene Pools; Fishy Scales, Fuji Scaled; Big and Little Instrus, Parts 1 and 2; 1999, 2003, 2007, Heffleyrecords), soundSFound Orchestra (Classical Stretch, 2005), Global Phatness (Suraghati, 2005), Paul Austerlitz (Journey, 2008). He has released a documentary and artistic video of his work in West Africa and its relation to the African American music cultures (eve).

royal is involved in ongoing research on the music, culture, and meaning of the music, dance, and expressions of the world’s peoples. He has received many awards for global research, performance, and teaching. These include an Asian Cultural Council Research Grant for the Philippines (2009), a J. William Fulbright Lecture/Research Award through the U.S. State Department for the Philippines (2006), a New School University (NY) Dean’s Resident Master Artist Award (2005-06), and a Korean Foundation Fellowship (2001). Also, research awards from San Jose State University for Ghana, West Africa (1994-97) and China (1999), the Middletown Commission on the Arts (1989-93), the National Endowment for the Arts (for study with Edward Blackwell, 1986), the Pittsfield, MA, Arts Council (1986), and scholarships from UMass Amherst (1979-81) and Wesleyan University (1981-86).

He has received numerous international research and teaching grants from UMass Dartmouth, including a Dean’s and Healy awards for China (2001), Innovations in Teaching (for China, 2001, and 2004), a SACHEM grant (2003), Chancellor’s Public Service for community projects (2004), Provost’s Travel grants for China and Africa (2004). He is also an endorsee for Vic Firth Sticks and Mallets, Istanbul Cymbals, and Remo drumheads.

His publications include Blood Drum Spirit: Drum Languages of West Africa, African America, Native America, Central Java, and South India, a 1700-page analysis of world drumming traditions (UMI/ProQuest); articles in Percussive Notes, World of Music, Annual Review of Jazz Studies, Music in China, and The African American Review; a book with compact disc, West African Rhythms for Drumset (Manhattan Music/Warner Brothers/Alfred 1995, 2004), and two with digital video disc, Dancing on the Time (Tapspace 2006), and West African Eve Rhythms for Drumset (Print Tech 2008). He has given lectures and clinics on world music and jazz in Africa, China, the Philippines, Europe, and North America. royal travels to West Africa most summers to teach, perform, and do research, collaborating with master artists and the people of various villages, including the Dagbe Cultural Centre at Kopeyia Village, Volta Region, Ghana, the Dagara Music Centre in Midie, Ghana, and Mampong, Asante Region, Ghana.

He was awarded an A.B. in philosophy from St. Michael's College in 1968, specializing in medieval metaphysics and the existentialism of Albert Camus and Jean-Paul Sartre. royal received a B.A. degree in African American music with honors at the University of Massachusetts, Amherst in 1981, studying with Roland Wiggins, Frederick Tillis, Reggie Workman, Archie Shepp, Max Roach, and Horace Clarence Boyer. He earned his M.A. and Ph.D degrees in world music and ethnomusicology at Wesleyan University in 1983 and 1986, studying intensively with ethnomusicologist David McAllester and Bill Lowe, Bill Barron, Edward Blackwell, Freeman Kwadzo Donkor, Abraham Kobena Adzenyah, and other master artists/scholars from Java, India, and Ghana, West Africa.

royal has taught ethnomusicology, African drumming, and world music ensemble at the New School University (formerly the New School for Social Research) in New York and the graduate liberal studies program at Wesleyan university. He helped develop and taught graduate and undergraduate courses in world music, large and small jazz ensembles, experimental music ensemble, Asian music ensembles (Philippine kulintang and Javanese gamelan), African American music history, and West African drumming and dance at San Jose State University before assuming a position as professor in world music at the University of Massachusetts Dartmouth. He has taught music theory and fundamentals, western music history, and introduction to world music at UMass Dartmouth, and currently teaches music of the African diaspora, area studies, and world music survey there. royal has served on the numerous university, college, and Music Department committees as well as initiating grants for numerous workshops and concerts of world music from 1999 to the present.

Personal Philosophy

as an artist, scholar, student, and human i cannot work among the peoples of the world as a distanced observer, blind to the daily inequities and suffering which infect most of our planet. i cannot gather information, record melodies, transcribe rhythms, and learn dance movements without seeing the villagers' hunger, illness, and lack of clothing and shelter. i cannot return home to perform and contribute books and recordings as if all is well, pretending, covering the underlying reality, the paradox of ancient, powerful, spiritual music born from constant pain and struggle for survival. i cannot have a worldwide website and ignore the people who give us music and dance.

the human path has been a story of physical survival. with the accumulation of surplus wealth since the middle ages, humanity has been largely coerced into a role as competitive economic individuals and societies. now at the nadir of a barbarian competitive way of life, we stand at a crossroads of extinction due to our blindness. if we do not realize our true human and spiritual essence we are doomed to self destruction: that life can and should be a cooperation in an interdependent worldwide family, where we are part of, not separate from, nature, caretaking it, rather than controlling it for ego-driven self gain in a styrofoam narcissistic disposable society.

the clear cutting of forests at the stroke of a lobbyist's pen; the pollution of our air, water, land, bodies, minds, and spirits to maximize profit margins; the denial of health care, education, and opportunities to the world's masses while the few enjoy privilege, at a time when elderly people are thrown into concentration camps called nursing homes, guns are rampant, and worth is judged by material possessions; the control of discourse by mainstream government, media, and educational institutions; and the colonial penetration into the so-called third world by multinational corporations, extracting resources, people, and wealth with the same results as slave ships; these are all genocide against people and the world which must be confronted and stopped if we are to survive.

the historical reality of 600 years of colonial and neo-colonial penetration has made our globe into a grand prison where people are herded into geographical and psychological cells, a wall street garage sale, with everything available to the highest bidder - money, television, and technology as the new gods. the result is a twenty-first century economic-based totalitarianism arising from the information revolution just as the american robber baron abuses were spawned by the nineteenth century and earlier industrial revolution. the ill-named american dream is in effect the world's nightmare, a walt disney snake oil sideshow, lying to us about the reality of history and of our time. yet time and space do not alter truth: we are all responsible for each other, and what happens in a boardroom in new york or a government office in washington, tokyo, or paris affects someone's life in tanzania, yesterday, today, and tomorrow.

history has so far been kind; since world war two we have had the ability to wipe life off the earth, and have avoided that possibility. if we do not change we will destroy all that is living on this planet through nuclear, radioactive, chemical, biological, mental, and emotional holocaust.

i am an egalitarian. i believe in the equality of all peoples and value of all cultures and their artistic expression. political equality means nothing without economic, social, and cultural equality. no one has a right to a pair of shoes until everyone has a pair. in my view, self interest and greed is not a valid motivation for work or activity. meaningful activity is done for its own sake or the welfare of others. we are part of nature, not its dictators or controllers. property necessary for survival and lifework is at most a temporary custodianship for the creator, as many native americans believe. excess property and control is theft.

social, economic, political, academic, or personal hierarchies are betrayals of human social justice and equality. the world has historically functioned as a grand plantation with a minority of wealthy and powerful people committing daily direct and indirect murder against the masses. this old-new world order should be replaced with a radical redistribution of wealth, so that people may eat, be clothed, sheltered, and live in a dignified way in their communities, able to pursue their humanity and spirituality. we are not economic animals or usable pawns; we are spiritual, rational, emotional, creative beings.

my music is inspired by the spirit of world cultures voiced through an african american idiom, as a symbol of the equality and worth of all peoples. as trumpeter dizzy gillespie said, ‘we are all different branches of the same tree, each with its own unique and beautiful fruit.’

CURRICULUM VITAE

royal james hartigan
Music Department
College of Visual and Performing Arts
University of Massachusetts Dartmouth
285 Old Westport Road
North Dartmouth, MA 02747

Tel. (508) 999-8572
email: royaljhartigan@yahoo.com
web site: www.royalhart.com

EDUCATION

Wesleyan University, Middletown, CT, Ph.D. Ethnomusicology and World Music, 1986. Dissertation: Blood Drum Spirit - Drum Languages of West Africa, African America, Native America, Central Java, and South India. 1700 pages with 30 audio cassettes.

Wesleyan University, M.A. World Music, 1983. Thesis: The Drum: Concepts of Time and No Time, from African, Latin American, and African American Origins

University of Massachusetts, Amherst, MA, B.A. with honors in African American music, 1981

Saint Michael’s College, Winooski/Colchester, VT, A.B. cum laude in Philosophy

TEACHING

Professor, UMass Dartmouth, world music, area studies, African and African American traditions, ensembles; fall 2009 - present

Asian Cultural Council Fellow, teaching African music and dance and conducting research in traditional Maguindanaon Kulintang and Kalinga Gangsa music, Collegio ng Musika, University of the Philippines Diliman, June – September 2009

J. William Fulbright resident faculty, visiting professor in African American traditions, world music and ethnomusicology, University of the Philippines, Quezon City, Philippines, 1 October - 30 December 2006

Associate Professor, UMass Dartmouth, world music, area studies, African and African American traditions, ensembles; fall 2003 – fall 2009

Assistant Professor, UMass Dartmouth, world music, area studies, African and African American traditions, ensembles; fall 2000 – fall 2003

Full time visiting lecturer, UMass Dartmouth, western music, theory/fundamentals, world music, area studies, African and African American traditions, ensembles; fall 1999 – fall 2000

Faculty, Graduate Liberal Studies program, Wesleyan University (CT), world music, fall 1989, summers 1993, 1998, 1998, 2000, 2002

Part time visiting lecturer, San Jose State University (CA), world music, area studies, African and African American traditions, ensembles; fall 1993 – spring 1999

Adjunct teacher, drumset and percussion, Wesleyan University, spring 1990 - spring 1993

Teacher, piano and choir, Hartford Public High School, Hartford, CT, fall 1986 – spring 1989

Graduate Teaching Assistant, world music and jazz, Wesleyan University, 1981 - 1986

Teaching of English as Second Language, U. S. Peace Corps volunteer, Malued Elementary School, Dagupan City, Pangasinan, Philippines, 1968-70

Teaching world percussion as volunteer, jazz drumset, piano at the Harambee Cultural Center, Christian Center, Pittsfield, MA, 1973 - 1981

COURSES TAUGHT

World Music Survey, Wesleyan University Graduate Liberal Studies Program 1989, 1993, 1998 - 2000, 2002; San Jose State University, 1993-99; UMass Dartmouth 1999 – present

African American Music History/Jazz in America, San Jose State University 1993 – 98

Area Studies – Asia, India, Africa, the Americas, San Jose State University, 1994 – 99

Ethnomusicology, San Jose State University, 1998 – 99

Survey of Western Music (European tradition), UMass Dartmouth, 1999-2000

Introduction to World Music, UMass Dartmouth, 1999

Theory/Fundamentals of Music, UMass Dartmouth, 1999

Large and small jazz ensembles, San Jose State University, 1993 – 99; UMass Dartmouth 2000 – 03

African drumming and song/performing ensemble, San Jose State University, 1994 – 99

African drumming, dance, and song/performing ensemble, UMass Dartmouth, 2000 – present

Experimental/combined arts music/dance/vocal/literary/video/electronic music ensemble, San Jose State University, 1998 – 99

Assist with Javanese gamelan, UMass Dartmouth, 2004 – present

AWARDS

UMass Dartmouth Provost’s Travel Grant for Society for Ethnomusicology Conference Presentation, San Francisco, CA, March 2011

UMass Dartmouth Healey Research Grant for the Philippines, April 2010, for June-August 2010

Marion and Jasper Whiting Travel Grant for the Philippines, April 2010, June- August 2010

UMass Dartmouth Travel grant for presentation in San Francisco State University, March 2010

UMass Dartmouth Chancellor’s Colloquium Award, March 2010

Asian Cultural Council Research Grant for the Philippines, 11 June–29 August 2009

J. William Fulbright Lecture/Research Award for the Philippines, 1 October-30 December 2006. Administered through the U.S. Department of State and the Council for the International Exchange of Scholars

New School University (NY) Dean’s Resident Artist Award, during UMD sabbatical, November 2005 and April 2006

Endorsee, Vic Firth Sticks and Mallets Company, Dedham, MA, 2003-present

Endorsee, Istanbul Cymbals USA, Chatsworth/Los Angeles, CA, 2007-present

Endorsee, Remo Drum Co. Valencia, CA, 2006-present

UMass Dartmouth Innovations in Teaching grant for digital technology aspect of book/DVD on African music and culture, summer 2004

UMass Dartmouth Chancellor’s Public Service grant for community workshops in African music, dance, and culture, spring 2004

UMass Dartmouth Provost’s Travel grant for world music workshops and presentations in Beijing, China, spring 2004

UMass Dartmouth Provost’s Travel grant for workshops and presentation in African Music, Oakland, CA, summer 2004

UMass Dartmouth SACHEM grant for visiting artist in African music, dance, and culture, spring 2003

UMass Dartmouth Innovations in Teaching grant for research in Africa, summer 2002 Korean Foundation fellowship for study at the National Center for Korean Traditional Performing Arts, summer 2001

UMass Dartmouth Dean’s Discretionary Grant and Healy Grant for research in China, summer 2001

San Jose State University, CA, Grant for research trip to China, summer 1999

San Jose State University Grant for research trips to Ghana, summer 1994-97

Middletown, CT, Commission for the Arts, annually, 1989-1993

National Endowment for the Arts for study with Edward Blackwell, 1986

Pittsfield, MA, Arts Council for concert of world music, 1986

Wesleyan University, CT, Music Department assistantship, 1981-86

University of Massachusetts Amherst Music Department scholarship, 1979-81

RESEARCH

Study of Asante music, dance, and culture at Mampong Asante, Ghana, June-July 2011.

Through my Whiting and Healey Foundation awards, research with videography on traditional Philippine music dance, and culture, summer 2010

Through my Asian Cultural Council award, research with videography on traditional Philippine music and dance, Philippines, summer 2009

As part of my Fulbright fellowship, research and videography on Maguindanaon kulintang ensemble music with Aga Mayo Butocan and Kanapia Kalanduyan, Manila, Philippines, October-December 2006, and Northern Luzon Kalinga gong music with Alex Tumapang, Manila, December 2006

Field trips to Ghana, West Africa, research and videography of culture, traditional drumming and dance with a focus on the Eve People: June 2002, May-June 2005, May-June 2006, May-June 2007; and with a focus on the Asante people: January 2009, May-June 2010

Field Trip to West Hunan, P.R. China, to study traditional Daliuzi and Wei Gu music and dance, May 2006

Field trip to China, performances and workshops for Chinese jazz musicians and students at the Beijing Midi Contemporary Music School and the China Conservatory, July 2001

Field trip to Seoul, South Korea, study and research with master artists at the Center for Korean Traditional Performing Arts, June 2001

Field trip to China, research/lessons with Chinese percussion masters in Nanjing and Beijing; presented clinics for Chinese jazz musicians and students at the Beijing Midi Contemporary Music School, August 1999

Field trips to Ghana, West Africa, focusing on culture, traditional and highlife drumming, song, and dance, with audio and video recordings, March 1991, July-August 1994, July-August 1995, June-July 1996, August 1997

Associate at Atlantic Center for the Arts, New Smyrna Beach, FL, Korean drumming and dance, March 1993

Investigation with master artists, percussion traditions of West Africa, South India, Java, Sumatra, Philippines, China, Japan, Korea, Ireland, Persia, Turkey, Brazil, Dominican Republic, Haiti, Native America, and the African American diaspora, 1981-present

COLLEAGUES

African Music and dance with Freeman Kwadzo Donkor, Abraham Kobena Adzenyah, Helen Abena Mensah, Martin Kwaakye Obeng, Godwin Kwasi Agbeli, Emmanuel Kwaku Agbeli, C. K. Ladzekpo and Kwabena Boateng; Javanese gamelan with I. M. Harjito, Sumarsam, and Pak Kanto; South Indian solkattu with Tanjore Ranganathan and Ramnad Raghavan; Korean pungmul with Eunha Pak; Philippine kulintang with Danongan Kalanduyan, Kanapia Kalanduyan, and Aga Mayo Butocan; Philippines Kalinga traditions with Alex Tumapang; Chinese percussion with Li Zheng gui, Kin-woon Tong, and Wen-guang Wu; Cambodian sampho drumming with Sam ang Sam; Vietnamese clapper percussion with Chan Le; Native American percussion with David Park McAllester and Paul Hadzima; Gaelic percussion with Dennis Waring and Gina Dunlap; Turkish bendir with Frederick Stubbs and Feridun Ozogren; Dominican percussion with Anthony Viscioso; Haitian drumming with David Yih; European concert percussion with Peter Tanner; rudimental percussion with Robert Waltermire, Thomas Dietlin, and Clifford Adams; Tap Dance with Ray Hart and Hazel Hartigan; African American traditions with Lenny McBrowne, Clifford Jarvis, Max Roach, Reggie Workman, Archie Shepp, Frederick Tillis, Horace Clarence Boyer, and Roland Wiggins

MUSIC PERFORMANCE

Residencies, Lectures, workshops, clinics, performances with jazz ensembles, including my Blood Drum Spirit Ensemble, Talking Drums African Jazz Ensemble, the Fred Ho Afro-Asian Music Ensemble, the Barikata Kulintang Jazz Ensemble, the Philippines Diwa Jazz Ensemble, the Hitomi Tono’ka Jazz Ensemble, Hafez Modirzadeh's Paradox, Paul Austerlitz' Afro-Universal Merengue Jazz Ensemble, Rudresh Mahanthappa’s Dakshina ensemble, and others; throughout the world, including China, France, Italy, the Philippines, and the U.S., 1987-present

Professional musician, percussion and piano, 1962-present; African American tradition: performed with Charles Greenlee, Ray Copeland, Red Holloway, Tots Tolentino, Santi Debriano, Joe Lovano, Clifford Jarvis, Frederick Simmons, William Barron, Kenny Barron, Ray Copeland, Frederick Tillis, Dominique Eade, Archie Shepp and Edward Blackwell; Juba; Fred Ho’s Afro-Asian Music Ensemble; Talking Drums; Happy Feet Orchestra; Hafez Modirzadeh’s Paradox; Tyrone Henderson-David Bindman Project; Himalaya Funk; William Lowe-Philippe Crettien Quintet; Francis Wong Airshop; Jon Jang Woman Warrior ensemble; Paul Austerlitz’ Real People; Rudresh Mahanthappa’s Dakshina ensemble; leader, royal hartigan ensemble

West African Drum orchestra and dance in traditional warrior, ceremonial, religious, and recreational music, with master drummers Freemen Kwadzo Donkor, Abraham Kobena Adzenyah, Gideon Midawo Alorwoyie, Martin Kwaakye Obeng, Kwabena Boateng, Helen Abena Mensah, Samuel Elikem Nyamuame, and C.K. Ladzekpo in the U.S. 1981-present, and with master drummers Godwin Kwasi Agbeli, Olu Nudzor Gbeti, Emmanuel Kwasi Yevutsey, Emmanuel Kwaku Agbeli, Odartey Kwashi, Mary Agama, Agbeko Sodzedo, and Kpeglo Ladzekpo in Ghana, 1991-present

Javanese gamelan (Wesleyan University) traditional Javanese music with Pak Kanto, Sumarsam, and I.M. Harjito, 1982-89

South Indian drumming (Wesleyan University) traditional South Indian mridangam drum (fall 1981) and solkattu rhythmic vocables with Tanjore Ranganathan and Ramnad Raghavan, 1982-86

Philippine traditional music: the Karadya’an kulintang ensemble of New York, 1987-90; with Danongan Kalunduyan, San Francisco, CA, 2001-present

Caribbean steel band (Wesleyan University), 1985, 1991

European art music: performed percussion/tympani with Bridgeport (CT), Hudson (NY), UMass Amherst, and Wesleyan Symphony Orchestras, Berkshire Lyric Theater Orchestra, Berkshire Chamber Players, 1977-83, 1985; Chamber Orchestra of New England (now orchestra New England), New Haven, CT, 1985-86 and 2003, New World Consort, CT, 1990-92; European repertoire includes Bach Oratorios, Debussy works, Mozart Symphonies, Schubert Masses, Handel’s Messiah, Poulenc’s Gloria, Holst’s The Planets, Stravinsky’s L’Histoire du Soldat and Les Noces; Operas include Strauss’ Die Fledermaus and Britten’s Noye’s Flood

Accompanied theatrical productions at Goodspeed Opera House, East Haddam, CT, and the Williamstown Theater Festival, Williamstown, MA, including Gay Divorcee, 1983 and 1776, 1991, and The Threepenny Opera, 1974, 1992, and UMass Amherst productions by Paul Carter Harrison, including Lady Day, 1974

Gospel Music: played with AME Zion Church Choir of Pittsfield, MA, and the Ebony Singers, Wesleyan University

Tap Dance: performed with Gregory 'Smitty from the City' Smith, Amherst, MA, 1981, Roosevelt 'The Preacher' Jackson, Oakland, CA, 2002, Hazel Hartigan, Pittsfield, MA, 1950-1999, and Ray Hart (an associate of Bill Robinson and Peg Lee Bates), North Adams, MA, 1950-64

EMPLOYMENT (Nonmusical)

Surgical Technician, Berkshire Medical Center, Pittsfield, MA, 1971-72; Social Worker, State of Massachusetts, Pittsfield, MA, 1972-73

PUBLICATIONS

Book and digital video disc, West African Eve Rhythms for Drumset, 365 pages of text, notations, pictures, and adinkra symbols, Print Tech Publishers, Burlington, VT, September 2010

Interview/article on my life as a world musician in Traps, a drumset magazine, San Francisco, CA, fall 2008 issue.

Article, “The American Drum Set: Black Musicians and Chinese Opera along the Mississippi River,” in Afro-Asia: Revolutionary Political and Cultural Connections Between African Americans and Asian Americans, Eds. Fred Ho and William Mullen, Duke University Press, Durham, NC, June 2008

Articles, "The Beijing Midi School of Music's Modern Music Festival in May 2006 and royal hartigan's blood drum spirit Ensemble Tour in Southern China" and "A Field Trip to West Hunan Province, P.R. China: Daliuzi and Wei Gu Percussion Music," with Ethnomusicologist Weihua Zhang, in the online periodical Music in China, Los Angeles, CA, November 2007

Book and digital video disc, Dancing on the Time, on layers of coordinated independence for drumset, Tap Space Publications, Portland, OR, October 2006

Editor and producer, percussion book by Clifford Adams of Pittsfield, MA, Rudiments on Parade, June 2004

Book and compact disc, West African Rhythms for Drumset published by Manhattan Music/Warner Bros., Miami FL, 1995; Alfred Publishing, Los Angeles, CA. 2004

Article, “Jazz in Beijing,” with Weihua Zhang, Music in China, 2004

Article, “Ongoing Report from Beijing,” with Weihua Zhang, Music in China Vol. 3 No. 2 Oct. 2001

Book review, “Thinking in Jazz - The Infinite Art of Improvisation,” by Paul Berliner, The Annual Review of Jazz Studies 9, 1999

Article, “Ghanaba and the Heritage of African Jazz,” The Annual Review of Jazz Studies 9, 1999

Book Review, “New Musical Figurations – Anthony Braxton’s Cultural Critique,” by Ronald M. Radano, World of Music, Vol. 37(2) 1995

Article, “The Heritage of the Drumset,” The African American Review Spring 1995

Articles, “Let Me Play My Drums,” transcription and article; and “The Role of Drumset in Ghanaian Highlife,” transcription and article, Percussive Notes, Vol. 31 No. 4, April 1993

Ph.D. Dissertation, Blood Drum Spirit: Drum Languages of West Africa, African America, Native America, Central Java, and South India (1986), 1700 pages with 30 audio cassettes; and M.A. thesis, The Drum: Concepts of Time and No Time, from African, Latin American, and African American Origins (1983), 400 pages with 21 audio cassettes, published by UMI/ProQuest, Ann Arbor, MI; www.proquest.com

PRESENTATIONS

Master classes, workshops, and concerts with my blood drum spirit ensemble on African American Music History as featured ensemble at the Cultural Center of the Philippines’ inaugural Jazz Festival, Manila, Philippines, on 23, 25, 26, 27, and 28 August 2011

Master classes and performances with my blood drum spirit ensemble in World Music and African American traditions at the University of the Philippines Diliman, Quezon City, Philippines on 17 and 18 August 2011, and at the University of Santo Tomas, Manila, Philippines, on 18 and 19 August 2011

Workshop in African American jazz improvisation at the Midi School for Music in Beijing, China, 26 and 29 July and 12 August

Lecture/Demonstration-Workshop/Performance, Connecting the Voices of the Philippine Magindanaon Kulintang and African American Jazz Ensemble at the Northern California Chapter of the Society for Ethnomusicology 2011 Conference, with master artists Danongan Kalanduyan and Hafez Modirzadeh, at San Francisco State University (CA), 5 March; and related presentations at the San Francisco State University Ethnomusicology Colloquium, Traditional Values Embedded in the Kulintang Music of the Maguindanaon People of the Philippines, 8 March, and The Relation of Ritual Dance Drumming to Life Cycle Events Among the Ewe People of Ghana, West Africa, 10 March.

Lecture/Demo/Workshop/Performances in world music, African American traditions, African music and dance, and contemporary jazz styles as part of my 2010 Whiting and Healey Grants, at the University of Santo Tomas, Manila, on 22 July and 19 August, the University of the Philippines, Quezon City, Philippines, on 12, 17, and 20 August, and the Ayala Museum, Manila, on 26 August

Demo/Workshop in African music and dance and jazz drumset adaptations at in Nagoya, Japan, at the Groovin’ Blues Studios, 1 August, and the Yamaha Corporation, on 2 August

Lecture/Demo/Workshop/Performances in world music, African American traditions, African music and dance, and contemporary jazz styles as part of my 2009 Asian Cultural Council Fellowship, at the University of Santo Tomas, Manila, on 30 July and 13 August, and the University of the Philippines, Quezon City, Philippines, on 18 and 28 August

Lecture/Demo/Workshops in world music, African American traditions, African music and dance, and contemporary styles in 2008 at the Midi School for Music, 31 May and 23 June, Central Conservatory, 2 June, and China Conservatory, 3 June, Beijing, China

Lecture/Demo/Workshop/Performances in world music, African American traditions, African music and dance and contemporary jazz styles as part of my 2006 J. William Fulbright Award, at Ateneo University of Santo Tomas, Manila, on 9 December, and the University of the Philippines, Quezon City, Philippines, on 22 December

Lecture/Demo/Workshops in African, African American, Afro-Latin, and Native American Music cultures as part of my Fulbright residency at the University of the Philippines: 13 October, 8, 9, 11, and 15 December; 18 December at the University of Santo Tomas, Manila, Philippines

Lecture/Demonstration, "African and African American Aesthetics and Grooves in the Contemporary Ensemble," at the Midi School for Music, Beijing, P.R. China, 25 May 2006

Lecture/Demonstration, "The History of the Drum Set in the African American Tradition," at the Jishou Song and dance Company's studios, Jishou, West Hunan, P.R. China, 23 May 2006

Lecture/demonstration “Adapting African Rhythms for Drumset” with master artist C. K. Ladzekpo, Percussive Arts Society International Conference, Nashville, TN, November 2004

DVD recording of lecture/demonstrations for Chinese educational distribution “The History of the Drumset,” “African and African-Caribbean Rhythms for Drumset,” and “Contemporary Styles for Drumset” Beijing, China, May 2004

Lecture/workshop “African Rhythms for Drumset," Midi School for Music, Beijing, China, May 2004

Lecture/performance “Adapting World Music Elements into a Jazz Style” China Conservatory, Beijing, China, July 2001

Lecture/performance/workshop “African Drumming and Dance” China Conservatory Middle School, Beijing, China, July 2001

Lecture/workshop “Adapting World Music Elements into the Drumset” Beijing Midi Contemporary Music School, Beijing, China, August 1999

Lecture/demonstration “Language and Drumming in Musics of the African Diaspora,” with master artist C.K. Ladzekpo, National Conference of Teachers of English, New Orleans, LA, March 1995

Lecture/demonstration “Edward Blackwell’s Africanization of the Drumset,” International Conference of the Society for Ethnomusicology, Milwaukee, WI, October 1994

Panelist and lecture/demonstrator on West African and African American Music, “Traditional Rhythms in Ghanaian Highlife” and “Parallels among African and African American Musics,” with master artist Abraham Kobena Adzenyah, International Conference of the Society for Ethnomusicology and International Association for the Study of Popular Music, Chicago, IL, October 1991

RECORDINGS compact disc unless otherwise noted

In The Dreamtime (1980) and The Call (1981) records with electronic music composer Michael William Gilbert, Amherst MA

Talking Drums audiocassette (1985) and Some Day Catch Some Day Down audiocassette and record (1987) with African traditional and highlife group Talking Drums, Shanachie Records

Juba record (1987) original compositions in the African American tradition, Juba Records

We Refuse to be Used and Abused! (1988) and Underground Railroad to My Heart (1994), Black Saint/Soulnote, Milan, Italy: A Song for Manong record (1988) AsianImprov, San Francisco, CA; Turn Pain into Power! (1997) O.O. discs; Monkey Epic, Part 1 (1996), Part 2 (1997), and Yes Means Yes, No Means No! Whatever She Wears, Wherever She Goes! (1998), Warrior Sisters (1998), Night Vision (2000), Koch International, New York; Voice of the Dragon Part I, Once Upon a Time in Chinese America (2000)) and Part II, Shaolin Secret Stories (2004) Innova Records, St. Paul, MN; Black Panther Suite (2003) with Fred Ho’s Afro-Asian Music Ensemble, Journey to the West Orchestra, and Monkey Orchestra; Celestial Green Monster (2009) Mutable Music, New York, NY; Deadly She-Wolf Assassin at Armageddon! (2010) Innova; Big Red (2011) Innova; and Black Liberation Movement Suite (forthcoming) and Sweet Science Suite (forthcoming), Innova.

Happy Feet audiocassette (1991) the Happy Feet Orchestra (Duke Ellington - Fletcher Henderson Music of 1919-35), Boston, MA

Strawman Dance audiocassette (1993) and Iliana’s Dance (1994) the Tyrone Henderson Bindman Project, Konnex Records, Berlin, Germany

In Chromodal Discourse (1993) AsianImprov; The People’s Blues (1996) and By Any Mode Necessary (1999) XDot 25 Music, Berkeley, CA; and The Mystery of Sama (1998) AsianImprov, with Hafez Modirzadeh’s Paradox ensemble

Strick: Song of the Andoumboulou 16-25 (1995) Spoken Engine, Nashville, TN, with Poet Nathaniel Mackey

blood drum spirit double CD (1997) Transparent Records, Albany, NY/reissue (2003) on Innova Records, St. Paul, MN

Eve (1997) video, royal hartigan ensemble and the people of Ghana, Virtual Studios, Albany NY

Collaborations with Dead and Living Males and Females from Different Gene Pools; Fishy Scales, Fuji Scaled; Big and Little Instrus, parts 1 and 2; with Michael Heffley, 1999, 2003, Middletown, CT, released 2007, heffleyrecords

Classical Stretch with the soundSFound Orchestra, San Francisco, CA, 2005

Suraghati with Global Phatness and Hafez Modir, San Francisco, CA, 2005

Journey with Paul Austerlitz' Afro-Universal Jazz Merengue ensemble, Innova records, 2008

ancestors double CD, with numerous master world artists, Innova Records, St. Paul, MN, May 2008

blood drum spirit: the royal hartigan ensemble live in china, double CD, Innova Records, St. Paul, MN, May 2008

REFERENCES

Prof. Abraham Kobena Adzenyah, Professor of African Music, Wesleyan University, Middletown, CT

Prof. Hafez Modirzadeh, Music Department, San Francisco State University, San Francisco, CA

Prof. Wu Wenguang, Director of Graduate Studies, China Conservatory, Beijing, China

Prof. Danongan Kalanduyan, Professor of Philippine Kulintang, San Francisco State University, San Francisco, CA

Prof. I.M. Harjito, Professor of Javanese Gamelan, Wesleyan University, Middletown, CT

Prof. Sumarsam, Professor of Javanese Gamelan, Wesleyan University, Middletown, CT

Prof. Frederick Tillis, Dept. of Music, University of Massachusetts, Amherst, MA

Fred Ho, social activist, author, composer, bandleader, saxophonist, teacher; Brooklyn, NY

Dr. Esmeralda Cunanan, Director, Philippine-American Educational Foundation/Fulbright program, Makati City, Philippines

Prof. Verne dela Pena, Director, Musicology Studies, Music Department, University of the Philippines Diliman, 1101, Quezon City, Philippines

Prof. Felicidad Prudente, World Music Studies, Music Department, University of the Philippines Diliman, 1101, Quezon City, Philippines

Prof. J. H. Kwabena Nketia, Institute of African Studies, University of Ghana, Legon, Ghana, West Africa

Dr. Margaret Lindsey, former associate director, Graduate Liberal Studies Program, Wesleyan University, Middletown, CT; currently at Trinity College, Hartford, CT

Prof. Martin Mueller, Director, Jazz/Contemporary Music Program, The New School University, New York, NY

Prof. Henry Martin, Music Department, Rutgers University, NJ

Prof. Emeritus Brent Heisinger, San Jose State University, San Jose, CA

Composer Charles Wuorinen, New York NY