Royal James Hartigan - 1981-86 Peace Corps, Philippines: English as a second language for elementary school classes
CURRICULUM VITAE
royal james hartigan
Music Department
University of Massachusetts Dartmouth
285 Old Westport Road
North Dartmouth, MA 02747
EDUCATION
Wesleyan University, Middletown, CT
Ph.D. in Ethnomusicology and World Music, 1986
Dissertation: Blood Drum Spirit
Wesleyan University
M.A. in World Music, 1983
Thesis: The Drum: Concepts of Time and No Time
University of Massachusetts, Amherst, MA
B.A. with honors in Afro-American music, 1981
St. Michael's College, Winooski, VT
A.B. in Philosophy, Cum Laude, 1968
AWARDS
UMass Dartmouth Committee for Cultural Diversity and Pluralism Grant, 1999, 2000, 2001, 2002
UMass Dartmouth Committee Innovations in Teaching Grant, 2001
UMass Dartmouth Dean's Discretionary Grant in world music research 2000 and 2001
Umass Dartmouth Healy/Foundation Grant for research in Korea and China, summer 2001
San Jose State University Grant for research trip to China, summer 1999
San Jose State University Grant for research trip to Ghana, summer 1994-97
Middletown Commission for the Arts, 1989-1993
National Endowment for the Arts, 1986
Pittsfield Arts Council, 1986
Wesleyan University Music Department Assistantship, 1981-86
University of Massachusetts Music Department Scholarship, 1979-81
TEACHING EXPERIENCE
Assistant Professor, Music Department, University of Massachusetts Dartmouth; world music, music history, theory, 2000-present
Full-time Lecturer, Music Department, University of Massachusetts Dartmouth; world music, music history, theory, 1999-2000
Lecturer, Improvised Music Program, teaching World Music, African American traditions, ethnomusicology, large and small jazz ensembles, West African Drumming, San Jose State University of California, fall 1993-spring 1999
Wesleyan University, Graduate Liberal Studies program; world music survey, fall 1989, summer 1993, 1998, 1999, 2000
Guest lecturer, African-American Music History and Jazz Improvisation classes, assistant to Prof. Anthony Braxton, Wesleyan University, fall 1992
Lecturer, Ethnomusicology and World Music Performance Ensemble, The New School for Social Research, New York City, fall 1991-1993
Teacher of African-American percussion/drumset, Wesleyan University, 1990-1993
Teacher of World Music and Percussion, Music School, Toulon Jazz Festival, Toulon, France, summer 1992
Wesleyan University, Graduate Liberal Studies Program: World Music Survey and Performance Ensemble, fall 1989, summer 1993
Wesleyan University, Center for Creative Youth Summer Program: co-taught course in West African Drumming and Dancing. Taught percussion, jazz, and percussion ensemble, 1986-88; assisted with Javanese Gamelan, 1990
Full time music teacher at Hartford Public High School: world music, piano (jazz), percussion and choir, 1986-89
Wesleyan University, Teaching Assistant: keyboard theory, improvisation, and ear training, West African drumming and other World Music traditions, 1981-86
Cross-Cultural Teaching Experience, Peace Corps, Philippines: English as a second language for elementary school classes, music teacher - elementary, high school, and college: recreation & sports instructor - elementary, high school, and adults in a boy's reformatory school
RESEARCH
Field trip to China, exchange with Chinese percussion masters in Nanjing and Beijing, giving clinics for Chinese jazz musicians and students at the Beijing Midi Rock-n-Roll School, summer 1999 and 2001
Field trips to Ghana, West Africa, focusing on culture, traditional and highlife drumming and dance, March 1991, summer 1994, 1995, 1996, and 1997
Associate at Atlantic Center for the Arts, New Smyrna Beach, FL, researching on Korean drumming and dance, March 1993
Investigation, with Master Artists, into the percussion traditions of West Africa, South India, Java, Sumatra, Philippines, China, Japan, Ireland, Persia, Turkey, Brazil, Dominican Republic, Haiti, Native America, and the African-American Diaspora, 1981- present.
MUSIC PERFORMANCE
Professional musician, percussion and piano, 1963-present
African-American Tradition: Performed with Reggie Workman, Charles Greenlee, Clifford Jarvis, Wes Brown, Frederick Simmons, William Barron Kenny Barron, Ray Copeland, Dominique Eade, Archie Shepp and Ed Blackwell; Juba, Fred Weihan Ho's Afro-Asian Ensemble and Monkey Orchestra; Talking Drums; Happy Feet Orchestra; Hafez Modir Paradox Ensemble; Joe Fonda Trio; Fred Simmons Trio; Himalaya Funk; William Lowe-Philippe Crettien Quintet; Francis Wong Airshop Octet; Jon Jang Woman Warrior Ensemble; leader, royal hartigan ensemble.
West African drum orchestra in traditional warrior, ceremonial, religious, and recreational music, with Talking Drums ensemble and with master drummers Abraham Kobena Adzenyah, Freeman Kwadzo Donkor, C. K. Ladzekpo, Godwin Kwasi Agbeli in Ghana and the United States.
Javanese gamelan orchestra (Wesleyan University) in traditional Javanese music and dance pieces.
South Indian drumming (Wesleyan University): traditional South Indian mrdangam drum, and solkattu rhythmic vocables.
Philippine traditional music: The Karadya'an Kulintang Ensemble of New York; Danongan Kalanduyan Ensemble.
Caribbean Steel Band (Wesleyan University)
Western Classical Music: performed with Bridgeport (CT), Hudson (NY), UMass, and Wesleyan Symphony Orchestras, Berkshire Lyric Theater Orchestra, Berkshire Chamber Players, 1977-83, Chamber Orchestra of New England, New Haven, CT, 1985-86, New World Consort, CT, 1990-1992, UMass Dartmouth Chamber Ensemble (Stravinsky) 2001.
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 Fleidermaus," Britten's "Noye's Flood"
Accompanied theatrical productions at Goodspeed Opera House, East Haddam, CT, and the Williamstown Theater Festival, Williamstown, MA, "1776" 1991, and "Three penny Opera" 1974, 1992, and production of "Don't Cry Cuz the Sun Don't Shine," "Lady Day," and "Don't Bother Me I Can't Cope"
Gospel Music: played with AME Zion Church Choir of Pittsfield, MA; Ebony Singers, Wesleyan University
Tap Dance: performed with Gregory "Smitty from the City" Smith and Ray Hart (an associate of Mr. Bill Robinson and Peg Leg Bates)
EMPLOYMENT (Non-Musical)
Peace Corps, Philippine Islands, 1968-70, Dagupan City Public School - TEFL; medical social worker, Pangasinan Provincial Hospital; recreation counselor, Tanay Boys' School
Berkshire Medical Center, Pittsfield, MA: Surgical Technician, 1971-72
State of Massachusetts, Welfare Department, Pittsfield, MA: Social Worker, 1972-73
PUBLICATIONS & PRESENTATIONS
"Book Review: "Thinking in Jazz the Infinite Art of Improvisation", by Paul F. Berliner," and article "Ghanaba and the Heritage of African Jazz" Annual Review of Jazz Studies No 9., 2000.
West African Rhythms for Drumset published by Manhattan Music Inc., distributed by Warner Bros. Publication Inc. Miami FL 1995
"Book Review: New Musical Figurations Anthony Braxton's Cultural Critique, by Ronald M. Radano," World of Music, Vol. 37(2) 1995
"The Heritage of the Drumset,"The African American Review Spring 1995
"Let Me Play My Drums," transcription and article with Diane Gordon, Percussive Notes, vol. 31, no. 4, April 1993
"The Role of Drumset in Ghanaian Highlife," transcription and article, Percussive Notes, vol.31, no.4, April 1993
Blood Drum Spirit: Drum Languages of West Africa, African America, Native America, Central Java, and South India, (1986), published by University Microfilms International. It investigates, with 1700 pages of text and transcriptions and 30 audio cassettes, traditional percussion styles and their adaptation to the drumset. It also focuses on the work of African-American master drummer Edward Blackwell.
M.A. Thesis, The Drum: Concepts of Time and No Time, From African, Latin American, and African-American Origins (1983), published by University Microfilms International. A 400 page work with text, notated music examples, and a series of 21 ninety-minute audio cassettes.
Lecture/Demonstration on Language and Drumming in African Music, National Conference of Teachers of English, New Orleans, March 1995
Lecture/Demonstration on Edward Blackwell's Africanization of the Drumset, National Conference of Society for Ethnomusicology, Milwaukee, WI October 1994
Panelist and speaker on West African and African-American Music, National Conference of Society for Ethnomusicology, and International Association for the Study of Popular Music, Chicago, October 1991
RECORDINGS
He has performed, given workshops, and recorded internationally with his own quartet (Blood Drum Spirit, 1997 and Ancestors 2002), 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 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 Peoples Blues, 1996, The Mystery of Sama 1998), the David Bindman-Tyrone Henderson Project (Strawman Dance, 1993 Iliana's Dance, 1996), and Nathaniel Mackey (Songs of the Andoumboulou, 1995). He is releasing a documentary and artistic video of his work in West Africa and its relation to the African American music cultures (Eve, 1997).
REFERENCES
Fred Weihan Ho
Prof. Frederick Tillis
Prof. David McAllester
Prof. Max Roach
Prof. Anthony Braxton
Prof. Martin Mueller
Prof. Brent Heisinger
for more information please contact royal hartigan
