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Fri, 10/14/2022 - 17:47
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CE - Presentation Notes I - IV: an explanation
The Presentation was given on June 28, 2018 in the library at Berklee College of Music,
Valencia, Spain campus. The panel present from the CP program were Casey Driessen,
Enric Alberich, and Sergio Martinez. Also present was Polo Orti and the school’s
Executive Director, Maria Iturriaga.
Besides these administration and faculty representatives several students attended as
well. I invited several students who were prepared to verify the racist environment at
Berklee though they were never called upon to do so. If anyone is curious to follow up on
the issues raised I, and the other students, are very willing to discuss these issues.
For ten minutes I spoke in general terms about the curriculum design and what makes the
school environment different in Uganda. For example, I discussed how all the
administration, faculty, staff, and students interact and even greet each other with hugs,
smiles, and words. I pointed that out as theorem at Berklee is to simply walk past those
same categories of people with not a nod or a word in their direction, let alone a hug or a
handshake. The “Part I” slides give the main topics.
For example, Ms. Iturriaga has only once said a whispered hello when I have passed her
and that was only because we nearly collided as we were on one of the spiral staircases
between the first and second floor. I am also still awaiting her response to an email I sent
to her, Casey, and Camille in Boston back in January. I have concluded that noncommunication is the cultural norm here though I am not certain if that means at Berklee
or in Valencia.
After this I shifted to one example of what is different about our program. To explain what
is contained in my written paper would take several hours. Therefore I glossed over the
general program for ten minutes and then moved on to this video that demonstrates in a
little detail about African music and the idea of African Fusion, where we combine
Contemporary Jazz styles with African traditional music.
I used video that you can see labeled her as Part II. When my colleague Samuel
Nalangirla played certain instrument alone I played my bass along to show different ways
that we could interpret the music. The video ends with a full band combining these styles
with African dance.
Part III is a video that deals with the question of why I felt the need to develop a program
for Uganda rather than just importing one from the West. This video is self-explanatory.
The Part IV slide is simply one quote from 1969 that demonstrates how little things have
change din 49 years. There is a longer quote in my paper. This is from a book that I used
as as undergraduate in 1980 at a school that was clearly more enlightened than Berklee
College of Music is today.
The videos contained in Parts II and III are also available on Youtube. The links are
contained in the Footnotes of the written paper.
The Presentation was given on June 28, 2018 in the library at Berklee College of Music,
Valencia, Spain campus. The panel present from the CP program were Casey Driessen,
Enric Alberich, and Sergio Martinez. Also present was Polo Orti and the school’s
Executive Director, Maria Iturriaga.
Besides these administration and faculty representatives several students attended as
well. I invited several students who were prepared to verify the racist environment at
Berklee though they were never called upon to do so. If anyone is curious to follow up on
the issues raised I, and the other students, are very willing to discuss these issues.
For ten minutes I spoke in general terms about the curriculum design and what makes the
school environment different in Uganda. For example, I discussed how all the
administration, faculty, staff, and students interact and even greet each other with hugs,
smiles, and words. I pointed that out as theorem at Berklee is to simply walk past those
same categories of people with not a nod or a word in their direction, let alone a hug or a
handshake. The “Part I” slides give the main topics.
For example, Ms. Iturriaga has only once said a whispered hello when I have passed her
and that was only because we nearly collided as we were on one of the spiral staircases
between the first and second floor. I am also still awaiting her response to an email I sent
to her, Casey, and Camille in Boston back in January. I have concluded that noncommunication is the cultural norm here though I am not certain if that means at Berklee
or in Valencia.
After this I shifted to one example of what is different about our program. To explain what
is contained in my written paper would take several hours. Therefore I glossed over the
general program for ten minutes and then moved on to this video that demonstrates in a
little detail about African music and the idea of African Fusion, where we combine
Contemporary Jazz styles with African traditional music.
I used video that you can see labeled her as Part II. When my colleague Samuel
Nalangirla played certain instrument alone I played my bass along to show different ways
that we could interpret the music. The video ends with a full band combining these styles
with African dance.
Part III is a video that deals with the question of why I felt the need to develop a program
for Uganda rather than just importing one from the West. This video is self-explanatory.
The Part IV slide is simply one quote from 1969 that demonstrates how little things have
change din 49 years. There is a longer quote in my paper. This is from a book that I used
as as undergraduate in 1980 at a school that was clearly more enlightened than Berklee
College of Music is today.
The videos contained in Parts II and III are also available on Youtube. The links are
contained in the Footnotes of the written paper.
Media of
