3:15
I took a ukulele to the session today. It was a last minute decision, but I wanted to give the ladies something more to follow than English directions that didn't do any good anyways. It was... dare I say... a hit! Not only did it help to clearly explain what the class would be about (during the door to door "come to class RIGHT NOW" exercise) but it also brought steady rhythm and audible notes. I was once again surprised and grateful at how many women just said "sure!". There were some faces from last week and some new ones, and many many more children.
I was excited at the idea of more kids at the beginning...
via GIPHY
But at the end... it was more like this.
via GIPHY
So... maybe next time I'll make a rule that only kids WITH their mothers are allowed to attend. There were some older boys (8 or 9) that said they wanted to come to the class. I just couldn't say no to kids wanting music!... but when they all started playing with the pool table 5 minutes in, I knew I'd made a poor choice.
Luckily, it didn't completely unravel the singing circle. The adults paid attention as best they could while intermittently screaming at the kids in Arabic and shaking their heads at the other women with what I can only understand was "... kids these days!"
3:40
In the beginning, there were only two other women. Well, a woman and a girl about 13 years old. They both had attended last week. We started with tea, and then I planned to warm up our voices a bit. The girl was staring intently at my ukulele, so I taught her some one-finger chords and she strummed with a solid rhythm. Then we did a big group yawn... another women joined (a new one)...we buzzed our lips and flipped our tongue... another woman comes in (the teenager from Eritrea)...and finally we start singing. Here come the boys. About 4 boys came in and sang for one exercise, but quickly got bored and went to the pool tables.
We started with an "ooo" - I strummed an A minor on the uke and had them listen and sing along. They ran out of breath, chuckled at each other and to me, and then kept singing. Another woman (who I had just met during the door-knocking session) and her small daughter came in and joined the circle. Pitches weren't perfect, but VOICES WERE SINGING TOGETHER. Some of these women had never met. And they certainly had never sung together. It was a magical beginning. Smiles all around.
The definition of communication is as follows: “a process by which information is exchanged between individuals through a common system of symbols, signs, or behavior” (Merriam-Webster Dictionary, 2015).
It's workinnnnnngggg!
4:00
Our biggest exercise came at the end of class. I demonstrated three different sounds. "Ch ch ch ch" on a 4/4 steady beat (stomping motion), "Dum, tek, tek, tek" complete with hand motions (lap, heart, heart, heart) and finally the "Ooo". I strummed the A minor chord for 4 beats and then the F major chord for 4 beats. I sang the tonic, but encouraged others as well.
I don't know how, but they understand my intentions and chose whichever they felt comfortable with. The young girl to my left (the one so interested in my ukulele) chose a strong "CH" which encouraged the more timid ladies to follow along. Then she switched to a "DUM TEK" rhythm and the ladies carried on with the "CH". I started on an "ooo" and some women joined me. Then the girl to my left started improvising on "ooo"! The ladies kept the rhythm. Suddenly I heard another voice improvising on "ooo". Her melody line was moving around the one note that I had "given". It was the mother from last week. I smiled, gave a thumbs up and continued singing. I did a line of improvisation on "ooo" encouraging others to do the same if they wanted or continue with the steady beat.
4:15
It was music to my ears.
I won't ever see some of those women again. I know two are finding housing and that doesn't mean it's in the neighborhood.
But the smiles and sounds that we shared were very precious and will stay with me a long while. The most magical part?... At the end of the class, every single one of those women gave me a hug. A HUG! They also were speaking with each other as they left the room... they hadn't done that before. I don't even care if they were just saying "who is this crazy girl with her crazy music?". I don't care, because they were communicating.
The communication seed has been planted and shall be watered with music and love. :)
Till next week... شكرا ....Thanks!
via GIPHY
Tuesday, November 29, 2016
Wednesday, November 23, 2016
A Singing Circle Begins at the Refugee Center
The uphill ride was easier today than yesterday, and the weather a little warmer. I took Miguel´s "80's-boy-bike" this afternoon, proudly riding the high bar frame and turquoise blue-green triangle patterns. My bike, Rosy Rosa, is breaking (or the chain needs tightened, or something) and - of course - I have not had quite enough time to get it checked out. Yesterday my little Rosy crackled and popped at record slow speeds uuuuuup the small hills towards the Malberg AZC, or "refugee center" in English. With each THUMP, the pedal gave way and I fumbled. Any weight I put on forward movement was quickly thwarted.
Yesterday I was approved by the Malberg COA (Central Agency for the Reception of Asylum Seekers) to promote my music activity at the weekly information session. This is where asylum seekers can ask questions regarding paperwork, living situations, doctor visits... basically anything they need help with. This is also the best chance I had at recruiting women for my singing activity. Out of the eleven women that live there, I personally handed out fliers to 6 of them. I thought that was a good start. Some women were sick, others had appointments or simply didn't come to the information session. I hoped my smile and enthusiasm would make up for our language barrier, though I also put translations on the poster itself in English, Dutch, and Arabic.
Singing Circle Poster:
Yesterday I was approved by the Malberg COA (Central Agency for the Reception of Asylum Seekers) to promote my music activity at the weekly information session. This is where asylum seekers can ask questions regarding paperwork, living situations, doctor visits... basically anything they need help with. This is also the best chance I had at recruiting women for my singing activity. Out of the eleven women that live there, I personally handed out fliers to 6 of them. I thought that was a good start. Some women were sick, others had appointments or simply didn't come to the information session. I hoped my smile and enthusiasm would make up for our language barrier, though I also put translations on the poster itself in English, Dutch, and Arabic.
Singing Circle Poster:
I left the center yesterday feeling quite confident that I would have enough women for the activity. For the most part, all the women I spoke to (or attempted to speak to) were friendly with open expressions. Time would tell...
I arrived at 3pm to help set up for our first day. The COA coordinator was very encouraging throughout the whole process which made things much easier. This young woman printed out the fliers for me, made coffee and tea for the event, and even knocked on doors of all the women she could think of that would be home during the activity. We were met with disdain and enthusiasm, depending on the door. Luckily, some women said they would join.
We went down to the infobalie to wait. The first woman that showed up was just a girl. Eighteen years old. She was one of the few women from Eritrea, and though her mother-tongue is Tigrinya she also spoke a little Arabic, English and Dutch. She was helpful in translating when she could. She seemed the most eager to sing, but when I started the warm-up (stretching, stomping feet in rhythm, "warming" our hands) she looked just as confused as everyone else. I tried to explain we needed these body parts for rhythm, but that was lost in the language abyss.
So, I moved on.
There were six of us in total, including my COA friend. Two had small children who disrupted quite a bit in the beginning, but were much more calm once we got a groove going. We started with an "ooooh" sound. I gave a pitch that was more or less matched by the ladies. There was giggling, strange looks, and phrases I can only imagine were "What are we doing? What is this?" Then I moved on to a simple rhythm: "Ch, Ch, Ch, Ch". I paired this with movement, showing a right, left stomping pattern. After a little repitition, they seemed to be familiar with it. That's when I divided them into two groups and let them explore together. Three women on the "Ch" and three on "oooh". It was working for a little while, but the rhythm was RUNNING! I had to find a way to express "keep the steady beat" without words. So, I started the "ch" rhythm and went wildly fast, feigning a loss of breath and sweat. Then I said a dramatic "no", they laughed, and I showed them (with my full body) the rhythm I wanted. This seemed to get the message across a bit better.
Our next exercise incorporated Arabic rhythm words (dum, and tek). Check out this great write-up on Arabic Rhythms. These sounds are a simple representation of the sounds a darbuka makes when struck in certain ways. The "dum" is the bass sound, and the "tek"s are brighter and sharper. I demonstrated first, in 4/4 time, "DUM, tek, tek, tek" the DUM was accompanied by tapping our legs, and for the tek we tapped our heart space. They caught on quickly. Then I taught the next part. Salam means "peace" in Arabic. Since it has two syllables, I incorporated two movements. "Sa" - hands go up, back arches a bit. "Lam" - hands land back in the heart space. This caused a little more laughter as the women had to actually sing and they felt a bit uncomfortable. However, within seconds we were all singing "peace" and throwing our hands in the air.
The confusion came when I tried to put both parts together. I split them in two small groups again (three and three) and attempted to gesture what I wanted. The women were confused which part they should be doing and I had no words to help them. In an effort to save the good feeling we had previously (and not fill them with musical doubt) I cut the exercise off quickly and went back to "Salam". Then I made a signal to continue by rolling my hands to 3 of the ladies (like wheel's on the bus). They did. The other two ladies - with me - started the "dum, tek, tek, tek". It worked! For a while things sounded beautiful. It quickly fell apart, but I am happy with the sounds I heard.
We ended the session with listening. I asked for favorite songs and they either found one on their mobile device or wrote down the name of the famous artist. I promised to incorporate these melodies or rhythms the following week (though I'm not sure they understood that). Next week, a friend and Arabic speaker will come with me to the session. Not only will she be able to translate small things if needed, but there will be another female voice in the class and THAT will be exciting. I am confident that 3 out of the 5 women that I met this week will be back. I have to be very happy with that as this is quite a strange request to ask a woman who has been through so much and is now in a strange land with a strange language and strange rules...
However... I think my little experiment may actually be working! By the end of the half hour class, the Eritrean woman was making eye contact with me when before it had been "eyes down". The women in general also seemed a little more "lifted". Like the conversation (though words were limited) was easier. Music as communication.
Next week I'll bring a small questionnaire and consent forms translated to Arabic. Hopefully I won't scare them away with all the words and we can just sing together once again.
Sunday, September 25, 2016
Inspiration: Bobby McFerrin and Arabic Maqams
On Saturday I stood at a booth in the hot fall sun (what is going on Maastricht weather?...) on the grounds of the asielzoekerscentrum, our local refugee center. We were hoping to spread the good word of our nonprofit organization Not Just a Number -NJAN for short- and our project "International Friends Play". We put together an information sheet with all our details and goals for the initiative in five different languages: Farsi, Arabic, Dutch, Russian, and English. I was amazed to discover that, unfortunately, this didn't even cover the vast array of languages spoken by the residents so our message was still lost on some.
via GIPHY
At the Refugee Center Open Day, the most popular booth was - without a doubt - the food table. A refugee family from Afghanistan made local dishes like samboosak and vegetable fritters as well as pizza and french fries to please the locals. I went back... repeatedly. I lingered at the food table, and I noticed I wasn't the only one. The older woman spoke English fluently and the whole family was very warm to the hungry crowd, conversing freely about the ingredients and where each dish was traditionally cooked (not all the recipes were from Afghanistan). It was beautiful to see so many different cultures coming together over this simple joy. But I'll have to tackle that project another day, I suppose.
The other thing that I've noticed brings people together (and can even initiate stimulating conversation, or at the very least communication in gestures like smiling, nodding or head-bobbing) is MUSIC! Which is where my research will begin.
I'll be starting back with the playgroups on Tuesday, October 5th. Setup starts at 10am where I'll bring down large carpets for our "base", a toy collection which includes donated blocks, books, costumes and cars, and my favorite - the "jam" collection. We were lucky enough to have been given a generous monetary donation that will cover a whole NEW set of carefully chosen instruments! During this first playgroup, I plan to introduce myself to all the new families and get reacquainted with familiar faces. We'll start our Funikijam season with three weeks of "Elephant Moon African Safari". We'll introduce animals and rhythms native to Africa as well as a Swahili lullaby.
How will this segue into my personal research?
Well, here's the idea. At the end of my class (after a thunderous applause and LOTS of happy dancing kids... we can only hope, right?) I will ask one of the translators to help me make an announcement. I will carefully and gently introduce myself as a musician and researcher. I will briefly explain what I'm hoping to accomplish with this research and then present them with Informed Consent Forms that will be translated into Arabic and Dutch. They must fill out these forms to be legally protected and able to participate in my research which I hope will include some videos, photos and most definitely audio recordings. Of course, I'm sure many of the women will politely refuse my request, but hopefully not all of them. Only time will tell.
In the meantime, I'm brushing up on my Circle Singing (made popular by Bobby McFerrin) and trying to learn a thing or two about Maqams. As fate would have it, there is a 5-hour workshop on Arabic singing with Mike Massy tomorrow at my Conservatory. Thank you universe! Perfect timing.
My research will begin when I get a group of ladies that agree to my project. I would like to include just the moms of the playgroup, letting the children play with less adult supervision (though still sufficient). I want to include ALL the moms in this: refugees, expats and locals. Then what I plan to make a circle.
Eye contact. Listening.
I'll be the "leader" in the middle of the circle and will direct them in creating a soundscape. For our first session we'll concentrate on just making sounds as this will probably be a group of mostly "non-singers"... they don't know my stance that EVERYONE is a singer! :) Maybe we'll start with an "ohhh" or "oooo" on a designated note. Then I'll divide the room into two groups. One may do an "ooo" and the other an "ohhh". Once people get comfortable using their voices (most likely after a couple sessions) we'll graduate to a little improvisation and soloing. I'll start by incorporating a maqam, perhaps, and then see what develops.
This will be exciting to say the least. My hope is that - although these women come from different cultural backgrounds with their own stories of sadness and joy - they will be able to look each other in the eye. Maybe smile and nod at each other with the shared experience of making music together: one of our most ancient communication tools.
"Music is a companion to the dispossessed in their struggle to achieve their rights. Music can console, heal and educate. It can unite people, lift them above their suffering, provide a refuge for the refugee and temper the forces of violence." - Derek Beckvold, teacher for Musicians Without Borders.
Read his full article HERE.
How can we reach everyone? How can I help to form a bridge between such extremely different cultures?...
A seemingly impossible task, but one I'd like to try. I have to think of my own life as I have no other experience to form an opinion. An educated guess. One thing that has brought differences to a close in my family (at least for a small time) is dinner. Food.
A seemingly impossible task, but one I'd like to try. I have to think of my own life as I have no other experience to form an opinion. An educated guess. One thing that has brought differences to a close in my family (at least for a small time) is dinner. Food.
via GIPHY
At the Refugee Center Open Day, the most popular booth was - without a doubt - the food table. A refugee family from Afghanistan made local dishes like samboosak and vegetable fritters as well as pizza and french fries to please the locals. I went back... repeatedly. I lingered at the food table, and I noticed I wasn't the only one. The older woman spoke English fluently and the whole family was very warm to the hungry crowd, conversing freely about the ingredients and where each dish was traditionally cooked (not all the recipes were from Afghanistan). It was beautiful to see so many different cultures coming together over this simple joy. But I'll have to tackle that project another day, I suppose.
The other thing that I've noticed brings people together (and can even initiate stimulating conversation, or at the very least communication in gestures like smiling, nodding or head-bobbing) is MUSIC! Which is where my research will begin.
I'll be starting back with the playgroups on Tuesday, October 5th. Setup starts at 10am where I'll bring down large carpets for our "base", a toy collection which includes donated blocks, books, costumes and cars, and my favorite - the "jam" collection. We were lucky enough to have been given a generous monetary donation that will cover a whole NEW set of carefully chosen instruments! During this first playgroup, I plan to introduce myself to all the new families and get reacquainted with familiar faces. We'll start our Funikijam season with three weeks of "Elephant Moon African Safari". We'll introduce animals and rhythms native to Africa as well as a Swahili lullaby.
How will this segue into my personal research?
Well, here's the idea. At the end of my class (after a thunderous applause and LOTS of happy dancing kids... we can only hope, right?) I will ask one of the translators to help me make an announcement. I will carefully and gently introduce myself as a musician and researcher. I will briefly explain what I'm hoping to accomplish with this research and then present them with Informed Consent Forms that will be translated into Arabic and Dutch. They must fill out these forms to be legally protected and able to participate in my research which I hope will include some videos, photos and most definitely audio recordings. Of course, I'm sure many of the women will politely refuse my request, but hopefully not all of them. Only time will tell.
In the meantime, I'm brushing up on my Circle Singing (made popular by Bobby McFerrin) and trying to learn a thing or two about Maqams. As fate would have it, there is a 5-hour workshop on Arabic singing with Mike Massy tomorrow at my Conservatory. Thank you universe! Perfect timing.
My research will begin when I get a group of ladies that agree to my project. I would like to include just the moms of the playgroup, letting the children play with less adult supervision (though still sufficient). I want to include ALL the moms in this: refugees, expats and locals. Then what I plan to make a circle.
Eye contact. Listening.
I'll be the "leader" in the middle of the circle and will direct them in creating a soundscape. For our first session we'll concentrate on just making sounds as this will probably be a group of mostly "non-singers"... they don't know my stance that EVERYONE is a singer! :) Maybe we'll start with an "ohhh" or "oooo" on a designated note. Then I'll divide the room into two groups. One may do an "ooo" and the other an "ohhh". Once people get comfortable using their voices (most likely after a couple sessions) we'll graduate to a little improvisation and soloing. I'll start by incorporating a maqam, perhaps, and then see what develops.
This will be exciting to say the least. My hope is that - although these women come from different cultural backgrounds with their own stories of sadness and joy - they will be able to look each other in the eye. Maybe smile and nod at each other with the shared experience of making music together: one of our most ancient communication tools.
"Music is a companion to the dispossessed in their struggle to achieve their rights. Music can console, heal and educate. It can unite people, lift them above their suffering, provide a refuge for the refugee and temper the forces of violence." - Derek Beckvold, teacher for Musicians Without Borders.
Read his full article HERE.
Wednesday, May 25, 2016
She said "I love you"
"Do you know? Don't you wonder?"
The fire to all research is that single burning question... perhaps it begins with "Why?" "How?" or "What if?". I'm currently listening to "Deja Vu" by Crosby, Stills and Nash and the lyrics turn in circles with "Do you know? Do you wonder?...We have all been here before" and I can't help but relate that to my research.
It's human nature to ask questions. Think of a child in this situation: Mommy, what is that yellow thing? That's the sun, dear. What does it do? It gives us energy to live and makes the plants grow. When did it start being the sun? well... a long time ago I think... Who invented it?... I don't ... mmm... God. Why?... Well... and so on and so on. But the main point is that "we have all been here before". We're all a part of the question, which means we must all be part of the answer. We are all we know. We are the fools and folly and fumbling, but we are also the bold and brave and beautiful. The brains. The body. We have the capacity to solve all the problems we've created in this modern-day society. We must.
So, how do we get past the question and the daydreaming and start doing something about finding the answer? Unfortunately, I'm still in the mindset that the question itself is romantic and it's been very hard for me to do the practical work, but I'm trying. Really. In the midst of final exams, work, and performances... I'm trying to find that inspiration.
Luckily, I get a swift kick in the butt to be proactive every time I go to International Friends Play. These people inspire me: the women that volunteer as well as the women that live in the AZC here in Maastricht. The stories of the women and children that boarded a boat with no wheel, prayed for calm seas and left everything they knew to pursue a better life. What's astonishing to me is the amount of sheer happiness and optimism that these women exude. Their lives have not been easy... in fact some would say their agony is insurmountable. But they push on - every week they enjoy coffee and cookies and music. And every week we all get a little closer. The hellos have turned to hugs, to kisses on the cheek and heartfelt smiles.
I know now that little Ferris loves to joke and shake maracas. His mom just turned 30 two weeks ago and is always wearing a smile. John, Ivan and Iman are the three children of a beautiful woman who speaks Farsi, not Arabic. Her language barrier from the other refugees and volunteers doesn't stop her or her children from participating with gusto. The oldest girl is now very active in music class and even participates in Microphone solos! John, the middle child, peers at me with a smile from the sides of his eyes. He trusts me, but likes to act like he doesn't. And Ivan, the smallest girl with pitch black hair and tiny gold earrings, bounces and dances to any and all rhythms. She likes to have a shaker in her hand when she dances! However, all three kids get a look of intense terror when their mom goes out of sight, if even for just a moment. It makes me wonder what they've seen, what trauma they may associate with mom being gone. Of course, it could just be separation anxiety - happens all the time when kids can't see their moms. But with their situation, their known struggle... I can't help but feel there isa little more sadness to their story.
Last Tuesday, a woman with a small baby girl and a toddler boy (both with HUGE beautiful brown eyes and the sweetest demeanor) asked me in broken English if I had kids. She must have been surprised when I said no, because my bond with her own tiny daughter has gotten quite strong in the last couple weeks. I would hold her and sing when her mom needed to speak to the other volunteers about clothing or furniture requests. The little baby girl would just stare and smile at me for what seemed like hours. She must have seen the mommy-to-be in me (NOT YET). I tried to explain that I wanted kids, but later. "Not ready now... A Couple Years... Next time... Volgende" I resorted to Dutch, which I actually don't know, but the women and children are learning that more than English. Still, the message was not delivered. She didn't understand, and we ended up giving up chatting and using signals and smiles to communicate instead.
What was strange was that there was a connection - more than I feel with people I've known for months. I felt happy looking at her, and could feel her happy energy looking upon me. It was like we knew that we would be very good friends - if we could only say that in whatever language we spoke. At the end of the playgroup, the moms packed up their kids and the volunteers started their clean-up routine. The woman looked at me, smiled, and said directly and without hesitation - "I love you". I was stunned, but said "I love you too." She smiled a little bigger, took her two kids and waved goodbye.
See you next week then. Could you imagine what would happen if everyone left social situations by saying "I love you" instead of "I have so much to do... hope I can make it next week... let me know what happens with your tax guy"...etc.
Just "I love you". Genuine. Unabashedly genuine.
I love you too.
The fire to all research is that single burning question... perhaps it begins with "Why?" "How?" or "What if?". I'm currently listening to "Deja Vu" by Crosby, Stills and Nash and the lyrics turn in circles with "Do you know? Do you wonder?...We have all been here before" and I can't help but relate that to my research.
It's human nature to ask questions. Think of a child in this situation: Mommy, what is that yellow thing? That's the sun, dear. What does it do? It gives us energy to live and makes the plants grow. When did it start being the sun? well... a long time ago I think... Who invented it?... I don't ... mmm... God. Why?... Well... and so on and so on. But the main point is that "we have all been here before". We're all a part of the question, which means we must all be part of the answer. We are all we know. We are the fools and folly and fumbling, but we are also the bold and brave and beautiful. The brains. The body. We have the capacity to solve all the problems we've created in this modern-day society. We must.
So, how do we get past the question and the daydreaming and start doing something about finding the answer? Unfortunately, I'm still in the mindset that the question itself is romantic and it's been very hard for me to do the practical work, but I'm trying. Really. In the midst of final exams, work, and performances... I'm trying to find that inspiration.
Luckily, I get a swift kick in the butt to be proactive every time I go to International Friends Play. These people inspire me: the women that volunteer as well as the women that live in the AZC here in Maastricht. The stories of the women and children that boarded a boat with no wheel, prayed for calm seas and left everything they knew to pursue a better life. What's astonishing to me is the amount of sheer happiness and optimism that these women exude. Their lives have not been easy... in fact some would say their agony is insurmountable. But they push on - every week they enjoy coffee and cookies and music. And every week we all get a little closer. The hellos have turned to hugs, to kisses on the cheek and heartfelt smiles.
I know now that little Ferris loves to joke and shake maracas. His mom just turned 30 two weeks ago and is always wearing a smile. John, Ivan and Iman are the three children of a beautiful woman who speaks Farsi, not Arabic. Her language barrier from the other refugees and volunteers doesn't stop her or her children from participating with gusto. The oldest girl is now very active in music class and even participates in Microphone solos! John, the middle child, peers at me with a smile from the sides of his eyes. He trusts me, but likes to act like he doesn't. And Ivan, the smallest girl with pitch black hair and tiny gold earrings, bounces and dances to any and all rhythms. She likes to have a shaker in her hand when she dances! However, all three kids get a look of intense terror when their mom goes out of sight, if even for just a moment. It makes me wonder what they've seen, what trauma they may associate with mom being gone. Of course, it could just be separation anxiety - happens all the time when kids can't see their moms. But with their situation, their known struggle... I can't help but feel there isa little more sadness to their story.
Last Tuesday, a woman with a small baby girl and a toddler boy (both with HUGE beautiful brown eyes and the sweetest demeanor) asked me in broken English if I had kids. She must have been surprised when I said no, because my bond with her own tiny daughter has gotten quite strong in the last couple weeks. I would hold her and sing when her mom needed to speak to the other volunteers about clothing or furniture requests. The little baby girl would just stare and smile at me for what seemed like hours. She must have seen the mommy-to-be in me (NOT YET). I tried to explain that I wanted kids, but later. "Not ready now... A Couple Years... Next time... Volgende" I resorted to Dutch, which I actually don't know, but the women and children are learning that more than English. Still, the message was not delivered. She didn't understand, and we ended up giving up chatting and using signals and smiles to communicate instead.
What was strange was that there was a connection - more than I feel with people I've known for months. I felt happy looking at her, and could feel her happy energy looking upon me. It was like we knew that we would be very good friends - if we could only say that in whatever language we spoke. At the end of the playgroup, the moms packed up their kids and the volunteers started their clean-up routine. The woman looked at me, smiled, and said directly and without hesitation - "I love you". I was stunned, but said "I love you too." She smiled a little bigger, took her two kids and waved goodbye.
See you next week then. Could you imagine what would happen if everyone left social situations by saying "I love you" instead of "I have so much to do... hope I can make it next week... let me know what happens with your tax guy"...etc.
Just "I love you". Genuine. Unabashedly genuine.
I love you too.
Wednesday, May 4, 2016
My Zero Measurement
What is "zero measurement"?
I was so confused when I first heard this term, even though it was explained thoroughly... more than once. So. What is zero measurement? From what I understand, zero measurement is the knowledge you have available now. Pre-google. Pre-analyzing. Pre...researching. For example, if I were to start a research on basketball (coming from Indiana, USA) I would say these things:
-it's a sport with one ball and two hoops
-there are two teams
-the scores are usually very high (compared to soccer or football)
-there's something called "March Madness" (my grandma is really into that)
-both men and women have leagues, but the men's league is more popular
So that's what I know. Well, I may know a little more, but not much. I could make some quick google searches and discover some more basic facts. But what you do with this zero measurement is what I find exciting. From these facts, one is able to form questions. For example with the given information - "it´s a sport with one ball and two hoops", one can elaborate! Why does it only have one ball? What is the historical context of basketball? Does it possibly come from the ancient Mayan games where the "ball" was actually sometimes a human head? (I think it does...) And finally, one can make a research claim based on all these questions. Whichever piques your interest is the one you´ll probably choose. Let's go with the Mayan example and make a "research claim". According to grammar.about.com, a claim is
Arguable statements... I've made those my whole life. Just ask my mother. Buh-dn-ksh! No, but really. Let's think about this Mayan thing. Perhaps - and I'm coming from zero knowledge here - but what about "The Ancient Mayan game, Pok-ta-pok, created the modern day basketball that we know today". Well, after just a quick google search, I actually found that the game is called "Pok-ta-pok" which is more than I knew at the Zero Measurement phase.
All right all right! Enough basketball. I'm bored. Let's get back to the music!
To analye MY zero measurement, we should go back to my Research Assignment #1. Like I said, I wasn't quite clear on what that term meant back then (a couple months ago), so my zero measurement actually just consisted of five keywords: Vocal Therapy, Communication Therapy, Refugees, Syrian Culture, and Improvisation in Syrian Music. These keywords will eventually lead me to a zero measurement and perhaps even a concrete research claim, but first they lead me to my main research question:
With a little more research, I found ways that I could incorporate improvisation into my research. My favorite was the idea of Circle Singing, made famous by Bobby McFerrin. In this structure there is a leader (that would be me) and the participants form a circle around the leader looking for their musical "cues" to make a cohesive sound. From this group sound, there are at times spontaneous improvisation. Conversation! Could this musical conversation lead to a deeper dialogue between the women in the playgroup? Think of all the different cultures and musical backgrounds of these women. Middle-Eastern music fused with Western European classical ideas, and American rock and jazz. Whew!
Well... that's just what I want to find out! I'll be sure to keep you posted.
I was so confused when I first heard this term, even though it was explained thoroughly... more than once. So. What is zero measurement? From what I understand, zero measurement is the knowledge you have available now. Pre-google. Pre-analyzing. Pre...researching. For example, if I were to start a research on basketball (coming from Indiana, USA) I would say these things:
-it's a sport with one ball and two hoops
-there are two teams
-the scores are usually very high (compared to soccer or football)
-there's something called "March Madness" (my grandma is really into that)
-both men and women have leagues, but the men's league is more popular
So that's what I know. Well, I may know a little more, but not much. I could make some quick google searches and discover some more basic facts. But what you do with this zero measurement is what I find exciting. From these facts, one is able to form questions. For example with the given information - "it´s a sport with one ball and two hoops", one can elaborate! Why does it only have one ball? What is the historical context of basketball? Does it possibly come from the ancient Mayan games where the "ball" was actually sometimes a human head? (I think it does...) And finally, one can make a research claim based on all these questions. Whichever piques your interest is the one you´ll probably choose. Let's go with the Mayan example and make a "research claim". According to grammar.about.com, a claim is
"an arguable statement--an idea that a rhetor (that is, a speaker or writer) asks an audience to accept. Also called an arguable statement."
Arguable statements... I've made those my whole life. Just ask my mother. Buh-dn-ksh! No, but really. Let's think about this Mayan thing. Perhaps - and I'm coming from zero knowledge here - but what about "The Ancient Mayan game, Pok-ta-pok, created the modern day basketball that we know today". Well, after just a quick google search, I actually found that the game is called "Pok-ta-pok" which is more than I knew at the Zero Measurement phase.
All right all right! Enough basketball. I'm bored. Let's get back to the music!
To analye MY zero measurement, we should go back to my Research Assignment #1. Like I said, I wasn't quite clear on what that term meant back then (a couple months ago), so my zero measurement actually just consisted of five keywords: Vocal Therapy, Communication Therapy, Refugees, Syrian Culture, and Improvisation in Syrian Music. These keywords will eventually lead me to a zero measurement and perhaps even a concrete research claim, but first they lead me to my main research question:
How can vocal improvisation create communication between refugee women and local women in the Maastricht community (including expats)?
With a little more research, I found ways that I could incorporate improvisation into my research. My favorite was the idea of Circle Singing, made famous by Bobby McFerrin. In this structure there is a leader (that would be me) and the participants form a circle around the leader looking for their musical "cues" to make a cohesive sound. From this group sound, there are at times spontaneous improvisation. Conversation! Could this musical conversation lead to a deeper dialogue between the women in the playgroup? Think of all the different cultures and musical backgrounds of these women. Middle-Eastern music fused with Western European classical ideas, and American rock and jazz. Whew!
Well... that's just what I want to find out! I'll be sure to keep you posted.
Monday, April 25, 2016
Spanish Fiesta
Tomorrow brings a new class, and a new song sheet! For the next three weeks we'll be focusing on Spanish language and culture in our music classes.
My friend and kid-music-guru, Brian Barrentine, created this fantastic company called Funikijam. He's now leading the way in childhood education and entertainment.
"Built on the original rhymes, chants, songs and stories of founder Brian Barrentine, FunikiJam started with a Nashville playgroup in 1999. Now, FunikiJam has evolved into a landmark early childhood education and entertainment organization with an annual reach of over 70,000 patrons. From NYC headquarters, FunikiJam delivers its trademark "music exploration for the next generation" across the globe through classes, live shows, musical recordings, film production, and teacher training."
I was trained by Brian over the course of 3 years, and learned his unique fusion of known educational methods (like Kodaly and Orff Approach) with his own original kid-friendly compositions. As his first NYC "Teaching Artist" I ended up working for a number of schools including Brooklyn Conservatory, The Caedmon School and PS3, and performing all over the country with the Funikijam World Tour. The experience I gained was truly invaluable.
When I heard about the possibility of working with the International Friends Play, I knew this curriculum should be incorporated. It celebrates everything we are trying to create within the playgroup: intercultural understanding, connecting through music, and a safe, fun atmosphere for kids to grow and learn.
In a perfect world, there would be some Arabic translations on this song sheet (like the one from last week...below):
"Built on the original rhymes, chants, songs and stories of founder Brian Barrentine, FunikiJam started with a Nashville playgroup in 1999. Now, FunikiJam has evolved into a landmark early childhood education and entertainment organization with an annual reach of over 70,000 patrons. From NYC headquarters, FunikiJam delivers its trademark "music exploration for the next generation" across the globe through classes, live shows, musical recordings, film production, and teacher training."
I was trained by Brian over the course of 3 years, and learned his unique fusion of known educational methods (like Kodaly and Orff Approach) with his own original kid-friendly compositions. As his first NYC "Teaching Artist" I ended up working for a number of schools including Brooklyn Conservatory, The Caedmon School and PS3, and performing all over the country with the Funikijam World Tour. The experience I gained was truly invaluable.
When I heard about the possibility of working with the International Friends Play, I knew this curriculum should be incorporated. It celebrates everything we are trying to create within the playgroup: intercultural understanding, connecting through music, and a safe, fun atmosphere for kids to grow and learn.
In a perfect world, there would be some Arabic translations on this song sheet (like the one from last week...below):
However, our translator is a volunteer as well with children of her own and sometimes... there just doesn't seem to be enough time in the day. So, as a student of jazz I do what I've been taught - I improvise! We'll print the all-English song sheet for tomorrow and then if the Arabic comes later, I'll simply add it to the sheet and (try) to learn the pronunciation for at least one song.
I'm still trying to decide how to go about my next level of research - the women's Circle Singing. I suppose the first step will be permission forms... in English AND Arabic. Oooofff... not looking forward to that part, but it is an absolutely necessary step. Besides the normal "permission forms" in research, I must be especially delicate with the refugee situation. Sometimes being filmed isn't just uncomfortable, but dangerous to the family involved. We'll see what happens, but tomorrow... we sing!
Hasta mañana!
Friday, April 22, 2016
A New Beginning: My Introduction
Life is full of them; new beginnings. Things end, others begin. As an expat, I know this journey personally. It's a way of life. I chose it, and willingly accepted ending my time in one space to move freely to another, only to build up a life in that space and move on once again. It will probably happen at least a couple more times before my time is done. This ebb and flow is natural to me. Like a rambling river I glide through different atmospheres, tumble over rocks and boulders and eventually find my way to the great sea. All the while, I try to enjoy the beautiful and ever-changing scenery.
My newest beginning, as of late, is in a small city in the Southern part of the Netherlands called Maastricht. Fittingly, a river runs through the middle of the city, separating it into parts. Most notably to me -the City Center and Classical Music building of ZUYD University are on one side and the Jazz Building and Train Station are on the other. Both sides have their charms. In the eight months that I've lived here I have set up "home" in four different apartments on both sides of the River Maas. Ever-changing.
Many people have questions when they hear how many places I've called home.
1. Why did you move so much? Were your parents in the military? No... no, we moved to follow my father's work. After college, I decided I wanted to keep on moving a bit. I spent 6 years in NYC but saved all my money from bartending and teaching to take "personal trips" once a year to different countries. These other worlds opened my eyes and influenced every part of my life. I then moved to Colombia for a year after being swept away by the romantic imagery and Magical Realism of "Love in the Time of Cholera" by Gabriel Garcia Marquez. In Colombia, I fell in love with a jazz man, started singing Latin Jazz, learned to cook and taught English. My partner and I moved to the Netherlands after receiving scholarships to study Masters in Jazz at the Conservatorium Maastricht. So - here we are.
2. How can you afford this? I can't. At least not in the way that you may think. I always only have juuuust enough to cover food and shelter. I figure the rest out when I get there building on previous experiences (musician, music teacher, english teacher, travel writer). I find the more open one is, the more opportunities present themselves.
3. Do you miss your friends and family? Of course! But the beauty of traveling is that you are forced to make personal connections with people in order to survive (that is - if you are a "social" person, like me. Some people don't need this connection in the same way I do). I have had the great pleasure to become incredibly close to people that I may never have spoken to in the USA due to language restrictions or cultural differences. Some of these friends have become so important to me for different reasons that I consider them family as well. My "family" didn't disappear... it just got a little bigger.
Here's where my introduction comes to an end, and a new story begins.
I move because I want to, but that's not the case for some people. Between April 2011 and December 2015, approximately 897,645 Asylum Applications were received from Syrian Refugees seeking safety in Europe (United Nations, 2016). These men, women and children have been surrounded by violence for years, and have decided to risk everything for a better life. With this decision, they are suddenly uprooted from their homeland and everything familiar. Sometimes families are separated for months or years while seeking safer shelter.
I felt immediately drawn to the plight of these strong men and women, many of whom have suffered more than I will ever know. My instinct wasn't to give money to the cause (I have none), or to demand justice in the governmental systems (not my area) or even to explain my supportive position to frightened family members (been there, tried that). My strength... my purpose is music. It always has been no matter where I am on the map. So, how could I bring my passion for music into the Refugee Community of Maastricht?
It's all about communication.
I started talking about it. And talking about it. And asking questions... and talking some more. I talked to her and she talked to them and then I talked to them and they talked to her. That's how I came to be involved with Emma Bendall, Poyer Conforte, the initiative International Friends Play and the NGO -Not Just a Number.
With my previous experience as a music teacher and Teaching Artist at Funikijam in NYC, I offered my services as a volunteer "music teacher" for the playgroup on Tuesdays. Funikijam LLC has granted me permission to use their curriculum for this project. I also incorporate my own curriculum and try to include at least one song in Arabic (graciously translated by another volunteer). We rock and roll and sing and dance and play! The kids range from 3 weeks to 7 years and the families come from all over the world, but the majority are refugees from Syria.
My goal is to create a communication between refugee, expat, and local women of Maastricht using Vocal Improvisation. I've been working with this project for the last 8 weeks. Though it's a part of my Master Research at the Conservatorium Maastricht, it's also a very personal project. I want to further our understanding of communicating through music and what effects this nonverbal communication may have on our global future.
That's my "research plan". For now, we get together every tuesday. We talk (with the help of hand gestures and translators), share coffee and cookies, run after children of all colors and backgrounds, and make music together. I believe that's a good start.
I'll be keeping this blog as a sort of documentation to see what changes from now until the end of my research. I'm happy to receive comments or questions you may have about my research or in general. This is all new to me! There will - no doubt - be rocks in the river that I'll have to swim around. But I know, no matter what happens, it's going to be a great and ever-changing view.
Thanks for joining my journey!
My newest beginning, as of late, is in a small city in the Southern part of the Netherlands called Maastricht. Fittingly, a river runs through the middle of the city, separating it into parts. Most notably to me -the City Center and Classical Music building of ZUYD University are on one side and the Jazz Building and Train Station are on the other. Both sides have their charms. In the eight months that I've lived here I have set up "home" in four different apartments on both sides of the River Maas. Ever-changing.
Many people have questions when they hear how many places I've called home.
1. Why did you move so much? Were your parents in the military? No... no, we moved to follow my father's work. After college, I decided I wanted to keep on moving a bit. I spent 6 years in NYC but saved all my money from bartending and teaching to take "personal trips" once a year to different countries. These other worlds opened my eyes and influenced every part of my life. I then moved to Colombia for a year after being swept away by the romantic imagery and Magical Realism of "Love in the Time of Cholera" by Gabriel Garcia Marquez. In Colombia, I fell in love with a jazz man, started singing Latin Jazz, learned to cook and taught English. My partner and I moved to the Netherlands after receiving scholarships to study Masters in Jazz at the Conservatorium Maastricht. So - here we are.
2. How can you afford this? I can't. At least not in the way that you may think. I always only have juuuust enough to cover food and shelter. I figure the rest out when I get there building on previous experiences (musician, music teacher, english teacher, travel writer). I find the more open one is, the more opportunities present themselves.
3. Do you miss your friends and family? Of course! But the beauty of traveling is that you are forced to make personal connections with people in order to survive (that is - if you are a "social" person, like me. Some people don't need this connection in the same way I do). I have had the great pleasure to become incredibly close to people that I may never have spoken to in the USA due to language restrictions or cultural differences. Some of these friends have become so important to me for different reasons that I consider them family as well. My "family" didn't disappear... it just got a little bigger.
Here's where my introduction comes to an end, and a new story begins.
I move because I want to, but that's not the case for some people. Between April 2011 and December 2015, approximately 897,645 Asylum Applications were received from Syrian Refugees seeking safety in Europe (United Nations, 2016). These men, women and children have been surrounded by violence for years, and have decided to risk everything for a better life. With this decision, they are suddenly uprooted from their homeland and everything familiar. Sometimes families are separated for months or years while seeking safer shelter.
I felt immediately drawn to the plight of these strong men and women, many of whom have suffered more than I will ever know. My instinct wasn't to give money to the cause (I have none), or to demand justice in the governmental systems (not my area) or even to explain my supportive position to frightened family members (been there, tried that). My strength... my purpose is music. It always has been no matter where I am on the map. So, how could I bring my passion for music into the Refugee Community of Maastricht?
It's all about communication.
I started talking about it. And talking about it. And asking questions... and talking some more. I talked to her and she talked to them and then I talked to them and they talked to her. That's how I came to be involved with Emma Bendall, Poyer Conforte, the initiative International Friends Play and the NGO -Not Just a Number.
With my previous experience as a music teacher and Teaching Artist at Funikijam in NYC, I offered my services as a volunteer "music teacher" for the playgroup on Tuesdays. Funikijam LLC has granted me permission to use their curriculum for this project. I also incorporate my own curriculum and try to include at least one song in Arabic (graciously translated by another volunteer). We rock and roll and sing and dance and play! The kids range from 3 weeks to 7 years and the families come from all over the world, but the majority are refugees from Syria.
My goal is to create a communication between refugee, expat, and local women of Maastricht using Vocal Improvisation. I've been working with this project for the last 8 weeks. Though it's a part of my Master Research at the Conservatorium Maastricht, it's also a very personal project. I want to further our understanding of communicating through music and what effects this nonverbal communication may have on our global future.
That's my "research plan". For now, we get together every tuesday. We talk (with the help of hand gestures and translators), share coffee and cookies, run after children of all colors and backgrounds, and make music together. I believe that's a good start.
I'll be keeping this blog as a sort of documentation to see what changes from now until the end of my research. I'm happy to receive comments or questions you may have about my research or in general. This is all new to me! There will - no doubt - be rocks in the river that I'll have to swim around. But I know, no matter what happens, it's going to be a great and ever-changing view.
Thanks for joining my journey!
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