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E C N E R E F N O C A IM M L A INTERNATION PRINCETON UNIVERSITY

8-17 OCTOBER 2010

. CELEBRATE. INSPIRE. TRANSFORM. CREATE

Contact: info@mimamusic.org

WWW.MIMAMUSIC.ORG


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MISSION .

To build community through music OBJECTIVE

munities around the world, com in ps ho rks wo ng aki -m sic mu MIMA offers free nities. se workshops in their home commu the d lea to s der lea ng you ins tra and METHOD e.

Inspire. Transform. Create. Celebrat

ERENCE

THE INTERNATIONAL MIMA CONF

events 10-year anniversary with a series of We invite you to celebrate MIMA’s , NJ and New York, NY from 8-17 October 2010 in Princeton

TRAINING TANGO WORKSHOPS • TEACHER • RY SA ER NIV AN r yea 10• F OF KICK OUTREACH • CERTIFICATION • E NC RIE PE EX HIP RS DE LEA MA THE MI YNOTE • CLOSING PARTY KE + T ER NC CO • M SIU PO SYM ’ RS SCHOLA


GILBERTO GIL

R 2010 8 pm BE TO C O 16 M U RI O IT D AU N SO D PRINCETON UNIVERSITY RICHAR OF CULTURE

WRITER & FORMER MINISTER NG SO RGE SIN AN ILI AZ BR ITH W E MIMA CONFERENCE KEYNOT thony D.J. Branker An . Dr by ted ec dir LE MB SE EN ZZ T JA + PRINCETON UNIVERSITY CONCER s (free) Tickets $15, Students $5, Tiger Ticket u/utickets Pre-sale online at www.princeton.ed


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M IU S O P M Y S ’ S R A L O H C S

1 pm 10 20 R BE TO C O 16 EN RE G R LO EL PRINCETON UNIVERSITY CHANC • SOCIAL ENTREPRENEURSHIP Y AC OM PL DI • IC BL PU SIC IMPROVISATION IN: MU ott Burnham,

l Sigman, Prof. Sc Jil . Dr , ros ive Ol ne uli Pa . Dr h, us nb the Rev. Paul Raushe Haig, Dr. Stanley Katz n sa Su . Dr e, ng La E. n lia Ju . Dr ro, Dr. Lori Custode u

RSVP to mimamima@princeton.ed


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ADDITIONAL EVENTS

CONFERENCE KICK OFF2010

NJ 9 OCTOBER TERRACE EATING CLUB, PRINCETON, • 4 DJs 7 ROOMS • 7 MUSICAL RITUALS

10 pm

ds unite at the Terrace Eating Club Musicians, students, alumni and frien a living instrument. into ing to turn the build . the start of its rebellious teenage years and A MIM of de deca first the s Midnight mark

HOPS TANGO GUITAR WORKS OCTOBER 2010

3-4 pm ARTS 11-15 PAUL ROBESON CENTER FOR THE ION • IMPROVISAT MILONGA • TANGO • FOLKLORE as Zloto sors MIMA Teacher Mati The US Embassy in Buenos Aires spon r workshops. guita o to host 5 tang r. Open to the public, bring your guita

10-year ANNIVERSARY

BOWERY POETRY CLUB, 308 Bowery, MUSICIANS FROM 3 CONTINENTS

NEW YORK 10 October 2010 10 pm A

• THE CELEBRATION OF A DECADE OF MIM

ovised celebration. Performance, jam session and impr mamusic.org/donate w.mi //ww http: at tion dona Pre-sale: $15 $25 : Door

TEACHER TRAINING

pm ARTS 11-15 OCTOBER 2010 4-6 PAUL ROBESON CENTER FOR THE TURAL DIPLOMACY THEORIES OF IMPROVISATION + CUL NTWRITING MIMA METHOD WORKSHOPS • GRA workshops. 5 6 MIMA staff from 3 continents lead to info@mimamusic.org bio word 200a Send ired: requ on Applicati


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ADDITIONAL EVENTS

IP EXPERIENCE THE MIMA LEADERSH pm LEGES 11-15 OCTOBER 2010 8-10 TIAL COL

PRINCETON UNIVERSITY RESIDEN

• IMPROVISED JAM SESSIONS CREATIVE LEADERSHIP WORKSHOPS TION CREA IA MED MUSIC + 5 workshops. 6 MIMA Staff from 3 continents lead RSVP to mimamima@princeton.edu

REMONY CERTIFICATIONARTCE S 15 OCTOBER 2010

8 pm PAUL ROBESON CENTER FOR THE RS DUCERS • MUSICIANS • TEACHE STUDENTS • INTERNS • PRO rmance and certification ceremony. Live music perfo RSVP to info@mimamusic.org

TREACH OBER 2010 4 pm MUSIC OU, TREN TON 15 OCT

RCH WESTMINSTER PRESBYTERIAN CHU

, NJ UNDERSERVED YOUTH IN TRENTON MUSIC EDUCATION OUTREACH FOR s. inent cont 3 from cians Live music and performance with musi

Y CLOSING PART 0 201 R

OBE NuBlu, 62 ave C btw 4 & 5 17 OCT

10 pm

AIRES) SPINJAZZ + LA NOBANDA (BUENOS e-DJ cumbia collective. hous ed ovis impr ul o-so disc -jazz An afro-brazilian funk ersary celebration. week-long anniv DJ + live music culminates MIMA’s music education. $10 cover charge at door supports


GILBERTO GIL BACKSTAGE RICHARDSON AUDITORIUM 16 OCTOBER

Text by Dr. Anthony D.J. Branker

Gil started to play music as a child and was still a teenager when he joined his first band. Rhythms from the northeast of Brazil like the baião, apart from samba and bossa nova were fundamental in his formation. Using them as a starting point, Gil forged his own music to which he incorporated rock, reggae, funk and rhythms from Bahia such as afoxé. Gil has tackled a wide variety of issues in his lyrics, pertinent to modern reality: from social inequality to the racial question, from African to Asian culture, from science to religion, among others. The mastery with which Gil explores these subjects makes him one of the greatest Brazilian composer-lyricists. Gil’s importance to the culture of his country goes back to the 60’s, when he and Caetano Veloso created Tropicalism. Radically innovative in the music scene, the movement assimilated pop culture to national genres; deeply critical on political and moral levels, Tropicalism ended up being repressed by the authoritarian regime. Gil and Caetano were imprisoned and exiled. In London, Gil recorded an album in English for the local Philips. When he returned to Brazil, he began a series of anthological records in the 70’s: ‘Expresso 2222,’ ‘Gil Jorge’ (with Jorge Ben Jor), ‘Os Doces Bárbaros’ (with the baianos Caetano, Gal Costa and Maria Bethânia) and a conceptual trilogy made up by ‘Refazenda’ (of country extraction), ‘Refavela’ (with rhythms from Jamaica, Nigeria, Rio and Bahia) and ‘Realce.’ With 52 albums released, Gilberto Gil has 12 gold records, 5 platinum albums, 7 Grammy Awards and more than 4 million records sold. For his unflinching creative in bringing to the world the heart and soul Gilberto Gil, a Grammy Award-winning Brazilian engagement of the Brazilian music, Gilberto Gil has received numersinger, guitarist, and songwriter who has served as Braous honors in Brazil and around the world. Simply statzil’s Minister of Culture in the administration of Presied, he is a unique composer powered by immense talent dent Luiz Inácio Lula da Silva from 2003 to 2008, will and curiosity; a unique musical ambassador powered by provide the keynote address at the International MIMA firm cultural conviction. Conference on the role of cultural ambassadorship.


PRINCETON UNIVERSITY CONCERT JAZZ ENSEMBLE BACKSTAGE RICHARDSON AUDITORIUM 16 OCTOBER

Dr. Anthony D.J. Branker Dr. Branker holds the endowed chair of the Anthony H.P Lee ’79 Senior Lecturer in Jazz Studies, is Founder/Director of the Program in Jazz Studies, and serves as Associate Director of the Program in Musical Performance at Princeton University, where he directs an extensive list of ensembles and teaches courses in jazz theory through improvisation & composition, jazz performance practice in historical and cultural context, jazz composition, and the evolution of jazz styles. He has served as a U.S. Fulbright Scholar and visiting professor at the Estonian Academy of Music and Theatre in Tallinn, Estonia and has also been a member of the faculty at the Manhattan School of Music, Rutgers University Mason Gross School of the Arts, Hunter College of the City University of New York, Ursinus College, and the New Jersey Summer Arts Institute. Professor Branker was visiting composer at the Hochschule für Musik und Theater in Hamburg, Germany and for the Socrates/Erasmus Intensive Programme in cooperation with the European

The Princeton University Concert Jazz Ensemble enjoys a reputation as

one of the most outstanding collegiate jazz groups in the country. These gifted students, and others in Princeton’s national award-winning jazz program, have appeared in concert with such internationally renowned jazz artists as Clark Terry, Phil Woods, Slide Hampton, Jimmy

Union, the Association of Baltic Academies of Music, and the Estonian Academy of Music and Theatre. He has been honored by the United States Department of Education with a Presidential Scholars Teacher Recognition Award, the Institute for Arts and Humanities Education Distinguished Teaching Award, the International Association of Jazz Educators Award for Outstanding Service to Jazz Education, and was the recipient of the 2004 Alumni Award presented by the Association of Black Princeton Alumni. Recently, the New Jersey Association for Jazz Education honored Dr. Branker at the New Jersey Performing Arts Center in Newark by presenting him with the 2009 Jazz Education Achievement Award for “Outstanding Accomplishment in the Field of Jazz Studies and Continued Dedication to the New Jersey Jazz Education Community.” Anthony D.J. Branker holds the degrees of Doctor of Education and Master of Education from Columbia University, Teachers College; Master of Music in Jazz Pedagogy from the University of Miami; and a Bachelor of Arts in Music and Certificate in African-American Studies from Princeton University.

Heath, Jon Faddis, Conrad Herwig, Oliver Lake, Frank Foster, Benny Carter, Ted Curson, Stanley Jordan, Bobby Watson, Terence Blanchard, Bob Mintzer, Ralph Peterson, Steve Nelson, Antonio Hart, Don Braden, Jacky Terrasson, Jonny King, Walt Weiskopf, Valery Ponomarev, Bryan Carrott, Michael Philip Mossman, Rick Margitza, Ralph Bowen, Mark Gross, Clifford Adams, Jeffery Smith, Guilherme Franco, Renato

Thoms, and Winston Byrd. The program has also been fortunate to feature Dr. Billy Taylor, Maria Schneider, Geri Allen, Omar Sosa, Victor Lewis, Bill Frisell, Fred Hersch, Joanne Brackeen, Roy Hargrove, Hugh Masekela, James Williams, Craig Handy, Jeremy Pelt, Gene Bertoncini, Jim Black, Bruce Williams, Scott Lee, and Wilson “Willie Tee” Turbinton as guest lecturers in master class situations.


TALKING POINTS SCHOLARS’ SYMPOSIUM

Princeton Professors Dr. Anthony D.J. Branker, Dr. Scott Burnham, Dr. Stanley Katz and Rev. Paul Raushenbush identified talking points about improvisation for the scholars’ symposium at Chancellor Green (left). Christoph Geiseler: What are pedagogical goals when improvisation becomes part of a teaching curriculum / classroom process? Anthony Branker: Collaboration. Development of the student’s voice. Empowerment through sharing and exchange. It is very much interactive and interdependent. Teaching objectives are crucial, such as learning through social interaction and constructivism. Constructivism means students should have an integral role in the development of their own knowledge and should be provided with opportunities to create their own understanding; places value on the experiential. When teachers empower students in this way it gives students the much-deserved permission to take a larger role in the development of their own experience and in the process discover how to create themselves. Stanley Katz: Reading Howard Gardner’s “Multiple-intelligences” is a must. I also recommend literature by Paolo Freire and Maxine Greene. We must ask if improvisation makes a cognitive difference. Scott Burnham: Improvisation develops creative capacity and there is a cognitive benefit to studying music. Paul Raushenbush: The social power of improvisation and liberation theology are examples of how learning takes place through social interaction; specifically, reflection follows praxis. Viola Spolin’s Improvisational Theater in the 1960’s is important. I suggest learning about Augusto Boal. The theme of cultural diplomacy and theories of democracy are also noteworthy. Is there a connection between improvisation and democracy, and is this something that the US State Department wants to sponsor at an international level?


SCHOLARS’ SYMPOSIUM CHANCELLOR GREEN 16 OCTOBER 2010 AN INTERACTIVE FORUM ABOUT IMPROVISATION IN

• Music • Music Education • Public Diplomacy • Social

Entrepreneurship

Dr. Pauline Oliveros Pauline Oliveros (1932) has influenced American music extensively in her career spanning more than 60 years as a composer, performer, author and philosopher. She pioneered the concept of Deep Listening, her practice based upon principles of improvisation, electronic music, ritual, teaching and meditation, designed to inspire both trained and untrained musicians to practice the art of listening and responding to environmental conditions in solo and ensemble situations. During the mid’60s she served as the first director of the Tape Music Center at Mills College, aka Center for Contemporary Music followed by 14-years as Professor of Music and 3 years as Director of the Center for Music Experiment at the University of California at San Diego. Since 2001 she has served as Distinguished Research Professor of Music  in the Arts department at Rensselaer Polytechnic Institute (RPI) where she is engaged in research on a National Science Foundation CreativeIT project. Her research interests include improvisation, special needs

Rev. Paul Raushenbush

interfaces and telepresence teaching and performing. She also serves as  Darius Milhaud Composer in Residence at Mills College doing telepresence teaching and she is  executive director of Deep Listening Institute, Ltd. where she leads projects in Deep Listening, Adaptive Use Interface. She is the recipient of the 2009 William Schuman Award from Columbia University for lifetime achievement.  A retrospective from 1960 to 2010 was performed at Miller Theater, Columbia University in New York March 27, 2010 in conjunction with the Schuman award. She received a third honorary degree from DeMontort University, Leicester, UK July 23, 2010. Recent recordings include Pauline Oliveros & Miya Masoka and Pauine Oliveros & Chris Brown on Deep Listening, http://paulineoliveros.us, and http://www.deeplistening. org/, Then & Now & Now & Then: Celebrating Twenty Years, Deep Listening Band, double vinyl album, Taiga Records, 2008; Drifting Depths, vinyl release Important Records 2008, Timeless Pulse Trio, vinyl release Taiga Records 2010.

quoted in The New York Times and The Washington Post and is a contributing editor for Beliefnet.com. His Rev. Paul Raushenbush is the Associate Dean of Reli- first book, Teen Spirit: One World, Many Faiths (HCI) gious Life and the Chapel at Princeton University. An was released in the Fall of 2004. He is the editor of the ordained American Baptist minister, Rev. Raushenbush 100th Anniversary edition of Walter Rauschenbusch’s speaks and preaches at colleges, churches and institutes book, Christianity and the Social Crisis – In the 21st around the country including the College of Preach- Century (HarperOne). His work at Princeton includes ers at the National Cathedral in Washington D.C., The strengthening the interfaith community on campus. He Chautauqua Institute in upstate New York, the Center is the Co-Director of the Program on Religion, Diplofor American Progress, and the New America Founda- macy and International Relations at The Liechtenstein tion. He has appeared on ABC World News Tonight and Institute on Self Determination at Princeton University. is a repeated guest on CNN and NPR. He has been Paul is the Religion Editor for the Huffington Post.


SCHOLARS’ SYMPOSIUM CHANCELLOR GREEN 16 OCTOBER 2010 AN INTERACTIVE FORUM ABOUT IMPROVISATION IN

• Music • Music Education • Public Diplomacy • Social

Entrepreneurship

Dr. Jill Sigman Jill Sigman asks questions through the medium of the body. Trained in classical ballet, modern dance, improvisation, and visual art, Sigman has been making dances and performance installations since the early 90s. In 1998, she founded her New York based dance company jill sigman/thinkdance as a vehicle for her performance experiments. In the same year she received her Ph.D. in philosophy from Princeton University. Equally comfortable on a proscenium stage or crawling in the dirt armed with fluorescent waterguns, Sigman transforms deceptively simple actions into explorations of politics, gender, and society; her work currently exists at the intersection of dance, theater, and visual installation. Sigman’s work has been produced by such New York

Dr. Lori Custodero Dr. Lori Custodero is Associate Professor and Program Coordinator of Music and Music Education at Teachers College, Columbia University, in New York City. With degrees in piano performance, music theory, and music education (D.M.A., University of Southern California), her work brings together issues of teaching, learning, and musicality as they are co-constructed throughout the lifespan. In her research with children from infancy through preadolescence, and with adults as musicians, teachers, and parents, she has examined musical challenge, engagement, and meaning in classrooms, playgrounds, and family settings. She is widely published, with numerous journal articles and book chapters, including translations in Greek, Portuguese, and Italian. Recent titles are “Origins and Expertise in the Musical Improvisations of Adults and Children,” (British Journal

City venues as Dance Theater Workshop, Danspace Project, PS 1 Contemporary Art Center, and the 92nd Street Y Harkness Dance Center, and has been seen in theater, green spaces, bus stations, and industrial dead ends. Internationally, her work has been shown in Belgium, France, Germany, the Netherlands, Croatia, Hungary, Slovenia, and India. As a teacher, Sigman offers workshops nationally at colleges and universities; she has been a a movement tutor at the Imaginary Academy in Groznjan, Croatia, a frequent guest teacher in Belgium, a professor of aesthetics and performance theory at Brooklyn College and The New School, and a guest artist at Hofstra University. She has recently been teaching in Oslo, Norway, and is currently at work on a multi-site project about huts and sustainable living. See: www.thinkdance.org

of Music Education); “Singing Practices in Ten Families” (Journal for Research in Music Education); “Observational Indicators of Flow Experience: A Developmental Perspective of Musical Engagement in Young Children” (Music Education Research); and “’Being  With’: The Resonant Legacy  of Childhood’s Creative Aesthetic” (Journal of Aesthetic Education). Most recently, she has co-edited a book with Harold Abeles entitled Critical Issues in Music Education: Contemporary Theory and Practice, published by Oxford University Press. Prof. Custodero has served in various professional leadership roles including Co-Chair of the Music Educators National Conference’s Special Research Interest Group for Early Childhood, and Chair of the International Society for Music Education’s Early Childhood Commission. In addition to projects and partnerships worldwide, she has developed music programs with many local institutions including Jazz at Lincoln Center, the New York Philharmonic, and Columbia Head Start.


SCHOLARS’ SYMPOSIUM CHANCELLOR GREEN 16 OCTOBER 2010 AN INTERACTIVE FORUM ABOUT IMPROVISATION IN

• Music • Music Education • Public Diplomacy • Social

Entrepreneurship

Dr. Scott Burnham Scott Burnham has taught in the Music Department of Princeton University since 1989.  He served as Chair of the Music Department from 2000 to 2008, and he is currently Scheide Professor of Music History.  His best-known book is Beethoven Hero (Princeton, 1995); he also translated A. B. Marx, Musical Form in the Age of Beethoven (Cambridge, 1997), and co-edited of Beethoven and His World (Princeton, 2000).  Other publications have appeared in a variety of books and journals, including Cambridge Companions to Beethoven, to Haydn, and to Schumann, The Cambridge History of

Dr. Julian E. Lange Dr. Julian E. Lange is the Governor Craig R. Benson Professor of Entrepreneurship and Public Policy at Babson College, where he teaches MBA, undergraduate, and executive education courses in entrepreneurship and serves as faculty advisor to the Babson business plan competitions and as a member of the Babson Faculty Senate. Dr. Lange has previously served as the Co-Chair of the Appointments and Promotions Committee, as a member of the Undergraduate DMB (the undergraduate curriculum oversight committee), and as advisor to the Babson Seed Capital Fund. For the academic year 2007-2008, Dr. Lange was the Dean’s Visiting Professor of Entrepreneurship at Princeton University in the School of Engineering and Applied Science’s Keller Center for Innovation in Engineering Education. Dr. Lange, an accomplished entrepreneur, was CEO of Software Arts, creator VisiCalc – the first electronic spreadsheet. Dr. Lange has more than 25 years experience advising a wide variety of clients including Fortune 500/Global companies as well as start-ups and mid-sized companies, family controlled enterprises, and government agencies. He serves on boards of private sector firms

Western Music Theory, Music Theory Spectrum, Musical Quarterly, Nineteenth-Century Music, Journal of the American Musicological Society, Journal of Musicology, Beethoven Forum, The New Grove Encyclopedia of Music, and others.  Forthcoming writings include “Late Styles,” scheduled to appear in Rethinking Schumann (Oxford University Press); a chapter on Hugo Riemann and Beethoven’s Op. 31 piano sonatas, for Riemann Perspectives (Cambridge University Press); and “Intimacy and Impersonality in Late Beethoven,” for New Paths (Orpheus Institute).  Earlier this year, Ashgate Press released Sounding Values, a collection of 18 of Burnham’s essays from the past two decades.

and public agencies, and has extensive experience developing and teaching in executive education programs both in the United States and internationally. Dr. Lange previously served as assistant professor of business administration (finance) at Harvard Business School. From 2003 to 2005, Dr. Lange served as the Advisor on Entrepreneurship to Governor Craig Benson of New Hampshire and the Chair of the Governor’s Task Force on Entrepreneurship. Dr. Lange has published articles in leading journals including the Journal of Applied Corporate Finance, Venture Capital, Frontiers of Entrepreneurship Research, and International Management. He also co-authored the book The Construction Industry: Balance Wheel of the Economy (with D. Quinn Mills). His commentary on entrepreneurship topics has appeared on National Public Radio and in TV interviews, in the American and international press, and in such publications as the The Wall Street Journal, The New York Times, Money, and USA Today. Dr. Lange is a Phi Beta Kappa, Magna Cum Laude graduate of Princeton University. He also holds an M.B.A. from Harvard Business School, and an A.M. and Ph.D. in Economics from Harvard University.


SCHOLARS’ SYMPOSIUM CHANCELLOR GREEN 16 OCTOBER 2010 AN INTERACTIVE FORUM ABOUT IMPROVISATION IN

• Music • Music Education • Public Diplomacy • Social

Entrepreneurship

Dr. Stanley Katz Stanley Katz is President Emeritus of the American Council of Learned Societies, the leading organization in humanistic scholarship and education in the United States. Mr. Katz graduated magna cum laude from Harvard University in 1955 with a major in English History and Literature. He received his M.A. from Harvard in American History in 1959 and his Ph.D. in the same field from Harvard in 1961. He attended Harvard Law School in 1969-70. His recent research focuses upon the relationship of civil society and constitutionalism to democracy, and upon the relationship of the United States to the international human rights regime. Formerly Class of 1921 Bicentennial Professor of the History of American Law and Liberty at Princeton University, Mr. Katz is a leading expert on American legal and constitutional history, and on philanthropy and non-

Dr. Susan Haig Hailed for ‘imaginative and spirited conducting’, and ‘superb communication with musicians and audiences alike’, Susan Haig is a conductor and cultural leader dedicated to connecting the broadest public to music and the arts. Her work throughout Canada and the U.S. has included orchestral and opera conducting, coaching, producing and broadcasting. She is Creative Director and founder of New Jersey Arts News, a nonprofit arts news source for television newscasts. Haig has served as Music Director of Canada’s Windsor Symphony and the South Dakota Symphony Orchestra, Associate Conductor of the Florida Orchestra, and Resident Conductor of the Calgary Philharmonic Orchestra. Formerly a coach and assistant conductor with the Canadian, Santa Fe, and New York City Opera companies, she has conducted numerous opera performances in Canada and the U.S., and hundreds of orchestral educational concerts for students of all ages.Since 2007, Haig has been involved in

profit institutions. The author and editor of numerous books and articles, Mr. Katz has served as President of the Organization of American Historians and the American Society for Legal History and as Vice President of the Research Division of the American Historical Association. He is a member of the Board of Trustees of the Newberry Library, the Social Science Research Council, the Copyright Clearance Center and numerous other institutions. He also currently serves as Chair of the American Council of Learned Societies/Social Science Research Council Working Group on Cuba. Katz is a member of the New Jersey Council for the Humanities, the American Antiquarian Society, the American Philosophical Society; a Fellow of the American Society for Legal History, the American Academy of Arts and Sciences, and the Society of American Historians; and a Corresponding Member of the Massachusetts Historical Society. He has honorary degrees from several universities. producing short-form arts news features and advancing NJAN as a cultural/media initiative hosted by the Community Foundation of New Jersey. She has conducted numerous state-wide and national broadcasts in the US and Canada, served as guest host for the national daily morning show broadcast on CBC Stereo, and worked ‘back-stage duty’ during Live From Lincoln Center broadcasts. Dr. Haig is a passionate spokesman on cultural citizenship, the civic role of orchestras, and public arts education through the media. She was voted 2006 Music Educator of the Year in Tampa, received keys to the cities of St. Petersburg and Windsor in recognition of her cultural leadership, and was awarded an honorary degree of Doctor of Humanities from the University of Windsor. Ms. Haig was born and raised in Summit, NJ, graduated from Princeton University—where she was a University Scholar—and received Master’s and Doctoral degrees in piano and conducting from Stony Brook University. She has performed solo and chamber music as a pianist, violist, and vocalist.


MIMA began as a Princeton student orga-

nization in 2000. A group of us undergrads (Adam Nemett ‘03, Ajay Kapur ‘02, Pam Shisler ‘03, Alex Rosenfeld ‘03, with Brian Deleeuw ‘03 joining the leadership very early on) noticed a distinct lack of musical diversity on campus. Lots of Top-40 MTV stuff. Not much else. There were, of course, various options presented by academic departments but the opportunities for students to see diverse music in a fun, social setting was quite limited. So we figured out the appropriate bureaucratic hoops to jump through and we formed Modern Improvisational Music Appreciation (MIMA).

The student organization quickly grew to a membership of over 600 undergrads, alums, professors, and members of the community

10 YEARS OF MIMA by Adam Nemett

Working with eating club Social Chairs and the Undergraduate Student Government, MIMA organized, publicized, and executed a wide variety of music-based events on and off campus, from large-scale raves to intimate jazz performances to shows in New Brunswick, Trenton and New York City. The student organization BEGINNINGS 2000-2002 quickly grew to a membership of over 600 undergrads, alums, professors, and members of It was 10 years ago that a few of us college the community — by the time I stepped down freshmen got together and decided we want- as President, MIMA was the second-largest ed to listen to some different music together. student organization at Princeton (after the And that’s the thing about music: when you Student Volunteers Council). hear something new, something exciting, you want to share it with others…


GROWTH

2002-2010

When I handed off MIMA to the leadership of

Christoph Geiseler in 2002, he truly evolved the scope and mission of the organization, and grew it into the International NGO and 501(c)3 nonprofit it is today. Christoph gathered other Princeton volunteers to begin working with underserved communities in Trenton, forming the foundation for what would ultimately become our flagship Social Outreach and Songwriting Program. To me, the value of these programs is really all about fostering individual creativity and confidence while building community cohesion. Our impact can maybe best be summed up by the High Sheriff of Bristol, Peaches Golding, who praised our recent 2010 Songwriting program in Bristol:

usually geared towards children and teenagers, have been our bread and butter for the last five years. Now, a separate-but-linked program has been developed in recent years, and it’s a very important and progressive aspect of where MIMA is headed. In addition to the ways we use music to teach life skills to individuals and foster community cohesion, we’ve now launched a parallel Teacher Training and Leadership Development Program, geared towards the college and post-college set, to teach our codified methodology (“the MIMA Method”) to people who want to share their passion for music and serve as mentors and leaders in their own home communities. Each year, these Teacher Training Programs bring 10-20 musicians

techniques needed to bring MIMA to a new global location and lead their own Songwriting Programs geared towards the individual needs of their unique community. In other words, while MIMA has its own teaching methodology, we do not have a standard songbook or cookie-cutter approach that we impose in each workshop; MIMA Teachers know how to draw out the cultural and musical uniqueness present in each diverse group of students, and guide them towards creating something truly their own. We produce these creations so that students can share their work with parents, friends and communities through audio recordings and music videos.

While MIMA has its own teaching methodology, we do not have a standard songbook or cookiecutter approach that we impose in each workshop.

In addition to expanding our supply of teachers and the overall MIMA footprint, we’ve seen the positive impact that MIMA programs have had on “Over the course of the week-long experience, it the teachers themselves, inspiring them and openhas been tremendous to observe how these young ing their eyes to the ways they can take leadership people have grown in confidence, self-esteem and roles in their communities, so the Teacher Training musical and linguistic skills,” said High Sheriff and Leadership Development Program is really a Golding, “this workshop will have a lasting impact way of harnessing that passion and helping our on the aspirations and development of all those teachers sustain their commitment to community taking part.” from around the world to an exotic location (of- service and social entrepreneurship for the longten Florianopolis, Brazil) where they’re taught the haul. These Social Outreach and Songwriting Programs,

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THE FUTURE 2010 - 2015

3. Launch a third program designed to engage a broader group of people in each of our sites and Looking ahead, we’ve got several five-year deliver lasting creative, social and economic imgoals we’d like to aim for by MIMA’s 15th Birth- pact. This “Pilot Program” in Media and Event day:
 Production will allow musicians and non-musicians alike to contribute, learn marketable skills, 1. Continue bringing our flagship Social Out- and establish consistent and repeatable ways to reach and Songwriting Program to kids and com- foster individual creativity and community cohemunities all over the world, expanding our foot- sion through music. print; 2. Further develop and implement Teacher Training and Leadership Development Programs to expand our base of teachers and give social entrepreneurs the needed support to continue making a difference in their communities;

Looking ahead, we’ve got several five-year goals we’d like to aim for by MIMA’s 15th Birthday


If you’d like to help us with these goals, please donate or get involved to support MIMA Teachers and Students around the world. Happy 10th Birthday, MIMA! My how you’ve grown, and we’re all very proud of you. We’re ready for your rebellious teenage years…


CONFERENCE

STAFF

VETERAN MIMA TEACHERS WITH INTERNATIONAL TEACHING EXPERIENCE

TEACHER & LEADERSHIP TRAINERS Jonathan M. Barnes, USA

MIMA EXPERIENCE

Christina Charalambidou, CYPRUS

Cyprus 2010 Florianopolis 2009 Harlem 2009 Harlem 2008 Florianopolis 2008

Caleb Dance, USA

Buenos Aires 2010 Harlem 2010 Florianopolis 2009 Harlem 2009 Florianopolis 2008 New Orleans 2007 Trenton 2006

J.D. Law, Stanford Law School (2007) A.B. Philosophy, Princeton University (2003) Specialty: Legal, operations, sound engineering, DJ, guitar Languages: English, French

M.A. Music Education, Columbia University (2008) B.A. Music, Queens College (2006) Specialty: Early childhood music education, piano Languages: English, Greek

PhD candidate, Classics, Columbia University (2012) M.A. Latin, Columbia University (2008) A.B. Latin and Philosophy, Tulane University (2006) Specialty: Jazz, funk, blues, wind instruments Languages: English, Ancient Greek / Latin

Alan Gaskill, USA

B.S. Communications & Theater Northwestern University (2004) Specialty: Theater, vocal, blues Languages: English, Chinese, Portuguese

Bristol 2010 Harlem 2010 Florianopolis 2009 Rio de Janeiro 2009

Florianopolis 2010 Beijing 2009 Florianopolis 2009 Florianopolis 2008 Oakland 2007

Kevin Wenzel, USA

Bristol 2010 Buenos Aires 2010 Harlem 2010 Florianopolis 2009 Harlem 2009

Matias Zloto, ARGENTINA

Buenos Aires 2010 Florianopolis 2010 Buenos Aires 2009 Florianopolis 2009 Florianopolis 2008

B.A. Sociology, Spanish and International Studies, University of St. Louis (2006) Specialty: Adolescent education, bluegrass Languages: English, Spanish

M.A. Classical Guitar, Conservatorio Juan Pedro Esnaola, Argentina (2002) Specialty: Adolescent education, tango, blues Languages: Spanish, English, Hebrew


ACKNOWLEDGEMENTS

INTERNATIONAL MIMA CONFERENCE SPONSORED BY PRINCETON UNIVERSITY

DEPARTMENT OF MUSIC PROGRAM IN JAZZ STUDIES PROGRAM IN LATIN AMERICAN STUDIES CENTER FOR ARTS AND CULTURAL POLICY STUDIES PROJECTS BOARD OFFICE OF THE DEAN OF UNDERGRADUATE STUDENTS VICE PRESIDENT FOR CAMPUS LIFE LEWIS CENTER FOR THE ARTS INTERNATIONAL CENTER OFFICE OF RELIGIOUS LIFE

EDWARD T. CONE FOUNDATION GEGE PRODUÇÕES ARTS COUNCIL OF PRINCETON US EMBASSY BUENOS AIRES MIMAMUSIC.ORG

PEOPLE Dr. Anthony D.J. Branker, Prof. Scott Burnham, Dr. Lori Custodero, Dr. Susan Haig, Dr. Stanley Katz, Prof. Steve Mackey, Dr. Pauline Oliveros, the Rev. Paul Raushenbush, Dr. Jill Sigman, Trace Feng, Alexis Brown, Princeton student volunteers, MIMA teachers, musicians and staff, Han Rhyu / Sens, Claude Grunitzky / True, Meny Lopes / GeGe, and the US State Department.

VENUES

© Creative Copyright 2010.

Alexander Hall at Richardson Auditorium, Bowery Poetry Club, NuBlu, Princeton Arts Council, Princeton University Chancellor Green, Terrace Eating Club,

THE

PLUMA GROUP

PHOTOGRAPHY Jonathan Barnes, Christina Charalambidou, Annabelle Dunne, Christoph A. Geiseler, Beti Niemeyer, Gaia Wilmer, Princeton Spectator (2000) 13 October 2010


SPECIAL ISSUE: OCTOBER 2010, THE MIMA CONFERENCE