Watch Debora Spar’s talk on her book, “Wonder Women: Sex, Power, and the Quest for Perfection”
As sunlight glowed on the reds, yellows, and oranges of Vermont’s fall foliage season, an estimated 1500 family members enjoyed activities, both indoors and out, during Middlebury College’s 2013 Fall Family Weekend, Oct. 10-13. It was a glorious autumn weekend in the Champlain Valley and just about everything went as planned.
A standing-room-only audience came to hear Debora Spar, the president of Barnard College and parent of a current Middlebury student, speak about her new book “Wonder Women: Sex, Power, and the Quest for Perfection.” Parents had a lively give-and-take with President Liebowitz in the McCullough Student Center, and attended panel discussions on study abroad, putting passion into action, and careers in finance for liberal arts graduates. There was a breathtaking contemporary dance performance by faculty member Catherine Cabeen and her company, Hyphen, and a leadership workshop for families conducted by MiddCORE faculty members Jessica Holmes and Mike Kiernan.
There was a host of outdoor activity all weekend including tours and treats at the college’s Organic Farm, the marathon reading of “The Iliad” on the steps of Davis Family Library, and home athletic events in men’s and women’s soccer, football, rugby, volleyball, and field hockey. Also this year there was an open house at the Middlebury College Snow Bowl, which included live music, a barbeque, and chairlift rides to the summit of Worth Mountain where, as expected on this near-perfect weekend, the views in every direction were spectacular.
Sounds of Africa Professor Damascus Kafumbe—ethnomusicologist, performer, composer—teaches students what music means to world cultures and how to perform the music of his own.
Back in Uganda, Damascus Kafumbe’s mother would wonder why he took so long to bring water back from the village well. It seems the well was too convenient to two Buganda royal enclosures where a young boy peeking through reed walls to watch court musicians could lose track of time. By age 11 Kafumbe was performing with a noted Ugandan troupe. He continued his studies with Buganda royal musicians and other masters throughout Africa, learning the subtleties of diverse cultures’ songs and dances; he also perfected the skills to craft traditional instruments. Another lesson, which he immediately makes clear to his Middlebury students today: “In all the African languages I’m familiar with, there is no word for ‘music.’ It’s such an integral part of life that we don’t have a word for it.” Even “African music” is a misnomer in such a culturally varied continent, says the affable, soft-spoken Kafumbe. As an ethnomusicology scholar, he settles for “African musics”; as an artist, he counts on his teaching and playing to evoke what English can’t translate.
“Damascus is the stunningly right person in the right place at the right time,” says Greg Vitercik, chair of the department of music. Middlebury wanted to give due attention to non-Western traditions, and ideally wanted a performing ethnomusicologist to bring some of them to life on campus. Kafumbe, also a composer, arranger, and ensemble director, was a hand-in-glove fit.
His arrival in 2011 as an assistant professor opened a path for students to explore musics they might only know through a Putumayo collection or YouTube video. They learn how Balinese gamelan, Nuyorican rumba, Irish fiddling, and Hindustani raga reflect and relate to the cultures, politics, economics, and religions of their societies. Student musicians with scholarly leanings can learn ethnomusicological research methods and techniques. Those wanting to pursue African musics in greater depth have a teacher who knows them in his bones.
“OK, so what do chimurenga and bikutsi have in common metrically?” he asks his African Soundscapes students after playing recordings of the two genres.
“Three-quarter time,” answers a student, correctly.
This survey course routinely shatters preconceptions that “African music” means drums and hand-clapping. Students examine traditions from the northern Maghreb to the southern Bantu cultures: songs that exalt kinship, encourage trance, or inspire dancing. “I had no idea!” is a common student reaction to this cultural kaleidoscope. Throughout, Kafumbe reminds them, “The ‘why’ is more important than the ‘how.’” Yes, they learn to distinguish different genres, but they also learn to hear the mix of ancient traditions and more modern responses to Africa’s tribal migrations, colonial rule, missionization, and surges for freedom.
“I’m proud that Middlebury can be one of the few institutions to promote the idea that African musics are not just drumming,” Kafumbe says. Students who want to feel Africa’s layered rhythms and distinct timbres in their fingers can take his African Music and Dance Performance course (there are dozens on the waiting list, notwithstanding an 8:00 a.m. start time and mandatory attendance.) With no audition, students learn to play an ensemble of traditional, mostly Ugandan instruments, some of which Kafumbe has crafted himself from natural materials such as animal hide and hair, Ugandan woods, fibers, reeds, and seed shells. For most of the students, mornings spent with the ndingidi (tube-fiddle), madinda (xylophone), or other instruments is their first experience playing music. (see slideshow to hear concert selections.)
In a dress rehearsal before the ensemble’s spring concert, Kafumbe gets the students’ attention by clapping a rhythm that they repeat. “When I am talking, no one is talking, no one is playing, please,” he says softly. He shakes a pair of nsaasi (gourd shakers) to start them in a piece he composed by blending modern and traditional elements. The students strike, bow, and pluck their instruments; the sound is lively but slightly ragged. “Oh, you’re slowing down,” he warns, and stops them.
He leans forward. “Music is a sweet thing. We have to feel it. We have to enjoy it, and we have to express it.” When they begin again, the loose ends have knit together. “I have never heard any of my American students play the madinda with such a sweet tone,” he compliments.
For graduating physics major Joe Putko ’13, this introduction to playing music has been unforgettable. “We miss out on these sounds in America—but I’m so grateful we can have this experience now,” he says during a break. “This class was a history class, a gym class, a performance class, but more than anything I’ve taken here it’s taught us to work and struggle together. It’s been a life class.”
Kafumbe closes the rehearsal on a musical high note that will carry into the next night’s packed performance. “When you are struggling—that’s when you make magic,” he reassures them. “I’ll love you guys till I die.”
With a little extra time over his break this past spring, Levi Westerveld ’15 decided to pursue his interest in portraiture and begin sketching the local farmers around his home in the Dordogne region of southwestern France, where agricultural traditions are fast becoming a thing of the past. The sketches became an impressive exhibit at 51 Main, and here Levi talks about the people in the drawings, their individual stories, and his sketching process. (For more of Levi’s work, visit his website.)
