Bernadette Smith of Sacramento has been a traditional dancer for over 30 years and a songholder for over 17 years. The art of traditional Coastal Pomo song and dance has been practiced since time immemorial here in California. Songs and dances, known as the To’to Ko’ O, (feather dancing) have been passed from generation to generation. These songs accompanied by traditional dance create what we call the Feather Dance Ceremonies and gatherings. Songholders keep our songs and share the medicine each song holds for its people and hold a very important and respected position in Pomo culture.  Women from the Coastal Pomo Tribes have a very prominent stake in the ceremonies, unlike other surrounding Pomo Tribes where women do not sing nor are even allowed behind the sacred ceremonial pole of their Roundhouse. Coastal Pomo women have solidified their important positions with our Roundhouse and ceremony. Women in Native country have gone missing and murdered at extremely high rates and the importance of sharing these traditional songs and dances correctly is extremely important amidst our personal and shared losses across the community.  Bernadette’s father, David Smith was known throughout California for his perpetuation of the To’ to dance. I intend to continue his life’s work by teaching young Pomo women. It is important for each song to be taught firsthand and the pronunciation of the sounds to be sung correctly. Our songs hold great value and can only be shared with students who demonstrate a deep commitment to our traditional ways.

Apprenticeship Program

2024

Coastal Pomo Song Traditions with apprentice Precious Thomas

Bernadette Smith (Pomo) will guide her apprentice, Precious Thomas (Pomo), in the traditional ways and practices needed to assume the responsibility of Song Holder. This role solidifies the importance of Coastal Pomo women in Roundhouse ceremonies, preparing Precious to sing and conduct a whole set of the To’to Ko’O (Feather Dance).

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Kwaku Oppong Manu of Pinole, received his Master of Education from Lesley University, Boston in 2019. He received his education and training in West African Music and Dance at the University of Ghana. After obtaining his BFA degree in Dance in 2004, he was employed by the University of Ghana as a Senior Production Assistant and worked in the capacity of Dance and Drumming Instructor from 2004-2010. He received the Curtain Call Costumes Rising Star award from the Dance Council of North Texas to attend American Dance Festival in Durham, North Carolina in 2010. His involvement in dance workshops, performances and festivals on local, regional and national levels has given him the unique opportunity to gain extensive practical experiences. He was selected on numerous occasions to travel abroad to perform and teach African Music and Dance. He is currently working a full time with the East Bay Center for the Performing Arts as a Program Associate in charge of Students Development and Training teaching African Music and Dance to teenagers and also involved in a variety of Out of School Time (OST) programs for children from kindergarten to 6th grade as well as an in-school professional development program at Title One Schools called Learning Without Borders. He is also teaching a part-time drumming at California State University at East Bay.

Apprenticeship Program

2024

Ghanaian Agbekor drumming with apprentice Kwesi Anku

Kwesi Anku will explore the intricacies of the Agbekor drumming. This involves understanding the roles of various instruments and mastering the drum language through instruction and practice. A crucial element of mastery is developing the skills to lead both drumming and singing during performances, with both lead and support drums.

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Julia Caridad Cepeda Martinez was born into the esteemed Familia Cepeda, a family that has carried the Bomba tradition for more than 8 generations. She is the granddaughter of Don Rafael Cepeda Atiles and Doña Caridad Cepeda Brenes (Patriarch & matriarch of Bomba Cangrejera de Santurce Puerto Rico) and the daughter of El Tambor Mayor, Jesus Cepeda Brenes. Julia has been dancing for 40 years and has been part of her family tradition as both a student and a teacher. Julia has been teaching in Oakland for 10 years. Currently, she is carrying her family’s legacy in the San Francisco Bay Area as Julia Dansé, dance instructor, alongside Denise Solís with their class community Taller Bombalele.

Apprenticeship Program

2024

Bomba Dance with apprentice Ansarys Andino

In this apprenticeship, Julia Cepeda will focus more intensively on the foundation of grace and power that Bomba requires as she guides her apprentice, Ansary’s Adino in this cultural dance expression. Julia’s vast knowledge of the tradition passed down to her by way of her family will enrich Ansarys’ foundation in paseo ( travel of dance space), Figuras (figures), Piquetes (dance solos and movement) within each rhythm in Bomba culminating in the development of choreography.

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Apprenticeship Program

Mariachi Music with apprentice Karen Pablo

Maricela Martinez aims to pass down to apprentice, Karen Pablo, the understanding and knowledge of how to achieve the mariachi style as well as repertoire, tips, and secrets on how to change music keys, and opportunities to perform at private and public events.

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Sonam Phunstok of El Cerrito is a celebrated Tibetan opera artist and cultural custodian who began his journey in traditional Tibetan performance arts at the age of 11. Trained at the Tibetan Institute of Performing Arts (TIPA) in Dharamshala, India, he honed his craft under the guidance of several masters, particularly the late opera master Norbu Tsering. Over decades, Master Sonam has excelled in Tibetan music, dance, theater, and opera, eventually serving as opera master at TIPA, the very institute where his training began.

Now residing in the U.S., he continues to lead and curate Tibetan opera performances, often in collaboration with organizations like Chaksam-pa. For Master Sonam, sharing his knowledge with the younger generation is both a responsibility and a reward. Through mentorship and apprenticeship programs, he aims to ensure the survival and vitality of Tibetan culture in the face of challenges such as displacement, modern influences, and the loss of elder cultural leaders.

Deeply committed to preserving the “heart and soul” of Tibetan identity, Master Sonam sees his work as essential to keeping the spirit of his people alive. He hopes to inspire younger generations, especially those growing up in the West, to connect with and carry forward the rich traditions of Tibetan opera and performance art.

Apprenticeship Program

2024

Tibetan Opera Singing with apprentice Tenzin Thinley

In this apprenticeship, Sonam Phunstok will focus on voice training and the vocalization techniques central to traditional Tibetan opera, specifically the namthar style of singing with his, apprentice Tenzin Thinley. Namthar is an essential element of Tibetan opera, requiring intensive training and deep knowledge of its art form. The mentor artist will guide the apprentice through foundational vocal exercises to build the strength and stamina necessary to perform namthar. While the apprentice already has foundational training in opera dance and movement, this program will prepare them for more significant roles in productions and the ability to perform solo namthar pieces for special occasions.

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Homayun Sakhi of Tracy was born in Kabul in 1976 to a renowned musical lineage. From age ten, he immersed himself in mastering the national instrument, the double-chambered rubab, under his father’s tutelage in the traditional ustâd-shâgird apprenticeship. In 1992, he and his family sought refuge in Peshawar, Pakistan, following the chaos of the Soviet invasion of Afghanistan. There, Homayun’s exceptional talents gained recognition, making him a popular entertainer known for his diverse repertoire. In 2001, he relocated to Fremont, California, home to the largest Afghan community in the US. There, he introduced his refined rubab style, quickly becoming a local musical leader, and earning national and international acclaim as a performer, teacher, and composer.

Apprenticeship Program

2024

Afghan Rubab  with apprentice Yusef Zara

During this period, Homayun will focus on teaching apprentice, Yusef Zara, Rag Bihag, a composition based on a major scale. The apprentice will be working on developing stamina for the right-hand technique called Dir-Dir, an up-and-down stroke on one or more strings. Also, to evolve the Bachgi technique while playing the melody and stroking the sympathetic strings to create a rhythmic partner.

Living  Cultures

2024

Preservation of the Traditional Afghan Music of Rubob

Preserving Afghan Traditional music through recordings that represent the multi-ethnic music of Afghanistan and in collaboration with scholars to transcribe these melodies for archival purposes laying the framework for a book about the Afghan rubab, covering its history & instructional content aiming to promote learning within our Afghan community.

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Kala Ramnath of San Mateo, is one of India’s most adept violinists, sliding around the fretboard in a strikingly vocalistic style. Her approach is focused on Hindustani classical music, but she also incorporates ideas from her South Indian roots. In recent years she has performed classically around the world as well as working with musicians from jazz, flamenco, Western classical, and African traditional music. In 2006 she recorded on the Blood Diamond soundtrack, and in 2016 collaborated with the Kronos Quartet, adapting Raag Shuddh Nat (‘nectar’) for a string ensemble. Outside her playing career she seeks to improve the lives of underprivileged children through music through Kalashree, her charitable foundation.

Kala Ramnath’s Instagram

Apprenticeship Program

2024

North Indian Classical Music
with apprentice Aadi Kale

Kala will be working with Aadi on expanding his repertoire of Raags and refining his performance abilities. Through targeted coaching and supervision, they will work on developing a structured approach to improvisation in order to perform new raags with confidence. Additionally, they will be focusing on voice training and improving the steadiness of Aadi’s voice to sing the slow, soulful phrases known as Alaps and enhancing vocal clarity needed for singing high tempo phrases known as Taans.

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Madiou Diouf of Oakland, is a Sound Engineer and Musical Director for the Diamano Coura West African Dance Company. His journey in the world of music and sound engineering is a testament to the rich tapestry of cultural influences that shape an artist’s craft. Born into a family where artistic excellence is the norm, his multicultural background provided him with a unique perspective on music and performance playing many instruments from djembe, kutiro, dundun, log drum, bells, ngoma,sasa, which he has honed over the years through dedication and passion. His work demonstrates his commitment to preserving and promoting African culture through music and dance. 

Apprenticeship Program

2024

Senegalese/Liberian musical traditions

with apprentice Ababacar Kouyate

Madiou will be teaching Ababacar through the origin, construction and history of the drums, the rhythms they produce and their importance to African dance in general, and the specific dances. Ababacar will learn the independent and complimentary roles of the drums and their complex patterns in rhythmic compositions.  Following the introduction of the drums, Ababacar learns basic movements and how the rhythms produced by the drums carry the dancer. As Ababacar learns each new dance, he must also learn to sing drum patterns in unison and understand the emphasis rhythm places on various movements.

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Apprenticeship Program

2024

Javanese Gamelan Music

with apprentice Mel Liu

Mel will be working one on one with Joko on the most advanced structure holding instrument, the kendhang. Shared through Joko’s oral tradition, Mel will memorize and apply patterns for lancaran and ladrang song forms, practicing alone for the first month, and then with the ensemble under Joko’s guidance. Mel will also study elaborating instruments, alternating study on the gendér with the bonang every other week and strengthening their technique on the elaborating instruments while mastering their understanding of the concept of iromo—different temporal density flows of beats contained within a gotro (unit of the song structure similar to the concept of a measure).

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Lue Her of Merced, from a young age displayed a keen interest in Hmong culture. This passion led him to pursue knowledge in the arts from elders. During his youth, Lue immersed himself in various Hmong cultural arts, which laid the foundation for his mastery of the arts today. Outside of work, Lue enjoys traveling with his family and exploring new cuisines. He is also passionate about giving back to his community and volunteers his time at Hmong ceremonies. As of 2024, Lue continues to thrive, constantly serving his community with his cultural knowledge and make a positive impact in the Hmong community across America.

 

 

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Apprenticeship Program

2024

Hmong Cultural Art Forms with apprentice Shue Her

Lu and Shue will focus on enhancing Shue’s understanding of key tones, messages, and mediation processes while honing their performance skills. Shue will delve into the intricacies of Hmong music, gaining proficiency in conveying cultural messages through melodies and learning how to mediate harmony through music, serving as a bridge between individuals and cultural traditions. By mastering a diverse repertoire of songs, Shue will deepen their connection to Hmong heritage, becoming a revered custodian of our cultural legacy.

 

 

 

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