Julian Gerstin

CV

EDUCATION
Ph.D., Anthropology, University of California, Berkeley, 1996.
     Dissertation: "Traditional Music in a New Social Movement: The Renewal of Bèlè in Martinique (French West
    Indies)."  Committee: Nelson H.H. Graburn (Chair), Alan Dundes, Vévé Clark, Jocelyne Guilbault.
M.A., Anthropology, University of Chicago, 1978.
     Thesis: "The Body of Knowledge: Music of an Afro-American Drummer."
B.A., Anthropology, New York University, 1976.

PUBLICATIONS
"Tangled Roots: Kalenda and Other Neo-African Dances in the Circum-Caribbean."  New West Indies Guide 78 (1&2):   
    5-41 (2004).
"The Allure of Origins: Neo-African Dances in the French Caribbean and the Southern United States."  In Jessica Devi,
    editor, Just Below South: The UnitedStates and the Caribbean.  Richmond: University of Virginia Press (in press).
The French Antilles: We Will Play Love Tonight!  With Dominique Cyrille.  In the CD series, Caribbean Voyage: The
    1962 Field Recordings of Alan Lomax.  Rounder (2004).
Martinique: Canefields and City Streets.  With Dominique Cyrille.  In the CD series, Caribbean Voyage: The 1962 Field
    Recordings of Alan Lomax.  Rounder 11661-1730-2 (2001).
"Martinique/Guadeloupe."  New Grove Dictionary of Music, 2nd edition.  Ed. Stanley Sadie.  London: Macmillan (2001).
"Musical Revivals and Social Movements in Contemporary Martinique: Ideology, Identity, Ambivalence."  The African
    Diaspora: A Musical Perspective. Ed. Ingrid Monson.  New York: Garland Publishing, Inc. (2000): 295-328.
"Interaction Between Dancers and Drummers in Martinican Bèlè."  Black Music Research Journal 18 (1/2) (1998):
    121-165.
"Reputation in a Musical Scene: The Everyday Context of Connections Between Music, Identity, and Politics." 
    Ethnomusicology 42 (3) (1998): 385-414.
Review of María Teresa Vélez, Drumming for the Gods: The Life and Times of Felipe García Villamil, Santero, Palero, and
    Abakuá.  Ethnomusicology 46 (2) (2002): 337-338.
Review of Brenda Berrian, Awakening Spaces: French Caribbean Popular Songs, Music, and Culture.  New West Indian
    Guide/Nieuwe West-Indische Gids 75 (1&2) (2001): 153-155.
Review of Robin Moore, Nationalizing Blackness: Afrocubanismo and Artistic Revolution in Havana, 1920-1940. 
    Ethnomusicology 44 (2) (2000): 331-334.
Review of Peter Manuel, Caribbean Currents and John Cowley, Carnival, Canboulay and Calypso.  Ethnomusicology
    43 (2) (1999): 355-358.
Review of Gerdes Fleurant, Dancing Spirits: Rhythms and Rituals of Haitian Vodun, the Rada Rite.  New West Indian
    Guide/Nieuwe West-Indische Gids 73 (3&4) (1999): 121-123.
Review of Simha Arom, African Polyphony and Polyrhythm.  Pacific Review of Ethnomusicology 7 (1995): 101-104.
"Daddy, I Want to Play!: Child Development and Aesthetic Values."  Echology 3 (1991): 3-7.
"No Condition Permanent: The Rainforests of Africa."  In Suzanne Head and Robert Heinzman, eds., Lessons From the
    Rainforest:  San Francisco: Sierra Club Press (1991): 78-91.  Reprinted in Karl Wohlmuth, ed., African Development
    Perspectives Yearbook 1989:  Berlin: Schelzky & Jeep (1991): 257-267.
"Africa’s Rainforests."  World Rainforest Report 4 (2): 1-6; 4 (3) (1988): 1-4.  San Francisco: Rainforest Action Network.
Folklife at the Lake: Traditional and Urban Arts in the East Bay.  Exhibition catalog.  Oakland: Festival at the Lake
    (1985).
Folklife at the Lake: Traditional and Urban Arts in the East Bay.  Exhibition catalog.  Oakland: Festival at the Lake
    (1984).
"The Guiro: An Afro-Cuban Percussion Instrument."  Percussive Notes 22 (5) (1984): 54.

CONFERENCE PRESENTATIONS
"Melody through Rhythm: Afro-Caribbean Approaches to Jazz Soloing and Orchestration."  With Ken Dalluge. 
    International Association of Jazz Educators, Long Beach, CA, 2002.
"Kalenda: Resonances of Tradition."  With Dominique Cyrille.  Center for Black Music Studies, Port-of-Spain, Trinidad,
    2001.
"Rhythmic Training through World Percussion."  With Ken Dalluge.  College Music Educators Association, Ontario, CA,
    2001.
"Kalenda From Colonial Origins to Contemporary Invention: A Study in Distant and Recent History."   Society for
    Ethnomusicology, Austin, TX, 1999.
Workshop/Demonstration, with Hal Barton (Long Island University): "Dancer-Drummer Interaction in Martinican Bèlè
    and Puerto Rican Bomba."  Society for Ethnomusicology, Bloomington, IN, 1998.
"An Analysis of Improvised Dancer-Drummer Interaction in Martinican Bèlè."  SEM, Pittsburgh, 1997.
"An Analysis of Improvised Dancer-Drummer Interaction in Martinican Bèlè."  Center for Black Music Studies, Chicago,
    1997.
"An Analysis of Improvised Dancer-Drummer Interaction in Martinican Bèlè."  Northern California Chapter of the SEM,
    Berkeley, 1997.
"Carnival Without Catharsis, Revels Without Rebellion: On the Ambiguity of Public Symbols in Martinique."  American
    Anthropological Association, San Francisco, 1996.
Chair of panel: "Neo-Colonial Identity, Cultural Ideologies, and Disjuncture: An Interdisciplinary Study of Martinique." 
    AAA, Washington D.C., 1995.
"Neither Opposition Nor Cooptation: Identity in Martinican Social Movements."  AAA, Washington D.C., 1995.
"Is Authenticity Audible?  Performers’ Views of Themselves and Each Other in Martinican Bèlè."  SEM, Los Angeles,
    1995.
"Authenticity, Authority and Other Problematic Issues in Martinican Traditional Music." International Association for the
    Study of Popular Music, Havana, Cuba, 1994.

ACADEMIC TEACHING
Instructor, Sonoma State University, 2001-present.  "Survey of World Music"; "History of Jazz";  "Survey of U.S. Music";
    "Music of Africa and the African Diaspora."
Instructor, San José State University, 1999-present.  Studies in Improvisational Traditions’ (graduate); "Music in World
    Cultures"; "Worlds of Jazz"; "Music of Latin America"; "West African Percussion Ensemble"; "Applied Improvisation:
    Africa/Diaspora"; "Musical Communities."
Instructor, UC Berkeley Center for Media and Independent Learning, 1997-2003.  "Musics of the World"; "Introduction
    to Physical Anthropology."
Instructor, Las Positas College, 1999-00.  "Introduction to Socio-Cultural Anthropology."
Visiting Assistant Professor, Anthropology, Western Kentucky University, 1998-99.  "Introduction to Cultural
    Anthropology"; "Music of the Caribbean"; Visual Anthropology"; "Anthropology of Religion."
Visiting Assistant Professor, Music, Wesleyan University, 1997-98.  "Problems and Methods" (graduate seminar in music
    scholarship); "Being an Ethnomusicologist" (graduate seminar); "Performance and Social Movements"; "Afro-Cuban
    Ensemble"; "Group Tutorial: Salsa."
Adjunct Professor, University of the Pacific, 1996-97.  "Musics of the World’s Peoples."
Instructor, Chabot College, 1996-97 and 1989-90.  "Introduction to Socio-Cultural Anthropology"; "Introduction to
    Physical Anthropology."
Head Teaching Assistant, UC Berkeley, 1996.  "Introduction to Socio-Cultural Anthropology."
Teaching Assistant, UC Berkeley, 1995 and 1992.  "Introduction to Socio-Cultural Anthropology."
Instructor, College of Alameda, 1991 and 1989.  "Introduction to Socio-Cultural Anthropology."
Instructor, Vista College, 1989.  "Art and Anthropology."

MUSIC INSTRUCTION
Co-director, with Ken Dalluge, 2000-present.  Ka Bô Kay (college seminars in African/Diasporic percussion).
San José State University: West African Percussion Ensemble.
St. Mary’s University, 2000: AfroCuban Traditions.
Wesleyan University, 1997-98: Afrocuban Traditions, Salsa Ensemble.
Blue Bear School of Music, 1996-97 and 1988.  African and Diasporic Music.
Sim’Ékol (Fort-de-France, Martinique), 1994-95.  African and Diasporic Music.
International Music Seminar (Montpellier, France), 1987.  "African and Diasporic Music."
Private students since 1978

PERFORMANCE
        Traditional ensembles
Martinique: Bel Alians, Maframé
Colombian Ethnic Dance Company
Ghana: Ladzekpo Brothers, Alokli, Ocheami
Brazil: Batucada Yemanja do Pacifica, Batucada Nana do Santa Cruz, Alma de Oxossí
Cuba: Oluometa, Judith Justíz Dance Ensemble
        Jazz and popular groups (partial list)
Joel Harrison Octet, Joel Harrison's 3 + 3 = 7 (jazz, experimental jazz)
Michael Smollens and Kriya (jazz)
Eddie Gale (experimental jazz)
Paco Charlery Quintet (Caribbean jazz: Martinique)
Charly Labinsky Group (Caribbean jazz: Martinique)
Plastic System Band (Carnival band: Martinique)
Kotoja (Nigerian Afrobeat & highlife)
OJ Ekemode (Afrobeat)
Zulu Spear (South African mbaqanga)
Syncrosystem (world beat)
Richard Hell & the Voidoids (punk)
Walking Fish, Grooveyard (Latin jazz/funk)
Mira Nena (salsa)
Conjunto Fabuloso (salsa)
Sundance (reggae)
Tickle Tune (children’s music)

RECORDINGS
Joel Harrison Octet "Range of Motion" (Koch 1997)
Various "One World" (Putumayo 1996)
Kotoja, "Super Sawalé Collection" (Putumayo 1994)
Various, "The Best of World Music" (Putumayo 1993)
Various, "The Best of World Music: African" (Putumayo 1993)
Kotoja, "Sawale" (Mesa/Blue Moon 1992)

COMPOSITION
"Cycle of Leaves," Western Kentucky University Percussion Ensemble, 1999

DANCE AND THEATER
Colombian Ethnic Dance Company
SERMAC (Service Municipal d’Action Culturelle, Martinique)
Bill Evans Dance Company
Cornish Institute of the Arts
Danceworks Northwest
The Dance Place
Children’s Radio Theater
Bennington College

GRANTS AND AWARDS
San José State University Lottery Development Grant, 2001-02
MOSAIC Multicultural Teaching Award, San José State University, 2001-02
Wenner-Gren Foundation Predoctoral Research Grant, 1994-95
Humanities Graduate Research Grant from UC Berkeley, 1994
Conference Travel Grant from UC Berkeley, 1994
J. William Fulbright Grant from Institute of International Education, 1993-94
Lowie-Olson Award from University of California at Berkeley, 1992
Albert Award for Outstanding M.A. in Anthropology, University of Chicago, 1978

PUBLIC FOLKLORE / ARTS ADMINISTRATION
Urban Arts Coordinator, Festival at the Lake, Oakland, 1985.
     Produced exhibitions and performances of urban folk arts for this festival with an attendance of over 100,000; raised production funds of $40,000 from foundations and businesses; researched and documented local arts and artists; served as editor and chief writer of the exhibition catalog. 

Folk Arts Assistant Coordinator, Festival at the Lake, Oakland, 1984.
     Assisted in the production of exhibitions and performances of traditional folk arts, and served as editor and chief writer of the exhibition catalog.

LANGUAGES
French: Good speaking and reading ability.
Spanish: Good reading ability.

PROFESSIONAL ACTIVITIES AND AFFILIATIONS
Society for Ethnomusicology:
         Nahuma Prize Committee, 2002-present
         Secretary, Caribbean Interest Group, 2002-present
         President, Northern California Chapter, 2000-2003
         Hewitt Pantaleoni Prize Committee, Mid-Atlantic Chapter, 1999
Center for Black Music Research:
         Editorial Advisory Committee, 2002-present
California Music Educators Association
International Association of Jazz Educators
College Music Society