She was blind and insensible to many things,
and dimly knew it; but to all that was light and air,
perfume and colour, every drop of her blood in her responded.
Summer, Edith Wharton
This picture says a lot about me…
who I am, and what I like. It was taken in Buyeo, Korea while I was there as part of four-person team to compete in the World Samulnori Gyorugi and Festival.
Though I have studied Korean instruments for many years, for our team’s “fusion” version of a traditional piece, I was playing the Brazilian berimbau. An older Korean gentleman approached me and said, “You play and then we’ll dance!”
Drumming is my path.
In March 2001, I completed three years of training and received certification as a TaKeTiNa rhythm teacher; in 2011, I completed and additional year-and-a-half of training and earned advanced certification. Until 2014, I led TaKeTiNa rhythm circles on the island of O‘ahu and co-lead workshops on the mainland US. I recently re-located and now lead rhythm circles on the Big Island of Hawai‘i. For many years, I contributed to the Hawai‘i Shakespeare Festival and occasionally to other local theater productions, providing original music.
My introduction to drumming was through traditional Korean music and dance. I studied ten years with the Halla Huhm Korean Dance Studio here in Hawai‘i.
I also spent a couple of summers in Seoul studying various forms of Korean drumming including Samulnori. I have had the privilege to compete four years in the mind-blowing World Samulnori Competition .
I’m always happy to hear from samulnori fans/students/professionals. My current drumming interests include African dundun, Middle Eastern dumbek and frame, and Afro-Cuban congas.
I worked at the University of Hawai‘i for 25 years, then retired to the Big Island of Hawai‘i to live in a tiny home my partner, Tucker, and I built ourselves.