Monthly Archives: April 2012

Remembering Professor Ernest Brown

(taken from the official Williams College website)

To the Williams Community,

I am sad to report the death of Ernest Brown, professor of music.

Since joining the faculty in 1988, Ernest broadened culturally the college’s engagement with music. As an ethnomusicologist he taught such courses as “Music Cultures of the World,” “History of African American Music,” and “Black Music and Postmodernism.” He was an accomplished player of the marimba and mbira as well as a drummer. And, of course, he was so deeply involved for many years with both Kusika and the Zambezi Marimba Band. Nothing was more aurally and visually joyful than experiencing Ernest on stage surrounded by students as they made delightful music together.

Ernest also greatly increased the college’s interaction with Africa itself–bringing performers here and traveling there himself, sometimes for research and other times as a cultural emissary sponsored by the U.S. State Department.

Our thoughts are with his family. We’ll pass on any details of memorial arrangements when they’re known.

Sincerely,
Adam Falk
President

 (taken from the Record, Williams College newspaper)
Passing of Ernest Brown saddens College community

After a prolonged illness, beloved professor, mentor, musician and director Ernest Brown passed away on April 3 at the age of 64.

Professor Ernest Brown

Ernest Brown, beloved professor, musician, mentor and director, passed away on April 3. Photo courtesy of the Robert Kim.

He is survived by his wife of 42 years, Susan Revotskie, and their four children.

Brown arrived at the College in 1988 and joined the music department as a full-time ethnomusicologist, a study focused on non-Western music. Brown received his degree in ethnomusicology from the University of Washington and then moved from the West coast to teach at the College. Since then he has taught several courses including “Music Cultures of the World,” “History of Jazz,” “History of African-American Music” and “Black Music and Post-modernism.” He also collaborated with Sandra Burton, senior lecturer in dance, to found Kusika in 1989. Brown later founded the Zambezi Marimba Band in 1992.

Outside of the classroom, Brown was conducting his own research around the world. He did short research projects in Trinidad, Cuba and Ghana and wrote his dissertation on Zambian royal xylophone and drum bands. It was this focus within his own research and his personal relationships with musicians around the world that led to his involvement with Kusika and Zambezi. “This new ensemble allowed him to teach a genre of African music that is less widely known in the United States,” Burton explained. “Brown’s scholarship and excellent connections to the community of musicians from the African continent supported the development of marimba and mbira music at Williams and on the east coast of this country.”

Burton also spoke to Brown’s personal commitment to helping the group to flourish. “His leadership helped build broad support for Kusika in the music department and Africana studies. Brown led Winter Study courses to Ghana and Cuba that deepened student understanding of the source of the music and dance they were learning,” she said. As anyone can tell from a Kusika or Zambezi performance, Brown’s enthusiasm also helped to build a group of students who are equally as passionate about these types of music and dance.

Music major Laone Thekiso ’12 came to the College after hearing the marimba band. “I sought him [Brown] out,” Thekiso said. “He was a hard person to track down, [but] he was very easygoing.” Theskiso has been involved in Zambezi throughout his four years at Williams and has seen how Brown’s influence and motivation aided the development of the group. “He was very progressive,” Theskiso said. “He was pushing for whoever was being creative to do what they wanted.”

Professor of Music and Music Department Chair Jennifer Bloxam explained that Brown also singlehandedly built the marimba set that Zambezi uses. “He was such an innovator. He brought materials to build instruments from Africa,” Bloxam said. “Over the years he created a set of chromatic Zimbabwean marimbas with an expanded number of notes for an expanded repertoire of songs.” It was this mindset of innovation that motivated Brown to create one of the most elaborate marimba sets on the East coast out of an area of study that did not even exist at the College prior to his arrival.

“Ernest Brown always had a smile on his face,” Bloxam said. “He was just the most affable fellow.” She also spoke about his “graceful dignity” even when his illness was beginning to take its toll on his work over the past few years. Despite retiring in December, Brown attended the marimba Winter Study performance at the end of January. “There was nothing but pure joy on Ernest’s face,” Bloxam said.

Brown has left a powerful legacy on this campus in every aspect. Thekiso explained that even after Brown became sick, he always played a supporting role within Zambezi. “You could really rely on him having your back. If you took your case to Professor Brown he would most likely support you,” he said. In the end, it was Brown’s personality that helped make Zambezi and Kusika such strong artistic forces they are on the campus today.

Burton explained exactly how important these two groups have become to this campus and its diversity. “Zambezi and Kusika have become traditions at Williams that are part of Brown’s legacy as a scholar, teacher, musician and community builder. His passion for learning and creating was inspiring. His tenacity, humor and dedication to our work is a powerful part of our history and foundation,” she said.

According to Rick Spalding, chaplain to the College, Brown’s family has requested that we celebrate and pay tribute to his rich and abundant legacy of scholarship, mentorship and companionship in conjunction with this year’s final performances of the groups he helped to found on May 5 at 8 p.m. A group of faculty, staff and students who were close to him are in the process of planning the components of that celebration of his life.

“Next year we will present our World Music concerts as a distinct series within our visiting artist concerts, under the title ‘The Ernest Brown World Music Concert Series,’” Bloxam explained. The World Music concerts have traditionally been part of a larger concert series, but will be rededicated in Brown’s memory this coming year, according to Bloxam. “It’s a way to pay tribute to Ernest, who brought music and musicians from beyond U.S. borders to Williamstown, and to highlight the importance of this presence on our campus,” she said.

Brown’s legacy and easygoing personality will be remembered on this campus and around the world. They will live on through the vibrancy of Zambezi and Kusika and through the appreciation of music from around the world. “He was very young at heart,” Thekiso said.

by Megan Bantle, Executive Editor

I’m Feminist Enough to…

For those of you wondering what feminism looks like for women of color, check out this dope project by Shannon Washington that seeks to visualize a fresh face for feminism and demonstrate to our sisters (and brothers) the value of feminist thought in a way that’s simple, sexy, modern and easy.

Obama reading Where the Wild Things Are

Kicking off Easter in presidential fashion at the annual White House Easter Egg Roll, which the First Lady has turned into the hottest lawn-based activity since the Slip ‘n Slide, President Obama gets into character to deliver a reading of Maurice Sendak’s Where The Wild Things Are, which has been an annual tradition there since 2009. Check out this absolutely adorable video below!

Song of the Day: A Woman’s Worth – Alicia Keys

This is just a classic song with a positive message. Off of her debut album, Songs In A Minor, “A Woman’s Worth” is one of the first songs I ever heard by Alicia Keys.

 

In my opinion, it severed as the counter to the various sexist, male chauvinistic dynamics that ran rampant in hip-hop culture. Furthermore, the video itself provides commentary of the dynamics that exist with “Black” culture in the United States. Thinking about all of the women that I value in my life, I feel that this song helped to educate me on how to treat a woman. With all of the different spheres of the world in which female authority is constantly undercut, both in a social and professional sense, this song serves as a reminder that men and women should treat each other with a certain level of respect and compassion.

To all the ladies who are frustrated with men issues, remember what you are worth. To all the gentlemen who know how to treat a lady, keep doing what you’re doing (but always remember there is more to learn). And to all the guys who don’t know how to treat a lady… take notes.