Weds., Jan 19, 2005
native
american arts daily news, presented by
amerindianarts.us
Exhibit
hosts rare Northwest artifacts
Salem
Statesman Journal - Salem,OR,USA
... "People of
the River: Native Arts of the Oregon ... "People
of the River" was curated by Bill Mercer, the museum's curator
of Native American art, in consultation ...
See all stories on this topic
Aye,
Burns-ing for You
Riverfront
Times - St. Louis,MO,USA
... on through tributes like
the Native American Flute Concert ... If it's
the American Visual Culture Lecture Series ... the Pulitzer
Foundation for the Arts, the Sheldon ...
Local
artist's original works draw celebrity attention
Black Mountain News - Black Mountain,NC,USA
...
Demi Moore purchased a Native American man and little daughter.
... The shop caters to showcasing local arts and crafts,
and contains a bead shop where Housley ...
Priceless
cultural events
AZ Central.com
- AZ,USA
... by the Fort McDowell Yavapai Nation, features
Native American tribal dances ... Tribes from all
over Arizona are featured, and native foods, arts, crafts
and ...
VISUAL
ARTS CALENDAR
Seattle
Weekly - Seattle,WA,USA
... family heirlooms, baskets,
carvings, or beadwork--and the Burke's curators and Native
American art experts ... Greg Kucera Katy Stone (see visual
arts spotlight). ...
Panel
debates merits of 'race'
Penn
State Digital Collegian - University Park,PA,USA
...
into percentages of European, sub-Saharan African, East Asian and Native
American. ... Ron Jackson, associate professor of communication
arts and sciences, said ...
IAIA
HAS HOPES FOR CENTER
ABQ Journal
(subscription) - Albuquerque,NM,USA
... on strengthening
native communities by supporting tribal self-determination.".
IAIA-- chartered by Congress in 1962 and dedicated to American
Indian arts and ...
This once a day Google Alert is brought to you by Google.
Date: Fri, 07 Jan 2005 01:56:00 -0000
Three Saturdays,
Learn about the indigenous cultures of the Northeast through lectures,
performances, and films. Journey through "Native New York" with Evan
T. Pritchard, founder of the Center for Algonquin Culture, and learn
how Broadway used to be the Mohican Trail. Enjoy the Mohawk Singers
and Dancers, and take a look down the "Pow Wow Highway" with actor
Gary Farmer, and much more.
For details,
visit
Date: Thu, 06 Jan 2005 02:21:54 -0000
~LEONARD PELTIER's Magnificent `Political Platform'~
from the brand new book ~HAVE YOU THOUGHT of LEONARD PELTIER LATELY?~
Also please visit Leonard's own website: www.leonardpeltier.org
Please Order copies NOW for yourself & your friends at:
www.haveyouthought.com
or send a check for $23+$5=$28 per copy ($5 s/h on one copy; $2 s/h
each
add'l copy) made out to 'Have You Thought' & mail to: AEQ Book Review of Making Dictionaries: Preserving
Indigenous Languages of the Americas
From: George Lessard
Subject: AEQ Book Review of Making Dictionaries: Preserving
Indigenous Languages of the Americas
Frawley, William, Kenneth C. Hill, and Pamela Munro, eds. Making
Dictionaries: Preserving Indigenous Languages of the Americas.
Berkeley: University of California Press, 2002. 450 pp. ISBN
0520229967, $34.95.
Reviewed for the Anthropology & Education Quarterly by
Catherine S. Fowler
This volume of papers provides fascinating perspectives on the
processes and practices of dictionary making by several contemporary
lexicographers, all of whom have struggled or are yet struggling to
develop these important tools for indigenous languages in North
America and Meso-America. Given that most of the 23 contributors are
well known for their work in theoretical and/or historical
linguistics, but also are actively involved in language preservation
and restoration efforts, their accounts of the complexities, time and
issues involved in developing dictionaries become even more important
and significant. As noted in the introduction by Fawley, Hill and
Munro, when one considers that a good dictionary "is a thousand pages
of ideas and history, a guide to the mind and world of a people" (p.
22), developed by a person (rarely persons) who is "simultaneously a
phonetician, morphologist, syntactician, and semanticist but also a
sociologist, anthropologist, biologist, diplomat, therapist,
mediator, and salesman" (p. 21), then the work and results deserve
much more consideration than they are often accorded. Indeed,
lexicographers are far from the "unfortunate drudges" that history
suggests, but rather heros to be celebrated and lauded for their
ultimate achievements. Readers of this volume will come away with
that impression, as well as a genuine feeling for the real work and
problems involved.
Fawley, Hill and Munro begin their excellent introduction and summary
of the papers by noting some common "war stories" shared by
lexicographers. These include: where and how to begin, finding and
continuing funding, inevitable project expansion ("mission creep"),
in-achievable goals, an inevitable back-burner status, and a "so
what" or even mean spirited final assessment. But beyond these, they
also list and discuss ten more serious issues raised by such work,
while pointing out how the authors address them in various ways.
These ten include: choosing and defining main/subsidiary entries; the
use (and abuse) of linguistic theory in dictionary construction;
consideration of literacy and orthography issues; choice, use (and
abuse) of graphics; definitions of the community of users and their
role in decision making; holistic vs. specialized dictionaries; use
(and abuse) of etymology and other aspects of history; the role of
technology in development and ultimate production; issues as to
inclusion/exclusion and variation in usages; and the role of
consistency and rules in development (known largely by their
violation!). The 16 papers are then collected into four sections,
each with a slightly different perspective or focus on one or more of
these issues. These include: I. Form and Meaning in the Dictionary
with papers by K. Hale and D. Salamanca on Misumalpan languages, W.
Pulte and D. Feeling on Cherokee, J. Grimes on Huichol, P. Munro on
verbs in various languages, and R. Rhodes on Eastern
Ojibwa-Chippewa-Ottawa; II. Role of the Dictionary in Indigenous
Communities with papers by K. Rice and L. Saxon on Canadian
Athabascan languages, L. Hinton and W. Weigel on California
languages, and P. Kroskrity on Western Mono; III. Technology and
Dictionary Design with papers by U. Canger on 16th and 17th C.
Nahuatl, J. Amith on Nahuatl, and D. Rood and J. Koonz on Comparative
Siouan; and IV. Specific Projects and Personal Accounts with papers
by H. Aoki on Nez Perce, K. Hill on Hopi, C. Callaghan on Miwok
languages, W. Bright on the Native American Place names in the U.S.
Project, and M. Clayton and J. Campbell on 16th Century lexicographer
Alfonso de Molina. There is a single bibliography and the volume is
indexed.
Although there are too many good papers in the volume to note here,
those interested in anthropology and education should probably pay
particular attention to the papers in sections II and III, as they
deal more specifically with issues involved in teaching literacy and
in the role of dictionaries in language retention and revitalization.
The papers by Rice and Saxon, Hinton and Weigel and Kroskrity are
particularly oriented and insightful as to matters involving proper
assessments of community language ideologies in proposed projects,
educational levels of potential users of the materials, including
their familiarity with existing orthographies such as English, the
social positions of persons involved in the project(s), their
expectations as well as those of the community in general, political
and sensitivity issues, and ultimately ways to assess the usefulness
of those materials in educational efforts, be they preservation and
reference or more active utilization. The essays in section III by
Aoki, Hill, and Callaghan also provide further discussion of several
of these topics while focusing on the authors' specific experiences
of what can go right and wrong in developing dictionaries in specific
communities. The article by Hill, Hinton and Weigel, and in some
ways Kroskrity, are particularly useful in thinking about ethical
issues in working with contemporary communities, and about
dictionaries as partnerships with communities-even though there are
never any guarantees that everyone will be pleased with the process
or the results.
Overall, this collection provides, as noted, interesting insights
into the processes and issues involved in making dictionaries, those
tools which are so extremely useful to many kinds of users but often
taken for granted-unless your language does not have one, or better,
several.
© 2004 American Anthropological Association. This review will appear
on the web site http://www.aaanet.org/cae/aeq/br/index.htm and will
be cited and indexed in the December 2004 issue (35.4) of the
Anthropology & Education Quarterly. Please note that the postings to
the Council for Anthropology and Education listserv are delayed due
to AEQ's transition to Arizona State University. We apologize for
the delay and thank you for your understanding.
The Anthropology & Education Quarterly publishes reviews of current
books in the anthropology of education and related fields. The Book
Review Editor identifies the books to be reviewed and solicits each
review from an appropriate scholar. The Book Review Editor may also
consider reviews submitted voluntarily at his or her discretion, but
volunteered reviews are rare. The Book Review Editor makes the
decision whether to accept the review for publication. This policy
has applied and continues to apply to all book reviews, whether
published on the AEQ web site or in the paper journal.
George Lessard
Subject: Sundance Institute's commitment to supporting Native Cinema
From: George Lessard
The Sundance Institute's commitment to supporting Native Cinema is
woven throughout the 23-year history of the Institute along with its
support for the artistic vitality of American Cinema. Rooted in the
recognition of a rich tradition of story telling and artistic
expression by Native Peoples, the Institute established a Native
Program as a means of supporting the development of Native filmmakers
and the exhibition of their work. The Sundance Institute has
supported nearly 45 Native writers and directors over the past 23
years, and showcased nearly 100 films by Native filmmakers. The
Sundance Film Festival's Native Forum is a gathering of Indigenous
filmmakers from around the world, and offers opportunities for them
to share their expertise and knowledge with each other and the
independent film community through workshops, panels, networking
events, and special screenings.
Native American and indigenous films screening in the 2005 Sundance
Film Festival:
Screening in the U.S. DOCUMENTARY COMPETITION :
Screening in WORLD DOCUMENTARY COMPETITION :
Screening in AMERICAN SPECTRUM :
Screening in the SHORTS COMPETITION :
FROM CHERRY ENGLISH /Canada (Director: Jeff Barnaby - Mi'gMaq)
Screening in the SPECIAL SCREENINGS :
George Lessard
Date: Sat, 1 Jan 2005 11:57:03 -0700
From Nov. 26, 2004 through Jan. 30, 2005, the Peabody Essex Museum
hosts Our Land: Contemporary Art from the Arctic, the first major
museum exhibition of contemporary art from Canada's newest territory,
Nunavut. The exhibition includes more than 50 artworks-from
sculpture, prints, and textile art to photography, video, and sound
installations-all created in the last half-century, a time of
burgeoning artistic and cultural awareness and pride among Canada's
Inuit. Our Land is a collaborative project of the Peabody Essex
Museum, the Government of Canada, and the Government of Nunavut.
Newspaper coverage
Our Land: Contemporary Art from the Arctic , has received financial
support from the Government of Nunavut's Department of Culture,
Language, Elders and Youth, the Government of Canada, the Constance
Killam Trust, and the Elizabeth Killam Rodgers Trust.
Visit the online exhibition Subject: Tlingit Whale House Series
Date: Mon, 3 Jan 2005 17:02:28 -0700
From: George Lessard
Nine years ago, brilliantly carved Tlingit artifacts linking the
Chilkat people with their ancestors were sold and removed from the
village of Klukwan. Since then, families, neighbors and lawyers have
fought bitterly over ownership. No one sees them now.
By Marilee Enge
Date: Sat, 01 Jan 2005 16:54:45 -0000
DAGGETT - A break-in discovered Christmas Day has robbed the museum in
this Mojave Desert town of its most prized
possessions, including antique dolls and American Indian artifacts on
loan from local families.
The thieves methodically cleared out glass display cases in the
Daggett Museum, said curator Beryl Bell, who discovered the
burglary when she went to feed her goldfish over the holiday.
"It's really heartbreaking for a small museum," Bell said Wednesday.
The stolen Native American artifacts include a basket appraised at
$3,500, a Navajo sash and two large clay Acoma pots that
had never been appraised but are very valuable, said Leslie Lloyd, the
president of the Daggett Historical Society, which
runs the museum.
The thieves also took antique dolls, model trains and other toys,
farming implements and examples of rocks from the area,
Lloyd said.
The thieves ignored the computers and copy machine in the office of a
local government agency that shares the low-slung
modular building with the museum, but they stole $2 in coins from
Lloyd's desk and a museum donation jar that contained
about $10, she said.
Despite the theft of the change, Lloyd believes the burglars were
experienced, as they left no fingerprints and took steps
to disable the alarm system -- even though it wasn't operational at
the time of the break-in.
"This appeared to be a very neat operation and it appeared they had a
shopping list," she said.
The historical society has notified the Antique Tribal Art Dealers
Association, which plans to post news of the break-in on
its Web site and will inform its 250 members.
The historical society is offering a $500 reward to anyone who can
provide information leading to the arrest and conviction.
Hero, Hawk, and Open Hand CHICAGO - A translucent, larger-than-life hand with long, tapering
fingers lends an air of mystery to a new exhibit of ancient and
little-known tribal art at the Art Institute of Chicago.
"Hero, Hawk, and Open Hand" opened Nov. 20 and runs through Jan. 30,
2005. It is scheduled to be shown at The St. Louis Art Museum from
March 4 to May 30, 2005, and at the Smithsonian National Museum of
Natural History from early July to late September.
Navajo artist Teddy Draper Workshops
Workshop information for 2005
March 15-19, instructor Elmer Yazzie, "cut yucca brush" watercolor technique.
May 16-20, instructor Teddy Draper, Jr., pastel techniques, insights into art, culture, and connecting to nature.
June 7-11, Indian Jewelry Basics (class limited to 4 students).
June 7-11, instructor Teddy Draper, Jr., pastel techniques, insights into art, culture, and connecting to nature.
Web Sites: Literacy in Indigenous Communities by L. David van Broekhuizen, Ph.D. (2000) Essay on the Zuni World View
Cushing also cited an
incidence where he showed a pole that accompanies a theodolite to an old Zuni
man and asked him what he thought the name of it was. In response the old man inquired as to the
use
of the
item. After briefly describing the
implementation of the device the old man provided a rather lengthy
sentence-word that Cushing translated as "heights of the world progressively
measuring stick". The next day Cushing
took the pole to the extreme corner of the pueblo and began "to flourish it
around" until a middle-aged man relented to curiosity and asked what it
was. Cushing then provided the Zuni
name he had learned the day before and the man promptly requested, "Can they
actually tell how far up and down journeying the world is?"
[105].
Indian band seeks to regain its birthright
Wintu Indians
An old woman was traveling about. She was covered with sores and was
very
dirty, so that wherever she went people did not want to see her.
Finally she
came to where some orphan children were living and remained thereto
take
care of them. They said, "Stay with us." Then the old woman said, "Set
out
the things you use when you cook," and they set them before her. She
was
Corn. She rubbed herself as one rubs roasting ears and made bread of
what
came off, which they continued to eat.
By and by she said, "The corn is now getting hard." An old corncrib
stood
near, and she said, "Sweep this out, shut it up, and go to sleep. I am
your
mother. You can eat bread made out of white corn." When night came they
lay
down, and they heard a rapping noise in the corncrib, which presently
ceased. Next day they went to it and opened the door and it was full of
corn.
Myths and Tales of the Southeastern Indians by John R. Swanton. [1929]
(Bureau of American Ethnology Bulletin, No. 88.)
From Blue Panther Keeper of Stories
http://groups.msn.com/KeeperofStories
From Blue Panther Keeper of Stories
http://groups.msn.com/KeeperofStories
From: "ghwelker"
Subject: Living in America: The American Indian Experience
The American Museum of Natural History
presents
Living in America: The American Indian Experience
January 15, 22 and 29
1:00-5:30 p.m.
Kaufmann Theater, first floor
or
call 212-769-5315.
From: borreror@amnh.org
From: "ghwelker"
Subject: ~LEONARD PELTIER’s Magnificent ‘Political Platform’
Have You Thought
1410 Blalock Road, #420
Houston, TX 77055
Subject: Book Review - Making Dictionaries: Preserving Indigenous
Languages of the Americas
University of Nevada
csfowler@unr.nevada.edu
http://festival.sundance.org/2005/?=native&107
TRUDELL /U.S.A (Director: Heather Rae - Western Cherokee;
Screenwriter: B. Russell Friedenberg)
DHAKIYARR VS. THE KING /Australia (Directors: Allan Collins and
Tom Murray - Willi Willi Nation)
5TH WORLD /U.S.A. (Director: BlackHorse Lowe - Din?; Screenwriter:
BlackHorse Lowe)
GOODNIGHT IRENE /U.S.A. (Director: Sterlin Harjo - Creek/Seminole
Nations)
NATCHILIAGNIAQTUGUK AAPAGALU - SEAL HUNTING WITH DAD /U.S.A.
(Director: Andrew Okpeaha MacLean - Inupiaq)
PLAINS EMPTY /Australia (Director: Beck Cole - Warramungu Nation)
PURA LENGUA (ALL TONGUE) /U.S.A. (Director: Aurora Guerrero -
Xicana)
TAMA TU /New Zealand (Director: Taika Waititi - Te Whanau a Apanui)
A THOUSAND ROADS /U.S.A. (Director: Chris Eyre - Cheyenne/Arapaho
Tribes)
GREEN BUSH /Australia (Director: Warwick Thornton - Kaytetye Nation)
From: George Lessard
Subject: Our Land - Contemporary Art from the Arctic
Our Land - Contemporary Art from the Arctic
THROUGH JANUARY 30, 2005
Peabody Essex Museum [excerpt]
GEORGE LESSARD
Information & Media Specialist
From: "ghwelker"
Subject: Museum loses Indian artifacts to burglary
Museum loses Indian artifacts to burglary
ASSOCIATED PRESS
Glenn Welker
Editor, List Manager, and Web Master
for
Indigenous Peoples Literature
Early tribal artifacts put in spotlight
Little-known items focus of exhibit in Chicago
Chinle, Arizona (Canyon DeChelly)-
Seminars and workshops have limited capacity and usually require enrollment months in advance.
dechelly2000@yahoo.com
Indigenous Peoples Literature
Wisdom of the Old People
HTML Format (70K)
PDF Format(117K)
Excerpt (Complete article is available in PDF)
By David Whitney
At War Against Dam, Tribe Turns to Old Ways
Petition in Support of the Winnemem Wintu Tribe
http://www.smartgroups.com/groups/keeper_of_stories_3
http://www.smartgroups.com/groups/keeper_of_stories_3
posted by Amerindian Arts at 2:12 PM
1 Comments:
July 16, 2005 -- American Indian Film Music Review (freely re-print)
A THOUSAND ROADS, NOT TAKEN
By Brent Michael Davids
“If we don’t frame the issues, someone else will frame the issues for us”
- Wilma Mankiller (Cherokee)
This is the first in a series of film music reviews intended to address American Indian composers and musicians in the film industry. The intent here is twofold: to discuss film scoring, but also to provide insights into the process of making a good American Indian film score. With this in mind, a potential starting place is to review the musical score of the “signature” film of the National Museum of the American Indian, A THOUSAND ROADS. While other films might be part Indian or have Indian themes mixed into them, this “signature” film embodies the ideals of the National Museum of the American Indian.
Therefore, it occurred to me, that in a place that prides itself on commissioning genuine Indian works of art, such as the giant woven curtain designed by Romona Sakiestewa (Hopi) for the Rasmuson Theater which regularly exhibits A THOUSAND ROADS, the NMAI might be the best choice to find a clear example of American Indian film scoring for the subject of this review.
BACKGROUND
Admittedly, looking at American Indian films for their musical scores is not a popular science; just google the phrase “American Indian film score” or “American Indian film music” and see how little you turn up. There are a couple reasons for this, the lack of American Indian film composers and the market-driven climate of popularized film songs. First, the demands of composing for film are varied and intense. A film composer must be an expert in most forms of music from classical to rock, able to write the score into music manuscript, able to identify the proper music genre and its proper dramatic placement within a film scene, and able to compose quickly. While there are many highly creative and talented Indians who are musical performers and even composers, they are more often not versed in all forms of music as demanded by a career in film music. In addition, those Indian composers that can write for orchestra are few and far between. For instance, if a singer-songwriter takes on the task of scoring a film, they most likely will hire a trained composer to ghost write for the orchestra, or simply work collaboratively with a trained composer who can write down and orchestrate the music.
Secondly, in today’s film scene, the marketplace has a near stranglehold over the type of music used for film scores. The desired “ideal” for film music has shifted as a result of the heavy lobbying efforts of the record companies and producers. In the former days, before song placement or “needle-dropping” songs into films, film scores were seen as the comprehensive work of trained composers such as Jerry Goldsmith or Elmer Bernstein. In today's’ marketplace however, large deals are struck between the recording industry and film producers, the intent of which is to give record companies the chance to have their songs reach a larger “film” audience with the sale of accompanying music CDs, in exchange for providing additional revenue to film makers in search of more funding.
But this deal-making stifles the film scores being produced, creating a tunnel-vision effect on the newer generation of film directors. Today, the recording industry’s lobbying efforts have influenced a new generation of directors who buy into the marketed “ideal” for film scores, as if few other scoring solutions exist; today’s film makers rarely search out expert film composers but immediately search out the music of songsters and bands instead. Many American Indian film makers are not immune from this lobbying effect, almost having been “brought up” or “raised” by the industry to first look for bands and songsters, and not trained film composers. Coupled with the genuine scarcity of Indian film composers in the field, the stifling effect for American Indians is compounded. Checking the composer credit on any Indian film, even if the film features an Indian musician, will reveal a non-Indian composer is listed who did most of the actual film scoring. American Indian film scores are not the most studied or talked about topic -- inside or outside of Indian country -- which is why in-depth reviews of this type are needed. Taking a cue from Wilma Mankiller, as Indians we should be framing these issues for ourselves.
CONTEXT
For A THOUSAND ROADS, we must examine the context of the score, as well as the music itself. While working as the Associate Director of the Mall Transition Team for the new NMAI building, James Volker (non-Indian) had the initial idea. “I was the originator of the concept of the film, some three and a half years ago,” Volker explained, “I wanted to develop a film that was identified solely with the Museum, and that’s when it became called a signature film” (May 18, 2005). Volker was then approached by Scott Garen (non-Indian), “Scott was the primary mover in terms of the development of the production. The Smithsonian and myself and Rick West and Elizabeth Duggal were the primary story consultants.” Garen was directed to collaborate with Joy Harjo (Muskogee Creek) to write the script and Chris Eyre (Cheyenne/Arapaho) to direct the film. Including Ulali, these were the only American Indians involved in the film scoring process. Ulali is a trio that sings in many styles including the indigenous-based “pre-blues” singing style. Ulali singers include: Pura Fe (Tuscarora), Soni Moreno (Mayan/Apache/Yaqui), and Jennifer Kreisberg (Tuscarora).
THE SCORE
The film A Thousand Roads portrays a number of small vignettes in locations including: Alaska, New Mexico, New York City, Peru, and Puget Sound. Each location employs a short story, including: a girl’s encounter with Alaska villagers, a Navajo boy’s struggle with gang pressure, and a Mohawk woman’s stressful inner-city job. The stories are threaded together with an unseen voice who refers to the film’s characters as if he knows them personally. The vignettes serve to illustrate the many “roads” of Indigenous peoples in a type of visual suite or pastiche. The film is 42 minutes, and the music is 32 minutes (77%). Only ten minutes is without film music.
FULL REVIEW
The full review includes material from interviews with flutist-composer R. Carlos Nakai, singer-composer Jennifer Kreisberg of Ulali, poet-musician-composer Joy Harjo of Poetic Justice, former Composer-In-Residence of the Toronto Symphony Barbara Croall, and Emeritus Professor James Mason. The full review is available at < http://www.filmcomposer.us/nmai.html > as copyable "text" (4700 words) for re-print in newspapers and journals, and as a print-ready PDF (10 pp) for individuals and educational uses. Permission is given to freely re-print and distribute.
REVIEWER
Brent Michael Davids, Mohican Nation, is a strikingly accomplished film and concert composer who is awarded by ASCAP, NEA, Sundance, Rockefeller, Chanticleer, Kronos Quartet, Miro Quartet, National Symphony and featured on ABC, NBC, CBS, NPR, and NAPT. Davids' former film scores include: POWWOW SYMPHONY (BBG) Composer; THE 1920 CLASSIC MYTH: THE LAST OF THE MOHICANS (BBG) Composer; THE WORLD OF AMERICAN INDIAN DANCE (NBC-Sports and Four Directions Entertainment); DREAMKEEPER (Hallmark and ABC) Associate Composer and Source Music Producer; THE SILENT ENEMY (BBG) Composer. Upcoming films include: BRIGHT CIRCLE Composer; THE WILL SAMPSON STORY (AIFI) Composer; IN THE EYE OF THE HURRICANE: PEOPLE OF COLOR RESISTING CORPORATE GLOBALIZATION (Sin Fronteras) Composer; FROM MOCCASINS TO SNEAKERS (Horizon Productions and Entertainment) Composer. His music is also heard daily on the only national American Indian call-in talk show "Native America Calling" by the Koahnic Broadcast Corporation. Davids holds a Bachelor degree and Master degree in composition from Northern Illinois University and Arizona State University respectively, and apprenticed with film composer Stephen Warbeck (SHAKESPEARE IN LOVE). < www.filmcomposer.us >
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