Oregon Premiere of Damien Geter’s Cantata for a more Hopeful Tomorrow
Damien Geter - composer and long-time Resonance collaborator | photo by R. Hadiashar
On Sunday, November 17, Resonance Ensemble will present the Oregon premiere of Cantata for a More Hopeful Tomorrow, a poignant five-movement work by composer and longtime Resonance collaborator, Damien Geter. The work reflects on the challenges and resiliency of Black communities during the recent pandemic, masterfully setting texts from traditional spirituals, landmark writers, and words from living artists.
Composer Damien Geter shares more about his Cantata in this short interview with Resonance Ensemble
Originally commissioned by The Washington Chorus in 2020, Geter shares “It is a fact that the pandemic has touched the Black community in a much more aggressive manner than other communities…2020 [was] a tough year. Not only because of the pandemic but because of the various other traumas that have been continuously inflicted on the Black community and our world at large…Even though things may seem tough in the present moment, there is a light that shines towards the future.”
Featuring soprano Nicole Greenidge Joseph and Oregon Symphony principal cellist Nancy Ives as soloists, the Cantata is inspired by J.S. Bach's Weinen, Klagen, Sorgen, Zagen (BWV 12), masterfully blending spirituals with Western classical music traditions. This Oregon premiere of the Cantata will be conducted by Katherine FitzGibbon.
Artistic Director Katherine FitzGibbon and cello soloist Nancy Ives
Soprano soloist Nicole Greenidge Joseph.
A. Mimi Sei - writer, activist, and Resonance board member
Throughout the first movement, Geter intertwines Salomo Franck's original text with that of librettist Megan Levad, centering the music around Bach's passacaglia. The second movement, Prayer, features a beautiful arrangement of the spiritual I Want Jesus to Walk with Me.
In the third movement, Breathe, Geter draws from the powerful words of Resonance board member and writer A. Mimi Sei, offering a message of endurance: "Go back to the parts of you that house ambitions. Where you’ll find your glory, The drive to endure. Learn again to just breathe."
The fourth movement, Resolve, offers a stirring arrangement of There's a Balm in Gilead/By and By, leading into the final movement, Hope.
This last movement sets Walt Whitman’s “Continuities,” promising: “Nothing is ever really lost, or can be lost…."
In addition to Cantata for a More Hopeful Tomorrow, the concert will feature works by all seven members of The Blacknificent 7—a composer collective of leading composers, including Geter, Jessie Montgomery, Dave Ragland, Jasmine Barnes, Shawn Okpebholo, Carlos Simon, and Joel Thompson—each piece showcasing a unique voice to this powerful celebration of Black artistry and musical innovation. The concert will also feature the world premiere of a new composition by Dave Ragland—check out our next blog post for more on this exciting work!
TICKETS FOR THIS EVENT ARE ON SALE NOW!
WHAT: THE BLACKNIFICENT 7
WHEN: Sunday, November 17th | 2:00 PM
WHERE: Alberta Rose Theatre | 3000 NE Alberta St | Portland, OR | 97211
Read about this event by clicking here, or get your tickets below!
THREE CHOIRS, FULL ORCHESTRA, ONE VISION: RESONANCE NOVA
Over 100 musicians join forces for a concert of groundbreaking musical works as a catalyst for change
PORTLAND, OR – The newly-renamed Orchestra Nova Northwest and the award-winning Resonance Ensemble come together for the first time to present RESONANCE NOVA, a program featuring three groundbreaking works advocating for global change, by acclaimed composers Margaret Bonds, Caroline Shaw, and Ralph Vaughan Williams. Conducted by Steven Byess, Katherine FitzGibbon, and Shohei Kobayashi, these performances will take place on Saturday, March 15th at Reynolds High School Auditorium and on Sunday, March 16th at the Patricia Reser Center for the Arts.
“With our relaunch this past July as Orchestra Nova Northwest, we are excited to enter a fresh chapter for our 41-year-old ensemble, a chapter focused on expanding the scope of orchestral music—both in terms of what it encompasses and who it’s for,” says Executive Director of ONN, Kevin Irving. “Resonance Ensemble, with their mission of fostering socially relevant and transformative artistic experiences, is the ideal partner for these meaningful concerts.”
The first half of the program features Caroline Shaw’s haunting work To the Hands, amplifying contemporary refugee crises, and Margaret Bonds’s Credo, setting a stirring text by W.E.B. Du Bois.
“The Bonds has only recently experienced a surge in performances, so it is an honor to be part of its growing legacy,” says Kobayashi, Associate Conductor for Resonance Ensemble. “The text by DuBois speaks to a lot of issues we still grapple with today—war, racial equality, and social status. It remains deeply relevant.”
Katherine FitzGibbon, Resonance Ensemble & Lewis and Clark Capella Nova
Stephen Byess, Orchestra Nova Northwest
Shohei Kobayashi, Resonance Ensemble and Reed College Collegium Musicum
On the second half of the program, choirs from Lewis & Clark College and Reed College will join Resonance Ensemble and Orchestra Nova Northwest for Ralph Vaughan Williams’s Dona nobis pacem (Latin for 'grant us peace')—a powerful work for chorus, orchestra, and soloists. Written as a plea for peace amid the aftermath of past wars and the looming threat of new ones, the combined forces of over 100 musicians will create an unforgettable and moving musical experience.
“These concerts encapsulate the missions of both Resonance Ensemble and Orchestra Nova Northwest, and combines our forces into a performance that will envelop you in sound,” says Resonance Ensemble’s Artistic Director Katherine FitzGibbon. “In programming these three extraordinary musical works —both in their time and with renewed meaning today—we hope this concert will leave listeners inspired and full of hope.”
Single tickets are on sale now. For more information, visit novanw.org and resonancechoral.org.
Read more about the event here
WHEN & WHERE
Saturday, March 15th | 7:30 pm | Reynolds High School (Troutdale)
Sunday, March 16th | 2:00 pm | Patricia Reser Center for the Arts (Beaverton)
COST
Single tickets on sale through Orchestra Nova Northwest and the Reser. Tickets start at $35 with discounted tickets for students and Arts for All.
Note to Journalists: Katherine FitzGibbon, Shohei Kobayashi, Kevin Irving, Steven Byess, and featured guests are available for print, online, and broadcast interviews. If you would like more information on our season or would like to schedule an interview, please contact Liz Bacon Brownson at liz@ohcreativepdx.com or by calling 971-212-8034.
Resonance Presents:“The Blacknificent 7”
RESONANCE ENSEMBLE OPENS 16TH SEASON WITH BLACKNIFICENT 7, SHOWCASING SEVEN OF TODAY’S LEADING BLACK COMPOSERS
September 27, 2024 – Portland, OR – On Sunday, November 17, 2024 Resonance Ensemble presents a concert featuring works from the collective of leading Black composers known as The Blacknificent 7. Curated by long-time Resonance collaborator Damien Geter, this afternoon of vocal music will showcase compositions by Geter, Jasmine Barnes, Jessie Montgomery, Shawn Okpebholo, Dave Ragland, Carlos Simon, and Joel Thompson. The program will also include the world premiere of a Resonance commission Seven Prayers: Hope for Everyone, by Ragland, who will also be in attendance. This one-afternoon-only event takes place at the Alberta Rose Theatre.
“Blacknificent 7 represents some of the most innovative voices working in classical music today,” says Resonance Ensemble Artistic Director Katherine FitzGibbon. “Like Resonance, these award-winning composers are passionate about using music to further the cause of social justice. We’re excited to share this phenomenal music with listeners in our region.”
The concert will be conducted by FitzGibbon and Resonance Artistic Advisor Shohei Kobayashi and will feature the Oregon premiere of Geter’s Cantata for a More Hopeful Tomorrow, with soprano Nicole Greenidge Joseph and Oregon Symphony principal cellist Nancy Ives.
Nicole Greenidge Joseph, Soprano Soloist
Nancy Ives, Cello
Dave Ragland, Commissioned Composer
Geter shares, “My Cantata pays homage to Black Americans by incorporating spirituals within a framework inspired by Bach’s cantatas. It begins in a deep state of despair and moves emotionally upward towards a state of hope... Even though things may seem tough now, there is a light that shines toward the future.”
The program will also feature the world premiere of Seven Prayers: Hope for Everyone, a new Resonance commission by Dave Ragland. Ragland, a four-time EMMY-nominated composer, will attend the performance and participate in a post-concert panel discussion, offering audiences a chance to hear directly from the composer about his inspiration and process. He describes Seven Prayers as "a series of reflections on life and hope, drawing from voices across the U.S. to celebrate the resilience of the human spirit."
Tickets are on sale now. For tickets click here, for more information on the concert, click here.
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Single Tickets Now On Sale!
Single Tickets for Resonance Ensemble’s
2023-24 Season On Sale Today!
For the past 16 years, Resonance Ensemble has brought extraordinary, meaningful music to Portland’s artistic scene, reflecting on the most pressing social issues of our times. This season promises to be no exception.
Resonance Ensemble's 16th season promises a phenomenal lineup, featuring some of today's most brilliant musicmakers. Featuring Pulitzer Prize-winning composer Caroline Shaw, as well as newly commissioned works from Cecille Elliott, Dave Ragland, and Kenji Bunch—there is no doubt about it — this season is packed with impact.
Single tickets are now on sale for these four concerts:
THE BLACKNIFICENT 7 — NOVEMBER 17, 2024
Damien Geter curates this concert of vocal music by a collective of leading Black composers known as the Blacknificent 7.
CHOIR GRRRL — FEBRUARY 8, 2025
This Portland-infused collaborative extravaganza features everyone playing everyone’s music together–and you’re invited to join in, too.
RESONANCE NOVA—MARCH 15 & 16, 2025
Presented in partnership with Orchestra Nova Northwest, this concert will bring over 100 musicianstogether to perform 3 groundbreaking musical works as a catalyst for change.
WE ARE STILL HERE — JUNE 1, 2025
Presented in partnership with Vanport Mosaic, this site-specific afternoon of music, theatre, and dance will reclaim and heal the original site of the “Portland Assembly Center”—now the EXPO Center —where nearly 4,000 Japanese Americans were unjustly incarcerated.
Don’t miss a single note of it.
Buy Your Tickets Today — Before They're Gone!
You make it all possible.
On June 30th, Resonance Ensemble closes the books on our 15th season. Thanks to your support, we’ve reached incredible milestones. From collaborations with world-class artists to deeply moving community celebrations, you made it all possible.
You made it possible to host Grammy-winning baritone Kenneth Overton, surrounded by the vibrant works on display in the Black Artists of Oregon exhibit (curated by Intisar Abioto) at the Portland Art Museum
You enabled us to commission the world premiere of “From the Book of Sankofa,” a new work by Darrell Grant with poetry by A. Mimi Sei.
You supported the community connection to trailblazing activists like Taylor Stewart, the visionary force behind the Oregon Remembrance Project.
You helped us celebrate composers in film at the Hollywood Theatre.
And dream of dreams, you helped bring Sweet Honey in the Rock to us for two nights of unforgettable music and a new friendship that will continue.
You helped us celebrate our anniversary with a concert of Resonance commissions, which we are taking to the studio to record for audiences worldwide.
You helped us do all of that and more. On behalf of the Resonance Ensemble Board of Directors and staff, we thank you for your ongoing support and ask you to consider making your gift to Resonance today so that we can continue this incredible work.
Will you contribute $5, $10, $50, $100, or ANY amount to help us reach our goal of $7,500? Every dollar counts and will directly impact our ability to bring new works to life. To donate today:
Support our Kickstarter.
Mail your donation to Resonance Ensemble at 3121 South Moody Avenue #130, Portland, Oregon, 97239 (postmark by June 30)
Call (503) 427-8701 to donate over the phone
With love,
The Resonance Team
Kathy, Damien, Shohei, Liz, and Kim
Resonance Ensemble’s Second Album Launches on Kickstarter
“This album showcases artists who, through their incredible music and poetry, share the stories that matter to them.”
PORTLAND, OR — June 20, 2024 — Following the successful debut of their first album LISTEN in 2023, Resonance Ensemble announces their upcoming release, SAFE HARBOR. This album features 12 Resonance commissions, all inspired by themes of sanctuary, resilience, and hope. The featured composers and poets include Jasmine Barnes, Kenji Bunch, James DePreist, Lady Dane Figueroa Edidi, Cecille Elliott, Damien Geter, Darrell Grant, Joe Kye, S. Renee Mitchell, Kimberly R. Osberg, Judy A. Rose, A. Mimi Sei, Sonya Renee Taylor, Mari Esabel Valverde, and Vin Shambry.
The release of SAFE HARBOR comes as the ensemble celebrates the closing of its 15th anniversary season, most recently with their MISSION15 concert that offered a preview of the album. The recording will feature 24 singers and instrumentalists, including flutist Adam Eccleston; soloists Onry, Cecille Elliott, and Nicole Greenidge Joseph; cellist Valdine Mishkin; and many other artists with ties to the Pacific Northwest. The album is conducted by Katherine FitzGibbon, Shohei Kobayashi, and Damien Geter.
FitzGibbon shares her excitement for the project: “Over the years, Resonance has commissioned dozens of musical compositions, poems, and other works of art, showcasing artists who, through their incredible music, share the stories that matter to them. We are thrilled to share SAFE HARBOR so that this music can reach and inspire audiences worldwide.”
Today officially marks the launch of their Kickstarter campaign, aimed at funding the production costs associated with the album. Backers pledging their support will unlock a range of rewards, including advance copies of the album, tickets to upcoming concerts, invitations to private performances, and more.
Resonance Ensemble is celebrated for their music that uplifts communities, addresses pressing social issues, and contributes to the evolution of classical music. With SAFE HARBOR, they continue to champion innovative voices and present compelling new works that embody their unwavering commitment to mission-driven art.
For more information about the album and how to become a backer, please visit their Kickstarter campaign page here or contact Resonance at resonancechoral.org.
ANNOUNCING SEASON 16: A Vocal Force for Impact
Featuring new works by Dave Ragland & Cecille Elliott, performances by Caroline Shaw, Danni Parpan, Nancy Ives
Resonance Ensemble announces its sixteenth season, A VOCAL FORCE FOR IMPACT. For the past 16 years, Resonance Ensemble has brought exceptional performances of meaningful new music to Portland’s artistic scene, reflecting on the most pressing social issues of our times. Now, with four large-scale productions reaching audiences across Portland, this award-winning choir continues to champion compelling voices sharing their stories. From confronting hard truths and honoring beloved composer collectives, to hosting a jam session featuring some of today’s most brilliant music makers—including Pulitzer Prize-winning composer Caroline Shaw—our season is packed with impact.
“We are thrilled to be working once again with such phenomenal artists and organizations,” says Resonance Artistic Director Katherine FitzGibbon. “This season is filled with a deep and varied array of projects. Audiences will experience the work of beloved longtime collaborators alongside artists we've always dreamed of working with.”
Damien Geter curates the season opener this November, with a special array of vocal works by Blacknificent 7 – an incredible array of leading Black composers – including Jasmine Barnes, Jessie Montgomery, Shawn Okhepholo, Dave Ragland, Carlos Simon, Joel Thompson, and Geter himself. “These are some of the most exceptional, accomplished composers working today,” says Geter. “I can’t wait for Portland to experience their music.” The concert will include the world premiere of a new Resonance commission by Dave Ragland, as well as the Oregon premiere of Geter’s Cantata for a More Hopeful Tomorrow, with cellist Nancy Ives.
In February, Resonance’s treble singers join forces with the innovative talents of Ringdown – Caroline Shaw and Danni Lee – and Resonance-favorite Cecille Elliott for CHOIR GRRRLS—part community jam session and part celebration, this concert will feature boundary-pushing new works by these fiery voices.
In March, Resonance and the Portland Columbia Symphony Orchestra harness the immense power of music in addressing global conflicts. Another major work by Caroline Shaw, “To the Hands,” rounds out a program featuring Margaret Bonds’s Credo and Ralph Vaughan Williams’s Dona nobis pacem. The fine student chamber choirs of Lewis & Clark College and Reed College will join Resonance voices for the Vaughan Williams.
To conclude the season, Resonance Ensemble joins Vanport Mosaic, writer Chisao Hata, and survivors of Japanese-American incarceration and their descendants, to acknowledge the little-known history of the Portland Expo Center and honor the survival and persistence of Japanese Americans in our region. Associate conductor Shohei Kobayashi will lead musical performances, interspersed with theatrical performances written by Hata.
Don’t miss a single note of it. Read more about each of the season’s programs below, or visit this link to purchase your subscription. Single tickets go on sale Tuesday, October 1.
THE BLACKNIFICENT 7
THE BLACKNIFICENT 7
Sunday, November 17th | 2pm | @Alberta Rose Theatre
Damien Geter curates this concert of vocal music by a collective of leading Black composers known as the Blacknificent 7, a group that includes Geter, Jasmine Barnes, Jessie Montgomery, Shawn Okpebholo, Dave Ragland, Carlos Simon, and Joel Thompson.
Conducted by Katherine FitzGibbon and Shohei Kobayashi, one of the concert’s centerpieces will be the Oregon premiere of Geter’s Cantata for a More Hopeful Tomorrow, with a soprano soloist and cellist Nancy Ives.
Adding to the excitement, Resonance will also debut their latest commission, by award-winning composer, Dave Ragland.
CHOIR GRRRL
CHOIR GRRRL
Saturday, February 8th | 7:30pm | @Aladdin Theater
A concert celebrating phenomenal women working as composer/performers in Portland today.
Resonance treble singers join forces with the innovative talents of Ringdown—a new group featuring collaborators Caroline Shaw and Danni Lee. Described as an electronic cinematic pop duo, between the two of them they have a Pulitzer Prize, several Grammys, and a “Best Drum Major” Award.
The program will also feature a world premiere commission by Resonance-favorite, Cecille Elliott.
RESONANCE NOVA
RESONANCE NOVA
WITH PORTLAND COLUMBIA SYMPHONY ORCHESTRA
Saturday, March 15th | 7:30pm | Reynolds High School (Troutdale)
Sunday, March 16th | 2:00pm | Patricia Reser Center for the Arts (Beaverton)
Resonance Ensemble and the Portland Columbia Symphony Orchestra collaborate to present Music of Peace and Justice, with the Margaret Bonds’ Credo, Caroline Shaw’s To the Hands, and Ralph Vaughan Williams’ Dona nobis pacem.
Featuring special guests Lewis & Clark Cappella Nova Choir and Reed Collegium Musicum.
WE’RE STILL HERE
WE’RE STILL HERE
CO-PRESENTATION WITH VANPORT MOSAIC
Saturday, May 31st | 7:30pm | @Portland Expo Center
Resonance Ensemble joins Vanport Mosaic, artist Chisao Hata, and survivors of Japanese-American incarceration and their descendants, to acknowledge the little-known history of the Portland Expo Center and honor the survival and persistence of Japanese Americans in our region.
As part of the 10th Vanport Mosaic Festival, this event will activate the former WWII-era assembly center with historical photographs and video projections, a communal altarpiece, and musical and theatrical offerings — including new site-specific works conceived by Hata.
In tandem with Vanport Mosaic’s celebration of a decade of memory activism, this evening will be recorded for an ongoing digital memorial as we aim to recognize and ring out the whole of this space in sound, word, movement, and song.
Single tickets will go on sale October 1st, but subscription packages are available today!
Click here to explore the available options for this season.
Note to Journalists: Katherine FitzGibbon, Shohei Kobayashi, Damien Geter, and featured guests are available for print, online, and broadcast interviews. If you would like more information on our season or would like to schedule an interview, please contact Liz Bacon Brownson at liz@resonancechoral.org or by calling 971-212-8034
FURTHER READING
RESONANCE ENSEMBLE
About Resonance Ensemble | About Artistic Director Katherine FitzGibbon
About Associate Conductor Shohei Kobayashi | About Artistic Advisor Damien Geter
CO-PRESENTING PARTNERS
About Portland Columbia Symphony Orchestra | About Vanport Mosaic
FEATURED ARTISTS
About Ringdown | About Caroline Shaw | About Danni Lee
About Dave Ragland | About Chisao Hata | About Cecille Elliott
15for15 - Reflecting on 15 years
All photos in this post are by Rachel Hadiashar unless otherwise noted
As we finalize preparations for our 15th anniversary celebration concert, MISSION15, we share 15 highlights from across Resonance Ensemble’s history. From collaborations with artists and ensembles to powerful moments with community partners, these significant milestones in Resonance Ensemble's journey have all led us to this weekend’s landmark performance. Below are 15 of our favorite memories that have helped shaped our story.
Join us THIS SATURDAY to help us make our next favorite memory!
One of Resonance Ensemble’s early concerts, Music & Memory featured a program that highlighted music in dialogue with Thérèse Murdza's visual art in 2011 at Lewis & Clark College.
This 2022 photoshoot with Rachel Hadiashar showcased the incredible treble-voice artists featured in our program on bodily autonomy, We Dissent.
A few of the remarkable individuals who comprised the African American Requiem Advisory Council, helping Resonance ensure this important work achieved maximum reach both in Portland and beyond.
Kathy conducts Resonance and the incredible Venerable Showers of Beauty Gamelon ensemble in our 2014 program, GONGS + SONGS at Reed College. (If you look closely, you can see one of our favorite journalists, Brett Campbell!)
This photo captures a poignant moment of Kathy, conducting the choir while pregnant with her firstborn son, Will, marking the intertwining of personal milestones with the ensemble's journey. Resonance was preparing for a program at Portland State University.
This image showcases two of our most passionate supporters, our esteemed poet-in-residence, S. Renee Mitchell, and Shauna Adams, captured after the 2018 program BODIES at Alberta House (formerly Cerimon House).
At Portland State University, singers Ben Kinkley (right) and Cecily Kiester (middle) share a lighthearted moment next to Erik Hundtoft (left).
This image exemplifies Resonance's commitment to fostering authentic relationships with our community partners. Here, Debra Porta, executive director of Pride Northwest, shakes hands with Kathy during our 2018 program, BODIES, on which we partnered.
We cherish our volunteers! Meet Roger Robinson, one of our original supporters, captured before our 2010 program, The Witching Hour, at Lewis & Clark College. Roger represents the dedication and support of many of our original backers who played a vital role in helping Resonance find its wings and soar.
The remarkable John Stuber accompanies Resonance on the piano during the Blessed Unions program in 2012, which once again showcased artwork by Thérèse Murdza.
Resonance collaborates with the Portland Chamber Orchestra for a stirring performance of The Monster, under the baton of the late Maestro Yaacov Bergman in 2011.
Dinah Dodds, who we dearly miss, and whose legacy left a profound impact on Resonance Ensemble’s dedication to commissioning new work, captured at a 2018 fundraiser held in the exquisite Giltner House.
Las Matices Latin Ensemble collaborated with Resonance for the world premiere of Freddy Vilches’ Abya Yala in 2022, showcasing a diverse array of instruments, some of which they made themselves!
Shohei Kobayashi joins Katherine FitzGibbon, marking the start of Shohei’s inaugural season as associate conductor and co-artistic advisor!
No party like a Resonance Ensemble party! This festive photoshoot captured Rachel Hadiashar at Oh! Creative Studio brought together commissioned artists S. Renee Mitchell, Cecille Elliott, Kimberly R. Osberg, Freddy Vilches, Joe Kye, and Judy A. Rose to help us celebrate our 15th birthday in style!
JOIN US FOR THE BIRTHDAY BASH!
MISSION 15
Saturday, June 8, 2024
7:30 PM
@Winningstad Theater
Commission Story: Safe Harbor
Radical collaboration is core to who we are at Resonance Ensemble. This year marks 15 seasons, made possible in part by the deep partnerships we’ve cultivated with living artists across a variety of disciplines. Leading up to our season finale concert (MISSION 15), we go beyond the music to share the stories that brought this work to the concert stage.
Today, we dive deeper into Safe Harbor by vocalist, violinist, and composer Joe Kye
Composer Joe Kye and conductor Katherine FitzGibbon embrace following the premiere of Safe Harbor in 2020 | photo from video by Alan Niven
What is an American?
Immigration and asylum are ever-present in current political and public debate in the United States. In 2020, Resonance Ensemble presented the concert program, Safe Harbor, where we explored varying experiences of coming to the U.S.—including experiences of immigration, asylum, and exile.
Familiar with Joe Kye for his whimsical and loop-based compositions, Resonance Ensemble was ecstatic to have the opportunity to work with Kye—who integrated folk music from his native Korea alongside American folk music and improvisation. The work also featured original text, which was used to weave full choral textures, background vocals, solo voice features, and speaking throughout the piece.
Joe Kye | photo by Ben Seller
Joe shared in 2020 a bit about the piece and its inspiration:
Inspired by my journey as an immigrant as well as the current humanitarian crisis at our southern border, Safe Harbor is my personal exploration of movement and migration.
The piece starts where we all do—with our mothers. My first memory is auditory; I remember being carried by my mother, my ear pressed between her shoulder blades. I could hear her singing softly, the sweet folk lullaby muffled by the sound of her heart and body as I drifted off to sleep. This lullaby, the sound of a cuckoo bird, and the distinct rhythm that accompanies the lullaby as it begins to expand represent my childhood in Korea.
My parents told me we would move to America when I was six, and I remember the fear, sadness and anxiety as the move neared. Even today, the narrative surrounding migrants entering America rarely mentions the emotionally fraught decision to leave home. We like to think of America as a miracle land—of course everyone wants to come here—without considering the grief and inner conflict of leaving your world behind.
I try to capture this in Safe Harbor, especially from the viewpoint of my parents, who left Korea at age 33 with their two young children in search of opportunity. They left their families, dear friends, language, food, and all that they had accomplished in order to build upon their hopes for the future.
A young Joe Kye takes up the mic | photo provided by Joe Kye
And yet, America proved to be far harsher than the dreamland we had built in our minds. The next portion of the piece tries to capture the reality of being a person of color and immigrant in this country. From unfair media representations to aloof cashiers, jokes that highlight my Otherness to micro-aggressions, it’s been a constant struggle to settle into my identity as an Asian-American and to truly feel like I belong in this country. Furthermore, my parents, who moved back to Korea in 2008, struggle to connect more deeply with their children, who grew into members of a culture they could never fully access. My sister and I, on the other hand, had to live two identities—a Korean at home, yearning to be more like our American friends, and an American in the world-at-large, yearning to bring our full selves into the public realm without fear of xenophobic reprisal.
There are three such quotes that interrupt the piece—all distinct moments in my life in which I felt unwelcome in this country. They range from direct bigotry to a subtler Othering, but all jarred me from feeling secure in my own body. These are the types of comments that we need to abolish from our lexicon if we are to create a more just, welcoming, and equitable world.
The final part of the piece is a meditation of sorts, a personal mantra for moving from disembodiment and unbelonging to rooted self-empowerment and the communal building of a more compassionate collective consciousness: “Breathe. Be. Build. We. Home. Sea. Sail. Me.” I offer myself space; encourage myself to create the world I want to live in; forgive myself for having a nontraditional sense of home, and instead celebrate the very nature of my fluid identity.
As all the voice parts slowly join in this chorus, I hope that we can also join together in building an America that lifts up the voices of those unheard and unsupported, that we may see their suffering as ours—and that, together, we can envision and build a land that is greater than the one we inhabit now.
Cue the cuckoo birds.
Joe Kye performs as part of his new project “Joe Kye & the Givers” with songs inspired by Kye’s immigrant upbringing | photo provided by the artist
WHAT STILL RESONATES
The work was the last live performance Resonance Ensemble gave before quarantine restrictions moved our mission online during the pandemic. Since then, Joe Kye has become a standout force in our community for celebrating Asian-American culture, sharing stories of displacement and immigration, as well as fostering an environment of joyful inclusion through his music.
“We are proud not only to share this moving piece with our live audiences on June 8th, but are also releasing an album of Resonance-commissioned works with the title Safe Harbor.” says Artistic Director Katherine FitzGibbon. “Joe Kye, his work, and this piece encapsulate so much of Resonance Ensemble’s mission to foster meaningful social change through music and share the stories most dear to the artists we work with. We couldn’t be more honored to collaborate with such an insightful, compassionate, and community-focused artist.”
HEAR JOE LIVE AT MISSION 15!
Saturday, June 8th | 7:30pm @Winningstad Theatre
Hear Joe Kye revive this work—along with an evening of other pieces from across our 15 year history—in-person at the Winningstad Theatre on June 8th. This one-night only event is packed with meaningful music, powerful stories, and exciting in-person appearances by the artists we love.
The music of tomorrow is being written by the voices of today.
Dinah Dodds
Find out more about how you can help us support living artists in our community & beyond
The Dinah Dodds Fund for the Creation of New Art memorializes Dinah Dodds, President of the Board of Directors of Resonance Ensemble, who served on the board from 2014 until her death in 2019. Under Dinah’s devoted leadership, the organization developed its social justice focus and commissioned multiple major new choral works.
In tribute to Dinah, contributions to this fund shall support the creation of new art (music, visual art, and poetry), as prioritized by the artistic leadership of Resonance Ensemble. “Creation of New Art” can include commissioning and co-commissioning, premiering, and/or professionally recording (audio/video) works by living artists.
Commission Story: Abya Yala
Radical collaboration is core to who we are at Resonance Ensemble. This year marks 15 seasons, made possible in part by the deep partnerships we’ve cultivated with living artists across a variety of disciplines. Leading up to our season finale concert (MISSION 15), we go beyond the music to share the stories that brought this work to the concert stage.
Today, we dive deeper into Abya Yala — featuring the music of Freddy Vilches,
and texts by Elicura Chihuailaf Nahuelpán, Estela Gamero López, Julieta Zurita Cavero, Rosa Chávez, and Gustavo Zapoteco Sideño
Composer Freddy Vilches with Artistic Director Katherine FitzGibbon | photo by Rachel Hadiashar
A World Beyond Borders…
In 2021, composer Freddy Vilches reached out to us with an idea for a choral suite that would explore indigenous connections with the land and with their history that transcends colonial and geopolitical borders. Resonance Ensemble was thrilled to commission this work. His friendships with indigenous poets from across Latin America, and his own lived experience and musical versatility, led him to create the magnificent work you can hear today.
At the premiere of Abya Yala (2022) | photo by Rachel Hadiashar
Drawing upon musical styles and instrumentation from the regions being spotlighted, Freddy wove together a choral suite that, as Freddy says, “vindicates” the historical connections, languages, and cultural traditions of each poet.
This commission inspired the rest of the ABYA YALA program in 2022. Gabriela Lena Frank’s Hombre errante, with its dramatic storytelling of an Andean people ripped from their homes; Jerod Impichchaachaawa’ Tate’s Taloowa chipota’, which depicts traditional stomp dances; and Mari Esabel Valverde’s Border Lines, with its message about how border lines only exist in sand.
“We are so grateful to Freddy for this ambitious and beautiful work,” says Artistic Director Dr. Katherine FitzGibbon. “We were excited to present this co-commissioned work at the Northwest chapter of the American Choral Directors Association, sharing this amazing piece with listeners from across the region.”
About the work, Freddy shares:
Abya Yala (“Continent of Life” or “Land in Full Maturity”) is the indigenous name given to the Americas by the Gaundule (Kuna) peoples of Panama and Colombia.
This multilingual choral suite is the product of a fruitful collaboration between the author and the aforementioned poets, in an attempt to vindicate historically discriminated languages and communities throughout Abya Yala.
These bilingual poems (Mapuche, Aymara, Quechua, Maya K’iche’, Nahuatl, and Spanish) were chosen for their beauty and subtle, yet powerful messages.
In these texts we find the constant presence of our ancestors, a profound love for the land “Pachamama,” and a strong call to preserve the languages and cultures of our indigenous communities for future generations. Although directly related to Abya Yala, these topics are universal, hence the beauty and relevance of these poems.
Las Matices and Resonance Ensemble during the premiere of Abya Yala | photo by Rachel Hadiashar
WHAT STILL RESONATES
The poets and writers Freddy collaborated with may be unfamiliar to many in the modern-day United States, but their contributions to the written word—and the cultures they hail from—are felt universally. The education, preservation, and celebration of these beautiful languages deserves further amplification, and we are excited to collaborate with Freddy again in the near future to bring more of these traditions to listeners everywhere.
We invite you to read more about these amazing writers, translators, cultural ambassadors, and activists working to not only preserve the language and cultural histories of indigenous peoples in the modern day Americas—but to honor, celebrate, and revive these languages, stories, traditions, and oral practices!
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Elicura Chihuailaf Nahuelpán (Chilean writer, poet, and oralist of Mapuche origin) is one of the most renowned poets in Chile. Winner of the Chilean National Literature Prize in 2020, the bilingual nature of his work (Mapudungun and Spanish) was foundational in fostering the prevalence of the Mapuche language and written art forms.
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Estela Gamero López (Peruvian translator, interpreter, intercultural mediator of Aymara origin) is the founder of the Quechumara Research and Development center, which she founded with the sole purpose of supporting the revitalization and strengthening of native languages. She also serves as the Deputy Mayor of Calana, Tacna. She rose to popularity in part from her video-ed readings of her stories in the Ayamara language, the most popular of which are the Tales of the Awicha.”
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Julieta Zurita Cavero (teacher, Quechua philologist, pedagogy researcher, writer, poet, and translator of Quechua origin) is a champion of the Quecha language. Her work in promoting dual-language education (Spanish and Quechua) has spread across Bolivia, Peru, Venezuela, and Panama, as well as international conferences. Her writings, largely in Quecha, include poems and stories—most famously the Tales of Zoorro Antonio (2016), an anthology published in a trilingual edition of Quecha, Spanish, and English.
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Rosa Chávez (poet, educator, actress, cultural manager, and activist of Maya K’iche’-Kaqchikel origin). The author of five poetry books, her work has been widely anthologized and published in both Maya K’iche’ and other languages—Casa solitaria and Ri uk’u’x ri ab’aj/El corazón de la piedra, being most well known among them. In addition to her poetry, she has also penned experimental works of theater, spoken word, and film. She is also the coordinator of the Guatemala program, Just Associates (JASS), an international feminist organization.
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Gustavo Zapoteco Sideño (poet, writer, and translator of Mexican origin) is one of the most well-established writers in modern Mexico, writing in both Nahuatl and Spanish languages (the variant Guerrero Nahuatl most prevalent among his writings). Publishing multiple volumes of poetry, he has also helped to assemble written compilations of stories, riddles, and myths of oral traditions from various groups of indigenous peoples (Tlapanecs, Popolocas, Mixtecs and Nahuas of Guerrero and Puebla)—helping to preserve these cultural artworks for generations to come. He is currently Director of Culture and Traditions of the Municipal Committee of Tlaltizapan.
HEAR IT LIVE AT MISSION 15!
Saturday, June 8th | 7:30pm @Winningstad Theatre
Hear Las Matices and Freddy revive a movement from this incredible work—along with an evening of other pieces from across our 15 year history—in-person at the Winningstad Theatre on June 8th. This one-night only event is packed with meaningful music, powerful stories, and exciting in-person appearances by the artists we love.
The music of tomorrow is being written by the voices of today.
Dinah Dodds
Find out more about how you can help us support living artists in our community & beyond
The Dinah Dodds Fund for the Creation of New Art memorializes Dinah Dodds, President of the Board of Directors of Resonance Ensemble, who served on the board from 2014 until her death in 2019. Under Dinah’s devoted leadership, the organization developed its social justice focus and commissioned multiple major new choral works.
In tribute to Dinah, contributions to this fund shall support the creation of new art (music, visual art, and poetry), as prioritized by the artistic leadership of Resonance Ensemble. “Creation of New Art” can include commissioning and co-commissioning, premiering, and/or professionally recording (audio/video) works by living artists.
