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Bio | Quotes | Photos | Educational Services
Directing/Curating | Teacher Exchange
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KEITH TERRY BIOGRAPHY
For a short, press bio, please contact us: info@crosspulse.com
Using any surface for it's rhythmic possibilities, Terry "claps his hands, rubs his palms, finger-pops, stamps his feet, brushes his soles, slaps his butt and belly, pops his cheek, whomps his chest, skips and slides, sings and babbles and coughs, building his music out of a surprisingly varied register of sounds and clever rhythmic variations." VILLAGE VOICE
 Keith Terry is a percussionist/rhythm dancer whose work encompasses a number of allied performance disciplines — music, dance, theater, performance art — which he brings together to create an artistic vision that defies easy categorization. As a self-defined "body musician," Terry uses the oldest musical instrument in the world — the human body (his own) — as the basis for exploring, blending and bending traditional and contemporary rhythmic, percussive and movement possibilities.
2006 Highlights Include: Conceived & Directed International Body Music Performance Project, Salzburg, Austria; Body Music Workshops & Performances - Chicago Human Rhythm Project, Madrid & Barcelona, Spain, Commission from the North Carolina Youth Tap Ensemble, and ongoing community workshops; Improvisational Duo shows with Jovino Santos Neto; and performing with SLAMMIN all-body band and Crosspulse Percussion Ensemble at such venues as The Skirball Center, Los Angeles County Museum of Art (LACMA), SF Jazz Summerfest, Jazz at Pearl's and other esteemed venues.
Trained as a percussionist, Keith was the drummer for the original Jazz Tap Ensemble when he found his drum patterns becoming hand claps and foot steps. Soon percussion became dance, his body his instrument, and his own style of body music emerged. Keith's influences range from Japanese Taiko and Balinese Gamelan to North American rhythm tap and Ethiopian armpit music.
". . . a crossing of cultures, a blurring of boundaries at its most sensitive, most humanistic, and most magical." NATIONAL PUBLIC RADIO
Keith Terry is probably best known for his solo works, which toured extensively throughout the United States, Europe and Asia — from the Serious Fun Festival at Lincoln Center, the Bumbershoot Festival at the Seattle Opera House, the Colorado Dance Festival, New York's Dance Theater Workshop and Wolftrap to the American Center in Paris, the Bali Arts Festival, the Regency in Hong Kong, the Vienna Dance Festival, the Budapest Spring Festival and the Paradiso van Slag World Drum Festival in Amsterdam.
 Keith is also recognized for his collaborations with other artists, including the Pickle Family Circus, Robin Williams, Tex Williams, Bobby McFerrin, Charles "Honi" Coles, Tandy Beal, Blondell Cummings, Gamelan Sekar Jaya, Geoff Hoyle, the Bobs, Skip Blumberg, the Turtle Island String Quartet, Alex De Grassi, Linda Tillery, Kenny Endo, the original Jazz Tap Ensemble, San Jose Taiko and the Oakland Youth Chorus.
Keith Terry's large-scale group collaborations are attracting an increasing amount of attention. BODY TJAK, a critically-acclaimed collaboration with Balinese artist, I Wayan Dibia, featured 12 U.S. and 12 Balinese performers, and toured in the United States and Indonesia during the fall of 1990. A 1994 work featured San Jose Taiko, Redwood House Choir, and Crosspulse, Keith's quintet of drummers who move and vocalize. In 1995 his Crosspulse / Gamelan Sekar Jaya collaboration toured in Indonesia. In 1998 his Crosspulse / Manhattan Tap collaboration ran at New York's Joyce Theater. Keith also served as the first Musical Director for The Village Beatniks for Disney World's Animal Kingdom in Orlando, Florida in 1998. In 1998-99 he collaborated again with I Wayan Dibia , creating BODY TJAK / THE CELEBRATION. This U.S./pan-Indonesian project performed in the United States and Bali, resulting in a video project, as well. 2002 saw the third Body Tjak Project, BODY TJAK/LOS ANGELES, performed by a cast of 100, outside on the campus of UCLA.
Keith Terry's ability to bring extremely talented and multi-faceted performers together to perform and create new work is evidenced in his two most recent projects. Professor Terry's Circus Band Extraordináire is a collaboration with Linda Tillery and some of the Bay Area's finest jazz players, on bassoon, violin, accordion, banjo, bass, drums and voice. SLAMMIN' is a new all-body band with four a capella singers, body music and beat boxing.
 As a musician, producer and composer Keith Terry has released three albums and one video on the Crosspulse Records & Video Label: BODY TJAK/THE CELEBRATION SOUNDTRACK (2001), BODY TJAK/THE CELEBRATION VIDEO (2000), SERPENTINE (1998) and KEITH TERRY & CROSSPULSE (1994). As a percussionist, Keith has recorded on EarthBeat!, Windham Hill Jazz, Inner City and Theresa Records as well as several soundtracks for film and television, including PBS's NOVA and the Betty Walberg film, "Bridge of Dreams" (in collaboration with Kazu Matsui and Yoko Ito Gates). As a featured performer he has appeared on PBS's ALIVE FROM OFF CENTER ("Dancing Hands"); two PBS LONESOME PINE SPECIALS ("Masters of Percussion" and "Turtle Island String Quartet/Keith Terry"); CBS NEWS NIGHTWATCH; and National Public Radio's MORNING EDITION.
 As a teacher, Keith Terry has conducted master classes, workshops and/or residencies in numerous settings including the Colorado Dance Festival, Florida Dance Festival, Jacob's Pillow Dance Festival, Spain's Stage '98, American Orff-Schulwerk Association's National Conference, the American Center in Paris, Summer Institute for Intercultural Communications, Juneau Alaska Arts Council, The School for New Dance Development in Amsterdam, and STSI: The National Academy for the Arts in Denpasar, Bali and Yogyakarta, Java; and in music and dance programs at such institutions as UCLA, University of California at Berkeley, Ohio State University, Ohio University, California State University at Long Beach, Cal Arts, Manhattanville College, Denison University, University of California at Riverside, University of New Mexico, and SUNY Purchase. Since 1996 Keith has curated and taught in RHYTHM WEEK, an intensive rhythmically-oriented music/dance workshop with a faculty of up to 12 teachers, held annually in the San Francisco Bay Area. Since 1998 Keith has been a faculty member in the Department of World Arts and Cultures at the University of California in Los Angeles
Keith Terry's work has been supported by numerous awards and grants from the National Endowment of the Arts, Asian Cultural Council, Meet the Composer's International Collaborations, The Rockefeller Foundation's MAP Fund, The Hewlett Foundation, Zellerbach Family Fund, The Hewlett Foundation, The Irvine Foundation, Arts International and the California Arts Council. He has also created commissioned pieces for dance and music companies in the U.S. and Europe.
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QUOTES
"Sophisticated and up-to-the-minute in its intellectual appeal, in its multicultural inspirations and in its blending of boundaries between art forms." THE WASHINGTON POST
"Keith Terry ’s unique “body percussion” performance was like a great vintage wine, so smooth and tangy were his rhythms and sounds, so slyly intoxicating." SALI ANN KRIEGSMAN, DANCE VIEW TIMES
". . . not just crossing cultural borders, but jaywalking across the lines that separate music from the visual arts." RHYTHM MUSIC MAGAZINE
"A virtuoso invertebrate, bending, bouncing, flopping and popping (literally) in our midst but rarely seeming to come down to earth." DANCE MAGAZINE
"Terry lifts you to a philosophical plane of exquisite lucidity usually reached only by means of controlled substances." THE VILLAGE VOICE
"This guy is a one-man band machine. I expected flames to come out of his head by the time he was through." THE NEW YORK PRESS
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PHOTOS
All photos are downloadable as high-res images
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EDUCATIONAL SERVICES
Keith Terry is available for master classes and residencies, choreographic commissions, educational performances and workshops, at every level, from Elementary through Professional. Grade school programs are a part of the Crosspulse Educational Outreach. Solo, Keith has taught in countless University and High
School arts programs. Professional organizations, such as the Orff Schulwerk music teachers training program and various Intercultural Communication & Diversity training programs, find his Body Music pedagogy and comprehension of rhythmic, cross-cultural communication skills invaluable. Contact us to discuss bringing Keith to your organization: info@crosspulse.com.
From 1998-2004 Keith was on the faculty of the Department of World Arts & Cultures at UCLA. In both graduate and undergraduate courses, Keith bridges the gap between music and dance, and cultivates interdisciplinary, intercultural and interdepartmental artistic relationships. Keith expands his students abilities to hear and execute complex rhythms through Body Music and related rhythmic studies, connects choreographers with composers, encourages intercultural collaboration, and assists in the creation of multi-disciplinary performance. A collaborator by nature, Keith worked to cultivate the connections between World Arts and Cultures and the Departments of Theater, Music and Ethnomusicology and others.
Here is a list of the courses Keith has developed in his years at UCLA:
MUSIC AND DANCE (2-quarter graduate seminar)
SOUND RESOURCES (for grads and undergrads)
INTERCULTURAL COMMUNICATION IN THE ARTS (for grads and undergrads)
BODY MUSIC (beginning and intermediate, for grads and undergrads)
INDEPENDENT STUDIES PROJECTS (for grads and undergrads)
BODY TJAK (for grads and undergrads)
BODY MUSIC and FOUND SOUND
SYNCHRONICTY, TIME AND TIMING
SOUNDS AND SYSTEMS
ADVANCED INTERDISCIPLINARY COMPOSITION
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DIRECTING/CURATING
In his thirty year career, Keith Terry has directed/created music and dance works ranging in size from solos and duos to ensembles of one hundred performers, and toured the work throughout the United States, and in Asia, Central America and Europe. Most of these projects involve collaborating with a culturally wide variety of artists representing a broad spectrum of styles and forms, often involving multi-national, multi-cultural and multi-lingual cooperation. Keith is equally adept at curating arts programs that reflect this wealth and breadth of experience in performing and administrating projects.
Major projects include:
THE BODY TJAK PROJECT
Reflecting a 25-year collaboration with renowned Balinese composer/choreographer I Wayan Dibia, Keith has directed and toured three Body Tjak Projects (1990, 1999, 2002). See Body Tjak for more information.
INTERNATIONAL BODY PERCUSSION PERFORMANCE PROJECT
Produced by the Orff Institute, Salzburg, Austria, Keith conceived and directed a collaboration of Body Percussion ensembles from Turkey, Finland, Austria, Spain & the US. All of the ensembles had been influenced by Keith's Body Music technique through the work of the Orff Institute.
THE LISTENING PROJECT
While at UCLA, Keith established The Listening Project in an effort to expand the students' musical knowledge. This project is a curated collection of recordings, exploring a wide range of music -- from the classics to the new and unusual, contemporary and traditional. A new installment was added each academic quarter.
THE LISTENING PROJECT
Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7
THE LISTENING PROJECT PART 1
Miles Davis Kind of Blue Columbia Records
CK 40579 1959
A classic from the legendary jazz trumpeter/composer.
Radio Tarifa Rumba Argelina World Circuit/Nonesuch Records
79472-2 1996
A blending of music from North Africa and Southern Spain.
Muzsikás The Bartok Album
featuring Márta Sebestyén and Alexander Balanescu Hannibal Records
HNCD 1439 1999
An exploration of the close relationship between the composer Bela Bartok and the folk music of Hungary.
Idjah Hadidjah Tonggeret Elektra/Nonesuch Records
9 79173-2 1987
Jaipongan music and dance with dynamic vocals and drumming from the Sundanese people of West Java, Indonesia.
Tin Hat Trio Memory is an Elephant Angel Records
7243 556786 2 1 1999
Contemporary U.S. music for accordion, violin, viola, guitar, banjo and mandolin. |
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THE LISTENING PROJECT PART 2
Michael Spiro and Mark Lamson Bata Ketu Bembe Records
CD 2011-2 1996
A musical interplay of Cuba and Brazil featuring vocalists Bobi Cespedes and Jorge Alabe.
The Gambuh Ensemble of Batuan's Village Temple, Bali Music of the Gambuh Theater
Vital Records 501 1999
Gambuh is Bali's oldest dramatic dance form — a unique fusion of music, literature, and dance that originated in Java more than 500 years ago, at the apogee of classical Hindu Javanese court culture.
Victor Wooten A Show of Hands Compass Records
7 4231 2 1996
A solo recording by the extraordinary electric bassist of Bela Fleck and the Flecktones.
The Tahitian Choir Rapa Iti Triloka Records
7192-2 1992
126 people singing and thousands of crickets as a background.
Astor Piazzolla The Lausanne Concert Milan Records
7313835649-2 1993
This concert of the composer/bandoneon player was recorded at MAD (Moulin a Danses), Lausanne, Switzerland for Radio Suisse Romande La Premiere. |
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THE LISTENING PROJECT PART 3
The Gypsy Road Alula Records
ALU-1013 1999
A wide-ranging collection of Gypsy music, presenting sounds and instrumentation that change as the perpetual migration continues. The album includes songs by artists from India, Spain, Turkey, Russia, as well as Eastern and Central Europe.
Thomas Ades Asyla EMI Classics
7243 5 56818 2 9 1999
City of Birmingham Symphony Orchestra conducted by Sir Simon Rattle. The LA Times recently said of this first major orchestral piece by the 28 year old composer: “the freshest of new music, full of inventive sounds and revealing an instantly identifiable personality. . .hear the future, and rejoice.
Recommended by David Karagianis and Michael Tenzer
Vocal Sampling Una Forma Mas Sire Records
61792-2 1995
A cappella from the remarkable Cuban vocal ensemble.
Kongar-ol Ondar and Paul Pena Genghis Blues TuvaMuch Records
1996 A soundtrack album from the documentary film, Genghis Blues — The story of San Franciscan blues singer Paul Pena’s trip to Central Asia to perform in a Tuvan overtone singing competition.
Julio Sosa 20 Grandes Exitos Sony Music (Argentina)
1991 Dynamic and passionate tango music featuring Julio Sosa. Recommended by Ramón Pelinski |
THE LISTENING PROJECT PART 4
Two Cries of Freedom Roir Records
RUSCD8246 1998
Gypsy flamenco from the prisons of Spain.
The Real Bahamas Nonesuch Explorer Series
79300-2 1998
Volumes 1 and 2, originally released in 1966 and 1978, remastered and re-released in 1998. Recorded in Peter K. Siegel and Jody Stecher.
Recommended by Alan Senauke.
Fellini & Rota I film, le musiche CAM Productions
493092-2 1999
Music from several of Federico Fellinis’ films by composer Nino Rota.
Recommended by David Karagianis.
Amida Boussou Gnawa Leila Al Sur Records
ALCD 101 Recorded in 1990
Gnawa songs and music from Morocco.
Recommended by Susu Pampanin.
Toshi Reagon The Righteous Ones Razor and Tie Records
1999
Rocking and soulful songs from the daughter of Bernice Reagon, of Sweet Honey In The Rock.
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THE LISTENING PROJECT PART 5
MOTOR CITY MOMENTS Regina Carter Verve
314 543 927-2 2000
Jazz violin from one of the best players around.
WETR Ka Mel WTR
CD 001 PMI 1997
Traditional songs and chants from Drehu, New Caladonia.
Recommended by Mychele Sims and Debbie White.
HARRY SMITH ANTHOLOGY OF AMERICAN FOLK MUSIC
Volume Two (Social Music - 2 discs)
Folkways Records FP 252 reissued in 1997
Recorded between 1927-1932, this is one of the most influential anthologies of American folk music ever made.
Recommended by Sam Bartlett.
WIMME WIMME Wimme Saari NorthSide
NSD6005 1995 This is the debut album by Wimme Saari, a modern jojk (or yoik) singer from Finnish Samiland. Joyk is an ancient Sami vocal tradition which sounds similar to Native American chant. Wimme is accompanied by members of the Finnish techno-ambient band RinneRadio.
Recommended by Deborah Lloyd.
DANCING WITH THE DEAD The music of global death rites ellipsis arts
CD4200 1998
17 tracks from death rituals around the world.
Recommended by Erica Rebollar.
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THE LISTENING PROJECT PART 6
THAT'S WHY WEÕRE MARCHING:
World War II and the American Folk Song Music
Woody Guthrie, Lead Belly, Brownie McGhee, Sonny Terry, Pete Seeger and others
Smithsonian SF 40021 1996
The war songs in this collection were recorded at the end of World War II by some of the United State’s best known folk musicians.
HO! #1: Roady music from Vietnam
Compilation of street musicians from Saigon
Trikont US-254168 2000
Recently recorded music from Saigon’s street musicians – often crippled and blind – caused by the agent-orange used by the U.S. military during the Vietnam War.
MUSIC IN THE WORLD OF ISLAM: Strings, Flutes and Trumpets
Topic World Series TSCD902 1994
Originally released on Tangent Records in 1976
Recorded by Jean Jenkins and Poul Rovsing Olsen
A compilation of music found within a huge area of Africa, parts of Europe, and Asia which are today, or have been in the past, Islamic.
SWAN SONG: HIS FINAL PERFORMANCE, Disc 1
Nusrat Fateh Ali Khan (1948 — 1997)
Narada World Select 72438-47857-2-7 1998
The final performance of the universally acclaimed Qawwali master, and the only one recorded in his homeland, Pakistan.
FOLK MUSIC OF AFGHANISTAN, Volumes 1 and 2
Lyrichord LLST7230
Currently out of print, these recordings were made in the 1960's by Lorraine and Tom Sakata and feature a good sampling of traditional music from various ethnic groups which are now in the news: Pashtuns, Tajiks, Hazaras, etc. According to the Rough Guide to World Music, this collection is "An outstanding selection recorded in the late 1960s which includes several tracks with a flavour of China or Xinjan. Although older and not as well recorded as some, this selection is still well worth investigating."
Special thanks to Gordon Theil, Stephen Davison,Umberto Belfiore, Lorraine Sakata, Diane Roberts, Louise Spear, and Larry Kelp |
THE LISTENING PROJECT PART 7
THE ACCESS OF EVIL?
In President Bush's 2002 State of the Union Address, he referred to Iran, Iraq and North Korea as "The Axis of Evil". Major changes have taken place in these three countries since the term was coined.
Part 7 of THE LISTENING PROJECT offers a glimpse of the music people are currently hearing in these global hot spots -- via an online mix of 24/7 live internet radio stations, pre-recorded radio programming, mp3's and articles about music. Real Player is required for most sites.
Special thanks to the following individuals for their guidance and assistance in curating this collection: Lauren Deutsch, John Duncan, Dan Froot, Naomi Hellmann, Joy Kim, Min Na, Peter Nabokov, Hyung Pai, Yatrika Shah-Rais, Ben Spigelman, and Jin-Sook Yang.
IRAN
http://www.radio-locator.com/cgi-bin/nation?ccode=ir (click on the Bitcaster coded stations)
http://www.bbc.co.uk/radio3/world/iran.shtml
http://www.iribnews.com/front_en_index.
asp?q=music&I8.x=9&I8.y=5
IRAQ
http://www.rferl.org/listen/live/bd/iq/
http://www.arabsart.com/art/search/Iraq/Music/
http://www.iraqinews.com/music.shtml
http://www.arabsart.com/art/music/index.htm
http://www.sattaralsaadi.com/
http://www.iraqimusic.com/songs.html
http://www.radio-list.com/Directory/Regional/MiddleEast/
Iraq/ArtsandEntertainment/Music/
http://www.iraqimusic.com/index_maqam.htm
http://www.bbc.co.uk/radio3/world/kershawiraq.shtml
NORTH KOREA
http://www.pyongyang-metro.com/metromusic.html
http://www.geocities.com/Tokyo/Market/2978/index.html
http://www.bbc.co.uk/radio3/world/northkorea.shtml
http://www.iias.nl/iiasn/26/theme/26T1.html
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TEACHER EXCHANGE
Download a PDF of Keith Terry's article on Body Music. Book of Notation coming soon.
Below are some of the creative ways in which various teachers use Keith's Body Music technique in their classrooms. Please tell us how you've incorporated Keith's work into your teaching and we'll post it.
LINDA AKIYAMA <lakiyama@sbcglobal.net>
OAKLAND, CA
Here are some of the ways I've incorporated body music/rhythm in my 3rd grade class.
As a signal when I need to get everyone's attention, I've used the kecak rhythms played with chest and hands along with other rhythm sequences. I find that the children really attend when they need to respond with the same rhythm or with a response rhythm. Almost all the kids love to respond with making rhythm with their bodies, and the few who didn't at first were the children who struggled with coordination and body awareness. They definitely needed lots and lots of opportunity to practice and now they join in happily. Now I hear the fourth and fifth grade teachers using clapping rhythms as a look and listen signal, and even the principal uses it occasionally.
I also use body rhythms to help my students learn vocabulary that requires practice to remember. For instance, in third grade students now need to be able to recognize and label isosceles, equilateral and scalene triangles.
So we do rhythms and chants that start:
2 claps for isosceles triangles - 2 equal length sides
3 claps for equilateral - 3 equal sides
a silent gesture of a zero with a stomp for scalene - no equal length sides
1 & 2 & 3 & 4 &
clap clap isosceles repeat
1 & 2 & 3 & 4 &
clap clap clap equi lateral repeat
1 & 2 & 3 & 4 &
stomp sca lene repeat
(zero)
other math vocab. examples
1 2 3 4 5 6 7 8 9 10
di vi dend divided by divi sor e quals quo tient
clap rt chest left chest rt thigh left thigh rt. Butt lft. Butt rt step left step
1 & 2 & 3 & 4 &
factor times factor equals pro duct
step rt step lft clap clap
Also a call response that follows a chant, step/clap that we do to learn the continent, country, state, and city of where we live.
1 2 3 & a 4 5 6 7 & 8
stamp clap chest chest thigh thigh clap mid chest hold clap mid chest
What's the continent(etc.)
1 2 3 & a 4 5 6 7 & 8
stamp clap chest chest thigh thigh clap mid chest hold clap mid chest
North America
Right now I'm trying to work out a clapping circle game to practice skip counting for different multiples of a number. Children have always used play to internalize and practice what they learn about the world. I think that using body music is a great way to incorporate playful learning into the school day. I also like how having to repeat a rhythm teaches my students to listen attentively.
Even though I don't get to practice as much as I would like, I find it such a joy to mess around with all these different layers of rhythms. I love to move with the rhythms and to hear them inter-relate, and I also like to think about the mathematics of it. Playing around at home with Macedonian rhythms using body music really helped me to get a better feel for dancing Macedonian dances. In fact, as I verbalized the rhythm and tried to work it out on my body, I realized that a Macedonian dance from Serbia that I liked was at a very basic level the same dance as one of my favorite Greek dances. When I asked a friend about it, I learned that the basic step patterns without the gestures, turns, and embellishments were the same. Because of politics, the Greek Macedonians were forced to change the name of the dance and in Serbia it's accompanied by bagpipe while in Greece it's often danced to Brass Band music. It was exciting to finally realize the connection.
ANDREA GUYON
VICTORIA, BC
The inauguration ceremony was a huge success. The minister of education for BC was there and she was super impressed. I love body rhythm and taking Keith's classes at the World Rhythm festival was one of those "moments" for me. Body Rhythm has really enhanced my own percussion skills and presents a clear learning path to help internalize rhythm in general.
The theme, for the ceremony, was the environment. We used rhythm ( intro rhythm block set) and movement to show "ripples on water" and how little things can make a difference to the environment (kids can change the world through passing on knowledge). It was 'eye candy' with all 410 students fanned out in a half circle like a giant rainbow. 7 rings-4 rings of rythym and 3 of the 'water movement' with blue ribbons showing water moving out. Rythym pushing water..very cool. They were dressed in graduated shades of blue with the water ring (students) dressed in white so it was very visual as well. The delegates were on an elevated stage and seated on raised bleachers so they really got a fantastic view of the ripple effect as well.The finale was a rythym train using 'thank you for the buggy ride' with about 150 students on the outside ring. We all had a lot of fun. The teachers as well as the students got right into it. It even made the evening news. I've been asked to teach preforming arts there this year (L'Ecole Victor Brodeur) and I will continue to encourage body rythym and the awareness of rythym in every 'body'.
I am loving the second instructional DVD, my son is my rhythym partner. Keep up the great work.
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