I am a sessional lecturer in music at Simon Fraser University and Vancouver Community College. My teaching interests include the music of sub-Saharan Africa and its diaspora; the trans-Atlantic feedback cycle; music transnationalism through a global, post-colonial lens; exoticism, fusion, and appropriation; gender and sexuality; critical approaches to power and underrepresentation in academia and the music industry. Regions of specialization: West Africa, South Africa, the Caribbean, North America, India, and Indonesia.
Simon Fraser University
Afrofuturism in Music (Term 1, 2018); elective for upper-level non-majors
Music of Transatlantic Africa (Term 1, 2016, 2017); elective for upper-level non-majors
Vancouver Community College
Afrofuturism in Music (Term 1, 2018); required course for upper-level Music majors
Women in Music (Term 1, 2018); upper-level seminar
Music in Context (Terms 1 and 2, 2018/19); team-taught first year history course
Music of Transatlantic Africa (Term 1, 2015, 2016, 2017); required course for upper-level Music majors
Music of India and Indonesia (Term 2, 2016, 2017, 2018); required for upper level majors
SOAS, University of London
Introduction to Music Analysis seminar (Term 1, 2014); required course for first year Music majors
Jew’s Harp Ensemble (2012-2013, 2014-15); performance ensemble/student society
Here's a good-looking upcoming SCA class: Afrofuturism in Music (CA 341) with Dr. Deirdre Morgan. Full description below. There's still some room left, so if you'd like to squeeze in, contact Oscar Alfonso, the SCA's Undergraduate Program Assistant, at firstname.lastname@example.org and he'll help make it happen. Since the Marvel/Disney superhero movie Black Panther was released in February 2018, it has broken box office records and become one of the highest-grossing films of all time. It has also brought the word “Afrofuturism” into mainstream popular culture. A term first used by academics and artists in the 1990s, the concept predates its name by several decades and its themes can be traced through many forms of creative expression. This course is an introduction to Afrofuturism as it manifests in music, from the 1960s to the present. Afrofuturism is a cultural movement that deals with themes of alienation, abduction, and otherness; Pan-African identity and spirituality; resistance, resilience, and hope; utopian and dystopian futures and alternative pasts; and space, science, technology, imagination, and liberation. An interdisciplinary movement, it is not confined to music and intersects with literature, visual arts, dance, theatre, film, religion, philosophy, and metaphysics, to name a few. A background in music is helpful but not required for this course and you do not need to read Western music notation. We will cover a cross-section of genres (jazz, soul, Afrobeat, funk, disco, R&B, hip hop, and more), focusing on artists in North America and Africa. From the early musical pioneers (Sun Ra, George Clinton) to the movement’s latest proponents (Janelle Monae, Kendrick Lamar), this course will introduce you to artists you may not be familiar with and show you new ways of engaging with those you already know. We will trace the themes and imagery of Afrofuturism and grapple with ongoing theories and discourses of race, power, technology, and identity.