Uncovering insights on a musical journey

During a recent journey to the West African country of Benin and to his native Cuba, globally esteemed musician and composer Yosvany Terry began examining the connection between musical customs of Benin and those of the Caribbean.

He had the chance to engage with, learn from, and perform alongside musicians dedicated to preserving these traditions. Now Terry, a senior lecturer in music and director of the Harvard Jazz Ensembles, plans to integrate his discoveries into his teaching and performances, with one scheduled for May 1 as part of ArtsThursdays.

In this edited dialogue, the Gazette conversed with Terry, who provided thoughts on his research, the significance of enhancing the arts through interdisciplinary partnerships, and what he appreciates most about collaborating with Harvard students.

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Can you tell us about your latest research endeavor?

My exploration in Benin (the former Kingdom of Dahomey) in January, alongside my investigative work in Cuba over the years, is aimed at gaining a deeper understanding of the origins of contemporary jazz and the influence of the African diaspora on musical customs.

Traveling to Benin and exploring remote areas presented an opportunity to engage with musicians, learn from them, and perform together. I was able to connect with individuals immersed in this culture and its traditions, sharing their cultural treasures with me in those enchanting moments. These musical and cultural customs are often overlooked in research. My Cuban heritage and personal ties to this culture enabled me to relate to the practitioners I encountered in Benin and gain insight into the customs they continue to uphold.

Musical and cultural customs from West Africa arrived in the Americas through the slave trade, significantly shaping the music that emerged from these African influences.

As is known, slavery ended much later in Cuba compared to other places. Enslaved individuals fiercely protected their cultural customs. Safeguarding these practices became an act of resistance and a means of preserving their cultural identity amidst pressures to assimilate. This act of defiance allowed them to sustain the music, dance, culinary arts, spirituality, and religious practices of their ancestral societies.

How do you plan to utilize this research?

My intention is to provide my students with access to this primary source material. I want them to comprehend how these customs survived and were maintained, as well as their effects on the musical traditions of Cuba, Haiti, Brazil, and the evolution of American jazz. With this understanding, we can examine how this music impacts popular culture and, on a deeper level, how it becomes integral to our identity. One of my goals as an artist and educator is to breathe life into this incredible wealth of knowledge and culture that often gets neglected. It permeates our daily lives, yet many remain unaware of its origins.

“One of my goals as an artist and educator is to breathe life into this incredible wealth of knowledge and culture that often gets neglected.”

What effect will this have on you as a musician and composer?

As an artist, this examination enables me to forge a new collection of work that engages with these traditions. I might craft new compositions inspired by this research, or I could be motivated to pursue a novel path of exploration and inquiry.

I am currently developing an opera based on the life of the first free person of color who instigated the initial rebellion against the Spanish colonial system in 19th-century Cuba. This narrative is significant today as the essence of this work is to unearth a history that has been marginalized or forgotten.

During my time in Benin, I also traveled with a friend, Davey Frankel, a talented filmmaker who documented our discussions with historians, musicians, and the inhabitants of Benin who continue to practice these musical and cultural customs. The aspiration is to produce a documentary that highlights the connections between the ancient Kingdom of Dahomey and contemporary jazz music.

As the director of the Harvard Jazz Orchestra, what is your vision for students involved in this ensemble?

I was fortunate to inherit a program established by Tom Everett in 1972. It became a pivotal launching point for jazz at Harvard, creating opportunities for jazz legends to visit the University. With the backing of the Office for the Arts at Harvard, it flourished into an initiative that the University deeply embraced, recognizing over 120 jazz luminaries.

To advance the jazz program, I have focused on incorporating artists of Afro-Latin American descent to make this a prominent feature of the ensemble. By inviting jazz masters from a diverse range of musical backgrounds, including Chucho Valdés, Angélique Kidjo, and Gonzalo Rubalcaba, as well as collaborating with other departments, we have broadened the scope and learning experiences for the participating students. Feedback indicates that engaging with artists of this caliber “changes students’ lives.” Whether they choose to pursue careers in music or become lifelong advocates of the arts, we plant the seeds that endure with them.

An additional aspect I emphasize within the jazz program is the importance of learning through travel. We have explored Cuba and the Dominican Republic, countries that students may not have chosen to visit on their own. These educational excursions are not focused on mainstream tourist attractions, but rather on genuine learning opportunities from educators and peers in these nations. Our students attend lectures from masters of these musical traditions, including jazz band directors and educators, while engaging with fellow music students in concerts and jam sessions. These educational trips
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deliver distinctive experiences that students convey will linger with them for a significant duration.

You have engaged as a performer in ArtsThursdays several times. How has this initiative enhanced the visibility of the arts at Harvard and in the broader community?

ArtsThursdays, a program of the Harvard University Committee on the Arts (HUCA), has played a crucial role in elevating the prominence of artistic endeavors at Harvard, not only within the institution but also in the neighboring communities. It has introduced these communities to the remarkable work produced by Harvard faculty who are practicing artists and performers, by inviting them to complimentary concerts. This not only grants unique chances for faculty to collaborate with fellow artists, but it also inspires students to envision new potentialities. Significantly, it motivates creators—both students and faculty—to connect across various disciplines within the University and to bring in artists from outside communities.

I am set to perform at ArtsThursdays once more on May 1. During this performance, you will observe a direct link to the research I conducted in Benin and Cuba. It illustrates the progression of an artist from concept to performance — you can witness the complete arc — artist research, creative expression, and ultimately, the performance.

Alongside the May 1 performance, we are organizing a dance workshop to engage dance students with these musical heritages. This serves as an instance of how ArtsThursdays inspires collaboration between departments that may not always interact. It’s a partnership that could expand and perhaps integrate into our curriculum or teaching methodologies in the future.

What do you cherish most about teaching at Harvard?

Harvard students are, of course, exceptionally intelligent individuals who genuinely desire to learn. They possess a tremendous curiosity. However, many enter our department with limited knowledge about the music or genre they are exploring. Over the semester, it is incredibly fulfilling to witness their development, and by the end, one can clearly see how these courses have altered their comprehension of jazz and its historical context. They acquire a newfound wealth of knowledge that they will carry forward, becoming advocates for the information they’ve absorbed.

As an educator and composer, I truly appreciate the collaboration with my colleagues across diverse departments. I envision the potential of working together with unusual disciplines. For instance, I am collaborating with my colleague Demba Ba, the Gordon McKay Professor of Electrical Engineering, on exploring how we can leverage AI in the creative dimensions of composition. We are investigating how to train new models to better comprehend and utilize aspects of specific musical traditions that AI has struggled with due to a lack of data — traditions from West Africa, for instance. Essentially, how can we instill flexibility in the system? This partnership is exhilarating and significant.

You have been at Harvard for a decade. What are your aspirations for the arts in the next ten years?

Since 2015, I have observed numerous changes and advancements, particularly in our music department. These transformations can be observed in our previous offerings compared to what we provide now. We have intentionally broadened our offerings to encompass various musical traditions. As a result, we are now witnessing a more diverse group of students engaging with our department.

However, we cannot afford to be complacent. We must persist with initiatives like HUCA, as well as welcoming visiting artists and professors and hosting jazz masters in residence. It is crucial to attract the brightest artistic minds to Harvard to foster an environment for enhanced arts understanding. We need to advocate for innovative approaches to reimagine the arts at the University so that we maintain a lively, robust, and varied arts presence on our campus.

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Yosvany Terry and Afro-Cuban Roots: Ye-dé-gbé ensemble will perform Imaginary Dialogues: Dahomey on May 1 at 7:30 p.m. in Lowell Lecture Hall. This event is a part of ArtsThursdays, a University-wide initiative backed by the Harvard University Committee on the Arts, in collaboration with Arts Fest and additional support from the Hutchins Center for African & African American Research.