JOEY AYALA is a contemporary pop music artist in the Philippines. He is well known for his style of music that combines the sounds of Filipino ethnic instruments with modern pop music. His professional music career began in 1982 and to date, he has released six albums. Some of the Filipino ethnic instruments Ayala is known to use in his arrangements include the two-stringed hegalong of the T'Boli tribe in Mindanao and the 8-piece gong set, kulintang of the Maguindanaoan tribe, also in Mindanao. In addition to these ethnic instruments Ayala also uses the electric guitar, bass guitar, drums and, occasionally, synthesizer. Nowadays he performs mostly as a guitar-voice soloist while exploring the field of values education using musical, visual and theatrical techniques.

NIMROD BARANOVITCH is a lecturer at the Department of East Asian Studies at the University of Haifa. His publications include China's New Voices: Popular Music, Ethnicity, Gender, and Politics, 1978-1997 (2003), contributions to the edited volumes In Lives in Chinese Music (edited by Helen Rees, 2004) and Understanding Charles Seeger, Pioneer in American Musicology (edited by Bell Yung and Helen Rees, 1999), and articles in The China Quarterly, and Modern China.

ALEXANDER A. BAUER is currently a PhD candidate in Anthropology at the University of Pennsylvania, and a Research Associate at George Washington University's Elliott School of International Affairs. He has been recently named Editor of the International Journal of Cultural Property, which is resuming publication in 2005 with Cambridge University Press. Over the past few years he has been working with Dr. Stephen Urice, Esq. on the Project for Cultural Heritage, Law, and Policy, at the University of Pennsylvania Law School, aimed at developing a course materials and a text to encourage the teaching of these issues in anthropology departments, law schools, and schools of public policy, and he has taught classes at the University of Pennsylvania and George Washington University. His publications include several articles, including "Is what you see all you get?" in the Journal of Social Archaeology (2002), and a chapter in Archaeology and Capitalism (in press) edited by Yannis Hamilakis and Philip Duke (UCL Press).

ERIC O. BEEKO is a doctoral candidate in ethnomusicology at the University of Pittsburgh. His research interests include African and African-American music cultures; traditional, popular and non-Western art musics; socio-cultural issues on creativity and processes of change; music and language; and musical semiotics. He is currently completing his dissertation entitled "Creative Processes in Akan Musical Culture: Innovations within Tradition." One of his papers, "Towards a New Stylistic Identity: Analytical Overview of Ghanaian Contemporary Choral Music," which was presented at the 2nd International Symposium and Festival on Composition in Africa and the Diaspora (Churchill College, University of Cambridge, August 2003), has been accepted for publication by the Centre for Intercultural Music Arts, London.

JOE BOYD attended Harvard 1960-64, where he became part of the Boston folk and blues scene. He served as production manager at the historic 1965 Newport Folk Festival and his role in the discovery of the Paul Butterfield Blues Band led to a job opening the Elektra Records office in London. His first session as a record producer resulted in 3 tracks with Eric Clapton and Steve Winiwood for Elektra's "What's Shakin'" (1966) compilation. He signed the Incredible String Band to the label and continued to produce and manage them after he left. Boyd chose to remain in London where he opened the UFO club, scene of early performances by Soft Machine and Pink Floyd and hub of London's underground scene.

He formed his own Witchseason Productions, making the first Floyd single "Arnold Layne" (1967), and producing as well as managing Fairport Convention, Nick Drake, and Sandy Denny before leaving for Los Angeles in 1971 to become head of music for Warner Brothers Films. This led to his co-direction of (1972) the documentary film "Jimi Hendrix". Returning to free-lance record production, his '70s credits included Maria Muldaur's "Midnight At the Oasis", Kate & Anna McGarrigle, Toots and the Maytals and James Booker.

In 1980 he founded Hannibal Records. Throughout its existence, the label has been known for its individuality, breadth of style and an astonishing array of wonderful music from many countries and cultures. Early successes like Richard & Linda Thompsons's "Shoot Out The Lights" and Defunkt evolved into a marvellous catalogue including Cubanismo, Ivo Papasov, Marta Sebestyn, Kanda Bongo Man, Toumani Diabate, Dagmar Krause, Danny Thompson, Norma Waterson Ali Farka Toure and Taj Mahal plus reissues of many of the records he had produced in the '60s.

In the '80s, his production work for other labels included REM's "Fables of Reconstruction", 10,000 Maniacs "Wishing Chair" and Billy Bragg's "Worker's Playtime" and he co-produced the 1988 feature film "Scandal" with John Hurt and Bridgit Fonda. In 1991, Hannibal merged with Rykodisc which was in turn bought by Palm Pictures in 1998. The changes resulting from these transactions eventually made it difficult for him to continue running Hannibal in its original spirit and he left the company in 2001.

ROSEMARY COOMBE was awarded one of York University's first Senior Canada Research Chairs in 2001 where she became a full professor in the Faculty of Arts (with a cross appointment to the Faculty of Law School of Graduate Studies). Before assuming the position of Canada Research Chair in Law, Communication and Cultural Studies, she was Professor of Law at the University of Toronto. She is the author of The Cultural Life of Intellectual Properties: Authorship, Appropriation and the Law (1998) and has written articles in legal and political theory, cultural anthropology and cultural studies. In 2003- 2004 she was the William Lyon Mackenzie King Chair in Canadian Studies at Harvard University where she taught in the Department of Anthropology. She is currently concerned with issues of proprietary ethics in digital environments and the politics of globalizing intellectual property norms.
www.yorku.ca/rcoombe

LU EDMONDS has been in a plethora of bands, plays and makes various instruments, and has written and co-written numerous songs. Besides managing and producing world music bands, such as Tuvan throat-singers <Yat-Kha>, Edmonds has participated in many world music-related conferences and festivals over the years. In addition to being interviewed by many music magazines, Edmonds has also written articles and has worked on MPEG-7 R&D music projects funded by European Union.

SANDRA GIBSON is president and CEO of the Association of Performing Arts Presenters. Gibson previously was executive vice president and COO at Americans for the Arts, held a number of senior level positions with the American Film Institute, and was executive director of the Public Corporation for the Arts (the Long Beach Arts Council) in Long Beach, CA.

JUAN PABLO HERNANDEZ GOMEZ is a renowned composer, performer, and songwriter. He is a virtuouso performer of the tiple, a type of lute. Juan Pablo received a degree in journalism and social communications from the Universidad Jorge Tadeo Lozano in Bogotá in 1999. He has won several national competitions as tiple performer. He has been an organizer and advisor for the main festivals of Colombian Andean musics. Currently he works at the Office of Education and Culture of the state of Tolima as advisor and planner in projects of cultural advocacy; he also works with the Colombian Ministry of Culture in the cultural policy project on traditional musics of the Colombian Andean states of Tolima and Huila.

JOHAYNE HILDEFONSO is an actor, theater director and director of movement for music groups. He is the coordinator of the Afro Reggae theater group and artistic director of the project entitled "Itinerário Aliados", with youngsters from Complexo do Alemão, a slum area in Rio de Janeiro, Brasil. As movement director for music groups Hildefonso has participated in international festivals in Barcelona, Bogota and Portugal. In addition, he has just been involved in the Brazilian Show, an event which took place in Beiruth, Lebanon. Hildefonso has been a finalist as director of movement in various competitions, among them those funded by Coca-cola and Shell. In 2004 he was one of the coordinators of the project Youth and the Police in the State of Minas Gerais, in partnership with CESeC. This pilot project was designed to bridge the gap between policemen and youngsters from poor areas through the use of music, theater and dance.

HAN HONG is a celebrated Tibetan singer and song writer. She began writing music in 1993 and released her first solo album in 1997. Her song Jiaxiang (Hometown) from this album spent five weeks at number one on Beijing Radio Station's billboard chart. Her fourth and most recent album was released in October of 2003. In addition to writing music for herself, Han Hong began writing songs for other performers in 1998. She has performed extensively throughout China and has won numerous awards for her songs and performances from MTV Asia, Channel V, and other organizations. Recent accomplishments include being named the 'Most Popular Female Singer' for 2003 by China Billboard and nominated for MTV Asia's 'Best Female Chinese Singer' in 2002.

WILLIAM IVEY is the Director of the Curb Center for Art, Enterprise, and Public Policy at Vanderbilt University, as well as the Director of the Center's Arts Industries Policy Forum. Ivey also serves as Facilitator for Leadership Music and chairs the board of the National Recording Preservation Foundation. Under the Clinton Administration, Ivey served as the seventh Chairman of the National Endowment for the Arts. Besides this, Ivey is a four-time Grammy Award nominee (Best Album Notes category), is the author of numerous articles on cultural policy, folk, and popular music, and is currently at work on a book about America's endangered 20th century cultural heritage.

JON KERTZER is working on the business development of the Microsoft MSN Music Service. In addition to this, Kertzer currently hosts "The Best Ambiance" on Seattle's KEXP radio. He previously was the director of Smithsonian Global Sound Network at the Smithsonian Center for Folklife and Cultural Heritage, and directed multimedia production for the Experience Music Project. Kertzer has also produced reference CD-ROMs such as Encarta, Atlas, Musical Instruments and Bookshelf at Microsoft. Besides this, he created several enhanced CD titles, including Southern Routes: Music of the American South for Smithsonian Folkways Recordings. Radio Program website

CELIA LOWENSTEIN is an awarding winning producer/director whose films are regularly shown at international film festivals and screened on television channels around the world. Her diverse films reflect her interest in music, science, religion and philosophy and include: The Fish that Time Forgot, The Girl from Ipanema, Simply Complex: the Life and Times of Murray Gell-Mann and The Silk Road Project with Yo-Yo Ma. Lowenstein has received the Winston Churchill Traveling Fellowship and has been nominated for an Emmy for her film The Pitt Rivers Museum....is Shut. She has been a jury member of the Vue SUR Les Docs/France, The World Music Festival/Holland, and the Vienna Prize. She has also lectured in film studies at the Department of Anthropology/Oxford, England, Hamilton College, New York and in 2003 was the Granada Artist-in-Residence at UC Davis in California. Currently she is a grantee of the Christensen Fund and coordinating the Music Heritage Project while living as Artist-in-Residence at Villa Montalvo, California.
http://www.slate.uk.net/celia_lowenstein_cv.htm

NEEPA MAJUMDAR is Assistant Professor of English and Film Studies at the University of Pittsburgh. She has published in the Norton anthology, Film Analysis, the Duke University Press collection, Soundtrack Available, and a Post Script special issue on the double in film. She is currently revising her book manuscript titled Wanted: Cultured Ladies Only! Female Stardom and Cinema in India, 1930s to 1950s.

ANA MARIA OCHOA is Assistant Professor of Music at Columbia University. Ochoa has previously worked as a researcher at the Colombian Institute of Anthropology and History and at the Centro Nacional de Investigacion y Documentacion Musical Carlos Chaves. She is currently a member of the editorial board of TRANS which is the Journal of the Iberian Society for Ethnomusicology (Sociedad Ibérica de Etnomusicología, SIBE). Her publications include Músicas Locales en Tiempos de Globalización (2003), Entre los Deseos y los Derechos, Un Ensayo Crítico sobre Políticas Culturales (2002), and Músicas en Transición (2001) coordinated with Alejandra Cragnolini.

PATRICIA ACHIENG OPONDO is a public-sector ethnomusicologist and lecturer in African Music and Dance at the University of KwaZulu-Natal in Durban, South Africa. She also serves as the director of the African Music Project in the Music School, and since 1997 has been the cultural producer/curator of the annual African Music and Dance Showcase in Durban. In addition, she is also the artistic director of three professional touring ensembles Amaqhikiza, Ikusasa Lethu and Izinyoni Ezindizayo who have performed in Germany, Denmark, Sweden, Mozambique, Uganda and in a number of cities in South Africa. Opondo also directs a number of community-based initiatives including a teacher in-service training program and recently completed an edited 6 part DVD series on indigenous Zulu music and dance to be officially launched in 2005. Currently she is setting up a research and documentation unit under the umbrella of the African Music.

JON KAMAKAWIWO'OLE OSORIO is the director of the University of Hawaii M'noa's Kamakakuokalani Center for Hawaiian Studies. He has taught at the center since 1992 and is well known as a writer, teacher, and musician. Osorio's research and teaching interests include 19th- and 20th-century law and politics in Hawaii, music and identity. and indigenous rights. Osorio is the author of Dismembering Lahui: A History of the Hawaiian Nation to 1887 (2002).

SILVIA RAMOS DE SOUZA is the area coordinator for minorities, social movements and citizenship at the University Candido Mendes Center for Studies on Public Security and Citizenship, in Rio de Janeiro, Brazil. She has developed studies and research projects on violence and sexual minorities, police and racial discrimination, as well as media and violence. In 2004 she coordinated the project Youth and the Police in partnership with young men and women from the cultural group Afro Reggae. The experience took place in the state of Minas Gerais using music, art and culture as a means of reducing the barriers between the police and youngsters from slum areas. Silvia Ramos has published Media and Racism (2002) and Politics, Rights, Violence and Homosexuality (2004), with Sergio Carrara, as well as a series of articles and papers.

HELEN REES is Associate Professor of Ethnomusicology at UCLA. She has conducted extensive fieldwork in ritual and tourist music of Yunnan and Sichuan provinces in the southwest region of China, focusing on the Naxi ethnic minority and the Han ethnic majority. She is the author of Echoes of History: Naxi Music in Modern China (2000), co-editor of Understanding Charles Seeger, Pioneer in American Musicology (1999), and has published articles in several major journals, including Asian Music, British Journal of Ethnomusicology, Ethnomusicology, Journal of Musicological Research, and World of Music. She has also been very active as an interpreter and translator for Chinese performers and scholars visiting and publishing in the West, and has recently been named an honorary visiting professor at the Music College of the Yunnan Art Institute. Rees has performed in several Chinese musical ensembles including the London Chinese Orchestra, Ray Man Chinese Orchestra, and local folk ensembles in Shanghai and Lijiang, China.

DEANE L. ROOT, a musicologist, librarian, and teacher of American music, is Professor and Chair of the Department of Music, and Director of the Center for American Music at the University of Pittsburgh. He has published Resources of American Music History, The Music of Stephen C. Foster, Nineteenth-Century American Musical Theater, Voices Across Time and entries in The New Grove Dictionary of Music and Musicians.

ISMET RUCHIMAT (b. 1969) belongs to a musical family that is deeply rooted in traditional music of West Java. Ismet received his bachelor's degree at the college-level music conservatory in Bandung, and his master's degree at Gadjah Mada University in Yogyakarta. After graduating from ASTI in 1990, he became the musical director for Jugala, the leading Sundanese music and dance performance group in West Java. Ismet composed and arranged the music for Jugala, especially a music/dance genre called jaipongan. In 1995, Ismet founded Sambasunda, a 17-member group of experimental performing artists. Sambasunda has made over 25 recordings, and has collaborated with international artists including 3 Mustaphas 3, Cuban conga player Tata Gueni, and bansuri master Hariprasad Chaurasia. The group recently performed in Malaysia at the Rainforest World Music Festival 2004. Ismet Ruchimat has traveled the world as a professional musician and teacher, including three separate stints at the University of Oslo in Norway. Today, he is considered one of Indonesia's leading young composers and teachers of traditional performing arts. Ismet Ruchimat and his wife, dancer Ati Sumiati, are in Pittsburgh from March 19 to April 18 to teach and perform in conjunction with Pitt's University Gamelan ensemble.

FELICIA SANDLER is currently a member of the full-time music faculty at the New England Conservatory. She is both composer and theorist. As a composer, Sandler has received performances by ensembles all across the United States and in both Eastern and Western Europe. Recent commissions include a new work for the Corona Guitar Quartet of Denmark (2005), a new work for the NEC percussion ensemble directed by Frank Epstein (2005), Hysteria in Salem Village for the Big East Conference Band Director's Association (2004), and The Waking, for SATB split chorus for the Dale Warland Singers (2002). As a scholar, Sandler continues to explore the use of musics from indigenous societies by Western composers. Sandler's writings include her theory dissertation, Music of the Village in the Global Marketplace: Self-Expression, Inspiration, Appropriation or Exploitation?, and a variety of papers on the topic given at numerous regional, national and international conferences. Her research included a month long stay in Geneva at the World Intellectual Property Organization, participation in the UN Office for the High Commissioner for Human Right's redrafting session of the Principles and Guidelines for the Protection of the Cultural Heritage of Indigenous Peoples, and a research trip to Ghana West Africa. Sandler has received awards from Meet the Composer, the Presser Foundation, the Jerome Foundation, and the American Composers Orchestra, among others.

RICHARD SCAGLION is Professor and Chair of Anthropology at the University of Pittsburgh. His primary geographic interests lie in the Pacific Islands and insular Southeast Asia. Author of numerous books and articles, one of his recent works is The Globalization of Food (2002).

ANTHONY SEEGER is the author of Why Suyá Sing: A Musical Anthropology of an Amazonian People (1987) and co-editor of Early Field Recordings: A Catalogue of the Cylinder Collections at the Indiana University Archives of Traditional Music (1987) and Archives for the Future: Global Perspectives on Audiovisual Archives in the 21st Century (2004). His numerous published articles have focused on issues of land and human rights for Brazilian Indians, issues of archiving and intellectual property, and ethnomusicological theory and method. Seeger served as Director of Smithsonian Folkways Recordings at the Smithsonian Institution (1988-2000), served as Director of the Archives of Traditional Music and as a professor in the Department of Anthropology at Indiana University (1982-1988), and was a researcher and professor in the Department of Anthropology at the Museu Nacional in Rio de Janiero (1975-1982). Currently, Seeger is a professor of Ethnomusicology at UCLA and is Secretary General of the International Council for Traditional Music (ICTM).
http://www.ethnomusic.ucla.edu/people/seeger.htm

DANIEL SHEEHY is the director and curator of Smithsonian Folkways Recordings, the nonprofit record label of the Smithsonian Institution, the national museum of the United States. Formerly (1978-2000), he was staff ethnomusicologist and Director of the Folk & Traditional Arts division of the National Endowment for the Arts. His areas of scholarly interest include issues and methods in applied ethnomusicology and regional music of Mexico.

ZOE SHERINIAN is Assistant Professor of Music at the University of Oklahoma, Norman. She specializes in the music of South India, indigenization theory, gender theory in music, and African American music. Her publications include an article entitled "Dalit Theology in Tamil Christian Folk Music: A Transformative Liturgy by James Theophilus Appavoo" in the book Popular Christianity in India: Riting Between the Lines, edited by Corinne Dempsey and Selva Raj (2002). Her most recent article is entitled "The Indigenization of Tamil Christian Music: Transculturation and Transformation," which will appear in the journal The World of Music by early 2005. She has also published on gender theory and the music of k.d. lang in the Garland Encyclopedia of World Music, vol. 3: U.S. and Canada, and on Tamil Christian Music in vol. 5: South Asia. She is currently writing a book entitled Songs of Dalit Liberation: The Production, Transmission and Reception of Dalit Theology in Tamil Folk Music. She has previously taught at Franklin and Marshall College, Tufts University, Oberlin College, and Wesleyan University. Sherinian is a percussionist who specializes in jazz drumset and the South Indian mrdangam and conducts workshops on rhythmic theory and the art of speaking drum syllables (solkattu).

PAMELA J. STEWART is a Research Associate in the Department of Anthropology at the University of Pittsburgh, and a Visiting Research Fellow in the Department of Anthropology at the University of Durham, England. She has published many books and articles on her research in the Pacific, Asia, and Europe. The most recent publications include Witchcraft, Sorcery, Rumors, and Gossip (with A. Strathern, 2004), Nouvelle-Guinee. Danses de la couleur (with A. Strathern and Josette and Charles Lenars, 2004), Empowering the Past, Confronting the Future (with A. Strathern, 2004), and Expressive Genres and Historical Change: Indonesia, Papua New Guinea, and Taiwan (edited with A. Strathern, forthcoming in 2005). In addition, Stewart is Co-Editor of the "Journal of Ritual Studies" and the monograph series "Anthropology and Cultural History in Asia and the Indo-Pacific." http://www.pitt.edu/~strather/

AMY KU'ULEIALOHA STILLMAN is Associate Professor of Music and American Culture, and serves as Director of Asian/Pacific American Studies at the University of Michigan. An authority on Polynesian music and dance traditions (Hawai'i and Tahiti in particular), Stillman is the author of Sacred Hula: The Historical Hula 'Ala'apapa (1998), and more than twenty articles appearing in such publications as Ethnomusicology, Hawaiian Journal of History, Journal of American Folklore and Music Library Association Notes. She has been a site visitor and panel juror for the National Endowment for the Arts, the National Endowment for the Humanities, and the Ford Foundation. In addition, Stillman is also actively involved in community projects and advocacy among the Hawaiian and Pacific Islander communities in southern California; she serves as Facilitator to Kulia i ka Punawai (Kumu Hula Association of Southern California), and is a board member of National Pacific Islanders in Education Network.

RICARDO TRIMILLOS is Chair of Asian Studies and Professor of Ethnomusicology at the University of Hawaii. His research and teaching specializes in music related to folk Catholicism, the arts, and public policy. Trimillos has published articles in numerous books and journals, his most recent contribution appears in Performing Ethnomusicology: Teaching and Representation in World Music Ensembles edited by Ted Solis.

ANDREW WEINTRAUB is an ethnomusicologist specializing in the music of Indonesia, particularly Sundanese music, dance, and theater of West Java. His articles have appeared in edited books and journals including Ethnomusicology, Asian Music, Asian Theatre Journal, Perfect Beat, and Balungan. Recent work includes a complete English translation and text transcription of an all-night Sundanese puppet theater performance (Lontar Publications, 1998), and articles on music of ethnic communities in Hawai`i (Honolulu: State Foundation on Culture and the Arts, 1995). As a practitioner of Indonesian gamelan and martial arts, he has performed in the U.S., Canada, Asia, and Europe. Currently, Weintraub is Associate Professor of Music at the University of Pittsburgh, where he teaches graduate and undergraduate courses in ethnomusicology and popular music, and directs the University of Pittsburgh gamelan program. His most recent book is entitled Power Plays: Wayang Golek Puppet Theater of West Java (Ohio University Press, 2004). Power Plays examines the ways in which meanings about identity, citizenship, and community are produced through systems of representation, particularly through theater, music, language, and discourse in modern Indonesia. http://www.ohiou.edu/oupress/FW2004/weintraub/index.htm

CHRIS WHITE is a graduate student in East Asian Studies at the University of Pittsburgh. His main areas of interest lie in Chinese state portrayals of minorities and state labeling of Christian groups in modern Chinese society.

BELL YUNG is Professor of Music and the director of the Asian Studies Center at the University of Pittsburgh. He has also taught at the University of Hong Kong, The Chinese University of Hong Kong, University of California at Davis, and Cornell University. His publications include Understanding Charles Seeger, Pioneer in American Musicology (1999), Celestial Airs of Antiquity: Music of the Seven-String Zither of China (1997) and Cantonese Opera: Performance as Creative Process (1989). In addition, Yung has made recordings and videos and has also performed numerous recitals throughout the United States.

DANNY YUNG has been involved in over 100 theatrical productions as director, scriptwriter, producer and stage designer since 1982. His recent "Four Grand Inventions" was staged in Hong Kong and Berlin in 2000. In 2000, Yung organized an eleven week Festivals of Vision cross-cultural festivals and conferences in Berlin and Hong Kong, involving artists and cultural practitioners from some thirty-five cities in Asia and Europe. Yung’s experimental films, video work, and installation works have been shown at festivals throughout the world. Since 1987, Yung has initiated a series of public forums on cultural policies on arts. In 1990, he organized the Cultural Policy Study Group that has since produced several influential reports. He has also founded two pressure groups to work on cultural policy issues. Since 1997, Yung has initiated several important arts network in Asia, among them, Asia Arts Net, Chinese City to City Cultural Forum, and Asia Pacific Performing Arts Network. In 1993, Yung was appointed by the Hong Kong Government as a founder member of the Hong Kong Arts Development Council (ADC) and was the first chairperson of its Arts Education Committee. He was reappointed to the Council in 2000. In 2001, he co-organized the World Culture Forum, and became the vice-president in 2003. He is currently an advisor on creative industry for Central Policy Unit, a Hong Kong government think tank.