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Hugh Hodges is an Associate Professor in the Department of English and Cultural Studies at Trent University, where he also serves as Chair of Cultural Studies. He is affiliated with Traill College and serves on the Graduate Faculty for both the M.A. English Literature (Public Texts) program and the PhD Cultural Studies program. His academic journey began with a B.A. from Queen's University, followed by M.A. and Ph.D. degrees from the University of Toronto. Dr. Hodges' research focuses on the dynamic intersections between popular music and postcolonial literature, with special attention to African and West Indian cultural production. His work examines how musical forms like reggae, calypso, and Afrobeat interact with literary traditions from these regions. He has published extensively on Bob Marley, Fela Kuti, Lord Kitchener, and various Caribbean and African writers including Wole Soyinka, Chinua Achebe, Chimamanda Ngozi Adichie, and Chris Abani. His most recent publication, The Fascist Groove Thing: A History of Thatcher's Britain in 21 Mixtapes (2023), explores how popular music responded to the political turbulence of 1980s Britain. This work has been praised for capturing 'both the noises and the feel of a tumultuous 1980s' and demonstrating 'how music can offer hope, express outrage, inspire action, or provide moments of escape in bleak, frightening times.' His earlier book Soon Come examined Jamaican spirituality and poetics. Dr. Hodges teaches courses in African and West Indian literature with an integrated approach that incorporates musical elements, reflecting his belief that 'you can't separate West Indian literature from reggae, calypso and soca, or Nigerian literature from highlife, juju and Afro-beat.' He also co-teaches a class on Music & Politics with Dr. Ihor Junyk, exploring the connections between musical expression and political movements.

• Popular Music Studies
• Postcolonial Literature
• African Literature
• +5 more

Bertie Kibreah serves as Assistant Professor of Ethnomusicology at the University of South Florida School of Music since 2022, holding a PhD from the University of Chicago. A trained tabla percussionist, he performs vocals and Bengali instruments including the dotara lute, grounding his scholarship in embodied musical practice. His research re-sounds Bengal's sonic histories through devotion, modernity, and migration frameworks, with emphasis on pilgrimage, Sufi feminisms, and borderland musicking. He examines Bangladesh, the Bay of Bengal, and Bangladeshi diasporas ('Banglashere') using interdisciplinary approaches from memory studies, genocide studies, and sound studies. Current book projects investigate sonic geographies of the Bengal delta and intergenerational timbres in Bangladeshi global citizenries, analyzing labor reforms in the Arab Gulf, Mediterranean migration routes, and Bangladeshi American ethnoburbs. His work bridges Inter-Asian, Indian Ocean, and Asian American studies through affect theory and media anthropology. Major recognitions include: USF College of Design, Art & Performance research grant Bangabandhu Sheikh Mujibur Rahman Research Award McKnight Junior Faculty Research Fellowship As president of the Society for Ethnomusicology's Southeast/Caribbean chapter, he fosters regional academic collaboration. His active grants indicate robust research support, though specific student mentoring structures aren't detailed. His scholarship integrates civic engagement through public humanities initiatives and community-centered artistic practice.

• Ethnomusicology
• South Asian Music
• Sound Studies
• +5 more

John Robison serves as Professor of Musicology and Early Music Ensemble director at the University of South Florida's School of Music, where he has been a faculty member since 1977. Holding a Stanford University doctorate (1975), his career bridges historical European musicology and contemporary intercultural studies with emphasis on Asian, African, and Latin American composers. His educational background: Doctorate in Musicology, Stanford University, 1975 Professor Robison's research traverses two dynamic domains: meticulous reconstruction of Medieval-Renaissance-Baroque performance practices using period instruments, and groundbreaking analysis of 20th-21st century intercultural composers. Since 1990, he has pioneered scholarship on Chinese symphonic traditions (Zhu Jianer, Wang Xilin), Indian fusion pioneers (John Mayer), and Korean women composers, examining how cultural exchange reshapes classical forms. His dual identity as scholar-performer enables unique methodological synthesis. Recent publications (2019-2022) reveal intensified focus on Asian symphonic evolution, particularly China's integration of Western forms with traditional aesthetics. His comparative studies of Zhu Jianer's symphonies and Wang Xilin's humanistic compositions demonstrate how political contexts shape musical innovation, while his John Mayer biography traces cross-continental artistic migration. These works establish frameworks for analyzing non-Western symphonic development beyond Eurocentric paradigms. His major recognitions include: USF Award for Outstanding Global Engagement (2019) USF Award for Outstanding Undergraduate Teaching (1993) With over four decades of mentorship, Professor Robison has transformed USF's curriculum through world music courses and international symposia, fostering student engagement with living traditions. His supervision blends archival research with hands-on ensemble experience, preparing students for global music careers. The Composition in Asia symposia he founded have generated sustainable academic partnerships across 15+ institutions. As director of the Early Music Ensemble, he cultivates expertise in historical performance through instruments including Renaissance recorders, Baroque oboe, lute family instruments, and viola da gamba, creating a living laboratory where theoretical scholarship meets practical artistry.

• Intercultural Music
• Contemporary Music of Asia
• Musicology
• +3 more

Ingrid Le Gargasson is a Research Fellow at CNRS's Laboratory of Ethnology and Comparative Sociology (Lesc UMR 7186). Her work bridges ethnomusicology and anthropology, specializing in institutionalized transmission of Hindustani music in North India. She examines how colonial/post-colonial reforms transformed musical pedagogy from guru-shishya traditions to formal academia. Research focuses on: Historical anthropology of music knowledge systems Poetic-musical structures in khayal vocal traditions Cross-cultural mechanisms in Indo-French artistic exchanges Awards & Grants: GIS Asie Thesis Prize (2017) PRES heSam thesis grant (2015) Field grants from EHESS-CNRS (2006, 2012) Aegis Programme research grant (2007) She co-animates seminars at École des Hautes Études en Sciences Sociales (EHESS) and coordinates cultural initiatives through Kalasetu Association. No student advising roles are documented.

• Ethnomusicology
• Anthropology of Music
• Historical Anthropology
• +4 more