{"id":412530,"date":"2021-07-07T10:04:43","date_gmt":"2021-07-07T14:04:43","guid":{"rendered":"https:\/\/newmusicusa.wpengine.com\/?p=412530"},"modified":"2021-07-07T20:15:59","modified_gmt":"2021-07-08T00:15:59","slug":"susie-ibarra-hybrid-culture","status":"publish","type":"post","link":"https:\/\/newmusicusa.org\/nmbx\/susie-ibarra-hybrid-culture\/","title":{"rendered":"Susie Ibarra: Hybrid Culture"},"content":{"rendered":"<p>A week before I finally had a chance to have an extended conversation with multi-genre composer and percussionist Susie Ibarra, she performed at Roulette&#8211;her first concert with a group in front of a live audience since the pandemic shut everything down around the world. To say it has been a challenging 16 months for everyone is a tremendous understatement, but for Ibarra&#8211;whose artistry has been so deeply shaped by collaborations with other musicians&#8211;it could have proven stifling. And yet, this strange period has been remarkably productive for her.<\/p>\n<p>Thus far this year, she has released two albums. First, <em>Talking Gong<\/em>, a spellbinding <a href=\"https:\/\/newmusicusa.org\/projects\/talking-gong\/\">New Music USA-funded debut album of her new poly-stylistic trio<\/a> with Claire Chase and Alex Peh. Then <em>Walking on Water<\/em>, a deeply moving homage to the victims of the 2011 Japanese earthquake and tsumani created in collaboration with visual artist Makoto Fujimura which uses the sounds of water as a central musical element. Both of these albums were recorded in studios over the course of last summer as COVID-19 cases were raging; musicians were tested before each session, remained masked whenever they could, and maintained physical distances. Susie Ibarra was also able to continue another strand of her output, her remarkable series of solo percussion explorations. An extraordinary performance she gave in a surreally empty hall at William Paterson College back in February is thankfully <a href=\"https:\/\/www.youtube.com\/watch?app=desktop&amp;v=H39-EGqZtOk\">still available to stream<\/a>. And a few months before that, in December 2020, she launched the Composers Now Impact series of composer presentations with a fascinating <a href=\"https:\/\/www.composersnow.org\/cn\/Chronicles\/impact\/#SI2020\" target=\"_blank\" rel=\"noopener\">audio-video stream about her music<\/a>.<\/p>\n<p>Obviously we talked about these unprecedented times in which we are still living; it&#8217;s pretty much impossible not to talk about it. But we also talked about a wide range of other topics during the hour we spent together over Zoom. The very first time I ever heard Susie Ibarra, she was part of the legendary David S. Ware Quartet alongside Matt Shipp and William Parker. So I was eager to find out more about how she found herself in her 20s as part of this legendary free jazz quartet as an equal partner in what many aficionados consider to be some of the most enduring music of the late 1990s. I was also curious to learn more about her stint playing with the New Jersey indie rock band Yo La Tengo and the collaborative improvisatory trio Mephista she performed in with pianist Sylvie Courvoisier and laptop artist Ikue Mori.<\/p>\n<div class=\"owl-carousel owl-theme\">\t<div class=\"pullquotes-wrapper pullquote-slide item\">\n\t\t\t\t\t\t\t\t<div class=\"pullquote-text-wrapper\">\n\t\t\t\t\t\t\t\t\t<div class=\"pullquote-text\">\n\t\t\t\t\t\t\t\t\t\t<h3>We were all just happy to be in the room and back into our practice of attending or performing concerts. I really missed that a lot.<\/h3>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<div class=\"attribution-wrapper\"><img decoding=\"async\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2021\/07\/Susie-Ibarra-Portrait-photo-by-Tony-Cenicola-square-200x200.jpg\" alt=\"\" class=\"attribution-headshot\" \/><h5 class=\"attribution-text\">Susie Ibarra, composer & percussionist<\/h5>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\t<div class=\"pullquotes-wrapper pullquote-slide item\">\n\t\t\t\t\t\t\t\t<div class=\"pullquote-text-wrapper\">\n\t\t\t\t\t\t\t\t\t<div class=\"pullquote-text\">\n\t\t\t\t\t\t\t\t\t\t<h3>I played that performance the day before one of my dear mentors passed away. Milford Graves passed the next afternoon. I had a kind of spiritual visit from him while I was playing and in one piece, I ended up playing some rhythms that he had directly taught me.<\/h3>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<div class=\"attribution-wrapper\"><img decoding=\"async\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2021\/07\/Susie-Ibarra-Portrait-photo-by-Tony-Cenicola-square-200x200.jpg\" alt=\"\" class=\"attribution-headshot\" \/><h5 class=\"attribution-text\">Susie Ibarra, composer & percussionist<\/h5>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\t<div class=\"pullquotes-wrapper pullquote-slide item\">\n\t\t\t\t\t\t\t\t<div class=\"pullquote-text-wrapper\">\n\t\t\t\t\t\t\t\t\t<div class=\"pullquote-text\">\n\t\t\t\t\t\t\t\t\t\t<h3>Putting gender to instruments has always been a strange thing for me, \u2018cause it has affected all of us as human beings. And it\u2019s all these inanimate objects that we culturally have put gender on.<\/h3>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<div class=\"attribution-wrapper\"><img decoding=\"async\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2021\/07\/Susie-Ibarra-Portrait-photo-by-Tony-Cenicola-square-200x200.jpg\" alt=\"\" class=\"attribution-headshot\" \/><h5 class=\"attribution-text\">Susie Ibarra, composer & percussionist<\/h5>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\t<div class=\"pullquotes-wrapper pullquote-slide item\">\n\t\t\t\t\t\t\t\t<div class=\"pullquote-text-wrapper\">\n\t\t\t\t\t\t\t\t\t<div class=\"pullquote-text\">\n\t\t\t\t\t\t\t\t\t\t<h3>When I hear younger generations, and their voices, and how they\u2019re able to voice this politically right now, and socially, I\u2019m really happy and hopeful. In my generation, I think there are certain things that just weren\u2019t even touched or addressed.<\/h3>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<div class=\"attribution-wrapper\"><img decoding=\"async\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2021\/07\/Susie-Ibarra-Portrait-photo-by-Tony-Cenicola-square-200x200.jpg\" alt=\"\" class=\"attribution-headshot\" \/><h5 class=\"attribution-text\">Susie Ibarra, composer & percussionist<\/h5>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\t<div class=\"pullquotes-wrapper pullquote-slide item\">\n\t\t\t\t\t\t\t\t<div class=\"pullquote-text-wrapper\">\n\t\t\t\t\t\t\t\t\t<div class=\"pullquote-text\">\n\t\t\t\t\t\t\t\t\t\t<h3>It wasn\u2019t that I was buying albums. I had some, but I wasn\u2019t a giant collector. I wanted to go to the live performances.<\/h3>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<div class=\"attribution-wrapper\"><img decoding=\"async\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2021\/07\/Susie-Ibarra-Portrait-photo-by-Tony-Cenicola-square-200x200.jpg\" alt=\"\" class=\"attribution-headshot\" \/><h5 class=\"attribution-text\">Susie Ibarra, composer & percussionist<\/h5>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\t<div class=\"pullquotes-wrapper pullquote-slide item\">\n\t\t\t\t\t\t\t\t<div class=\"pullquote-text-wrapper\">\n\t\t\t\t\t\t\t\t\t<div class=\"pullquote-text\">\n\t\t\t\t\t\t\t\t\t\t<h3>I was just so happy playing music. It's the best way to keep growing and learning.<\/h3>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<div class=\"attribution-wrapper\"><img decoding=\"async\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2021\/07\/Susie-Ibarra-Portrait-photo-by-Tony-Cenicola-square-200x200.jpg\" alt=\"\" class=\"attribution-headshot\" \/><h5 class=\"attribution-text\">Susie Ibarra, composer & percussionist<\/h5>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\t<div class=\"pullquotes-wrapper pullquote-slide item\">\n\t\t\t\t\t\t\t\t<div class=\"pullquote-text-wrapper\">\n\t\t\t\t\t\t\t\t\t<div class=\"pullquote-text\">\n\t\t\t\t\t\t\t\t\t\t<h3>Sometimes when we were playing pieces, you don\u2019t know who\u2019s making what sounds. I love that actually, \u2018cause we were all really integrated in playing that music in the moment.<\/h3>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<div class=\"attribution-wrapper\"><img decoding=\"async\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2021\/07\/Susie-Ibarra-Portrait-photo-by-Tony-Cenicola-square-200x200.jpg\" alt=\"\" class=\"attribution-headshot\" \/><h5 class=\"attribution-text\">Susie Ibarra, composer & percussionist<\/h5>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\t<div class=\"pullquotes-wrapper pullquote-slide item\">\n\t\t\t\t\t\t\t\t<div class=\"pullquote-text-wrapper\">\n\t\t\t\t\t\t\t\t\t<div class=\"pullquote-text\">\n\t\t\t\t\t\t\t\t\t\t<h3>It was never like: \"Susie, you can\u2019t do this because you\u2019re a woman.\" I didn\u2019t come from that culture. So I feel really lucky. \u2026 But I certainly got schooled on how society saw it.<\/h3>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<div class=\"attribution-wrapper\"><img decoding=\"async\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2021\/07\/Susie-Ibarra-Portrait-photo-by-Tony-Cenicola-square-200x200.jpg\" alt=\"\" class=\"attribution-headshot\" \/><h5 class=\"attribution-text\">Susie Ibarra, composer & percussionist<\/h5>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\t<div class=\"pullquotes-wrapper pullquote-slide item\">\n\t\t\t\t\t\t\t\t<div class=\"pullquote-text-wrapper\">\n\t\t\t\t\t\t\t\t\t<div class=\"pullquote-text\">\n\t\t\t\t\t\t\t\t\t\t<h3>I grew up with a hybrid culture. So it\u2019s what I know. I don\u2019t know anything otherwise. \u2026 I love that aesthetic that everybody has their own thing that\u2019s really special and it\u2019s different.<\/h3>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<div class=\"attribution-wrapper\"><img decoding=\"async\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2021\/07\/Susie-Ibarra-Portrait-photo-by-Tony-Cenicola-square-200x200.jpg\" alt=\"\" class=\"attribution-headshot\" \/><h5 class=\"attribution-text\">Susie Ibarra, composer & percussionist<\/h5>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\t<div class=\"pullquotes-wrapper pullquote-slide item\">\n\t\t\t\t\t\t\t\t<div class=\"pullquote-text-wrapper\">\n\t\t\t\t\t\t\t\t\t<div class=\"pullquote-text\">\n\t\t\t\t\t\t\t\t\t\t<h3>I love rehearsals in any situation. It\u2019s great when you get a lot of players that just want to play, and we want to play and see how it\u2019s going to grow.<\/h3>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<div class=\"attribution-wrapper\"><img decoding=\"async\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2021\/07\/Susie-Ibarra-Portrait-photo-by-Tony-Cenicola-square-200x200.jpg\" alt=\"\" class=\"attribution-headshot\" \/><h5 class=\"attribution-text\">Susie Ibarra, composer & percussionist<\/h5>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\t<div class=\"pullquotes-wrapper pullquote-slide item\">\n\t\t\t\t\t\t\t\t<div class=\"pullquote-text-wrapper\">\n\t\t\t\t\t\t\t\t\t<div class=\"pullquote-text\">\n\t\t\t\t\t\t\t\t\t\t<h3>At one point, I was living the winters in the Philippines. It was like having two lives.<\/h3>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<div class=\"attribution-wrapper\"><img decoding=\"async\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2021\/07\/Susie-Ibarra-Portrait-photo-by-Tony-Cenicola-square-200x200.jpg\" alt=\"\" class=\"attribution-headshot\" \/><h5 class=\"attribution-text\">Susie Ibarra, composer & percussionist<\/h5>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\t<div class=\"pullquotes-wrapper pullquote-slide item\">\n\t\t\t\t\t\t\t\t<div class=\"pullquote-text-wrapper\">\n\t\t\t\t\t\t\t\t\t<div class=\"pullquote-text\">\n\t\t\t\t\t\t\t\t\t\t<h3>We felt that particularly with water rhythms, listening to climate change, we are personally inviting the listener in to have a more personal experience and to connect, because everybody\u2019s had a connection to water.<\/h3>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<div class=\"attribution-wrapper\"><img decoding=\"async\" src=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2021\/07\/Susie-Ibarra-Portrait-photo-by-Tony-Cenicola-square-200x200.jpg\" alt=\"\" class=\"attribution-headshot\" \/><h5 class=\"attribution-text\">Susie Ibarra, composer & percussionist<\/h5>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div><\/div><script>\n\t\t\t\t\t\tjQuery(document).ready(function(){\n\t\t\t\t\t\t\tjQuery(\".owl-carousel\").owlCarousel({\n\t\t\t\t\t\t\t\titems:1,\n\t\t\t\t\t\t\t\tmargin:10,\n\t\t\t\t\t\t\t\tautoHeight:true\n\t\t\t\t\t\t\t});\n\t\t\t\t\t\t});\n\t\t\t\t\t<\/script>\n<p>An undercurrent that runs throughout Susie Ibarra&#8217;s career trajectory is that many of the activities she was engaging in&#8211;performing in genres such as free jazz, particularly as a drummer&#8211;were unusual for a woman back in the 1990s and early 2000s. Her memories about that era were particularly illuminating:<\/p>\n<blockquote><p>&#8220;Having been a young musician, I definitely went through it, like with the naivete of all of a sudden having to wake up to that&#8211;wow, oh, the world is like this. Because I was raised by a very strong mother. She was a doctor and grew up in World War II in Manila. She\u2019s very bright. She skipped three grades. She graduated from med school when she was 22. It was never like: &#8216;Susie, you can\u2019t do this because you\u2019re a woman.&#8217; I didn\u2019t come from that culture. So I was really lucky. Really lucky. Because in that particular style, whatever genre of jazz it is, it\u2019s very socially difficult to a point where you think: Well, I can be empathetic and supportive to issues that are going on, but I also know that what my life path is is different than other people who are born into their life paths. So I also can\u2019t just take on giant, heavy stones on my back that are not going to serve a purpose or be useful for anything. So initially, I think I just loved so much a lot of this music and playing, and I was also raised in a certain way. I didn\u2019t see it that way. But I certainly got schooled on how society saw it. And then it\u2019s the question of: do I want to accept that, or do I want to not accept that.&#8221;<\/p><\/blockquote>\n<p>Another thing that has given her tremendous strength and perseverance has been her immersion into her Philippine heritage. As she would later learn when she began to spend time absorbing the myriad musical practices in the Philippines, percussion instruments were traditionally played by women. So the way that cultures have gendered certain musical instruments is by no means universal. However, being born in California, raised in Houston, and coming of age as an artist in New York City, no single cultural force has exclusively shaped her approach to making music.<\/p>\n<p>&#8220;I grew up with a hybrid culture, so it\u2019s what I know,&#8221; she explains. &#8220;I don\u2019t know anything otherwise. \u2026 I love that aesthetic that everybody has their own thing that\u2019s really special and it\u2019s different.&#8221;<\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/1080397561%3Fsecret_token%3Ds-RbUKAVPljl4&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;show_teaser=true\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"><\/iframe><\/p>\n<div style=\"font-size: 10px; color: #cccccc; line-break: anywhere; word-break: normal; overflow: hidden; white-space: nowrap; text-overflow: ellipsis; font-family: Interstate,Lucida Grande,Lucida Sans Unicode,Lucida Sans,Garuda,Verdana,Tahoma,sans-serif; font-weight: 100;\"><a style=\"color: #cccccc; text-decoration: none;\" title=\"New Music USA\" href=\"https:\/\/soundcloud.com\/new-music-usa\" target=\"_blank\" rel=\"noopener\">New Music USA<\/a> \u00b7 <a style=\"color: #cccccc; text-decoration: none;\" title=\"SoundLives -- Susie Ibarra: Hybrid Culture\" href=\"https:\/\/soundcloud.com\/new-music-usa\/soundlives-susie-ibarra-hybrid-culture\/s-RbUKAVPljl4\" target=\"_blank\" rel=\"noopener\">SoundLives &#8212; Susie Ibarra: Hybrid Culture<\/a><br \/>\nFrank J. Oteri in conversation with Susie Ibarra<br \/>\nJune 18, 2021\u2014Noon EDT via Zoom<br \/>\nVia a Zoom Conference Call<br \/>\nAdditional voiceovers by Brigid Pierce; audio editing by Anthony Nieves<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Susie Ibarra&#8217;s collaborative approach has informed her work with jazz, classical, indie rock, and traditional Philippine musicians.<\/p>\n","protected":false},"author":522,"featured_media":412636,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"categories":[33,4,5,952],"tags":[122,78,241,993,991,992],"nmb_categories":[7,8,955],"how_to_category":[],"nmb_tags":[],"internal_taxonomy":[],"class_list":["post-412530","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-conversations","category-interviews","category-podcasts-and-discussions","category-soundlives","tag-experimental-music","tag-free-jazz","tag-percussion","tag-performing-during-the-pandemic","tag-poly-stylistic-music","tag-world-music-influences","nmb_categories-interviews","nmb_categories-podcasts-and-discussions","nmb_categories-soundlives"],"acf":[],"aioseo_notices":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v25.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Susie Ibarra: Hybrid Culture - New Music USA<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/newmusicusa.org\/nmbx\/susie-ibarra-hybrid-culture\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Susie Ibarra: Hybrid Culture - New Music USA\" \/>\n<meta property=\"og:description\" content=\"Susie Ibarra&#039;s collaborative approach has informed her work with jazz, classical, indie rock, and traditional Philippine musicians.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/newmusicusa.org\/nmbx\/susie-ibarra-hybrid-culture\/\" \/>\n<meta property=\"og:site_name\" content=\"New Music USA\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/NewMusicUSA\/\" \/>\n<meta property=\"article:published_time\" content=\"2021-07-07T14:04:43+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2021-07-08T00:15:59+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/newmusicusa.org\/wp-content\/uploads\/2021\/07\/020_Ibarra-2-scaled.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2560\" \/>\n\t<meta property=\"og:image:height\" content=\"1707\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Frank J. 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