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Frisner Augustin ((:fɣisnɛ ogistɛ̃); March 1, 1948 – February 28, 2012) was a major performer and composer of Haitian Vodou drumming, and the first and only citizen of Haiti to win a National Heritage Fellowship from the National Endowment for the Arts in the United States, where he resided for forty years. A youth prodigy on the traditional drums of Haitian Vodou in ritual context, Augustin took his genre to the modern stage, often exploring its common roots with various jazz styles. From his initial forays in Haiti with Lina Mathon Blanchet, Jacky Duroseau, and Jazz des Jeunes, he went on to work in the United States and Europe with Kip Hanrahan, Edy Brisseaux, and Andrew Cyrille. He also recorded for filmmaker Jonathan Demme. Augustin led his own ensemble, (La Troupe Makandal ), from 1981 until his death. He used the group not only to make music but also to change popular misconceptions in the public mind regarding Vodou, a poorly understood but richly developed Afro-Haitian spiritual discipline. == Early life in Haiti == Frisner Augustin was born in Port-au-Prince, Haiti, on March 1, 1948.〔http://www.nytimes.com/2012/03/10/arts/music/frisner-augustin-haitian-vodou-drummer-is-dead-at-63.html?_r=0〕〔Lois Wilcken, ''The Drums of Vodou'' (Tempe, AZ: White Cliffs Media Company, 1992), 12.〕 His mother, a poor retailer named Andrea Laguerre, gave birth to Frisner, her first child, under a tree outside the city's General Hospital while waiting for a room that never became available. Andrea took her son to the dirt-floor shack that was their home in the capital's Portail Léogane district, specifically, a community called "behind the cemetery" because of its location along the west side of the major burial ground at the south end of the city.〔〔James Ridgeway and Jean-Jean Pierre. 1998-99. "Haitian Drums Call from Port-au-Prince to Brooklyn". ''Natural History'', Volume 107, Number 10 (December - January), p. 30.〕 The child's father, a carpenter named Julien Augustin, left their home not long after the birth of his second child, a girl. Growing up without the presence of a father in the home, the boy decided it was up to him to support his mother and sister.〔Transcript MAK_LW_INT.001_0001td_co_19820324.pdf (Lois Wilcken); interview with Frisner Augustin, March 24, 1982; (Makandal Archive ), Brooklyn, NY.〕 Since the family had no means to put him in school, and since his passion was music, he began to follow in the footsteps of his uncle Catelus Laguerre, a drummer in the oral tradition, at the age of seven.〔〔〔〔Frisner Augustin, interview by Lois Wilcken, March 24, 1982, interview 19820324, transcript, (Makandal Archive ), Brooklyn, NY.〕〔Carol Amoruso. 1998. "Frisner Augustin, Vodou Ambassador: A Master Spell Caster Drums the Spirits In". ''RhythmMusic Magazine'', Vol. V, No. 12 (December/January), p. 20.〕 He earned the nickname Ti Kelèp (Tee Kay-lep), which means "Little Kelèp", the second word referring to a pattern unique to the third drum of the Vodou ensemble. By the time Augustin had reached his early teens, the Vodou houses of his community had recognized his genius for drumming, and one house initiated him as its ''ountògi'' (oo-taw-gee; sacred drummer).〔Lois Wilcken, ''The Drums of Vodou'' (Tempe, AZ: White Cliffs Media Company, 1992), 111.〕 Julien Augustin returned to the family and placed his now adolescent son in a welding school at about the same time that André Germain, a director of Haiti's La Troupe Folklorique Nationale (National Dance Troupe), discovered him playing at a Vodou ceremony just outside Port-au-Prince.〔 To his father's consternation, Augustin dropped out of the welding school when Germain introduced him to Lina Mathon Blanchet,〔Transcript MAK_LW_INT.007_0001sr_ma_19940815 (Lois Wilcken); interview with Frisner Augustin, August 15, 1994; (Makandal Archive ), Brooklyn, NY.〕〔Transcript 20110312 (Rebecca Dirksen); interview with Frisner Augustin, March 12, 2011; (Makandal Archive ), Brooklyn, NY.〕 a classical pianist who had organized Haiti Chante et Danse (Haiti Sings and Dances), one of the country's first companies performing folklore,〔Lavinia Williams Yarborough, ''Haiti-Dance'' (Frankfurt am Main: Brönners Druckerei, 1959), 3.〕 a word used in Haiti to denote both traditional culture and a genre that represents traditional culture on the modern stage.〔Lois Wilcken, "Music Folklore among Haitians in New York: Staged Representations and the Negotiation of Identity" (Ph.D. dissertation, Columbia University, 1991), p. 5.〕 Blanchet also taught piano and guided the career of Jacky Duroseau,〔http://www.haitiantimes.com/black-history-profiles-katherine-dunham-lina-mathon-blanchet/〕 who went on to develop a unique style of Vodou jazz.〔Frisner Augustin, Interview by Lois Wilcken, August 15, 1994, interview 19940815, recording and transcript, (Makandal Archive ), Brooklyn, NY.〕 Augustin soon found work with a small jazz combo featuring Duroseau, with Haiti Chante et Danse, and later with the folklore companies of African-American dancer Lavinia Williams and Haitian dance professor and choreographer Viviane Gauthier. While continuing to play in Vodou temples and in a Mardi Gras band of his own creation, he entertained tourists in theaters and hotels, inside and outside Haiti. In 1972, one year into the tenure of dictator Jean-Claude Duvalier, Augustin accepted an engagement in New York with Jazz des Jeunes,〔 the orchestra that accompanied La Troupe Folklorique Nationale.〔Lavinia Williams Yarborough, ''Haiti-Dance'' (Frankfurt am Main: Brönners Druckerei, 1959), 7.〕 Like all other members of the company, he used the opportunity to emigrate from Haiti and settle in the burgeoning Haitian diaspora of New York City. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Frisner Augustin」の詳細全文を読む スポンサード リンク
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