As a child, I was always very curious. My previous teachers may argue that music was my talent but I would disagree. I think that problem solving was my gift and music was the environment where I felt that I could solve the most problems.
I began studying the violin at three years old through a Suzuki program offered at the St. Augustine Chamber Orchestra in Trinidad and Tobago. I joined their advanced orchestra at the age of seven and eventually became concertmaster of the Trinidad and Tobago Youth Philharmonic Orchestra at age 15. Every year we would host month-long immersion programs with members of El Sistema as a way to establish a strong symphonic tradition in the country. I was extremely privileged to be able to study under such phenomenal educators and as a youth orchestra we played many symphonies and embarked on many tours. However, the thing I remember most is how much the community aspect of that organization helped to transform me into the person I needed to be to succeed in the opportunities that arose as I transitioned into other professional orchestras and in higher education.
I won the concertmaster chair for the National Philharmonic Orchestra of Trinidad and Tobago at 18 years old and I served as a soloist, arranger, and sometimes conductor under Dr. Roger Henry. Shortly after, I graduated from the University of the West Indies with a Psychology degree and immediately enrolled in the Artist Diploma offered by the Academy of the Performing Arts at the University of Trinidad and Tobago. I spent a great deal of time refining all aspects of technique and musicality with Eleanor Ryan and Simon Browne and traveled to the United States to do cultural showcases of Calypso music with Michael Chapman in Pittsburgh. Eventually, all of these experiences lead to me meeting Rudy Perrault, who was visiting Trinidad on a Fulbright grant to research aural pedagogical traditions in the Caribbean. It was perfect timing as I was wrapping up my journey at the Academy and was looking at graduate programs. He convinced me to come to University of Minnesota Duluth and through a very hectic sequence of events (COVID-19) I came to Minnesota to pursue a graduate degree in music education.
Shortly after completing my Masters’, I won a teaching position at The Marshall School in Duluth where I made some of my best memories working with students grades 5 through 12. As a performer I won a position as a violinist in the Duluth Superior Symphony Orchestra and continued to collaborate with other professionals in the area. However, I wanted more than to just be in the classroom or on stage. I thought back to all of my musical and cultural experiences over the years and realized what I really wanted was a sense of community. I wanted to be closer to the reason I continue to teach and play. I wanted to recreate how it felt to hear people at a library belting the lyrics to an arrangement of a song. Jacob Collier said once in an interview that when it comes to music, most people just need permission to be involved. I think above all else, my current mission is to give as many people as I can, the permission to be involved in music making.