by Gerrit Bester
Prof Karendra Devroop, a renowned jazz saxophonist and pianist as well as an experienced academic, joined the Tshwane University of Technology’s Faculty of Arts and Design in April as Professor in the Department of Performing Arts. In an interview, Prof Devroop said that in coming to TUT he was fully aware of the remarkable impact that the Faculty has had on the artistic sector in South Africa, and that its greatest strength lies in the fact that all departments are closely linked on one campus, making collaboration and a fully rounded arts education a possibility for students.
YOU HAVE RECENTLY JOINED THE FACULTY OF ARTS AND DESIGN AS A PROFESSOR IN THE DEPARTMENT OF PERFORMING ARTS. CAN YOU SHARE MORE ABOUT YOUR NEW ROLE AND WHAT YOU ARE LOOKING FORWARD TO IN THIS POST?
I have been appointed as Professor (Research) where I will be supervising postgraduate students and teaching postgraduate courses. As a professor, I will of course be expected to be productive as a researcher, so some of my time will be devoted to publishing research and producing creative outputs. I also see myself as supporting my colleagues in the Faculty in their research and creative output. I hope to stimulate the research and creative output of the Faculty by introducing workshops and symposia that will help staff and students to become more familiar with research and thereby produce more research and creative output.
YOU BRING A WEALTH OF EXPERIENCE TO THE DEPARTMENT, NOT ONLY AS A CELEBRATED MUSICIAN BUT ALSO AS THE FORMER DIRECTOR OF THE UNISA MUSIC FOUNDATION. WHAT HAVE BEEN THE HIGHLIGHTS OF YOUR CAREER SO FAR?
I have been blessed to have had a fulfilling and varied career up to this point in my life. After completing my doctorate in the USA (University of North Texas) I spent 10 years teaching and performing in the USA. This included the release of my first CD and a tenure track position at Elizabethtown College. Since returning to South Africa in 2010, I have held the positions of Director of the School of Music and Conservatory at North-West University (2010 - 2012), Director of the Unisa Music Foundation (2012 - 2024) and Acting Director of the Directorate of Music (2015 - 2024).
As a researcher, I have over 40 peer-reviewed publications, over 100 conference papers and have supervised Master’s and PhD students. As a performer, I have 7 CD recordings as a leader and over 10 as a sideman. I have performed at major jazz and music festivals in the USA, Canada, Netherlands, Germany, France, Italy, Austria, UK, Thailand, South Korea, Venezuela, China and Taiwan.
My 2020 CD recording had two tracks peak at #1 and #3 on the US Smooth Jazz charts and my last two CD recordings made the first round of Grammy nominations. My 2023 CD recording Relentless has three tracks on the US and UK Smooth Jazz charts.
Outside of research and performance, I have served on the Board of the World Federation of International Music Competitions (Geneva) and am currently on the Artistic Planning Committee of the Mzansi National Philharmonic Orchestra.
AS AN NRF-RATED RESEARCHER (C2), HOW DO YOU VIEW THE IMPORTANCE OF RESEARCH IN THE ARTS, PARTICULARLY IN THE PERFORMING ARTS?
Research in the arts is vital given that South Africa and several other so-called "developing countries" struggle to support the arts, unlike our counterparts in the US, Europe and Asia. Furthermore, in South Africa we have little to no quantitative data on the arts and artists. Most, if not all, academic fields are driven by research. Understanding our environment enables us to better prepare for that environment. Research in the arts exists, but it is significantly under-researched compared to other fields, such as the sciences. Accordingly, we need to train researchers so that we can build a larger body of research in the arts.
HOW WOULD YOU ENCOURAGE YOUNG ACADEMICS TO PURSUE RESEARCH AND ARTISTIC OUTPUT, GIVEN THAT IT IS A KEY FOCUS OF THE FACULTY?
First and foremost, research something you are curious about. Research can become demoralising if you are investigating something that does not appeal to you or has no relevance to your immediate environment. For example, when I was a PhD student studying jazz, I was always curious about what jobs were available for jazz musicians, what incomes they earned, how many "gigs" they played, etc., because this would have a direct impact on my future. For my doctorate I studied the career aspirations and expectations of jazz musicians. Since then, I have published many articles on musicians, their professional environment, aspirations and expectations because I am fascinated by this area and feel that I am making a valuable contribution to my field.
I would encourage young researchers to think in the same way. It will keep you motivated and interested.
CAN YOU SHARE SOME OF THE MOST INTERESTING RESEARCH PROJECTS THAT YOU HAVE BEEN INVOLVED IN?
I have published most of my articles in three areas: 1) the professional expectations of musicians, 2) the medical problems of performing artists, and 3) the impact of music on disadvantaged youth. The first area stems from my doctoral studies, the second from my work as a research assistant at the Texas Centre for Music and Medicine during my doctoral studies, and the third from my community involvement in providing disadvantaged students with access to musical instruments and music education.
AS A PROFESSIONAL JAZZ SAXOPHONIST AND PIANIST, WHERE DOES YOUR PASSION FOR MUSIC ORIGINATE FROM?
My father. He was a self-taught musician who founded and led one of the most successful Indian music ensembles of his generation. He achieved tremendous success, recording albums and singles, performing all over South Africa and winning competitions with his band. He did all this with little or no resources, while working in a shoe factory and supporting his single mother and siblings. Both my parents instilled in my brother Chats and me a passion for education, a love of music and the drive to always reach higher, no matter what the obstacles.
YOU HAVE PERFORMED WORLDWIDE. CAN YOU HIGHLIGHT SOME OF THE PERFORMANCES THAT ARE MEMORABLE TO YOU?
I have been blessed to travel to many countries to perform as a leader and guest with other artists. This has included opening for Queen Latifah, Jill Scott, Chicago and Earth Wind and Fire, as well as opening for legendary jazz pianist Cedar Walton.
I have performed with leading South African artists such as Sibongile Khumalo, Vicky Samson, MICASA, Feya Faku, Nduduzo Makhathini and international artists such as Fabrizio Savino (Italy), Artvark Sax Quartet (Netherlands), Apollo Sax Quartet (UK), Dallas Jazz Orchestra (USA), Koh (Thailand), Peter Beets (Netherlands), Hans Vroomans (Netherlands), Hein van de Geyn (Netherlands), Judith Niland (Netherlands), Matteo Mera (Venezuela), Darwin Gevarra (Venezuela) and many others.
I have also performed as a soloist with various national and international orchestras, including the Johannesburg Philharmonic Orchestra, Cape Town Philharmonic, Eastern Cape Philharmonic, Johannesburg Festival Orchestra, Sanremo Symphony (Italy), Kazakhstan National Philharmonic, Arcadiana Symphony (USA), Lamont Symphony, and many others.
YOUR RECENT RELEASE, THE ALBUM OVERJOYED, ALSO FEATURES THE MZANSI NATIONAL PHILHARMONIC ORCHESTRA. CAN YOU PROVIDE MORE DETAILS ABOUT THIS EXCITING PROJECT?
This is my latest CD recording and features my jazz quintet with Hans Vroomans, (piano - Netherlands), Hein van de Geyn (bass - Netherlands), Mageshen Naidoo (guitar - South Africa), Kevin Gibson (drums - South Africa) and the Mzansi National Philharmonic Orchestra. I took 10 well-known pop songs by artists such as Stevie Wonder, Billy Joel, Sting, Chicago, Bob Dylan, etc. and had them arranged for my jazz quintet and string orchestra. All the works were arranged by the internationally renowned arranger Trino Jimenez from Venezuela.
The album was launched on 6 April with the Mzansi National Philharmonic Orchestra and a rhythm section consisting of Dr Roland Moses (TUT - piano), Mageshen Naidoo (guitar), Romy Brauteseth (bass) and Rob Watson (drums). The album has been released internationally and is currently on the Smooth Jazz Global "hit list" and is expected to enter the US jazz charts in the next few weeks.
THE FACULTY OF ARTS AND DESIGN, ALBEIT THE SMALLEST AT TUT, IS CERTAINLY PACKING A PUNCH. YOUR VIEWS OF ITS STRENGTHS IN NURTURING FUTURE ARTISTS?
When I came to TUT, I was fully aware of the remarkable impact the Faculty has had on the arts sector in South Africa. Its alumni are well-known and its staff are recognised as national leaders. As such, the Faculty is already well-established in the country.
I think the greatest strength is that all the departments are closely linked on one campus, allowing for collaboration and a well-rounded arts education for students. In the future there will be tremendous opportunities for the different departments to work together and put on large productions.
Most importantly, the strength of an institution lies in the people within it. The Faculty has exceptional people and a leader who is committed to the growth and development of the institution. I am very excited about the prospect of working with my colleagues.
Prof Karendra Devroop