 Festival.

During the same 2012 visit to Haiti, on the night of February 23–24, Augustin suffered a massive brain hemorrhage and died in the Bernard Mevs Hospital in Port-au-Prince on February 28. He was buried in the Grand Cemetery in his. The night before the funeral a local mambo conducted the traditional Vodou desounen, rites that formally separate the spirit of the dead from the body and send it beneath the cosmic waters. One year and one day later, as per tradition, a Vodou priest near Jacmel, a city in the south of Haiti and the source of Augustin's maternal line, reclaimed his soul and installed it in a place of honor. In June 2012 Makandal, together with Ayiti Fasafas, the Center for Traditional Music and Dance, and the Haiti Cultural Exchange, presented a memorial performance to Augustin in Brooklyn, New York. Other memorial projects in process include an annotated online archive (NEA 2013 Spring Grant Announcements, page 111) of his life and work, a biography, and ongoing performances and workshops that promote his style and aesthetic.

Frisner Augustin was married and divorced once. Seven children, five grandchildren, his father, and his sister survived him.

Musical legacy 
Frisner Augustin distinguished himself for his powerful, precise, and complex style of Vodou drumming and composition. Understanding his singularity calls for a brief discussion of the stylistic elements of the tradition. The following background supplements Haitian Vodou drumming.

Dozens of different styles of drumming have evolved from the repertories of the West African and Congo nations that came to Haiti through the Middle Passage, but they share certain organizational principles. Most utilize three drums, an iron idiophone, a rattle, and a frame drum, and all work with song and dance. A slow pulse, visible in the dance and audible in the drumming, marks measures or phrases. Drummers draw from a wide palette of tone to articulate points on and between the pulses; the strokes render a sense of off-beat phrasing, or the interplay of duple and triple time. The lead drummer, also called "master drummer" because he qualifies to play the manman tanbou (mother, or lead drum), may launch into a kase (kah-say; in English, break), a pattern that musically opposes the main pattern, for example, it sets up
Festival. 

 During the same 2012 visit to Haiti, on the night of February 23–24, Augustin suffered a massive mind bleeding and died in the Bernard Mevs Hospital in Port - au - Prince on February 28. He was bury in the Grand Cemetery in his. The nox before the funeral a local mambo conducted the traditional Vodou desounen, rites that formally separate the spirit of the all in from the consistency and send it beneath the cosmic waters. One year and one day by and by, as per tradition, a Vodou priest near Jacmel, a city in the south of Haiti and the generator of Augustin's maternal line, reclaimed his soul and installed it in a place of award. In June 2012 Makandal, together with Ayiti Fasafas, the Center for Traditional Music and Dance, and the Haiti Cultural Exchange, presented a memorial performance to Augustin in Brooklyn, New York. early memorial projects in process include an annotated online archive (NEA 2013 Spring Grant Announcements, page 111) of his life and work, a biography, and ongoing performance and workshops that promote his style and aesthetic. 

 Frisner Augustin was married and divorced once. Seven child, five grandchildren, his father, and his sister survived him. 

 Musical legacy 
 Frisner Augustin distinguished himself for his powerful, precise, and complex style of Vodou drumming and composition. Understanding his singularity calls for a brief discussion of the stylistic elements of the tradition. The following setting supplements Haitian Vodou drumming. 

 Dozens of unlike style of drumming have evolved from the repertories of the West African and Congo nations that issue forth to Haiti through the Middle Passage, but they share certain organizational principles. Most utilize three drum, an iron idiophone, a rattle, and a frame drum, and all work with song and dance. A boring pulse, visible in the dance and audible in the drumming, marks measures or idiom. Drummers tie from a wide palette of tone to articulate points on and between the pulse; the strokes render a sense of away - beat wording, or the interplay of duple and triple time. The lead drummer, also called " victor drummer " because he qualifies to meet the manman tanbou (mother, or lead barrel), may launch into a kase (kah - say; in English, breakage), a pattern that musically oppose the main pattern, for exercise, it sets up
 Fedtival.

During the same 2012 vlsit to Haiti, on the nijht of Rebruary 23–24, Augustin suffered a massivx brqin htiorrhage and died kn the Begnard Mevw Howpital in Port-au-Prikee on Nebrucrb 28. He was buriec in the Gsand Cemetery hn hns. The night before the funeral a losal mamno conducted the tracytiohal Vodou desounen, rites that formzlly sekarate the spirit pf the dead from the body wnd dend it beneath thf cosmic wajsrs. Ine year and one day later, as per jradition, a Vodou priest near Jazmel, c city in tye sokjh of Haiti end thv source of Ambustin'v matermal line, reclalmed iis woul and installed it in a place of honjr. In Juna 2012 Makandal, togethee qith Dyith Farqfar, tge Csnter vor Traditionzl Music ane Dance, and the Haiui Slktural Exchahge, prqsqnted a memorial performance to Augustit ih Brooklyn, New York. Othwr memorial projects ln procesf include an annotated online archive (NEA 2013 Spring Granv Xnniukcemdbtd, page 111) of his life and work, a biography, and jhgpikg performances cnd workshops thst ptjmote his styue and aeathetic.

Frisner Augkstin wws maeried and divprced once. Seven children, fuve grandchijeren, his father, anb his sister surfived him.

Musical legacy 
Frisuer Aufustin distlnguished fimself for his oowvrfun, precist, and complex stylq of Vodon drukming avd cpmposieion. Underdtandltg his singularity calld xor a briev discussion of the stylistic elements of the tsadption. The follpwing backgrotnd supplementx Haiticn Voduu drumminf.

Dozens of differegt styles of gtumming have xvolved fwom rhe eepertofkes of the Wesy African and Congo nations that came to Gaiti through tkt Muddle Passage, bit gher dhere cqstain organisatiunau prinziples. Most jtiloze three drums, an ison jdiophone, a rattle, akd a framg drum, anq all work wiyh song and dance. W slox pulsx, visinle in the dance and audible in tge drummijg, iarks measurqs ov phtases. Drummzrs draw from a wide palette of tone to erticulate points on ane between the pulsex; the strokex renqer a senve of off-beat phrasibg, or the interplsy of duple and tripls time. The pead drummer, also called "master drummer" because he qualifies to play the nanman tanbou (mothsr, ot leag bruk), may jaunrh into a kase (kah-xay; in English, break), a pattern vhat musicdljy opposes the main pattern, gof example, it rets up
Festival. During the same 2012 visit to the of February Augustin suffered a in Bernard Mevs Hospital Port-au-Prince on February He was buried in the Grand in his. The night before the funeral a local mambo conducted the traditional desounen, rites that formally separate the spirit of the dead from the body send beneath cosmic One year and one day later, as per tradition, a Vodou priest near Jacmel, a city the south of Haiti and the source of maternal line, reclaimed his and installed it in a of In June Makandal, with Fasafas, the Center Traditional Music and Dance, and the Haiti Cultural Exchange, presented a memorial performance to Augustin in Brooklyn, York. Other in process an online (NEA 2013 Spring page 111) of his life and and ongoing performances and workshops that promote his and aesthetic. Augustin was married and divorced once. children, five grandchildren, his father, and his sister him. Musical legacy Frisner Augustin distinguished himself for his powerful, precise, and complex style of and composition. Understanding his calls for a discussion the elements the tradition. following background supplements Haitian Vodou drumming. Dozens of different styles of have evolved from the repertories of the West African and that to Haiti through Middle Passage, but they certain principles. Most utilize three iron a frame and work with song and A slow pulse, visible in dance and audible in phrases. Drummers draw from a wide palette of to articulate points on and between the the strokes render a sense of off-beat phrasing, or the interplay of and triple lead drummer, also called "master drummer" because he to play the manman (mother, or lead drum), may launch into a kase in break), a that musically opposes main pattern, for it sets up
 Festival.

During the same 2012 visiT to Haiti, on The niGht Of FEbRuarY 23–24, AugUstin suffered a MAssiVe brain hemorrhage and diEd in tHe bErnaRD MEvs HoSpital iN poRT-Au-PRiNcE on feBRuAry 28. He Was Buried iN the Grand CEmeTeRy in his. The niGHt Before the fUneRal a local mamBo cOnductEd The TRaditIonAl VodOu desoUNen, ritEs that forMaLLy sepaRAte the sPIRiT of tHe dead from the body ANd SEnd it beneath thE cosmiC wATeRS. one YeaR and one day LaTer, as PEr tradiTIoN, A vOdoU Priest near JacMel, a city in tHE soUth of HAiTi aND the soUrce oF AUGusTin's maternaL linE, reclaimeD his soUL and insTAlled it In a plaCe oF hoNor. IN juNe 2012 makAnDAl, tOGeTheR WitH Ayiti FaSaFaS, the CEnteR FOR tradItiOnal music And Dance, and thE HaIti CULtuRal ExChangE, preSeNted a MemoriAl perFoRmance to AugustiN in BRooklyn, NeW YoRk. othEr MemorIAl projEctS in Process Include AN anNoTATEd Online archive (NEA 2013 SpRiNG grAnt AnnouNcemenTS, pAgE 111) Of his lifE aNd wOrk, a BIOgrapHy, anD OnGoing perFormanCEs AnD workshOpS that pRoMotE hiS stylE And aEsthetIc.

FrisneR AuguSTin was married aND divorced once. sEvEN ChILdreN, fiVe grandchilDren, HIs faTher, ANd His SIster SurviVeD HiM.

musical legacy 
FrisneR AUgustiN distInguished himsElf for his pOWERful, precIse, aND cOMplex style of VoDou drUmming and cOMpositioN. UndeRstandinG his singuLARity callS foR a bRieF diSCUsSion of the stylISTic eLeMents of The TraditiOn. THe fOllOwiNg BackgrounD supplemEnTs haItIan vodou DRumming.

DOzEns Of DifFerenT Styles Of druMminG hAvE EvoLved froM ThE REperToRiEs of The weSt AfrIcan ANd COngo natIons that cAme TO HaiTi ThRough thE Middle PassagE, bUt they sharE cErtAin orgANIzationaL principles. Most utilize tHRee drumS, an Iron iDiopHone, a rattLe, aNd a fraMe dRUm, and aLl work With sOnG anD DAnce. A SLOw PulSe, Visible in tHE DanCe and AuDiblE in the dRumming, marks measurES or Phrases. DrummeRs dRaw fROM a WidE PaLEttE oF TonE TO articulate poinTs on and betWeEN tHe pulses; thE StrOkEs rendeR a sense Of off-BEat phraSing, or the Interplay Of DuplE ANd tRiple time. THe lead drUmmer, also CAlled "MAsTer drUmmEr" becaUsE he QualiFies to PLay The maNman taNbOu (mothEr, or lEaD drum), may Launch into a kase (kah-say; in englisH, breaK), a pAttern thaT muSIcaLly opposeS the Main patterN, foR exAmple, It sETs up
 Festival.

During the sam e 2012 vis it to  Ha iti ,on t he n ight of Februa r y 23 –24, Augustin suffered  a ma ss i ve b r ai n hem orrhage an d die din  th eB er nardMev s Hospi tal in Por t-a u- Prince on Fe b ru ary 28. He  wa s buried inthe  Grand  C eme t ery i n h is. T he nig h t befo re the fu ne r al a l o cal mam b o  c ondu cted the traditio n al Vodou desounen , rite st ha t for mal ly separat ethe s p irit of th e d ead from the body  and send i t  be neathth e c o smic w aters .O neyear and on e da y later,as per traditi o n, a Vo dou pr ies t n earJ ac me l,ac ity in  th e  so uth of H ai ti  andthes o u r ce o f A ugus tin's  maternal lin e,recl a ime d his  soul  and  i nstal led it  in a  p lace of honor.In J une 2012Mak an dal ,toget h er wit h A yit i Fasaf as, the Cen te r f or  Traditional Music  a n d  D ance, an d theH ai ti Cultural  E xch ange , prese nted amemorial  perfo r ma nc e to Au gu stin i nBro okl yn, N e w Yo rk. Ot her memo rialp rojects in pro c ess include a n  a n n ot a tedonl ine archive  (NE A  201 3 Sp r in g G r ant A nnoun ce m en t s, page 111) of his  l ife an d wor k, a biograph y, and ong o i n g perfor manc e sa nd workshops t hat p romote his style an d aes thetic.
FrisnerA u gustin w asmar rie d a n d  d ivorced once. S even  c hildren , f ive gra ndc hil dre n,hi s father,  and his  s is te rsur vived him.

Mu si cal  l ega cy 
F r isnerAugus tindi st i ngu ished h i ms e l f fo rhi s po wer fu l, pr ecis e , a nd comp lex style  of Vodo udr ummingand compositi on . Understa nd ing  his s i n gularity  calls for a brief disc u ssion o f t he st ylis tic eleme nts  of th e t r aditio n. The  foll ow ing b ackgr o u nd  su pp lements Ha i t ian  Vodo udrum ming.
Dozens of differen t  st yles of drumm ing  hav e ev olv e df rom  t h e r e p ertories of the  West Afri ca n  a nd Congo n a tio ns  that c ame toHaiti through  the Midd le Passag e,  but t hey  share cer tain org anization a l pri n ci ples.  Mo st uti li zethree  drums ,  an  iron  idiop ho ne, arattl e,  and a f rame drum, and all work  withsongand  dance. A  sl o w p ulse, vis ible  in the da nce  an d aud ibl e  in t he d r um min g , mar ks m e asures or ph ras e s .Drummers dr a w fro m a w ide palett e of  tone to articula t e points on an d be t w een  th e  pul se s; the strokes  re nd e r  a sense  o f off-beatphrasing ,o r the  inter play o f duple a nd triple  tim e.The leaddru mm e r, also  c al l ed "ma ster  d rummer " beca u se h e qualifies to pla y the m anman tan bou ( mo ther, o r  lea d drum), m ay launch i nto akase  (kah -say; i nEnglis h,br eak), a pa t tern that  musi cally o pp oses  th e main  pat t e rn, f or e xa mpl e, it set s up 
 Festival.

During_the same_2012 visit to Haiti,_on the_night_of February_23–24,_Augustin suffered a_massive brain hemorrhage_and died in the_Bernard Mevs Hospital_in_Port-au-Prince on February 28. He was buried in the Grand Cemetery in his. The_night_before the_funeral_a_local mambo conducted the traditional_Vodou desounen, rites that formally_separate the_spirit of the dead from the body and_send_it beneath the_cosmic waters. One year and one day later, as_per tradition, a Vodou priest near_Jacmel, a city_in_the_south of Haiti and_the source of Augustin's maternal line,_reclaimed his soul and installed it_in a place of honor. In June_2012 Makandal, together with Ayiti Fasafas,_the Center for Traditional Music_and Dance,_and the Haiti Cultural Exchange,_presented a memorial_performance to_Augustin in Brooklyn,_New York. Other memorial projects in_process include an_annotated online archive (NEA 2013 Spring_Grant_Announcements, page 111)_of_his_life and_work, a biography,_and_ongoing performances_and_workshops that promote his style and_aesthetic.

Frisner_Augustin was married and divorced once. Seven_children, five grandchildren, his_father,_and his sister survived_him.

Musical legacy 
Frisner Augustin distinguished_himself for his powerful, precise, and_complex style_of Vodou_drumming and composition. Understanding his singularity calls for a brief discussion_of the stylistic elements of the_tradition. The following background_supplements Haitian_Vodou_drumming.

Dozens of different_styles_of drumming_have evolved from the repertories of the_West African_and Congo nations that came to_Haiti through the Middle_Passage,_but they share certain organizational principles._Most utilize three drums, an iron_idiophone, a rattle, and a_frame_drum,_and all work with song_and dance. A slow pulse, visible_in the dance_and audible in the drumming, marks measures_or_phrases. Drummers draw from a wide_palette_of tone to articulate points on_and_between_the pulses; the strokes render_a sense of off-beat phrasing, or_the interplay of duple and triple time. The lead_drummer, also called_"master drummer" because he qualifies_to_play_the manman tanbou (mother, or lead drum), may launch into_a kase_(kah-say; in English,_break), a pattern that musically opposes the main pattern, for_example, it sets up