Royal hartigan

Ancestors

Innova 702

Disc 1

flight/homecoming 1:44

passages 5:04

three views 2:41

hazel’s dance 11:38

guanshan yue 2:40

james eagle eye 3:36

la vie en rose / all to myself / soliloquy 3:33

waltz clog 3:16

tenderly 4:02

tatao 7:52

the shadow of your smile 4:16

cycles 11:40

railroad banjo to my heart:

biff, victor, charles

and the duchess 3:37

our family 8:08

you’ll never know just how

much i love you 3:47

adzohu kadodo reflections 1:47

disc 2

hazel’s dance: orphan annie 1:11

midnight sun 13:19

ray hart 2:59

parting veil 6:08

syrinx 8:22

we’ll be together again 2:52

new york rhythm 2:01

meng jiang nu 1:54

it had to be you 2:21

tchaikovsky violin concerto

in d major / midnight

in moscow 5:53

hanabi 4:32

i know i’ve been changed 1:57

tenderly 7:30

dondo–tap conversation for frank,

edward, mary & richie hartigan 2:46

divine trance 7:02

five foot two 4:52

through the light 1:40

walking step 1:01

i put together this recording after the death of my mother, who was the last person in my immediate family to pass away, leaving only myself to continue on life’s paths. this feeling of loss has made me think about my forebears and all of us losing our loved ones, yet somehow going on through time and space. i now feel lost, a cosmic orphan, and many people i have met share this same emptiness.

time and space do not heal these losses, and the uncertainty of an afterlife makes them all the more difficult, with questions regarding the existence of a creator, an underlying spirit force beyond existence, and an ultimate good that somehow compensates for all the suffering, wrongs, and insanity of this life. other issues center on an afterlife with our own eternal consciousness, the possibility of somehow redeeming our mistakes, reunification with those we love, and the ability or inability to embrace life after such loss as a condition of existence. these may seem quite self–centered ideas, based on an anthropomorphic sense of the universe, yet that universe exists and it is possible to ask why, even if there may be no ultimate answer.

whatever the eventual reality of our human condition, the connections we make with people, places, and events in our lives are real and the affection we share with them transcends time and space. positive bonds among family and friends can give a sense of meaning to our experience, and that is one reason i recorded this music, to honor the people from my family who brought me into this world and lifted me up in the air of life.

it occurred to me that most of us have people in our families or meet on life’s paths for whom we have a deep bond. their departure in my view makes them all ancestors, and our album is to honor these people and experiences, with the specific focus on my family as the gateway to an expression for us all in the human family.

my life’s path has been a connection with existence through music and dance. in living, learning, and performing with the peoples of africa, asia, and the americas, i have come to understand that world cultures, from ancient times to the present, are the ancestors of the human family on its journey through time and space.

the music of the world’s peoples recorded here, both traditional and original, is not meant for commercial purposes, paced with a variety of styles for effect or technical artistic goals in the narrow sense of the term. its genesis and final form are based on the deepest feel and sense my musical colleagues and i have of the issues mentioned above and the expressions of those feelings in sounds that are not always easy to listen to, such as the horrors faced by the elderly.

we hope that our music moves you and helps deal with the losses we all face from the departure of others, and the veils within us.

lifted now the vapory curtain,
broken now life’s fitful dream
lo! the invisible made certain
on the home side of the stream

- ames’ 1866 tombstone epitaph at foss hill, wesleyan university, middletown, ct

my two ancestral families came to north america in the 18th and 19th centuries. my maternal forebears were from france through eastern canada into vermont, then to ohio, and eventually massachusetts. aziel clark was a vermont woodsman in the 1700s whose daughter laura (1802-99) moved to ohio after marriage to charles gay. laura and charles lived among native americans there, trading cornbread for meat and other goods. one of their sons, leonard gay (1835-1928) fought in the northern army with co. b, 101st infantry, 65th ohio regiment in the civil war (1861-65). leonard’s son charles (1867-1953) moved to north adams, massachusetts to work on the railroad and its new hoosac tunnel. he met and married marguerite croteau (1876-1952) and they had 11 children: caroline (1892-1978), margaret (1895-1990), celina (1897-1980), charles (1899-1940), victor (1901-1979), dorothy (1904-1988), raymond (1905-1972), hazel (1907-1999), josephine (1910-1913), clyde (1911-1913), and marjorie (1913-2003). marguerite’s family had also come from canada. her parents were hedwege daragon (1844-1910) and george croteau (1840-1918).

my mother’s poem our family on disc 1 describes this group of of people, many of whom i came to know and love.

my paternal ancestors were the o’hartigans from southern ireland, and my great-grandfather was known as ‘great john hartigan,’ a vocalist on the english stage.

his son, john jr., came to boston, mass., and then the worcester suburb of west boylston, where the family tended a farm. john was married to florence snow, and they had 9 children: john III, william, florence, leo, allie, frank, royal (stage name ray hart, 1887-1964), james (1898-1977), and edward (1906-1993).

john jr. died at 43 so my uncle ray hart went off to new york to work as a tap dancer and sent money home for the family. my father, james edward hartigan, enlisted in the u.s. navy, misrepresenting his age in 1914, and served in europe in world war I, sending much of his income home for the family’s needs.

as i grew up, i met some of my uncles. frank would visit us in pittsfield from his home in worcester, bringing many interesting things and stories full of wit and humor. edward was a passionate sportsman with seemingly endless energy, playing hockey, baseball and many other sports in the springfield area where he raised a family with his wife blanche. after his world touring and new york professional career, ray hart settled in north adams, continuing to perform and teach tap dance throughout western massachusetts, eastern new york, and nearby vermont and connecticut. my mother, hazel, studied with and later taught and performed with ray professionally throughout the northeast. together they taught generations of students in the berkshires from the 1930s to the1960s, and hazel until the mid-1970s.

this is the genealogy of my family, but the reality is more than these names and dates. our music attempts to bring them and all our ancestors to life and speak to a universal human condition we all share.

1 flight/homecoming 1:44
© 2000 hafez modirzadeh
hafez modirzadeh soprano saxophone royal hartigan bells
the sound of emotions and spirit dancing through time, space, death, and life.

2 passages 5:04
© the ibo, yoruba, e e, akan, and dagara peoples of west africa; arrangement, © 2000 baomi and royal hartigan
baomi voice royal hartigan dondo, bass drum, and high hat
this suite conveys the historical movement of african ancestral peoples through time and space. vocal sounds and improvisations cue musical changes. in the first five of its six connected movements percussion sounds are based on traditional rhythms of west african dance drumming. the dondo hourglass-shaped double-headed string tension drum plays its traditional rhythm for each piece accompanied by bass drum and high hat stating other traditional support rhythms or answering the dondo phrase.
african ancestral motherland - ibo and yoruba processional music, with the igba drum voice on bass drum and a high hat pulse.
capture, imprisonment, and passage - adowa funeral music of the akan people, with the petia medium drum adapted as bass drum and a ntrowa rattle variation to high hat.
new world arrival, auction block, coffles (chained march) - agbadza social music of the e e people, with the axatse rattle pulse on bass drum and an axatse variation on high hat.
plantation captivity - akpese social music of the e e people, with asivui hand drum as bass drum and axatse as high hat. struggle for freedom - nagla music of the dagara people with dancers’ foot pulses as bass drum and high hat. transcendence/and still i rise - a vocal/drum conversation.

3 three views 2:41
© 2002 hafez modirzadeh and royal hartigan
hafez modirzadeh tenor saxophone royal hartigan drumset
impressions from dreams, memories, and shadows.

4 hazel’s dance 11:38
© 1972 and 1996 james, hazel, and royal hartigan
baomi voice hafez modirzadeh tenor saxophone royal hartigan piano
a three-part suite for my mother, hazel clark gay-hartigan, who played violin, c-melody saxophone, and was a great tap dancer. she danced through life with a boundless spirit.
the opening piano solo is a piece we played and danced together, followed by an instrumental duet and a poem inspired by the hopi people of southwest native america. the return of the opening dance groove and theme with saxophone and piano symbolizes awakening and reunification with those we have lost.

5 guanshan yue (moon at the frontier pass) 2:40
traditional; arrangement © 1984 liu weishan
weihua zhang guzheng chinese zither royal hartigan drumset
this is a traditional musical interpretation of a poem by the great tang dynasty (618-906 c.e.) poet li bo. guan mountain is situated in the western territory of china. cavaliers and warriors fighting there against nomadic invaders would seldom return alive. the moon at guanshan pass stimulated the soldiers’ philosophical contemplation about life, family, and homeland before meeting their destiny.

6 james eagle eye 3:36
© 2002 hafez modirzadeh and royal hartigan hafez modirzadeh soprano saxophone royal hartigan drumset
for my father, james edward hartigan, who worked his whole life to give me a life. the multiple strokes he suffered and endured as a result of three torpedo attacks as a naval destroyer gunner in world war I brought many obstacles into his path. our musical conversation evolves into a seven-pulse groove that represents his struggle and triumph. the groove can also be heard as an altered afro-cuban rumba guaguanco feel in 3 1/2 beats, divided as 2 2 3.

7 la vie en rose / all to myself / soliloquy 3:33
la vie en rose © 1946 david rose, louiguy, and edith piaf; all to myself © 1937 charles gay; soliloquy © 2006 sandra poindexter
baomi voice sandra poindexter violin royal hartigan drumset
a poem by my grandfather, charles gay, contemplating life’s memories, is framed by a haunting melody from my childhood and a violin sequel.

8 waltz clog 3:16
© 1911 ray hart
royal hartigan tap dance
a dance my uncle ray hart performed during the time he won the world championship for irish clog dancing in the early 20th century in new york’s madison square garden. it was taught to me by ray and my mother hazel clark gay-hartigan and can be heard in 3/4 or 12/8 time. the coda includes phrases in 15/8, 13/8, 11/8, 9/8, 7/8 and 5/8, a basic time step i learned as a young child, a crimp roll, and a four-tap toe-heel ending. 9 tenderly 4:02
© 1946 music walter gross, lyrics jack lawrence, with additional lyrics by royal hartigan
baomi voice royal hartigan drumset
this ballad is sung in a non-metric time of the heart with drumset brush and cymbal accompaniment and lyrics for my parents and all our ancestors.

10 tatao 7:52
© 2002 danongan kalanduyan, hafez modirzadeh, and royal hartigan
danongan kalanduyan kulintang conrad benedicto dabakan hafez modirzadeh soprano saxophone royal hartigan drumset
tatao means ‘people’ in tagalog, the national language of the philippines. my inspiration for this piece is the resilience and spirit of its people, who have endured centuries of external repression. in my two years living in the barrio as a peace corps volunteer, i experienced this spirit untold times. my parents visited me in the philippines and supported my work with the people.

we have adapted binalig, a traditional style of the maguindanao people of the southern philippines in an arrangement that expresses the endless vista of open sea and sky in the asian pacific and the infinite reach of people’s lives amidst this insane world of unnecessary suffering and inequality. in addition to the kulintang gong melodies and dabakan drum rhythms, the traditional babandil time keeping gong cycle is played on cymbal and the two deep agung gong voices are adapted to bass drum and mounted tom. soprano saxophone, retuned to mirror traditional temperament, converses with kulintang and the ensemble through an introduction, energetic theme and improvisations, and ending. hafez’ playing is based on a collaboration with danongan since 2000 called fadjir, an arabic term meaning ‘dawn.’

11 the shadow of your smile 4:16
© 1965 johnny mandel
sandra poindexter violin royal hartigan piano
this is a piece my parents loved, sang, and danced together. we play from the shadows and light of remembrance.

12 cycles 11:40
© 2000 hafez modirzadeh
hafez modirzadeh persian ney royal hartigan turkish bendir
an original composition by hafez modirzadeh expressing the eternal motions of existence: eons of time, historical eras, past, present, and future centuries; a human life, and its stages from birth and childhood through puberty and adolescence to maturity, old age, death, and ancestral remembrance; the seasons, day and night, a moment’s reflection, a fleeting impression. the bendir frame drum states a succession of time cycles known as usul - the 56-beat devri kebir (‘great cycle’), 10-beat aksak (‘camel’s limp’), 7-beat devri hindi (‘india cycle’), and 9-beat evfer - that parallel these rhythms of existence.

13 railroad banjo to my heart: biff, victor, charles and the duchess 3:37 © 2002 tim volpicella and royal hartigan
tim volpicella banjo royal hartigan tap dance

my grandparents, charles and marguerite gay, worked day and night to raise a family from 1891-1952 in north adams, massachusetts. charles worked for the railroad and played banjo to brighten our family’s life. he called marguerite the ‘duchess’ and nicknamed me ‘biff,’ and would play for the younger kids. his son victor and my uncle ray hart played banjo with him, sometimes to accompany my mother hazel hartigan’s tap dancing. the tap-banjo conversations reflect the family interactions among my grandparents and their children (back row in family photo - charles jr., celina, margaret, raymond, caroline, victor, and dorothy; front row - hazel, charles, marjorie, marguerite), myself, and all my cousins.

14 our family 8:08
© 1956 hazel hartigan
baomi voice royal hartigan tap dance
my mother composed this poem as a musical genealogy of our family, filled with humor, pathos, and love. we join it with the tap dance sounds she gave us.

15 you’ll never know just how much i love you 3:47
© 1943 harry warren
sandra poindexter violin royal hartigan piano
sadly, we often are unaware how much someone or something means to us until they are gone. special moments and people kept as treasures in the heart’s eye.

16 adzohu kadodo reflections 1:47
© the f n and e e peoples of west africa; arrangement © 2000 c. k. ladzekpo
c. k. ladzekpo atsimevu master drum royal hartigan drumset
adzohu dance drumming is part of a ritual to the spirit world and kadodo translates as ‘forming a circle.’ c. k.’s lead drum rhythms cue supporting kidi and sogo drum responses, played on toms, with the adzohu ga kogui bell timeline on cymbal bell, high-pitched kaga drum pattern on high hat, and a pulse reflecting dancers’ foot movements on bass drum. dedicated to lillian gaulden, a drummer of african traditions and of the heart.

1 hazel’s dance: orphan annie 1:11
© 1972, 1996 james, hazel, and royal hartigan
royal hartigan piano
a reprise of the music for my mother, nicknamed ‘orphan annie’ in the family because of her curly blonde hair.

2 midnight sun 13:19
© 1947 music sonny burke and lionel hampton, lyrics johnny mercer, arrangement and additional lyrics © 2000 royal hartigan
baomi voice royal hartigan drumset
......and someday yet again we will be whole, as we awaken together in the evening’s midnight sun......

3 ray hart 2:59
© 1964 ray hart and royal hartigan
hafez modirzadeh soprano saxophone royal hartigan tap dance
this composition, connected to parting veil, is inspired by my uncle, ray hart, a master tap dancer who traveled the world sharing his art. among the many greats he danced with were the step brothers, peg leg bates, and bill robinson. like many jazz musicians and artists he lived on the edge of life in order to pursue his passion.

4 parting veil 6:08
© 2000 royal hartigan
hafez modirzadeh tenor saxophone royal hartigan piano
an expression of the connections we have with past events, places, and people in our lives, especially the last stages of separation from those close to us.

5 syrinx 8:22
© 1913 as flute de pan; 1927 as syrinx, claude debussy; arrangement © 2001 royal hartigan
hafez modirzadeh flute royal hartigan piano
debussy’s flute solo is a contemplation on death. it was written for gabriel mourey’s play psyche and performed in 1913 by louis fleury as a song of the greek god of shepherds, pan, as he was dying, the sounds his last breaths and grasp for life.
our arrangement deals with the loneliness of human suffering at life’s end and death, especially in the nursing homes and hospitals of the western world in which many elderly find themselves confined. the flute represents human life, with piano sounds reflecting human horror: finger strokes on the metal sound board stand for the passage of time and the mechanical severity of invasive medical technologies such as feeding tubes; light string glissandi represent revered memories now made absurd; scratching on piano strings the chaotic attempts to escape; palm strokes on the sound board beams as heartbeats; rubbing the lower strings mirrors labored breathing; and plucked clusters and violent sweeps of the strings express screams of terror. flute repetitions of the piece’s last two phrases with the cessation of first breathing and then heartbeat signify death and the cosmic emptiness of loss.

6 we’ll be together again 2:52
© 1945 music carl fischer, lyrics frankie laine
baomi voice royal hartigan drumset
this ballad is performed in a floating time feel, expressing a longing to touch, hold, love, care for, and be with those from whom we have been separated by the veil of time, space, and death.

7 new york rhythm 2:01
© 1946 ray hart and hazel gay-hartigan
royal hartigan tap dance
an african american jazz tap dance with 8 basic steps, each composed of an 8-bar bebop phrase, and a coda including accented 8-bar new york rhythm and military crimp roll statements. the third step is a combination that the legendary bill robinson taught to my uncle ray, who called it the ‘bill robinson step.’ the seventh step involves a jump-stamp figure that parallels an identical movement in the bawa harvest dance of the dagara people of west africa. the eighth step roll combination mirrors the fast 12/8 feel in e e dance drumming from southeastern ghana and togo. in the roll left foot heel stamps parallel e e dancers’ foot movements and an axatse gourd rattle pulse while off beat right foot toe brush sounds correspond to driving couplets played on the high-pitched kaga drum by e e drummers. an extended coda moves through off beat accents, a 12/8 figure, and military crimp roll rhythms. i learned this dance from my mother and uncle, performing it at recitals in the 1950s and 1960s in north adams, adams, great barrington, and pittsfield, massachusetts.

8 meng jiang nu (meng’s daughter) 1:54
traditional melody; arrangement © 1984 liu weishan weihua zhang guzheng chinese zither royal hartigan drumset
this composition is based on an ancient song from northern china. in order to build the great wall during the qin dynasty (221-206 b.c.e.), the first emperor drafted laborers from all over the country and many people died because of the hard labor and harsh life. one legend is that meng’s daughter traveled thousands of miles seeking her husband but found him dead from work. her profound grief and weeping shook the wall and destroyed it, a symbol of the chinese people’s revolt against tyranny and the power of human emotion.

9 it had to be you 2:21
© 1924 isham jones and gus kahn hafez modirzadeh tenor saxophone royal hartigan tap dance
this was my parents’ favorite song, playing as they danced together when they first met.

10 tchaikovsky violin concerto in d major / midnight in moscow 5:53
violin concerto © 1878 (composed)/1888 (published) pyotr ilyich tchaikovsky; midnight in moscow music arrangement © 1962 kenneth ball and jan burgers, based on the russian traditional song padmeskoveeye vietchera (‘evening in moscow’) by v. soloviev-sedoy/m. matusovsky; arrangement © 2002 royal hartigan yu fuhua violin royal hartigan piano
the opening excerpt from the second movement of pyotr ilyich tchaikovsky’s violin concerto in d major is accompanied by a piano stream in another dimension. this leads to a rubato introduction and statement of the russian melody made popular in the west as midnight in moscow during the 1960s. it was one of my father’s favorite pieces and here signifies the frail happiness we seek and share amidst the loneliness and tragedies of life.

11 hanabi (lit. ‘flower fire’; ‘fireworks’) 4:32 © 2000 masaru koga masaru koga shakuhachi japanese flute royal hartigan drumset
a conceptual improvisation using melodic and sonic ideas to signify memories and events from the past. fireworks is a metaphor for the flowing and spontaneous nature of heartfelt remembrance, sometimes as real as its original source, brought on by something we experience in conscious life, during dreams, or upon waking from a deep sleep.

12 i know i’ve been changed 1:57
© 1700s, the african american people; arrangement © 2000 baomi
baomi voice royal hartigan axatse gourd rattle, low drum, and body percussion
an african american spiritual joined with traditional rhythms of african peoples. rattle, drum, and body percussion center around the three-stroke gankogui bell timeline for the kinka recreational music of the eve people of ghana and togo. this heartbeat, first heard here with the rattle, is an ancestor of many new world african musical rhythms. the body percussion is from the pattin’ juba tradition of the southern united states.

13 tenderly 7:30
© 1946 walter gross
royal hartigan piano
a tribute to my parents and those from past generations, who were always there for us, and who have given us all. remembering the corners of forgotten places, shadows unknown, smiles through the dust of existence.

14 dondo-tap conversation for frank, edward, mary & richie hartigan 2:46
© the e e people of west africa; arrangement © 2000 c. k. ladzekpo and royal hartigan
c. k. ladzekpo dondo hourglass drum royal hartigan tap dance
my mother hazel and my uncle ray hart opened me to the beauty of the african american dance and music traditions, especially the unique art form known as jazz and the sophisticated artistry of tap dance foot percussion. their tap dancing, singing, whistling, piano, banjo, ukulele, saxophone, and violin playing inspired me to make music and dance of the world’s peoples my life. my work in west african music and dance allowed me to see the connections among african music and dance traditions: many tap dance styles are directly traceable to african dance. this piece connects african american tap dance rhythm with its african ancestors. dedicated to my uncles frank, who always brought heartfelt humor, and eddie, quick-witted and always the optimist. my sister mary jane and edward’s son richard saw life as it is, but refused to live it less than how it could be.

15 divine trance 7:02
© 2006 royal hartigan
baomi voice sandra poindexter violin royal hartigan tap dance, drumset, and piano
a sequel to our family of disc one, this poem portrays my three closest kin in four sections: ray hart, with voice and tap dance; james hartigan, with voice and drumset; hazel clark gay-hartigan, with voice, piano, and violin; and an epilogue, with voice, violin, piano, and tap. the tap ending states bell rhythms from the e e agbek warrior, asante adowa funeral, and ga adowa social dance drumming traditions.

16 five foot two 4:52
© 1925 ray henderson, sam lewis, joe young
sandra poindexter violin royal hartigan piano
an improvised conversation in an early 20th century style of the stage shows in which my uncle and mother performed as tap dancers, singers, and violinists. hazel also played violin and saxophone in a women’s dance band with her sister marjorie on piano. beginning in 1950 i danced to this piece in tap recitals with ray, hazel, and many other ‘hoofers,’ always with excitement and joy at the feel of metal taps on wooden floors or bakelite mats. it seemed the whole world was just across from us over the footlights. this arrangement includes violin and stride piano solos for dancing feet and hearts. for my piano teachers, hazel hartigan, ray hart, hazel slater, john galletly, and john talarico.

baomi vocals and narrative poetry

conrad benedicto philippine dabakan drum

yu fuhua violin

danongan kalanduyan philippine kulintang gongs

masaru koga japanese shakuhachi flute

c. k. ladzekpo west african e e atsime u master drum, dondo hourglass drum

hafez modirzadeh soprano and tenor saxophones, persian ney flute, and western flute

sandra poindexter violin

timothy volpicella banjo

weihua zhang chinese guzheng zither

royal hartigan bells, percussion, piano, tap dance, turkish bendir frame drum, axatse gourd rattle, dondo hourglass drum, drumset

17 through the light 1:40
© 2000 baomi
baomi voice royal hartigan bells and cymbals
this work expresses the movement of spirit after death to a higher consciousness, and reunion with others who have gone before.

18 walking step 1:01
© 1947 hazel and james hartigan
royal hartigan tap dance
a tap step my mom danced with me as my dad tapped out the rhythm with his hands. we walk on together.

baomi vocals and narrative poetry

conrad benedicto philippine dabakan drum

yu fuhua violin

danongan kalanduyan philippine kulintang gongs

masaru koga japanese shakuhachi flute

c. k. ladzekpo west african e e atsime u master drum, dondo hourglass drum

hafez modirzadeh soprano and tenor saxophones, persian ney flute, and western flute

sandra poindexter violin

timothy volpicella banjo

weihua zhang chinese guzheng zither

royal hartigan bells, percussion, piano, tap dance, turkish bendir frame drum, axatse gourd rattle, dondo hourglass drum, drumset

ancestors was recorded and mixed january, march, and august 2000, march 2002, july 2006, and august 2007 by daniel sabanovich at his creative percussion and recording studio at willow glen in san jose, california. dsabanov@aim.com

editing and mixing by jon rosenberg at the corner store, brooklyn, ny, july 2006 and january 2007. jonrosenberg@earthlink.net

mastering by sean flynn in albany, ny, january-march 2008. spirit11.net

produced by royal hartigan

photography by weihua zhang, andrew nozaka, ziddi msangi, raymond librizzi, victor gay, marie hartigan, ben polin, hazel hartigan, frank hartigan, tassone studio, and sidney kantor.

artwork and design © 2008 andrew bourne. www.bournedesigns.com abourne@bournedesigns.com additional design elements by sarah muskie stanton. sarahmuskiestanton@gmail.com

royal hartigan plays sonor drums, remo heads, vic firth sticks, brushes, and mallets, and istanbul/agop, k zildian, and paiste cymbals.

royal hartigan music/bmi www.royalhart.com (508) 999-8572 royaljhartigan@yahoo.com

© 2008 royal hartigan. all rights reserved

innova recordings 332 minnesota street e-145, st. paul, mn, 55101, usa. innova@composersforum.org innova.mu