When I did begin working with the text, I knew I wanted to change the setting of the story from China to Africa so that I could incorporate the African musical elements I have been working with into the piece.  I made an appointment with Dr. Daniel Wubah, chair of the biology department at Towson, and a chief of a Fanti village in Ghana.  He suggested that I take this tale of "The Nightingale" and write a new story, drawing from the themes in "The Nightingale."  He also gave me invaluable insight into his culture to help authenticate the story.

    And so, I wrote the tale of Nahtingwele.  Then I rewrote the tale of Nahtingwele.  And rewrote it again. . .and again.  I just couldn't get it to come out right, and then it occured to me:  I was trying to tell a story in a culture with an oral story telling tradition by writing it on paper.  So I recruited Kara Webb to help me.  Together, we assumed the roles of story tellers and, using the written text as a basis, told the tale.  I recorded these sessions into my computer, and used them to mold and shape the story.

    By the end of it all, the tale of Nahtingwele may seem far removed from the tale of "The Nightingale," but most of the important symbols are imbedded in Nahtingwele's story.  More importantly, creating a new story allowed me the freedom to tell my own story; my own tale of personal discovery and of finding my voice as a composer.  And so I offer you the tale of Nahtingwele.