How do you know you are ready to teach?

[michi]

This started in the discussion about TTM certification but I figured I'd rather not take that thread too far off topic...

I'm not sure what the solution is. If i were able to teach at this point - even a beginner's class - I'd do it, but I'm not quite there yet and definitely don't have instruments to loan/rent. And in order to reinstate regular open dance classes, we need a couple of lead drummers (for both djembe and duns).

This triggered a thought about teaching. How do you know when you are ready to teach? How do you know that you can pass on something that is respectful of the tradition? How do you know that you are not claiming a title you are not entitled to?

These questions come up for me periodically when I see people who say they are teachers and, when I hear them play or talk to them about traditional rhythms, I think to myself "this person shouldn't be teaching, they don't have enough depth/skill/knowledge/background yet."

I also see "teachers" who actually take people's money and claim to teach traditional rhythms yet, they can't play a tone and slap to save their lives, have a shocking sense of timing, and the "traditional" rhythms they teach are, at best, a pale and distorted shadow of the original thing. Unfortunately, there is nothing to stop someone like that from calling themselves a teacher...

I guess Mamady's certificate is the only thing in the world that guarantees at least a minimum level of competence: once someone has passed the exam, that at least shows that they have learned a number of traditional rhythms and can pass these on accurately, that they know the cultural background of the music, and that they can play with a feel and technique that pass Mamady's standards.

One problem with the certificate I see is that almost no-one (not even in the djembe world) knows about it. This really limits its usefulness as a quality seal.

Cheers,

Michi.

[e2c]

What you're saying about phony "teachers" is true of just about every other type of music you could name.

The best teachers of Arabic percussion (where I used to live) had stopped teaching, precisely because they'd had a few too many students who took a few lessons and then were out advertising themselves as "teachers." Seems like a pretty common problem to me.

[dununbabe]

@Michi ..."One problem with the certificate I see is that almost no-one (not even in the djembe world) knows about it."
what would be a good way to let it be known that the Mamady's "Certificate", and its higher "Diploma" exist? Do you think there should be a page about it on the website?
How are you coming along with studying ? Have you found a good group of students to work out rhythms with?
re: "being ready", I think it has to do with a persons motivation. WHY are they teaching? to make money? because they just love to play? they love the culture and want to share? I believe that if a teacher teaches without true respect and love for the culture, it will come through in their teachings eventually and they will simply fade away.

[bubudi]

what would be a good way to let it be known that the Mamady's "Certificate", and its higher "Diploma" exist? Do you think there should be a page about it on the website?

i think information on the cert and diploma, and what knowledge the test entails, is kept way too hush-hush. is there any real advantage to this? if anything, the cert and diploma can raise the bar for minimum levels of musicianship by giving people specific goals to work for and also has the potential to raise the general level of teachers. making information about it public would show many people just how much knowledge is to be gained, and may make them actually go study with mamady or one of his diploma accredited teachers, while those people who simply don't have the means to do so may be able to at least set goals to getting someway towards that.

one of the criticisms of ttm i hear from people is that as far as testing goes, it is much about regurgitating set patterns and solos. i know the aim is deeper than that. certainly, these critics don't know much about the ttm diploma (if they've even heard of it). my understanding of the diploma is that while it does build on the foundations of the knowledge in the certificate level, it starts to break into more creative ground and i think that it's therefore well worth making the details of that well-known too. also, a person that is ready to do the diploma test must have achieved certain experiences which would have given them much exposure to mande music and immersion into the culture.

[e2c]

while I have no stake in this, I will say that I've wondered what all is involved in the test and study... it seems like it would be a good idea to spell out the objective standards that are required (being able to do/play X, Y and Z, etc.), rather than leaving them up to people's imaginations. From what little I've heard about the certificate and test, it does seem like there's a lot of secrecy surrounding it - and perhaps a bit of vagueness, too. Am not sure if that's helping or hurting - could be the latter, you know?

[michi]

what would be a good way to let it be known that the Mamady's "Certificate", and its higher "Diploma" exist? Do you think there should be a page about it on the website?

Virtually everything I know about the certificate has come to me by people here in this forum and by talking to other TTM teachers. There is essentially nothing about the program available from any public source, as far as I know (other than what has been posted here).

I think it really would help if TTM had a website or a bunch of pages about the certificate and the diploma that explain what they are about, what the aims are, what it takes to get certified, and some statements about the level of competency that is implied by having passed them.

Basically, if/once I pass my exam, I can put on my website that I'm a TTM teacher. But, without some information to back up what that means, stating that I'm a TTM teacher has little value. I think it would help TTM and the teachers to have a brand associated with the qualification. For example, there could be a separate logo for the certificate that teachers can put on their website, and have the logo link to pages at TTM that explain to prospective students that learning from a TTM teacher implies a high level of competence, skill, and accuracy. This would make it clear to prospective students that they have a reasonable assurance of not falling prey to some charlatan...

How are you coming along with studying ? Have you found a good group of students to work out rhythms with?

Working on it Quite intensively actually. I have 9 of the 12 solos memorised and I can play them with the correct feel, I believe. There are some doubts about handing in a few places, which I'll try to sort out next time I see Mamady. I'm working gradually on the other 60 rhythms, a little bit at a time. I'm also studying with another person here in Australia who is working toward the certificate. We get together periodically to practice, help each other, and critically review each other's playing. This certainly helps, both in terms of getting things right, but also in terms of motivation (besides being a lot fun). And I teach what I study (once I have actually mastered it to the point where I can teach it in good conscience--my students are not guinea pigs...)

I don't want to rush the certificate though. I don't think the point is to cram everything just so I can pass the exam. Instead, I think the point is to have spent time with each rhythm and to have played it a lot. Once that process is complete, the exam is more or less a formality, I guess. In other words, to me, the goal isn't to pass the exam but to thoroughly know those 60 rhythms and to be able to improvise around the solo originals, maintaining the feel and concept of each of these solos.

I don't expect to sit the exam before at least two years have gone by...

re: "being ready", I think it has to do with a persons motivation. WHY are they teaching? to make money?

Not a good reason. Fundamentally the wrong motivation, not to mention the fact that it's well-nigh impossible to make money by teaching, other than as a sideline.

because they just love to play? they love the culture and want to share?

Much better reasons!

I believe that if a teacher teaches without true respect and love for the culture, it will come through in their teachings eventually and they will simply fade away.

One would hope so. My actual experience suggests otherwise. I know a number of teachers who I believe shouldn't be teaching because their motivation is wrong and their competence is lacking. Yet, these people are not showing any signs of stopping. And the students who come to them don't know that what they are learning is wrong, and that their technique is nothing like it should be. Every now and then, I end up with a student like this in my class, and they are dismayed when I gently break the news to them that they'll have to unlearn a fair bit of what they think they know...

For about two years before I started teaching, a number of people kept asking me to start my own classes. I kept pushing back because I did not want to fall into the trap of being yet another incompetent teacher who only thinks he knows what he teaches. I was also acutely aware of my limitations and need for more than just a stash of rhythms in a teacher. After all, this music is about so much more than just being able to play a given rhythm correctly.

Then, about six months before I actually started teaching, two of my African teachers independently said to me "Michi, you have to start teaching, it's the next step for you." This did not come as a request, but as an imperative from both of them. At that point, I felt that I at least could pass on what I know in good conscience, having been given the missive by my teachers.

I didn't start teaching until half a year later. What finally provided the impetus was that my main teacher here left for two months, with the possibility of staying away longer. (Fortunately, he's returned since...) I found myself without a teacher and didn't want to stagnate. So, at that point, I finally went "right, teaching is a good way to learn, and my teacher's hiatus is the sign that it's time to start something."

As it turned out, that was right on the money. Teaching forced me to pay attention to the rhythms I teach in much more depth, so I'm learning more. And the teaching itself teaches me a lot. What works and doesn't work, depending on the student, how to help students get over difficulties, etc. And, as I found out, I love doing it. It's the highlight of my week.

At the last Bundagen camp, Epizo spent a fair bit of time with Linda (my co-teacher) and myself telling us about teaching, about the motivation, and talking about the dangers of teaching. Epizo made it quite clear that teaching is dangerous (yes, that's the word he used). Basically, he warned us about teaching for the wrong reasons. Once you start teaching for the sake of teaching itself (to feed your ego), or you are teaching because you need the money, it's over. Epizo said that "You must have fun playing, and you must want to play for the fun of playing. The teaching then just comes from that. But watch out that the teaching keeps coming from a deep desire to play the music. If that desire goes away, you'll end up being both a bad teacher and a bad musician."

one of the criticisms of ttm i hear from people is that as far as testing goes, it is much about regurgitating set patterns and solos. i know the aim is deeper than that. certainly, these critics don't know much about the ttm diploma (if they've even heard of it).

Right. I think it would be good to get the message out a bit more. Having talked to Mamady about it, I know first hand that the certificate is definitely not about just regurgitating the items on a curriculum. In fact, listening to Mamady, I get the impression that being competent at playing these 60 rhythms is coincidental to the deeper goals, such as becoming an ambassador for Mandingue culture, furthering the cause of TTM, honouring the tradition, and "getting under the skin" of the music and dance. I think Mamady's goal is much greater than just providing a stamp of approval for a set skill level. But that message needs to get out, otherwise the certificiate has meaning only to handful of cognoscenti.

Mamady also spoke repeatedly about the diploma and what a deep commitment and achievement it represents. He obviously takes the diploma extremely seriously. With only four people currently having achieved it, it's definitely not something that can be done without a lot of dedication and personal sacrifice. Again, getting the message out about this would certainly be worthwhile.

Cheers,

Michi.

[bops]

re: "being ready", I think it has to do with a persons motivation. WHY are they teaching? to make money? because they just love to play? they love the culture and want to share? I believe that if a teacher teaches without true respect and love for the culture, it will come through in their teachings eventually and they will simply fade away.

You hit the nail on the head, there.

Many jembe players in the US and elsewhere outside of Africa fall into one of three categories: a) people who started drumming at drum circles, b) people who previously played drumset or other percussion, or c) people who have no musical training prior to jembe. I've noticed that the first two categories tend to want to teach prematurely. For example...

One guy recently made the switch from drum circle facilitator to "teacher". He never comes to any of the master classes when I bring artists to town. 95% of his information, according to him, comes from the web.

Others have advanced degrees in percussion; they have a multitude of students for drumset, marimba, congas, bata, etc. and - hey why not - jembe. They may be very talented percussionists, but with no jembe training, or very little.

Of course, I don't mean to pigeonhole anyone - I personally fall into category b. I think drummers can emerge from any of these paths as true jembefola if their heart, mind, and body are committed to it. However, we must recognize that outside of Africa, we lack what is ever-present over there: an audience (and mentors) that know and love the music. The same people who will inspire you and build you up might also put you in your place if need be. The mentor-apprentice relationship is really important to understanding jembe playing IMO. There has to be a mutual trust, and in this setting, real training can take place. It benefits both parties... it is a symbiotic relationship.

Like dununbabe said, an unqualified teacher might eventually fall out of favor of their students. Those who are committed to learning may find another teacher, while those less inspired may just give up drumming altogether.

[dununbabe]

wow great dialogue! I had no idea that people think the information is "kept way to hush-hush" as there are actually many people who email us and ask about it. We have a pdf all ready, about TTM teacher guidelines. you can email me at the office if anyone would like a copy
athomas@ttmusa.org
maybe the mystery is that the person has not called us or emailed to ask!

[dununbabe]

the neat thing about getting "certified" is that one MUST travel to west African country(Mali, Senegal, Guinea, Burkina Faso, or Ivory Coast) to gain some cultural experience/djembe study. If people are not willing to do what it takes to get there, they will not even be able to take the test. Its not only about regurgitating musical technique, but memorization of the who, the how, the where, and why. Lots of people say things like they can't afford it or whatever. But if you really have a dream, and I mean about anything, you can make it come true.

[e2c]

dununbabe, while I agree with you about being able to make dreams come true, I wonder how this works for lower-income/fixed income kids and adults? I bet there are people out there - in the historic US drum and dance community, for example - who would love to be able to make the trips to Africa (either with TTM or other organizations/groups) who just simply see no way to be able to make ends meet + save money for such costly trips. (Especially when they're supporting families... or are retired or disabled and are on a relatively low fixed income.)

With the US economy going through some serious shakeups - and with so many people losing their livelihoods - I wonder...

Are there eventual plans for scholarships? Or perhaps for working with inner city/at risk schoolkids here in the US and Canada? (Are either Menes Y. or Mahiri involved in the latter at this point? I used to live in the vicinity and know that there's a huge need for kids' programs.)

PS: I know that it takes a *lot* of time and effort to establish programs like the kind I mentioned above; no criticism intended whatsoever!

[bubudi]

We have a pdf all ready, about TTM teacher guidelines. you can email me at the office if anyone would like a copy

would you post it here? you can post pdf files as attachments in regular forum posts.

also, does the pdf cover the diploma level? i am sure there are a great deal of people interested in that. not necessarily people who are ttm certified, either. some people may just like to know what that level entails, to understand what it means if their teacher has a ttm diploma. others may like to work towards some or all of that knowledge as a personal goal without the need to test with mamady or travel long distances for the opportunity to study with him. or perhaps they would work on that knowledge to the best of their ability before making the commitment to study and test with him. and there are probably many more reasons...

[e2c]

good points. I think making the info. public would actually encourage people to work at this, or at similar goals...

[dununbabe]

dununbabe, while I agree with you about being able to make dreams come true, I wonder how this works for lower-income/fixed income kids and adults? I bet there are people out there - in the historic US drum and dance community, for example - who would love to be able to make the trips to Africa (either with TTM or other organizations/groups) who just simply see no way to be able to make ends meet + save money for such costly trips. (Especially when they're supporting families... or are retired or disabled and are on a relatively low fixed income.)

Mostly the way it works is by using the universal law of attraction.... I have never had the money to go, yet I have been able to go 3 times. Anyone can have, do, or be, anything they want. The ideas can be as diverse as the people who have the goal. Grants can be had. Fund-raising can be implemented. Credit cards can be obtained. It is up to the person who wants to go.

[dununbabe]

very great ideas everyone, I am in the process of getting permission to publish the info here. it includes guidelines for the "Certificate", the "Diploma" AND for "School Directors".
drum on!

[michi]

very great ideas everyone, I am in the process of getting permission to publish the info here. it includes guidelines for the "Certificate", the "Diploma" AND for "School Directors".
drum on!

Awesome, that'll be a step forward, thanks!

I would strongly recommend to feature this information quite prominently on the TTM site. And I think some work towards establishing a brand around the qualifications would be useful. Something that provides information to prospective students about what it means to learn from a TTM teacher.
The idea would be to convey something about the ideals of TTM, the importance of the tradition, and to show prospective students that learning from a TTM teacher means that they are not going to fall prey to some charlatan who doesn't have a clue.

Cheers,

Michi.