what is the vision for your class?

[bubudi]

everyone has a different idea of what their class should be. what's your special contribution to the community and to mande drum or dance? or what would you like to be doing with your class in the future?

[Carl]

Wow, open ended question much?

I guess I'll start with my vision, to develop my studio space as a source for traditional percussion music and dance.

Long term, I'd love for there to be something going on every day at the space. Mande dance one night, capoera (spelling?) the next, afro-cuban after that. This is a huge LONG range goal, might not make it, but if you are going to dream, dream big.

As far as my own contribution to the culture, I see my roll as a developer. When I started teaching, none of my students knew the name of any African players... forget about knowing who teaches or what they teach. I'm glad to say now that there are many people in the region who now at least know who Mamady Keita, Famoudou Konate and Moussa Traore are. Hopefully some of them also know that there are more teachers out there. When these teachers are in the area I can usually count on seeing 8 - 15 people who are current or past students of mine.

Switching to the long term again, one of my goals is to have a "feeder program" where I go out and teach beginners in a seminar fashion (at Schools/Churches/Camps) Some of them start coming to my class once a week. This would develop a community that could support my bringing up local teachers from Boston. Obviously I'm thinking of Moussa here. I'd also be bringing in regional teachers (like Mahiri). And in the end being able to host the big guns from West Africa.

I also feel that it is important to help out the culture that has brought this music to life. I currently work with Kiva to lend money into the area to help develop their economy, and one of my bandmates has worked with Moussa to bring a cultural exchange between students in a local school and students in Mali.

The hard part is that I am way down on the "learning curve" for these goals. I usually can only get one "feeder" gig in a year. I teach one class a week averaging 8 - 10 students. My big break this year was setting things up with Mahiri, so now I can start having "big events" every few months.

I've been running my studio at a loss for about two years now, Just 2 months ago I started breaking even!

So there is hope.

C

[Paul]

Good for you bro,

I am on a similar buzz here in Dublin. Its taken about two years but now I have a a strong class with two levels. I am getting people who have learned before but let it go coming back to the drum.. With my long term students I play for dance classes and do some charity gigs. For the gigs and dance classes I can be strict as Im not getting paid.. Never more djembes than dunduns, but I will have 2 dunduns if necessary, this has increased the demand to learn Dunduns in my class as I am quite frank that they will be picked to play first..

The global recession has been great for me,, I always stopped teaching for the summer before as people were on holidays, but classes are packed these days, 17-20 beginners and 10-15 advanced...

Hoping to get a full time space like yourself someday....

[bops]

I don't teach ongoing classes anymore. I didn't have the patience for people who had a minimal level of commitment to learning jembe. There were some students who would come sporadically, never practice or study, and never remember anything I told them or taught them. They never improved. That was very frustrating for me. The kicker was when I saw a former student, who had come to my classes regularly for several months, at a summer festival...she introduced me to her friend as her "doumbek teacher". As the old saying goes, you can lead a horse to water but you can't make it drink.

On the other hand, I have several students who have progressed very quickly. They have all had previous drumming experience, mostly drumset, but also congas, bata, pandeiro, etc. I like working with drummers. They have already learned how to learn, so we don't have to work on those aspects. I work with those guys in a performance ensemble setting, rather than a class. We can get through 2 or 3 arrangements in a single rehearsal. After that, it's all about polishing and refining. There are drawbacks to this as well, and I'll get to that later.

I still like to work with beginners though, and I periodically teach workshops open to all levels.

[michi]

As the old saying goes, you can lead a horse to water but you can't make it drink.

Amen!

I've seen literally hundreds of people show up at my teacher's beginner's classes over the past few years. (I used to play dundun for his beginners.) In my estimate, there is one person for roughly every two hundred who is passionate enough about the music and talented enough to stick with it and actually go somewhere. Most people show up, try this drumming thing for a few weeks, and think it is fun. But they don't feel so strongly about it that they keep it up and they drift away and try something else, maybe dancing, scuba diving, football, or whatever. I guess that's fair enough--people are entitled to try something to see what it is like and move on to other things.

One thing that saddens me is that so many djembes end up as ornaments in a corner somewhere, or gather dust forgotten in a garage. That's a lot of trees that end up dying for nothing.

It also seems that, to become a good drummer, there some genetic component that cannot be acquired by learning. When I see a group of beginners who are touching a drum for the first time, I can pick out the one or two "who've got it" within the first five minutes. There is something about having this innate sense of timing and rhythm that is a gift of nature, and don't think any amount of study and rote learning can ever compensate for lack of that gift. (I know a few people who "haven't got it", but who've been persistently drumming for a decade or more, hanging in there. I admire their tenacity and love for the music, and I pity them at the same time--after years of playing, they still cannot keep a simple djembe accompaniment or dundun pattern stable and locked in...)

On the other hand, I have several students who have progressed very quickly. They have all had previous drumming experience, mostly drumset, but also congas, bata, pandeiro, etc. I like working with drummers. They have already learned how to learn, so we don't have to work on those aspects.

Those are the guys who are fun to teach. I get an immense kick out of a teaching session where people "get it", and I see the smiles and the joy and the revelation on their faces when they acquire a new skill and make music.

For me, the vision for my classes is to liberate people, to give them a voice, to encourage them to express themselves artistically, and, most importantly, to have fun. One thing that really struck me after I started teaching was that, at the end of the dance class (following the drum class), the drummers were still sticking around, as were the dancers... They just wouldn't leave, standing around in groups in the driveway in front of the venue and chatting and joking. I find that very rewarding. Aside from the drum and dance classes, it seems there is a community forming around the classes. People just like to hang out together and enjoy each other's company. We now occasionally have a BBQ after classes in a nearby park, and students take part in performances at community events.

This community thing going on is really important I think, and the more of that happens, the better. The classes aren't about creating a breeding ground for new Mamadys or Famoudous (besides, I'm not a good enough drummer for that anyway). The music and the skill are important, and I try to impart as much of that as I can. But, to me--more than anything--the classes are about having a good time, and experiencing the joy of the music and dance. In other words, it's about happiness...

Cheers,

Michi.

[atam]

What is most challenging in this topic for me is finding the appropriate balance between the tradition and my personal addition or creation.

My situation is different from most of the people who frequently write to this forum. I live in central Europe and in my region there is no good african teacher within hundreds of kilometres. There is 1 person in our country who went to Senegal 2-3 times to learn percussion, but he also lives more than 100km from here and has his bands, circles and stuff he is quite busy with. A journey to west Africa is more expensive than I make in 7-8 months in total. Yet, I am a father of a nice little boy, with my wife still on the matrenity leave. To conclude, the first-hand experience is usually very expensive or unavailable for me.

Therefore, but maybe not at all only for that, I perceive traditional mande rhythms and arrangements first of all as a nice realm for study and inspiration, but without having opportunity to master it to real depth. Still, I am one of the best drummers of this kind in our country and the number of my students is growing.

Many times this image comes to my mind: a group of africans try to rehearse traditional peoples songs and dances from my culture and present it as our tradition in their country. Isn´t that ridiculous? Please don´t get me wrong, I deeply love djembe and mande rhythms for some 8 years and have had many other musical experiences before. But I really think that although being fascinated by mande rhythms, our role is not to copy their arrangements, clothes, etc., but maybe bring it to the light and create something new..

It is maybe also about one´s possibilities and whats real and unreal. I can´t compare myself with e.g. bops, and therefore my aims, motivations and ways must be different. But still, I am convinced that every musician should once reach a point, when he will become a master creating his own style and path.

If anyone likes it or not, there is plenty that africans can learn from us - maybe as much as we can learn from them...

[michi]

Many times this image comes to my mind: a group of africans try to rehearse traditional peoples songs and dances from my culture and present it as our tradition in their country. Isn´t that ridiculous?

Very interesting question, with many possible answers.

Your question conjures up an interesting image in my mind... I grew up in Bavaria. When I picture a group of African men putting on traditional garb (lederhosen, knee-length socks, etc.) and performing a "Schuhplattler", somehow, the image doesn't work.

But then, I've performed in Africa for local people, and their reaction clearly was one of enjoyment, with men and women dancing just as they would if black musicians were playing. Occasionally, there is the initial reaction of "oh look, the pink elephant can drum!", but it quickly seems to wear off and then the music takes over. So, I don't think it's ridiculous when a white person performs for the locals in Africa. I think the locals' reaction is mostly based on whether the music grooves and whether the dance rocks rather than the skin color of the performer. And, anyway, in Africa, even in a non-village setting, the music and dance are far more of a participatory thing than a performance, so the white person doesn't so much present the tradition to the people in their own country, but simply is another artist who's into the groove...

But I really think that although being fascinated by mande rhythms, our role is not to copy their arrangements, clothes, etc., but maybe bring it to the light and create something new..

I'd say that there isn't one defined or assigned role for us with respect to African drumming. A lot of people simply get sucked into this African thing and Mande music without really meaning to. The start to learn the djembe or dance, then they want to find out more about it all and go to Africa, then they get to know the people and the culture and fall in love with that, then they get better at their music and dance and devote more time to it, then they do more research into the background and history and, before you know it, you have someone who knows a lot about Mande music and dance, loves doing it, and teaches other people about the tradition.

And, as far as I can tell, that is just fine with many masters: Mamady is very explicit about this, but I have heard other masters say the same thing: they want people to spread the culture because that's the only way to keep it alive.

But there are also plenty of people who do non-traditional things with their West African drums and innovate by combining it with instruments from other cultures and doing all sorts of things that most definitely are not traditional, but can sound awesome anyway.

Either way is legitimate and fine.

But still, I am convinced that every musician should once reach a point, when he will become a master creating his own style and path.

Being able to competently express one's own ideas musically is one measure of mastery of an instrument. I agree that, for a musician, that level of achievement represents a milestone of maturity. On the other hand, I do remember the parabel of the master scolding the student for innovation: "before you can do it wrong, you have to learn to do it right."

To master any instrument, it's a really good idea to go to someone who really knows what they are doing on that instrument in a traditional sense and learn from them. Once I have mastered the instrument in that sense, I can go and invent all sorts of things. Alternatively, I can choose to completely ignore any and all masters and simply play the instrument to my heart's content and invent all sorts of things too. Either approach is completely valid. But chances are that, if I have learned how to it right first, I will innovate with competence, and I will draw on the rich source of culture that comes from the tradition. If I haven't learned how to do it right first, I can still innovate just as brilliantly. But the chances of that actually happening are smaller that way, in my opinion.

That really is no different from western ground-breaking musicians who have innovated against the background of a classical music education: there are many such musicians. There also are western musicians who, despite being self-taught, are considered masters and have done ground-breaking things. But it seems that there are far fewer of those...

If anyone likes it or not, there is plenty that africans can learn from us - maybe as much as we can learn from them...

Yes, and I think the truth of that statement is self-evident. There are tons of things Africans have learned from the west. (Take one look around an African city today and ask yourself how many things you see that would not be there if there had been no contact with the west.)

When it comes to the djembe, I'm sure that there is an exchange in the other direction too. Once a musician becomes competent enough, he will become a teacher merely by making music with other musicians, even if there is no formal teaching going on. And when a westerner pulls out some great new and interesting way of playing a drum, I have no doubt that African players will pay attention and learn what they can. What matters is the music, not who plays it and how!

Cheers,

Michi.

[atam]

I grew up in Bavaria. When I picture a group of African men putting on traditional garb (lederhosen, knee-length socks, etc.) and performing a "Schuhplattler", somehow, the image doesn't work.

I like this extreme comparison a lot ! Don´t you think that the man in the middle of Schuhplattlers looks a bit like Famoudou K. ?

But then, I've performed in Africa for local people, and their reaction clearly was one of enjoyment, with men and women dancing just as they would if black musicians were playing.

Yes, I am aware that from my side this dispute is a bit academic - the first-hand experience will usualy show you the right way, even if it is not logical at all for your mind and thinking...

To master any instrument, it's a really good idea to go to someone who really knows what they are doing on that instrument in a traditional sense and learn from them. Once I have mastered the instrument in that sense, I can go and invent all sorts of things. Alternatively, I can choose to completely ignore any and all masters and simply play the instrument to my heart's content and invent all sorts of things too. Either approach is completely valid. But chances are that, if I have learned how to it right first, I will innovate with competence, and I will draw on the rich source of culture that comes from the tradition. If I haven't learned how to do it right first, I can still innovate just as brilliantly. But the chances of that actually happening are smaller that way, in my opinion.

I know this conception, it is usually taught by masters of any art: dont create your own expression, till you master mine, otherwise you can easily go astray.. The question now is when is that point when I can. What is an initiation for me? Again, sounds academic, although having a meaning difficult to capture in words. I think there are no boudaries in possibilities for the personal development, even for masters. So everybody has to decide on his own, based on his inner feeling and persuasion.

When it comes to the djembe, I'm sure that there is an exchange in the other direction too. Once a musician becomes competent enough, he will become a teacher merely by making music with other musicians, even if there is no formal teaching going on. And when a westerner pulls out some great new and interesting way of playing a drum, I have no doubt that African players will pay attention and learn what they can. What matters is the music, not who plays it and how!

This is a nice conclusion Michi. I really appreciate your insight and constructive approach - I think it is a huge contribution for this forum !