| Drumming
Music weaves its way through our lives like a river, connecting all that came before us with the future. It carries downstream the timeless wisdom of tradition and the immediate possibilities of discovery and transformation. Like water, it is simple and enduring. In it we can feel the efforts, aspirations and passions of individuals and cultures alike. It nourishes our hearts, helps to heal our wounds and allows us to see beyond our imagination. |
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West African, Haitian, Afro-Cuban and Brazilian Drumming
My most intensive focus of study has been in West African and African diasporic drum traditions. I have been studying Ghanaian music for over twenty years with master drummer Sowah Mensah in the United States and with Aaron Bebe, Seth Gati, Bernard Woma, Osei and other teachers in Ghana. I studied Haitian ceremonial drumming in New York City with master drummer John Amira. And, I had the chance to study djembe drumming from Guinea with Foday Bangoura. My experience with Afro Cuban and Brazilian drumming has been more informal and less extensive but I do incorporate some of those traditional rhythms and techniques in my classes.
Frame drumming, and udu
I spent 5 years studying tabla with Ustad Marcus Wise. I do not offer tabla lessons as I did not pursue this tradition extensively enough and my knowledge of the traditional Indian music systems is limited. I had the great opportunity to study frame drum styles with master drummer Glen Velez in New York City. While my experiences with him and traditional frame drumming is also limited, I have combined my background in tabla drumming with my frame drum studies and have developed an approach to frame drum styles and techniques that I offer to students. I have also adapted techniques from these two traditions and combined them with African hand drumming techniques for a distinctive approach to udu or clay pot drums. I don’t offer specific study on udu but it could be an element of an individualized study program. |
