On Race in the American Drumming "Community"

Thu Nov 21 03:18:32 1996
From: LJMonson@aol.com
Subject: Integrating drum communities

Greetings to all,
We are working on putting together a large drum circle after the inspiration of the Earth Drum Council which we observed in DC. However, I continue to be disturbed at the whiteness of the drum community here and the lack of participation by African Americans. From my conversations with African-American friends here, I understand this is due partly to the concern of blacks that this is another area where the whites are taking over the black culture for themselves, but partly to the lack of interest in African drumming in the black community.

I would be interested in the feedback and experiences of others in overcoming this problem, particularly the black members of this list. I don't see the community-building experience as being complete if a major population of our community is left out.

Peace,
Lynn Monson
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Thu Nov 21 06:58:34 1996
From: "Barbara K. Luna
Subject: Integrating drum communities

Hi Lynn, I got the call during a presentation of percussion. The presenter was an educated black man from St. Louis. When I started taking classes with him (this was in Denver, Colorado in 1990), I noticed all the students were white, and mostly women. I asked him why, he said most black people he knew listen to rap or R&B and don't feel compelled to learn this type of music. Why white people are compelled to, and especially women, seems to be that desire to connect to the whole. Isn't that what we all are searching for, in one way or another?

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Thu Nov 21 07:11:13 1996
From: BAILESADW@aol.com
Subject: Re: Integrating drum communities

In a message dated 96-11-21 06:19:45 EST, you write:

[snip Lynne's message, above/MTF]
Dear Lynn,
Baile here (Washington D.C. area USA)

Where is here for you?

My response : What you perceive as a problem, is just that. A problem of perception. The African Americans I've drummed with, and who have been the Major players in the Washington, D.C., Baltimore, Philadelphia, New York, New Jersey, and countless other communities around the USA have been just that, Major Players of African drum music for many, many decades. Of those drummers that I know personally (myself included), we are going to play drums, whether we play with people of African descent, European, Asian, or other. Play it as best we can, whenever, wherever, however we can. That's been the spirit of drumming in the African American community that I know. My point being, whether or not I drum is not based upon how many white people come out to my 'Function' or not. Let me suggest, that, if you are into your drum, and using it as a tool for personal growth and development, that in time you will see (perceive) things differently. Natural things tend to happen in there own 'good' time. But, it' is when that 'own good time' doesn't meet with our own time agenda (if there is such a thing), that we begin picking at it, as if picking at a scab because it won't heal fast enough.

The work of the drum happens 1 person at a time, and only 1 person at a time. As, it is the work of personal development; developing a consciousness of Self(awareness). If one is drumming for this purpose, and this purpose alone, then the racial composition of the drum gathering shouldn't matter. Community building happens 1 person at a time. It is a mental attitude that develops community, not numbers or the race composition of the people.

For me personally, it was enough that you expressed a desire to have more people like me present, that would serve to move me to be sure I was present at your future drum activities. I was at the auction for Baba Olatunji Friday at Senergy, and was at Drum for Peace at the Washington monument the next day. Baba's messages were inspiring, truth, and right on time. As far as those who that weren't there, I know that each person's spirit was doing an inner working that day as it does every day moving those persons towards greater personal development. Knowing this I fret not because of small numbers.

All you can do is inform people about your event. Black or White, Asian or Hispanic, or Other. Just do your work, and don't fret over what you don't or can't see.

Thank you for your wave space,
Baile out
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Thu Nov 21 10:27:14 1996
From: "Mike Manos" mmanos@uhd2.uhd.com
Subject: Re: Integrating drum communities

> disturbed at the whiteness of the drum community here and the lack of participation by African Americans.>

I think the assumption that there is *one* drum community, and that it is primarily white, is incorrect. My observation is that there is a distinct split: there is a traditional African drumming community which is majority black but very well integrated, and there is a new-agey drumming community which is overwhelmingly white.

I have attended many drum circles where people are playing djembes, bodhrans, doumbeks, native American drums, all together. I'm not saying there's anything wrong with this. I often enjoy this kind of circle. But, it has very little in common with traditional African drumming.

The following is my *generalization* based on observation, not flame bait: among the non-traditional group, I see a lot more people who show no interest in playing the various drums correctly, or in learning how to keep a rhythm, or to follow other drummers in the groove. Some people seem to use drum circles as an excuse to smoke dope or flex their egos. This has nothing to do with African drumming, which stresses tradition, discipline, respect for the instrument, working within a group, etc.

So, instead of asking why African Americans are not interested in *the* drumming community, I would ask why they would be interested in joining a (new) white-initiated, white-dominated drum culture when they can participate in a traditional African one.

My point? I guess it is that if people are interested in traditional African drumming, it is up to them to join the traditional African drumming community, not expect it to come to them. That community was there long before the first white discovered that djembes are cool. I (a white) have found nothing but welcome from African and African American drummers when I show interest in that tradition. If you want to do other types of drumming, that's fine but you shouldn't be surprised that African Americans are not flocking to it. I hope people don't see this as divisive; it's just my observation of reality. The two groups should and often do intersect -- just look at Baba's November 2 event.

--Mike
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Thu Nov 21 08:47:42 1996
From: drumpath@aztec.asu.edu  (SULE GREGORY C. WILSON)
Subject: Re: Integrating drum communities

Lynn Monson tells us:
>
>"We are working on putting together a large drum circle after the inspiration >of the Earth Drum Council which we observed in DC. However, I continue to be disturbed at the whiteness of the drum community here and the lack of >participation by African Americans......>"

Lynn, where are you? Who are the AfrAm "leaders" you spoke with? It's hard to comment in a vacuum. Generally, AfrAms participate i their own stuff; the "get together for peace" sounds like a hippie throwback. If whites want to get together with blacks to drum to learn what it's like to not be white (the majority of the world's population) in a white-run, oppressing system, I'm sure more AfrAms will come. There's no place for peace unless there's understanding; no understanding until unconscious white privilege (power) that assumes one can come together and drum for peace is juxtaposed with the reality of day to day racism. That's not on the AfrAms; they know (we know) that game already. It's on the EurAms to pick up on. When that humbleness is there, then they will come. I believe.

As the chat has asked before, why do you want to use African drums? Would European, Asian drums do the same? Is it the African sense of community/ integration that the drums are manifestation of/metaphor for that is being called forth in using these instruments? If so, that's really cool. But know that's what you're doing. Or is it that Africans are primitive, so I can get to my primitive-ness by doing African drums. The way some folks act has given me indications that that assumption is active in their psyche. What do you think?

Sule Greg Wilson

"Sule" was a name given/taken in an African folkloric ensemble I was in, in Junior High School. "Greg" is short for "Gregory", my mother's maiden name. "Wilson", my father's last name.

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Fri Nov 22 10:10:51 1996
From: Doug Kane dougkane@cruzio.com 
Subject: Re: Integrating drum communities

Sule:
I wanted to thank you personally for taking the time to address this issue. As I have pointed out my recent posts to the list, I think it is an important one to be addressed. I find your comments to be very helpful. I am particularly impressed that you are able to express both your pride in your African heritage and frustration with the history (and continuation) of white oppression, without closing the door on those of us pale-faces that genuinely are interested in African music and culture.

At 09:47 AM 11/21/96 -0700, you wrote: >As the chat has asked before, why do you want to use African drums? Would European, Asian drums do the same? Is it the African sense of community/ integration that the drums are manifestation of/metaphor for that is being called forth in using these instruments? If so, that's really cool. But know that's what you're doing. Or is it that Africans are primitive, so I can get to my primitive-ness by doing African drums. The way some folks act has given me indications that that assumption is active in their psyche. What do you think?>

This was a great point. As I understand it, there is a whole movement directed towards "connecting to the primitive." God, I hate that word. The little that I know of the history of African societies (and if I dedicate my whole life to learning about the subject, I'll still only scratch the surface) reveals a wealth of diversity of sophisticated social systems and great cultural achievements. But since these societies don't match the European ideal of what progress is, they get labeled as "primitive". It seems to me that what these people are really doing are boosting themselves up as "enlightened" members of a "superior" race by hypocritically "celebrating" the "primitive" nature of a culture that they not only don't understand, but actively avoid trying to learn about. Ughhhhhhhhh!!!

This thread has forced me to look at myself more honestly.

On the one hand, I realized with a bit of a shock that almost all of the icons that I look to for inspiration are African or African-American. Baba Olatunji, Mamady Keita, Martin Luther King, Malcolm X, Bob Marley, Peter Tosh, Marcus Garvey, George Clinton (for a totally different reason), etc. I could go on and on. Its not that I am trying to appropriate someone else's rightful vision, its just that there doesn't seem to be many white people that stand for the same ideals that resonate in my heart and soul.

On the other hand, even I have residual racist tendencies. There are circumstances where I will involuntarily feel fear of Afr.Am. men if its dark and I'm alone and in "their territory," even it they don't do anything to threaten me. So I know that I, at least, continue to have work to do. But at least I'm trying.

Modupe,
Doug (another green eyed drummer)

******************************************* Fri Nov 22 09:32:43 1996
From: Lynn Walsh lwalsh@interactive.wsj.com  
Subject: Gender & Racial Drumming Discussion

In reference to the racial/gender make-up of people currently involved in drumming. My friends who play Taiko drums were remarking on this subject recently as well. The original players of this disciplined drumming style were traditionally Japanese men. Now the ethnic majority of the group are disciplined non-Asian women.

Good points are being made and I'm enjoying the discussion immensely.

I too have met with very little commitment from Black Americans regarding my invitations to come and explore the drum. (Then again, not everyone wants to go horseback riding with me either.) My experience is that people are often interested and appreciate many things African, but do not necessarily want to come and dedicate themselves to learning to play the music. I also listen to Rock and Jazz but I don't spend my time learning to play it. I'm not interested in making anyone right or wrong in this open question of why there are so many women and non-Africans playing the drums, while there is apparently not enough participation from Black Americans of either gender. The conspicuous absence of African Americans in certain environments is apparent. Perhaps it will unfold naturally as the drumming consciousness expands. Either way, I am a stand for the desire to see more people from diversified backgrounds AND age groups participate in an activity that continues to enrich my life.

As an aside, my daughter, Sahara, who is African American pointed out to me recently when I was begging/cajoling her to drum and/or dance like she did when she was younger... "I should not assume just because she is Black that she SHOULD want to play or enjoy African music as much as I do." She loves ballet and classical sensibilities (EuroAm Music? Lacy pink tutus?). How this happened after being raised in a diversified household full of African music, percussion, ethnic art, eclectic paganism, and a strong Leftist/Feminist mother, I don't know. But her point is well taken. She is confident in who she is and what her tastes and interests are. People who make an assumption that she should not dance ballet or play classical flute because she is Black and that she should instead be taking African drum and dance classes are missing a point. She is knowledgeable and proud of her multi-cultural heritage, the music, food, languages, history etc., but it is not how she chooses to express herself at this point in her life. People are who the are... on the inside, from the soul, not the package we were born into.

Right now there is a very serious problem in Afghanistan (and elsewhere); women are not being allowed to go to school, go back to their jobs in their offices, drive cars, ride bikes, leave their homes without a male relative, keep custody of their children or property and forced to wear an oppressive veil from head to toe. Women who don't go along with this oppressive program are considered weird, ostracized, criticized and executed. Now I hear it's "weird" that women play drums/music? Why must we continue to judge people by their sex, origin or color? Why should One do, or not do, because of how One looks or where One was born?

Part of my heritage is Scotch/Irish. How would I feel if someone (non-Scotch/Irish) played the bagpipe, wore a kilt, became a Druid and danced a jig?. More power to you - it's not what calls to my soul but I'm glad you love it! I've heard that American's are taking over the French culture. The Japanese are taking over American culture. Some people seem to speak about "Whites taking over Black culture" like culture is a very limited "thing", like it's something that can be taken over, bartered or stolen. Is culture a proprietary commodity that shrinks in direct proportion to how many people are participating in it? Culture, creativity, spirituality, musicology and self-expression are unlimited! What about using the word "sharing instead of "taking over".

I know there is space for us all.

If the anthropological theory that we are all decedents of a great-great-great grandmother, Eve, whose bones found in Africa contain DNA found in all races then maybe we ALL do come from Africa. I don't know if the question of why I am so strongly drawn to the power of Africa, drumming, making art, singing, sewing, or making beautiful things will ever be answered. It is a magical mystery which calls to my soul and which I honor and respect by joyously participating and sharing.

Lynn, and others, I wish you the best of all possible outcomes on your commitment to involve more PEOPLE in the magic of drumming and exposing them to the peaceful philosophy of Baba Olatunji (hippie or revolutionist, take your pick) as well as the continued success of Drum, Dance and Pray for Peace. Let me know if I can be of service.

Also drumming up a storm,

Boo Kunta
Lynn Walsh
The Wall Street Journal Interactive Edition
(212)416-3526 fx (212)416-3548
lwalsh@interactive.wsj.com
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