Bringing Ivory Coast Drumming to America
by Jason Borisoff
I’ve been fascinated with rhythm as far back as I may remember. I lately saw an aged family movie taken when I was 2 years older, tapping my spoon from the table between bites of Cheerios. It wasn’t until attending my initial drum circle years later (and after scores of annoyed level school teachers), that I finally found a house for my incessant banging.
A unusual and unexplainable sense of calm and entrancement could come over you at the peak of the communal rhythm. You don’t have to talk to the stranger sitting upcoming to you to reach recognize them; everyone in the circle is interacting with rhythm. In that time, everyone is at total peace with each alternative.
“The drum circle, back house, represents unity,” states Biboti Ouikahilo in a deep voice inflected with his native French. “If you receive in the circle, you create peace. Back house, it happens to be surprisingly effective.”
“Back home” for Ouikahilo is Ivory Coast, a West African nation with wealthy rhythmic and dance traditions, which was colonized by France until 1960. While the colonizers will have mostly stripped Ivory Coast’s 60 ethnic groups of their native languages, their music traditions have been preserved. From his 17-year stint as a expert musician and choreographer in Ivory Coast’s National Ballet touring dance and drumming group, which showcased each of the country’s ethnic groups, Ouikahilo became an expert in the musical traditions from his house nation.
After the National Ballet dissolved in 1995, Ouikahilo prepared plans to share his extensive knowledge with all the planet. “I desired to share what I learned within the National Ballet with folks who can not understand about it [these traditions], instead of remain at house,” he states. He relocated to New York City in 1997, working as a instructor and performer, and he even went on tour with Jimmy Buffet in 2000. But, in 2003, while operating for Syracuse University, he found his future house.
“I grew up in a big city, and when I came to the US, I lived in another big city,” Ouikahilo explains. “I didn’t think that, being in New York City, the persons were going to take to my content because there are a great deal of drummers and dancers there. I was trying to find a quiet region, where persons would hear.”
Last year, Ouikahilo and his spouse, Jill, a Syracuse-native and African drum and dance expert, opened up their dream company, Wacheva Cultural Arts business. And they couldn’t have selected a greater spot: Syracuse’s Westcott neighborhood, where artists, pupils, and for wish of the greater word, “alternatives” congregate to shape a wonderfully colourful and diverse section of town. If Ouikahilo was shopping for a region with open ears, he absolutely found it in the Westcott Nation.
One evening after work, I grabbed a digital recorder and my trusty djembe and produced the walk to engage in 1 of Ouikahilo’s classes.
As it turned out, I didn’t have to bring a drum at all–Ouikahilo had an impressive collection of djembes, dun duns, and shakeres, set up and prepared to go in 1 of Wacheva’s 2 dance studios.
Joining 3 of his usual pupils and Jill, we played a conventional rhythm called kadama, which originates from Ouikahilo’s own ethnic group, the Guro persons. “Kadama signifies ‘let’s try it’,” explains Ouikahilo.
According to legend, kadama was built by the Guro persons, who were striving to write a ceremonial rhythm, except that nobody would take the initiative. Finally, 1 individual had enough and took charge of the condition, performing improvised rhythms to the group. Through trial and error, they arrived at kadama. The content is regarded as creation and initiation: the creation of the rhythm, being played together, symbolizes what 1 will do, both individually, and in contribution to a better entire.
This wasn’t the form of drum circle I was selected to. In truth, Ouikahilo performed from behind the dun dun, and the pupils were lined up facing him. It wasn’t officially a circle at all. However, there was anything surprisingly effective about this setting. Unlike a free-form drum circle, everyone in this group had a clear part to play, a certain area to “sit” in the rhythm. If any 1 individual dropped out, the entire thing risked collapse.
At initially, this was a small unnerving to me, as I was playing a foreign instrument, the shakere, and playing a rhythm I had not heard before. Additionally, the rhythm became more complex as each new drum was introduced, creating me worry that I would lose myself in the blend. I swiftly relaxed into my part, yet, and within a limited minutes, it felt completely all-natural. I even began to have the same sense of calm and camaraderie with all the different pupils that I had felt at drum circles.
“There’s the bodily advantage of playing the drum, along with a real connection because you’re utilizing your hands to play,” states Jesse Covell, a wireless engineer and 1 of Ouikahilo’s devoted pupils. “There’s equally a spiritual connection when you receive into the rhythm together. We’ve actually grown, all of us together.” Covell played drums and percussion throughout level school, but not had the opportunity to discover conventional African drumming until joining the class.
Lynne Fall, an workplace coordinator at Syracuse University, has equally had a fascination with African drumming for a lengthy time, and enjoys taking piece in the class every week. “I usually utilized to observe drum circles in Central Park, when I lived in New York City, and I was completely captivated” she states.
When Fall moved to Syracuse a limited years ago, she experienced the same captivation when she watched Ouikahilo drumming with members of the community, which inspired her to discover to play. “He had non-Africans with him playing drums, and I mentioned to myself, ‘They had to discover how to play the drum. They didn’t discover it growing up!'”
She has been taking classes for about a year, and Fall finds the conventional aspect of the drumming style–connection through time–very appealing. “I love that it’s being performed the same means now that it’s been completed for decades,” she claims. “The drums are prepared the same, the rhythms are the same, and the sound is the same. There’s nothing high-tech about it; it’s pretty primal.”
“Rhythm is piece of our culture,” Ouikahilo states of his house area. “When we are in the harvest, the drum is there; when there is any ceremony, ritual, or marriage, the drum is there.”
This design of ritual drumming, accompanying conventional weddings, harvests, and funerals, has little to no relevance in our culture. Social drumming, in the shape of the drum circle, nevertheless, does exist here, and it has much the same purpose as in Africa: to promote peace, unity, communal bonding, and occasionally, changed states of consciousness.
Additionally to training conventional African drumming, Wacheva hosts free community drum circles led by Jill Ouikahilo. Having studied conventional West African drumming and dance, she is excited to provide a more free-form fashion of drumming to the community. “Why we’re carrying this out is to build more energy in the community, and it’s a ideal wedding to have conventional African drum classes with all the drum circle,” she claims.
Look around your town; odds are there is a cultural ambassador close by. Exposing yourself to music from alternative cultures provides you a glimpse into different techniques of existence that are fairly different from your. In understanding about additional types of music, you gain a fresh perspective found on the designs that you know and played your whole existence.
I really liked this taste of conventional African drumming. Obviously, there is a lot to discover, but a few of the advantages jumped out at me instantly. As we were exiting, Jesse and Lynn asked me enthusiastically, like we had acknowledged each alternative much longer than the one-hour class, “You’re coming back, proper?” The bonding force of music not fails to amaze me.