Drum Circle

Great bougarabou drumming performance. Watch and pick up some new techniques.



In modern drum circle situations, the Bougarabou is often used to back up djembes in the percussion group. The Bougarabou can be played as a single drum or in a set of up to four and are normally played with only the hands in a standing position.

Percussionists seeking a rich bass melody will choose this drum over a djembe.


Tribal Mask Bougarabou

Labels: african.drumming, Bougarabou, west.africa, world.beat

Check out this great groove to try at your next drum circle. This video is lead by our friend Bill Matthews. His full instructional "How to Play the Djembe DVD" is available now.



The Bembe rhythm is from the Afro-Cuban genre that is now commonly heard in modern Latin, Jazz and Rock music. Bembe Shango honors Shango, the Yoruban Orisha of Lightning, Thunder, Drums, Dancing and Yams. Musically, this rhythm is exciting because it can be played at many different tempos and still have a great sound.

Instruments Used above:

Djembe
Ashiko
African Double Bells

Bembe Shango history from songtrellis.com

Labels: african.drumming, afro.cuban, ashiko, beginner.djembe, Bill Matthews, Conga Joy, djembe.lessons, Djembe.Rhythms, Drum Circle, drum technique, drum.circle.facilitator, freestyle

The djembe is one of West Africa's best known instruments. Traditionally carved from a single piece of wood with an animal skin drumhead, this hand drum belongs to the membranophane class of instruments, and stand generally between twelve and twenty-four inches tall.

The name of the djembe came from the Bamana in Mali, who said "Anke dje, anke be" to call their people together, as the saying translates as "everyone gather together." "Dje" means gather and "be" means everyone, which gave the drum used in these calls to order its name. The Bamanakans' mythology tells of the original djembe, which was made of the hide of a giraffe-zebra hybrid called the gebraffe.

In actuality, the djembe drum is about 700 years old, and was created in Mali by the Malinke people. The territory of Mali almost a millennia ago was made of parts of current Mali, Guinea, Liberia, Senegal, and Burkina Faso, among other African countries.

Blacksmiths made the first djembes, making each drum custom-fitted to the drummer who would play it. The making of the drum was spiritual, and the blacksmith was obliged to make offerings to the spirits of the trees he cut down. Once the blacksmith finished the djembe, it was delivered to the drummer who commissioned it, a member of the djeli caste. The djeli were musicians, who were responsible for the oral history of their people.

The djeli caste still exists today, and is responsible for the traditional music. The djeli sing and perform during rituals, baptisms, weddings and funerals, and are trusted with the music of their ancestors.

During a performance, the djembe begins the ritual, followed by the singer and the other instruments. The djembe player can change the beat of the drums in order to change the song, and the singer and instrument players use the rhythm to recognize what they should be playing. Meanwhile, the guests at the ceremony dance to the rhythm in a circle. Solo dancers will leave the circle to dance for the djembe players.

Hundreds of years later, the djembe gained a new following after West African countries gained independence. Highlighting the old culture of these newly sovereign states, djembe was used in national ballets, and drew emphasis to the djembe as a musical instrument in and of itself, rather than as an accompaniment. Most modern djembe troupes have done away with their dancers altogether, focusing completely on the music being made.

Even as recently as the 1950s, the djembe was not known beyond African music aficionados and those who grew up with the instrument. However, during the midcentury, Fodeba Keita, of Guinea, brought a tour of Les Ballets Africains around the world. The instrument became well known, and more Americans began using the drum in their music.

In today's musical world, the djembe is making its way into the global consciousness. More people than ever listen to world music, popularized greatly by the rapid spread of West African ballets and orchestras especially during the 1980s. Though the instruments are not being made traditionally, they're more accessible than ever, helping a new generation of drummers discover the djembe.

Labels: african.djembe, african.djembe.drum, african.drumming, beginner.djembe, djembe, Djembe Spirit, Djembe.Buying.Guide, djembe.drum

Actions Speak Louder Than Words is true to its name. In Actions Speak Louder Than Words, an interactive percussive show, the leaders, who mime their way through this Rhythm Interactive showcase, speak not a word. Those in the audience follow along during the event, with an African hand drum at every seat, to perform with the leaders.

The show is the largest interactive stage production in all of New Zealand, providing a memorable experience for both visitors and locals alike. Though there isn't any language during the entire program, Actions Speak Louder Than Words is guaranteed to make you laugh, smile and play along.

Rhythm Interactive provides interactive entertainment both onstage and off. The group does shows for audiences, schools and corporations. Rhythm Interactive emphasizes the concept of unspoken communication, which they manage by miming directions and playing djembe. The show is completely devoid of language until the very end of the performance.

Rhythm Interactive travels anywhere needed in New Zealand and can provide the equipment for your needs, no matter the size of the group. Schools can take advantage of the three music education programs: the Icebreaker show, the drum and dance workshop and the teacher drum workshop.

The Icebreaker show is geared towards large groups of students. It lasts for about 45 minutes, during which the leaders and the students never speak. Each student plays one of the Rhythm Interactive African drums, learning about the benefits of teamwork and understanding. A spoken fifteen minutes of question and answer, and a presentation about the group and their music follow the performance.

The drum and dance workshop is designed for smaller groups of students. It begins with an Icebreaker show, and then continues into workshops that last for about an hour and a half. The group of students will be divided into three, and each smaller group will work with one of the leaders. At the end, the groups come back together and perform.

The teacher drum workshop is taught along the same lines as the corporate shows. It begins with the Icebreaker show and adds teaching material that teachers can use with their students. Corporate groups can choose from a number of different options for their employees.

While Rhythm Interactive is based in New Zealand, the program is one to benchmark for those looking for similar team building and music education workshops around the world.

Labels: african.drumming, drum.circle.facilitator

"Rhythm is the soul of life. The whole universe revolves in rhythm. Everything and every human action revolves in rhythm." - Babatunde Olatunji

Babatunde Olatunji was a Nigerian man who moved to the United States in the 1950s. Though he attended Morehouse College and New York University to work in medicine, he fell in love with drums instead. Many claim that the musician introduced the world to world music.

Olatunji's music stood out to many of the jazz players of the area. Together, John Coltrane and Olatunji founded the Olatunji Center for African Culture in Harlem, the venue that hosted Coltrane's final show. Olatunji joined the Columbia label in the late 1950s. Olatunji made six albums with Columbia, debuting with Drums of Passion in 1959, which introduced many people on world music. The name of Olatunji's band was taken from this record. Olatunji often played with over twenty drummers on his albums, which is more than most musicians.

Olatunji continued to release music borne from a Nigerian flavor, with his recordings, The Drums of Passion: The Invocation and Drums of Passion: The Beat, although he released these under the Rykodisc label. The later album actually featured Carlos Santana, who scored a major hit in his debut release with "Jingo," a cover of a song off of the 1959 record, Drums of Passion. Though Olatunji released only a few records over the course of his more than forty years of active musicianship, with at least one album released after his death, he was a great influence for all types of drummers over time traditional players on bongo drums and djembe to modern players on electronic drum kits.

Olatunji has collaborated with dozens of musicians, popular in both past and present. Olatunji also worked with artists like Quincy Jones, Cannonball Adderly, Mickey Hart and Stevie Wonder. Mickey Hart and Olatunji's recording under the name Planet Drum won the 1991 Grammy Award for World Music. The musician was even referenced in Bob Dylan's "I Shall Be Free," off The Freewheelin' Bob Dylan.

Babatunde Olatunji was responsible for the scores for several movies as well. In addition to recording music with Columbia, Babatunde Olatunji wrote the score for the production of A Raisin in the Sun. He also did the score for the movie. In a move to save his career later on, Olatunji returned to cinema and is responsible for the music in Spike Lee's 1986 hit, She's Gotta Have it.

Throughout his career, beginning with his years with Columbia, Olatunji taught drum classes at a number of venues. He taught classes in African culture and music at the Olatunji Center for African Culture in New York, which he founded with the money from his performance at the New York World's Fair in 1964. He also taught at the Esalen Institute in California and the Omega Institute in New York.

Sadly, Olatunji died a few weeks after finishing Healing Sessions, his last record. Babatunde Olatunji died in April 2003, as a result of complications from diabetes. He was 75 years old. His friend, Dr. Edward "e.B." Williams remembered him fondly and shared a story that humanized this extremely influential musician: "With Tunji being the musician that he was, he was certainly able to appear in situations where there could have been some division of the races. He was always someone who was sought after because of his musical skills so that he was a quiet activist, I don't think that there's any doubt about that."

Labels: african.drumming, drum.circle.facilitator

The heart and tradition of African music is the drum. The original purpose of the drum for the people of Africa for communication between tribes. The type of drum used and rhythm played sent specific messages between neighbors. Three African drums with beautifully rich history are the sabar, kpanlogo and the most widely used today -- the djembe. Each one of these drums has its own song and story in African history.

The most popular of the African rhythms are played upon the djembe, a hand drum that was created by the Numu peoples of West Africa, has become relatively popular in Western music. Such notable musicians as Paul Simon, Peter Gabriel, and Ben Harper have all used the djembe's unique sound in their body of work, and it is featured in the unique performances of Cirque du Soleil. The djembe is a communicative drum, used to bring people together. This drum creates music from the bass notes created from hitting the center of the drum head, and tone notes from hitting the edges of the drumhead. The drum is thought to contain three - these are the spirits of the drum's creation. Spiritually, it was believed that the drum had one from the wood or the tree, one from the hide of the animal, and one from the man who created the drum.

Many other popular types originate from the kpanlogo drum, created in the Greater Accra Region in Ghana, Africa. This drum brought forth kpanlogo music, and is used often for dances. When the kpanlogo is played, it is usually a time for celebration. Because of this use it quickly became known as a ceremonial drum. Dancers are led by the kpanlogo lead drummer's beat. kpanlogos are usually played in groups, with rhythms created by more than one player. However, it is usually accompanied by a djembe or some other drum to produce the core beat.

The sabar is one other type of drum, this one originating in the West African nation of Senegal. However, this drum is played in a contrasting manner to the others, as it requires the use of a hand and a stick. The sabar was used for communication between tribes, as the sound could travel great distances. The meanings of the rhythms included cries for help or warnings. The kpanlogo has much the same function. The sabar is used for such occasions as births, weddings, and various holidays. Sabar drum beats today are kept alive through the work of the Senegalese musician Doudou N'Diaye Rose, a man born in Dakar, the capital of Senegal. Doudou N'Diaye Rose alone has created over 500 drum beats on the sabar, his instrument of choice.

Labels: african.drumming, djembe, Kpanlogo, Sabar

African dance's popularity is due in large part to the involvement of djembe players.

African dance is a means of creating community and of celebration. African dances teach people about their society and morals, while urging them to work and entertaining them. It is an important aspect of communication, as dance can be used to chastise or praise individuals. Dance is also used for religious festivals and prayers.

Traditional dance emphasizes the collective, with groups of people performing at once. Though the dancers may be separated into age or gender groups, dances articulates the togetherness of the community.

African dance can be difficult to learn, as it utilizes polyrhythm, in which limbs, pelvis and chest move separately, to different rhythms.
Dancers use their entire bodies to express themselves.

The most recognizable aspects of African dance involve the body of the dancer. Knees are bent, feet are stretched, no line remains stationery, always moving. There are many centers of motions, due to polyrhythm. In traditional African dance, there was a great emphasis on the earth bond.

African dance classes are becoming popular as a result of their association with Modern dance. Modern dance borrows heavily from more primal forms of movement, like the dance of the Masaii where performers jump up and down repetitively. The dance has found a huge market for people interested in stress relief, as well as those interested in the aerobic benefits.

Enrolling in African dance classes is a simple way to gain exposure to another culture. Beyond exercise and learning a new skill, African dance classes provide opportunities to join a community. What better way to build a village than to do so by swinging hips, stomping feet and swaying arms?

Djembe drummers lead African dance classes. A djembe drum is a West African hand drum with a body that is hand-carved from a single piece of wood, with a goatskin drumhead. Serious drummers usually buy African djembes, because they are made with higher quality materials than American drumheads. African goats have tougher skins, which makes for a better drumhead, and American drums are frequently made of plastic, fiberglass, or any number of manmade materials, which changes the sound created.

The drumbeat is the heart of many African communities. Drums are used as a call for meeting, and playing the drums in concert with a group of people creates a sense of solidarity and togetherness. The drum allows connection.

The drum also allows for polyrhythm, one of the central parts of African dance. The djembe player can vary the sound of the instrument, changing the mood or meaning of the song, as well as the course of the dance. The djembe player controls the dance, creating the rhythm and feeling of the music.

The beauty of the music of the African dance is that the djembe is portable, so the music is mobile. Dance doesn’t occur simply in studios, it follows the djembe player like children following the Pied Piper. Even better, members of the dancing troupe can take over for the djembe player, due to the ease of performance and learning.

http://www.flickr.com/photos/seattlemunicipalarchives/ / CC BY 2.0

Labels: african dance, african.drumming

There have numerous studies on the effects of music on the fetus during pregnancy. Parents wonder if there is a prescription for the right amount of music or the perfect musical genre that will make their baby smarter or more musical. All studies so far are inconclusive however, it is a known fact that including music during the pregnancy period is a great way to develop a prenatal bond.

Although your baby's ears don't completely develop until the fifth month, fetuses respond to noise before that, which has led some researchers to believe there's more to hearing that the ears.

While there is no scientific evidence stating that exposure to music will increase the level of intelligence for a fetus, a study conducted in the UK has proven that music will boost memory. Babies that listen to music in the uterus respond to the music played for up to a year after birth. This shows that the fetus is capable of creating memories will still in the womb.

Using prenatal stimulation helps to connect you to your child before birth, so that the baby will be able to communicate. Playing familiar and soothing sounds, or even singing a simple lullaby will put your child at ease, and provide a grounding point after birth.

The protective amniotic fluid around your fetus conducts sound well, so your baby is able to clearly hear music and voices. Turning up the sound too much can disturb the fetus, so try leaving your stereo as background noise, or turning the volume down on the headphones if you're planning on placing them on the belly. It's not quite the period for restless nights; try not to over stimulate the baby with too much noise.

When choosing music for your baby to listen to, keep in mind that repetition is key. Any song that excites you is a great choice for your baby, as the hormones release from your happiness have a positive impact on the fetus. Beethoven and Mozart are always favorites, but you can listen to anything from Madonna to traditional African drum music, as long as there's enough repetition to increase the chances of memory production. Mixing up the types of music helps diversify your baby's tastes, and activates different areas of the brain. Baby Einstein offers a line of classical music CDs that you and your baby can enjoy together.

Singing a lullaby to your baby is a great opportunity to make a lasting connection. The fetus has an incredible ability to discern your state of mind, and reacts based on your mood.

Additionally, the baby will learn to recognize your voice, which will increase your bond after birth. It has been proven that babies can recognize their parent's voices, which creates a sense of familiarity postpartum. Babies that have been sung to in utero frequently sleep easier than babies with no prenatal stimulation, as the parent's voice is comforting.

Use moderation when stimulating your baby. Incorporating too much music can overstimulate the fetus. Pay attention to your own feelings.

If you have grown old of a song that you've played repeatedly, it is likely that your baby is bored with it as well. Make connecting emotionally with your fetus a special time for you and your family.

Sounds of a traditional drumbeat can be soothing for a mother and her baby. X8 Drums offers a collection of drum rhythm cd's ranging from beats of the cajon drum, conga drum, bongos and the djembe.

Labels: african.djembe, african.drumming, djembe, Djembe.Rhythms, the.healing.power.of.the.drum