Left Coast Odyssey Part 2 - Malinke Craze with MAMADY

Hello Friends!

Well - I've been in San Diego for 10 days now, well into the Mini-Guinea Camp with Mamady Keita, which I can only describe as the most intense studying of any subject I've done since graduating college. Each day I am a wide-eyed student for four hours; two in the morning and two in the evening. There are about 20 students here - many from around the San Diego area who drum and teach professionally, and others from Canada, Hong Kong, Hawaii, Northern Cali, Texas, and New York. Most of the students have been studying with Mamady for quite some time. Some are en route to becoming Tam Tam Mandingue (Mamady's school) certified instructors. In order to get certified, one must know all the djembe and dun-un parts to 60 traditional Malinke rhythms and be able to master solo parts for each one.

On the first day of classes, there was a "test," so to speak. Mamady needed to have two groups to work with - technically, an intermediate and an advanced group. But being so very diplomatic (and he really is), he told us we would be separated into two groups based on our levels, so that each group would be learning with those who are at a similar place with regards to technique, sound, timing, precision, and feeling - one of the most important aspects of playing the djembe.

During the "test," Mamady instructed us to play what many call the "passport" rhythm - a pattern that reoccurs in rhythm after rhythm in the Tam Tam repertoire. While we played, he instructed each individual to echo him. He was playing what I thought was a very confusing "handing" (this is a new term I've learned referring to which hands are played at what point in the pattern), with a syncopated rhythm. Not necessarily intuitive. We went around one by one, and when it became my turn, having had the luxury of watching the first 5 people try and mess up, I thought I had it in the bag. But - I messed up - about 3 times - and then got it. But getting it was something that many of the students did not achieve. So I was placed in the upper level group, which was hugely satisfying.

Then we embarked upon total Malinke drumming absorption.

Every morning we learn not only a rhythm and all it's parts - but then we begin learning solo patterns to go with it. One after another, these solo patterns involve extraordinarily complex handing, syncopation, timing and even feeling. I'm not even aware yet of just how I've improved, but I'm strongly integrating my left hand; grasping rhythms that begin on the "and" of whatever and continue on the up beat; understanding how and why certain handing is used; playing patterns that at times seem to go against the grain of the bass (dun-un) parts; improving my left hand slap immensely; and garnering a much deeper understanding of the origins and meaning behind these rhythms.

Mamady, taken from his home and village at an early age to serve in the Guinea National Ballet, tours the world teaching these rhythms and their context. There are Tam Tam Mandingue schools sprouting up across the world. And their purpose is to build unity while gaining a deep understanding of the rhythms and their origins. Many of us enjoy drumming so very much - but I've never felt so connected to this art form than I do now. Mamady has taught us a rhythm he wrote for the tree under which he first struck up a note on the djembe. And one for the little hill in his village from which one can view the entire village, and from which many spiritual leaders have gone to cast away bad spirits. He's taught us one he wrote in honor of his mother, and one that honors the Keita family, and one that honors anyone who enters a room with a large personality.

Mamady and Monette, a drummer in her on right who married Mamady in 2005 and had a baby last year, give so much to so many students around the world. It's the spirit of what they do that has captivated me. It's so beautifully authentic - the roots of all rhythm, really - and I've experienced no sexism or negativity since I arrived. Perhaps this was the most surprising, as I've become accustomed to some level of both in many of the drumming experiences I've had thus far. In fact those experiences have led me to want to create a safe space for women to learn. But Mamady's teaching is both masculine and feminine. And he teaches with both his mind and his heart. It is very difficult to learn some of these complex patterns and polyrhythms - but he is ever patient and enduring and loving with his students.

On second night of classes, we were invited on the fly to perform at an event for Hosteling International, which was happening in the same park (Balboa Park) where our classes are held. Most of us went - deciding 5 minutes before showtime what rhythms to play. Monette was our leader. Mamady was in the crowd, holding Nasira, his tiny daughter, while Monette and Ali, a powerful woman who works for TTM and is a certified instructor, took the stage soloing, and calling on some of us to step up and solo. We all wore our drums. I had the opportunity to solo and what a feeling it was - there was something of an immediate atmosphere of acceptance at this camp that made me feel free to play out and not feel afraid. It was amazing performing with these two powerful women and seeing Mamady below the stage, holding the child.

I'm excited to bring back so much to my own students. There are a few new rhythms I'm ready to teach, but also just a feeling of enhanced skill and enhanced blessing to continue this work. Becoming a TTM instructor is a lofty goal, but I may be able to achieve it in a few years if I am able to support a few more camps with Mamady, including my dream, which is attend one in Guinea. I need to learn more rhythms, and have the opportunity to practice them and build them with my students.

I'm feeling empowered to move forward on creating a women's drumming performance ensemble as well. One question that I feel has been answered for me is about how to use the Guinea rhythms in a non-traditional context. Most importantly, once a person comes to know and understand the rich history behind West African drumming, it is impossible to divorce it from one's work. We may create our own rhythms, knowing full well that we would not have the opportunity to do so without the beautiful works of art that are the drums we play on, and the knowledge that these works of art come from a rich tradition. We must maintain the spirit of this in all of our work. Positivity, peace, unity, and understanding all of us as part of a human family is essential to sustaining the energy present in this gift.

I want to thank you all so much for your energy and willingness to embark on this path with me, and with my spirit and enthusiasm, I invite you to DRUM!