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African Drumming
Becomes a World-wide Phenomenon
Prof.
Johan Malan, University of Limpopo, South Africa
In
many Western societies, institutions are adopted from pagan cultures
by isolating them from their original cultural context and practising
them as social amusement or even to promote a mystical experience.
The recipient community regards such institutions, e.g. African
drumming, as a form of cultural enrichment without considering
the religious compromise that is inevitably involved in the process.
It
is important to grasp the principle that in pagan religions, such
as the African religions, cultural dances, music, the ritual beating
of drums and the use of masks to identify with mystical persons,
spirits or gods, all form part of their religion. Even the narration
of stories often dwells upon religious themes such as myths of
origin and the animistic belief that material objects are infested
with spirits or supernatural powers that can positively or negatively
influence people’s lives.
According
to traditional African beliefs, human life is actively and frequently
influenced by the following two types of supernatural powers:
Personal supernatural powers as
represented by a people’s ancestral spirits. These spirits demand obedience to tribal traditions by their living kin
and also acts of devotion to deceased relatives through prayers,
dances and sacrifices. Compliance to their demands leads to blessings
while non-compliance evokes the anger of the ancestors which manifests
as diseases or various other misfortunes. Some people are chosen
by the spirits to become diviners and traditional healers. This
leads to a more active association with the spirits, in which
the latter act as divining spirits. The spirits are often invoked
to possess a learner-diviner through ritual dances and the beating
of drums.
Impersonal supernatural powers of
witchcraft and healing.
These powers are used by people who have been trained in the dark
secrets of witchcraft aimed at harming others (“black magic” or
“magic of the night”) or in the socially acceptable practising
of occult powers to counter and break the malevolent powers of
witchcraft and sorcery (“white magic” or “magic of the day”).
The diviners and traditional healers who practise the latter rely
on their ancestral spirits to guide them in the process of divination.
The spirits are often summoned by the beating of drums.
Modern
interest in traditional religions
One
of the characteristics of the emerging postmodern culture in many
countries is a keen interest in and commitment to reviving aspects
of premodern cultures and religions. The ideologies of modern
times, notably secular humanism, socialism, and capitalism, have,
by their secular approaches, deprived humanity of true spirituality.
Even Christianity has been adapted to suit modern man, with some
theologians shamelessly stating that you do not need to be a believer
when making a study of the Bible. Theology was reduced to a mere
social science, and many churches ended up as social clubs for
nominal Christians – those who only have a form of godliness but
denying its spiritual power (2 Tim. 3:5).
In
postmodern society, various methods are applied to fill this spiritual
void. Some churches have adopted a “new spirituality” based upon
dreams, visions, signs, wonders and prophecies by specially “anointed”
prophets. Others have turned
to psychological techniques of personal transformation, while
some have taken their refuge in the revival of mystical techniques
such as medieval contemplative prayer. But there is also a growing
number of “believers” who borrow techniques of spiritual expression
from pagan religions.
Educationists
are also following suit by adopting ideas and practices from the
primal religions to give spiritual content to multireligious studies.
The University of South Africa published a book (Primal Religions Worldwide, 1992) in which the
author, S.A. Thorpe, says:
“It was my desire to utilise such
a book as prescribed material for undergraduate students enrolled
for the descriptive division of primal religions in a religious
studies course... I
believe that those of us who come from a western Christian background
have impoverished ourselves by a refusal to acknowledge the enrichment
which primal religious traditions could give our own religious
perspectives... It is not uncommon for prayer to take forms beyond
mere verbal expressions. Since prayer is a means of maintaining
communication with the spiritual realm, actions as well as speech
may be viewed as prayer forms. Dancing for example, is commonly
practised in this way in many world areas... The
practising of various art forms, such as painting or carving wooden
objects such as masks, can also be viewed as a means of maintaining
communication with the divine and thus as forms of prayer. Music,
often highly rhythmic drumming or clapping, can be viewed in the
same light.”
Mystical theories and practices of the New Age Movement are to a large
extent responsible for introducing a new kind of spirituality
to educational systems and
many churches. There are clear efforts in many schools to
re-establish our unity with earth and spirit. Multicultural, global,
environmental, and arts education teach children the occult formulas
that once linked the world's shamans, voodoo priests and medicine
men to their respective spirit guides. While words will differ
from culture to culture, the pagan practices within earth-centered
traditions are similar around the world.
Training
and workshops
The
interest in African drumming has exploded into a modern fad in
many countries of the Western World. A Google search on “African
drumming” would reveal the multiple organisations that offer training
courses and workshops on this subject. From these sources, various
applications of African drumming are evident. The following are
the major categories, formulated in the way in which they are
usually presented:
Spirit Drum – Drum Spirit: We will explore the spiritual aspect
of drumming by getting in touch with our soul. We will learn to
play rhythms for ritual and meditation from different traditions
world-wide and will also explore our personal rhythms within our
souls. This workshop is suitable for total beginners as well as
for drummers with some experience. Drums available.
Playing with Time – a Drumming Meditation: Take your time to discover and feel
the magic of slow and healing rhythms within you as well as to
learn ritual drumming from different traditions. Listen to your
heartbeat and breath. Become one with your drum, playing meditative
rhythms. Relax and enjoy!
Trance and Ritual Drumming: Truly beyond words, to be experienced!
We will play rhythms from different spiritual traditions, suitable
for total beginners and drummers on the spiritual path. Drums
available.
Shamanic Journey: Shamanism is the oldest belief system on earth
practised by tribal people who live(d) in harmony with nature.
In this workshop we will use drumming, chanting, movement and
safe trance-techniques to communicate with the spirit-world and
the invisible forces to bring about positive change, healing and
well-being.
Tibetan Singing Bowls and Sound Healing: The ancient Tibetan Singing Bowls
produce soft sounds and powerful vibrations, which we will use
for meditation, healing and sound massage to restore harmony in
ourselves.
One
of the many training programmes is discussed by Audrey Pia. She
says:
SOUL
(an acronym for Spirit Of Universal Love) is
an Evanston based educational agency, which provides enrichment
programmes to schools to promote life skills, creative expression
and cultural fluency through the arts. SOUL's Executive Director,
Gilo Kwesi Logan, is a native Evanstonian who earned an M.A. from
National-Louis University. He founded SOUL after travelling for
more than five years across four continents and more than twenty
countries exploring the world's diverse cultures and lifestyles.
The programme introduces students to the fundamentals of African
musical concepts and provides an exciting multi-cultural experience.
Gilo
and fellow instructor Yahkwob Kouyate met with students in grades
second through fifth in one hour workshops. Each student was provided
with an authentic African drum, called a Djembe. “Baba Gilo” and
“Baba Yahkwob,” as they asked the children to call them (Baba
means father), began each drumming session with a brief lesson
in African musical and cultural history. Students learned that
the Djembe is carved from a single block of wood with a goatskin
drum head and is used as a musical instrument, a ceremonial object
and a means of communication. During the workshops students
learned the fundamentals of African drumming – slapping and tapping
the Djembe to produce “the slap”, “the tone” and “the bass” sounds.
As
Baba Gilo noted, playing the Djembe is not as easy as it looks.
Students called upon a number of skills including concentration,
listening and teamwork. Each class went on to learn a particular
percussion rhythm, each with a specific meaning. For example,
Ms. Wood's fourth grade learned a rhythm called “Kasunde” (Rites
of Passage), used to celebrate life-stage rituals. Ms. Cucinotta's
class learned a rhythm called “Bass Bass Tone Tone” (Simplicity).
Other rhythms expressed emotions as Ms. Rappin's class performed
“Forokaba” (Happy Time), and Ms. Astor's class learned ”Heartbeat”
(Feeling).
The
residency culminated with a performance in the Weinstein Auditorium.
Students entered the auditorium chanting “Egun Alafia” (“Thanks
be to our ancestors... may they live on through us”). Each class
in turn took to the stage to show off their drumming skills. The
rhythm of the drums was irresistible, and the audience of parents,
relatives and students was soon clapping along. Given that each
class had only 3-4 total hours of instruction, the level of precision
they achieved was remarkable.
Internet
resources
There
are many organisations with websites, magazines and workshops
that are promoting various aspects of the art of African drumming.
On the website www.experienceafrica.co.uk
the cultural significance of the Djembe and Ngoma drums is explained:
“Drums
in Africa are used as sacred instruments and there is a lot of
importance attached to them. They are used in healing ceremonies,
in rites of passage, in naming ceremonies, on social occasions
like weddings, on harvest parties and the celebration of seasons
like rain after a period of drought. Drums are also used as tools
for communication.” Drumming always has cultural significance
in the context in which it is practised.
On
the website, www.alternativeculture.com the phenomenon
of drumming is explained as something which harmonises with the
rhythms of nature and helps us to attune to the cosmic world and
its flow of creative and healing energy:
“The
drum is a heartbeat of creation, and represents our connection
with mother earth and the beat of the sea, the pounding surf,
the wing-beats of migrating birds, the turning of the seasons,
and the sound of our own breath... The
drum heals our connection with each other when we play it together.
It brings to our attention to what works between us and what doesn't.
It shows us exactly where and how we harmonize and where we don't.
It makes us attune to the invisible world of the energy between
us: this becomes more important than what we think we see, what
we wish for or regret. What's real is happening right now, in
the moving moment. And when it's gone, we have only to look for
the next moment to get back on; this time we ride.”
Directives
are also given for a trance dance: “It is intended as a community
ritual. We need to do this every three months at each midpoint
between solstice and equinox. The key for both dancers and drummers
is consistency: to go all night with the same steps, the same
rhythms. In this repetition and commitment comes the opportunity
for trance, forgetting oneself in the power of the whole.” The
rhythm of drumming is thus also a meditative tool which assists
transcendence to a cosmic consciousness, or trance experience,
in which people enter a different consciousness.
From
the many workshops on African drumming it is obvious that the
esoteric and religious significance of this practice is consistently
explained and encouraged by instructors. Because drumming always
promotes a mystical experience of some nature it is now commonly
used as a method to unite the diverse peoples of our planet on
a spiritual level.
Unity
and prosperity
During
the past few years, drumming is increasingly practised on a global
scale to promote unity, peace and prosperity on earth. The South
African organisation, One
World Beat, organised an event on Saturday 6th
May 2006, which was advertised as follows: "Drumming
in One World Beat is an event where we are uniting people
around the world in one hour of drumming in unison – getting together
in a true global village of drumming! It is the first time the
drumming event is this big in our country. To imagine the whole
world beating the drums at the same hour, for one hour! Bring
your own drum. We trust the Lord for a breakthrough – not in our
own lives alone, but also in our prayers for a prosperous Africa."
The drumming itself is meant to be the prayer for unity and prosperity
in the global village. This is an extreme form of religious syncretism!
Wild
passions
However,
in many societies across the world drumming in general – including
African drumming – is also used to stir up wild passions, even
to the extent of causing chaos and corrupting society under the
influence a false god. Babatunde Olatunji (www.alternativeculture.com) says,
“The Creator wants us to drum. He wants us to corrupt the world
with drum, dance and chants. After all, we have already corrupted
the world with power and greed – which hasn’t gotten us anywhere
– now’s the time to corrupt the world with drum, dance and chants.”
A
number of experts who investigated the origins of rock music have
often expressed the view that there is a connection between the
“evil beat” of rock music and certain forms of African drumming.
They both have a psychological effect of brainwashing on people,
as well as the arousing of strange feelings and wild passions.
African slaves introduced this kind of drumming to North America.
Their religious worship was based on drums and dancing, a practice
which was continued in their host countries.
Conclusions
African
drumming can hardly be estranged from its cultural context and
practised merely as a kind of amusement. This fact is borne out
by the many workshops and training programmes in which the deeper
significance of drumming in the various African cultures are fully
explained to students. Its wide range of functions include the
promotion of harmony with your inner self, with other people and
with nature, relaxation and healing from stress, the invoking
of spirit guides and the promotion of cosmic energy flow, an aid
to meditation and the attaining of trances, and also, in more
aggressive styles of drumming, the arousing of various wild passions.
The latter may even take the form of revolt against society and
its norms.
It
may still prove to be a very costly exercise in traditional Christian
societies of the West to experiment with alternative lifestyles
rooted in cultures which are not embedded in Christian civilisation.
The alternative healing, alternative medicine, alternative spirituality
and alternative musical forms of these “other” cultures are all
expressions of a mystical, pagan spirituality which is distinctly
antichristian, emerging from camouflaged occult influences of
the kingdom of darkness.
Only
people who are not truly committed to biblical Christianity would
dare to venture on the wicked ways of pagan cultures. But in doing
so, strong delusion will come upon them, which will blind them
to the light of the gospel (2 Cor. 4:3-4).
