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From the soil of Africa, trampled by shackled captives and bloodied by the whips of slavers, to the sweating forests and wave-lashed beaches of the Caribbean, the voices of the sacred drum accompany the master drummer, Entahso, in his exile. The songs of the drum are a nation's history, beaten out by frail and ageing hands, but still possessing a thundering and terrible authority. Before he dies, Entahso teaches his songs and skills to Mabouya, but when Mabouya himself is ready for death who is there to inherit the drum? Who is there - among a younger generation of dilletantes and self-servers - to keep alive the old stories and to tell the stories still unborn? Weaving through continents and centuries, Voices from a Drum tells of people whose spirit was not colonized, whose inner life was not fettered nor haltered, and whose ghosts still run free among the trees and the high, smoking rocks, breathing their resistance into the living.
Based on extensive research in India and Pakistan, this new study examines the ways drumming and voices interconnect over vast areas of South Asia and considers what it means for instruments to be voice-like and carry textual messages in particular contexts. Richard K. Wolf employs a hybrid, novelistic form of presentation in which the fictional protagonist Muharram Ali, a man obsessed with finding music he believes will dissolve religious and political barriers, interacts with Wolf's field consultants, to communicate ethnographic and historical realities that transcend the local details of any one person's life. The result is a daring narrative that follows Muharram Ali on a journey that explores how the themes of South Asian Muslims and their neighbors coming together, moving apart, and relating to God and spiritual intermediaries resonate across ritual and expressive forms such as drumming and dancing.
Chavi's music teacher believes that only boys should play drums in Miami'sestival de la Calle Ocho, but Chavi knows she is a good musician and looksor a way to prove it.
Based on extensive field research in India and Pakistan, this new study examines the ways drumming and voices interconnect over vast areas of South Asia and considers what it means for instruments to be voice-like and carry textual messages in particular contexts. Richard K. Wolf employs a hybrid, novelistic form of presentation, in which a fictional protagonist interacts with Wolf's field consultants, to communicate ethnographic and historical realities that transcend the local details of any one person's life. The narrative explores how the themes of South Asian Muslims and their neighbors coming together, moving apart, and relating to God and spiritual intermediaries resonate across ritual and expressive forms such as drumming and dancing. Wolf weaves in the story of a family led by Ahmed Ali Khan, a North Indian ruler who revels in the glories of 19th century life, when many religious communities joined together harmoniously in grand processions. His journalist son Muharram Ali obsessively scours the subcontinent in pursuit of a music he naively hopes will dissolve religious and political barriers. The story charts the breakdown of this naiveté. A daring narrative of music, religion and politics in late twentieth century South Asia, The Voice in the Drum delves into the social and religious principles around which Muslims, Hindus, and others bond, create distinctions, reflect upon one another, or decline to acknowledge differences.
A little boy drums up quite a procession.
Daddy Wes tells how Africans were brought to America as slaves, but promises his children that as long as they can hear the rhythm of the earth, they will be free.
Proficiency as a drummer has always come from great hand dexterity. However, with the introduction of modern drumming techniques, it has become increasingly necessary to gain complete independence of both the hands and feet. With various rhythmic exercises in easy-to-read notation, 4-Way Coordination is designed to guide the drummer from simple patterns to advanced polyrhythms. Through the study of this method book, the student will gain invaluable listening skills and techniques that will provide insight to drumming in all styles.
James Burns provides a detailed ethnography of a group of female musicians from the Dzigbordi community dance-drumming club from the rural town of Dzodze, located in South-Eastern Ghana. Dzigbordi is part of a genre known as adekede, or female songs of redress, where women musicians critique gender relations in society. Burns uses audio and video interviews, recordings of rehearsals and performances and detailed collaborative analyses of song texts, dance routines and performance practice to address important methodological shifts in ethnomusicology that outline a more humanistic perspective of music cultures. The book will appeal to those interested in African Studies, Gender Studies and Oral Literature, as well as ethnomusicology and includes a DVD documentary.
This is a short story set in the Gobi desert. It tells the story of Bill Gordon, also called Black Gordon. The Gobi desert is described as an "ancient world, wherein rivers had vanished and the ruins of cities older than China itself had been covered by the sands." Losing his compass, with little water on him, Black Gordon is on his way to meet his friend, Tom Eldridge.
Imagine waking up to a world without sound. How would you feel? What would you do? What would you think? Allow yourself to walk alongside Tunji, a young prince whose world is turned upside down. Tunji experiences what appears to be a seemingly impossible task. He can no longer hear the joyful sound of the village drummers. His parents, the great King and Queen must seek guidance from the Elder in order to bring that joy back into Tunji's life.