Embracing African Nuances: The Passport Rhythm
Having recently returned from an enlightening trip to Abidjan in the Ivory Coast, I’ve been reflecting deeply on the world of African djembe drumming, particularly the rhythm known as "Djembe Popular" or the "Passport Rhythm." My aim is to share the nuances I’ve experienced and open up a conversation, rather than just presenting them as facts.
Sidiki Dembele playing djembe with his group in Abidjan, Cote D'Ivoire
The Passport Rhythm and Its Role
In many traditional West African djembe arrangements, the Passport Rhythm acts as the glue. With its clear pulse, it binds together syncopated rhythms from djembe and dundun drums, ensuring everything stays cohesive and preventing the music from falling apart. Yet even with its apparent simplicity, there’s a depth and variety to how this rhythm is approached.
Conventional vs. Regional Differences
From what I have gathered in my research so far, there appears to be a 'traditional' Guinean coordination for the Passport Rhythm, as well as a Malian one. The Guinean style is played with a specific pattern: right-left-right, right-left...
This technique focuses on one hand defining the pulse, providing a stable foundation that’s crucial for beginners. However, in Mali, there are slight variations, with drummers sometimes using a coordination that allows the pulse to switch between hands. This Malian approach is: right-right-left, right-left…
During my recent time in Abidjan, I encountered something even more intriguing. In addition to this Malian style being applied to the passport rhythm, there was often a loose ambidextrous approach to playing patterns in general. Musicians there seemed to have a flexible technique, often switching the leading hand, especially at high speeds. It made me wonder if perhaps speed and endurance demands have shaped these different styles of playing. Or maybe there are other factors in play?
Advice for Learners
For beginners, I still strongly recommend starting with the Guinean style of coordination. This method keeps the pulse consistent with one hand, which is essential for developing strong timing and rhythm. It also lays a solid foundation for adding embellishments later on. From my observations, beginners who attempt the Malian coordination too early can struggle with tempo consistency because the pulse hand switches, making it hard to keep a steady beat.
That said, I’m not suggesting that the Guinean style is superior to the Malian approach. Mali has a deep and rich tradition in both djembe and dundun drumming and one can’t ignore its huge cultural influence. It’s also possible that the Malian coordination was adopted because it complements the specific types of swing they apply to their rhythms. This raises an intriguing question about how rhythm and technique evolve to suit musical aesthetics. It's crucial to recognise that this blog is not about placing one cultural style above the other; instead, it’s about embracing the diversity of playing techniques that thrive across different regions.
Ballet Style vs. Village Style
Adding another layer to the conversation are the two prominent strands in African drumming: African ballet style and village style. Ballet style emerged from Guinea post-independence with groups like Les Ballet Africain, focusing on performances for audiences often with with high speed and dramatic flair. This might explain why ballet-style drummers often use more flexible coordination, making it easier to sustain fast tempos.
In contrast, village style is highly interactive, with no clear division between performers and participants. The rhythm serves the whole community, creating a shared, immersive experience. I wonder if these stylistic demands influence the differences in hand techniques. In many cases the tempo may be slower and perhaps there is a stronger leaning to tradition and convention in this setting.
Clarifying the Malian Influence in Ivory Coast
It's worth noting that the Malian style's presence in Ivory Coast has historical roots. Many musicians in Abidjan, including my teacher Sidiki Dembele, trace their ancestry back to Mali. This heritage has naturally influenced the way the music of Abidjan is played and taught.
An Open Question on Rhythmic Evolution
I’ve also been pondering the origins of these variations in Passport Rhythm coordination. The Guinean style, with its logical alignment of pulse and grace notes, seems designed for rhythmic stability and embellishment. The Malian style, on the other hand, appears less structured in that way. Given the region’s shared history and the fact that borders were later imposed, perhaps it’s not about national differences but rather the influence of prominent masters. Perhaps it was Guinea’s political investment in cultural arts after independence that brought to the fore figures like Mamady Keita and Famadou Konate, who likely played a major role in shaping rhythmic norms.
Image by Marilyn Modica. Follow her on Instagram: @marilynmodica
Conclusion: Seeking Insights from You
Ultimately, this blog is just a starting point for a wider dialogue. I’m keen to hear your thoughts, experiences, or theories about these drumming styles. How do differences in coordination affect playing at different tempos or in various cultural settings? Are there other influences I've overlooked? Please share your insights and join the conversation in the comments below—I’d love to learn from your experiences and ideas!
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