Batucada Yemanja is celebrating its 30th anniversary this year and over the years we have seen many changes in the Seattle Percussion scene. We are the oldest Brazilian ensemble in the USA and the oldest percussion ensemble of any ethnicity in the Pacific Northwest. It is our belief, that nothing is more threatening to traditional percussion traditions than the "drum circle hoax" perpetuated by new age hobbyists.

"I don't know how, but somehow "cultural diversity" became the buzzword of the 90s. Seminars in "diversity training" filled board rooms and classrooms, and the ripple effect was felt in the upper echelons of corporate culture. New Agers throughout the country "discovered" and celebrated indigenous traditions. And that was a good thing--except that the process failed to encourage Americans to think about the way indigenous traditions were integrated into their own uniquely American culture. The not so fine line between "cultural appreciation" and "cultural appropriation" was blurred because, in these celebrations of "cultural diversity," we neglected to reconsider our own most basic assumptions and restructure them to fit the diffuse contours of those diverse cultures we sought to embrace. Ultimately, we wound up chasing our tails round and round in the same vicious circle of cultural monotony we were trying to escape. The attempt to incorporate "foreign" cultural elements into US-American society failed miserably because we changed them to adapt to our way of life and of learning without acknowledging that, in order to benefit from cultural integration and cultural exchange, we must change ourselves, our structures, our modus operandi. In short, we must change our minds." . . . . . . . Drumming for Dollars: The Bottom Line Between Appreciation and Appropriation Dr. Lilian Friedberg – 2003

Here in Seattle we have to contend with the SWPS. The current leadership of this club has the thinnest resume, traditional or academic, imaginable. Most members have only played in new age drum circles and for less than a decade. Not one creditable traditional performer, ethnomusicologist or anthropologist guides this new age group. Even though they claim to be “educators” none of them has a degree in music education or is certified to teach music in Washington state. I wonder why they don't allow folks to practice law and medicine without an academic background and certification? Must be an oversite? They are 'inspired' by commercially driven gurus who work for music manufacturers and retail outlets. Check out the antics of one such guru, surprise surprise, who works for a drum manufacturer:

“About 10 years ago, I [Dr. Lilian Friedberg] experienced an example of this malformed brand of "cultural diversity": A drum circle. Let's call the event facilitator "Arthur" and assume he is a "normal" American white male on a New Age quest for the holy grail. Arthur is a highly regarded "expert" on ethnic drumming………..” “The man [Arthur] who'd burdened me with the title of "elder" grudgingly allotted me four minutes to speak and could not refrain from reminding me of each passing minute: "OK!" he growled, "you've got four minutes." (Yes, I know, Arthur, it's why I'm speaking so quickly). I stressed, as politely as possible, that all of us who employ indigenous arts for personal pleasure or professional gain must accept the responsibility for addressing the issue of racism. "Three minutes." (I am a drummer, Arthur, I do not need you to keep track of time for me). I felt compelled to publicly critique the manner in which ethnic drumming was being converted into the USA-Today format so that it, too, might successfully be woven into the fabric of a white supremacist society--"Two minutes!"--caught in the throes--"One minute!" (I think you're speeding up a bit, Arthur.)--of denial. "Time's up!" Before I could explain what was wrong with the bright colors he'd glossed over the man-made-in-America object that perhaps looked like an African Drum, but certainly did not sound like one, my hand-made-in-Africa-by-Africans Drums and I were whisked out of the room. This "negative energy" source thus eliminated, the Drum circle was free to continue in the same vicious circle of cultural debauchery so vital to its success.” . . . . . . . Drumming for Dollars: The Bottom Line Between Appreciation and Appropriation Dr. Lilian Friedberg – 2003

With all the "new age philosophy" behind this movement it's surprising how many drum circles have close ties to commercial organizations. Music manufacturers and retail outlets are hardly spiritual or cultural in purpose. They hate the established order venomously, but they don't bat an eye at getting money from you, the taxpayer, since they are often “non-profit organization” as well.

“The drum circle is a commercial enterprise wrapped in the guise of spiritual experience. Its real motivation is sales, not salvation. But, in the indigenous context, Drums are for people, not profit. So, reinventing the African Drum at a considerable profit to the American multi and at a considerable loss to the African native is "against the rules" established by the ethical tradition of the ethnic Drum. But making money, something that was once a means to an end, has become an end in itself--one to be reached by any means necessary, even if those means include the wholesale sellout of entire continents. The rules of American commercialism permit us to circumvent indigenous labor, employing indigenous know-how to re-construct crude facsimiles of sacred objects and sophisticated musical instruments. The commercialization of the pseudo-African Drum is socially, ethically and legally upheld by our moral framework. It is, however, in violation of the ethic of the ethnic drum.” . . . . . . . Drumming for Dollars: The Bottom Line Between Appreciation and Appropriation Dr. Lilian Friedberg – 2003

Drum circle leaders rarely have any training, traditional or academic, so they simply invent their own. Please, do a web search on these two keywords ["drum circles" - spiritual] then on ["drum circles" - training]. Notice that these groups have it all covered. They claim to cure everything that ails you, while walking all over real musical traditions and charging you for the pleasure. How many of these sites mention the spiritual traditions of African origin, such as, Candomble, Umbanda or Santeria?? Spiritual to them equals "The New Age", whereas, Candomble, Umbanda and Santeria believe in God, His Saints and their rhythms. They have stolen the musical instruments of African and Latin people, but totally ignore what they think and believe. By the way, would it surprise you that these generally monolingual folks never sing traditional songs while they play??

“Drumming is a discipline, not a pastime. It is not something everyone in Africa does. The "village drum circle" is an auditory illusion: the noise produced in such an event bears no resemblance to the music produced by a trained African Drum ensemble. Most African peoples would not embarrass themselves by attempting to create what only a select few have been chosen to create and are capable of creating as a result of years of practice and study.”………….. “Consider the time and money it takes to become a professor, a doctor, an attorney or a concert pianist. Why do we presume indigenous art forms require less? Is it because we have traditionally been taught to assume they are less sophisticated, less "scientific", less structured and systematic? I think it is. And I think it reflects the degree to which we still cling to our own notions of cultural superiority, even as we struggle to develop appreciation and respect for indigenous cultures. The bottom line is investing resources in qualified instruction from people whom we have been taught to consider culturally inferior without expecting to supplant the teachers and begin offering instruction before we have even begun to approach "mastery" of the traditions………..Nor do all students necessarily become teachers--not any more than everyone who completes a BA ends up with a PhD, an MD or a JD. Our own cultural transformation is contingent on our willingness to put our minds and our money where the masters are and to accept the idea that the return on our investment may not be economic. It could be that we just become better human beings. . . . . . . Drumming for Dollars: The Bottom Line Between Appreciation and Appropriation Dr. Lilian Friedberg - 2003

Lastly, why is this nonsense going on in the first place? What is its purpose and who does it benefit - who does it harm? Are these drum circles using their efforts, free time and obvious discretionary funds to help anyone else? How many 3rd world children could be fed each day for the price of a fake African/Latin instrument from the local music retailer? It's plain to see, that this is nothing more than a blending of the Peter Pan Syndrome and very low quality percussion skills. Its comical how these "free thinkers" seek their own star while practicing the worst forms of musical racism and self-absorption.

Growing up is very hard.

"The ‘Peter Pan Syndrome’ affects people who do not want or feel unable to grow up, people with the body of an adult but the mind of a child. They don’t know how to or don’t want to stop being children and start being mothers or fathers. The syndrome is not currently considered a psychopathology, given the World Health Organization has not recognized it as a psychological disorder. However, an increasingly larger number of adults are presenting emotionally immature behaviors in Western society. They are unable to grow up and take on adult responsibilities, and even dress up and enjoy themselves as teenagers when they are over 30 years old." Science Daily - 2007

I'm proud to say that Batucada Yemanja has supported 2 children overseas for over 20 years. Our members also see literally hundreds of children each week, instructing them in traditional music from Africa and Latin America. We have put on free workshops through Brasilfest, NW Folklife Festival and the Seattle Symphony over the past 30 years. We have played the "Rhythm Fest" from the very beginning - long before it was run by the current new age clique. We don't take taxpayer's money, but in every sense are a non-profit organization. Our alumni include traditional percussionists of all types, including founders of other batucadas, Blue Man Group members, college professors, businessmen and women, parents, grandparents and just plain "gente boa". All of whom I'm honored to call my friends.