I became an instructor, not by choice but because Vidal asked me to teach his workshop class. Thus, after a year and a half of learning drumming, I was teaching it, often to music majors who knew more about European music than me! This inspired me to learn more about my own heritage and to become fluent in the language music in general. Being initiated into teaching while such a new learner has been, and continues to be, especially significant for me. It forced me to confirm and clarify what I know and don't know, and to present it in a succint manner accessible to the beginner's mind. I seem to be blessed with a skill to quickly determine what people are missing and then deliver it to them in a way that makes them feel good about learning. People have called me a master teacher. After many years, I have decided to accept this title. I thank and acknowledge everyone who has taught me, including my students.
Other key encounters for me have been studying and performing with C. K. and Kwaku Ladzekpo, master artists from Ghana, West Africa. C.K.'s insistence, in his U. C. Berkeley African Music class, on keeping the main beat while speaking drum language and clapping bell or clave parts has become the basis of the method I use to teach myself and others. In 1977, Kwaku taught me all the bell, rattle, calls, and support parts to fifteen traditional Ghanaian rhythms. Having this amount of authentic material at hand as a young performing musician was invaluable.
In 1984 I met Brazilian Shaman Antonio Costa e Silva. He encouraged me to expand my awareness to observe the effects of my drumming on others and myself, and to pay attention to the quality of energy surrounding my thoughts and actions. Through him I was initiated into playing for healing ceremonies in the Brazilian Umbanda tradition as well as exploring facets of Tibetan Buddhism. I studied with him for ten years and have played for countless ceremonies.
In 1996 I started PulseWave Percussion as a business in order to reach more people with my innovative teaching methods and holistic view of music and dance. Since 1973 I've observed and participated in innumerable music and dance sessions and have distilled and refined my ideas about what makes them work (or not). I have developed my methods carefully and am constantly learning.
All materials copyright 1998 PulseWave Percussion and Kim Atkinson. |
