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I started regular djembe classes with Simon in early 2005 just after I’d moved to Melbourne from NZ.

It was something I’d had a bit of a go at previously but not with a teacher who knew about African drumming, I was hooked early on, not just to the music
but also the people, the collective energy that happened when a group of us got together and played something with musicality and spirit.

At the end of 2007 Graeme and I left Melbourne to go back to NZ and on the way (well, the long way round) I went to Ghana with Si on the tour, and that was completely life changing. I’ve just been again – my fifth time and by no means my last.

I set up “Baylys Beats” in the small NZ rural community we live in and we’ve gone from strength to strength. The last drum weekend Si came over to run for us we had 50 people drumming and dancing! Djembe is a big part of my work, my social life, my self-care and I love to share it with anyone who’s interested.

I was lucky enough to spend about a year on the African continent in 2010-2011, arriving first in Ghana. It was here that I pretty quickly realised how inherent music and rhythm are to daily life in West Africa. From colleagues singing while treating patients, to the traditional dance and drumming at Ashanti Akwisadae ceremonies, through to the ceaseless loud hip life music on long distance buses- rhythm wasn’t accessory to life, it was inherent and inseparable; and it sneakily got into my blood.

On returning to Melbourne, and being a little Africa homesick I sought out a way to revive that feeling. Hence, I stumbled across Jeremy’s Camberwell djembe classes and pretty soon got hooked. The people I met were a wonderful, social group and immediately I felt part of their community. Having no musical background, djembe and the African style of learning was perfect for me ie. playing via listening, watching, feeling, and noting how the instruments communicate, rather than the western style of counting notes and bars.

I also love that to understand, appreciate and play West African music, learning the background story to a rhythm is important to understand the context in which it sits. It amazes me how these rhythms stretch back often over 50 generations, and remain crucial ways of passing on morals, stories, lessons and celebrating life events- it’s timeless. Getting lost while playing cruisily in a jam and the frenetic buzz of performing are pretty addictive too.

A few months ago I was able to head back to West Africa and explore a bit more. I got to spend time listening to, playing with, learning from and living with some incredible musicians in Senegal, Guinea, Mali and Burkina Faso which was magical. Being surrounded by music 24/7 somehow subliminally prints rhythm in the brain too. Seeing how instruments are made by hand in backyards under mango trees, getting to improve my djembe, duns, or my new interest- balafon, and expanding my musical family makes me feel very lucky.

This music has a life and culture of it’s own and I’m really excited to get back to playing here in Melbourne!

A test of timing, dexterity and creativity, soloing is a lot of fun. Seeing the interaction between djembe, dunun and dance can be a real light-bulb moment for understanding just how cleverly interwoven and interdependent the ensemble nature of West African music is. Many traditional solos were developed to compliment and emphasise dance moves …..read more gold nuggets on Soloing from our WAM 101 booklet

“Music has been part of me since my childhood in Ghana. I would sing and play on buckets around me all the time. I was always singing so people would yell at me because I was disturbing them. I sang so much that my classmates gave me the nickname, “Ola” which means “You sing” in the Ga language.

When it was time to join a group, I joined three groups at the same time. I learned to play all different types of drums. I played some of the Ghanaian drums like the kpanlogo, the Ewe set, as well as the djembe. Drumming made me feel so good.

While working at the Coca Cola Company, I knew something important was missing from my life. I knew I needed to go back to playing music. People thought I was crazy to leave that job because it was a good opportunity but they didn’t know that by doing what I love, I would be who I am today. Music has allowed me to meet amazing people. I played with the Salaka Ensemble and worked with the Rhythm Power Tour (Ekome Tour) and through the music and tour I have met hundreds of amazing people with different hearts in music.

This experience made me realize that wherever musicians gather, there are always smiling faces and peace. This has made me believe that music is a soul food. Music does not have an enemy. It doesn’t matter if you are young or old, it doesn’t matter what color you are, music brings people together.

Without music, I would not have the lovely wife that I have today. I am so blessed to know amazing people like Simon, Gigi, and so many others. Through drumming, I was able to spend 6 months in Australia performing and teaching. Now I live in New York City where I perform and teach kids and adults drumming. I always spread the message to DRUM WITH FEELING!”

“In 2009 I came to Australia, landing in Melbourne in February. I went to the St Kilda night markets that very first week, which was where I seen my first ever drum circle. I was immediately drawn to the sound of the drums.

I moved into an apartment on Grey St, not far from the old African Drumming HQ. Always hearing the sounds coming out of the shop, I convinced 3 of my Irish friends to come along for classes. With My first hit of a Djembe, I was hooked!!

Been shown and taught the correct way to hit the drum, I was so focused and obsessed with wanting to become a half decent player. I done two terms of classes that year, but left Australia to finish off my travels around the world that had been already booked. I didn’t know what I was doing after that, whether I would return to Oz or stay in Ireland. But I just couldn’t get drumming and what I had learnt out of my head! I wanted more!!

So I returned to Melbourne, mainly to learn more of this African drumming I had indulged myself in. I bought my first djembe as soon as I returned and immersed myself into the music. The following year I booked to go to Ghana, west Africa with Simon and his tour.

What an experience, an eye opener, and a heart opener! 6 years later, I’m still as fascinated by the music of west Africa and still feel I’ve so much more to learn! It’s a never ending process, always learning, always developing. Not only has drumming given me life lessons and something to focus on, it opened me up to a whole new community. I’ve made some unbelievable friends through it.

I’ve also made some great connections at home in Ireland too, where I see a growing community there too. It truly is a universal community. All sharing the same passion for west African music. With everyone continuing to grow and learn, but most of all, having fun! And that’s what it’s all about”

I established a drumming group at school (Blacktown Girls High), & we learned together. “Tribal Drum” became my sounding board for the rhythms & skills I had learned in weekly classes with Michele Marie, John May & Sibo Bangoura.

I am very proud of “Tribal Drum”. We are on an incredible journey together. Our first performance was at a school talent quest after about 6 weeks of playing together, & in November of last year we performed at the West African Festival. So much has changed in 5 years!!

I am now running a weekly drumming class that is part of a Mental Health & Wellbeing program that is organised by Catholic Care, as well as a beginner’s community drumming class on Saturday afternoons. Life is very good!!”

“Before buying a drum kit at the age of 16, I first asked my mum if I could have a bongo drum, not knowing that what I really wanted was a djembe! I’d heard and seen these drums around and thought it would be pretty cool to have something to take to jams and out camping with my friends. A set of Remo bongos was not what I was expecting as my Christmas present that year but I definitely made use of them straight away! It wasn’t until I moved up to Fremantle (near Perth, WA) and started meeting a lot of other percussionists that I started to get more exposed to the djembe world. I bought my first djembe at the age of 19. In my formative years, I played, performing and doing workshops around the state with a band called Deredjeff Dubar (the organisation of Village Vibes). My technique developed as I met players from around the world including some great musicians from Ghana and Senegal. Roughly 20 years since I first tried the djembe, my passion only grows stronger and stronger for the instrument. The djembe makes up a small part of my income as a full time, freelance performer and teacher of music. I’m so grateful to the djembe for bringing me so much satisfaction, for introducing me to so many great people and for even helping me to pay my bills! My love for the instrument is demonstrated through a thirst for learning and by passing on the skills and knowledge to others where possible. My goal at the moment is to continue my studies with more travel, especially to learn with Famoudou Konate who is my personal favourite Djembe Master

“As a live music enthusiast I attended “The Police” concert when I was 15 years old. Watching Stewart Copeland on drums and percussion was so inspiring – I told my mum I wanted to play the drums. Her response was “Girls don’t play drums” and that was that!
So when my daughter Sammy at the age of 5 expressed an interest in drumming, I immediately bought her a drum kit. She is a female kit player!
As an adult it was my turn to pursue my dream and learn to play the drums, so I began the journey of Djembe and Dun classes with African Drumming.
With feet firmly planted on the ground, sticks in hand and a strong sense of timing, I belonged to the duns.
Having dyslexia made training challenging therefore “repetition” became my mantra. Little did I realise with all this repetition I was also creating new neural pathways in my brain that was helping my dyslexia, (drumming and brain benefits are now backed up by evidence based research). I soon found my groove and after training in West Africa I was given the name ”Muso DunDun Fola” (Female Dun Player)
Surrounded by an inspiring community and with the opportunity to study under great teachers, I am smiling from the inside out.
And who helps me sew my costumes for performances………my mum!”

Back in October we reached out to the generous people of Melbourne to help us source football boots for the children and adults of Ghana. These courageous guys literally play barefoot on dirt and gravel pitches.
Just a few days ago our director Simon distributed the boots to close to 100 HAPPY players. The boys in Ghana wanted Simon to thank all for your generosity in making this a reality – Simon has never seen so many smiley faces and serious skills on display too – once they donned their boots!

In August last year, our drumming teacher Laura went and spent a week at Ramingining School, Arnhem Land, in the Northern Territory, running drumming workshops with the students there.

“The highlight for me was seeing how integral music and dance is within the community and their long-spanning culture. I wanted to try and break down any barriers and allow the students to express themselves in their traditional style of dance accompanied by African drums. Music is transcendent through cultures and connects all different types of people. It is a language on its own.”

Getting involved in local drumming events is a great way to fast track your playing, along with ongoing lessons with your teacher. Our Community Drumming Ensemble “Sessi Sessi” has made a name for themselves over the past 5 years performing at hundreds of Melbourne based events like Moomba, Commonwealth Games and the Melbourne Marathon, and we have just been invited to White Night in Feb 2016.
JMan (our Sessi director) is always looking for budding drummers to add to the mix, so drop him a line and find out how you can become a part of our wonderful group! He will be announcing a Sessi Sessi Open Day for new members very soon.
Email: [email protected]

A caxixi (or Kiss Kass) is a percussion instrument consisting of a closed basket with a flat-bottom filled with seeds or other small particles. The round bottom is traditionally cut from a dried gourd. The caxixi is an indirectly struck idiophone! Great adjuncts for West African (or any) ensemble, and with two of them you can create some cool little grooves

One of our favourite Malian rhythms being played by one of our favourite West African Djembefola.
Adama comes from the far western flank of Burkina Faso and has been a wonderful collaborator with African Drumming for nearly 20 years. Power meets pure clarity in his hands.
Check out these wonderful solo phrases

Adadam Agofomma – led by legend of High Life music Koo Niimo, share a very traditional Ashanti drum and dance piece for us.

Seckou Coulibally – Grand Master of the Bobo Balafona and a truly incredible soloist. Come and join us in Burkina in 2015 and learn from him live!

Nungua All Stars dance troupe, starring our very own Nii Frederick, put on this special contemporary choreography