How I use the drum to tell my story Kasiva Mutua

“Listen.

Do you hear that?”

my grandmother asked me.

“Listen.

Listen to what the beetle is saying.”

I would spend hours and hours
listening to the little beetle

rolling a huge ball of dung,

and while at it,

I heard a variety of environmental sounds.

With the keenest of ears,
I would hear family chatter,

laughter,

the wind howling

and even crickets chirping.

All these sounds crisscrossed
into each other,

and I would hear rhythm in between.

Then I would beat my plate with a spoon
and my chest with my tiny hands

trying to recreate what I was hearing.

I have been beating the same plates,

shakers, drums, pans
and so much more ever since

to become a professional drummer

and percussionist.

(Applause)

As I grew up, subconsciously,

I felt a strong urge
to hide my newfound hobby.

Even without it being said out loud,

I knew that somehow
it was wrong to do what I was doing.

In most of the ceremonies,

I noticed that most of the women
and girls were not in sight,

but when they were,

I noticed that they would wear
their dancing skirts

and shake their waists off,

singing, clapping, ululating,

while the men filled up
the rhythm section.

A few years later, I came to understand

what tradition and culture meant,

and what was considered taboo

or otherwise.

In the majority of African cultures,

women have been forbidden
to play drums and percussion

for a very long time.

I believe this taboo stems from
the psychological and traditional belief

that the woman is an inferior being.

I grew up hearing that the place
of the woman is in the kitchen

or in the other room.

Mhm?

(Laughter)

Women had been brainwashed
and led on for so long

until we had fallen victim and actually
started believing in this ourselves.

This, coupled with the lack
of interest to educate women,

played a major, major role

in etching this into our minds.

The sounds of the drum
provoke emotion and movement.

Essentially, the drum
is a very sensual instrument.

Once at a festival, a man asked me

how I dared put a drum in between my legs.

I have been considered loose and dirty
for playing an instrument.

I have repeatedly been questioned

why I would choose to play drums

instead of practicing journalism,

which I studied for my undergraduate,

which has been termed “more decent.”

The sight of a woman
playing drums enfeebles her,

makes her less feminine,

less desirable,

but all this optimally
puts her on a lower social stand.

Drumming has essentially represented
the strong African heritage,

and its importance can be seen

in the many aspects
of the African tradition.

Many communities encompass drumming
in their day-to-day activities,

and still do up to date,

from childbirths to initiation ceremonies,

welcoming ceremonies,

marriages and even burials.

However, this same drum

is disappearing very fast
from the music scene,

and the traditional genre
is losing its popularity

very quickly amongst the people.

Inspired by the need
to preserve this culture,

I am teaching the significance
and the importance of the drum

to young boys, women and girls.

In my journey as a percussion teacher,

I have realized that very many women

actually want to play the drum,

but at the same time,

they fear it.

Some fear how society will perceive them.

Others fear the physical pain
that comes with playing.

Oh yes, it’s not that easy.

Some, because their spouses
don’t approve of them,

and others generally
fear the responsibility

of being a bearer of culture.

I believe, or I think that all these fears

are etched in the collective
feminine cautiousness

because when we learn of the atrocities
that have happened to women,

continentally especially,

it serves as a constant reminder

that one step out of our designated place

may end up in very serious consequences.

Well, I use my drum to tell my story
and my people’s stories.

My roots shaped me
and my culture is here to stay with me.

Women can be custodians of culture, too.

We are born to bring forth life,

to nurture it.

We can definitely preserve our traditions
very, very excellently.

My drum and I,

we are here to stay.

(Applause)

We are definitely here to stay.

If women have led countries,

women have gone to space,

women have won Grammys,

then the same, same women
can play the drum

and play it – to a five-star rating?

No, to a million-star rating.

Thank you.

(Applause)

(Chiming)

(Metallic drumming)

(Chiming)

(Rattling)

(Drumming)

(Applause)

“听着。

你听到了吗?”

我祖母问我。

“听着。

听听甲虫在说什么。”

我会花几个小时
听小甲虫

滚动一个巨大的粪球

,在它的过程中,

我听到了各种环境声音。

用最敏锐的耳朵,
我会听到家人的交谈、

笑声

、风的嚎叫

,甚至蟋蟀的鸣叫。

所有这些声音相互交错

,我会听到其间的节奏。

然后我会用勺子敲打我的盘子,
用我的小手敲打我的胸部,

试图重现我听到的声音。 从那以后,

我一直在敲打相同的盘子、

振动器、鼓、平底锅
等等

,成为一名专业的鼓手

和打击乐手。

(掌声)

随着我的成长,潜意识里,

我有一种强烈的冲动,
想要隐藏我新发现的爱好。

即使没有大声说出来,

我也知道
做我正在做的事情是错误的。

在大多数仪式上,

我注意到大多数妇女
和女孩不在视线中,

但当她们出现时,

我注意到她们会
穿着舞裙

,甩掉腰部,

唱歌,鼓掌,呜咽,

而男人则充满
节奏部分。

几年后,我开始

了解传统和文化的含义,

以及被认为是禁忌

或其他方面的东西。

在大多数非洲文化中,

女性长期以来一直被
禁止打鼓和

打击乐器。

我相信这个禁忌
源于心理和传统观念

,认为女人是低等的存在。

我从小就听说
那个女人的地方在厨房

或另一个房间里。

嗯?

(笑声)

女性被洗脑
并被引导了很长时间,

直到我们成为受害者并
开始自己相信这一点。

这一点,再加
上对教育女性缺乏兴趣

在将这一点铭刻在我们的脑海中发挥了重要的、重要的作用。

鼓声
激起情感和运动。

从本质上讲,鼓
是一种非常感性的乐器。

有一次在一个节日里,一个男人问我

怎么敢在我的两腿之间放一个鼓。

我因演奏乐器而被认为是松散和肮脏
的。

我一再被问到

为什么我会选择打鼓

而不是从事新闻业

,我本科时学习的,

这被称为“更体面”。

一个女人打鼓的景象

使她变得虚弱,使她不那么女性化,

不那么受欢迎,

但这一切都
使她处于较低的社会地位。

击鼓在本质上代表
了强大的非洲传统

,其重要性体现


非洲传统的许多方面。

许多社区
在他们的日常活动中都包括打鼓,

并且仍然保持最新状态,

从分娩到入会仪式、

欢迎仪式、

婚姻甚至葬礼。

然而,同样的鼓

正迅速
从音乐界消失,

而传统流派

也在人们中迅速失去了知名度。

受到保护这种文化的需要的启发

我正在

向年轻男孩、妇女和女孩传授鼓的重要性和重要性。

在我作为打击乐老师的旅途中,

我意识到很多女性

其实很想打鼓,

但同时

又害怕。

有些人担心社会会如何看待他们。

其他人则担心玩耍带来的身体疼痛

哦,是的,这并不容易。

有些人,因为他们的配偶
不赞成他们,

而另一些人则普遍
害怕

成为文化承载者的责任。

我相信,或者我认为所有这些恐惧

都铭刻在集体
女性的谨慎之中,

因为当我们了解到发生在女性身上的暴行时

尤其是在大陆上,

它不断提醒我们

,离开我们指定的地方

可能会结束 在非常严重的后果。

好吧,我用我的鼓来讲述我的故事
和我的人民的故事。

我的根塑造了我
,我的文化一直伴随着我。

女性也可以成为文化的守护者。

我们生来就是为了生出生命

,养育它。

我们绝对可以
非常非常出色地保存我们的传统。

我和我的鼓,

我们会留下来。

(掌声)

我们一定会留下来的。

如果女性领导了国家,

女性进入了太空,

女性赢得了格莱美奖,

那么同样的,同样的女性
可以打鼓

并演奏它——达到五星级?

不,达到一百万星评级。

谢谢你。

(掌声)

(齐鸣)

(金属鼓声)

(齐鸣) (嘎嘎声)

(鼓声)

(掌声)