Oi Musica is delighted to host ethnomusicologist Christian Weaver, for an all-welcome workshop. A fantastic development opportunity for percussionists, and a rare opportunity for those new to percussion to dive into Afrocuban drumming in a supported and friendly environment. This workshop focuses on a less well-known area of Afrocuban music: traditional Iyesa drumming and singing.

The people of the Iyesa ethnic group (in Cuba often referred to as ‘Yesa’) originated in what is now a region of the modern state of Nigeria. They were among the many west Africans kidnapped and brought to the ‘New World’ to work as slaves for colonising Europeans. Their culture, particularly music, philosophy and religion, although only represented in a few distinct areas, has been highly significant in Cuba where they have greatly influenced popular music, in particular carnival and orisha music. Their traditional instruments are four, double-ended drums, played either stick and hand or with hands, and two bells played with sticks.

In the workshop we will play traditional, hand-made drums from the city of Matanzas (home to the oldest consecrated drums in the Americas, Iyesa Modu). With this ensemble we will learn two distinct styles that accompany songs for the orishas. We will also learn songs for two principal orishas of the Iyesa, Ochun and Ogun. The music is joyous, energetic and uplifting. It has an infectious rhythm that lifts the players to give more and creates a compelling call to the dancers.

The different rhythmic motifs of the polyrhythm range from simple to more complex but there is always something for everyone in this music. It will delight and energise you! All abilities are warmly welcomed and catered for.

All instruments provided.

About the teacher. Christian Weaver (PhD) is a musician, ethnomusicologist and educator who has travelled and researched extensively in Cuba since 1994. Almost every year over the last 30 years he has studied and documented forms of Afrocuban ritual music.

His first-hand experience playing music and performing in ceremonies in Havana and Matanzas has also allowed him to document contemporary developments in a music scene that never stands still.

Over this time, under the umbrella of the music company, La Timbala; he has collaborated professionally with Cuban musicians in many different settings both in Cuba and Europe, directing groups from small rumba ensembles, to the 29- piece big band ‘Orquesta Timbala’; composed music and arranged traditional Afrocuban songs in new settings; studied rumba; written extensively about Cuban and West-African music; and guided students on his residential courses in Cuba.

As an educator, and workshop leader, Christian uses traditional teaching methods that focus on listening, singing and playing to enable players to experience different types of polyrhythmic music. His workshops aim to be both challenging and fun, to pass on traditional knowledge and wisdom, to give social context to the music, and to reveal some of the rhythmic systems that shape Cuban and West African drumming.

His combination of in-depth, practical involvement and participant- observer research, provide a direct insight into the social context and function of the music that enriches and deepens the experience of learning new cultural material.