Being into the pedagogy and didactic process for more than 20 years as an evolving working process; the teaching practice represents a strong via for contact and communication into a personal experiences in life, music, art, culture, feelings and emotions, ways of understanding and self expression, etc.
The understanding within the interaction and feedback is a crucial factor in the repercussion of long term conditioning of development and learning process.
The main consideration is always the ¨what is¨ in each individual motivation. What does everyone has his/her own, and that is brought into the practice and working procedure.
Sharing a particular way of understanding the natural phenomena of things; digging into history, practicing the Art, investigating about human condition and his place in time, studying aesthetics, etc.
There is no method nor fixed dogma, but an elemental source for inspiration and perceptual conditioning, on which immerse ourselves, as a path for self inquiry, self re-discovering, self awareness and self re-invention of ourselves through practicing, listening, observation and understanding.
Childhood is the corner stone for creativity and open source of intuitive thinking.
¿How to keep oneself discovering once we already learned and mastered something? ¿How to avoid and overcome repetitiveness?
Kids are always changing, evolving, developing, dreaming, imagining fantastic worlds, playing improvised games, creating new realities, n-a-t-u-r-a-l-l-y.
Being close, listening and observing kids always open many paths for new ways of communicating and perceiving, growth and rejuvenation.
Kids perception of music is beyond the music as we understand music, it is pure music at its more divine state.
An open backyard for creative playing and invention environment. During my working with native kids in Chiapas, I went to see an endless opened possibility to approach and develop the musical workshop in a different manner. Since native kids has not any closeness with Western culture and musical tradition institutional education nor systematic training, they are completely open to expression from deep inside to a fantastic degree of freedom. No system nor method fits into their true sensitiveness and understanding of the world of sound organization. This kids talk to trees, rivers, animals, signs with the birds and get into a unique sort of communication.
After a few years of being in contact with this open minded-souls, a sort of dynamic procedures became the fertile soil to communicate basic and elemental aspects of pure music practices; it was a deep interchanging encounter. And this sort of dynamic procedures became a singular method to be used after a few years of work.
What I finally ended up with after several years of practicing has been the project AUDIOSFERAS: del juego creativo a través del sonido. Which I conceive not only as a pedagogic method or system to teach, but as my own environment for keep alive my musical habits.
Short insight on AUDIOSFERAS: del juego creativo a través del sonido.
It is a workshop which basic parameter departs from silence and listening. Then we can play. Audiosphere means the environment - like the atmosphere and stratosphere -, where the biological life of sounds live, interact and reproduce. It is not about playing but generating sound as pure matter, elemental bodies of vibrating content to develop through playing; sometimes this playing is lead by a strategy, others it is open to self willfully individual creative impulses. The instruments are a medium, a textural source - as the human body itself -, and a colorful palette with diverse and infinite possibilities of tones and mixtures of tonalities. The instrument is viewed as a volume maker in space-time. Instead of thinking there is pure intuition, instead of technique there is perception impulse, instead of rules there are paths for communicating and contacting truthfully within each other through sound.
The word improvisation is a construct from last century. The way is to generate imaginary vehicles to developing notions and open ideas, which over a given period of time may became auditive thoughts; which in turn enable a peculiar particular sense of spatialty, perception of inner-outer states, sound stasis in space-time, a keen sense of rhythm and movement, sound textures, color and temperature of sound.
Audiosferas is concived as a workshop that can be utilized as a platform for creative work and composing for any individual, musician and non musician. Kids finds here a magic nature reservoir for exploring within themselves.
As a pedagogic system it is complete documented and structured, but it applications in the working field are limitless; it is intended that the participant invent his/her path to develop musically. So ¿A normal trained musician, a kid versed on classical piano lessons, or a traditional schooled drummer, can take advantage of this possibility? It depends on how much open minded one is. How sensitive to listening the environment and listening to ¨rare¨ music one is.
Working consciously into a given audiosphere, develops concentration and focus of mind, it stimulates imaginations and the collective imagination, improves the capacity of listening, order and organization of abstract thinking; it gives clear notions of acoustic ecology.
DRUMMING TEACHING PRACTICE.
For many years since early moments in my career I´ve been asked to teach by others.
I for myself think that drumming is an individual experience through music and dance, singing and listening. Percuting is like dancing, so dancing the drums implies an awareness of the body movement in space-time at a higher degree.
Music and drumming styles are important as far as one experience them as a way of understanding culture in a given moment and geography in history; it represents an encounter with other cultural ideologies, cosmogonies, spiritual and religious practices. Through practicing drumming in a qualified and mindful way, one enters other territories for getting in contact within various ways of thinking, feeling, doing and expressing creatively.
The rudimental based school practice, represents a small corner of the whole universe of world drumming; there are as many ways of playing and technics in drumming as there are individual approaches in every corner of the whole geographic places on Earth.
The more advanced pedagogic and didactic practice on stylistic, technical and idiomatic drumming complexities has been through TAMBORERO LAB, a drum set workshop composed in a chamber quartet format, and which repertoire requires a great amount of commitment, investigation, practice, performative instrumental technical capabilities, etc.
TEACHING DRUMMING STYLES.
As a practice, teaching drumming styles always has situated me in a position of re-learning from the styles to be taught. The fundamental question is always Where is this or that music coming from and what is that music for...?
Being Classical Orchestral snare drum, Traditional or Modern Jazz, Brazilian or Afro-Cuban, African Rhythms...whatever the style may be called, it comes from a cultural perspective and ideology practices; it serves a purpose into that sociocultural environment. Teaching Jazz Drumming means to enter a culture idiosyncrasy, religious manners and practices, spiritual communication, social events, etc.
What is that that one may really teach about a style? This is my main reflection on teaching drumming styles.
The main questioning on teaching drumming styles always has been ¿Why are we interested in this or that style? ¿What do we thinking is this or that style coming from? ¿What is this or that style for? ¿How is that we want to
¿Why are we want to spend an considerable period of time in our lives learning this or that style of playing? ¿What for? ¿Is this or that style enable us to fully express ourselves? ¿Is this or that style of music really align with our natural way of feeling and expressing our emotions? ¿What is that attract us to this or that style of playing?
There is a logical path to evolve and developing into the instrumental learning process. But I think this is an open diverse path for everyone.
The main problem I think is to understand history and the tendencies that has been arised on each era in every culture. Why is one interested in a specific way of playing? Why could one be positively influenced by that sound we think fits within our own way of feeling and perceiving the world? Why are we becoming interested into spending a considerable amount of time in learning other peoples habits, manners, ways of expression, performance practices and technical truths?
If we think on this questions we re-discover our deep own motivation to truely learn to play an instrument in a certain way.
We don´t want to waste our life time in something we don´t truely vibrate with. We want to learn an instrument to express our true feelings and emotions, develop our imaginary, work on our thinking and understanding, re-discovering ourselves with the contact with the other through performance, sculpting our body through practicing, and to enhance our understanding of who we really are and what are we here for.