In the Spring of 2004, I was introduced to a new style of folkloric and indigenous Spiritual drumming I had never met. The drumming of Afro-Haitian Vodou. Having been a drummer/percussionist since the age of 8, I was of the false impression that I knew pretty much everything there was to know about the drum. Obviously I hadn't done too much travel outside of my hometown of Dallas, with the exception of the occasional family trips to family events in other states and well-known US vacation spots. Not going to fine much in the way of other drumming styles in those arenas.
When i turned 32, I was acquainted with Vodou Drumming through a friend who was a practitioner in the Spiritual tradition, a Mambo. She was a High Priestess of the tradition, knew I was a drummer and handed me a CD that was a raw analog converted recording of Vodou drumming straight out of Vodou ceremonies (Fete) that took place in Port-au-Prince, Haiti. I was always a "learn by ear" kind of drummer, so I gave the CD a listen and did my ultimate best the mimic what I heard, not understanding the battery of the drums or the rites and order that they are played, the nations, songs or techniques that were used. I knew it was more than one drum, but when you hear the seamless playing of Haitian drumming, what you think is one drum, can be two, and vice versa.
After months of giving a sizeable attempt to replicate what the mind and ear heard but the hands could not quite translate, I was invited to travel to Haiti with my Mambo friend as she was undergoing her final initiation as a High Priestess (Mambo Asogwe) into the Vodoun. Without hesitation I accepted! I had travelled internationally before going to Haiti, and what I thought I knew of international perception and cultural customs was not quite the preparations needed for my experience in Haiti.
Haiti is hot, 99% well beneath impoverished conditions, has a pungent smell to the majority of the cities due the trash the heaps and mounds over the road ways creating traffic that far surpasses any US city and the drivers there are quite capable of handling such the monstrosity of congestion and aggression. The roads are filled with congestion from all modes of transportation, auto and foot. The buildings throughout the majority of the cities are built beneath US structural code, meaning the top floors are typically dried cement and rebar coming from the top of the building. Shops are most usually open door or open air with loud Mizik Rasin (style of Haitian rock/pop; Roots Music) blaring from shop owners.
The streets in the city are lined with vendors and farmers coming into Port-au-Prince to sell their items of food, livestock and hand crafted jewelry. The city is surrounded by mountains, that are blanketed with house dwellings reaching half way to the summit. At first arrival at the airport, it can be a bit overwhelming as you are bum rushed by the locals, offering to service you as a guide or taxi, most with good intentions, yet some with not. How ever once have fought your way through this tropical metropolis, the people, the food, the music, the weather, all of it...indescribable. The people are quite welcoming. You will always receive a smile from the locals, especially the incredibly radiant and studious children walking to and from school in their neatly pressed school uniforms. Nearly everyone there will stop and take a picture with you.
This was my introduction to Vodou and the drumming, and you don't get more of an "introduction" than being thrown into the bowls of Port-au-Prince, in the ground open air floor to partake in a Vodou ceremony as a witness and guest. I found the hospitality there more attentive than any restaurant back in the States. I was fed, offered drink, given seat, back and neck massaged, given a room to sleep in and bathed/clothed the next morning. This sounds average for anyone in the US, but keep in mind, the people in Haiti have next to nothing...some nothing at all. The food I was offered was the last bit of food from the family who prepared eats for me, as well as the drink. The room I was offered, was the dwelling that belonged to the Master Drummer who later became one of my instructors. He slept in the streets that night after the Fete. The clothing and bathing was done by two very hospital young Haitian teenagers who knew how to treat a guest with respect.
As my friend was going through her one week long rite of passage, I was re-acquainted with the Master Drummer, Peterson, who lent me his house that night to rest. Our language barrier was massive, and there was a translator on hand, but the only common language we needed was the drum. This amazing young percussionist began showing me the beats, rhythms, queues and history of Haitian Drumming. I was there for along hot month and grabbed as much info as I could. We played over and over, day after day, creating a very strong bond that has kept to this day. While there, my understanding and translating of this drumming style grew....not to a Master level, but I comprehended enough and felt good about my learnings as I travelled back to the States after my Mambo friend received the final grade of High Priestess. Going in to a world like that with an "empty cup" is the only way to learn what is being shared. Showing a deep rooted sense of respect, gratitude and removing the ego is also a huge factor in what the people of this culture must see prior to them sharing their customs with you, especially a Blanc, (term for an outsider and even more so used if you are white or of light skin).
I developed a relationship with Peterson and the "House" (term for a Vodou society or sosyete that one is initiated into), and created a very deep relationship spiritually with the founder of the House, the Gran Manman (Great Mother). She was a very tiny Haitian woman, Marie Carmel. After many years of studying not only the drumming aspect but the ritual aspect (for lack of a better term) and being open to the knowledge of the spirits and energies that each individual rhythm is associated with, my life took a new direction. The drum being such a powerful tool, opening my heart and opening my remembrance of the Haitian experience along with the spirits that appeared at those ceremonies, it was divined that my time to initiate as a Priest (Houngan) had come. I had been honoring and practicing the drums and spirits of the Vodou for 6 years before seeing the Kanzo (initiation process) for myself. After having undergone this extremely difficult, and painful yet heart, soul, mind and eye opening beautiful rite of passage, my life will never be the same. The Kanzo experience can not be revealed to those who have not partaken in it, but know I do not regret one slight minute of that decision. I've been in the Vodou now over 15 years and a Houngan for 9 years, my passion and responsibility to the community is of growth, teaching, aiding, healing and honor. This behavior is also expected to be given to the spirit guides and the elders who take you in. This is my work now, a Houngan and a Drummer for the people and the Spirit. Sharing the indigenous medicine that pulled me out of my self made hole.
My journeys in learning and initiations are not yet complete. I return to Haiti in June of 2021 to undergo the Kanzo again to become Houngan Asogwe. Life is a long eternal journey and does not come to an end until this body we house expires. The drum, of which I have the utmost respect for, has shown me this life long lesson and has changed my very being.
I thank you for allowing me to share this portion of my life with you. Follow what moves you and gives you strength. Let the world see your true shine!
In honor of the Spirits, the Ancestors, the Community and the Drum......Aibobo!
Janbe M'ale Bon Houngan
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