The passion of drumming in the words of a dedicated artist
By Shaniya Harding

The passion, the culture and the love for the art of drumming are felt by more than just those playing. But its sound rises above the crowd and resonates with people who hear and feel it.
The history of cultural drumming, similar to many other traditions, is a dwindling practice in Guyana and the rest of the world. Yet, drumming remains a part of many cultures worldwide. The Japanese have the Taiko drums, Indians have the Tassa, and Africans are known for the pulsating sounds of their Congo drums.

In Guyana, we celebrate various cultural holidays, including Emancipation. These celebrations are among many efforts made to preserve culture. Standing out among the busy crowd and the many minibuses at Stabroek is a man who sees the importance of drumming and is working to see it carried on, little by little.
If one was to take the time to simply stand and watch Curt Hunt play his drums they are bound to be struck by his mere passion for his art. Or perhaps they would experience what Curt thinks is the greatest thing about drumming, the spirituality of it.

Striking the drums, Curt told the Pepperpot Magazine what drumming means to Emancipation and what Emancipation means to him. Curt or Cutty as he is commonly called has plied his trade of drumming at the same place, every week for more than 16 years.
On any given day, Curt could be found drumming alongside the popular Demico building at the heart of the capital city. Many people perform, as a hobby or pastime, or in rare cases, as a job. But Curt Hunt plays for far more than that. He says he plays because he simply has to. “This is more than something I do; this is my occupation. All year around, this is what I do. This is not just how I survive. I do this to keep the faith and African culture alive. Because I love to and have to,” he said.

His passion for drumming was ignited in church. This is where he stated that he not only learned the importance of music in religion but also to culture. Curt explained that when he moved to live in Sophia, he learned the craft that would stay with him for the rest of his life. “I was born in Leopold Street, but after our home was burned down, we moved to Sophia. This is where I learned to drum. And that is where I live today, still drumming,” he said. “At the age of 5 I started to play the spiritual drums. After my mother, a highly religious woman, took me to church. And from then on, I still play the drums. I never gave up on drumming.”

One of the things about tradition that marks its significance is the fact that it goes beyond customs and practices and becomes a part of a people; for ages to come. As Curt explained, drumming is associated with drumming just as much as Emancipation is and should not be overlooked.

The ancestors of Afro-Guyanese played drums at every occasion, whether mourning the death of a loved one or the birth of a child. Drums were a part of everyday life. And their descendants today still take part in some of the same customs and rituals as they did. “There are some people who beat drums every Saturday or just once a year. But in August, around Emancipation is when most people have their cultural celebrations and African rituals. And for that the drums are a must,” Curt explained.

To be considered a drummer takes skill far beyond repeatedly hitting the drum. It requires passion, rhythm and the almost elusive knowledge of songs that their ancestors sang. Many people hold the opinion that drumming is African simply because it is something that they did. But this is not what Curt says.

“Every type of drumming comes from a tribe of Judah. For the 12 tribes, there are 12 types of drumming. I had to learn all of them as a drummer,” he explained. This is just one of the facts about the art of drumming that is not found in a book. But just like the customs and traditions it celebrates, it has to be taught by those willing to preserve that flicker of culture.

Inescapable is what they call tradition, but Curt says that tradition is something that should be accepted rather than forced. As a father of two children, one boy, one girl, he says he teaches them as much as they want to learn. “ I don’t force the drumming on them. If they want to do it, then I am there to teach them. And to teach any young person who wants to learn,” he said.

The deep roots of drumming are said to be in African, no matter he may be and it is said to be more than just something he may be interested in, but something that is simply a part of him. “It’s not that I like drumming. I love drumming. I love the spirituality and culture of it. This is a part of me, drumming is me and I am drumming,” he said. From the drums native to Africa to those of freed slaves and to a man fighting to keep culture alive. Emancipation is more than a holiday; it is a part of every African everywhere.