But while its sounds are organic, the strength it takes to maneuver the tanbou while keeping rhythm takes years and years to master, as do the number of rhythms there are to learn. In fact, in Vodou music alone, there are dozens of categories of rhythms, and each represents a different ethnic group. The origin of these groups goes back to their importation to Haiti as slaves from Africa. Every rhythm is associated with a spirit, each with a distinct personality. The rhythms associated with the Rada spirits originally from the Fon people of Dahomey are calmer and smoother than the aggressive rhythms of the Nago spirits from the Yoruba ethnic group. The Ibo rhythms are faster and more upbeat than the erotic sounds of the Gede rhythms. Zao, a professor at the National School of Arts (ENARTS) in Port-au-Prince, learned to play the tanbou and its intricate rhythms from great vodou leaders. And though he does not practice the religion, he has acquired extensive knowledge of the vodou culture and of Haitian rural culture in general. Unfortunately, he says, “the tan-
bou has been widely associated with evil because of its role in traditional vodou ceremonies, and because of the misconceived beliefs linked to the religion.� Zao has spent a lifetime trying to remove this stigma, which is still, unfortunately, pervasive. Because of his master drumming skills and expertise in Haitian roots culture, Samba Zao has traveled the world and played for diverse crowds. He has inspired the best of dancers and has helped influence many students. His goal is to inspire a new generation to value and understand the tanbou. He wants the young people of the next generation to be as inspired as he was when he became a scholar in Haitian roots culture. He wants to spread the word about the importance of the tanbou as not only the heart of Haitian culture but the heart of music. It keeps history alive and unites mankind with its sounds. The tanbou is the fuel of music present and future. As long as there are tanbous, Haiti will have the chance to rhythmically communicate its story.
OCTOBER 2011 MAGIC HAITI 5