This 3-hour workshop is an introduction to the world of frame drums, open to the participants of any level - including those that never played any instrument before!

• We will explore the sounds of this ancient instrument, build up an ability to play, learn different traditional grooves and work on the rhythmic creativity
• We are going to study the technique of frame-drumming according to the approach of percussionist and composer Zohar Fresco
• In the whole process we'll focus on our primary instrument: the body - it's posture, responsiveness, breath, and its role in the musical creation.

Borys about his teaching methods:

My teaching is dedicated to anyone that feels like learning, also those that have never played any instrument. Through my teaching practice, I realized that everyone has their inner musicality. To me, music (and art generally) is a basic human behavior that can (and should) be practiced by everyone. A behavior with profound therapeutic effects.
WHAT IS THE FRAME DRUM?
The frame drum is a percussion instrument whose diameter is greater than its depth. It is one of the oldest musical instruments known to humans. In different shapes and under different names, it occurs almost all around the world. The one that I play is called in Hebrew Tof Miriam, which means ‘The drum of Miriam’ (after a female prophet who used it, as described in the Old Testament).

THE CLASS COVERS:

• Step-by-step learning of the ‘lap-style’ technique on the frame drum
• Warm-up exercises to increase the sensitivity in hands and responsiveness in the body
• Traditional rhythms and phrases (4/4, 3/4, 7/8, 9/8)
• Basics of rhythmic vocalization system (based on Konnakol)
• How to compose rhythms
• Presentation of different examples of frame drums

LEAD TEACHER

The workshop is led by Borys Slowikowski: musician, educator, performer, and psychologist. He has studied frame drums from Zohar Fresco since 2010. Borys studied also from i. a. Bijan Chemirani, Jacek Ostaszewski, Sabina Giannatou, Efren Lopez. He is involved in movement improvisation and performance field as well as in varied forms of somatic work. He develops his own method of teaching rhythmics based on somatic practice.