Framing the Question: Learning How to Learn from the Drum
AbstractIn this essay, I explore the dimensions of my experiences as an initiated member of Omo-aña, consecrated players of the Afro-Cuban sacred batá drum, an instrument that originated in Yorubaland in Nigeria, West Africa, and traveled to Cuba in the 1800s. I will describe the evolving process of learning to play the batá under the guidance of one of the most influential Olubata—keepers of the sacred batá—in the United States, my cultural consultant, Orlando “Puntilla” Rios. The guiding question is: How can I use frame analysis as a tool in thinking about my own learning process, and by extension, to deconstruct the dominant frames to illuminate a broader range of alternatives?
Authors who publish with this journal agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).