Dancing to a different drummer

Last night, the OGADE band performed at the Fitton Center for the Performing Arts in Hamilton, Ohio. In the darkened theater, about a dozen of us took our drums and flutes and rainstick and crammed into one dimly-lit corner of the stage area. The dundun player had to be careful not to whack the djembists on either side.

Despite the constricted space, the local troupe of belly dancers who call themselves the "Circle of Rhiannon" danced into the center and performed a series of group and solo dances that had everyone fascinated and wanting more.

Obviously the aesthetic and primal appeal of this performance is very strong. The insistent beating of the drums takes hold of the heart rhythms of the audience, and the swirling of colorful costumes and the liberated, sexy movements of the dancers draw the eyes of everyone. As a drummer in the back row, I could see that the entire audience was intent on the action on stage, and many were swaying to the beat.

It is good to have these occasions. Especially, it is good that audiences in the conservative world of Cincinnati have so many occasions to be exposed to live world music and dance.

When I drive around Hamilton with my moonroof open, I am assaulted by country music, country rock, christian(!) rock and hip-hop crap with indistinguishable lyrics played by cars that thump obnoxiously at intersections while waiting for lights that seem never to change. Though I close the moonroof, I cannot escape the monotonous, unimaginative thumping. It is enough to rattle the metal signs that say, "LOUD STEREO: Penalty $500".

Public exposure to live dancing and live music of other cultures helps to broaden the cultural awareness of the local citizenry. The current political climate, in which all things Arabic/Muslim are equated with terrorism demands to be countered by whatever means are available. Multicultural music and dance are powerful ambassadors for acceptance, appreciation, and understanding.