1. POLYRHYTHM WEST AFRICA’S MUSICAL FABRIC

2. DEFINITION Polyrhythm: The simultaneous playing of two or more independent rhythms. Synonym: Cross-rhythm. Related: Syncopation: Placing accents where they normally wouldn’t occur in Western music. Often feels as though it’s interrupting or tugging back on the main rhythm. Happens frequently as a result of polyrhythms. Examples: Polyrhythmic ensemble from Ghana, Palm Music

3. FROM AFRO-CUBAN DRUMMER DAVID PEÑALOSA “In traditional European ("Western") rhythms, the most fundamental parts typically emphasize the primary beats. By contrast, in rhythms of sub-Saharan African origin, the most fundamental parts typically emphasize the secondary beats. This often causes the uninitiated ear to misinterpret the secondary beats as the primary beats, and to hear the true primary beats as cross-beats. In other words, the musical "background" and "foreground" may mistakenly be heard and felt in reverse.”

4. POLYRHYTHM 1: LUBA Part 1: “Hey batter, hey batter, hey batter, hey – SWING!” Part 2: “Can I, Can I, Can I swing a little?”

5. POLYRHYTHM 2: “MARKETPLACE” Part 1: “I am awesome, I am awesome…” Part 2: “How – Can – I – be so awesome? (pause) How – Can – I – be so awesome?”

6. MORE FROM PEÑALOSA “From the philosophical perspective of the African musician, cross-beats can symbolize the challenging moments or emotional stress we all encounter. Playing cross-beats while fully grounded in the main beats, prepares one for maintaining a life-purpose while dealing with life’s challenges. Many sub-Saharan languages do not have a word for rhythm, or even music. From the African viewpoint, the rhythms represent the very fabric of life itself; they are an embodiment of the people, symbolizing interdependence in human relationships. “

7. JOURNAL ENTRY #3 If one of the beats we learned together were a relationship, what would that relationship look like? What if it were a society? Would it be a successful society? Why or why not?