With so few vacation days, teachers try their best to separate themselves from all things work-related. So what did I do with my Spring break? I taught. Practiced. Organized. Visited family. And of course, attended a concert. I had the fortune of seeing Susie Ibarra and Roberto Rodriguez aka Electronic Kulintang at the Lincoln Center Atrium.
I say fortune because being in the Atrium is an experience in itself. A long corridor with two walls of creeping, hanging vines and fronds jutting out horizontally. The air is so fresh and the high ceilings and smooth tiles make for deep and reverberating acoustics. On this evening, Susie had one set of pitched gongs, one set of tuned metal plates, one xylophone of sorts, and a drum set, which she shared with Roberto who also played amplified cajon and laptop.
I must say I was impressed. Initially, the trance n' dance electronica loops did not do much for me, but Susie artfully infused filipino rhythms and motifs into the tracks. As each track passed, the beats were more involved, more provoking. Until finally my interest peaked when she assumed her throne at the drum set, her mastery of sound and precision transparent, weaving a seamless groove from brushes merely rapping drum shells in typical minimalist style.
To give you a little background, I grew up hearing about Susie Ibarra. My dad, a local jazz drummer, encouraged me to practice by citing amazing female drummers as inspirations. Among Karen Carpenter, Cindy Blackman, Terri Lyne Carrington, and Sheila E. there was Susie Ibarra. In addition to being a female drummer/percussionist, she is also Filipina. There are not that many of us out there.
I am thankful that these women have paved a path for other female instrumentalists. Inspiring us to take steps towards the music we love and 'going for it.' Especially to Susie, for all her research in indigenous Filipino music and bringing it to our attention. Actually, I hope this December to take a trip to the Philippines to visit family and learn more about the music of my people.
