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40 of 40 people found the following review helpful:
4.0 out of 5 stars
Interesting angle on an overdone subject, March 8, 2003
Throughout history, music and rhythm have been used in religious ritual, to bring human beings into the ecstasy of the divine presence, by whatever name that has been called at any given time. And, specifically, rhythm was prevalent in the ancient Goddess religions of the Mediterranean. I never realized, until I read _When the Drummers Were Women_, how many of the Goddess traditions included sacred drumming. But it's right there--Cybele's devotees ate and drank from drums and cymbals, Inanna was given drum music as an offering, and votive figures of drumming women have been found in many places. It's like what I've heard happens when a woman gets pregnant--all of a sudden, she sees pregnant women everywhere. Not because there are more pregnant women than there were before, but because her focus has changed. Layne Redmond gives us a new focus--percussion--and suddenly we're able to see the pattern of rhythmic ecstasy that ran through many of these rituals, which many of us hadn't noticed before. And she also suggests drumming as a way to the divine today, and emphasizes that drums were not always seen as "masculine" instruments as they are seen today. Are they seen as masculine? Ask me, ask any woman who played percussion as a young girl. A lot of weird looks still follow a female drummer. But that's changing, thanks to prominent female drummers like Redmond.Why not five stars? I think it's a personal issue of mine. I've read a lot of "history of the Goddess" books in my life, and at this point I'm heartily sick of reading about the matriarchy and its suppression by the patriarchy. This isn't Redmond's fault, it's mine. But this book contains the exact same story arc I've seen many times before, the very same oversimplified history. (The best three-dimensional account I've seen of this theme is Baring and Cashford's _The Myth of the Goddess. Other writers' tellings of this story come off as too sweepingly general after the Baring/Cashford book.) It's up to you whether the drumming angle justifies buying another book about the matriarchy/patriarchy story. For me, it was justified, because I am interested in Demeter, Persephone, and Dionysos, and got some new information about their rites from Redmond's book. It's the big question to ask yourself before buying this book.
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31 of 33 people found the following review helpful:
5.0 out of 5 stars
A Treasure!, July 28, 2004
RE: simplistic feminist fluff??? Someone has a problem with successful women!!!
Let's get some facts about Layne Redmond down here:
Drum! Magazine readers (a rocker's mag, predominately read by young males) in 2002 voted Layne Redmond Percussionist of the Year, her album Trance Union, Percussion Album of the Year and her video, Rhythmic Wisdom, Percussion Video of the Year. In 2003 they once again voted Trance Union, Percussion Album of the Year. In 2003 the editorial staff of Drum! listed Layne Redmond as one of the 53 Heavyweight Drummers Who Made A Difference in the 90's, along with drummers like Tony Williams, Roy Haynes, Zakir Hussain, Elvin Jones and Micky Hart. By the way, she is the only woman on this list. Drum! Mag readers are well known for being into simplistic feminist fluff!
She was the first woman to have a Signature Series of world percussion instruments with Remo, Inc., one of the world's largest manufacturers of percussion instruments. She has been a soloist at the Touch Festival in Berlin, Seattle Bumbershoot Festival, the Institute for Contemporary Art in London, Tambores do Mundo in Brazil, the 1995 World Wide Percussion Festival in Brazil, and the Vienna International Percussion Festival in 2001. In Nov. 2004 she'll give a scholarly paper on Ancient Greek Percussion and also a hands on clinic, fusing Middle Eastern and Brazilian rhythms for tambourine, at the Percussive Arts Societies International Conference (PASIC 2004). Another group of people well known for their simplistic feminist fluff leanings.
In terms of her spiritual connection to the frame drum she has taught or lectured at Andover Newton Theological School, Hartford Seminary, the Unitarian Conference, St. Catherine's College in St. Paul and the Jewish Renewal center, Elayt Chayyim -- well known for their feminist fluff leanings.
I came across Layne Redmond in my research for my doctoral thesis on ancient music back in 1994 and have followed her career with interest ever since, actually writing a number of articles about her work. Her book, When The Drummers Were Women is invaluable, no where else are the images of the ancient Mediterranean women drummers held in a collection. Only a drummer of her depth and skill could have gleamed as much information from the ancient images of drummers as she did. I was fortunate to hear her lecture and perform at PASIC 2000 on Ancient Egyptian Percussion and I was also able to attend one of her rituals with the Mob of Angels in a cave in upstate New York along with 750 other men, women, and children. I don't think anyone there thought they were participating in light feminist fluff.
Her new cd, Invoking the Muse, shows how beautifully she has used her ancient research and her writing skills as a source for the creation of nine sophisticated, brilliant compositions, performed by some of the most successful and popular musicians in contemporary classical, jazz and world music. As for her writing as Library Journal put it: "Well documented, with an excellent bibliography, this multifaceted study will have great appeal for all readers . . " I recommend her website: www.LayneRedmond.com, a really a great resource and I'll let the New York Times wind this review up:
Layne Redmond is a superb percussionist!
The New York Times, James R. Oestreich, 1991
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12 of 12 people found the following review helpful:
5.0 out of 5 stars
The Great Goddess from a Drummer's Point of View, March 21, 1999
By A Customer
WHEN THE DRUMMERS WERE WOMEN is a great bargain! In less than 200 pages, charmingly illustrated with black & white photographs and drawings, Layne Redmond accomplishes three tasks. Her original goal was to write a history of women's ritual drumming in selected ancient cultures. In reaching this goal, she has created a wonderfully accessible overview of the role of the Great Goddess in India, Sumeria, Egypt, Greece, and Rome. Redmond also surveys the Paleolithic and Neolithic roots of the Goddess, as well as the transformation of the Goddess into the Virgin Mary. Not least of all, she anchors her story in the contemporary world, weaving together her personal and professional quests, the response of other women to her work, and relevant scientific research. Inevitably, in such an ambitious yet brief work, there are occasional flaws such as overgeneralizations or historical anachronisms; but these do not outweigh the merits of the book. Both her drummer's point of view and the breadth of her research offer new insights to readers familiar with the history of the Great Goddess. At the same time, her brevity and style make her work an excellent introduction for readers new to the subject. The subtitle of the book is "A Spiritual History of Rhythm", and the purpose seems to be both to document the role of sacred drumming by women priestesses in ancient times and to argue the value of drumming in contemporary spiritual practice. In pursuit of these two purposes, Redmond illuminates the role of women in ancient religions, the development of various mythic symbols, the evolution and suppression of the Goddess, and the physiological & psychological bases of spirituality. What may have started as a little book about rhythm became a major quest--as fascinating to the reader as it was meaningful to the author.
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