Author: Sue

  • Drum

    Drum

    Drums are the most visceral of instruments. Tuned to our own heartbeats, shaking our blood, they are as immediate as sex.

    From the earliest of times they have been as central to sacred ritual as to mindless frenzy, as essential to rigid military discipline as to dance; to victory celebrations as to funerals; wonderful, exhilarating, terrifying drums.

    We almost certainly began by using ourselves as drums; clapping and hitting the chest and knees with open hands. This was very varied rhythmically, but it must have been difficult to get above a certain volume without inflicting pain; and so we created what must have been one of the first musical instruments.

    The original drum was probably an animal hide stretched over a hollow log which was held in place by wooden or metal pins and twine.

    We are not the only animals that use clapping;

    Macaque monkeys drum objects in a rhythmic way to show social dominance and this has been shown to be processed in a similar way in their brains to vocalizations suggesting an evolutionary origin to drumming as part of social communication.

    Other primates make drumming sounds by chest beating or hand clapping,and rodents such as kangaroo rats also make similar sounds using their paws on the ground. (Wikipedia: and all subsequent quotes)

    Drums made with alligator skins have been found in Neolithic cultures located in China, dating to a period of 5500–2350 BC. 

    Bronze Dong Son drums are were fabricated by the Bronze Age Dong Son culture of northern Vietnam. They include the ornate Ngoc Lu drum.

    Drums are used not only for their musical qualities, but also as a means of communication over great distances in all cultures. The talking drums of Africa are used to imitate the tone patterns of spoken language. Throughout Sri Lankan history drums have been used for communication between the state and the community, and Sri Lankan drums have a history stretching back over 2500 years.

    Most cultures practice drumming as a spiritual or religious passage and interpret drummed rhythm similarly to spoken language or prayer.  As a discipline, drumming concentrates on training the body to punctuate, convey and interpret musical rhythmic intention to an audience and to the performer.

     

    The Cool Web by Robert Graves uses drums to express terror; and in particular, the terror of war.

    Children are dumb to say how hot the day is,

    How hot the scent is of the summer rose,

    How dreadful the black wastes of evening sky,

    How dreadful the tall soldiers drumming by…

    Drums have been used in all areas of military life throughout history.

    During pre-Columbian warfare, Aztec nations were known to have used drums to send signals to the battling warriors. The Rig Veda, one of the oldest religious scriptures in the world, contain several references to the use of Dundhubi (war drum). Arya tribes charged into battle to the beating of the war drum and chanting of a hymn that appears in Book VI of the Rig Veda and also the Atharva Veda where it is referred to as the “Hymn to the battle drum”.

     

    Chinese troops used tàigǔ drums to motivate troops, to help set a marching pace, and to call out orders or announcements. For example, during a war between Qi and Lu in 684 BC, the effect of drum on soldier’s morale is employed to change the result of a major battle.

    Fife-and-drum corps of Swiss mercenary foot soldiers also used drums. They used an early version of the snare drum carried over the player’s right shoulder, suspended by a strap (typically played with one hand using traditional grip). It is to this instrument that the English word “drum” was first used.

    I couldn’t find any images of the one handed drum – but these are early Swiss mercenary drummers using later snare drums:

    Similarly, during the English Civil War rope-tension drums would be carried by junior officers as a means to relay commands from senior officers over the noise of battle. These were also hung over the shoulder of the drummer and typically played with two drum sticks. Different regiments and companies would have distinctive and unique drum beats only they recognized. 

     

    Children were used to play the drums in the heat of battle, presumably because they were expendable; they must have been easy targets, even in the din of battle, and, as they relayed commands, they were worth taking out.

    Drummer boy in Union Army
    child soldier in the US civil war

    André Estienne was a drummer with Napoleon Bonaparte’s army at the Battle of the Bridge of Arcole in 1796, where he led his battalion across a river while holding his drum over his head, and on reaching the far bank, beat the “charge”. This led to the capture of the bridge and the rout of the Austrian army.

    On 28 November at the Second Battle of Cawnpore, 15-year-old Thomas Flynn, a drummer with the 64th Regiment of Foot, was awarded the Victoria Cross. “During a charge on the enemy’s guns, Drummer Flynn, although wounded himself, engaged in a hand-to-hand encounter with two of the rebel artillerymen”. He remains the youngest recipient of the medal.

    Thirteen year old Charles King was the youngest soldier killed in the entire American Civil War (1861-1865). Charles enlisted in the 49th Pennsylvania Volunteer Infantry with the reluctant permission of his father at the age of 12 years, 5 months and 9 days. On September 17, 1862 at the Battle of Antietam or Battle of Sharpsburg he was mortally wounded near or in the area of the East Woods, carried from the field and died three days later.

    Drummer boy in US Civil War

    The use of drums beyond the parade ground declined rapidly as the 19th century progressed, being replaced by the bugle in the signalling role, although it was often the drummers who were required to play them.  

    The most notorious use of drums was in recruitment. There was nothing like a brilliantly red uniform on a handsome soldier beating a drum in a drizzly grey village marketplace to bring in the young men..

    1812 recruiting officer – with his drummer

    The Cambridge Intelligencer (August 3, 1793)

    By the Late Mr. Scott, the Quaker.

    I hate that drum’s discordant sound,
    Parading round, and round, and round:
    To thoughtless youth it pleasure yields,
    And lures from cities and from fields,
    To sell their liberty for charms
    Of tawdry lace and glitt’ring arms;
    And when Ambition’s voice commands,
    To fight and fall in foreign lands.

    I hate that drum’s discordant sound,
    Parading round, and round, and round:
    To me it talks of ravaged plains,
    And burning towns and ruin’d swains,
    And mangled limbs, and dying groans,
    And widow’s tears, and orphans moans,
    And all that Misery’s hand bestows,
    To fill a catalogue of woes.

     

     

  • War and Friendship

    War and Friendship

    One of the strongest messages to come from the poems Robert Graves wrote while at the front – and Edmund Blunden’s, and Siegfried Sassoon’s – in fact one echoed by all soldiers everywhere – is one of love.

    No mattter how numb, dehumanised and battle-weary men become, still they grieve for their dead comrades and long for their families far more than they hate their enemies. And the mirror image of this is the desperation of their loved ones left at home.

    There are few poets that express this more eloquently than Wang-Chein

     

     

    Hearing that his Friend was Coming Back from the War

    Wang-Chein d.830? Translated by Arthur Waley.

    In old days those who went to fight

    In three years had one year’s leave.

    But in this war the soldiers are never changed;

    They must go on fighting till they die on the battlefield.

    I thought of you, so weak and indolent,

    Hopelessly trying to learn to march and drill.

    That a young man should ever come home again

    Seemed about as likely as that the sky should fall.

    Since I got the news that you were coming back,

    Twice I have mounted to the high wall of your home.

    I found your brother mending your horse’s stall;

    I found your mother sewing your new clothes.

    I am half afraid; perhaps it is not true:

    Yet I never weary of watching for you on the road.

    Each day I go out at the City Gate

    With a flask of wine, lest you should come thirsty.

    Oh that I could shrink the surface of the world,

    So that suddenly I might find you standing at my side!

  • Battle

    Battle

    We are fascinated by history; many books, programmes, films, documentaries,performances try to help us reconstruct life as it was.

     

    In search of the past…

    It is a very demanding act of the imagination to get even a glimpse of what it might have been like to fight for your life, armed only with a spear, no matter how much information we have about the climate and the war paint..

     

    Maori King

    Unless you listen to someone who lived there, in that other country of the past…..

    This magnificent Maori War Chant, translated by Allen Curnow and Roger Oppenheim, is still passionately alive. Listen.

    Let fog fill the skies,
    Let the cloud cover them,
    the wind howls high up
    to the world away down,
    listen! the wind howls
    from far away down!

    Shuddering the spear
    is charging, is flying,
    the twin-bladed shark,
    and the footsteps hurtling.
    O furious the footsteps,
    blood-wet the footsteps
    bound for the world’s brink.

    He goes, god of battles,
    the stars in his stride
    and the moon in his stride –
    run, run from the death-blow!

  • Robert Graves: Larks and Sunshine

    Robert Graves: Larks and Sunshine

    Robert Graves, well known to so many for his World War One memoir Goodbye to all that, was fortunate enough to live for many more years after the war; many of which were spent in sunshine far away from the choking gas and mud of the trenches.

    On a wonderful summer day like this,  only one of his happiest love poems will do.

     

    Love without hope, as when the young bird-catcher
    Swept off his tall hat to the Squire’s own daughter,
    So let the imprisoned larks escape and fly
    Singing about her head, as she rode by.

  • Women in the Great War

    Women in the Great War

    American Nurse: WW1

    The Great War in Costume: The following text is taken from the press release of the Fashion Museum. The images are downloaded separately, from google images.

    Costumes from Downton Abbey will feature as part of a new exhibition at Bath’s Fashion Museum.

    June 2014

    The exhibition, The Great War in Costume: Family and Fashion on the Home Front, which runs from Saturday July 19 – August 31, will mark the centenary of World War One, and will be opened by journalist and writer Kate Adie OBE.

    Bath & North East Somerset Council’s Fashion Museum is hosting the exhibition in the Ball Room of the Assembly Rooms, as part of the Imperial War Museum’s Centenary Partnership.

    Yvonne Hellin-Hobbs, the exhibition organiser, said: “World War One changed the lives of women for ever. Due to the recruitment of most healthy men, women were required to do the jobs that men used to do. With this, women’s fashion changed; corsetry was softened and clothing became more practical, with some working women even wearing trousers for the first time.

    Trousers: comfort, practicality, allure

    “The exhibition follows the lives of women on the home front through this conflict and how this new life and social status influenced fashion for women. As well as costumes from the television series Downton Abbey, it will also feature examples of uniforms and civilian dress, memorabilia and propaganda.”

    Women on the Home Front

    Councillor Ben Stevens, Bath & North East Somerset Council’s Cabinet Member for Sustainable Development, said: “We’re proud to be hosting such an important exhibition as part of our commemoration of World War One in Bath and North East Somerset.”

    Nurses tending the wounded

    Kate Adie is the author Fighting on the Home Front: The Legacy of Women in World War One, a book which has been an important information source and inspiration for the exhibition.

    There will also be a special illustrated talk on Wednesday August 6, at 2.30pm, called ‘Women and the Great War’. Author and broadcaster Lucy Adlington will look at the lives of women during the war and display an array of original clothes. Tickets priced at £10 (£8 concessions) include entry to the exhibition The Great War in Costume, and can be purchased from Bath Box Office http://www.bathboxoffice.org.uk/ Tel 01225 463362.

    The elegant side of war work

    Entry to The Great War in Costume is included in the ticket for the Fashion Museum, open 10.30-5pm daily. Admission price is £8 adults/£6.00 children, free to Discovery Card Holders. Visit http://www.fashionmuseum.co.uk/ for more information

    every girl pulling for victory poster

     

  • The Edith Cavell Coin

    The Edith Cavell Coin

    Somme Nurses

    The campaign to commemorate Edith Cavell by issuing a new coin has succeeded; adding not only to the number of women caught up in the conflict who are remembered, but also to the vast list of non-combatants, nurses and ordinary people who were willing to risk their lives to bring help and comfort to others on all sides of the conflict and in all circumstances.

The Cool Web : A Robert Graves Oratorio
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