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About

Artist Bio

Hassan Jackson has been drumming in and around South Carolina for 35+ years. His primary choice of drums is the congas, which was passed on to him by his father. Since he was a kid, Hassan has appeared in numerous festivals, sacred events and educational institutions along with the Moja Dancers of Charleston, Egbe Kilimanjaro and the Oyotunji Village drummers. He has performed with former local cover bands, Kilimanjaro International and Jazz Etc. Hassan has also spent 15+ years being a Teaching Artist apprentice to his father, Leon Jackson. Hassan has had the privilege of drumming and learning from many local and world-renowned drummers. He has studied different West African drumming styles under the direction of Baba Olatunji, Mor Thiam, National Ballet of Senegal and the Freetong Players of Sierra Leonne. He has also studied Orisha drumming styles under the direction of Gene Golden, Alfredito Kimbisa, and the Anya Drummers of Atlanta, Ga. Hassan is currently a member of Wicked Fire, a Santana tribute band based in Myrtle Beach, SC. He also does freelance gigs with other drummers and local bands in the Lowcountry. He also offers drum classes and collaborates with key figures in the Gullah Geechee diaspora in an effort to continue the tradition of drumming in the SC Lowcountry. When he is not drumming, he handcrafts gourds and beads into beautiful instruments, known as shekeres.

Artist Statement

Hassan has been entertaining people with his unique gift of drumming since the age of two. As a child, he would always notice how captivated people of all ages would be by the polyrhythmic sounds of the congas. Where the ego could have easily sprouted into an evil monster, Hassan allowed spirit to show him that the drums would be his way of influencing people to love themselves and one another. Humanity has become so conflicted because we allow things like religion, politics, ethnicity and so many other factors to create invisible lines between us. But the drums have a mystical way of dissipating all those lines and creating a harmonious unification that creates peace and love within ourselves and the community.

Hassan also enjoys teaching people about the drums just as much as he loves playing them. It gives him great pleasure to entertain, but he finds it more fulfilling when a child or adult experiences the art of drumming for themselves. Hassan uses the drum to encourage children to tap into their imagination by allowing them to freely express themselves, orally and rhythmically. This unlocks creative thoughts and ideas that may have otherwise remained dormant, influencing them to make their own artistic contributions to humanity. The same effect works for adults, as well. An opportunity to play drums allows adults a safe, nonjudgmental space to escape from the burdens and traumas of everyday life. Drum circles are essentially group therapy sessions where no one actually shares their problems aloud. However, everyone in attendance walks away in a state of tranquility that is often smothered by stress, depression and oppression. Hassan believes that the drums erase those heavy energies and reminds us that peace and happiness are easily attainable.

Finally, Hassan is a firm believer in keeping the indigenous culture of the Gullah people in the Lowcountry alive. People are familiar with the folklore, sweetgrass baskets and rice plantation stories. However, Hassan provides an element that is often left out of the narrative, the strong presence of African drums and instruments. These art forms traveled with the ancestors to this foreign land, where they also creolized with the indigenous people of the Lowcountry. Along with educating people about the drums and its importance to the Gullah culture, Hassan also turns gourds into beautiful instruments of West African origin, known as shekeres. These instruments are popular among the sacred and secular styles of music found in the Gullah/African/Caribbean diaspora. They are also timeless pieces of art that reminds people of the ingenuity of the African ancestors that survived the mental oppression that slavery produced.

Teaching Artistry Details

Teaching Artist Statement

Hassan Jackson’s passion for conga drumming precedes his physical existence in this realm. He began his drumming career as a child prodigy under the direction of his father and other predecessors of the SC Lowcountry. His desire to teach drumming developed as his father’s apprentice, influencing him to create a curriculum that infuses traditional African drumming lessons with the Gullah culture. Throughout the years, he has learned the cultural importance of differentiating the drumming styles of the Lowcountry from those of West Africa and the Caribbean. As a teaching artist who incorporates personal experiences and relatable historical facts with the physical interaction of drumming, Hassan creates a learning environment that all students can benefit from.

Drumming has a way of captivating students of all demographics and learning styles. In Hassan’s introductory class, he allows his students to experience the drum from its ancient origin in Africa to its modern-day presence in the classrooms of America. They learn the drum’s anatomy, how to produce sound, and the historical uses of the drum throughout the African diaspora. Students play games incorporating basic drumming skills and listening exercises to display their learning. Hassan also offers a therapeutic drum circle session to introduce students to different stress relief methods and the power of unification. He provides smaller instruments that may be easier to manage to accommodate students who cannot play the drums. Every student gets an equal chance to participate and learn all about the fascinating world of drums!

Drumming is an art form that only a few are qualified to teach, so Hassan does whatever he needs to produce the most authentic experience possible for every student. His primary objectives are to ensure that students understand the drum’s purpose and the importance of listening while drumming. Hassan believes that he has succeeded when everyone can participate in listening games without allowing negative emotions to take over. He also enjoys it when his students can ask and answer questions throughout the class, demonstrating proper listening skills. The ultimate success is watching students enjoy the peace and harmony of positive unification. Allowing his students an equal voice reduces stress and gives him a subliminal way to improve his classes. Hassan hopes to leave a lasting experience on all his students far beyond the initial class experience.

Description of Offerings

Hassan Jackson uses the conga drum to teach students about the Gullah culture of the SC Lowcountry. We explore the basic anatomy of the congas, the traditional structure of the drumming ensemble, and the various uses of the drum throughout the Atlantic diaspora. We also offer a drum circle class which infuses the ancient spirituality of the drum with modern therapeutic techniques to introduce students to an innovative way to relieve stress.

Experienced with the following age groups

• Preschool (3-5 years)
• Kindergarten -2nd Grade
• 3rd-5th Grade
• 6th-8th Grade
• 9th-12th Grade
• Adults
• Higher Education
• Creative Aging (Adults 60+)

Materials Provided to Schools or Organizations by Teaching Artist

Hassan provides his own drums and instruments for his classes. Each client is presented with a copy of the required lesson plans for services requested. Small incentives, such as small drummer necklaces, copies of African money, and/or certificates are used to award students for participation. Certificates are usually considered for residencies that last for a week or longer. Upon request, Hassan will share his media resources with music instructors that may want to implement them into their respective curriculums. Post-visit materials will include expressions of gratitude for the opportunity to spread the culture of conga drumming, as well as any videos and pictures that were taken during the duration of services rendered.

Physical and Technical Requirements of a School or Organization

Both drumming classes can be managed in a typical sized classroom. Each class requires chairs to sit behind a drum and a table that will be used for smaller instruments and art displays. In the “Intro to Conga Drumming” chairs will also be used to facilitate a fun game of musical chairs. Students will need enough space to move between the drums and the game floor comfortably. “The Circle of Life” class is setup as a large drum circle. Therefore, every student will need to be able to sit down behind a drum. A sound system is not necessary unless a performance has been set up at the conclusion of the residency. In that case, a microphone for speaking would be sufficient as the drums are loud enough without them. The “Intro to African Drumming” class also requires a projector and/or tv screen to show a PowerPoint presentation and video clips of different styles of drumming.