I will be investigating the role of the West African Djembe in the 21st Century, in terms of looking at its history, culture, religion, through the ages to current times. I am particularly interested in the impact of the internet on the increased migration of the Djembe globally. Facebook allows Djembe players to connect anywhere anytime. What is the impact of this? Tourism, Leisure, Education, Religious Studies are all affected, is this positive or negative?Islamic studies are also a major part of my research in terms of the globalisation of the Djembe.

10-13 July 2014A Celebration of Percussion, Voice and Dance from around the World.A journey began some sixteen years ago to explore all forms of worldwide percussion music and culture - a journey which was to deliver a specialist music event, which has literally changed some peoples lives, and greatly inspired others. The event has since then become somewhat of an institution for many enthusiasts, teachers and Musicians, interested in learning the art of percussion, voice and dance from all around the world .Over the past 18 years of Drum Camp, the event has provided drumming workshops and performances in; Taiko, Tabla, Djembe, Sabar, Pan-logo, Samba, Bodhran, Darabuka, Bougarabou, Conga, Dhol, Bata, Drum kit, Djun djun, Pandeiro, Bendir, Cajon, and many other instruments such as; Didgeridoo, Gongs, Sitar, Balafon, Kora and Bull-roarer. We have presented dance classes in African, Flamenco, Egyptian, Cuban and many other forms, making Drum Camp rich in differing cultures and and celebration. Some of the many teachers and international artists that have taught and performed at Drum Camp include: Seckou Keita, Johnny Kalsi and The Dhol Foundation, Modou Diouf and Beugue Djamm, Salah-Dawson Miller and Saladin’s Orchestra, Mambo Combo, Mugyenko Taiko group, Danza Libre, Mog (Celtarabia and Celtica), Tim Garside (Natacha Atlas), Hossam Ramzy, Slow Train Soul, and The Baghdaddies amongst many other highly talented musicians and teachers Drum Camp is a worldwide percussion and dance event. Some of the countries represented through the workhops and performances include: Brazil, Cuba, Ireland, Senegal, Ghana, Guinea, Japan, Egypt, Algeria, Morrocco, India, Australia and Native America, Peru and Spain. (There are many percussion instruments with unknown countries of origin that have been represented – these belong in a category of their own and reach back to our earliest known forms of music-making and ritual).