Rhythm written in the body, not on paper
Descended from Awadhi dholak, each roll is passed wrist to wrist across three generations of Guyanese players.
Every strike announces a passage worth marking
Hosay, baraat, Phagwah — the drum calls a community together for what matters most.
No one sounds alone in the circle
Lead tassa over two jhaal drums and brass cymbals — the ensemble breathes as one instrument.
New sticks on skins stretched by older hands
Goatskin on clay, bamboo split by ear — learned by standing inside the sound.