Body Percussion Crosspulse（身体打击乐Crosspulse）.pdf

69-74 Body 3/16/06 3:09 PM Page 69 HOW TO PLAY Body Percussion KEITH TERRY DEMONSTRATES THE RHYTHM INSIDE BY SCOTT LOCKLEAR PHOTOS BY PAUL HAGGARD rummers lay claim to one of the old- est art forms on the planet (what, af- Dter all, could be more primal than whacking something with a hunk of wood?), but Keith Terry truly returns rhythm to its source. Taking the term skinsman to heart, he has turned his own body into a percussion in- strument – thigh slapping, hand clapping, and foot thumping his way through complex, dynamic beats that send many a seasoned kit slammer running back to the practice room. The affable Terry began scaring the hell known but no-less-interesting artists – Terry explains, “it really is about internalizing out of trap players some 30 years ago, when physical comedians, Indonesian and Poly- the rhythm. Once you have it inside you, he stumbled upon body music during a re- nesian dancers, even clowns. Ironically, then you can express it in any number of hearsal for a jazz gig. “I realized one day,” then, it appears that the frontiers of world ways – through other instruments or through the accomplished drummer and dancer re- and avant-garde music are being marked not other dance forms. It’s just such a great way members, “that I could displace what I was by electronics but by the slaps, pops, and to approach rhythm. It really is embodying. I playing on the drums onto my body.” Influ- stomps of the