Donavon Lerman

About Donavon

Raised between Kentucky and Southern California, Donavon Lerman was not born into the culture of North African percussion, yet it has become his deep and enduring passion. With dedication and reverence, he has immersed himself in the artform, becoming one of the few American-born musicians in Southern California to specialize in traditional Arabic drumming styles.

Donavon’s journey began under the guidance of Rico Orel, who introduced him to the dumbek (also called darbuka), a goblet-shaped drum typically made from ceramic with a goatskin or fishskin head. He went on to study with Lebanese master Souhail Kaspar, whose conservatory-trained precision instilled in Donavon a strong technical foundation and deep respect for the traditions of the instrument. Further lessons with Syrian drummer Faisal Zedan expanded Donavon’s ability to translate technique into musical expression, learning, in his teacher’s words, “how to make words, sentences, and poetry.”

His studies also led him to train and perform with acclaimed percussionists Issam Houshan and Gomal Gomma, each further refining his artistry and exposing him to new dimensions of Arabic rhythm and performance.

Donavon has performed with several prestigious ensembles, including the UCLA Near East Ensemble and the Kan Zeman Ensemble. With the Mesto Ensemble, he traveled to Egypt to perform at the Cairo and Alexandria Opera Houses as part of the 17th Annual Arabic Music Festival. He also appeared with Jillina’s Bellydance Evolution for the Los Angeles performances of their acclaimed “Alice in Wonderland” tour.

For 17 years, Donavon ran Studio Iqaat, a dedicated Middle Eastern music and dance studio based in Eagle Rock, California. There, he cultivated a thriving community of dancers and musicians, hosting workshops, classes, and performances that celebrated the rich rhythmic traditions of the Middle East.

Donavon’s collaboration with dancers has become a vital part of his expression. He likens it to the Indian classical tradition, where every note is reflected in a dancer’s movement. This dialogue between sound and motion, rhythm and embodiment, is central to his practice.

“Sometimes I have these glimmers where I am completely inside the music. I know exactly where the next note will be and I play something instinctively that I couldn’t play before. That’s an incredible experience.”