My journey to didgeridoo

In 2001, I came across the didgeridoo for the first time. At the time I was looking for “my” instrument. I was attracted by the secret of music and the possibility its creationt. Above all, it were flutes and wind instruments that tempted myself for their direct interconnection with body through breath – a bridge between the two. And it was at that time, when a friend of mine showed me once in a tea room the purpose of those bamboo sticks that apparently were of no reasonable use. He started to play one of them with a short breath. I was captivated by the sound instantly and I knew I found what I’d been looking for and that this was my path forward. The sound was so powerful, so mysterious and yet somehow so intimate. Back then, I found the great Joy within me. Joy that created everything on this website aswell.



I immediately obtained a PVC pipe and started to explore the All hiding inside. After three days of constant playing, I realized I did not have to stop every time I inhaled – and that opened to me the great potential of the Didgeridoo. To learn “circular breathing” was so easy for me maybe because there was nobody around to assure me it was not.

After almost two years, during which I self-studied to play, I was convinced I evidently reached full potential, both mine and the instrument‘s. This illusion was luckily smashed by Ondřej Smeykal’s incredible sound performance during a concert in Ústí nad Labem. I realized something for the first time then and had to laugh to myself. I understood something I constantly keep to discover both when playing and when producing a didgeridoo. That is: potential of the didgeridoo is only as limited as the player’s imagination.
Shortly after this, I attended Ondřej Smeykal’s workshop where he opened my eyes and taught me techniques I would probably learn myself much later. Moreover, he inspired me with his humility, his persistance in going his own way, and his artistry.

I began learning to play full-time and sometimes I also played for an audience. Gradually, I found out my playing is pleasant to people listening around who encouraged me to play more. As the time passed, I performed more often publicly, either solo or improvising together with other musicians.
Nevertheless, I never felt the urge to become a “didgeridoo player” and to show off on stage. The fact I became one and I do it today is a consequence of my feeling that this is for me the happiest way of existence in our material world. This way allows me to spend all the time I want with the instrument, to go constantly through the process of creation and discovery, and hopefully also to bring people a little joy and inspiration I get from it.
In 2009, I had the honour to personally meet Djala Guruwivi and his family and to attend his workshop where he taught the traditional playing technique during his stay in Italy.

1982 – first breath
2001 – discovering the didgeridoo. Hitchhiking around Scandinavia and Eastern Europe.
2002 – leaving the Faculty of Environment in Ústí nad Labem and consequent two-month hitchhiking to Turkey and Syria. First journey to the Kingdom of Norway to find a living.
2003 – studying the Shakuhachi, the Japanese Zen flute, under Vlastislav Matoušek (
A half-year journey around India and Nepal. Production of first didgeridoos. Meeting Ondřej Smeykal and his training.
2004 – joining the band My mixture. The beginning of solo performing.
2005 – a half-year stay in the UK – Birmingham. Studying the Tabla (an Indian percussion instrument) under Niranjan Singh.
2007 – a four-month journey to India and Nepal. Studying the Tabla under Jaideeb Mukhardží. A project of production and import of Himalayan eucalypt didgeridoos.
Releasing the first solo CD - demo: D.I.D.G. Orchestra
2009 – founding the band Kus Kus Klan. The beginning of the musical project Deši- Two Breaths with Eva Žižkovská. Finding my own piece of the Earth in the Czech Middle Mountains.
2010 – cooperation with drummer and multi-instrumentalist Pavel Pavlíček.