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EPUB ISBN-13: 978-0-6481859-5-6
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About the Editor

Simon Faulkner is the founding Director of ‘Rhythm2Recovery’, which specialises in delivering evidence-based rhythmic interventions for the health and education sectors. In 2005 Simon was awarded a Churchill Fellowship to study rhythm-based interventions across North America. He authored the multi-award-winning DRUMBEAT program and therapeutic computer game DRUMBEAT Quest, and has contributed to numerous research articles and book chapters on rhythm-based therapies.

A practicing counsellor, specialising in group work, Simon worked for fifteen years in a specialised drug and alcohol treatment facility as well as with youth in schools and behavioural centres, trauma centres, refugee services for adults and children, juvenile detention centres and prisons, and both in-patient and out-patient mental health services. He has also worked closely with Aboriginal people in communities across Australia and North America to develop culturally appropriate programs using rhythmic music.

Simon delivers professional training, conference presentations and workshops internationally, and continues to do sessional work. He is a married father of three young men and a passionate advocate for the rights of young people.

For information on accredited Rhythm2Recovery training programs visit www.rhythm2recovery.com

1. Introduction

Welcome to this compendium for people trained in Drum-Circle Facilitation and wishing to utilise these skills in support of specific populations. The concept for this book came from an understanding of the growing potential of this empowering form of collective music-making to support therapeutic and developmental outcomes; and, alongside this, a growing awareness that for people new to this work there were a range of challenges and potential pitfalls that could undermine their best intentions.

Almost all the contributors to this book have been influenced by the pivotal work of Arthur Hull in developing a range of drum-circle facilitation techniques, and an overriding philosophy of service to the participants in your drum-circle; a focus on empowering them to work and play together to make harmonious, improvised music in a safe and uplifting way. There are now many people offering Drum-Circle Facilitation training in countries across the world, and many hundreds of people graduating with these new skills every year. This philosophy of ‘serving the circle’, focusing on their needs, is the central tenet of transferring this work successfully to support a wide range of different population groups.

Many of the populations explored in this compendium experience challenges in the way they interact with others, and the world in general. Working with many of these groups means working with the vulnerable of our society, who often harbour sensitivities not externally apparent. A careless or insensitive approach can have serious implications that not only threaten the health of the individual’s present but also the reputation of this work generally. All of us connected to this field recognise the extraordinary power of the drum-circle to heal and support people, and collectively we need to ensure that this is not compromised by people failing their duty of care to those in their circles. We have a responsibility to put the emotional and physical safety of those in our circle as our highest priority.

There are many experienced practitioners working in these fields and I would encourage anyone who draws inspiration from this introductory book to look further, reach out to others, and develop a professional network of fellow practitioners from whom to gain support and encouragement. There is also a growing range of literature from which to learn from. The ten different contributors to this manual each have significant experience in working with the population group/s of their focus, and all have generously donated their expertise to this project in order to assist those new to this work. Each author welcomes contact and further questioning, and many offer more intensive training. The use of the exercises they have contributed to this book comes with an understanding of the acknowledgement due to each when utilising their material.

Evidence-based research is increasingly reinforcing what our indigenous ancestors have known for thousands of years – that the drum is a powerful tool for healing and development when used correctly. Recent studies have showcased significant benefits for people dealing with mental health issues, (including anxiety and depression), for young people with social and emotional challenges, for prisoners, for veterans and for those who have experienced trauma. More studies will surely follow. This research has raised the legitimacy of the drum-circle and is underpinning a growing demand for practitioners who can introduce drumming into a wide range of therapeutic and educational environments. It is an exciting time to be a drum-circle facilitator! I and all the authors of this book hope through this compendium, we can make some small contribution to your success in this field.

Simon Faulkner

Rhythm2Recovery

2. Duty of Care

As we have noted, working with the drum-circle to support specific population groups, often means that you will be working with society’s most vulnerable, sensitive and marginalised individuals. Each of us has an overriding responsibility when working with these people to prioritise their emotional and physical safety. To be negligent in this area risks not only the wellbeing of the participants, but also the reputation of the drum-circle as a positive therapeutic approach, and your own personal reputation and livelihood as a facilitator.

A duty of care is a legal and ethical requirement to act with reasonable care and skill to protect and promote the wellbeing of those in your care or for whom you have responsibility. Reasonable care is the standard of care and skill that an ordinary, sensible person, in your profession or occupation, is expected to take in the same circumstances. In situations where you are contracted by an organisation, school or community group; they as your employer have ultimate responsibility. But given that you will generally be directing the structure of the session, it will predominantly be your actions that directly influence people’s safety and sense of wellbeing.

It is important to realise that not all music is beneficial. For certain people, some of whom will be present in the specific populations covered by this compendium, fast and loud drumming can be particularly unsettling, and give rise to anxiety; and may, for some vulnerable people, lead to psychotic episodes. Studies of people working with anxious children have shown that loud, fast tempo drumming increased their levels of anxiety. Autistic children and people in mental health settings with cognitive confusion are also particularly vulnerable to over-stimulation. Similarly, rapid rhythms played on the high notes of the drum (Tones or Slaps) can trigger traumatic reactions in some ex-military personnel & refugees from war zones due to the similarity of the sound to gun-fire. Many elderly people also find loud drumming discomforting. These are just a few of examples of the issues that can arise when someone is facilitating without awareness.

Drumming in a group also has the potential to escalate into volume levels that can damage hearing

In any situation where you are working with a vulnerable population group it is necessary to seek prior information from the host on the types of issues your participants are dealing with and any specific sensitivities they may have; particularly in relation to sound levels and topics of discussion that could be potentially distressing or re-traumatising. A preliminary meeting with your employer, specifically someone from the service who has a psychological background, will help you avoid ‘no-go’ areas and provide you with a better understanding of how to effectively structure your session effectively, in the interests of those present.

Co-facilitation is also highly recommended when working with vulnerable populations, and many organisations will provide staff support to help you manage any incidents that might arise. In these situations, it is highly preferable to meet with your co-facilitators prior to beginning the session to align your goals and delineate areas of responsibility. Co-facilitation can become a nightmare when people are at cross purposes, and particularly when the co-facilitator is not motivated to be there and does not value the exercise. Ensure that you have motivated enthusiastic people supporting you, and where possible someone who has an existing, and positive relationship with the group members.

Finally, in your pre-session meetings with your contractor, discuss group make-up and venue considerations – both of which can make or break a successful session. In groups where behaviour can be challenging it is important to think about the combination of personalities and avoid putting too many people together whose challenging behaviours will only reinforce each other. Some people have personality disorders that make them unsuitable for group work and will only destroy the experience for others – this issue needs to be addressed before you start your program. A suitable venue is also critical as poor acoustics, too many distractions and a lack of privacy can each undermine your work.

These responsibilities and tips can often sound onerous, but really, they are just part of a professional approach and should quickly become part of your standard procedure. Use them to avoid making common errors and have a successful event.

3. Evaluating Your Programs

Obtaining and evaluating feedback about our work is one area that many people in the drum-circle facilitation business have not given great priority to. Yet there are many reasons why this should be standard practice. As an ethical consideration, there is an obligation on all of us to know of the impact our work has on others, either in a positive or negative way. Feedback provides us with the information we need to improve our skills and adapt our work to improve its outcomes. Asking participants for feedback also reinforces the empowerment message of the drum-circle where we acknowledge the importance of each individual’s input into the success of the session.

In applying the benefits of the drum-circle to the support of individuals facing specific social, physiological or psychological issues, evaluation becomes even more critical. Often there are limited financial resources for supporting these populations and being able to demonstrate the worth of a particular activity becomes critical. Although doing formal research can be quite onerous in terms of the organisational requirements required, less formal evaluation can often be implemented very easily by simply handing out questionnaires at the end of a session or by comparing people’s experiences prior to and following an intervention, using the same questions. Obtaining feedback in this way can be critical in helping an employer justify your services for future contracts.

There are a wide range of philosophies, methods, therapies, and, frankly, vested interests that all compete with, and sometimes actively undermine each other, for space across the personal and corporate development field. In many quarters the drum-circle is not recognised as a modality for behaviour change or personal growth, but, seen instead as a fun recreational tool. Evaluation is the key strategy in changing these misconceptions – the greater the body of evidence showing its impact, the harder it will be for people to dismiss this work as complimentary rather than what we all know its potential to be – transformative. We all have a part to play in this mission.

In the following pages there are some simple evaluation measures you are welcome to use or adapt. Additionally, I would recommend talking with any prospective contractor prior to starting your sessions about their ability to assist you in evaluating your work. Managers of services working with specific populations will often have access to validated measures that are better tailored to the populations they support and can evaluate their needs more effectively than would be the case using the generic questionnaires listed here.

4. Pricing Your Work

Many people, when they first begin as drum-circle facilitators, have doubts about knowing how to suitably charge for this work. And the truth is there is no one answer, as every situation is different and needs to be approached differently. One of the keys to pricing your service is to understand the scope of the contract – is it a one-off event for 50 people or a once weekly event over six months for 20? Does it require serious travel time or is it close to home? Will you have to employ a co-facilitator or hire additional drums? etc. Your time at an hourly rate is probably the first place to start, in beginning to formulate a quote, and the scale of the event should also have some weight. Another factor may be how many sessions you may do on the same day – schools and other services can often contract you to work with several different groups scheduled across a day, and I will always reduce my fee for consecutive programs like this as the travel is lessened.

Unlike corporate organisations, many social service organisations have very limited budgets and are wary of spending on an unknown product. It can be beneficial to offer free introductory sessions to help people judge the value of your work to their organisation or the clients they support. There may be value in bartering with services who have low budgets, offering a cheaper rate in return for their support in evaluating your work, and thus providing you with an independent evaluation report that can serve as a useful marketing tool for future contracts. I have always had a policy of never doing a free session twice for the same organisation – if they appreciate its worth, then they can find the money to pay you adequately the next time.

When people ask you “what does it cost?”, remember to find out first what their intention is and then develop your quote around meeting their needs. It may well be that you can offer them a range of options with differing price tags that they can pick from. Never rush into providing a figure without the full facts behind you.

5. Managing Challenging Behaviours

Many of the contributors to this compendium have experienced the difficulties of managing the challenging behaviours of certain population groups. At-risk youth, people with behavioural & personality disorders, seniors with Alzheimer’s or dementia, and those with cognitive impairment are among those most likely to test your ability to stay calm and maintain a positive attitude. It is important to understand that these behaviours are rarely caused by your actions but are generally the result of a myriad of complex factors. Probably the primary cause of behavioural issues in these groups is an individual’s sense of insecurity. Your response, however, may have a significant impact on whether that problematic behaviour is maintained, escalates or subsides. So, it is important not to take these things too personally and to learn how to stop them from escalating.

Key recommendations in behaviour management in drum-circle situations include:

Asking the contractor to supply an experienced co-facilitator to take responsibility for and manage group behaviour if this is a known issue. Sometimes people will need to be escorted from the room.

Having some input into group make-up where there are known behavioural issues – talk to the organiser and let them know that the group process can be undermined if too many people with defiant behaviours are placed together.

Where necessary, starting your sessions by establishing group rules that address personal safety, both physical and emotional, and asking people to articulate how they can support and respect each other in the circle.

Always keeping your responses to challenging behaviour calm and validating people’s feelings.

Keeping the momentum of your sessions going. Keeping the group actively involved in the musical activities and trying and avoid down time where people become restless and have time to provoke trouble.

Building on success – ensuring group members achieve quick success by starting with fun games and simple rhythm play. Many people entering a drum-circle are nervous and harbour doubts about their musical ability that can lead to a resistance and anti-social behaviour.

Being careful about challenging people with exercises or rhythms that are overly complex – people’s frustrations in these scenarios are often revealed as aggression

Being realistic about your expectations and not overreacting to small misdemeanours

Offering leadership opportunities or other forms of recognition to those participants whose challenging behaviours represent a need for greater attention.

Never shaming an individual in front of the rest of the group or giving them an ultimatum that backs them into a corner – offer choices and a way of saving face.

Focusing on the fun.

6. Early Childhood | Lulu Leathley

Overview

Children love to make music and the drum-circle is an excellent means to that end. Drum-circles are very popular in schools, community centres, after school programs, and summer camps. When you bring drums, percussion toys, Boomwhackersä and found sounds’ into a group of children aged from three to eight years you will have instant participation…then your facilitating skills go to work! Keeping the children’s attention can be a challenge and having a lot of activities in your back pocket to bring out at a moment’s notice will help keep them with you. Chaos can erupt in a second so having some signals (such as a Samba Whistle or hands up) established at the very beginning helps.

One great thing about being with young people is that you can be one yourself. If you’re real with children and get right where they are, then they will respond. If you find your sense of fun and joy, they will join you. If you look them right in the eye, get down to their level, they will join you. Mary Poppins had it right, she spoke honestly to the Banks children and her inner child shone, magnetising the children to her.

Positive Outcomes

Helps children with their speech development

Muscle co-ordination is built using the patterns

Left and right co-ordination is enhanced

Hand/eye co-ordination

Socialisation with peers and teachers, building community

Positive effects of music making in children’s ability to co-operate with other children and adults, for example, taking turns

Listening skills are enhanced

Enjoying a happy learning situation allows children to express themselves and builds their self esteem

Children increase their concentration skills through music making

Music can help teachers and parents discover and make the best use of the children’s potential

Setting Up for Success

I send a contract to the contact person or teacher with definite stipulations such as easy access to the room if possible, help unloading and loading and a general lesson plan. I explain that it may not be as planned and that it would work well if the teacher doesn’t admonish anyone for misbehaving as I would work something out with the child. It is a good idea to find out beforehand, though, if the teacher has some Special Needs children that might need extra help.

Ask as many questions as possible and find out what the expectations of the teacher are, the room that you are going to be using, whether or not the event will be near other classrooms that you may be disturbing with the music making and the number of children in the group. I have arrived at a school and found out that we are to be in a large gym, which isn’t ideal. If this happens I will go to one corner of the room so the sound can bounce of the two walls instead of the middle of the large room where the sound will travel outwards. A visit to the school beforehand is best.

Common Challenges and How to Minimise Them

I like to have the room set up well before I start with a group - but it rarely happens due to time and room access. Often, I have my instruments outside a classroom door waiting to get into the space before my event. When this happens, I ask the children to help move the instruments into the room placing the drums in one corner of the room, bells in another, wood instruments in another and shakers in another. I then have them in the middle of the room in a circle, do an Icebreaker activity such as Stomp, Stomp, Stomp (see in Example section) then invite one child to find a drum, the next in the circle to find a bell, the next a wood toy and the next a shaker, then a drum again and so on. There is a little chaos but when they return to their chairs they are in a drum, bell, wood, shaker circle which makes for a balance of sound.

Many children will complain that they don’t want a certain instrument, so I tell them right away that they will all get a chance to play every type of sound that we have. Every third or fourth activity I will stop everyone and say “Life is change! Please pass your instrument to the person on your right” Don’t forget to do the change, though; it might be a good idea to ask one of the complainers to keep track and let you know when it’s time to change. Some activities will work and some won’t so it’s important to have a lot up your sleeve to pull out when you need it. I often end with a Sound Scape or Guided Visualization so as not to pass overly excited children back to the teacher.

Two Examples of Practical Adaptions of the Drum-Circle

Stomping in the Mud

This activity is great with children from five to eight years of age and beyond. A circle formation is best with everyone standing. Invite the group to step from one foot to the other. Repeat after me: “Stomp, stomp, stomp, stomping in the mud” Ask the group to say it over and over. Sculpt (Divide into groups) a third of the students. Stop them on a “4,3,2,1 Stop”. Ask that group to repeat after you: “Hey, you…get out of that mud!” Keep on saying it over and over until you tell them to stop. The next third of the group can repeat “Sliding through the mud”. Ask them all to say their words a little louder, with attitude and some type of movement then move around the room. The children can pick other themes such as snow, swimming, skiing, movies, food etc.

Bend Your Elbows

This activity is especially fun with Pre-schoolers, Kindergarten and up to Grade Three. Ask the children to “Do as I do….”

Bend your elbows, shoot them straight

Bend your elbows, shoot them straight

Bend your elbows, shoot them straight

These are my elbows and aren’t they great!

Bend your knees and shoot them straight

Bend your fingers, toes, wrists, ankles, waist….

An extension to this could be to ask the children to give you other bending parts of the body or bending ideas and link them all together in one long movement/chant.

Additional Advice

If you are hired to do a group of classes or have an entire school contract over a period of a week or more, you could ask the children to invite their parents to a ‘Family Jam’ if the teachers are willing. Invite the children to bring an instrument that they have made out of something in their home or environment for their parents to play. You could have some of the children facilitate the entire group, which would build huge self-esteem! If that isn’t possible you can still ask some of the children to facilitate in the class that you’re doing. Often the shy reticent children will step up and do a little volume up and down and feel very special.

Authors Biography

Lulu Leathley BA

Lulu is an author, speaker and founder of LuluJam, based in Vancouver, Canada. With over 35 years experience, Lulu has designed music programs and drum-circles for diverse populations from children and cancer patients to college students and seniors. She is the co-author of the recent book, ‘1,2 Let’s All Play’ with Mary Knysh. With a BA from the University of Victoria, she also holds post graduate diplomas, certificates and advanced training with Village Music Circles, Rhythm2Recovery and Health Rhythms. Her unique approach, also draws upon her background in Orff and Montessori, to help people make music for a wide range of therapeutic benefits.

Business - LuluJam

Contact Lulu at lulu@lulujam.com

Website www.lulujam.com

Recommended Reading

Knysh, M., & Leathley, L. (2017), 1, 2, Let’s All Play: Music Activities for Pre-School and Primary Grades. Vancouver, BC: LuluJam.

7. Youth | Lucas Coffey

Overview

There is a diversity of opportunities for doing drum-circles with youth, everything from birthday parties to multi week/year school residencies. To make this section clear I will focus on schools with student ages 5-15, where most of this work is being done. From school to school there can be a large stratification in available resources and exposure to the arts. One school may have a general music teacher, a choir and a band with all the necessary equipment, another school may have none of those. Being flexible, understanding, and having a good grasp of the individual needs of each school can help navigate this diversity.

Many schools find the engaging, hands-on, and metaphor rich nature of drum-circles to be an excellent addition to; community celebrations, diversity, anti-bullying, and mental health events. As well, longer-term artist-in-residence roles can be a great way to enrich subjects like history, social studies, health and music. Most youth immediately respond to the hands-on nature of the rhythm circle, and the majority will find a place suitable for them given the time and space to do so. Having large numbers of students of different ages and abilities engaged and participating in a meaningful activity is always a winning combination for school administrators.

Positive Outcomes

Learn while having FUN!

Develop non-verbal communication skills

Reduce stress and increase productivity (students and staff)

Participate in a setting where all voices are important

Build courage and resilience through creating improvised songs

Provide a sense of belonging for students who may often get left out

Encourage community participation from students, staff, and families

Setting Up for Success

Schools tend to be large and sometimes insular institutions, and this can make it difficult to market through common channels like; social media, email, phone, and written letters. Alternatively, I recommend giving a free demonstration to the school/organisation as means of generating interest, building personal relationships, getting helpful feedback, spreading word-of-mouth marketing and finding clients who are a genuine fit.

Tips:

Set-up free demonstrations with clear boundaries on the size, length and who should be in attendance (I suggest 20-30 students, an administrator/decision maker, and a guest from the parent community)

Give demonstrations in the year preceding the potential residency or event

Set a time after the demonstration to describe the value of your work, the booking process, and any potential grants or assistance that might be available to the school/organisation

Ensure there are at least two people from the hosting organization involved in all communications

Additionally, ensure you are using equipment that is suited for a younger demographic and is well protected. Often you will have students helping you load your equipment.

Tips:

Drums that have legs, stands or holes in the bottom for maximum sound without tilting

Be careful with sharp sounding bells, blocks and sticks when playing with youth under nine or other special populations

Common Challenges and How to Minimise Them

Larger youth organisations and schools do not necessarily have effective internal communication. I have arrived at events where teachers were not informed I was coming, had never been sent a schedule, or had a field trip the same day. I suggest asking the coordinator to send a note to all the staff, that you craft, giving an outline of expectations and the benefits of your program. Make sure to recognize their busy schedules and offer an invitation for them to join. The more informed and invested the staff are, the more likely you will have a successful event.

Don’t rush the opening. The opening of the circle is a crucial time to set boundaries, assess potential behaviour issues, and build rapport. Rushing your opening due to classes being late, announcements, or pressure from teachers can seriously impact your circle. Here are a few things you can do to ensure a successful opening:

Have everyone in the room before entering the circle

Set the chairs for the exact number of participants

Have everyone in the circle (no spectators)

Have drums in the middle of the circle and out of reach

Open with body percussion

Mention expectations in a simple and positive manner.

Working with a very large age range can be difficult as effective “classroom” management for a 5-year-old is different to that for a 13-year-old. Do some research and/or find a mentor to get some insight on best practices with an age group, then do multiple circles with that group. This will allow you to see behaviour patterns emerge and enable you to refine and employ a set of management techniques appropriate for that age. As you explore different ages you can then build management strategies that are effective and tailored to each circle. Having great management skills will allow you to focus on the drum-circle work and maximise its benefits.

Two Examples of Practical Adaptions of the Drum-Circle

Rumble Race Car: is a mirroring exercise that explores dynamics and movement. The driver will emulate a moving car on their drum, the rest of the participants will mirror the driver as if they are passengers. Have the leader model the sounds, movements, and facial expressions of a driver that is: driving straight, turning right/left, going through a dark tunnel, honking the horn, speeding up/slowing down, going over bumps, doing donuts, make up your own!! You can also use different themes (race-car, monster truck, granny). This game can generate a great discussion on what it feels and looks like to be in control or out of control.

Half & Half: is a game where half the rhythm is structured, and the other half is improvised. This is an excellent way to teach and refine specific rhythms while giving freedom to be creative. Demonstrate a four-beat-long rhythm, followed by four beats of rests. Play until everyone is stopping and starting together. Use different modalities (begin with easy then move to difficult): breathing > movement > body percussion > voice > on the instrument. Begin by giving lots of opportunity for the whole group to explore then once they are confident and have generated lots of ideas have them individually improvise for the group.

Additional Advice

Take your lumps with a giant smile! Drum-circles can be a phenomenal way to connect and uplift youth. Every school (and class), however, has different dynamics, special populations and a wide range of ages and needs. One circle may leave you and the participants feeling on top of the world, the very next class, using the same program, can leave you feeling exhausted and perplexed. The toughest circles are the ones with the most wisdom. Try to take as much as you can from them. They will begin to show you the subtle needs of each group, and the ability to facilitate success in the toughest groups.

Author’s Biography

Lucas Coffey

Lucas is the Executive Director for the artist-in-residence “Rhythm Rhythm Rhythm” drumming program in Alberta, Canada, and has facilitated rhythm events for more than 50,000 youth in schools throughout North America. He is the cofounder and Canadian Director of Rhythm for Youth, a professional development training for teachers and youth educators. Things that make Lucas come alive include; watching people find what makes them come alive, community music, innovation, people who are awesome, surprising people, and his family. Lucas also enjoys writing in the third person.

Business – Rhythm, Rhythm, Rhythm

Contact Lucas at rhythmalberta@gmail.com

Website www.rhythmrhythmrhythm.com

Website www.rhythmforyouth.com

Facebook https://www.facebook.com/rhythmforyouth/

Recommended Reading

Holland, D. (2007). Drumimagination, USA: Dave Holland & Beating Path

8. Autism | Nellie Hill

Overview

Autism Spectrum Disorder (ASD) is a life-long developmental disorder that affects the way an individual relates to their environment, and generally includes difficulties with social skills, written and verbal communication, and repetitive behaviours. The Center for Disease Control estimates the one in every 68 children in the USA is autistic, and similar figures are found in many other western countries. As the child develops, managing these conditions so that they can function requires a range of interventions such as intensive social skills training, physical and occupational therapy, speech and language support and medications to ease the anxiety and improve attention issues. The chances of encountering someone with ASD in a drum-circle are strong, and musical interventions like drum-circles are increasingly being used as a tool to work with people on the spectrum.

There are many studies showing that both children and adults with ASD respond well to music. Research has found that music as an intervention used with children and teens with ASD can improve social behaviours, increase focus and attention, increase communication attempts (vocalisations, verbalisations, gestures, and vocabulary), reduce anxiety, and improve body awareness and coordination. It may take a while for these individuals to adjust to this new experience; a new environment, new instruments, new sounds, but most will. The wonderful thing about drumming is that given the correct materials and environment ASD is an ability and not a disability.

Positive Outcomes

A sense of belonging in the community

A sense of accomplishment that they can create their own sound and music and there are no mistakes

Instruments and sounds are accessible and comfortable to play

The consistency of maintaining a steady beat is very grounding, and helps control the need for repetitive body movement.

Inclusion in a drum-circle helps reinforce social cues and skills

Using both hands for drumming increases cross-brain activity and improves cognitive function.

Drum-circles are mostly non-verbal, which removes another stressor for those with ASD

Setting Up for Success

In a community drum-circle I am always prepared with some ear plugs. I am pretty careful about sound levels in all my circles but particularly crucial when working with ASD groups. When I notice someone covering their ears I have earplugs (or sometimes head-phones) to provide to them in order to reduce their sensory pain. I also always have in my kit, mallets with padding on the handles for participants with texture or grip issues. It is useful to provide a range of different instruments, of different sizes and textures, to help people with ASD find the right sensory feedback. And if they come with a helper, easier for them to help find just the right feeling and sound for those in their care. My kit has many different types of shakers, woods that are not shrill, and bells that can be shaken, rather than hit.

Before working with children or adults with ASD do some reading on autism, and seek out information on the individuals you will be working with as every individual is different and it can be helpful to know each person’s idiosyncrasies. Ask those in charge what markers you should know or be alert for. If there are signs that are commonly used for stop, listen, watch - learn them. Be aware over the dangers of over-stimulation and try and create an environment in your music room that reduces unnecessary distractions. Sometimes over-enthusiasm needs to be moderated. (Solo rumble drumming is not unusual but can be disruptive if not moderated!) A bass frame drum is calming and helps keep the group grounded and together. Be as predictable as possible – same starting and finishing times, same introductory and closing exercises. And give your instructions as clearly and concretely as you can.

Common Challenges and How to Minimise Them

The biggest challenge I have found when working with this group is knowing how to use what they give you and run with it. Understand that eye contact is difficult but that smiles are not. Know that repetitive movement and sound is good and that is what we do in a drum circle. Do not think that all loud sounds are banned; they just can’t be constant and when the group knows they are coming they can be a joy. Know that the variety of your kit is your saving grace. If you can, turn instrument selection into a musical game. You will find that as the drum-circle progresses, the abilities of the group will get better and better. The more you connect through rhythm the more they will be connected.

As a drum-circle facilitator it is important to recognise an individual’s hypo or hyper reactions to sensory input; this means being alert to high levels of sensitivity to sound, touch, textures, etc. Get to know your group members needs in this area and find ways of helping them feel comfortable. Repetitive body movements (known as stimming), such as flapping, rocking, or just constant moving are also common in the circle and maybe distracting and sometimes anxiety provoking – it is important to find ways to stay calm. The more you can feel comfortable with simply experiencing whatever the group members bring to the music-making, the more relaxed and creative you will be as a facilitator.

This is not a group that you pass out parts! Your highest success will come from letting each person find their music and be the music. Soloing can be very successful and you can use it to turn an impulsive movement into a positive experience. Constant movement is a wonderful characteristic that in a drum-circle allows for lots of great sounds and movement.

Two Examples of Practical Adaptions of the Drum-Circle

In working with this population, I have found the key is ‘telegraphing’ and variety. I make sure I begin with a strong beat to help everyone lock in to each other. Your radar must be in tune with not only the music but the body clues of stress and be prepared to adapt to what responses you are getting. Sculpting sound types is a great way to do change. Keep your exercises and explanations short and be clear in your directions - Tell what will happen, show what will happen, and then do it. Do it more than once. Reinforce the strong bass beat frequently to keep the group grounded.

Fun things to add are boomwhackersä because anything goes. They can be played in many different ways which allows for varying degrees of sensory sensitivity. There will often be people that want to ‘rumble’ - allowing them to release their feelings through a rumble either as a solo or as a compliment to the circle produces both big smiles from them and a fun way to build community. You can then do a number of rumble variations – volume changes etc.

Getting people with ASD to do exercises where they practice social skills and emotional awareness in the circle can be very rewarding. There are dialogue games where people have to have a conversation on their drum with another person in the circle and at the same time practice making eye contact, turn taking, and responding at a similar level (attuning to volume and feeling) to that of their partner. And guessing games where one individuals can play a feeling on their drum and the rest of the group have to guess what they were playing.

Additional Advice

Either in a community circle or as a specialist group, working with people with autism is never something to fear. When the music of the circle brings them into community wonders happen. Appreciate what wonderful things they bring to your drum-circle and what their smiles and body language tell you of the joy that your circle has inspired in them.

Author’s Biography

Nellie Hill, MA (Music Education)

Nellie is an accredited drum-circle facilitator and operates as ‘Playful Spirit Adventures’. She is the co-author of the ‘Drum Circle Facilitators Handbook’ along with Arthur Hull. She is a retired music teacher and has facilitated many populations from preschool, to special needs, and the elderly. She is a long-time board member of the Drum Circle Facilitator’s Guild – the professional organisation dedicated to supporting DCF’s. Nellie also has first-hand experience of raising with her partner, an autistic child, something that though at times is demanding, gives her great pleasure.

Business – Playful Spirit Adventures

Contact Nellie: playfulspirit@mac.com

Website: www.playfulspiritadventures.com

Recommended Reading

Autism Spectrum Disorders, A Parent’s Guide to Symptoms and Diagnosis of the Autism Spectrum Disorder www.helpguide.org-

9. Trauma | Simon Faulkner

Overview

Our understanding of the way trauma impacts people’s health and behaviour has increased significantly in recent years, primarily due to an improved understanding of the way the human brain reacts to stress. Neurological research has revealed the way people who have had experiences of violence, abuse, neglect, or extreme fear, helplessness or horror, maintain vulnerabilities linked to these experiences well into the future. In mental health settings, drug and alcohol rehabilitation, prisons, behavioural centres and other environments where facilitators maybe working, the likelihood that certain individuals within your groups have histories of trauma is high.

The key issue for working with this demographic is creating a safe environment, and the drum-circle can be particularly useful to achieve this, particularly when facilitated with a focus on empathy and understanding. Unfortunately, people who have experienced trauma and may be suffering from Post-Traumatic Stress Disorder (PTSD), can have unpredictable sensitivities, or triggers, that can lead to a recurrence of the initial trauma evoking experience, and the behavioural characteristics that people use to combat them, sometimes categorised as Fight, Flight or Freeze. This means that working with this group requires sensitivity and flexibility, as well as access to additional therapeutic support is available if needed.

Positive Outcomes

Safe release of feelings

Safe form of social connection

Interpersonal learning

Increased sense of belonging

Reduction in hypervigilant thoughts

Reductions in stress and anxiety

Improvements in emotional regulation

Improvements in psychological wellbeing, including mood & affect

Instillation of hope

Because isolation is such a powerful effect of trauma, the ability of groups to provide support and reconnections for members is particularly important for trauma treatment.

Setting Up for Success

When I am invited by a service organisation or school to run a drum-circle, and the nature of the enquiry relates to supporting people with social and emotional needs, then I will ask the organiser about the participants and their presenting needs. “Are you aware of any of the participants experiencing significant trauma?” And if so “Are you aware of any specific triggers that I might need to avoid?”. In certain contexts, it is a given that a high number of people will have PTSD – veterans groups, or domestic violence survivor groups for instance. Knowing in advance of potential triggers can help you avoid re-traumatising susceptible individuals.

Often trauma groups are set up to help people share experiences, reduce isolation and validate feelings. Drum-circles can work with each of these aims. Setting up clear boundaries at the beginning of the circle and setting a tone of acceptance, respect and tolerance for all will help create a sense of safety for participants. Ensuring that people who are experiencing or have recent histories of psychosis or high-level paranoia, or who are overstimulated by groups or who are particularly sensitive to sound are not forced to attend is also important – pre-group assessments by organisers can assist identify these individuals.

Common Challenges & How to Minimise Them

Avoiding re-traumatising group members: this is probably our chief responsibility when we work with this population group. The last thing we want to do is to do further damage. Luckily for us as drum-circle facilitators most of the danger that leads to re-traumatisation stems from people revisiting their experiences verbally with a group leader. In the drum-circle re-traumatisation can occur if people feel overwhelmed by the level of sound, or the complexity and speed of the rhythm – soft, slow, simple rhythms are always preferable, with a strong grounding pulse.

Managing challenging behaviours and distress: many people, young and old, who have experienced trauma present with difficult behaviours that stem from the way they react to stress. They maybe hypersensitive to feelings of threat, socially anxious and avoidant, or have low levels of impulse control. Again, ensuring physical and emotional safety becomes critical. Other issues that relate to safety include a focus on predictability and generally trying to avoid too many new things. Avoid reacting to disruptive behaviours unless they impact emotional or physical safety - a degree of tolerance and patience is critical as rhythmic alignment may take time and trauma can also impact motor coordination and timing. If people do react to the drumming and become overwhelmed, it is vital that the organisation provides trained therapists to be on-hand and support them away from the circle.

Working with people who have experienced horrible ordeals can put facilitators at risk of ‘Vicarious Trauma’ – identifying with what your group members have been through and suffering similar consequences. Signs of this occurring are when you find yourself struggling with sleep, feeling guilty or shamed, indulging in rescue fantasies or just becoming overly sensitive to others experiences. Empathy is a fundamental quality for this form of work - but if you have your own trauma history it can also lead to revisiting your own experiences. Ensure you are emotionally stable before accepting this work.

Two Examples of Practical Adaptions of the Drum-Circle

Mindfulness

One of the most useful exercises I utilise in my work with people recovering from trauma is to bring the music of the circle down to a single pulse and then go into a mindfulness routine. Mindfulness practice has been shown to help people dealing with trauma relax and find some distance from the traumatic event that continues to impact them, reducing hypervigilance and stress. To the beat of a slow bass pulse (facilitator plays around 60-80 bpm) I ask people to first stop drumming but to tap the slow pulse on their leg and relax into their chair, lower their gaze or lightly shut their eyes and focus first on the sound of the pulse and then move that focus to their breath and deepen and slow the breath. A short script that looks at acceptance – making room for the trauma without being beholden to it can be useful.

The Rhythmic Wave

The other useful exercise I use is to move the volume and tempo from high and fast to slow and soft and have the group practise this several times over the course of a session. The loud high tempo playing is connected by analogy to a loss of control; and the transition to slow soft playing, a taking back of control. Always finish your sessions in a soft, and tranquil way.

Additional Advice

When working in this sphere a lot of positives can come from the activity of improvised music making, particularly when we can connect that activity to overcoming some of the challenges people are facing due to their trauma. It is not necessary for people to articulate their feelings or experiences but the drum can be a safe way for people to express these without judgement. Always work from an empowering and strengths-based approach and ensure that you work with co-facilitators or other supportive personnel who have experience managing these types of groups.

Authors Biography

Simon Faulkner BSocSc (Psychology & Addiction) MCoun.

Simon is the Director of the therapeutic service ‘Rhythm2Recovery’ and has worked extensively with people who are living with the repercussions of trauma, in child protection services, refugee trauma services, prisons, and drug and alcohol rehabilitation services. Simon trains professionals internationally in a model of therapy based on his book ‘Rhythm to Recovery’ which combines rhythmic music with cognitive reflection.

Business – Rhythm2Recovery Counselling Services

Contact Simon at simon@rhythm2recovery.com

Website www.rhythm2recovery.com

Facebook https://www.facebook.com/rhythm2recovery/

Recommended Reading

Van der Kolk, B. A. (2014). The body keeps the score: Brain, mind, and body in the healing of trauma. New York: Viking.

10. Mental Health | Dr Jane Bentley

Overview

Broadly, work takes place in either community, or hospital settings. In the community, you are likely to encounter mental health support groups - geographical, gender or issue -based; carers groups; recovery groups; and day hospital, outpatient clinics, and community mental health centres.

In hospital - there are usually several different types of ward:

Acute - short term stays in times of crisis, with high patient turnover.

Intensive Psychiatric Care Unit - longer term, for people with more severe symptoms

Rehabilitation/recovery - longer term - geared towards rebuilding life skills

Forensic - secure care for people whose mental health has brought them in to contact with criminal justice settings - or puts them at risk of offending. A significant proportion of this population have a learning disability.

Older adult - also brings the physical challenges of ageing

Child and adolescent (CAMHS) - care for young people.

Often the Occupational Therapy department will be your point of contact.

Presenting needs can include: low-confidence; low motivation; difficulty in concentration/task persistence; hyperactivity and challenges with self-management; noise sensitivity; difficulties with social/group interaction; social anxiety. Further needs include: recognition as an individual; genuine praise where it’s due; a chance to shine; a chance to hide; structure and safe boundaries; authenticity of relationship; humour; appropriate challenge; opportunities to connect; and freedom to withdraw.

Positive Outcomes

Increased

Confidence

Social interaction

Perception of self-efficacy

Capacity to manage own behaviour

Resilience

Musical skill

Listening skills

Sense of positive identity

Decreased

Anxiety

Social Isolation

Setting Up for Success

Small groups work well - between 7 and 20 people. Sometimes just being in the room is a big deal: keep it ok for someone not to participate, as long as it’s not disrupting the group. Be flexible with time - 20 good minutes are better than an hour of half-hearted participation. Manage the instruments and help people to avoid injury by teaching good technique, and the ability to start, stop, and modulate volume right from the start. Take extra care with bell sounds, and instruments with sticks until you know your group.

If there are opportunities to succeed at something early on, however simple it may be - it builds a foundation for taking the next step. Help the group recognise their successes. If just a couple of staff or group members have had a positive experience, they will tell others about it - and will often be a lot more successful in convincing people to join! Be prepared to be vulnerable - it’s so much more empowering than appearing to be a ‘perfect’ facilitator. Shift between playing together as a group and exercises that offer space for more individual turn-taking and attention - then back again. If you can build in a social element, e.g. a refreshment break - often the act of playing music can help to reduce social inhibitions and enable people to feel more confident during non-drumming time.

Common Challenges and How to Minimise Them

These tend to fall at either end of the energy spectrum - either apathy and lack of confidence, or overconfidence and continual interruption. For ebullient members of the group, self-management exercises such as copying someone else, raising and lowering volume together; and turn-taking become important. Try and avoid energetic extremes - have a way down off the ‘high’ and be aware of how excited or stimulated people are getting - be able to return in a connected way to a gentler pace if necessary.

For people who are self-conscious, have a ‘get out’ of turn-taking games, etc, that allows less participation or exposure - but maintains just a little challenge, so that it’s not really a get-out entirely. For example, in the pass the beat game (below), someone could simply choose the next person to take a turn, rather than play their drum and point. Or play just one sound on their drum, rather than try a rhythm.

There can often be an incredible diversity of experience in a group - you might have someone who struggles to co-ordinate their two hands sitting next to someone who’s highly musical and rhythmical. Have a way to include a whole spectrum of ability. If you’re demonstrating/teaching rhythms - always have one up your sleeve that’s super-accessible and close to the pulse.

Two Examples of Practical Adaptions of the Drum-Circle

Bop Around - Everyone gets to play one sound on their drum, in turn, round the circle. Try it both ways round, listening to the different sound made by each drum. In the next round, each member of the group gets to control which direction the sound goes either by eye contact, body language, or using names - it’s easiest to work with this just keeping it going side to side for a few rounds - then finally opening it up so that people can send it across the circle to someone else.

Variations:

Try this with: a rumble; a simple rhythm that gets copied each time; a round where everyone plays their own rhythm phrase before passing it on; a round where each person gets to ‘solo’ before passing it on.

Advanced variations:

Devise and practise a sonic signal that indicates which way the sound goes - or if you’re ‘bouncing’ the sound back to the person who sent it to you. This takes significant concentration - so it’s helpful to be very consistent about the meaning of each signal - or try practising just one, before introducing another.

Additional Advice

Don’t attempt the stereotypical ‘get your emotions out on the drums’ thing unless you’re a trained therapist and know how to pick up or de-escalate what you’ve just released. Trust that the act of coming together to drum in a group is therapeutic enough - and that people are able to name their emotional release for themselves, without being led into it. A more responsible journey to make with a group is to work on exercises that gently turn our attention away from a preoccupation with our own selves, sounds and performance, into listening, accepting, responding and relating to the sounds of others - and to the group as a whole.

Author’s Biography

Dr Jane Bentley BA (Community Arts) PhD (Musical Interaction).

In 2007 Jane founded the award-winning drumming group ‘Buddy Beat’ for mental health and social inclusion which continues to this day. She trains musicians, music therapists, and medical staff worldwide, and is a consultant and speaker on the subject of drum-circle facilitation and the potential of music-making for social development.

Company Name - Art Beat

Contact Jane at: art.beat@me.com

Website: http://www.artbeatmusic.org/

Facebook/YouTube: Renfrewshire’s The Buddy Beat

Recommended Reading:

The work of Daisy Fancourt in studying drumming and mental health offers both evidence, and an articulation of the process and the benefits that arise. There’s no one publication as yet, but a steady stream of extremely useful and well researched journal articles.

Try this as a lead in to her work – 2016 - Making Music for Mental Health – How Group Drumming mediates recovery: Journal of Psychology of Wellbeing, https://link.springer.com/article/10.1186/s13612-016-0048-0

11. Drugs and Alcohol | Bek Wermut

Overview

Drum-circle work with people managing alcohol and other drug issues (AOD) can take place in a variety of settings. Some examples include short-stay inpatient withdrawal units (1-2 weeks), longer-term inpatient rehabilitation programs ranging from a few weeks to a number of months, and ongoing community support programs.

There are many variables to consider when designing a drumming program for AOD populations. Depending on the type of setting, duration of treatment or engagement in services, and other life factors, different approaches will be required in order to best meet the needs of the participants. Considerations include whether participation is compulsory or voluntary, whether participation takes place as a single session intervention (such as in short hospital stays for withdrawal management) or over a number of sessions, and whether the participants of the program are a transient or fixed group over a period of time. Comorbidity with mental illness and/or trauma as well as possible withdrawal symptoms and medication side effects are other important considerations.

AOD clients can often feel isolated, disempowered, stigmatised and lack self-esteem, so creating a safe, supportive and inclusive environment, fostering positive connections within the group and creating a culture of empowerment are paramount to ensuring positive engagement and access to the benefits drumming can provide.

Positive Outcomes

Social connection

Sense of belonging

Social skill development

Emotional expression

Emotional release

Creative self-expression

Stress Reduction

Relaxation

Mood enhancement

Increased self-esteem

Setting Up for Success

Apart from the program facilitation itself, there are a number of factors that contribute to program success. These include:

Organisational support – Having staff members within the organisation who are supportive of the program, understand the program objectives and display a positive attitude towards the program has a huge impact on the success of the program. This can influence the clients’ attitude towards the program and their level of engagement. Ideally a staff member should be present in sessions to provide any support that may be required as well as assisting with participant attendance prior to session commencement where appropriate.

Space requirements – The session room should be acoustically sound (i.e. not too much echo), free from distractions, and not be situated somewhere where the noise of the drumming may disturb others. Comfortable upright chairs without arms should be provided for each participant.

Safety – Facilitators should be made aware of any clients who pose a potential threat to their safety (e.g. those with a history of aggression) and a safety plan may need to be put in place. In hospital settings in particular, sanitising instruments after each session is recommended to minimise the risk of spreading infectious disease.

Common Challenges and How to Minimise Them

Anxiety – Initial feelings of anxiety are very common, as participants often don’t know what to expect, fearing they may ‘fail’, be pushed out of their comfort zone, put on the spot or criticised. A verbal introduction that communicates the values of expression, creativity, connection, inclusiveness and diversity, rather than focusing on right or wrong, challenging people or forcing participation, as well as maintaining a warm and friendly demeanour, can help to reduce anxiety from the outset. Starting with simple rumbling activities can release tension and create an atmosphere of fun, light-heartedness and connection.

Resistance – In addition to the points above to addressing anxiety-related resistance, respecting people’s choice not to participate while still including them in the group and gently encouraging participation, often leads to increased participation and reduced resistance. Giving all participants the option to ‘pass’ on any turn-taking activities also reduces resistance by empowering participants to make their own decisions around levels of participation.

Disruptive Behaviour – While there are many strategies that can be adopted to minimise disruptive behaviour, often, ensuring sessions are fun and engaging, allowing individuals to express themselves and celebrating their unique contributions, can often be enough to initiate cooperative behaviour.

Overstimulation / Triggering – For some people with a history of trauma or psychosis, high-energy drumming may be overstimulating or triggering. Minimising high-intensity drumming and emphasising low-volume, slow-tempo drumming can help to reduce the risk of overstimulating or triggering clients.

Lack of Confidence – Using encouragement, creating successes, highlighting strengths, encouraging expression, creativity and leadership, and empowering participants to find their own rhythms, not only builds confidence and self-esteem but also helps to create a culture of encouragement, cooperation and camaraderie within the group. This in turn contributes to increased confidence and self-esteem.

Cognitive Impairment – Clients may present with some level of cognitive impairment as a result of extended substance use or medication side effects. Focusing on improvisation rather than set rhythms can ensure successful engagement for all, regardless of differing levels of functioning.

Two Examples of Practical Adaptions of the Drum-Circle

Rumble De-Stress

In the early stages of a session or program, introducing participants to the basic strikes of the drum (i.e. bass and tone) increases comfort with the instrument. After demonstrating, instruct the group to repeatedly play each strike with alternating hands, starting slowly to a common pulse and gradually getting faster. As the tempo increases and moves towards a rumble, instruct participants to use the rumble to release any stress or tension. This is a simple way to change a drum lesson into a fun de-stressing activity.

Call and Response with Emotional Check-In

‘Call and response’ is another great confidence-building introductory activity. After an initial demonstration, offering participants the opportunity to play a ‘call’ and have the group ‘respond’ (with the option to ‘pass’) contributes to a sense of empowerment and leadership. In order to communicate the values of creativity, expression and no right or wrong, encourage participants to focus on making the ‘calls’ creative and expressive rather than about timing, and the responses open to creative interpretation rather than needing to reflect the call exactly, removing any pressure to ‘get it right’. An extension to this can be having the ‘call’ reflect participants’ emotional states coming into the session. This acts as an emotional check-in, with the group’s response validating the feelings of each individual.

Additional Advice

Conducting drum-circles with AOD populations is a challenging yet rewarding experience. Drum-circles have the potential to give clients, who are often in a state of crisis, the ability to access joy, connection, and relief from the stress of their current situation. The keys to successfully working with this population are ensuring a safe environment, building a trusting rapport, being sensitive to each individual’s needs and approaching sessions in a fun and light-hearted way. With these things covered, clients can feel safe and comfortable enough to positively engage in rhythmic activities and access a world of benefits.

Author’s Biography

Bek Wermut BA (Music & Psychology) GDip (Music Therapy), RMT

Bek has been working as a registered music therapist in clinical and community mental health care and AOD treatment programs since 2007. She is a teacher trainer of the Rhythm2Recovery model and lectures on therapeutic rhythm facilitation and percussion skills at Western Sydney University for the music therapy program.

Business - Rhythmosis

Contact Bek at bek@rhythmosis.com.au

Website http://www.rhythmosis.com.au/

Recommended Reading:

Faulkner, S.C. (2018). Therapeutic Applications for Integrating Rhythm and Reflection in Support of People with Co-occurring Drug and Alcohol, and Mental Health Issues. Dual Diagnosis Open Access, Vol.3, No.2: 4.

12. Refugees | Christine Stevens

Overview

Because refugees herald from rhythmic-cultures where musical expression, drumming, and dancing are woven into the fabric of life, drum-circles are a perfect fit. With human displacement at an all-time high, whether due to climate change, war, trauma or natural disasters, the opportunity to work with refugee populations using drum-circles is more available and greatly needed. The facilitator’s role is unique; both an “empathic outsider” as well as “leader”, being able to honour the emotionality, sensitivity to trauma, along with the explosive joy and creative freedom that comes with group music making with world cultures.

Working in partnership with translators and human rights organisations helps to provide services that give voice to the inherent musical knowledge of these cultures and at the same time address psychological challenges of trauma and adjustment by offering joy, hope, a sense of freedom, relationship building, and a relief from language barriers.

Positive Outcomes

Based upon my experience, testimonials and feedback from group members, I’ll highlight five main outcomes:

Wellness and Breathing – drumming facilitates inner silence and offers a chance to breathe in the space; often at the beginning and ending of the program. Surprisingly, it’s one of the most important things refugees have reported after drumming programs.

Stress Reduction through movement and exercise – drumming offers health benefits in terms of moving through energy associated with trauma, pain, loss, and grief.

Conflict Resolution and community building – drumming makes space for cross-cultural bonding. This can even include enemy groups.

Empowerment – drumming honours the beauty of musical traditions, the richness of cultures, and represents power by giving dis-empowered people a voice.

Trauma – drumming creates a sense of nurture and support in a circle, allowing deep pain or grief, to be released.

Setting Up for Success

Make sure you research how to dress appropriately prior to your programs. Learn key words and phrases such as hello, goodbye, thank you, and YES. Learn some cultural drum patterns and attune your ears to their musical lineage, easily available online. Through collaborating with organisations and building relationships with experts and counsellors you can be better prepared for what to expect.

In this work I do not start with drum call unless it is a recreational event. This is the protocol I generally follow; beginning with the Welcome Song and concluding with a Ceremonial Closing.

Common Challenges and How to Minimise Them

There will be challenges, which help you grow.

1. Language Barriers – Learn to say hello, thank you, start and stop - to cue your drum program. Find a translator if possible, and always use music to communicate.

2. Trauma – Because there are auditory triggers of gun shots that are sometimes associated with drum beats, or even loud drumming, you must ask the group and manage the volume. At the same time, cultures I’ve worked with have a style that can become wild and exuberant. That’s a good thing! Don’t block that joy.

3. Grief - It’s a bitter-sweet experience when refugees sing, drum, and dance the music from their homeland. I remember a woman wailing with grief, sobbing, until all the women gathered around her for support, while drumming. I didn’t need to do anything. It resolved after 10 minutes or so.

4. Cultural Sensitivity - In some cultures, women do not drum. Some drums are only used for spiritual ceremonies. It’s important to educate yourself in cultural practices with respect to drumming, music and social norms.

5. Compassion Fatigue – In working with refugees, I’ve experienced so much gratitude for the simple things; my freedom, feminine empowerment, my vehicle and my home. Keep a journal, find ways to express your emotions, stay clear and present to be of service to the group.

Two Examples of Practical Adaptions of the Drum-Circle

Call and Response is a powerful way to emulate conversation beyond language barriers. Demonstrate the technique by playing a short phrase and cueing the group to copy you. Repeat four times and then cue a group leader to lead the beat and the group responds. It’s a good idea to review the basic sounds on the drum, no matter now advanced the culture is. It gives everyone the entrainment of playing the sounds together.

Cultural sharing through rhythm. Ask for someone to show you a rhythm, dance, or song from their culture. This empowers someone else as a leader. A woman once brought a rhythm from Baghdad called ‘Choni’ which is played in celebrations. The whole room erupted in a circle-dance, arms linked, with shrill cheers as I sat in the centre, playing the beat. Later I learned this was a common Sufi architecture of circle.

Additional Advice

Always debrief your programs, especially with a good listener. Avoid “compassion fatigue” by maintaining good self-care. Be aware of inner and outer learnings that occur in this work. For me, it’s been a road map to unity consciousness; discovering that we really are one, despite language, culture, race, and religion. The beat unites us in mind, body, and spirit.

Author’s Biography

Christine Stevens, MT-BC, MSW

Christine is the author of Music Medicine, The Healing Drum Kit, and The Art and Heart of Drum Circles book and DVD. In 2007, Christine led the first drum-circle training in the war zone of Iraq. She has worked with refugees from Sudan, Iraq, Afghanistan, and Syria. Special thanks to Musical Ambassadors of Peace, License to Freedom, The Center for World Music, and Remo.

Contact Christine at christine@ubdrumcircles.com

Website www.ubdrumcircles.com

YouTube https://www.youtube.com/user/ubdrumcircles

Facebook https://www.facebook.com/christine.stevens.5220

Online Training https://upbeat.teachable.com/

Recommended Reading

Powers, C. (2006). Spiritual Traveler: Journeys Beyond Fear. USA: GL Publishing. https://www.cameronpowers.com/

13. Neuro-Diverse Communities | Ray Watters

Overview.

It has proven difficult to find a term that would encompass the area that I spend most of my time working in, but there is a great deal of variation amongst human brains and human minds, and this variation is been currently termed Neurodiversity. Different people think differently not just because of differences in culture or life experience, but because their brains are “wired” to work differently.

Working with this hugely diverse and engaging population is perhaps one of the most rewarding and at times the most challenging environments you can find yourself in. It is important to remember that although we live in a world with labels to assist in groupings, medication and generalised understandings of populations each one of these people is a unique individual with wants, desires and needs and a right to be treated as such.

You will find yourself working in a variety of settings, but they tend to be grouped into residential/care settings, day/drop-in centres, schools geared towards specific needs, summer camps and evening clubs usually within specific caring settings or community centres. Within these places you may find yourself in the dining area, hall or a classroom or, weather permitting, outdoors.

Positive Outcomes

A few of the positive outcomes I have observed include:

An opportunity to play an accessible instrument.

Increased confidence

Participation in a group activity.

Engagement

A sense of Achievement.

Fun and laughter

Recognition

Co-operation

The Development and exercise of muscle tone & muscle memory.

The Development of Gross and Finer Motor skills.

Setting Up for Success.

Be aware of the make-up of your particular audience; the issues and skills that you may be presented with individually as people and their abilities. Research and understand the labels that people use and be aware of the organisation’s purpose and facilities if at all possible. Be aware of processing problems etc. In short - know your group! Invest in your relationship with the care/support workers and occupational therapists who work with your group members as their participation is essential.

A few important considerations

I arrange the instruments in an inner circle in the room with a mallet on each drum prior to people arriving.

Have a bright and welcoming space, and be there to welcome people as they arrive.

If possible, make sure that you have a suitable room to work in, providing easy access and movement for those in electric and manual wheel chairs and suitable chairs for those that require them.

I use a portable PA and iPod and have suitable rhythmical music playing when people arrive.

Be prepared to give drums out and suitable mallets. This can take some time so encourage people to play along with the music as they settle in.

Be open, available and engaging to all of those in the room, use eye contact and address the person not the carer or support worker. Learn and use people’s names if you are at the location over a number of sessions.

Help clients select the most suitable instrument but, empower the client to make the choice and have the client have the last say.

Invest in proper adaptable equipment, drums and proper mallets (Adjustable drum types and larger mallets for people with poor grip; nothing too heavy - be aware of poor muscle tone in some of the client groups). A good supply of frame drums that can be placed on wheel chair tray tables. Large ‘Timbau’ drums placed in a REMO basket frame are excellent as they raise the drum quite high off the ground and allow easy access for wheel chair users. I use a lot of REMO Djembe’s also placed in frames to lift them of the ground and give them stability.

Invest in a plentiful supply of cleaning wipes to keep the equipment clean.

Common Challenges and How to Minimise Them.

Facilities are often not suitable for drumming so make sure proper contact has been made and that you have talked through what works best for them and for you. The emphasis is always on what works for them. Be equipped for a few noise challenges and have a couple of sets of over ear defenders (headphones) for sensitive group members; they are easily available, cheap and cleanable.

Be aware of personalities in the group and that you are not responsible for crowd control. Melt downs can and will happen, as will disagreements between group members - leave that for the support/care workers to deal with and keep your work going. Nine times out of ten the support workers will ask you to keep going, so keep going. Occasionally, if it has really impacted the whole group, it may wise to acknowledge what has happened and check that people are OK. If people do not want to play that is fine, just place a drum and mallet in close proximity and they will often join in when they become comfortable. Some people may be unable to drum or hold any instruments at all so it can be wise to include some simple songs or vocal work - the funnier the better depending on the age of the group.

Embrace their differences; time keeping is always something to bear in mind and be sure to build plenty of time around the session for setting up and debriefing. Groups rarely go to plan and because of their uniqueness of these people’s lives, things take extra time - just getting to the session can be a struggle. Recognising and responding to their needs can be challenging and time consuming. This all takes time so be aware of this when booking the session, particularly if you have any conflicting time requirements later in the day.

Two Examples of Practical Adaptions of the Drum-Circle

I usually play rhythmical music through a PA on arrival to have the circle started before we really commence. My sessions tend to be quite structured moving through warm up activities to simple rhythms to fun activities and more complex rhythms, if at all possible using toys and games as well as voice to mix the session up and make it as inclusive as possible.

“ Oooo…Aaaahhh ”

As part of the warm up I have people play a very simple heartbeat rhythm, bringing everyone together. Then in the group explain that in the space between the beats we are going to put in some words or noises. So, we then start to shout words in-between the beats. Then we move it along to the girls singing one thing and the boys singing another thing - alternatively girls sing “Ooooo” and the boys shout “Aaaahhh”

This is a totally inclusive activity that is fun and allows the use of voice and drums so those that are unable to drum are able to use their voices and join in.

‘Whose on Their Own?’

I always put a solo section into my circles; have the group in a groove and then count them down to a stop, call out in 4/4 time “Who’s on their own, who’s on their own.. 1, 2 you’re on you’re own” and gesticulate to someone that it is their turn to solo. Once they have finished we all give them a big round of applause and I count everyone back in. I will also often use the PA system with a wireless microphone to amplify the sound of those with poor muscle tone – so that they can be heard.

This activity celebrates everyone’s contribution to the whole. Any solo is welcome be it one note, many notes or even silence.

Additional Advice.

I have during my time learned some simple Makaton which is a form of sign language that is used with individuals who have cognitive impairments ( www.makaton.org ). A simple thank – you, please or hello can make a huge difference. It is also important to be aware of what I term ‘special needs fatigue’ or ‘caring fatigue’. A large number of sessions like these can take a toll on you. As much as you enjoy it, it is important to be aware, and pay attention to what is going on for you. Also, remember, feedback is essential - ensure that you get feedback from the participants/support and care workers and if possible from the organisation’s management.

Author’s Biography

Ray Watters BA, FdSc, MBACP

Ray is a drum-circle facilitator and humanistic counsellor. Ray counsels people from all walks of life, but mainly adolescent boys in educational settings. Ray regularly drums with mental health support groups and a large number of caring and support organisations throughout the UK .

Organisation - Drum With Us

Contact Ray at ray@drumwithus.com

Website www.drumwithus.com

FaceBook drumwithus.

Recommended Reading

Silberman, S. (2016). Neurotribes - The Legacy of Autism and How To Think Smarter About People Who Think Differently. UK: Allen & Unwin.

14. Physical and Intellectual Disabilities | Jorge Ochoa

Overview

Working with individuals with physical and intellectual challenges may take you to a variety of settings. You may have the opportunity to work with individuals within the public, private, or home school education system, organisations dedicated to the support and awareness of specific disabilities, community events, corporations, etc. Physical limitations may include, but not be limited to, those with conditions that affect strength, endurance, range of motion, loss of a limb, and oral issues (drooling and/or mouthing of objects). Sensory limitations may also be present, such as difficulty with balance, vision, touch, and hearing. Challenges faced by those with an intellectual disability include understanding and processing of information presented. Many challenges may be faced, but the rewards and successes are priceless.

Over the years, one of the best things, among many others, that I have appreciated while working in this area is the sense of humour of an ongoing group that I facilitate with intellectual disabilities. With this particular group, I intentionally call individuals by a different name when doing solos. I love the laughter among the group. I love the breaking down of barriers as individuals come out of their shell - and of course, cannot say enough about the hugs! I have learned that everyone is truly an individual and that a person should not be judged by their disability. Two people with the same disability have their unique personal challenges and strengths.

Positive Outcomes

A sense of empowerment.

Increased self-esteem/confidence.

Stress relief.

Social skill development/engagement (focus/attention, sharing, taking turns, impulse control).

Communication reinforcement.

A sense of belonging.

Improved sensory regulation.

Improved teamwork skills and group cohesion.

Improvements in motor skills.

Leadership skills.

Setting Up for Success

Having a broad understanding of the special needs and medical conditions of the individuals you are supporting is a key to success. Ask questions before an event or session. Have discussions about anticipated physical, cognitive, and behavioural challenges and how they are dealt with. Also, inquire about the strengths of the group or an individual.

Considerations include:

Providing instruments that include a variety of styles and sizes. Holding and playing smaller and lightweight instruments (usually synthetic) may be more suitable for those with decreased range of motion, strength, and endurance. Drums made out of PVC are lightweight compared to wood or fiberglass. Some instruments to consider would include frame drums with soft headed mallets, djembes, bongos, maracas/egg shakers. Look for shakers that are made of high impact plastic, so they do not break easily when dropped. Bongos are a great drum to work with on midline crossing. Wrist jingle shakers may be used for those with limited grasp. Ankle shakers are also available.

It is very important to check instruments for any cracks, broken or loose pieces, and sharp edges prior to the session

Have mallets available for those with sensitive hands. Drums with synthetic heads are also easier on the hands than animal skins.

Shakers with handles may be easier for some to hold onto, especially for those whose hands are difficult to open.

Provide seating with arms for those with balance issues and seating with a back for those with postural/weak core strength. It is important that individuals have a stable base of support when playing. Feet should be planted on the ground. This will provide better balance and can affect endurance.

Encourage people to take breaks from playing as needed.

Provide simple and clear directions with simultaneous visual and verbal modeling.

Have water readily available.

Be aware of room temperature needs.

Make space available for those in a wheelchair.

Common Challenges and How to Minimise Them

On occasions, individuals may get out of their seat at an inappropriate time. Consider sitting these individuals near you. Calmly redirect as needed. Offering these individuals a large drum to play (positioned between their legs on the floor) may also deter them from getting out of their seat. Colourful tape around the chair on the ground can also be used to set boundaries for sitting and staying in place. If an individual wishes to stay standing, allow them to stand outside of the circle to decrease interference. It is advisable to also have at least one other person to assist you.

Allow a “safe area” for an individual to go to if they are overstimulated by the sound. Allow them to withdraw from the circle and to join in when ready. Do not make an individual stay in the circle. Keeping an individual in the circle may cause sensory overload and meltdown. The use of noise-reducing headphones or earplugs can be of assistance. At the beginning of the session review what ‘soft’ and ‘loud’ sounds and look like. If you are made aware of individuals who are hypersensitive to sound, begin the session at a low volume and increase gradually. Have the drum-circle in a carpeted room whenever possible. The carpet will assist with dampening the sound.

You may experience sessions where one or more individuals have oral motor difficulties (mouthing of objects and/or drooling). Have synthetic instruments for hygienic purposes. They can easily be disinfected afterwards. For those who place items inside their mouth, avoid using small instruments (e.g. egg shakers) as they can become a choking hazard. It is very important to check instruments for any cracks, broken or loose pieces, and sharp edges. These individuals should be monitored closely and redirected to keep the item out of their mouth. Again, a helper would be of great value to assist with this.

Two Examples of Practical Applications of the Drum-Circle

An exercise that I frequently use involves the ‘Agogo’ bell (a hand-held instrument with two bells). This bell is held in one hand and played with a stick using the other. One bell has a high pitch (the smaller one) and the bigger bell has a low pitch. I instruct the ladies to play when the high bell is played. When the low bell is played, the men play. This provides both auditory and visual cueing which would benefit those with either impairment. This is an activity that addresses following directions, focus/attention, and impulse control from the group. It also builds leadership and confidence skills for the one playing the bell.

Playing Soft and Loud: I show and explain to the participants that by raising my arms high with my palm facing up, they are to play at a louder volume. When I bring my arms down with my palms facing the ground, they are to play at a lower volume. During the session, one should provide simultaneous verbal cues as arms are moved. Keep in mind that multi-sensory instructions are very important in general for those with special needs. This activity is good for working on gauging pressure/force.

Additional Advice

I have great pleasure in working with this population. I love to see the smiles and the bond that the drumming has created. It is very important that “no player is left behind”. From a hand drum to an egg-shaker everybody can have a part. Focus on the strengths and celebrate the successes no matter how big or small. Respect the individual and look beyond the disability.

Author’s Biography

Jorge Ochoa, OTR

Jorge is an occupational therapist and group drumming facilitator in San Antonio, TX. He is the founder of TamboRhythms, a company dedicated to promoting FUNctional living through rhythmic expression regardless of age or previous musical experience. He has facilitated events at schools/learning centers, worked with seniors and those with special needs, and has provided adult and community education programs.

Business - TamboRhythms

Contact Jorge at: tamborhythms@yahoo.com

Website www.TamboRhythms.com

Recommended Reading:

Ratigan, S.L. (2009). A practical guide to hand drumming and drum circles. Available on Amazon Kindle or Barnes & Noble Nook.

15. Working with Seniors | Lulu Leathley

Overview

Improvisational Music Making with Seniors is a recognised and effective way to uplift and build community in a Care Facility or Adult Day Centre. Double blind research studies have shown that this method boosts the immune system, lowers blood pressure and lights up both sides of the brain. Often placed in a facility or program after a long and independent life, seniors find it difficult to adapt to their new settings. Working with these people is so wonderful because you can see their appreciation in getting some much-needed attention and being able to participate with others.

The settings are many and varied: Community Centres, Adult Day Centres, Drop in Respite Facilities, Assisted Living Facilities, Intermediate and Extended Care Homes. Populations vary from well-elderly (‘Welderlies’) to early onset dementia, stroke, Parkinson’s and other neurological conditions to ‘End Stage’, or palliative care. This chapter focuses primarily on working with well-elderly who are usually at an event on their own while those elderly patients needing more significant care are often grouped together. Adults in ‘End Care’ are hopefully with family members and in a private room and are not generally involved in group activities but may benefit from one-to-one or family interventions. Every situation is different, as is every participant so it is important to be flexible and able to change directions with different activities that will suit the situation at hand.

Positive Outcomes

Creates a feeling of community and belonging

Increases social interaction and communication

Reduces anxiety and agitation

Increases sensory stimulation

It’s an exercise!

Improves gross and fine motor skills

Improves cognitive function including attention span, short-term memory and the ability to follow clues

Improvement of mood

Brings family together in a happy and engaging way

Enhances person-centred care

Setting Up for Success

It is important to visit the facility before your event. Identifying parking, access to the space, carts or trolleys and assistants to help get the instruments in the building is most helpful. Arriving at least an hour before the scheduled start time is my basic rule in order to have plenty of time to get organised.

Aged Care facilities often don’t have a central meeting area so many of the events are likely to be in the dining room or a small recreational room. Tables and chairs have to be moved to accommodate the instruments and the people. Many patients are often in wheelchairs so it is important to have enough space in the circle for them to be able to manoeuvre in and out. As I’m setting up the circle I will sing a song such as “I’ve been working making music” (from ‘I’ve been working on the railroad’). Often the participants are already sitting around the room waiting so I will put on some music on a portable speaker and hand out some instruments for them to play along to until everyone is there and we’re ready to start.

Get as much information about the abilities of your group as you can to help you tailor your event to their specific needs. Often you may find people are limited to using one hand or have vision or hearing impediments so need a shaker instead of a loud drum or are in a wheelchair and can play a ‘Tubano’ beside them instead of a Buffalo drum on their lap.

Common Challenges and How to Minimise Them

Many people who hire you may view this as an ‘entertainment or performance program’ and not appreciate that it is a participatory event for the entire community, including the staff, and has therapeutic benefits. A huge challenge for me has been watching the staff leaving to have a break when I walk through the door. It is important to let the person that hired you know the benefits for the staff as well so that they can participate and gain awareness of their resident’s ability in participating in interactive music making.

Often a resident will not want to participate or will be very sensitive to the volume of the music. I always have a bag of foam ear plugs to give out and will start with shakers and softer percussion instruments, a song, chant or story to get the ‘nay sayers’ involved. Before you know it, they will have smiles on their faces and be shaking away! At times I have encountered a resident who suddenly becomes anxious and agitated if the music gets too loud for them. Having your “radar” turned up, keeping an eye on everyone’s body-language is important so that you can react accordingly by changing the music to a slower more relaxed pace. If this happens, give out chimes, shakers and frogs (wood percussion) and do a ‘Guided Visualization’ to calm the person down.

Limiting the number of participants is helpful. Facilities want all their residents to be at the event which can mean numbers up to 50 to 60 in some cases! You have to have a huge amount of energy to facilitate a group this big and give each person the attention they deserve. These people get so little individual attention that it is much better to have a smaller group of 10 to 20 and be able to look every one of them in the eye, take their hand and give them the one to one attention they need and desire.

Two Examples of Practical Adaptations of the Drum-Circle

Rhythmic Naming is one of the best activities for Seniors of all sorts. Asking them their name and then playing it on their instrument draws them into the music making immediately. Using their whole name and having everyone play it, brings them into the music making every time. Depending on the group, I often will get two or sometimes three names playing at once, creating a polyrhythmic song….John Bird, Sally Jones, Andrew Cassidy. This activity definitely works with every population.

My second most favourite activity is Heather MacTavish’s ‘Story Songs’. I have used these for the past 17 years with great success. I make up a story about something in my life or in the participants interest and infuse the story with suggestions for songs. As I tell the story the participants must try and figure out what song I am thinking of and whoever figures it out, calls it out or starts singing. An example would be my dog’s story: I have a dog whose name is Millie. I first saw her in a store window and fell in love. I wondered how much that dog would cost…(the song I’m searching for is ‘How much is that doggie in the window’ ).

Additional Advice

It can be good to get down to eye level with seniors, and one way to facilitate this group effectively is to use a mobile stool that you can sit on and roll around on in the middle of the circle – see the diagram below.

After working with many different populations in diverse situations over the past 20 years I can’t tell you how much I love working with Seniors of all sorts. They are so appreciative, jump right it, don’t complain and love the music making! I feel I have made a valuable contribution to their day and the hugs and smiles I get are worth all the effort. There is a tsunami of this age group coming, so this work is going to be so important, building community, lowering stress levels, building immune systems and bringing smiles to weary faces.

Author’s Biography

Lulu Leathley BA

Lulu is an author, speaker and founder of LuluJam, based in Vancouver Canada. With over 35 years experience, Lulu has designed music programs and drum circles for diverse populations from children and cancer patients to college students and seniors. She is the co-author of the recent book, 1,2 Let’s All Play with Mary Knysh. With a BA from the University of Victoria, she also holds post graduate diplomas, certificates and advanced training with Village Music Circles, Rhythm2Recovery and Health Rhythms. Her unique approach, which draws upon her background in Orff and Montessori, helps people make music for a wide range of health, wellness and therapeutic benefits.

Business - LuluJam

Contact Lulu at lulu@lulujam.com

Website www.lulujam.com

Recommended Reading

MacTavish, H., & Balsara, Z. (2011). Songs, Science and Spirit: Musical Keys to Open Special Doors of Ability. USA: Provident Publishing.

16. Seniors with Alzheimers and Dementia | Jana Broder

Overview

It is quite common in today’s world to find senior citizens with dementia in a variety of settings including retirement communities, senior day care facilities, nursing homes, residential memory centres and, mixed amongst us in our own communities. What makes this population a bit more challenging is that often they appear as a completely normal aging adult. There are even some days or times of the day that a Senior with dementia may be totally lucid and able to engage normally.

As a facilitator it is important to recognise and adjust responses to each individual according to their needs. In any visit to an Alzheimer/memory centre, it is imperative to engage individually with each participant as they enter your activity. A simple greeting and acknowledgement can start a process of learning how to engage respectfully and appropriately to each person in your group.

Positive Outcomes

Happiness and laughter

Cognitive awakening - Enhancement of cognitive functioning

A sense of belonging to a group

A reduced sense of loneliness and isolation

Stimulation for the mind

Exercise for the body

Relaxation

Stress reduction

Warm hands and improved circulation

Setting Up for Success

Your success comes from ensuring good communication from the moment you arrive and ensuring this is prioritised throughout your visit. Surprising seniors with Alzheimer’s or dementia with a loud and unknown activity like a drum-circle can induce anxiety and agitation. To have a profound and transforming impact on these seniors, we as facilitators must use a peaceful and compassionate approach.

Some of the techniques I use to build trust and rapport include:

Complimenting them (let them know how beautiful their hair looks or how much you love that sweater they are wearing)

Look them directly in their eyes when speaking to them and make eye contact with every single participant (where culturally appropriate).

Touching their hands and placing them on the instrument

Allow them to watch you tap on the drum and then inviting them to “audition” for the new band that’s about to form

Inviting them to dance

Inviting them to sing

Telling them how great they sound and how much you enjoy making music with them

Listening to their stories about music in their lives (they love to share)

Common Challenges and How to Minimise Them

One of the most common challenges in a memory loss community comes when the facilitator goes in unaware of the surroundings and the specific tendencies or behaviours of this population. People with Alzheimer’s often have a shortened fuse when it comes to their emotions and behaviours; little things can escalate quickly. Often the music itself brings up memories; tears may flow one moment and uncontrollable laughter follow the next. It is important not to over-react and try and fix this phenomenon, but rather remain calm and empathetic. The emotions in the room will unfold as they should naturally.

Many of them also have one common goal; to escape! This makes it very important for the facilitator to be mindful of the door when loading in and loading out of the building. Then when you start to play it is common to meet initial resistance to doing the activity. The most common excuse is “my son is picking me up any minute”, which is rarely the truth but is often what they truly believe. I NEVER argue the point. I merely suggest a seat in the drum-circle that faces the door so that we can see when their son arrives.

It’s also important to know that people with Alzheimer’s can get physical in a variety of ways. It’s always good to know in advance who has those tendencies, care staff can sometimes help, but most of the time you won’t know until it happens. In my time working with this population I been slapped, spanked, kissed, pinched and, proposed to! I am often chased around the drum-circle by a senior who is trying to spank my bottom…a VERY common response.

A final challenge comes from people’s reaction to volume. Some members of your group are likely to be heavily medicated; they can have ringing ears as a side effect of a drug they are taking or just a heightened sensitivity to loud noise that startles and disturbs them. Always begin your drum-circle with clear instructions about keeping the volume low and demonstrate “tapping”. I begin with a quiet beat and singing a gentle song. At about the halfway point, I bring up the volume and tempo slightly to get them moving and exercising a little. Then I bring it back down towards the end, and eventually finish by going up to each participant and holding their hands and thanking them for being in the band.

Two Examples of Practical Adaptions of the Drum-Circle

Here are some tried and true activities that work well with this population:

Synchronize their heartbeats by producing a double deep bass sound, very faint, followed by the sound of “whoosh”. After a minute or so of this, change the whoosh sound to a single clap. This activity will entrain the group into a common rhythm. When the group is entrained, variations include clapping twice, scratching the drum, snapping their fingers and, singing. These are variations of the heartbeat rhythm and, if done slowly and deliberately, are really effective in bringing the group into harmony. The facilitator should be very clear with instruction and model the heartbeat during the activity from start to finish. To end the activity, I always count backwards from eight until we all end together in a silent moment.

Individual solos are a great way to encourage their inner ‘rock star ‘to appear. I start by encouraging a light and easy groove with the whole group. The whole room is simply tapping their drums, their feet and, often moving their bodies a bit. I practise stops and starts with them which they view as a huge accomplishment and are capable of achieving every time with a little practice. After we have practised and mastered stops and starts, I explain that on the next stop, one person will play all by themselves, whatever they want to play, for as long as they want to play until I count the group back in. It is very important to enthusiastically celebrate each solo. Encourage the group to celebrate after each solo is complete and go around the room until each person has taken a solo no matter how big or small their contribution was.

Additional Advice

Don’t be afraid to work with this population. Many facilitators avoid memory centres and people with Alzheimer’s’ and dementia, thinking they are too hard to engage. My experience is very different, and with practice this could become your favourite group to drum with too. They LOVE to be spoken to, touched, and complimented. This population of seniors is a growing one and perhaps needs music and interactive rhythm more than any other. Taking the time and having the patience to learn the intricacies of your group makes or breaks the session with them and can be highly rewarding. Remember do not go in unprepared. And always be mindful of your role in their experience. Your impact on their lives will likely be the most positive experience they have that day, week, or month.

Author’s Biography

Jana Broder

Jana is the owner and director of the firm ‘Drum Magic’ in Florida and has been actively facilitating drum-circles since 2002. She has won several small-business awards and teaches classes in how to run a professional drum-circle business. She has worked with a wide range of different populations using drums, but has increasingly focused her work on the seniors area which has grown so fast and has proven to be the most positively affected group that she drums with.

Business - Drum Magic, LLC

Contact Jana at http://Janabroder@drummagic.net

Website http://www.drummagic.net/ or http://www.drummagic.com/

Facebook: Drum Magic, LLC

Recommended Viewing

I recommend the documentary “Alive Inside” to anyone working in the field of Alzheimer’s and music. https://www.youtube.com/watch?v=5FWn4JB2YLU

17. Grief & Loss | Jade :II: Cathy Chicoine

Overview

Although loss and grief occur as part of the natural cycles of birth, death and rebirth; in the absence of what was, our love can feel like it no longer has a place to go. When we feel disconnected from a person or place or thing or form where our love was once previously held, we can experience emotional pain and desolation. Group drumming can help us deal with this loss by giving us a place and a way to non-verbally express and process our emotions while feeling supported by others.

As drum-circle facilitators, loss in the form of a death will eventually occur not only among our own circles of friends and family but also within our drum-circle community itself. When this happens, it is only natural for us to do what we know - to gather together with our drums. We may also be called to work with ‘grief and loss’ support groups and other clients who wish to bring loved ones together in the face of an impending loss or in a celebration of life for someone who has recently died.

Positive Outcomes

A reduction in feelings of isolation and loneliness

Renewed feelings of hope

Relief of tension and stress held in the body

The gaining of new insights

The discovery of inner guidance

An experience of a lighter, happier mood derived from allowing feelings to arise, be felt, accepted and pass though

An opening to new experiences

Feelings of wellbeing and positivity

Feelings of reconnection with what we hold dear

“Communal grieving offers something that we cannot get when we grieve by ourselves. Through validation, acknowledgement and witnessing, communal grieving allows us to experience a level of healing that is deeply and profoundly freeing. Each of us has a basic human right to that genuine love, happiness and freedom.” ~ Sobonfu Some

Setting Up for Success

In my grief-circles, remembering some of the simple things below has been most important:

Having boxes of tissues on hand

Having receptacles for the disposal of used tissues

Ensuring there is adequate space for movement in and around the circle, and clear exit ways

Having water to help flush the body is important following emotional work

Including time for reflecting and journaling is helpful

Ensuring access to, or recommendations for, further sources of support following your session is important

Taking time to follow up with your group members

Knowing your group, and working with those who invited you to develop your program so that it addresses the needs of those present and is sensitive to any specific issues that may be linked to the source of loss is vital. Being able to clearly outline your plan and taking the time to set the right tone for the session will help everyone feel more comfortable and hence more open to the benefits of the experience.

Like any drum-circle, considerations for, and communication with, the people occupying neighbouring spaces is always important. Also, be alert to your own needs and keep yourself safe - if you are someone who often feels responsible for other people’s feelings, an important area of self-study would be in learning about vicarious trauma before putting yourself in a leadership role in this area. In an emotionally charged context, especially where some aspect of the case at hand bears a resemblance to your personal circumstances (e.g., a child of the same age), empathic transference of the loss experience can be palpable.

Common Challenges and How to Minimise Them

The most significant challenge for people new to this area of work is managing the emotional load, both of the group, but often more problematically, of themselves. This is a particularly challenging issue for those who have not explored their own grief or who fail to recognise in themselves the different emotions that can be present through the grieving process; sadness, anger, numbness, guilt etc. Your level of resilience in managing the empathetic experience of other people’s loss will have a significant impact on the success of your work in this area, as well as your own health.

How to establish trust is also an important consideration in this work due to the increased level of vulnerability of those who are in the process of grieving and may require an honest display of vulnerability on the part of the facilitator. Sometimes it can be valuable to have some “skin in the game” and be able to relate personally to the pain of losing someone close. Creating a feeling of safety within the group can also be achieved by simple things like a warm smile, a welcoming space, adhering to agreed start and finish times and not allowing the integrity of the circle to be compromised by having people coming and going once the circle has begun. Also, establishing clear guidelines prior to beginning each session such as “what is shared in the circle stays in the circle” and defining what it means to hold space for others by encouraging deep listening without the need to judge or fix.

If invited to work with loss support groups, it can be a useful strategy to go along as a guest at first – especially if these are regularly scheduled meetings. Then you can listen, learn and meet the group members first, and share information about what you do and how it might support the groups intention. This is a good way to see if the timing is right and the group are ready to bring in the drums and offer a drum-circle experience. When the time is right and if the drum-circle is well received the group may consider having more drum-circles and widening membership by extending invitations to their friends, family members or other relevant individuals to join.

Two Practical Adaptions of the Drum-Circle

The following exercise will help restore the flow of giving and receiving that is essential for wellbeing.

Have participants bring a small object symbolic of their loved one to be placed in the centre of the circle. Bring the drumming to a soft closure and have them take-up their object, first holding it and simply noticing how they are feeling. Depending on time constraints and numbers, have everyone place their object in the centre of the circle one by one, (or, all at once if time is short), sharing a few words or in silence. After all have resumed their seats, have everyone clench their fists tightly and keep them closed while you try to hand them an instrument. Then have them open their hand to remind them that when grieving, our hearts tend to close and just like our hands, a closed heart cannot receive. Resume the pulse.

Do a round of drumming specifically with the intention of allowing emotions to surface. Remind people that all emotions are acceptable and valued; happy, sad, angry, numb - the key is allowing whatever surfaces to be accepted and surrendered to the circle. Movement and dance can also be useful in helping people release pent up feelings associated with grief and loss – sometimes I have half the group continue drumming while I lead the other half in moving their bodies, either staying seated or freely around the room. If the trust is there people can further this release through chanting or free-range vocalisations. Then I switch the group and reverse roles. After this releasing round, hold the silence for at least one minute.

It is important to balance the release of emotions with a receiving exercise where people can absorb others support and love. You might use shakers and softer instruments for the receiving round where they will consciously open themselves to receiving love and understanding from their companions in the room. I often find it is helpful to dim the lights during these exercises in order to reduce self-consciousness and allow participants to fully enter their inner space. End the exercise or the session itself by having participants retrieve their object from the centre and share how they feel now when holding it.

Additional Advice

Grief and loss are part of the human condition, and although the pain and devastation they bring is very real, and must not be devalued, it is also important to remember that they are very much a part of life – there is no life without death, so death, despite the associated grief, can be seen as part of the cycle of life and as a source of renewal.

Remember too that people’s emotional reactions to grief and loss are wide and varied and generally a healthy part of the recovery process. Always validate people’s feelings and as much as possible try to normalise your response to them and avoid over-reacting, or drawing too much attention to them. Grief is a very personal thing and part of the power of the drum-circle is in its ability to provide people with a safe and private form of release while at the same time enveloping them in the support and unity of the group.

Author’s Biography

Jade :II: Cathy Chicoine

Jade is the founder and principal facilitator of Zen Rhythm Co. and has been working with the drum as a tool for personal transformation, self-awareness, healing and recreation for the past 18 years. Jade became a drum-circle facilitator in 2006 and began offering community drum-circles in Saskatoon, Saskatchewan under the guidance of Judy Atkinson, the founder of Circles of Rhythm in Calgary. She has also studied directly with Simon Faulkner of Rhythm2Recovery, Lucas Coffey & Cameron Tummel, Founders of the Rhythm for Youth program and Marsha Read, president of the Center for Sound Healing.

She has worked with MS Support Group, PTSD Support Group, Brain Injury Support Group, Cancer Survivors Support Group, Seniors Groups and Residents, Perinatal Loss Support Group and has also led several Celebration of Life and Memorial Circles.

Business - Zen Rhythm Co.

Contact Jade at info@zenrhythmco.ca

Website www.zenrhythmco.ca

FaceBook https://www.facebook.com/zenrhythmco/

Recommended Reading

Weller, F. (2015) The Wild Edge of Sorrow - Rituals of Renewal and the Sacred Work of Grief. Berkley, CA: North Atlantic Books.

18. Living with Cancer | Rufus Glassco

Overview

Many cancer patients and survivors know of the importance of complementary alternative therapies to supplement their course of treatment and improve their health and resiliency. Places that offer yoga, meditation, nutrition classes, reiki, chi gong and sound healing, art and narrative therapy, etc. may be well suited to offer group hand-drumming classes.

This demographic is best served in places that provide services to those specifically dealing with cancer, as many are dealing with challenges that others have experienced, which allows for “victims” of cancer to become experts at navigating these challenges and supporting others with their knowledge and experience. In these places they can feel more comfortable dealing with and talking about the many challenges of cancer. Such challenges include the side effect of chemotherapy and radiation (nausea, brain fog, hair loss), the challenges of negotiating the health system, the anxiety and fears surrounding tests and waiting for results, what to expect from upcoming tests and procedures, the difficulties with communicating with colleagues and loved ones, and being abandoned by many close friends and family.

Positive Outcomes

Stress Reduction

Greater Connection

Community Support

New friendships and camaraderie.

The release of frustration, anger and rage in a healthy way.

New percussive skills and a greater openness towards learning new things and being optimistic about the future.

A greater appreciation for healthy, group activities that are fun.

Endorphin release from aerobic activity.

Feeling heard and understood.

Giving and receiving a lot of empathy.

A growing understanding and appreciation that they are not victims of cancer, but experts in resilience & recovery who have valuable skills and expertise to offer that can benefit others.

Setting Up for Success

Here are some of the key issues that I have found make for a successful program:

The location and timing:

Daytime classes in an accessible location with reasonable parking rates and ideally, community transport support.

In a location far from people who are working (office workers, doctors & nurses diagnosing patients) and might be bothered or disrupted by the sounds coming from a recreational drum-circle.

10-15 participants, ideally committed to coming every week for 6-8 weeks, with the understanding that some will miss classes for a variety of reasons - feeling ill, medical appointments, returning to work, no energy, no ride.

Mutual Respect within the Circle:

Confidentiality - what happens in the circle, stays in the circle — get everyone to agree.

Come every class if you can, understanding that each class is self-contained, and that if you miss a class or two, you won’t be left behind. A reminder not to come if ill with something contagious, as others may have compromised immune systems.

No perfumes or cologne, as some have very high sensitivity to smells.

Common Challenges and How to Minimise Them

One of the common challenges is helping people who don’t know each other to relax and get comfortable in the group. I start my groups with a series of ‘ice-breakers’, getting them to share a bit about themselves and their knowledge using a name game and inspirational beats (see the practical example section below). Missed classes are also common as people struggle with their health and other priorities. Ensure your minimum group size is large enough to accommodate significant absenteeism.

Another common challenge is the group member who is needing more attention and often dominates the conversations. As a facilitator you need strategies to manage a dominant group member - I find it is best to focus on group needs and return quickly to new activities, or to reflect on the dominant members comments and ask the group their opinion on the same issue. It is important to follow up with these members afterwards (but in private), and offer to give more detail and answer more questions. As classes go on, the group will often spend more time talking, bonding and sharing, and less time playing. This is a sign of trust building and progress.

Many people going through cancer treatment experience ‘brain fog also known as ‘chemo-brain’’ – a decrease in mental sharpness, clarity and focus. Avoid teaching tricky rhythms, and as much as possible go back to the same rhythms week after week and reinforce them. If you teach rhythms, write them down in simple notation to give to the participants. Teach people how to improvise effectively, and help them by providing a strong pulse. I often start by playing different rhythms & games and allow these to evolve into improvisational jamming.

During your program some members will likely receive potentially devastating diagnoses or prognoses. It’s important to check in with each other before and after each class, and to acknowledge what is shared between group members, the support they can offer each other. I also include opportunities in my circles for the group to send extra love and support, through the power of their drum to anyone who needs it.

Two Examples of Practical Adaptions of the Drum-Circle

Guided Imagery: I use a small portable rechargeable speaker to provide soothing background music for a variety of different journeys that take people to different places in nature to be healed - we walk along a beautiful forest path, or swim in a buoyant sea next to a favourite beach or visit a mountaintop temple with giant healing crystals hanging in the air, emitting healing sounds and different colours of light. I take people on a different journey each class, to be healed (or activate their innate healing abilities) in nature by sound, by water, by rhythm, by vibration, by being in community, and through our connection to mother earth and her ability to draw out our toxins and cleanse them.

It’s important to ground people first by getting them to sit comfortably and concentrate on deepening their breathing and letting go of distracting thoughts. The music will help to bring them along on a journey that can either be to a place that you describe, or you can provide general details and ask them to use their imagination to visit a place they are familiar and comfortable in. Frequently remind them that they are safe in this place and that others who are there are like them, at peace and happy to be receiving healing energy / releasing / connecting with others. There are many guided imagery and guided meditation journeys available on CD or iTunes for free on YouTube. I recommend using them for inspiration, and you create your own journeys using your own favourite music, so you don’t have to rely on notes, and just tell a story instead. I’m planning to record my own music eventually, which I will infuse with healing intent as I record it.

Inspirational Beats (From HealthRHYTHMS): After explaining how drums can transmit emotions on sound waves, ask participants if they could experiment with playing different emotions on the drum. What would anger sound like? When someone demonstrates what anger sounds like to them, ask for their permission to ask the group what they heard. Then encourage others to share what they felt and though when they heard the anger expressed on the drum. Then ask the person who drummed how accurate the interpretations were, and if we missed anything. Ask the group if they would express anger in the same way, or would it come out differently if they were communicating anger? Then ask for someone to demonstrate what sadness might sound like on the drum. Always end with happiness. In your next session you might pick up where you left off, and ask if anyone can express the anger they have experienced at any stage on their journey through cancer; perhaps to express how the modern medical system has made them feel, or the reaction of certain loved ones, or friends or employers. Many will want to express their anger about a surprising variety of scenarios and realities they have had to face.

After people share their feelings, it’s important to honour their courage, and their willingness to express themselves and share difficult feelings. It’s also good to thank those who offer interpretations, and to offer them yourself, if you feel like the group is not able to interpret or hear something that you feel is important. It’s also very important to ask the group how they deal with similar situations and emotions, how they get past them, and how they learn to let them go.

Additional Advice

I begin each workshop by mentioning a theme, and why I think it’s important, perhaps sharing how embracing this concept has been of personal benefit. I like to share a pertinent quote or two by famous sages on the subject and tie the inspirational beats questions or intentional drumming (asking participants to create a chant or mantra of something positive they intend to do in the future and have them drum out the syllables as they chant) into the theme. Some of the themes we explore include the importance of play, of forgiveness and letting go, of helping others, of living in the moment, and of self-care of mind, body and spirit.

Author’s Biography

Rufus Glassco

Rufus has been working for Wellspring Cancer Support Centres in the Greater Toronto Area since 2010. He now works at three Wellspring Centres and has also worked for Gilda’s and Ronald McDonald House. Rufus does other work in health-care centres working with people with addiction, depression, schizophrenia, bipolar and other mental health issues, as well as people with dementia and Alzheimers and their caregivers.

I also work with doctors, nurses, social workers and other community health care providers. While the work I do with cancer patients doesn’t pay very well, it is the most rewarding work that I do. When prospective corporate, school or government clients ask why my rates are high, I explain the work I do with them helps to subsidise the work I do to support people with cancer and their caregivers. Just about everyone has known someone who has been diagnosed with cancer.

Business - Rhythm Kingdom Inc.

Contact Rufus at rufusglassco@gmail.com;

Website rhythmkingdom.com;

Facebook facebook.com/rhythmkingdom;

Youtube https://www.youtube.com/user/consumowrestler

Recommended Reading

Cunningham, A.J. (2010). The Healing Journey. USA: Healing Journey Books. Download a free copy here https://wellspring.ca/wp-content/uploads/2015/05/healing_journey.pdf

19. Prisoners | Simon Faulkner

Overview

Working in the prison system means working across a very diverse group of institutions, some modern, some ancient; with different rules, philosophies and intentions. It also means working with a very diverse group of detainees, some of whom have committed crimes that challenge our ability to remain non-judgemental, and who may be confrontational and sometimes intimidating. In prisons family breakdown, economic disadvantage, low levels of education, trauma, mental health issues and drug addiction commonly underlie the lives of inmates, and some knowledge of working with these issues can be useful.

Group activities, like a drum-circle can be greatly appreciated by prisoners and staff alike, and incorporated into recreational and rehabilitation programs, with a range of different benefits. They can also create significant security risks, that need to be managed carefully, as prisoners are brought together. Prisons are full of decent people who for a range of reasons took a wrong turn in their lives, but they also harbour serious criminals with little empathy for outsiders, who are constantly alert for opportunity and advantage. Women need to be particularly alert when working in male prisons. Complacency is one of the biggest dangers of prison work.

Positive Outcomes

Reduction in the stress associated with incarceration

Reduction in levels of depression associated with incarceration

The cathartic release of tension and other emotions

A humanizing experience that counters the de-humanizing prison norm

Can be used to reduce or reconcile differences between prison population groups, ethnicities, gangs etc.

Improved staff/prisoner relationships, and by association, prison security

Improved social skills

Setting Up for Success

One of the common challenges of working in prison environments is moving your equipment in and out through security – a process that may take fifteen minutes one day and an hour on another occasion depending on the security level of the institution at the time, as well as your standing with the security team. Prison staff are notorious for making it difficult for contractors who they get on the wrong side of – respect and good manners go along way with prison staff; complaints can be highly counter-productive even when they are well justified.

Another important consideration is an appropriate space. Sadly, many jails are full to overflowing and recreational space is often very limited or just not available at all. Prior to taking up any contract visit the prison, meet the staff and identify a suitable space – don’t leave this to chance. It can be useful to set up a preliminary visit and offer a team-building session for the staff prior to working with the prisoners – if you are in the ‘good books’ with management and staff before you start, you are half way to a successful program, and they may even prioritise for you a suitable space for you to work in.

Common Challenges and How to Minimise Them

Among the most challenging issues when it comes to introducing a drum-circle program into a prison community is the negativity of those in power towards arts-based programs and their rehabilitative potential. Many prison staff hold strong, and generally negative views on prisoners and their potential to improve their lives. Arts programs are often seen as unjustified rewards and purposefully sabotaged. The idea that music has an intrinsic value for both individuals and the community is not understood; nor that it can be a means of assisting people to develop important skills; or that creativity can change and heal people. Involving staff and educating them with a hands-on experience or showcasing some of the research that supports your work can help reduce this bias.

Group make up is particularly important when considering working in prisons. Prisons are hierarchies, and have a very clear pecking order, that starts with the prison officers on top, although this can be challenged by some prison gangs, and usually places sex offenders at the bottom. In-between these extremes there are often violent battles for influence. When choosing who will be allowed to participate in your drum-circle it pays to have someone deciding that for you who has a clear understanding of this issues and how it relates to their population, so that power rivalries, with the potential to be violent, do not surface in your group.

Disruptions to your program are very common in prison scenarios as changes in security arrangements, and other demands on prisoners and staff will generally take priority over your work – this is something you need to accept and learn to accommodate. Prison programs are usually contracted by a division head and calling them in advance to ascertain whether any changes in scheduling are happening that may impact your program is always important; in my early prison days, I would often turn up after a long drive to find the whole session had had to be cancelled, and there was nothing that could be done about it.

Two Examples of Practical Adaptions of the Drum-Circle

Among the most useful exercises I use in prisons are versions of ‘Call and Response’ where an individual sends out a rhythmic phrase on their drum and it is answered by the group. I use this exercise to look at how people respond to different scenarios in life. The call can represent an infinite number of possibilities and the response is ours for the choosing – “How do you respond to aggression” for instance? “How do you respond to kindness?” In one variation I represent aggression with a sharp rumble and my participants must learn to respond very quietly (using their fingertips) whenever they hear the aggressive phrase – this is in part a regulatory exercise, as they learn how not to get drawn into other people’s anger.

Another core drum-circle exercise that can be linked to useful reflection for prisoners is the layering in game, where one person starts a rhythm (usually with a strong bass pulse) and one at a time each member of the group layer in with their own rhythmic contribution on drums or percussion (or even voice). This exercise can be used to draw attention to the benefits of diversity in a community, reducing intolerance, discrimination and fear of people who are different. In this exercise each person contributes to the whole and their differences enrich the music. You can also layer out the rhythm to close; one person stopping at a time until there is only the bass pulse left.

Additional Advice

Some of the most pleasurable experiences of my career have been working in jails, where I have learnt as much as I have given. Though the environments are harsh the people are often desperate for interaction and generally welcoming. The drum-circle is always a highlight for them. The creativity that comes from musical expression is also a pathway for thinking creatively on how to move their lives forward, and many people in prison, especially adults, make significant changes – it is often a place for contemplation and reassessment. Enjoy your work but remain vigilant and keep yourself safe.

Author’s Biography

Simon Faulkner BSocSc (Psychology & Addiction), MCoun.

Simon is the Director of the therapeutic service ‘Rhythm2Recovery’ and has worked in multiple prison environments, including Juvenile detention centres, women’s prisons, specialist Aboriginal prisoner wings, maximum-security jails, and forensic mental health. Simon trains professionals internationally in a model of therapy based on his book ‘Rhythm to Recovery’ which combines rhythmic music with cognitive reflection.

Business - Rhythm2Recovery Counselling Services

Contact Simon at simon@rhythm2recovery.com

Website www.rhythm2recovery.com

Facebook https://www.facebook.com/rhythm2recovery/

Recommended Reading

Balfour, M., Bartleet, M.L., Davey, L., Rynne , J., & Schippers, H. (Eds.). (2019). Performing arts in prisons. Bristol: Intellect.

20. Veterans | Terrie King

Overview

The veteran population is a cultural group that is found in all communities. Organisations that may have particular interest in a veteran drum-circle include VA clinics, organisations that serve homeless individuals, faith organisations, social clubs for veterans, colleges/universities and community services agencies. Small consistent groups of no more than 8-12 seem to be best suited for this population and a closed group is preferred. Veterans benefit from understanding the “why” for their struggles and practical solutions for their needs.

Positive Outcomes

Veterans thrive in a safe, bonded, task-oriented group focused on a goal-directed mission. The drum-circle creates a therapeutically rich environment that invites connection while meeting a goal. Each week the level of trust deepens and the level of honesty expands. The veteran has the ability to voice thoughts and struggles with like-minded individuals that share a common culture and style of interpersonal interactions. The shared “mission” of creating music together provides an opportunity for leadership, commitment to the team, loyalty and perseverance - All values of the veteran population. Because sharing feelings is not an easy task for a veteran, the use of the drum to convey emotions is especially helpful to the group members – the drum is their emotional voice. Often for the first time in civilian life, the veterans experience a place of “belonging” which has been greatly missed once they leave active duty.

Setting Up for Success

It is very important to have a committed administrative group if offering the program in an organisation - one that understands and values the work. Always create a consistent, safe and secure place for the drum-circle to meet each week. Veterans have been trained to “recon” and will arrive early to assess the environment and determine the level of security of the setting – arrive early yourself for set up. Give time for settling into the environment so don’t rush things, especially the first session. Refreshments tend to ease tension and often the group will linger after the drum-circle is over to socialize with a cup of coffee.

If you can, it helps to have a co-leader that is a veteran or at least take steps to understand the veteran population better yourself. There is a certain language of specific combat and military organizational terms that vets respond to – it can be useful to familiarise yourself with these. Be clear with expectations given within the group experience as veterans want to succeed and need a clear mission and definition of what “success” looks like for each session. Include opportunity for physicality as part of the drumming experience - veterans love physical challenges. Don’t be afraid to use a secure outdoor space, as nature is quite supportive for emotional safety and healing.

Common Challenges and How to Minimise Them

The common challenges you may face when working with this population is the initial “buy in” phase. Veterans often are looking for logical methods for ending struggles and can be very frustrated with a system that seems to be less than supportive. Veterans may not see the purpose of a drum-circle in light of the severity of their needs. You must be very clear and set good boundaries when first establishing the group. Veterans prefer “rank and order” and are quite willing to follow a system if well established.

I prefer to do separate groups for genders as well as dependents. Each select group benefits from the ability to “freely share”. Given many female veterans often have been violated by a male veteran peer, a female veteran will not share what needs to be said for greater healing in a mixed gender environment. The group dynamics and development are different as well. Male veterans tend to want a mission to accomplish while female veterans tend to prefer the challenge of creating order and companionship through the circle. Dependents (family members of a veteran) need to share their unique needs and often are exhausted with all the attention going to the person of service and not to their own dedication and struggles of “living with” the veteran.

Another challenge that may surface is the “let me tell you how the system has failed me” discussion by a member who can dominate if allowed. This can become a difficult slope to climb out of if allowed to freely flow. Recognise the struggle and then move the group to solution finding as it pertains to how the circle can support the member. Veterans do not want to share “war stories” and do not like to show weakness – emotions are usually kept quieter. Realise that shared silence is often more powerful than tears.

Two Examples of Practical Adaptions of the Drum-Circle

Physical Training (PT) – Usually done after about the third gathering when some connection has formed. Sit in close circle formation with knees almost touching drum in position for play. The goal is to reach with the right hand across your personal drum to the neighbour on your left, striking a bass note on their drum; followed by reaching with your left hand across your personal drum to the neighbour on your right, striking a bass note on their drum. Each member moves in synchrony gradually increasing speed and movement. I’ve never seen such focus and determination to keep the entire group following for a set time period.

Cadence - Cadence is used to organise and collect a group toward a goal. This activity begins with one person as the lead tempo keeper; gradually every member adds a simple beat to the rhythm. The “tempo keeper” then starts a chant that is used to make a statement of some kind - the chants can get rather “colourful” so be ready, but the level of joy is also amazing and this can be very helpful as a closing activity if the session has been a bit heavy and emotional. It’s a good way to send them home supported and remembering the good.

Additional Advice

Learn all you can about Trauma Informed Care and the neuroscience related to a brain that has experienced trauma. Attend Military Peer gatherings and have a veteran mentor to support your growth. Stay current with the veteran population needs and keep up with the trends.

Author’s Biography

Terrie King, OTR, LPC,

Terrie has been an occupational therapist practitioner since 1989, a counsellor since 2005, and has worked with the veteran population using drum circles since 2013. Terrie has advanced training in trauma informed care and a deep understanding of the neuroscience that is at the heart of the healing process. She considers a safe environment and the power of a trust-based relationship foundational. Terrie has a unique understanding of the military life, having grown up in a military family with a father who was deployed several times. She has facilitated healing drum-circles with veterans from WWII, Vietnam, Desert Storm and the Iraq wars. In addition to her work with Veterans. She helped to create the East Texas Circle of Courage which focuses on helping veteran college students navigate the stress related to civilian life and the stress of academia.

Business - New Destinations, Inc.

Contact Terri at - terriekot@gmail.com

Recommended Reading

Hodge, C. (2010). Once a Warrior - Always a Warrior: Navigating The Transition From Combat To Home- Including Combat Stress, PTSD, and MTBI. USA: Lyons Press.

21. Survivors of Natural Disasters | Judy Guthrie

Overview

Natural disasters, which seem to be occurring more frequently world-wide, have a huge impact on the location in which they occur and the devastation they cause affects millions of people. The survivors of tsunamis, volcanic eruptions, tornadoes, floods, blizzards, heat waves, hurricanes, earthquakes, bush/wild/forest fires have lived through a life-altering experience. They have likely experienced extreme stress, anxiety, fear or terror. At the least, they will have observed significant damage to their property and in their community and some will have lost their homes and possessions. At the worst, the survivors have witnessed human injury and loss of life.

In the immediate aftermath of a natural disaster, life is totally disrupted, nothing is as it was, and people can feel lost, vulnerable, or numb. As the extent of the devastation becomes more apparent and real, many people start to rally and help themselves and each other to recover. It is an exhausting time and outside support is crucial.

Positive Outcomes

The pure release of physical energy in playing an instrument can give almost palpable relief very quickly

The value of connecting with others in an activity that is fun and is unrelated to the disaster

It provides another opportunity to share stories and process one’s own experience during the disaster

It provides an opportunity to express gratitude and hope

It provides relaxation on all levels

Setting Up for Success

It is even more important than usual to have a good contact person who can give lots of information about the group in order to plan appropriate activities: how many people and particularly who they are. For example: if this is a circle for government officials after days of Disaster Management meetings, this is a group who are continually making tough, stressful decisions. Their circle might emphasize personal and mutual support, relaxation and opportunities for reflection. If it’s a circle for the staff of a primary school, these people are holding together some semblance of order for the youngest survivors. They need support, empowerment, relaxation, fun. if it’s a circle for families after a church service, this will be a circle from baby to Grandma and a celebration of family fun and faith. If the facilitator understands who the group is and the challenges they are facing, it is a great help in being able to read the group, adapting the flow of activities to suit their needs.

Common Challenges and How to Minimise Them

As many buildings may no longer exist, it can be a challenge to find an appropriate venue but hopefully the organiser has this worked out. Otherwise if the weather is conducive, outdoor locations may be more appropriate. Having chairs for the participants and other basic necessities cannot be taken for granted, and it is important to discuss your needs, however simple with the organizer. The chairs create the circle from the very beginning, giving a sense of form, purpose, normalcy, dignity. They are key if at all possible. It is also useful to think about transport and how you and the group attendees will get to the drum-circle location, when roads and public transport infrastructure may have been compromised.

Survivors will have likely felt some level of trauma around the disaster and unfortunately most of us are not music therapists. We are, however, experienced drum-circle facilitators with sensitive and compassionate spirits. The goal is, as always, to provide fun and relaxation through making music in an emotionally safe environment. We acknowledge we are not trained to delve into the emotional depths of the trauma but because the nature of the drum-circle can create an emotional response in people, we need an especially heightened awareness to tread gently, being mindful of how the experience is unfolding for people. If someone is feeling overwhelmed emotionally, it is kind to acknowledge and support them and there will very likely be others in the circle who will do so as well. Following up afterwards, to ensure that person can get more support if needed, is appropriate.

Two Examples of Practical Adaptations of the Drum-Circle

‘Rumble If ………….’ (Simon Faulkner)

This is an easy, non-threatening way to involve participants right after the initial warm-up. Each participant asks a question in the framework of ‘Rumble if….”.

It usually evokes much laughter as people will ask all sorts of different questions and some might relate to the disaster i.e. “Rumble if you have current (electricity) at your house yet” and only 1 or 2 out of 30 will rumble… but everyone laughs.

This is also a valuable game for the facilitator to get a sense of the group’s mood and spirit.

‘Celebration Circle’ (Christine Stevens)

This is a wonderful way to start bringing the circle to a close as it gives any participant the opportunity to express what they are feeling. I start by having everyone practise a big ‘stop cut’ in their chairs: “Make a big X holding your hands above your head and now bring your hands down to your sides…. with attitude!”. I also add that it feels very powerful when you can silence a whole group with that simple action! Then the group rumbles and one at a time whoever has something to say can come to the middle of the circle, stop the group, say their piece, start the rumble again, take a seat…. the next person comes up. End with a big rumble with dynamics. This can be a very positive and emotionally touching exercise as people express their gratitude for the joy of music, for life.

Additional Advice

The opportunity to drum with survivors doesn’t present itself to all of us. If it does come your way, fear not and know that you have a gift that can make a huge difference to people who really need it. I have always ended all my circles with a short, guided meditation…. A gentle heartbeat rhythm on one drum, an affirming story about the goodness in all of us and in the world, a turn of the rain-stick or some notes on a native flute, then silence. And then around the circle, each can share how they feel in ‘one word’. After much thought about whether this might be too emotional for survivors, I decided to go gently and see how it went. It is right up there with the richest of my drum-circle experiences.

Author’s Biography

Judy Guthrie

Judy has been facilitating drum-circles in Anguilla and Canada for 15 years and has experience leading circles with children, teens, elders, inmates and the general community. Judy has completed trainings with Arthur Hull, Christine Stevens and Simon Faulkner. She currently works between Calgary, and Toronto in Canada during the Canadian summer, and Anguilla in the Caribbean during the remainder of the year.

On September 6, 2017, Hurricane Irma directly hit the tiny island of Anguilla as well as other nearby islands in the Caribbean. It was the most powerful storm ever recorded in the Atlantic with sustained winds of 300km/hour. I returned to my home there as soon as flights were available. The devastation was enormous and shocking. It was obvious that people were deeply affected and emotionally, traumatised by what they had lived through and yet the resilience of spirit and commitment to recover was also very evident.

In the next 2 months, I facilitated 20 circles in make-shift schools with students and teachers, in cramped offices with government and Unicef officials, in roofless churches covered with tarps, with teams of electrical workers sent from around the world under a starry sky. There was much joy in those circles and such gratitude for a reprieve from the relentless work of recovery. It was a privilege to be involved and I am very grateful to know this art form that we all love.

Contact Judy at judycraigguthrie@gmail.com

Recommended Reading

Faulkner, S. (2016). Rhythm to Recovery – A practical guide to using rhythmic music, voice and movement for social and emotional development. UK: Jessica Kingsley Publishers

22. Aboriginal or 1st Nations Groups | Simon Faulkner

Overview

This advice is given for those who are non-indigenous and are asked to work with indigenous groups using the drum-circle. This has been a big part of my working life and among the most rewarding and privileged groups I have had the honour to work with and support using drumming. As a non-indigenous person I am conscious of the limits of my cultural understanding and do not wish to give an impression that I speak on behalf of indigenous peoples.

I have worked with indigenous people on several continents, across different age groups, and with people with different needs and expectations; some with very strong cultural traditions, others less so. It is my experience that music is a wonderful way of connecting with people generally and that this is particularly true for our Indigenous brothers and sisters. Equally true is that many of the indigenous people I have worked with are still suffering from the dispossession, violence and ongoing prejudice that accompanied the colonisation of their lands; an inter-generational trauma that has left a lasting legacy. The drum-circle can act as a tool for healing from these hurts and supporting reconciliation between the past and the future.

Positive Outcomes

Safety

Connection and belonging

Spiritual awakening

Bonding of community

Cathartic release of feelings

Self-belief

Celebration

Setting Up for Success

Among the most important things we can do as drum-circle facilitators working with indigenous groups is to get to know the history, and cultural traditions of the people we are about to work with. There are many excellent books available on the cultural traditions and histories of different indigenous peoples, and often local health services have published guides to working in a sensitive and respectful way with these groups. This sort of familiarisation can help you understand, appreciate and accommodate any cultural differences that might impact your ability to develop a working partnership.

Another thing that I find particularly important when working with indigenous groups is to have one local indigenous person as a liaison, and ideally a co-facilitator, who can help me negotiate the cross-cultural sensitivities, and build a bridge between me, my work and the needs of the participants. This is particularly important in traditional communities where inter-personal relationships follow strict protocols and where language differences can lead to misunderstandings. For instance, I recently did a group in a desert community in central Australia where there had been a spate of suicides. It was critical for me to have someone local inform me of their traditions as mention of any of the deceased names was taboo, and I could easily have acted inappropriately and undermined any trust without that knowledge.

Common Challenges and How to Minimise Them

The most serious issue that I have encountered in my work using drums and the drum-circle with Indigenous groups is the issue of cultural appropriation, where there is resentment at the use of traditional drums and sometimes traditional rhythms, from a specific cultural tradition without the appropriate authority by people outside the culture. This is a very sensitive area for some people stemming from the, relatively recent, cultural dispossession of many indigenous peoples at the hand of their oppressors. In my own work I shy away from using specific cultural rhythms and focus instead on universal patterns and improvisation. I also enlist the help of local respected elders to ensure attendees know that I am not trespassing into traditional drumming practices and ensure their support for my own form of community drumming prior to beginning.

Another common challenge when working with indigenous groups is differing cultural norms and differing understandings of time that can impact the organisation of events. In many indigenous communities, adolescents of different genders are unable to socialise, and other ‘kinship’ rules can restrict different members of a community from playing music together. Time is also often adhered to in a more relaxed manner, and events will often start and finish when people are ready, rather than on a set schedule. It is critical to meet with local representatives of the contracting service to discuss issues such as these prior to beginning.

Sadly, many indigenous people are over-represented in the statistics of those with mental-health issues, those in prison or juvenile detention, those in child-protection and those battling drug and alcohol addiction. The cause of much of this harm stems from the inter-generational trauma of colonisation. It is thus likely that a drum-circle you convene may include specific populations dealing with these issues or at least some people facing significant social and emotional issues. In supporting people working with these challenges, the safety and trust you can build in your circle becomes vital.

Two Examples of Practical Adaptions of the Drum-Circle

In my work with adults in indigenous communities, I tend to restrict the amount of free improvisation in favour of the unity and grounding nature of simple universal patterns, like the Heart-Beat rhythm played in unison. It is common for me to break the process into different rounds or sections where you intersperse this integrative and calming rhythm with opportunities for reflection and dialogue on a chosen theme, sometimes using a ‘talking stick’. Sometimes this theme takes the form of individual hopes, prayers or intentions, and other times it may be about honouring or remembering cultural values or specific individuals.

Another useful practice, dependent on the approval of the community elders, is to integrate cultural instruments and chants into your circle. In Australia it is common in my work with Aboriginal communities to have a didgeridoo player and others community members playing traditional tapping sticks (clave). In my work with the coastal Salish in Canada there has often been an opportunity for local songs and chants accompanied by the frame drum to be incorporated into our work. Similarly, in many other countries where there is a local tradition of drumming it is always empowering to connect this to your circle by inviting people to play their traditional rhythms, and sing or dance when they feel comfortable.

Additional Advice

In work with indigenous groups it is easy to unknowingly replicate patterns of cultural domination, particularly given the power dynamic inherent in leading or facilitating others through a new experience or process. As much as possible reduce your profile and refer to participants for their knowledge and leadership.

Finally, don’t forget to laugh and don’t take yourself too seriously! Humour – particularly self-depreciating humour is a great way to forge links with indigenous people of all ages and backgrounds and is probably the quickest way of putting people at ease and building trust.

Author’s Biography

Simon Faulkner BSocSc (Psychology & Addiction) MCoun.

Simon has worked closely with Aboriginal and First Nations communities in Australia, New Zealand, Canada and the USA. In Australia, Simon’s original program ‘DRUMBEATâ’ was recognised as one of only two programs making a positive impact on youth suicide in Aboriginal communities in the Kimberley region of Australia. Simon continues to train many indigenous health and education workers in the R2R model including teachers from the British Columbia Indigenous Education Unit, Counsellors from Yorgum Aboriginal Counselling Service and workers from the Kimberley Aboriginal Drug & Alcohol and Mental Health Service.

Business - Rhythm2Recovery Counselling Services

Contact Simon at simon@rhythm2recovery.com

Website www.rhythm2recovery.com

Facebook https://www.facebook.com/rhythm2recovery/

Recommended Reading

Coates, K.S. (2004) A Global History of Indigenous Peoples – Struggle & Survival. Palgrave, McMillan: Hampshire, UK

23. Wellness & Personal Growth | Christine Stevens

Overview

“If you want spiritual uplift with a little more noise, try beating on some bongos.” – Time Magazine

Group drumming for wellness and personal growth stands at the integration of spirituality and science. Wellness is defined as “the active pursuit of health; being of sound mind, body, and spirit”. Drum-circles have roots in ancient times for ceremony, healing, tribal gathering and rites of passage. We probably all have a wild image of drumming around a fire buried in our DNA. From a scientific perspective, drum-circles incorporate key health strategies including exercise, camaraderie and support, expression, spirituality, and music-making.

Much of my work in the wellness sector has been based on the HealthRHYTHMâ group drumming program. Research showed that this approach, including breathing, laughing, guided-imagery-drumming, rhythmic naming, ice-breakers, and a wellness exercise helped to modulate the immune system in a positive direction and reserved stress on a biological level. In a broader sense, drumming for healing differs from shamanism and sound therapy in the active engagement of people playing together. This video covers the three components in my approach to the use of drumming for healing; intention, posture and expression - https://youtu.be/J7TWlza-gb0

Positive Outcomes

a. Mind – Drumming can be considered a form of active-meditation. It gets people out of their heads and into their hearts. Research by Dr. Charles Limb¹ showed that improvisational music making de-activates brain areas of self-monitoring and self-judgement. It simultaneously activates brain areas associated with meditation and sharing your personal story.

b. Body – Drumming involves exercise. Upper body arm movements have even been shown to provide the same metabolic units burned as an incline exercise bicycle. There are immune system benefits to group drumming as well, which are evidence-based. Rhythm primes the motor system which is why we all unconsciously tap our feet to the beat. Entrainment drives motor participation in the groove, making drumming irresistible.

c. Spirit – From spiritual upliftment to faith-based communities using drum-circles, drumming brings out the transcendent. As the famous drummer, Mickey Hart says “when we drum together, we create sacred space.”

d. Community – Science has shown that a sense of belonging is healing. From teambuilding programs in workplace wellness to peace-building with energy groups, drumming makes fast friends. As Arthur Hull says, “When we drum together, it changes our relationships.” And Dr. Laurel Trainer’s research on infants bouncing in sync with a stranger, showed that entrainment created more kindness and compassion.

Setting Up for Success

We must set the space; hold the space; and release the space. In wellness work, this is a common arc with a beginning, middle and end, always reflecting the intention of healing.

Setting the Space – Prior to the circle, set up the circle to support wellness and healing. This might include a colourful cloth in the centre, drums displayed nicely, chairs set in a circle with entry points, music playing and even aromatherapy. Ensure safety for group sharing by requesting confidentiality.

Holding the Space/Instruments of Transformation – There is a range of sounds used in wellness programs. The east is represented by rattles and shakers with seeds of new beginning. The south is represented by drums - frame and buffalo drums have a softer and more resonant quality. Djembes can over-power if played by loud participants. The west is represented by wood sounds – including clapper sticks, claves, and scrapers. The north is represented by metal sounds of singing bowls, gongs, finger cymbals, and temple bells. Ambient instruments such as ocean drum, rain stick, and melodic percussion like the HAPI drum or tongue drum. Adding native American flute, guitar, pan-drums, and your voice are additional complementary instruments for wellness.

Closing the Space - By ending with a one-word share by each participant in the circle, you give an opportunity for closure and an assessment of how people have transformed during the program. From joy, love, healing, to freedom; these words have little to do with drumming and everything to do with the heart of personal growth.

Common Challenges and How to Minimise Them

The goal of this work mandates a different approach – I rarely start with a traditional ‘Drum Call’ because most wellness groups are not self-selecting. The average person may be afraid of music making. Instead begin by welcoming people, drumming for them, inviting breathing and imagery, taking time for a demonstration of how to hold and play the drum, and reminding the group that it’s really not about drumming.

Avoid loud drumming that can cause ear damage. Hold space for the group’s wisdom rather than trying to fix anyone. In fact, a good test of whether you are truly facilitating a wellness program is whether you feel exhausted at the end. Entrainment is the goal, rather than fancy facilitation; less is more. Be careful not to put people on the spot, which can cause stress. Add vocals with chants, play a flute or soothing guitar or other complementary melodic instruments to create entrainment, healing and wellness.

Two Examples of Practical Adaptions of the Drum-Circle

Start with a wellness exercises such as stretching, breathing, mindfulness, or laughter. In doing so, you will put people at ease. One example would be to play a heat-beat rhythm at medium tempo using a low-pitched buffalo drum, such as the Bahia buffalo drum. Invite the group “if you choose, close your eyes and connect to your heart beat – the inner drum. Feel the pulse of life beating in you and know that rhythm is your birth-right. When you’re ready you can close by opening your eyes and coming back into the circle.” Always close by asking if anyone wants to share about their experience. A good question is “Does anyone have any comments?”

To create entrainment, you can introduce a healing rhythm. These rhythms contain the three components of intention, posture, and expression. I recommend this process: start by setting the intention and letting the group contemplate their connection to the intention. You can invite people to put their hand on their heart and then thank the drum by sweeping an open hand on the drum, emulating the air sound. Demonstrate the rhythm and invite the group to join you for entrainment and unison playing. Once the entrainment moment has occurred, invite the group to “add more of yourself to the beat.”

Recommended healing rhythms;

Release - https://youtu.be/UZHM6iWzliM

Transformation - https://youtu.be/mSJ-FReAYc8

Inspiration - https://youtu.be/OvzY-_87fig

Additional Advice

This work blends well with chants. I’ve recorded a short library of recommended chants, available to listen at https://ubdrumcircles.com/product/drumming-up-spirit-play-along-cd/

The library includes: Where I drum is Holy; Soul of the Drum; Good Where We’ve Been; Drum Call; and others.

Finally, this approach integrates metaphors that extend drumming into life. Concepts such as “finding your groove,” “getting in sync with others,” are important components. Consider setting a wellness theme for the drum-circle and at the end of a rhythm experience, ask “How does this apply to life?”

Author’s Biography

Christine Stevens, MSW, MA, MT-BC,

Christine is a global pioneer in drumming and wellness. The founder of UpBeat Drum Circles Inc, she has trained facilitators from more than twenty-five countries in the HealthRHYTHMS program and created the first healing drum circle training online.

Business - UpBeat Drum Circles

Website www.ubdrumcircles.com

HealthRHYTHMS http://remo.com/experience/post/healthrhythms/

YouTube https://www.youtube.com/user/ubdrumcircles

Online Training https://upbeat.teachable.com/p/healing-drum

Recommended Reading

Stevens, C. (2017). The Art and Heart of Drum Circles, 2nd Ed, USA: Hal Leonard, *Available on AUDIBLE

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¹ https://www.ted.com/talks/charles_limb_your_brain_on_improv

24. Corporate Groups | John Hagedorn

Overview

Drum-circles for corporate populations will generally fall into one of three different settings:

1. Corporate Entertainment – Companies often have events such as annual dinners, family days, or conferences where drum-circles can be brought in as a part of the festivities. The main objective here is for everyone to have a good time, and any experienced drum-circle facilitator (DCF) can work at this level.

2. Teambuilding – Because of the many similarities between bringing a team and bringing a drum-circle to performance level, drum-circles can be used as an activity (among others) in extended teambuilding program (e.g. over a weekend) or as a separate short program (2-4 hours). Experienced DCFs can work at this level if they are able to speak to the metaphors and provide participants with takeaways that match the company’s teambuilding objectives.

3. Organisational Development – Drum-circles and other rhythm interventions (games) can be used as tools within training programs designed to meet specific corporate learning objectives. Work at this level, however, requires experienced DCFs to have additional skills in training, debriefing, program design, content delivery, proposal writing, etc.

Positive Outcomes

Various positive outcomes in corporate drum-circles depend on the settings and objectives.

Fun, enjoyment, entertainment

Pre-conference synchronizing and Post-lunch energizing

Group development

Listening and innovation

Cooperation and collaboration

Stress management

Targeted learning objectives

- Change management

- Problem solving

- Diversity awareness, etc.

Setting Up for Success

Work at the corporate level is desirable because that is where the money is. Corporations will pay top dollar for top performers that can deliver a return on their investment and assist them in achieving their objectives. In other words, corporations have high expectations. Delivering at the corporate level requires a high level of drum-circle facilitation experience. Corporate clients expect to get what they pay for, and they know quality (or the lack of it) when they see it. It pays to be able to sit down with the people who are hiring you and to speak their language (ROI? KPI? SOP?). It also looks good to show up with nice equipment and a qualified team with matching t-shirts. A professional image and presentation is critical to success in this area.

At the corporate level, feedback matters. When your event is finished, participants report back to HR and evaluate their experience. Great feedback will get you another gig and will earn you valuable references (HR departments among various companies are networked like a spider web). Negative feedback, however, will spoil it for you and for future DCFs who approach that company with their proposals. (“Oh, drum-circles? No thanks. We’ve tried that.”). Get into the habit of providing corporate clients with formal feedback forms to fill in after your session.

As Arthur Hull says, “Don’t beta test on your corporate clients.” Corporate clients are not the client group to focus on until you have confidence in your DCF skills and have done your homework on understanding the corporate world.

Common Challenges and How to Minimise Them

1. Attitudes & Behaviours – If you’ve ever done a circle for a bunch of 14-year-olds, you know that some of them will look at you funny (“Why do we have to do this?”) and others will use your ‘Boom-whackersä’ as swords. It’s not a lot different in the corporate world. In some places, drum-circles are uncommon and participants may be unfamiliar with what you are attempting to achieve. As a result, they may be reluctant to participate and they will show it. Behaviour can also be a problem. A drum-circle at the end of a corporate dinner with a bunch of executives loaded on alcohol will be difficult to control.

Getting everyone engaged and keeping everyone engaged is one solution. When you spot that lady from the finance department tapping on a woodblock with little enthusiasm, offer her a big drum. When a bunch of tipsy engineers start clowning with your ‘Sound-Shapesä’ in the back row, sculpt them out and have them do a stand-up performance. As the facilitator in a corporate circle, your relationship with the participants matters!

2. Noise – Many of the corporate events you facilitate will be at your client’s office; many will also be in a hotel conference centre or a resort. If you’re lucky, you may get a gig where the amount of noise you’re going to make does not matter. Wherever they plan to hold your event, warn them in advance that the drum-circle will be noisy. Ask if you can be in a room or in a location far from everyone else. Tell the hotel staff days before your gig that you may be a disturbance to others in nearby function rooms. I once warned the staff of a downtown hotel how much noise I’d be making with a fifty-person circle, and they put us outside on the tennis court. We were far from the hotel function rooms, but we certainly attracted curious looks from the surrounding office buildings.

3. Pricing – How much do you charge for a corporate drum-circle? Not unlike any other drum-circle, there are lots of variables. How many participants? How much time allotted? How far out of town? How much advance planning and program design required? How many team members to pay? Set yourself a baseline fee that you will not go below (for corporate work, I never go below US$500.00). Before you write your proposal or send your quotation, see if you can find out their budget. If their budget is higher than your baseline, you’re in the money. If not, you’ve got to negotiate or redesign their package (“Well, at that price, I can bring fifty Boomwhackersä for an hour, but not fifty drums for four hours.”) There’s a fine balance between not pricing too low so your work seems cheap and not pricing too high so your less experienced competition can undercut you.

Two Examples of Practical Adaptations of the Drum-Circle.

1. Innovation

The drum-circle offers the perfect opportunity for players to become innovative and creative – even if they have never drummed before, and to explore the importance of these elements in the work place. All they need are a few basic rhythms and a sharp sense of listening. Begin this activity by passing out drums and percussion to the entire group. We have done this with as few as six and as many as 70. Play a basic rhythm on your own drum and ask them to join along with you. One rhythm that works well at this point is Bass – Bass – Bass – Tone - Tone (1 2 3-an 4). Play this with the group for 5-10 minutes or until they become obviously tired of it.

Stop-cut the group and ask, “What’s the matter?” Responses should be: “Boring!” “Same thing over and over.” etc. Offer something different and teach the group two or three popular (easy) rhythms. Suggestions include:

Gun Dun-Pa Gun Dun-Pa ( 1 2-an 3 4-an)

Gun-Dun Gun Pa-Ta-Pa-Ta Pa (1-an 2 3-e-an-da 4)

Gun-Dun-Gun Pa-Ta-Pa Gun-Dun-Gun Pa (1-e-an 2-e-an 3-e-an 4)

Divide the circle into two. Have one half play one rhythm and the other half a different rhythm. Have them switch back and forth. Divide the circle into three. Assign different rhythms to each group and switch around. Once the group is familiar with how different rhythms work together, go back to the first rhythm (1 2 3-an 4) and play it together again. After a few bars ask them to randomly add their favourite rhythm. After a few more, have them change to something else. Finally, ask them to listen and make up their own rhythms.

To debrief this activity, ask the group, “How is innovation in the drum-circle similar to innovation on the job?” Write their responses on flip charts.

2. Change Management

An activity I’ve adapted from Arthur Hull is one in which players shift their positions around the circle and pick up the next drum or percussion instrument the previous person left behind. This activity lends itself well to training in corporate change management, which every company goes through periodically. The facilitator plays along with the group and gets a groove going and without notice counts off “1-2-3-4-Change!”. The group now has eight beats to get up, leave their instrument behind, and move on to the next chair while the facilitator counts, “2-3-4-1-2-Ready Play!” Sometimes the change happens immediately; sometimes the players have enough time to adapt to their new instrument and get another groove going. After a number of changes (at least ten), the facilitator does a ‘stop-cut’ and debriefs the group with a simple question: “What can you tell me about change?” Responses are sometimes brilliant:

“Change happens when you least expect it.”

“Everybody has to flow with the change.”

“Sometimes even after a change, we end of playing the same beat.”

“Just when you get comfortable with something new, change happens again.”

All of these responses are written down on flip charts and reviewed after the debrief. These are all great takeaways on how to manage and deal with change as it happens on the job.

Additional Advice

1. Corporate gigs are professional gigs. Your clients need to see that what you provide gives value for money. Take your time. Get your DCF chops together before moving into the corporate world.

2. Bring a team. You are the facilitator and you’ve got a job to do. Your job will be a lot easier if you have people to help you set up, manage the circle, and pack things away while you schmooze with the clients. Pay your team members. Unless you are working pro bono, there is no reason why they should.

3. As my friend Arthur Hull says, “Work with what they give you.” Corporate people like dealing with contractors that are easy to work with. You always want to give them the impression that you are flexible and adaptable. Getting it done their way is more important than doing it your way.

Author’s Biography

John Hagedorn, BEd, MAT (linguistics)

John has been a corporate trainer since 1991. In 2004, he introduced drum-circles into my teambuilding programs and had a blast. His training with Arthur Hull began in 2005 and since then he has attended 25 of his programs around the world. Arthur’s drum-circle facilitation process applies to learning facilitation as well, and following his philosophy has changed the way he works in the corporate development field.

Business - Better Training Solutions & MYbeat Drum Circles

Contact John via email at : jhagedorn@bts-my.com

Websites - http://www.bts-my.com/ and www.MYbeat.com.my

Facebook - https://www.facebook.com/BTSMY and https://www.facebook.com/mybeat.my

Recommended Reading

For understanding corporate training and learning the language of corporate organisations: Cameron, E. (2005). Facilitation Made Easy. London: Kogan Page.

POST SESSION QUESTIONNAIRE - Participants

Date of Event..........................Location..................................

Name....................................Position...................................

Leave blank if you prefer

Please circle the answer that most resembles your opinion

1.   Have you enjoyed your time in the drum-circle? (If not please detail in section 10) | Yes | Partly | No
2.   Did you feel safe & respected with the facilitator? | Yes | Partly | No
3.   Did your mood improve when you were playing music in the circle? | Yes | Partly | No
4.   Was the facilitator warm and inviting? | Yes | Partly | No
5.   Did you feel a connection with others in the circle? | Yes | Partly | No
6.   Were the sessions the right length for you? | Yes | Partly | No
7.   Was the venue and seating comfortable for you? | Yes | Partly | No
8.   Did you feel uplifted and empowered by the sessions? | Yes | Partly | No
9.   Would you recommend attending a drum-circle to others? | Yes | Unsure | No

10. In what ways could we have made this a better experience for you?

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11. Please write a brief statement describing your experience of the event below:

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Circle your preference      Rate Your Overall Experience Below

Very High | Above Average | Average | Below Expectations | Poor

POST SESSION QUESTIONNAIRE - Managers

Date of Event..........................Location..................................

Name....................................Position...................................

Leave blank if you prefer

Please circle the answer that most resembles your opinion

1.   Did the event meet your expectations? (If not please detail in section 10) | Yes | Partly | No
2.   Was the facilitator professional in their conduct? | Yes | Partly | No
3.   Did the participants benefit from their attendance? | Yes | Partly | No
4.   Was the facilitator warm and inviting? | Yes | Partly | No
5.   Did the facilitator have a clear understanding of the participants needs? | Yes | Partly | No
6.   Were the participants empowered by this session? | Yes | Partly | No
7.   Were the participants uplifted by this session? | Yes | Partly | No
8.   Was communication by the facilitator in the lead up to the session clear and prompt? | Yes | Partly | No
9.   Would you recommend our work to others | Yes | Unsure | No

10. Were there areas in which we could improve our work? If so, please detail below

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11. Please write a brief statement describing your experience of the event.

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Rate Your Overall Experience Below

Very High | Above Average | Average | Below Expectations | Poor

Circle your preference

Tell Us How You Think We’re Going?

Circle the image that fits

(Program coordinator may read the questions & instructions out aloud)

Name______________________ | Date________________

Do you think the drum-circle is helping you?

Do you feel safe & respected in the drum-circle?

Do you think as a group - we are working well together?

How are you doing generally - do you feel you are moving forward, standing still or going backwards?

How are your relationships going with other people - do you feel these are improving, standing still or getting stronger?

How are you doing emotionally - do feel more stable, just the same or more vulnerable?

Would you like to continue doing more drum-circle work?

On a scale of 1 to 10 with one being poor and ten being great,

How would you rate this work we are doing together? Mark a point below

Recommended Reading

At the conclusion of each section we have asked participants to nominate one book that has been important to them in their work with the population group they specialise in. Many of these books are not drum-circle related, but more about the issues of working with these populations generally. This section details drum-circle related literature only.

Balfour, M., Bartleet, M.L., Davey, L., Rynne , J., & Schippers, H. (Eds.), (2019). Performing Arts in Prisons. Bristol: Intellect.

Clottey, K. (2003). Mindful Drumming. Oakland, CA: Sankofa Publishing

Das, K (2004). Together in Rhythm: A Facilitator’s Guide to Drum Circle Music. USA: Alfred Music

Das, K. (2005). The Amazing Jamnasium: A Playful Companion to Together in Rhythm. USA: Alfred Music

Drake, M. (2014). Shamanic Drumming Circles Guide. USA: Talking Drum Publications.

Faulkner, S.C. (2016). Rhythm to Recovery – A practical guide to using rhythmic music, voice and movement for social and emotional development. UK: Jessica Kingsley Publishers

Faulkner, S.C. (2018). Therapeutic Applications for Integrating Rhythm and Reflection in Support of People with Co-occurring Drug and Alcohol, and Mental Health Issues. Dual Diagnosis Open Access, Vol.3, No.2: 4.

Hill, N., & Hull, A. (2011). Drum-Circle Facilitator’s Hand Book. USA: Village Music Circles.

Holland, D. (2007). Drumimagination: A Rhythmic Play Book for Music Teachers, Music Therapists and Drum Circle Facilitators. USA: Dave Holland & Beating Path

Holland, D. (2011). Interactive Rhythm: Games, Songs & Interactions for the Music Educator, Music Therapist & Drum Circle Facilitator. USA: Dave Holland & Beating Path

Holland, D. (2015). Body Jammin’ - A Rhythm Facilitator’s Guide to Portable Percussion. USA: Dave Holland & Beating Path.

Hull, A. (2007). Drum Circle Facilitation – Building Community Through Rhythm. USA: Village Music Circles.

Knysh, M, (2017). Innovative Drum-Circles: Beyond Beat into Harmony. USA: Rhythmic Connections Publications.

Knysh, M., & Leathley, L. (2017). 1, 2, Let’s All Play: Music Activities for Pre-School and Primary Grades. Vancouver, BC: LuluJam

MacTavish, H., & Balsara, Z. (2011). Songs, Science and Spirit: Musical Keys to Open Special Doors of Ability. USA: Provident Publishing.

Matney, B. B. (2007). Tataku - The Use of Percussion in Music Therapy. USA: Sarsen Publishing

Perkins, R., Ascenso, S., Atkins, L., Fancourt, D., & Williamon, A. (2016). Making music for Mental Health: how group drumming mediates recovery. Psych Well-Being 6: 11.

Ratigan, S.L. (2009). A Practical Guide to Hand Drumming and Drum-Circles. Available on Amazon Kindle & Barnes & Noble Nook.

Stevens, C. (2003). The Art and Heart of Drum Circles. USA: Hal Leonard

Stevens, C. (2012). Music Medicine – The science and spirit of healing yourself with sound. USA: Sounds True

Wolf, Z. (2015). Whole Person Drumming: Your Journey into Rhythm. USA: Publishing-Partners.

For Research on the Benefits of the Drum-Circle visit https://www.rhythmresearchresources.net/