tag:blogger.com,1999:blog-91137019670981068802024-03-14T01:06:02.215-07:00Drumcircles.net BlogResources for drum circles. Rhythms, ideas, and suggestions for drummers, facilitators, and teachers. Thanks for helping to support independent artists.drumcircles.nethttp://www.blogger.com/profile/05856494181338188294noreply@blogger.comBlogger63125tag:blogger.com,1999:blog-9113701967098106880.post-38443990151897890012023-05-24T12:23:00.002-07:002023-05-24T12:23:21.469-07:00My First Drum Circle Back in 1977 - What a Rush!<p>I went to my first drum circle in the summer of 1977 at Birch State Park in Fort Lauderdale, FL. I didn’t know it yet, but I was about to be hooked on it right then and there for life. I had no idea that drum circle I ran into would change my life so profoundly and in so many different ways, and that I would go on to bring so much healing, and joy to so many people, and even enrich their lives through hand drumming.<br /><br />So there I was this one day, slowly driving down this long one way trail of the park, just wanting to get away from it all, and a little time and space away from the routine of cement, and city life. Just see some trees, the water, and nature. To give myself a little break from the traffic, and chaos of the city life for a little while.<br /><br />Anyway, in this park, there were these little picnic clearings about every 1/4 mile or so along the trail surrounded by all this lush green tropical foliage. It was relaxing to take a break there, a place for me to get away from it all for a little while. At one of these clearings, I slowed and saw this circle of about 20 people all sitting around playing these hand drums together. Mostly hand drums, Congas, Bongos, and all kinds of other percussion instruments. I turned down my car radio when I heard it, and listened a little. Man, it was cool. The sound of all the drumming was so captivating, that I pulled over and kind of tentatively wandered over there. I couldn't help it. I just smiled and listened, enjoying the Samba rhythm they were playing. It had all these different layers, textures, and dimensions. And it was only hand drums, and it sounded so good. It was like nothing I had ever seen before. It wasn’t like playing in a band is like, they were all improvising, having a good time, playing what they were feeling, and letting it go wherever it took them.<br /><br />While I had played in the high school marching band drum line, and various night club bands, it was nothing like this. It was drawing me in closer and closer, the improvising, and drum beat almost calling to me. They were having what looked like a private picnic, so I didn’t want to interrupt them. I didn’t know who they were, they all looked to be of Latin decent to me. As it turned out they were all Puerto Rican, and only spoke a few bits and pieces of English. And I spoke only a little Spanish.<br /><br />There were kids, adults, elders, males, and females. All of them were playing together and having a great time. I was standing there trying to figure out some kind of a polite way to ask if I could join in. But before I could, the rhythm ended, and they all applauded each other. It was obvious they weren’t performing for anyone, just for themselves. How cool is this, I thought. They motioned for me to come on over with gestures, and indicated that I could join in if I wanted to.<br /><br />Boy, did I! I beamed a huge smile, and hopped on some Congas and proceeded to hang out and jam with them for hours, playing mostly Latin rhythms. They welcomed me, invited me to break bread with them, and treated me like family, and I really appreciated that. It meant a lot to me. Even though we spoke different languages, and couldn’t really verbally understand each other, we were able to communicate through the music. The language barrier didn’t seem to matter. That day gave me a whole new perspective on life, and a new found respect for different cultures I knew nothing about. It showed me for the first time, how to bridge the cultural gap. It was only after I had some time home later that night to reflect on all this. It was an epiphany of sorts.<br /><br />I usually drove through there on the weekends, but I never did see that particular group again, they affected me profoundly in so many ways. I think they were just there on vacation, but they were the ones who started me on my drum circle path. Ever since then I would seek out and attend drum circles whenever I could - wherever I ended up living. In an instant I had become a drum circle lover. Most of the drum circles back in those days were held on weekends, outdoors in parks and on the beaches. They were all mostly freestyle drum circles with no leader, facilitator, or core group. It was just an organic bunch of people hanging out, improvising, and playing. Whoever wanted to start out the next rhythm would do so, and if it took off, away it went. I had to unlearn a lot of my musical training because it was so stiff and regimented. Just to loosen up and let the rhythm move me took some time.<br /><br />Fast forward to the present, a lot of people think a drum circle is just a bunch of banging noise with no real discernible beat to it. Well, guess what? Sometimes that’s exactly what it is. A lot of banging noise. Especially at outdoor open community drum circles. Sometimes there is no musicality present at all. It feels better if it sounds good. But at that very same place, the next week, it can be a group made up of mostly the same people, but this time it is some quality music with real performance level musicianship. You never know.<br /><br />The kind of musical pieces like I described earlier, that simply captivate you and draw you into it. A drum circle where the people are all listening to each other, taking turns leading, even passing it around so everyone gets a chance to start out a rhythm if they want to. All these people have come together as a group with a real synergy to it. Some of the absolute very best drum circles I have ever been to were just free style drum circles out on the beach. And, some of the crappiest ones also. That’s part of the fun. The unpredictability of it. You don’t know what it will be like until you get there. Will it be magical this week?</p><p><span style="font-size: small;">My website started in 1999. It used to be: drumcircles.net where I ran and updated the drum circle finder worldwide. </span><span style="font-size: small;">I ran it for 20 years, and last year passed it on to a younger person. Now, I just pointed the website to my blog. There is a FB group I started many years ago called Drum Circle Locator. The mod I passed it on to does a great job, and it gets a lot of traffic with tons of good info. A great place to promote your drum circle in real time. It has close to 10,000 members.</span></p><p><span style="font-size: small;">If you would like to read more about my drum circle adventures, learnings, and experiences working with specific groups, please check out my drum circle book on Kindle, 300 pages for just $8. It would help me out a little also. "A Practical Guide to Hand Drumming and Drum Circles".</span></p><p><span style="font-size: small;">www.amazon.com/Practical-Guide-Hand-Drumming-Circles-ebook/dp/B003PPDB26/ref=dp_kinw_strp_1</span></p><p><span style="font-size: small;">My 2 Hour 101 Drum Circle Rhythms is also lots of fun. It's on Amazon Video for $8. (On DVD it's a bit more.)</span></p><p><span style="font-size: small;">www.amazon.com/101-Drum-Circle-Rhythms-Hand/dp/B006VT37W2/re414000714&sr=keywords=drum+circle+rhythms</span></p><p><span style="font-size: small;">If you're making a film - video game, or any other project? A live drum circle track in the background might be just the vibe you need. </span></p><p><span>Check out some of my music on iTunes Spotify SoundCloud or CDBaby.com and listen to a few. There's a wide variety of cultures, styles, and tempos to choose from.</span></p><p><span>All of my drum circle music tracks are copyrighted, and licensed. </span></p><p><span style="font-size: small;">Thanks, and keep on drumming! </span></p><p>Shannon Ratigan<br /><br />drumcircles.net</p>drumcircles.nethttp://www.blogger.com/profile/05856494181338188294noreply@blogger.com0tag:blogger.com,1999:blog-9113701967098106880.post-37174846186083797412023-03-08T15:03:00.001-08:002023-03-08T15:03:51.193-08:00Deaf Drum Circles (or) Drumming With Hearing Impaired<p><span style="font-size: x-small;">Deaf Drum Circles (or) Drumming With Hearing Impaired</span></p><p><span style="font-size: small;">At first glance one might think a deaf drum circle presents a lot of challenges. It really doesn't. </span><span style="font-size: small;">I learned from experience to just facilitate it like you would a regular drum circle. </span><span style="font-size: small;">Don't over-think it. I did that early on, and it was a mistake that I quickly had to get corrected. </span></p><p><span style="font-size: x-small;">Rhythm games, passing shakers, and pie slices type of thing just wastes valuable time. We are there </span><span style="font-size: small;">to have a rhythm session as a group, not play games or talk. Let's just start playing, and shake out </span><span style="font-size: small;">those nerves. Then the real fun can begin. Exploring rhythms with different tempos, cultures, and styles.</span></p><p><span style="font-size: small;">There are a few mechanical adjustments I make after testing the acoustics of the room, (beforehand if </span><span style="font-size: small;">possible loud hand claps, or yell a loud Hey in the likely spots to facilitate the circle). Forgive </span><span style="font-size: small;">me for this, but I call it the clap test. If there's an echo in that spot, find a place that is more </span><span style="font-size: small;">ideal. Sometimes you have to work with where they want it, or in large gyms, so echo is important to </span><span style="font-size: small;">minimize if you can.</span></p><p><span style="font-size: small;">One, that is most important, is that neither myself, or the person signing is in front of a window, </span><span style="font-size: small;">or less than ideal lighting. I made that mistake early on. You become silhouetted or worse. </span></p><p><span style="font-size: small;">The other thing is to remember to keep my head up when I speak, because many are so sharp, they </span><span style="font-size: small;">read lips rather than even look at the signer. So heads up, no bright light behind you.</span></p><p><span style="font-size: small;">I tend to not say much during a drum circle, because an hour goes by so fast. I mix in a little </span><span style="font-size: small;">about volume, history and names of a few rhythms, what they mean, a little about the drums, good safe </span><span style="font-size: small;">hand technique, and little else. We can chat a little when drum circle time is up. Let's just get </span><span style="font-size: small;">to that warm up that lets everyone relax, and realize they can just have fun, and not worry about </span><span style="font-size: small;">silly things, like making a mistake. I was very self-conscious when I approached my </span><span style="font-size: small;">first drum as a teen.</span></p><p><span style="font-size: small;">Anyway, I just start things off with a basic warm up boom cha la ka where the tempo is nice and slow </span><span style="font-size: small;">until everyone finds a place. Then up to faster tempo for 5 minutes or so, and end it up with a nice </span><span style="font-size: small;">up and down massive rumble, wailing away, and everyone comes out of that joyous, smiling, and feeling </span><span style="font-size: small;">good! That sets a nice tone for the whole session. That this is going to be fun. </span><span style="font-size: small;">I'm going to improvise, and make some music with my own two hands.</span></p><p><span style="font-size: small;">Generally speaking, a group dynamic happens after 45 minutes, so we are just getting to the real groove </span><span style="font-size: small;">on the beam at that point. It's the same with children or adults. I often go an extra half hour because </span><span style="font-size: small;">of this. I want them to have as much fun as possible, and it is at this point where they start to feel </span><span style="font-size: small;">what playing and experiencing a real groove feels like. It goes deep into your spirit and soul.</span></p><p><span style="font-size: small;">After that warm up, I usually have a set list in my head. I also keep it in my pocket, and that way, I </span><span style="font-size: small;">don't need to look at it. But it's nice to know it's there in case of a mental hiccup. Sometimes it just </span><span style="font-size: small;">happens as a performer. We all make mistakes, move past it, and go on to the next rhythm. I keep duration </span><span style="font-size: small;">of rhythms to 5 -7 minutes so we can try out a bunch of them from different cultures. It's all part of </span><span style="font-size: small;">giving a full experience. I almost always include African Fanga, something in 6/8, something Native </span><span style="font-size: small;">American, and Mid-East Beledi as a part of my experience. Most of it is in 4/4 time.</span></p><p><span style="font-size: small;">I always start each rhythm out with a 2 measure vocalization of the beat, and then I start playing it at </span><span style="font-size: small;">a very slow tempo so everyone can latch on, and then I slowly bring it up to a comfortable pace. Encourage </span><span style="font-size: small;">them to experiment, and find a place in the rhythm when they feel comfortable. I try to keep each rhythm </span><span style="font-size: small;">no more than 7 minutes long, as an hour goes by so fast. I can get maybe 7 or 8 drum rhythms in there.</span></p><p><span style="font-size: small;">I like to have them experience different cultures as I play along with them. As for endings, I try to mix </span><span style="font-size: small;">them up a bit, but nothing beats a good rumble ending. Drum circle chairs set-up: Chairs about 20 feet </span><span style="font-size: small;">across the circle, or as you see in the photos, sometimes a semi-circle so everyone can see.</span></p><p><span style="font-size: small;">I use only body drums, djembes, doumbeks, darbukas, congas, bottom drums, and a few frame drums. </span></p><p><span style="font-size: x-small;">No lollipop drums or sound tubes, give them a real drum to play if you can, </span><span style="font-size: small;">they can feel the resonation more.</span></p><p><span style="font-size: small;">My experience working with deaf, or the pc version hearing impaired, is many prefer to embrace the term </span><span style="font-size: small;">deaf, and why not? It makes sense if I think about it. Something else as many know, is if one sense is </span><span style="font-size: small;">weakened, often one or all the other senses, are heightened. So, good hygiene, no colognes or perfumes. </span></p><p><span style="font-size: x-small;">I don't really care for TV shows with sub-titles, but this Russian series titles Sniffer is about </span><span style="font-size: small;">a guy with a heightened sense of smell, and it's pretty good also. It's beautifully shot, the </span><span style="font-size: small;">relationships of the characters fascinated me, and the plot lines were pretty good as well. </span></p><p><span style="font-size: x-small;">There was this strange familiarity of the main characters for me. It was like I had seen </span><span style="font-size: small;">them somewhere in something. I used to get that look a lot from my acting peers when I </span><span style="font-size: small;">had a number of commercials running on cable TV.</span></p><p><span style="font-size: small;">That's the life of working as an actor, you tend to watch more than what you see, and it takes a well </span><span style="font-size: small;">produced film or TV series for me not to be looking at the filmmaking process or mistakes. It needs </span><span style="font-size: small;">to draw me away from that world, and Sniffer did that. Maybe you will enjoy it as well. </span><span style="font-size: small;">I'm definitely not a film critic.</span></p><p><span style="font-size: small;">I'm not an expert on deaf drum circles, but I do have many years of drum circle facilitating experience, </span><span style="font-size: small;">both with adult, kids, and mixed families. My hope is, if you are offered to facilitate a deaf drum circle, </span><span style="font-size: small;">some of this may help you.</span></p><p><span style="font-size: small;">Something I didn't know much about early on, is that there are varying degrees of deafness. Someone who might </span><span style="font-size: small;">be clinically considered deaf may have limited hearing of certain different pitches and sounds. It meant that </span><span style="font-size: small;">they could only hear sounds in a very high sound register. Like in super soprano, but that was all they could </span><span style="font-size: small;">hear. Others can only hear just a hint of, or feel a hint of the bottom bass beat. My experience is that on </span><span style="font-size: small;">the whole, people who are deaf still can be highly functional, and very musical.</span></p><p><span style="font-size: small;">Some only can feel the vibration of the drumming. Repetition, repetition, repetition. This is one reason I </span><span style="font-size: small;">like to bring 2 beach towels, or yoga mats, and have people lay down flat in the center of the circle and </span><span style="font-size: small;">close their eyes for a moment somewhere during the circle. To see things without the eyes, and to feel, </span><span style="font-size: small;">even if they can't hear a rhythm, they can feel it. Many times after just one circle I've had many </span><span style="font-size: small;">different people come up to me and tell me how delighted they were. Their other senses are so acute, </span><span style="font-size: small;">many feel more than say just a public gathering drum circle.</span></p><p><span style="font-size: small;">Watching someone signing to music or a rhythm is a beautiful thing to watch. It flows so nice to a drum rhythm </span><span style="font-size: small;">if someone is signing to it, and it feels really nice. Or even vice versa. It looks like a sort of hand bound </span><span style="font-size: small;">Tai Chi. Signing gives a beautiful sense of rhythm to the music. Many concerts or events I've been to have </span><span style="font-size: small;">someone signing off to stage right or something.</span></p><p><span style="font-size: small;">I've facilitated many deaf drum circles over the years, and seen many different signers. I've learned a little </span><span style="font-size: small;">signing myself in the process, and I use it as often as I can during events while I speak. It is not easy to </span><span style="font-size: small;">sign, just try it if you haven't, but if I could learn the basics of it, so can you. I love it when the </span><span style="font-size: small;">interpreter interprets the rhythm and prompts everyone to participate. Try to make sure that there are </span><span style="font-size: small;">interpreters present if you encounter this. When I am working with a signer, I just have to remember </span><span style="font-size: small;">that they have to hear what I am saying, keep my head up when I speak, but not exaggerate it, or </span><span style="font-size: small;">speak more deliberately, that is a bit off-putting.</span></p><p><span style="font-size: small;">If it's possible, when I load in my gear I try to find the signer and make a new friend. I let them know how </span><span style="font-size: small;">my speaking will work, and what I'm going to be saying. For many, it's the first drum circle they've ever s</span><span style="font-size: small;">een, they have no idea what to expect, and it is much appreciated most of the time for the head's up.</span></p><p><span style="font-size: small;">I explain to the signer, (or signers) I'll be saying short bits here and there, but mostly rhythm names, </span><span style="font-size: small;">drum names, cultures, and what they will sound like using 3 or 4 different methods. Middle Eastern </span><span style="font-size: small;">doume tek-ka, Babatune's Godo pa-ta, a boom chick a boom boom, I may just scat out a few. Lots of </span><span style="font-size: small;">them with a strong downbeat. Some modern stuff, and etc. That gives them a heads up, saves time, </span><span style="font-size: small;">and helps everything go smoother.</span></p><p><span style="font-size: small;">At this one kids camp event, they were swapping in a new signer every 10 minutes, so be ready for that </span><span style="font-size: small;">if it happens. We jammed out like they were drummers mid-jam like in the Parliament Funkadelic days </span><span style="font-size: small;">back in the 70s Mothership. The fun never stopped, so be ready if that happens.</span></p><p><span style="font-size: small;">Often times, it will be a transitional event, where people have time restrictions, but they can </span><span style="font-size: small;">feel free to enter, or leave the drum circle at any point during a rhythm. </span></p><p><span style="font-size: x-small;">Sometimes it is up to you to anchor it, and keep the groove going.</span></p><p><span style="font-size: small;">It makes good sense to do your homework beforehand on any group or condition that might be present at a </span><span style="font-size: small;">drum circle. So I can be respectful, understanding, patient, considerate, </span><span style="font-size: small;">and have a better understanding of it.</span></p><p><span style="font-size: small;">Then I can help them feel more comfortable, and if necessary, stay within their boundaries. It's always </span><span style="font-size: small;">better to do a little research on deaf culture or anything else you might run into before working with </span><span style="font-size: small;">them. Like all cultures, they have their own habits, values, and language. Generally, the deaf community </span><span style="font-size: small;">does not see their deafness as a disability. As I said, my experience has been that they embrace it. </span></p><p><span style="font-size: x-small;">It's a deaf drum circle. Nobody wants to be treated differently, so I never do that. </span><span style="font-size: small;">It takes some experience to just trust yourself, and do this. It's a regular drum circle. Heads up, </span><span style="font-size: small;">no windows behind you or the signer, and slow the pace a tad, especially when presenting the names </span><span style="font-size: small;">of rhythms, and what they look like being played.</span></p><p><span style="font-size: small;">Do this simply, and there's no communication barrier. We just speak a different language, </span><span style="font-size: small;">and it is a beautiful one at that. Connect your rhythm whenever you get a chance. </span></p><p><span style="font-size: x-small;">It's not a variety of challenges, it's a drum circle. Come have some fun!</span></p><p><span style="font-size: small;">My website started in 1999. It used to be: drumcircles.net where I updated and ran the drum circle finder worldwide. </span><span style="font-size: small;">I ran it for 20 years, and passed it to a younger person.</span></p><p><span style="font-size: small;">Please check out my drum circle book on Kindle, 300 pages for just $8.</span></p><p><span style="font-size: small;">www.amazon.com/Practical-Guide-Hand-Drumming-Circles-ebook/dp/B003PPDB26/ref=dp_kinw_strp_1</span></p><p><span style="font-size: small;">My 2 Hour 101 Drum Circle Rhythms is also on Amazon Video for $8. (On DVD it's a bit more.)</span></p><p><span style="font-size: small;">www.amazon.com/101-Drum-Circle-Rhythms-Hand/dp/B006VT37W2/re414000714&sr=keywords=drum+circle+rhythms</span></p><p><span style="font-size: small;">If you're making a film - video game, or any other project? A live drum circle track might be just the vibe you need. </span></p><p><span style="font-size: x-small;">Check out iTunes SoundCloud or CDBaby.com and listen to a few. There's a wide variety of cultures, styles, and tempos to choose from.</span></p><p><span style="font-size: x-small;">All of my drum circle music tracks are copyrighted, and licensed. </span></p><p><span style="font-size: x-small;">www.cdbaby.com/Artist/SLRatigan </span></p><p><span style="font-size: small;">Thanks, and keep on drumming! </span></p><p><span style="font-size: small;">Copyright Shannon Ratigan All Rights Reserved.</span></p>drumcircles.nethttp://www.blogger.com/profile/05856494181338188294noreply@blogger.com0tag:blogger.com,1999:blog-9113701967098106880.post-41737314224949515102023-01-06T13:05:00.001-08:002023-01-09T14:09:37.112-08:00Drum Circles With Special Needs Groups Young and Old<p> I think the most difficult, yet the most satisfying work I can do as a drum circle facilitator, host, or a drumming teacher, is special needs drum circles. Whether it’s with one child, a lot of children, or a group of adults with developmental disabilities.</p><qowt-page is-first-page-in-section="" named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section id="E125" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E133" is="qowt-word-para" qowt-eid="E133" qowt-entry="undefined" qowt-lvl="undefined">A few years ago, I had the opportunity to facilitate a series of drum circles for groups of children at a K – 9 school in St. Louis. It was a wonderful experience bringing the joy of making music to many of these children, and helping our community to heal a little bit.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E142" is="qowt-word-para" qowt-eid="E142" qowt-entry="undefined" qowt-lvl="undefined">The school is very diverse, the staff and kids from all different backgrounds and cultures. It was mostly special needs kids, and children with various developmental, and physical limitations. I was co-facilitating with a music therapist in what was being called, “drum circle day” for the faculty and all the kids in the school. </p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E145" is="qowt-word-para" qowt-eid="E145" qowt-entry="undefined" qowt-lvl="undefined">The way they wanted it structured was like this: First, a drum circle for the teachers, and faculty at 8:20. Then one after another, 5 different groups of kids, 2 classes each, about 30 to 50 in each group, (The perfect amount, actually.) We had about 50 minutes with each group, one coming in pretty much right after the other. We went with the 2 concentric circles of chairs set up, with two yard wide entrances leading in.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E148" is="qowt-word-para" qowt-eid="E148" qowt-entry="undefined" qowt-lvl="undefined">The drum circles were held in the gym, not the most ideal place for drum circles, but if you find the spot with the least echo, it’s not too bad. I use the clap my hands loud test as soon as I enter the gym before setting up. I can find the sweet place with the least echo that way. Often, I can’t see it in advance, and usually it’s at the far end of the basketball court, centered, starting about 10 yards from the wall. So I asked that they set the chairs up there.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E151" is="qowt-word-para" qowt-eid="E151" qowt-entry="undefined" qowt-lvl="undefined">We set the circle about 20 feet across, so one side can hear the other, and you don’t get that disconnect, but still leaving room for self expression in the center. As we find our group dynamic, the hula hoops, and colorful scarves come out. I do move around the interior of the circle slowly a few times as I’m verbalizing the beginning of a rhythm, not making eye contact, as not to pressure them, but letting each of them see my hands up close so they can then figure out how they want to play. </p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E151" is="qowt-word-para" qowt-eid="E151" qowt-entry="undefined" qowt-lvl="undefined">I do this for maybe 4 – 12 measures and play along as I verbalize it. Playing it nice and slow until we are getting that rhythm to lock in, and then I go back to my chair and fade out, or hold it steady, until it’s time to rumble end it, and move on to a new rhythm. I would do 2 rhythms, my partner would do 2, and we would take turns holding the downbeat steady for each other. It worked out great, because the kids could either play the support beat, and/or improvise. They could explore their drums during that 50 minutes, and find it’s unique different sounds and nuances.</p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E155" is="qowt-word-para" named-flow="FLOW-184" qowt-eid="E155" qowt-entry="undefined" qowt-lvl="undefined"><span id="E156" is="qowt-word-run" named-flow="FLOW-185" qowt-eid="E156">There just isn’t enough time with each group to use up swapping instruments, or drum </span>circle games, pie slices, or any of that. Just play baby. If there’s another drum circle day, we can get into other things, but for today we just make music. </p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E155" is="qowt-word-para" named-flow="FLOW-184" qowt-eid="E155" qowt-entry="undefined" qowt-lvl="undefined">I think it’s important to have a variety of drums representing different countries and cultures, as well as play rhythms from the kids. So we have congas, various doumbeks and djembes, some light bongos, and frame drums, plus a few things for those in wheelchairs, and/or with physical limitations so that they can still have fun and be a part of it. With a few exceptions, most of my kit is a wide variety of used drums I’ve bought over the years, most purchased one at a time.</p></qowt-section></div></div></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI7" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E160" is="qowt-word-para" qowt-eid="E160" qowt-entry="undefined" qowt-lvl="undefined">Anyway, at the start, we positioned ourselves against the far side wall seats so we can see everything that’s going on, and who’s coming into the room as things are happening. Often times with multiple drum circles like this some come in late. A few kids, or a group will need to be transitioned in, sometimes during an ongoing rhythm. But more importantly, I position there so the bass note resonates more. It helps the kids (and adults) to easily hear, and feel the downbeat, and if they need it, that anchor is there to take any early pressure off them.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E163" is="qowt-word-para" qowt-eid="E163" qowt-entry="undefined" qowt-lvl="undefined">I like to make it a visually appealing sight when the kids enter the playing area, so I decorate it up a bit beforehand. It takes me longer, but it makes a difference if you have the time. The drums are colorful and inviting by themselves, but I have this huge 20 foot across and 8 foot tall pastel tapestry from India that has this amazing hand stitched embroidery all across the top foot of it. It’s some sort of silk mix fabric, and it drapes so beautifully. It sets a real nice mood, and a tone that this is going to be a fun experience. Maybe I’ve watched too much “Project Runway”, and some of it rubbed off on me. It does look like it came from “Mood”. Actually it was a yard sale treasure that I found a few years ago. It makes a beautiful colorful backdrop hanging up on the wall behind the drum circle, and just says, this is going to be fun.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E166" is="qowt-word-para" qowt-eid="E166" qowt-entry="undefined" qowt-lvl="undefined">So, we had one drum circle for the faculty, and then 5 drum circles after that. Very often with this type of thing, the groups are scheduled 5 – 10 minutes apart. Just barely enough time to re-set the chairs and drums, get a few sips of water, take a few breaths, and in comes the next group, it’s go time. Our strategy going in was to pre-set the drums in front of, or on top of each chair, have them single file in, get them all seated, play now, and talk later. We only had a limited amount of time (50 minutes) with each group, and we wanted them to have as much playing, fun, and self discovery time as possible.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E169" is="qowt-word-para" qowt-eid="E169" qowt-entry="undefined" qowt-lvl="undefined">The plan was a tried and true method. Get them quickly seated with a drum they like, and get a warm up jam going for 5 minutes or so, and end it with a big rumble. Usually it’s a basic rhythm like Boom sha la-ka, Boom sha la-ka, & etc. Or, the “We Will We Will Rock You”, Boom Boom tone or, a default drum circle rhythm: Boom Boom tone tone tone (rest) A lot of it depended on the vibe we got as they were getting seated.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E172" is="qowt-word-para" qowt-eid="E172" qowt-entry="undefined" qowt-lvl="undefined">The music therapist and I had never worked together before, so there was a little concern in the back of my mind. As luck would have it, our skill sets meshed together beautifully. Both of us prefer the organic approach to facilitating drum circles. In other words, the better the music sounds, the more fun it is, and the better it feels. No games, no waiting for the other side to play and then get a turn, none of that. Just get them playing a warm up rhythm quickly so the nerves, and the “what if’s” fade away. Then it’s easy to move on to the more interesting world rhythms.With our first group, the faculty, we knew they all had a full day of teaching ahead of them and had to get them having fun quickly, so that’s what we did. </p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E172" is="qowt-word-para" qowt-eid="E172" qowt-entry="undefined" qowt-lvl="undefined">But at the same time we wanted them to experience a shortened version of our curriculum. Quick 15 second demonstration: Bass note is the elephant. Right and left hand tone are tiger, and the lion. After a Latin-ish warm up rhythm, we got into a Native American Heartbeat rhythm. They got such a good groove going on that, we went to a funky sort of Fanga, and then wrapped it up with belly dance Beledi. By then, they were pretty jazzed. We got a lot of fun packed into that 25 minutes. Rumbled and wrapped it, they left, and in came the first group of children. Here was the breakdown for the day: </p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E172" is="qowt-word-para" qowt-eid="E172" qowt-entry="undefined" qowt-lvl="undefined">Schedule and Type of Groups </p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E172" is="qowt-word-para" qowt-eid="E172" qowt-entry="undefined" qowt-lvl="undefined">:20-8:45: Staff Warm-Up Drum Circle </p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E172" is="qowt-word-para" qowt-eid="E172" qowt-entry="undefined" qowt-lvl="undefined">9:15: 26 Students + approximately 20 staff. The info given was that most of these students had Autism, and were lower functioning. The grade range: K-8. We were informed that a few would be able to follow start and stop directions, but most would have trouble sustaining attention and following directions. Most of the students were non-verbal. There was a lot of sensory issues with this group, including a few students who did not tolerate loud noise well. So, we kept the volume down, and slow and steady. All the kids got into it really nicely. </p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E172" is="qowt-word-para" qowt-eid="E172" qowt-entry="undefined" qowt-lvl="undefined">That warm up rhythm really sets the tone. Is this going to be a classroom type thing? Or, is this going to be fun? The music gave direction, they sensed and felt where the endings were, it was a breeze. The nice thing about verbalizing a rhythm is it can be processed faster. If I say, “Yum Yum, Tastes Like Chick-en” (2 bass notes, the rest tones.) I say it slowly maybe four times and play while I say it. Then drop the vocals and let it jam, possibly bring up the tempo if it’s sounding good. </p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E172" is="qowt-word-para" qowt-eid="E172" qowt-entry="undefined" qowt-lvl="undefined">With Heartbeat, some of them fall of count and it goes into a Row Row Row Your Boat kind of jam, it still works, and they usually find their way back on time. </p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E172" is="qowt-word-para" qowt-eid="E172" qowt-entry="undefined" qowt-lvl="undefined"><span id="E198" is="qowt-word-run" named-flow="FLOW-188" qowt-eid="E198">10:15: 27 students + approximately 17 staff. This was the lowest functioning group with 18 </span>of the students in a wheelchair. Info given was that most of these students are mainly working on making wants and needs known. All are non-verbal, and loud noise may be disturbing to some. Again, low volume. Kept the rhythms mostly soulful, spiritual, and grooving. They all found their places in it. With groups such as this during the warm up I start it very slow and steady, and keep it there for a few minutes longer until the groove was established. </p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E172" is="qowt-word-para" qowt-eid="E172" qowt-entry="undefined" qowt-lvl="undefined">A neurologist friend of mine explained to me that despite many of their individual challenges, that most kids like this are highly functioning individuals. They just live a few seconds in the past. So, a drum circle rhythm, even unfamiliar to them, being repeated over and over works perfectly. So, when they are ready, they will begin to play and fall right into the groove. For that reason when the staff asked a few questions in advance, I asked them not to intervene if someone is not participating. They will when they are ready, and when they feel comfortable. “Not all who wander, are really lost”, is the case sometimes also. </p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E172" is="qowt-word-para" qowt-eid="E172" qowt-entry="undefined" qowt-lvl="undefined">With each of the groups, during those first crucial minutes of the warm up jam I say to the kids, “Play whenever you feel like you want to, okay? Play whatever you want, just follow the beat.” (Everybody usually chuckles.) The point is to get them out of their heads, overthinking, and just experiment and explore their drum, and the sounds it can make. ”11:15 Lunch – Thanks I’m starving at this point. </p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E172" is="qowt-word-para" qowt-eid="E172" qowt-entry="undefined" qowt-lvl="undefined">12:15: 28 students + approximately 13 staff. This was a mixed diagnosis group of slightly higher functioning, more verbal students with Autism, Intellectual Disability and Emotional Disturbance. There was one student in a wheelchair. Despite some of the challenges, it was apparent that with each group after about 10 minutes they started to "get it" and get out of their heads. Then they could just play and have fun with it. It was the perfect example of self discovery teaching without actually teaching. The Yum Yum, Tastes Like Chicken rhythm, the I Like to Eat Chocolate Cake jam, Heartbeat, Fanga, and Beledi all seemed to go great with all the groups, we got the energy up, and we got them improvising, and sounding pretty good. The main thing was, they were making music, and having fun. With all these groups, 50 minutes went by like it was 15. </p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E172" is="qowt-word-para" qowt-eid="E172" qowt-entry="undefined" qowt-lvl="undefined">1:15: 21 students + approximately 9 staff. This was a mixed group of students with Autism, Emotional Disturbance, Other Health Impairment or Intellectual Disability. They were verbal and higher functioning than the previous group. <span id="E225" is="qowt-word-run" named-flow="FLOW-190" qowt-eid="E225">Everything was working nicely, so we stuck with the basic curriculum. I keep a 36” long back polymer steamer trunk filled with curious percussion items. I call it the drum circle </span>treasure chest. I keep the lid open and have it off to the side. It has a large inviting “Drum Circle” sign on it, and it has nothing that is played with sticks. Lots of colorful fun things, maracas, shakers, tambourines, guiros, and so on. Somehow a stick always finds its way to a goatskin drumhead. These kids were all well behaved, but I have done events like this before and the treasure chest is there just in case. </p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E172" is="qowt-word-para" qowt-eid="E172" qowt-entry="undefined" qowt-lvl="undefined">2:15: 30 students + 12 staff. This was the highest functioning group of students with mostly an Emotional Disturbance, a few with Other Health Impairment or Autism. These students were verbal and are right at or slightly below grade level. This group went last so we could have more flexibility to go an hour or more. And so we did. These kids took to jamming and improvising right away, and had a great time, especially playing Beledi near the end. A few of the teachers got on the hula hoops, got in the center and hooped it up. It was a beautiful thing connecting to the music like that. And it happened with each group.</p></qowt-section></div></div></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI10" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E232" is="qowt-word-para" qowt-eid="E232" qowt-entry="undefined" qowt-lvl="undefined">3:15: Pack it up. Wait for the school buses to clear so we could load up all the drums, and haul them home.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E235" is="qowt-word-para" qowt-eid="E235" qowt-entry="undefined" qowt-lvl="undefined">We were very busy, but throughout the day with each group I could see their eyes light up, and the smiles come out as we played the various rhythms. With these kinds of all day drum circles you have to pace yourself so you have enough left for the last group. They deserve as much energy as the first group got.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E238" is="qowt-word-para" qowt-eid="E238" qowt-entry="undefined" qowt-lvl="undefined">We were both pretty worn out, but at the same time it was so gratifying knowing we are doing some good in our community, healing, inspiring to improvise, and building the self confidence in these kids, all the while having fun.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E241" is="qowt-word-para" qowt-eid="E241" qowt-entry="undefined" qowt-lvl="undefined">I hope this drum circle day catches on and more schools around the country, and they will give it a try. I've worked with various groups over the years, and for me, the area I really feel like I am doing the most good is with school kids. This was the kind of thing that inspired me to make music a part of my life, and it has helped me throughout it.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E244" is="qowt-word-para" qowt-eid="E244" qowt-entry="undefined" qowt-lvl="undefined">We brought the kids (and the teachers) a great music making experience, and it was a good time learning for them as well. We were honored to have the pleasure to do this. It was visionary thing for the school to try - just watch the short video and see the joy in their faces.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E268" is="qowt-word-para" qowt-eid="E268" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E269" is="qowt-word-para" qowt-eid="E269" qowt-entry="undefined" qowt-lvl="undefined"><span id="E270" is="qowt-word-run" qowt-eid="E270"><b>More About Special needs Drum Circles</b></span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E271" is="qowt-word-para" qowt-eid="E271" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E272" is="qowt-word-para" named-flow="FLOW-285" qowt-eid="E272" qowt-entry="undefined" qowt-lvl="undefined"><span id="E273" is="qowt-word-run" named-flow="FLOW-286" qowt-eid="E273">Hand drumming reaches people on so many deep levels, and of course me as well. This kind of work touches me very deeply. Emotionally, it just tugs at my heart. And reaches me on such a deep personal level that I can’t even describe the feeling and how much I am </span>affected by it. Especially afterwards when I sort of debrief myself, and reflect on things for an hour or two. I think about what they enjoyed the most, what worked well, what fell flat, and what I just learned from the session, and from them. Each time I come away with something new. That first time, I just went there to help everyone drum some, and have fun together at a holiday party. I came home profoundly affected. </p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E272" is="qowt-word-para" named-flow="FLOW-285" qowt-eid="E272" qowt-entry="undefined" qowt-lvl="undefined">For the most part I found all I needed to do fundamentally, was just start out rhythms like I usually do, and let the music go where it goes. Maybe add in a few games or fun things people can do just be spontaneous and have fun with. It is more of a challenge to facilitate though the music. I knew that with some conditions, you needed to speak slowly and clearly. To be very patient and give people a chance to work into the present time. The repetition of the drum beat rhythm allows that, even if their condition forces them to live ten seconds in the past, they can catch up. I noticed the social changes in the group positively improve as well.</p></qowt-section></div></div></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI11" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E277" is="qowt-word-para" qowt-eid="E277" qowt-entry="undefined" qowt-lvl="undefined">Some administrators love the drum circle environment. They have told me that it’s rare for the parents and patients to have a fun activity they can do together. This is something they rarely get to do. Just to have some fun and improvise without worry and have a good time…together…and without it feeling a little uncomfortable. Because when you drum, even with physical, or mental conditions, all you think about is drumming.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E282" is="qowt-word-para" qowt-eid="E282" qowt-entry="undefined" qowt-lvl="undefined">I think the current politically correct term now is “special needs”, it was learning disabilities last year, some may even remember the term mental retardation. I don’t see disabilities in people. I see abilities. I feel it is wrong to try and categorize people like this. One administrator explained to me that most of the people in his group had an IQ of below 70, or problems with adapting, and/or socializing. The average IQ for a person is 100, measured by tests. Most of us have taken one at some time or another. The Wechsler test is one of them.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E285" is="qowt-word-para" qowt-eid="E285" qowt-entry="undefined" qowt-lvl="undefined">You just need to very patient, caring, and compassionate, while having fun. More often than not, you will need to modify your approach when working with special needs a little bit. Both with the drumming, and, more importantly, the rapport you build with them. I like to focus more on the individual relationships with each person. Because if they like you, and enjoy hanging out and drumming with you, that’s the goal I have in mind. We are just regular people having a good time. Having fun as a group, is my goal to help empower them.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E291" is="qowt-word-para" qowt-eid="E291" qowt-entry="undefined" qowt-lvl="undefined"><span id="E292" is="qowt-word-run" qowt-eid="E292">If you are having fun, they can see it, feel it, and they begin to have fun also. The same goes with confidence in yourself. You need to be able to hold the support beat solid for them sometimes. Especially, at a first drum circle session. Later on, you can lay back here and there. Even let someone else start out a beat, and support it. It may work, it may fall to pieces. If you have a fun personality, and something goes flat, you can just joke about it. “Oops, my fault. Let’s start a new rhythm out.” </span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E291" is="qowt-word-para" qowt-eid="E291" qowt-entry="undefined" qowt-lvl="undefined">As I mentioned, an important thing to keep in mind as explained to me by a neurologist was that almost all of the patients, regardless of their individual condition, one thing most all of them have in common, is that they are essentially normal, intelligent, highly functional people. They just live five, or ten seconds in the past. I didn’t know that. </p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E291" is="qowt-word-para" qowt-eid="E291" qowt-entry="undefined" qowt-lvl="undefined">This is why drumming can be so effective. The repetitive nature of a drum beat makes it easy, and comfortable for them to catch up, or find their place in the beat, and feel normal for a change. Verbal communication is the same. This is a little trickier obviously. You need to speak clearly, and slowly. I speak as little as possible with short sentences, and facilitate through the music more, because of this. I usually speak only at the beginning, or end of a musical piece. I always have my radar up for a non-verbal cue from someone. I do use hand and arm gestures to get everyone’s attention in the center of the circle if I need to for this. But I usually still facilitate from the edge of the circle, like I always do. We’re there to have fun and drum, not to talk. If I do need to explain something, I use photos, or speak very clearly, choose my words carefully, and talk just a tad slower than I normally would. Memory capacity can be more limited with some of these participants.</p></qowt-section></div></div></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI12" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E301" is="qowt-word-para" qowt-eid="E301" qowt-entry="undefined" qowt-lvl="undefined">A few things I have learned, is just because someone may appear to be not having fun, or may have their head down, it does not necessarily mean they are not into it. Early on working with special needs groups, I learned that many people in these groups mask their feelings, so I need to be aware of that before I subtly try to address it with a cool percussion gadget from my gig bag. An expression like looking bored, scared, joyful, digging it, a happy or sad, can be easily misinterpreted.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E304" is="qowt-word-para" qowt-eid="E304" qowt-entry="undefined" qowt-lvl="undefined">Sometimes a person will have a bored look on their face, but in reality they might be having a ball. I’ve seen this, and I can’t address it in front of the group because it might embarrass them. At the end of the circle the guy comes up to me and says, “I had a wonderful time, thanks for letting me just be me.” That was a profound moment. The next drum circle he did the same thing, but eventually the rhythms got him to play on his own. He played when he was ready to play, and did so at his own pace. I learned not to push people.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E307" is="qowt-word-para" qowt-eid="E307" qowt-entry="undefined" qowt-lvl="undefined">Often I like to begin a drum circle with a gong that I keep in my gig bag. It’s about 14 inches wide. I use a soft mallet, and walk around the interior of the circle and let each person bang the gong once, or twice if they don‘t get a good gong on it. (If they want to.) Usually it’s smiles from ear to ear every time. Very few have ever turned it down. It’s a fun way to begin, and develop a rapport with each person, and it gives you a chance to see their individual hand coordination a little bit. Try to think up fun ideas like that.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E310" is="qowt-word-para" qowt-eid="E310" qowt-entry="undefined" qowt-lvl="undefined"><span id="E312" is="qowt-word-run" named-flow="FLOW-488" qowt-eid="E312">I find the simplest heartbeat rhythm seems to be a good way to begin the drumming, or the “We Will Rock You“ beat again. I start it out very slowly, hold it steady, and let them play whatever they want. Whatever feels natural to them. We will let the rhythm go wherever it </span>feels it wants to go, just like at a regular drum circle. They may just want me to hold it slow and steady, or ramp it up and play fast and exciting. They may just want to enjoy a good sounding groove for awhile. You don’t know really, until you get there. </p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E311" is="qowt-word-para" named-flow="FLOW-487" qowt-eid="E311" qowt-entry="undefined" qowt-lvl="undefined">But you can prepare a little bit. You can sense what a group wants to do, after you have worked with these populations for a while. Especially, in a very short time, you can assess the group’s skill level. I just go with it. With the slower rhythms the time seems to just fly by, and I hardly ever get even half way through my set list. The amount of time becomes a non-issue to everyone, and they all keep happily busy. The most simple heartbeat rhythm will do this if played for more than 10 minutes at the same tempo and volume level. We play lots of other fun rhythms, and have many different endings for them. Anticipating the end of what a rhythm will be as you are playing it, is sometimes fun. So during almost every drum circle I’m at, I have 4 or 5 different endings I like to use during the drumming session.</p></qowt-section></div></div></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI14" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E316" is="qowt-word-para" qowt-eid="E316" qowt-entry="undefined" qowt-lvl="undefined">I sometimes just say, “A great rhythm needs a great ending to it.” So then I will show whatever it is to them, (1 or 2 bars or so) then I ask to please do it with me a couple of times, like 6 times over so everyone has it. Then we just play a rhythm for 10 minutes or so and I count them down to do that big ending, that we planned in advance.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E319" is="qowt-word-para" qowt-eid="E319" qowt-entry="undefined" qowt-lvl="undefined">There is a traditional drum phrase break that signals an upcoming change or ending at a drum circle. That one works great, but is a bit more complex one. Bum Ba DumDum, Ba Dum Dum BaDa. (pause) Boom!</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E322" is="qowt-word-para" qowt-eid="E322" qowt-entry="undefined" qowt-lvl="undefined">A Latin drum break works well also. Or make something up, as a nice ending to a good jam. The phrase Mississippi River makes a nice little jam starting point.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E325" is="qowt-word-para" qowt-eid="E325" qowt-entry="undefined" qowt-lvl="undefined">One cool ending I like to use with these groups also, is to have everyone play 9 equal up tempo tones, and then two big bass notes. Then repeat it like 10 times, and I count them down as we go. 4-3-2-1- ooooooooo B B, ooooooooo B B etc. Or try this one - five tones, then 3 bass notes. ooooo BBB, repeat. There is what I refer to as a “drum circle set list” like bands use on my site. There are dozens of notated drum rhythms to try out. Please feel free to check it out.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E328" is="qowt-word-para" qowt-eid="E328" qowt-entry="undefined" qowt-lvl="undefined">When you feel the group has come to the ending, or attention span of a rhythm is ending, try slowing and quieting the rhythm down over a 30 second period…then play slower and slower, until the rhythm ends in super slow motion. Like the Six Million Dollar Man or something. Like one of those old vinyl records slowing down after you unplugged it. (Remember those?) A rumble after that is always good.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E331" is="qowt-word-para" qowt-eid="E331" qowt-entry="undefined" qowt-lvl="undefined">Obviously rumbles are always good. I like to let members of the group get to do the ending rumble. Usually it’s whoever raises their hand when I ask, “Who wants to end the rhythm?” Then they get a turn ending a rhythm. I have a magic wand I made up for that. It has colorful ribbons on it. They can wave it around and direct the volume, direction, etc. A couple of minutes is good on that one. Let each of them that want to direct rumbles so they each get a chance to do it. For some this is the first time they ever get to be a leader. It helps to empower them, and build self esteem. </p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E331" is="qowt-word-para" qowt-eid="E331" qowt-entry="undefined" qowt-lvl="undefined">I let them try out unique percussion items periodically, by pulling them out, demonstrating how they work, and asking between jams, “Who would like to try this one out?” I just let them have fun. But I do go in with a prepared set list program. Which is usually changed all around depending on the group vibe I’m feeling. You can tell if a particular rhythm is working, or not feeling right. So can they. I laugh it off and we start another one.</p></qowt-section></div></div></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI15" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E339" is="qowt-word-para" qowt-eid="E339" qowt-entry="undefined" qowt-lvl="undefined">You don’t even need to show people what a rumble is, when they have a drum in their lap. They can figure it out instinctively when you do it, and telegraph it a little at the end of a rhythm. That’s part of the fun. Figuring things out on your own. It gives you a better feeling of self accomplishment.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E342" is="qowt-word-para" qowt-eid="E342" qowt-entry="undefined" qowt-lvl="undefined">Eventually I realized that almost everything for them is focused on their disability, and that has to get very frustrating for them, so they can use something for an outlet. A drum circle is a fun way that they can express their feelings, that will build their confidence. A drum circle? You should see their eyes light up.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E345" is="qowt-word-para" qowt-eid="E345" qowt-entry="undefined" qowt-lvl="undefined">But back to rumbles. Sometimes to teach a rumble easily to everyone, I say ok here are two rules. If I put my hands in the air you can play as fast and as loud as you like. When my hands come down you stop. Then I show them a lot of variations they can try, and mention it is ok if you think up your own ways to direct the rumble endings.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E348" is="qowt-word-para" qowt-eid="E348" qowt-entry="undefined" qowt-lvl="undefined">It’s nice if you can speak to administrators before the drum circle and ask them questions about their vision, and how they would like things to go. It isn’t always possible. Do they want to begin a certain way? Do they seat everyone, or start exactly at a given time? What are some of the medical conditions? Are there any in wheelchairs? (Frame drums or tambourines, shakers and bells seem to work well for them.) What is it they hope to see, achieve? Are there potentially any people that might need extra attention, or need the assistance of the staff? Some of these facilities only have one recreation director, and there is no extra staff available.</p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E352" is="qowt-word-para" qowt-eid="E352" qowt-entry="undefined" qowt-lvl="undefined"><span id="E353" is="qowt-word-run" qowt-eid="E353">I research the mission statement; get an idea of who they are from their website always first thing, just like with any other group I work with. Sometimes that is all the information I’ve had to go on. It happens.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E354" is="qowt-word-para" qowt-eid="E354" qowt-entry="undefined" qowt-lvl="undefined"><span id="E356" is="qowt-word-run" named-flow="FLOW-497" qowt-eid="E356">I try to brief the staff before the start about them intervening. I ask them to let me do the crowd control. Do please join in as yourself and please don't try to show anyone how to do it, or what to do with it. I get this sometimes, with staff who mean well. But please don’t. The reason is, they sometimes get in there and want to demonstrate to a person how to do </span>this or that. That’s not good. It embarrasses them, or worse. </p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E355" is="qowt-word-para" named-flow="FLOW-496" qowt-eid="E355" qowt-entry="undefined" qowt-lvl="undefined">At one special needs group gig, I didn’t know anybody there, and had no access to talk to the staff beforehand. It was a quickly booked job, and many of them happen that way, so there just isn’t time to find out individual needs. All of a sudden people are arriving in droves. Parents, family, and patients all mixed in together. To be honest, a few people I could recognize had certain conditions, but I really had no idea who was a patient, and who were family members? What should I do with this one? So I had to toss my list right out, and improvise.</p></qowt-section></div></div></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI16" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E360" is="qowt-word-para" qowt-eid="E360" qowt-entry="undefined" qowt-lvl="undefined">Sometimes that is the most fun - improvising. Just play or do whatever feels right at the time. Rarely do I end up doing what I planned the night before. And I try not being afraid to do something I might feel is risky. I wear a samba whistle just in case, and demonstrate it in the beginning, to imprint the meaning of it in case things go chaotic at a later part. It’s a good back up tool if things get a little out of hand, and it does happen sometimes. But I usually don’t need it. (Unless I forget to bring it of course.)</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E363" is="qowt-word-para" qowt-eid="E363" qowt-entry="undefined" qowt-lvl="undefined">The drum circle went great and everyone loved it. They got to interact with their family members, and do something fun and positive together. This is pretty rare for some families with special needs family members. Later the staff told me they had three patients that have never even left the housing building before, for any activities. Period. The staff said they watched them looking out the window for awhile and saw everyone else drumming and having a good ol’ time, and came out and joined in. They told me how remarkable that was. That feels pretty good, that the drum circle coaxed them to come out and play.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E368" is="qowt-word-para" qowt-eid="E368" qowt-entry="undefined" qowt-lvl="undefined">It’s been my experience these types of groups become more involved and want to participate, when the drum rhythm changes their perceptions enough that they pay more attention to what is going on, and they even want more.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E371" is="qowt-word-para" qowt-eid="E371" qowt-entry="undefined" qowt-lvl="undefined">At another special needs gig, the patients and the staff got a kick out of it. They were stunned that I managed to get everyone to participate without even saying anything, other than, “ 1-2-3-Lets Play!” When I booked the job, the staff again said to me, only a few of our people will want to do this. I thought, ok this has happened before. Same deal, they all participated because it was fun. It was something a little bit different than group bowling. The director wrote me afterward, that since the drumming program, there has been a tremendous benefit from it. The drum circle gave them a new outlet that they never had before. It gets them thinking, experimenting, and making music, which is great! Now they have a regular weekly drumming program.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E374" is="qowt-word-para" qowt-eid="E374" qowt-entry="undefined" qowt-lvl="undefined">Most of the mission statements seem to be something like to integrate people back into society. A drum circle is the perfect vehicle for that. After we had worked together every couple of weeks for 6 months, one group of special needs adults all became comfortable drumming, and being around me. So I offered to the staff to bring them out to an indoor public venue, with a little more manageable open drum circle, that I was hosting. </p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E374" is="qowt-word-para" qowt-eid="E374" qowt-entry="undefined" qowt-lvl="undefined">It was better than I could have imagined. They just blended in beautifully, and few even knew they were special needs patients. All they want to do is have fun, and not be treated or feel treated “special”. They just want to be treated like one of the guys. Just one of the group. Not special. The staff told me that their only recreational outings were always things like bowling, and that they would always go with only other special needs patients in a “closed to the public” setting. So the drum circle was perfect. I’ve been bringing this group to open community functions to drum for a long time, and both the staff and I have seen remarkable improvements in all kinds of areas. Here they are, musically, socially, physically, interacting with the public.</p></qowt-section></div></div></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI17" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E381" is="qowt-word-para" qowt-eid="E381" qowt-entry="undefined" qowt-lvl="undefined"><span id="E382" is="qowt-word-run" qowt-eid="E382">The guiding of this particular special needs group in our community led to a two hour performance on a big stage in front of 100's of people at an Earth Day festival, where they were wildly applauded, appreciated, and sounded great. It was a proud moment for them, and for me. </span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E383" is="qowt-word-para" qowt-eid="E383" qowt-entry="undefined" qowt-lvl="undefined">The Earth Day was a beautiful drum circle. It was a public event, a blend of our general community, a special needs group, and we were all together jamming. We had a blast being up on the big stage drumming out some great rhythms, and engaging a huge crowd to join in with us.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E388" is="qowt-word-para" qowt-eid="E388" qowt-entry="undefined" qowt-lvl="undefined">A key part of the intent of groups that are oriented toward those with physical and/or mental restrictions is finding ways to bring them into general society as much as possible. It has been my experience that drum circles are an excellent path to this goal. This is the kind of work I believe I was put on this earth to do. Working with special needs individually, or in groups touches my heart very deeply, especially when I get home and have some time to reflect on the experience.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E391" is="qowt-word-para" qowt-eid="E391" qowt-entry="undefined" qowt-lvl="undefined">With this particular group, after a few drum circles at their facility, I invited them to a public drum circle at a cafe where I was hosting a weekly drum circle. They were comfortable drumming with me at that point, and it worked out great.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E394" is="qowt-word-para" qowt-eid="E394" qowt-entry="undefined" qowt-lvl="undefined">Months later, when I was asked to host this Earth Day drum circle show on the big stage, I asked the staff and them if they would like to drum at this event. They jumped at the chance. Sure it was a little risky, but that's what life is about. Taking chances. We played for over an hour and a half, the crowd didn't want us to stop, two encores and everything. It was like a dream come true. I was booked for 45 minutes, but it was going so well the organizers asked us to keep going, so we did. All of this happened in less than 6 months. It just kind of all fell together like it was meant to be.</p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E398" is="qowt-word-para" named-flow="FLOW-594" qowt-eid="E398" qowt-entry="undefined" qowt-lvl="undefined"><span id="E399" is="qowt-word-run" named-flow="FLOW-595" qowt-eid="E399">The crowd never even knew there was a special needs group playing with the other drummers. The group was thrilled because for one of the first times in their lives they were </span>just seen as regular people, and not as "special". We were all just musicians that day. </p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E398" is="qowt-word-para" named-flow="FLOW-594" qowt-eid="E398" qowt-entry="undefined" qowt-lvl="undefined">I believe that real personal growth comes from the inner expression of each individual, and their self discovery. And the real beauty with hand drumming is that with almost all special needs conditions, is the repetition of the rhythms. We do them over and over, so if they get lost, or feel lost, that safety net of the foundational beat is there for them to rely on, or fall back on if they need it. Even if they live five, or ten seconds in the past, they do eventually pick it up, or find it, and sound great. The repetition is what does it. It is such a feeling of accomplishment to witness this in so many people.</p></qowt-section></div></div></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI18" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E403" is="qowt-word-para" qowt-eid="E403" qowt-entry="undefined" qowt-lvl="undefined">Many of you already know this, but there is something called entrainment (not entertainment) that can happen to one individual or to an entire group. This occurs when the brain synchronizes to an external stimulus, such as the drum beat. This can be very therapeutic and, while it can happen to anyone or any group, it has a much more significant impact on those with special needs.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E406" is="qowt-word-para" qowt-eid="E406" qowt-entry="undefined" qowt-lvl="undefined">A few different medical doctors have explained to me that with most conditions, like Down Syndrome patients for example, they do indeed live a few seconds, to a few minutes in the past. So I just need to allow time for them to catch up. Imagine if you lived a few seconds in the past, and just couldn’t process information that quickly. You need to talk slowly and clearly in short sentences. Start rhythms out nice and slow and hold them there until everyone has it locked in.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E409" is="qowt-word-para" qowt-eid="E409" qowt-entry="undefined" qowt-lvl="undefined">Sometimes I run into a person that simply can’t hold still. They seem to need to bang, or fidget constantly. It’s a challenge keeping them focused. Until they experience some sort of entrainment. For purposes of this post, a definition of entrainment is basically when the person’s brainwaves get into a pattern of synchronization with an external beat. This helps the brain synchronize internally as well. It can be very therapeutic. A staff member explained this to me. Getting them to that point of entrainment is most of my goal. Once they are in there, I can almost just sit on the side and jam with them. It almost always takes 5 or 10 minutes to do it. And sometimes it feels like it was an hour. But it was only 5 minutes.</p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E413" is="qowt-word-para" qowt-eid="E413" qowt-entry="undefined" qowt-lvl="undefined"><span id="E414" is="qowt-word-run" qowt-eid="E414">Hula hoops work great with some groups, or a ribbon or scarf so they can get in the center if they want to and wave it around in the breeze as they move or dance around to the beat. You can try giving away little 99 cent store goodies to entice people to hoop in the center for two minutes. It works every time. Just ask them to be mindful of the people around them. I like to keep the center of the drum circle as big as I can without hurting the musical connection from one side to the other.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E415" is="qowt-word-para" qowt-eid="E415" qowt-entry="undefined" qowt-lvl="undefined">Laying out the 2 towels in the center so they can feel the beat of the drum rhythms, way into their bodies works great. I don’t need to tell people about the healing power of the drum when they try that. They can feel it in their bones. It’s very powerful. Try it for yourself if you never have. Lie down on your back in the center of a drum circle and then close your eyes for one minute while everyone is playing a rhythm. </p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E415" is="qowt-word-para" qowt-eid="E415" qowt-entry="undefined" qowt-lvl="undefined">Both are great ideas for almost any drum circle group, and I use them both all the time.</p></qowt-section></div></div></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI19" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E422" is="qowt-word-para" qowt-eid="E422" qowt-entry="undefined" qowt-lvl="undefined"><span id="E423" is="qowt-word-run" qowt-eid="E423">There are so many different developmental disabilities; I can’t get too much into it. That’s why the input from the staff members is so useful. I have no medical degrees, and I’m not a healer, (although sometimes it happens by default.) I’m not there to treat them. I’m just there to help them have a little fun. Sometimes I have no idea who has what condition. That’s just the way it is. There simply isn’t time for the staff to go through all the individual conditions each person has, so I have to use an overall group approach. Due to the repetitive nature of a drum rhythm, they all eventually catch on or catch up. That’s why this is so effective. After a short while everyone is in synch and feels like an equal part of the group. I always come away having learned something new when working with these groups. And just like that, I become some kind of healer by default. They teach me things I never dreamed of. It never ceases to amaze me.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E424" is="qowt-word-para" qowt-eid="E424" qowt-entry="undefined" qowt-lvl="undefined">I had to experiment some with ideas, ask the advice of staff, doctors, and others. Here’s some of what I’ve found out and learned. Again, I try to treat them like regular everyday normal people. The worst thing to do is treat them or talk to them like they are handicapped. Would you like that? I wouldn’t. The staff usually tells me if there are any concerns to be aware of. I may need to enunciate a bit more, talk a little clearer and slower but that’s about it.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E427" is="qowt-word-para" qowt-eid="E427" qowt-entry="undefined" qowt-lvl="undefined">Many of them are very sensitive to pressure. I encourage them to join in when they feel comfortable. That way they can join in with no pressure, on their own. I do have to do a bit more leading and starting out the rhythms. The support beat thing. The comfort of the bottom beat is there for them.</p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E431" is="qowt-word-para" qowt-eid="E431" qowt-entry="undefined" qowt-lvl="undefined"><span id="E432" is="qowt-word-run" qowt-eid="E432">Their attention span, and loud noise are an issue. I deal with this by keeping the volume lower, and by giving them lots of choices of percussion instruments to play. I lay them on a table outside the circle, or down right next to them, or on the floor in front of them. Just a pile of goodies to play, and experiment with. They usually end up liking one of them. Most of them don't want you pushing an instrument in their face, to get them to play this, or that particular one. I just smile and with an offering facial expression, lay it down near them. If they like it and want it, they will pick it up when the drum beat gets going. I just need to keep in mind of the volume.</span></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E434" is="qowt-word-para" qowt-eid="E434" qowt-entry="undefined" qowt-lvl="undefined"><span id="E435" is="qowt-word-run" qowt-eid="E435">I see shy people become less shy. I see people who play it safe, begin to take risks. I see people who have nothing else in common, becoming deeply connected with one another on a non-verbal level. I know there is something very good going on in these drum circles.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E436" is="qowt-word-para" qowt-eid="E436" qowt-entry="undefined" qowt-lvl="undefined">Here are a few ideas and thoughts, on a couple of particular conditions. Again, I’m a musician, not a medical expert. Most of this is from my experiences, and/or the staff and doctors advising me over the years. And again, I usually have no idea who has what, so I have to be ready to react at all times. </p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E436" is="qowt-word-para" qowt-eid="E436" qowt-entry="undefined" qowt-lvl="undefined">Attention Deficit Disorder and Autism</p></qowt-section></div></div></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI20" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E442" is="qowt-word-para" qowt-eid="E442" qowt-entry="undefined" qowt-lvl="undefined">When I know there are people with attention deficit disorder I usually just put a variety of percussion items by them so they can choose and try out all different kinds of things to keep them busy and occupied. I just give them lots of choices and let them pick. It almost always works, it just creates more of a mess to clean up. Who cares? Part of the job. Keep the volume down.</p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E446" is="qowt-word-para" qowt-eid="E446" qowt-entry="undefined" qowt-lvl="undefined"><span id="E447" is="qowt-word-run" qowt-eid="E447">Cerebral Palsy</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E448" is="qowt-word-para" qowt-eid="E448" qowt-entry="undefined" qowt-lvl="undefined">Usually I can spot this condition, because many have a weak arm (or arms). Some I can spot because they are in wheel chairs, but, other than that, most can function just fine. I have a couple of good friends with this condition so I know a little bit about it from experience drumming with them. They told me the drums they preferred. It was Bongos, because the weak hand doesn’t have to work so hard, they can just tap with it, until they strengthen it up a little more. They can set them on their lap, or a chair or table in front of them. It’s important to remember that most of these people with many of these various conditions, are highly intelligent, still very functional, and can be very musical human beings. The ones I have become closer friends with tell me they just want to be treated as regular people. When that happens, it’s easier for them to open up socially, even in a in a public setting, such as a public drum circle. Sometimes it takes a few weeks, don’t expect to see vast improvement in one drum circle. Overcoming the stigma from the general public is usually the problem, not them. Best of all, over time the drumming does strengthen their weak arm. Drumming does heal, emotionally and physically.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E451" is="qowt-word-para" qowt-eid="E451" qowt-entry="undefined" qowt-lvl="undefined">The lighter weight polymer shell Djembes and Bongos with synthetic heads work the best. Anything like those big 15 pound Bongos get a bit heavy just sitting on your legs for long periods of time. Even for one friend I have who has no feeling in his legs. He has somewhat limited movement in one hand. But he loves playing the Bongos, and plays them quite well now. I’m so impressed how he has improved in motor function, finger movements, and musically. He went from just sort of flopping his hands down to keeping good time, and playing entire rhythms perfectly in about six months. Frame drums and tambourines work real well for some people also. Especially if they have only the ability to just tap their fingers a little. They can lay it on their lap, and tap away, and be an important part of the group. Just part of the gang.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E456" is="qowt-word-para" qowt-eid="E456" qowt-entry="undefined" qowt-lvl="undefined">Down Syndrome</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E459" is="qowt-word-para" qowt-eid="E459" qowt-entry="undefined" qowt-lvl="undefined"><span id="E461" is="qowt-word-run" named-flow="FLOW-607" qowt-eid="E461">I’m no expert, and I have no medical degree as a music therapist, but I have worked with a </span>lot of people with it before. Apparently the distinction is, drumming therapy - you need a degree to do that. Therapeutic drumming - no degree needed. I've seen a few music therapists who didn’t seem to establish a good rapport with people and they weren’t very empathetic or intuitive with their patients. On the other hand, I have also seen some beginner drum circle facilitators who are born with the gift of intuition and people skills, who leave a session with each individual feeling a sense of real accomplishment.</p></qowt-section></div></div></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI21" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E463" is="qowt-word-para" qowt-eid="E463" qowt-entry="undefined" qowt-lvl="undefined"><span id="E464" is="qowt-word-run" qowt-eid="E464">Usually with Down Syndrome they are open and enthusiastic. That's all you really need. It doesn't hurt to have a few of the percussion toys around them, so they have some choices. While some of them will be able to follow a simple rhythm, several will not be able to. They want to do their "own thing", and that's okay too. But with children, volume is a serious consideration, before the short attention span. Loud noise can be a real problem, so you have to constantly monitor the volume.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E465" is="qowt-word-para" qowt-eid="E465" qowt-entry="undefined" qowt-lvl="undefined">Some drum circles begin with total chaos. Man, it happens almost every time at the beginning. It kind of freaked me out, early on, when I started working with special needs groups. I just let it go for 5 minutes if I feel the need to and usually it levels out when the group feels the musical group dynamic. Then it always comes together. It takes a while to have the confidence that it will happen, because it feels like it never will unless I intervene. But I rarely ever need to. The group feels like they corrected it. And guess what? They did. I don't try to correct or modify what they are doing even if it is a train wreck. I had to learn to trust myself it would come together. I feel it was a success if all of them are actively participating in some kind of drumming. No matter how chaotic, offbeat, or bad it may seem to me. And because they corrected it themselves, it has a much strong empowerment effect.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E468" is="qowt-word-para" qowt-eid="E468" qowt-entry="undefined" qowt-lvl="undefined">Sometimes it may seem they may not appear to be enjoying it. You might think you perceive it in someone’s face. Most always all of them are, especially if they're doing it of their own choice. Some like to just sit and take it all in for a little while. Just play on.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E471" is="qowt-word-para" qowt-eid="E471" qowt-entry="undefined" qowt-lvl="undefined">I often tell them how great they sound and how well they are doing with lots of smiles. I just don’t over do it so it becomes obvious or soupy. These groups thrive on approval, appreciation, accomplishment, and acceptance. I try to give them lots of positive acknowledgement.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E474" is="qowt-word-para" qowt-eid="E474" qowt-entry="undefined" qowt-lvl="undefined">If I get a particular person that is so disruptive to the rest of the group, and I have no staff to assist me. I always bring along a small paint set, and offer to let them paint the music for us.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E477" is="qowt-word-para" qowt-eid="E477" qowt-entry="undefined" qowt-lvl="undefined">A craft project of some sort is another good idea. I bring a few of those big vitamin bottles and ask them make shakers for me. “I need a couple of shakers made, can you help me make one and decorate it up?” It worked great. Now, the staff saves the empty bottles for me when I come to drum with them. I bring some shaker materials, like popcorn, beads, and macaroni. Colorful things work the best. One time a guy spent the entire hour and a half sorting just the right colors to put in the shaker. He left the group to make some music, yet he was still involved. I had colored tape for him to decorate it up with. When it was done he was so proud of it, he played along with us near the end. Be sure to ask the staff if they can keep it. </p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E477" is="qowt-word-para" qowt-eid="E477" qowt-entry="undefined" qowt-lvl="undefined">Here’s another idea, speaking of painting art. Have them do a painting, or create a mural, painting the music. Almost a music appreciation thing, or a "how does music make me feel" painting. I get a big pad of paper, like you might put on an artist’s easel. I always bring a few big sheets of paper, sometimes a big artist’s pad. We try using different mediums, markers, water colors, crayons, or pastels.</p></qowt-section></div></div></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI23" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E483" is="qowt-word-para" qowt-eid="E483" qowt-entry="undefined" qowt-lvl="undefined">They can either paint their own, or do a group painting. Sometimes I will ask who wants to drum, and who wants to paint the music. Mostly I will get half the group painting a mural, and the other half playing the drums. Then switch it up later, so they all get a turn at both the drumming, and the mural. I ask them to express their feelings in art as they listen to the music. Some get displayed in the facilities to this day.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E486" is="qowt-word-para" qowt-eid="E486" qowt-entry="undefined" qowt-lvl="undefined">Sometimes when working with special needs kids, many are scared of noise, I learned from a staff member to get them in there early, and let them explore the drums a little on their own. (And the percussion items.) In many cases, when they're in charge of the noise, they're happy to make it loud. I sometimes have a dancing rhythm going when they enter the room, and do the egg shaker on each chair thing.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E489" is="qowt-word-para" qowt-eid="E489" qowt-entry="undefined" qowt-lvl="undefined">We play a rhythm together and they can move around or whatever. It gives them a sense of making music before the drumming starts. For the first time with a group, I don't expect much of a groove, but be ready for it, because it happens if you anchor it for them with a nice support rhythm. It is important to have stuff that can be played with one hand. I have this basket of fruit shaped shakers I use a lot with them. Expect to spend a little time finding the right instrument for each person, and let them choose something different later on. Make it fun, and interesting for them.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E492" is="qowt-word-para" qowt-eid="E492" qowt-entry="undefined" qowt-lvl="undefined">Some have physical limitations, so I bring buffalo drums, frame drums, drums they can lay on their laps and play. I try to avoid things played with sticks or mallets, because some will just start bashing them wildly, disrupting the rhythm of everyone else, and possibly put one through a drum head or someone else’s head. I keep them stashed away and use them sparingly. I bring a few Djembe stands or taller drums to accommodate those who might need one. Even those who you may think can only bash away, will get the repetition of a drum rhythm, and catch on eventually. It’s a good idea to have some soft beaters for those who can't use their hands very well.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E495" is="qowt-word-para" qowt-eid="E495" qowt-entry="undefined" qowt-lvl="undefined">Make sure that your kit is safe. No sharp edge drums like on some Darbukas etc. Think of your players as vulnerable children with the size and power of adults. Avoid taking anything fragile. The first drum circle with a special needs group can be very challenging. Expect some total chaos to happen. It gets a lot easier the second time. In my experience some of these people have problems judging how hard to strike a body drum, and could hurt their hands by playing it too hard. Show them a few pointers on good hand technique after the warm up jam. </p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E495" is="qowt-word-para" qowt-eid="E495" qowt-entry="undefined" qowt-lvl="undefined">As I said, loud noise is my biggest concern. The healthy noise limit is about 85 decibels (Db.) I think that is the legal safety limit as well. That’s what the cop said when he broke up a public drum circle in a park. (This wasn’t a special needs group.) He had his little decibel meter, and showed me the reading on it. We were up in the 120 Db. range. The neighbors called them on us. Actually, he was pretty cool about it. As a radio operator I’m familiar with decibels of gain, etc. but I researched this a little, and here’s what I found. A normal conversation is about 60 Db, up to the threshold of discomfort, that is the 120 Db range.</p></qowt-section></div></div></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI24" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E502" is="qowt-word-para" qowt-eid="E502" qowt-entry="undefined" qowt-lvl="undefined"><span id="E503" is="qowt-word-run" qowt-eid="E503">A bunch of people drumming together indoors can easily reach into the 115 to 120 Db range. About 150 Db, is the pain threshold. You can get a decibel meter relatively inexpensively. I think Maplin makes one. Keeping the volume level down takes some skill, and experience to pull it off. But it is possible. And this is even more important when dealing with special needs people. </span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E504" is="qowt-word-para" qowt-eid="E504" qowt-entry="undefined" qowt-lvl="undefined">Create a volume down signal, or just start to play your drum quieter, more often than not, they will be there right with you. It works just great. And as an added bonus, the participants get to hear each other. But if you use it too much it can have a negative effect. It’s something to keep in mind, some of the beginners get way into it, and are often getting their issues out.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E507" is="qowt-word-para" qowt-eid="E507" qowt-entry="undefined" qowt-lvl="undefined">Here’s some advice from a friend of mine. When he does big gigs with 100 people, the Db level can be huge. So he brings enough cheap earplugs to go around. As far as I know, if you warn them, and offer protection, you've done your job. I keep a few dozen of them in my gig bag.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E510" is="qowt-word-para" qowt-eid="E510" qowt-entry="undefined" qowt-lvl="undefined">A few final thoughts. This new atmosphere of spontaneous drumming can be overwhelming to some people. The one thing I don’t want to do is have people feel threatened, scared, overwhelmed, or lost. Trying to do complicated rhythms can do that. Lots of positive comments from you during the drum circle helps a lot. “Hey, we sounded great on that one didn’t we?” Smile a lot, thumbs up! If they are there, they are participating. Starting some spontaneous applause after a jam goes a long way.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E513" is="qowt-word-para" qowt-eid="E513" qowt-entry="undefined" qowt-lvl="undefined">Som things I bring besides my earplugs in my gig bag, are some padded tape, first aid, hand creams, anti-bacterial wipes, etc. for anyone who just might ask. It’s also a good idea to familiarize yourself with epilepsy, in case someone has a seizure. It’s the staff’s responsibility, but you should know what’s going on. It’s nice if you can speak with the staff beforehand about any possible issues, but as I mentioned, that’s not always possible. So I need to be ready for anything. </p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E513" is="qowt-word-para" qowt-eid="E513" qowt-entry="undefined" qowt-lvl="undefined">Remember to try and speak with the staff afterwards for some feedback. And at the next time you are there. (Hopefully) Or, leave them a feedback form to fill out, with a self addressed envelope and a stamp on it. I gathered a lot of useful information with a simple feedback form. The medical staff knows a lot more than I do about medical conditions.</p></qowt-section></div></div></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI25" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E519" is="qowt-word-para" qowt-eid="E519" qowt-entry="undefined" qowt-lvl="undefined">Also remember there are heavy restrictions on photography in most cases, so be sure to get permission, preferably in writing, if you want to take photos.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E522" is="qowt-word-para" qowt-eid="E522" qowt-entry="undefined" qowt-lvl="undefined">If the group takes a break for lemonade or something, make sure they don’t come back to the drumming area before they are all finished. Goatskin drum heads still make terrible coasters.</p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E526" is="qowt-word-para" qowt-eid="E526" qowt-entry="undefined" qowt-lvl="undefined"><span id="E527" is="qowt-word-run" qowt-eid="E527">Ultimately, I just let people play. We drum up some fun. Let your personality out, and with your calm and reassuring manner, watch the volume, and they will quickly enjoy playing together, and connecting with you.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E528" is="qowt-word-para" qowt-eid="E528" qowt-entry="undefined" qowt-lvl="undefined">One thing some don't understand about drum circles, is that it's more about the people, than it is the actual drumming. Many facilitators agree with me on this, some don't. The quality of the music produced in a drum circle isn't really based on the musical experience of the players, but on the developing quality of the relationships of the people that emerge. As a facilitator I help people to empower themselves through drumming, music, and fun.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E531" is="qowt-word-para" qowt-eid="E531" qowt-entry="undefined" qowt-lvl="undefined">People really need no experience at all to play in a drum circle. I encourage individual creativity, and group dynamics. I hope you will consider having me facilitate a drum circle for you and your group.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E534" is="qowt-word-para" qowt-eid="E534" qowt-entry="undefined" qowt-lvl="undefined">- Shannon Ratigan</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E537" is="qowt-word-para" qowt-eid="E537" qowt-entry="undefined" qowt-lvl="undefined">I hope some of this is helpful to you, and it gives you a few ideas working with special needs individuals and groups – young or adult. Please keep in mind that these are just my opinions, and based on my experiences. If you would like to read some more about my approach to drum circles, please consider picking up my book, “A Practical Guide To Hand Drumming And Drum Circles” It’s 300 pages, and $8 on Amazon Kindle or Nook.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E543" is="qowt-word-para" qowt-eid="E543" qowt-entry="undefined" qowt-lvl="undefined">There is increasing recognition of the health benefits of music therapy, particularly facilitated hand drumming, which is what I do for a living. Unfortunately, places where the people who benefit the most, such as senior centers and special needs can not afford to pay for this.</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E565" is="qowt-word-para" qowt-eid="E565" qowt-entry="undefined" qowt-lvl="undefined">If you're a filmmaker or video / TV producer all of my drumming and drum circle music tracks are licensed. Check iTunes Spotify Soundcloud Amazon or CDBaby.com & listen to a few. There's a wide variety of cultures, styles, and tempos to choose from. Helps to set that perfect mood for a scene. Or just enjoy some live drum circle jam music. Various cultures, tempos, and styles. </p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E565" is="qowt-word-para" qowt-eid="E565" qowt-entry="undefined" qowt-lvl="undefined">I also have a 2 hour DVD, (now a video) of rhythms titled, “101 Drum Circle Rhythms”. If you choose to purchase, thanks in advance for helping an independent musician. The funds help me with drum repairs, and doing work in our community. Most of these groups I work with have very limited recreational budgets, and you would be helping a lot of people out.</p></qowt-section></div></div></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI26" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E589" is="qowt-word-para" qowt-eid="E589" qowt-entry="undefined" qowt-lvl="undefined"><span id="E590" is="qowt-word-run" qowt-eid="E590">Shannon Ratigan</span></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E592" is="qowt-word-para" qowt-eid="E592" qowt-entry="undefined" qowt-lvl="undefined"><span id="E593" is="qowt-word-run" qowt-eid="E593">Drumcircles.net </span></p></qowt-section></div></div></qowt-page>drumcircles.nethttp://www.blogger.com/profile/05856494181338188294noreply@blogger.com0tag:blogger.com,1999:blog-9113701967098106880.post-61683844677645327102022-10-26T13:14:00.000-07:002022-10-26T13:14:13.654-07:00Drum Circles For Kids - Ideas For Drumming With Children<p> Ideas For Drum Circles For Kids in Schools, Youth Groups, Parties, and Events</p><qowt-page is-first-page-in-section="" named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section id="E125" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E-1584" is="qowt-word-para" qowt-eid="E-1584" qowt-entry="undefined" qowt-lvl="undefined"><span id="E-1585" is="qowt-word-run" qowt-eid="E-1585"><br /></span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E135" is="qowt-word-para" qowt-eid="E135" qowt-entry="undefined" qowt-lvl="undefined"><span id="E136" is="qowt-word-run" qowt-eid="E136">Drum circles in schools work great, because it is a fun, experiential activity that promotes multi-cultural learning. It builds self confidence, and social abilities. It helps with motor skills, (processing information) boosts creativity; it even helps to teach them some basic mathematics.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E140" is="qowt-word-para" qowt-eid="E140" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E141" is="qowt-word-para" qowt-eid="E141" qowt-entry="undefined" qowt-lvl="undefined"><span id="E142" is="qowt-word-run" qowt-eid="E142">The drum rhythms are in time signatures, so math is taught without actually teaching it. It’s done in the process of just playing the drums, and having fun. Drumming teaches them more focused listening, concentration, and about reaching goals. Plus, it’s an activity parents can enjoy with their children at a later point. So a drum circle makes good sense. Kids like to write songs, and make up rhythms to play to. The teachers begin to see this occurring, then the light goes on and they want you to come back.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E152" is="qowt-word-para" qowt-eid="E152" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E153" is="qowt-word-para" qowt-eid="E153" qowt-entry="undefined" qowt-lvl="undefined"><span id="E154" is="qowt-word-run" qowt-eid="E154">For young children, a great way to teach rhythms is to use stuffed animals to represent sounds the drum can make. Or talk about wild animals representing the different sounds, such as: The Tiger (or kangaroo) – is a tone sound The Bear (or elephant) – is a base sound The Snake (or myna bird) – is a closed tone slap Rub your hand on the drum head to make sounds of wind, finger tap is rain drops and so on.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E158" is="qowt-word-para" qowt-eid="E158" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E159" is="qowt-word-para" qowt-eid="E159" qowt-entry="undefined" qowt-lvl="undefined"><span id="E160" is="qowt-word-run" qowt-eid="E160">Drums & percussion on chairs. Set up for a transitional drum circle. Kids come & go during ongoing rhythms.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E161" is="qowt-word-para" qowt-eid="E161" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E162" is="qowt-word-para" qowt-eid="E162" qowt-entry="undefined" qowt-lvl="undefined"><span id="E163" is="qowt-word-run" qowt-eid="E163">For public events, a colorful kid's drum circle sign is a good idea. Helping spread the love and healing of drumming is important to me, as it was a big part of my life and a major outlet for me, as I was a hyperactive child myself. Once I got into it, I went on to join the school band, learned to read music, and I've been a musician ever since. I've worked with various age groups of children both in schools, groups, community functions, birthday parties, and so on for about 30 years. Sometimes it’s all one age, sometimes mixed ages, sometimes with parents, or even transitional drum circles with the general public mixed in. From 8 - 13 years seems to be that perfect age, eager to learn the drum rhythms.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E164" is="qowt-word-para" qowt-eid="E164" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E168" is="qowt-word-para" qowt-eid="E168" qowt-entry="undefined" qowt-lvl="undefined"><span id="E169" is="qowt-word-run" qowt-eid="E169">Every situation with kids drum circles is different. If you’re looking to facilitate or teach kids drum circles, and you don't have a kit of drums yet, the idea of body percussion ie: hand clapping foot stomping etc. it does work – pretty much the same with boomwhacker musical tubes, Remo soundshapes, and things like that. I have some of both in my kit. For the most part, kids tend to get bored with it after a while. If it's there for them, kids like to play an actual drum, and that’s what I try and do with each child. Give them a real drum to play. They can play rhythms just like an adult, sometimes even better.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E170" is="qowt-word-para" qowt-eid="E170" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E171" is="qowt-word-para" named-flow="FLOW-581" qowt-eid="E171" qowt-entry="undefined" qowt-lvl="undefined"><span id="E172" is="qowt-word-run" named-flow="FLOW-582" qowt-eid="E172">They just need a little instruction on proper hand technique and volume so nobody gets a bruise or is too uncomfortable. Then we get right to drumming. If it feels like just having fun, rather than a class they learn faster. I use vocalizations to help them start rhythms out.</span></p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><br /></qowt-page><div><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;">For example, Yum Yum Tastes like chicken, (bass...bass...tone tone tone-tone) repeated out loud a few times, and then play it on the drum. We say it, and then we play it. Try cuckoo for cocco puffs... Use rhythms, commercial jingles, and so on. I tend to avoid drumming games and activities because my experience is they want to just jam on a drum and make some music.<div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI7" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E173" is="qowt-word-para" qowt-eid="E173" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E178" is="qowt-word-para" qowt-eid="E178" qowt-entry="undefined" qowt-lvl="undefined"><span id="E179" is="qowt-word-run" qowt-eid="E179">The next time I show up, they say things like we want to play Fanga or Beledi or some of the other more popular rhythms. I have Word docs of rhythms and various ways to notate, read, and start them on my website you can download free. Kids like learning these, and they like the challenge of making up their own rhythms. Kids can be playing the actual Native American heartbeat rhythm, African Fanga, Mid-east Beledi and Latin Clave, or hip hop in a matter of minutes like adults. These days an 8 year old can build a website, so playing a drum rhythm is just plain fun, and that's the idea. Make it fun. Make some music and not just noise.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E183" is="qowt-word-para" qowt-eid="E183" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E184" is="qowt-word-para" qowt-eid="E184" qowt-entry="undefined" qowt-lvl="undefined"><span id="E185" is="qowt-word-run" qowt-eid="E185">As for drum circle and chair set ups: If I can get in there early, I check for the best acoustic spot to set up. Look for the best place for the drum circle, where I can see everyone, and with the least amount of echo. I use my voice or clap loudly all around the room. Sometimes you are outdoors, or you get a small classroom, other times an auditorium. Every situation is different. And most of the time I have to figure things out like the best place to set up when I get there. Often times, the spot has already been selected for you, and you have to go with it whatever it is, wherever it is. A good idea is to check it out beforehand if you can, and suggest the best location.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E186" is="qowt-word-para" qowt-eid="E186" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E187" is="qowt-word-para" qowt-eid="E187" qowt-entry="undefined" qowt-lvl="undefined"><span id="E188" is="qowt-word-run" qowt-eid="E188">If it is inside, ask the staff if they can get those little exercise cushions so some of the kids can sit on the drums if they want to. It’s hard for some of them to hold the big ones up, let alone tilt a big Djembe. So lots of times I have the drums set out flat on the carpet so kids can try playing them both ways. Most kids like to try sitting upright, and down on the ground playing on the drum. I let them know they can try either way. I usually set up my chairs in a circle, or sometimes concentric - one a few feet outside the other. I leave a little leg room for the kids in the outer circle. Leave a few open pathways so kids can exit the area, or enter. I try to make the circle about 20 feet across. Any more than that, the kids can’t hear what’s being played on the other side, and you get a disconnect. You can end up with 2 completely different rhythms going on at the same time. Try not to clog the center too much with dancers either – a few at a time if they want to get in there. That can cause sound block and a rhythm disconnect also.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E192" is="qowt-word-para" qowt-eid="E192" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E193" is="qowt-word-para" named-flow="FLOW-796" qowt-eid="E193" qowt-entry="undefined" qowt-lvl="undefined"><span id="E194" is="qowt-word-run" named-flow="FLOW-797" qowt-eid="E194">I give them the tools (a drum or percussion item) and they figure it out for themselves and play. I let them know they can play when, and whatever they want to, and they can play whatever they want...but just follow the beat. Unless it’s a one time circle, later, maybe you can have them make their own drums, try a search on that. What we call junk percussion treasure, can be found in thrift stores and yard sales. Try a search on junk percussion also. If you can get them on actual body drums like djembes, doumbeks, bongos, and congas,</span></p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI8" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><template class="style-scope qowt-section" id="headerTemplates"></template><template class="style-scope qowt-section" id="footerTemplates"></template><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" is="qowt-word-para" named-flow="FLOW-796" qowt-eid="E193" qowt-entry="undefined" qowt-lvl="undefined"><span is="qowt-word-run" named-flow="FLOW-797" qowt-eid="E194">the idea of an ongoing drum circle or drumming program is a lot more exciting to them. They become musicians rather than kids in a class.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E195" is="qowt-word-para" qowt-eid="E195" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E196" is="qowt-word-para" qowt-eid="E196" qowt-entry="undefined" qowt-lvl="undefined"><span id="E197" is="qowt-word-run" qowt-eid="E197">The problem has always been drums are so expensive. Not so much anymore, most retailers will give a discount if you buy a dozen or so and build a kit up from there. As low as $30 - $60 each. Stick with synthetic head drums like Toca and Remo. You can round it out with tambourines, frame drums, and maracas. Try to avoid anything played with a stick - things get broken, especially if they have goatskin heads. Try music123.com - guitar center - musiciansfriend.com - sam ash etc. The arts or rec center in your area might help with a grant. Some schools are able to get them from drum manufacturers like Remo. Look into it and maybe get some help with the cost. My experience is getting real drums is what works. The drums made for kids cost about the same as ones for adults. I suggest getting 6 to 8 inch head size playable drums.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E201" is="qowt-word-para" qowt-eid="E201" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E202" is="qowt-word-para" qowt-eid="E202" qowt-entry="undefined" qowt-lvl="undefined"><span id="E203" is="qowt-word-run" qowt-eid="E203">Every situation is different. Sometimes I’m working with children either at a single grade level, with mixed ages, and with their parents on occasion. Often it is a one time outdoor event with mixed aged kids transitioning in and out of the circle as rhythms are going on. I had to learn to roll with it. If they want to put you in a huge auditorium and drum with the entire school, then you need to hire a few assistants, and you’re back to the hand clapping and foot stomping. Having 300 drums is just an impossibility for me so I try to talk them out of a huge "all at once" drumming event. I need to keep it under 100 at most. I’m one guy over here, and I just don’t do that kind of thing anymore.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E204" is="qowt-word-para" qowt-eid="E204" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E205" is="qowt-word-para" qowt-eid="E205" qowt-entry="undefined" qowt-lvl="undefined"><span id="E206" is="qowt-word-run" qowt-eid="E206">The kids seem to get less from it in large groups, as opposed to having each child play a drum in a smaller classroom or outdoors. Most of the kids drum circles I do are one time things, sometimes two, a week long, or a few times a year. Usually they are kids groups or organizations, in private schools or for special occasions, parties, etc. The kids really look forward to it because it’s a special event, and it’s just pain fun to bang a drum. I’ve done a few ongoing semester programs, but they are hard to get going, and usually the school already has a music program. You need to present them with a course curriculum, and the kids don’t seem to benefit as much.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E207" is="qowt-word-para" qowt-eid="E207" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E208" is="qowt-word-para" qowt-eid="E208" qowt-entry="undefined" qowt-lvl="undefined"><span id="E209" is="qowt-word-run" qowt-eid="E209">Selling the idea to the school is very difficult as opposed to a one day or half day drumming event. I find that the kids actually become more interested and intrigued by hand drumming if it’s a one day or sometimes a one week program. With private or public schools it’s important to know the schools code of conduct, and I adjust the drum circle accordingly. Sometimes I teach little family home schooling drum circles. Where it’s one on one, or one on two drumming lessons, I like to include the parents in the drumming if I can. They are usually just sitting there watching, so I try to include them in the drumming as well. It’s better for their relationship with their children anyway.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E213" is="qowt-word-para" qowt-eid="E213" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E214" is="qowt-word-para" named-flow="FLOW-1094" qowt-eid="E214" qowt-entry="undefined" qowt-lvl="undefined"><span id="E215" is="qowt-word-run" named-flow="FLOW-1095" qowt-eid="E215">Working with mixed age groups of children is obviously a little more challenging. And, if outdoors, even more so. When working with only one child, you have to be able to keep</span></p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI9" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><template class="style-scope qowt-section" id="headerTemplates"></template><template class="style-scope qowt-section" id="footerTemplates"></template><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" is="qowt-word-para" named-flow="FLOW-1094" qowt-eid="E214" qowt-entry="undefined" qowt-lvl="undefined"><span is="qowt-word-run" named-flow="FLOW-1095" qowt-eid="E215">their interest for an entire hour. Younger kids have shorter attention spans, and you need a bunch of ideas ready to go with. There are quite a few drumming ideas, and games here. As a general rule, when I work with particularly younger age groups, I will structure my program to suit them, and the goals of the educators, or parents. I usually talk with, or email them beforehand, and we discuss it. I ask what their particular vision of the drumming might be, and what they would like to achieve from it. We figure out the program, and tailor one that’s right for them.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E216" is="qowt-word-para" qowt-eid="E216" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E217" is="qowt-word-para" qowt-eid="E217" qowt-entry="undefined" qowt-lvl="undefined"><span id="E218" is="qowt-word-run" qowt-eid="E218">Take it one step at a time. Getting a foot in the door by doing a benefit “Teach In” at smaller schools can do wonders for you. Drum circles usually only get press if it’s something negative, and most of the time I am pitching the idea to someone who has never seen one before. So I have to overcome that and explain the drums are expensive. That they don’t just magically appear, and years of work, and musical training goes into this. I charge by the event, and not the hour. A 1 hour drum circle takes me 4 hours to pull off by the time I figure in the loading, unloading, travel, setup and etc. So if it’s two 45 minute drum circles, 2 hours, however it goes, I charge by the event.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E219" is="qowt-word-para" qowt-eid="E219" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E220" is="qowt-word-para" qowt-eid="E220" qowt-entry="undefined" qowt-lvl="undefined"><span id="E221" is="qowt-word-run" qowt-eid="E221">Most of the schools and youth groups that benefit from this the most have very limited recreational budgets. So if I can get $100 or $200 for the day, I’m doing pretty well. This kind of work pays in the heart, more than it does in the wallet. You’re doing something that may inspire these kids to make playing music a part of their lives like it did for me. It is a life changing thing you are offering. So that hundred bucks may not seem like much after a full day’s work, but you put something good out in the world. At the end of the day when I sit and reflect how things went, that’s when it sinks in. You remember the smiles on the kid’s faces, how much fun they had, inspiring them, and how great they sounded.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E225" is="qowt-word-para" qowt-eid="E225" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E226" is="qowt-word-para" qowt-eid="E226" qowt-entry="undefined" qowt-lvl="undefined"><span id="E227" is="qowt-word-run" qowt-eid="E227">Back to the pitch. Some of the questions that I ask beforehand include the following. Are there are any issues I should be aware of? What is their policy on any extremely disruptive behavior, etc. Unfortunately you don’t always have that luxury when you work with a group, but I try to get as much information as I can. Even beforehand, I research the particular school, club, youth group, or whatever it might happen to be. I speak to the administrators, look up their website, examine their mission statement, and try to have a good understanding of who they are, and what they are about. It just makes good sense to do your homework before you go in there to facilitate a drum circle for a children’s group.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E228" is="qowt-word-para" qowt-eid="E228" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E229" is="qowt-word-para" qowt-eid="E229" qowt-entry="undefined" qowt-lvl="undefined"><span id="E230" is="qowt-word-run" qowt-eid="E230">Kids are very impressionable, and I feel you are a role model for them. Whether you think so, or not. Children see any adult in authority as a potential role model. In a relatively short time, kids can understand how music is being made, and they are making it themselves. Perhaps a few will like it so much they will look harder at the school music programs where they now understand they can express themselves creatively, and possibly even join one. Maybe some will join the school marching band. I did, and it was fun. That was the only place in school where I fit in, and wasn’t the outsider. I wasn’t one of the cool kids, the pretty kids, the jocks, you get the idea.</span></p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI10" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><template class="style-scope qowt-section" id="headerTemplates"></template><template class="style-scope qowt-section" id="footerTemplates"></template><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E231" is="qowt-word-para" qowt-eid="E231" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E232" is="qowt-word-para" qowt-eid="E232" qowt-entry="undefined" qowt-lvl="undefined"><span id="E233" is="qowt-word-run" qowt-eid="E233">You can make a big difference in somebody’s life – that’s the real point here. They might go on to have a great musical career. Even if not, they will have a safe place they can go to heal themselves when they are hurting. They can also play their drum as an outlet for frustration, peer pressures, stress, hyperactivity, or even just for fun. If it’s a music program, a small group, or a school class situation, or just a mixed age’s event, each one has a slightly different approach that I use. Whenever it’s possible I try to speak to the parents or teachers in advance and ask for some advice. They are a big help if you can get it from them.</span></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E-306" is="qowt-word-para" qowt-eid="E-306" qowt-entry="undefined" qowt-lvl="undefined"><span id="E-307" is="qowt-word-run" qowt-eid="E-307"><br /></span></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E238" is="qowt-word-para" qowt-eid="E238" qowt-entry="undefined" qowt-lvl="undefined"><span id="E239" is="qowt-word-run" qowt-eid="E239">As a general rule, at the start of a drum circle or drumming program, I like to get them tired out a little bit first. I get them up and moving or dancing with those small egg shakers, as I play a dancing rhythm on my Djembe. Then we get to the drumming, after a warm up rhythm, I mix in a quick lesson here and there. The history of where the instruments are from, and some lessons about hand technique. So a children’s drum circle needs to be tailored a little bit to the specific needs of the age group, or mixed ages.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E240" is="qowt-word-para" qowt-eid="E240" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E241" is="qowt-word-para" qowt-eid="E241" qowt-entry="undefined" qowt-lvl="undefined"><span id="E242" is="qowt-word-run" qowt-eid="E242">You can try some of the ideas below with different age ranges or with mixed ages. Some of them are mine, some are ideas I learned from other teachers, and facilitators whom I’ve seen work with children a lot. More often than not, if it’s ok with the staff, I begin drumming, as my group comes in and wordlessly gesture to them to join in with the shakers. I don't speak till they all have started to play. This may work, or it can lead to a stand-off. It depends on the group, and the situation. Usually it’s a smooth move and transition, the kids just join right in and play what they feel. It sets the right kind of tone for the session. Hey, this is going to be fun!</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E243" is="qowt-word-para" qowt-eid="E243" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E244" is="qowt-word-para" qowt-eid="E244" qowt-entry="undefined" qowt-lvl="undefined"><span id="E245" is="qowt-word-run" qowt-eid="E245">Sometimes the teachers want everyone to be seated first before playing, and say some things. If that’s the case, then I let them do that, and get to the drumming as quick as I can. Since every situation is different, I never really know how I am going to start. My preference is me playing as they enter, and gesture to them to join me. As a general rule, as I mention in more detail below, I want to get the kids up on their feet and moving around in the circle to tire them out a little bit first thing. Then they are a lot easier to work with. I use the little egg shakers, one or two for each kid. I pre-set them on the chairs, and when they enter the room I start playing a funky beat on my Djembe, and ask them to play the shakers with me and dance in the center. Obviously, this needs to be discussed with the teacher first, so see if they approve of starting this way. For the second time I work with them, I use small tambourines instead of the egg shakers.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E246" is="qowt-word-para" qowt-eid="E246" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E247" is="qowt-word-para" qowt-eid="E247" qowt-entry="undefined" qowt-lvl="undefined"><span id="E248" is="qowt-word-run" qowt-eid="E248">If trying to pitch an ongoing program to a school, they are more than likely going to expect a curriculum of some sort from you. What will you be teaching, and how do you plan to do it? They like to see that there is some structure involved in your lessons. I show them sample programs I have used in the past. Here's a basic sample curriculum:</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E249" is="qowt-word-para" qowt-eid="E249" qowt-entry="undefined" qowt-lvl="undefined"><br /></p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI11" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><template class="style-scope qowt-section" id="headerTemplates"></template><template class="style-scope qowt-section" id="footerTemplates"></template><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E250" is="qowt-word-para" qowt-eid="E250" qowt-entry="undefined" qowt-lvl="undefined"><span id="E251" is="qowt-word-run" qowt-eid="E251">Lesson One: Warm up drum jam. Then, introduce the idea how to make homemade drum and percussion instruments. Including a brief discussion of music theory. What determines pitch, volume, tone, and resonance. Followed by a brief drum circle finale to experiment with the drums, and percussion sounds.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E252" is="qowt-word-para" qowt-eid="E252" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E253" is="qowt-word-para" qowt-eid="E253" qowt-entry="undefined" qowt-lvl="undefined"><span id="E254" is="qowt-word-run" qowt-eid="E254">Lesson Two: Learning rhythms from around the world. A brief sample of rhythms from different countries and regions. What instruments are used in these cultures? Followed by a brief drum circle, where we try a few cultural drum rhythms out. (As part 2 of the prior session.) And how do the homemade instruments compare to the drums and percussion instruments from around the world? The tone, shape, sound, purpose, and appearance, etc.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E255" is="qowt-word-para" qowt-eid="E255" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E256" is="qowt-word-para" qowt-eid="E256" qowt-entry="undefined" qowt-lvl="undefined"><span id="E257" is="qowt-word-run" qowt-eid="E257">Lesson Three: Playing various drum rhythms as a group. Including some basic drum circle activities, more lessons on music theory, and some drum circle fun. (As part 3 of the series, applying knowledge from both sessions 1 and 2.) The emphasis is on group listening, group song creation, and the building of a group dynamic.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E258" is="qowt-word-para" qowt-eid="E258" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E259" is="qowt-word-para" qowt-eid="E259" qowt-entry="undefined" qowt-lvl="undefined"><span id="E260" is="qowt-word-run" qowt-eid="E260">Lesson Four: The playing of various rhythms from different cultures. Then the performance comes next. (Optional.)</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E261" is="qowt-word-para" qowt-eid="E261" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E262" is="qowt-word-para" qowt-eid="E262" qowt-entry="undefined" qowt-lvl="undefined"><span id="E263" is="qowt-word-run" qowt-eid="E263">My approach with this kind of thing is slightly different. I like to educate the kids about playing goat skin wooden body drums. I always begin with the drums away from the center of the circle, far enough in so that they can not be played as they take their seats in the circle. I start with the egg shakers, and let them think about how they will soon be playing all those cool looking drums over there, and wondering what they might sound like. Then I begin to introduce the drums as my friends, and encourage a conversation about how we treat our friends, and how we like to be treated. I ask them to treat my drums that way please.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E264" is="qowt-word-para" qowt-eid="E264" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E265" is="qowt-word-para" qowt-eid="E265" qowt-entry="undefined" qowt-lvl="undefined"><span id="E266" is="qowt-word-run" qowt-eid="E266">These are my friends, my good buddies, so please be nice to them. And they will be nice to you. Please don’t bully my friends. Then we play. After a few rhythms I break for a few minutes and talk a bit about what they are made of, highlighting the wood first then goat. Sometimes, there is a vegetarian in the class who is repulsed, or refuses to even touch them. I assure them that their views are respected and then give them a synthetic head drum, like a Doumbek. It’s pretty rare, but it has happened to me before. I don’t have any gluten free drums. (well, actually, I do.)</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E270" is="qowt-word-para" qowt-eid="E270" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E271" is="qowt-word-para" qowt-eid="E271" qowt-entry="undefined" qowt-lvl="undefined"><span id="E272" is="qowt-word-run" qowt-eid="E272">Occasionally, I am called upon to do a one time series of short drum circles for multiple groups of kids at a school or with a group. Often they come in one class right after another without a chance to even take a breath. I use the following, slightly different approach for that. When the kids come into the room, I will be playing my drum and have a shaker or drum placed out on each chair, or in front of it. I gesture/ask them to dance, or play the shakers along with me as a warm up and also to give them something to do immediately. When all of them are there, I move on to the following.</span></p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI12" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><template class="style-scope qowt-section" id="headerTemplates"></template><template class="style-scope qowt-section" id="footerTemplates"></template><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E273" is="qowt-word-para" qowt-eid="E273" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E274" is="qowt-word-para" qowt-eid="E274" qowt-entry="undefined" qowt-lvl="undefined"><span id="E275" is="qowt-word-run" qowt-eid="E275">5 minutes – Warm up and build rapport. We start off with a body warm up, doing arm stretches, etc. I act a little silly to get them to laugh, setting the mood for fun. This puts us all in the right frame of mind and starts to build my relationship with them. I introduce the drums, which are over to the side, again, as my friends. I talk about how we treat our friends. This is so very important. If I lose a drum, It’s the equivalent to a day’s pay.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E276" is="qowt-word-para" qowt-eid="E276" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E277" is="qowt-word-para" qowt-eid="E277" qowt-entry="undefined" qowt-lvl="undefined"><span id="E278" is="qowt-word-run" qowt-eid="E278">I have no percussion items that are played with a stick, because it usually finds it’s way to a goatskin drum head. Bye bye $60. Back to the fun. Five minutes – Drum, and dance. I play an African rhythm on my djembe. Depending on the number of kids in each age group, and how much room we have, the rhythm also includes some movements and dance. Each child plays a shaker and dances while I drum. This activity tires them out a little bit more, so that they are more in the mood to learn. Plus, it is great fun.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E279" is="qowt-word-para" qowt-eid="E279" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E280" is="qowt-word-para" qowt-eid="E280" qowt-entry="undefined" qowt-lvl="undefined"><span id="E281" is="qowt-word-run" qowt-eid="E281">An alternate is doing an activity I call funky musical chairs. Five minutes – Sound shapes and/or boom whackers. I use these simple percussion instruments to teach some basic music theory playing on the downbeat, in a 4/4 time, using these instruments. In the process, I demonstrate how mathematics applies to music theory. Then a short call and response, then maybe a call and echo rhythm game. With vocals or percussion instruments.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E282" is="qowt-word-para" qowt-eid="E282" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E283" is="qowt-word-para" qowt-eid="E283" qowt-entry="undefined" qowt-lvl="undefined"><span id="E284" is="qowt-word-run" qowt-eid="E284">5 minutes – The introduction to the drums, with some brief history of djembe, doumbek, and other drums. I demonstrate the physics of playing a drum. How it is shaped like a rocket engine. We apply the “energy” with our hands and the sound is the rocket fuel. Each child selects a drum, and I teach them how to play the bass and tone notes.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E285" is="qowt-word-para" qowt-eid="E285" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E286" is="qowt-word-para" qowt-eid="E286" qowt-entry="undefined" qowt-lvl="undefined"><span id="E287" is="qowt-word-run" qowt-eid="E287">20 minutes – Group drumming on the djembes and doumbeks. We play a few basic rhythms from each culture and have some fun drumming. End with a big rumble finish. That’s it. Take a breath, Next group.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E292" is="qowt-word-para" qowt-eid="E292" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E293" is="qowt-word-para" qowt-eid="E293" qowt-entry="undefined" qowt-lvl="undefined"><span id="E294" is="qowt-word-run" qowt-eid="E294">Before, or afterwards, try suggesting to the teachers to have the kids read books and journals about musicians, and about different music genres. Even suggest that they talk to musicians whenever they can. For the most part, most musicians are very accessible and willing to help by answering questions about our craft, to help them grow musically. Always try to be on the look out for these opportunities to chat a little and learn something from a professional.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E295" is="qowt-word-para" qowt-eid="E295" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E296" is="qowt-word-para" named-flow="FLOW-2078" qowt-eid="E296" qowt-entry="undefined" qowt-lvl="undefined"><span id="E297" is="qowt-word-run" named-flow="FLOW-2079" qowt-eid="E297">Suggest to the kids that they have their parents take them to live music performances if possible. Attend a clinic, go to a concert, stage play, or a music class. Or bring Djembe Dad to school week. And to listen more closely to the beats of their favorite music in their iPods or mp3 players. One of my favorite mixed aged kids circle was a birthday party in a park, when a friend of mine's very young daughter danced her way to the center and started to facilitate the drum circle. She grabbed a rattle and rattled at just about every drummer there. Any they all responded to her musically. Then she started dancing. She was a natural</span></p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI13" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><template class="style-scope qowt-section" id="headerTemplates"></template><template class="style-scope qowt-section" id="footerTemplates"></template><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" is="qowt-word-para" named-flow="FLOW-2078" qowt-eid="E296" qowt-entry="undefined" qowt-lvl="undefined"><span is="qowt-word-run" named-flow="FLOW-2079" qowt-eid="E297">facilitator.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E298" is="qowt-word-para" qowt-eid="E298" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E299" is="qowt-word-para" qowt-eid="E299" qowt-entry="undefined" qowt-lvl="undefined"><span id="E300" is="qowt-word-run" qowt-eid="E300">Lots of kids have never played a percussion instrument before, so some of them are very timed, scared, and even self conscious. Some others can‘t wait to get to it. (Not as much as with the teens though.) Don’t expect to get miracles on the first session with kids. Sometimes it may take them two or more drum circles to loosen them up enough, and become comfortable with you. The second session is when the most magical things usually begin to happen. All of a sudden you may find yourself and the entire group living totally in the moment, all in unity, and even sounding pretty good. This happens with dancers dancing, also.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E301" is="qowt-word-para" qowt-eid="E301" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E302" is="qowt-word-para" qowt-eid="E302" qowt-entry="undefined" qowt-lvl="undefined"><span id="E303" is="qowt-word-run" qowt-eid="E303">That’s one of the reasons why teenagers, and young adults get so hooked on raves, (parties) They dance and dance for hours and all of a sudden it’s morning, and the sun is rising. And to them it feels like it’s just been a few hours. Like the golden ratio exists in music, it also exists in dance and singing. Unfortunately, at most of these rave parties there is underage drinking and/or some drugs involved.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E304" is="qowt-word-para" qowt-eid="E304" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E305" is="qowt-word-para" qowt-eid="E305" qowt-entry="undefined" qowt-lvl="undefined"><span id="E306" is="qowt-word-run" qowt-eid="E306">Believe it or not, some kids can be good facilitators. Many are naturals at it, and love to get to be in the center alone for a few minutes. Almost all age levels of kids seem to like giving it a try. I'm always amazed at what they do in some drum circles. I offer to let them do it all the time. Almost every time it works perfectly. (Almost.) With mixed ages of children, it is considerably more challenging. I try not to show so many things at once. I don’t want learning about drums to get in the way of just learning to drum.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E307" is="qowt-word-para" qowt-eid="E307" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E308" is="qowt-word-para" qowt-eid="E308" qowt-entry="undefined" qowt-lvl="undefined"><span id="E309" is="qowt-word-run" qowt-eid="E309">I need to try really hard, not to try too hard, or over think it too much. It’s supposed to be fun. Let the kids have a little fun along with you. I usually tell them, “Just have fun and play what you feel like playing to the beat with me. Just follow the beat.” When you think about how to drum too much, it takes the pure joy out of the drumming. And as odd as it may sound, don’t forget to breathe, or remind them to breathe. Many musicians and teachers will tell you that. Take a deep breath now and then as you play, and remind the others to do the same thing, take it all in, and enjoy the experience.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E313" is="qowt-word-para" qowt-eid="E313" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E314" is="qowt-word-para" qowt-eid="E314" qowt-entry="undefined" qowt-lvl="undefined"><span id="E315" is="qowt-word-run" qowt-eid="E315">Hula hoops are your friend at kids drum circles. I bring 6. Kids hoop to the beat inside & outside the circle.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E316" is="qowt-word-para" qowt-eid="E316" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E317" is="qowt-word-para" qowt-eid="E317" qowt-entry="undefined" qowt-lvl="undefined"><span id="E318" is="qowt-word-run" qowt-eid="E318">I’ve found that certain ages are much easier to work with. Myself, and most facilitators I’ve spoken with, like working with the 8 to 13 year old age range kids, because they are like these little sponges wanting to soak up all these new fun things. They are also somewhat more used to having respect for authority, or what an adult has to say. Anyway, the 10 year olds tend to raise their hands to ask questions, and they are much more orderly, making it easier for you to work with them. They can just pick up fun rhythms very quickly, if you vocalize them first.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E319" is="qowt-word-para" qowt-eid="E319" qowt-entry="undefined" qowt-lvl="undefined"><br /></p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI15" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><template class="style-scope qowt-section" id="headerTemplates"></template><template class="style-scope qowt-section" id="footerTemplates"></template><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E320" is="qowt-word-para" qowt-eid="E320" qowt-entry="undefined" qowt-lvl="undefined"><span id="E321" is="qowt-word-run" qowt-eid="E321">Things certainly have changed over the years in the schools. (Me being 50+ years old now) Early on at the beginning of one year, I saw a teacher in 6th grade put an extremely disruptive student up against the wall, get in his face and read him the riot act. Well, as a result we all behaved really well in his class for the rest of the year. I sure didn’t want to get embarrassed like that in front of all my friends. That’s all changed now of course, that particular teacher would probably loose his job, and never teach again. Nowadays we have kids bringing weapons to school. That never used to happen because I think kids had more respect for authority. I wasn’t going to mess with some of those teachers... I was just plain afraid of a few of them.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E322" is="qowt-word-para" qowt-eid="E322" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E323" is="qowt-word-para" qowt-eid="E323" qowt-entry="undefined" qowt-lvl="undefined"><span id="E324" is="qowt-word-run" qowt-eid="E324">I started playing music as a child, and went on to join the school band. Whatever a child may decide to do with their lives as they grow up, I think music helps them a lot in many aspects of their life. Lots of the kids I have worked with have done exactly that, joined the band. So I feel like I am introducing something really positive into their lives. Maybe I inspired them to be a musician, as a hobby or even a career. You never know how deeply you may affect some of these kids. They get an outlet, if nothing else. So to try and sum up a bit, if I feel I need to, or the teachers desire it, I mix in some drumming games, and activities with kids.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E325" is="qowt-word-para" qowt-eid="E325" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E326" is="qowt-word-para" qowt-eid="E326" qowt-entry="undefined" qowt-lvl="undefined"><span id="E327" is="qowt-word-run" qowt-eid="E327">Whatever the age group is, I adjust my program accordingly. Mostly, If it’s up to me, I just want them to drum, and create music as a group. But I still spend a little extra time, to just give them a few pointers on how to drum without hurting themselves, and then just start out rhythms and let them play. I let it go wherever it goes for 5 minutes or so, bring it to an end, and then start up another one. (Or, offer to let them start one.) I want to educate them a little, but also I need to pace myself. So that’s why I mix in a little about the history of drumming, and the different styles of drums every 10 minutes or so. Then I can keep the ideas flowing in my head.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E328" is="qowt-word-para" qowt-eid="E328" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E329" is="qowt-word-para" qowt-eid="E329" qowt-entry="undefined" qowt-lvl="undefined"><span id="E330" is="qowt-word-run" qowt-eid="E330">I keep the drumming sets a little shorter, unlike with the adults. Kids are very perceptive, they can tell if you are unsure of yourself, or don’t have a lot of confidence. They can see right through you. I try to treat kids as I would adults. I talk to them like they are adults, and I immediately gain their respect faster. It makes the job a whole lot easier. You are all a bunch of cool dudes, & we are jammin’ in the band.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E331" is="qowt-word-para" qowt-eid="E331" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E332" is="qowt-word-para" qowt-eid="E332" qowt-entry="undefined" qowt-lvl="undefined"><span id="E333" is="qowt-word-run" qowt-eid="E333">Sometimes If I feel they (or I) need a break, or I need to do a big change in the group dynamic, what I suggest is a five minute break and when they come back, they sit in the chair across from them and play whatever drum is there. Or, I will have them pass their drum carefully to the person on their right periodically between rhythms. It works. With the ok from the teachers, you can get a sort of Simon Says thing going later, or funky musical chairs thing going if you want. But, right away, they see that the ones who lost their seat get to play the drums quicker, while the other kids still parade around. They figure this one out really fast. I get into that, and a few more ideas to use with kids in more detail in a moment.</span></p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI16" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><template class="style-scope qowt-section" id="headerTemplates"></template><template class="style-scope qowt-section" id="footerTemplates"></template><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E337" is="qowt-word-para" qowt-eid="E337" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E338" is="qowt-word-para" qowt-eid="E338" qowt-entry="undefined" qowt-lvl="undefined"><span id="E339" is="qowt-word-run" qowt-eid="E339">A lot of these drumming games and activities are ones I thought up. At least they were created in my head, but most likely many of them exist in the collective consciousness of most educators, and drum circle facilitators. (What idea really is original?). We all see ideas, and get pointers from others to try out for ourselves. Many of these ideas and games have probably been also thought of and tried by others, and passed along to help us all to be better facilitators, and ultimately do a better job helping people to enjoy drumming. So I believe in the sharing of ideas, I think we should all share them, and not hold onto them secretly, as some people do.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E340" is="qowt-word-para" qowt-eid="E340" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E341" is="qowt-word-para" qowt-eid="E341" qowt-entry="undefined" qowt-lvl="undefined"><span id="E342" is="qowt-word-run" qowt-eid="E342">Feel free to try any of them, or pass them on to your friends. I have no problem if somebody comes to watch me and see what I’m doing. It happens all the time. There's a few facilitators, that rather than just asking me, which I would happily do for them, they send their spies to come watch me work. Whatever, I don’t care. Good, I hope you learn something you can use to help kids to enjoy drumming more. Drumming should be about sharing. I still show them everything I do, and don’t hold any ideas back just because I happen to see them out there watching.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E343" is="qowt-word-para" qowt-eid="E343" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E344" is="qowt-word-para" qowt-eid="E344" qowt-entry="undefined" qowt-lvl="undefined"><span id="E345" is="qowt-word-run" qowt-eid="E345">The kids are more important than those that may feel like they are the competition. I'd rather work with them, or at least have a cordial working relationship. Be supportive, share leeds et. There's plenty for all. I find that it is best to have a good standard operating procedure, or prepared program. Like my mixed ages adult set list. Even though things will likely change in the moment, at least I have a good road map in my head. Also, the transition points are much faster, and almost continuous. No matter what age the kids are, or what kind of group it is I’m working with, I have to keep my wits about me, and my head in the game. I usually position myself at the drum circle where I can see the entrance, so I know what’s coming my way.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E346" is="qowt-word-para" qowt-eid="E346" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E347" is="qowt-word-para" qowt-eid="E347" qowt-entry="undefined" qowt-lvl="undefined"><span id="E348" is="qowt-word-run" qowt-eid="E348">A curve or an unexpected surprise can come at you at any moment, and you need to be able to adjust to it if necessary, and go with it. Whatever it might be, a few extra few people wandering in, some joining in late, or whatever might happen, you can be ready for it at the spur of the moment, if you are prepared mentally to transition them in seamlessly. If the rhythm transitions or changes, I suggest rolling with it, especially at one time drumming events. So what I am doing is thinking about the now, the “in the moment” most of the time. But I’m constantly reassessing the group dynamic in case I need to make any adjustments. Is it getting too loud? Too sloppy? Is it time to slow things down? Does anyone need any assistance? Are they bored, tired? Need the bathroom? If you are experienced, and in the moment, you can feel what adjustments need to happen, and make them accordingly right away.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E349" is="qowt-word-para" qowt-eid="E349" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E350" is="qowt-word-para" named-flow="FLOW-1777" qowt-eid="E350" qowt-entry="undefined" qowt-lvl="undefined"><span id="E351" is="qowt-word-run" named-flow="FLOW-1778" qowt-eid="E351">I think kind of like when you are in a chess game. With children, I try to think just a few moves ahead. Like five minutes or so, ahead. But most of that is from information I am gathering from back when I was in the moment. I have to snap out for a few seconds to</span></p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI17" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><template class="style-scope qowt-section" id="headerTemplates"></template><template class="style-scope qowt-section" id="footerTemplates"></template><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" is="qowt-word-para" named-flow="FLOW-1777" qowt-eid="E350" qowt-entry="undefined" qowt-lvl="undefined"><span is="qowt-word-run" named-flow="FLOW-1778" qowt-eid="E351">plan the next rhythm to play. What does the group feel like they want to do next? Where are we headed? The thing I had in mind a moment ago, might not feel right at this point. So I need to change it up, and improvise away from the set list, or program. Just like you don’t want to hear the same song over and over, you need to sense what is the next thing is to do.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E352" is="qowt-word-para" qowt-eid="E352" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E353" is="qowt-word-para" qowt-eid="E353" qowt-entry="undefined" qowt-lvl="undefined"><span id="E354" is="qowt-word-run" qowt-eid="E354">When is the right time to end the rhythm, how am I going to end it? I don’t want to use a rumble for every single one, so I use a number of different endings. When we stop, should we chat a little, so they can rest? Are there any announcements that need to be made by the staff? This is a good way to give your hands a rest also. Shake your hands and then rest them. Or do we just launch into another rhythm, or is it time for a rhythmic game? This kind of thought process helps me to live in the moment more comfortably, and transition points that happen are much smoother for me. I keep the plan moving in my head, adjusting it all the time to the group feeling, and the vibe. It takes a little experience to be able to do it. After four or five times, you will have it down.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E355" is="qowt-word-para" qowt-eid="E355" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E356" is="qowt-word-para" qowt-eid="E356" qowt-entry="undefined" qowt-lvl="undefined"><span id="E357" is="qowt-word-run" qowt-eid="E357">Also I need to keep in mind the overall picture of the program, however it was designed for the group. I need to watch the clock, for example for break time. I don’t like to have to be aware of the clock unless I have to be. Where will the group be in 15 minutes? Where will they be in a half hour? Do I have another group coming in right after this one? I may need to allow some time for any primary activities that may have been planned by the staff. I may have to cut things short, if a few rhythms run too long. (Which often happens if it’s going good.) And I need to allow time for a good ending, and leave a few minutes for the kids to ask a few questions, and answers at the end. Most of them are eager to learn about the drums, and percussion. You can sort of map out, or outline your session, and weave it into the set list.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E358" is="qowt-word-para" qowt-eid="E358" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E359" is="qowt-word-para" qowt-eid="E359" qowt-entry="undefined" qowt-lvl="undefined"><span id="E360" is="qowt-word-run" qowt-eid="E360">If I’m working more than one hour, I plan it one hour at a time, so my head isn’t overburdened with so much information in it that I might forget something important. It’s a good idea, because you can’t always remember everything all the time. I sometimes forget key elements, like the basics. Where do some of these drums come from? What are they called? How is the sound made? It’s easy to forget. It’s blunder time. For example, after one drum circle the teacher from the older classes asked me to explain where each type of drum originated because they had just studied the world map, and they were very curious about the world now. I felt like a dope because I forgot to mention it that time.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E361" is="qowt-word-para" qowt-eid="E361" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E362" is="qowt-word-para" qowt-eid="E362" qowt-entry="undefined" qowt-lvl="undefined"><span id="E363" is="qowt-word-run" qowt-eid="E363">This is also why having a feedback, or survey form, to give the teacher is so useful after a drum circle. You can get some perspective and critique on what you can improve on, and what went well about the drum circle. What did they like the most? What didn't work? How did they feel after? Etc.</span><span id="E-429" is="qowt-word-run" qowt-eid="E-429"></span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E367" is="qowt-word-para" qowt-eid="E367" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E368" is="qowt-word-para" named-flow="FLOW-1799" qowt-eid="E368" qowt-entry="undefined" qowt-lvl="undefined"><span id="E369" is="qowt-word-run" named-flow="FLOW-1800" qowt-eid="E369">In my experience a lot of the kids are either overly excited, or a little nervous and possibly even scared at first. So welcoming them and telling them that this is all about having fun, and that there are no mistakes you can make. You are not going to mess anyone else up if</span></p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI18" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><template class="style-scope qowt-section" id="headerTemplates"></template><template class="style-scope qowt-section" id="footerTemplates"></template><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" is="qowt-word-para" named-flow="FLOW-1799" qowt-eid="E368" qowt-entry="undefined" qowt-lvl="undefined"><span is="qowt-word-run" named-flow="FLOW-1800" qowt-eid="E369">you think you made a mistake. I’m not going to be giving you a grade here. Each one of you is unique, different, and special, (just like the drums, their hands, and their fingerprints). All of you have a special contribution to make, whether it is a little or a lot. It puts them at ease right away. (And me to.)</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E370" is="qowt-word-para" qowt-eid="E370" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E371" is="qowt-word-para" qowt-eid="E371" qowt-entry="undefined" qowt-lvl="undefined"><span id="E372" is="qowt-word-run" qowt-eid="E372">I remind them of their beating hearts, the way they walk, and that in all of nature there is rhythm, even the city sounds have rhythm, and everyone has rhythm in their bodies. And I try to get them all playing as quickly as possible. You can mix in the history, theory, or physics lessons between the rhythms like I do if it’s called for. Most of the time kids are fascinated by both. Especially when I talk about how a djembe is shaped like a rocket engine. This seems to fascinate children of all ages, and using a djembe to explain to them the basic physics behind how sound works, and is created.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E373" is="qowt-word-para" qowt-eid="E373" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E374" is="qowt-word-para" qowt-eid="E374" qowt-entry="undefined" qowt-lvl="undefined"><span id="E375" is="qowt-word-run" qowt-eid="E375">It is also a great way to demonstrate a little hand drumming technique. After all, a djembe is shaped like a space rocket engine. I usually bring a big picture of a NASA rocket taking off to better illustrate this at some point during a lesson. I’m using visual communication. Where is the sound of my drum coming from? You can demonstrate how the djembe sounds when the bottom of it is held flat on the ground, and then again with the drum tipped towards the children. That’s a big “ah ha” moment for them.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E376" is="qowt-word-para" qowt-eid="E376" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E377" is="qowt-word-para" qowt-eid="E377" qowt-entry="undefined" qowt-lvl="undefined"><span id="E378" is="qowt-word-run" qowt-eid="E378">They can hear, and feel the change in the pitch of the notes this way. I explain how the energy from my arm and hand is being transferred to the drum head, creating that sound fuel. That is the rocket fuel. I show them an 8 x 10” photo of a rocket ship taking off, and the shape of the exhaust cone, with the fuel coming out of the bottom. “See how similar it is to the bottom part of this djembe drum?” It compresses the energy before letting it out, making it more efficient, and louder. You are providing the fuel for it to “take off”. One good idea, is to try walking around with the drum held in your arm sideways, with one hand doing a bass note over and over, near each kid. Get them to hold up their hands, palms out, and feel the percussion waves coming out from the bottom of the djembe as you walk past them, with the drum up, demonstrating it for them.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E379" is="qowt-word-para" qowt-eid="E379" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E380" is="qowt-word-para" qowt-eid="E380" qowt-entry="undefined" qowt-lvl="undefined"><span id="E381" is="qowt-word-run" qowt-eid="E381">They love the idea that they can feel the whoosh of sound waves, as well as hear it. The teachers always love this bit. After all, I get to tell the kids they can do something they rarely ever get to do. Make lots of noise. And I get to be a kid again for a little while to.</span><span id="E-463" is="qowt-word-run" qowt-eid="E-463"></span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E385" is="qowt-word-para" qowt-eid="E385" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E386" is="qowt-word-para" qowt-eid="E386" qowt-entry="undefined" qowt-lvl="undefined"><span id="E387" is="qowt-word-run" qowt-eid="E387">Here are some more fun ideas to try: I sometimes show the kids, and the teachers the difference between an "Echo", ("You play exactly what I play"), and a "Call & Response", ("Whatever you play in response to my call is fine.")</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E388" is="qowt-word-para" qowt-eid="E388" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E389" is="qowt-word-para" qowt-eid="E389" qowt-entry="undefined" qowt-lvl="undefined"><span id="E390" is="qowt-word-run" qowt-eid="E390">I’ve noticed that when I have the kids start out a rhythm on their own, it usually falls into kind of a default pattern: 1-2 pause 1-2-3. I call it the default rhythm. Bass--- Bass---tone-tone-tone (Try saying anything that fits to it: “I like Choc-Late-Cake”.) It usually turns into a nice jam, and kids of all ages can pick it up quickly.</span></p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI19" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><template class="style-scope qowt-section" id="headerTemplates"></template><template class="style-scope qowt-section" id="footerTemplates"></template><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E391" is="qowt-word-para" qowt-eid="E391" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E392" is="qowt-word-para" qowt-eid="E392" qowt-entry="undefined" qowt-lvl="undefined"><span id="E393" is="qowt-word-run" qowt-eid="E393">Or then fall into a Conga line rhythm. Or, start it out for them. A Conga line is also a fun activity while playing. Get them parading around the room with shakers, as you play a rhythm. Just clear it with the teacher first.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E394" is="qowt-word-para" qowt-eid="E394" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E395" is="qowt-word-para" qowt-eid="E395" qowt-entry="undefined" qowt-lvl="undefined"><span id="E396" is="qowt-word-run" qowt-eid="E396">Try this one: 1-2-3-4-----5----6 Tone tone tone tone (pause) boom boom (pause, repeat)</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E397" is="qowt-word-para" qowt-eid="E397" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E398" is="qowt-word-para" qowt-eid="E398" qowt-entry="undefined" qowt-lvl="undefined"><span id="E399" is="qowt-word-run" qowt-eid="E399">Or this one: 1-2-3-4-5----6. boom boom boom boom boom------Bang! (repeat)</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E400" is="qowt-word-para" qowt-eid="E400" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E401" is="qowt-word-para" qowt-eid="E401" qowt-entry="undefined" qowt-lvl="undefined"><span id="E402" is="qowt-word-run" qowt-eid="E402">"Pass the popcorn, Please" is a fun idea. Dum - ba dum dum - - Dum!</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E403" is="qowt-word-para" qowt-eid="E403" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E404" is="qowt-word-para" qowt-eid="E404" qowt-entry="undefined" qowt-lvl="undefined"><span id="E405" is="qowt-word-run" qowt-eid="E405">Don't expect to play a rhythm for more than four, or five minutes. The volume and down cues are always good to teach right away. Rumbles are life savers. Sometimes, I start with one at the beginning of the program. I really find that what I say in the very beginning is the most important thing. First impressions are so important with kids. Got to set the right tone.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E406" is="qowt-word-para" qowt-eid="E406" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E407" is="qowt-word-para" qowt-eid="E407" qowt-entry="undefined" qowt-lvl="undefined"><span id="E408" is="qowt-word-run" qowt-eid="E408">Just like with adults, I often begin a rhythm to words, or with some sort of vocal association to it, to make it easier for the kids to quickly grasp onto the beat in the music.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E409" is="qowt-word-para" qowt-eid="E409" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E410" is="qowt-word-para" qowt-eid="E410" qowt-entry="undefined" qowt-lvl="undefined"><span id="E411" is="qowt-word-run" qowt-eid="E411">As an example: "Look, a great big frog!" (The Look is a bass note, the others are tones.)</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E412" is="qowt-word-para" qowt-eid="E412" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E413" is="qowt-word-para" qowt-eid="E413" qowt-entry="undefined" qowt-lvl="undefined"><span id="E414" is="qowt-word-run" qowt-eid="E414">Or a variation with an extra beat is, " Look, a great big barking dog." Which is similar sounding to Samba. Again, “Look” is the bass note, the rest are all tones.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E415" is="qowt-word-para" qowt-eid="E415" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E416" is="qowt-word-para" qowt-eid="E416" qowt-entry="undefined" qowt-lvl="undefined"><span id="E417" is="qowt-word-run" qowt-eid="E417">Another great drumming rhythm is the old standard, "I got rhythm, yeah" ---"DA DA DUDUM, YEAH".</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E418" is="qowt-word-para" qowt-eid="E418" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E419" is="qowt-word-para" qowt-eid="E419" qowt-entry="undefined" qowt-lvl="undefined"><span id="E420" is="qowt-word-run" qowt-eid="E420">You can show a few tips on how to play the drum. Try out things like the drum wave. You get it going around in a circle and each kid taps their drum one time, then speed it up, reverse it, etc. It’s a controlled game without a lot of chaos that gets the kids familiar with their drum and it’s a good ice breaker.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E421" is="qowt-word-para" qowt-eid="E421" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E422" is="qowt-word-para" qowt-eid="E422" qowt-entry="undefined" qowt-lvl="undefined"><span id="E423" is="qowt-word-run" qowt-eid="E423">Later you can introduce percussion. Those sound shapes are handy to make up rhythms with. I don’t use this one very much. I like to tire them out drumming, and get them playing rhythms right away, rather than playing drumming games. The kids seem to respond to it better.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E424" is="qowt-word-para" qowt-eid="E424" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E425" is="qowt-word-para" qowt-eid="E425" qowt-entry="undefined" qowt-lvl="undefined"><span id="E426" is="qowt-word-run" qowt-eid="E426">A good learning game you can try, is to bring a ball, like a soccer ball, and ask the kids to play one drum beat when I bounce the ball. You can bounce it fast, slow, low, high. Then let one of the kids try it out. This might work better with the older ones.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E427" is="qowt-word-para" qowt-eid="E427" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E428" is="qowt-word-para" named-flow="FLOW-1927" qowt-eid="E428" qowt-entry="undefined" qowt-lvl="undefined"><span id="E429" is="qowt-word-run" named-flow="FLOW-1928" qowt-eid="E429">A better variation is to toss the ball in the air and have them do a rumble, or drum roll, and</span></p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI20" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><template class="style-scope qowt-section" id="headerTemplates"></template><template class="style-scope qowt-section" id="footerTemplates"></template><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" is="qowt-word-para" named-flow="FLOW-1927" qowt-eid="E428" qowt-entry="undefined" qowt-lvl="undefined"><span is="qowt-word-run" named-flow="FLOW-1928" qowt-eid="E429">it stops when you catch it. So you can bounce for a single beat, and toss in the air for a drum roll. You can add walking so foot steps become drum tones, or maybe another percussion sound. I use this game sparingly with children and adults. It’s lots of fun and almost always works for a few laughs at least.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E430" is="qowt-word-para" qowt-eid="E430" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E431" is="qowt-word-para" qowt-eid="E431" qowt-entry="undefined" qowt-lvl="undefined"><span id="E432" is="qowt-word-run" qowt-eid="E432">With younger kids, I really don't expect too much in terms of real drumming grooves, but often it does happen. I let them bang around and have fun making some noise. They hardly ever get permission to do that. Rumbles and stops are a good thing to make into a game with them. Getting them to start and stop playing together is a lot of fun. I keep the beats very basic, and simple.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E433" is="qowt-word-para" qowt-eid="E433" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E434" is="qowt-word-para" qowt-eid="E434" qowt-entry="undefined" qowt-lvl="undefined"><span id="E435" is="qowt-word-run" qowt-eid="E435">One facilitator I know sets up a drum “petting zoo” in the corner for the little kids while the big kids drum circle is happening on the other side. A very clever idea. The little kids can come over to the area, pet and play the drums like they are furry little animals. Just make sure someone is there to keep an eye on things.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E436" is="qowt-word-para" qowt-eid="E436" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E437" is="qowt-word-para" qowt-eid="E437" qowt-entry="undefined" qowt-lvl="undefined"><span id="E438" is="qowt-word-run" qowt-eid="E438">If you have more kids than drums, make two groups and bring some large paper pads. Have the one group play, and the other one paint the music. Brushes or fingerpaints, then have the kids switch sides after 15 minutes. Better clear this one with the staff first!</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E439" is="qowt-word-para" qowt-eid="E439" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E440" is="qowt-word-para" qowt-eid="E440" qowt-entry="undefined" qowt-lvl="undefined"><span id="E441" is="qowt-word-run" qowt-eid="E441">Here’s a cool idea. I try the Simon Says game with drums, “Do you know the game Simon says?” Kids can only play when they hear the command "Simon says". If you give a command without saying "Simon says" and somebody does what you say, then they are out. "Simon says rumble - RUMBLE, Simon says "stop" - STOP." If you give a command without saying "Simon says", then you can make a big deal out of it and make all the kids laugh. With younger age groups, I wouldn't recommend taking kids out of the game. We want everyone to win.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E442" is="qowt-word-para" qowt-eid="E442" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E443" is="qowt-word-para" qowt-eid="E443" qowt-entry="undefined" qowt-lvl="undefined"><span id="E444" is="qowt-word-run" qowt-eid="E444">With little kids, I don't worry about the music as much. I have them work with sound dynamics like loud and soft, and start and stop. Try including a song with the kids. Let them make a song, or tell them a story first, and have them add in the sounds of the instruments to it. Like walking through the forest to the castle, and have them add the animal sounds with their voice, or their drums, and then do it. This one works great.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E445" is="qowt-word-para" qowt-eid="E445" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E446" is="qowt-word-para" qowt-eid="E446" qowt-entry="undefined" qowt-lvl="undefined"><span id="E447" is="qowt-word-run" qowt-eid="E447">Another idea with the older kids is you can try playing, "funky drumming musical chairs". That’s a little more cool. Set up two rows of chairs back to back. Start with enough chairs for everybody the first time. Have the kids sit in the chairs while you explain the rules. They all walk around the chairs in the same direction shaking egg shakers, and there's no running (safety). You play a funky rhythm on a drum, and when you stop playing, the kids have to find their seats. Each time you take away a chair, so there will always be one kid who gets caught out. Whoever gets caught out, gets to loose the shaker if they want, and pick a drum or other instrument, and comes over to join the band, that's you.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E448" is="qowt-word-para" qowt-eid="E448" qowt-entry="undefined" qowt-lvl="undefined"><br /></p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI21" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><template class="style-scope qowt-section" id="headerTemplates"></template><template class="style-scope qowt-section" id="footerTemplates"></template><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E449" is="qowt-word-para" qowt-eid="E449" qowt-entry="undefined" qowt-lvl="undefined"><span id="E450" is="qowt-word-run" qowt-eid="E450">A teacher with you on this is a good idea! When you take away the chair each time, have another adult bring the chair over and place it next to you. As more chairs come, one by one, have them arranged to form a new circle, drums in front of the chairs. This way you are building your drum circle one child at a time. Eventually you will come down to just two kids circling one chair, with the rest of the kids playing instruments around them. One child gets declared the winner, and everyone joins up to play together in the circle.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E451" is="qowt-word-para" qowt-eid="E451" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E452" is="qowt-word-para" qowt-eid="E452" qowt-entry="undefined" qowt-lvl="undefined"><span id="E453" is="qowt-word-run" qowt-eid="E453">In my experience, I often get a lot of kids who try to lose on purpose so that they can come and play on the drums. I have witnessed some examples of hilarious politeness, where kids offer to give the last remaining chair to another kid so that they can come and play in the band. You can expect a little bit more musicality from the older kids. They will like call and response a lot. Once they get the idea, I often will turn it over to them to make the call, and then I encourage the group to make the response. Pass it around.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E454" is="qowt-word-para" qowt-eid="E454" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E455" is="qowt-word-para" qowt-eid="E455" qowt-entry="undefined" qowt-lvl="undefined"><span id="E456" is="qowt-word-run" qowt-eid="E456">Another activity I learned from another music teacher that works with the slightly older kids is the sound snake. Once you have them in the circle with an instrument each, you get in the middle and tell them that when you point to them they should play one note (hit) on their instruments. You spin around the circle with your arm extended like the hand of a clock, and when you point to them they should play. Start slowly at first and once you have gone around a couple times, and they get it, then add the next element.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E457" is="qowt-word-para" qowt-eid="E457" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E458" is="qowt-word-para" qowt-eid="E458" qowt-entry="undefined" qowt-lvl="undefined"><span id="E459" is="qowt-word-run" qowt-eid="E459">The change. This time as you go around at some point you say, "change" and start to go around the opposite way. This will keep them alert and focused on watching you. This often turns into a nice little jam, or it falls flat completely. I recommend having lots of adult supervision. If you can get them involved, then you can really do something. If you have someone to play the bass drum it will really help if you want to get more musical.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E460" is="qowt-word-para" qowt-eid="E460" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E461" is="qowt-word-para" qowt-eid="E461" qowt-entry="undefined" qowt-lvl="undefined"><span id="E462" is="qowt-word-run" qowt-eid="E462">The kids love it when I combine jumping, with stomping. We play games where they try to anticipate when I am going to stomp on the floor and try to hit their drums, at that instant. This gets them to understand the importance of paying attention, near the beginning of the session. Start a rhythm with hopping, then turn it into stomping, and maintain a relatively steady stomp for a bit then break sequence. The game has begun! Kids love to be fooled, challenged, and surprised. You can even try letting individual kids into the circle to facilitate their own hops, jumps, and stomps. I keep this idea brief.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E463" is="qowt-word-para" qowt-eid="E463" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E464" is="qowt-word-para" qowt-eid="E464" qowt-entry="undefined" qowt-lvl="undefined"><span id="E465" is="qowt-word-run" qowt-eid="E465">Sometimes I get a hip hop rhythm going on my djembe, and see if any of the kids want to do a little “Rap" song to get them going in a fun different direction. Or ask them if they would like to tell a story to the beat. Just lay a nice soft support beat in there, (starting it slowly) and away it goes. But I always make it a point to explain to the kids that when we have a singer, that we have to support them, by listening to them, and backing them up. We are the back up band, the rhythm section! So we can’t play too loudly, or we can’t hear the lead singer, the rapper rapping. This also teaches them to listen closer.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E466" is="qowt-word-para" qowt-eid="E466" qowt-entry="undefined" qowt-lvl="undefined"><br /></p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI22" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><template class="style-scope qowt-section" id="headerTemplates"></template><template class="style-scope qowt-section" id="footerTemplates"></template><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E467" is="qowt-word-para" qowt-eid="E467" qowt-entry="undefined" qowt-lvl="undefined"><span id="E468" is="qowt-word-run" qowt-eid="E468">It’s nice if you can have some help, or an assistant. They can help you to settle the kids in, getting in on the bottom drum if necessary, or supporting the beat or rhythms with you. Keep an eye out for someone who can keep time, even a teacher. With the younger groups I find this very helpful. Having an extra person to hold the beat with a bottom drum. Unfortunately for me, I work alone, and don’t have that luxury. The older students, (like 4th grade and up) I can easily volunteer one of the students with solid rhythm, which I try to evaluate during the warm up jam.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E469" is="qowt-word-para" qowt-eid="E469" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E470" is="qowt-word-para" qowt-eid="E470" qowt-entry="undefined" qowt-lvl="undefined"><span id="E471" is="qowt-word-run" qowt-eid="E471">I sometimes set up in small sections of instruments around the circle. This makes a more organized way of students switching to different instruments. "Everyone stand and move three chairs to your right". Or “Cross to the other side”, etc. This way there is not a lot of rush moving throughout the circle, and everyone has an opportunity to play a different instrument. Pass it to the right one person works also, to save a little time.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E472" is="qowt-word-para" qowt-eid="E472" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E473" is="qowt-word-para" qowt-eid="E473" qowt-entry="undefined" qowt-lvl="undefined"><span id="E474" is="qowt-word-run" qowt-eid="E474">Sometimes you only have 45 minutes to work with them in a class situation and just can’t do some of these activities unless it’s an ongoing thing. Just remember to leave a few pathways so kids can move in and out or around the circle. This idea ends up being a little awkward for me sometimes. I start a groove out, then after a couple minutes I tell the group we’re all going to pass our instruments around the circle to the right, but we are going to do it while trying to keeping the rhythm going.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E475" is="qowt-word-para" qowt-eid="E475" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E476" is="qowt-word-para" qowt-eid="E476" qowt-entry="undefined" qowt-lvl="undefined"><span id="E477" is="qowt-word-run" qowt-eid="E477">I count 1... 2... 1, 2, 3 (repeat) and then pass, then we all play. Then repeat it again after a while. Possibly take it around the whole circle. Allow enough time so that each person should have their new instrument, and they are ready to play it. I sometimes pre-set different instruments like shakers and boomwhacker musical tubes under the chairs before we start (a good tip I learned). By doing this, the group is able to progress from one rhythm activity to another to another more fluidly. I start with the shakers and do the shaker thing activity, then right to the drumming, or, progress to boom whackers, then on to the bigger drums.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E478" is="qowt-word-para" qowt-eid="E478" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E479" is="qowt-word-para" qowt-eid="E479" qowt-entry="undefined" qowt-lvl="undefined"><span id="E480" is="qowt-word-run" qowt-eid="E480">I find this helps the understanding of drumming rhythms on drums faster, and gives you an opportunity to begin teaching without teaching. Sometimes I am in a more chaotic environment and don’t want to start out with the drums. It takes place step by step, and adds the structure needed for working with larger groups. It also lets a kid know they can stop drumming and play the percussion instrument it they want, or switch back and forth.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E481" is="qowt-word-para" qowt-eid="E481" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E482" is="qowt-word-para" qowt-eid="E482" qowt-entry="undefined" qowt-lvl="undefined"><span id="E483" is="qowt-word-run" qowt-eid="E483">Here is a simple game I learned from another facilitator. Ok, two rules to this one. If I put my hands in the air you can play as fast and as loud as you like, when my hands come down, you need to stop. Then shout one two three Play! (but don't put your hands up) and see how long it takes them to get it. Then just have fun with it, the kids in every group start laughing, or go wild and love it. 15 - 20 minutes disappears like nothing.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E484" is="qowt-word-para" qowt-eid="E484" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E485" is="qowt-word-para" named-flow="FLOW-1933" qowt-eid="E485" qowt-entry="undefined" qowt-lvl="undefined"><span id="E486" is="qowt-word-run" named-flow="FLOW-1934" qowt-eid="E486">Then I try non verbal communication. I point to my hand and put it up as if I am about to</span></p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI24" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><template class="style-scope qowt-section" id="headerTemplates"></template><template class="style-scope qowt-section" id="footerTemplates"></template><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" is="qowt-word-para" named-flow="FLOW-1933" qowt-eid="E485" qowt-entry="undefined" qowt-lvl="undefined"><span is="qowt-word-run" named-flow="FLOW-1934" qowt-eid="E486">strike the drum head, then I point to my foot and lift it in the air, then gradually by dropping my hand and foot at the same time, I get them to figure that they hit the drum when I put my foot down...then I can start to walk....a little faster....a little faster....now I am running and the rumble is rising! Now I am twirling and spinning and the drums are crazy and I jump in the air, do an exaggerated big stop and funny face. They seem to just love it they are together, starting and stopping. I bang out a few beats of a rhythm; they play it back to me. I call, they respond, & off we go into a nice jam. We have hardly even verbally spoken. But musically, we have already become friends.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E487" is="qowt-word-para" qowt-eid="E487" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E488" is="qowt-word-para" qowt-eid="E488" qowt-entry="undefined" qowt-lvl="undefined"><span id="E489" is="qowt-word-run" qowt-eid="E489">Everyone is smiling, the staff thinks I am pretty nutty. I sometimes will use puppetry and drumming with the younger kids, along with every other hair brained, nutty idea I can come up with that would be fun and that will make the kids laugh. One idea is to create stories using sock puppets, or their favorite stuffed toy. I create drum rhythms that would be played when the name of their toy is called out. The kids were completely involved in the process and it was a great way for kids to work with them as a team.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E490" is="qowt-word-para" qowt-eid="E490" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E491" is="qowt-word-para" qowt-eid="E491" qowt-entry="undefined" qowt-lvl="undefined"><span id="E492" is="qowt-word-run" qowt-eid="E492">With the 8 to 13 year age group I often use cheerleading rhymes and skipping rhymes to spice up the drum class. Cheerleading rhythms are great because they’re fun and funky, and you can usually create great beats with them. They can also be tailored to the school the kids are from. Nothing like supporting that school spirit. Use the school’s song, the staff loves it.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E493" is="qowt-word-para" qowt-eid="E493" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E494" is="qowt-word-para" qowt-eid="E494" qowt-entry="undefined" qowt-lvl="undefined"><span id="E495" is="qowt-word-run" qowt-eid="E495">Sometimes I go with the pie slice configuration thing for placement of the drums, and various other percussion items. It depends on the situation if I do this or not. I set up the instruments, and as the children arrive they take their places by the instruments. This can work really smooth. I request the oldest class arrive about 5 minutes before the others, and like clockwork, we were cooking along already by the time the other classes started arriving. I just need to make sure the bottom beat is very stable.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E496" is="qowt-word-para" qowt-eid="E496" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E497" is="qowt-word-para" qowt-eid="E497" qowt-entry="undefined" qowt-lvl="undefined"><span id="E498" is="qowt-word-run" qowt-eid="E498">If I am working with different grade classes at once, I sometimes assign instruments basically by their grade class: 4th & 5th graders get drums, 3rd graders get boom whackers, 2nd graders get frog wood blocks and guiros, 1st graders get shakers, and the kindergarteners got jingle bells and maracas. I was a little concerned that the younger ones might get bored with no drums in their section but that was not the case when I tried it.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E499" is="qowt-word-para" qowt-eid="E499" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E500" is="qowt-word-para" qowt-eid="E500" qowt-entry="undefined" qowt-lvl="undefined"><span id="E501" is="qowt-word-run" qowt-eid="E501">If you want to try sculpting, carve the group up into the pie slices thing while they are playing, or whatever. I’ve done a fair amount of it, I’m not a big fan of that approach, but the kindergarteners got a huge kick out of being showcased when I’ve used it with them.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E502" is="qowt-word-para" qowt-eid="E502" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E503" is="qowt-word-para" qowt-eid="E503" qowt-entry="undefined" qowt-lvl="undefined"><span id="E504" is="qowt-word-run" qowt-eid="E504">The wave activity thing is always is a little lame, but it’s something to try, and it works. I learned that whenever I get lost, confused, or when I’m in doubt, I rumble. Little stumbles and train wrecks disappear. I introduce the drums, some basic technique, and use the windows of communication sparingly.</span></p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI25" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><template class="style-scope qowt-section" id="headerTemplates"></template><template class="style-scope qowt-section" id="footerTemplates"></template><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E505" is="qowt-word-para" qowt-eid="E505" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E506" is="qowt-word-para" qowt-eid="E506" qowt-entry="undefined" qowt-lvl="undefined"><span id="E507" is="qowt-word-run" qowt-eid="E507">I want to get them to play the drums, not play drumming games. But some of these help you to keep them interesting, or to get them on track. It’s mostly just to draw their attention to the wonderful and diverse musical community we live in. Try some of these drumming games, try to making some up. See if the kids have any cool ideas. Teach and sing a song together, then drum to it; do the simplest of set rhythms “Hot chocolate hot chocolate nutella on toast” and, as soon as they've got it, ask them if they want to make up their own sayings.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E511" is="qowt-word-para" qowt-eid="E511" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E512" is="qowt-word-para" qowt-eid="E512" qowt-entry="undefined" qowt-lvl="undefined"><span id="E513" is="qowt-word-run" qowt-eid="E513">When you sense the kids want to learn, try not to rush them at it. Because every minute spent in a drum circle helps every drummer from beginner to expert become a better drummer, and to be able to learn faster. One of the most important things I learned from my very first experience with elementary and middle school kids, was to let them get their excess energy expended at the beginning of a session. Let them get it all out, the stress, the nerves, that peer pressure, or whatever.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E514" is="qowt-word-para" qowt-eid="E514" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E515" is="qowt-word-para" qowt-eid="E515" qowt-entry="undefined" qowt-lvl="undefined"><span id="E516" is="qowt-word-run" qowt-eid="E516">I remember how it felt to feel different than the rest of the kids. Right off the bat, I either get that egg shaker dance thing going, or I get them on the drums and play a danceable rhythm on my drum and let them rock and roll about five minutes to warm up. I love to hear them start exclaiming that they're tired, all huffing and puffing. Now our drum circle can really begin!</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E517" is="qowt-word-para" qowt-eid="E517" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E518" is="qowt-word-para" qowt-eid="E518" qowt-entry="undefined" qowt-lvl="undefined"><span id="E519" is="qowt-word-run" qowt-eid="E519">For the littler kids, I usually use frame, buffalo drums, or sound shapes with mallets since their coordination isn't as fully developed at that age, and their attention span is rather short, so it’s a bit of a challenge for them to learn hand patterns and complex rhythms. I usually play my djembe as the bottom beat to it. If you do go with hand drums, be sure to make the rhythms and movements very simple, and clear. Start them out very slowly until everyone has it solid.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E520" is="qowt-word-para" qowt-eid="E520" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E521" is="qowt-word-para" qowt-eid="E521" qowt-entry="undefined" qowt-lvl="undefined"><span id="E522" is="qowt-word-run" qowt-eid="E522">I like to use familiar simple songs vocalized first, then transferred onto the drums and percussion instruments, played very slowly, then up the tempo a little after they have it. I do that a lot, from a list I keep handy. I also like to make simple rhythmic chants from familiar words and phrases, like their full names, animals, numbers, colors, what they had for breakfast, or anything I can think of, or even that they can think of. Usually it’s played in a straight forward 4/4 beat (or 2/4, or a slow 3/4 - 6/8 time if they need quieting down a little.)</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E523" is="qowt-word-para" qowt-eid="E523" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E524" is="qowt-word-para" qowt-eid="E524" qowt-entry="undefined" qowt-lvl="undefined"><span id="E525" is="qowt-word-run" qowt-eid="E525">I prefer to use these two sayings the most for vocalizing 6/8 time signature rhythms: “Follow the yellow brick road.” Or, “Cab Bage And Broc O Li”. I find that most kids generally do love to sing and naturally sort of play on beat with whatever instrument they have, except when they get carried away into a frenzy. Which becomes a convenient transitioning point to something else.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E526" is="qowt-word-para" qowt-eid="E526" qowt-entry="undefined" qowt-lvl="undefined"><br /></p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI26" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><template class="style-scope qowt-section" id="headerTemplates"></template><template class="style-scope qowt-section" id="footerTemplates"></template><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E527" is="qowt-word-para" qowt-eid="E527" qowt-entry="undefined" qowt-lvl="undefined"><span id="E528" is="qowt-word-run" qowt-eid="E528">Let the kids know that every spoken language, and every culture has its own unique beat, and within every sentence, music can be found. If they can say it, they can probably play it. Show them how you drum the rhythm to the following phrases, or make up your own on the spot with requests from the kids:</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E529" is="qowt-word-para" qowt-eid="E529" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E530" is="qowt-word-para" qowt-eid="E530" qowt-entry="undefined" qowt-lvl="undefined"><span id="E531" is="qowt-word-run" qowt-eid="E531">All a-board! Boom boom boom Yum Yum,</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E532" is="qowt-word-para" qowt-eid="E532" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E533" is="qowt-word-para" qowt-eid="E533" qowt-entry="undefined" qowt-lvl="undefined"><span id="E534" is="qowt-word-run" qowt-eid="E534">I like Piz-za!</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E535" is="qowt-word-para" qowt-eid="E535" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E536" is="qowt-word-para" qowt-eid="E536" qowt-entry="undefined" qowt-lvl="undefined"><span id="E537" is="qowt-word-run" qowt-eid="E537">Calling all cars! Calling all cars!</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E538" is="qowt-word-para" qowt-eid="E538" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E539" is="qowt-word-para" qowt-eid="E539" qowt-entry="undefined" qowt-lvl="undefined"><span id="E540" is="qowt-word-run" qowt-eid="E540">Mary had a lit-tle lamb</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E541" is="qowt-word-para" qowt-eid="E541" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E542" is="qowt-word-para" qowt-eid="E542" qowt-entry="undefined" qowt-lvl="undefined"><span id="E543" is="qowt-word-run" qowt-eid="E543">Listen to the clock: tick-tock, tick-tock.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E544" is="qowt-word-para" qowt-eid="E544" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E545" is="qowt-word-para" qowt-eid="E545" qowt-entry="undefined" qowt-lvl="undefined"><span id="E546" is="qowt-word-run" qowt-eid="E546">Twinkle twinkle little star</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E547" is="qowt-word-para" qowt-eid="E547" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E548" is="qowt-word-para" qowt-eid="E548" qowt-entry="undefined" qowt-lvl="undefined"><span id="E549" is="qowt-word-run" qowt-eid="E549">Hey, diddle-diddle, the cat and the fiddle, The cow jumped over the moon.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E550" is="qowt-word-para" qowt-eid="E550" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E551" is="qowt-word-para" qowt-eid="E551" qowt-entry="undefined" qowt-lvl="undefined"><span id="E552" is="qowt-word-run" qowt-eid="E552">Row row row your boat...gently down the stream.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E553" is="qowt-word-para" qowt-eid="E553" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E554" is="qowt-word-para" qowt-eid="E554" qowt-entry="undefined" qowt-lvl="undefined"><span id="E555" is="qowt-word-run" qowt-eid="E555">How much wood could a woodchuck chuck, if a woodchuck could chuck wood?</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E556" is="qowt-word-para" qowt-eid="E556" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E557" is="qowt-word-para" qowt-eid="E557" qowt-entry="undefined" qowt-lvl="undefined"><span id="E558" is="qowt-word-run" qowt-eid="E558">Jack Sprat...could eat no fat!</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E559" is="qowt-word-para" qowt-eid="E559" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E560" is="qowt-word-para" qowt-eid="E560" qowt-entry="undefined" qowt-lvl="undefined"><span id="E561" is="qowt-word-run" qowt-eid="E561">Make up a few, try reading sentences aloud from their favorite books, or phrases from their favorite songs, and rhymes. Try playing Names, Food, Objects, Commercial Jingles, and Phrases Playing kid’s full names and kid friendly phrases can be interpreted into a series of long and short notes.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E562" is="qowt-word-para" qowt-eid="E562" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E563" is="qowt-word-para" qowt-eid="E563" qowt-entry="undefined" qowt-lvl="undefined"><span id="E564" is="qowt-word-run" qowt-eid="E564">Put the emphasis on the hard syllables:</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E565" is="qowt-word-para" qowt-eid="E565" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E566" is="qowt-word-para" qowt-eid="E566" qowt-entry="undefined" qowt-lvl="undefined"><span id="E567" is="qowt-word-run" qowt-eid="E567">Oh, Susannah! (LONG-LONG-short-LONG) or (Bass Bass tone Bass)</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E568" is="qowt-word-para" qowt-eid="E568" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E569" is="qowt-word-para" qowt-eid="E569" qowt-entry="undefined" qowt-lvl="undefined"><span id="E570" is="qowt-word-run" qowt-eid="E570">I like pea-nut but- ter - I like to jam</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E571" is="qowt-word-para" qowt-eid="E571" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E572" is="qowt-word-para" qowt-eid="E572" qowt-entry="undefined" qowt-lvl="undefined"><span id="E573" is="qowt-word-run" qowt-eid="E573">Miss iss ippi River - Miss iss ippi River</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E574" is="qowt-word-para" qowt-eid="E574" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E575" is="qowt-word-para" qowt-eid="E575" qowt-entry="undefined" qowt-lvl="undefined"><span id="E576" is="qowt-word-run" qowt-eid="E576">I’ll huff, and I’ll puff, and I’ll blow the house down! (short-LONG-short-short-LONG-short-short-LONG-short-short-short)</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E577" is="qowt-word-para" qowt-eid="E577" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E578" is="qowt-word-para" qowt-eid="E578" qowt-entry="undefined" qowt-lvl="undefined"><span id="E579" is="qowt-word-run" qowt-eid="E579">In 6/8 The people on the bus, go round and round. (short-short-short-short-short-short-LONG-LONG-LONG-LONG)</span></p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI27" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><template class="style-scope qowt-section" id="headerTemplates"></template><template class="style-scope qowt-section" id="footerTemplates"></template><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E580" is="qowt-word-para" qowt-eid="E580" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E581" is="qowt-word-para" qowt-eid="E581" qowt-entry="undefined" qowt-lvl="undefined"><span id="E582" is="qowt-word-run" qowt-eid="E582">Try adding simple drumming to rhymes. If you're happy and you know it, bang a drum, or shake an egg, etc. Once the kids have mastered playing along to a nursery rhyme or any common saying you’ve got them. And then you can get to some real drumming.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E583" is="qowt-word-para" qowt-eid="E583" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E584" is="qowt-word-para" qowt-eid="E584" qowt-entry="undefined" qowt-lvl="undefined"><span id="E585" is="qowt-word-run" qowt-eid="E585">Here is a fun drumming ending rhythm idea for a session, The I got to go rhythm. It has a natural rhythm to drum to. Accents are on the “G“ obviously: I...got to Go - got to Go __ gotta gotta - gotta Go and repeat.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E586" is="qowt-word-para" qowt-eid="E586" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E587" is="qowt-word-para" qowt-eid="E587" qowt-entry="undefined" qowt-lvl="undefined"><span id="E588" is="qowt-word-run" qowt-eid="E588">I try to use anything I can think of that gets them to laugh and have fun. Balloons, blowing soap bubbles in the circle is fun, (if the teacher approves) I often bring along a couple of soap bubble bottles with the bubble blowers inside them.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E589" is="qowt-word-para" qowt-eid="E589" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E590" is="qowt-word-para" qowt-eid="E590" qowt-entry="undefined" qowt-lvl="undefined"><span id="E591" is="qowt-word-run" qowt-eid="E591">Try combining a variety of percussive sounds to create lively rhythms. Maybe start a call and response dialog between the different sounds, a back-and-forth, and back-and-forth approach. Ask them to think of it as drumming conversations that repeat over and over. It’s okay if they change it.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E592" is="qowt-word-para" qowt-eid="E592" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E593" is="qowt-word-para" qowt-eid="E593" qowt-entry="undefined" qowt-lvl="undefined"><span id="E594" is="qowt-word-run" qowt-eid="E594">Try this idea, have them drum syllables to these, or some similar phrase: How are you? (1,2,3) They answer, I am fine. (1,2,3) Or, try it with three notes from you, then four from them. And repeat, etc. Once they are comfortable you can up tempo it to a groove.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E595" is="qowt-word-para" qowt-eid="E595" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E596" is="qowt-word-para" qowt-eid="E596" qowt-entry="undefined" qowt-lvl="undefined"><span id="E597" is="qowt-word-run" qowt-eid="E597">It’s important to help kids to learn to differentiate between high and low pitches, so you can demonstrate the sounds on their instrument. You will obtain a low pitch by striking the center of the drum head, and a higher pitch when striking the edge. The large sized drum has the lowest pitch, the middle sized drum has the medium pitch, and the small sized drum has the highest pitch.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E598" is="qowt-word-para" qowt-eid="E598" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E599" is="qowt-word-para" qowt-eid="E599" qowt-entry="undefined" qowt-lvl="undefined"><span id="E600" is="qowt-word-run" qowt-eid="E600">Use your hand to demonstrate the different places on the drum you get the different sounds from. After a few minute demonstrations, ask them to give you a thumbs up or thumbs down to identify the note as high, medium, or a lower note. Once they're comfortable with identifying high or low notes, you can ask them to play a high or low note on request.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E601" is="qowt-word-para" qowt-eid="E601" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E602" is="qowt-word-para" qowt-eid="E602" qowt-entry="undefined" qowt-lvl="undefined"><span id="E603" is="qowt-word-run" qowt-eid="E603">Try the Morse Code Jam. I ask the kids to each shout out a letter, so we can have two of them to put together, and then play it to Morse Code, and make up our own new rhythms. They almost always all start shouting out different letters at once. I can make a funny big deal out of it, and say, “Wait a minute, not so fast!” Then we pick two letters and play them to the corresponding letters. A dash is a bass note, a dot is a tone. It’s simple, unpredictable, educational, and fun. And they know that you don’t know what it might come out sounding like. So you are building a rapport with them with this activity.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E604" is="qowt-word-para" qowt-eid="E604" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E605" is="qowt-word-para" named-flow="FLOW-1993" qowt-eid="E605" qowt-entry="undefined" qowt-lvl="undefined"><span id="E606" is="qowt-word-run" named-flow="FLOW-1994" qowt-eid="E606">What I do is print out a Morse code alphabet, and then go to a copy store, and have them enlarge it to a poster size, and have it laminated. Then I can post it up on the wall so they</span></p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI28" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><template class="style-scope qowt-section" id="headerTemplates"></template><template class="style-scope qowt-section" id="footerTemplates"></template><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" is="qowt-word-para" named-flow="FLOW-1993" qowt-eid="E605" qowt-entry="undefined" qowt-lvl="undefined"><span is="qowt-word-run" named-flow="FLOW-1994" qowt-eid="E606">can all see the letters, and dots and dashes next to them. You can get it done, and have it laminated so it will last you for awhile for under ten bucks. I keep it stored in a round mailing tube for easy transport.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E607" is="qowt-word-para" qowt-eid="E607" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E608" is="qowt-word-para" qowt-eid="E608" qowt-entry="undefined" qowt-lvl="undefined"><span id="E609" is="qowt-word-run" qowt-eid="E609">I always try to teach a little fundamental knowledge of music when I work with kids, to teach them how to differentiate between long and short notes, and how long they can resonate. I use a triangle with an easy to hold handle. Striking the triangle and then gripping one of its sides will reduce the instrument’s resonance and produce a short note. Striking a triangle while on a string or resting on a finger, allows it to resonate fully, and it will produce a much longer note. It’s good to include that in a first lesson.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E610" is="qowt-word-para" qowt-eid="E610" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E611" is="qowt-word-para" qowt-eid="E611" qowt-entry="undefined" qowt-lvl="undefined"><span id="E612" is="qowt-word-run" qowt-eid="E612">As I mentioned earlier, a large drum is another excellent instrument for this demonstration. Striking the drumhead using a slap-release technique will yield a long, sustained note due to the head’s resonance. Striking the head with a Slap muffle technique will muffle the sound by reducing the head’s resonance, resulting in a shorter note.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E613" is="qowt-word-para" qowt-eid="E613" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E614" is="qowt-word-para" qowt-eid="E614" qowt-entry="undefined" qowt-lvl="undefined"><span id="E615" is="qowt-word-run" qowt-eid="E615">I don’t like to show the younger kids the actual slap tone too soon. It’s too easy for them to hurt their hands trying it. I just do it with tones, or bass notes only. After a few moments of this demonstration, ask the kids to stand up and open their arms wide to identify each note you play as long, or to close their hands together to identify the note as short. Once they’ve become comfortable with identifying long and short notes, you can ask the kids to play them on request. It really depends on the age group, as to what ideas I use. When in doubt, drum, then rumble, then drum some more, then rumble. Simple.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E616" is="qowt-word-para" qowt-eid="E616" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E617" is="qowt-word-para" qowt-eid="E617" qowt-entry="undefined" qowt-lvl="undefined"><span id="E618" is="qowt-word-run" qowt-eid="E618">Volume! This is always a part of my lesson. A great way to teach crescendo (loud) and decrescendo (quiet) sounds is to play this simple game: Demonstrate loud and quiet rhythms, and alternate between them. Ask the kids to listen and lift their arms over their head to show loud rhythms, and to fold their arms over their chests when they hear quiet rhythms.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E619" is="qowt-word-para" qowt-eid="E619" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E620" is="qowt-word-para" qowt-eid="E620" qowt-entry="undefined" qowt-lvl="undefined"><span id="E621" is="qowt-word-run" qowt-eid="E621">An amusing (and sometimes useful!) variation is to ask them to play loudly or quietly on request. This is a cool drumming interpretation of a game called the phone game, which is great for a group of kids. Have the kids sit in a circle with you, and demonstrate a short drum beat. Ask your neighbor to repeat what you played for them to their neighbor. After the beat goes all around the circle, see how the beat has changed from the original that you played. Try changing the beat only after everyone has mastered the original, and keep the game going by challenging the group to repeat more complex rhythms. It either works, it’s really funny, or it’s a mess.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E622" is="qowt-word-para" qowt-eid="E622" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E623" is="qowt-word-para" qowt-eid="E623" qowt-entry="undefined" qowt-lvl="undefined"><span id="E624" is="qowt-word-run" qowt-eid="E624">I often use various ideas to demonstrate rhythmic counting. Don’t underestimate the benefits of it. I often incorporate it into my program. It’s the foundation of music. And the kids are learning more basic math in the process, by learning to count off a measure of music. I always start with something in two, or four.</span></p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI29" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><template class="style-scope qowt-section" id="headerTemplates"></template><template class="style-scope qowt-section" id="footerTemplates"></template><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E625" is="qowt-word-para" qowt-eid="E625" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E626" is="qowt-word-para" qowt-eid="E626" qowt-entry="undefined" qowt-lvl="undefined"><span id="E627" is="qowt-word-run" qowt-eid="E627">Sometimes I divide the group into three sections and demonstrate a simple “Row Row Row Your Boat” style rhythm to one section after another, always turning clockwise. Beginning with me first, I demonstrate it, and invite them to play along. If I sense that there is a sag in the rhythm or reduced energy in the group, this is a good spot for a transition point. It’s also an opportunity to breathe new life into the drum circle by altering the group’s current rhythm. Changing the rhythm of the drum circle will have an immediate impact. Or have them move to different drums. That works to.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E628" is="qowt-word-para" qowt-eid="E628" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E629" is="qowt-word-para" qowt-eid="E629" qowt-entry="undefined" qowt-lvl="undefined"><span id="E630" is="qowt-word-run" qowt-eid="E630">Closing a kid’s drum circle is pretty easy. When you sense the end, or a transition point and feel that the group doesn’t have the energy or desire to continue, simply get their attention with a big gesture, then increase the volume and tempo to a thundering rumble climax. 4 - 3 - 2 - 1 and stop.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E631" is="qowt-word-para" qowt-eid="E631" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E632" is="qowt-word-para" qowt-eid="E632" qowt-entry="undefined" qowt-lvl="undefined"><span id="E633" is="qowt-word-run" qowt-eid="E633">Use big hand gestures so everyone sees you. Use a gong. Leave them wanting more, I always say. I don’t go for the mellow endings stuff with kids or adults very often, but I do use them. (Like the fade out, gradually play slower and softer until it ends, maybe over 8 measures.)</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E637" is="qowt-word-para" qowt-eid="E637" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E638" is="qowt-word-para" qowt-eid="E638" qowt-entry="undefined" qowt-lvl="undefined"><span id="E639" is="qowt-word-run" qowt-eid="E639">An advanced idea is to invite one player at a time to contribute a new solo rhythm of their own creation. I get a rhythm going on my djembe. Get them to actively listen before adding their own rhythm to the mix. Although it may take some time, you will be amazed by the magic that might result.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E640" is="qowt-word-para" qowt-eid="E640" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E641" is="qowt-word-para" qowt-eid="E641" qowt-entry="undefined" qowt-lvl="undefined"><span id="E642" is="qowt-word-run" qowt-eid="E642">Don’t force them to solo though. Only if they want to try it. Let them use the “safety button” if they are uncomfortable in the spotlight. Believe me, not everyone wants to solo. They may just need more time. Don’t force it on them. I usually use this one on a second or third session with the same group. I go into more information on that that below. You can learn a lot from speaking to music teachers that work with kids all the time.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E643" is="qowt-word-para" qowt-eid="E643" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E644" is="qowt-word-para" qowt-eid="E644" qowt-entry="undefined" qowt-lvl="undefined"><span id="E645" is="qowt-word-run" qowt-eid="E645">I spoke with this one elementary music teacher who explained to me that she had to learn to get out of the way of the kids so they could have more fun. Too many times, we try to impose our sense of what sounds good, or what we may think is right and what sounds bad, or wrong on the kids. Sometimes they need to be given the opportunity, and/or time to experiment and create without a bunch of rules.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E646" is="qowt-word-para" qowt-eid="E646" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E647" is="qowt-word-para" qowt-eid="E647" qowt-entry="undefined" qowt-lvl="undefined"><span id="E648" is="qowt-word-run" qowt-eid="E648">The drum circle in class is ideal environment for this reason, and many others. At times, they don’t need us. That needs to be in your head the entire time. Sometimes a teacher will want to run in there and try to get a kid playing who appears to be uninterested. I usually speak with them beforehand about please not doing this. I explain that it’s easier for kids to learn if it’s at their own pace, and when they feel comfortable. They will play eventually on their own when they see how much fun everyone else is having, they’re not going to mess things up, and that self discovery is the way to go.</span></p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI31" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><template class="style-scope qowt-section" id="headerTemplates"></template><template class="style-scope qowt-section" id="footerTemplates"></template><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E649" is="qowt-word-para" qowt-eid="E649" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E650" is="qowt-word-para" qowt-eid="E650" qowt-entry="undefined" qowt-lvl="undefined"><span id="E651" is="qowt-word-run" qowt-eid="E651">I show them rumbles, volume, tempos, and stops as soon as I can. (Let the kids try doing this if it feels right.) Have them try the weather jam where we simulate Wind, Rain, Hail, Lightning, Thunder. Play storm rhythms on the drums, and percussion. It usually turns into a good rhythm. Sometimes it train wrecks. It lets the kids know we will all go wherever this is going together, and not be afraid of making mistakes.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E652" is="qowt-word-para" qowt-eid="E652" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E653" is="qowt-word-para" qowt-eid="E653" qowt-entry="undefined" qowt-lvl="undefined"><span id="E654" is="qowt-word-run" qowt-eid="E654">Try the freeze. I Am The Drum. We all play it, and I do some freezes. Let some of them have a try at it, moving around like animals (snake, bunny, elephant, kangaroo, turtle, bird, etc.) and freeze as they are moving or dancing to the beat - Samba, Hip-hop, Funk, whatever. Each kid gets to do an animal sound at the 4th or 8th bar break and etc.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E655" is="qowt-word-para" qowt-eid="E655" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E656" is="qowt-word-para" qowt-eid="E656" qowt-entry="undefined" qowt-lvl="undefined"><span id="E657" is="qowt-word-run" qowt-eid="E657">I’ve learned that I need to keep it fun, and joke around with the kids a little bit. I need to win them over. Do, or say something silly here and there, between rhythms, or before drum activities.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E658" is="qowt-word-para" qowt-eid="E658" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E659" is="qowt-word-para" qowt-eid="E659" qowt-entry="undefined" qowt-lvl="undefined"><span id="E660" is="qowt-word-run" qowt-eid="E660">Here’s one idea you can try, make a TV show up like, “American Drumming Idol“. Odds are, they are big fans of the show. You get the kids to find a partner, or groups of 3 & have each team make up a rhythm with words said out loud as they play it. They can perform for the rest of the group. Make a beginning and an end, and they have to make a name for their band.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E661" is="qowt-word-para" qowt-eid="E661" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E662" is="qowt-word-para" qowt-eid="E662" qowt-entry="undefined" qowt-lvl="undefined"><span id="E663" is="qowt-word-run" qowt-eid="E663">Each group could have dancers also. (The show, “So You Think You Can Dance”) I give them five minutes or so to figure it out. It’s amazing to see what kind of things they come up with. Each team then performs for the rest of the group, (I'm having lots of fun pretending to be a nutty Simon Cowel and giving each group a critique.) I'm also making it into a bit of a competition with the kids voting on whether or not they should go through to the next round etc. It’s a time user, and I rarely use it.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E664" is="qowt-word-para" qowt-eid="E664" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E665" is="qowt-word-para" qowt-eid="E665" qowt-entry="undefined" qowt-lvl="undefined"><span id="E666" is="qowt-word-run" qowt-eid="E666">Try the “add your voice” drum rhythm idea. It's a simpler drum circle rhythm where you have one person start a groove and each person in a clockwise rotation adds their own unique voice, after a measure or two. I explain to them before we begin that it's preferable to put your voice where no other voices are. Like in between the other drum beats. This gets harder for them as the circle completes of course. When the circle does complete and is grooving all together with different voices it is really cool, if it works.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E667" is="qowt-word-para" qowt-eid="E667" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E668" is="qowt-word-para" qowt-eid="E668" qowt-entry="undefined" qowt-lvl="undefined"><span id="E669" is="qowt-word-run" qowt-eid="E669">Usually it is such an original sounding composition that kind of slowly rolls around and has many different interesting counter points. (as a result of showing participants how to play in between the normal 1 & 2 & beats by occasionally adding in or using 1 e & a 16th notes - even randomly). They catch on to this pretty quickly. If the groove falters or wanders you can pull the group into a slow quiet rumble, and get on to something else.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E670" is="qowt-word-para" qowt-eid="E670" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E671" is="qowt-word-para" named-flow="FLOW-2028" qowt-eid="E671" qowt-entry="undefined" qowt-lvl="undefined"><span id="E672" is="qowt-word-run" named-flow="FLOW-2029" qowt-eid="E672">Another game idea that I use after the group has built a dynamic that seems to be enjoyed</span></p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI32" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><template class="style-scope qowt-section" id="headerTemplates"></template><template class="style-scope qowt-section" id="footerTemplates"></template><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" is="qowt-word-para" named-flow="FLOW-2028" qowt-eid="E671" qowt-entry="undefined" qowt-lvl="undefined"><span is="qowt-word-run" named-flow="FLOW-2029" qowt-eid="E672">by most, if not all the people I work with, (kids, adults, special needs, elderly, etc. could be called fill the gap, or drum break, although I don’t really have a name for it. It goes like this: I explain to the group that we are going to create a drum break for a fill. (That can be part of the rhythm or brought in on a stop.) Often 4 or 8 beats, and that we can take turns to suggest ways to fill the gap, prior to the gap occurring. The suggestions come in the form of body language or a loud voice if the groove is quiet enough. I usually say it out loud.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E673" is="qowt-word-para" qowt-eid="E673" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E674" is="qowt-word-para" qowt-eid="E674" qowt-entry="undefined" qowt-lvl="undefined"><span id="E675" is="qowt-word-run" qowt-eid="E675">At the given or marked point we all stop playing, (say after eight bars of music) and fill the gap with a fill. For one bar, (a pause) and then you go back to the same beat again for eight bars, and then on to the next person. Fills can be anything, if they want to be brave, and bang their drum a little, great. It can be anything from animal noises, to clapping, to silence, to rumbling, to whistling, singing, screaming, silly gestures, you can suggest a whatever you think will work at the time. Most times, the kids want to do drum riffs, or animal sounds. It’s a fun idea.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E679" is="qowt-word-para" qowt-eid="E679" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E680" is="qowt-word-para" qowt-eid="E680" qowt-entry="undefined" qowt-lvl="undefined"><span id="E681" is="qowt-word-run" qowt-eid="E681">I feel it’s important NOT to make kids do solos. The best time to experiment with solos is after you have worked with a class a few times. Offer them the “safety button” to use if they are timid. They can push the imaginary safety button when it’s their turn. Be sure to monitor things, or have staff help you, keeping in mind some understood or pre-arranged boundaries may be there.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E682" is="qowt-word-para" qowt-eid="E682" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E683" is="qowt-word-para" qowt-eid="E683" qowt-entry="undefined" qowt-lvl="undefined"><span id="E684" is="qowt-word-run" qowt-eid="E684">It would look something like this: The group is going along with that simple default rhythm, (1-2----1-2-3) or a Rumba beat groove is what I use the most for this. After the eight bars, we all stop drumming and the kid to my right does an impression of a chicken, or whatever animal sound they want to do real quickly in one bar. Then we swing right back in to the Rumba beat. The kid to their right now gets a turn to make an animal noise, after eight bars, and away it goes, from kid to kid, around the circle. This is always funny, and we are all laughing, waiting to see what funny thing the next kid comes up with. Once you have worked with them a few times, maybe have them try it with a drum instead. It builds self confidence.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E685" is="qowt-word-para" qowt-eid="E685" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E686" is="qowt-word-para" qowt-eid="E686" qowt-entry="undefined" qowt-lvl="undefined"><span id="E687" is="qowt-word-run" qowt-eid="E687">Although this idea is mostly a good laugh, this is a great way to keep the group grooving while not thinking too hard about what they are playing and it can also create some surprisingly beautiful moments especially if you open it up to the whole group. It never fails to lighten the mood if done with energy. I like Middle Eastern rhythms for this one. Or the Heartbeat rhythm. The Drum Break Solo.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E688" is="qowt-word-para" qowt-eid="E688" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E689" is="qowt-word-para" qowt-eid="E689" qowt-entry="undefined" qowt-lvl="undefined"><span id="E690" is="qowt-word-run" qowt-eid="E690">I have mixed feelings on it, but when I think it feels right, I like to do this: The whole group is playing a simple rhythm reasonably tight and then we all stop drumming for a drum break, and have one person do a solo. You can demonstrate that the solo doesn’t have to be rhythmic, or complicated, or accurate. We just want them to have fun the way adults do. Hit the drum, rumble, be silly, be intense, be whatever, and you can get everyone cheering for each soloist.</span></p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI33" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><template class="style-scope qowt-section" id="headerTemplates"></template><template class="style-scope qowt-section" id="footerTemplates"></template><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E691" is="qowt-word-para" qowt-eid="E691" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E692" is="qowt-word-para" qowt-eid="E692" qowt-entry="undefined" qowt-lvl="undefined"><span id="E693" is="qowt-word-run" qowt-eid="E693">But it also puts kids a little bit on the spot, and puts some pressure on them. Sometimes, that’s just what they need. I always put that safety button in there as an option. (I don’t want to force the kids, or even adults, to do it.) I don’t like for people to feel pressured into doing a solo. Some people don’t want to be put on the spot. But it is an idea, I’ve used it, and sometimes, the kids tend to like it more than the adults do!</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E694" is="qowt-word-para" qowt-eid="E694" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E695" is="qowt-word-para" qowt-eid="E695" qowt-entry="undefined" qowt-lvl="undefined"><span id="E696" is="qowt-word-run" qowt-eid="E696">If you try it, I think the best thing to do is give them a verbal 4-3-2-1 countdown before it’s their turn to try the solo. I also keep the beat going, and do a verbal count of going aloud, or by tapping my foot on a tambourine in an obvious way, as each soloist takes their turn, so nobody gets lost, and everyone else is exactly sure when to come back in. And the soloist knows much easier how long to do their solo.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E697" is="qowt-word-para" qowt-eid="E697" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E698" is="qowt-word-para" qowt-eid="E698" qowt-entry="undefined" qowt-lvl="undefined"><span id="E699" is="qowt-word-run" qowt-eid="E699">So, to sum up, we play for four to eight measures of music, then the soloist does a two measure solo, and then back to the support rhythm. Eight more measures of rhythm, and the next person to their right does a solo for two bars, back to the groove, etc. Send it all the way around the circle. Everybody gets to do a drum break, then go back to the support rhythm.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E703" is="qowt-word-para" qowt-eid="E703" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E704" is="qowt-word-para" qowt-eid="E704" qowt-entry="undefined" qowt-lvl="undefined"><span id="E705" is="qowt-word-run" qowt-eid="E705">The “Stormy Weather Jam”. Think of it like a slow approaching rain storm. It starts with hands rubbing together, finger snapping, and then body slapping, (not each other). Each is one done incrementally double times but not to any specific rhythm. Then it layers out. (hopefully) It sounds just like a rain storm coming in, letting loose and coming.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E706" is="qowt-word-para" qowt-eid="E706" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E707" is="qowt-word-para" qowt-eid="E707" qowt-entry="undefined" qowt-lvl="undefined"><span id="E708" is="qowt-word-run" qowt-eid="E708">Make it into a story, then turn it into a beat on the drums. This is a variation of it, and it’s always fun. Here’s a way to do it: I like to simulate the wind by rubbing the hands across the drum head in a circular motion. I use those African seed shakers to simulate the leaves on the trees fluttering in the wind. The pitter patter of a few raindrops by tapping fingertips on the drum, or side of the drum. Then it rains harder and steadier.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E709" is="qowt-word-para" qowt-eid="E709" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E710" is="qowt-word-para" qowt-eid="E710" qowt-entry="undefined" qowt-lvl="undefined"><span id="E711" is="qowt-word-run" qowt-eid="E711">A storm is coming. Louder tapping. Then maybe some light hail. Knuckles knocking the drum head. Then some lightning, (a little bit louder tones). Finally the thunder beat of a storm! (insert rhythm here) You can make it into a rain dance beat or something. Those thunder tubes work really great on this one. It sounds like real distant thunder rolling in. All the kids want to play the thunder tube once, so what I usually do is let them each take a turn for a minute or two as it’s passed around the circle. Everybody gets to be the thunder drum kid.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E712" is="qowt-word-para" qowt-eid="E712" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E713" is="qowt-word-para" qowt-eid="E713" qowt-entry="undefined" qowt-lvl="undefined"><span id="E714" is="qowt-word-run" qowt-eid="E714">Try the name game. I say my name, and then I play the beat to the syllables. Take it all the way around the circle with each kid. If it turns in to a sustainable beat, go with it. Don’t force the timid ones. I like to have lots of games and activities and keep things moving. If a groove develops, go with it, and forget the rhythm games.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E715" is="qowt-word-para" qowt-eid="E715" qowt-entry="undefined" qowt-lvl="undefined"><br /></p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI34" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><template class="style-scope qowt-section" id="headerTemplates"></template><template class="style-scope qowt-section" id="footerTemplates"></template><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E716" is="qowt-word-para" qowt-eid="E716" qowt-entry="undefined" qowt-lvl="undefined"><span id="E717" is="qowt-word-run" qowt-eid="E717">My experience with all ages is kids really want to just play drum beats, not drumming or rhythm games. Especially the older teens, or if I work with the same group more than once. If you want to start a kid’s drum circle, or getting a drumming program going. Well, beginning is easy. In the case of kids drum circle I think a trained facilitator is probably a good idea for getting one started, or seeing if they even like it.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E718" is="qowt-word-para" qowt-eid="E718" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E719" is="qowt-word-para" qowt-eid="E719" qowt-entry="undefined" qowt-lvl="undefined"><span id="E720" is="qowt-word-run" qowt-eid="E720">Bear in mind, there are as many different ways to facilitate a drum circle as there are to paint art. Have your staff or music director watch them closely and learn. No telling how long it might take. It could be just a few times maybe it‘s four, it might not work at all. Drumming is not for everybody. The odds are that it will be effective. It might be just what they needed to let out aggression or frustration with out focusing it directly at anyone so they can learn faster, and become better students.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E721" is="qowt-word-para" qowt-eid="E721" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E722" is="qowt-word-para" qowt-eid="E722" qowt-entry="undefined" qowt-lvl="undefined"><span id="E723" is="qowt-word-run" qowt-eid="E723">Sometimes I use different drumming ideas, activities, drum games, and programs. Other times I just get them playing on a drum as quickly as I possibly can. My goal is usually always the same, to get them playing the drums as fast as possible. I have three or four beginnings in mind for a new group. I don’t know what I’m going to do until I can size them up, and feel the group dynamic. I don’t want to force them into something they don’t find fun! If something falls flat, just move quickly to something else. Mostly, I start with the egg shakers dance or just playing the drums. The warm up jam sets the mood.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E724" is="qowt-word-para" qowt-eid="E724" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E728" is="qowt-word-para" qowt-eid="E728" qowt-entry="undefined" qowt-lvl="undefined"><span id="E729" is="qowt-word-run" qowt-eid="E729">Good luck with it, and keep it fun!</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E730" is="qowt-word-para" qowt-eid="E730" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E731" is="qowt-word-para" qowt-eid="E731" qowt-entry="undefined" qowt-lvl="undefined"><span id="E732" is="qowt-word-run" qowt-eid="E732">Remember to try and speak with the staff afterwards for feedback. And at the next time you are there. (Hopefully) Or, leave them a feedback form to fill out, with a self addressed envelope and a stamp on it. I've gathered a lot of useful information with a simple feedback form.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E733" is="qowt-word-para" qowt-eid="E733" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E734" is="qowt-word-para" qowt-eid="E734" qowt-entry="undefined" qowt-lvl="undefined"><span id="E735" is="qowt-word-run" qowt-eid="E735">Remember that there are restrictions on photography in most cases, so be sure to ask if you want to take photos. If it's an event out in public, with the general public invited - then it's different.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E736" is="qowt-word-para" qowt-eid="E736" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E737" is="qowt-word-para" qowt-eid="E737" qowt-entry="undefined" qowt-lvl="undefined"><span id="E738" is="qowt-word-run" qowt-eid="E738">If the group needs to take a break for drinks or snacks, make sure they don’t come back to the drumming area before they are all finished. Goatskin drum heads still make terrible tables and coasters.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E739" is="qowt-word-para" qowt-eid="E739" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E740" is="qowt-word-para" qowt-eid="E740" qowt-entry="undefined" qowt-lvl="undefined"><span id="E741" is="qowt-word-run" qowt-eid="E741">One thing some don't understand about drum circles, is that it's more about the people, than it is the drumming. Many facilitators agree with me on this, some don't. The quality of the music produced in a drum circle isn't really based on the musical experience of the players, but on the developing quality of the relationships of the people that emerge. As a facilitator I help people to empower themselves through drumming, music, and fun. They need no experience at all to play in a drum circle. I encourage individual creativity, and group dynamics.</span></p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI35" named-flow="FLOW-2" qowt-eid="E125" style="column-count: 1;"><template class="style-scope qowt-section" id="headerTemplates"></template><template class="style-scope qowt-section" id="footerTemplates"></template><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E742" is="qowt-word-para" qowt-eid="E742" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E743" is="qowt-word-para" qowt-eid="E743" qowt-entry="undefined" qowt-lvl="undefined"><span id="E744" is="qowt-word-run" qowt-eid="E744">Ultimately, I just want to let people play. We drum up some fun. Let your personality out, and with your calm and reassuring manner, watch the volume, and they will quickly enjoy playing together, and connecting with you. I hope some of this is helpful to you, and it gives you a few ideas working with kids individually and in groups, young or teens. Please keep in mind that these are just my opinions, and based on my experiences.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E745" is="qowt-word-para" qowt-eid="E745" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E746" is="qowt-word-para" qowt-eid="E746" qowt-entry="undefined" qowt-lvl="undefined"><span id="E747" is="qowt-word-run" qowt-eid="E747">I hope you enjoyed reading Drum Circles For Kids - by Shannon Ratigan</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E748" is="qowt-word-para" qowt-eid="E748" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E749" is="qowt-word-para" qowt-eid="E749" qowt-entry="undefined" qowt-lvl="undefined"><span id="E750" is="qowt-word-run" qowt-eid="E750">If you would like to read some more about my approach to drum circles, please consider picking up my book, “A Practical Guide To Hand Drumming And Drum Circles” It’s 300 pages, and $8 on Amazon Kindle. Physical copies are sold out.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E751" is="qowt-word-para" qowt-eid="E751" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E752" is="qowt-word-para" qowt-eid="E752" qowt-entry="undefined" qowt-lvl="undefined"><span id="E753" is="qowt-word-run" qowt-eid="E753">If you choose to purchase it, my 101 drum circle rhythms video, or drum circle jam CDs - mp3s - thanks in advance for helping an independent musician. The proceeds help me with drum repairs, and doing work in our community.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E760" is="qowt-word-para" qowt-eid="E760" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E761" is="qowt-word-para" qowt-eid="E761" qowt-entry="undefined" qowt-lvl="undefined"><span id="E762" is="qowt-word-run" qowt-eid="E762">There is increasing recognition of the health benefits of music therapy, particularly facilitated hand drumming, which is what I did for a living. Unfortunately, places where the people who benefit the most, such as senior centers and special needs can not afford to pay for this.</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E782" is="qowt-word-para" qowt-eid="E782" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E783" is="qowt-word-para" qowt-eid="E783" qowt-entry="undefined" qowt-lvl="undefined"><span id="E784" is="qowt-word-run" qowt-eid="E784">If you're a filmmaker or video / TV producer all of my drumming & drum circle music tracks are licensed. Check CDBaby.com or Soundcloud.com & listen to a few. There's a wide variety of cultures, styles, and tempos to choose from. It helps to set that perfect mood for a scene. Here's the website url:</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E785" is="qowt-word-para" qowt-eid="E785" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E786" is="qowt-word-para" qowt-eid="E786" qowt-entry="undefined" qowt-lvl="undefined"><span id="E787" is="qowt-word-run" qowt-eid="E787">http://www.cdbaby.com/Artist/SLRatigan</span></p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E788" is="qowt-word-para" qowt-eid="E788" qowt-entry="undefined" qowt-lvl="undefined"><br /></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E789" is="qowt-word-para" qowt-eid="E789" qowt-entry="undefined" qowt-lvl="undefined"><span id="E790" is="qowt-word-run" qowt-eid="E790">Or, iTunes Spotify and Amazon</span></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E-1271" is="qowt-word-para" qowt-eid="E-1271" qowt-entry="undefined" qowt-lvl="undefined"><span id="E-1272" is="qowt-word-run" qowt-eid="E-1272"><br /></span></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E-1257" is="qowt-word-para" qowt-eid="E-1257" qowt-entry="undefined" qowt-lvl="undefined"><span id="E-1258" is="qowt-word-run" qowt-eid="E-1258">You can contact me at drumcircles_net@hotmail.com</span></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal" id="E-1147" is="qowt-word-para" qowt-eid="E-1147" qowt-entry="undefined" qowt-lvl="undefined"><span id="E-1148" is="qowt-word-run" qowt-eid="E-1148"><br /></span></p><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" id="E797" is="qowt-word-para" qowt-eid="E797" qowt-entry="undefined" qowt-lvl="undefined"><span id="E798" is="qowt-word-run" qowt-eid="E798">This website, text, Copyright © Shannon Ratigan All Rights Reserved.</span></p></qowt-section></div></div></qowt-page></div>drumcircles.nethttp://www.blogger.com/profile/05856494181338188294noreply@blogger.com0tag:blogger.com,1999:blog-9113701967098106880.post-85697386519994422182022-10-24T11:33:00.000-07:002022-10-24T11:33:03.074-07:00Drumming With Seniors Drum Circles<p> Drum circles are more fun than shuffleboard!</p><qowt-page is-first-page-in-section="" named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section id="E82" named-flow="FLOW-2" qowt-eid="E82" style="column-count: 1;"><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E85" is="qowt-word-para" qowt-eid="E85" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E86" is="qowt-word-para" qowt-eid="E86" qowt-entry="undefined" qowt-lvl="undefined"><span id="E87" is="qowt-word-run" qowt-eid="E87">I drum with elderly populations all the time. Mostly at active retirement communities, senior centers, and so on. They are always looking for something new, fun, diverse, interesting, and playful for the residents. A facilitated drum circle is all of that, and more. </span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E88" is="qowt-word-para" qowt-eid="E88" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E89" is="qowt-word-para" qowt-eid="E89" qowt-entry="undefined" qowt-lvl="undefined"><span id="E90" is="qowt-word-run" qowt-eid="E90">The first reaction I usually get when I suggest the idea is, “I have no rhythm.” Or, “I’ve never played a musical instrument before.” If a facilitated drum circle is presented properly, in a matter of 10 minutes everyone can be playing a drum rhythm together. And from there, playing various drum rhythms from around the world. The key to it is setting the right tone that this is going to be playful and fun. You can improvise, play and just have a good time. Like we did when we were kids. </span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E91" is="qowt-word-para" qowt-eid="E91" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E92" is="qowt-word-para" qowt-eid="E92" qowt-entry="undefined" qowt-lvl="undefined"><span id="E93" is="qowt-word-run" qowt-eid="E93">After 10 minutes you can see the joy in people’s eyes as they start to “get it” and are playing a drum rhythm for the first time. Making music is exciting, and if it’s your first time, it’s really exciting.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E94" is="qowt-word-para" qowt-eid="E94" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E95" is="qowt-word-para" qowt-eid="E95" qowt-entry="undefined" qowt-lvl="undefined"><span id="E96" is="qowt-word-run" qowt-eid="E96">We play Native American rhythms, African, Latin, Belly Dance, Reggae, Blues, R&B, and a lot more. After that first 10 minutes everyone is in the groove, and no longer “Thinking about messing up” “Can I do this?”, “What if I look silly.” Etc. That all goes away, and all we think about is drumming and making music as a group. That’s the goal. A lot of playing and very little talking. A bit about hand technique, where some of the drums are from, and the rest is all drumming. </span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E97" is="qowt-word-para" qowt-eid="E97" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E98" is="qowt-word-para" qowt-eid="E98" qowt-entry="undefined" qowt-lvl="undefined"><span id="E99" is="qowt-word-run" qowt-eid="E99">I’m there as a rhythm starter, but everyone is welcome to start out a rhythm if they want to. Usually after a half hour, people are wanting to start out their own beats. Great, we go with it because it’s all organic and spontaneous at a drum circle I facilitate.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E100" is="qowt-word-para" qowt-eid="E100" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E101" is="qowt-word-para" qowt-eid="E101" qowt-entry="undefined" qowt-lvl="undefined"><span id="E102" is="qowt-word-run" qowt-eid="E102">This is how I like to get drum rhythms going: After a warm up jam, I vocalize a few measures of a rhythm, and then begin playing it. It’s easier for the brain to quickly process words, free up the mind, and then the body can play. Word association is a great way to get a drum circle rhythm going with all age groups. </span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E103" is="qowt-word-para" qowt-eid="E103" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E104" is="qowt-word-para" qowt-eid="E104" qowt-entry="undefined" qowt-lvl="undefined"><span id="E105" is="qowt-word-run" qowt-eid="E105">For example, here’s a drum rhythm called Agilablanca. It’s in 4/4 time. (4 counts to a measure.) Rather than trying to teach it, I say: I-like-to-eat__choc-late-cake, I-like-to-eat__choc-late-cake (and repeat, etc.) (The first half of the phrase is all tones, the last half is all bass notes.) People add in the decorations, and away it goes. Sound like fun? It is. I’m available for hire in the St. Louis area by the way. My rates are reasonable.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E106" is="qowt-word-para" qowt-eid="E106" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E107" is="qowt-word-para" named-flow="FLOW-3" qowt-eid="E107" qowt-entry="undefined" qowt-lvl="undefined"><span id="E108" is="qowt-word-run" named-flow="FLOW-4" qowt-eid="E108">Sometimes we try drumming out Morse Code rhythms. Ask someone to suggest 2 letters, or numbers, and put them together to make a new drum circle rhythm. _ _...._ _ A dot is a tone, and a dash, is a bass note. Sometimes they work, and sometimes they don't, that's part of the fun, exploring, and going on this journey together. (There’s a Morse Code alphabet </span>
</p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI7" named-flow="FLOW-2" qowt-eid="E82" style="column-count: 1;"><template class="style-scope qowt-section" id="headerTemplates"></template><template class="style-scope qowt-section" id="footerTemplates"></template><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" is="qowt-word-para" named-flow="FLOW-3" qowt-eid="E107" qowt-entry="undefined" qowt-lvl="undefined"><span is="qowt-word-run" named-flow="FLOW-4" qowt-eid="E108">chart at my site drumcircles.net )</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E109" is="qowt-word-para" qowt-eid="E109" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E110" is="qowt-word-para" qowt-eid="E110" qowt-entry="undefined" qowt-lvl="undefined"><span id="E111" is="qowt-word-run" qowt-eid="E111">A fun idea to entice movement in the center is to bring along a hula hoop. That can really ramp up the fun at your drum circle. It gives people a rhythmic motion to groove to. I was surprised when I first saw people of all different ages wanting to get in there and try it. The drum rhythm Beledi is a good one to use. In 4/4 time, it sounds like: Doum Doum tek-ka-Tek, Doum tek-ka-Tek. {One of my dancer friends said the Beledi rhythm is the "Catnip Rhythm" for belly dancers. lol. I like that.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E112" is="qowt-word-para" qowt-eid="E112" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E113" is="qowt-word-para" qowt-eid="E113" qowt-entry="undefined" qowt-lvl="undefined"><span id="E114" is="qowt-word-run" qowt-eid="E114">With some groups it’s a drum circle once or twice a year for events or special occasions, with others it’s every month we do this. It’s a fun activity that no matter what physical limitations some of them may have, everyone can participate. Even those in wheelchairs, or strength in only one arm. </span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E115" is="qowt-word-para" qowt-eid="E115" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E116" is="qowt-word-para" qowt-eid="E116" qowt-entry="undefined" qowt-lvl="undefined"><span id="E117" is="qowt-word-run" qowt-eid="E117">I like to provide drums from around the world such as djembes, congas, doumbeks, and bongos, frame drums, buffalo drums, sound shapes, and various other percussion instruments. That way, there is something for everyone to have fun with. And we play rhythms from different countries, and cultures. And you can try them all out if you like.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E118" is="qowt-word-para" qowt-eid="E118" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E119" is="qowt-word-para" qowt-eid="E119" qowt-entry="undefined" qowt-lvl="undefined"><span id="E120" is="qowt-word-run" qowt-eid="E120">As far as the staff is concerned, all we really need is some chairs set up in a circle about 20 - 30 feet across. So it is a pretty low maintenance activity for them. If outdoors, some shade.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E121" is="qowt-word-para" qowt-eid="E121" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E122" is="qowt-word-para" qowt-eid="E122" qowt-entry="undefined" qowt-lvl="undefined"><span id="E123" is="qowt-word-run" qowt-eid="E123">Many times, elders are more playful than kids. You don’t get many chances to just be silly and have fun with friends or acquaintances as an older adult. I am a senior myself, I got my first senior citizens discount last month, and it was kind of humiliating. I thought, should I, or shouldn’t I? It was ten bucks, so I went on with it. And I really don’t like being treated like a senior very much either. Most others I have spoken to feel the same way. It sucks to get old and feel your body growing weaker. </span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E124" is="qowt-word-para" qowt-eid="E124" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E125" is="qowt-word-para" qowt-eid="E125" qowt-entry="undefined" qowt-lvl="undefined"><span id="E126" is="qowt-word-run" qowt-eid="E126">We can’t do the physical things we once could do anymore. But we do want to have fun, and, if possible, do things that recapture some of our youth. Just be silly, and goof off a little bit. I like to feel young again, and so do most other older adults. That’s why a facilitated drum circle works so well. Remembering the things we enjoyed in our past younger days, the music and songs we grew up on, that may mark fond memory points in our lives.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E127" is="qowt-word-para" qowt-eid="E127" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E128" is="qowt-word-para" named-flow="FLOW-5" qowt-eid="E128" qowt-entry="undefined" qowt-lvl="undefined"><span id="E129" is="qowt-word-run" named-flow="FLOW-6" qowt-eid="E129">There are some limitations in movement of course. Some have severe arthritis, Parkinson’s disease, and many other things that limit the amount of movement. Some are in wheel chairs, and only have limited movement in one arm or hand. So when I work with elderly groups I try to find out as much information as I can in advance on any possible limitations that may be present. This isn’t always possible, so I like to bring a real mixed bag of drums and percussion. Lots of things they can lay in their laps and play. Or things that can be </span>
</p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI8" named-flow="FLOW-2" qowt-eid="E82" style="column-count: 1;"><template class="style-scope qowt-section" id="headerTemplates"></template><template class="style-scope qowt-section" id="footerTemplates"></template><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" is="qowt-word-para" named-flow="FLOW-5" qowt-eid="E128" qowt-entry="undefined" qowt-lvl="undefined"><span is="qowt-word-run" named-flow="FLOW-6" qowt-eid="E129">easily played with one hand. Finding the right drum for everyone they can easily play and have fun with is very important so they can get the most benefit from it, and the most healing from the drum. It’s a good idea to have about a dozen SoundShapes with the soft mallets. They are the perfect instrument for many with limited movement.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E130" is="qowt-word-para" qowt-eid="E130" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E131" is="qowt-word-para" qowt-eid="E131" qowt-entry="undefined" qowt-lvl="undefined"><span id="E132" is="qowt-word-run" qowt-eid="E132">When I arrive, I try to allow extra time so I can say hello, and shake their hands and talk with everyone. I think that it’s very important to make sure everyone is aware of who I am. I want them to feel comfortable, and prepare them for some drumming fun. The hand shake also gives me a little bit of a clue as to their ability to use their hands so I can help them find the right drum to play.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E133" is="qowt-word-para" qowt-eid="E133" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E134" is="qowt-word-para" qowt-eid="E134" qowt-entry="undefined" qowt-lvl="undefined"><span id="E135" is="qowt-word-run" qowt-eid="E135">After that initial (accessing the group) warm up jam, I spend a bit more time with them on good hand technique, and volume levels, because I don’t want anyone getting hurt, or feeling uncomfortable. Other than that, I pretty much facilitate the circle from the side, the same way I would any other group, except I make a little more eye contact.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E136" is="qowt-word-para" qowt-eid="E136" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E137" is="qowt-word-para" qowt-eid="E137" qowt-entry="undefined" qowt-lvl="undefined"><span id="E138" is="qowt-word-run" qowt-eid="E138">I just let them have fun, and experience self discovery. This can deeply affect some people, I see them get very emotional sometimes. Even tears, and crying at some points. Mostly at the end is when the emotions seem to come through. Caring and compassion is needed here obviously. Lots of times they are tears of joy, because of the self discovery process many of us go through at a drum circle.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E139" is="qowt-word-para" qowt-eid="E139" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E140" is="qowt-word-para" qowt-eid="E140" qowt-entry="undefined" qowt-lvl="undefined"><span id="E141" is="qowt-word-run" qowt-eid="E141">I like to bring body style drums that can stand up solid by themselves or in stands that can then be played at a comfortable level for people sitting without having to bend over to hold it. A wood Djembe is rather hard to hold onto for some people. And you don’t want it falling over on someone else. So, I use solid self standing drums, and/or drums with stands. But some people surprise me when they want to play that big ol’ drum, and proceed to jam out on it the entire session. But for the most part, drums that weigh a lot less like aluminum Doumbeks, those PVC Djembes, and Frame drums with beaters that are easy for a person to grip are ideal. </span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E142" is="qowt-word-para" qowt-eid="E142" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E143" is="qowt-word-para" qowt-eid="E143" qowt-entry="undefined" qowt-lvl="undefined"><span id="E144" is="qowt-word-run" qowt-eid="E144">One thing I do with mallets is wrap the handle grip with cloth to be very fat, so they are easier to hold onto for a person that might have arthritis, but still wants to play. You need to think about things that are more comfortable for them, things they can rest on their laps, or play with one hand. </span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E145" is="qowt-word-para" qowt-eid="E145" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E146" is="qowt-word-para" named-flow="FLOW-7" qowt-eid="E146" qowt-entry="undefined" qowt-lvl="undefined"><span id="E147" is="qowt-word-run" named-flow="FLOW-8" qowt-eid="E147">Frame drums seem to be the most popular, because they can be held easily with one hand and played with a soft mallet, or just rested on their laps and played that way. Plus they are just plain fun to play. The ocean drums are very popular also, (A two sided frame drum that has a bunch of buckshot inside it. When you tilt it, it sounds like waves rolling in.) I also use those Compact Congas, and tambourines. I use lots of different sizes. Bongos are fun as well, they can just rest them on the lap and be played with one or both hands. I bring a few throw pillows to put under them for comfort. Some bongo sets are rather heavy, so I </span>
</p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI9" named-flow="FLOW-2" qowt-eid="E82" style="column-count: 1;"><template class="style-scope qowt-section" id="headerTemplates"></template><template class="style-scope qowt-section" id="footerTemplates"></template><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" is="qowt-word-para" named-flow="FLOW-7" qowt-eid="E146" qowt-entry="undefined" qowt-lvl="undefined"><span is="qowt-word-run" named-flow="FLOW-8" qowt-eid="E147">look for the polymer shell style that only weighs a couple of pounds.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E148" is="qowt-word-para" qowt-eid="E148" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E149" is="qowt-word-para" qowt-eid="E149" qowt-entry="undefined" qowt-lvl="undefined"><span id="E150" is="qowt-word-run" qowt-eid="E150">For those that can’t, or would rather not, play a drum, I bring loads of different things. Maracas, shakers, guiros, rattles, claves, jingle bells, stick castanets, and real mixed bag of percussion “toys”. This way everyone has lots of choices, and can pick and choose various things as we go along. Like I mentioned, Sound shapes are always in my kit, just in case. I keep 24 at the ready in a cloth shopping bag.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E151" is="qowt-word-para" qowt-eid="E151" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E152" is="qowt-word-para" qowt-eid="E152" qowt-entry="undefined" qowt-lvl="undefined"><span id="E153" is="qowt-word-run" qowt-eid="E153">The first thing I would suggest is to go into this kind of drum circles with an open mind. I try to avoid any pre-formed assumptions about what elderly people with various conditions can and can't do. Their individual conditions can affect them in lots of different ways. And some of them might come as a surprise. If something spontaneous happens, go with it. Someone may suggest an idea or a song, or even get up and boogie. Cool. Do it.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E154" is="qowt-word-para" qowt-eid="E154" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E155" is="qowt-word-para" qowt-eid="E155" qowt-entry="undefined" qowt-lvl="undefined"><span id="E156" is="qowt-word-run" qowt-eid="E156">It gives some of them a chance to bring some creativity and excitement to an otherwise routine day, and maybe make a few new friends in the process. Some of them want to stand and play instead of drumming sitting down. I let them go for it as long as they want. Some of them put on a belly dance wrap, get in the center, and boogie. It adds a lot of fun to the whole experience because we all know it’s organic, spontaneous, and happening in the moment. </span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E157" is="qowt-word-para" qowt-eid="E157" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E158" is="qowt-word-para" qowt-eid="E158" qowt-entry="undefined" qowt-lvl="undefined"><span id="E159" is="qowt-word-run" qowt-eid="E159">With seniors there is a wide range in degrees of mobility. That’s why I need to think about adjusting and adapting the equipment, but for some it isn’t even needed. I just try to have a wide range of instruments available for them. One thing I have learned is that there is nothing worse (the same as with any person with any disability) than being offered only the easiest drums, and percussion to play. I like to ask everyone to choose a drum. After a bit, trade with someone else.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E160" is="qowt-word-para" qowt-eid="E160" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E161" is="qowt-word-para" qowt-eid="E161" qowt-entry="undefined" qowt-lvl="undefined"><span id="E162" is="qowt-word-run" qowt-eid="E162">One good idea if you have someone wanting to play a big Djembe but they are unable to hold it off the floor is to stand it in an upturned stool or chair. Use a bungee cord or two if necessary to keep it firmly in place. Then the sound will fully get out. </span><span id="E164" is="qowt-line-break" qowt-eid="E164"><br /></span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E165" is="qowt-word-para" qowt-eid="E165" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E166" is="qowt-word-para" qowt-eid="E166" qowt-entry="undefined" qowt-lvl="undefined"><span id="E167" is="qowt-word-run" qowt-eid="E167">I think it’s very important to drum with the group, and not just be waving out instructions and telling them here’s what to play. That’s no fun, these aren’t children. When I’m playing my drum, some people like to watch and follow my hands. (Even though I am a lefty, and I mention that.) I put those ruffled elastic colored bands on my wrists I mentioned earlier, so people can easily see my hand movements if they want to, or need to. I always mention, play what ever you want, just follow the beat. Start a rhythm with a 4 measure vocalization, </span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E168" is="qowt-word-para" qowt-eid="E168" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E169" is="qowt-word-para" qowt-eid="E169" qowt-entry="undefined" qowt-lvl="undefined"><span id="E170" is="qowt-word-run" qowt-eid="E170">ie: Yum, Yum, tastes like chicken, Yum, Yum, tastes like chicken... </span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E171" is="qowt-word-para" qowt-eid="E171" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E172" is="qowt-word-para" named-flow="FLOW-9" qowt-eid="E172" qowt-entry="undefined" qowt-lvl="undefined"><span id="E173" is="qowt-word-run" named-flow="FLOW-10" qowt-eid="E173">Two bass notes followed by 4 tone notes, and repeat. They can either play the support rhythm, or improvise once it’s established. Often it transitions to another rhythm entirely. I </span>
</p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI10" named-flow="FLOW-2" qowt-eid="E82" style="column-count: 1;"><template class="style-scope qowt-section" id="headerTemplates"></template><template class="style-scope qowt-section" id="footerTemplates"></template><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" is="qowt-word-para" named-flow="FLOW-9" qowt-eid="E172" qowt-entry="undefined" qowt-lvl="undefined"><span is="qowt-word-run" named-flow="FLOW-10" qowt-eid="E173">just go with it, because that’s the group dynamic leading the rhythm.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E174" is="qowt-word-para" qowt-eid="E174" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E175" is="qowt-word-para" qowt-eid="E175" qowt-entry="undefined" qowt-lvl="undefined"><span id="E176" is="qowt-word-run" qowt-eid="E176">I don’t make a whole lot of eye contact when playing. Just an occasional glance, or smile of reassurance. It’s important not to misread what might appear to be blank expressions. Often the facial muscles often don't work as well as they used to. Many times people like to just sit back and groove without playing for a little while, taking it all in. See with your ears.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E177" is="qowt-word-para" qowt-eid="E177" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E178" is="qowt-word-para" qowt-eid="E178" qowt-entry="undefined" qowt-lvl="undefined"><span id="E179" is="qowt-word-run" qowt-eid="E179">It’s important to remember that, sometimes, not all who may appear to be wandering are actually lost. This is true at all drum circles.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E180" is="qowt-word-para" qowt-eid="E180" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E181" is="qowt-word-para" qowt-eid="E181" qowt-entry="undefined" qowt-lvl="undefined"><span id="E182" is="qowt-word-run" qowt-eid="E182">Try to have good background knowledge of the music they grew up on. Think of a few of the “American Standards” of their era. Some will suggest one, so go with it. Don’t be afraid to ask if there are any songs they might like to sing or play. I’ve had a couple of big band rhythm jams that were outstanding. Think about playing things like swing, waltzes, Hand Jive, I Got Rhythm, whatever they want to suggest. If they don’t have anything off the top of their heads, I suggest a few and let them choose. Usually someone knows all the old standards like: “Show me the way to go home“, “How much is that doggie in the window?”, “My old man said follow the van”, etc. Really you only need to know is the first line of the song. Everyone can La de da along, and play along. Or try instrumental standards like the song "Sing, Sing, Sing". That one has a grooving big band drum beat to it.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E183" is="qowt-word-para" qowt-eid="E183" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E184" is="qowt-word-para" qowt-eid="E184" qowt-entry="undefined" qowt-lvl="undefined"><span id="E185" is="qowt-word-run" qowt-eid="E185">Just having a warm and genuine welcoming and involvement with everyone sets the stage for a very successful musical time with elders.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E186" is="qowt-word-para" qowt-eid="E186" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E187" is="qowt-word-para" qowt-eid="E187" qowt-entry="undefined" qowt-lvl="undefined"><span id="E188" is="qowt-word-run" qowt-eid="E188">Many times the attendee's have an assistant, and that helps me a lot! I can then focus more on the musicality of the bigger group. They can help you offer different percussion items that might be better suited for individual people. If someone from the staff is there, ask for some assistance from them. That’s a great relief sometimes, as these particular populations do require a little bit of extra care.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E189" is="qowt-word-para" qowt-eid="E189" qowt-entry="undefined" qowt-lvl="undefined"><span id="E190" is="qowt-word-run" qowt-eid="E190"> </span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E191" is="qowt-word-para" qowt-eid="E191" qowt-entry="undefined" qowt-lvl="undefined"><span id="E192" is="qowt-word-run" qowt-eid="E192">But some of them love the lure of being in the band, even feeling like a rock star. So let them have that opportunity if it feels right to you. It doesn’t really matter how good the drumming is. </span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E193" is="qowt-word-para" qowt-eid="E193" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E194" is="qowt-word-para" named-flow="FLOW-11" qowt-eid="E194" qowt-entry="undefined" qowt-lvl="undefined"><span id="E195" is="qowt-word-run" named-flow="FLOW-12" qowt-eid="E195">They love the beach towels in the center of the circle bit. About half way through the circle, I lay 2 beach towels (or yoga mats) out in the center of the circle before the next rhythm. (The slower beats work best for this.) I ask two people if they want to REALLY feel the healing power of the drum, to carefully lay down on them for a few minutes. I ask them to lay flat on them, arms to their sides, and close their eyes while we play a rhythm. When I offer up the idea, there are always a few takers on that one. And when they get up, the others see the looks on their faces, and want to try it also. It is very powerful to feel the </span>
</p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI11" named-flow="FLOW-2" qowt-eid="E82" style="column-count: 1;"><template class="style-scope qowt-section" id="headerTemplates"></template><template class="style-scope qowt-section" id="footerTemplates"></template><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" is="qowt-word-para" named-flow="FLOW-11" qowt-eid="E194" qowt-entry="undefined" qowt-lvl="undefined"><span is="qowt-word-run" named-flow="FLOW-12" qowt-eid="E195">drum downbeat absorbed into your body. Here's an example:</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E196" is="qowt-word-para" qowt-eid="E196" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E197" is="qowt-word-para" qowt-eid="E197" qowt-entry="undefined" qowt-lvl="undefined"><span id="E198" is="qowt-word-run" qowt-eid="E198">At just about every drum circle I facilitate, I always do the “Let them feel the healing energy of the drum, in their bodies thing”. </span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E199" is="qowt-word-para" qowt-eid="E199" qowt-entry="undefined" qowt-lvl="undefined"><span id="E200" is="qowt-word-run" qowt-eid="E200"> </span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E201" is="qowt-word-para" qowt-eid="E201" qowt-entry="undefined" qowt-lvl="undefined"><span id="E202" is="qowt-word-run" qowt-eid="E202">This is the one where at the end of the drum circle, I ask them to all stand up still in a circle, and hold their palms open and outstretched, opposite to each person next to them, and palms opposite facing each other. Hold your palms outstretched directly above each other’s palms, about 12 inches apart. Now slowly compress your hands to the other person without actually touching them to about an inch. Slowly compress your hands up and down slowly a few times and feel that energy. The ohh’s and ah’s as they feel it compress – they are feeling their chi, or mojo in their bodies (some for the very 1st time). This is very powerful. Next, turn their hands into themselves, to let the healing power reach inward, into your bodies. Start from your head, and work it down slowly. This is incredibly powerful when you feel it for the first time. This whole process takes about 3 – 5 minutes. It leaves a long lasting impression.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E203" is="qowt-word-para" qowt-eid="E203" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E204" is="qowt-word-para" qowt-eid="E204" qowt-entry="undefined" qowt-lvl="undefined"><span id="E205" is="qowt-word-run" qowt-eid="E205">That’s why I try to get everyone to drum, for at least a half an hour. To get this energy of the drum flowing inside them. All you have to do then, is demonstrate it to them at the end of the circle.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E206" is="qowt-word-para" qowt-eid="E206" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E207" is="qowt-word-para" qowt-eid="E207" qowt-entry="undefined" qowt-lvl="undefined"><span id="E208" is="qowt-word-run" qowt-eid="E208">I got this next idea from a friend. What she does, with participants in the more advanced stages of dementia, she includes a “hello” and “goodbye” song into her program, which includes everyone by name. It’s a great idea. It helps to give them clues as to what's about to happen, and highlights the beginning, and ending of the session, like a good story does.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E209" is="qowt-word-para" qowt-eid="E209" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E210" is="qowt-word-para" qowt-eid="E210" qowt-entry="undefined" qowt-lvl="undefined"><span id="E211" is="qowt-word-run" qowt-eid="E211">Here’s another great idea. See if they would like to make their own drums, they don’t have a whole lot to do that isn’t routine. If they are in a nursing home, the staff can help them to make their own drums out of those 2 1/2 to 5 gallon buckets, or water bottles. They get them all decorated up, and play them with padded beaters. You can get the buckets free at paint shops, restaurants, and so on. Let the residents make drums for themselves, the differing sizes and shapes provide the varying sounds. Some have even had exhibits of their drums in local art venues. Colorfully decorated drums can also be bright corner pick me ups in their facilities. </span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E212" is="qowt-word-para" qowt-eid="E212" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E213" is="qowt-word-para" qowt-eid="E213" qowt-entry="undefined" qowt-lvl="undefined"><span id="E214" is="qowt-word-run" qowt-eid="E214">Sometimes a few of the residents are into things like knitting, and crochet, and they can make their own Djembe hats relatively easily, to sell online, etc. They have lots of spare time. I have bought a few of them myself, and they look great, as well as being nice and thick so they protect the drum heads very well. I still have one I cherish that an 85 year old lady made for me.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E215" is="qowt-word-para" qowt-eid="E215" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E216" is="qowt-word-para" named-flow="FLOW-13" qowt-eid="E216" qowt-entry="undefined" qowt-lvl="undefined"><span id="E217" is="qowt-word-run" named-flow="FLOW-14" qowt-eid="E217">(If you are short on cash, and need some Djembe covers, believe it or not, those round toilet bowl covers work pretty good for 12” to 14” Djembes. They are thick like shag </span>
</p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI12" named-flow="FLOW-2" qowt-eid="E82" style="column-count: 1;"><template class="style-scope qowt-section" id="headerTemplates"></template><template class="style-scope qowt-section" id="footerTemplates"></template><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" is="qowt-word-para" named-flow="FLOW-13" qowt-eid="E216" qowt-entry="undefined" qowt-lvl="undefined"><span is="qowt-word-run" named-flow="FLOW-14" qowt-eid="E217">carpet, so they protect them very well. And they have an elastic band around them to stay in place. You can find them at most thrift stores laying around for just a buck or two. It’s probably a good idea to maybe wash them first.) lol. Yuck, why did I include that?</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E218" is="qowt-word-para" qowt-eid="E218" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E219" is="qowt-word-para" qowt-eid="E219" qowt-entry="undefined" qowt-lvl="undefined"><span id="E220" is="qowt-word-run" qowt-eid="E220">Anyway, a good basic plan is this:</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E221" is="qowt-word-para" qowt-eid="E221" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E222" is="qowt-word-para" qowt-eid="E222" qowt-entry="undefined" qowt-lvl="undefined"><span id="E223" is="qowt-word-run" qowt-eid="E223">Try to see the actual playing space if possible, and speak with the staff if you can about any concerns or limitations. Would they like to begin a certain way, etc. Often it’s not possible, but I do it if I can. Most of the time booking, questions, and etc. happen via email. After booking a date, I like to ask if I can come by and see the room beforehand even if it does take a few extra hours out of my day. I can better visualize my drum and percussion set up, and things go smoother for me when I arrive to facilitate the circle. I can also size up the distance I need to carry all the drums from my vehicle. I can just manage my time and energy better. I also like to find the area of the room with the least echo to it. (Just clap your hands in different areas of the room to find it.) Sometimes they have a spot already picked out, and that’s it.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E224" is="qowt-word-para" qowt-eid="E224" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E225" is="qowt-word-para" qowt-eid="E225" qowt-entry="undefined" qowt-lvl="undefined"><span id="E226" is="qowt-word-run" qowt-eid="E226">Clean your entire drum circle kit as best you can, before and after. We should disinfect all of our instruments, particularly when working with seniors, children, or special need groups. I keep a travel pack anti-bacterial lotion with me. We want to connect, and keep safety in mind. Clean everything up as best you can. I do my kit clean up when I get home.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E227" is="qowt-word-para" qowt-eid="E227" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E228" is="qowt-word-para" qowt-eid="E228" qowt-entry="undefined" qowt-lvl="undefined"><span id="E229" is="qowt-word-run" qowt-eid="E229">Instruments are very likely to get germs on them from playing. Remember that the disinfectant needs some time to evaporate. The synthetic drums are best here in these settings. They are easy to clean with some antibacterial wipes. Lightweight Doumbeks and Darbukas are perfect. Frame drums are ideal, sound shapes, ocean drums, etc. I use many synthetic instruments, like those egg shakers, maracas, guiros, etc. for the same reason. Plastics and laminates clean most easily, and are the most durable. I don’t use many goatskin drums for these groups. But I do bring a few of them for variety.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E230" is="qowt-word-para" qowt-eid="E230" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E231" is="qowt-word-para" qowt-eid="E231" qowt-entry="undefined" qowt-lvl="undefined"><span id="E232" is="qowt-word-run" qowt-eid="E232">Sometimes when working with elders, many are scared of the potential noise. I learned from a staff member to get them in there early, and let them explore the drums a little on their own. (And the percussion items.) In many cases, when they're in charge of the noise, they're happy to make it loud. I sometimes have a dancing rhythm going when they enter the room, and do the egg shaker on each chair thing, or have a small percussion instrument on or near each chair.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E233" is="qowt-word-para" qowt-eid="E233" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E234" is="qowt-word-para" named-flow="FLOW-15" qowt-eid="E234" qowt-entry="undefined" qowt-lvl="undefined"><span id="E235" is="qowt-word-run" named-flow="FLOW-16" qowt-eid="E235">We play a rhythm together and they can move around as they like. It gives them a sense of making music before the drumming starts. For the first time with a group, I don't expect much of a groove, but be ready for it, because it happens if you anchor it for them with a nice support rhythm, and once it’s solid - fade back and let them take it. It is so important to have stuff that can be played with one hand. I have this basket of fruit shaped shakers I use a lot with them. Expect to spend a little time finding the right instrument for each person, </span>
</p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI13" named-flow="FLOW-2" qowt-eid="E82" style="column-count: 1;"><template class="style-scope qowt-section" id="headerTemplates"></template><template class="style-scope qowt-section" id="footerTemplates"></template><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" is="qowt-word-para" named-flow="FLOW-15" qowt-eid="E234" qowt-entry="undefined" qowt-lvl="undefined"><span is="qowt-word-run" named-flow="FLOW-16" qowt-eid="E235">and let them choose something different later on. Make it fun, and interesting for them. Mixing in a little about the history and type of the drums between rhythms is fascinating for them, and helps me to be able to pace myself.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E236" is="qowt-word-para" qowt-eid="E236" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E237" is="qowt-word-para" qowt-eid="E237" qowt-entry="undefined" qowt-lvl="undefined"><span id="E238" is="qowt-word-run" qowt-eid="E238">As I mentioned, some have physical limitations, so I bring buffalo drums, frame drums, drums they can lay on their laps and play. I try to avoid having too many things played with hard sticks or mallets, because sticks have a way of finding their way to goatskin heads. So there’s the chance someone might put one through a drum head or worse. I keep them stashed away and use them sparingly. I bring a few Djembe stands or taller drums to accommodate those who might need one. Even those who you may think can only noodle with their fingers, or bash away, will get the repetition of a drum rhythm, and catch on eventually if you are a good facilitator. It’s a good idea to have some soft beaters for those who can't use their hands very well. </span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E239" is="qowt-word-para" qowt-eid="E239" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E240" is="qowt-word-para" qowt-eid="E240" qowt-entry="undefined" qowt-lvl="undefined"><span id="E241" is="qowt-word-run" qowt-eid="E241">Make sure that your kit is safe. No sharp edge drums like on some Darbukas etc. Think of your players as vulnerable children with the size and power of adults. Avoid taking anything fragile. The first drum circle with a group of active living elders can be very challenging. Expect some total chaos to happen. It gets a lot easier the second time. In my experience some of these people have problems judging how hard to strike a body drum and could hurt their hands by playing it too hard. Show them a few pointers on good hand technique after a warm up rhythm.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E242" is="qowt-word-para" qowt-eid="E242" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E243" is="qowt-word-para" qowt-eid="E243" qowt-entry="undefined" qowt-lvl="undefined"><span id="E244" is="qowt-word-run" qowt-eid="E244">As I said, loud noise is my biggest concern. The healthy noise limit is about 85 decibels (Db.) I think that is the legal safety limit as well. That’s what the cop said when he broke up a public drum circle in a park. (This was a public gathering group.) He had his little decibel meter, and showed me the reading on it. We were up in the 120 Db. range. The neighbors called them on us. Actually, he was pretty cool about it. As a radio operator I’m familiar with decibels of gain, etc. but I researched this a little, and here’s what I found. A normal conversation is about 60 Db, up to the threshold of discomfort, that is the 120 Db range. Okay, so I’m still a bit of a geek.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E245" is="qowt-word-para" qowt-eid="E245" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E246" is="qowt-word-para" qowt-eid="E246" qowt-entry="undefined" qowt-lvl="undefined"><span id="E247" is="qowt-word-run" qowt-eid="E247">A bunch of people drumming together indoors can easily reach into the 115 to 120 Db range. About 150 Db, is the Pain Threshold. You can get a decibel meter relatively inexpensively. I think Maplin makes one. Keeping the volume level down takes some skill, and experience to pull it off. But it is possible. And this is even more important when dealing with elders and special needs people. Most of the time, circles are 30 to 50 people, and volume is easy to manage.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E248" is="qowt-word-para" qowt-eid="E248" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E249" is="qowt-word-para" qowt-eid="E249" qowt-entry="undefined" qowt-lvl="undefined"><span id="E250" is="qowt-word-run" qowt-eid="E250">A good idea is to create a volume down signal early on, or just start to play your drum quieter, more often than not, they will be there right with you. It works just great. And as an added bonus, the participants get to hear each other. But if you use it too much it can have a negative effect. It’s something to keep in mind, some of the beginners get way into it, and are often getting their issues out.</span>
</p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI15" named-flow="FLOW-2" qowt-eid="E82" style="column-count: 1;"><template class="style-scope qowt-section" id="headerTemplates"></template><template class="style-scope qowt-section" id="footerTemplates"></template><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E251" is="qowt-word-para" qowt-eid="E251" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E252" is="qowt-word-para" qowt-eid="E252" qowt-entry="undefined" qowt-lvl="undefined"><span id="E253" is="qowt-word-run" qowt-eid="E253">Here’s some advice from a friend of mine. When he does big circles with 100 people, the Db level can be huge. So he charges the client for enough cheap earplugs to go around. As far as I know, if you warn them, and offer protection, you've done your job. I keep a few dozen of them in my gig bag.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E254" is="qowt-word-para" qowt-eid="E254" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E255" is="qowt-word-para" qowt-eid="E255" qowt-entry="undefined" qowt-lvl="undefined"><span id="E256" is="qowt-word-run" qowt-eid="E256">A few final thoughts. This new atmosphere of spontaneous drumming can be overwhelming to some people. The one thing I don’t want to do is have people feel threatened, scared, overwhelmed, or lost. Trying to do complicated rhythms too soon can do that. Keep it simple until the group dynamic is created. Three to four jams usually is enough to do so. Lots of positive comments from you during the drum circle helps a lot. “Hey, we sounded great on that one didn’t we?” Smile a lot, thumbs up! If they are in there, they are participating.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E257" is="qowt-word-para" qowt-eid="E257" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E258" is="qowt-word-para" qowt-eid="E258" qowt-entry="undefined" qowt-lvl="undefined"><span id="E259" is="qowt-word-run" qowt-eid="E259">A few things I bring besides my earplugs in my gig bag, are some padded tape, first aid, hand creams, anti-bacterial wipes, etc. for anyone who just might ask. It’s also a good idea to familiarize yourself with anyone that might have some serious health issues. It’s the staff’s responsibility, but you should know what’s going on if you can. It’s nice if you can speak with the staff beforehand about any possible issues, but as I mentioned, that’s not always possible. So I need to be radar up, and ready for anything. It may be a casual setting with people transitioning in and out as rhythms are going on, so I like to sit or position myself so I can see who is entering or leaving.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E260" is="qowt-word-para" qowt-eid="E260" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E261" is="qowt-word-para" qowt-eid="E261" qowt-entry="undefined" qowt-lvl="undefined"><span id="E262" is="qowt-word-run" qowt-eid="E262">Remember to try and speak with the staff afterwards for some feedback. And at the next time you are there. (hopefully) Or, leave them a feedback form to fill out, with a self addressed envelope and a stamp on it. I gathered a lot of useful information with a simple feedback form. The staff knows a lot more than I do about specific medical conditions.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E263" is="qowt-word-para" qowt-eid="E263" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E264" is="qowt-word-para" qowt-eid="E264" qowt-entry="undefined" qowt-lvl="undefined"><span id="E265" is="qowt-word-run" qowt-eid="E265">If the group takes a break for tea or something, make sure they don’t come back to the drumming area before they are all finished. Goatskin and cowhide drum heads make terrible coasters. </span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E266" is="qowt-word-para" qowt-eid="E266" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E267" is="qowt-word-para" qowt-eid="E267" qowt-entry="undefined" qowt-lvl="undefined"><span id="E268" is="qowt-word-run" qowt-eid="E268">Here is a sample drum circle program I might use:</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E269" is="qowt-word-para" qowt-eid="E269" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E270" is="qowt-word-para" qowt-eid="E270" qowt-entry="undefined" qowt-lvl="undefined"><span id="E271" is="qowt-word-run" qowt-eid="E271">Right away to the warm up drum jam, maybe 5 minutes. </span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E272" is="qowt-word-para" qowt-eid="E272" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E273" is="qowt-word-para" qowt-eid="E273" qowt-entry="undefined" qowt-lvl="undefined"><span id="E274" is="qowt-word-run" qowt-eid="E274">5 minutes to introduce different cultural drums, drumming history, and why people do it.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E275" is="qowt-word-para" qowt-eid="E275" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E276" is="qowt-word-para" named-flow="FLOW-17" qowt-eid="E276" qowt-entry="undefined" qowt-lvl="undefined"><span id="E277" is="qowt-word-run" named-flow="FLOW-18" qowt-eid="E277">5 minutes to demonstrate the various drums, let them check them out, and pick one. A few pointers on basic playing, and good posture/hand technique. The rest of the time is jamming on different rhythms from around the world. Some slow tempo, some up-tempo for variety. Ask if they would like a take five break after a half hour of playing. Be ready to improvise on the fly. You are likely to have some real musicians in there. I had a guy once </span>
</p></qowt-section></div></div><qowt-footer class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="footer" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-footer></qowt-page><qowt-page named-flow="FLOW-1" style="height: 792pt; width: 612pt;"><div class="style-scope qowt-page" contenteditable="false" id="pageBorders" style="height: 648pt; margin: 72pt 90pt; right: 0px; top: 0px; width: 432pt;"></div><qowt-header class="style-scope qowt-page style-scope qowt-page" contenteditable="false" id="header" style="min-height: 72pt; padding-left: 90pt; padding-right: 90pt;"></qowt-header><div class="style-scope qowt-page" id="contentsContainer" style="padding-left: 90pt; padding-right: 90pt;"><div class="style-scope qowt-page" id="contents"><qowt-section break-before="" indexed-flow="SI16" named-flow="FLOW-2" qowt-eid="E82" style="column-count: 1;"><template class="style-scope qowt-section" id="headerTemplates"></template><template class="style-scope qowt-section" id="footerTemplates"></template><p class="x-scope qowt-word-para-0 qowt-stl-Normal x-scope qowt-word-para-0" is="qowt-word-para" named-flow="FLOW-17" qowt-eid="E276" qowt-entry="undefined" qowt-lvl="undefined"><span is="qowt-word-run" named-flow="FLOW-18" qowt-eid="E277">that just got up and started playing a piano that was in the room, and we all accompanied him. It was fantastic. </span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E278" is="qowt-word-para" qowt-eid="E278" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E279" is="qowt-word-para" qowt-eid="E279" qowt-entry="undefined" qowt-lvl="undefined"><span id="E280" is="qowt-word-run" qowt-eid="E280">Be aware of your surroundings. If they ask you to come back and do this again, mention maybe they could bring family members next time. </span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E281" is="qowt-word-para" qowt-eid="E281" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E282" is="qowt-word-para" qowt-eid="E282" qowt-entry="undefined" qowt-lvl="undefined"><span id="E283" is="qowt-word-run" qowt-eid="E283">It’s surprising the amount of engagement they have, and how much they truly appreciate and love drumming – especially with family members. Their expressions and smiles will be permanently etched on your face. Later at night when I get home and unload – have time to reflect - it affects me very deeply.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E284" is="qowt-word-para" qowt-eid="E284" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E285" is="qowt-word-para" qowt-eid="E285" qowt-entry="undefined" qowt-lvl="undefined"><span id="E286" is="qowt-word-run" qowt-eid="E286">Ultimately, I just get rhythms started and let people play. It’s a multi cultural drum circle – not rocket science. We drum up some fun playing rhythms from around the world. Let your personality out, and with your calm and reassuring manner, watch the volume, and they will quickly enjoy playing together, and connecting with you. </span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E287" is="qowt-word-para" qowt-eid="E287" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E288" is="qowt-word-para" qowt-eid="E288" qowt-entry="undefined" qowt-lvl="undefined"><span id="E289" is="qowt-word-run" qowt-eid="E289">I hope you enjoyed reading my page, and if you facilitate drum circles for elders, some of it helps you.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E290" is="qowt-word-para" qowt-eid="E290" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E291" is="qowt-word-para" qowt-eid="E291" qowt-entry="undefined" qowt-lvl="undefined"><span id="E292" is="qowt-word-run" qowt-eid="E292">- Shannon Ratigan</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E293" is="qowt-word-para" qowt-eid="E293" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E294" is="qowt-word-para" qowt-eid="E294" qowt-entry="undefined" qowt-lvl="undefined"><span id="E295" is="qowt-word-run" qowt-eid="E295">There is increasing recognition of the health benefits of music therapy, particularly facilitated hand drumming, which is what I do for a living. Unfortunately, places where the people who benefit the most, such as senior centers and special needs can not afford to pay for this. </span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E296" is="qowt-word-para" qowt-eid="E296" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E297" is="qowt-word-para" qowt-eid="E297" qowt-entry="undefined" qowt-lvl="undefined"><span id="E298" is="qowt-word-run" qowt-eid="E298">All of my drum circle music tracks are copyrighted and licensed. Check Soundcloud.com or CDBaby.com & listen to a few. There's a wide variety of cultures, styles, and tempos to choose from. Here's a different way to help support the work I do in our community. The CDbaby website url: </span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E299" is="qowt-word-para" qowt-eid="E299" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E300" is="qowt-word-para" qowt-eid="E300" qowt-entry="undefined" qowt-lvl="undefined"><span id="E301" is="qowt-word-run" qowt-eid="E301">http://www.cdbaby.com/Artist/SLRatigan </span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E302" is="qowt-word-para" qowt-eid="E302" qowt-entry="undefined" qowt-lvl="undefined"><br />
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E303" is="qowt-word-para" qowt-eid="E303" qowt-entry="undefined" qowt-lvl="undefined"><span id="E304" is="qowt-word-run" qowt-eid="E304">Or iTunes Spotify and Amazon</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E305" is="qowt-word-para" qowt-eid="E305" qowt-entry="undefined" qowt-lvl="undefined"><span id="E306" is="qowt-word-run" qowt-eid="E306"><br /></span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E307" is="qowt-word-para" qowt-eid="E307" qowt-entry="undefined" qowt-lvl="undefined"><span id="E308" is="qowt-word-run" qowt-eid="E308">This post is a part of my Kindle book, "A Practical Guide to Hand Drumming and Drum Circles". 300 pages for 8 bucks.</span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E309" is="qowt-word-para" qowt-eid="E309" qowt-entry="undefined" qowt-lvl="undefined"><span id="E310" is="qowt-word-run" qowt-eid="E310"><br /></span>
</p><p class="qowt-stl-Normal x-scope qowt-word-para-0" id="E311" is="qowt-word-para" qowt-eid="E311" qowt-entry="undefined" qowt-lvl="undefined"><span id="E312" is="qowt-word-run" qowt-eid="E312">This website, text, Copyright © Shannon Ratigan All Rights Reserved.</span></p></qowt-section></div></div></qowt-page>drumcircles.nethttp://www.blogger.com/profile/05856494181338188294noreply@blogger.com0tag:blogger.com,1999:blog-9113701967098106880.post-18275617229232755452022-04-27T12:33:00.003-07:002022-04-27T12:33:53.324-07:00Ideas For Starting Up a Drum Circle<br /><br />Here's some ideas For Starting Up a Drum Circle <br /><br />Around the country many night clubs, bars, venues, community centers, and coffee shops are struggling to find working formulas for weeknights. Having a drum circle night quickly builds up a community around it with a loyal following that grows very quickly as well. The cost to do this is minimal, I've been doing this successfully for years at various venues. What's really needed is a kit of hand drums, assorted percussion items, an organizer to help keep things running smoothly, and promote the drum circle. I look for a small base pay, tips, or a percentage of sales like 10%. <br /><br />Because believe me, there is a lot of work involved. Also, it isn't the drummers, musicians, or dancers that do the majority of buying your products. They will help support the venue and buy one or two, but it's the onlookers who are attracted and who will be buying most of the drinks and/or food. And it takes a few months to really get a drum circle community built up and established. I go into this in much more detail in my blog posts, and Kindle book about drum circles. <br /><br />I began and hosted this Dunedin Micro Brewery drum circle every Tuesday night for 3 years. My hope was that it would become firmly established and become a fixture and continue on long after I moved out of the area. That happened, It has had a variety of hosts and facilitators since I left, but it lasted over 10 years, and that makes me very happy knowing that I started something positive in our community. <br /><br />That circle became so popular, that musicians and onlookers came from all around Tampa, St. Pete, and even as far as Orlando, and Sarasota just to check out the scene, and play. It seemed like every week, we had out of town musicians show up, usually while on vacation. Some of the other nearby local clubs got angry, and tried to get it shut down at a city counsel meeting. They made claims that it was all riff-raff in there. Unfortunately for them a few of the board members were regulars at the circle and told them the real truth. It is mostly decent professional working people from all walks of life different backgrounds, and paths with demanding careers that just want to make music with new friends, be part of a fun social scene, drum out some stress and have a good time. It was culturally diverse, and it brought the community together. Who can argue against that? The merchants and other facilitators came after me though.<br /><br />My hope was that after it got established, that it would be so deeply entrenched that it would be there for years to come. And much to my delight it has had different hosts, but has been going on for over a decade since it began. I wanted it to be a lasting thing, so I turned over the reins to a guy that attended regularly named K. James. He filled in for me as the facilitator a <br /><br />few times a year, so he was the best suited for the job. I gave him, and the bar manager my two weeks notice, and sadly said goodbye to the brewery. I'm happy it had the staying power. <br /><br />Here's a little history on the brewery circle, & some general info on drum circles at casual drinking establishments. <br /><br />While in Florida, I got the idea to start my own drum circle in 2005. I was looking for an indoor venue somewhere that was air conditioned. I liked drumming to the sunset at the beach, but the summers there are very hot, and the sand gets all up in your drums. I tried approaching a few night clubs and bars with the idea, but no success. Everyone I spoke with said it would never work, and many drummers said that trying to facilitate a drum circle at a place that serves alcohol is crazy. It is do-able. <br /><br />I went to a local craft brewery now and then. I loved the vibe of the place. I noticed that Tuesday was their slowest night of the week. So having a drum circle seemed like a good alternative to the Tuesday chess and techno music night that was going on at the time. I stopped in one afternoon and pitched the idea to the bar manager. <br /><br />He was reluctant at first, but after persisting with the idea for a few weeks, he agreed to try it out. <br /><br />He held a grudge, because I came up with a working formula for their slowest night, Tuesdays. I heard he was sacked 6 months after I left. Otherwise, I would probably still be there.<br /><br />A lot of other jobs came my way because it was a weekly gig, and many people attended. Events, weddings, even Earth Day Festivals. <br /><br />The condition at the brewery was that I would receive no pay unless they turned a profit in two weeks. It was a risky venture because of the drinking, and possible damage to my drums, but it worked. Within a month, the word had spread around, the place was packed, it was hopping, busy and jamming. (Finally a paycheck) <br /><br />My formula was similar to that of an open mic night. I invited local drummers, band members, drum makers, teachers, and instructors to come attend. In return for jamming with us, they could promote their items, shows, classes and workshops. I did the same with bellydancing studios. The key to it was making it fun, and accessible to everyone so they would want to come back. Variety was the thing. The rhythms needed to be challenging and interesting for the experienced musicians, but also not so complex that the beginners didn't feel lost. <br /><br />I was delighted this turned into a scene that was so culturally diverse, attracting people from all different cultures and backgrounds. <br /><br />An easy way to do that, is playing rhythms from different cultures. Up tempo Latin and African rhythms, as well as slower Native American, Bellydance, R & B Groove, and improvisation. That way, the variety keeps everyone wanting to come back next week. Some drum circles can fall into this pattern of playing the same default beat most of the time. That gets a little boring and frustrating for everybody. <br /><br />The local drum circle took off right from the start. Like I mentioned, attracting musicians so they would come in and jam, and not charging a fee or cover at the door is what made it work. We just used the honor system to get people in. They wanted to support it and promote it, and it worked. <br /><br />Most musicians, (including myself) don't like to pay a cover charge or a fee to get in. Especially with drum circles. But they will buy a beer, soda, or food once they are in there, and network to their friends.<br /><br />It was a bit of a challenge to host an on going drum circle at a casual drinking establishment, but the vibe was always good, people had a blast, and the musicianship was even better. <br /><br />Three hours would go by like it was just one. I noticed right away that almost all the locals would drink in moderation, so it never really became an issue. Most musicians don't want to get hammered and play. But sometimes, things do get damaged, and that needs to be factored in. <br /><br />Another venue: Drum Circle at the Comedy Club <br /><br />Unfortunately, the Coconuts Clearwater drum circle on Gulf To Bay closed. Another casualty of the economy it seems. <br /><br />Many of us have fond memories playing there. We packed the place every week. We celebrated many holidays and special events, and even beautiful things like the birth of a child Gabriela Gaia by a couple in our group who fell in love at our drum circle and later got married. I think that's kind of romantic. <br /><br />But sometimes sad things have to be addressed on drum circle night. A musician friend of ours suddenly passed away, so we held a drum circle wake for him at Coconuts to honor his memory. I made a tribute page for him. I hope it is still out there. <br /><br />There is increasing recognition of the health benefits of music therapy, particularly facilitated hand drumming. <br /><br />Unfortunately, places where the people who benefit from what I do the most, have very limited budgets. <br /><br />I've never received any grants, or funding. I don't endorse drum companies, or their offshoots. In fact, they have been mad at me for years because I offer a low cost alternative to their expensive methods, and approach to facilitating drum circles. <br /><br />Since I was deemed non essential two years ago, things have been tough for an independent musician like myself. if you are able to make a purchase of any amount to help me continue to provide therapeutic music to groups, it would help out a little. <br /><br />I'm not a book or video machine. I offer just one book, one video, and some live drum circle jam music. That's it. My 101 Drum Circle Rhythms video is on Amazon. Over 2 hours of them. The full download is $8. <br /><br />You can read the first few chapters of my book, "A Practical Guide to Hand Drumming and Drum Circles" free at Amazon. To find my Kindle book, or my Downloadable 101 rhythms, just search on the title. 101 Drum Circle Rhythms (The DVD disc is a few bucks more.)<div><br /></div><div>Thanks in advance if you can pitch in a little. My book, and rhythms video are solid if you are facilitating drum circles, or thinking about starting one up for your area, or group. Thanks for reading this far, Happy Drumming!</div>drumcircles.nethttp://www.blogger.com/profile/05856494181338188294noreply@blogger.com1tag:blogger.com,1999:blog-9113701967098106880.post-43351507907507201522021-03-03T12:22:00.002-08:002021-03-03T12:22:42.369-08:00Therapeutic Drum Circle (Lesson 2 of 6) - FULL CLASS - https://home.spir...<p></p><p></p><p></p><p></p><p></p><p><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql rrkovp55 a8c37x1j keod5gw0 nxhoafnm aigsh9s9 d3f4x2em fe6kdd0r mau55g9w c8b282yb iv3no6db jq4qci2q a3bd9o3v knj5qynh oo9gr5id hzawbc8m" dir="auto">You
can get a lot of fun with hand drumming, no matter your age, or skill
level. It can help you heal, & pass the time. It's something new to
do with your kids, parents, or even grandparents. Check out this 20
minute hand drumming lesson on YouTube. Spiro100 hired me to do 6
lessons back in 2015. They have a wide variety of other instructors as
well. Lots of good stuff there. I hope you enjoy it.</span></p><p><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql rrkovp55 a8c37x1j keod5gw0 nxhoafnm aigsh9s9 d3f4x2em fe6kdd0r mau55g9w c8b282yb iv3no6db jq4qci2q a3bd9o3v knj5qynh oo9gr5id hzawbc8m" dir="auto"> </span><iframe frameborder="0" height="270" src="https://youtube.com/embed/62i7fuXGqGs" width="480"></iframe></p>drumcircles.nethttp://www.blogger.com/profile/05856494181338188294noreply@blogger.com0tag:blogger.com,1999:blog-9113701967098106880.post-13731514907044525522019-12-09T14:14:00.001-08:002019-12-09T14:14:06.099-08:00101 Drum Circle Rhythms (drumcircles.net) Djembe DVD Drumming Pt. 1<br />
<br />
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Like many other independent musicians I was left with a few dozen DVD's when everything shifted to streaming. I had an Amazon special going last week, If you bought my 101 Drum Circle Rhythms DVD at Amazon for $14.95, I was including all 4 of my drum circle jam CD's with it free, (in mp3 format on a CD disc). It's over 5 & 1/2 hours of jamming and grooving drum jam music. A pretty good deal, even these days.<br />
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The music is various cultures, tempos, & styles. There's Australian didgeridoos on a lot of tracks, Native American flutes on a few, & all sorts of amazing djembe players in an improv. setting. It's a whole lot of music, in addition to my djembe drum rhythms DVD. Makes a fun gift for your favorite drummer, or add them to your own playlist. I'm extending this package until the end of December, or until they are sold out.<br />
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Here's the Amazon link: https://www.amazon.com/101-Drum-Circle-Rhythms-Hand/dp/B001IB5WBC/ref=sr_1_2?ie=UTF8&qid=1408657563&sr=8-2&keywords=drum+circle+rhythms<br /><iframe allowfullscreen="" frameborder="0" height="344" src="https://www.youtube.com/embed/uLgY0GpXF6A" width="459"></iframe>drumcircles.nethttp://www.blogger.com/profile/05856494181338188294noreply@blogger.com0tag:blogger.com,1999:blog-9113701967098106880.post-36896374454235366792019-04-10T19:05:00.000-07:002019-04-10T19:05:36.359-07:00Deaf Drum Circles - Drumming With Hearing Impaired <!--[if gte mso 9]><xml>
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<span style="font-family: "Times New Roman"; font-size: 14.0pt; mso-font-kerning: 14.0pt;">At
first glance one might think a deaf drum circle presents a lot of challenges. It really
doesn’t. I learned from experience to just facilitate it like you would a
regular drum circle. Don’t over-think it. I did that early on, and it was a
mistake that I quickly had to get corrected. Rhythm games, passing shakers, and
pie slices type of thing just wastes valuable time. We are there to have a
rhythm session as a group, not play games or talk. Let’s just start playing,
and shake out those nerves. Then the real fun can begin. Exploring rhythms with
different tempos, cultures, and styles.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGMqBqaEXEk9cE8WX2TZDMhz6EOtYPQS782UFZcrnh1gs4UDDbCRyMtzeN9qqTQOQ5m53o-F-WlheipwNATyPJ2kv-gLqXtok1ixuHMkHS9IE7e4Ha44_rlRzyv4fm-W3k3-_OWap6CMs/s1600/deaf_drum_circle.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGMqBqaEXEk9cE8WX2TZDMhz6EOtYPQS782UFZcrnh1gs4UDDbCRyMtzeN9qqTQOQ5m53o-F-WlheipwNATyPJ2kv-gLqXtok1ixuHMkHS9IE7e4Ha44_rlRzyv4fm-W3k3-_OWap6CMs/s320/deaf_drum_circle.jpg" width="320" /></a></div>
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<span style="font-family: "Times New Roman"; font-size: 14.0pt; mso-font-kerning: 14.0pt;">There
are a few mechanical adjustments I make after testing the acoustics of the
room, (beforehand if possible loud hand claps, or yell a loud “Hey” in the
likely spots to facilitate the circle). Forgive me for this, but I call it the
clap test. If there’s an echo in that spot, find a place that is more ideal. Sometimes
you have to work with where they want it, or in large gyms, so echo is
important to minimize if you can. </span></div>
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<span style="font-family: "Times New Roman"; font-size: 14.0pt; mso-font-kerning: 14.0pt;">One,
that is most important, is that neither myself, or the person signing is in
front of a window, or less than ideal lighting. I made that mistake early on. You
become silhouetted or worse. The other thing is to remember to keep my head up
when I speak, because many are so sharp, they read lips rather than even look
at the signer. So head’s up, no bright light behind you.</span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvBpuBH1hxvfY1U1W_FA_C2OlDJJVzmJUOvPfxA4Udmlout5ZJltdPXKBr7l83O_NWyZ7UX0P5dzMD7KJ9bdiskvzz-Fk_NNiQHZrbh_ILwOfyjrKbces8ra726S7j0SGDEIiELwpk7mA/s1600/deaf_drum_circle_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvBpuBH1hxvfY1U1W_FA_C2OlDJJVzmJUOvPfxA4Udmlout5ZJltdPXKBr7l83O_NWyZ7UX0P5dzMD7KJ9bdiskvzz-Fk_NNiQHZrbh_ILwOfyjrKbces8ra726S7j0SGDEIiELwpk7mA/s320/deaf_drum_circle_2.jpg" width="320" /></a></div>
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<span style="font-family: "Times New Roman"; font-size: 14.0pt; mso-font-kerning: 14.0pt;"><br /></span></div>
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<span style="font-family: "Times New Roman"; font-size: 14.0pt; mso-font-kerning: 14.0pt;">I
tend to not say much during a drum circle, because an hour goes by so fast. I
mix in a little about volume, history and names of a few rhythms, what they
mean, a little about the drums, good hand technique, and little else. We can
chat a little when drum circle time is up. Let’s just get to that warm up that
lets everyone relax, and realize they can just have fun, and not worry about
silly things, like making a mistake. I was very self-conscious when I approached
my first drum as a teen. </span></div>
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<span style="font-family: "Times New Roman"; font-size: 14.0pt; mso-font-kerning: 14.0pt;">Anyway,
I just start things off with a basic warm up boom cha la ka where the tempo is
nice and slow until everyone finds a place. Then up to faster tempo for 5
minutes or so, and end it up with a nice up and down massive rumble, wailing
away, and everyone comes out of that joyous, smiling, and feeling good! That
sets a nice tone for the whole session. That this is going to be fun, I’m going
to improvise, and make some music with my own two hands.</span></div>
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<span style="font-family: "Times New Roman"; font-size: 14.0pt; mso-font-kerning: 14.0pt;">Generally
speaking, a group dynamic happens after 45 minutes, so we are just getting to
the real groove – on the beam at that point. It’s the same with children or
adults. I often go an extra half hour because of this. I want them to have as
much fun as possible, and it is at this point where they start to feel what
playing and experiencing a real groove feels like. It goes deep into your
spirit and soul. </span></div>
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<span style="font-family: "Times New Roman"; font-size: 14.0pt; mso-font-kerning: 14.0pt;">After
that warm up, I usually have a set list in my head. I also keep it in my
pocket, and that way, I don’t need to look at it. But it’s nice to know it’s
there in case of a mental hiccup. Sometimes it just happens as a performer. We
all make mistakes, move past it, and go on to the next rhythm. I keep duration
of rhythms to 5 -7 minutes so we can try out a bunch of them from different cultures.
It’s all part of giving a full experience. I almost always include African Fanga,
something in 6/8, something Native American, and Mid-East Beledi as a part of
my experience. Most of it is in 4/4 time.</span></div>
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<span style="font-family: "Times New Roman"; font-size: 14.0pt; mso-font-kerning: 14.0pt;">I
always start each rhythm out with a 2 measure vocalization of the beat, and
then I start playing it at a very slow tempo so everyone can latch on, and then
I slowly bring it up to a comfortable pace. Encourage them to experiment, and
find a place in the rhythm when they feel comfortable. I try to keep each
rhythm no more than 7 minutes long, as an hour goes by so fast. I can get maybe
7 or 8 drum rhythms in there. </span></div>
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<span style="font-family: "Times New Roman"; font-size: 14.0pt; mso-font-kerning: 14.0pt;">I
like to have them experience different cultures as I play along with them. As
for endings, I try to mix them up a bit, but nothing beats a good rumble
ending. Drum circle chairs set-up: Chairs about 20 feet across the circle, or
as you see in the photos, sometimes a semi-circle so everyone can see. </span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzoV_VofOV_xeHlkUBU-GVMJhvmHmHiI9BzTSsir6bK-BaJT_EJQ2mGl29LtCT6doDPvECraWfxvWikE-4cL-10pSWv1VtRdEgt3TNdOWd6hyphenhyphenVN3VYJxgKOAxJGChDAU06lCfsjhnxHjA/s1600/drum_circle_facilitating_drums.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="239" data-original-width="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzoV_VofOV_xeHlkUBU-GVMJhvmHmHiI9BzTSsir6bK-BaJT_EJQ2mGl29LtCT6doDPvECraWfxvWikE-4cL-10pSWv1VtRdEgt3TNdOWd6hyphenhyphenVN3VYJxgKOAxJGChDAU06lCfsjhnxHjA/s1600/drum_circle_facilitating_drums.jpg" /></a></div>
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<span style="font-family: "Times New Roman"; font-size: 14.0pt; mso-font-kerning: 14.0pt;">I
use only body drums, djembes, doumbeks, darbukas, congas, bottom drums, and a
few frame drums. No lollipop drums or sound tubes, give them a real drum to
play if you can, they can feel the resonation more.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoz_iL27XlpZ8XfDftGomigEZt7_qNPsWxlGFexV6Hd_G-hKtl7O7_slAr154Xm1UYokLyCwWM4HHaFnmH3fnJen-ks02EBtOPHAHWnj1RDMjUx-nDL2cmtESkOKAiDjHXOuiPG2dgJBo/s1600/drum_circle_facilitating_drums_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="239" data-original-width="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoz_iL27XlpZ8XfDftGomigEZt7_qNPsWxlGFexV6Hd_G-hKtl7O7_slAr154Xm1UYokLyCwWM4HHaFnmH3fnJen-ks02EBtOPHAHWnj1RDMjUx-nDL2cmtESkOKAiDjHXOuiPG2dgJBo/s1600/drum_circle_facilitating_drums_2.jpg" /></a></div>
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<span style="font-family: "Times New Roman"; font-size: 14.0pt; mso-font-kerning: 14.0pt;">My
experience working with deaf, or the pc version “hearing impaired”, is many
prefer to embrace the term deaf, and why not? It makes sense if I think about
it. Something else as many know, is if one sense is weakened, often one or all
the other senses, are heightened. So, hygiene, no colognes or perfumes. I don’t
really care for TV shows with sub-titles, but this Russian series titles Sniffer”
is about a guy with a heightened sense of smell, and it’s pretty good also.
It’s beautifully shot, the relationships of the characters fascinated me, and
the plot lines were pretty good as well. There was this strange familiarity of
the main characters for me. It was like I had seen them somewhere in something.
I used to get that look a lot from my acting peers when I had a number of
commercials running.</span></div>
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<span style="font-family: "Times New Roman"; font-size: 14.0pt; mso-font-kerning: 14.0pt;">That’s
the life of working as an actor, you tend to watch more than what you see, and
it takes a well produced film or TV series for me not to be looking at the
filmmaking process or mistakes. It needs to draw me away from that world, and
“Sniffer” did that. Maybe you will enjoy it as well. I’m definitely not a film
critic. </span></div>
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<span style="font-family: "Times New Roman"; font-size: 14.0pt; mso-font-kerning: 14.0pt;">I’m
also not an expert on deaf drum circles, but I do have many years of drum
circle facilitating experience, both with adult, kids, and mixed families. My
hope is, if you are offered to facilitate a deaf drum circle, some of this may
help you. </span></div>
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<span style="font-family: "Times New Roman"; font-size: 14.0pt; mso-font-kerning: 14.0pt;">Something
I didn’t know much about early on, is that there are varying degrees of
deafness. Someone who might be clinically considered deaf may have limited
hearing of certain different pitches and sounds. It meant that they could only
hear sounds in a very high sound register. Like in super soprano, but that was
all they could hear. Others can only hear just a hint of, or feel a hint of the
bottom bass beat. My experience is that on the whole, people who are deaf still
can be highly functional, and very musical. </span></div>
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<span style="font-family: "Times New Roman"; font-size: 14.0pt; mso-font-kerning: 14.0pt;">Some
only can feel the vibration of the drumming. Repetition, repetition,
repetition. This is one reason I like to bring 2 beach towels, or yoga mats,
and have people lay down flat in the center of the circle and close their eyes
for a moment somewhere during the circle. To see things without the eyes, and
to feel, even if they can’t hear a rhythm, they can feel it. Many times after
just one circle I’ve had many different people come up to me and tell me how
delighted they were. Their other senses are so acute, many feel more than say
just a public gathering drum circle.</span></div>
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<span style="font-family: "Times New Roman"; font-size: 14.0pt; mso-font-kerning: 14.0pt;">Watching
someone signing to music or a rhythm is a beautiful thing to watch. It flows so
nice to a drum rhythm if someone is signing to it, and it feels really nice. Or
even vice versa. It looks like a sort of hand bound Tai Chi. Signing gives a
beautiful sense of rhythm to the music. Many concerts or events I’ve been to
have someone signing off to stage right or something. </span></div>
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<span style="font-family: "Times New Roman"; font-size: 14.0pt; mso-font-kerning: 14.0pt;">I’ve
facilitated many deaf drum circles over the years, and seen many different
signers. I’ve learned a little signing myself in the process, and I use it as
often as I can during events while I speak. It is not easy to sign, just try it
if you haven’t, but if I could learn the basics of it, so can you. I love it when
the interpreter interprets the rhythm and prompts everyone to participate. Try
to make sure that there are interpreters present if you encounter this. When I
am working with a signer, I just have to remember that they have to hear what I
am saying, keep my head up when I speak, but not exaggerate it, or speak more
deliberately, that is a bit insulting.</span></div>
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<span style="font-family: "Times New Roman"; font-size: 14.0pt; mso-font-kerning: 14.0pt;">If
it’s possible, when I load in my gear I try to find the signer and make a new
friend. I let them know how my speaking will work, and what I’m going to be
saying. For many, it’s the first drum circle they’ve ever seen, they have no
idea what to expect, and it is much appreciated most of the time for the head’s
up. </span></div>
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<span style="font-family: "Times New Roman"; font-size: 14.0pt; mso-font-kerning: 14.0pt;">I
explain to the signer, (or signers) I’ll be saying short bits here and there,
but mostly rhythm names, drum names, cultures, and what they will sound like
using 3 or 4 different methods. Middle Eastern doume tek-ka, Babatune’s Godo
–pa-ta, a boom chick a boom boom, I may just scat out a few. Lots of them with
a strong downbeat. Some modern stuff, and etc. That gives them a heads up,
saves time, and helps everything go smoother. </span></div>
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<span style="font-family: "Times New Roman"; font-size: 14.0pt; mso-font-kerning: 14.0pt;">At
this kids camp event, they were swapping in a new signer every 10 minutes, so
be ready for that if it happens. We jammed out like is was swapping out drummers
mid-jam like Parliament Funkadelic back in the 70’s Mothership days. </span></div>
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<span style="font-family: "Times New Roman"; font-size: 14.0pt; mso-font-kerning: 14.0pt;">Often
times, it will be a transitional event, where people have time restrictions,
but they can feel free to enter, or leave the drum circle at any point during a rhythm. Sometimes it is
up to you to keep the groove going.</span></div>
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<span style="font-family: "Times New Roman"; font-size: 14.0pt; mso-font-kerning: 14.0pt;">It
makes good sense to do your homework beforehand on any group or condition that
might be present at a drum circle. So I can be respectful, understanding,
patient, considerate, and have a better understanding of it. </span></div>
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<span style="font-family: "Times New Roman"; font-size: 14.0pt; mso-font-kerning: 14.0pt;">Then
I can help them feel more comfortable, and if necessary, stay within their
boundaries. It’s always better to do a little research on deaf culture or
anything else you might run into before working with them. Like all cultures,
they have their own habits, values, and language. Generally, the deaf community
does not see their deafness as a disability. As I said, my experience is they
embrace it. It’s a deaf drum circle. Nobody wants to be treated differently, so
I never do that. It takes some experience to just trust yourself, and do this.
It’s a regular drum circle. Heads up,<span style="mso-spacerun: yes;"> </span>no
windows behind you or the signer, and slow the pace a tad, especially when
presenting the names of rhythms, and what they look like being played.</span></div>
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<span style="font-family: "Times New Roman"; font-size: 14.0pt; mso-font-kerning: 14.0pt;">Do
this simply, and there’s no communication barrier. We just speak a different
language, and it is a beautiful one at that. Connect your rhythm whenever you
get a chance. It’s not a variety of challenges, it’s a drum circle. Come have
some fun!</span></div>
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<span style="font-family: "Times New Roman"; font-size: 14.0pt; mso-font-kerning: 14.0pt;">Please visit my website drumcircles.net </span></div>
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<span style="font-family: "Times New Roman"; font-size: 14.0pt; mso-font-kerning: 14.0pt;">My drum circles book on Kindle, 300 pages $8.</span></div>
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<span style="font-family: "Times New Roman"; font-size: 14.0pt; mso-font-kerning: 14.0pt;">http://www.amazon.com/Practical-Guide-Hand-Drumming-Circles-ebook/dp/B003PPDB26/ref=dp_kinw_strp_1</span></div>
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<span style="font-family: "Times New Roman"; font-size: 14.0pt; mso-font-kerning: 14.0pt;">My 2 Hour 101 Drum Circle Rhythms at Amazon Video $8. (On DVD is a bit more.)</span></div>
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<span style="font-family: "Times New Roman"; font-size: 14.0pt; mso-font-kerning: 14.0pt;">http://www.amazon.com/101-Drum-Circle-Rhythms-Hand/dp/B006VT37W2/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1414000714&sr=1-1&keywords=drum+circle+rhythms</span></div>
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<span style="font-family: "Times New Roman"; font-size: 14.0pt; mso-font-kerning: 14.0pt;">Thanks,</span></div>
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<span style="font-family: "Times New Roman"; font-size: 14.0pt; mso-font-kerning: 14.0pt;">Shannon Ratigan</span></div>
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drumcircles.nethttp://www.blogger.com/profile/05856494181338188294noreply@blogger.com2tag:blogger.com,1999:blog-9113701967098106880.post-65043004748360375512017-10-09T15:08:00.001-07:002017-10-09T15:08:43.619-07:00Kids Drum Circles – Drumming With ChildrenDrum Circles For Kids – Drumming With Children <br /><br />Schools, Youth Groups, Birthday Parties, Functions, Events, and etc. <br /><br />I wanted to share some of my drum circle experiences with children of all ages to help other facilitators and teachers. My methods are not the only approach to this, but my hope is that some of it will help you, (and the kids.) Drum circles in schools work great, because it is a fun, experiential activity that promotes multi-cultural learning. It builds self confidence, and social abilities. It helps with motor skills, (processing information) boosts creativity; it even helps to teach them some basic mathematics. <br /><br />The drum rhythms are in time signatures, so math is taught without actually teaching it. It’s done in the process of just playing the drums, and having fun. Drumming teaches them more focused listening, concentration, and about reaching goals. Plus, it’s an activity parents can enjoy with their children at a later point. So a drum circle makes good sense. Kids like to write songs, and make up rhythms to play to. The teachers begin to see this occurring, then the light goes on and they want you to come back.<br /><br />For young children, a great way to teach rhythms is to use stuffed animals to represent sounds the drum can make. Or talk about wild animals representing the different sounds, such as: The Tiger (or kangaroo) – is a tone sound The Bear (or elephant) – is a base sound The Snake (or myna bird) – is a closed tone slap Rub your hand on the drum head to make sounds of wind, finger tap is rain drops and so on. Be creative.<br /><br />For public events, a colorful kid's drum circle sign of some kind is a good idea. Helping spread the love and healing of drumming is important to me, as it was a big part of my life and a major outlet for me, as I was a hyperactive child myself. Once I got into it, I went on to join the school band, learned to read music, and I've been a musician ever since. I've worked with various age groups of children both in schools, groups, community functions, birthday parties, and so on for about 30 years. Sometimes it’s all one age, sometimes mixed ages, sometimes with parents, or even transitional drum circles with the general public mixed in. From 8 - 13 years seems to be that perfect age, eager to learn the drum rhythms.<br /><br />Every situation with kids drum circles is different. If you’re looking to facilitate or teach kids drum circles, and you don't have a kit of drums yet, the idea of body percussion ie: hand clapping foot stomping etc. it does work – pretty much the same with boomwhacker musical tubes, Remo soundshapes, and things like that. I have some of both in my kit. For the most part, kids tend to get bored with it after a while. If it's there for them, kids like to play an actual drum, and that’s what I try and do with each child. Give them a real drum to play. They can play rhythms just like an adult, sometimes even better. <br /><br />They just need a little instruction on proper hand technique and volume so nobody gets a bruise or is too uncomfortable. Then we get right to drumming. If it feels like just having fun, rather than a class they learn faster. I use vocalizations to help them start rhythms out. For example, Yum Yum Tastes like chicken, (bass...bass...tone tone tone-tone) repeated out loud a few times, and then play it on the drum. We say it, and then we play it. Try cuckoo for cocco puffs... Use rhythms, commercial jingles, and so on. I tend to avoid drumming games and activities because my experience is they want to just jam on a drum and make some music. <br /><br />The next time I show up, they say things like we want to play Fanga or Beledi or some of the other more popular rhythms. I have Word docs of rhythms and various ways to notate, read, and start them on my website you can download free. Kids like learning these, and they like the challenge of making up their own rhythms. Kids can be playing the actual Native American heartbeat rhythm, African Fanga, Mid-east Beledi and Latin Clave, or hip hop in a matter of minutes like adults. These days an 8 year old can build a website, so playing a drum rhythm is just plain fun, and that's the idea. Make it fun. Make some music and not just noise.<br /><br />As for drum circle and chair set ups: If I can get in there early, I check for the best acoustic spot to set up. Look for the best place for the drum circle, where I can see everyone, and with the least amount of echo. I use my voice or clap loudly all around the room. Sometimes you are outdoors, or you get a small classroom, other times an auditorium. Every situation is different. And most of the time I have to figure things out like the best place to set up when I get there. Often times, the spot has already been selected for you, and you have to go with it whatever it is, wherever it is. A good idea is to check it out beforehand if you can, and suggest the best location. <br /><br />If it is inside, ask the staff if they can get those little exercise cushions so some of the kids can sit on the drums if they want to. It’s hard for some of them to hold the big ones up, let alone tilt a big Djembe. So lots of times I have the drums set out flat on the carpet so kids can try playing them both ways. Most kids like to try sitting upright, and down on the ground playing on the drum. I let them know they can try either way. I usually set up my chairs in a circle, or sometimes concentric - one a few feet outside the other. I leave a little leg room for the kids in the outer circle. Leave a few open pathways so kids can exit the area, or enter. I try to make the circle about 20 feet across. Any more than that, the kids can’t hear what’s being played on the other side, and you get a disconnect. You can end up with 2 completely different rhythms going on at the same time. Try not to clog the center too much with dancers either – a few at a time if they want to get in there. That can cause sound block and a rhythm disconnect also.<br /><br />I give them the tools (a drum or percussion item) and they figure it out for themselves and play. I let them know they can play when, and whatever they want to, and they can play whatever they want...but just follow the beat. Unless it’s a one time circle, later, maybe you can have them make their own drums, try a search on that. What we call junk percussion treasure, can be found in thrift stores and yard sales. Try a search on junk percussion also. If you can get them on actual body drums like djembes, doumbeks, bongos, and congas, the idea of an ongoing drum circle or drumming program is a lot more exciting to them. They become musicians rather than kids in a class. <br /><br />The problem has always been drums are so expensive. Not so much anymore, most retailers will give a discount if you buy a dozen or so and build a kit up from there. As low as $30 - $60 each. Stick with synthetic head drums like Toca and Remo. You can round it out with tambourines, frame drums, and maracas. Try to avoid anything played with a stick - things get broken, especially if they have goatskin heads. Try music123.com - guitar center - musiciansfriend.com - sam ash etc. The arts or rec center in your area might help with a grant. Some schools are able to get them from drum manufacturers like Remo. Look into it and maybe get some help with the cost. My experience is getting real drums is what works. The drums made for kids cost about the same as ones for adults. I suggest getting 6 to 8 inch head size playable drums.<br /><br />Every situation is different. Sometimes I’m working with children either at a single grade level, with mixed ages, and with their parents on occasion. Often it is a one time outdoor event with mixed aged kids transitioning in and out of the circle as rhythms are going on. I had to learn to roll with it. If they want to put you in a huge auditorium and drum with the entire school, then you need to hire a few assistants, and you’re back to the hand clapping and foot stomping. Having 300 drums is just an impossibility for me so I try to talk them out of a huge "all at once" drumming event. I need to keep it under 100 at most. I’m one guy over here, and I just don’t do that kind of thing anymore. <br /><br />The kids seem to get less from it in large groups, as opposed to having each child play a drum in a smaller classroom or outdoors. Most of the kids drum circles I do are one time things, sometimes two, a week long, or a few times a year. Usually they are kids groups or organizations, in private schools or for special occasions, parties, etc. The kids really look forward to it because it’s a special event, and it’s just pain fun to bang a drum. I’ve done a few ongoing semester programs, but they are hard to get going, and usually the school already has a music program. You need to present them with a course curriculum, and the kids don’t seem to benefit as much. <br /><br />Selling the idea to the school is very difficult as opposed to a one day or half day drumming event. I find that the kids actually become more interested and intrigued by hand drumming if it’s a one day or sometimes a one week program. With private or public schools it’s important to know the schools code of conduct, and I adjust the drum circle accordingly. Sometimes I teach little family home schooling drum circles. Where it’s one on one, or one on two drumming lessons, I like to include the parents in the drumming if I can. They are usually just sitting there watching, so I try to include them in the drumming as well. It’s better for their relationship with their children anyway.<br /><br />Working with mixed age groups of children is obviously a little more challenging. And, if outdoors, even more so. When working with only one child, you have to be able to keep their interest for an entire hour. Younger kids have shorter attention spans, and you need a bunch of ideas ready to go with. There are quite a few drumming ideas, and games here. As a general rule, when I work with particularly younger age groups, I will structure my program to suit them, and the goals of the educators, or parents. I usually talk with, or email them beforehand, and we discuss it. I ask what their particular vision of the drumming might be, and what they would like to achieve from it. We figure out the program, and tailor one that’s right for them. <br /><br />Take it one step at a time. Getting a foot in the door by doing a benefit “Teach In” at smaller schools can do wonders for you. Drum circles usually only get press if it’s something negative, and most of the time I am pitching the idea to someone who has never seen one before. So I have to overcome that and explain the drums are expensive. That they don’t just magically appear, and years of work, and musical training goes into this. I charge by the event, and not the hour. A 1 hour drum circle takes me 4 hours to pull off by the time I figure in the loading, unloading, travel, setup and etc. So if it’s two 45 minute drum circles, 2 hours, however it goes, I charge by the event. <br /><br />Most of the schools and youth groups that benefit from this the most have very limited recreational budgets. So if I can get $100 or $200 for the day, I’m doing pretty well. This kind of work pays in the heart, more than it does in the wallet. You’re doing something that may inspire these kids to make playing music a part of their lives like it did for me. It is a life changing thing you are offering. So that hundred bucks may not seem like much after a full day’s work, but you put something good out in the world. At the end of the day when I sit and reflect how things went, that’s when it sinks in. You remember the smiles on the kid’s faces, how much fun they had, inspiring them, and how great they sounded.<br /><br />Back to the client pitch. Some of the questions that I ask beforehand include the following. Are there are any issues I should be aware of? What is their policy on any extremely disruptive behavior, etc. Unfortunately you don’t always have that luxury when you work with a group, but I try to get as much information as I can. Even beforehand, I research the particular school, club, youth group, or whatever it might happen to be. I speak to the administrators, look up their website, examine their mission statement, and try to have a good understanding of who they are, and what they are about. It just makes good sense to do your homework before you go in there to facilitate a drum circle for a children’s group. <br /><br />Kids are very impressionable, and I feel you are a role model for them. Whether you think so, or not. Children see any adult in authority as a potential role model. In a relatively short time, kids can understand how music is being made, and they are making it themselves. Perhaps a few will like it so much they will look harder at the school music programs where they now understand they can express themselves creatively, and possibly even join one. Maybe some will join the school marching band. I did, and it was fun. That was the only place in school where I fit in, and wasn’t the outsider. I wasn’t one of the cool kids, the pretty kids, the jocks, you get the idea. <br /><br />You can make a big difference in somebody’s life – that’s the real point here. They might go on to have a great musical career. Even if not, they will have a safe place they can go to heal themselves when they are hurting. They can also play their drum as an outlet for frustration, peer pressures, stress, hyperactivity, or even just for fun. If it’s a music program, a small group, or a school class situation, or just a mixed age’s event, each one has a slightly different approach that I use. Whenever it’s possible I try to speak to the parents or teachers in advance and ask for some advice. They are a big help if you can get it from them.<br /><br />As a general rule, at the start of a drum circle or drumming program, I like to get them tired out a little bit first. I get them up and moving or dancing with those small egg shakers, as I play a dancing rhythm on my Djembe. Then we get to the drumming, after a warm up rhythm, I mix in a quick lesson here and there. The history of where the instruments are from, and some lessons about hand technique. So a children’s drum circle needs to be tailored a little bit to the specific needs of the age group, or mixed ages. <br /><br />You can try some of the ideas below with different age ranges or with mixed ages. Some of them are mine, some are ideas I learned from other teachers, and facilitators whom I’ve seen work with children a lot. More often than not, if it’s ok with the staff, I begin drumming, as my group comes in and wordlessly gesture to them to join in with the shakers. I don't speak till they all have started to play. This may work, or it can lead to a stand-off. It depends on the group, and the situation. Usually it’s a smooth move and transition, the kids just join right in and play what they feel. It sets the right kind of tone for the session. Hey, this is going to be fun! <br /><br />Sometimes the teachers want everyone to be seated first before playing, and say some things. If that’s the case, then I let them do that, and get to the drumming as quick as I can. Since every situation is different, I never really know how I am going to start. My preference is me playing as they enter, and gesture to them to join me. As a general rule, as I mention in more detail below, I want to get the kids up on their feet and moving around in the circle to tire them out a little bit first thing. Then they are a lot easier to work with. I use the little egg shakers, one or two for each kid. I pre-set them on the chairs, and when they enter the room I start playing a funky beat on my Djembe, and ask them to play the shakers with me and dance in the center. Obviously, this needs to be discussed with the teacher first, so see if they approve of starting this way. For the second time I work with them, I use small tambourines instead of the egg shakers. <br /><br />If trying to pitch an ongoing program to a school, they are more than likely going to expect a curriculum of some sort from you. What will you be teaching, and how do you plan to do it? They like to see that there is some structure involved in your lessons. I show them sample programs I have used in the past. Here's a basic sample curriculum: <br /><br />Lesson One: Warm up drum jam. Then, introduce the idea how to make homemade drum and percussion instruments. Including a brief discussion of music theory. What determines pitch, volume, tone, and resonance. Followed by a brief drum circle finale to experiment with the drums, and percussion sounds. <br /><br />Lesson Two: Learning rhythms from around the world. A brief sample of rhythms from different countries and regions. What instruments are used in these cultures? Followed by a brief drum circle, where we try a few cultural drum rhythms out. (As part 2 of the prior session.) And how do the homemade instruments compare to the drums and percussion instruments from around the world? The tone, shape, sound, purpose, and appearance, etc. <br /><br />Lesson Three: Playing various drum rhythms as a group. Including some basic drum circle activities, more lessons on music theory, and some drum circle fun. (As part 3 of the series, applying knowledge from both sessions 1 and 2.) The emphasis is on group listening, group song creation, and the building of a group dynamic. <br /><br />Lesson Four: The playing of various rhythms from different cultures. Then the performance comes next. (Optional.) <br /><br />My approach with this kind of thing is slightly different. I like to educate the kids about playing goat skin wooden body drums. I always begin with the drums away from the center of the circle, far enough in so that they can not be played as they take their seats in the circle. I start with the egg shakers, and let them think about how they will soon be playing all those cool looking drums over there, and wondering what they might sound like. Then I begin to introduce the drums as my friends, and encourage a conversation about how we treat our friends, and how we like to be treated. I ask them to treat my drums that way please. <br /><br />These are my friends, my good buddies, so please be nice to them. And they will be nice to you. Please don’t bully my friends. Then we play. After a few rhythms I break for a few minutes and talk a bit about what they are made of, highlighting the wood first then goat. Sometimes, there is a vegetarian in the class who is repulsed, or refuses to even touch them. I assure them that their views are respected and then give them a synthetic head drum, like a Doumbek. It’s pretty rare, but it has happened to me before. I don’t have any gluten free drums. (well, actually, I do.)<br /><br />Occasionally, I am called upon to do a one time series of short drum circles for multiple groups of kids at a school or with a group. Often they come in one class right after another without a chance to even take a breath. I use the following, slightly different approach for that. When the kids come into the room, I will be playing my drum and have a shaker or drum placed out on each chair, or in front of it. I gesture/ask them to dance, or play the shakers along with me as a warm up and also to give them something to do immediately. When all of them are there, I move on to the following. <br /><br />5 minutes – Warm up and build rapport. We start off with a body warm up, doing arm stretches, etc. I act a little silly to get them to laugh, setting the mood for fun. This puts us all in the right frame of mind and starts to build my relationship with them. I introduce the drums, which are over to the side, again, as my friends. I talk about how we treat our friends. This is so very important. If I lose a drum, It’s the equivalent to a day’s pay. <br /><br />I have no percussion items that are played with a stick, because it usually finds it’s way to a goatskin drum head. Bye bye $60. Back to the fun. Five minutes – Drum, and dance. I play an African rhythm on my djembe. Depending on the number of kids in each age group, and how much room we have, the rhythm also includes some movements and dance. Each child plays a shaker and dances while I drum. This activity tires them out a little bit more, so that they are more in the mood to learn. Plus, it is great fun. <br /><br />An alternate is doing an activity I call funky musical chairs. Five minutes – Sound shapes and/or boom whackers. I use these simple percussion instruments to teach some basic music theory playing on the downbeat, in a 4/4 time, using these instruments. In the process, I demonstrate how mathematics applies to music theory. Then a short call and response, then maybe a call and echo rhythm game. With vocals or percussion instruments. <br /><br />5 minutes – The introduction to the drums, with some brief history of djembe, doumbek, and other drums. I demonstrate the physics of playing a drum. How it is shaped like a rocket engine. We apply the “energy” with our hands and the sound is the rocket fuel. Each child selects a drum, and I teach them how to play the bass and tone notes. <br /><br />20 minutes – Group drumming on the djembes and doumbeks. We play a few basic rhythms from each culture and have some fun drumming. End with a big rumble finish. That’s it. Take a breath, Next group.<br /><br />Before, or afterwards, try suggesting to the teachers to have the kids read books and journals about musicians, and about different music genres. Even suggest that they talk to musicians whenever they can. For the most part, most musicians are very accessible and willing to help by answering questions about our craft, to help them grow musically. Always try to be on the look out for these opportunities to chat a little and learn something from a professional. <br /><br />Suggest to the kids that they have their parents take them to live music performances if possible. Attend a clinic, go to a concert, stage play, or a music class. Or bring Djembe Dad to school week. And to listen more closely to the beats of their favorite music in their iPods or mp3 players. One of my favorite mixed aged kids circle was a birthday party in a park, when a friend of mine's very young daughter danced her way to the center and started to facilitate the drum circle. She grabbed a rattle and rattled at just about every drummer there. Any they all responded to her musically. Then she started dancing. She was a natural facilitator. <br /><br />Lots of kids have never played a percussion instrument before, so some of them are very timed, scared, and even self conscious. Some others can‘t wait to get to it. (Not as much as with the teens though.) Don’t expect to get miracles on the first session with kids. Sometimes it may take them two or more drum circles to loosen them up enough, and become comfortable with you. The second session is when the most magical things usually begin to happen. All of a sudden you may find yourself and the entire group living totally in the moment, all in unity, and even sounding pretty good. This happens with dancers dancing, also. <br /><br />That’s one of the reasons why teenagers, and young adults get so hooked on raves, (parties) They dance and dance for hours and all of a sudden it’s morning, and the sun is rising. And to them it feels like it’s just been a few hours. Like the golden ratio exists in music, it also exists in dance and singing. Unfortunately, at most of these rave parties there is underage drinking and/or some drugs involved. <br /><br />Believe it or not, some kids can be good facilitators. Many are naturals at it, and love to get to be in the center alone for a few minutes. Almost all age levels of kids seem to like giving it a try. I'm always amazed at what they do in some drum circles. I offer to let them do it all the time. Almost every time it works perfectly. (Almost.) With mixed ages of children, it is considerably more challenging. I try not to show so many things at once. I don’t want learning about drums to get in the way of just learning to drum. <br /><br />I need to try really hard, not to try too hard, or over think it too much. It’s supposed to be fun. Let the kids have a little fun along with you. I usually tell them, “Just have fun and play what you feel like playing to the beat with me. Just follow the beat.” When you think about how to drum too much, it takes the pure joy out of the drumming. And as odd as it may sound, don’t forget to breathe, or remind them to breathe. Many musicians and teachers will tell you that. Take a deep breath now and then as you play, and remind the others to do the same thing, take it all in, and enjoy the experience.<br /><br />Hula hoops are your friend at kids drum circles. I bring 3 to 6 of them, sometime I use them, sometime not. It depends on the general vibe. Kids can hoop to the beat inside & outside the circle. It connects to the music, and vice-versa.<br /><br />I’ve found that certain ages are much easier to work with. Myself, and most facilitators I’ve spoken with, like working with the 8 to 13 year old age range kids, because they are like these little sponges wanting to soak up all these new fun things. They are also somewhat more used to having respect for authority, or what an adult has to say. Anyway, the 10 year olds tend to raise their hands to ask questions, and they are much more orderly, making it easier for you to work with them. They can just pick up fun rhythms very quickly, if you vocalize them first. <br /><br />Things certainly have changed over the years in the schools. (Me being 50+ years old now) Early on at the beginning of one year, I saw a teacher in 6th grade put an extremely disruptive student up against the wall, get in his face and read him the riot act. Well, as a result we all behaved really well in his class for the rest of the year. I sure didn’t want to get embarrassed like that in front of all my friends. That’s all changed now of course, that particular teacher would probably loose his job, and never teach again. Nowadays we have kids bringing weapons to school. That never used to happen because I think kids had more respect for authority. I wasn’t going to mess with some of those teachers... I was just plain afraid of a few of them. <br /><br />I started playing music as a child, and went on to join the school band. Whatever a child may decide to do with their lives as they grow up, I think music helps them a lot in many aspects of their life. Lots of the kids I have worked with have done exactly that, joined the band. So I feel like I am introducing something really positive into their lives. Maybe I inspired them to be a musician, as a hobby or even a career. You never know how deeply you may affect some of these kids. They get an outlet, if nothing else. So to try and sum up a bit, if I feel I need to, or the teachers desire it, I mix in some drumming games, and activities with kids. <br /><br />Whatever the age group is, I adjust my program accordingly. Mostly, If it’s up to me, I just want them to drum, and create music as a group. But I still spend a little extra time, to just give them a few pointers on how to drum without hurting themselves, and then just start out rhythms and let them play. I let it go wherever it goes for 5 minutes or so, bring it to an end, and then start up another one. (Or, offer to let them start one.) I want to educate them a little, but also I need to pace myself. So that’s why I mix in a little about the history of drumming, and the different styles of drums every 10 minutes or so. Then I can keep the ideas flowing in my head. <br /><br />I keep the drumming sets a little shorter, unlike with the adults. Kids are very perceptive, they can tell if you are unsure of yourself, or don’t have a lot of confidence. They can see right through you. I try to treat kids as I would adults. I talk to them like they are adults, and I immediately gain their respect faster. It makes the job a whole lot easier. You are all a bunch of cool dudes, & we are jammin’ in the band. <br /><br />Sometimes If I feel they (or I) need a break, or I need to do a big change in the group dynamic, what I suggest is a five minute break and when they come back, they sit in the chair across from them and play whatever drum is there. Or, I will have them pass their drum carefully to the person on their right periodically between rhythms. It works. With the ok from the teachers, you can get a sort of Simon Says thing going later, or funky musical chairs thing going if you want. But, right away, they see that the ones who lost their seat get to play the drums quicker, while the other kids still parade around. They figure this one out really fast. I get into that, and a few more ideas to use with kids in more detail in a moment.<br /><br />A lot of these drumming games and activities are ones I thought up. At least they were created in my head, but most likely many of them exist in the collective consciousness of most educators, and drum circle facilitators. (What idea really is original?). We all see ideas, and get pointers from others to try out for ourselves. Many of these ideas and games have probably been also thought of and tried by others, and passed along to help us all to be better facilitators, and ultimately do a better job helping people to enjoy drumming. So I believe in the sharing of ideas, I think we should all share them, and not hold onto them secretly, as some people do. <br /><br />Feel free to try any of them, or pass them on to your friends. I have no problem if somebody comes to watch me and see what I’m doing. It happens all the time. There's a few facilitators, that rather than just asking me, which I would happily do for them, they send their spies to come watch me work. Whatever, I don’t care. Good, I hope you learn something you can use to help kids to enjoy drumming more. Drumming should be about sharing. I still show them everything I do, and don’t hold any ideas back just because I happen to see them out there watching. <br /><br />The kids are more important than those that may feel like they are the competition. I'd rather work with them, or at least have a cordial working relationship. Be supportive, share leeds et. There's plenty for all. I find that it is best to have a good standard operating procedure, or prepared program. Like my mixed ages adult set list. Even though things will likely change in the moment, at least I have a good road map in my head. Also, the transition points are much faster, and almost continuous. No matter what age the kids are, or what kind of group it is I’m working with, I have to keep my wits about me, and my head in the game. I usually position myself at the drum circle where I can see the entrance, so I know what’s coming my way. <br /><br />A curve or an unexpected surprise can come at you at any moment, and you need to be able to adjust to it if necessary, and go with it. Whatever it might be, a few extra few people wandering in, some joining in late, or whatever might happen, you can be ready for it at the spur of the moment, if you are prepared mentally to transition them in seamlessly. If the rhythm transitions or changes, I suggest rolling with it, especially at one time drumming events. So what I am doing is thinking about the now, the “in the moment” most of the time. But I’m constantly reassessing the group dynamic in case I need to make any adjustments. Is it getting too loud? Too sloppy? Is it time to slow things down? Does anyone need any assistance? Are they bored, tired? Need the bathroom? If you are experienced, and in the moment, you can feel what adjustments need to happen, and make them accordingly right away. <br /><br />I think kind of like when you are in a chess game. With children, I try to think just a few moves ahead. Like five minutes or so, ahead. But most of that is from information I am gathering from back when I was in the moment. I have to snap out for a few seconds to plan the next rhythm to play. What does the group feel like they want to do next? Where are we headed? The thing I had in mind a moment ago, might not feel right at this point. So I need to change it up, and improvise away from the set list, or program. Just like you don’t want to hear the same song over and over, you need to sense what is the next thing is to do. <br /><br />When is the right time to end the rhythm, how am I going to end it? I don’t want to use a rumble for every single one, so I use a number of different endings. When we stop, should we chat a little, so they can rest? Are there any announcements that need to be made by the staff? This is a good way to give your hands a rest also. Shake your hands and then rest them. Or do we just launch into another rhythm, or is it time for a rhythmic game? This kind of thought process helps me to live in the moment more comfortably, and transition points that happen are much smoother for me. I keep the plan moving in my head, adjusting it all the time to the group feeling, and the vibe. It takes a little experience to be able to do it. After four or five times, you will have it down. <br /><br />Also I need to keep in mind the overall picture of the program, however it was designed for the group. I need to watch the clock, for example for break time. I don’t like to have to be aware of the clock unless I have to be. Where will the group be in 15 minutes? Where will they be in a half hour? Do I have another group coming in right after this one? I may need to allow some time for any primary activities that may have been planned by the staff. I may have to cut things short, if a few rhythms run too long. (Which often happens if it’s going good.) And I need to allow time for a good ending, and leave a few minutes for the kids to ask a few questions, and answers at the end. Most of them are eager to learn about the drums, and percussion. You can sort of map out, or outline your session, and weave it into the set list. <br /><br />If I’m working more than one hour, I plan it one hour at a time, so my head isn’t overburdened with so much information in it that I might forget something important. It’s a good idea, because you can’t always remember everything all the time. I sometimes forget key elements, like the basics. Where do some of these drums come from? What are they called? How is the sound made? It’s easy to forget. It’s blunder time. For example, after one drum circle the teacher from the older classes asked me to explain where each type of drum originated because they had just studied the world map, and they were very curious about the world now. I felt like a dope because I forgot to mention it that time. <br /><br />This is also why having a feedback, or survey form, to give the teacher is so useful after a drum circle. You can get some perspective and critique on what you can improve on, and what went well about the drum circle. What did they like the most? What didn't work? How did they feel after? Etc.<br /><br />In my experience a lot of the kids are either overly excited, or a little nervous and possibly even scared at first. So welcoming them and telling them that this is all about having fun, and that there are no mistakes you can make. You are not going to mess anyone else up if you think you made a mistake. I’m not going to be giving you a grade here. Each one of you is unique, different, and special, (just like the drums, their hands, and their fingerprints). All of you have a special contribution to make, whether it is a little or a lot. It puts them at ease right away. (And me to.) <br /><br />I remind them of their beating hearts, the way they walk, and that in all of nature there is rhythm, even the city sounds have rhythm, and everyone has rhythm in their bodies. And I try to get them all playing as quickly as possible. You can mix in the history, theory, or physics lessons between the rhythms like I do if it’s called for. Most of the time kids are fascinated by both. Especially when I talk about how a djembe is shaped like a rocket engine. This seems to fascinate children of all ages, and using a djembe to explain to them the basic physics behind how sound works, and is created. <br /><br />It is also a great way to demonstrate a little hand drumming technique. After all, a djembe is shaped like a space rocket engine. I usually bring a big picture of a NASA rocket taking off to better illustrate this at some point during a lesson. I’m using visual communication. Where is the sound of my drum coming from? You can demonstrate how the djembe sounds when the bottom of it is held flat on the ground, and then again with the drum tipped towards the children. That’s a big “ah ha” moment for them. <br /><br />They can hear, and feel the change in the pitch of the notes this way. I explain how the energy from my arm and hand is being transferred to the drum head, creating that sound fuel. That is the rocket fuel. I show them an 8 x 10” photo of a rocket ship taking off, and the shape of the exhaust cone, with the fuel coming out of the bottom. “See how similar it is to the bottom part of this djembe drum?” It compresses the energy before letting it out, making it more efficient, and louder. You are providing the fuel for it to “take off”. One good idea, is to try walking around with the drum held in your arm sideways, with one hand doing a bass note over and over, near each kid. Get them to hold up their hands, palms out, and feel the percussion waves coming out from the bottom of the djembe as you walk past them, with the drum up, demonstrating it for them. <br /><br />They love the idea that they can feel the whoosh of sound waves, as well as hear it. The teachers always love this bit. After all, I get to tell the kids they can do something they rarely ever get to do. Make lots of noise. And I get to be a kid again for a little while to.<br /><br />Here are some more fun ideas to try: I sometimes show the kids, and the teachers the difference between an "Echo", ("You play exactly what I play"), and a "Call & Response", ("Whatever you play in response to my call is fine.") <br /><br />I’ve noticed that when I have the kids start out a rhythm on their own, it usually falls into kind of a default pattern: 1-2 pause 1-2-3. I call it the default rhythm. Bass--- Bass---tone-tone-tone (Try saying anything that fits to it: “I like Choc-Late-Cake”.) It usually turns into a nice jam, and kids of all ages can pick it up quickly. <br /><br />Or then fall into a Conga line rhythm. Or, start it out for them. A Conga line is also a fun activity while playing. Get them parading around the room with shakers, as you play a rhythm. Just clear it with the teacher first. <br /><br />Try this one: 1-2-3-4-----5----6 Tone tone tone tone (pause) boom boom (pause, repeat) <br /><br />Or this one: 1-2-3-4-5----6. boom boom boom boom boom------Bang! (repeat) <br /><br />"Pass the popcorn, Please" is a fun idea. Dum - ba dum dum - - Dum! <br /><br />Don't expect to play a rhythm for more than four, or five minutes. The volume and down cues are always good to teach right away. Rumbles are life savers. Sometimes, I start with one at the beginning of the program. I really find that what I say in the very beginning is the most important thing. First impressions are so important with kids. Got to set the right tone. <br /><br />Just like with adults, I often begin a rhythm to words, or with some sort of vocal association to it, to make it easier for the kids to quickly grasp onto the beat in the music. <br /><br />As an example: "Look, a great big frog!" (The Look is a bass note, the others are tones.) <br /><br />Or a variation with an extra beat is, " Look, a great big barking dog." Which is similar sounding to Samba. Again, “Look” is the bass note, the rest are all tones. <br /><br />Another great drumming rhythm is the old standard, "I got rhythm, yeah" ---"DA DA DUDUM, YEAH". <br /><br />You can show a few tips on how to play the drum. Try out things like the drum wave. You get it going around in a circle and each kid taps their drum one time, then speed it up, reverse it, etc. It’s a controlled game without a lot of chaos that gets the kids familiar with their drum and it’s a good ice breaker. <br /><br />Later you can introduce percussion. Those sound shapes are handy to make up rhythms with. I don’t use this one very much. I like to tire them out drumming, and get them playing rhythms right away, rather than playing drumming games. The kids seem to respond to it better. <br /><br />A good learning game you can try, is to bring a ball, like a soccer ball, and ask the kids to play one drum beat when I bounce the ball. You can bounce it fast, slow, low, high. Then let one of the kids try it out. This might work better with the older ones. <br /><br />A better variation is to toss the ball in the air and have them do a rumble, or drum roll, and it stops when you catch it. So you can bounce for a single beat, and toss in the air for a drum roll. You can add walking so foot steps become drum tones, or maybe another percussion sound. I use this game sparingly with children and adults. It’s lots of fun and almost always works for a few laughs at least. <br /><br />With younger kids, I really don't expect too much in terms of real drumming grooves, but often it does happen. I let them bang around and have fun making some noise. They hardly ever get permission to do that. Rumbles and stops are a good thing to make into a game with them. Getting them to start and stop playing together is a lot of fun. I keep the beats very basic, and simple. <br /><br />One facilitator I know sets up a drum “petting zoo” in the corner for the little kids while the big kids drum circle is happening on the other side. A very clever idea. The little kids can come over to the area, pet and play the drums like they are furry little animals. Just make sure someone is there to keep an eye on things. <br /><br />If you have more kids than drums, make two groups and bring some large paper pads. Have the one group play, and the other one paint the music. Brushes or fingerpaints, then have the kids switch sides after 15 minutes. Better clear this one with the staff first! <br /><br />Here’s a cool idea. I try the Simon Says game with drums, “Do you know the game Simon says?” Kids can only play when they hear the command "Simon says". If you give a command without saying "Simon says" and somebody does what you say, then they are out. "Simon says rumble - RUMBLE, Simon says "stop" - STOP." If you give a command without saying "Simon says", then you can make a big deal out of it and make all the kids laugh. With younger age groups, I wouldn't recommend taking kids out of the game. We want everyone to win. <br /><br />With little kids, I don't worry about the music as much. I have them work with sound dynamics like loud and soft, and start and stop. Try including a song with the kids. Let them make a song, or tell them a story first, and have them add in the sounds of the instruments to it. Like walking through the forest to the castle, and have them add the animal sounds with their voice, or their drums, and then do it. This one works great. <br /><br />Another idea with the older kids is you can try playing, "funky drumming musical chairs". That’s a little more cool. Set up two rows of chairs back to back. Start with enough chairs for everybody the first time. Have the kids sit in the chairs while you explain the rules. They all walk around the chairs in the same direction shaking egg shakers, and there's no running (safety). You play a funky rhythm on a drum, and when you stop playing, the kids have to find their seats. Each time you take away a chair, so there will always be one kid who gets caught out. Whoever gets caught out, gets to loose the shaker if they want, and pick a drum or other instrument, and comes over to join the band, that's you. <br /><br />A teacher with you on this is a good idea! When you take away the chair each time, have another adult bring the chair over and place it next to you. As more chairs come, one by one, have them arranged to form a new circle, drums in front of the chairs. This way you are building your drum circle one child at a time. Eventually you will come down to just two kids circling one chair, with the rest of the kids playing instruments around them. One child gets declared the winner, and everyone joins up to play together in the circle. <br /><br />In my experience, I often get a lot of kids who try to lose on purpose so that they can come and play on the drums. I have witnessed some examples of hilarious politeness, where kids offer to give the last remaining chair to another kid so that they can come and play in the band. You can expect a little bit more musicality from the older kids. They will like call and response a lot. Once they get the idea, I often will turn it over to them to make the call, and then I encourage the group to make the response. Pass it around. <br /><br />Another activity I learned from another music teacher that works with the slightly older kids is the sound snake. Once you have them in the circle with an instrument each, you get in the middle and tell them that when you point to them they should play one note (hit) on their instruments. You spin around the circle with your arm extended like the hand of a clock, and when you point to them they should play. Start slowly at first and once you have gone around a couple times, and they get it, then add the next element. <br /><br />The change. This time as you go around at some point you say, "change" and start to go around the opposite way. This will keep them alert and focused on watching you. This often turns into a nice little jam, or it falls flat completely. I recommend having lots of adult supervision. If you can get them involved, then you can really do something. If you have someone to play the bass drum it will really help if you want to get more musical. <br /><br />The kids love it when I combine jumping, with stomping. We play games where they try to anticipate when I am going to stomp on the floor and try to hit their drums, at that instant. This gets them to understand the importance of paying attention, near the beginning of the session. Start a rhythm with hopping, then turn it into stomping, and maintain a relatively steady stomp for a bit then break sequence. The game has begun! Kids love to be fooled, challenged, and surprised. You can even try letting individual kids into the circle to facilitate their own hops, jumps, and stomps. I keep this idea brief. <br /><br />Sometimes I get a hip hop rhythm going on my djembe, and see if any of the kids want to do a little “Rap" song to get them going in a fun different direction. Or ask them if they would like to tell a story to the beat. Just lay a nice soft support beat in there, (starting it slowly) and away it goes. But I always make it a point to explain to the kids that when we have a singer, that we have to support them, by listening to them, and backing them up. We are the back up band, the rhythm section! So we can’t play too loudly, or we can’t hear the lead singer, the rapper rapping. This also teaches them to listen closer. <br /><br />It’s nice if you can have some help, or an assistant. They can help you to settle the kids in, getting in on the bottom drum if necessary, or supporting the beat or rhythms with you. Keep an eye out for someone who can keep time, even a teacher. With the younger groups I find this very helpful. Having an extra person to hold the beat with a bottom drum. Unfortunately for me, I work alone, and don’t have that luxury. The older students, (like 4th grade and up) I can easily volunteer one of the students with solid rhythm, which I try to evaluate during the warm up jam. <br /><br />I sometimes set up in small sections of instruments around the circle. This makes a more organized way of students switching to different instruments. "Everyone stand and move three chairs to your right". Or “Cross to the other side”, etc. This way there is not a lot of rush moving throughout the circle, and everyone has an opportunity to play a different instrument. Pass it to the right one person works also, to save a little time. <br /><br />Sometimes you only have 45 minutes to work with them in a class situation and just can’t do some of these activities unless it’s an ongoing thing. Just remember to leave a few pathways so kids can move in and out or around the circle. This idea ends up being a little awkward for me sometimes. I start a groove out, then after a couple minutes I tell the group we’re all going to pass our instruments around the circle to the right, but we are going to do it while trying to keeping the rhythm going. <br /><br />I count 1... 2... 1, 2, 3 (repeat) and then pass, then we all play. Then repeat it again after a while. Possibly take it around the whole circle. Allow enough time so that each person should have their new instrument, and they are ready to play it. I sometimes pre-set different instruments like shakers and boomwhacker musical tubes under the chairs before we start (a good tip I learned). By doing this, the group is able to progress from one rhythm activity to another to another more fluidly. I start with the shakers and do the shaker thing activity, then right to the drumming, or, progress to boom whackers, then on to the bigger drums. <br /><br />I find this helps the understanding of drumming rhythms on drums faster, and gives you an opportunity to begin teaching without teaching. Sometimes I am in a more chaotic environment and don’t want to start out with the drums. It takes place step by step, and adds the structure needed for working with larger groups. It also lets a kid know they can stop drumming and play the percussion instrument it they want, or switch back and forth. <br /><br />Here is a simple game I learned from another facilitator. Ok, two rules to this one. If I put my hands in the air you can play as fast and as loud as you like, when my hands come down, you need to stop. Then shout one two three Play! (but don't put your hands up) and see how long it takes them to get it. Then just have fun with it, the kids in every group start laughing, or go wild and love it. 15 - 20 minutes disappears like nothing. <br /><br />Then I try non verbal communication. I point to my hand and put it up as if I am about to strike the drum head, then I point to my foot and lift it in the air, then gradually by dropping my hand and foot at the same time, I get them to figure that they hit the drum when I put my foot down...then I can start to walk....a little faster....a little faster....now I am running and the rumble is rising! Now I am twirling and spinning and the drums are crazy and I jump in the air, do an exaggerated big stop and funny face. They seem to just love it they are together, starting and stopping. I bang out a few beats of a rhythm; they play it back to me. I call, they respond, & off we go into a nice jam. We have hardly even verbally spoken. But musically, we have already become friends. <br /><br />Everyone is smiling, the staff thinks I am pretty nutty. I sometimes will use puppetry and drumming with the younger kids, along with every other hair brained, nutty idea I can come up with that would be fun and that will make the kids laugh. One idea is to create stories using sock puppets, or their favorite stuffed toy. I create drum rhythms that would be played when the name of their toy is called out. The kids were completely involved in the process and it was a great way for kids to work with them as a team. <br /><br />With the 8 to 13 year age group I often use cheerleading rhymes and skipping rhymes to spice up the drum class. Cheerleading rhythms are great because they’re fun and funky, and you can usually create great beats with them. They can also be tailored to the school the kids are from. Nothing like supporting that school spirit. Use the school’s song, the staff loves it. <br /><br />Sometimes I go with the pie slice configuration thing for placement of the drums, and various other percussion items. It depends on the situation if I do this or not. I set up the instruments, and as the children arrive they take their places by the instruments. This can work really smooth. I request the oldest class arrive about 5 minutes before the others, and like clockwork, we were cooking along already by the time the other classes started arriving. I just need to make sure the bottom beat is very stable. <br /><br />If I am working with different grade classes at once, I sometimes assign instruments basically by their grade class: 4th & 5th graders get drums, 3rd graders get boom whackers, 2nd graders get frog wood blocks and guiros, 1st graders get shakers, and the kindergarteners got jingle bells and maracas. I was a little concerned that the younger ones might get bored with no drums in their section but that was not the case when I tried it. <br /><br />If you want to try sculpting, carve the group up into the pie slices thing while they are playing, or whatever. I’ve done a fair amount of it, I’m not a big fan of that approach, but the kindergarteners got a huge kick out of being showcased when I’ve used it with them. <br /><br />The wave activity thing is always is a little lame, but it’s something to try, and it works. I learned that whenever I get lost, confused, or when I’m in doubt, I rumble. Little stumbles and train wrecks disappear. I introduce the drums, some basic technique, and use the windows of communication sparingly. <br /><br />I want to get them to play the drums, not play drumming games. But some of these help you to keep them interesting, or to get them on track. It’s mostly just to draw their attention to the wonderful and diverse musical community we live in. Try some of these drumming games, try to making some up. See if the kids have any cool ideas. Teach and sing a song together, then drum to it; do the simplest of set rhythms “Hot chocolate hot chocolate nutella on toast” and, as soon as they've got it, ask them if they want to make up their own sayings.<br /><br />When you sense the kids want to learn, try not to rush them at it. Because every minute spent in a drum circle helps every drummer from beginner to expert become a better drummer, and to be able to learn faster. One of the most important things I learned from my very first experience with elementary and middle school kids, was to let them get their excess energy expended at the beginning of a session. Let them get it all out, the stress, the nerves, that peer pressure, or whatever. <br /><br />I remember how it felt to feel different than the rest of the kids. Right off the bat, I either get that egg shaker dance thing going, or I get them on the drums and play a danceable rhythm on my drum and let them rock and roll about five minutes to warm up. I love to hear them start exclaiming that they're tired, all huffing and puffing. Now our drum circle can really begin! <br /><br />For the littler kids, I usually use frame, buffalo drums, or sound shapes with mallets since their coordination isn't as fully developed at that age, and their attention span is rather short, so it’s a bit of a challenge for them to learn hand patterns and complex rhythms. I usually play my djembe as the bottom beat to it. If you do go with hand drums, be sure to make the rhythms and movements very simple, and clear. Start them out very slowly until everyone has it solid. <br /><br />I like to use familiar simple songs vocalized first, then transferred onto the drums and percussion instruments, played very slowly, then up the tempo a little after they have it. I do that a lot, from a list I keep handy. I also like to make simple rhythmic chants from familiar words and phrases, like their full names, animals, numbers, colors, what they had for breakfast, or anything I can think of, or even that they can think of. Usually it’s played in a straight forward 4/4 beat (or 2/4, or a slow 3/4 - 6/8 time if they need quieting down a little.) <br /><br />I prefer to use these two sayings the most for vocalizing 6/8 time signature rhythms: “Follow the yellow brick road.” Or, “Cab Bage And Broc O Li”. I find that most kids generally do love to sing and naturally sort of play on beat with whatever instrument they have, except when they get carried away into a frenzy. Which becomes a convenient transitioning point to something else. <br /><br />Let the kids know that every spoken language, and every culture has its own unique beat, and within every sentence, music can be found. If they can say it, they can probably play it. Show them how you drum the rhythm to the following phrases, or make up your own on the spot with requests from the kids: <br /><br />All a-board! Boom boom boom Yum Yum, <br /><br />I like Piz-za! <br /><br />Calling all cars! Calling all cars! <br /><br />Mary had a lit-tle lamb <br /><br />Listen to the clock: tick-tock, tick-tock. <br /><br />Twinkle twinkle little star <br /><br />Hey, diddle-diddle, the cat and the fiddle, The cow jumped over the moon. <br /><br />Row row row your boat...gently down the stream. <br /><br />How much wood could a woodchuck chuck, if a woodchuck could chuck wood? <br /><br />Jack Sprat...could eat no fat! <br /><br />Make up a few, try reading sentences aloud from their favorite books, or phrases from their favorite songs, and rhymes. Try playing Names, Food, Objects, Commercial Jingles, and Phrases Playing kid’s full names and kid friendly phrases can be interpreted into a series of long and short notes. <br /><br />Put the emphasis on the hard syllables: <br /><br />Oh, Susannah! (LONG-LONG-short-LONG) or (Bass Bass tone Bass) <br /><br />I like pea-nut but- ter - I like to jam <br /><br />Miss iss ippi River - Miss iss ippi River <br /><br />I’ll huff, and I’ll puff, and I’ll blow the house down! (short-LONG-short-short-LONG-short-short-LONG-short-short-short) <br /><br />In 6/8 The people on the bus, go round and round. (short-short-short-short-short-short-LONG-LONG-LONG-LONG) <br /><br />Try adding simple drumming to rhymes. If you're happy and you know it, bang a drum, or shake an egg, etc. Once the kids have mastered playing along to a nursery rhyme or any common saying you’ve got them. And then you can get to some real drumming. <br /><br />Here is a fun drumming ending rhythm idea for a session, The I got to go rhythm. It has a natural rhythm to drum to. Accents are on the “G“ obviously: I...got to Go - got to Go __ gotta gotta - gotta Go and repeat. <br /><br />I try to use anything I can think of that gets them to laugh and have fun. Balloons, blowing soap bubbles in the circle is fun, (if the teacher approves) I often bring along a couple of soap bubble bottles with the bubble blowers inside them. <br /><br />Try combining a variety of percussive sounds to create lively rhythms. Maybe start a call and response dialog between the different sounds, a back-and-forth, and back-and-forth approach. Ask them to think of it as drumming conversations that repeat over and over. It’s okay if they change it. <br /><br />Try this idea, have them drum syllables to these, or some similar phrase: How are you? (1,2,3) They answer, I am fine. (1,2,3) Or, try it with three notes from you, then four from them. And repeat, etc. Once they are comfortable you can up tempo it to a groove. <br /><br />It’s important to help kids to learn to differentiate between high and low pitches, so you can demonstrate the sounds on their instrument. You will obtain a low pitch by striking the center of the drum head, and a higher pitch when striking the edge. The large sized drum has the lowest pitch, the middle sized drum has the medium pitch, and the small sized drum has the highest pitch. <br /><br />Use your hand to demonstrate the different places on the drum you get the different sounds from. After a few minute demonstrations, ask them to give you a thumbs up or thumbs down to identify the note as high, medium, or a lower note. Once they're comfortable with identifying high or low notes, you can ask them to play a high or low note on request. <br /><br />Try the Morse Code Jam. I ask the kids to each shout out a letter, so we can have two of them to put together, and then play it to Morse Code, and make up our own new rhythms. They almost always all start shouting out different letters at once. I can make a funny big deal out of it, and say, “Wait a minute, not so fast!” Then we pick two letters and play them to the corresponding letters. A dash is a bass note, a dot is a tone. It’s simple, unpredictable, educational, and fun. And they know that you don’t know what it might come out sounding like. So you are building a rapport with them with this activity. <br /><br />What I do is print out a Morse code alphabet, and then go to a copy store, and have them enlarge it to a poster size, and have it laminated. Then I can post it up on the wall so they can all see the letters, and dots and dashes next to them. You can get it done, and have it laminated so it will last you for awhile for under ten bucks. I keep it stored in a round mailing tube for easy transport. <br /><br />I always try to teach a little fundamental knowledge of music when I work with kids, to teach them how to differentiate between long and short notes, and how long they can resonate. I use a triangle with an easy to hold handle. Striking the triangle and then gripping one of its sides will reduce the instrument’s resonance and produce a short note. Striking a triangle while on a string or resting on a finger, allows it to resonate fully, and it will produce a much longer note. It’s good to include that in a first lesson. <br /><br />As I mentioned earlier, a large drum is another excellent instrument for this demonstration. Striking the drumhead using a slap-release technique will yield a long, sustained note due to the head’s resonance. Striking the head with a Slap muffle technique will muffle the sound by reducing the head’s resonance, resulting in a shorter note. <br /><br />I don’t like to show the younger kids the actual slap tone too soon. It’s too easy for them to hurt their hands trying it. I just do it with tones, or bass notes only. After a few moments of this demonstration, ask the kids to stand up and open their arms wide to identify each note you play as long, or to close their hands together to identify the note as short. Once they’ve become comfortable with identifying long and short notes, you can ask the kids to play them on request. It really depends on the age group, as to what ideas I use. When in doubt, drum, then rumble, then drum some more, then rumble. Simple. <br /><br />Volume! This is always a part of my lesson. A great way to teach crescendo (loud) and decrescendo (quiet) sounds is to play this simple game: Demonstrate loud and quiet rhythms, and alternate between them. Ask the kids to listen and lift their arms over their head to show loud rhythms, and to fold their arms over their chests when they hear quiet rhythms. <br /><br />An amusing (and sometimes useful!) variation is to ask them to play loudly or quietly on request. This is a cool drumming interpretation of a game called the phone game, which is great for a group of kids. Have the kids sit in a circle with you, and demonstrate a short drum beat. Ask your neighbor to repeat what you played for them to their neighbor. After the beat goes all around the circle, see how the beat has changed from the original that you played. Try changing the beat only after everyone has mastered the original, and keep the game going by challenging the group to repeat more complex rhythms. It either works, it’s really funny, or it’s a mess. <br /><br />I often use various ideas to demonstrate rhythmic counting. Don’t underestimate the benefits of it. I often incorporate it into my program. It’s the foundation of music. And the kids are learning more basic math in the process, by learning to count off a measure of music. I always start with something in two, or four. <br /><br />Sometimes I divide the group into three sections and demonstrate a simple “Row Row Row Your Boat” style rhythm to one section after another, always turning clockwise. Beginning with me first, I demonstrate it, and invite them to play along. If I sense that there is a sag in the rhythm or reduced energy in the group, this is a good spot for a transition point. It’s also an opportunity to breathe new life into the drum circle by altering the group’s current rhythm. Changing the rhythm of the drum circle will have an immediate impact. Or have them move to different drums. That works to. <br /><br />Closing a kid’s drum circle is pretty easy. When you sense the end, or a transition point and feel that the group doesn’t have the energy or desire to continue, simply get their attention with a big gesture, then increase the volume and tempo to a thundering rumble climax. 4 - 3 - 2 - 1 and stop. <br /><br />Use big hand gestures so everyone sees you. Use a gong. Leave them wanting more, I always say. I don’t go for the mellow endings stuff with kids or adults very often, but I do use them. (Like the fade out, gradually play slower and softer until it ends, maybe over 8 measures.)<br /><br />An advanced idea is to invite one player at a time to contribute a new solo rhythm of their own creation. I get a rhythm going on my djembe. Get them to actively listen before adding their own rhythm to the mix. Although it may take some time, you will be amazed by the magic that might result. <br /><br />Don’t force them to solo though. Only if they want to try it. Let them use the “safety button” if they are uncomfortable in the spotlight. Believe me, not everyone wants to solo. They may just need more time. Don’t force it on them. I usually use this one on a second or third session with the same group. I go into more information on that that below. You can learn a lot from speaking to music teachers that work with kids all the time. <br /><br />I spoke with this one elementary music teacher who explained to me that she had to learn to get out of the way of the kids so they could have more fun. Too many times, we try to impose our sense of what sounds good, or what we may think is right and what sounds bad, or wrong on the kids. Sometimes they need to be given the opportunity, and/or time to experiment and create without a bunch of rules. <br /><br />The drum circle in class is ideal environment for this reason, and many others. At times, they don’t need us. That needs to be in your head the entire time. Sometimes a teacher will want to run in there and try to get a kid playing who appears to be uninterested. I usually speak with them beforehand about please not doing this. I explain that it’s easier for kids to learn if it’s at their own pace, and when they feel comfortable. They will play eventually on their own when they see how much fun everyone else is having, they’re not going to mess things up, and that self discovery is the way to go. <br /><br />I show them rumbles, volume, tempos, and stops as soon as I can. (Let the kids try doing this if it feels right.) Have them try the weather jam where we simulate Wind, Rain, Hail, Lightning, Thunder. Play storm rhythms on the drums, and percussion. It usually turns into a good rhythm. Sometimes it train wrecks. It lets the kids know we will all go wherever this is going together, and not be afraid of making mistakes. <br /><br />Try the freeze. I Am The Drum. We all play it, and I do some freezes. Let some of them have a try at it, moving around like animals (snake, bunny, elephant, kangaroo, turtle, bird, etc.) and freeze as they are moving or dancing to the beat - Samba, Hip-hop, Funk, whatever. Each kid gets to do an animal sound at the 4th or 8th bar break and etc. <br /><br />I’ve learned that I need to keep it fun, and joke around with the kids a little bit. I need to win them over. Do, or say something silly here and there, between rhythms, or before drum activities. <br /><br />Here’s one idea you can try, make a TV show up like, “American Drumming Idol“. Odds are, they are big fans of the show. You get the kids to find a partner, or groups of 3 & have each team make up a rhythm with words said out loud as they play it. They can perform for the rest of the group. Make a beginning and an end, and they have to make a name for their band. <br /><br />Each group could have dancers also. (The show, “So You Think You Can Dance”) I give them five minutes or so to figure it out. It’s amazing to see what kind of things they come up with. Each team then performs for the rest of the group, (I'm having lots of fun pretending to be a nutty Simon Cowel and giving each group a critique.) I'm also making it into a bit of a competition with the kids voting on whether or not they should go through to the next round etc. It’s a time user, and I rarely use it. <br /><br />Try the “add your voice” drum rhythm idea. It's a simpler drum circle rhythm where you have one person start a groove and each person in a clockwise rotation adds their own unique voice, after a measure or two. I explain to them before we begin that it's preferable to put your voice where no other voices are. Like in between the other drum beats. This gets harder for them as the circle completes of course. When the circle does complete and is grooving all together with different voices it is really cool, if it works. <br /><br />Usually it is such an original sounding composition that kind of slowly rolls around and has many different interesting counter points. (as a result of showing participants how to play in between the normal 1 & 2 & beats by occasionally adding in or using 1 e & a 16th notes - even randomly). They catch on to this pretty quickly. If the groove falters or wanders you can pull the group into a slow quiet rumble, and get on to something else. <br /><br />Another game idea that I use after the group has built a dynamic that seems to be enjoyed by most, if not all the people I work with, (kids, adults, special needs, elderly, etc. could be called fill the gap, or drum break, although I don’t really have a name for it. It goes like this: I explain to the group that we are going to create a drum break for a fill. (That can be part of the rhythm or brought in on a stop.) Often 4 or 8 beats, and that we can take turns to suggest ways to fill the gap, prior to the gap occurring. The suggestions come in the form of body language or a loud voice if the groove is quiet enough. I usually say it out loud. <br /><br />At the given or marked point we all stop playing, (say after eight bars of music) and fill the gap with a fill. For one bar, (a pause) and then you go back to the same beat again for eight bars, and then on to the next person. Fills can be anything, if they want to be brave, and bang their drum a little, great. It can be anything from animal noises, to clapping, to silence, to rumbling, to whistling, singing, screaming, silly gestures, you can suggest a whatever you think will work at the time. Most times, the kids want to do drum riffs, or animal sounds. It’s a fun idea.<br /><br />I feel it’s important NOT to make kids do solos. The best time to experiment with solos is after you have worked with a class a few times. Offer them the “safety button” to use if they are timid. They can push the imaginary safety button when it’s their turn. Be sure to monitor things, or have staff help you, keeping in mind some understood or pre-arranged boundaries may be there. <br /><br />It would look something like this: The group is going along with that simple default rhythm, (1-2----1-2-3) or a Rumba beat groove is what I use the most for this. After the eight bars, we all stop drumming and the kid to my right does an impression of a chicken, or whatever animal sound they want to do real quickly in one bar. Then we swing right back in to the Rumba beat. The kid to their right now gets a turn to make an animal noise, after eight bars, and away it goes, from kid to kid, around the circle. This is always funny, and we are all laughing, waiting to see what funny thing the next kid comes up with. Once you have worked with them a few times, maybe have them try it with a drum instead. It builds self confidence. <br /><br />Although this idea is mostly a good laugh, this is a great way to keep the group grooving while not thinking too hard about what they are playing and it can also create some surprisingly beautiful moments especially if you open it up to the whole group. It never fails to lighten the mood if done with energy. I like Middle Eastern rhythms for this one. Or the Heartbeat rhythm. The Drum Break Solo. <br /><br />I have mixed feelings on it, but when I think it feels right, I like to do this: The whole group is playing a simple rhythm reasonably tight and then we all stop drumming for a drum break, and have one person do a solo. You can demonstrate that the solo doesn’t have to be rhythmic, or complicated, or accurate. We just want them to have fun the way adults do. Hit the drum, rumble, be silly, be intense, be whatever, and you can get everyone cheering for each soloist. <br /><br />But it also puts kids a little bit on the spot, and puts some pressure on them. Sometimes, that’s just what they need. I always put that safety button in there as an option. (I don’t want to force the kids, or even adults, to do it.) I don’t like for people to feel pressured into doing a solo. Some people don’t want to be put on the spot. But it is an idea, I’ve used it, and sometimes, the kids tend to like it more than the adults do! <br /><br />If you try it, I think the best thing to do is give them a verbal 4-3-2-1 countdown before it’s their turn to try the solo. I also keep the beat going, and do a verbal count of going aloud, or by tapping my foot on a tambourine in an obvious way, as each soloist takes their turn, so nobody gets lost, and everyone else is exactly sure when to come back in. And the soloist knows much easier how long to do their solo. <br /><br />So, to sum up, we play for four to eight measures of music, then the soloist does a two measure solo, and then back to the support rhythm. Eight more measures of rhythm, and the next person to their right does a solo for two bars, back to the groove, etc. Send it all the way around the circle. Everybody gets to do a drum break, then go back to the support rhythm. <br /><br />The “Stormy Weather Jam”. Think of it like a slow approaching rain storm. It starts with hands rubbing together, finger snapping, and then body slapping, (not each other). Each is one done incrementally double times but not to any specific rhythm. Then it layers out. (hopefully) It sounds just like a rain storm coming in, letting loose and coming. <br /><br />Make it into a story, then turn it into a beat on the drums. This is a variation of it, and it’s always fun. Here’s a way to do it: I like to simulate the wind by rubbing the hands across the drum head in a circular motion. I use those African seed shakers to simulate the leaves on the trees fluttering in the wind. The pitter patter of a few raindrops by tapping fingertips on the drum, or side of the drum. Then it rains harder and steadier. <br /><br />A storm is coming. Louder tapping. Then maybe some light hail. Knuckles knocking the drum head. Then some lightning, (a little bit louder tones). Finally the thunder beat of a storm! (insert rhythm here) You can make it into a rain dance beat or something. Those thunder tubes work really great on this one. It sounds like real distant thunder rolling in. All the kids want to play the thunder tube once, so what I usually do is let them each take a turn for a minute or two as it’s passed around the circle. Everybody gets to be the thunder drum kid. <br /><br />Try the name game. I say my name, and then I play the beat to the syllables. Take it all the way around the circle with each kid. If it turns in to a sustainable beat, go with it. Don’t force the timid ones. I like to have lots of games and activities and keep things moving. If a groove develops, go with it, and forget the rhythm games. <br /><br />My experience with all ages is kids really want to just play drum beats, not drumming or rhythm games. Especially the older teens, or if I work with the same group more than once. If you want to start a kid’s drum circle, or getting a drumming program going. Well, beginning is easy. In the case of kids drum circle I think a trained facilitator is probably a good idea for getting one started, or seeing if they even like it. <br /><br />Bear in mind, there are as many different ways to facilitate a drum circle as there are to paint art. Have your staff or music director watch them closely and learn. No telling how long it might take. It could be just a few times maybe it‘s four, it might not work at all. Drumming is not for everybody. The odds are that it will be effective. It might be just what they needed to let out aggression or frustration with out focusing it directly at anyone so they can learn faster, and become better students. <br /><br />Sometimes I use different drumming ideas, activities, drum games, and programs. Other times I just get them playing on a drum as quickly as I possibly can. My goal is usually always the same, to get them playing the drums as fast as possible. I have three or four beginnings in mind for a new group. I don’t know what I’m going to do until I can size them up, and feel the group dynamic. I don’t want to force them into something they don’t find fun! If something falls flat, just move quickly to something else. Mostly, I start with the egg shakers dance or just playing the drums. The warm up jam sets the mood. <br /><br />Good luck with it, and keep it fun! <br /><br />Remember to try and speak with the staff afterwards for feedback. And at the next time you are there. (Hopefully) Or, leave them a feedback form to fill out, with a self addressed envelope and a stamp on it. I've gathered a lot of useful information with a simple feedback form. <br /><br />Remember that there are restrictions on photography in most cases, so be sure to ask if you want to take photos. If it's an event out in public, with the general public invited - then it's different. <br /><br />If the group needs to take a break for drinks or snacks, make sure they don’t come back to the drumming area before they are all finished. Goatskin drum heads still make terrible tables and coasters. <br /><br />One thing some don't understand about drum circles, is that it's more about the people, than it is the drumming. Many facilitators agree with me on this, some don't. The quality of the music produced in a drum circle isn't really based on the musical experience of the players, but on the developing quality of the relationships of the people that emerge. As a facilitator I help people to empower themselves through drumming, music, and fun. They need no experience at all to play in a drum circle. I encourage individual creativity, and group dynamics.<br /><br />Ultimately, I just want to let people play. We drum up some fun. Let your personality out, and with your calm and reassuring manner, watch the volume, and they will quickly enjoy playing together, and connecting with you. I hope some of this is helpful to you, and it gives you a few ideas working with kids individually and in groups, young or teens. Please keep in mind that these are just my opinions, and based on my experiences. <br /><br />Drum Circles For Kids - by Shannon Ratigan<br /><br />If you would like to read some more about my approach to drum circles, please consider picking up my book, “A Practical Guide To Hand Drumming And Drum Circles” It’s 300 pages, and $8 on Amazon Kindle or Nook. Physical copies are sold out.<br /><br />If you choose to purchase it, my 101 drum circle rhythms video, or drum circle jam CDs - mp3s - thanks in advance for helping an independent musician. The proceeds help me with drum repairs, and doing work in our community. It helps out the most, if you purchase direct from me at my website. <br /><br /><hr color="000080" size="3" />
<br /><br />There is increasing recognition of the health benefits of music therapy, particularly facilitated hand drumming, which is what I do for a living. Unfortunately, places where the people who benefit the most, such as senior centers and special needs can not afford to pay for this. <br /><br />If you're a filmmaker or video / TV producer all of my drumming & drum circle music tracks are licensed. Check CDBaby.com & listen to a few. There's a wide variety of cultures, styles, and tempos to choose from. Helps to set that perfect mood for a scene. <br /><br />Mp3’s at iTunes, and CDBaby: 2.5 hours for $10. Here's the website urls: <br /><br />http://www.cdbaby.com/Artist/SLRatigan <br /><br />Or, click the CDbaby.com link below:<br /><br /><a href="http://www.cdbaby.com/Artist/SLRatigan">My CD Baby Artist Page</a><br /><br />On iTunes:<br /><br />https://itunes.apple.com/us/artist/sl-ratigan/id261043295<br /><br /><a href="https://itunes.apple.com/us/artist/sl-ratigan/id261043295">My iTunes Artist Page</a><br /><br />Check out the drumcircles.net home page with my 2 hour DVD of 101 Drum Circle Rhythms. A free 75 minute drum circle jam CD is included. Both discs are $10 + $3 shipping. Please visit the main page for a video sample, and more information. <br /><br />And while you're at it, check out my drum circle finder at my website drumcircles.net where you can locate drum circles near you in your state. There are over 1000 listed and still growing. Also a global drum circle list. These listings are updated regularly. It’s a human edited database since 1999. Check out the FaceBook page also, “Drum Circle Finder”. The proceeds help to offset the website costs. Please help support it a little if you can by picking up a few drum circle music mp3s at most online retailers.<br /><br />Copyright © Shannon Ratigan All Rights Reserveddrumcircles.nethttp://www.blogger.com/profile/05856494181338188294noreply@blogger.com0St. Louis, MO, USA38.6270025 -90.199404238.230193 -90.844851200000008 39.023812000000007 -89.5539572tag:blogger.com,1999:blog-9113701967098106880.post-42860027335746257262017-09-05T13:54:00.001-07:002017-09-05T14:20:42.237-07:00Drum Circles Facilitation Info - Drumming With Groups<div align="center">
Information on facilitated drum circles for all ages, groups, and venues. Parties, events, and churches, to seniors, special needs groups, kids, schools, and the general public. If hand drums and percussion instruments are provided, all you need is a heartbeat, and some chairs. If you can text, you can learn to play drum circle rhythms. (Even if you're one of those people that think they don't have rhythm.) <br />
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I teach beginner to intermediate djembe or doumbek lessons by the hour for $40. (Reasonable rates!) A few pointers on hand technique, we start out a few rhythms and away we go. Use your drum, or I provide a few. It can be just a drumming lesson, a jam session, or both. (Adding an additional person is $10 more.) If you want drum circle facilitation lessons, I offer that as well. I can combine the two if you like.<br />
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Visit the other styles of drum circles for various groups by checking out my home page at drumcircles.net. It has ideas and suggestions for drum circles with kids, adults, seniors, special needs, spiritual, healing, team building, clubs, pubs, and more.</div>
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Below are printable some lists of various drum circle rhythms I enjoy playing, and various ways to read - teach drum music, get rhythms started and lots more. It's my interpretation of them, and it's free. Read and/or print them out if you want to. There's a few different ways I like to notate, and/or and vocalize the start of a drum circle rhythm. I enjoy helping people to have more fun drumming. The list might make a good guideline, set list, or just some fun stuff for you and your friends to use. Check both of them out. About 4 and 7 pages each, Microsoft Word document.<br />
<a href="http://www.drumcircles.net/Reading%20Drum%20Music%20-%20Ways%20to%20Notate%20&%20Teach%20Drum%20Rhythms.DOC"><br />
Printable - Various Ways to Read, Notate, and Teach Drum Music (Printable Word.doc)</a> <br />
<a href="http://www.drumcircles.net/General%20Facilitated%20Drum%20Circle%20Rhythms%20Set%20List.DOC"><br />
Printable - Longer List Of Notated Drum Circle Rhythms and Set List (Printable Word.doc)</a><br />
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The intent of my page is to offer facilitated drum circles, but also to share ideas and suggestions for others. Briefly put, drum circle facilitation by me is taking a group of people who (mostly) have never touched a drum before in their lives, and I make a band out of them. They all discover they can indeed make music, and in the process even overcome inner social fears. We make up spontaneous rhythms, as well as play various culturally specific rhythms from around the world, all done by using only musical cues. It is very organic, and every drum circle is different depending on the group’s dynamic. I hope my page helps you to enjoy drumming more.<br />
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I facilitate drum circles, but I'm also available to work as a percussionist for band gigs, as a performer with singer songwriters, or as a solo percussionist for just about anything. From belly dancers, fire spinners, weddings, spiritual gatherings, yoga, spoken word, and teaching, or just about anything where you need a drummer. I'm open to last minute fill ins, and requests, as I can rely on classical training and experience to pick up music, and rhythms by ear
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When Inquiring About Having A Facilitated Drum Circle, please provide some of the particulars, and what you have in mind: such as the amount of time, type of organization, location, approx. amount of people, and any specific requirements. There’s an average pricing list and rates I’ve compiled over the years from around the country at my website also so you don’t get overcharged.<br />
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I don't really get into selling drums, nor do I endorse any drum manufactures, companies, or have sponsored ads. If you're looking to buy a drum, it's important to find the one that's right for you. I am always happy to offer an opinion, or suggest a few places I've bought some of mine from. If you are new to drumming, choosing a 1st drum can be a bit confusing.<br />
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At my blog, <a href="http://drumcircleworld.blogspot.com/">Drum Circle Blog at blogspot.com</a> I go into this in more detail. Please look for the post, "Choosing That First Drum To Buy". If you are looking to start a drum circle. or get into drum circle facilitating, check out my post on a few ways to get free drum circle facilitation training. Even if you have never touched a drum before, and want to start a drum circle up just for fun, it should help get you started. The way things are these days, not everyone can afford to get training, or leave the area they live in. Running a drum circle is something you can learn to do. I hope my posts help you along with your drumming journey, and I'm here if you ever need to ask a question.<br />
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Can you drum even if you have never played one before, and think you have no rhythm at all? The answer is Yes. In a matter of a few minutes, you can be playing drum rhythms, & making some beautiful music with your hands. The nice thing about drumming, is you can begin at any age and still have fun with it. And best of all, you only have to buy a drum once, and it will last you forever if you take care of it. All most people need is one lesson, and they are off and drumming. You can enjoy drumming alone or with friends. Playing a drum feels good if you are happy or down.<br />
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I have had people tell me that they are under the impression that drum circle facilitators have to be certified. Okay, doctors, dentists, lawyers, yes. I wouldn't want to use one that hadn't gone through the process of accreditation and/or licensing. But, facilitators don't have any kind of official governing body. Anyone can decide to teach, hold workshops, etc. and then give out a certificate. But, all it means is that the person spent some money on training in one style of facilitation. Like in any other field, some are better than others. Is certification necessary to facilitate drum circles? Are there specific protocols that need to be followed? Is there a universally accepted accreditation process?<br />
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Some would like to think so, but no. Do some of them help, are some of them good? Yes. You can learn a few things, but most of them are expensive, and go on for weeks. Their logo looks good on your resume, and sure it adds some credibility to you. Most of them cost a lot also. Do you need certification by someone to work and earn a living? No. Individuals and companies both offer their own brand of facilitation. One isn't necessarily better than another, some are promoted more, and widely known than others. Practically speaking even if you are a newcomer you can buy a few books on the subject, watch a few videos, and get out there and host a drum circle just fine. I think you can learn the most just by doing, and going to some drum circles. Go out and watch, then participate, have some fun, and observe what the other facilitators do, and how they do it.<br />
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<b>My 2 Hour 101 Drum Circle Rhythms DVD</b><br />
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An effective way to keep a drumming program, or drum circle interesting, is to have a wide variety of rhythms to draw from. My 2 hour DVD of 120 hand drum rhythms makes ideal reference material. At my website it's $10 and includes a free drum circle jam CD. It’s a few bucks more on Amazon or Ebay.<br />
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The 120 rhythms are also on 2 audio CD's for $10. The link is below for both of them. They are also available in mp3 format at most online retailers such as CDbaby for $10, as well as iTunes, Amazon, Spotify, and most others.<b> </b><br />
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<a href="http://www.drumcircles.net/101drumcirclerhythmsDVD.html"><b>2 Hour DVD 101 Drum Circle Rhythms Link</b></a><br />
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<b>More on facilitating drum circles, or having a drumming program.</b><br />
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Natural rhythm flows within us all. Our hearts beat to a rhythm, we walk to a rhythm, many aspects of our daily lives are done to a rhythm. You even make love to a rhythm, (hopefully). Whenever we hear drumming, we begin to move to the universal rhythm inside us all. The drum can connect your heart to your hands, and all of a sudden you are improvising, and talking with a drum. We become the instrument, the drum becomes our voice. With drum circles we connect beyond the music being played. The nice thing about drumming is that anyone, no matter how old they are, can sit right down and have fun jamming on a drum with other people.<br />
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To briefly describe drum circle facilitation by me, it's putting a bunch of people together and making music. It's fun to play like a kid again for a day. Friends, strangers, co-workers, beginners, or even with pros...<br />
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I like to begin a drumming session by letting everyone just choose something, sit down in the circle, and start playing. This approach helps everyone to relax before the formal welcome, introductions, and then into organized rhythms. The reason I encourage everyone to play first is the nerves, and the barriers just begin to melt away. Later as the rhythms join together, everyone joins together. We join together musically. The result is there is no distinction between you or me. We just all sense the feeling of the one song we are creating in the moment. This was the tried and true approach of the elders who would begin their gatherings, and ceremonies in this fashion. They've been drumming that way for over 5000 years, so you kind of have to figure it's cool, right?<br />
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I think ideally, a fun drum circle is a bunch of drums, and then a good jam session. The emphasis with me is on having a good time. I believe in not telling people how, when, or what to play, ever. I like to focus more on self discovery. I provide the tools for you to figure out the task. Here's some of them for you to do it with:<br />
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The thing some don't get about drum circles, is that it's more about the people, than it is the drumming. Many facilitators agree with me on this, some don't. The quality of the music produced in a drum circle isn't really based on the musical experience of the players, but on the developing quality of the relationships of the people that emerge. As a facilitator I help people to empower themselves through drumming, music, and fun. They need no experience at all to play in a drum circle. I encourage individual creativity, and group dynamics. I do 90% of my facilitating through the music. It's an art form that takes years to develop.<br />
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<b>My E-book, "A Practical Guide To Hand Drumming And Drum Circles" - $8 on Kindle or Nook</b><br />
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If your desire is to get much more in depth with this, please consider picking up my book. It goes into starting a drum circle, or drumming program, and how to keep it fresh and interesting for all different kinds of groups. I cover all of that, and much more in great detail. The page link for it is below. It's in the Kindle book share program so you can share it with some friends.<br />
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<a href="http://www.drumcircles.net/drumcirclebook.html">A Practical Guide To Hand Drumming And Drum Circles Book Link</a><br />
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<b>Small Business, Team Building Or Company Drum Circles?</b><br />
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It's becoming a more and more common idea. Host a drum circle for your business, company, or group of friends.<br />
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Drum circles are an excellent activity for any group, and for all ages. But especially as a tool for team building. Letting people express themselves through drumming and then seeing how that can build to a musical performance is at the heart of team effort. Learning to let go of self involvement in order to synchronize with others is the essence.<br />
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Not everyone can or will play the drums the same way, just as they don't do their jobs exactly the same way. And those slight differences, if done from each person's strengths, are what make the musical result magical. People learn that playing/working together is something that is its own reward because the results are beyond what any individual can do.<br />
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Drum circles can be extremely effective for companies that want to enhance the generation of new ideas and better team work. When people discover that they can collectively produce a good sound without any musical training or background, they start to realize that they can be more effective at work by putting their heads together and working as a team.<br />
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Also, drumming uses the brain in a different pattern than the linear thought process that is usually needed in the work environment. For example, when suggesting a drum circle rhythm, I like to vocalize the first few measures before we play it. The logical analytical side of the brain can process it quicker, which then frees up the creative intuitive side. People can then play what they feel, rather than over thinking it. <br />
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ie: The Heartbeat drum rhythm: Boom Boom chicka-chicka Boom Boom (pause, & repeat)<br />
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A drum circle brings the group to a more open mental and psychological process, which can be carried over to the production of new and better ways of working. An excellent tool to kick off any kind of brainstorming session and optimize the quantity and quality of new ideas. In other words, your team improvises and is more creative.<br />
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Click the link below for more detailed information on having a corporate, company, or a small business drum circle. Please keep in mind that an assistant needs to be hired for larger groups, and that costs more.<br />
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<a href="http://www.drumcircles.net/corporate.html"> Corporate Company & Small Business Drum Circles Link</a></h4>
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A drum circle is a rhythm based experience where a variety of world percussion hand drums from different cultures are brought together. Ethnic drumming rhythms from many different parts of the world are explored. That's part of the beauty of it. The Rhythms change, evolve and morph in a magical unpredictable way. The result is spontaneous, beautiful music created by everyone involved. It's a musical event that everyone can participate in. It's a place for everyone to express themselves with drums, and other percussion instruments. The level of experience doesn’t matter. A person can participate fully, and freely, with no skill or technique at all.<br />
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Drumming Outdoors...</h4>
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Whenever it's possible, I like to host drum circles outdoors connected with nature. Nature has a natural rhythm to it, and so do we. Hand drumming brings us back to that fundamental rhythm of nature. I can help you, or your group to host a drum circle anywhere - indoors or outside.<br />
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<b>More About Drumming And Drum Circles...</b><br />
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The phrase "drum circle" is a rather broad term. It can mean a variety of things to different people. Interestingly, drum circles are never the same, even with the same group. It is always fresh, enlightening, and it's an exciting event for entire families. Here is an activity where parents and their children can do something fun together. Teens can be doing something cool - yet positive. People with disabilities can just be one of the guys at the drum circle. The feelings of fun and euphoria are hard to describe when the group dynamic is created. It only takes about ten or fifteen minutes to start happening. Drum circles are fun! They combine recreation, with therapeutic music. I feel what works the best, is to bridge the gap between the facilitated drum circles, and the more open freestyle community drum circles. I bring you the best of both worlds. This allows individuals to experience self discovery and musicality at their own pace. Then the whole experience is much more meaningful to them, and even more effective.<br />
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Very little is planned in advance except maybe a list of rhythms to suggest. All the rest is improvised on the spot. Most of the "facilitating" can be done through the music. I believe that is the best way to do it. The musical communication, supporting of the beat, and ending points to a jam, are usually done with the drumming. Sometimes even transition points in the drumming just naturally occur. The recognizing, and supporting the group's expression is a key element, because, since drum circles are so organic in nature, that to an onlooker, there are times that look like absolute chaos is going on...but it's an organized chaos. It levels out into a group song, and it uniquely theirs. They created it. Usually there is a transition point, or a time to just move on to a new rhythm. It takes time to trust in the natural process of creating a group vibe. A lot of people WANT there to be lots of rules, true in business world, true in art world, so it's not surprising to find it here in the drumming world.<br />
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<b> Let the rhythm move you.</b><br />
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So to try and sum up the difference: In my opinion, a freestyle or lightly facilitated drum circle is more open, improvised, and more spontaneous. Interactive drumming is more planned, structured, and directed - a little heavier in the facilitation department. It's mainly facilitated with everyone focused on following the leader's instructions. I think as soon as you start to present rhythm games or activities, it's no longer a drum circle but, an interactive drumming thing. And that's ok and all. But people are now following instructions, and doing a more structured activity other than improv. I think a little of both of these styles makes it the most enjoyable drum circle experience overall.<br />
One way to get established is to be visible in your community. Get a weekly circle started at a cafe, night club, new age shop, comedy clubs, museums, yoga groups, and recreation art centers. At city parks, even at the beach. Try to get any venue you can think of.<br />
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A weekly circle is better than monthly, because people tend to forget what week it is being held. You may only make $100 a circle, a commission, tips, or even need to do it for free, but it will give you a home base, plus you will be doing something positive for your community. It may take 4 or 5 circles to get things rolling, but once you do, medical professionals, event planners, and even the media will eventually find you. That leads to higher paying gigs. You might even get jobs working for your city, or county at festivals, etc. Also, visit your local chamber of commerce, and/or arts center to see if they can be of any help.<br />
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Another way many facilitators earn a decent living is to approach your city, county, state arts council. Depending on the city you live in, they can possibly hook you up with city events, festivals, art shows, and even get work in the school system. If another drum circle facilitator gets to your arts council before you, that can be a problem.<br />
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Some end up getting non profit corporations going. They get donations from local businesses, and make a nice living that way. Some medical, special needs facilities, and schools can apply for grants to help you to fund your work, but you may have to work for free for awhile in order to prove yourself first. Try things like your chamber of commerce, arts centers, and etc. Try to put together a professional looking press pack, and be creative in thought. Follow up in a couple weeks. Many gigs take 2 or 3 tries. Not everyone knows what a drum circle is, or can do to help people.<br />
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<b>And The Beat Goes On...Boom ShaKa La Ka</b><br />
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The techniques and skills needed to host a drum circle for a particular group can be taught, if you want them. And that is one of the key things I like to do when I'm hired to host a drum circle for you. I can show you and the staff how to continue the process on your own when you feel you are ready to take over. It's not necessary to have any musical training in order to learn the essential basics, although those who have a musical background do have an edge. I do this at no cost beyond what I am being paid to facilitate a drum circle. Drum circles need to be customized sometimes, to fit the particular needs of the people, or group it's being held for.<br />
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I've worked with everything from highly professional musicians, to adults and children with mental or physical restrictions. And, each individual group needs a slightly different approach, since everyone has their own skills, limitations, and quirks. It can take anywhere from just a single drum circle to as many as four to work out the ideal approach for a specific group. However, I never require any kind of contract beyond a single day at a time.<br />
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In addition to demonstrating how to host a drum circle by my doing it, I am happy to spend some time with the staff to answer questions and help them to work out their own way of facilitating for their own group as soon as possible. I provide drum rhythms CD's - DVDs and drumming rhythms notations as reference material, free of charge. I'm also happy to share with you the various places I buy my drums from. Different types of drums work for different types of people.<br />
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It doesn't matter whether or not the music itself sounds good, although it usually does. What matters is letting the participants know they can just be themselves and find their own inner rhythms. By letting people discover themselves, and knowing they have the freedom to make mistakes, takes them on a journey where I only act as a sort of a tour guide, and they find that feeling of safety from being in a community made up of the other drummers. I help to provide that by being constantly tuned in to the group and the individuals, so they can have a good time. Helping someone who says, " I have no rhythm " to find their own inner sense of rhythm takes very little guidance and can be done spontaneously right in the middle of an ongoing beat. You can see the light turn on in their face.<br />
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A fun idea is to get some hula hoops, and add hula hooping or dance to your drum circle for something to connect to.<br />
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Drum circles are great for seniors, and spiritual gatherings. Try laying down with your eyes closed for a minute in the center of the circle, and feel the energy. The beauty of drum circles is that they bring people from all paths together. I love to celebrate my spirituality by being around the positive energy of them.<br />
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Hand drumming is fun, rewarding, and can be therapeutic for everyone. From kids to elders. I am also available for private hand drumming lessons in person, in the Saint Louis area. It's even a great way to add music education for those who home school. From beginner to intermediate. All ages. $40 for an hour, no minimum, and personalized lessons. I provide the drums, (or use yours) and will travel to you, or can come over to my studio. Please email me for more info.<br />
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<b>The Earth Day Drum Circle at Honeymoon Island </b><br />
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This drum circle event was a blend of local musicians, the general community, and a special needs group. A key part of the intent of groups that are oriented toward those with physical and/or mental restrictions is finding ways to bring them into general society as much as possible. It has been my experience that drum circles are an excellent path to this goal. The guiding of a special needs group in our community led to exactly that, a two hour performance on a big stage in front of 100's of people, where they were wildly applauded, appreciated, and sounded great. It was a proud moment for them, and for me. I believe that real personal growth comes from the inner expression of each individual, and their self discovery. The photos speak for themselves.<br />
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I believe in seeing abilities in people, not disabilities. Click below for more photos, and a video set to drum circle audio.<br />
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<a href="http://www.drumcircles.net/EarthDayDrumCircle.html"> Earth Day Drum Circle Link </a><br />
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A drum circle is hardly ever a professional ensemble playing prepared music, or a drumming class. It’s a unique event that is created by just a hodge podge of real people, preferably with the help of a host, or facilitator, who acts as a musical guide to make it easier for the group to achieve it’s goal. I don't want you to be a drummer. I just want you to be able to enjoy drumming.<br />
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For me, this is about taking the gift of music that God gave me and sharing it with other people. One of the beautiful things about drum circles and drumming together, is that it can bring people from all different paths together, and even learn to respect each others faith. I love to celebrate my spirituality by being around the positive energy of drum circles. Drumming brings a certain beauty into the world. And I believe I was put on this earth to share that gift. A life is not measured by what we have, but what we give.<br />
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<b>A little history on hand drumming. It dates back 1000's of years.</b><br />
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Community drumming has been an ancient musical tradition for 1000’s of years in almost every part of the world. Drum playing is probably as old as intelligent man. Cavemen probably jammed on wooden logs. The idea of banging on something to make noise is second nature to us. As for me, my parents got me my first drum so I would stop making drums out of things in the kitchen.<br />
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As far as I could tell, the oldest recorded drum discovery is from 6000 BC excavated from a Neolithic Era archeological dig. Small drums used for ceremonies have been found in Egyptian tombs. See that? King Tut was probably jamming out. Many caves in Peru contain wall carvings depicting drums in various aspects of societal life. Indian drums from the Middle East are as old as 5000 BC, and Mesopotamian ruins have yielded cylindrical drums as old as 3000 BC. Native American Indians have a rich history with drums made of gourds, and wood for celebrations, ceremonies, and music. Many of the same styles of these drums are still used to this day.<br />
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Drums and percussion were the first musical tools people made for use in group music. Drumming was used for a variety of purposes, including communication. In Africa for example, drumming was not just a form of music, it was used as a speech. A rhythmic pattern of beats played a certain way could communicate a variety of information. Drums were used for things such as a language to communicate, for fertility, new birth, healing, grieving, emotional release, various types of ceremonies, and building communities.<br />
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<b>What's My Role As A Drum Circle Host Or Facilitator? </b><br />
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I facilitate the drum circle, and provide all the necessary drums and other smaller instruments for you. All we need is some chairs, and shade. My fee is for the cost of the equipment, wear and tear, and the hauling of all the drums. The playing part I pretty much do for free. Because I love doing this. It's that simple. I was hoping I had you sold on the idea by now, but here it is again in a little bit more detail. Some people think the drums just magically appear, and they can play them.<br />
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Trust me, they don't, and they are expensive. I provide the drums for you, and I create a welcoming, enjoyable atmosphere that helps everyone to make music together. Or simply put, to help make it easy for everyone to enjoy creating a group musical song.<br />
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I’m there to help guide and make it easier to participate, not to manipulate. I’m trained to help everyone feel comfortable in the group setting, and act as a rhythm starter when needed. Then everyone begins to experience their own creativity, fun, and excitement as they begin to improvise on the support rhythm. After a brief warm up, and demonstration of some basic hand technique, a variety of easy to play along rhythms from various cultures are explored, including our own.<br />
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The chairs are arranged in concentric circles, with an arrangement of professional level drums for people to choose from. I believe everyone should experience the real thing in a musical instrument. Especially someone new to drumming. There are huge differences in sound. You can't experience the full range of sound, tones, and enjoyment on a poorly made drum. Cheap drums, give you cheap sounds. I want people to sound as good as they possibly can.<br />
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Understanding Notated Drum Circle Rhythms and Suggesting A Drum Beat To Start Drummers<br />
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There's a variety of different ways I like to use to notate a drum rhythm. It's really a matter of personal preference, and what ever you find the easiest for you to use. Here's some various ways I've seen to notate a drum rhythm. Using one of these methods, you can quickly and clearly transcribe a drum rhythm to save it for another day.<br />
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The accented strokes, (or slaps) are all in caps. Most rhythms at drum circles are in 4/4 time, or 6/8 time.<br />
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Here's an example with the basic "Fanga" drum rhythm in 4/4 time notated a few different ways:<br />
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Gun go-do-go Gun-Dun go-Do (Also, pa & ta are used in some rhythms.)<br />
(As far as I know, a style taught by Babatunde Olatunji. Probably the most common, and well known method.)<br />
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Doum tek-ka-tek Doum-Doum tek-Ka (Middle Eastern style)<br />
(or in shorthand = D t-k-t D-D t-K)<br />
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Boom chickaChick Boom-Boom chicKa<br />
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B o-o-o B-B o-O<br />
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Bass=B, Slap=S, Rim Shot=R, Open Tone=O, Closed Tone=C, Muffled Bass=M (I don't use this one very much)<br />
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If it's dark, and I'm in a hurry, which is usually the case: I use Morse Code _ ... __..<br />
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I've seen some others use this method: R l-r-l R-L r-L<br />
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Or, very basic: B= bass tone, T= tone note, S= slap note, lower case letter for softer tones.<br />
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Jazz scatting - Just write down what it sounds like.<br />
Boom sha-ka-la Boom-Boom sha-Ka, or Ba-Dum BaDay Ba-Dum BaDum, etc. Maybe even make up your own method.<br />
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When I'm suggesting a rhythm to play. I like to vocalize the first few bars of it before I begin playing it, and I start it out very slowly, then I can gradually bring it up to the desired tempo (speed) once they are comfortable with it. I always mention that this is just a starting point, and you don't have to play this support rhythm, play whatever you feel fits.<br />
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Interestingly, I've found that most people can wrap their heads around it quicker if I vocalize sounds with a "K" in them. <br />
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ie: Boom chicka-boom Chick. Or, Doum tekka-doum Tek. Or, I just "scat" them out jazz style any way I can think of.<br />
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Another idea is drumming to common word phrases, rhymes or well known commercial jingles to get things rolling. <br />
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ie: "Yum, Yum, tastes like chic-ken" (D, D, t k t-k) or try "pep-per-oni-Piz-Za" (t-k-t-k D D) 2 bass, 4 tones.<br />
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When I'm working with beginners I like to use this style, and explain the different sounds like this:<br />
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Doum (D) – Right hand, clear, low tone, (from center of drum – like you’re bouncing a basketball, or on a trampoline)<br />
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Tek (t) & Ka (k) – Right & Left hand, crisp high tone (sharply striking the edge of the drum head) I've heard some say to pretend like you are hitting the bottom of a hot frying pan or stove burner. I don't like to say that, because right away, it associates drumming with pain. That's not something I want to do, especially with beginners.<br />
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Tek (T) - is usually played with the dominant hand. Reverse hands if you are left-handed, like me. The accented strokes (or slaps) are in caps.<br />
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I hope this helps you to notate rhythms a little faster, and makes it a little easier to suggest rhythms to your group.<br />
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<b>More On Hand Drumming, Drum Circle Advice, And Opinions</b><br />
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I do have a 300 page book for sale on these subjects. It would help out if you bought it from me, but I'm happy to offer any advice, or give my opinion, and answer questions on anything hand drumming, or drum circle related.<br />
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I teach 1 on 1 hand drumming lessons a lot. I think more important than the lessons, is finding the right drum for yourself. One that's right for your hands, for your body, and your soul. I heard someone else say, "You need to find that soulmate drum." That is so right. Many of us buy drums for years before finding it. No matter what your musical skill level is, 90% of the people I work with only actually need one drumming lesson to get them started and off on their drumming journey. But it's more important that they find the proper drum that is right for them. Different styles of drums work for different kinds of people. There is one out there that's right for you, or someone you know. I am more than happy to give you my opinion on what might be the right drum for you. My DVD or CD of rhythms is an ideal resource to practice with. Then it's off to the drum circle where you get the very best drumming lessons. Just learn from watching what the others do. That's how many of us got started.<br />
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If you live out of the St. Louis area, and need some advice, suggestions, ideas, or anything at all about hosting any form of drum circle, I am more than happy to try and help you along. I like to try and give back a little, and help anyone in the drumming community. If you look around my site, you will find lots of ideas and helpful information. Even if you aren't sure what kind of drum might be right for you, or your group, just email me and I will try to help you along. I don't sell many drums, but I do have years of experience with most major brands, styles, and retailers. I can recommend the places to you that I buy mine from. If you are wanting to host or facilitate drum circles, I think this art form has evolved a lot in the last ten years alone. All art forms can be very subjective. There used to be only one or two recognized accepted ways to facilitate drum circles. Now there are dozens of styles all around the world, because this is an ever evolving art form.<br />
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<b>My Biography</b><br />
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I've been a performing artist for most of my life. I've been playing the drums since 1968. My love for drumming started as an outlet for childhood hyperactivity, and I went on to be the lead snare drummer in the school marching band, then the percussionist in a symphony.<br />
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After moving to Florida in 1975, I played percussion in various bands and orchestras,<br />
toured and recorded with a number of them, plus worked as a session musician.<br />
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I also started my acting career while in Florida. I moved to New York briefly, then on to Los Angeles, where, for 15 years, I worked as a musician, and a character actor. I appeared in a number of TV shows, films, and commercials. I was also a frequent guest performer on "The Tonight Show With Jay Leno" for 8 seasons. I'm a member of AFTRA/SAG, the two major performing arts unions.<br />
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I've been attending and facilitating drum circles for over 30 years. I think it helps to keep me sane. I've facilitated drumming events for the U.S. ARMY Chief Of Chaplains Religious Education Conference, Music Festivals, County State Fairs, The Florida Festivals & Events Association's Convention Trade Show, as well as many other major groups and companies, including OSI Restaurant Partners, Outback, on over to smaller groups, such as churches, college sorority reunions, weddings, and special needs groups. I was also a faculty member who taught drumming at The Dunedin Fine Arts Center.<br />
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I have trained with a number of highly respected hand drumming instructors. My drum circle hosting, and facilitation style is influenced by what I've learned from various top rated drummers, and drum circle facilitators, including Bill Summers, Babatunde Olatunji, Christine Stevens, Kalani, Jim Greiner, Arthur Hull, and Jim Donovan. But mostly by just attending lots of drum circles, learning by doing, watching and working with others.<br />
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If you have never been to a drum circle, just go. It's the best way to learn drumming. Watch, listen, and play along to the regulars. You showed up so everyone figures you are cool. Nobody really cares how good you are, unless you touch somebody else's drum without asking first.<br />
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<b>Here's some references and testimonials:</b><br />
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<a href="http://www.drumcircles.net/testimonials.html">Testimonials, Letters of Recommendation, & Resume</a><br />
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Please note that as of 2013, I'm no longer in Florida. I live in St. Louis, Missouri now.<br />
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My mission statement is: To help people discover their own sense of rhythm, at their own pace.<br />
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I've got some ink in my blood. Both my adoptive, and biological parents were writers, so it was important to me to write a good book in their honor. I have published two books available on Kindle (both in book share). One on drumming, and drum circles. The other book is about me in the acting business. I'm also a contributing author in a few other books, and various newspapers. I've released a hand drum rhythms instructional DVD, and multiple CD's worldwide.<br />
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The title of the drumming book is, "A Practical Guide To Hand Drumming And Drum Circles". It's 300 pages of text. The Kindle or Nook E Book is $8. It is self-published, and only available for purchase new directly from me here, or on Amazon.<br />
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My website started as a drum circle article back in 1997 in the Santa Monica Outlook, LA Times, and just grew up from there. Scope out my site's global drum circle finder, and locate drum circles near you. Even just as an observer, it is an interesting social activity. Please also consider my 2 hour DVD "101 Drum Circle Rhythms".<br />
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Thanks in advance for considering my books / DVD / CD's, and for helping to support an independent artist.<br />
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<b>Drum Circle Finder - Locate A Drum Circle Near You</b><br />
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Find a drum circle near you in the USA, and Worldwide with my drum circle finder. 1000's of drum circles listed around the globe. It's a free service to the drumming and dancing community. I established it back in 1999. Drum circles are becoming more popular, there's probably a few in your state. The drum circle finder is updated monthly.<br />
<a href="http://www.drumcircles.net/circlelist.html"><br />
USA Drum Circle Finder Link</a><br />
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<b>Visit my drumcircles.net FaceBook Page:</b><br />
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If you are on FaceBook, my page has a variety of notated drum circle rhythms you can scroll through, and try out a few at your drum circle, or with your group. To find it, search on FaceBook for the "drumcircles.net" page, or use the link below.<br />
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<b> DrumCircles.net Blog</b><br />
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Lots of Helpful hints, ideas, suggestions, stories, and drumming tips. Drum circle rhythm notations, and much more.<br />
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Some of the topics include: Choosing that first djembe drum. Improving your drum circle facilitating or hosting style on a budget. Ways to get the word out and promote your drum circle. Trying to earn a living hosting drum circles. What that first drum circle was really like. Various ways to notate, vocalize, and start a drum circle rhythm. Reading written drum music. A long list of notated rhythms to try out in different styles. Drumming Via Webcam, And With Special Needs Kids. The 3 lyric Version Of Fanga. How to start up a drum circle. The social, physical & mental benefits of drum circles. Choosing a first drum for your child, various ways to get free drum circle facilitation experience. Drumming in the Winter, and Summer. Tuning a lug tuned djembe, conga, or doumbek, and replacing a drum head. Ways to mark your drum. Finding a good doumbek drum on a budget, and ways to tell the quality of them. Tips on sitting in with bands and drumming groups, and learning to play by ear. My latest post is on special needs drum circles, and those with limitations. Plus lots more to help you enjoy drumming more. I try to post something new each month.<br />
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<a href="http://drumcircleworld.blogspot.com/">Drum Circle Blog at blogspot.com</a><br />
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Check out my drumcircles.net Twitter Feed: @drumcircles I try to put interesting stuff out there daily.<br />
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<a class="twitter-follow-button" data-show-count="false" data-size="large" href="https://twitter.com/drumcircles">Follow @drumcircles</a><br />
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My Flickr Photostream, A whole bunch of pretty good drum circle and dancer photos:<br />
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<a href="http://www.flickr.com/photos/43109020@N00/?saved=1"> drumcircles.net Flickr Photostream </a><br />
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Check out my SoundCloud music page, lots of cool drum circle jams & strange ones also:<br />
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<a href="http://www.soundcloud.com/drum-circles"> drumcircles.net SoundCloud page </a><br />
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A few cool drumming videos of mine, and quite a few from other people, at my YouTube channel:<br />
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<a href="http://www.youtube.com/drumcircles2"> drumcircles.net at YouTube </a><br />
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Check out the drumcircles.net MySpace page. For some reason, it's still there:<br />
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<a href="http://www.myspace.com/drumcirclesnet"> drumcircles.net on MySpace </a><br />
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My 101 Drum Circle Rhythms DVD is also available as an instant download at Amazon.com ($8.)<br />
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An effective way to keep a drumming program, or drum circle interesting, is to have a wide variety of rhythms to draw from. My 2 hour hand drum rhythms video makes ideal reference material. It's $10 and includes a free drum circle jam CD. You can also pick it up at Amazon.com for a bit more. Great for your TV, iPad, tablet, or phone.<br />
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The 120 rhythms are also on 2 audio CD's for $10. The link below is for both of them. They are also available in mp3 format at most online retailers such as CDbaby for $10, as well as iTunes, Amazon, and most others.<br />
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<a href="http://www.drumcircles.net/101drumcirclerhythmsDVD.html">2 Hour DVD 101 Drum Circle Rhythms Link</a><br />
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Check out these 7 drum circle rhythms in this YouTube video. Please keep in mind that this is only 7 minutes from my two hour DVD. The DVD title is 101 Drum Circle Rhythms. Actually, there is 120 of them, but who's counting. I hope you enjoy one or two, and these help to get you in the groove. On the DVD there are lots of fun ethnic drum beats from around the world to explore, have fun with, and make them your own. Over 2 hours of them will keep you in the drumming mood for a long time. Each rhythm is about a minute long.<br />
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I do some charity work around our local area. There is some wear and tear on the musical instruments that I provide for use at these events. I don't receive any funding now or in the past. The proceeds from the sales of my drumming CD's, DVDs, and drum circle book help me to finance the repairs, and to be able to continue working for organizations with limited recreational budgets. (Who benefit from it the most.)<br />
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There is increasing recognition of the health benefits of music therapy, particularly facilitated hand drumming, which is what I do for a living. Unfortunately, places where the people who benefit the most, such as senior centers and special needs can not afford to pay for this. <br />
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As an independent artist, money is tight, so I always appreciate a product that is a good value for the cost. That's the idea behind my book, DVD, and CD's. If you choose to purchase something from me, thanks in advance for helping out with drum repairs, and expenses. (Please visit the links to see my DVD, CD's, 300 page book, "A Practical Guide To Hand Drumming And Drum Circles". $8.<br />
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<a href="http://www.drumcircles.net/gifts.html"> Drum Circle Merch: Goodies for drummers dancers on CafePress - t Shirts, cups, phone cases, etc. (Link) </a><br />
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<b>"This Is Your Brain On Drums" My Interview about drum circles on AM Talk Radio</b><br />
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Would a board-certified neurologist really prescribe drum circles for some of his patients?<br />
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Listen to this past national AM radio syndicated broadcast of the Healthy Talk Radio Show, featuring Deborah Ray, Neurologist Doctor Hammesfahr, and myself, to find out why. It's interesting to hear his perspective on drum circles and their benefits. (It's 55 minutes long -- a 25MB mp3)<br />
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This is follow up interview number 2, taped a few months later, (posted below this one). This interview features Doctor Knaus, Doctor Hammesfahr, and myself. We discuss the benefits of theraputic drumming, and how it can bring you back to the rhythm of nature, and the earth. We also talk about the resonant frequency of the planet, the human brain, and how similar they are. It's a pretty fascinating interview. (It's 30 minutes long -- a 12MB mp3)<br />
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<a href="http://www.drumcircles.net/drum%20circle%20radio.mp3">Drum Circles on AM Talk Radio download</a><br />
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<a href="http://www.drumcircles.net/drum%20circle%20radio2.mp3">Drum Circles on AM Talk Radio download 2</a><br />
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<b>My Other Book About The Acting Biz, "An Actor's Face" - $3.</b><br />
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As I'm sure you're aware, many musicians, singers, dancers, and other artists, cross over into the acting business. My other book is titled, "An Actor's Face" - It's on Amazon Kindle for $3 and it's in the bookshare program. Have a look at my actor page, and see some of the kinds of roles you end up doing as a working actor. I got all the glamor stuff. See if the acting field is something you might want to explore. A lot of people are hurting out there these days, and it's a way to possibly supplement your income no matter where you live. Here's the Amazon link:<br />
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<a href="http://www.drumcircles.net/actingbook.html"> An Actor's Face Book Link</a><br />
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<b>Drum Circle Music Mp3's </b><br />
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I hope you enjoyed your visit to my site. Please consider picking up a set of my drum rhythms, or drum circle CD's. A 2 disc set (2.5 hours) is ten bucks at most online retailers. Hours of live drum circle jams to put in your phone, mp3 player, iPod, iPad, or any other mp3 compatible device. It's some fun listening, and a pretty good deal! Here's the page link:<br />
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<a href="http://drumcircles.net/mp3drumcircles.html"> To the Drum Circle MP3's Page </a><br />
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If you're a filmmaker or video / TV producer all of my drumming and drum circle music tracks are licensed. Check out CDBaby.com & listen to a few. There's a wide variety of cultures, styles, and tempos to choose from. Over 10 hours worth to choose from. A good drumming track helps to set that perfect mood for a scene. Here's the website url: <br />
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http://www.cdbaby.com/Artist/SLRatigan <br />
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Or, click the CDbaby.com link below:<br />
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<a href="http://www.cdbaby.com/Artist/SLRatigan">My CD Baby Artist Page</a><br />
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<b>Some timeless quotes by Babatunde Olatunji :</b><br />
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"I am the drum...you are the drum...we are the drum..." -- Babatunde Olatunji</div>
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"Rhythm is the soul of life. The whole universe revolves in rhythm. Everything & every human action revolves in rhythm." -- Babatunde Olatunji<br />
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"Yesterday is history. Tomorrow is a mystery. And today? Today is a gift. That's why we call it the present." -- Babatunde Olatunji<br />
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“A Drum in Every Kitchen!” -- Babatunde Olatunji<br />
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"The evocative power of the drum can be compared to the Trinity. The drum's frame comes from the trunk of a tree, and that tree has a spirit. It is not dead wood. There is also spirit in the animal skin. If there wasn't, it would not produce sound. Those, plus the spirit of the person playing become an irresistible force." -- Babatunde Olatunji<br />
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"Whether you realize it or not, we are engaging in a cultural revolution. We are bringing people from all levels of life, understanding and background together. That's the wonderful thing about drumming." -- Babatunde Olatunji<br />
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"Drumming is the simplest thing that we can do to bring us together." -- Babatunde Olatunji<br />
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"The Creator wants us to drum. He wants us to corrupt the world with drum, dance and chants. After all, we have already corrupted the world with power and greed....which hasn't gotten us anywhere - now's the time to corrupt the world with drum, dance and chants." -- Babatunde Olatunji<br />
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<a href="http://www.drumcircles.net/"> To the drumcircles.net Home Page</a><br />
<a href="http://www.drumcircles.net/">Drum Rhythm CD's, Drum Circle Finder, & More </a><br />
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Got a comment, or a question about something drumming related? Email me below. I respect your privacy, and I never give email addresses out to anyone. It may take me a day or so to get back to you, but I will.<br />
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My Contact Email: drumcircles_net(at)hotmail.com<br />
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This Website Copyright © Shannon Ratigan 1999 - 2017 All Rights Reserved.<br />
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<br />drumcircles.nethttp://www.blogger.com/profile/05856494181338188294noreply@blogger.com0tag:blogger.com,1999:blog-9113701967098106880.post-65345901813337052372017-08-03T15:02:00.000-07:002017-08-03T15:07:40.881-07:00Special Needs Drum Circles - Disabled Group DrummingI think the most difficult, yet the most satisfying work I can do as a drum circle facilitator, host, or a drumming teacher, is special needs drum circles. Whether it’s with one child, a lot of children, or a group of adults with developmental disabilities.<br />
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Hand drumming reaches people on so many deep levels, and of course me as well. This kind of work touches me very deeply. Emotionally, it just tugs at my heart. And reaches me on such a deep personal level that I can’t even describe the feeling and how much I am affected by it. Especially afterwards when I sort of debrief myself, and reflect on things for an hour or two. I think about what they enjoyed the most, what worked well, what fell flat, and what I just learned from the session, and from them. Each time I come away with something new. That first time, I just went there to help everyone drum some, and have fun together at a holiday party. I came home profoundly affected.<br />
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For the most part I found all I needed to do fundamentally, was just start out rhythms like I usually do, and let the music go where it goes. Maybe add in a few games or fun things people can do just be spontaneous and have fun with. It is more of a challenge to facilitate though the music. I knew that with some conditions, you needed to speak slowly and clearly. To be very patient and give people a chance to work into the present time. The repetition of the drum beat rhythm allows that, even if their condition forces them to live ten seconds in the past, they can catch up. I noticed the social changes in the group positively improve as well.<br />
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Some administrators love the drum circle environment. They have told me that it’s rare for the parents and patients to have a fun activity they can do together. This is something they rarely get to do. Just to have some fun and improvise without worry and have a good time…together…and without it feeling a little uncomfortable. Because when you drum, even with physical, or mental conditions, all you think about is drumming.<br />
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I think the current politically correct term now is “special needs”, it was learning disabilities last year, some may even remember the term mental retardation. I don’t see disabilities in people. I see abilities. I feel it is wrong to try and categorize people like this. One administrator explained to me that most of the people in his group had an IQ of below 70, or problems with adapting, and/or socializing. The average IQ for a person is 100, measured by tests. Most of us have taken one at some time or another. The Wechsler test is one of them.<br />
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You just need to very patient, caring, and compassionate, while having fun. More often than not, you will need to modify your approach when working with special needs a little bit. Both with the drumming, and, more importantly, the rapport you build with them. I like to focus more on the individual relationships with each person. Because if they like you, and enjoy hanging out and drumming with you, that’s the goal I have in mind. We are just regular people having a good time. Having fun as a group, is my goal to help empower them. <br />
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If you are having fun, they can see it, feel it, and they begin to have fun also. The same goes with confidence in yourself. You need to be able to hold the support beat solid for them sometimes. Especially, at a first drum circle session. Later on, you can lay back here and there. Even let someone else start out a beat, and support it. It may work, it may fall to pieces. If you have a fun personality, and something goes flat, you can just joke about it. “Oops, my fault. Let’s start a new rhythm out.” <br />
One important thing to keep in mind as explained to me by a neurologist was that almost all of the patients, regardless of their individual condition, one thing most all of them have in common, is that they are essentially normal, intelligent, highly functional people. They just live five, or ten seconds in the past. I didn’t know that.<br />
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This is why drumming can be so effective. The repetitive nature of a drum beat makes it easy, and comfortable for them to catch up, or find their place in the beat, and feel normal for a change. Verbal communication is the same. This is a little trickier obviously. You need to speak clearly, and slowly. I speak as little as possible with short sentences, and facilitate through the music more, because of this. I usually speak only at the beginning, or end of a musical piece. I always have my radar up for a non-verbal cue from someone. I do use hand and arm gestures to get everyone’s attention in the center of the circle if I need to for this. But I usually still facilitate from the edge of the circle, like I always do. We’re there to have fun and drum, not to talk. If I do need to explain something, I use photos, or speak very clearly, choose my words carefully, and talk just a tad slower than I normally would. Memory capacity can be more limited with some of these participants. <br />
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A few things I have learned, is just because someone may appear to be not having fun, or may have their head down, it does not necessarily mean they are not into it. Early on working with special needs groups, I learned that many people in these groups mask their feelings, so I need to be aware of that before I subtly try to address it with a cool percussion gadget from my gig bag. An expression like looking bored, scared, joyful, digging it, a happy or sad, can be easily misinterpreted.<br />
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Sometimes a person will have a bored look on their face, but in reality they might be having a ball. I’ve seen this, and I can’t address it in front of the group because it might embarrass them. At the end of the circle the guy comes up to me and says, “I had a wonderful time, thanks for letting me just be me.” That was a profound moment. The next drum circle he did the same thing, but eventually the rhythms got him to play on his own. He played when he was ready to play, and did so at his own pace. I learned not to push people.<br />
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Often I like to begin a drum circle with a gong that I keep in my gig bag. It’s about 14 inches wide. I use a soft mallet, and walk around the interior of the circle and let each person bang the gong once, or twice if they don‘t get a good gong on it. (If they want to.) Usually it’s smiles from ear to ear every time. Very few have ever turned it down. It’s a fun way to begin, and develop a rapport with each person, and it gives you a chance to see their individual hand coordination a little bit. Try to think up fun ideas like that.<br />
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I find the simplest heartbeat rhythm seems to be a good way to begin the drumming, or the “We Will Rock You“ beat again. I start it out very slowly, hold it steady, and let them play whatever they want. Whatever feels natural to them. We will let the rhythm go wherever it feels it wants to go, just like at a regular drum circle. They may just want me to hold it slow and steady, or ramp it up and play fast and exciting. They may just want to enjoy a good sounding groove for awhile. You don’t know really, until you get there. <br />
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But you can prepare a little bit. You can sense what a group wants to do, after you have worked with these populations for a while. Especially, in a very short time, you can assess the group’s skill level. I just go with it. With the slower rhythms the time seems to just fly by, and I hardly ever get even half way through my set list. The amount of time becomes a non-issue to everyone, and they all keep happily busy. The most simple heartbeat rhythm will do this if played for more than 10 minutes at the same tempo and volume level. We play lots of other fun rhythms, and have many different endings for them. Anticipating the end of what a rhythm will be as you are playing it, is sometimes fun. So during almost every drum circle I’m at, I have 4 or 5 different endings I like to use during the drumming session. <br />
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I sometimes just say, “A great rhythm needs a great ending to it.” So then I will show whatever it is to them, (1 or 2 bars or so) then I ask to please do it with me a couple of times, like 6 times over so everyone has it. Then we just play a rhythm for 10 minutes or so and I count them down to do that big ending, that we planned in advance.<br />
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There is a traditional drum phrase break that signals an upcoming change or ending at a drum circle. That one works great, but is a bit more complex one. Bum Ba DumDum, Ba Dum Dum BaDa. (pause) Boom! <br />
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A Latin drum break works well also. Or make something up, as a nice ending to a good jam. The phrase Mississippi River makes a nice little jam starting point.<br />
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One cool ending I like to use with these groups also, is to have everyone play 9 equal up tempo tones, and then two big bass notes. Then repeat it like 10 times, and I count them down as we go. 4-3-2-1- ooooooooo B B, ooooooooo B B etc. Or try this one - five tones, then 3 bass notes. ooooo BBB, repeat. There is what I refer to as a “drum circle set list” like bands use on my site. There are dozens of notated drum rhythms to try out. Please feel free to check it out.<br />
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When you feel the group has come to the ending, or attention span of a rhythm is ending, try slowing and quieting the rhythm down over a 30 second period…then play slower and slower, until the rhythm ends in super slow motion. Like the Six Million Dollar Man or something. Like one of those old vinyl records slowing down after you unplugged it. (Remember those?) A rumble after that is always good. <br />
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Obviously rumbles are always good. I like to let members of the group get to do the ending rumble. Usually it’s whoever raises their hand when I ask, “Who wants to end the rhythm?” Then they get a turn ending a rhythm. I have a magic wand I made up for that. It has colorful ribbons on it. They can wave it around and direct the volume, direction, etc. A couple of minutes is good on that one. Let each of them that want to direct rumbles so they each get a chance to do it. For some this is the first time they ever get to be a leader. It helps to empower them, and build self esteem.<br />
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I let them try out unique percussion items periodically, by pulling them out, demonstrating how they work, and asking between jams, “Who would like to try this one out?” I just let them have fun. But I do go in with a prepared set list program. Which is usually changed all around depending on the group vibe I’m feeling. You can tell if a particular rhythm is working, or not feeling right. So can they. I laugh it off and we start another one.<br />
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You don’t even need to show people what a rumble is, when they have a drum in their lap. They can figure it out instinctively when you do it, and telegraph it a little at the end of a rhythm. That’s part of the fun. Figuring things out on your own. It gives you a better feeling of self accomplishment.<br />
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Eventually I realized that almost everything for them is focused on their disability, and that has to get very frustrating for them, so they can use something for an outlet. A drum circle is a fun way that they can express their feelings, that will build their confidence. A drum circle? You should see their eyes light up. <br />
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But back to rumbles. Sometimes to teach a rumble easily to everyone, I say ok here are two rules. If I put my hands in the air you can play as fast and as loud as you like. When my hands come down you stop. Then I show them a lot of variations they can try, and mention it is ok if you think up your own ways to direct the rumble endings. <br />
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It’s nice if you can speak to administrators before the drum circle and ask them questions about their vision, and how they would like things to go. It isn’t always possible. Do they want to begin a certain way? Do they seat everyone, or start exactly at a given time? What are some of the medical conditions? Are there any in wheelchairs? (Frame drums or tambourines, shakers and bells seem to work well for them.) What is it they hope to see, achieve? Are there potentially any people that might need extra attention, or need the assistance of the staff? Some of these facilities only have one recreation director, and there is no extra staff available. <br />
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I research the mission statement; get an idea of who they are from their website always first thing, just like with any other group I work with. Sometimes that is all the information I’ve had to go on. It happens.<br />
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I try to brief the staff before the start about them intervening. I ask them to let me do the crowd control. Do please join in as yourself and please don't try to show anyone how to do it, or what to do with it. I get this sometimes, with staff who mean well. But please don’t. The reason is, they sometimes get in there and want to demonstrate to a person how to do this or that. That’s not good. It embarrasses them, or worse. <br />
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At one special needs group gig, I didn’t know anybody there, and had no access to talk to the staff beforehand. It was a quickly booked job, and many of them happen that way, so there just isn’t time to find out individual needs. All of a sudden people are arriving in droves. Parents, family, and patients all mixed in together. To be honest, a few people I could recognize had certain conditions, but I really had no idea who was a patient, and who were family members? What should I do with this one? So I had to toss my list right out, and improvise.<br />
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Sometimes that is the most fun - improvising. Just play or do whatever feels right at the time. Rarely do I end up doing what I planned the night before. And I try not being afraid to do something I might feel is risky. I wear a samba whistle just in case, and demonstrate it in the beginning, to imprint the meaning of it in case things go chaotic at a later part. It’s a good back up tool if things get a little out of hand, and it does happen sometimes. But I usually don’t need it. (Unless I forget to bring it of course.)<br />
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The drum circle went great and everyone loved it. The patients got to interact with their family members, and do something fun and positive together. This is pretty rare for some families with special needs family members. Later the staff told me they had three patients that have never even left the housing building before, for any activities. Period. The staff said they watched them looking out the window for awhile and saw everyone else drumming and having a good ol’ time, and came out and joined in. They told me how remarkable that was. That feels pretty good, that the drum circle coaxed them to come out and play.<br />
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It’s been my experience these types of groups become more involved and want to participate, when the drum rhythm changes their perceptions enough that they pay more attention to what is going on, and they even want more. <br />
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At another special needs gig, the patients and the staff got a kick out of it. They were stunned that I managed to get everyone to participate without even saying anything, other than, “ 1-2-3-Lets Play!” When I booked the job, the staff again said to me, only a few of our people will want to do this. I thought, ok this has happened before. Same deal, they all participated because it was fun. It was something a little bit different than group bowling. The director wrote me afterward, that since the drumming program, there has been a tremendous benefit from it. The drum circle gave them a new outlet that they never had before. It gets them thinking, experimenting, and making music, which is great! Now they have a regular weekly drumming program.<br />
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Most of the mission statements seem to be something like to integrate people back into society. A drum circle is the perfect vehicle for that. After we had worked together every couple of weeks for 6 months, one group of special needs adults all became comfortable drumming, and being around me. So I offered to the staff to bring them out to an indoor public venue, with a little more manageable open drum circle, that I was hosting. <br />
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It was better than I could have imagined. They just blended in beautifully, and few even knew they were special needs patients. All they want to do is have fun, and not be treated or feel treated “special”. They just want to be treated like one of the guys. Just one of the group. Not special. The staff told me that their only recreational outings were always things like bowling, and that they would always go with only other special needs patients in a “closed to the public” setting. So the drum circle was perfect. I’ve been bringing this group to open community functions to drum for a long time, and both the staff and I have seen remarkable improvements in all kinds of areas. Here they are, musically, socially, physically, interacting with the public.<br />
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The guiding of this particular special needs group in our community led to a two hour performance on a big stage in front of 100's of people at an Earth Day festival, where they were wildly applauded, appreciated, and sounded great. It was a proud moment for them, and for me. <br />
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This was a beautiful drum circle. It was a blend of our general community, a special needs group, and we were all together jamming. We had a blast being up on the big stage drumming out some great rhythms, and engaging a huge crowd to join in with us.<br />
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A key part of the intent of groups that are oriented toward those with physical and/or mental restrictions is finding ways to bring them into general society as much as possible. It has been my experience that drum circles are an excellent path to this goal. This is the kind of work I believe I was put on this earth to do. Working with special needs individually, or in groups touches my heart very deeply, especially when I get home and have some time to reflect on the experience. <br />
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With this particular group, after a few drum circles at their facility, I invited them to a public drum circle at a cafe where I was hosting a weekly drum circle. They were comfortable drumming with me at that point, and it worked out great.<br />
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Months later, when I was asked to host this Earth Day drum circle show on the big stage, I asked the staff and them if they would like to drum at this event. They jumped at the chance. Sure it was a little risky, but that's what life is about. Taking chances. We played for over an hour and a half, the crowd didn't want us to stop, two encores and everything. It was like a dream come true. I was booked for 45 minutes, but it was going so well the organizers asked us to keep going, so we did. All of this happened in less than 6 months. It just kind of all fell together like it was meant to be.<br />
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The crowd never even knew there was a special needs group playing with the other drummers. The group was thrilled because for one of the first times in their lives they were just seen as regular people, and not as "special". We were all just musicians that day.<br />
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I believe that real personal growth comes from the inner expression of each individual, and their self discovery. And the real beauty with hand drumming is that with almost all special needs conditions, is the repetition of the rhythms. We do them over and over, so if they get lost, or feel lost, that safety net of the foundational beat is there for them to rely on, or fall back on if they need it. Even if they live five, or ten seconds in the past, they do eventually pick it up, or find it, and sound great. The repetition is what does it. It is such a feeling of accomplishment to witness this in so many people. <br />
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Many of you already know this, but there is something called entrainment (not entertainment) that can happen to one individual or to an entire group. This occurs when the brain synchronizes to an external stimulus, such as the drum beat. This can be very therapeutic and, while it can happen to anyone or any group, it has a much more significant impact on those with special needs. <br />
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A few different medical doctors have explained to me that with most conditions, like Down Syndrome patients for example, they do indeed live a few seconds, to a few minutes in the past. So I just need to allow time for them to catch up. Imagine if you lived a few seconds in the past, and just couldn’t process information that quickly. You need to talk slowly and clearly in short sentences. Start rhythms out nice and slow and hold them there until everyone has it locked in.<br />
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Sometimes I run into a person that simply can’t hold still. They seem to need to bang, or fidget constantly. It’s a challenge keeping them focused. Until they experience some sort of entrainment. For purposes of this post, a definition of entrainment is basically when the person’s brainwaves get into a pattern of synchronization with an external beat. This helps the brain synchronize internally as well. It can be very therapeutic. A staff member explained this to me. Getting them to that point of entrainment is most of my goal. Once they are in there, I can almost just sit on the side and jam with them. It almost always takes 5 or 10 minutes to do it. And sometimes it feels like it was an hour. But it was only 5 minutes. <br />
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Hula hoops work great with some groups, or a ribbon or scarf so they can get in the center if they want to and wave it around in the breeze as they move or dance around to the beat. You can try giving away little 99 cent store goodies to entice people to hoop in the center for two minutes. It works every time. Just ask them to be mindful of the people around them. I like to keep the center of the drum circle as big as I can without hurting the musical connection from one side to the other.<br />
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Laying out the 2 towels in the center so they can feel the beat of the drum rhythms, way into their bodies works great. I don’t need to tell people about the healing power of the drum when they try that. They can feel it in their bones. It’s very powerful. Try it for yourself if you never have. Lie down on your back in the center of a drum circle and then close your eyes for one minute while everyone is playing a rhythm.<br />
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Both are great ideas for almost any drum circle group, and I use them both all the time. <br />
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There are so many different developmental disabilities; I can’t get too much into it. That’s why the input from the staff members is so useful. I have no medical degrees, and I’m not a healer, (although sometimes it happens by default.) I’m not there to treat them. I’m just there to help them have a little fun. Sometimes I have no idea who has what condition. That’s just the way it is. There simply isn’t time for the staff to go through all the individual conditions each person has, so I have to use an overall group approach. Due to the repetitive nature of a drum rhythm, they all eventually catch on or catch up. That’s why this is so effective. After a short while everyone is in synch and feels like an equal part of the group. I always come away having learned something new when working with these groups. And just like that, I become some kind of healer by default. They teach me things I never dreamed of. It never ceases to amaze me.<br />
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I had to experiment some with ideas, ask the advice of staff, doctors, and others. Here’s some of what I’ve found out and learned. Again, I try to treat them like regular everyday normal people. The worst thing to do is treat them or talk to them like they are handicapped. Would you like that? I wouldn’t. The staff usually tells me if there are any concerns to be aware of. I may need to enunciate a bit more, talk a little clearer and slower but that’s about it.<br />
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Many of them are very sensitive to pressure. I encourage them to join in when they feel comfortable. That way they can join in with no pressure, on their own. I do have to do a bit more leading and starting out the rhythms. The support beat thing. The comfort of the bottom beat is there for them.<br />
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Their attention span, and loud noise are an issue. I deal with this by keeping the volume lower, and by giving them lots of choices of percussion instruments to play. I lay them on a table outside the circle, or down right next to them, or on the floor in front of them. Just a pile of goodies to play, and experiment with. They usually end up liking one of them. Most of them don't want you pushing an instrument in their face, to get them to play this, or that particular one. I just smile and with an offering facial expression, lay it down near them. If they like it and want it, they will pick it up when the drum beat gets going. I just need to keep in mind of the volume.<br />
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I see shy people become less shy. I see people who play it safe, begin to take risks. I see people who have nothing else in common, becoming deeply connected with one another on a non-verbal level. I know there is something very good going on in these drum circles.<br />
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Here are a few ideas and thoughts, on a couple of particular conditions. Again, I’m a musician, not a medical expert. Most of this is from my experiences, and/or the staff and doctors advising me over the years. And again, I usually have no idea who has what, so I have to be ready to react at all times.<br />
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Attention Deficit Disorder and Autism <br />
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When I know there are people with attention deficit disorder I usually just put a variety of percussion items by them so they can choose and try out all different kinds of things to keep them busy and occupied. I just give them lots of choices and let them pick. It almost always works, it just creates more of a mess to clean up. Who cares? Part of the job. Keep the volume down.<br />
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Cerebral Palsy<br />
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Usually I can spot this condition, because many have a weak arm (or arms). Some I can spot because they are in wheel chairs, but, other than that, most can function just fine. I have a couple of good friends with this condition so I know a little bit about it from experience drumming with them. They told me the drums they preferred. It was Bongos, because the weak hand doesn’t have to work so hard, they can just tap with it, until they strengthen it up a little more. They can set them on their lap, or a chair or table in front of them. It’s important to remember that most of these people with many of these various conditions, are highly intelligent, still very functional, and can be very musical human beings. The ones I have become closer friends with tell me they just want to be treated as regular people. When that happens, it’s easier for them to open up socially, even in a in a public setting, such as a public drum circle. Sometimes it takes a few weeks, don’t expect to see vast improvement in one drum circle. Overcoming the stigma from the general public is usually the problem, not them. Best of all, over time the drumming does strengthen their weak arm. Drumming does heal, emotionally and physically. <br />
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The lighter weight polymer shell Djembes and Bongos with synthetic heads work the best. Anything like those big 15 pound Bongos get a bit heavy just sitting on your legs for long periods of time. Even for one friend I have who has no feeling in his legs. He has somewhat limited movement in one hand. But he loves playing the Bongos, and plays them quite well now. I’m so impressed how he has improved in motor function, finger movements, and musically. He went from just sort of flopping his hands down to keeping good time, and playing entire rhythms perfectly in about six months. Frame drums and tambourines work real well for some people also. Especially if they have only the ability to just tap their fingers a little. They can lay it on their lap, and tap away, and be an important part of the group. Just part of the gang.<br />
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Down Syndrome<br />
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I’m no expert, and I have no medical degree as a music therapist, but I have worked with a lot of people with it before. Apparently the distinction is, drumming therapy - you need a degree to do that. Therapeutic drumming - no degree needed. I've seen a few music therapists who didn’t seem to establish a good rapport with people and they weren’t very empathetic or intuitive with their patients. On the other hand, I have also seen some beginner drum circle facilitators who are born with the gift of intuition and people skills, who leave a session with each individual feeling a sense of real accomplishment.<br />
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Usually with Down Syndrome they are open and enthusiastic. That's all you really need. It doesn't hurt to have a few of the percussion toys around them, so they have some choices. While some of them will be able to follow a simple rhythm, several will not be able to. They want to do their "own thing", and that's okay too. But with children, volume is a serious consideration, before the short attention span. Loud noise can be a real problem, so you have to constantly monitor the volume.<br />
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Some drum circles begin with total chaos. Man, it happens almost every time at the beginning. It kind of freaked me out, early on, when I started working with special needs groups. I just let it go for 5 minutes if I feel the need to and usually it levels out when the group feels the musical group dynamic. Then it always comes together. It takes a while to have the confidence that it will happen, because it feels like it never will unless I intervene. But I rarely ever need to. The group feels like they corrected it. And guess what? They did. I don't try to correct or modify what they are doing even if it is a train wreck. I had to learn to trust myself it would come together. I feel it was a success if all of them are actively participating in some kind of drumming. No matter how chaotic, offbeat, or bad it may seem to me. And because they corrected it themselves, it has a much strong empowerment effect. <br />
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Sometimes it may seem they may not appear to be enjoying it. You might think you perceive it in someone’s face. Most always all of them are, especially if they're doing it of their own choice. Some like to just sit and take it all in for a little while. Just play on. <br />
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I often tell them how great they sound and how well they are doing with lots of smiles. I just don’t over do it so it becomes obvious or soupy. These groups thrive on approval, appreciation, accomplishment, and acceptance. I try to give them lots of positive acknowledgement. <br />
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If I get a particular person that is so disruptive to the rest of the group, and I have no staff to assist me. I always bring along a small paint set, and offer to let them paint the music for us.<br />
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A craft project of some sort is another good idea. I bring a few of those big vitamin bottles and ask them make shakers for me. “I need a couple of shakers made, can you help me make one and decorate it up?” It worked great. Now, the staff saves the empty bottles for me when I come to drum with them. I bring some shaker materials, like popcorn, beads, and macaroni. Colorful things work the best. One time a guy spent the entire hour and a half sorting just the right colors to put in the shaker. He left the group to make some music, yet he was still involved. I had colored tape for him to decorate it up with. When it was done he was so proud of it, he played along with us near the end. Be sure to ask the staff if they can keep it. <br />
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Here’s another idea, speaking of painting art. Have them do a painting, or create a mural, painting the music. Almost a music appreciation thing, or a "how does music make me feel" painting. I get a big pad of paper, like you might put on an artist’s easel. I always bring a few big sheets of paper, sometimes a big artist’s pad. We try using different mediums, markers, water colors, crayons, or pastels. <br />
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They can either paint their own, or do a group painting. Sometimes I will ask who wants to drum, and who wants to paint the music. Mostly I will get half the group painting a mural, and the other half playing the drums. Then switch it up later, so they all get a turn at both the drumming, and the mural. I ask them to express their feelings in art as they listen to the music. Some get displayed in the facilities to this day.<br />
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Sometimes when working with special needs kids, many are scared of noise, I learned from a staff member to get them in there early, and let them explore the drums a little on their own. (And the percussion items.) In many cases, when they're in charge of the noise, they're happy to make it loud. I sometimes have a dancing rhythm going when they enter the room, and do the egg shaker on each chair thing. <br />
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We play a rhythm together and they can move around or whatever. It gives them a sense of making music before the drumming starts. For the first time with a group, I don't expect much of a groove, but be ready for it, because it happens if you anchor it for them with a nice support rhythm. It is important to have stuff that can be played with one hand. I have this basket of fruit shaped shakers I use a lot with them. Expect to spend a little time finding the right instrument for each person, and let them choose something different later on. Make it fun, and interesting for them.<br />
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Some have physical limitations, so I bring buffalo drums, frame drums, drums they can lay on their laps and play. I try to avoid things played with sticks or mallets, because some will just start bashing them wildly, disrupting the rhythm of everyone else, and possibly put one through a drum head or someone else’s head. I keep them stashed away and use them sparingly. I bring a few Djembe stands or taller drums to accommodate those who might need one. Even those who you may think can only bash away, will get the repetition of a drum rhythm, and catch on eventually. It’s a good idea to have some soft beaters for those who can't use their hands very well.<br />
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Make sure that your kit is safe. No sharp edge drums like on some Darbukas etc. Think of your players as vulnerable children with the size and power of adults. Avoid taking anything fragile. The first drum circle with a special needs group can be very challenging. Expect some total chaos to happen. It gets a lot easier the second time. In my experience some of these people have problems judging how hard to strike a body drum, and could hurt their hands by playing it too hard. Show them a few pointers on good hand technique after the warm up jam.<br />
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As I said, loud noise is my biggest concern. The healthy noise limit is about 85 decibels (Db.) I think that is the legal safety limit as well. That’s what the cop said when he broke up a public drum circle in a park. (This wasn’t a special needs group.) He had his little decibel meter, and showed me the reading on it. We were up in the 120 Db. range. The neighbors called them on us. Actually, he was pretty cool about it. As a radio operator I’m familiar with decibels of gain, etc. but I researched this a little, and here’s what I found. A normal conversation is about 60 Db, up to the threshold of discomfort, that is the 120 Db range. <br />
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A bunch of people drumming together indoors can easily reach into the 115 to 120 Db range. About 150 Db, is the pain threshold. You can get a decibel meter relatively inexpensively. I think Maplin makes one. Keeping the volume level down takes some skill, and experience to pull it off. But it is possible. And this is even more important when dealing with special needs people. <br />
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Create a volume down signal, or just start to play your drum quieter, more often than not, they will be there right with you. It works just great. And as an added bonus, the participants get to hear each other. But if you use it too much it can have a negative effect. It’s something to keep in mind, some of the beginners get way into it, and are often getting their issues out.<br />
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Here’s some advice from a friend of mine. When he does big gigs with 100 people, the Db level can be huge. So he brings enough cheap earplugs to go around. As far as I know, if you warn them, and offer protection, you've done your job. I keep a few dozen of them in my gig bag. <br />
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A few final thoughts. This new atmosphere of spontaneous drumming can be overwhelming to some people. The one thing I don’t want to do is have people feel threatened, scared, overwhelmed, or lost. Trying to do complicated rhythms can do that. Lots of positive comments from you during the drum circle helps a lot. “Hey, we sounded great on that one didn’t we?” Smile a lot, thumbs up! If they are there, they are participating. Starting some spontaneous applause after a jam goes a long way. <br />
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A few things I bring besides my earplugs in my gig bag, are some padded tape, first aid, hand creams, anti-bacterial wipes, etc. for anyone who just might ask. It’s also a good idea to familiarize yourself with epilepsy, in case someone has a seizure. It’s the staff’s responsibility, but you should know what’s going on. It’s nice if you can speak with the staff beforehand about any possible issues, but as I mentioned, that’s not always possible. So I need to be ready for anything. <br />
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Remember to try and speak with the staff afterwards for some feedback. And at the next time you are there. (Hopefully) Or, leave them a feedback form to fill out, with a self addressed envelope and a stamp on it. I gathered a lot of useful information with a simple feedback form. The medical staff knows a lot more than I do about medical conditions. <br />
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Also remember there are heavy restrictions on photography in most cases, so be sure to get permission, preferably in writing, if you want to take photos.<br />
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If the group takes a break for lemonade or something, make sure they don’t come back to the drumming area before they are all finished. Goatskin drum heads still make terrible coasters.<br />
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Ultimately, I just let people play. We drum up some fun. Let your personality out, and with your calm and reassuring manner, watch the volume, and they will quickly enjoy playing together, and connecting with you.<br />
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One thing some don't understand about drum circles, is that it's more about the people, than it is the actual drumming. Many facilitators agree with me on this, some don't. The quality of the music produced in a drum circle isn't really based on the musical experience of the players, but on the developing quality of the relationships of the people that emerge. As a facilitator I help people to empower themselves through drumming, music, and fun.<br />
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People really need no experience at all to play in a drum circle. I encourage individual creativity, and group dynamics. <br />
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I hope some of this is helpful to you, and it gives you a few ideas working with special needs individuals and groups – young or adult. Please keep in mind that these are just my opinions, and based on my experiences. If you would like to read some more about my approach to drum circles, please consider picking up my book, “A Practical Guide To Hand Drumming And Drum Circles” It’s 300 pages, and $8 on Amazon Kindle or Nook.<br />
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<b>More About Special needs Drum Circles</b><br />
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I recently had the opportunity to facilitate a series of drum circles for groups of children at a K – 9 school in Florissant with a local music therapist. It’s in the same school district about 2 miles North of Ferguson here in St. Louis. It was a wonderful experience bringing the joy of making music to many of these children, and helping our community to heal a little bit. <br />
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The school is very diverse, the staff and kids from all different backgrounds and cultures. It was mostly special needs kids, and children with various developmental, and physical limitations. I was co-facilitating in what was being called, “drum circle day” for the faculty and all the kids in the school. After what happened near that community, we both wanted to do something positive, do a small part for these kids, and just help to rebuild a little. <br />
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The way they wanted it structured was like this: First, a drum circle for the teachers, and faculty at 8:20. Then one after another, 5 different groups of kids, 2 classes each, about 30 to 50 in each group, (The perfect amount, actually.) We had about 50 minutes with each group, one coming in pretty much right after the other. We went with the 2 concentric circles of chairs set up, with two yard wide entrances leading in.<br />
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The drum circles were held in the gym, not the most ideal place for drum circles, but if you find the spot with the least echo, it’s not too bad. I use the clap my hands loud test as soon as I enter the gym before setting up. I can find the sweet place with the least echo that way. Often, I can’t see it in advance, and usually it’s at the far end of the basketball court, centered, starting about 10 yards from the wall. So I asked that they set the chairs up there. <br />
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We set the circle about 20 feet across, so one side can hear the other, and you don’t get that disconnect, but still leaving room for self expression in the center. As we find our group dynamic, the hula hoops, and colorful scarves come out. I do move around the interior of the circle slowly a few times as I’m verbalizing the beginning of a rhythm, not making eye contact, as not to pressure them, but letting each of them see my hands up close so they can then figure out how they want to play. I do this for maybe 4 – 12 measures and play along as I verbalize it. Playing it nice and slow until we are getting that rhythm to lock in, and then I go back to my chair and fade out, or hold it steady, until it’s time to rumble end it, and move on to a new rhythm. I would do 2 rhythms, my partner would do 2, and we would take turns holding the downbeat steady for each other. It worked out great, because the kids could either play the support beat, and/or improvise. They could explore their drums during that 50 minutes, and find it’s unique different sounds and nuances. <br />
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There just isn’t enough time with each group to use up swapping instruments, or drum circle games, pie slices, or any of that. Just play baby. If there’s another drum circle day, we can get into other things, but for today we just make music.<br />
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I think it’s important to have a variety of drums representing different countries and cultures, as well as play rhythms from the kids. So we have congas, various doumbeks and djembes, some light bongos, and frame drums, plus a few things for those in wheelchairs, and/or with physical limitations so that they can still have fun and be a part of it. With a few exceptions, most of my kit is a wide variety of used drums I’ve bought over the years, most purchased one at a time. <br />
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Anyway, at the start, we positioned ourselves against the far side wall seats so we can see everything that’s going on, and who’s coming into the room as things are happening. Often times with multiple drum circles like this some come in late. A few kids, or a group will need to be transitioned in, sometimes during an ongoing rhythm. But more importantly, I position there so the bass note resonates more. It helps the kids (and adults) to easily hear, and feel the downbeat, and if they need it, that anchor is there to take any early pressure off them.<br />
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I like to make it a visually appealing sight when the kids enter the playing area, so I decorate it up a bit beforehand. It takes me longer, but it makes a difference if you have the time. The drums are colorful and inviting by themselves, but I have this huge 20 foot across and 8 foot tall pastel tapestry from India that has this amazing hand stitched embroidery all across the top foot of it. It’s some sort of silk mix fabric, and it drapes so beautifully. It sets a real nice mood, and a tone that this is going to be a fun experience. Maybe I’ve watched too much “Project Runway” with my wife, and some of it rubbed off on me. It does look like it came from “Mood”. Actually it was a yard sale treasure that I found a few years ago. It makes a beautiful colorful backdrop hanging up on the wall behind the drum circle, and just says, this is going to be fun.<br />
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So, we had one drum circle for the faculty, and then 5 drum circles after that. Very often with this type of thing, the groups are scheduled 5 – 10 minutes apart. Just barely enough time to re-set the chairs and drums, get a few sips of water, take a few breaths, and in comes the next group, it’s go time. Our strategy going in was to pre-set the drums in front of, or on top of each chair, have them single file in, get them all seated, play now, and talk later. We only had a limited amount of time (50 minutes) with each group, and we wanted them to have as much playing, fun, and self discovery time as possible. <br />
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The plan was a tried and true method. Get them quickly seated with a drum they like, and get a warm up jam going for 5 minutes or so, and end it with a big rumble. Usually it’s a basic rhythm like Boom sha la-ka, Boom sha la-ka, & etc. Or, the “We Will We Will Rock You”, Boom Boom tone or, a default drum circle rhythm: Boom Boom tone tone tone (rest) A lot of it depended on the vibe we got as they were getting seated.<br />
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The music therapist and I had never worked together before, so there was a little concern in the back of my mind. As luck would have it, our skill sets meshed together beautifully. Both of us prefer the organic approach to facilitating drum circles. In other words, the better the music sounds, the more fun it is, and the better it feels. No games, no waiting for the other side to play and then get a turn, none of that. Just get them playing a warm up rhythm quickly so the nerves, and the “what if’s” fade away. Then it’s easy to move on to the more interesting world rhythms. <br />
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With our first group, the faculty, we knew they all had a full day of teaching ahead of them and had to get them having fun quickly, so that’s what we did. But at the same time we wanted them to experience a shortened version of our curriculum. <br />
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Quick 15 second demonstration: Bass note is the elephant. Right and left hand tone are tiger, and the lion. After a Latin-ish warm up rhythm, we got into a Native American Heartbeat rhythm. They got such a good groove going on that, we went to a funky sort of Fanga, and then wrapped it up with belly dance Beledi. By then, they were pretty jazzed. We got a lot of fun packed into that 25 minutes. Rumbled and wrapped it, they left, and in came the first group of children.<br />
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Here was the breakdown for the day:<br />
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Schedule and Type of Groups<br />
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8:20-8:45: Staff Warm-Up Drum Circle<br />
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9:15: 26 Students + approximately 20 staff. The info given was that most of these students had Autism, and were lower functioning. The grade range: K-8. We were informed that a few would be able to follow start and stop directions, but most would have trouble sustaining attention and following directions. Most of the students were non-verbal. There was a lot of sensory issues with this group, including a few students who did not tolerate loud noise well.<br />
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So, we kept the volume down, and slow and steady. All the kids got into it really nicely. That warm up rhythm really sets the tone. Is this going to be a classroom type thing? Or, is this going to be fun? The music gave direction, they sensed and felt where the endings were, it was a breeze. The nice thing about verbalizing a rhythm is it can be processed faster. If I say, “Yum Yum, Tastes Like Chick-en” (2 bass notes, the rest tones.) I say it slowly maybe four times and play while I say it. Then drop the vocals and let it jam, possibly bring up the tempo if it’s sounding good. With Heartbeat, some of them fall of count and it goes into a Row Row Row Your Boat kind of jam, it still works, and they usually find their way back on time.<br />
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10:15: 27 students + approximately 17 staff. This was the lowest functioning group with 18 of the students in a wheelchair. Info given was that most of these students are mainly working on making wants and needs known. All are non-verbal, and loud noise may be disturbing to some.<br />
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Again, low volume. Kept the rhythms mostly soulful, spiritual, and grooving. They all found their places in it. With groups such as this during the warm up I start it very slow and steady, and keep it there for a few minutes longer until the groove was established. <br />
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A neurologist friend of mine explained to me that despite many of their individual challenges, that most kids like this are highly functioning individuals. They just live a few seconds in the past. So, a drum circle rhythm, even unfamiliar to them, being repeated over and over works perfectly.<br />
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So, when they are ready, they will begin to play and fall right into the groove. For that reason when the staff asked a few questions in advance, I asked them not to intervene if someone is not participating. They will when they are ready, and when they feel comfortable. “Not all who wander, are really lost”, is the case sometimes also.<br />
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With each of the groups, during those first crucial minutes of the warm up jam I say to the kids, “Play whenever you feel like you want to, okay? Play whatever you want, just follow the beat.” (Everybody usually chuckles.) The point is to get them out of their heads, over thinking, and just experiment and explore their drum, and the sounds it can make.”<br />
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11:15 Lunch – Thanks I’m starving at this point.<br />
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12:15: 28 students + approximately 13 staff. This was a mixed diagnosis group of slightly higher functioning, more verbal students with Autism, Intellectual Disability and Emotional Disturbance. There was one student in a wheelchair.<br />
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Despite some of the challenges, it was apparent that with each group after about 10 minutes they started to "get it" and get out of their heads. Then they could just play and have fun with it. It was the perfect example of self discovery teaching without actually teaching. The Yum Yum, Tastes Like Chicken rhythm, the I Like to Eat Chocolate Cake jam, Heartbeat, Fanga, and Beledi all seemed to go great with all the groups, we got the energy up, and we got them improvising, and sounding pretty good. The main thing was, they were making music, and having fun. With all these groups, 50 minutes went by like it was 15.<br />
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1:15: 21 students + approximately 9 staff. This was a mixed group of students with Autism, Emotional Disturbance, Other Health Impairment or Intellectual Disability. They were verbal and higher functioning than the previous group.<br />
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Everything was working nicely, so we stuck with the basic curriculum. I keep a 36” long back polymer steamer trunk filled with curious percussion items. I call it the drum circle treasure chest. I keep the lid open and have it off to the side. It has a large inviting “Drum Circle” sign on it, and it has nothing that is played with sticks. Lots of colorful fun things, maracas, shakers, tambourines, guiros, and so on. Somehow a stick always finds its way to a goatskin drumhead. These kids were all well behaved, but I have done events like this before and the treasure chest is there just in case.<br />
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2:15: 30 students + 12 staff. This was the highest functioning group of students with mostly an Emotional Disturbance, a few with Other Health Impairment or Autism. These students were verbal and are right at or slightly below grade level. This group went last so we could have more flexibility to go an hour or more.<br />
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And so we did. These kids took to jamming and improvising right away, and had a great time, especially playing Beledi near the end. A few of the teachers got on the hula hoops, got in the center and hooped it up. It was a beautiful thing connecting to the music like that. And it happened with each group.<br />
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3:15: Pack it up. Wait for the school buses to clear so we could load up all the drums, and haul them home. <br />
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We were very busy, but throughout the day with each group I could see their eyes light up, and the smiles come out as we played the various rhythms. With these kinds of all day drum circles you have to pace yourself so you have enough left for the last group. They deserve as much energy as the first group got. <br />
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We were both pretty worn out, but at the same time it was so gratifying knowing we are doing some good in our community, healing, inspiring to improvise, and building the self confidence in these kids, all the while having fun. <br />
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I hope this drum circle day catches on and more St. Louis area schools, (and others around the country) will give it a try. I've worked with various groups over the years, and for me, the area I really feel like I am doing the most good is with school kids. This was the kind of thing that inspired me to make music a part of my life, and it has helped me throughout it.<br />
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We brought the kids (and the teachers) a great music making experience, and it was a good time learning for them as well. We were honored to have the pleasure to do this. It was visionary thing for the school to try - and see the joy in their faces.<br />
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I hope you enjoyed reading my page, and if you facilitate drum circles, some of my methods and writing helps you.<br />
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The proceeds from the sales of my drumming CD's, DVD's, and drum circle book helps me to do this kind of work in our community, and keep the website going. I try to provide them at as reasonable a cost as possible. As an independent artist, money is tight, so I always appreciate a product that is a good value for the cost. That's the idea behind my book, CD's and DVD. <br />
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There is increasing recognition of the health benefits of music therapy, particularly facilitated hand drumming. Below I offer my drum circle book, 101 rhythms DVD, and drum circle jam music for sale. Unfortunately, places where the people who benefit from what I do the most, have very limited budgets. I've never received any grants, assistance, or funding, and I don't endorse drum companies. <br />
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If you would be willing to make a purchase of any amount to help me continue to provide therapeutic music to groups in St. Louis, it would help out a little. Please click on the purchase links below. Thanks in advance if you can pitch in a little. My book & DVD are solid if you are facilitating drum circles, or thinking about starting one up for your area, or group.<br />
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My 101 Drum Circle Rhythms video on Amazon. Over 2 hours of them. The full download to 2 devices is $8. <br />
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Here's a clip & the link, or search on the title. 101 Drum Circle Rhythms (The DVD disc is a few bucks more.)<br />
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<a href="https://youtu.be/uLgY0GpXF6A">Drum Circle Rhythms Sample</a><br />
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<a href="https://www.amazon.com/Drum-Circle-Rhythms-Shannon-Ratigan/dp/B006VT37W2/ref=sr_1_2?ie=UTF8&qid=1497981744&sr=8-2&keywords=101+drum+circle+rhythms">101 Drum Circle Rhythms Download Link</a><br />
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My 300 page drum circle book: "A Practical Guide Hand Drumming and Drum Circles" is also $8.<br />
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<a href="http://www.amazon.com/Practical-Guide-Drumming-Circles-ebook/dp/B003PPDB26/ref=sr_1_22?ie=UTF8&qid=1316884286&sr=8-22">Drum Circle Book On Amazon Kindle</a><br />
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CdBaby link (Digital drum circle jam music) - They have "Wild Drum Circles" (This set is not on iTunes yet)<br />
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<a href="https://store.cdbaby.com/Artist/SLRatigan">Drum Circle Music Download at CD Baby</a><br />
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iTunes drum circle jam music link (Has most of my digital drum circle music)<br />
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<a href="https://itunes.apple.com/us/artist/sl-ratigan/id261043295">Drum Circle Jam Music at iTunes</a><br />
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If you're a filmmaker, game designer, or video / TV producer, all of my drumming & drum circle music tracks are licensed. Check CDBaby.com & listen to a few. There's a wide variety of cultures, styles, and tempos to choose from. Helps to set that perfect mood for a scene. Here's the website url: <br />
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http://www.cdbaby.com/Artist/SLRatigan <br />
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Or, click the CDbaby.com link below:<br />
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<a href="http://www.cdbaby.com/Artist/SLRatigan">My CD Baby Artist Page</a><br />
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This website, text, & photos Copyright © Shannon Ratigan All Rights Reserved.<br />
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Shannon Ratigan<br />
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drumcircles.net <br />
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drumcircles.nethttp://www.blogger.com/profile/05856494181338188294noreply@blogger.com2tag:blogger.com,1999:blog-9113701967098106880.post-78237333099046447502017-07-13T14:06:00.001-07:002017-07-13T14:06:50.501-07:00Drum Circles and Drumming with Groups 55+ <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7StBE1XwAOq4I6-v_LJ4vGeo-gyVmmKRcp92lJ_MMUXPVBrgn8eAjFY-xJmPe1er0WtLvL0NZOn9WTUAsj-c200xiir7zhZQbBg0gMm1yeDwLolSt5IV2hZYrI98BPcr3MPnxE16Orpw/s1600/senior+drum+circle+1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7StBE1XwAOq4I6-v_LJ4vGeo-gyVmmKRcp92lJ_MMUXPVBrgn8eAjFY-xJmPe1er0WtLvL0NZOn9WTUAsj-c200xiir7zhZQbBg0gMm1yeDwLolSt5IV2hZYrI98BPcr3MPnxE16Orpw/s320/senior+drum+circle+1.JPG" width="320" height="240" data-original-width="640" data-original-height="479" /></a></div><br />
I drum with elderly populations very often. Mostly at active retirement communities, senior centers, and so on. They are always looking for something new, fun, diverse, interesting, and playful for the residents. A facilitated drum circle is all of that, and more. <br />
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The first reaction I usually get when I suggest the idea is, “I have no rhythm.” Or, “I’ve never played a musical instrument before.” If a facilitated drum circle is presented properly, in a matter of 10 minutes everyone can be playing a drum rhythm together. And from there, playing various drum rhythms from around the world. The key to it is setting the right tone that this is going to be playful and fun. You can improvise, play and just have a good time. Like we did when we were kids. <br />
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After 10 minutes you can see the joy in people’s eyes as they start to “get it” and are playing a drum rhythm for the first time. Making music is exciting, and if it’s your first time, it’s really exciting.<br />
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We play Native American rhythms, African, Latin, Belly Dance, Reggae, Blues, R&B, and a lot more. After that first 10 minutes everyone is in the groove, and no longer “Thinking about messing up” “Can I do this?”, “What if I look silly.” Etc. That all goes away, and all we think about is drumming and making music as a group. That’s the goal. A lot of playing and very little talking. A bit about hand technique, where some of the drums are from, and the rest is all drumming. <br />
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I’m there as a rhythm starter, but everyone is welcome to start out a rhythm if they want to. Usually after a half hour, people are wanting to start out their own beats. Great, we go with it because it’s all organic and spontaneous at a drum circle I facilitate.<br />
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This is how I like to get drum rhythms going: After a warm up jam, I vocalize a few measures of a rhythm, and then begin playing it. It’s easier for the brain to quickly process words, free up the mind, and then the body can play. Word association is a great way to get a drum circle rhythm going with all age groups. <br />
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For example, here’s a drum rhythm called Agilablanca. It’s in 4/4 time. (4 counts to a measure.) Rather than trying to teach it, I say: I-like-to-eat__choc-late-cake, I-like-to-eat__choc-late-cake (and repeat, etc.) (The first half of the phrase is all tones, the last half is all bass notes.) People add in the decorations, and away it goes. Sound like fun? It is. I’m available for hire in the St. Louis area by the way. My rates are reasonable.<br />
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Sometimes we try drumming out Morse Code rhythms. Ask someone to suggest 2 letters, or numbers, and put them together to make a new drum circle rhythm. _ _...._ _ A dot is a tone, and a dash, is a bass note. Sometimes they work, and sometimes they don't, that's part of the fun, exploring, and going on this journey together. (There’s a Morse Code alphabet chart at my site drumcircles.net )<br />
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A fun idea to entice movement in the center is to bring along a hula hoop. That can really ramp up the fun at your drum circle. It gives people a rhythmic motion to groove to. I was surprised when I first saw people of all different ages wanting to get in there and try it. The drum rhythm Beledi is a good one to use. In 4/4 time, it sounds like: Doum Doum tek-ka-Tek, Doum tek-ka-Tek. {One of my dancer friends said the Beledi rhythm is the "Catnip Rhythm" for belly dancers. lol. I like that.<br />
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With some groups it’s a drum circle once or twice a year for events or special occasions, with others it’s every month we do this. It’s a fun activity that no matter what physical limitations some of them may have, everyone can participate. Even those in wheelchairs, or strength in only one arm. <br />
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I like to provide drums from around the world such as djembes, congas, doumbeks, and bongos, frame drums, buffalo drums, sound shapes, and various other percussion instruments. That way, there is something for everyone to have fun with. And we play rhythms from different countries, and cultures. And you can try them all out if you like.<br />
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As far as the staff is concerned, all we really need is some chairs set up in a circle about 20 - 30 feet across. So it is a pretty low maintenance activity for them. If outdoors, some shade.<br />
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Many times, elders are more playful than kids. You don’t get many chances to just be silly and have fun with friends or acquaintances as an older adult. I am a senior myself, I got my first senior citizens discount last month, and it was kind of humiliating. I thought, should I, or shouldn’t I? It was ten bucks, so I went on with it. And I really don’t like being treated like a senior very much either. Most others I have spoken to feel the same way. It sucks to get old and feel your body growing weaker. <br />
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We can’t do the physical things we once could do anymore. But we do want to have fun, and, if possible, do things that recapture some of our youth. Just be silly, and goof off a little bit. I like to feel young again, and so do most other older adults. That’s why a facilitated drum circle works so well. Remembering the things we enjoyed in our past younger days, the music and songs we grew up on, that may mark fond memory points in our lives.<br />
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There are some limitations in movement of course. Some have severe arthritis, Parkinson’s disease, and many other things that limit the amount of movement. Some are in wheel chairs, and only have limited movement in one arm or hand. So when I work with elderly groups I try to find out as much information as I can in advance on any possible limitations that may be present. This isn’t always possible, so I like to bring a real mixed bag of drums and percussion. Lots of things they can lay in their laps and play. Or things that can be easily played with one hand. Finding the right drum for everyone they can easily play and have fun with is very important so they can get the most benefit from it, and the most healing from the drum. It’s a good idea to have about a dozen SoundShapes with the soft mallets. They are the perfect instrument for many with limited movement.<br />
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When I arrive, I try to allow extra time so I can say hello, and shake their hands and talk with everyone. I think that it’s very important to make sure everyone is aware of who I am. I want them to feel comfortable, and prepare them for some drumming fun. The hand shake also gives me a little bit of a clue as to their ability to use their hands so I can help them find the right drum to play.<br />
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After that initial (accessing the group) warm up jam, I spend a bit more time with them on good hand technique, and volume levels, because I don’t want anyone getting hurt, or feeling uncomfortable. Other than that, I pretty much facilitate the circle from the side, the same way I would any other group, except I make a little more eye contact.<br />
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I just encourage them to have fun, and experience self discovery. This can deeply affect some people, I see them get very emotional sometimes. Even tears, and crying at some points. Mostly at the end is when the emotions seem to come through. Caring and compassion is needed here obviously. Lots of times they are tears of joy, because of the self discovery process many of us go through at a drum circle.<br />
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I like to bring body style drums that can stand up solid by themselves or in stands that can then be played at a comfortable level for people sitting without having to bend over to hold it. A wood Djembe is rather hard to hold onto for some people. And you don’t want it falling over on someone else. So, I use solid self standing drums, and/or drums with stands. But some people surprise me when they want to play that big ol’ drum, and proceed to jam out on it the entire session. But for the most part, drums that weigh a lot less like aluminum Doumbeks, those PVC Djembes, and Frame drums with beaters that are easy for a person to grip are ideal. <br />
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One thing I do with mallets is wrap the handle grip with cloth to be very fat, so they are easier to hold onto for a person that might have arthritis, but still wants to play. You need to think about things that are more comfortable for them, things they can rest on their laps, or play with one hand. <br />
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Frame drums seem to be the most popular, because they can be held easily with one hand and played with a soft mallet, or just rested on their laps and played that way. Plus they are just plain fun to play. The ocean drums are very popular also, (A two sided frame drum that has a bunch of buckshot inside it. When you tilt it, it sounds like waves rolling in.) I also use those Compact Congas, and tambourines. I use lots of different sizes. Bongos are fun as well, they can just rest them on the lap and be played with one or both hands. I bring a few throw pillows to put under them for comfort. Some bongo sets are rather heavy, so I look for the polymer shell style that only weighs a couple of pounds.<br />
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For those that can’t, or would rather not, play a drum, I bring loads of different things. Maracas, shakers, guiros, rattles, claves, jingle bells, stick castanets, and real mixed bag of percussion “toys”. This way everyone has lots of choices, and can pick and choose various things as we go along. Like I mentioned, Sound shapes are always in my kit, just in case. I keep 24 at the ready in a cloth shopping bag.<br />
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The first thing I would suggest is to go into this kind of drum circles with an open mind. I try to avoid any pre-formed assumptions about what elderly people with various conditions can and can't do. Their individual conditions can affect them in lots of different ways. And some of them might come as a surprise. If something spontaneous happens, go with it. Someone may suggest an idea or a song, or even get up and boogie. Cool. Do it.<br />
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It gives some of them a chance to bring some creativity and excitement to an otherwise routine day, and maybe make a few new friends in the process. Some of them want to stand and play instead of drumming sitting down. I let them go for it as long as they want. Some of them put on a belly dance wrap, get in the center, and boogie. It adds a lot of fun to the whole experience because we all know it’s organic, spontaneous, and happening in the moment. <br />
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With seniors there is a wide range in degrees of mobility. That’s why I need to think about adjusting and adapting the equipment, but for some it isn’t even needed. I just try to have a wide range of instruments available for them. One thing I have learned is that there is nothing worse (the same as with any person with any disability) than being offered only the easiest drums, and percussion to play. I like to ask everyone to choose a drum. After a bit, trade with someone else.<br />
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One good idea if you have someone wanting to play a big Djembe but they are unable to hold it off the floor is to stand it in an upturned stool or chair. Use a bungee cord or two if necessary to keep it firmly in place. Then the sound will fully get out. <br />
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I think it’s very important to drum with the group, and not just be waving out instructions and telling them here’s what to play. That’s no fun, these aren’t children. When I’m playing my drum, some people like to watch and follow my hands. (Even though I am a lefty, and I mention that.) I put those ruffled elastic colored bands on my wrists I mentioned earlier, so people can easily see my hand movements if they want to, or need to. I always mention, play what ever you want, just follow the beat. Start a rhythm with a 4 measure vocalization, <br />
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ie: Yum, Yum, tastes like chicken, Yum, Yum, tastes like chicken... <br />
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Two bass notes followed by 4 tone notes, and repeat. They can either play the support rhythm, or improvise once it’s established. Often it transitions to another rhythm entirely. I just go with it, because that’s the group dynamic leading the rhythm.<br />
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I don’t make a whole lot of eye contact when playing. Just an occasional glance, or smile of reassurance. It’s important not to misread what might appear to be blank expressions. Often the facial muscles often don't work as well as they used to. Many times people like to just sit back and groove without playing for a little while, taking it all in. See with your ears.<br />
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It’s important to remember that, sometimes, not all who may appear to be wandering are actually lost. This is true at all drum circles.<br />
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Try to have good background knowledge of the music they grew up on. Think of a few of the “American Standards” of their era. Some will suggest one, so go with it. Don’t be afraid to ask if there are any songs they might like to sing or play. I’ve had a couple of big band rhythm jams that were outstanding. Think about playing things like swing, waltzes, Hand Jive, I Got Rhythm, whatever they want to suggest. If they don’t have anything off the top of their heads, I suggest a few and let them choose. Usually someone knows all the old standards like: “Show me the way to go home“, “How much is that doggie in the window?”, “My old man said follow the van”, etc. Really you only need to know is the first line of the song. Everyone can La de da along, and play along. Or try instrumental standards like the song "Sing, Sing, Sing". That one has a grooving big band drum beat to it.<br />
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Just having a warm and genuine welcoming and involvement with everyone sets the stage for a very successful musical time with elders.<br />
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Many times the attendee's have an assistant, and that helps me a lot! I can then focus more on the musicality of the bigger group. They can help you offer different percussion items that might be better suited for individual people. If someone from the staff is there, ask for some assistance from them. That’s a great relief sometimes, as these particular populations do require a little bit of extra care.<br />
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But some of them love the lure of being in the band, even feeling like a rock star. So let them have that opportunity if it feels right to you. It doesn’t really matter how good the drumming is. <br />
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They love the beach towels in the center of the circle bit. About half way through the circle, I lay 2 beach towels (or yoga mats) out in the center of the circle before the next rhythm. (The slower beats work best for this.) I ask two people if they want to REALLY feel the healing power of the drum, to carefully lay down on them for a few minutes. I ask them to lay flat on them, arms to their sides, and close their eyes while we play a rhythm. When I offer up the idea, there are always a few takers on that one. And when they get up, the others see the looks on their faces, and want to try it also. It is very powerful to feel the drum downbeat absorbed into your body. Here's an example:<br />
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At just about every drum circle I facilitate, I always do the “Let them feel the healing energy of the drum, in their bodies thing”. and here's how it goes: <br />
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This is the one where at the end of the drum circle, I ask them to all stand up still in a circle, and hold their palms open and outstretched, opposite to each person next to them, and palms opposite facing each other. Hold your palms outstretched directly above each other’s palms, about 12 inches apart. Now slowly compress your hands to the other person without actually touching them to about an inch. Slowly compress your hands up and down slowly a few times and feel that energy. The ohh’s and ah’s as they feel it compress – they are feeling their chi, or mojo in their bodies (some for the very 1st time). This is very powerful. Next, turn their hands into themselves, to let the healing power reach inward, into your bodies. Start from your head, and work it down slowly. This is incredibly powerful when you feel it for the first time. This whole process takes about 3 – 5 minutes. It leaves a long lasting impression.<br />
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That’s why I try to get everyone to drum, for at least a half an hour. To get this energy of the drum flowing inside them. All you have to do then, is demonstrate it to them at the end of the circle.<br />
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I got this next idea from a friend. What she does, with participants in the more advanced stages of dementia, she includes a “hello” and “goodbye” song into her program, which includes everyone by name. It’s a great idea. It helps to give them clues as to what's about to happen, and highlights the beginning, and ending of the session, like a good story does.<br />
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Here’s another great idea. See if they would like to make their own drums, they don’t have a whole lot to do that isn’t routine. If they are in a nursing home, the staff can help them to make their own drums out of those 2 1/2 to 5 gallon buckets, or water bottles. They get them all decorated up, and play them with padded beaters. You can get the buckets free at paint shops, restaurants, and so on. Let the residents make drums for themselves, the differing sizes and shapes provide the varying sounds. Some have even had exhibits of their drums in local art venues. Colorfully decorated drums can also be bright corner pick me ups in their facilities. <br />
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Sometimes a few of the residents are into things like knitting, and crochet, and they can make their own Djembe hats relatively easily, to sell online, etc. They have lots of spare time. I have bought a few of them myself, and they look great, as well as being nice and thick so they protect the drum heads very well. I still have one I cherish that an 85 year old lady made for me.<br />
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(If you are short on cash, and need some Djembe covers, believe it or not, those round toilet bowl covers work pretty good for 12” to 14” Djembes. They are thick like shag carpet, so they protect them very well. And they have an elastic band around them to stay in place. You can find them at most thrift stores laying around for just a buck or two. It’s probably a good idea to maybe wash them first.) lol. Yuck, why did I include that?<br />
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Anyway, a good basic plan is this:<br />
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Try to see the actual playing space if possible, and speak with the staff if you can about any concerns or limitations. Would they like to begin a certain way, etc. Often it’s not possible, but I do it if I can. Most of the time booking, questions, and etc. happen via email. After booking a date, I like to ask if I can come by and see the room beforehand even if it does take a few extra hours out of my day. I can better visualize my drum and percussion set up, and things go smoother for me when I arrive to facilitate the circle. I can also size up the distance I need to carry all the drums from my vehicle. I can just manage my time and energy better. I also like to find the area of the room with the least echo to it. (Just clap your hands in different areas of the room to find it.) Sometimes they have a spot already picked out, and that’s it.<br />
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Clean your entire drum circle kit as best you can, before and after. We should disinfect all of our instruments, particularly when working with seniors, children, or special need groups. I keep a travel pack anti-bacterial lotion with me. We want to connect, and keep safety in mind. Clean everything up as best you can. I do my kit clean up when I get home.<br />
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Instruments are very likely to get germs on them from playing. Remember that the disinfectant needs some time to evaporate. The synthetic drums are best here in these settings. They are easy to clean with some antibacterial wipes. Lightweight Doumbeks and Darbukas are perfect. Frame drums are ideal, sound shapes, ocean drums, etc. I use many synthetic instruments, like those egg shakers, maracas, guiros, etc. for the same reason. Plastics and laminates clean most easily, and are the most durable. I don’t use many goatskin drums for these groups. But I do bring a few of them for variety.<br />
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Sometimes when working with elders, many are scared of the potential noise. I learned from a staff member to get them in there early, and let them explore the drums a little on their own. (And the percussion items.) In many cases, when they're in charge of the noise, they're happy to make it loud. I sometimes have a dancing rhythm going when they enter the room, and do the egg shaker on each chair thing, or have a small percussion instrument on or near each chair.<br />
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We play a rhythm together and they can move around as they like. It gives them a sense of making music before the drumming starts. For the first time with a group, I don't expect much of a groove, but be ready for it, because it happens if you anchor it for them with a nice support rhythm, and once it’s solid - fade back and let them take it. It is so important to have stuff that can be played with one hand. I have this basket of fruit shaped shakers I use a lot with them. Expect to spend a little time finding the right instrument for each person, and let them choose something different later on. Make it fun, and interesting for them. Mixing in a little about the history and type of the drums between rhythms is fascinating for them, and helps me to be able to pace myself.<br />
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As I mentioned, some have physical limitations, so I bring buffalo drums, frame drums, drums they can lay on their laps and play. I try to avoid having too many things played with hard sticks or mallets, because sticks have a way of finding their way to goatskin heads. So there’s the chance someone might put one through a drum head or worse. I keep them stashed away and use them sparingly. I bring a few Djembe stands or taller drums to accommodate those who might need one. Even those who you may think can only noodle with their fingers, or bash away, will get the repetition of a drum rhythm, and catch on eventually if you are a good facilitator. It’s a good idea to have some soft beaters for those who can't use their hands very well. <br />
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Make sure that your kit is safe. No sharp edge drums like on some Darbukas etc. Think of your players as vulnerable children with the size and power of adults. Avoid taking anything fragile. The first drum circle with a group of active living elders can be very challenging. Expect some total chaos to happen. It gets a lot easier the second time. In my experience some of these people have problems judging how hard to strike a body drum and could hurt their hands by playing it too hard. Show them a few pointers on good hand technique after a warm up rhythm.<br />
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As I said, loud noise is my biggest concern. The healthy noise limit is about 85 decibels (Db.) I think that is the legal safety limit as well. That’s what the cop said when he broke up a public drum circle in a park. (This was a public gathering group.) He had his little decibel meter, and showed me the reading on it. We were up in the 120 Db. range. The neighbors called them on us. Actually, he was pretty cool about it. As a radio operator I’m familiar with decibels of gain, etc. but I researched this a little, and here’s what I found. A normal conversation is about 60 Db, up to the threshold of discomfort, that is the 120 Db range. Okay, so I’m still a bit of a geek.<br />
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A bunch of people drumming together indoors can easily reach into the 115 to 120 Db range. About 150 Db, is the Pain Threshold. You can get a decibel meter relatively inexpensively. I think Maplin makes one. Keeping the volume level down takes some skill, and experience to pull it off. But it is possible. And this is even more important when dealing with elders and special needs people. Most of the time, circles are 30 to 50 people, and volume is easy to manage.<br />
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A good idea is to create a volume down signal early on, or just start to play your drum quieter, more often than not, they will be there right with you. It works just great. And as an added bonus, the participants get to hear each other. But if you use it too much it can have a negative effect. It’s something to keep in mind, some of the beginners get way into it, and are often getting their issues out.<br />
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Here’s some advice from a friend of mine. When he does big circles with 100 people, the Db level can be huge. So he charges the client for enough cheap earplugs to go around. As far as I know, if you warn them, and offer protection, you've done your job. I keep a few dozen of them in my gig bag.<br />
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A few final thoughts. This new atmosphere of spontaneous drumming can be overwhelming to some people. The one thing I don’t want to do is have people feel threatened, scared, overwhelmed, or lost. Trying to do complicated rhythms too soon can do that. Keep it simple until the group dynamic is created. Three to four jams usually is enough to do so. Lots of positive comments from you during the drum circle helps a lot. “Hey, we sounded great on that one didn’t we?” Smile a lot, thumbs up! If they are in there, they are participating.<br />
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A few things I bring besides my earplugs in my gig bag, are some padded tape, first aid, hand creams, anti-bacterial wipes, etc. for anyone who just might ask. It’s also a good idea to familiarize yourself with anyone that might have some serious health issues. It’s the staff’s responsibility, but you should know what’s going on if you can. It’s nice if you can speak with the staff beforehand about any possible issues, but as I mentioned, that’s not always possible. So I need to be radar up, and ready for anything. It may be a casual setting with people transitioning in and out as rhythms are going on, so I like to sit or position myself so I can see who is entering or leaving.<br />
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Remember to try and speak with the staff afterwards for some feedback. And at the next time you are there. (hopefully) Or, leave them a feedback form to fill out, with a self addressed envelope and a stamp on it. I gathered a lot of useful information with a simple feedback form. The staff knows a lot more than I do about specific medical conditions.<br />
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If the group takes a break for tea or something, make sure they don’t come back to the drumming area before they are all finished. Goatskin and cowhide drum heads make terrible coasters. <br />
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Here is a sample drum circle program I might use:<br />
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Right away to the warm up drum jam, maybe 5 minutes. <br />
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5 minutes to introduce different cultural drums, drumming history, and why people do it.<br />
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5 minutes to demonstrate the various drums, let them check them out, and pick one. A few pointers on basic playing, and good posture/hand technique. The rest of the time is jamming on different rhythms from around the world. Some slow tempo, some up-tempo for variety. Ask if they would like a take five break after a half hour of playing. Be ready to improvise on the fly. You are likely to have some real musicians in there. I had a guy once that just got up and started playing a piano that was in the room, and we all accompanied him. It was fantastic. <br />
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So be aware of your surroundings. If they ask you to come back and do this again, mention maybe they could bring their family members next time. <br />
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It’s surprising the amount of engagement they have, and how much they truly appreciate and love drumming – especially with family members. Their expressions and smiles will be permanently etched on your face. Later at night when I get home and unload – have time to reflect - it affects me very deeply.<br />
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Ultimately, I just get rhythms started and let people play. It’s a multi cultural drum circle – not rocket science. We drum up some fun playing rhythms from around the world. Let your personality out, and with your calm and reassuring manner, watch the volume, and they will quickly enjoy playing together, and connecting with you. Anyway, drum circles are more fun than shuffleboard!<br />
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- Shannon Ratigan<br />
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There is increasing recognition of the health benefits of music therapy, particularly facilitated hand drumming, which is what I do for a living. Unfortunately, places where the people who benefit the most, such as senior centers and special needs can not afford to pay for this. <br />
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If you would be willing to make a small purchase of my book, rhythms DVD, or music of any amount, it will help me to provide this therapeutic music for free as often as I can, please visit my website drumcircles.net - or click on the link buttons below.<br />
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All of my drum circle music tracks are copyrighted and licensed. Check CDBaby.com & listen to a few. There's a wide variety of cultures, styles, and tempos to choose from. Here's a different way to help support the work I do in our community. The CDbaby website url: <br />
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http://www.cdbaby.com/Artist/SLRatigan <br />
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Or, click the CDbaby.com link below:<br />
<P><A href="http://www.cdbaby.com/Artist/SLRatigan"><SPAN onmouseover="this.style.color='purple';" onmouseout="this.style.color='purple';"><h5>My CD Baby Artist Page</SPAN></h5></A><br />
<P>This website, text, & photos Copyright © Shannon Ratigan All Rights Reserved.<br />
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If your group would like to have a facilitated drum circle, you can contact me at: <br />
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drumcircles_net(at)hotmail.com<br />
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My rates are reasonable. Please email me with any questions. <br />
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Thanks, Shannon - drumcircles.net<br />
drumcircles.nethttp://www.blogger.com/profile/05856494181338188294noreply@blogger.com0St. Louis, MO, USA38.6270025 -90.199404238.230193 -90.844851200000008 39.023812000000007 -89.5539572tag:blogger.com,1999:blog-9113701967098106880.post-32233580555375930102016-10-12T12:20:00.000-07:002016-10-12T12:20:03.269-07:00My First Drum Circle ExperienceI encountered my first drum circle in the summer of 1977 at Birch State Park in Fort Lauderdale, FL. I didn’t know it yet, but I was about to be hooked on it right then for life. I had no idea that first drum circle I ran into would change my life so greatly and in so many different ways, and that I could bring so much joy to so many people and even enrich their lives through hand drumming. <br />
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So there I was one day, slowly driving down this long one way trail of the park, just wanting to get away from it all, and a little time and space away from the routine of city life. Just see some trees, the water, and nature. To give myself a little break from the concrete and chaos of the city life for a little while. <br />
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Anyway, in this park, there were these little picnic clearings about every 1/4 mile or so along the trail surrounded by all this lush green tropical foliage. It was relaxing to take a break there, a place for me to get away from it all for a little while. At one of these clearings, I slowed and saw this circle of about 20 people all sitting around playing these hand drums together. Mostly hand drums, Congas, Bongos, and all kinds of other percussion instruments. I turned down my car radio when I heard it, and listened a little. Man, it was cool. The sound of all the drumming was so captivating, that I pulled over and kind of tentatively wandered over there. I couldn‘t help it. I just smiled and listened, enjoying the Samba rhythm they were playing. It had all these different layers, textures, and dimensions. And it was only hand drums, and it sounded so good. It was like nothing I had ever seen before. It wasn’t like playing in a band is like, they were all improvising, having a good time, playing what they were feeling, and letting it go wherever it took them. <br />
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While I had played in the high school marching band drum line, and various night club bands, it was nothing like this. It was drawing me in closer and closer, the drum beat almost calling to me. They were having what looked like a private picnic, so I didn’t want to interrupt them. I didn’t know who they were, they all looked to be of Latin decent to me. As it turned out they were all Puerto Rican, and only spoke a few bits and pieces of English. And I spoke no Spanish at all.<br />
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There were kids, adults, elders, males, and females. All of them were playing together and having a great time. I was standing there trying to figure out some kind of a polite way to ask if I could join in. But before I could, the rhythm ended, and they all applauded each other. It was obvious they weren’t performing for anyone, just for themselves. How cool is this, I thought. They motioned for me to come on over with gestures, and indicated that I could join in if I wanted to. <br />
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Boy, did I! I hopped on some Congas and proceeded to hang out and jam with them for hours, playing mostly Latin rhythms. They welcomed me, invited me to break bread with them, and treated me like family, and I really appreciated it. That meant a lot to me. Even though we spoke different languages, and couldn’t really verbally understand each other, we were able to communicate through the music. The language barrier didn’t seem to matter. That day gave me a whole new perspective on life, and a new found respect for different cultures I knew nothing about. It showed me for the first time, how to bridge the cultural gap. It was only after I had some time home later that night to reflect on all this. It was an epiphany of sorts.<br />
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I usually drove through there on the weekends, but I never did see that particular group again, they affected me profoundly in so many ways. I think they were just there on vacation, but they were the ones who started me on my drum circle path. Ever since then I would seek out and attend drum circles whenever I could - wherever I ended up living. In an instant I had become a drum circle lover. Most of the drum circles back in those days were held on weekends, outdoors in parks and on the beaches. They were all mostly freestyle drum circles with no leader, facilitator, or core group. It was just an organic bunch of people hanging out and playing. Whoever wanted to start out the next rhythm would do so, and if it took off, away it went.<br />
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Fast forward to the present in 2016, a lot of people think a drum circle is just a bunch of banging noise with no real discernible beat to it. Well, guess what? Sometimes that’s exactly what it is. A lot of banging noise. Especially at outdoor open community drum circles. Sometimes there is no musicality present at all. It feels better if it sounds good. But at that very same place, the next week, it can be a group made up of mostly the same people, but this time it is some quality music with real performance level musicianship. <br />
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The kind of musical pieces like I described earlier, that simply captivate you and draw you into it. A drum circle where the people are all listening to each other, taking turns leading, even passing it around so everyone gets a chance to start out a rhythm if they want to. All these people have come together as a group with a real synergy to it. Some of the absolute very best drum circles I have ever been to were just free style drum circles out on the beach. And, some of the crappiest ones also. That’s part of the fun. The unpredictability of it. You don’t know what it will be like until you get there. Will it be magical this week?<br />
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Shannon Ratigan<br />
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drumcircles.netdrumcircles.nethttp://www.blogger.com/profile/05856494181338188294noreply@blogger.com0tag:blogger.com,1999:blog-9113701967098106880.post-4264456472738654582016-07-22T18:11:00.000-07:002024-01-13T10:51:42.313-08:00What to Charge for a Drum Circle? – Rates Pricing & Venues<div class="separator" style="clear: both; text-align: center;"><br /></div><br />
So what is the current average price drum circle facilitators charge for providing all the drums, percussion, and facilitating a drum circle? The short answer? 300 bucks, (one person facilitating, and for under 100 people). And that’s doing it on the cheap. There really is no set pricing scale, it’s where you live, what the market, current economy will bear, and what groups can afford. <br />
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Many of us use a sliding scale for pricing. Anywhere from $100 to $600 depending on for who, how long, how many, and how far away. Most of us will do a few no charge charity circles a year. I try to do at least 2 or 3, but we have to at least try to cover our expenses. There are others who won't even negotiate with you for under $500 for an hour circle. Then there are the ones that jet into town from out of state with a few large tubs of drums and get $5000 for two 1 hour circles. Most of them are backed by brands, and have national exposure. That doesn't necessarily mean they are better, a regional facilitator with at least 10 years experience will give you an excellent music making drum circle experience at a much lower price. So there is no real set pricing, or specific protocols that need to be followed.<br />
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I was able to determine the going rates to charge mainly because of my drum circle finder. I have been updating it for 16 years, and in the process communicated with a lot of facilitators or hosts. Over the course of updating it I often saw rates in different areas, and many times spoke or emailed with the organizers. <br />
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When you do book and confirm a gig, I get half the cost at least 2 weeks in advance, and collect the balance when I arrive to do the job, or I ask for or the entire amount at booking. I used to just ask for a check when I arrived, but times have changed, I’m getting older, and this job is harder. If it’s an ongoing client, then I ask for a check when I arrive. Most want an invoice of some sort. It doesn’t have to be fancy or complex, just make a Word doc. You can change for each job. All the basic stuff, client, date, address, contact numbers, the hiring person, the rate, time, drum circle length, and so on will suffice in most cases. Some things like public events they already have an invoice, and you fill them out. With things like working in schools you can end up doing more paperwork and time spent than you do on the actual job. But it is for kids, so it’s worth the trouble. Many of them get into music and make it a part of their lives because of you.<br />
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Because of my drum circles website, also starting around 1999, many people would ask me various questions about different aspects of drum circles. How to start one up, what to charge, ruthless competitors, dealing with djembe cowboys, all sorts of things. I offer to answer questions on my website via email, sometimes over the phone, and I still do. I mention that if you have a question, or need an opinion about anything drum circle related, I’m happy to try and help. I believe musicians and artists should help and support each other. People helped me to learn along the way coming up, so I try to give back. Many musicians feel that way, and enjoy helping others to grow so they can enjoy making music more. <br />
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I also worked as an actor in LA for 20 years, and even though we were often up for the same role, and competing against each other to put food on the table – there was still a common respect for each other. Working in various bands it was the same way, only we were competing for venues. Most drum circle facilitators are caring and good people that are more than happy to share some advice, and help someone new getting started. <br />
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But there is a flip side, and I’ve heard this over and over from many different people. I can’t understand why in almost every market in the country there seems to be a facilitator who has to be the number one go to person no matter what. What’s worse, is they put up a false front about how nice they are, all the wonderful things they do, and at the same time behind the scenes, they are trying to run the competition out of business. For about the last 5 years, the most common problem issue people from all over the country have asked me is someone trying to run them out of business. We should be working together, not against each other. There is plenty of work out there for all of us. Some of them are just plain sociopaths. Putting out negative anonymous posts on social media, stealing elements of websites, even things like “work for them, or you don’t work at all”. <br />
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I’ve had all of that just like many others, had ongoing clients poached from me by drum manufacturer backed facilitators from out of the state. They can do it by offering cut rates, the promise of a drum grant, and many other ways. That is just wrong, not much we can do about it either. Again, I’m just a person trying to put food on the table for my family.<br />
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Anyway, as it turned out, I kept getting asked a lot of the same questions over and over, I was becoming a sort of drum circle tech support. So, about 9 years later I decided to write a book about drum circles. It is 300 pages of text., and the title is A Practical Guide to Hand Drumming and Drum Circles. ($8). It’s actually more like 3 books in one. I put all my experience, everything I’ve learned and (unlearned ) in there. Everything from facilitating, learning hand drumming, facilitating styles, covering the art, and practical approaches to facilitating or hosting one. <br />
I haven’t exactly traveled the country, but I’ve lived on both coasts, and been to 1000’s of drum circles over the years. So my pricing is based on that, and speaking with many others through my site and drum circle finder. <br />
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Some, (like myself) work on a pricing flat rate, or a sliding scale like I mentioned. Some manage with love donations, drum rental for an average of $10 - $15 per person, a percentage of sales, and various other means. And some get non profit status where they can pay themselves, some get sponsors, and/or grants. (Try your local arts counsel, or state arts funding groups. I've applied for them a number of times, but never managed to get one. But I do know that some people get them.) Most of the arts funding goes to other disciplines like painters, sculptors, dancers, and etc. <br />
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If you can get a regular ongoing gig, that generates lots of other jobs because of the constant community exposure. Event planners see you, someone wants one for a party or reception, group gathering, even session work. So a low cost weekly circle or a home base is a great way to generate work. Even if that weekly gig only pays $100 a night just barely covering expenses. It’s the onlookers and word of mouth that brings you the better paying work. As I mentioned, my average price is 2 circles for $300. I want to give them a full music making experience, and a good value for their money.<br />
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My pricing scale is pretty competitive if you figure the going rates around the country. I charge $100 for non profits, churches, senior groups, etc. They have very limited recreation budgets and most of the time, that’s all they can afford. For most public events, an all day multiple drum circle school session, a business - corporate event, I will quote from $400 to $600. If it’s more than 100 people, I hire a helper, they need to be paid, so a little more is added onto the cost.<br />
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Some can pay more, but that’s up to you to figure out. If it’s far to drive, a public event, if you need to hire a second facilitator, etc. There’s a lot of variables. Even things like if all the gear has to be hauled up a couple flights of stairs. How close can I get my vehicle to unload, and how far is it to the playing area? Can you provide a few helping hands to carry my gear? That will lower the price because that saves me a lot of energy that I’d rather put into bringing the group the best drum circle music making experience that I can. With some events like wedding receptions there is drinking involved, so you have to factor things like that into the pricing because of the potential for damage.<br />
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Facilitated drum circle rates have gone down a lot in the last 10 years. There are a lot more facilitators around now. Many facilitators sideline as drum circle facilitator trainers, so there is a lot more competition these days. Lots of drum circle certification courses are out there, and almost every one claims to be the best. Being well rounded as a musician and a facilitator is important. Lots of untrained facilitators are being given a training course and figure they are ready. It takes a bit more than that. You can learn by doing, but I’ve seen some shabby work by new facilitators that can’t even keep time on a drum. Some that run around in the center waving instructions like some sort of classroom, and some using a cowbell only. On the other hand there are some truly gifted facilitators in almost every major market, and city in the country. They tend to work in their own areas so they aren’t that well known nationwide. <br />
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Most facilitators are good people and will at least be willing to work together, or share leads. I’ve had good working arrangements where if I had a booking conflict, I would offer the job for a small amount like 10% of the job price, 20 bucks, sometimes even a drum for the lead. And it went both ways. But there are those others. Rather than perhaps collaborating, maybe working together occasionally, some of them feel they have to be the number one in their market to earn more, feed their egos, or both. And, for whatever reason many have gotten a lot more ruthless about it. I’ve experienced a lot of it myself in the last decade since all the facilitator training workshops, and certifications have been cranking out students who are untrained in the real world.<br />
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So back to drum circle rates. I used to be able to charge around $500 for a drum circle, (sometimes two). When pitching the cost to a potential client, I would mention it’s $400 for a one hour drum circle, and since all my gear is already there, for $100 more I can do another one hour – so $500 for 2 one hour circles. That was then. Now it’s more like $300. $250 for the one hour, and $50 more to add a second hour. Most of the time they will accept that extra value.<br />
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Although the numerous and documented benefits of drum circles have become more widely known and accepted – most of the people who are hiring us have never even been to a drum circle, let alone have any concept what it is really like, or what’s involved with facilitating one. It is a foreign concept. The same goes with most people who contact us to facilitate for corporate, schools, events, on and on. The second most challenging thing beyond being a good facilitator, is simply trying to explain what it is to someone like this, and why having one will benefit people. Music tracks and visual aids like photos and short videos help a lot in a drum circle pitch.<br />
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Facilitating two 60 minute circles, or a 90 minute drum circle takes the better part of a day’s work to pull off, and most people don’t realize that. My drums are expensive to buy and maintain. There’s also the loading up, transport, unload, set-up, facilitate the circle, haul it all back home, unload again, and wear and tear on my drums.<br />
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An initial typical contact call or email can go like this: “I heard you do drum circles. So you can come and do one for free, right? You will get lots of exposure.” (Umm no.) I need to politely explain to them that no, I’m sorry but I just can’t. As much as I would like to for you, this is what I do for a living, and I have to charge something for it.<br />
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Some that want a drum circle for the first time actually think drums just magically appear...and people can play them. I am not kidding. I need to explain to them all the years it took of musical training, and experience it took to be able to do this professionally. I’ve put my heart, and my entire life into doing this…it’s kind of like the amount of work and dedication it took to be a “whatever the client does for a living”. (College, working up that ladder to become where they are in the job they are in, etc. I pause there, and then we usually negotiate a price after a few more emails.)<br />
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It doesn’t always pay a lot, even if they are endorsed by a drum manufacturer, had some over hyped specific training, sponsors, and so on. $3000 worth of gear, load it all up, drive for an hour, do the circles, and you end up netting a hundred bucks. It’s like that for a lot of musicians and facilitators. It’s called paying your dues, and doing some good in your community.<br />
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However, this work is tremendously beneficial to your heart. One week it’s a sorority group, the next, an entire school of kids, 6 circles back to back in a day. A session job for active seniors, where the camera is your drum circle group and you have to imagine them, and sometimes public events. For just a one on one drumming lesson I charge $40. For an extra person, $10 more. I provide the drums.<br />
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Everything’s gotten more expensive these days, especially things like insurance. I used to have all my drums in a trailer – but, not any more the insurance is way too high. These days insurance is very hefty for a trailer so I had to downsize. My gear is expensive, and I need some form of insurance. With mine, if all my gear is inside my vehicle, it’s covered. That saves me a lot. I had to sell a lot of my larger drums, and move towards smaller ones like doumbeks, darbukas, frame drums, I have about 15 of each. I also have at least one set of congas, a few sets of bongos, a dozen assorted size djembes, and a few other larger drums to round things out. Those sound shape drums are great for facilitators to round out your kit, because 2 dozen will fit in a cloth grocery bag. (Sometimes there are more people than expected, and they make a great way to fill out the inventory if needed. Plus, they are fun to play, and lots of people love playing them.) I had to get a large vehicle, it isn’t exactly green, but I can fit enough for 100 in there. All those years of playing Tetris paid off. Who knew? So that is one way to cut a few costs.<br />
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Find a Drum Circle Venue: A Craft Brewery, Pubs, Clubs, Cafe's, & etc.</b><br />
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Back around 2005, I hosted this drum circle at a craft brewery every Tuesday night for 3 years. My hope was that it would become firmly established and become a fixture and continue on long after I moved out of the area. Happily, a little bit of me is still there, it still goes on to this day, some 11 years later, and that makes me very happy. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOPqznU1njyH7vfDRvBTouw7BJuEfiLpIxAZ42xuanLfyvaBnAIZ9z8-AQU3F0_T9Lju6pPcsjD6GJCSZ8B9CxnLHpVWBK8Sc8b0b33d7051nWIFjwlZXF4pJ_o0I_BDQFxrWEhLs2kWU/s1600/brewery_drum_circle.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOPqznU1njyH7vfDRvBTouw7BJuEfiLpIxAZ42xuanLfyvaBnAIZ9z8-AQU3F0_T9Lju6pPcsjD6GJCSZ8B9CxnLHpVWBK8Sc8b0b33d7051nWIFjwlZXF4pJ_o0I_BDQFxrWEhLs2kWU/s320/brewery_drum_circle.jpg" width="223" /></a></div><br />
Here's a little history on the brewery circle, and some general info on drum circles at casual drinking establishments:<br />
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While living in Florida, I got the idea to start up an indoor drum circle in 2005. I was looking for an indoor venue of any kind, somewhere that was air conditioned. I liked the Saturday night drumming to the sunset at the beach, but the summers there are very hot, and the sand gets all up in your drums. Not to mention the humidity, lack of bathrooms, places to eat, chairs to sit in, and even park the car reasonably close by. It’s a long hike with the djembe, percussion bag, fluids, and a chair. Parking at the pier was $12. so few of us did that. Most musicians including myself are way too cheap to pay that much to park so we could drum for a few hours, and the nearest free parking was about 800 yards.<br />
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That’s why I tried approaching a few Recreational - Community centers, night clubs and bars repeatedly every month with the idea, but had little success. Everyone I spoke with said it would never work, and many drummers said that trying to facilitate a drum circle at a place that serves alcohol is just plain crazy. <br />
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I went to a local craft brewery now and then. I loved the vibe of the place. I noticed that Tuesday was their slowest night of the week. So to me, having a drum circle seemed like a good alternative to the Tuesday, sparsely attended chess and techno music night that was going on at the time. I play chess myself, and don’t like the distraction of techno music at the same time. I never could figure that one out. I figured this had to be my best opportunity, I just had to try and convince them we weren’t a bunch of turtle mound stomping hippies.. I dropped in one afternoon and pitched the idea to the bar manager. He was reluctant at first, but after persisting with the idea for a few months, he agreed to try it out. <br />
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The condition I negotiated was that I would receive no pay unless they turned a profit in two weeks. It was a risky venture because of the drinking, and possible damage to my drums, but it worked. Within a month, the word had spread around, the place was packed, and it was hopping beyond my wildest imagination. <br />
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Good ol’ MySpace and newsgroups were about the only means of free promotion at the time, (this was 2005, pre-Facebook & Twitter). Other than that it was mostly word of mouth, making flyers to promote it and pass out, and signs out in front of the place that I’d made from those 2 foot abandoned political signs usually left out after elections. I figured I was helping clean up the off ramps and doing the city a favor, because usually they’d sit there for weeks or sometimes even months. <br />
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I’d paint them up white on both sides, and the next day paint some dark text on them. Most would say “Drum Circle” “Bellydancers Welcome” or, “Open Drum Circle” Drums provided”. Then a pointing arrow toward the establishment at the bottom. <---- 3="" a="" after="" and="" area.="" as="" be="" being="" blend.="" by="" came="" caught="" check="" circle="" clean="" come="" could.="" curiosity="" dance="" dancers="" day="" drive="" driving="" drum="" earlier="" effective.="" effective="" entertained.="" everyone="" fact="" factor="" from="" front="" fun="" general="" get="" going="" graceful="" hand="" happened="" hard="" having="" home="" hours="" i="" in="" it="" jamming="" like="" lots="" made="" make="" many="" most="" movement="" musicians="" numerous="" of="" on="" onlookers="" out.="" out="" people="" perfect="" play="" playing.="" point="" pole="" posting="" professional="" promotional="" sale="" same="" saw="" scene.="" sign="" stop="" straight="" students="" studios="" surprisingly="" tactic.="" teachers="" telephone="" the="" their="" them="" there="" thing="" this="" thoroughly="" to="" traffic="" tried="" turned="" was="" were="" with="" work="" yard=""><br />
My formula was similar to that of an open mic night. I invited local drummers, band members, drum makers, teachers, and instructors to come attend. In return for jamming with us, they could promote their items, shows, classes and workshops. I did the same with bellydancing studios. The key to it was making it fun, and accessible to everyone so they would want to come back. Variety was the thing. The rhythms needed to be challenging and interesting for the experienced musicians, but also not so complex that the beginners didn't feel lost. <br />
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An easy way to do that, is playing rhythms from different cultures. Uptempo Latin and African rhythms, as well as slower Native American, Bellydance, R & B Groove, and improv. That way, the variety keeps everyone wanting to come back next week. Some drum circles can fall into this pattern of playing the same default beat most of the time. That gets a little boring and frustrating for everybody. <br />
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The local drum circle took off right from the start. Like I mentioned, attracting musicians so they would come in and jam, and not charging a fee or cover at the door is what made it work. We just used the honor system to get people in. They wanted to support it and promote it, and it worked. <br />
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Most musicians don't like to pay a cover charge or a fee to get in. (Especially with drum circles.) But they will buy a beer, soda, or some food once they are in there, and network to their friends. They will support it once they are in there if it is fun. So the key is to make it fun.<br />
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It was a bit of a challenge to host an on going drum circle at a casual drinking establishment, but the vibe was always good, people had a blast, and the musicianship was even better. Three hours would go by like it was one. I noticed right away that almost all the locals would drink in moderation, so it never really became an issue. But sometimes, things do get damaged.<br />
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That circle became so popular, that musicians and onlookers came from all around Tampa, St. Pete, and even as far as Orlando just to check it out and play. We even had out of town musicians show up, usually while on vacation. Some of the other local clubs got pissed and tried to get it shut down at a city counsel meeting. They made claims that it was all riff-raff in there. Unfortunately for them a few of the board members were regulars at the circle and told them the truth. It is mostly decent professional working people from all walks of life, different backgrounds, and paths with demanding careers that just want to make music with new friends, be part of a social scene, drum out some stress and have a little fun. It was culturally diverse, and it brought our community together. How can you argue against that? <br />
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Around the country many night clubs, bars, and coffee shops are struggling to find working formulas for weeknights. Having a drum circle night quickly builds up a community around it with a loyal following that grows very quickly. The cost to do this is minimal, I've been doing this successfully for years at various venues. What's really needed is an organizer to help keep things running smoothly, and promote the drum circle. I look for a small base pay, tips, or a percentage of sales like 10%.<br />
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Because believe me, there is a lot of work involved. Also it isn't the drummers, musicians, or dancers that do the majority of buying your products. They will help support the venue and buy one or two, but it's the onlookers who are attracted and who will be buying most of the drinks and/or food. And it takes a few months to really get a drum circle community built up and established. I go into this in much more detail in my blog posts, and Kindle book about drum circles.<br />
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I’ve attended and organized drum circles for over 30 years, and facilitated them for living about 15. My general approach is treat it like a band gig. I prepare as much as I can, have a set-list of rhythms, and be ready to throw it out the minute things get going. I learned to just trust my instincts and feel how things should head, rather then forcing a protocol or next step. I found that just trusting my instinct, feeling the overall vibe, being spontaneous, organic, letting your personality out, and being honest always works.<br />
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So you have booked a venue, a café’ new age shop, a rec center or the like. Now is the most important part. Making it fun for everybody each and every week. You have to mix it up a little. Playing a variety of ethnic rhythms is the way to go. Invite others to start or facilitate a rhythm. It has to be fun in order to have legs and work. Helpful hint: stay away from sports bars!<br />
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I have 3 goals I try to achieve at every drum circle. 1 is getting them playing a warm up rhythm on a body drum, to get them out of their heads thinking – and just playing. There is a healing energy in the body after a half hour of hand drumming, and I want them to genuinely feel it in their bodies. This has a stunning effect when you demonstrate it to them. But that comes later at the end.<br />
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Almost every time there will be brand new drummers so you have to make them feel welcome, but at the same time, not bore the more experienced musicians. Most of the gigs I get are people who have never played a drum before, so I have to adjust my set list accordingly for each gig. I just want to get them playing and creating. I let people know right away “Play whenever you want…play whatever you want – just follow the beat.” The support rhythm I’m playing is just a starting point. Add your voice, and take it wherever you want. Explore the unique sounds you can make with your drum.<br />
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I generally start with very little talk and go right to playing a warm up default drum circle rhythm, boom, sh-laka, boom, sha-laka…They find a place, and go. Jam it out, 4,3,2,1, rumble and acknowledgement applause. Then take a minute to talk about hand technique, volume, and away to the next rhythm. I usually go with something Native American like heartbeat. It helps to ground that downbeat for later to come.<br />
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To introduce rhythm, I like to vocalize the 1st few measures of a rhythm as I play it. As Babatunde Olatunji, said, “If you can say it, you can play it.”. As much respect as I have for him, I use the go do pa ta method in schools, and lessons. I find that people can process the Mid-East style, or funny sayings, a little faster. Especially at a party atmosphere reception. “Yum Yum, tastes like chicken. (pause) Yum Yum, tastes like chicken”… That is always a fun rhythm.<br />
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After a few rhythms, it’s a great time to try the two people laying down in the center, 2 at a time for a few minutes each. I bring two yoga mats, (or beachtowels if the vehicle is too cram packed.) How it works is like this: About half way through the circle, I lay 2 yoga mats in the center of the circle before the next rhythm. I ask for 2 people - if they want to REALLY feel the healing power of the drum, I ask them to carefully lay down on them for a few minutes. (Starting applause for them helps.) I ask them to lay flat on them, arms to their sides, and close their eyes while we play a rhythm for a few minutes. When I offer up the idea, there are always a few takers on that one. And when they get up, the faces say it all. It’s powerful to feel the drum downbeat absorbed into your body.<br />
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Up until now, everything is headed toward my 2nd goal, guiding the group toward it’s musical synergy. I’m working toward a group dynamic that forms, and everyone can feel it. I’m like a tourguide – I’m going to go with them to all these different places and cultures, and I’m going to experience it with them. I’m a firm believer that I play a drum the entire time. I want that connection. After the group dynamic is formed I can back down a bit. But the fact is, that sometimes on gigs you end up “pulling the cart” for the 1st half hour, sometimes longer, so you have to be able to have good time, and be able to hold a good down beat. <br />
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Generally speaking, if it sounds good, it feels good. Once you have that group dynamic going you have them eating out of your hands, no matter how inebriated they may be. Make it fun, try those inexpensive belly dance wrap skirts. I bring 2. Ask who wants to try it? It gets everyone laughing when the guys get in there. I sometimes bring hula hoops also. It depends on the location and vibe of the reception. Get a few of those going around the perimeter, and it ramps up the fun.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEZ527RvmAzbkJDv5BFae_XRDhHu2c_sBSpXCuM-I0YCpL-AufCbP5FtZkHh3AySBgHRp0kSbl3VWrKW4S4D_Bm7Hn4XMT4qBBVQ4nwEoVzxH522IPaVLjWdXA9zS9RuNVrSlOig_CFis/s1600/Neurologist_Hammesfahr_drum_circles.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEZ527RvmAzbkJDv5BFae_XRDhHu2c_sBSpXCuM-I0YCpL-AufCbP5FtZkHh3AySBgHRp0kSbl3VWrKW4S4D_Bm7Hn4XMT4qBBVQ4nwEoVzxH522IPaVLjWdXA9zS9RuNVrSlOig_CFis/s320/Neurologist_Hammesfahr_drum_circles.jpg" width="222" /></a></div><br />
When time’s up, ask them if they want to do one more. (hopefully an enthusiastic YES! And do one uptempo.) Then comes goal 3 the real eye opener. “Feel the healing energy of the drum, in your hands and bodies”.<br />
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This is the one where at the end of the drum circle, I ask them to all stand up still in a circle, and hold their palms open and outstretched, opposite to each person next to them, and palms opposite facing each other,. Hold your palms outstretched directly above each other’s palms, about 12 inches apart. Now slowly compress your hands to the other person without actually touching them to about an inch. Slowly compress your hands up and down slowly a few times and feel that energy. The oh’s and ah’s as they feel it compress – they are feeling their chi, or mojo in their bodies (some for the very 1st time). This is very powerful. Next, turn their hands into themselves, to let the healing power reach inward, into your bodies. Start from your head, and work it down slowly. This is incredibly powerful when you feel it for the first time. This whole process takes about 3 – 5 minutes. It leaves a lasting impression.<br />
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That’s why I try to get everyone to drum, on a real drum for at least a half an hour. To get this energy of the drum flowing in them. All you have to do then, is demonstrate it to them at the end of the circle.<br />
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I do keep a drum circle treasure chest off to the side with tambourines, shakers, maracas, etc. to entice the shy to play. Later when they see how much fun playing a drum looks, they get in there. As much as I like Sound Shapes for rounding out my kit, you can’t get the healing energy in your soul playing one. Sorry Remo, I love you and all. Most of my djembe drums are drunk-resistant thanks to you, PVC LP's, Pearl, Toca’s, aluminum doumbeks, congas, and bongos.<br />
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I much prefer the organic full rich sound of goatskin heads, but for facilitating this kind of job, only drums that can take a little abuse. Bongos have cowhide heads and can take a lot of pounding. Things do get dropped and/or broken, so I add in a little “inebriation damage fee” into my price quote.<br />
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It’s surprising the amount of engagement everyone has at a drum circle, and how much they truly appreciate and love drumming – especially with family members. Their expressions and smiles will be permanently etched on your face. Later at night when I get home and unload – have time to reflect – it affects me deeply.<br />
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Ultimately, I just get rhythms started and let people play. It’s a drum circle for heaven’s sake, not rocket science. It doesn’t have to be all complicated and full of protocols, games pie slicing, and activities. Drum up some fun playing rhythms from around the world. Let your personality out, and with your calm and reassuring manner, watch the volume, and they will quickly enjoy playing together, connect with you, and end up experiencing the healing energy of the drum. Many people take up drumming after a single drum circle and it becomes a part of their lives forever. A place to go when things are down, or even looking up. It’s especially great for the kids. Many go on to join school band.<br />
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My 300 page book, “A Practical Guide to Hand Drumming and Drum Circles” is $8 on Kindle or Nook. Please visit the main site for more info. My 2 hour DVD “101 Drum Circle Rhythms” is also on Amazon. It is the perfect tool to help keep a drum circle fresh and interesting week after week.<br />
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Check out my drum circle finder that I mentioned, where you can locate drum circles near you in your state. It’s been online since 1999, there's over 1000 listed, and still growing. Also a global drum circle finder. The listings are updated monthly. If you get one going, let me know and I will add it to the database. Just visit my site: drumcircles.net - I also have sample set list you can download and use.<br />
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I hope some of this article is helpful to you, and it gives you a few ideas if you plan on working as a drum circle facilitator, and an idea what to charge for your services. Please keep in mind that these are just my opinions, based on my own experiences, and from speaking with many others around the country. My advice? Don’t stick with just one approach. Study with as many different facilitators as you can. If the cost is an issue, attend their events and watch what works, and what does not. Most do public events you can attend a few times a year. Participate, and observe them. You learn different things from each one. Use all methodologies, approaches, styles, and be well rounded. Some are in it for the love, and some are in it for the money. It's easy to spot the difference. Just be you.<br />
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Shannon Ratigan<br />
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Copyright © Shannon Ratigan All Rights Reserved.<br />
</---->drumcircles.nethttp://www.blogger.com/profile/05856494181338188294noreply@blogger.com0St. Louis, MO, USA38.6270025 -90.199404238.230193 -90.844851200000008 39.023812000000007 -89.5539572tag:blogger.com,1999:blog-9113701967098106880.post-76349366444733819972015-10-20T17:15:00.000-07:002015-10-22T10:23:47.241-07:00Free Djembe Drum Rhythms DVD Contest & Drum Circle Finder Updates<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAem1Ne0xyl0-NTVMmqBcCyGTS8WIsfSePwG3XIRS_EkyczEnDhD65R0saMag6kWzVAUdUXbFGdpqvLkoW2CpIlPVP8xYQRbYVzgiWiNXPNVhfirZRncXOuVwZnYVKgTF3UiaGHbEPFUo/s1600/skully+drummer.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAem1Ne0xyl0-NTVMmqBcCyGTS8WIsfSePwG3XIRS_EkyczEnDhD65R0saMag6kWzVAUdUXbFGdpqvLkoW2CpIlPVP8xYQRbYVzgiWiNXPNVhfirZRncXOuVwZnYVKgTF3UiaGHbEPFUo/s320/skully+drummer.jpg" /></a></div><br />
Hey drum circle lovers, Halloween drum circles are just around the corner. Post a funny caption to the skully the drummer pic on the FB page & the funniest one wins a 101 Drum Circle Rhythms DVD & drum jam CD shipped free to anywhere in the world. There's still 10 days to add a winning caption, or vote for the one you think is the best. Entries must be on the FaceBook page: <br />
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Here's a sample clip from the video:<br />
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<iframe width="420" height="315" src="https://www.youtube.com/embed/uLgY0GpXF6A" frameborder="0" allowfullscreen></iframe><br />
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Here's a track from the drum jam CD:<br />
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<a href="http://soundcloud.com/drum-circles/more-cowbell-drum-circle-jam-1"></a><br />
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http://soundcloud.com/drum-circles/more-cowbell-drum-circle-jam-1<br />
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The FaceBook page name is Drum Circle Finder <br />
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https://www.facebook.com/drumcirclefinder <br />
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The contest ends October 30th. Try a caption, or vote for your favorite one with a like & help somebody else win. The comment with the most likes wins.<br />
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(The full 2 hour DVD of drum rhythms is also available for $15 at drumcircles.net or, Amazon for a couple bucks more. DVD or instant video.)<br />
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http://www.amazon.com/gp/product/B001IB5WBC?keywords=101%20drum%20circle%20rhythms&qid=1444174566&ref_=sr_1_1&sr=8-1<br />
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Also, check out the drum circle finder directory, a free service to the drumming community since 1999. Listings of both facilitated & freestyle ongoing circles.<br />
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Drum Some!<br />
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Shannon <br />
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drumcircles.net<br />
drumcircles.nethttp://www.blogger.com/profile/05856494181338188294noreply@blogger.com0tag:blogger.com,1999:blog-9113701967098106880.post-72415422374927892492015-07-02T20:00:00.000-07:002015-07-07T13:27:54.788-07:00Drum Circle Facilitator Percussion Treasure Chest + Gig Bag & Drum InsurancePercussion Treasure Chest + Gig Bag (Spice Bag)and a Little About Moving Your Drums (Insurance) <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXknBsy2VdfftJYR1G6IfF9jUtM2v7H-5BeGgz8L0pZdfhsELgqt44BaZB-KsFPbzVeWxyG-QS-vLtg6eHhEXHA5SSg9QkJ-H2UwDlpP3xF5njLk3fzKbsNnQ6643c-b9YgND33Urpukw/s1600/treasure+chest.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXknBsy2VdfftJYR1G6IfF9jUtM2v7H-5BeGgz8L0pZdfhsELgqt44BaZB-KsFPbzVeWxyG-QS-vLtg6eHhEXHA5SSg9QkJ-H2UwDlpP3xF5njLk3fzKbsNnQ6643c-b9YgND33Urpukw/s320/treasure+chest.JPG" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBJF6CJOh_MaUxcxEjfk6d5gAx6bwZeNY4r_QeIWYe0h8d67PoV1ZPDRVlCVOr-91rJUjqLyJASFb8yP0zQxZD7nyH5cCY5jUMnh-2Nz2vufB0yHR7CGRwKvViV85CoPKkW-_JR-MDuTQ/s1600/drum+circle+treasure+chest.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBJF6CJOh_MaUxcxEjfk6d5gAx6bwZeNY4r_QeIWYe0h8d67PoV1ZPDRVlCVOr-91rJUjqLyJASFb8yP0zQxZD7nyH5cCY5jUMnh-2Nz2vufB0yHR7CGRwKvViV85CoPKkW-_JR-MDuTQ/s320/drum+circle+treasure+chest.JPG" /></a></div><br />
This is my “percussion treasure chest” and my “gig bag” of special items. One of the things I try to do at facilitated drum circles is encourage self discovery. Of course I want to get everyone on a body drum to get the healing energy inside their bodies. I like to play a drum the entire time I facilitate, so it’s more inclusive, and I’m just another part of the group. But there are always the bystanders – the curious and/or shy people on the perimeter just watching. I want to include them – but at their own pace, and in their own time - when they feel they are ready. <br />
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Back in the day, I used to haul plastic bins of percussion items, and set them up on card tables. It was time consuming, and often I had no time to do that, so I would just set them down with the lid off. I noticed people would casually go up to them, dig around, and find something interesting to try and figure it out, and play it. They would all have fun doing this, and eventually see that nobody really cares how good a musician they are – they are busy doing their own thing. They would see what a good time those others were having playing the drums, and eventually would gravitate to a drum themselves. <br />
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People seemed to really like doing it, so instead of 2 large plastic bins, I picked up this light polymer steamer trunk, and filled it up with percussion goodies to replace them. Nothing with sticks is in there, (unless it’s attached with a cord) because it always managed to find it’s way to a drum head. Inside are assorted maracas, various shakers, bells, frogs, guiros, tambourines, sound shapes, boomwhackers, earthy sounding shakers, kalimbas, frogs, eggs, and all sorts of curious stuff – even a kid’s xylophone is in there. Anything to get them included at their own pace, and get that self discovery process started without having to ask them. <br />
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Packing everything back in there at the end of the circle is a different story. I guess all those years of playing Tetris actually helped out a little. The handy thing about this drum circle treasure chest is it’s relatively easy to close up, lock if necessary, and carry with it’s handle. But mainly, with the colorful drum circle poster taped inside it, people are drawn to it. I usually try to make it a point during the circle to let everyone know it is there, welcome them to look through it, and explore. They usually find it if I do happen to forget.<br />
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Next to it is my black “gig bag”. I always keep it next to me or behind my chair. It has the 9 compartments so at a glance, I can easily organize and find things. It also has 2 zippered compartments on the front for lug pouches, first aid, and etc. I keep that gig bag next to me with the extra special percussion items in it. I pull them out one at a time after a rhythm periodically – I demonstrate how I play it, and ask, “Who would like to try this out? The first hand in the air gets to play it, and I ask them to pass it along after a bit so others get a try. Then we start out a new rhythm, and away we go. <br />
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That big red Latin Percussion Salsa Bell you see there, is my go to cowbell. It was expensive, but I love that thing. I’ve had it for over 20 years so it was worth the cost if I average it out. I painted it red with Rustoleum so I could identify it, or find it in the dark, but also to soften the sharpness of the tone a bit. It also has that flat bottom edge so there’s an extra note and playing surface. It makes it for a very versatile, and great sounding instrument. Sometimes with a long gig, you need to take a break from the djembe. I play it with the soft mallet you see next to it, and not a stick so it isn’t so sharp piercing and loud for people. There’s nothing worse that when someone gets next to you and starts whacking on a small cowbell with a stick. The pitch is usually too high, and for some, even painful. That soft mallet works perfect and you can still hit the sides with the stick portion. Well, thinking about it, one thing that is worse, is when you get someone on a bottom drum that can’t keep time. <br />
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I use a Latin Percussion Samba Whistle if I'm at a party and need some crowd control, or sometimes to help end a rhythm. Something besides a rumble or countdown gives more variety, and makes it more fun. It has 3 distinctive notes on it, so you can have a little fun here and there during rhythms with it. I suggest getting a quality metal one. The plastic knock offs just aren't as good, or don't sound as good either. Mine is made by Latin Percussion - it costs a bit more, but I've had it for 30 some years and it still looks and works like new. You can dress it up nicely by putting it on a semi precious stone necklace like turquoise, lapis beads or something like that. Get the best quality gear whenever you can. If you want to sound the best, buy the best you can. The same applies to drums. The good ones cost more but hold up longer. It ends up saving you money in the long run. I spent years upgrading my facilitating drum, and kit of drums. So take my advice, always buy up in quality if you can afford it. <br />
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I love the LP Giovanni Djembe as my primary facilitating drum. I went through dozens of different drums until I found just the right one for me. As soon as i touched it - it spoke to me, and that was it. It has a whole lot of range and soul for a manufactured drum. Finding that ideal drum for you can be a bit of a journey, but when you find it, you know it. I've played it over 20 years and only had to change the drum head once. It has a goatskin head, a reasonably authentic sound, but is also lug tunable. So when I'm in the A/C or outdoors, just a few quick turns of the wrench and I'm ready to go. My good Ivory Coast hand carved djembe just isn't practical for this kind of work. Only problem is they run about $500 - $600 new. But averaged over 20 years - 30 bucks a year, not so bad. I like a lot of the Remo gear, but I'm a firm believer in the quality and sound of Latin Percussion drums. Here's a few of mine.<br />
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Your voice is an instrument also, connecting and communicating is a big part of facilitating, so you have to keep your voice in tune. Exorcize it, because going frogvoice half way through a circle isn't good. Bring some Cepecol, or what a singer / broadcaster told me long ago, use honey cough drops before you start, it will lubricate and keep the vocal chords open. <br />
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I also keep in there 2, 4 x 6" clear make up bags that zip open. One is various tuning wrenches, Remo lug, regular drum key, conga & bongo wrench, allen wrenches for the doumbeks, a few thimbles, and paint can openers for the washboard. <br />
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The other packet is my med-kit and first aid. Pretty much as you'd expect - the assorted band aids, (Some people simply will not take off a wedding ring, as nicely as you ask.) For them a band aid over it, or please play a doumbek. (Less likely to get damaged, and if so, only $20. )Some 3/4" cloth tape, assorted gauze, some 3 in 1 antibiotic cream, fold up scissors, some nu-skin, Motrin and Tylenol in sealed 2 packs (at most drug stores.) <br />
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Often other musicians that might show up need some white tape for a finger, or something else, and if you have it on hand, it shows you care about them. I also bring the foam ear plugs just in case someone is overly sensitive to the sound. I facilitate through the music mostly and volume is rarely an issue, but I work a lot with seniors and special needs groups - some are very sensitive to drumming even if the volume is kept under control. I've used them only a handful of times over the years, but it's made it possible for those few people to continue enjoying the experience rather than having to leave. I get the ear plugs in the plastic sealed 2 packs at most sporting goods, or drug stores. Just something nice to have for those who may happen to need it.<br />
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Sometimes we have to eat before we play, it's the way they want things scheduled for the event. Usually heartburn comes as side dish with that, so I bring Tums, Rolaids, Pepcid, and etc. Antibiotic hand wipes and/or liquid is a good idea also, we shake lots of hands before and after gigs, not to mention handling gear after the gig. Whatever other med things you might need, bring those. I don't want to suggest things like constipation, or other bodily function meds, but it happens. Better to be ready if you get some tummy problems.<br />
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The other thing I bring besides the honey cough drops is some ginseng. It works for me anyway, especially if you have a long gig like a school where they bring 6 classes in one after another. I take it an hour before the first downbeat. I need to keep my energy level up, and that helps me. I want the last group to get as much from me as the first group does. Things like sodas, spicy food, anything sour or caffeinated hurts more than it helps when it comes to keeping your voice, and energy level up. Anyway, whatever works for you, bring it. <br />
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I like the Remo "Slider" djembe strap. It's adjustable, and has clips on the ends so you can just leave it one you, and clip it on quickly without having to fumble around. But more importantly, it cris crosses on my back and distributes the weight evenly. That makes a long session much easier for me. The run about $20 and come in different colors in case you like to accessorize like I do. What we wear, and first impressions are important - be colorful and proud of your ethnicity. Maybe I've watched too much "Project Runway". I blame it on my wife.<br />
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It seems like I almost always get my injuries, cuts and bruises from loading and unloading my gear. It hardly ever happens from playing, just a stupid mistake bumping a car door or something like that.<br />
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Some of the items I keep in my gig bag are the LP Flex-a-tone, and blue Vibra-tone, it's a tuning fork sort of metal tube instrument that goes woo woo woo. Please love that one. I mention to try and find “moments” to play it, and not just constantly do so, or it looses it’s impact. People seem to love the Remo thunder drum the best, it’s always a hit. (The blue one there.) I have to ask them to please play it with care, as the spring is 36” long, and it’s very fragile. Please don’t step on it, it will break. As Christine says, “It adds spice”. So anyway, that’s my spice bag, or gig bag as I refer to it. It cost me about $45 – not bad actually. Gator makes it. It’s very functional, soft, and easy to carry – let alone pack in my vehicle. I can always manage to smush it into a crowded space somewhere. And space is at a premium with I’m also hauling 40 to 60 drums. <br />
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I used to use a trailer to haul my drums, but as the last 10 years have gone by, insurance has gone up so high I’ve downsized so it all fits inside the vehicle. It has to. It seems like in most states and with most insurance they cover the gear if it’s “Inside” the vehicle, (If it’s outside in a trailer it requires additional coverage, and more expensive insurance.) So for me, in my case anyway, everything has to fit inside the vehicle. That’s why I like the soft mold able gig bag, and plastic steamer trunk. They pack easy. I use lots of nesting items.<br />
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Anyway, I just wanted to share a little here, and I hope some of these hints and suggestions are helpful to you on your journeys of the drum.<br />
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Shannon Ratigan<br />
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drumcircles.net<br />
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Please consider picking up my "101 Drum Circle Rhythms" DVD (or Instant Video) on Amazon for around $15, or some of my live drum circle jam music on iTunes. The proceeds help me to continue working, and keep the drum circle finder website going.<br />
drumcircles.nethttp://www.blogger.com/profile/05856494181338188294noreply@blogger.com0Saint Louis, MO, USA38.6270025 -90.199404238.230193 -90.844851200000008 39.023812000000007 -89.5539572tag:blogger.com,1999:blog-9113701967098106880.post-61585174654442923692015-04-28T19:57:00.000-07:002015-04-28T19:57:17.939-07:00Wedding Drum Circles & Drum Circle Receptions<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIYkBL_aPaRJ27sc79FTYtJvoNNJAWKC2I0xopyPh77yBPPXir4NSpp2bis08hG6XtUEnqGxmDFZGBIFW7M4A86Paa3lw5eCE2w-KbfVPjkJCPOKR5exjhZ0NkdXR2yEW_RAEQby-UP2Y/s1600/drum+circle+wedding+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIYkBL_aPaRJ27sc79FTYtJvoNNJAWKC2I0xopyPh77yBPPXir4NSpp2bis08hG6XtUEnqGxmDFZGBIFW7M4A86Paa3lw5eCE2w-KbfVPjkJCPOKR5exjhZ0NkdXR2yEW_RAEQby-UP2Y/s320/drum+circle+wedding+3.jpg" /></a></div><br />
Wedding drum circles, and drum circle receptions are really quite romantic, and they’re very moving for me also. They are always different, but they all have one thing in common. Connection with the families, and romance. I’ve facilitated a few different kinds of them, some have themes such as Island, Latin American, Hawaiian, African, Mid-East, even retro hippie. (I have to admit the throw back clothes thing was kind of fun.)<br />
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With some couples, they want to have a drum circle during the reception. Some want it to happen outdoors, and even right out on the beach. I guess it’s wherever the couple wants to have it on their special day is cool, right? These are fun, and you are there when two people are making a lifelong commitment to be together, and helping them to celebrate it. Plus we are bringing them and the two different families together in rhythm. Many times the families don’t know each other. Creating and playing music together helps them to come together in a different way than just chit chat. They discover their musical selves.<br />
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I love wedding ceremony drum circles. In my world, a drum circle is celebratory and special just by its very fundamental nature.<br />
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It kind of makes it feel to me, and to the couple, that an ancient tradition is being honored and followed by having the tribal drumming involved. I mean it could also be a few Woodstock hippies who want a drum circle there. But the tribal feeling of it is so powerful. In other cultures, drumming at wedding is common, but here, I think it is still perceived as a little too hippy fad like. Some of us are working on improving that.<br />
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One time during a drumming wedding, I was asked to play a particular rhythm as the groom stood there. (It seemed like forever, the bride was late.) Then when she showed up I transitioned to a different rhythm, and played that as she walked up the isle. I stopped when they both are together at the altar. The idea was for each person to have their own rhythm, and once these two were married, the two rhythms would be merged, and played at the same time, signifying the union of the couple. (Obviously the drum rhythms need to fit together in the first place. Just use two rhythms in the same time signature.) Once they had announced Mr. and Mrs., I played the two parts of the rhythm together as they walked down the isle. It was really very beautiful. It was kind of romantic to see their rhythms, families, and souls all blend together. <br />
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At the reception, we had the real drum circle. It was the same kind of idea. The bride’s side of the family was on one side of the circle, and the groom’s was on the other. The groom’s rhythm starts first, and played for a few minutes. Then the bride’s side played the other rhythm. Then we merged the two rhythms and families together. <br />
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Special event drum circles always tend to peek with some spontaneous magical unexpected happening. All of a sudden the bride and groom bolted out together, and danced in to the center as we all played their rhythm. That came out of nowhere, and everyone loved it. I hope they are still married.<br />
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Now, obviously, most of the time the wedding planner, or the bride is the one to suggest particular ideas about the drumming and/or the drum circle. You might even have to go to a rehearsal. Some just want one at the end, so both families can do something fun together, rather than just wanting a band or DJ spin mp3’s. It’s a comfortable way to get to know new people. Musically, that is. I have to respect the planner’s wishes, and how they envision things to go. I can make suggestions, and that’s about it.<br />
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Another beautiful one was a wedding where the bride’s mother started dancing followed by the bridegroom’s father, until both sets of parents were dancing and then they invited the bride and the groom into the circle. They came in, a Conga line broke out going around the room. It was a Island them so it worked great.<br />
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I saw one where the elders began playing first for five minutes or so. Then the parents, five minutes later. Then the older teens, followed by the kids. It worked very well. I like that idea.<br />
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I often get hired to just drum alone as a part of the wedding ceremony, or facilitate a drum circle at the wedding reception. More often than not, they will just want a drum circle at the reception. I am not a big fan of drinking, and drumming either. (Friends don’t let friends drum drunk, but at wedding receptions all bets are off.) You can insist that no one drinks before the drumming, but I tend to let it go and let them have their fun. I add in a little extra cost for damage. Believe me, it happens. Charge a little more if you need to, for damage, etc. When people drink and drum, stuff gets broken. Doumbeks with synthetic heads are the best for these, that’s why I have many of them in my kit. They make real fine coasters too. My goatskin djembes stay at home for another day.<br />
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I make sure to bring only my most durable drums – congas, bongos Remo & Toca djembes and aluminum doumbeks. Nothing played with sticks, no goatskin heads.<br />
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But there is another side to this. This is just my opinion now. I have a little bit of an edge with these, because I’ve hosted drum circles at wedding receptions, and casual drinking establishments for many years. I’m used to dealing with people with various levels of intoxication. It does take some special skill and experience to deal with drunks.<br />
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One thing to consider is that it is their wedding, and if they want to get a buzz on and have a good time, drum, and party, I sometimes try to discourage it before the drumming, but usually it’s how they want it. After all, it is their special day, and they are paying a lot of money for all of this. It is not all that hard to manage. Just let them have fun, and the event will flow naturally. I use a set list of rhythms like a band gig, and modify it as we go. It gives me a base to work from. If the wedding is a theme they may want rhythms from a particular culture, so I adjust accordingly.<br />
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My experience is as far as the actual facilitating is, as always, less is more. As I mentioned before, I just get them playing and creating. I let people know right away that the support rhythm I am playing is just a starting point, and to add their voice to the group song and take it wherever they want. Explore the unique sounds you can make with your drum. Play whatever you want – just follow the beat. After a rhythm or two we have found the group dynamic, and it is pretty easy from there. Use some humor here and there if you can, you are after all, an entertainer. If something goes wrong, that means the couple’s marriage will last. (An old superstition I heard.) When I got married the minister mixed up our names up, and we still love and desire each other after 25 years, so maybe it’s true.<br />
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On a side note, another facilitator once called me “A Facilitainer”. It was supposed to be a derogatory term or something. I think that’s what many of us do, is facilitate entertainment. Then, years later, I saw them copying my style, approach to facilitaining, and even calling themselves facilitainers now. Happy I could be of service.<br />
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Mostly I like to leave the center open for dancing and facilitate from the side. Once they are feeling it, and they want to get in the center and dance, you have got them eating out of your hand for the rest of the night. Play danceable grooves and they will dance, odds are, that's what they want to do anyway. I check all the drum circle games, and call and response stuff at the door, unless it‘s really necessary. They are there to party, to make music, and have a good time, not get a drumming lesson.<br />
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Usually things are started with a warm up jam, a few pointers on hand technique, a note about volume, and away we go. I use the Heartbeat rhythm next. It helps them all find a good solid groove to then build on.<br />
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I always ask the bride and/or groom before the start, if they would like to do this:<br />
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Somewhere in the middle of the reception, or at the beginning, I start a rhythm out for the groom and his family for about 2 – 3 minutes. Something like the first half of Fanga, or a Middle Eastern belly dancing beat. The rhythm I suggest depends a lot on their cultural backgrounds, and the theme if there is one.<br />
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I end it after they have the hang of it, and next we do the other half of the rhythm for the bride, and her friends and family. (The second half of Fanga etc.) Let them dance and party, however long it’s grooving, etc. Then I end it, and go right into this:<br />
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To symbolize the bringing together of this new couple, and these two families, we bring the two parts of the rhythm together. I start them out playing the complete rhythm, and let them go to town on it. Things just roll on from there. Start out different rhythms and away we go.<br />
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Every wedding reception I have ever done, they have loved this one. The bride and groom danced with champagne in the center, and cherished every minute of it. The families join in when they want. I feel good seeing them all have a great time on their most special day of their lives. My only real concern is watching the drumming volume, and that is easily manageable. The drinking isn’t a problem, until maybe later on. And the drumming is hopefully over by then. But not always. Sometimes these things go late into the night. With this kind of thing I charge them for the day, because that’s usually what it is.<br />
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My fondest drum circle reception was a guy from the Ukraine. He met me at a weekly circle I was facilitating at a nightclub. He approached me with the idea of a drum circle at his reception. It was going to be big Russian wedding. The bride was Middle Eastern so they wanted Mid-East rhythms. This was out on a Florida beach in front of the hotel they were staying at. It went wonderfully, at the end we had an evening drum circle complete with fire fan dancing. We kind of freaked out the hotel staff. They had never seen anything quite like this before. But, they didn’t stop us either. After all, they were guests there, (like 100 of them.) and they hired the beachfront for their reception. It was a blast.<br />
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If the idea of a drum circle at a wedding, or drum circle receptions interests you, I think a wedding planner is the right one to approach about it. That’s who contacted me about doing many of them the first place. I’ve also facilitated a few where it was the bride or groom that wanted a drum circle at their reception, and they contacted me directly. I can’t wait to do the next one.<br />
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I hope some of this is helpful to you, and it gives you a few ideas if you plan on working with drum circle weddings or at drum circle receptions. Please keep in mind that these are just my opinions, and based on my experiences. <br />
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If you would like to read some more about my approach to hand drumming, and many of the various kinds of drum circles, please consider picking up my book, “A Practical Guide To Hand Drumming And Drum Circles” It’s 300 pages, $8 on Amazon Kindle or Nook. <br />
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Also, have plenty of fresh drum circle rhythms to try out, or jam along with on my hand drum rhythms DVD (or Amazon Instant Video) 101 Drum Circle Rhythms DVD($15)If you buy my DVD, I include a 70 minute drum circle jam CD free. Both discs for $17 shipped anywhere in the USA. $19 to all other countries. <br />
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If you choose to purchase something from me, thanks in advance for helping out an independent musician. The funds help me with the drum circle finder website, with drum repairs, and work in our community.<br />
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Shannon Ratigan<br />
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drumcircles.net<br />
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Copyright © Shannon Ratigan All Rights Reserved.<br />
drumcircles.nethttp://www.blogger.com/profile/05856494181338188294noreply@blogger.com0tag:blogger.com,1999:blog-9113701967098106880.post-89599841004505014602015-02-19T16:14:00.000-08:002024-01-13T10:52:36.985-08:00Drum Circle Day For Special Needs School Kids<div class="separator" style="clear: both; text-align: center;"><br /></div><br />
I had the opportunity to facilitate a series of drum circles for groups of children at a K – 9 school in Florissant about a week ago. It was a wonderful experience bringing the joy of making music to many of these children, and helping our community to heal a little bit. <br />
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The school is very diverse, the staff and kids from all different backgrounds and cultures. It was mostly special needs kids, and children with various developmental, and physical limitations. I was co-facilitating with a music therapist in what was being called, “drum circle day” for the faculty and all the kids in the school. After what happened near that community, we both wanted to do something positive, do a small part for these kids, and just help to rebuild a little. <br />
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The way they wanted it structured was like this: First, a drum circle for the teachers, and faculty at 8:20. Then one after another, 5 different groups of kids, 2 classes each, about 30 to 50 in each group, (The perfect amount, actually.) We had about 50 minutes with each group, one coming in pretty much right after the other. We went with the 2 concentric circles of chairs set up, with two yard wide entrances leading in.<br />
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The drum circles were held in the gym, not the most ideal place for drum circles, but if you find the spot with the least echo, it’s not too bad. I use the clap my hands loud test as soon as I enter the gym before setting up. I can find the sweet place with the least echo that way. Often, I can’t see it in advance, and usually it’s at the far end of the basketball court, centered, starting about 10 yards from the wall. So I asked that they set the chairs up there. <br />
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We set the circle about 20 feet across, so one side can hear the other, and you don’t get that disconnect, but still leaving room for self expression in the center. As we find our group dynamic, the hula hoops, and colorful scarves come out. I do move around the interior of the circle slowly a few times as I’m verbalizing the beginning of a rhythm, not making eye contact, as not to pressure them, but letting each of them see my hands up close so they can then figure out how they want to play. I do this for maybe 4 – 12 measures and play along as I verbalize it. Playing it nice and slow until we are getting that rhythm to lock in, and then I go back to my chair and fade out, or hold it steady, until it’s time to rumble end it, and move on to a new rhythm. I would do 2 rhythms, my partner would do 2, and we would take turns holding the downbeat steady for each other. It worked out great, because the kids could either play the support beat, and/or improvise. They could explore their drums during that 50 minutes, and find it’s unique different sounds and nuances. <br />
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There just isn’t enough time with each group to use up swapping instruments, or drum circle games, pie slices, or any of that. Just play baby. If there’s another drum circle day, we can get into other things, but for today we just make music.<br />
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I think it’s important to have a variety of drums representing different countries and cultures, as well as play rhythms from the kids. So we have congas, various doumbeks and djembes, some light bongos, and frame drums, plus a few things for those in wheelchairs, and/or with physical limitations so that they can still have fun and be a part of it. With a few exceptions, most of my kit is a wide variety of used drums I’ve bought over the years, most purchased one at a time. <br />
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Anyway, at the start, we positioned ourselves against the far side wall seats so we can see everything that’s going on, and who’s coming into the room as things are happening. Often times with multiple drum circles like this some come in late. A few kids, or a group will need to be transitioned in, sometimes during an ongoing rhythm. But more importantly, I position there so the bass note resonates more. It helps the kids (and adults) to easily hear, and feel the downbeat, and if they need it, that anchor is there to take any early pressure off them.<br />
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I like to make it a visually appealing sight when the kids enter the playing area, so I decorate it up a bit beforehand. It takes me longer, but it makes a difference if you have the time. The drums are colorful and inviting by themselves, but I have this huge 20 foot across and 8 foot tall pastel tapestry from India that has this amazing hand stitched embroidery all across the top foot of it. It’s some sort of silk mix fabric, and it drapes so beautifully. It sets a real nice mood, and a tone that this is going to be a fun experience. Maybe I’ve watched too much “Project Runway” with my wife, and some of it rubbed off on me. It does look like it came from “Mood”. Actually it was a yard sale treasure that I found a few years ago. It makes a beautiful colorful backdrop hanging up on the wall behind the drum circle, and just says, this is going to be fun.<br />
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So, we had one drum circle for the faculty, and then 5 drum circles after that. Very often with this type of thing, the groups are scheduled 5 – 10 minutes apart. Just barely enough time to re-set the chairs and drums, get a few sips of water, take a few breaths, and in comes the next group, it’s go time. Our strategy going in was to pre-set the drums in front of, or on top of each chair, have them single file in, get them all seated, play now, and talk later. We only had a limited amount of time (50 minutes) with each group, and we wanted them to have as much playing, fun, and self discovery time as possible. <br />
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The plan was a tried and true method. Get them quickly seated with a drum they like, and get a warm up jam going for 5 minutes or so, and end it with a big rumble. Usually it’s a basic rhythm like Boom sha la-ka, Boom sha la-ka, & etc. Or, the “We Will We Will Rock You”, Boom Boom tone or, a default drum circle rhythm: Boom Boom tone tone tone (rest) A lot of it depended on the vibe we got as they were getting seated.<br />
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The music therapist and I had never worked together before, so there was a little concern in the back of my mind. As luck would have it, our skill sets meshed together beautifully. Both of us prefer the organic approach to facilitating drum circles. In other words, the better the music sounds, the more fun it is, and the better it feels. No games, no waiting for the other side to play and then get a turn, none of that. Just get them playing a warm up rhythm quickly so the nerves, and the “what if’s” fade away. Then it’s easy to move on to the more interesting world rhythms. <br />
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With our first group, the faculty, we knew they all had a full day of teaching ahead of them and had to get them having fun quickly, so that’s what we did. But at the same time we wanted them to experience a shortened version of our curriculum. <br />
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Quick 15 second demonstration: Bass note is the elephant. Right and left hand tone are tiger, and the lion. After a Latin-ish warm up rhythm, we got into a Native American Heartbeat rhythm. They got such a good groove going on that, we went to a funky sort of Fanga, and then wrapped it up with belly dance Beledi. By then, they were pretty jazzed. We got a lot of fun packed into that 25 minutes. Rumbled and wrapped it, they left, and in came the first group of children.<br />
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Here was the breakdown for the day:<br />
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Schedule and Type of Groups<br />
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8:20-8:45: Staff Warm-Up Drum Circle<br />
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9:15: 26 Students + approximately 20 staff. The info given was that most of these students had Autism, and were lower functioning. The grade range: K-8. We were informed that a few would be able to follow start and stop directions, but most would have trouble sustaining attention and following directions. Most of the students were non-verbal. There was a lot of sensory issues with this group, including a few students who did not tolerate loud noise well.<br />
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So, we kept the volume down, and slow and steady. All the kids got into it really nicely. That warm up rhythm really sets the tone. Is this going to be a classroom type thing? Or, is this going to be fun? The music gave direction, they sensed and felt where the endings were, it was a breeze. The nice thing about verbalizing a rhythm is it can be processed faster. If I say, “Yum Yum, Tastes Like Chick-en” (2 bass notes, the rest tones.) I say it slowly maybe four times and play while I say it. Then drop the vocals and let it jam, possibly bring up the tempo if it’s sounding good. With Heartbeat, some of them fall of count and it goes into a Row Row Row Your Boat kind of jam, it still works, and they usually find their way back on time.<br />
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10:15: 27 students + approximately 17 staff. This was the lowest functioning group with 18 of the students in a wheelchair. Info given was that most of these students are mainly working on making wants and needs known. All are non-verbal, and loud noise may be disturbing to some.<br />
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Again, low volume. Kept the rhythms mostly soulful, spiritual, and grooving. They all found their places in it. With groups such as this during the warm up I start it very slow and steady, and keep it there for a few minutes longer until the groove was established. <br />
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A neurologist friend of mine explained to me that despite many of their individual challenges, that most kids like this are highly functioning individuals. They just live a few seconds in the past. So, a drum circle rhythm, even unfamiliar to them, being repeated over and over works perfectly.<br />
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So, when they are ready, they will begin to play and fall right into the groove. For that reason when the staff asked a few questions in advance, I asked them not to intervene if someone is not participating. They will when they are ready, and when they feel comfortable. “Not all who wander, are really lost”, is the case sometimes also.<br />
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With each of the groups, during those first crucial minutes of the warm up jam I say to the kids, “Play whenever you feel like you want to, okay? Play whatever you want, just follow the beat.” (Everybody usually chuckles.) The point is to get them out of their heads, overthinking, and just experiment and explore their drum, and the sounds it can make.”<br />
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11:15 Lunch – Thanks I’m starving at this point.<br />
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12:15: 28 students + approximately 13 staff. This was a mixed diagnosis group of slightly higher functioning, more verbal students with Autism, Intellectual Disability and Emotional Disturbance. There was one student in a wheelchair.<br />
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Despite some of the challenges, it was apparent that with each group after about 10 minutes they started to "get it" and get out of their heads. Then they could just play and have fun with it. It was the perfect example of self discovery teaching without actually teaching. The Yum Yum, Tastes Like Chicken rhythm, the I Like to Eat Chocolate Cake jam, Heartbeat, Fanga, and Beledi all seemed to go great with all the groups, we got the energy up, and we got them improvising, and sounding pretty good. The main thing was, they were making music, and having fun. With all these groups, 50 minutes went by like it was 15.<br />
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1:15: 21 students + approximately 9 staff. This was a mixed group of students with Autism, Emotional Disturbance, Other Health Impairment or Intellectual Disability. They were verbal and higher functioning than the previous group.<br />
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Everything was working nicely, so we stuck with the basic curriculum. I keep a 36” long back polymer steamer trunk filled with curious percussion items. I call it the drum circle treasure chest. I keep the lid open and have it off to the side. It has a large inviting “Drum Circle” sign on it, and it has nothing that is played with sticks. Lots of colorful fun things, maracas, shakers, tambourines, guiros, and so on. Somehow a stick always finds its way to a goatskin drumhead. These kids were all well behaved, but I have done events like this before and the treasure chest is there just in case.<br />
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2:15: 30 students + 12 staff. This was the highest functioning group of students with mostly an Emotional Disturbance, a few with Other Health Impairment or Autism. These students were verbal and are right at or slightly below grade level. This group went last so we could have more flexibility to go an hour or more.<br />
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And so we did. These kids took to jamming and improvising right away, and had a great time, especially playing Beledi near the end. A few of the teachers got on the hula hoops, got in the center and hooped it up. It was a beautiful thing connecting to the music like that. And it happened with each group.<br />
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3:15: Pack it up. Wait for the school buses to clear so we could load up all the drums, and haul them home. <br />
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We were very busy, but throughout the day with each group I could see their eyes light up, and the smiles come out as we played the various rhythms. With these kinds of all day drum circles you have to pace yourself so you have enough left for the last group. They deserve as much energy as the first group got. <br />
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We were both pretty worn out, but at the same time it was so gratifying knowing we are doing some good in our community, healing, inspiring to improvise, and building the self confidence in these kids, all the while having fun. <br />
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I hope this drum circle day catches on and more St. Louis area schools, (and others around the country) will give it a try. I've worked with various groups over the years, and for me, the area I really feel like I am doing the most good is with school kids. This was the kind of thing that inspired me to make music a part of my life, and it has helped me throughout it.<br />
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We brought the kids (and the teachers) a great music making experience, and it was a good time learning for them as well. We were honored to have the pleasure to do this. It was visionary thing for the school to try - just watch the short video and see the joy in their faces.<br />
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*Update from the school* 2/24/15<br />
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Dear Friends of Ackerman,<br />
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Jeanne Eichler and Shannon Ratigan, two drum circle facilitators from St. Louis, came to Ackerman on February 3rd to lead Drum Circle Day. Their goal was to promote school unity, empowerment, and stress relief through jam sessions where all students and staff could participate. Needless to say, Ackerman Drum Circle Day 2015 was a huge success!<br />
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Please follow this link to see a video with highlights from our big day!<br />
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https://vimeo.com/120082999<br />
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Special thanks to Janece Albers for coordinating this event and Anthony Volkman for the video highlights.<br />
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Please feel free to share our video. Our students and staff really enjoyed this day and we can't wait to do it again.<br />
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<b>More in depth Info - Special Needs Drum Circles & Drumming </b><br />
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I think it’s the most difficult, yet the most satisfying work I can do as a drum circle facilitator, host, or a drumming teacher, is special needs drum circles. Whether it’s with one child, a lot of children, or a group of adults with developmental disabilities. <br />
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Hand drumming reaches people on so many deep levels, and of course me as well. This kind of work touches me very deeply. Emotionally, it just tugs at my heart. And reaches me on such a deep personal level that I can’t even describe the feeling in words, and how much I am affected by it. Especially afterwards when I sort of debrief myself, and reflect on things for an hour or two after I’ve gotten home and unloaded all the drums, and etc.<br />
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I think about what they enjoyed the most, what worked well, what fell flat, and what I just learned from the session, and from them. Each time I come away with something new. Especially when I reflect on it at night, and even into the next day. When I am home, I have some time to realize some of the ways it has affected me. It really surprised me when I first worked with a group such as this how deeply I was touched by working with them, and how much they all benefited from it. That first time, I just went there to help everyone drum some, and have fun together at a holiday party. I came home profoundly affected. <br />
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For the most part I found all I needed to do fundamentally, is just start out rhythms like I usually do, and let the music go where it goes. Maybe add in a few fun things people can do just be spontaneous and have fun with. It is more of a challenge to facilitate though the music. I knew that with some conditions, you needed to speak slowly and clearly. To be very patient and give people a chance to work into the present time. The repetition of the drum beat rhythm allows that, even if their condition forces them to live five or ten seconds in the past, they can catch up. I noticed the social changes in the group positively improve as well. <br />
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Some administrators love the drum circle environment. They have told me that it’s rare for the parents and kids to have a fun activity they can do together. This is something they rarely get to do. Just to have some fun and improvise without worry and have a good time…together…and without it feeling a little uncomfortable. Because when you drum, even with physical, or mental conditions, all you think about is drumming. <br />
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I think the current politically correct term now is “special needs”, it was learning disabilities last year, some may even remember the term mental retardation. I don’t see disabilities in people. I see abilities. I feel it is wrong to try and categorize people like this. One administrator explained to me that most of the people in his group had an IQ of below 70, or problems with adapting, and/or socializing. The average IQ for a person is 100, measured by tests. Most of us have taken one at some time or another. The Wechsler test is one of them. <br />
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You just need to very patient, caring, and compassionate, while having fun. More often than not, you will need to modify your approach when working with special needs a little bit. Both with the drumming, and, more importantly, the rapport you build with them. I like to focus more on the individual relationships with each person. Because if they like you, and enjoy hanging out and drumming with you, that’s the goal I have in mind. We are just regular people having a good time. Having fun as a group, is my goal to help empower them.<br />
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If you are having fun, they can see it, feel it, and they begin to have fun also. You need to be able to hold the support beat solid for them sometimes. Especially, at a first drum circle session. Later on, you can lay back here and there. Even let someone else start out a beat, and support it. It may work, it may fall to pieces. If you have a fun personality, and something goes flat, you can just joke about it. “Oops, my fault. Let’s start a new rhythm out.”<br />
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One important thing to keep in mind as I mentioned earlier, explained to me by a neurologist was that almost all of the patients, regardless of their individual condition, one thing most all of them have in common, is that they are essentially normal, intelligent, highly functional people. They just live five, or ten seconds in the past. I didn’t know that.<br />
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This is why drumming can be so effective. The repetitive nature of a drum beat makes it easy, and comfortable for them to catch up, or find their place in the beat, and feel normal for a change. Verbal communication is the same. This is a little trickier obviously. You need to speak clearly, and slowly. I speak as little as possible with short sentences, and facilitate through the music more, because of this. I usually speak only at the beginning, or end of a musical piece. I always have my radar up for a non-verbal cue from someone. I do use hand and arm gestures to get everyone’s attention in the center of the circle if I need to for this. Slowing the tempo if it starts running away, or if it get gets too loud, etc. But I usually still facilitate from the edge of the circle, like I always do. We’re there to have fun and drum, not to talk. If I do need to explain something, I use photos, or speak very clearly, choose my words carefully, and talk just a tad slower than I normally would. Memory capacity can be more limited with some of these participants.<br />
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A few things I have learned, is just because someone may appear to be not having fun, or may have their head down, it does not necessarily mean they are not into it. Many people in these groups mask their feelings, so I need to be aware of that before I subtly try to address it with a cool percussion gadget from my gig bag. Bored, scared, joyful, digging it, a happy or sad expression, can be easily misinterpreted.<br />
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Sometimes a person will have a bored look on their face, but in reality they might be having a ball. I’ve seen this, and I can’t address it in front of the group because it might embarrass them. At the end of the circle this guy comes up to me and says, “I had a wonderful time, thanks for just letting me be me.” The next drum circle he did the same thing, but eventually the rhythms got him to play on his own. He played when he was ready to play.<br />
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I like to begin sometimes with a gong that I keep in my gig bag. It’s about 14 inches wide. I use a soft mallet, and walk around the interior of the circle and let a few, or sometimes each person bang the gong once, or twice if they don‘t get a good gong on it. (If they want to.) Usually it’s smiles from ear to ear every time. Very few have ever turned it down. It’s a fun way to begin, and develop a rapport with each person, and it gives you a chance to see their individual hand coordination a little bit. Try to think up fun ideas like that.<br />
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I find the simplest heartbeat rhythm seems to be a good way to begin the drumming, or the “We Will Rock You“ beat again. I start it out very slowly, hold it steady, and let them play whatever they want. Whatever feels natural to them. We will let the rhythm go wherever it feels it wants to go, just like at a regular drum circle. They may just want me to hold it slow and steady, or ramp it up and play fast and exciting. They may just want to enjoy a good sounding groove for awhile. You don’t know really, until you get there. <br />
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But you can prepare a little bit. You can sense what a group wants to do, after you have worked with these populations for a while. Especially, in a very short time, you can assess the group’s skill level. I just go with it. With the slower rhythms the time seems to just fly by, and I hardly ever get even half way through my set list. The amount of time becomes a non-issue to everyone, and they all keep happily busy. The most simple heartbeat rhythm will do this if played for more than 10 minutes at the same tempo and volume level. We play lots of other fun rhythms, and have many different endings for them. Anticipating the end of what a rhythm will be as you are playing it, is sometimes fun. So during almost every drum circle I’m at, I have 4 or 5 different endings I like to use during the drumming session. <br />
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I sometimes just say, “A great rhythm needs a great ending to it.” So then I will show whatever it is to them, (1 or 2 bars or so) then I ask to please do it with me a couple of times, like 6 times over so everyone has it. Then we just play a rhythm for 10 minutes or so and I count them down to do that big ending, that we planned in advance.<br />
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There is a traditional drum phrase break that signals an upcoming change or ending at a drum circle. That one works great, but is a bit more complex one. Bum Ba DumDum, Ba Dum Dum BaDa. (pause) Boom!<br />
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A Latin drum break works well also. Or make something up, as a nice ending to a good jam. <br />
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One cool ending I like to use with these groups also, is to have everyone play 9 equal up tempo tones, and then two big bass notes. Then repeat it like 10 times, and I count them down as we go. It looks like this: 4-3-2-1- ooooooooo B B, ooooooooo B B etc. Or try this one - five tones, then 3 bass notes. ooooo BBB, repeat.<br />
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When you feel the group has come to the ending, or attention span of a rhythm is ending, try slowing and quieting the rhythm down over a 30 second period…then play slower and slower, until the rhythm ends in super slow motion. Like the Six Million Dollar Man or something. Like one of those old vinyl records slowing down after you unplugged it. (Remember those?) A softer rumble after that is always good. <br />
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Obviously rumbles are always good. I like to let members of the group get to do the ending rumble. Usually it’s whoever raises their hand when I ask, “Who wants to end the rhythm?” Then they get a turn ending a rhythm. I have a magic wand I made up for that. It has colorful ribbons on it. They can wave it around and direct the volume, direction, etc. A couple of minutes is good on that one. Let each of them that want to direct rumbles so they each get a chance to do it. For some this is the first time they ever get to be a leader. It helps to empower them, and build self esteem. <br />
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I let them try out unique percussion items periodically, by pulling them out, demonstrating how they work, and asking between jams, “Who would like to try this one out?” I just let them have fun. But I do go in with a prepared set list program. Which is usually changed all around depending on the group vibe I’m feeling. You can tell if a particular rhythm is working, or not feeling right. So can they. I laugh it off and we start another one.<br />
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You don’t even need to show people what a rumble is, when they have a drum in their lap. They can figure it out instinctively when you do it, and telegraph it a little at the end of a rhythm. That’s part of the fun. Figuring things out on your own. It gives you a better feeling of self accomplishment, and it helps to empower them. <br />
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Everything for them is focused on their disability, and that has to get very frustrating for them, so they can use something for an outlet. A drum circle is a fun way that they can express their feelings, that will build their confidence. A drum circle? You should see their eyes light up.<br />
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But back to rumbles. Sometimes to teach a rumble easily to everyone, I say ok here are two rules. If I put my hands in the air you can play as fast and as loud as you like. When my hands come down you stop. Then I show them a lot of variations they can try, and mention it is ok if you think up your own ways to direct the rumble endings.<br />
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It’s nice if you can speak to administrators first and ask them questions about their vision, and how they would like things to go. It isn’t always possible. Do they want to seat everyone, or start exactly at a given time? What are some of the medical conditions? Are there any in wheelchairs? (Frame drums or tambourines, shakers and bells seem to work well for them.) What is it they hope to see, achieve? Are there potentially any people that might need extra attention, or need the assistance of the staff? Some of these facilities only have one recreation director, and there is no extra staff available. How large is the playing area? How far from it can I park my vehicle to unload it and then go park? Can they pre-set the chairs for me? All important things to know if possible.<br />
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I research the mission statement; get an idea of who they are from their website always first thing, just like with any other group I work with. Sometimes that is all the information I’ve had to go on. It happens. <br />
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I try to brief the staff before the start about them intervening. I ask them to let me do the crowd control. Do please join in as yourself and please don't try to show anyone how to do it, or what to do with it. I get this sometimes, with staff who mean well. But please don’t. The reason is, they sometimes get in there and want to demonstrate to a person how to do this or that. That’s not good. It embarrasses them, or worse. <br />
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At one special needs group gig, I didn’t know anybody there, and had no access to talk to the staff beforehand. All of a sudden people are arriving in droves. Parents, family, and patients all mixed in together. To be honest, a few people I could recognize had certain conditions, but I really had no idea who was a patient, and who were family members? What should I do with this one? So I had to toss my list right out, and improvise. Sometimes that is the most fun - improvising. Just play or do whatever feels right at the time. Rarely do I end up doing what I planned the night before. And I try not being afraid to do something I might feel is risky. I wear a samba whistle just in case, and demonstrate it in the beginning, to imprint the meaning of it in case things go chaotic at a later part. But I usually don’t need it. (Unless I forget to bring it of course.)<br />
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The drum circle went great and everyone loved it. The patients got to interact with their family members, and do something fun and positive together. This is pretty rare for some families with special needs family members. Later the staff told me they had three patients that have never even left the housing building before, for any activities. Period. The staff said they watched them looking out the window for awhile and saw everyone else drumming and having a good ol’ time, and came out and joined in. They told me how remarkable that was. That feels pretty good, that the drum circle coaxed them to come out and play. <br />
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It’s been my experience these types of groups become more involved and want to participate, when the drum rhythm changes their perceptions enough that they pay more attention to what is going on, and they even want more.<br />
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At another special needs gig, the patients and the staff got a kick out of it. They were stunned that I managed to get everyone to participate without even saying anything, other than, “ 1-2-3-Lets Play!” When I booked the job, the staff again said to me, only a few of our people will want to do this. I thought, ok this has happened before. Same deal, they all participated because it was fun. It was something a little bit different than group bowling. The director wrote me afterward, that since the drumming program, there has been a tremendous benefit from it. The drum circle gave them a new outlet that they never had before. It gets them thinking, experimenting, and making music, which is great! Now they have a regular weekly drumming program.<br />
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Most of the mission statements seem to be something like to integrate people back into society. A drum circle is the perfect vehicle for that. After we had worked together every couple of weeks for 6 months, one group of special needs adults all became comfortable drumming, and being around me. So I offered to the staff to bring them out to an indoor public venue, with a little more manageable open drum circle, that I was hosting.<br />
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It was better than I could have imagined. They just blended in beautifully, and few even knew they were special needs patients. All they want to do is have fun, and not be treated or feel treated “special”. They just want to be treated like one of the guys. Just one of the group. Not special. The staff told me that their only recreational outings were always things like bowling, and that they would always go with only other special needs patients in a “closed to the public” setting. So the drum circle was perfect. I’ve been bringing this group to open community functions to drum for a long time, and both the staff and I have seen remarkable improvements in all kinds of areas. Here they are, musically, socially, physically, interacting with the public.<br />
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The guiding of this particular special needs group in our community led to a two hour performance on a big stage in front of 100's of people, where they were wildly applauded, appreciated, and sounded great. It was a proud moment for them, and for me. I believe that real personal growth comes from the inner expression of each individual, and their self discovery. And the real beauty with hand drumming is that with almost all special needs conditions, is the repetition of the rhythms. We do them over and over, so if they get lost, or feel lost, that safety net of the foundational beat is there for them to rely on, or fall back on if they need it. Even if they do live five, or ten seconds in the past, they do eventually pick it up, or find it, and sound great. The repetition is what does it. It is such a feeling of accomplishment to witness this in so many people. <br />
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Many of you already know this, but there is something called entrainment (not entertainment) that can happen to one individual or to an entire group. This occurs when the brain synchronizes to an external stimulus, such as the drum beat. This can be very therapeutic and, while it can happen to anyone or any group, it has a much more significant impact on those with special needs.<br />
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A few different medical doctors have explained to me that with most conditions, like Down Syndrome patients for example, they do indeed live a few seconds, to a few minutes in the past. So I just need to allow time for them to catch up. Imagine if you lived a few seconds in the past, and just couldn’t process information that quickly. You need to talk slowly and clearly in short sentences. Start rhythms out nice and slow and hold them there until everyone has it locked in. Pace things out a bit more.<br />
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Sometimes I run into a person that simply can’t hold still. They seem to need to bang, or fidget constantly. It’s a challenge keeping them focused. Until they experience some sort of entrainment. For purposes of this post, a definition of entrainment is basically when the person’s brainwaves get into a pattern of synchronization with an external beat. This helps the brain synchronize internally as well. It can be very therapeutic. A staff member explained this to me. Getting them to that point of entrainment is most of my goal. Once they are in there, I can almost just sit on the side and jam with them. It almost always takes 5 or 10 minutes to do it. And sometimes it feels like it was an hour. But it was only 5 minutes.<br />
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Hula hoops work great with some groups, or a ribbon or scarf so they can get in the center if they want to and wave it around in the breeze as they move or dance around to the beat. You can try giving away little 99 cent store goodies to entice people to hoop in the center for two minutes. It works every time. Just ask them to be mindful of the people around them. I like to keep the center of the drum circle as big as I can without hurting the musical connection from one side to the other.<br />
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Laying out the 2 towels or yoga mats in the center so they can feel the beat of the drum rhythms, way into their bodies works great. I don’t need to tell people about the healing power of the drum when they try that. They can feel it in their bones. It’s very powerful. Try it for yourself if you never have. Lie down on your back in the center of a drum circle and then close your eyes for one minute while everyone is playing a rhythm. <br />
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Both are great ideas for almost any drum circle group, and I use them both all the time.<br />
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There are so many different developmental disabilities; I can’t get too much into it. That’s why the input from the staff members is so useful. I have no medical degrees, and I’m not a healer, (although sometimes it happens by default.) I’m not there to treat them. I’m just there to help them have a little fun. Sometimes I have no idea who has what condition. That’s just the way it is. I always learn something new when working with these groups. And just like that, I become a healer by default. They teach me things I never dreamed of, it never ceases to amaze me. <br />
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I had to experiment some with ideas, ask the advice of staff, doctors, and others. Here’s some of what I’ve found out and learned. Again, I try to treat them like normal people. The worst thing to do is treat them or talk to them like they are handicapped. Would you like that? I wouldn’t. The staff usually tells me if there are any concerns to be aware of. I may need to enunciate a bit more, talk a little clearer and slower but that’s about it.<br />
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Many of them are very sensitive to pressure. I encourage them to join in when they feel comfortable. That way they can join in with no pressure, on their own. I do have to do a bit more leading and starting out the rhythms. The support beat thing. The comfort of the bottom beat is there for them until they can hold it on their own.<br />
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Their attention span, and loud noise are an issue. I deal with this by keeping the volume lower, and by giving them lots of choices of percussion instruments to play. I lay them down right next to them, or on the floor in front of them, or my percussion treasure chest off to the side of the room. Just a pile of goodies to play, and experiment with. They usually end up liking one of them. Most of them don't want you pushing an instrument in their face, to get them to play this, or that particular one. I just smile and with an offering facial expression, lay it down near them. If they like it and want it, they will pick it up when the drum beat gets going. I just need to keep in mind of the volume. <br />
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I see shy people become less shy. I see people who play it safe, begin to take risks. I see people who have nothing else in common, becoming deeply connected with one another on a non-verbal level. I know there is something very good going on in these drum circles.<br />
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Here are a few ideas and thoughts, on a couple of particular conditions. Again, I’m a musician, not a medical expert. Most of this is from my experiences, and/or the staff advising me over the years.<br />
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Attention Deficit Disorder<br />
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With attention deficit disorder I usually just put a variety of percussion items by them so they can choose and try out all different kinds of things to keep them busy and occupied. I just give them lots of choices and let them pick. It almost always works, it just creates more of a mess to clean up. Who cares? Part of the job. Keep the volume down.<br />
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Cerebral Palsy<br />
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Many I see are in wheel chairs, but, other than that, they can function just fine. I have a couple of good friends with this condition so I know a little bit about it from experience drumming with them. They told me the drums they preferred. It was Bongos, because the weak hand doesn’t have to work so hard, they can just tap with it, until they strengthen it up a little more. They can set them on their lap, or a chair or table in front of them. It’s important to remember that most of these people with many of these various conditions, are highly intelligent, still very functional, and can be very musical human beings. The ones I have become closer friends with tell me they just want to be treated as regular people. When that happens, it’s easier for them to open up socially, even in a in a public setting, such as a public drum circle. Sometimes it takes a few weeks, don’t expect to see vast improvement in one drum circle. Overcoming the stigma from the general public is usually the problem, not them. <br />
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The lighter weight polymer shell Djembes and Bongos with synthetic heads work the best. Anything like those big 10 pound Bongos get a bit heavy just sitting on your legs for long periods of time. Even for one friend I have who has no feeling in his legs. He has somewhat limited movement in one hand. But he loves playing the Bongos, and plays them quite well now. I’m so impressed how he has improved in motor function, finger movements, and musically. He went from just sort of flopping his hands down to keeping good time, and playing entire rhythms perfectly in about six months. Frame drums and tambourines work real well for some people also. Especially if they have only the ability to just tap their fingers a little. They can lay it on their lap, and tap away, and be an important part of the group. Just part of the gang.<br />
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Down Syndrome & Autism<br />
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I’m no expert on these conditions, and have no medical degree as a music therapist, but I have worked with a lot of people with both before. Apparently the distinction is, drumming therapy - you need a degree to do that. Therapeutic drumming - no degree needed. That’s me. I've seen a few music therapists that were wonderful, and others who didn’t seem to establish a good rapport with people and they weren’t very empathetic or intuitive with their patients. On the other hand, I have also seen some beginner drum circle facilitators who are born with the gift of intuition and people skills, who leave a session with each individual feeling a sense of real accomplishment.<br />
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Usually those with Down Syndrome they are open and enthusiastic. That's all you really need. It doesn't hurt to have a few of the percussion toys around them, so they have some choices. While some of them will be able to follow a simple rhythm, several will not be able to. They want to do their "own thing", and that's okay too. But with children, volume is a serious consideration, before the short attention span. Loud noise can be a real problem, so you have to constantly monitor the volume.<br />
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Many drum circles begin with Total Chaos. Man, it happens almost every time at the beginning. It kind of freaked me out, early on, when I started working with special needs groups. I just let it go for a few minutes if I feel it needs to. Then it always comes together. It takes a while to have the confidence that it will happen, because it feels like it never will unless I intervene. But I rarely ever need to. The group feels like they corrected it. And guess what? They did. I don't try to correct or modify what they are doing even if it is a train wreck. I had to learn to trust myself it would come together. I feel it was a success if all of them are actively participating in some kind of drumming. No matter how chaotic, offbeat, or bad it may seem to me. And because they corrected it themselves, it has a much strong empowerment effect. Eventually, they end up sounding good, and that feels good. For them and for me.<br />
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Sometimes it may seem they may not appear to be enjoying it. You might think you perceive it in someone’s face. Most always all of them are, especially if they're doing it of their own choice. Some like to just sit and take it all in for a little while. Just play on.<br />
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I often tell them how great they sound and how well they are doing with lots of smiles. I just don’t over do it so it becomes obvious or soupy. These groups thrive on approval, appreciation, accomplishment, and acceptance. I try to give them lots of positive acknowledgement. <br />
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If I do get a particular person that is so disruptive to the rest of the group, and I have no staff to assist me. I always bring along a small paint set, and offer to let them paint the music for us. Usually there is staff present if anyone really does get disruptive, but it’s pretty rare.<br />
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A craft project of some sort is another good idea. I bring a few of those big vitamin bottles and ask them make shakers for me. “I need a couple of shakers made, can you help me make one and decorate it up?” It worked great. Now, the staff saves the empty bottles for me when I come to drum with them. I bring some shaker materials, like popcorn, beads, and macaroni. Colorful things work the best. One time a guy spent the entire hour and a half sorting just the right colors to put in the shaker. It left the group to make some music, yet he was still involved. I had colored tape for him to decorate it up with. When it was done he was so proud of it, he played along with us near the end. Be sure to ask the staff if they can keep it.<br />
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Here’s another idea, speaking of painting art. Have them do a painting, or create a mural, painting the music. Almost a music appreciation thing, or a "how does music make me feel" painting. I get a big pad of paper, like you might put on an artist’s easel. I always bring a few big sheets of paper, sometimes a big artist’s pad. We try using different mediums, markers, water colors, crayons, or pastels.<br />
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They can either paint their own, or do a group painting. Sometimes I will ask who wants to drum, and who wants to paint the music. Mostly I will get half the group painting a mural, and the other half playing the drums. Then switch it up later, so they all get a turn at both the drumming, and the mural. I ask them to express their feelings in art as they listen to the music. Some get displayed in the facilities to this day.<br />
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Sometimes when working with special needs kids, many are scared of noise, I learned from a staff member to get them in there early, and let them explore the drums a little on their own. (And the percussion items.) In many cases, when they're in charge of the noise, they're happy to make it loud. I sometimes have a dancing rhythm going when they enter the room, and do the egg shaker on each chair thing. <br />
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We play a rhythm together and they can move around or whatever. It gives them a sense of making music before the drumming starts. For the first time with a group, I don't expect much of a groove, but be ready for it, because it happens if you anchor it for them with a nice support rhythm. It is important to have stuff that can be played with one hand. I have this basket of fruit shaped shakers I use a lot with them. Expect to spend a little time finding the right instrument for each person, and let them choose something different later on. Make it fun, ands interesting for them.<br />
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Some have physical limitations, so I bring buffalo drums, frame drums, drums they can lay on their laps and play. I try to avoid things played with sticks or mallets, because some will just start bashing them wildly, disrupting the rhythm of everyone else, and possibly put one through a drum head or injure someone. I keep them stashed away and use them sparingly. I bring a few Djembe stands or taller drums to accommodate those who might need one. Even those who you may think can only bash away, will get the repetition of a drum rhythm, and catch on eventually. It’s a good idea to have some soft beaters for those who can't use their hands very well. <br />
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Make sure that your kit is safe. No sharp edge drums like on some Darbukas etc. Think of your players as vulnerable children with the size and power of adults. Avoid taking anything fragile. The first drum circle with a special needs group can be very challenging. Expect some total chaos to happen. It gets a lot easier the second time. In my experience some of these people have problems judging how hard to strike a body drum, and could hurt their hands by playing it too hard. Show them a few pointers on good hand technique, and how to get a some of the various sounds from their drum after the warm up jam.<br />
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As I said, loud noise is my biggest concern. The healthy noise limit is about 85 decibels (Db.) I think that is the legal safety limit as well. That’s what the cop said when he broke up a public drum circle in a park. (This wasn’t a special needs group.) He had his little decibel meter, and showed me the reading on it. We were up in the 120 Db. range. The neighbors called them on us. Actually, he was pretty cool about it. As a radio operator I’m familiar with decibels of gain, etc. but I researched this a little, and here’s what I found. A normal conversation is about 60 Db, up to the threshold of discomfort, that is the 120 Db range. <br />
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A bunch of people drumming together indoors can easily reach into the 115 to 120 Db range. About 150 Db, is the pain threshold. You can get a decibel meter relatively inexpensively. I think Maplin makes one. Keeping the volume level down takes some skill, and experience to pull it off. But it is possible. And this is even more important when dealing with special needs people.<br />
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Create a volume down signal, or just start to play your drum quieter, more often than not, they will be there right with you. It works just great. And as an added bonus, the participants get to hear each other. But if you use it too much it can have a negative effect. It’s something to keep in mind, some of the beginners get way into it, and are often getting their issues out.<br />
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Here’s some advice from a friend of mine. When he does big gigs with 100 people, the Db level can be huge. So he brings enough cheap earplugs to go around. As far as I know, if you warn them, and offer protection, you've done your job. I keep a few dozen of them in my gig bag.<br />
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A few final thoughts. This new atmosphere of spontaneous drumming can be overwhelming to some people. The one thing I don’t want to do is have people feel threatened, scared, overwhelmed, or lost. Trying to do complicated rhythms, or “sculpting” can do that. Lots of positive comments from you during the drum circle helps a lot. “Hey, we sounded great on that one didn’t we?” Smile a lot, thumbs up! If they are there, they are participating. Starting some spontaneous applause after a jam goes a long way. If someone expresses themselves in the center, when the jam ends ask everyone to give them some applause. I do it, and they will with you. It takes some courage to get in there and hula hoop, or even wave a ribbon to the beat.<br />
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A few things I bring besides my earplugs in my gig bag, are some padded tape, first aid, hand creams, anti-bacterial wipes, etc. for anyone who just might ask. It’s also a good idea to familiarize yourself with epilepsy, in case someone has a seizure. It’s the staff’s responsibility, but you should know what’s going on. It’s nice if you can speak with the staff beforehand about any possible issues, but as I mentioned, that’s not always possible. So I need to see, and be ready for anything. <br />
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Remember to try and speak with the staff afterwards for some feedback. And at the next time you are there. (Hopefully) Or, leave them a feedback form to fill out, with a self addressed envelope and a stamp on it. I gathered a lot of useful information with a simple feedback form. The medical staff knows a lot more than I do about medical conditions. <br />
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Another idea along that line, (especially with kids) is to ask them to have everyone fill out comment cards later on about the drum circle. How did the drum circle make you feel? What was your favorite part of the drum circle? Etc.<br />
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Remember there are heavy restrictions on photography in most cases, so be sure to ask if you want to take video or photos. Sometimes the school will make one and you can ask to share that.<br />
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If the group takes a break for lemonade or something, make sure they don’t come back to the drumming area before they are all finished. Goatskin drum heads still make terrible placemats and coasters. <br />
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Ultimately, I just want to let people play. We drum up some fun. Let your personality out, and with your calm and reassuring manner, watch the volume, and they will quickly enjoy playing together, and connecting with you. <br />
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I hope some of this is helpful to you, and it gives you a few ideas working with special needs individuals and groups – young or adult. Please keep in mind that these are just my opinions, and based on my experiences. <br />
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If you would like to read some more about my approach to drum circles, please consider picking up my 101 drum circle rhythms DVD ($15) and/or book, “A Practical Guide To Hand Drumming And Drum Circles” It’s 300 pages, and $8 on Amazon Kindle or Nook. <br />
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If you choose to purchase something from me, thanks in advance for helping an independent musician. The funds help me with the website, drum repairs, and doing work in our community. <br />
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Keep on Drumming! Keep them Drumming!<br />
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Shannon Ratigan - Drumcircles.net<br />
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Copyright © Shannon Ratigan All Rights Reserved.drumcircles.nethttp://www.blogger.com/profile/05856494181338188294noreply@blogger.com0Saint Louis, MO, USA38.6270025 -90.199404238.230193 -90.844851200000008 39.023812000000007 -89.5539572tag:blogger.com,1999:blog-9113701967098106880.post-59798966011186823532015-01-07T12:07:00.002-08:002015-01-07T13:52:04.232-08:00My Thoughts on Buying a First Djembe Drum<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixce-E_4g6O91_9XUNu-RJzJvpP6C3N87fiytq6So42wNRVXq0IKmPnB9trAbc3jjlOetbZhXxIfmbxywiT4V6bjcepLa4pS3Trz1aJC-rQYU0JB-asOflMVagDDtz147n75mAme2ey_c/s1600/remo12.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixce-E_4g6O91_9XUNu-RJzJvpP6C3N87fiytq6So42wNRVXq0IKmPnB9trAbc3jjlOetbZhXxIfmbxywiT4V6bjcepLa4pS3Trz1aJC-rQYU0JB-asOflMVagDDtz147n75mAme2ey_c/s320/remo12.JPG" /></a></div><br />
The short answer in my opinion is something like a Remo or Toca djembe with a 12” playable head size. Here's an older Remo of mine. I don't endorse any drum manufacturers or companies, so I can be straight up with you and share what I think. Plus they have all rejected me already anyway. I can also mention the places I have bought mine from with an unbiased position.<br />
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Picking a drum is an important choice, and the following is just my point of view. Finding the one that’s best for your hands, your body, and your soul. One that really “speaks” to you, and has the sound and range you can really enjoy playing. I started out getting the wrong ones for me and ended up constantly upgrading over the years. So I think its best to buy up in quality as much as possible, so you can grow into it. But, hey money’s tight right now, and if you only have a 100 bucks or two, here’s what I suggest. <br />
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If you’re on a budget, I think a Toca or a Remo 12" or 14" head djembe is a good head size for a first drum, and not too expensive. They both have pretty good resale value. It’s best to see what size you like, and what fits you best first. I think the best thing to do is go to your local music store like Sam Ash or Guitar Center, then and try a few drums and different brands out. Most all the big chain stores have impressive world percussion selections now to choose from now. Talk with the drum guy, ask him to show you around, and try a few out. Then you have a better idea what feels right and talks to you. I think it’s important to support local business in your community, especially the smaller ones, so check them out if you can also. <br />
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I usually suggest something like a 12” Remo for a first djembe drum to a friend, or if somebody asks me at the drum circle, etc. A 12" head gives you plenty of range and isn't too big or too small. The last time I checked they ran about $200 new. As I mentioned, go to a music store and try playing one, or ask to try one at your local drum circle. If you get a chance, talk with a few other drummers while you are there. The drum Remo and Toca brands are pretty easy to spot with the big logos on them. They have synthetic drum shells, and synthetic heads, most are lug tunable, so they need little maintenance unlike traditional rope tied goatskin drums. Plus they can take a serious beating, and they hold up real well in the humidity, as well as in the cold. Often times I have to move from outside heat, to indoor Air conditioning, and can do re-tunes real fast. I had this beautiful traditional wood carved goatskin head drum that was tuned a little bit too tight, and when I went into the A/C it just popped. Talk about ruining your day! <br />
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Anyway, the lug tunes Remo and Toca have pretty good resale value if you end up needing to sell it. I think they are made from all recycled materials, so that's cool. I use one as a beater drum for the beach, it works great, and sounds halfway decent to me even out on the sand.<br />
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For a little less cash you can go with a lug tuned Toca “Freestyle” djembe. A little bit lighter drum shell, (It’s a PVC material) and it has a goatskin drum head on it, which I prefer over the synthetic heads. So while it is less durable, it doesn’t have that Remo twang sound, and is more responsive to me. Plus my hands tend to hurt less on goatskin as opposed to synthetic if I get to jamming at a drum circle for a few hours on it. And believe me, that is easy to do. Now they have either goatskin or synthetic. Try them both out. Goatskin sounds better, synthetic lasts longer.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibdTOHPKC5Uq6anafTASZP5FpZOoqFsDpfbCI8aGXIFVEHb4CLBesBRNECloSJnk67SxqyeQ1VxxF-qtzCoKW_phtg6DrlUn8ouGqVLV6xklYI4Tpx3teZcipt4HvnzDZCBaU6nBR6Idk/s1600/remo+doumbek.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibdTOHPKC5Uq6anafTASZP5FpZOoqFsDpfbCI8aGXIFVEHb4CLBesBRNECloSJnk67SxqyeQ1VxxF-qtzCoKW_phtg6DrlUn8ouGqVLV6xklYI4Tpx3teZcipt4HvnzDZCBaU6nBR6Idk/s320/remo+doumbek.jpg" /></a></div><br />
Here's one of my older Remo Doumbeks, they don't make this style anymore unfortunately, a shame, b/c it was a beautiful sounding traveling drum for it's size.<br />
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If you’re short on dough, once you figure out what brand you want, (Toca, Meinl, Pearl, Remo, etc), you pretty much know what you’re going to get with one of those, so buying one used isn’t really that big of a deal. I’ve bought a lot of them at places like Ebay and Craig’s. If you are patient, you can get one for a lot less than retail. Not bad.<br />
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For a wood shell djembe with a goatskin head, a decent one can easily run over $400. Some of them are matched by nothing else in sound and quality in the world, and have gorgeous hand carved art on them. The hand carved wood shell goatskin head djembes sound the best, but despite their weight, are also more fragile, and also more expensive. One thing about buying an "authentic" African djembe online is there are a lot of knock offs being sold out there as one. Many of them are mahogany from Indonesia. Now the last time I checked the djembe is not indigenous to Indonesia. So do some research if you want a real ivory Coast drum. Got to tell you though, nothing sounds quite like one once you play it.<br />
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With this style of rope tuned drum, you need to learn how to tie the Mali weave knots in order to keep it in tune. Or have a good friend, or pay somebody. There is a lot of cost if your drum head splits. Most of the expense is the time and labor involved. The problem with goatskin is that the pitch changes when you go outdoors. The wood can split over time also. Most all the high quality djembes are rope tuned. I prefer lug tuned goatskin in the Florida humidity. The Latin Percussion Classic or Giovanni djembe is my drum of choice for gigs or performances. To me it brings together the best of both worlds in a functional way. But nothing sounds quite like a real authentic Ivory Coast djembe. But in my opinion, it's just something you need to work your way up to.<br />
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As far as buying new drums, I buy a lot from music123.com They also have an outlet store with some pretty good deals, but they come and go fast. I’ve bought quite a few from them in the past because they would usually match the lowest online price I could find, and they also shipped free if I spent over $100. musiciansfriend.com did that for me a few times also. I don’t know if their policy has changed or not. My experiences with both companies has been very positive, customer service and everything. Even Guitar Center will bargain with you now and match prices if you're a good negotiator. The online retail drum world is very competitive now, so many of them will negotiate with you. I always call them and talk to a sales person, sometimes get a percentage off. Visit their sites, and get on their email list. Most send out monthly discounts, shop around for the lowest price on the drum(s) you want online, save the link, then call them up, and negotiate. I do that especially if I am buying a few drums.<br />
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Please feel free to ask me any questions, I’m always happy to share my experience, and help a fellow musician or artist. As to the what size djembe head size thing, I've come to prefer the 12" (playable size) because it has good range, decent bass, but yet still has the crisp tones I want. It isn't quite so bulky and heavy either. If I get into playing for hours, even with a Slider djembe strap, my back starts to ache. To me, the 14" is a little too much bass and reduced tone, and the 10" is the opposite. Most of the time, I like to stand and play, so that my body is straight and energy can flow smoothly through me. If I’m sitting I feel scrunched up. I think Remo makes the Slider djembe strap. It’s a Cris-cross clip on strap that distributes the weight evenly across my back, and it just clips right on the drum. I swear by those. So does my back.<br />
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I've bought and then ended up selling a number of djembe styles and brands over the years, and ended up very happy with the Latin Percussion Giovanni. There is also the LP Classic, but for the price difference, the Gio is only a little bit more money. Plus it looks and sounds just plain beautiful. I love the fact that I can still get the responsiveness of goatskin, and tune it up quickly with a few twists of the wrench. Some have sneered at me for playing a lug tuned djembe, but I'm up and playing while they are on the ground struggling to tie knots and tune up their drum. Plus here in FL the humidity is a problem and drums need tuning indoors or out. I went to lug tunable for most of my djembes for that reason. I like doumbeks because of that also. But if you do end up going with a rope tuned djembe, I do have djembe tuning instructions with photos (pdf.file) on my website. drumcircles.net<br />
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So about that synthetic Remo ping sound. Some like it, some don’t. It drives me nuts. Recording sessions, even worse. But for the price, I think it’s a very durable, and a decent sounding drum. One quick fix for the ringing sound is to get some of that blue painter’s tape and stick it under the drum head, Get like a 12” piece, and stick the middle part of it together, kind of like this, “\/” so a 4 inch tail is hanging underneath the drum head in the center. That absorbs it a little, and takes that sound you might hear down a notch.<br />
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So is the Latin Percussion or Meinl Floatune lug tuned high priced djembe worth the cost? To me absolutely. A good quality djembe will last you forever if you take care of it, and you can pass it on to your kids. I’ve seen the high end LP’s and Meinl’s used now and then for around $300 on Ebay. I own the Meinl model also by the way, it pretty much sounds close to the same to me, and weighs a bit less as the shell is synthetic, (but not the drum head). I just love the Giovanni a little bit more. <br />
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I suggest to stay away from the low end entry level Latin Percussion (or any other brand) djembe. They just don't sound that good or have any range. I forgot what they call it now, it was the CP model for many years, and many of us would joke it stood for Cheap Percussion.) Now it's the aspire or something newer now. As I'm sure you know, with the big name brands, you get what you pay for. I got my Giovanni new at music123.com They did match the lowest online price I could find, and took $10 off that. They shipped it free also, so I was pretty happy. I got mine for around $400. Once you play one of those djembes, it’s over, you have to have it imho. I love the Meinl Floatune also because to me it is very similar in sound and quality, yet it has a fiberglass body, so obviously it weighs a bit less than the LP wood shell. I've had both for over 20 years, replaced the head only once, so yeah it was worth the price. (Didn't feel like it at the time!)<br />
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There are tons of online retailers that claim to sell “authentic” African roped djembes. Honestly, with a drum like that, I need to see it, play it, and hear how it sounds before I buy it.<br />
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I've heard many things about using lotions on djembe and conga heads. Shea butter, various lotions, oils, tonics, and lots of other stuff. Most all my friends over the years whose experience I really respect say to use nothing at all. Just the natural oils that come from playing when with your hands that builds up. So that's what I do and it works.<br />
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With congas much of the same about buying a set applies, cheap drums give you cheap sounds. A $200 set of congas may sound appealing, but you have to get at least to the mid-range pricing to get something decent sounding with good range and tone. I think you need to get at least LP Matadors or better. Getting a used set for $400 will serve you for a lifetime. I went with the LP Patatos and love them. Problem is they are about $600 a set new.<br />
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Here's a thought about what pitch to tune your congas or even djembe bass and tone to, and an easy way to do it. This wise old beatnik dude years ago said to me when I asked him, tune them both to the notes of "Here comes the bride". Perfect! Simple eh? Marry those drums.<br />
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I hope some of this is helpful to you in buying a hand drum. I have a 2 hour DVD of 101 drum circle rhythms for $15. I made it with the idea of an intermediate drummer in mind, so those new to drumming have something to work up to, and those more experienced have a variety of world rhythms to experiment with and make them their own. It will give you years of material to work with. It's also available at Amazon Instant Video for $14. <br />
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For more info on this and other hand drumming and drum circle topics, please consider buying my book, “A Practical Guide To Hand Drumming And Drum Circles” It’s $8 on Amazon Kindle, and sales of these help me to continue to do work in our community, and do what I love, making music. <br />
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Shannon Ratigan<br />
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drumcircles.net<br />
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Copyright © Shannon Ratigan 1999 - 2015 All Rights Reserved.drumcircles.nethttp://www.blogger.com/profile/05856494181338188294noreply@blogger.com0tag:blogger.com,1999:blog-9113701967098106880.post-77342862969792259752014-10-29T13:29:00.000-07:002014-10-29T13:55:18.826-07:00Fun at the Drum Circle With the Latin Percussion Flex-A-Tone<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy5_JpjHpJbYNcoc8dZSgNOIfpVH5eX8RYOpgZ7SvYctUzRsO0MOt_R_SNEO0Pwq0Khc-0QeL-RdnpHScuuDpMjqISfDzUN6AUx5Xer0SKkR8-aLvrwXEGlpYy0CF9FhZKnLN1IBRv_EM/s1600/flex+a+tone.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy5_JpjHpJbYNcoc8dZSgNOIfpVH5eX8RYOpgZ7SvYctUzRsO0MOt_R_SNEO0Pwq0Khc-0QeL-RdnpHScuuDpMjqISfDzUN6AUx5Xer0SKkR8-aLvrwXEGlpYy0CF9FhZKnLN1IBRv_EM/s320/flex+a+tone.JPG" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1iikRgs-suaPnJLLg8GuBAhdXAKq-fd-0N3YSkJwKLDLtFBOO_Fh1Cqxrzx8_j4O2GbBEaeqE-x5hDdz1VU_QPbYb8n-H3OO9H3StKx7SmWXgHHWOHWaiRRfLvjV4dUdxxDc6qaMEM10/s1600/flex+a+tone+2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1iikRgs-suaPnJLLg8GuBAhdXAKq-fd-0N3YSkJwKLDLtFBOO_Fh1Cqxrzx8_j4O2GbBEaeqE-x5hDdz1VU_QPbYb8n-H3OO9H3StKx7SmWXgHHWOHWaiRRfLvjV4dUdxxDc6qaMEM10/s320/flex+a+tone+2.JPG" /></a></div><br />
Sometimes at the drum circle I need to take a break from the drumming, and the Flex-a-tone is a really fun and versatile percussion instrument to jam on. You can tap it along the sides with something metal, and get various different pitched sounds as you depress the metal tongue up and down and throw in a rattle or two by shaking it back and forth – it makes some amazing beautiful and even comical sounds. A really fun percussion item to get different sounds from. I use a triangle striker and sometimes a Phillips screwdriver to play it along the sides. Once you get proficient at it, you can go up and down the scale with it, and create all kinds of cool sounds. <br />
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It’s a bit more fun than a cowbell. It’s less loud, and more considerate to those sitting next to you. I keep one in my gig bag with other shakers and etc. Latin Percussion makes them. It was a little pricey but worth it. There are knock offs out there, but they don’t sound nearly as good. I use it a lot for band gigs as well.<br />
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LP stuff is expensive, I love the Giovanni congas and djembe. They are worth every penny. My flex-a-tone was about $40 back in the 80’s and it still has held up (except for the time I let an onlooker play it and they started bashing it against a tree.) One of the wooden balls went flying off, and I had to go try to find it. Much to my relief I did, and glued it back on. They make a few different sizes now. I prefer the mid-sized one.<br />
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The LP Vibra-tone is another fun instrument – a sort of round tuning fork with a thumb hole in it so you can vary the sound. Also a bit expensive, but a great sounding percussion goodie that everyone loves to play. I use both of these at drum circles I facilitate.<br />
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Please visit my site drumcircles.net drumcircles.nethttp://www.blogger.com/profile/05856494181338188294noreply@blogger.com0St. Louis, MO, USA38.6270025 -90.199404238.230196500000005 -90.844851200000008 39.0238085 -89.5539572tag:blogger.com,1999:blog-9113701967098106880.post-83847193040878278042014-06-21T12:48:00.001-07:002014-06-21T12:50:18.960-07:00Senior Drum Circles & Drumming With The ElderlyDrum Circles With Seniors & The Elderly<br />
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by Shannon Ratigan - drumcircles.net<br />
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Hey! Drum circles are more fun than shuffleboard! But seriously, I drum with elderly populations all the time. Mostly at active retirement communities, senior centers, and so on. They are always looking for something new, fun, diverse, interesting, and playful for the residents. A facilitated drum circle is all of that, and more. <br />
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The first reaction I get when I usually suggest the idea is, “I have no rhythm.” Or, “I’ve never played a musical instrument before.” If a facilitated drum circle is presented properly, in a matter of 10 minutes everyone can be playing a drum rhythm together. And from there, playing various drum rhythms from around the world. The key to it is setting the right tone that this is going to be playful and fun. You can improvise, play around, and just have a good time. Like we did when we were kids. <br />
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I always bring along some of these belly dance wrap skirts so people are enticed to get in the center and shake it.<br />
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After about 10 minutes you can see the joy in people’s eyes as they start to “get it” and are playing a drum rhythm for the first time in their lives. Making music is exciting, and if it is your first time, it’s really exciting.<br />
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We play Native American rhythms, African, Latin, Belly Dance, Reggae, Blues, R&B, and a lot more. After that first 10 minutes everyone is in the groove, & no longer “Thinking about messing up” “Can I do this?”, “Do I look silly.” Etc. That all goes away, and all we think about is drumming and making music as a group. That’s the goal. A lot of playing and very little talking. A bit about hand technique, where some of the drums are from, and the rest is all drumming. <br />
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I’m there as a rhythm starter, but everyone is welcome to start out a rhythm if they want to. Usually after half an hour, people are wanting to start out their own beats. Great, we go with it because it’s all organic and spontaneous at drum circles I facilitate. It's casual, laid back, and unlike a classroom situation.<br />
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This is how I like to get drum rhythms going: After a warm up jam, I vocalize a few measures of a rhythm, and then begin playing it. It’s easier for the brain to quickly process words, free up the mind, and then the body can play. Word association is a great way to get a drum circle rhythm going with all age groups. <br />
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For example, here’s a drum rhythm called Agilablanca. It’s in 4/4 time. (4 counts to a measure.) Rather than trying to teach it, I say: I-like-to-eat__choc-late-cake, I-like-to-eat__choc-late-cake (and repeat, etc.) (The first half of the phrase is all tones, the last half is all bass notes.) People add in the decorations, and away it goes. <br />
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Sound like fun? It is. I’m available for hire in the St. Louis area, and my rates are reasonable.<br />
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Sometimes we try drumming out Morse Code rhythms. Ask someone to suggest 2 letters, or numbers, and put them together to make a new drum circle rhythm. _ _...._ _ A dot is a tone, and a dash, is a bass note. Sometimes they work, and sometimes they don't, that's part of the fun, exploring, and going on this journey together. (There’s a Morse Code alphabet chart at my site drumcircles.net )<br />
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A fun idea to entice movement in the center is to bring along a hula hoop. That can really ramp up the fun at your drum circle. It gives people a rhythmic motion to groove to. I was surprised when I first saw people of all different ages wanting to get in there and try it. The drum rhythm Beledi is a good one to use. In 4/4 time, it sounds like: <br />
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Doum Doum tek-ka-Tek, Doum tek-ka-Tek...Doum Doum tek-ka-Tek, Doum tek-ka-Tek...<br />
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(One of my dancer friends said the Beledi rhythm is the "Catnip Rhythm" for belly dancers. lol. I like that.<br />
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With some groups it’s a drum circle once or twice a year for events or special occasions, with others every month we do this. It’s a fun activity that no matter what physical limitations some of them may have, everyone can participate. Even those in wheelchairs, or those with strength in only one arm. <br />
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I like to provide drums from around the world such as djembes, congas, doumbeks, and bongos, frame drums, buffalo drums, sound shapes, and various other percussion instruments. That way, there is something for everyone to have fun with. And we play rhythms from different countries, and cultures. And, you can try them all out if you like.<br />
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As far as the staff is concerned, all we really need is some chairs set up in a circle about 20 - 30 feet across. So it is a pretty low maintenance activity for them. If it is outdoors, we need some shade.<br />
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Many times, elders are more playful than kids. You don’t get many chances to just be silly and have fun with friends or acquaintances as an older adult. I am a senior myself, I got my first senior citizens discount last month, and it was kind of humiliating. I thought, should I, or shouldn’t I? It was ten bucks, so I went on with it. And I really don’t like being treated like a senior very much either. Most others I have spoken with feel the same way. It sucks to get old and feel your body growing weaker. <br />
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We can’t do the physical things we once could do anymore. But we do want to have fun, and, if possible, do things that recapture some of our youth. Just be silly, and goof off a little bit. I like to feel young again, and so do most other older adults. That’s why a facilitated drum circle works so well. Remembering the things we enjoyed in our past <br />
younger days, the music and songs we grew up on, that may mark fond memory points in our lives.<br />
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There are some limitations in movement of course. Some have severe arthritis, Parkinson’s disease, and many other things that limit the amount of movement. Some are in wheel chairs, and only have limited movement in one arm or hand. So when I work with elderly groups I try to find out as much information as I can in advance on any possible limitations that may be present. This isn’t always possible, so I like to bring a real mixed bag of drums and percussion. Lots of things they can lay in their laps and play. Or things that can be easily played with one hand. Finding the right drum for everyone they can easily play and have fun with is very important so they can get the most benefit from it, and the most healing from the drum. It’s a good idea to have about a dozen SoundShapes with the soft mallets. They are the perfect instrument for many with limited movement.<br />
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When I arrive, I try to allow extra time so I can say hello, and shake their hands and talk with everyone. I think that it’s important to make sure everyone is aware of who I am. I want them to feel comfortable, and prepare them for some drumming fun. The hand shake also gives me a little bit of a clue as to their ability to use their hands so I can help them find the right drum to play for them.<br />
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After that initial (accessing the group) warm up jam, I spend a bit more time with them on good hand technique, and volume levels, because I don’t want anyone getting hurt, or feeling uncomfortable. Other than that, I pretty much facilitate the circle from the side, the same way I would any other group, except I make a little more eye contact.<br />
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I just let them have fun, and experience self discovery. This can deeply affect some people, I see them get very emotional sometimes. Even tears, and crying at some points. Mostly at the end is when the emotions seem to come through. Caring and compassion is needed here obviously. Lots of times they are tears of joy, because of the self discovery process many of us go through at a drum circle.<br />
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I like to bring body style drums that can stand up solid by themselves or in stands that can then be played at a comfortable level for people sitting without having to bend over to hold it. A wood Djembe is rather hard to hold onto for some people. And you don’t want it falling over on someone else. So, I use solid self standing drums, and/or drums with stands. But some people surprise me when they want to play that big ol’ drum, and proceed to jam out on it the entire session. But for the most part, drums that weigh a lot less like aluminum Doumbeks, those PVC Djembes, and Frame drums with beaters that are easy for a person to grip are ideal. <br />
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One thing I do with mallets is wrap the handle grip with cloth to be very fat, so they are easier to hold onto for a person that might have arthritis, but still wants to play. We need to think about things that are more comfortable for them, things they can rest on their laps, or play with one hand. <br />
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Frame drums seem to be the most popular, because they can be held easily with one hand and played with a soft mallet, or just rested on their laps and played that way. Plus they are just plain fun to play. The ocean drums are very popular also, (A two sided frame drum that has a bunch of buckshot inside it. When you tilt it, it sounds like waves rolling in.) I also use those Compact Congas, and tambourines. I use lots of different sizes. Bongos are fun as well, they can just rest them on the lap and be played with one or both hands. I bring a few throw pillows to put under them for comfort. Some bongo sets are rather heavy, so I look for the polymer shell style that weigh very little.<br />
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For those that can’t, or would rather not, play a drum, I bring loads of different things. Maracas, shakers, guiros, rattles, claves, jingle bells, stick castanets, and real mixed bag of percussion “toys”. This way everyone has lots of choices, and can pick and choose various things as we go along. Like I mentioned, Sound shapes are always in my kit, just in case. I keep 24 at the ready in a cloth shopping bag. They may start with a maraca but the rhythm will get them on a drum.<br />
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The first thing I would suggest is to go into this kind of drum circles with an open mind. I try to avoid any pre-formed assumptions about what elderly people with various conditions can or can't do. Their individual conditions can affect them in lots of different ways. And some of them might come as a surprise. If something spontaneous happens, go with it. Someone may suggest an idea or a song, or even get up and boogie. Cool. Do it. Make it fun.<br />
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It gives some of them a chance to bring some creativity and excitement to an otherwise routine day, and maybe make a few new friends in the process. Some of them want to stand and play instead of drumming sitting down. I let them go for it as long as they want. Some of them put on a belly dance wrap, get in the center, and boogie. It adds a lot of fun to the whole experience because we all know it’s organic, spontaneous, and happening in the moment. <br />
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With seniors there is a wide range in degrees of mobility. That’s why I need to think about adjusting and adapting the equipment, but for some it isn’t even needed. I just try to have a wide range of instruments available for them. One thing I have learned is that there is nothing worse (the same as with any person with any disability) than being <br />
offered only the easiest drums, and percussion to play. I like to ask everyone to choose a drum. After a bit, we all trade drums with someone else.<br />
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One good idea if you have someone wanting to play a big Djembe but they are unable to hold it off the floor is to stand it in an upturned stool or chair. Use a bungee cord or two if necessary to keep it firmly in place. Then the sound will fully get out. <br />
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I think it’s very important to drum with the group, and not just be waving out instructions and telling them here’s what to play. That’s no fun, these aren’t children. When I’m playing my drum, some people like to watch and follow my hands. (Even though I am a lefty, and I mention that.) I put those ruffled elastic colored bands on my wrists I mentioned earlier, so people can easily see my hand movements if they want to, or need to. I always mention, play what ever you want, just follow the beat. Start a rhythm with a 4 measure vocalization, ie: Yum, Yum, tastes like chicken - Yum, Yum, tastes like chicken… (Two bass notes followed by 4 tone notes, and repeat.) They can either play the support rhythm, or improvise once it’s established. Often it transitions to another rhythm entirely. I just go with it, because that’s the group dynamic wanting to lead the rhythm. Don't fight it, let it go - If it trainwrecks - laugh it off, and start a new rhythm out.<br />
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I don’t make a whole lot of eye contact when playing. Just an occasional glance, or smile of reassurance. It’s important not to misread what might appear to be blank expressions. Often the facial muscles often don't work as well as they used to. Many times people like to just sit back and groove without playing for a little while, taking it all in. You learn to see more with your ears than you do your eyes. It’s important to remember that, sometimes, not all who may appear to be wandering are actually lost. <br />
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Try to have good background knowledge of the music they grew up on. Think of a few of the “American Standards” of their era. Some will suggest one, so go with it. Don’t be afraid to ask if there are any songs they might like to sing or play. I’ve had a couple of big band rhythm jams that were outstanding. Think about playing things like swing, waltzes, Hand Jive, I Got Rhythm, whatever they want to suggest. If they don’t have anything off the top of their heads, I suggest a few and let them choose. Usually someone knows all the old standards like: “Show me the way to go home“, “How much is that doggie in the window?”, “My old man said follow the van”, etc. Really you only need to know is the first line of the song. Everyone can La de da along, and play along. Or try instrumental standards like the song "Sing, Sing, Sing". That one has a grooving big band drum beat to it. Try asking for other song suggestions to play to.<br />
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Just having a warm and genuine welcoming and involvement with everyone sets the stage for a very successful musical time with elders. Many times the attendee's have an assistant, and that helps me a lot! I can then focus more on the musicality of the bigger group. They can help you offer different percussion items that might be better suited for individual people. If someone from the staff is there, ask for some assistance from them. That’s a great relief sometimes, as these particular populations do require a little bit of extra care.<br />
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But some of them love the lure of being in the band, even feeling like a rock star. So let them have that opportunity if it feels right to you. It doesn’t really matter how good the drumming is. The thing some don't understand about drum circles, is that it is more about the people, than it is the drumming. Many facilitators agree with me on this, some don't. The quality of the music produced in a drum circle isn't really based on the musical experience of the players, but on the developing quality of the relationships of the people that emerge. As a facilitator I help people to empower themselves through drumming, music, and fun. They need no experience at all to play in a drum circle. I encourage individual creativity, and group dynamics.<br />
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Try this one - they always love the beach towels in the center of the circle bit. About half way through the circle, I lay 2 beach towels (or yoga mats) out in the center of the circle before the next rhythm. (The slower beats work best for this.) I ask two people if they want to REALLY feel the healing power of the drum, to carefully lay down on them for a few minutes. I ask them to lay flat on them, arms to their sides, and close their eyes while we play a rhythm. When I offer up the idea, there are always a few takers on that one. And when they get up, the others see the looks on their faces, and want to try it also. It is very powerful to feel the drum downbeat absorbed into your body.<br />
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With just about every senior group drum circle, at the end I always do the “Let them feel the healing energy of the drum in their bodies." This is the one where at the end of the drum circle, set down the drums, they all stand up still in a circle, and hold their palms open and outstretched, opposite to each other, and palms facing each other, directly above each other’s palms, about 6 inches apart. I then ask them to slowly compress their hands to the other person without actually touching them. The ooh’s and ahh’s as they feel the healing energy compress, or their chi, the mojo in their bodies. Then I ask them to slowly compress it back and forth. Then to turn their hands into themselves, to let it reach inward, into their bodies. This is incredibly powerful when you feel it for the first time. The whole thing takes about 5 minutes.<br />
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That’s why I try to get everyone to drum, for at least a half an hour. To get this energy of the drum flowing inside them. All you have to do then, is demonstrate it to them at the end of the circle.<br />
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I got this next idea from a friend. What she does, with participants in the more advanced stages of dementia, she includes a “hello” and “goodbye” song into her program, which includes everyone by name. It’s a great idea. It helps to give them clues as to what's about to happen, and highlights the beginning, and ending of the session, like a good story does.<br />
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Here’s another great idea. See if they would like to make their own drums, they don’t have a whole lot to do that isn’t routine. If they are in a nursing home, the staff can help them to make their own drums out of those 2 1/2 to 5 gallon buckets, or water bottles. They get them all decorated up, and play them with padded beaters. You can get the buckets free at paint shops, restaurants, and so on. Let the residents make drums for themselves, the differing sizes and shapes provide the varying sounds. Some have even had exhibits of their drums in local art venues. Colorfully decorated drums can also be bright corner pick me ups in their facilities. <br />
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Sometimes a few of the residents are into things like knitting, and crochet, and they can make their own Djembe hats relatively easily, to sell online, etc. They have lots of spare time. I have bought a few of them myself, and they look great, as well as being nice and thick so they protect the drum heads very well. I still have one I cherish that an 85 year old woman made for me.<br />
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(If you are short on cash, and need some Djembe covers, believe it or not, those round toilet bowl covers work pretty good for 12” to 14” Djembes. They are thick like shag carpet, so they protect them very well. And they have an elastic band around them to stay in place. You can find them at most thrift stores laying around for just a buck or two. <br />
It’s probably a good idea to maybe wash them first.) lol. Yuck, why did I even include that?<br />
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Anyway, a good basic drum circle for seniors plan is this:<br />
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Try to see the actual playing space if possible, and speak with the staff if you can about any concerns or limitations. Would they like to begin a certain way, etc. Often it’s not possible, but I do it if I can. Most of the time booking, questions, and etc. happen via email. After booking a date, I like to ask if I can come by and see the room beforehand even if it does take a few extra hours out of my day. I can better visualize my drum and percussion set up, and things go smoother for me when I arrive to facilitate the circle. I can also size up the distance I need to carry all the drums from my vehicle. I can just manage my time and energy better. I also like to find the area of the room with the least echo to it. (Just clap your hands in different areas of the room to find it.) Sometimes they have a spot already picked out, and that’s it. Got to roll with the situation, it happens.<br />
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Clean your entire drum circle kit as best you can, before and after. We should disinfect all our instruments, particularly when working with seniors, children, or special need groups. I keep a travel pack anti-bacterial lotion with me. We want to connect, and keep safety in mind. Clean everything up as best you can. I do my kit clean up when I get home.<br />
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Instruments are very likely to get germs on them from playing. Remember that the disinfectant needs some time to evaporate. The synthetic drums are best here in these settings. They are easy to clean with some antibacterial wipes. The lightweight Doumbeks and small djembes are perfect. Frame drums are ideal, sound shapes, and etc. I use many synthetic instruments, like those egg shakers, maracas, guiros, etc. for the same reason. Plastics and laminates clean most easily, and are the most durable. I don’t use many goatskin drums for these groups. But I do bring a few of them for variety.<br />
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Sometimes when working with elders, many are scared of the potential noise. I learned from a staff member to get them in there early, and let them explore the drums a little on their own. (And the percussion items.) In many cases, when they're in charge of the noise, they're happy to make it loud. I sometimes have a dancing rhythm going when they enter the room, and do the egg shaker on each chair thing, or have a small percussion instrument on or near each chair.<br />
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We play a rhythm together and they can move around as they like. It gives them a sense of making music before the drumming starts. For the first time with a group, I don't expect much of a groove, but be ready for it, because it happens if you anchor it for them with a nice support rhythm, and once it’s solid - fade back and let them take it. It is so important to have stuff that can be played with one hand. I have this basket of fruit shaped shakers I use a lot with them. Expect to spend a little time finding the right instrument for each person, and let them choose something different later on. Make it fun, and interesting for them. Mixing in a little about the history and type <br />
of the drums between rhythms is fascinating for them, and helps me to be able to pace myself.<br />
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As I mentioned, some have physical limitations, so I bring buffalo drums, frame drums, drums they can lay on their laps and play. I try to avoid having too many things played with hard sticks or mallets, because sticks have a way of finding their way to goatskin heads. So there’s the chance someone might put one through a drum head or worse. I keep them stashed away and use them sparingly. I bring a few Djembe stands or taller drums to accommodate those who might need one. Even those who you may think can only noodle with their fingers, or bash away, will get the repetition of a drum rhythm, and catch on eventually if you are a good facilitator. It’s a good idea to have some soft beaters for those who can't use their hands very well. <br />
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Make sure that your kit is safe. No sharp edge drums like on some Darbukas etc. Think of your players as vulnerable children with the size and power of adults. Avoid taking anything fragile. The first drum circle with a group of active living elders can be very challenging. Expect some total chaos to happen. It gets a lot easier the second time. In my experience some of these people have problems judging how hard to strike a body drum and could hurt their hands by playing it too hard. Show them a few pointers on good hand technique, and how to get clean sounding notes, after the warm up rhythm.<br />
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As I said, loud noise is my biggest concern. The healthy noise limit is about 85 decibels (Db.) I think that is the legal safety limit as well. That’s what the cop said when he broke up a public drum circle in a park. (This was a public gathering group.) He had his little decibel meter, and showed me the reading on it. We were up in the 120 Db. range. The neighbors called them on us. Actually, he was pretty cool about it. As a radio operator I’m familiar with decibels of gain, etc. but I researched this a little, and here’s what I found. A normal conversation is about 60 Db, up to the threshold of discomfort, that is the 120 Db range. Okay, so I’m still a bit of a geek.<br />
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A whole bunch of people drumming together indoors can easily reach into the 115 to 120 Db range. About 150 Db, is the Pain Threshold. E-Gadds! You can get a decibel meter relatively inexpensively. I think Maplin makes one. Keeping the volume level down takes some skill, and experience to pull it off. But it is possible. And this is even more important when dealing with elders and special needs people. Most of the time, circles are 30 to 50 people, and volume is easy to manage.<br />
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A good idea is to create a volume down signal early on, or just start to play your drum quieter. More often than not, they will be there right with you. It works just great. And as an added bonus, the participants get to hear each other. But if you use it too much it can have a negative effect. It’s something to keep in mind, some of the beginners get way into it, and are often getting their issues out.<br />
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Here’s some advice from a friend of mine. When he does big circles with 100 people, the Db level can be huge. So he charges the client for enough cheap earplugs to go around. As far as I know, if you warn them, and offer protection, you've done your job. I keep a few dozen of them in my gig bag.<br />
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A few final thoughts. This new atmosphere of spontaneous drumming can be overwhelming to some people, especially with first timers. The one thing I don’t want to do is have people feel threatened, scared, overwhelmed, or lost. Trying to do complicated rhythms too soon can do that. Keep it simple until the group dynamic is created. Three to four jams usually is enough to do so. Lots of positive comments from you during the drum circle helps a lot. “Hey, we sounded great on that one didn’t we?” Smile a lot, thumbs up! If they are in there, they are participating, and being a part of it.<br />
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A few things I bring besides my earplugs in my gig bag, are some padded tape, first aid, hand creams, anti-bacterial wipes, etc. for anyone who just might ask. It’s also a good idea to familiarize yourself with anyone that might have some serious health issues. It’s the staff’s responsibility, but you should know what’s going on if you can. It’s nice if you can speak with the staff beforehand about any possible issues, but as I mentioned, that’s not always possible. So I need to be radar up, and ready for anything. It may be a casual setting with people transitioning in and out as rhythms are going on, so I like to sit or position myself so I can see who is entering or leaving the room.<br />
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Remember to try and speak with the staff afterwards for some feedback. And at the next time you are there. (hopefully) Or, leave them a feedback form to fill out, with a self addressed envelope and a stamp on it. I gathered a lot of useful information with a simple feedback form. The staff knows a lot more than I do about specific medical conditions.<br />
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If the group takes a break for tea or something, make sure they don’t come back to the drumming area before they are all finished. Goatskin and cowhide drum heads make terrible coasters. If it’s a bathroom break, suggest they wash their hands with cold water. It cools their hands down, and gives them a little more grab on the drum head.<br />
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Here is a sample drum circle program I might use:<br />
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Right away to the warm up drum jam, maybe 5 minutes.<br />
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5 minutes to introduce different cultural drums, drumming history, and why people do it.<br />
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5 minutes to demonstrate the various drums, let them check them out, and pick one. <br />
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A few pointers on basic playing, and good posture / hand technique. <br />
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The rest of the time is jamming on different rhythms from around the world. Some slow tempo, some up-tempo for variety. Ask if they would like a take five break after a half hour of playing. Be ready to improvise on the fly. You are likely to have some real musicians in there. I had a guy once that just got up and started playing a piano that was in the room, and we all accompanied him. It was fantastic. Be aware of your surroundings. If they ask you to come back and do this again, mention maybe they could bring family members next time. It’s surprising the amount of engagement they have, and how much they truly appreciate and love drumming – especially with family members. <br />
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Their expressions and smiles will be permanently etched on your face. Later at night when I get home and unload - I have time to reflect on everything - it affects me very deeply.<br />
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Ultimately, I just get rhythms started and let people play. It’s a multi cultural drum circle – not rocket science. We drum up some fun playing rhythms from around the world. Let your personality out, and with your calm and reassuring manner, watch the volume, and they will quickly enjoy playing together, and connecting with you. <br />
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With some regular meeting groups we find outdoor locations to play. We can connect with nature. Here in Saint Louis there are a lot of fantastic places to play. It doubles the experience. I hope you enjoyed reading my page, and if you facilitate drum circles for seniors, some of it helps you.<br />
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If your group would like to have a facilitated drum circle, please email me with any questions. My rates are reasonable. I never share email addresses with anyone. You can contact me at: drumcircles_net(at)hotmail.com<br />
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Please consider picking up my 101 drum circle rhythms DVD, or my 300 page drum circles book, "A Practical Guide To Hand Drumming And Drum Circles" (Kindle) or some of my live drum circle music. The proceeds from the sales of my drumming CD's, DVD's, and drum circle book help me to do this kind of work in our community. I try to provide them as low cost as possible, always have, and always will. As an independent artist, money is tight, so I always appreciate a product that is a good value for the cost. That's the idea behind my book, CD's and DVD. Most of it is available at CDBaby, iTunes, Amazon, or direct from me at drumcircles.net<br />
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If you do purchase something from me, thanks in advance for helping us out. Please visit the drumcircles.net website, and have a look around. Find a drum circle near you to check out. Listen to some drum circle music, drum rhythm videos, lists of notated drum rhythms, references, and lots more.<br />
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Copyright © Shannon Ratigan 1999 - 2014 All Rights Reserved.<br />
drumcircles.nethttp://www.blogger.com/profile/05856494181338188294noreply@blogger.com0St. Louis, MO, USA38.6270025 -90.199404238.230196500000005 -90.844851200000008 39.0238085 -89.5539572tag:blogger.com,1999:blog-9113701967098106880.post-61316915493518532292014-04-24T09:07:00.006-07:002015-01-07T13:54:43.062-08:00Drum Circles For Kids - Childrens's Drum Circles - Drumming With Children<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_Wbcr3-0R1j9DY9-PG3GP8yVP30NcrPnCDziU7ws6Lc6THEsprHDT2hK3NpGzwKcK5_WE4YDNdfY5sbJY2lcbaSmorhJJp1Fz8Oxlt435TmihtCm25aYz9SMlcaexzOguJ1tne33NeGw/s1600/kids+drum+circle+6.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_Wbcr3-0R1j9DY9-PG3GP8yVP30NcrPnCDziU7ws6Lc6THEsprHDT2hK3NpGzwKcK5_WE4YDNdfY5sbJY2lcbaSmorhJJp1Fz8Oxlt435TmihtCm25aYz9SMlcaexzOguJ1tne33NeGw/s320/kids+drum+circle+6.JPG" /></a></div><br />
Drum circles for kids of all ages in schools, for youth groups, birthday parties, functions, and events. Drum circles in schools or for special occasions work very well, because it is a fun, experiential activity that promotes multi-cultural learning. It builds self confidence, and social abilities. It helps with motor skills, (processing information) boosts creativity; it even helps to teach them some basic mathematics. <br />
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The drum rhythms are in time signatures, so math is taught without actually teaching it. It’s done in the process of just playing the drums, and having fun. Drumming teaches them more focused listening, concentration, and about reaching goals. <br />
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Plus, it’s an activity parents can enjoy with their children at a later point. So having a drum circle makes good sense. Kids like to write songs, and make up rhythms to play to. Parents and/or teachers begin to see this occurring, then the light goes on and they want you to come back.<br />
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For young children, a great way to teach rhythms is to use stuffed animals to represent sounds the drum can make. Or talk about wild animals representing the different sounds, such as: <br />
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The Tiger (or kangaroo) – is a tone sound <br />
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The Bear (or elephant) – is a base sound <br />
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The Snake (or myna bird) – is a closed tone slap <br />
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Rub your hand flat on the drum head to make sounds of wind, finger tap is rain drops, and so on.<br />
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Set up for a transitional drum circle. Kids come & go during ongoing rhythms. <br />
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For public events, a colorful kid's drum circle sign is a good idea. Helping spread the love and healing of drumming is important to me, as it was a big part of my life and a major outlet for me. <br />
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I was a hyperactive child myself. Once I got into it, I went on to join the school band, learned to read music, and I've been a musician ever since. I've worked with various age groups of children both in schools, groups, community functions, birthday parties, and so on for about 30 years. <br />
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Sometimes it’s all one age, sometimes mixed ages, sometimes with parents, or even transitional drum circles with the general public mixed in. From 8 - 13 years seems to be that perfect age, eager to learn the drum rhythms.<br />
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Every situation with kids drum circles is different. If you’re looking to facilitate or teach kids drum circles, and you don't have a kit of drums yet, the idea of body percussion ie: hand clapping foot stomping etc. it does work – pretty much the same with boomwhacker musical tubes, Remo soundshapes, and things like that. I have some of both in my kit. <br />
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My experience is, for the most part, kids tend to get bored with it after a while. If it's there for them, kids like to play an actual drum, and that’s what I try and do with each child. Give them a real drum to play. They can play rhythms just like an adult, sometimes even better. <br />
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They just need a little instruction on proper hand technique and volume so nobody gets a bruise or is too uncomfortable. Then we get right to drumming. If it feels like just having fun, rather than a class they learn faster. I use vocalizations to help them start rhythms out. <br />
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For example, Yum Yum Tastes like chicken, (bass...bass...tone tone tone-tone) repeated out loud a few times, and then play it on the drum. We say it, and then we play it. <br />
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Try cuckoo for cocco puffs... <br />
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Use rhythms, commercial jingles, and so on. <br />
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I tend to avoid drumming games and activities because my experience is they want to just jam on a drum and make some music. The next time I show up, they say things like we want to play Fanga or Beledi or some of the other more popular rhythms. <br />
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I have a couple of Word docs of rhythms and various ways to notate, read, and start them on my website you can download free. Kids like learning these, and they like the challenge of making up their own rhythms. Kids can be playing the actual Native American heartbeat rhythm, African Fanga, Mid-east Beledi and Latin Clave, or hip hop in a matter of minutes like adults. <br />
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These days an 8 year old can build a website, so playing a drum rhythm is just plain fun, and that's the idea. Make it fun. Make some music and not just noise.<br />
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As for drum circle and chair set ups: If I can get in there early, I check for the best acoustic spot to set up. Look for the best place for the drum circle, where I can see everyone, and with the least amount of echo. I use my voice or clap loudly all around the room. Sometimes you are outdoors, or you get a small classroom, other times an auditorium. Every situation is different. <br />
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And most of the time I have to figure things out like the best place to set up when I get there. Often times, the spot has already been selected for you, and you have to go with it whatever it is, wherever it is. A good idea is to check it out beforehand if you can, and suggest the best location.If inside, ask the staff if they can get those little exercise cushions so some of the kids can sit on the drums if they want to. It’s hard for some of them to hold the big ones up, let alone tilt a big Djembe. So lots of times I have the drums set out flat on the carpet so kids can try playing them both ways. Most kids like to try sitting upright, and down on the ground playing on the drum. I let them know they can try either way. <br />
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I usually set up my chairs in a circle, or sometimes concentric - one a few feet outside the other. I leave a little leg room for the kids in the outer circle. Leave a few open pathways so kids can exit the area, or enter. I try to make the circle about 20 feet across. Any more than that, the kids can’t hear what’s being played on the other side, and you get a disconnect. You can end up with 2 completely different rhythms going on at the same time. Try not to clog the center too much with dancers either – a few at a time if they want to get in there. That can cause sound block and a rhythm disconnect also.<br />
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I give them the tools (a drum or percussion item) and they figure it out for themselves and play. I let them know they can play when, and whatever they want to, and they can play whatever they want...but just follow the beat. Unless it’s a one time circle, later, maybe you can have them make their own drums, try a search on that. What we call junk percussion treasure, can be found in thrift stores and yard sales. Try a search on junk percussion also. <br />
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If you can get them on actual body drums like djembes, doumbeks, bongos, and congas, the idea of an ongoing drum circle or drumming program is a lot more exciting to them. They become musicians rather than kids in a class. The problem has always been drums are expensive. Not so much anymore, most retailers will give a discount if you buy a dozen or so and build a kit up from there. As low as $30 - $60 each. Stick with synthetic head drums like Toca and Remo. <br />
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You can round it out with tambourines, frame drums, and maracas. Try to avoid anything played with a stick - things get broken, especially if they have goatskin heads. Try music123.com - guitar center - musiciansfriend.com - sam ash etc. The arts or rec center in your area might help with a grant. <br />
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Some schools are able to get them from drum manufacturers like Remo. Look into it and maybe get some help with the cost. My experience is getting real drums is what works. The drums made for kids cost about the same as ones for adults. I suggest getting 6 to 8 inch head size playable drums.<br />
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Every situation is different. Sometimes I’m working with children either at a single grade level, with mixed ages, and with their parents on occasion. Often it is a one time outdoor event with mixed aged kids transitioning in and out of the circle as rhythms are going on. I had to learn to roll with it. <br />
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If they want to put you in a huge auditorium and drum with the entire school, then you need to hire a few assistants, and you’re back to the hand clapping and foot stomping. Having 300 drums is just an impossibility for me so I try to talk them out of a huge all at once drumming event. I need to keep it under 100 at most. <br />
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I’m one guy over here, and I just don’t do that kind of thing anymore. The kids seem to get less from it in large groups, as opposed to having each child play a drum in a smaller classroom or outdoors. Most of the kids drum circles I do are one time things, sometimes two, a week long, or a few times a year. <br />
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Usually they are kids groups or organizations, in private schools or for special occasions, parties, etc. The kids really look forward to it because it’s a special event, and it’s just pain fun to bang a drum. I’ve done a few ongoing semester programs, but they are hard to get going, and usually the school already has a music program. You need to present them with a course curriculum, and the kids don’t seem to benefit as much. Selling the idea to the school is very difficult as opposed to a one day or half day drumming event. I find that the kids actually become more interested and intrigued by hand drumming if it’s a one day or sometimes a one week program. <br />
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With private or public schools it’s important to know the schools code of conduct, and I adjust the drum circle accordingly. Sometimes I teach little family home schooling drum circles. Where it’s one on one, or one on two drumming lessons, I like to include the parents in the drumming if I can. They are usually just sitting there watching, so I try to include them in the drumming as well. It’s better for their relationship with their children anyway.<br />
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Working with mixed age groups of children is obviously a little more challenging. And, if outdoors, even more so. When working with only one child, you have to be able to keep their interest for an entire hour. Younger kids have shorter attention spans, and you need a bunch of ideas ready to go with. <br />
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There are quite a few drumming ideas, and games here. As a general rule, when I work with particularly younger age groups, I will structure my program to suit them, and the goals of the educators, or parents. I usually talk with, or email them beforehand, and we discuss it. <br />
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I ask what their particular vision of the drumming might be, and what they would like to achieve from it. We figure out the program, and tailor one that’s right for them. Take it one step at a time. Getting a foot in the door by doing a benefit “Teach In” at smaller schools can do wonders for you. <br />
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Unfortunately, a lot of drum circles usually only get press if it’s something negative, and most of the time I am pitching the idea to someone who has never seen one before. So I have to overcome that and explain the drums are expensive. That they don’t just magically appear, and years of work, and musical training goes into this. <br />
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I charge by the event, and not the hour. A 1 hour drum circle takes me 4 hours to pull off by the time I figure in the loading, unloading, travel, setup and etc. So if it’s two 45 minute drum circles, 2 hours, however it goes, I charge by the event. Most of the schools and youth groups that benefit from this the most have very limited recreational budgets. So if I can get $100 or $200 for the day, I’m doing pretty well. <br />
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This kind of work pays in the heart, more than it does in the wallet. You’re doing something that may inspire these kids to make playing music a part of their lives like it did for me. It is a life changing thing you are offering. So that hundred bucks may not seem like much after a full day’s work, but you put something good out in the world. <br />
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At the end of the day when I sit and reflect how things went, that’s when it sinks in. You remember the smiles on the kid’s faces, how much fun they had, inspiring them, and how great they sounded.<br />
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Back to the pitch. Some of the questions that I ask beforehand include the following. Are there are any issues I should be aware of? What is their policy on any extremely disruptive behavior, etc. Unfortunately you don’t always have that luxury when you work with a group, but I try to get as much information as I can. Even beforehand, <br />
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I research the particular school, club, youth group, or whatever it might happen to be. I speak to the administrators, look up their website, examine their mission statement, and try to have a good understanding of who they are, and what they are about. It just makes good sense to do your homework before you go in there to facilitate a drum circle for a children’s group. <br />
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Put together (or start) a professional looking press pack so your presentation looks good. Business cards, flyers, course description, photos, audio samples, references, etc. You get the idea.<br />
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Kids are very impressionable, and I feel you are a role model for them. Whether you think so, or not. Children see any adult in authority as a potential role model. <br />
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In a relatively short time, kids can understand how music is being made, and they are making it themselves. Perhaps a few will like it so much they will look harder at the school music programs where they now understand they can express themselves creatively, and possibly even join one. Maybe some will join the school marching band. I did, and it was fun. That was the only place in school where I fit in, and wasn’t the outsider. I wasn’t one of the cool kids, the pretty kids, the jocks, you get the idea. You can make a big difference in somebody’s life – that’s the real point here. They might go on to have a great musical career. <br />
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Even if not, they will have a safe place they can go to heal themselves when they are hurting. They can also play their drum as an outlet for frustration, peer pressures, stress, hyperactivity, or even just for fun. <br />
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If it’s a music program, a small group, or a school class situation, or just a mixed age’s event, each one has a slightly different approach that I use. Whenever it’s possible I try to speak to the parents or teachers in advance and ask for some advice. They are a big help if you can get it from them.<br />
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As a general rule, at the start of a drum circle or drumming program, I like to get them tired out a little bit first. I get them up and moving or dancing with those small egg shakers, as I play a dancing rhythm on my Djembe. Then we get to the drumming, after a warm up rhythm, I mix in a quick lesson here and there. The history of where the instruments are from, and some lessons about hand technique. <br />
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So a children’s drum circle needs to be tailored a little bit to the specific needs of the age group, or mixed ages. You can try some of the ideas below with different age ranges or with mixed ages. Some of them are mine, some are ideas I learned from other teachers, and facilitators whom I’ve seen work with children a lot. <br />
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More often than not, if it’s ok with the staff, I begin drumming, as my group comes in and wordlessly gesture to them to join in with the shakers. I don't speak till they all have started to play. This may work, or it can lead to a stand-off. It depends on the group, and the situation. Usually it’s a smooth move and transition, the kids just join right in and play what they feel. It sets the right kind of tone for the session. Hey, this is going to be fun! Sometimes the teachers want everyone to be seated first before playing, and say some things. If that’s the case, then I let them do that, and get to the drumming as quick as I can. Since every situation is different, I never really know how I am going to start. <br />
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My preference is me playing as they enter, and gesture to them to join me. As a general rule, as I mention in more detail below, I want to get the kids up on their feet and moving around in the circle to tire them out a little bit first thing. Then they are a lot easier to work with. I use the little egg shakers, one or two for each kid. I pre-set them on the chairs, and when they enter the room I start playing a funky beat on my Djembe, and ask them to play the shakers with me and dance in the center. Obviously, this needs to be discussed with the teacher first, so see if they approve of starting this way. For the second time I work with them, I use small tambourines instead of the egg shakers. <br />
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If trying to pitch an ongoing program to a school, they are more than likely going to expect a curriculum of some sort from you. What will you be teaching, and how do you plan to do it? They like to see that there is some structure involved in your lessons. I show them sample programs I have used in the past. <br />
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Here's a basic sample curriculum: <br />
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Lesson One: Warm up drum jam. Then, introduce the idea how to make homemade drum and percussion instruments. Including a brief discussion of music theory. What determines pitch, volume, tone, and resonance. Followed by a brief drum circle finale to experiment with the drums, and percussion sounds. <br />
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Lesson Two: Learning rhythms from around the world. A brief sample of rhythms from different countries and regions. What instruments are used in these cultures? Followed by a brief drum circle, where we try a few cultural drum rhythms out. (As part 2 of the prior session.) And how do the homemade instruments compare to the drums and percussion instruments from around the world? The tone, shape, sound, purpose, and appearance, etc. <br />
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Lesson Three: Playing various drum rhythms as a group. Including some basic drum circle activities, more lessons on music theory, and some drum circle fun. (As part 3 of the series, applying knowledge from both sessions 1 and 2.) The emphasis is on group listening, group song creation, and the building of a group dynamic. <br />
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Lesson Four: The playing of various rhythms from different cultures. Then the performance comes next. (Optional.) My approach with this kind of thing is slightly different. I like to educate the kids about playing goat skin wooden body drums. I always begin with the drums away from the center of the circle, far enough in so that they can not be played as they take their seats in the circle. I start with the egg shakers, and let them think about how they will soon be playing all those cool looking drums over there, and wondering what they might sound like. <br />
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Then I begin to introduce the drums as my friends, and encourage a conversation about how we treat our friends, and how we like to be treated. I ask them to treat my drums that way please. These are my friends, my good buddies, so please be nice to them. And they will be nice to you. Please don’t bully my friends. Then we play. After a few rhythms I break for a few minutes and talk a bit about what they are made of, highlighting the wood first then goat. <br />
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Sometimes, there is a vegetarian in the class who is repulsed, or refuses to even touch them. I assure them that their views are respected and then give them a synthetic head drum, like a Doumbek. It’s pretty rare, but it has happened to me before. I don’t have any gluten free drums. (well, actually, I do.)<br />
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Occasionally, I am called upon to do a one time series of short drum circles for multiple groups of kids at a school or with a group. Often they come in one class right after another without a chance to even take a breath. I use the following, slightly different approach for that. When the kids come into the room, I will be playing my drum and have a shaker or drum placed out on each chair, or in front of it. I gesture/ask them to dance, or play the shakers along with me as a warm up and also to give them something to do immediately. When all of them are there, I move on to the following. <br />
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5 minutes – Warm up and build rapport. We start off with a body warm up, doing arm stretches, etc. I act a little silly to get them to laugh, setting the mood for fun. This puts us all in the right frame of mind and starts to build my relationship with them. <br />
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I introduce the drums, which are over to the side, again, as my friends. I talk about how we treat our friends. This is so very important. If I lose a drum, It’s the equivalent to a day’s pay. I have no percussion items that are played with a stick, because it usually finds it’s way to a goatskin drum head. Bye bye $60. Back to the fun. <br />
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5 minutes – Drum, and dance. I play an African rhythm on my djembe. Depending on the number of kids in each age group, and how much room we have, the rhythm also includes some movements and dance. Each child plays a shaker and dances while I drum. This activity tires them out a little bit more, so that they are more in the mood to learn. Plus, it is great fun. <br />
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An alternate is doing an activity I call funky musical chairs. Five minutes – Sound shapes and/or boom whackers. I use these simple percussion instruments to teach some basic music theory playing on the downbeat, in a 4/4 time, using these instruments. In the process, I demonstrate how mathematics applies to music theory. Then a short call and response, then maybe a call and echo rhythm game. With vocals or percussion instruments. <br />
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5 minutes – The introduction to the drums, with some brief history of djembe, doumbek, and other drums. I demonstrate the physics of playing a drum. How it is shaped like a rocket engine. We apply the “energy” with our hands and the sound is the rocket fuel. Each child selects a drum, and I teach them how to play the bass and tone notes. <br />
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20 minutes – Group drumming on the djembes and doumbeks. We play a few basic rhythms from each culture and have some fun drumming. End with a big rumble finish. That’s it. Take a breath, Next group.<br />
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Before, or afterwards, try suggesting to the teachers to have the kids read books and journals about musicians, and about different music genres. Even suggest that they talk to musicians whenever they can. For the most part, most musicians are very accessible and willing to help by answering questions about our craft, to help them grow musically. Always try to be on the look out for these opportunities to chat a little and learn something from a professional. <br />
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Suggest to the kids that they have their parents take them to live music performances if possible. Attend a clinic, go to a concert, stage play, or a music class. Or bring Djembe Dad to school week. And to listen more closely to the beats of their favorite music in their iPods or mp3 players. <br />
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One of my favorite mixed aged kids circle was a birthday party in a park, when a friend of mine's very young daughter danced her way to the center and started to facilitate the drum circle. She grabbed a rattle and rattled at just about every drummer there. Any they all responded to her musically. Then she started dancing. She was a natural facilitator. Lots of kids have never played a percussion instrument before, so some of them are very timed, scared, and even self conscious. Some others can‘t wait to get to it. (Not as much as with the teens though.) <br />
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Don’t expect to get miracles on the first session with kids. Sometimes it may take them two or more drum circles to loosen them up enough, and become comfortable with you. The second session is when the most magical things usually begin to happen. All of a sudden you may find yourself and the entire group living totally in the moment, all in unity, and even sounding pretty good. This happens with dancers dancing, also. <br />
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That’s one of the reasons why teenagers, and young adults get so hooked on raves, (parties) They dance and dance for hours and all of a sudden it’s morning, and the sun is rising. And to them it feels like it’s just been a few hours. Like the golden ratio exists in music, it also exists in dance and singing. Unfortunately, at most of these rave parties there is underage drinking and/or some drugs involved. <br />
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Believe it or not, some kids can be good facilitators. Many are naturals at it, and love to get to be in the center alone for a few minutes. Almost all age levels of kids seem to like giving it a try. I'm always amazed at what they do in some drum circles. I offer to let them do it all the time. Almost every time it works perfectly. (Almost.) With mixed ages of children, it is considerably more challenging. I try not to show so many things at once. <br />
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I don’t want learning about drums to get in the way of just learning to drum. I need to try really hard, not to try too hard, or over think it too much. It’s supposed to be fun. Let the kids have a little fun along with you. I usually tell them, “Just have fun and play what you feel like playing to the beat with me. Just follow the beat.” When you think about how to drum too much, it takes the pure joy out of the drumming. And as odd as it may sound, don’t forget to breathe, or remind them to breathe. Many musicians and teachers will tell you that. Take a deep breath now and then as you play, and remind the others to do the same thing, take it all in, and enjoy the experience.<br />
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Hula hoops are your friend at kids drum circles. I bring 6. Kids hoop to the beat inside & outside the circle. <br />
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I’ve found that certain ages are much easier to work with. Myself, and most facilitators I’ve spoken with, like working with the 8 to 13 year old age range kids, because they are like these little sponges wanting to soak up all these new fun things. They are also somewhat more used to having respect for authority, or what an adult has to say. Anyway, the 10 year olds tend to raise their hands to ask questions, and they are much more orderly, making it easier for you to work with them. They can just pick up fun rhythms very quickly, if you vocalize them first. <br />
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Things certainly have changed over the years in the schools. (Me being 50+ years old now) Early on at the beginning of one year, I saw a teacher in 6th grade put an extremely disruptive student up against the wall, get in his face and read him the riot act. Well, as a result we all behaved really well in his class for the rest of the year. I sure didn’t want to get embarrassed like that in front of all my friends. That’s all changed now of course, that particular teacher would probably loose his job, and never teach again. Nowadays we have kids bringing weapons to school. That never used to happen because I think kids had more respect for authority. I wasn’t going to mess with some of those teachers...I was just plain afraid of a few of them. <br />
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I started playing music as a child, and went on to join the school band. Whatever a child may decide to do with their lives as they grow up, I think music helps them a lot in many aspects of their life. Lots of the kids I have worked with have done exactly that, joined the band. So I feel like I am introducing something really positive into their lives. Maybe I inspired them to be a musician, as a hobby or even a career. You never know how deeply you may affect some of these kids. <br />
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They get an outlet, if nothing else. So to try and sum up a bit, if I feel I need to, or the teachers desire it, I mix in some drumming games, and activities with kids. Whatever the age group is, I adjust my program accordingly. Mostly, If it’s up to me, I just want them to drum, and create music as a group. But I still spend a little extra time, to just give them a few pointers on how to drum without hurting themselves, and then just start out rhythms and let them play. I let it go wherever it goes for 5 minutes or so, bring it to an end, and then start up another one. (Or, offer to let them start one.) <br />
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I want to educate them a little, but also I need to pace myself. So that’s why I mix in a little about the history of drumming, and the different styles of drums every 10 minutes or so. I can keep the ideas flowing in my head. I keep the drumming sets a little shorter, unlike with the adults. Kids are very perceptive, they can tell if you are unsure of yourself, or don’t have a lot of confidence. They can see right through you. <br />
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I try to treat kids as I would adults. I talk to them like they are adults, and I immediately gain their respect faster. It makes the job a whole lot easier. You are all a bunch of cool dudes, & we are jammin’ in the band. Sometimes If I feel I need a break, or I need to do a big change in the group dynamic, what I suggest is a five minute break and when they come back, they sit in the chair across from them and play whatever drum is there. Or, I will have them pass their drum carefully to the person on their right periodically between rhythms. It works. <br />
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With the ok from the teachers, you can get a sort of Simon Says thing going later, or funky musical chairs thing going if you want. But, right away, they see that the ones who lost their seat get to play the drums quicker, while the other kids still parade around. They figure this one out really fast. I get into that, and a few more ideas to use with kids in more detail in a moment.<br />
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A lot of these drumming games and activities are ones I thought up. At least they were created in my head, but most likely many of them exist in the collective consciousness of most educators, and drum circle facilitators. (What idea really is original?). We all see ideas, and get pointers from others to try out for ourselves. Many of these ideas and games have probably been also thought of and tried by others, and passed along to help us all to be better facilitators, and ultimately do a better job helping people to enjoy drumming. <br />
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So I believe in the sharing of ideas, I think we should all share them, and not hold onto them secretly, as some people do. Feel free to try any of them, or pass them on to your friends. I have no problem if somebody comes to watch me and see what I’m doing. It happens all the time. There's a few facilitators, that rather than just asking me, which I would happily do for them, they send their spies to come watch me work. Whatever, I don’t care. Good, I hope you learn something you can use to help kids to enjoy drumming more. Drumming should be about sharing. I still show them everything I do, and don’t hold any ideas back just because I happen to see them out there watching. The kids are more important than those that may feel like they are the competition. I'd rather work with them, or at least have a cordial working relationship. Be supportive, share leeds et. There's plenty for all. I find that it is best to have a good standard operating procedure, or prepared program. Like my mixed ages adult set list. Even though things will likely change in the moment, at least I have a good road map in my head. Also, the transition points are much faster, and almost continuous. <br />
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No matter what age the kids are, or what kind of group it is I’m working with, I have to keep my wits about me, and my head in the game. I usually position myself at the drum circle where I can see the entrance, so I know what’s coming my way. A curve or an unexpected surprise can come at you at any moment, and you need to be able to adjust to it if necessary, and go with it. Whatever it might be, a few extra few people wandering in, some joining in late, or whatever might happen, you can be ready for it at the spur of the moment, if you are prepared mentally to transition them in seamlessly. <br />
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If the rhythm transitions or changes, I suggest rolling with it, especially at one time drumming events. So what I am doing is thinking about the now, the “in the moment” most of the time. But I’m constantly reassessing the group dynamic in case I need to make any adjustments. Is it getting too loud? Too sloppy? Is it time to slow things down? Does anyone need any assistance? Are they bored, tired? Need the bathroom? If you are experienced, and in the moment, you can feel what adjustments need to happen, and make them accordingly right away. <br />
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I think kind of like when you are in a chess game. With children, I try to think just a few moves ahead. Like five minutes or so, ahead. But most of that is from information I am gathering from back when I was in the moment. I have to snap out for a few seconds to plan the next rhythm to play. What does the group feel like they want to do next? Where are we headed? The thing I had in mind a moment ago, might not feel right at this point. So I need to change it up, and improvise away from the set list, or program. <br />
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Just like you don’t want to hear the same song over and over, you need to sense what is the next thing is to do. When is the right time to end the rhythm, how am I going to end it? I don’t want to use a rumble for every single one, so I use a number of different endings. When we stop, should we chat a little, so they can rest? Are there any announcements that need to be made by the staff? <br />
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This is a good way to give your hands a rest also. Shake your hands and then rest them. Or do we just launch into another rhythm, or is it time for a rhythmic game? This kind of thought process helps me to live in the moment more comfortably, and transition points that happen are much smoother for me. I keep the plan moving in my head, adjusting it all the time to the group feeling, and the vibe. It takes a little experience to be able to do it. After four or five times, you will have it down. <br />
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Also I need to keep in mind the overall picture of the program, however it was designed for the group. I need to watch the clock, for example for break time. I don’t like to have to be aware of the clock unless I have to be. <br />
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Where will the group be in 15 minutes? Where will they be in a half hour? Do I have another group coming in right after this one? I may need to allow some time for any primary activities that may have been planned by the staff. I may have to cut things short, if a few rhythms run too long. (Which often happens if it’s going good.) <br />
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And I need to allow time for a good ending, and leave a few minutes for the kids to ask a few questions, and answers at the end. Most of them are eager to learn about the drums, and percussion. You can sort of map out, or outline your session, and weave it into the set list. If I’m working more than one hour, I plan it one hour at a time, so my head isn’t overburdened with so much information in it that I might forget something important. It’s a good idea, because you can’t always remember everything all the time. <br />
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I sometimes forget key elements, like the basics. Where do some of these drums come from? What are they called? How is the sound made? It’s easy to forget. It’s blunder time. For example, after one drum circle the teacher from the older classes asked me to explain where each type of drum originated because they had just studied the world map, and they were very curious about the world now. I felt like a dope because I forgot to mention it that time. <br />
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This is also why having a feedback, or survey form, to give the teacher is so useful after a drum circle. You can get someone else’s perspective and critique on what you can improve on, and what went well about the drum circle. What did they like the most? What didn't work? How did they feel after? Etc.<br />
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In my experience a lot of the kids are either overly excited, or a little nervous and possibly even scared at first. So welcoming them and telling them that this is all about having fun, and that there are no mistakes you can make. You are not going to mess anyone else up if you think you made a mistake. I’m not going to be giving you a grade here. Each one of you is unique, different, and special, (just like the drums, their hands, and their fingerprints). All of you have a special contribution to make, whether it is a little or a lot. It puts them at ease right away. (And me to.) <br />
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I remind them of their beating hearts, the way they walk, and that in all of nature there is rhythm, even the city sounds have rhythm, and everyone has rhythm in their bodies. And I try to get them all playing as quickly as possible. You can mix in the history, theory, or physics lessons between the rhythms like I do if it’s called for. Most of the time kids are fascinated by both. <br />
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Especially when I talk about how a djembe is shaped like a rocket engine. This seems to fascinate children of all ages, and using a djembe to explain to them the basic physics behind how sound works, and is created. It is also a great way to demonstrate a little hand drumming technique. After all, a djembe is shaped like a space rocket engine. <br />
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I usually bring a big picture of a NASA rocket taking off to better illustrate this at some point during a lesson. I’m using visual communication. Where is the sound of my drum coming from? You can demonstrate how the djembe sounds when the bottom of it is held closed to the ground, and then again with the drum tipped towards the children. That’s a big “ah ha” moment for them. They can hear, and feel the change in the pitch of the notes this way. I explain how the energy from my arm and hand is being transferred to the drum head, creating that sound fuel. That is the rocket fuel. I show them an 8 x 10” photo of a rocket ship taking off, and the shape of the exhaust cone, with the fuel coming out of the bottom. “See how similar it is to the bottom part of this djembe drum?” It compresses the energy before letting it out, making it more efficient, and louder. You are providing the fuel for it to “take off”. <br />
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One good idea, is to try walking around with the drum held in your arm sideways, with one hand doing a bass note over and over, near each kid. Get them to hold up their hands, palms out, and feel the percussion waves coming out from the bottom of the djembe as you walk past them, with the drum up, demonstrating it for them. They love the idea that they can feel the whoosh of sound waves, as well as hear it. The teachers always love this bit. <br />
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After all, I get to tell the kids they can do something they rarely ever get to do. Make lots of noise. And I get to be a kid again for a little while to.<br />
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Here are some more fun ideas to try: I sometimes show the kids, and the teachers the difference between an "Echo", ("You play exactly what I play"), and a "Call & Response", ("Whatever you play in response to my call is fine.") I’ve noticed that when I have the kids start out a rhythm on their own, it usually falls into kind of a default pattern: 1-2 pause 1-2-3. I call it the default rhythm. Bass--- Bass---tone-tone-tone (Try saying anything that fits to it: “I like Choc-Late-Cake”.) It usually turns into a nice jam, and kids of all ages can pick it up quickly. Or then fall into a Conga line rhythm. Or, start it out for them. <br />
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A Conga line is also a fun activity while playing. Get them parading around the room with shakers, as you play a rhythm. Just clear it with the teacher first. Try this one: 1-2-3-4-----5----6 Tone tone tone tone (pause) boom boom (pause, repeat) Or this one: 1-2-3-4-5----6. boom boom boom boom boom------Bang! (repeat) "Pass the popcorn, Please" is a fun idea. Dum - ba dum dum - - Dum! Don't expect to play a rhythm for more than four, or five minutes. The volume and down cues are always good to teach right away. Rumbles are life savers. Sometimes, I start with one at the beginning of the program. I really find that what I say in the very beginning is the most important thing. <br />
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First impressions are so important with kids. Got to set the right tone. Just like with adults, I often begin a rhythm to words, or with some sort of vocal association to it, to make it easier for the kids to quickly grasp onto the beat in the music, as an example: "Look, a great big frog!" (The Look is a bass note, the others are tones.) Or a variation with an extra beat is, " Look, a great big barking dog." Which is similar sounding to Samba. Again, “Look” is the bass note, the rest are all tones. <br />
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Another great drumming rhythm is the old standard, "I got rhythm, yeah" ---"DA DA DUDUM, YEAH". You can show a few tips on how to play the drum. Try out things like the drum wave. You get it going around in a circle and each kid taps their drum one time, then speed it up, reverse it, etc. It’s a controlled game without a lot of chaos that gets the kids familiar with their drum and it’s a good ice breaker. Later you can introduce percussion. Those sound shapes are handy to make up rhythms with. <br />
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I don’t use this one very much. I like to tire them out drumming, and get them playing rhythms right away, rather than playing drumming games. The kids seem to respond to it better. A good learning game you can try, is to bring a ball, like a soccer ball, and ask the kids to play one drum beat when I bounce the ball. You can bounce it fast, slow, low, high. Then let one of the kids try it out. This might work better with the older ones. A better variation is to toss the ball in the air and have them do a rumble, or drum roll, and it stops when you catch it. So you can bounce for a single beat, and toss in the air for a drum roll. You can add walking so foot steps become drum tones, or maybe another percussion sound. I use this game sparingly with children and adults. It’s lots of fun and almost always works for a few laughs at least. <br />
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With younger kids, I really don't expect too much in terms of real drumming grooves, but often it does happen. I let them bang around and have fun making some noise. They hardly ever get permission to do that. Rumbles and stops are a good thing to make into a game with them. Getting them to start and stop playing together is a lot of fun. I keep the beats very basic, and simple. <br />
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One facilitator I know sets up a drum “petting zoo” in the corner for the little kids while the big kids drum circle is happening on the other side. A very clever idea. The little kids can come over to the area, pet and play the drums like they are furry little animals. Just make sure someone is there to keep an eye on things. <br />
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If you have more kids than drums, make two groups and bring some large paper pads. Have the one group play, and the other one paint the music. Brushes or fingerpaints, then have the kids switch sides after 15 minutes. Better clear this one with the staff first! Here’s a cool idea. <br />
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I try the Simon Says game with drums, “Do you know the game Simon says?” Kids can only play when they hear the command "Simon says". If you give a command without saying "Simon says" and somebody does what you say, then they are out. "Simon says rumble - RUMBLE, Simon says "stop" - STOP." If you give a command without saying "Simon says", then you can make a big deal out of it and make all the kids laugh. With younger age groups, I wouldn't recommend taking kids out of the game. We want everyone to win. With little kids, I don't worry about the music as much. I have them work with sound dynamics like loud and soft, and start and stop. <br />
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Try including a song with the kids. Let them make a song, or tell them a story first, and have them add in the sounds of the instruments to it. Like walking through the forest to the castle, and have them add the animal sounds with their voice, or their drums, and then do it. This one works great. <br />
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Another idea with the older kids is you can try playing, "funky drumming musical chairs". That’s a little more cool. Set up two rows of chairs back to back. Start with enough chairs for everybody the first time. Have the kids sit in the chairs while you explain the rules. They all walk around the chairs in the same direction shaking egg shakers, and there's no running (safety). You play a funky rhythm on a drum, and when you stop playing, the kids have to find their seats. Each time you take away a chair, so there will always be one kid who gets caught out. Whoever gets caught out, gets to loose the shaker if they want, and pick a drum or other instrument, and comes over to join the band, that's you. A teacher with you on this is a good idea! <br />
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When you take away the chair each time, have another adult bring the chair over and place it next to you. As more chairs come, one by one, have them arranged to form a new circle, drums in front of the chairs. This way you are building your drum circle one child at a time. Eventually you will come down to just two kids circling one chair, with the rest of the kids playing instruments around them. One child gets declared the winner, and everyone joins up to play together in the circle. In my experience, I often get a lot of kids who try to lose on purpose so that they can come and play on the drums. <br />
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I have witnessed some examples of hilarious politeness, where kids offer to give the last remaining chair to another kid so that they can come and play in the band. You can expect a little bit more musicality from the older kids. They will like call and response a lot. Once they get the idea, I often will turn it over to them to make the call, and then I encourage the group to make the response. <br />
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Pass it around. Another activity I learned from another music teacher that works with the slightly older kids is the sound snake. Once you have them in the circle with an instrument each, you get in the middle and tell them that when you point to them they should play one note (hit) on their instruments. You spin around the circle with your arm extended like the hand of a clock, and when you point to them they should play. Start slowly at first and once you have gone around a couple times, and they get it, then add the next element. The change. This time as you go around at some point you say, "change" and start to go around the opposite way. This will keep them alert and focused on watching you. This often turns into a nice little jam, or it falls flat completely. <br />
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I recommend having lots of adult supervision. If you can get them involved, then you can really do something. If you have someone to play the bass drum it will really help if you want to get more musical. The kids love it when I combine jumping, with stomping. We play games where they try to anticipate when I am going to stomp on the floor and try to hit their drums, at that instant. This gets them to understand the importance of paying attention, near the beginning of the session. Start a rhythm with hopping, then turn it into stomping, and maintain a relatively steady stomp for a bit then break sequence. The game has begun! Kids love to be fooled, challenged, and surprised. You can even try letting individual kids into the circle to facilitate their own hops, jumps, and stomps. I keep this idea brief. <br />
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Sometimes I get a hip hop rhythm going on my djembe, and see if any of the kids want to do a little “Rap" song to get them going in a fun different direction. Or ask them if they would like to tell a story to the beat. Just lay a nice soft support beat in there, (starting it slowly) and away it goes. But I always make it a point to explain to the kids that when we have a singer, that we have to support them, by listening to them, and backing them up. We are the back up band, the rhythm section! So we can’t play too loudly, or we can’t hear the lead singer, the rapper rapping. This also teaches them to listen closer. It’s nice if you can have some help, or an assistant. They can help you to settle the kids in, getting in on the bottom drum if necessary, or supporting the beat or rhythms with you. <br />
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Keep an eye out for someone who can keep time, even a teacher. With the younger groups I find this very helpful. Having an extra person to hold the beat with a bottom drum. Unfortunately for me, I work alone, and don’t have that luxury. The older students, (like 4th grade and up) I can easily volunteer one of the students with solid rhythm, which I try to evaluate during the warm up jam. <br />
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I sometimes set up in small sections of instruments around the circle. This makes a more organized way of students switching to different instruments. "Everyone stand and move three chairs to your right". Or “Cross to the other side”, etc. This way there is not a lot of rush moving throughout the circle, and everyone has an opportunity to play a different instrument. Pass it to the right one person works also, to save a little time. <br />
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Sometimes you only have 45 minutes to work with them in a class situation and just can’t do some of these activities unless it’s an ongoing thing. Just remember to leave a few pathways so kids can move in and out or around the circle. <br />
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This idea ends up being a little awkward for me sometimes. I start a groove out, then after a couple minutes I tell the group we’re all going to pass our instruments around the circle to the right, but we are going to do it while trying to keeping the rhythm going. I count 1… 2… 1, 2, 3 (repeat) and then pass, then we all play. Then repeat it again after a while. Possibly take it around the whole circle. Allow enough time so that each person should have their new instrument, and they are ready to play it. <br />
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I sometimes pre-set different instruments like shakers and boomwhacker musical tubes under the chairs before we start (a good tip I learned). By doing this, the group is able to progress from one rhythm activity to another to another more fluidly. I start with the shakers and do the shaker thing activity, then right to the drumming, or, progress to boom whackers, then on to the bigger drums. I find this helps the understanding of drumming rhythms on drums faster, and gives you an opportunity to begin teaching without teaching. <br />
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Sometimes I am in a more chaotic environment and don’t want to start out with the drums. It takes place step by step, and adds the structure needed for working with larger groups. It also lets a kid know they can stop drumming and play the percussion instrument it they want, or switch back and forth. Here is a simple game I learned from another facilitator. Ok, two rules to this one. If I put my hands in the air you can play as fast and as loud as you like, when my hands come down, you need to stop. <br />
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Then shout one two three Play! (but don't put your hands up) and see how long it takes them to get it. Then just have fun with it, the kids in every group start laughing, or go wild and love it. 15 - 20 minutes disappears like nothing. Then I try non verbal communication. I point to my hand and put it up as if I am about to strike the drum head, then I point to my foot and lift it in the air, then gradually by dropping my hand and foot at the same time, I get them to figure that they hit the drum when I put my foot down...then I can start to walk....a little faster....a little faster....now I am running and the rumble is rising! <br />
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Now I am twirling and spinning and the drums are crazy and I jump in the air, do an exaggerated big stop & funny face. They seem to just love it they are together, starting and stopping. I bang out a few beats of a rhythm; they play it back to me. I call, they respond, & off we go into a nice jam. We have hardly even verbally spoken. But musically, we have already become friends. Everyone is smiling, the staff thinks I am pretty nutty. I sometimes will use puppetry and drumming with the younger kids, along with every other hair brained, nutty idea I can come up with that would be fun and that will make the kids laugh. One idea is to create stories using sock puppets, or their favorite stuffed toy. <br />
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I create drum rhythms that would be played when the name of their toy is called out. The kids were completely involved in the process and it was a great way for kids to work with them as a team. With the 8 to 13 year age group I often use cheerleading rhymes and skipping rhymes to spice up the drum class. Cheerleading rhythms are great because they’re fun and funky, and you can usually create great beats with them. They can also be tailored to the school the kids are from. <br />
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Nothing like supporting that school spirit. Use the school’s song, the staff loves it. Sometimes I go with the pie slice configuration thing for placement of the drums, and various other percussion items. It depends on the situation if I do this or not. I set up the instruments, and as the children arrive they take their places by the instruments. This can work really smooth. I request the oldest class arrive about 5 minutes before the others, and like clockwork, we were cooking along already by the time the other classes started arriving. <br />
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I just need to make sure the bottom beat is very stable. If I am working with different grade classes at once, I sometimes assign instruments basically by their grade class: 4th & 5th graders get drums, 3rd graders get boom whackers, 2nd graders get frog wood blocks and guiros, 1st graders get shakers, and the kindergarteners got jingle bells and maracas. I was a little concerned that the younger ones might get bored with no drums in their section but that was not the case when I tried it. <br />
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If you want to try sculpting, carve the group up into the pie slices thing while they are playing, or whatever. I’ve done a fair amount of it, I’m not a big fan of that approach, but the kindergarteners got a huge kick out of being showcased when I’ve used it with them. <br />
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The wave activity thing is always is a little lame, but it’s something to try, & it works. I learned that whenever I get lost, confused, or when I’m in doubt, I rumble. Little stumbles and train wrecks disappear. I introduce the drums, some basic technique, and use the windows of communication sparingly. <br />
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I want to get them to play the drums, not play drumming games. But some of these help you to keep them interesting, or to get them on track. It’s mostly just to draw their attention to the wonderful and diverse musical community we live in. Try some of these drumming games, try to making some up. See if the kids have any cool ideas. Teach and sing a song together, then drum to it; do the simplest of set rhythms “Hot chocolate hot chocolate nutella on toast” and, as soon as they've got it, ask them if they want to make up their own sayings.<br />
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When you sense the kids want to learn, try not to rush them at it. Because every minute spent in a drum circle helps every drummer from beginner to expert become a better drummer, and to be able to learn faster. One of the most important things I learned from my very first experience with elementary and middle school kids, was to let them get their excess energy expended at the beginning of a session. Let them get it all out, the stress, the nerves, that peer pressure, or whatever. I remember how it felt to feel different than the rest of the kids. Right off the bat, I either get that egg shaker dance thing going, or I get them on the drums and play a danceable rhythm on my drum and let them rock and roll about five minutes to warm up. I love to hear them start exclaiming that they're tired, all huffing and puffing. Now our drum circle can really begin! <br />
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For the littler kids, I usually use frame, buffalo drums, or sound shapes with mallets since their coordination isn't as fully developed at that age, and their attention span is rather short, so it’s a bit of a challenge for them to learn hand patterns and complex rhythms. I usually play my djembe as the bottom beat to it. If you do go with hand drums, be sure to make the rhythms and movements very simple, and clear. Start them out very slowly until everyone has it solid. I like to use familiar simple songs vocalized first, then transferred onto the drums and percussion instruments, played very slowly, then up the tempo a little after they have it. I do that a lot, from a list I keep handy. <br />
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I also like to make simple rhythmic chants from familiar words and phrases, like their full names, animals, numbers, colors, what they had for breakfast, or anything I can think of, or even that they can think of. Usually it’s played in a straight forward 4/4 beat (or 2/4, or a slow 3/4 - 6/8 time if they need quieting down a little.) I like to use these two sayings the most for vocalizing 6/8 time signature rhythms: <br />
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“Follow the yellow brick road.” Or, “Cab Bage And Broc O Li”. <br />
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I find that most kids generally do love to sing and naturally sort of play on beat with whatever instrument they have, except when they get carried away into a frenzy. Which becomes a convenient transitioning point to something else. Let kids know that every spoken language, and every culture has its own unique beat, and within every sentence, music can be found. If they can say it, they can probably play it. Show them how you drum the rhythm to the following phrases, or make up your own on the spot with requests from the kids: <br />
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All a-board! Boom tap tap <br />
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Yum Yum, I like Piz-za! <br />
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Calling all cars! Calling all cars! <br />
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Mary had a lit-tle lamb <br />
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Listen to the clock: tick-tock, tick-tock. <br />
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Twinkle twinkle little star <br />
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Hey, diddle-diddle, the cat and the fiddle, The cow jumped over the moon. <br />
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Row row row your boat...gently down the stream. <br />
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How much wood could a woodchuck chuck, if a woodchuck could chuck wood? <br />
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Jack Sprat...could eat no fat! <br />
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Make up a few, try reading sentences aloud from their favorite books, or phrases from their favorite songs, and rhymes. <br />
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Try playing Names, Food, Objects, Commercial Jingles, and Phrases Playing kid’s full names and kid friendly phrases can be interpreted into a series of long and short notes. Put the emphasis on the hard syllables: <br />
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Oh, Susannah! (LONG-LONG-short-LONG) or (Bass Bass tone Bass) <br />
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I like pea-nut but- ter - I like to jam <br />
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Miss iss ippi River - Miss iss ippi River <br />
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I’ll huff, and I’ll puff, and I’ll blow the house down! (short-LONG-short-short-LONG-short-short-LONG-short-short-short) In 6/8 <br />
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The people on the bus, go round and round. (short-short-short-short-short-short-LONG-LONG-LONG-LONG) <br />
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Try adding simple drumming to rhymes. If you're happy and you know it, bang a drum, or shake an egg, etc. Once the kids have mastered playing along to a nursery rhyme or any common saying you’ve got them. And then you can get to some real drumming. <br />
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Here is a fun drumming ending rhythm idea for a session, The I got to go rhythm. It has a natural rhythm to drum to. Accents are on the “G“ obviously: I...got to Go - got to Go __ gotta gotta - gotta Go and repeat. <br />
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I try to use anything I can think of that gets them to laugh and have fun. Balloons, blowing soap bubbles in the circle is fun, (if the teacher approves) I often bring along a couple of soap bubble bottles with the bubble blowers inside them. Try combining a variety of percussive sounds to create lively rhythms. Maybe start a call and response dialog between the different sounds, a back-and-forth, and back-and-forth approach. Ask them to think of it as drumming conversations that repeat over and over. It’s okay if they change it. Try this idea, have them drum syllables to these, or some similar phrase: How are you? (1,2,3) They answer, I am fine. (1,2,3) Or, try it with three notes from you, then four from them. And repeat, etc. Once they are comfortable you can up tempo it to a groove. <br />
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It’s important to help kids to learn to differentiate between high and low pitches, so you can demonstrate the sounds on their instrument. You will obtain a low pitch by striking the center of the drum head, and a higher pitch when striking the edge. The large sized drum has the lowest pitch, the middle sized drum has the medium pitch, and the small sized drum has the highest pitch. Use your hand to demonstrate the different places on the drum you get the different sounds from. After a few minute demonstrations, ask them to give you a thumbs up or thumbs down to identify the note as high, medium, or a lower note. Once they're comfortable with identifying high or low notes, you can ask them to play a high or low note on request. Try the <br />
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Morse Code Jam. I ask the kids to each shout out a letter, so we can have two of them to put together, and then play it to Morse Code, and make up our own new rhythms. They almost always all start shouting out different letters at once. I can make a funny big deal out of it, and say, “Wait a minute, not so fast!” Then we pick two letters and play them to the corresponding letters. A dash is a bass note, a dot is a tone. It’s simple, unpredictable, educational, and fun. And they know that you don’t know what it might come out sounding like. So you are building a rapport with them with this activity. What I do is print out a Morse code alphabet, and then go to a copy store, and have them enlarge it to a poster size, and have it laminated. Then I can post it up on the wall so they can all see the letters, and dots and dashes next to them. You can get it done, and have it laminated so it will last you for awhile for under ten bucks. I keep it stored in a round mailing tube for easy transport. <br />
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I always try to teach a little fundamental knowledge of music when I work with kids, to teach them how to differentiate between long and short notes, and how long they can resonate. I use a triangle with an easy to hold handle. Striking the triangle and then gripping one of its sides will reduce the instrument’s resonance and produce a short note. Striking a triangle while on a string or resting on a finger, allows it to resonate fully, and it will produce a much longer note. It’s good to include that in a first lesson. As I mentioned earlier, a large drum is another excellent instrument for this demonstration. Striking the drumhead using a slap-release technique will yield a long, sustained note due to the head’s resonance. Striking the head with a Slap muffle technique will muffle the sound by reducing the head’s resonance, resulting in a shorter note. I don’t like to show the younger kids the actual slap tone too soon. It’s too easy for them to hurt their hands trying it. I just do it with tones, or bass notes only. After a few moments of this demonstration, ask the kids to stand up and open their arms wide to identify each note you play as long, or to close their hands together to identify the note as short. <br />
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Once they’ve become comfortable with identifying long and short notes, you can ask the kids to play them on request. It really depends on the age group, as to what ideas I use. When in doubt, drum, then rumble, then drum some more, then rumble. Simple. Volume! This is always a part of my lesson. A great way to teach crescendo (loud) and decrescendo (quiet) sounds is to play this simple game: Demonstrate loud and quiet rhythms, and alternate between them. Ask the kids to listen and lift their arms over their head to show loud rhythms, and to fold their arms over their chests when they hear quiet rhythms. <br />
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An amusing (and sometimes useful!) variation is to ask them to play loudly or quietly on request. This is a cool drumming interpretation of a game called the phone game, which is great for a group of kids. Have the kids sit in a circle with you, and demonstrate a short drum beat. Ask your neighbor to repeat what you played for them to their neighbor. After the beat goes all around the circle, see how the beat has changed from the original that you played. Try changing the beat only after everyone has mastered the original, and keep the game going by challenging the group to repeat more complex rhythms. It either works, it’s really funny, or it’s a mess. <br />
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I often use various ideas to demonstrate rhythmic counting. Don’t underestimate the benefits of it. I often incorporate it into my program. It’s the foundation of music. And the kids are learning more basic math in the process, by learning to count off a measure of music. I always start with something in two, or four. Sometimes I divide the group into three sections and demonstrate a simple “Row Row Row Your Boat” style rhythm to one section after another, always turning clockwise. Beginning with me first, I demonstrate it, and invite them to play along. If I sense that there is a sag in the rhythm or reduced energy in the group, this is a good spot for a transition point. It’s also an opportunity to breathe new life into the drum circle by altering the group’s current rhythm. <br />
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Changing the rhythm of the drum circle will have an immediate impact. Or have them move to different drums. That works to. Closing a kid’s drum circle is pretty easy. When you sense the end, or a transition point and feel that the group doesn’t have the energy or desire to continue, simply get their attention with a big gesture, then increase the volume and tempo to a thundering rumble climax. 4 - 3 - 2- 1 and stop. Use big hand gestures so everyone sees you. Use a gong. Leave them wanting more, I always say. I don’t go for the mellow endings stuff with kids or adults very often, but I do use them. (Like the fade out, gradually play slower and softer until it ends, maybe over 8 measures.)<br />
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An advanced idea is to invite one player at a time to contribute a new solo rhythm of their own creation. I get a rhythm going on my djembe. Get them to actively listen before adding their own rhythm to the mix. Although it may take some time, you will be amazed by the magic that might result. Don’t force them to solo though. Only if they want to try it. Let them use the “safety button” if they are uncomfortable in the spotlight. Believe me, not everyone wants to solo. They may just need more time. Don’t force it on them. I usually use this one on a second or third session with the same group. I go into more information on that that below. <br />
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You can learn a lot from speaking to music teachers that work with kids all the time. I spoke with this one elementary music teacher who explained to me that she had to learn to get out of the way of the kids so they could have more fun. Too many times, we try to impose our sense of what sounds good, or what we may think is right and what sounds bad, or wrong on the kids. Sometimes they need to be given the opportunity, and/or time to experiment and create without a bunch of rules. The drum circle in class is ideal environment for this reason, and many others. At times, they don’t need us. That needs to be in your head the entire time. Sometimes a teacher will want to run in there and try to get a kid playing who appears to be uninterested. I usually speak with them beforehand about please not doing this. I explain that it’s easier for kids to learn if it’s at their own pace, and when they feel comfortable. <br />
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They will play eventually on their own when they see how much fun everyone else is having, they’re not going to mess things up, and that self discovery is the way to go. I show them rumbles, volume, tempos, and stops as soon as I can. (Let the kids try doing this if it feels right.) Have them try the weather jam where we simulate Wind, Rain, Hail, Lightning, Thunder. Play storm rhythms on the drums, and percussion. It usually turns into a good rhythm. Sometimes it train wrecks. It lets the kids know we will all go wherever this is going together, and not be afraid of making mistakes. <br />
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Try the freeze. I Am The Drum. We all play it, and I do some freezes. Let some of them have a try at it, moving around like animals (snake, bunny, elephant, kangaroo, turtle, bird, etc.) and freeze as they are moving or dancing to the beat - Samba, Hip-hop, Funk, whatever. Each kid gets to do an animal sound at the 4th or 8th bar break and etc. I’ve learned that I need to keep it fun, and joke around with the kids a little bit. I need to win them over. Do, or say something silly here and there, between rhythms, or before drum activities. <br />
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Here’s one idea you can try, make a TV show up like, “American Drumming Idol“. Odds are, they are big fans of the show. You get the kids to find a partner, or groups of 3 & have each team make up a rhythm with words said out loud as they play it. They can perform for the rest of the group. Make a beginning and an end, and they have to make a name for their band. Each group could have dancers also. (The show, “So You Think You Can Dance”) I give them five minutes or so to figure it out. It’s amazing to see what kind of things they come up with. Each team then performs for the rest of the group, (I'm having lots of fun pretending to be a nutty Simon Cowel and giving each group a critique.) I'm also making it into a bit of a competition with the kids voting on whether or not they should go through to the next round etc. It’s a time user, and I rarely use it. <br />
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Try the “add your voice” drum rhythm idea. It's a simpler drum circle rhythm where you have one person start a groove and each person in a clockwise rotation adds their own unique voice, after a measure or two. I explain to them before we begin that it's preferable to put your voice where no other voices are. Like in between the other drum beats. This gets harder for them as the circle completes of course. When the circle does complete and is grooving all together with different voices it is really cool, if it works. Usually it is such an original sounding composition that kind of slowly rolls around and has many different interesting counter points. (as a result of showing participants how to play in between the normal 1 & 2 & beats by occasionally adding in or using 1 e & a 16th notes - even randomly). They catch on to this pretty quickly. If the groove falters or wanders you can pull the group into a slow quiet rumble, and get on to something else. <br />
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Another game idea that I use after the group has built a dynamic that seems to be enjoyed by most, if not all the people I work with, (kids, adults, special needs, elderly, etc. could be called fill the gap, or drum break, although I don’t really have a name for it. It goes like this: I explain to the group that we are going to create a drum break for a fill. (That can be part of the rhythm or brought in on a stop.) Often 4 or 8 beats, and that we can take turns to suggest ways to fill the gap, prior to the gap occurring. The suggestions come in the form of body language or a loud voice if the groove is quiet enough. I usually say it out loud. At the given or marked point we all stop playing, (say after eight bars of music) and fill the gap with a fill. For one bar, (a pause) and then you go back to the same beat again for eight bars, and then on to the next person. Fills can be anything, if they want to be brave, and bang their drum a little, great. It can be anything from animal noises, to clapping, to silence, to rumbling, to whistling, singing, screaming, silly gestures, you can suggest a whatever you think will work at the time. Most times, the kids want to do drum riffs, or animal sounds. It’s a fun idea.<br />
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I feel it’s important NOT to make kids do solos. The best time to experiment with solos is after you have worked with a class a few times. Offer them the “safety button” to use if they are timid. They can push the imaginary safety button when it’s their turn. Be sure to monitor things, or have staff help you, keeping in mind some understood or pre-arranged boundaries may be there. It would look something like this: The group is going along with that simple default rhythm, (1-2----1-2-3) or a Rumba beat groove is what I use the most for this. <br />
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After the eight bars, we all stop drumming and the kid to my right does an impression of a chicken, or whatever animal sound they want to do real quickly in one bar. Then we swing right back in to the Rumba beat. The kid to their right now gets a turn to make an animal noise, after eight bars, and away it goes, from kid to kid, around the circle. This is always funny, and we are all laughing, waiting to see what funny thing the next kid comes up with. Once you have worked with them a few times, maybe have them try it with a drum instead. It builds self confidence. Although this idea is mostly a good laugh, this is a great way to keep the group grooving while not thinking too hard about what they are playing and it can also create some surprisingly beautiful moments especially if you open it up to the whole group. It never fails to lighten the mood if done with energy. I like Middle Eastern rhythms for this one. Or the Heartbeat rhythm. <br />
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The Drum Break Solo. I have mixed feelings on it, but when I think it feels right, I like to do this: The whole group is playing a simple rhythm reasonably tight and then we all stop drumming for a drum break, and have one person do a solo. You can demonstrate that the solo doesn’t have to be rhythmic, or complicated, or accurate. We just want them to have fun the way adults do. Hit the drum, rumble, be silly, be intense, be whatever, and you can get everyone cheering for each soloist. But it also puts kids a little bit on the spot, and puts some pressure on them. Sometimes, that’s just what they need. I always put that safety button in there as an option. (I don’t want to force the kids, or even adults, to do it.) <br />
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I don’t like for people to feel pressured into doing a solo. Some people don’t want to be put on the spot. But it is an idea, I’ve used it, and sometimes, the kids tend to like it more than the adults do! If you try it, I think the best thing to do is give them a verbal 4-3-2-1 countdown before it’s their turn to try the solo. I also keep the beat going, and do a verbal count of going aloud, or by tapping my foot on a tambourine in an obvious way, as each soloist takes their turn, so nobody gets lost, and everyone else is exactly sure when to come back in. And the soloist knows much easier how long to do their solo. So, to sum up, we play for four to eight measures of music, then the soloist does a two measure solo, and then back to the support rhythm. Eight more measures of rhythm, and the next person to their right does a solo for two bars, back to the groove, etc. Send it all the way around the circle. Everybody gets to do a drum break, then go back to the support rhythm. <br />
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The “Stormy Weather Jam”. Think of it like a slow approaching rain storm. It starts with hands rubbing together, finger snapping, and then body slapping, (not each other). Each is one done incrementally double times but not to any specific rhythm. Then it layers out. (hopefully) It sounds just like a rain storm coming in, letting loose and coming. Make it into a story, then turn it into a beat on the drums. <br />
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This is a variation of it, and it’s always fun. Here’s a way to do it: I like to simulate the wind by rubbing the hands across the drum head in a circular motion. I use those African seed shakers to simulate the leaves on the trees fluttering in the wind. The pitter patter of a few raindrops by tapping fingertips on the drum, or side of the drum. Then it rains harder and steadier. A storm is coming. Louder tapping. Then maybe some light hail. Knuckles knocking the drum head. Then some lightning, (a little bit louder tones). Finally the thunder beat of a storm! (insert rhythm here) You can make it into a rain dance beat or something. Those thunder tubes work really great on this one. It sounds like real distant thunder rolling in. All the kids want to play the thunder tube once, so what I usually do is let them each take a turn for a minute or two as it’s passed around the circle. Everybody gets to be the thunder drum kid. <br />
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Try the name game. I say my name, and then I play the beat to the syllables. Take it all the way around the circle with each kid. If it turns in to a sustainable beat, go with it. Don’t force the timid ones. I like to have lots of games and activities and keep things moving. If a groove develops, go with it, and forget the rhythm games. <br />
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My experience with all ages is kids really want to just play drum beats, not drumming or rhythm games. Especially the older teens, or if I work with the same group more than once. If you want to start a kid’s drum circle, or getting a drumming program going. Well, beginning is easy. In the case of kids drum circle I think a trained facilitator is probably a good idea for getting one started, or seeing if they even like it. <br />
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Bear in mind, there are as many different ways to facilitate a drum circle as there are to paint art. Have your staff or music director watch them closely and learn. No telling how long it might take. It could be just a few times maybe it‘s four, it might not work at all. Drumming is not for everybody. The odds are that it will be effective. It might be just what they needed to let out aggression or frustration with out focusing it directly at anyone so they can learn faster, and become better students. <br />
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Sometimes I use different drumming ideas, activities, drum games, and programs. Other times I just get them playing on a drum as quickly as I possibly can. My goal is usually always the same, to get them playing the drums as fast as possible. I have three or four beginnings in mind for a new group. I don’t know what I’m going to do until I can size them up, and feel the group dynamic. I don’t want to force them into something they don’t find fun! If something falls flat, just move quickly to something else. Mostly, I start with the egg shakers dance or just playing the drums. The warm up jam sets the mood. Good luck with it, and keep it fun! <br />
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Remember to try and speak with the staff afterwards for feedback. And at the next time you are there. (Hopefully) Or, leave them a feedback form to fill out, with a self addressed envelope and a stamp on it. I've gathered a lot of useful information with a simple feedback form. Remember that there are heavy restrictions on photography in most cases, so be sure to ask if you want to take photos. If it's an event out in public, with the general public invited - then it's different. <br />
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If the group needs to take a break for drinks or snacks, make sure they don’t come back to the drumming area before they are all finished. Goatskin drum heads still make terrible tables and coasters. One thing some don't understand about drum circles, is that it's more about the people, than it is the drumming. <br />
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Many facilitators agree with me on this, some don't. The quality of the music produced in a drum circle isn't really based on the musical experience of the players, but on the developing quality of the relationships of the people that emerge. As a facilitator I help people to empower themselves through drumming, music, and fun. They need no experience at all to play in a drum circle. I encourage individual creativity, and group dynamics.<br />
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Ultimately, I just let people play. We drum up some fun. Let your personality out, and with your calm and reassuring manner, watch the volume, and they will quickly enjoy playing together, and connecting with you. I hope some of this is helpful to you, and it gives you a few ideas working with kids individually and in groups, young or teens. <br />
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Please keep in mind that these are just my opinions, and based on my experiences. If you would like to read some more about my approach to drum circles, please consider picking up my book, “A Practical Guide To Hand Drumming And Drum Circles” It’s 300 pages, and $8 on Amazon Kindle. Physical copies are $18 available at my website, or at Amazon. <br />
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If you choose to purchase my book, 101 drum circle rhythms video, or some of my drum circle jam music mp3s (CDBaby.com or iTunes, etc.) You can get 2.5 hours of live drum circle music for 10 bucks. Either way, I hope you enjoyed my blog, and thanks either way in advance for helping an independent musician. The proceeds from music sales help me with drum repairs, and the work I do in our community. <br />
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It helps out the most, if you purchase direct from me here at my website. My 300 page book, "A Practical Guide To Hand Drumming And Drum Circles" is $18. A 75 minute drum circle jam CD is included.<br />
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Also please check out the main page with my 2 hour DVD of 101 Drum Circle Rhythms for $15 + $2 shipping. A Free drum circle CD is included. Please visit the main page drumcircles.net (or Amazon) for more information on both.<br />
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Drum Some!<br />
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Shannon Ratigan<br />
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P.S. And while you're at it, check out my drum circle finder, where you can locate drum circles near you in your state. Established in 1999, there is over 1000 listed and still growing. Also a global drum circle list. These listings are updated regularly. <br />
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drumcircles.net<br />
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Copyright © Shannon Ratigan All Rights Reserved.drumcircles.nethttp://www.blogger.com/profile/05856494181338188294noreply@blogger.com0tag:blogger.com,1999:blog-9113701967098106880.post-46174406349661184192014-03-20T13:57:00.000-07:002014-03-20T14:01:56.401-07:00Venice Beach Drum Circle Riot - My ThoughtsMany have heard the news about the recent "riot" at the Venice Beach drum circle. I used to attend that circle for many years & although it’s freestyle with no facilitator, it was always different & always fun. We created some excellent in the moment music there, & a few musical trainwrecks as well. That’s part of the fun of unorganized community drum circles.<br />
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Going to it helped me to deal with the everyday problems of life. I guess you could say, it helped me drum that stress away like it did for many other people. It was that way for a lot of the drummers & dancers. Going there kept me sane with all the rejection in the music & acting industries. The social part of it was important as well.<br />
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For decades, the Venice Beach drum circle used to be right near the boardwalk bike trail on a little grassy knoll surrounded by palm trees. It was simply a beautiful place to drum where the public could stop by & enjoy the sound as well. People on rollerblades & bicycles would roll by & stop to enjoy the scene for awhile & move on. We would all drum the sun into the sea together as the sun set. <br />
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Many people went out & bought drums so they could come down & be a part of it. Music making became a part of their lives. It was good for the community & brought a lot of them together despite their differences, language barriers, & cultural backgrounds.<br />
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As the story goes, Jim Morrison used to write songs & even drummed at that very spot. We would play every Sunday starting around 3pm, sometimes for 5 - 6 hours or more. It meant something to play right there where so much music history was created. And it went on like that for years. <br />
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There would be maybe 40 – 50 drummers by 6pm & lots of onlookers enjoying the rhythms. Most of them had never even seen a drum circle before. It kept growing, & yes there was a personality conflict now & then, but it was pretty rare & never violent. <br />
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In the late 90’s the cops moved it 100 yards away out by the shore. I’m not sure exactly why, complaints from nearby residents I think. I think another part of the problem was it didn’t generate any money for the nearby businesses, or the city. (Meanwhile music from various bars was much louder than we were.) So no more street lights – that was one of the reasons there were so few problems for so many years.<br />
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A lighted area is less likely to have problems. Out of sight, out of mind I guess they figured. Now we were way out by the water’s edge, so when night rolled around, it was pretty dark & isolated out there. It started attracting more people & more problems along with it. Sometimes over 200 – 300 people would be there, (but still maybe only 50 drummers.) so when it got dark, I would usually split. Venice is an attraction for some gang members, whether there is a drum circle or not.<br />
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The dust ups between a few people became more frequent. A few times a year the cops would show up, but almost every time it wasn't the drummers causing a problem, it was the curious onlookers (usually inebriated ones) that would gather around it that did. Venice beach is a pretty busy place that attracts all kinds of people from all around Los Angeles. The drum circle was just a tiny part of it, but it was a significant part of the culture & charm of the Venice Boardwalk. I could never really understand why they couldn’t support that, like they did other non financial generating activities that go on there.<br />
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I’m not defending what happened, but I think when you get any large group of the general public together almost anywhere, there's going to be a few problem people mixed in there. <br />
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Unfortunately this recent incident is being blamed on the drummers and/or the drum circle that has been going on there for over 40 years. I watched the video and didn't see any people with drums causing a problem. Many of us have worked hard, and always will, to clean up the image some get when they hear the words drum circle.<br />
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Because of the media jumping on freeform drum circles where anything negative happens, (rather than the positive. So many drum circle facilitators don't even use the term drum circle anymore, they are shifting away from it and going to PC terms like interactive drumming, community drumming, & words like that. Freestyle drum circles happen all around the country, in hundreds of cities, & most all of them with no problems. So media press on this kind of incident is unfortunate, but for me, it’s always going to be a drum circle. <br />
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Here’s the LA Times article:<br />
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http://www.latimes.com/local/lanow/la-me-ln-two-arrested-venice-beach-drum-circle-police-20140317,0,7832871.story#axzz2wEIsJhi5<br />
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Shannon<br />
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drumcircles.netdrumcircles.nethttp://www.blogger.com/profile/05856494181338188294noreply@blogger.com0tag:blogger.com,1999:blog-9113701967098106880.post-53401863993613962522014-02-24T10:58:00.000-08:002015-01-07T13:55:12.183-08:00Why Have a Team Building Drum Circle? (And a Few Tips & Ideas)A team building drum circle for your business, company function, or group of employees is a fantastic idea. Not only is it fun, but drum circles are an excellent activity for any group, and for all ages. But especially as a tool for team building, or as an event ice breaker. Letting people express themselves through drumming and then seeing how that can build to a musical performance is at the heart of team effort.<br />
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Learning to let go of self involvement in order to synchronize with others is the essence. Not everyone can or will play the drums the same way, just as they don’t do their jobs exactly the same way. And those slight differences, if done from each person’s strengths, are what make the musical result magical. People learn that playing/working together is something that is its own reward because the results are beyond what any individual can do.<br />
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Drum circles can be extremely effective for companies that want to enhance the generation of new ideas and better team work. When people discover that they can collectively produce a good sound without any musical training or background, they start to realize that they can be more effective at work by putting their heads together and working as a team.<br />
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Also, drumming uses the brain in a different pattern than the linear thought process that is usually needed in the work environment. For example, when suggesting a drum circle rhythm, I like to vocalize the first few measures before we play it. The logical analytical side of the brain can process it quicker, which then frees up the creative intuitive side. People can then play what they feel, rather than over thinking it. ie: The Heartbeat drum rhythm: Boom Boom chicka-chicka Boom Boom (pause, and repeat) A drum circle brings the group to a more open mental and psychological process, which can be carried over to the production of new and better ways of working.<br />
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A drum circle is an excellent tool as an ice breaker, or to kick off any kind of brainstorming session and optimize the quantity and quality of new ideas. In other words, your team improvises and is more creative.<br />
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Drum circles are an excellent activity for any group, and for all ages. But especially as a tool for team building. Letting people express themselves through drumming and then seeing how that can build to a musical performance is at the heart of team effort.<br />
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Drum circles can be extremely effective for small business teams or companies that want to enhance the generation of new ideas and better team work. When people discover that they can collectively produce a good sound without any musical training or background, they start to realize that they can be more effective at work by putting their heads together and working as a team.<br />
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Some drum circle facilitators who offer team building drum circles use a variety of team building rhythm games, and then finish up the remaining time with a drum circle. It’s a tried and true method. But over time, I’ve developed my own approach. I suggest that you do the same thing. Study what the others do, and develop your own sense of style and unique way of doing things. These are just my opinions, and I hope that some of it will be helpful to you. There are certainly other ways to go about this. Based on my style, and experience, this is how I do it. It is not the only way, or even the best way, but it’s what works for me. The clients have been happy with the results, and that’s what matters.<br />
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Lots of companies and small businesses are having to cut back on expenses these days. While I would be happy to come over and facilitate a team building drum circle for you, (for a nominal fee) I understand that times have changed. Perhaps it might make more sense to just buy some drums, and have your own team building drum circles from time to time. It is a great way for employees to connect on an even plane, thereby increasing productivity, and harmony. I’m happy to answer any questions you might have about doing it, or hire me to help you do it. Explore the possibilities by trying it once.<br />
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For many years, companies have strived to implement the concepts of empowering employees to find and implement better ways of accomplishing work processes. Deming, one of the world’s foremost authorities on quality assurance and employee productivity, was also one of the first to recognize the fact that it is the employee working at the lowest level who knows the most about how to improve the flow of work. The stumbling block has always been how to convince workers to speak up and propose changes and then find ways to make those changes happen to achieve optimal results.<br />
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Drum circles provide a unique and highly effective solution to this quandary. Drumming has been around for thousands of years. Virtually every culture on earth has a history of community drumming being used to unify the group. Different cultures produced different instruments and rhythms. Your company is a microcosm culture that can use the same approach to unify the group and improve their interactions, resulting in improved productivity.<br />
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I’ve worked for, and talked with a lot of businesses and corporations about using drum circles to improve the performance and productivity of their employees. This is not as crazy as it might sound. It is currently being used extensively in large corporations and I believe that it can be just as effective in smaller companies. A small investment of time and money can reap benefits that will improve a company’s effectiveness for a very long time.<br />
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This is where many of the name drum circle facilitators make the big bucks. The proof that drum circles are effective is right there. And as a drum circle facilitator, I work to define objectives and construct an approach that fits their particular environment. I typically work with 5 to 80 people at a time. I provide all of the instruments, and I can also help to coordinate the event itself. Everyone is free to participate, or just sit back and anticipate the results.<br />
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Team building through the interactive process of a drum circle is a relatively new approach to employee productivity that is becoming increasingly popular throughout the United States. Successful corporations know that good team building improves the success rate, not only of the team, but of the corporation. But, knowing how to create truly effective teams is a distinct set of skills that is rarely taught to the employees who would be in a position to implement them.<br />
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There are two obstacles to team building in the corporate environment. Unlike sports, where it is known that the team has to work together, corporations are often highly competitive environments. And, people who view their co-workers primarily as competitors, are unlikely to interact in a constructive team setting. In addition, employees are accustomed to passively accept the work assigned to them by their bosses and work primarily towards doing only those specific tasks that they believe will please their boss.<br />
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Building a successful team requires a significant shift in these two patterns of interaction. A good team’s members will help one another overcome obstacles and improvise new and better ways of accomplishing all of the goals that the team faces, rather than individual tasks. This makes the entire team more productive.<br />
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Plus, as humans are social by nature, this interaction makes the work place more enjoyable. And people who enjoy their work place are more productive. Drum circles are a highly effective way of introducing the revised shift in attitudes necessary for building teams. While an individual can beat on a drum and produce a rhythm, it only becomes true music when a group of people play together. A drum circle facilitator teaches the basics of drumming, then guides the group into creating a musical experience. The type of facilitation used can be a major factor. A too highly structured drum circle can emphasize the mindset of only just following instructions.<br />
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I think the ideal type of facilitation to kick start or improve team building is one in which the participants are encouraged to improvise within the rhythm structure provided by the facilitator. It is a direct parallel to the team improvising solutions to the group of tasks that the team needs to accomplish. Drumming immediately reduces stress and breaks down barriers between the participants. The process then brings the group back together in a nonverbal form of team interaction. The group learns how to listen to what is going on and respond to it in a way that adds to the total product. Once people do this in a setting that is fun, they can then carry it back to their regular work tasks, resulting in better communications and increased effectiveness.<br />
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Please email me (at the bottom of the page) with any questions about rates or availability. We can tailor a custom program to meet your vision. My rates are reasonable, and competitive. If you expect to have more than 80 people drumming at any one time, I need to hire another facilitator. I respect your privacy, and never share email addresses with anyone.<br />
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When Inquiring about a team building drum circle, please provide me some of the particulars, and what you have in mind for it I charge depending on several variables, such as the amount of time, type of organization, location, approx. amount of people, and any specific requirements.<br />
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I am based in the Saint Louis area now. I provide facilitated drum circles for various groups, events and parties. My rates are very competitive. They include the equipment, loading, set-up, facilitating the drum circle, and one hour travel both ways. It may seem like it costs a lot, but a one hour drum circle can take up to 4 hours. There is the loading, travel, set-up, facilitating the circle, load back up, travel back, and unload to storage. Plus, the cost/wear and tear of the drums – percussion, and all the years of musical training to host drum circles.<br />
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I provide facilitated drum circles for various groups, events, and functions. Whether it is hosting, or facilitating a drum circle, I do the very best I can to help really make a difference. I offer something that’s unique, and interactive. Anyone can sit right down and play drum rhythms. The team building happens by default.<br />
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A Few Hints, Tips, and Ideas For Team Building Drum Circles<br />
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When I book a team building drum circle, no matter how large a group it is, I try to find out a few key pieces of information. In fact, one of the most important things I do is some homework about the company, business, or group. I try to find out names, who does what, and get as many details as possible. Often I get hardly anything other than a brief from their site. But I try to get as much information as possible in advance, (within reason of course) from the hiring person. For example, what’s the theme they have in mind? Company values? Better synergy? Leadership? Stronger communication? Risk taking? What’s the purpose or objective of them wanting this drum circle team building event? Finding some of this out helps me to custom tailor activities, (or lack of them) specifically for them.<br />
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You can’t fool most of these business management types, they have seen it all, and can spot BS right away. The important thing is to deliver on a clear theme, and meet their objectives, not mine. For me every event is different, but there are a few mechanical things I do at the start, and at a few points during the drumming process. There are a few “welcome activities” I’ve learned from others, such as the handshake circle, the egg shaker pass, and so on. (Do a search on them if you need the specifics.) These are both good ice breakers. More often I just get them drumming to a basic foundational drumming beat as quickly as possible. The reason is, corporate types tend to over think things if you give them too much time.<br />
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As I mentioned, a simple vocalization of a rhythm for a few bars in 4/4 time, gets them quickly out of their heads, improvising, and creating. For example, nice and slow tempo, 4/4 time, each word is a 1/4 note, 4 notes per measure: (This is 2 measures, or 8 beats.) bass, rest, bass, rest; tone, tone, tone, rest; and repeat the phrase. Let it go for 5 minutes and slowly bring up the tempo. Let it evolve… From then on it’s just a series of different rhythms from around the world. The vocalizing emphasizes listening and dialogue between the employees.<br />
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The rhythm Heartbeat, or Hi-Life are good after the warm up. It leaves openings for call and response. Once you demonstrate it, and let them know it is okay not to have to strictly follow the rules like in their normal working environment, this is when the team building begins. Various drumming games and activities do work, but not as well as creating a setting to just letting them figure it out for themselves.<br />
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This is probably not the best analogy here, but if you are stuck at a level in a video game, is it more satisfying to figure it out, or have someone show you? It stays with you if you accomplish it on your own. I don’t go much for the body beat percussion thing, the layering in of percussion, as many others use it. I think of it how I would like it to be if I was an employee. I have sat in that chair waiting for some silly team building activity before. So I don’t leave people sitting there waiting for their turn to play.<br />
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I do like to take a 5 minute break at the half way point for a brief discussion. After that, I ask everyone to pass their drum or percussion instrument to the person on their right. They have to figure out a new drum, and how to play it. They experience the change in themselves, the sound, and the circle. It is similar to them having to figure out their own strategies for dealing with something different on the job. I usually do this one more time about 15 minutes later, but this time we break and I ask a few of them to comment on the differences of the new drum they are playing. It opens up some interesting discussion, and job related metaphors.<br />
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I’ve found this to be very effective, the suits can see what is happening, and they can see the value of why we are doing it. I like to get the participants to openly talk about what they are experiencing after specific drum rhythms at a few different points during the program. My experience is that most executives are very sharp, and they have short attention spans. Not because of ADD, but they tend to learn very quickly, so they can also get bored quickly with basic team building drumming games and activities. They figure them out fast, and want to move on to something else. I can’t say I blame them really. Just drumming works better than gimmicky things that waste time. (But I always have a few at the ready just in case.)<br />
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I keep two lists in my back pockets. One is a list of rhythms, and the other is a list of drumming activities. I hardly ever look at them, but if they are there, I feel more confident. If I do get a brain freeze I can just glance at it for reference. It happens. My overall pacing of the various drum rhythms is slow and steady, with a few ebbs and flows to keep things unpredictable. The main objective is to create a group dynamic as fast as possible, and a group rhythm that represents the goals of the company. The group downbeat rhythm represents the basic working process, and goals of the organization. They just don’t know it until after we are done. It is their unique company “groove”.<br />
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The rhythms are their vehicle. I like to spend a few hours planning out the program the night before, and also after I have seen the room, and set up my drums. I take a half hour to figure out and visualize my program that is about to start. One thing I got from my years in show business and appearing on live TV, is the there is an ever so fine line between fear, and excitement. All I have to do is convince my mind that I AM EXCITED. How cool is it that I get to do this? I’m not nervous, or scared…I’m excited. Incorporate, and use your life experiences.<br />
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So to sum up, as the facilitator my job is to provide the instruments and guide the participants through the process. I do not tell them what to do, but give them the tools to figure out what their group pulse is. This is a surprisingly powerful tool. I start by letting them just beat on the drums to get a feel for the physical motion involved and to release any tensions. Then, I start showing them a series of basic rhythms and, once they get those, show them how to feel the rhythm and add their individual flavor to it. The sound moves around as different people will dominate a pattern and affect it. Then, I introduce a new beat and someone else ends up taking the lead, and away we go team building, while having a good time.<br />
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Trying to encourage employees to think outside the norm and find better ways of working is a highly worthwhile goal. Drum circles show them how to do this in a context that removes their routine ideas of constraints. It gives a simple joint goal to the group, then fosters a creative and spontaneous accomplishment of that goal. It enhances the ability of the members to function together at their best by providing a path that is relaxing, invigorating, and just plain fun. And, people who enjoy working together are consistently more productive. The stress reduction of the drum circle can also significantly reduce absenteeism. Many large corporations are now using drum circles on a regular basis.<br />
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I try to provide a safety net by being constantly tuned in to the group and the individuals as things progress, so they can have a good time, and not really think about the team building process. (Although that is what’s also happening.) I mention on my drumcircles.net page, helping people to find their own inner sense of rhythm takes very little guidance and can be done spontaneously in the middle of an ongoing rhythmic drum beat.<br />
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Natural rhythm flows within all of us. Our hearts beat to a rhythm, we walk to a rhythm, many aspects of our daily lives are done to a rhythm. Whenever we hear drumming, we begin to move to the universal rhythm inside us all. The drum connects your heart to your hands. We start out a beat, we just follow the beat, and all of a sudden we are improvising, experiencing and talking with our drums. You are the instrument, the drum becomes your voice. Drumming conversations begin to emerge as people become connected beyond the music being played. They are finding their inner natural rhythm. I drum what I say.<br />
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Some of the benefits of a drum circle:<br />
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It uplifts the spirits of all the participants, and Unity is achieved through diversity. It invigorates the body and mind. Enhances focus and clarity. It builds group cooperation skills and camaraderie. It’s proven to reduce stress, and it’s cheaper than therapy. It reduces employee routine and burnout in the workplace. It improves motor skills, and it’s a positive musical experience. It’s an opportunity for self expression, and increased listening skills. It stimulates creativity, experimentation, and self confidence. It breaks down communication barriers, and celebrates the joy of life. It’s empowering, healthy, and most of all it’s Fun!<br />
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I hope my page inspired you to have a team building drum circle, or helps if you facilitate them yourself.<br />
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For much more in depth information on drum circles, or facilitating them, I wrote a 300 page book, “A Practical Guide To Hand Drumming And Drum Circles”. (It comes with a free drum circle jam CD for $18. or $8 on Kindle.) To get the free drum circle CD, the book needs to be purchased from my website.<br />
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I offer a 2 hour DVD that will show you how to play over 101 different rhythms from around the world for $15. It comes with a free drum circle jam CD also. (If purchased from my website.) It’s also on Amazon Instant Video for $14. You can view a YouTube clip at my website. It helps out the most, if you buy it direct from me. If you do purchase my 101 Drum Circle Rhythms DVD, hand drumming and drum circles book, or possibly some of my drum circle jam CDs – mp3s – I would appreciate that. It helps out a little bit with the work I do in our community. Most of the groups I work with have very limited recreational budgets. Thanks in advance if you do purchase something from me. <br />
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Please visit my site drumcircles.net or Amazon - Ebay for my 101 Rhythms DVD, book, and drum circle music.<br />
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Shannon<br />
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drumcircles.net <br />
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Copyright © Shannon Ratigan All Rights Reserved.drumcircles.nethttp://www.blogger.com/profile/05856494181338188294noreply@blogger.com0St. Louis, MO, USA38.6270025 -90.199404238.230196500000005 -90.844851200000008 39.0238085 -89.5539572