Share Your Favorite Drum Circle Story Contest: Free Rhythms DVD & CD

It's time for another free 101 drum circle rhythms DVD and drum circle jam CD contest on FaceBook. All you have to do to enter is post about your most memorable drum circle or drumming event on the FaceBook Group: Drum Circle World - https://www.facebook.com/groups/210537070053/ and the one that gets the most likes over the next 10 days (There's still 5 days left to enter) gets one of my 101 Drum Circle Rhythms DVDs, and a drum circle music CD shipped free to anywhere in the world. (Entries need to be on the FB group, not on this blog.)

Here's the one drum circle I was a part of that touched me the most:

http://www.drumcircles.net/EarthDayDrumCircle.html

Facilitated Drum Circle Set List “Round The World” Facilitation

Facilitated 1 Hour Drum Circle Set List “Round The World”

With most groups I facilitate drum circles for, I like to use a "set list" similar to what bands use. I'm hoping some of the approach I use helps you. Also, this is a free word doc at my website drumcircles.net - Please feel free to print out any parts of it if you think it might be useful.

The first page of rhythms below is what I write up the night before, (after I've done some research on the group, org, and their objectives having a drum circle). I use this for pretty much all drum circles I facilitate. Businesses, events, elders, kids, special needs, etc. - it tends to work for me all around. Since an hour goes by so quickly, (or even two) I've found that if we spend the time making music, it achieves their goals.

My goal is for them to have the best time possible just playing drums. No activities, games, or etc. Just shut up and play. The better the music sounds, the better it feels. I want them to get the healing power of drumming in their bodies. Some people do have physical limitations as to what they can play, so I bring a couple bins of assorted percussion. I don't want anyone to be excluded.

I adjust my rhythms set list to suit whatever the group is, but I use this as a general guideline for most smaller circles. Often, it all goes out the window after the first few rhythms, because I let the group vibe and dynamic help guide me. Learning to just trust that when I started facilitating back in the 80's, took me a few years not to freak out if things didn't seem to be going right, or even if a rhythm trainwrecked. It happens. I keep things light, and add humor when I can. So if it happens, I joke about it, "opps my fault", we laugh, and move on. Make the whole experience fun. If it's all serious, it can become more like a classroom experience.

Another aspect to keep in mind, (with whatever the group is) that people are usually transitioning in, and out of the circle as rhythms are happening, so the music is constantly changing, and transitioning. Don't try to control it, just roll with it. Staying tuned in, and evolving with them keeps it in the groove, and sets the right tone.

I encourage people to join in when they feel like they want to. I don't intervene if someone is not playing. Shining a light on them isn't the right move. Even if someone is just sitting there with a scowl on their face, it doesn't necessarily mean they aren't into it, and having a good time. I've had a few of those who sat there the entire circle, came up to me afterwards, and thanked me for just letting them alone to enjoy. So anyway, here's my set list:

===================

Warm Up Jam: Boom_Shala-Ka...Boom_shala-Ka...

Heartbeat: Boom Boom chicka chicka Boom Boom....Boom Boom chicka chicka Boom Boom tap.

Beledi: D D tkt D tkt_D D tkt D tkt_

Fanga: Dun, -, -, go, +, do, go, -, Dun, -, Gun, -, do, go, -, -

Jewish Rhythm: D t-k D t, D t-k D t,

Mother Rhythm in 6/8

Hip Hop Rhythm

Gawasi: D tkD D tkt tktk

Clave: Mockingbird

Agilablanca: I like to eat, choc-late-cake. (Or another one I like:) Yum Yum, Tastes Like Chicken

Greek: Doum tek a tek tek-ka, Doum tek a tek tek-ka, Doum tek a tek tek-ka, Doum Doum Tek _ (pause, & repeat)

Improvisation Jam, & that's it. End it with a big rumble.

=====================

So that's an example set list I would write for most one hour drum circles I facilitate. There are certainly other ways to do this, it's just how I approach it. (More detailed notations are below.)

Once you get going, it’s surprising how fast an hour can go, so I try to keep the rhythms about 7 minutes long. One hour usually turns into 90 minutes. What can I say...I’m a softie.

I like to get a warm up jam going as quickly as possible, so if anyone has nerves, they just melt away. This is what the elders in most cultures did, they would drum first, and talk later.

Most of the rhythms are in 4/4 time (4 counts to a measure), but I like to get at least one 6/8 rhythm in the set somewhere when it feels right.

I always start with a slow basic, yet grooving default drum circle beat. It sounds like this:

Warm Up Jam: Boom_ShaLa-Ka...Boom_shala-Ka... I just start playing it & say, "Play whatever you want, just follow the beat."

After that warm up jam, I can assess the group dynamic, and skill levels, which helps me to make changes or choices from my set list.

If they are all beginners I use Queen's: "We Will Rock You" - Gun Dun go ! Gun Dun go ! Gun Dun go! baGun Dun go !

Or this beat: Bass - Bass _ tap tap tap _ Bass - Bass _ tap tap tap _ (bass on the 1 & 3, tones one the 1,2,3 after it.) The last 4 is a rest. It's a very basic rhythm, but once the group has it in solid, you can gradually bring up the tempo, and both can turn in to nifty little jams.

I facilitate from the side, and mostly through the music. I adjust my set list to fit the particular group, but for the most part, this is what I use. I like to guide them around the world in drum rhythms. Early on, I mention that the rhythm I'm playing is just a starting point. Play whatever you want, play whatever feels good to you, or whatever you feel fits. Improvise, experiment, and express yourself. After the warm up jam, I spend a couple minutes on hand technique so there are no sore hands, and volume so nobody is too uncomfortable.

When I'm suggesting a rhythm to play. I like to vocalize the first few measures before I start, or as I'm playing it, and I start it out very slowly. Then I can gradually bring it up to tempo once we have a pretty solid groove going.

The reason is the analytical side of the brain processes it faster, that frees up the creative intuitive side so they can improvise. Then people can play what they feel, rather than over-thinking it. It is after all, "a drum circle" not calculus.

Interestingly, I've found that most people can wrap their heads around it quicker if I vocalize sounds with a "K" in them.

The count is in 4/4 time on most of these: 1e&a2e&a3e&a4e&a

Middle Eastern style: Doum tekka-doum Tek. ( abbreviated it's D tk-d T )

Or use Babatunde Olatunji's - Gun Dun go do pa ta style,

Or, use just how it sounds: Boom chicka-boom Chick

Or, just "scat" them out jazz style any way you can. "Boom chicka boom boom" works pretty good, seriously.

Anyway, at this point, they're warmed up & totally got it. (We hope!) Then I usually choose what feels right from these rhythms in 4/4:

Heartbeat: Boom Boom Chicka Chicka Boom Boom....Boom Boom Chicka Chicka Boom Boom tap.

Variation: Boom ShaLa-Ka Boom Boom__Boom ShaLa-Ka Boom Boom__ (both are spiritual if you play slow, bring uptempo & it grooves.)

I keep the energy level up with either Beledi or Fanga about this point:

Beledi: D D tkt D tkt_D D tkt D tkt_ (I throw a bridge in there after it gets going.)

Sounds like this: Doum Doum TekKatek, Doum Tekkatek...Doum Doum TekKatek, Doum Tekkatek-(tekaka)Doum Doum Tekkatek, Doum Tekkatek...

Fanga: Dun, -, -, go, +, do, go, -, Dun, -, Gun, -, do, go, -, -

This Jewish rhythm rocks hard: D t-k D t, D t-k D t, (Basic pattern is similar to the rhythm Ayub.)

Mother Rhythm next: 6/8 time. Follow The Yellow brick Road, or cabbage and broccoli, cabbage and broccoli. You-huff-and-you-puff-and-you-blow-the-Gun-Dun-go-do-pa etc - Anything to give them the time change feel.

Hip Hop or Funk Rhythm comes next. If some of them haven't danced in the center yet, this one will make it happen.

This has kind of a hip hop feel to it. Doum Doum, kaTek-doum, kaDoum Tek_ Doum Doum, kaTek-doum, kaDoum Tek

Clave or Samba rhythm next. Remind them of the beat to the songs; "Mockingbird or Hand Jive" Or try "Jingo" by Santana.

I do an improv jam to wrap things up, and they almost all leave wanting to play more.
If there is more time, I work in one of these 2 Rhythms:

Yum Yum tastes like chic-ken. Yum_ Yum_ tastes like chic-ken. Bass_ Bass_ tone tone tone-tone

Or Agilablanca: I like to eat, piz-za-pie. I like to eat, piz-za-pie or choc-late-cake. (4 tones followed by 3 bass notes.) Anything with 3 cylinders in it works.

Then here's the deeper stage 2 list:

Gawasi: D tkD D tkt tktk

Jaark variation: D tkt-tkDDtkt-tk

Masmuudii variation: D---D---t-k-t-k-D--tktk tktk

Gunazi: Boom sha-ka Boom Boom, shakala, Slap! Boom sha-ka Boom Boom, shakala, Slap! (or some accent tone at the end)

Karsilama 3: It has a triplet at the end: D-kkT-kkD-kkT-T-T (2+2+2+3) Challenging but fun.

Kids like this one: Boom - che-boom_che-boom-a-choc_o_late__choc_o_late,

Saiidi: Doum tekka tekka doum doum tekka-Tek _ Doum tekka tekka doum doum tekka-Tek

Zaffah: (As far as I know, an Egyptian wedding processional in 4/4 time.) D-tkt-t-D-t-t-tt (repeat)

One of my favorite drum rhythms:

Doum tek a tek tek-ka, Doum tek a tek tek-ka, Doum tek a tek tek-ka, Doum Doum Tek _ (pause, & repeat)

Tabla rhythm, but try on djembe or doumbek: da-di ki na doum, da-di ki na doum doum doum.

Greek line dance in 2/4: Doum-tekkatek-tek, Doum-tekkaDoum-tek.

Good 4/4 jam: Gun Dun godo padaTa_ Gun Dun godo padaTa_ (Ta is a slap tone)
(I use "da" as a closed tone note, or as a different softer lower pitched sound between "pa" and "ta slap tones".)

Another: Gun pa go-do, Gun pa da-pa,

More: Gun Dun godo pa-ta-pa, Gun Dun godo pa-ta-pa (or) Doum Doum tekka ka-tek-ka, Doum Doum tekka ka-tek-ka

A Waltz or 6/8 rhythm Darj:

D-TkT-D-T
1-+-2-+-3-+-

An Irish rhythm: Boom-ba-da-ba, Boom-ba-da-ba Boom,

Chifitelli variation (played slow) Doum, tek-ka tek-ka doum doum Tek _ Doum, tek-ka tek-ka doum doum Doum _ (repeat)

Cuckoo: Say & play it: Cuckoo for Cocoa Puffs - Shaka-sha-lakaBoom, Shaka-sha-lakaBoom

I like to mix slow grooving rhythms along with some up-tempo ones so they have some variety. When I was a teen in HS, my first music teacher taught me it's not how many notes you can play in a measure, but it's the space between them, that really makes the music. That stayed with me. Let the bass notes breathe...it's not a race.

----------------

During the set, I try to share some back story on a few of the rhythms. Where it's from, how used, etc. Not too much, just a little here and there. Also during the set I mix in a little about the various drums, congas, djembes, doumbeks, frame drums, and etc. It makes it more interesting for them, and gives me a chance to shift gears to next rhythm. I always mention it's to the best of my knowledge, and that we should respect the other cultures, and the rhythms. I keep the set list in my gig bag, so I can glance at it if I need to. And sometimes I do.

I usually have to leave out one or two rhythms, because a few of them get in the pocket. Got to let those go longer, right? As I mentioned, if a rhythm train wrecks, I just say, "Opps, my fault." Joke about it, laugh, and start another rhythm out. Or, stall a bit, and see if someone else starts one up. (We call that noodling.)These kinds of things set a tone that's it's fun, casual, and not all serious.

Many times the vibe takes me in another direction as far as rhythms to suggest, but the list gives me a good outline. There are many different ways to facilitate drum circles, this is just how I approach them. No games, no activities, just make music. The better it sounds, the better it feels.

I hope some of this is of help to you. If you REALLY liked it, please pick up my 101 rhythms DVD or book, “A Practical Guide To Hand Drumming And Drum Circles”. $8 on Amazon Kindle. It is in the book share program, so you can share it with friends like we do with drums at drum circles. Shannon - drumcircles.net

Special Needs Drum Circles & Drumming

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.

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. 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.

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 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.

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.

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.

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.

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.”

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.

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.

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.

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 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.

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 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.

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.

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.

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.

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!

A Latin drum break works well also. Or make something up, as a nice ending to a good jam.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.)

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.

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.

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.

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.

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.

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 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.

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.

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.

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.

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.

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.

Both are great ideas for almost any drum circle group, and I use them both all the time.

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.

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.

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.

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. 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.

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.

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.

Attention Deficit Disorder

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.

Cerebral Palsy

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.

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.

Down Syndrome

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.

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.

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 5 minutes if I feel the need 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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

Remember there are heavy restrictions on photography in most cases, so be sure to ask if you want to take photos.

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.

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 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 only $8 on Amazon Kindle or the Barnes & Noble Nook. Physical copies are $18 available at my website, or at Amazon. If you choose to purchase it, thanks in advance for helping an independent musician. The funds help me with drum repairs, and doing work in our community. It helps out the most, if you purchase direct from me.

Shannon

Drumcircles.net

Copyright © Shannon Ratigan All Rights Reserved.