Drum Circles and Drumming with Groups 55+

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.

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.

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.

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.

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.

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.

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.

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 )

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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 leading the rhythm.

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.

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.

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.

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.

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.

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:

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:

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.

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.

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.

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.

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.

(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?

Anyway, a good basic plan is this:

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

Here is a sample drum circle program I might use:

Right away to the warm up drum jam, maybe 5 minutes.

5 minutes to introduce different cultural drums, drumming history, and why people do it.

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.

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.

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.

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!

- Shannon Ratigan

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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.

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.

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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:

http://www.cdbaby.com/Artist/SLRatigan

Or, click the CDbaby.com link below:

My CD Baby Artist Page

This website, text, & photos Copyright © Shannon Ratigan All Rights Reserved.

If your group would like to have a facilitated drum circle, you can contact me at:

drumcircles_net(at)hotmail.com

My rates are reasonable. Please email me with any questions.

Thanks, Shannon - drumcircles.net

My First Drum Circle Experience

I 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.

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.

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.

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.

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.

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.

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.

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.

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?

Shannon Ratigan

drumcircles.net

What to Charge for a Drum Circle? – Rates Pricing & Venues

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.

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.

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.

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.

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.

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.

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”.

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.

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.
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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.)

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.

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.

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.

Find a Drum Circle Venue: A Craft Brewery, Pubs, Clubs, Cafe's, & etc.

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.

Here's a little history on the brewery circle, and some general info on drum circles at casual drinking establishments:


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.


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.


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.


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.


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.


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="">
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.


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.


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.


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.


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.


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?


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%.


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.


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.


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!


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.


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.


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.


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.


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.


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.


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.

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”.

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.

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.

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.

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.

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.

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.

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.

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.

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.

Shannon Ratigan

Copyright © Shannon Ratigan All Rights Reserved.

Free Djembe Drum Rhythms DVD Contest & Drum Circle Finder Updates

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:

Here's a sample clip from the video:



Here's a track from the drum jam CD:



http://soundcloud.com/drum-circles/more-cowbell-drum-circle-jam-1

The FaceBook page name is Drum Circle Finder

https://www.facebook.com/drumcirclefinder

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.

(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.)

http://www.amazon.com/gp/product/B001IB5WBC?keywords=101%20drum%20circle%20rhythms&qid=1444174566&ref_=sr_1_1&sr=8-1

Also, check out the drum circle finder directory, a free service to the drumming community since 1999. Listings of both facilitated & freestyle ongoing circles.

Drum Some!

Shannon

drumcircles.net

Drum Circle Facilitator Percussion Treasure Chest + Gig Bag & Drum Insurance

Percussion Treasure Chest + Gig Bag (Spice Bag)and a Little About Moving Your Drums (Insurance)

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.)

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.

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.

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.

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.

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.

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.

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.

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.

Shannon Ratigan

drumcircles.net

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.

Wedding Drum Circles & Drum Circle Receptions

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.)

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.

I love wedding ceremony drum circles. In my world, a drum circle is celebratory and special just by its very fundamental nature.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

I always ask the bride and/or groom before the start, if they would like to do this:

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.

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:

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.

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.

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.

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.

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.

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.

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.

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.

Shannon Ratigan

drumcircles.net

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