Frequently Asked Questions

What Is A Drum Circle? -Jonathan, Toronto, Canada

Jim: A Drum Circle can mean different things to different people, depending upon the needs, goals and experience of the group. My short answer would be, "A Drum Circle is a rhythm-based jam session". Some people define drum circles as being "in-the-moment" improvisational sessions without any pre-planned patterns. Others see drum circles as including differing amounts of planned patterns, or even some traditional rhythms. Some "drum circles" do not even include drums (or, in some cases, do not include any percussion instruments at all), but emphasize "rhythm-play" and rhythm-based verbal games. These are all valid descriptions, since drum circles are such a grassroots phenomenum.

I prefer to call most of my work, "interactive rhythm-based programs and events", since the term, "Drum Circle", is so ambiguous. My corporate programs are very different from my youth programs or my community programs, because the needs and goals of these groups are different. However, they are all participatory and all involve using rhythm as a process to reach the goals of the group. The fundamental goals, themes and nature of the group determines the specific process of my programs. In fact, the nature of most rhythm-based events is to serve the group; to use rhythm-play to help the participants to create their own group process in order to reach their goals, whether the goals are team-building, energizing minds and bodies, releasing stress, breaking down communication barriers, having fun... or any combination of these!

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What is the role of a leader or facilitator in a drum circle? -Peter, Vienna, Austria

Jim: This depends upon the style of the leader/facilitator and the needs and goals of the group. Facilitate means to "make easier", so I approach my job as making it as easy as possible for the group to play together, meet their goals and have fun. I've developed a number of techniques and rhythm-based activities that I have available to use when needed; one of the most important of them is knowing when to just let the group PLAY so that the participants experience what it feels like to get into a groove together!

It's up to the leader/facilitator to know when and how to facilitate the process that serves the group, and, equally important, when NOT to facilitate. There is always the temptation to over-facilitate, just as there is the temptation for a musician to over-play. Each type of event and group (corporate, community, school/youth, therapeutic or private) requires differing types of facilitating/leading.

In some situations I will give a short verbal introduction to the fundamentals of drumming together (cooperating & communicating through rhythm), and how group drumming relies on the same universal values and skills that are also necessary for building strong, effective and thriving communities. However, whatever the specific techniques I may use for specific groups, my main emphasis is helping groups and individuals experience what it feels like to get into the Groove Zone. This is the experience that brings the many, powerful "Aha!" realizations that brings enduring, positive change to peoples' lives!

In my programs for corporate clients, I work in advance with my contacts to customize my corporate programs to meet the group's specific needs, goals and themes. I will help the group to create basic grooves and then, over time, I help the participants to build upon the basic groove. I will also often introduce specific elements that are targeted at giving long-term solutions to specific teamwork, communication and motivational issues. Above all, I help the group experience fundamental teamwork and community building breakthroughs, as well as individual life-skills, while creating an atmosphere of celebration. I emphasize that I always build upon the groove; it is the experience of grooving together, getting into the Groove Zone together, that gives the group the most profound lessons in teamwork, communicating, risk-taking, harnessing creativity, aligning themselves with shared goals and values, and creating a spirit of celebration in their workplace and in their lives.

In community festivals and private events, I will often quickly demonstrate some easy, fundamental playing techniques and patterns to get the group playing, help novices learn to play effectively and show respect for the peoples who have originated the instruments we use. I then just let them play! I will play along to give low-key help to individuals or to the group, and to help maintain the groove and the energy level. My basic concept in community and private events is to have the group experience grooving together rather than to get in the middle and "facilitate" just because I can.

When working with children, it is crucial to make the drumming program age-appropriate in order to maintain their interest, help them experience actual rhythm success and to help them have fun. Drumming can have a number of very beneficial effects upon children, and it is important to work with the teacher/group leader to make the most of these.

In therapeutic settings, I always work with the staff professionals to ensure that the drumming is accessible and appropriate to the population, and genuinely serves them. I also design my therapeutic drumming programs to halp create a support system among the group members. The group becomes a social activity, as well as a therapeutic one.

My personal growth and group empowerment drumming programs are designed to awaken and reinforce the universal life -skills that transcend individual cultures and regional ways of living. For this reason, my facilitation methods are based upon the universal ways that we humans have developed our personal, professional and community lives.

In my Rhythm-Based Facilitation Skills Trainings, I always emphasize the importance of learning, and practicing, a number of facilitation tools and techniques, but I also stress that we know how to use only those tools that will effectively serve the group. It takes time, training and intention to develop the intuition and experience to know when to use the tools we have.

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What is more important when playing recreationally with other people; technique or feel? -Marcus, Houston, Texas

Jim: Both are important! Technique and feel are intertwined and interdependent. Technique should include what to play and when and how to play it, as well as how it feels. Feel should include the ability to play clear and consistent sounds (technique) in patterns that groove and serve the music (feel).

Always remember that we get good at what we do! In other words, to get good at technique and feel, as well as to develop the ability to listen, communicate musically and work with other musicians, we should always play with the intention of including all of these elements. Also, learning at least some fundamental, traditional techniques on our instruments will help us to feel the music, play consistently, have more fun and shows respect for the peoples who originated the instruments. Remember also that it does take time and patience to get anywhere worth going, so don't be overly critical of your playing. Just be aware of all these elements, steadily incorporate them into your playing and have fun!

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How do you prevent your wrists from getting as tired when doing long rolls?-Elizah, Miami, Florida

Jim: Your question goes right to the core of the fundamentals of drumming. That is, relaxing while playing, beginning at the beginning, practicing good habits and progressing in a step-by-step process over time. It takes time, dedication and staying loose to play fast single stroke rolls, or anything, for extended lengths of time. The body operates at peak efficiency when relaxed. Relax your wrists, arms, shoulders and entire body when practicing and playing. I tell people to "drop your shoulders" when playing. This has the effect of releasing tension and relaxing the body. Let your wrists be flexible, not floppy... just not locked. Practice single strokes slowly for extended lengths of time. Start with quarter notes at 60 beats per minute for five to ten minutes at at time, several times a week at least. Stay loose, keep your tones and your timing consistent. Over time, that is weeks, months and years, gradually increase your tempo in regular stages. Enjoy every stage of your development! Don't get frustrated by the gradual pace of improvement; it takes time to get anywhere worth being! You'll find that this type of practice will improve all aspects of your playing. Intersperse this gradual process with burst of speed to push yourself and to stay excited. You may find that this increases tension so make sure to end your session at a tempo slow enough so you can get relaxed again. You want to build this relaxed playing process into you playing at any tempo.

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