What is a Drum Circle?
A drum circle is any gathering of individuals playing (normally) hand-drums or percussion in a circle. They are unique from a drumming organization or troupe in that the drum circle is an end in itself free form and improvised in execution. They can extend in size from a hand sized scoop of players to circles with a large number of members.
In 1991, amid affirmation before the United States Senate Special Committee on Aging, Grateful Dead drummer Mickey Hart expressed:
“Typically, people gather to drum in drum “circles” with others from the surrounding community. The drum circle offers equality because there is no head or tail. It includes people of all ages. The main objective is to share rhythm and get in tune with each other and themselves. To form a group consciousness. To entrain and resonate. By entrainment, I mean that a new voice, a collective voice, emerges from the group as they drum together.”
The expression “Drum Circle” started in the United State amid the late 1960s and early 1970s for any gathering of individuals, especially counterculture bunches, who accumulate (casually) to play music together. The expressions “drum jam” or “jam session” could be substituted. Settings incorporate shorelines, parks, show parking areas, celebrations, and retreats. The deciding criteria for a drum circle is that the music is ad libbed and co-made by the members. Drum circles could conceivably be interested in the general population, yet the music is dependably a gathering declaration, not obliged by kind, instrumentation, or guided by and one individual or sub-bunch.
In Western nations, drum circles have formed into two fundamental sorts:
Group – free-structure drumming, regularly open to the general population and altogether extemporized in-the-minute.
Encouraged or Conducted – gathering drumming that is musically controlled by a particular individual, frequently called a facilitator.
All manifestations of drum circles are utilized as a part of a mixed bag of settings and applications including; group building, recreational music making, well-being, training, festivals, other worldly existence, self-awareness, and so forth.
Group drum circles are casual social events of individuals who meet with the end goal of playing drums together. They regularly occur openly in settings, for example, parks or at the shoreline, yet might additionally be sorted out by means of a group focus or comparable body. Instrumentation revolves around drums and percussion, yet may incorporate different instruments, for example, woodwinds, didgeridoos, and other non-percussion instruments. Essentially anything that might be slammed against to make clamor could be utilized as a percussion instrument, for example, jars, pails, funnels, and so forth. One need not have or buy a drum to take an interest. Group drum circles contrast from encouraged or led drum circles in that the music is totally extemporized through a methodology of gathering cooperation. There may be a facilitator or mediator who acts to shape the experience through discrete activities, for example, serving to keep up an enduring beat, helping the individuals who need it, and by and large dealing with nature to see that everybody can take part completely. The members make up the music as they come, utilizing their listening and playing abilities to make musical associations and convey what needs be in any ways that feel right. Interest is intentional and regularly incorporates drumming, singing or droning, moving, and tuning in. Group drum circles regularly draw in both normal and drop-in members of all ages and can happen pretty much anyplace. Group drum circles are the first and most mainstream type of extemporized group drumming.
An “encouraged” drum circle is a type of gathering drumming in which an individual tries to center the purpose and enhance the quality and impact of the action, making it simpler for individuals to viably take an interest by taking a more order methodology. The facilitator (pioneer) assumes liability for the physical space, organizing seats and instruments to streamline correspondence and association in the gathering. He or she may give a scope of instruments to make a full and adjusted percussion symphony. Thusly, the experience might be considered an “institutionalized drumming circle,” instead of the all the more free-streaming and open group drum circle. The facilitator is continually checking the music in the gathering, and for the most part being empowering and tolerating of member thoughts. Along these lines, the facilitator assumes a part like that of a music instructor or drumming conductor whose objective it is to enable the members and sway them to impart their plans. At the starting the facilitator coordinates the music through verbal and non-verbal prompting. Signals, which regularly reflect the developments of a symphonic director, are regulated at the members, who react to the pioneer. This makes a pioneer/devotee alert between the facilitator and members. Activities, for example, moving (thundering), beginning, ceasing, raising/bringing down the volume, stresses, and when to play/not play are frequently given by the facilitator. Directing is not ordinarily piece of a conventional (group) drum circle, and in this manner makes this sort of circle an interesting background and altogether different from a group circle. Facilitators with preparing and involvement in different ranges and callings, for example, music instruction, music treatment, and corporate preparing, may utilize a scope of apparatuses and methodologies that empower them to work with assorted populaces. These sorts of encounters are all the more correctly alluded to as ‘drumming projects,’ as opposed to drum circles, in the conventional sense.