Drum Circles: The Great Equalizer

An Investigation on the Use of Drum Circles in Classrooms of Varying Abilities

Rebecca Kenaga

Beginning Methods and Materials for Instrumental Music

Drum Circles: The Great Equalizer 1

Many music educators struggle with the idea of creating lesson plans that musically and

non-musically satisfy the educational goals of students with and without disabilities, especially

when in heterogeneous settings. Drum circles, a highly adaptable method of engaging

populations of all sorts, carry the potential to do exactly that when utilized thoughtfully and

appropriately. Hammel and Hourigan (2017) state that “music teachers should use all resources

available to understand the challenges and areas of strength a student brings to the classroom as a

part of his or her disability” (p.13). Many students with special needs benefit from an educational

setting with the Least Restrictive Environment possible. The Least Restrictive Environment

(LRE) is described by the Individuals with Disabilities Education Act as a setting that, “to the

maximum extent appropriate, students with disabilities will be educated with students who are

not disabled” (Turnbull et al,. 2006, p. 67 as cited in Hammel & Hourigan, 2017). Drum circles

can be modified in ways to meet and surpass the educational goals of students with and without

special needs, helping ensure students are learning and producing music in the least restrictive

environment possible. They can also be used to bridge the gap in heterogeneous classrooms.

How do drum circles meet musical objectives provided by the Virginia Department of Education

Music Standards of Learning? What benefits are provided by the participation in drum circles,

musical and non-musical? How can drum circles be adapted to meet the educational goals of

classrooms of students with and without disabilities?

Participation in drum circle activities easily meet Elementary Instrumental Music

Standards of Learning provided by the Virginia Department of Education (2013) objectives

EI.1-.2, .7-.10, .12, and .14-.20, examples of which include:

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EI.2 The student will echo, read, and perform simple rhythms and rhythmic

patterns, including whole notes, half notes, quarter notes, eighth notes,

dotted half notes, dotted quarter notes, and corresponding rests.

EI.14 The student will begin to use articulations and dynamic contrasts as means

of expression.

EI.15 The student will perform simple rhythmic and melodic examples in

call-and-response styles.

EI.16 The student will improvise rhythmic variations of four-measure excerpts

taken from folk songs, exercises, or etudes.

EI.20 The student will investigate aesthetic concepts related to music by

1. proposing a definition of music;

2. identifying reasons for preferences among works of music, using music

terminology;

3. identifying ways in which music evokes sensory, emotional, and

intellectual responses,

4. including ways in which music can be persuasive; and

5. explaining the value of musical performance to the school community.

Campbell and Higgins (2015) describe a few lessons that cover the aforementioned

standards that could be used in classrooms with or without disabilities. Drum circles carry much

historical and cultural context with them, relevant to standard EI.18 (Virginia Department of

Education, 2013) which refers to history and culture of music. Introducing different types of

percussion aid in this idea, such as steel pans. Steel band percussion is originally from the
Drum Circles: The Great Equalizer 3

Caribbean Island Trinidad and became integrated into some American public school settings in

the 1970s. In the activity described by the authors, students are encouraged to move their feet to

the beat while echoing simple melodies often used in steel band tradition, such as “Mary Ann”,

or “Prisoner Levee”. Steel bands have also become popular in other parts of the world. They

were introduced to British schools in the 1960s and 1970s during a time when educators were

promoting the use of music for expression of feelings while simultaneously advocating for

education on multiple cultures (McCalman, 2010). McCalman (2010) describes two case studies

with steel bands specifically in classrooms with special needs. The first, the Woodbine Steel

Band Project, is an ensemble made of adults with special needs who have tutors and perform for

festivals. The second is a steel band at Manor Primary School of children with learning

disabilities and autism. McCalman provides a few recommendations for steel bands with

students with special needs, some of which include using simple tunes with patterns, adding

other percussion, adapting instruments to students needs, and color-coding the drums. Campbell

and Higgins (2015) also describe a type of drumming called Luogo, a type of Chinese festival

music used often in China, Tai-wan, Hong Kong, and Singapore. It uses gongs and other

percussion to create easy-to-replicate ostinati and often incorporate dancing and hand puppets.

Accomodations can be made by color-coding the drums or using different sized mallets to fit

students’ needs. Students who aren’t comfortable playing on drums can participate by dancing

with puppets or ribbon to feel the beat of the music their peers are providing.

In Australia, Mackinlay (2014) leads a group of fourth graders in a drum circle called

“Bam Bam”. This group uses bucket drums because of their accessibility and affordability.

Bucket drums can be played with sticks or hands on the sides or top of the drum to produce
Drum Circles: The Great Equalizer 4

different timbres. The ensemble learns music aurally, completely without written notation,

fulfilling Elementary Music Standard EI.15 (Virginia Department of Education, 2013), and then

solidifies that knowledge through repetition. Mackinlay (2014) notes that “the classroom teacher

and I both play alongside the children and by becoming participants with them we aim as much

as possible to create a space where we are all teachers and learners together and where equality is

always a potential” (p. 213). Along with the musical expectation of call-and-response, Mackinlay

also employs a few non-musical, behavioral expectations as well, such as only playing when

appropriate, not playing others’ drums, respecting personal space, treating peers with respect,

and “bring[ing] our whole person responsibly into the rhythm of the drumming circle” (p. 214).

Elementary Instrumental Music Standard EI.16 (Virginia Department of Education,

2013) refers to improvisation of rhythm. In 1828, Johann Nepomuk Hummel (1778-1837),

described the need for improvisation in one’s music education as “urgent” (Hummel as cited in

Goertzen, 1996, p.305 as cited in Azzara, 2015, p. 182). Improvisation is integral to participation

in drum circles. Azzara (2015) states that “fear and anxiety are at the root of many persons’

hesitation to create and improvise” (p. 184). However, when these negative feelings are

overcome, students have the opportunity to blossom through the creative process of

improvisatory musicking. Azzara also provides three ideas of how necessary improvisation is to

the development of musicianship, comparing comprehension to reasoning, improvising to

talking, and composing to writing; without these concepts, musicians are only reading and there

is no proof of the understanding of concepts or materials. Another of Campbell and Higgins

(2015) suggested lessons is titled “Be Free” (p. 153). In this activity, students sit in a circle and

freely play their drums. The facilitator cues them to start and stop (potentially with a breath).
Drum Circles: The Great Equalizer 5

Eventually, the students are asked to “switch on” their consciousness, lending more focus to their

own sounds and the sounds produced by their peers. The facilitator can then ask questions,

encouraging the students to make informed musical decisions (for example, “Where does your

part fit in?” or “What sounds are you creating that make you an important part of the group?”).

Improvisation has also been used consistently in the music therapy world with individuals with

disabilities, referred to as a “relational-improvisational” approach, where the patient and client

improvise freely together. The freedom of improvisation “offers a non-judgmental and

non-confrontational stance, where supported musical engagements override the pressures and

stresses arising from language limitations” (McFerran, 2010, p. 11). In an environment like this,

improvisational music can give individuals with disabilities (especially those who are nonverbal)

a voice, a chance to share their stories and emotions with others through music, allowing for

deeper inter- and intrapersonal connections and eventually leading to feelings of success and

acceptance, increasing positive self-image and self-worth.

It is worth noting that tensions exist between music therapists and music educators,

largely due to the necessary overlap between the two occupations. Stevens notes that “an

accomplished facilitator is not a music therapist. Those who desire to develop drum circle for

targeted populations, for example, in a medical setting, should co-facilitate with music

therapists” (Stevens, 2003, p. 38 as cited in Onishi, 2014, p. 301). Perhaps the most significant

difference between the two occupations lies in the desired outcomes of their interactions with

individuals. Music therapists focus exclusively on the non-musical benefits that occur when

bringing music into the life of someone with special needs. Jones, O’Neil, Pavlicevic, Powell,

and Sampathianaki (2013) describe some of the benefits that occur specifically in young adults
Drum Circles: The Great Equalizer 6

with severe disabilities. Because a safe space is provided, it becomes easier for these individuals

to feel independent and participate in socialization. Music therapy also encourages growth in

“communication/language development, behavioural, social, emotional development,

sensory/cognitive development and physical development” (Ockelford, 2008, as cited in Jones,

O’Neil, Pavlicevic, Powell, and Sampathianaki, 2013, p. 8).

Although musical benefits are still prevalent in heterogeneous classrooms of students

with and without disabilities, the non-musical benefits become even more obvious. In the small

Israeli town of Raanana, Cochavit (2010) spent a year uniting two groups of 7-8 year old

students: one from an elementary school and one from a center exclusively for students with

severe disabilities. Raanana did not have very many opportunities for individuals with special

needs, and the creation of a group linking these children required intense preparation. These

students would never have the opportunity to interact without the formation of this music therapy

group. Cochavit “wished to facilitate an intergroup relationship and thought that music could

become the connecting ‘bridge’ for the purpose of uniting the groups. This was a pioneering

project in Israel that was conceived and motivated out of the social exclusion and the attitude

towards children with special needs” (p. 66). Parents from both schools were comfortable

voicing their concerns; those of the children with disabilities were concerned their children might

feel poorly about themselves, and those of the other school were anxious their children might be

afraid of the children with disabilities. Soon, the parents would learn these fears were as far from

reality as possible. While at first the two groups were cautious of each other, they began to

develop autonomy as a group using music as a uniting factor. Playing together on instruments

such as drums helped teach the students about sharing, communication, and even more difficult
Drum Circles: The Great Equalizer 7

ideas such as “caring and protecting the children [with special needs] versus promoting

autonomy” (p. 69). After six months, some students had become close enough that they hugged

and kissed when they entered and left class. They had become best friends. When the entire

experience was coming to a close, some students had enjoyed the time so much that they

suggested the creation of a summer camp, which eventually led to the decision to continue

meeting in the following school year. The project created long-lasting bonds, encouraged

unbiased thought processes in students, parents, and the community, and led to the creation of

similar groups in the town, all through the participation in musicking together on various

instruments, including drums.

There have been other studies conducted on the use of drum circles to facilitate

community bonds. Drum circles are known to be stress-relievers for its participants, due to the

feeling of entrainment (essentially, when the drummer “loses themself” to the groove); in a

recent study, drum circles were introduced to Singapore, a location where community music is

not the norm (Onishi, 2014). The instruments used in the drum circle were mostly traditional

African hand drums, like djembes, bass drums, and wood blocks. Musical importance was placed

on pulse, dynamic contrast, improvisation, and soli sections, relating to multiple Virginia

Department of Education Music Standards of Learning (2013). After participating in drum

circles in this Singaporean community, locals reported increased feelings of community

harmony, decreased bias towards each other, inner peace through freedom of expression, and

increased desire to help other members of the community (Onishi, 2014).

The research currently available on drum circles in educational settings focuses almost

entirely on elementary-aged populations, ignoring various groups that could potentially reap
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significant benefits from participation in drum circles. Some of these aforementioned groups that

could benefit from further studies include senior citizens with special needs, heterogeneous

populations with and without special needs older than elementary age, and populations that mix

ages. More research could be found on the musical benefits of drum circles, especially in a

longitudinal study following two groups of students: one group that participated in a drum circle

regularly, beginning at elementary age, and one that did not participate regularly in a drum circle.

Many different populations, with and without special needs, see musical and non-musical

benefits from participation in drum circles. From comparing dynamics to discovering historical

context, music educators can utilize drum circles to meet many Elementary Instrumental Music

Standards provided by the Virginia Department of Education (2013), while facilitating strong

community bonds, encouraging self-expression, and ensuring all students, regardless of ability,

have access to equal participation in music-making.

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Reference List

Azzara, C. D. (2015). Improvisation and composition. In Burton, S. L. & Snell, A. H. (Eds.),

Engaging music practices: a sourcebook for instrumental music​ (pp. 181-198). Lanham,

MD: Rowman & Littlefield.

Campbell, S. C. & Higgins, L. (2015). Ideas for instrumental music-making. In Burton, S. L. &

Alden, H. S. (Eds.), ​Engaging music practices: a sourcebook for instrumental music​ (pp.

145-161). Lanham, MD: Rowman & Littlefield.

Elefant, C. (2010). Must we really end? Community integration of children in Raanana, Israel &

Musical inclusion, intergroup relations, and community development. In Ansdell, G.,

Elefant, C., Pavlicevic, M. & Stige, B. (Eds.), ​Where music helps: community music

therapy in action and reflection. (​ pp. 65-90). Burmington, VT: Ashgate Publishing

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Hammel, A. M. & Hourigan, R. M. (2017). ​Teaching music to students with special needs: a

label-free approach​. New York: Oxford University Press.

Jones, O., O’Neil, N., Pavlicevic, M., Powell, H., & Sampathianaki, E. (2013). Making music,

making friends: long-term music therapy with young adults with severe learning

disabilities. ​Journal of intellectual disabilities, 18​(1), 5-19.

Mackinlay, E. (2014). An ABC of drumming: children’s narratives about beat, rhythm and

groove in a primary classroom. ​British Journal of Music Education, 31​(2), 209-230.

McCalman, L. (2010). Drumming up enthusiasm: using steel pans with adults and children with

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Drum Circles: The Great Equalizer 10

McFerran, K. (2010). ​Adolescents, music and music therapy: methods and techniques for

clinicians, educators and students.​ Philadelphia: Jessica Kingsley Publishers.

Onishi, P. C. (2014). Drumming for community building: the development of the community

drumming network (CDN) and its impact in Singapore society. ​International Journal of

Community Music, 7​(3), 299-317.

Virginia Department of Education (2013). ​Music Standards of Learning for Virginia Public

Schools. ​Richmond, Virginia: CTE Resource Center.