Review of Drum Circle Spirit

by Barbara Reuer, PhD, MT-BC

Whether you are a “beginning-beginner” or a true “percussion puppy,” Drum Circle Spirit walks readers step-by-step through the concepts behind creating, facilitating and participating in community rhythm circles. Renowned percussionist and drum circle facilitator, Arthur Hull, offers an insightful and practical approach to drum circle facilitation. In this book, Hull’s philosophy embraces the process of music making as the real guide to a successful product. He weaves personal experiences with facilitation techniques in an appropriate balance.

The foreword, written by master drummer, Babatunde Olatunji, reinforces the spiritual nature of music and the role of the facilitator to use music as the “glue” that connects communities in a meaningful way. In the introduction, Hull gives the reader background to his own interest in drum circles and his desire to create a balance for the individual and the community experience. Throughout the book, Hull’s writing style engages the reader with a simple framework that makes reading pleasurable and educational for the experienced therapist interested in incorporating drumming strategies, or the drum circle participant looking for ways to expand the “repertoire” of an existing circle.

Chapter one looks at types of drum circles and proper drum circle etiquette for both the facilitator and participant. The majority of the remaining chapters is dedicated to the role of the facilitator and includes various exercises, event formats, tools and techniques. The real “spirit” in Drum Circle Spirit comes alive in Hull’s anecdotes of his experiences ranging from corporate team building to watching an autistic child communicate through drumming. In the “The Public Works Kitchen Band” Hull recounts a leadership conference in which he had executives banging on overturned garbage cans and hotel coffee cups after his equipment had been sent to the wrong hotel. His message is clear: the role of the facilitator is to have positive intent and the flexibility necessary to adapt to various group settings and dynamics.

The practical skills in this book vary from incorporating rhythm instruments to using body language when directing a “stop-cut” (a body-language facilitation instruction that directs participants to stop playing at a given point). The unique quality of Hull’s exercises is the way in which each serves to provide the participant with a metaphor for life experiences. For example, in “Music in the Moment,” a rhythm instrument improvisation exercise, participants say “life is change” as they pass their instruments on to the next person, giving up their favorite instrument. These types of activities correspond well to process-oriented music therapy in which insights are gained and trust is built through music experiences.

Through Hull’s rhythm course, facilitators first develop an understanding of the principles and techniques used in “facilitating community through rhythm-based events” and then learn to adapt them to different situations and settings. After identifying types of drum circles and facilitation skills, Hull examines specific techniques to build “a functional understanding of basic facilitation principles,” as well as develop a solid foundation for creating one’s own style of community empowerment through the expression of rhythm on drums and percussion.

Hull also includes a chapter on “Arthurian Terminology,” defining terms such as “student crisis mode,” “sculpting,” “rhythm dorks,” “rhythmaculture” and “synergizing.” These terms describe unique processes and ideas. It may be beneficial for the reader to study the chapter on “Arthurian Terminology” before progressing through facilitation techniques. The terms defined in this chapter are used throughout the book, so an initial review of unfamiliar terms may lend to increased understanding.

Although the book is not written specifically for music therapists, the many rhythms, exercises and activities can be adapted for any client population. Chapter eight, “Facilitating in Specific Populations,” describes drumming in diverse settings such as open community drumming, personal growth and corporate groups, or client groups such as at-risk youth and older adults. In the brief section, “Music Therapy with the Well Elderly,” Hull mentions the positive effects of rhythmic drumming exercises in promoting wellness for the older adult as well as improving functioning in the person with Alzheimer’s disease. Hull’s inclusion of specific populations focuses on descriptions and narratives rather than practical applications and adapted techniques for various functioning levels. Music therapists working with physical or cognitive impairments may find many of the activities too complicated and fast paced for their clientele; some creative adaptations will be necessary.

Another interesting item in the book is the segment entitled, “Career Considerations” in which Hull provides a self-evaluation for those interested in facilitation. This is a unique addition as it allows the facilitator to step back from the goals of the participants and reevaluate personal goals. In addition, he also makes a commitment to respond to written questions from people who have tried the techniques in the book.

Drum Circle Spirit is accompanied by a 10-track CD containing drum circle demonstrations that correspond with various exercises outlined in detail in chapter twelve, “Facilitator’s Orchestrational Tools.” These examples are beneficial for studying facilitation skills as well as providing a great percussion groove to practice rhythms. They assist the facilitator in blending instrument timbres, changing tempo and using specific rhythm patterns. Perhaps, more useful than the CD would be a video to capture the body language and nonverbal aspects of Arthur Hull’s leadership that lend to his success.

Overall, Drum Circle Spirit may be most useful for the music therapist who is involved in community drum circles or drumming with high functioning client groups. It can act as a manual for beginning facilitators or a refreshing look at leadership for the skilled percussionist. As Babatunde Olatunji, master drummer and rhythmical evangelist, states in the dedication of Drum Circle Spirit, “All people from all walks of life, all colors, have various things that they can do together to create harmony, and it is the simplest thing to make music and sing together.” This book provides the initial dialogue to bring people together, make music and create harmony. With these techniques, music therapists can bring together their community, no matter what the setting, to promote celebration and healing. For those therapists struggling with group music making, this book is a must-read!