Blog
The Rhythm Child Experience
From Chaos to Creativity
Some kids relate to the melody of rhythm.
Some kids just hear the beat.
Some kids react very hyper and frantic.
Some kids play very soft and sweet.
Some kids instantly cover their ears.
Some kids unconsciously wiggle their tongues.
Some kids can’t stay still at all.
Some just sit and watch the fun.
Some kids have to jump up and down.
Some kids roll happily on the ground.
Some kids get it right away and
Some kids don’t.
Most kids want more when it’s over and really that’s the point
There are so many different approaches that a child will take when involved with music and the freedom of Rhythm Child drum circle interaction allows for all of those ways to be expressed within a structured group setting. The trick is to control the chaos and direct it in a way where everyone feels good about their creativity, but still feels part of creating a greater whole. When I enter a room to lead a drum gathering for children the intention is to not just conduct a class or teach specific beats, but to use the drum as a tool to connect all of the participants in a positive and productive way. My single focus when interacting with the drums is to create an atmosphere that empowers others to feel inspired and motivated while being involved in a fun and liberating activity. I can definitely share information about the drum and describe other cultures around the world that use the drum to give examples of how this instrument has been with mankind since the beginning of time, but the most important thing is to make the experience feel real to each and every child and to encourage them to add this simple element of music to their lives forever.
My first step is to establish a humble presence within the gathering. Especially if it’s a classroom it is so important not to overwhelm children with force and power. The drum can come across big and scary sometimes and has a sound that can be very invasive. So it is essential to present it in a way that is familiar and inviting; building a curiosity about the sound and the construction that will captivate their attention for the full experience. Before the drum is even introduced, there are so many lessons of rhythm and music that can be addressed. So by starting off with body percussion and vocal mimicking there is already a comfortable dynamic being established that sets the tone for future interaction.
The next step is to give the drum a name that will identify it as the leader of the gathering. Although my voice will be used to give instructions and direct the children, it is the sound of the drum that will capture their senses and guide them to a deeper understanding. It is the Djembe drum that eventually comes out of its bag to the intrigue of all who can see it. The size is a little over 2 feet tall and it has a bright red strap wrapped around its base. Djembe, a West African drum traditionally made from carved wood and goat skin, is a very powerful drum that has the characteristics of thunder; the low bass tones can rattle your stomach and the cracking high tones can pierce your ears, but with skillful control the instrument can be very soothing. It is quickly explained that this REMO™ Djembe is similar to the one coming from Africa, but it is made in the US with recycled wood fiber and no animal skin. It is important to acknowledge the environmental impact of all facets of life, including the music that we make so this lesson is vital to children understanding their place in the world. As a company, REMO is a trend setter in the area of sustainability so my affiliation with them goes much deeper than just endorsing a particular brand and I sing their praises whenever I can.
Another interesting and helpful impression that drums offer is the idea of vibration and sound waves. The science of sound can be a very complex concept to embrace and it’s usually not addressed in most early education settings, but with the drum it is quite easy to talk about shapes, sizes, materials and origins and how they affect what we hear. The idea of an unseen sound vibration traveling through the air and entering our bodies is a pretty heavy notion, but when it is acted out and demonstrated with the drum it becomes an experienced thought. Once children realize that there is a sense of magic to a drum rather than just being a thing that they can bang on to make noise, it increases its overall appeal and mystique.
At this point in our gathering the most interesting thing happens; I change the focus from what I have to show to what they will soon show me. It’s time to reveal to everyone the instruments that they will play and demonstrate how these drums relate to all of the elements and concepts that I explained earlier. Soon the power and the magic will be in their hands and they will have the opportunity to make their own sound and feel their own existence. Depending on the situation, I could introduce only one instrument or a selection … all that will be used in the drum circle. If it’s only one then I get more into detail about the construction and various ways to make sounds, but if I am showing a selection then I use the time to show the similarities and cross-cultural references. Regardless, I have now put the participants’ one step closer to feeling the total release of actually playing the drums and they can start to really imagine it in their hand.
Once the drums are passed out (or chosen) there is a period of much noise and unbridled pounding by some and a feeling of sensory overload by others. There are times when the environment dictates a more controlled beginning, but my experience allows for all types of chaos and it actually gives me the opportunity to read the room and identify key figures in the building of a solid structure. At the right moment I yell “sticks up!!” and that is when I take back the focus of the gathering. We can now go through a series of exercises and discovery techniques that give everyone the same level of participation and satisfaction.
After initially gaining their trust and sharing my knowledge I can then approach them as a friend that is leading them on a fun adventure. At this point the group can break away from any familiar boundaries and explore another side of their creativity and expression. The Rhythm Child philosophy regards the drum as an easily accessible instrument of togetherness and allows me a way to reach all types of unique individuals and get them to feel equally comfortable being part of a larger group experience. I have observed that there are numerous ways that young children respond to rhythm and it’s critical to find a way to connect with each and every one of them in order to have a lasting effect.
Although there has always been an ongoing effort by parents and advocacy groups to maintain music and arts programs for school age children, there is now focus by the researchers, educators, and government to convey the importance of music education and involvement during early childhood development as well. The studies are overwhelmingly positive about the effects and benefits of music & rhythm and parents are looking for ways to increase their child’s exposure at an early age. Through the drum circle gathering they can directly experience how different beats are coming together to form a greater collective rhythm and they can begin to hear the textures and layers in music and become more sensitive to the dynamics of the larger group; like in building where a single stone is shaped and added to fit with other stones in order to form a stronger foundation. It is something that every person can experiment with and still find his or her own space.
As the lead drummer I find it imperative to have something recognizable for the group to play along with so I instinctively read the abilities of the participants and provide a steady and flowing beat that makes it easy for anyone to join in. The objective is to help children find themselves and their unique expression within the pulse of a rhythm so that they can ultimately find a relationship to others that are also using that same pulse. This “player friendly” environment allows for all types of learners to become personally involved musically in the creativity without pressure or fear. The goal is not to teach technique or theory, but to encourage experimentation and involvement. The drum is simply a vehicle to explore the many avenues of music and it is hoped that after learning to feel comfortable with sound and interaction, a child will grow to have a life long relationship with rhythm and self expression. It is absolutely clear to me that through finding a way to express one’s own uniqueness while listening to the unique expressions of everyone around, a shared level of communication can be reached and the subtle seeds of positive living can begin to be successfully be sewn.