Drumming for Community Building: The development of Communnity Drumming Network (CDN) and Its Impact...

299

IJCM 7 (3) pp 299ndash317 Intellect Limited 2014

International Journal of Community Music Volume 7 Number 3

copy 2014 Intellect Ltd Article English language doi 101386ijcm73299_1

Keywords

community musiccommunity drummingdrum circlearts interest groupracial integrationcommunity bonding

Pamela Costes onishiNanyang Technological University

drumming for community

building the development

of the Community drumming

network (Cdn) and its impact

in singapore society

abstraCt

This article is based on the commissioned research report submitted to the National Arts Council (NAC) of Singapore on the Community Drumming Network (CDN) The eight-month-long qualitative field research is a collaborative project by the NAC and the UNESCO National Institute of Education Centre for Arts Research in Education (UNESCO NIE-CARE) The two main objectives of the research are (1) to gain insights into the social impact of the CDN and (2) to understand the mechanisms of the CDN in order to advocate and support the growth of arts interest groups1 in Singapore The study was conducted from 30 January to 31 August 2012 The focus of this article is on the factors that make a successful arts interest group in Singapore highlighting the synergy between community grassroots leaders and government statutory boards In the Singapore context government support and events have the capacity to encourage the growth of local interest groups In the responses gathered in this study about the benefits of engaging in a community interest group there appears to be a strong goal of harmonizing the diverse ethnic

1 Arts interest groups in this context refer to recreational activities conducted in the community centres For example there are interest groups for dancing sports circus arts drumming etc that anyone can join and attend

IJCM_73_Onishi_299-317indd 299 121214 114109 AM

Pamela Costes Onishi

300

2 The National Arts Councilrsquos intention is to look at the mechanisms of the CDN and the social impact of drum circles in Singapore Any result that alludes to racial integration is not the original objective of the commissioned work

communities and creating intergenerational bonds2 The model that ensues from this unique situation would hopefully be helpful in understanding local interest groups elsewhere Central to the study is the art activity that was used to facilitate indi-viduals of different ethnic backgrounds to come together as one community this is the drum circle This study shows how the drum circle is found to have the potential to be an effective tool in promoting racial harmony and to bridge the gap between generations It features the voices of the community members who relentlessly engage in this activity in bringing out the meanings and benefits of the drum circle at the personal and communal levels

researCh methodology

This study was conducted through a mixed Case Study and Grounded Theory research methodologies using the ethnographic techniques of interviews field observations documentation and artefact collection Grounded Theory tech-niques are useful for the following two reasons (1) the topic and specific main objectives are exploratory in nature without any precedents in terms of research and (2) the minimal non-scholarly research literature available on drum circles does not allow for an appropriate theoretical framework that correlates with the main questions of the study The data-driven theory on the CDN and drum circles in Singapore is thus appropriate in this pioneering study

There were two sampling methods used in the study convenient and theo-retical The Case Study approach is useful for the very specific and conven-ient sampling of the subjects It is known that the team is to investigate the Community Drumming Network (CDN) and its activities that are observable through the recent spread of drum circles in different Community ClubsCentres (CC) This commissioned work therefore was provided the data to be inves-tigated Theoretical sampling from Grounded Theory is a process that enables the analyst to decide what data to collect next and where to find them based on the emerging theory (Birks and Mills 2011 69) This is the process of pursu-ing clues that arise from analysis for enriching the data Theoretical sampling in this study helps to diversify the largely homogenous make-up of the convenient sampling which is essential in the validity of the Case Study findings

The final analysis therefore are structured through individual reports based on the findings from within each case and a cross-case synthesis to bring out the common categories that could describe the phenomenon that is the CDN The results are based on the salient themes that emerged through-out the coding process of observation field notes video documentation and member interviews This process allows for the emergent theory to frame both literal (same results) and theoretical (contrasting results) replications across the cases increasing the validity of the findings (Yin 2014 57ndash63 164ndash68)

materials reviewed

The materials reviewed fall into three main categories ethnological narrative of the role of drums in healing rituals practised by certain African communi-ties (Diallo and Hall 1989) practitionersrsquo promotion of the psychotherapeutic impacts of drumming circles (Friedman 2000 2011) and guides on how to facilitate or set-up a drum circle (Hull 1998 Stevens 2003) The writings for the first two categories are intimate narration of the authorsrsquo personal expe-riences with drumming and the drum circle The positive psychotherapeutic effects associated with drumming and drum circles are claims by practitioners


Drumming for community building

301

with references to studies made on music therapy and rhythmic-based music healing (Friedman 2000 2011) These claims must be read in the light of the understanding that they are made by practitioners who are also engaged in commercial enterprises associated either with drumming or drum circles Some of these practitioners are drumming instructors or facilitators while others run businesses providing drum circle services

It is also unfortunate that some of the references to independent stud-ies made on drumming and drum circles were not included in the Reference section In these cases only the names of the researchers were stated preced-ing long quotations of their findings A good portion of the literature relies on anecdotal evidence provided by either facilitators or participants of their own experiences and observations The veracity of the participantsrsquo testimo-nies cannot be verified because references made to the participants are often limited to their given names

The literature most relevant to study is on the social and psychotherapeutic impacts of drum circles on participants The following are found to support the healing functions of drum circles

Stress release

The stress-reducing function of drum circle is said to be traced to the abil-ity of the mind to let go of its thoughts as lsquothe body mind and spirit entrain themselves to the beat of the drumrsquo because the activity of drumming engages the participant in the here and now (Friedman 2000 38) Being able to lsquoswitch offrsquo onersquos stress during drumming is the most cited benefit of drumming that almost all our interviewees have shared They often associate the feeling of happiness derived from drumming from this aspect of stress release

The drum becomes a vehicle for transcendence through the relaxed and focused repetitive movements until they become effortless and intuitive A participant is able to let go of the need to control and it is at this stage of being that he or she is relieved of stress Friedman mentioned the work of a Dr Barry Quinn a licensed clinical psychologist who claimed that drumming increases the Alpha brainwaves that are associated with the ability to relax when not on task However no further information on Dr Quinn is available in the reference

From the perspective of Jim Anderson a family therapist the stress release function of drum circle arises from lsquothe patterned repetition of rhythm creates subtle trance induction and the sound texture serves as a thought disruption from our normal verbal world of worldsrsquo (Friedman 2011 52) A strong facili-tator who is able to maintain the groove in the music helps participants to lsquolet gorsquo because grooving demands that the participants are engaged in play-ing at any one time Stevens therefore concluded that lsquothe groove is always a destination for the drum circle and it often is the moment that people feel the deepest connectionrsquo (2003 53)

It is of interest to note the facilitation disclaimer made by Stevens when she cautioned 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 38)

Expressing and overcoming negative feelings

Drumming creates a safe space for those who suffer from grief bereavement or anger to express those negative feelings as an initial step in therapy The non-verbal nature of communication allows the participant to express himself



302

or herself when words fail them because their thoughts are in turmoil and does not lend them to easy expression To be involved in a drum circle can also be assuring because the aggrieved participant may realize that others have negative experiences too and drumming together creates lsquogroup cohe-sion and a sense of validation from group membersrsquo (Friedman 2000 113)

According to the testimony of a participant lsquothere was something about pounding on the drum that helped me to let go of so much grief anger and rage The banging and pounding on the drum was my way of crying and screaming out my griefrsquo (Friedman 2000 53)

Autism

The challenges autistic patients face in communication is mitigated to some extent by the non-verbal nature of communication using drums Based on an anecdote of the case of a 4-year-old autistic boy the facilitator was able to draw him out of his isolated world when the boy felt the vibration of the drum and was able to associate the vibration with the facilitator The boyrsquos behaviour was also observed to be marked changed when he drummed He was generally excited and alive in contrast to his usual non-expressiveness Drumming brought the boy an awareness of an external environment and human contact that he did not know existed before

This case example is best understood in the specific context facing that Autistic boy Given the complex nature of Autism Autistic children require individually tailored learning to suit their needs and a more blanket approach like the use of drum may not be appropriate This probably explains why anecdotes were used instead of published findings on the effects of drumming on Autism

Impact on senior citizens

Sharing the anecdote of an elderly participant Jim Greiner a drum circle facil-itator observed how the participantrsquos range of physical movements increased as with their capacity to play increasingly complex rhythms as the sessions progressed (Friedman 2000 105) The increased mastery of rhythms and the instrument used contributes to a sense of enhanced self-worth

Growth function

Drum circles facilitate the detachment from lsquoconscious control inhibitions and self-judgmental attitudes instead it builds an internal connection one feels as this process of confusion organizes creative forces at different levelsrsquo according to drum practitioners and facilitators the process in turn creates access to lsquothe unconscious and creative part of the mind hellipthat is capable of tapping into past positive resources and reorganizing them into a new context for growthrsquo (Friedman 2011 53)

Overcoming fear

One way drum circles may facilitate self-growth is working on participantsrsquo fear of failure that springs from their self-inhibitions Jim Greiner introduced the concept of Intentional Rhythms which focuses on replacing something we do not want to repeat in our life with something we would rather be doing He learnt to let go of the fear of making mistakes after drumming (Friedman 2011 55)



303

3 Both the PA and NAC are Statutory Boards under the Ministry of Culture Community and Youth (MCCY)

4 HDB stands for Housing and Development Board HDBs are high-rise buildings designed to provide affordable flats to Singaporeans It was set up in the 1960s to remedy the housing crisis in Singapore Today about 82 per cent of Singaporeans live in HDB flats

In evaluating the social and therapeutic claims that drumming andor drum circles have on participants we must be mindful of a few considera-tions The positive social impacts of drumming and participating in a drum circle are conditional on the sophistication of the facilitation and to success-fully deliver on the psychotherapeutic impacts the involvement of qualified music therapists and medical personnel are critical

relevanCe to the singaPore Context

Not all the benefits highlighted in the literature review are affirmed in the data we have collected Two possible explanations may be offered First the case examples cited in the literature reviewed were targeted for specific popu-lations for example Alzheimer patients at-risk adolescent and war veterans to name a few whereas the participants we have interviewed have joined a drum circle mainly for its recreational value One exception is the expressed purpose of organizing a drum circle for the aged citizens

Second the drum circle is a relatively new phenomenon in Singapore We are not aware of any research that has been conducted to investigate the psychosocial impact of drum circles in this context

Community musiC in singaPore

The sources on community music in Singapore are scarce although commu-nity music is thriving in different forms Relevant articles on Singapore community music pertains to the potential of popular style community music as a lsquoneutral musical mediumrsquo for ethnic and social integration (Hilarian 2010) and a community music programme that examines the music engagement process between music educators and senior citizens (Lum 2011)

Notable in the spread of community arts are the efforts of the Peoplersquos Association (PA) and the National Arts Council (NAC)3 In the past two years efforts to place the arts at the centre of Singaporean lives have proliferated This is done through the founding of lsquoPAssionArtsrsquo which lsquowas developed to provide a collective identity to community arts in Singaporersquo with its slogan lsquoArts and Culture for Everyone Everywhere and Everydayrsquo (PAssionArts 2014) Some of the highlights of this initiative are programmes such as community talent showcases galleries festivals and community arts and culture interest groups

In what they call lsquoPAssionArts Hotspotsrsquo happening on every weekend of the month are neighbourhood spaces near the CC or at the heart of the HDB4 blocks filled with exciting arts and culture showcases for everyone to enjoy with their families friends and neighbours This programme invites amateurs professionals and semi-professional artists to step out and show-case their talents in the heart of their neighbourhoods such as town centres and parks and provides a good opportunity for the community to appreci-ate and make friends through the arts lsquoPAssionArts Festivalrsquo is an interac-tive national community arts festival for residents to take part where artists co-create and build stories with community and where neighbours become friends Festival villages abound where residents can sing some songs dance a celebration or share the joys of arts-making Residents are invited to step into the role of creator to connect with fellow residents through their imagi-nation dreams and aspirations lsquoPAssionArts Orchestra Seasonrsquo encourages



304

5 In a meeting with the CDN on 17 August 2012 the CDN leaders raised a concern about calling the community drum circles as Community ClubCentre Drum Circle (CCDC) In the mid-term report Community Drum Circle (cdc) as understood and used by the members and the Chairman was changed to CCDC because of a concern raised by NAC of the confusion the acronym might bring CDC being a more well-known acronym for Community Development Council in Singapore However for the sake of accuracy based on how the community members understand their drum circles Community Drum Circle will be retained in this report but will be represented with small letter acronyms

6 In compliance with the Singapore Personal Data Protection Act (PDPA) all research subjects including specific references to individuals and private organizations will be anonymized in this article Please refer to httpswwwpdpcgovsglegislation-and-guidelinesoverview for more information on this act

like-minded residents to further pursue their interests in music as well as to contribute meaningfully to community bonding and social building The season encourages the community orchestras and choirs to perform and showcase their talents With these platforms available as frequent as possible to the community different types of musics become accessible among them classical pop and world music It is through this platform that the CDN finds collective expression to be shared with the public

The NAC likewise provides platforms and financial assistance to encour-age community arts participation They have several programmes Arts for All (for different segments of society) Noise Singapore (for youths) Silver Arts (for senior citizens) ArtsWork (for working people) and ArtReach (for social service sector) (NAC 2014) The CDN is in part encouraged to be formed by the NAC

the Cases and staKeholders

The cases in this study consist of nine community drum circles (cdc)5 under the CDN which will be referred to in this article as pioneering cdc youth-led cdc and cdc1 to cdc76 This section presents the organizational mechanisms of the CDN including its perceived relationship by the drum circle members with the following Stakeholders PA CC NAC and the cdc The table and diagram provide information on the different roles that are necessary to facili-tate community music under an umbrella network

Below is a table of summary of the stakeholders in relation to the CDN

Stakeholders Roles towards the CDN

Peoplersquos Association (PA) co-funds the start-up cost of drum circle including the purchase of drum circlersquos instruments supports CDN in the recruitment of members and CDN activity venues encourages CDN to perform at PA events and grassroots activities (eg Chingay PAssionArts)

National Arts Council (NAC)

Encourages the formation of the CDN funds workshops for facilitators supports the organization of drumming events as high-point platforms to connect the community and inspire them through showcasing high-quality drumming groups (eg Celebration of Drums)

Percussions Group (not real name)

Community Club Centre under PA

Residentrsquos Committee (RC) under PA

Assists the first cdc provides workshops and trainings for facilitators facilitates some of the big events for the CDNrehearsal venue storage for instruments funds small-scale activities of own drum circles co-funds start-up cost of drum circle supports CDNrsquos activities

Table 1 Summary of Stakeholders and their roles towards the CDN



305

Figure 1 summarizes the relationships between the stakeholders It shows the fluidity in their interactions For instance any stakeholder can have dealings with another stakeholder without necessarily having to go through specific routes This reflects the synergy between the statu-tory boards the CDN and CCsRCs which are at once collaborative and autonomous

drum CirCles in CC

The facilitators in the cdc observed for this study were mostly trained by the American Arthur Hull who is a long-time practitioner and facilitator in drum circles He was said to have authored the first comprehensive book on the subject called Drum Circle Spirit Facilitating Human Potential through Rhythm (1998) He was first invited to conduct a workshop to train poten-tial facilitators in 2010 by the NAC attended by the founders of the CDN Most of the founding facilitators in the cdcs learnt from Arthur Hull and thus carried with them his style The youngest facilitator who started at age 10 was very proud to call him teacher-coach and declared that Hull was his drumming idol

The youngest facilitator has been engaged by the professional Percussions Group to facilitate some of their training sessions and actively facilitates cdcs whenever the opportunity arises This case and the youth-led cdc could be interesting further studies in examining the achievement of intergenerational bonding as one of the goals for Singapore cdcs According to this smart and talented boy the most important lesson he learnt from Arthur Hull was to overcome the fear of committing mistakes

The main advice [from] him is that you cannot be afraid to make a mistake thatrsquos when you learn to perform Itrsquos not a performance itrsquos a musical classroom The space is actually a space where you can learn whatever you want to learn

(youngest facilitator age 12 13 April 2012 interview)

Figure 1 Relationships block diagram



306

Figures 2ndash4 The CDN during the 2012 Chingay Parade Events such as this bring together different cdcs from all over Singapore and become rare opportunities to realize the goal of racial harmony and intergenerational bonding



307

The research team was not able to observe the workshops by Arthur Hull and therefore it is difficult to identify the exact style they learnt from him However there are consistencies across the cdcs in the way they facilitate and since the local facilitators were trained by Arthur Hull and the Percussions Group who was the group who recommended Hull and thus follows his principles we can speculate that the facilitation style and drumming tech-niques came from him

The instruments in a typical cdc include mostly African-based hand percussions and drums such as shakers djembes barrel drums bass drums wood blocks bells and tambourines Although the overall sound of Singapore cdcs at the time of this writing is at its beginning stages elements of a drum circle rhythm as outlined by Hull (1998 146ndash47) such as pulse by the bass drums improvisation on a repetitive pattern sectional play-ing (woods shakers drums etc) and varying dynamics are all present Despite the lack in the musical quality there are traces of communal musi-cal direction in the more advanced pioneering cdc and the youth-led and performance-oriented cdc

With regard to facilitation what the analysis of styles has shown is the lack of translation between what the facilitators understand to be the qualities they should exhibit to be effective in their roles and their actual practice Those who attended the workshop by Arthur Hull had all the knowledge about common facilitation cues and good facilitator roles and yet the facilitation observed in this research often lacked clear responses from their members Indeed there appears to be no clear correlation between cues and responses Furthermore Stevens (2003) also mentioned that facilitators should possess the knowledge to teach drumming techniques in order to help participants prevent injury and increase the musical level of the group This latter skill is lacking the most and acknowledged by all facilitators including pioneering ones

the signifiCanCe of the drum CirCles in singaPore Communities

This section provides a summary of the salient themes that came out of the coding process of interviews with the members and leaders of the different cases In this section the commonalities between the cases are highlighted to give a bigger picture of the social significance of the drum circles in Singapore communities Each category is supported by representative member interview quotes from the cases and current literature

It should be noted that the entire research process is qualitative and that under each case there were only representative members who were inter-viewed at length Following convenient and theoretical sampling the members who were interviewed were either recommended by the drum circle leader or individuals whom the investigators identified through data analysis as neces-sary contrasting cases compared to the majority For example since the drum circles were attended by majority senior citizens Chinese females and locals if there were members who were foreigners young adults or young people then those members would be selected and asked to participate in an inter-view Those that were identified by the leaders and researchers were members who were willing to share more than just a response of lsquoI like coming here because itrsquos funrsquo in order to get a deeper understanding of experiences The key individuals such as group leaders and facilitators were also included among those interviewed



308

7 Due to the selective process of interviewing and the presence of lsquounusualrsquo attendees the unique responses from these individuals were included in the final coding

Most of those who participated in the interviews were considered lsquoregularsrsquo in the drum circles with the exception of those singled out by the researchers and confirmed by the leaders as unique attendees

Due to the circumstances outlined above it is not possible to make specif-icities based on certain variables such as age or gender in the outcome of the coding As reported in the table below the Singapore drum circles to date is more homogenous in make-up than they are varied

Literal replication patterns (same results)

Theoretical replication patterns (anticipatable contrasting results)

Attended mostly by seniors and females (housed under the Active Aging Community programme or the Womenrsquos Activity Wing)

Youth-led cdc (led by a high school youth)

Around twenty regular attendees more registered and still more during big performance events

No contrasting result

Majority Chinese Youth-led cdc attended by majority Malay (leadership mostly Malay)

PA volunteers as sources of information No contrasting resultMembership friends mostly from other CC activities

Youth-led cdc membership friends from school (youth leader)

Outdoors or indoors rehearsal space in the CC or RC


Main challenges member retention facilitator training sounding more musical

Youth-led cdc becoming a more professional performing group (caused by youth presence)

Table 2 Summary of comparative analysis of Case Study data

The table above shows that the youth-led cdc brings contrasting results because of the young members The presence of the youth contrasts signif-icantly in terms of goals and aspirations for the group At the time of the research only one youth-led cdc is available that could be observed as a contrasting case the current drum circles under the CDN were formed initially as a seniorsrsquo activity intentionally or not

The following are the top twelve social benefits of drum circles that came out of this study (categories formed from the frequency of salient themes)7 (1) Community bonding (2) Racial toleranceintegration (3) Entertainmentrecreation (4) Personal enjoyment (5) HealthTherapeutic benefits (6) Confidence-building (7) Freedom of expression (8) Performance opportu-nity (9) Personal growth (musical skills social skills) (10) Family bonding (11) Child development and (12) Heightened social awareness (outreach activities)

the twelve soCial benefits of drum CirCles in the PersPeCtives of singaPoreans

This section discusses the twelve top benefits in relation to the relevant literature on drum circles The intention is to identify those factors that are unique in the Singapore context Each point is supported by quotes from the members



309

8 This is in reference to the old village life in Singapore

1 Community bonding

This response is in part supported by the literature as being the main goal of modern drum circles The main difference being that the communal spirit brought about by communication through rhythms is believed to have the goal of lsquohealingrsquo (Friedmann 2000 xv) which at this point is not really emphasized in the responses of the members In the level of the drum circles observed the non-verbal communication benefits of drumming stops at sharing how one feels in being able to play with one another There was no indication that facilitators were leading the members to bring out suppressed emotions in order to arrive at some level of personal or group healing However using drumming as a vehicle of connecting to each other more honestly and spon-taneously through non-verbal means (Friedmann 2000 30) is very clear in the responses In this sense community bonding could be read as lsquogetting acquaintedrsquo with the neighbours by showing they were delighted to be sitting there to make music together

Drumming is easy to get all kinds of people to come in of different ages races dialects The sound of the drum is just like a language we understand each other All we have to do is just look at each other drum smile and make a friend

(cdc3 member)

Through this drumming we have community drumming something like kampong8 spirit All the Chinese Malays Indians all come together and interact Besides drumming the Malays make curry puffs and we supply drinks So the bonding is getting strong itrsquos very good

(cdc6 member)2 Racial toleranceintegration

This response is connected to community bonding Through non-verbal means drumming enables one to express their happiness to be with a person even without using words The communication happens just by compliment-ing each otherrsquos rhythmic expressions This enables people to cross barriers of language status and education and eventually enriches the ability to cele-brate differences (Friedmann 2000 24)

Because drums can be played by anyone In a CC you attract all races and you get them to sit and play with you After chatting we also learn from one another and learn about each otherrsquos culture

(cdc4 member)

We interact among our various races so therersquos harmony ndash racial harmony We want to promote racial harmony and create better under-standing in our neighbourhoods

(cdc6 member)

3 Entertainmentrecreation

One of the healing powers of the drum mentioned by Friedmann (2000) is stress release through the repetitive movements that later becomes effortless and intuitive Although the members articulate this benefit differently and refer to the drum circle simply as something that kills their boredom they also mention how coming to the drum circles lsquorelaxesrsquo them through making friends and learning new things They associate drum circle as lsquomaking people



310

happyrsquo by giving them something to look forward to other than staying at home

I joined this drum circle because I have nothing to do at home very relaxed I like to make friends and be happy

(cdc1 member)

Because it gets boring at home and this is a good way to make friends I also get to play music and learn more things

(cdc4 member)

To have an interest group that makes everyone happy for them to make friends not let them just stay cooped up at home

(cdc5 member)

4 Personal enjoyment

This response was coded separately because of the personal level of enjoyment in the responses as opposed to specifically addressing boredom as recently discussed In a lot of ways this is also connected to the stress relief bene-fits of drumming For the members personal enjoyment happens when they simply have fun and feel happy One contributing factor of bringing about lsquofunrsquo in drum circles is the ability to express in whatever manner a person could contribute The idea is to help people express their unspoken feelings through the drums although the literature is directed towards overcoming grief and anger In the Singapore drum circles this ability to express brings about personal enjoyment

We were having fun more than focusing on the music Because with-out limits you can just play anything and nothing is wrong whereas in a band we have a music sheet and you donrsquot have the freedom to play what you like In community drumming there isnrsquot any music sheet to follow so whatever you play is right As long as yoursquore playing everything is right

(pioneering cdc member)

No itrsquos not about performing itrsquos for the fun As we make merry we are elated You can see that they are very happy here

(cdc2 member)

5 Healththerapeutic benefits

The literature in drum circles is replete with targeted lsquohealingrsquo benefits of drum circles (Friedmann 2000 2011) In this study therapeutic benefits are translated as the ability to exercise among the seniors Although there were responses that alluded to the belief that the activity could help seniors prevent dementia and a claim of lowering blood pressure a more focused study should be conducted to observe such direct healing benefits Friedmann (2000) mentioned a study on senior citizens that continual participation in a drum circle increased their range of movements Likewise in the interviews members attribute the benefit of moving their hands and increasing motion to eye coordination

We have many movements we have to walk around with the drum we have to carry it here and there and we have to play with our hands



311

Maybe sometimes we play standing up and sometimes we play sitting down So we have quite some activities rather than sit down and watch TV So that is very very good for seniors

(cdc1 member)

[One of our ladies] she joined us and she said her blood pressure went down Last time she was fatter but now she slimmed down and shersquos very happy

(cdc4 member)

6 Confidence-building

One of the attractions of the drum circle to the members is its relatively low entry level in musical skills This is caused by the main objective of a drum circle as expressed by Arthur Hull that it is not about rhythmic expertise but rather building relationships (Friedmann 2011) Stevens (2003) outlined one of the drum circle principles as lsquono-right-or-wrongrsquo This in the eyes of the members gives them confidence to play and do music As also mentioned in Friedmann (2011) drum circles help overcome the fear of failure by releasing self-inhibitions Being in a group also sheds the inhibitions

Other activities are different because you must know the personrsquos inter-ests and likes because you donrsquot need to be musical you just beat and drum and enjoy There are no prerequisites

(cdc4 member)

Yes thatrsquos because I never thought that people our age have the ability to perform onstage as well as offstage This is definitely a large change in my life

(cdc1 member)

You donrsquot need to know music you donrsquot need language and you donrsquot need age barrier just go pick up the instrument and play The entry point is so low and everyone can come and that is why it is easy to start


7 Freedom of expression

This response is supported by the same literature in overcoming fear relieving stress and the lsquono-right-or-wrongrsquo principle of drum circle It is also encour-aged because the goal of a facilitator should be to help people listen to each other to contribute freely to the whole sound (Stevens 2003)

Because there is no stress you can express yourself in whichever way you want there is no right or wrong but there must be a basic level of drumming

(cdc1 member)

Because when they play the drum they donrsquot have specific music Just beat here and there to your own tune Not like other bands they have their own tunes their own music but this one very fresh So when you hear itrsquos very nice because therersquos no music [sheet] no song lyrics at all Just beats put your own feelings So we do also according to our own feeling

(cdc6 member)



312

8 Performance opportunity

This is by far a response that is not supported in the literature reviewed here Performance was not mentioned as a main objective or benefit of engaging in drum circles The spiritual journey and healing benefits cannot be over-emphasized but performance for performancersquos sake is not a goal The CDN has a different motive for lsquoperformancesrsquo and takes the form of showing soli-darity among Singaporeans through rhythms It cannot be denied however that participation increases whenever there are performances This can be an indication that the purposes of a drum circle as creating relationships and healing in various ways are still not completely understood in the Singapore context

If got performance Irsquoll definitely come(cdc2 member)

When there is a performance we show our talent to them Another MP or President or all we just show our energy to them So when they hear them they want to join then they just come

(youth-led cdc member)

9 Personal growth

In the literature the lsquogrowth functionrsquo of drum circles is again connected to internal healing It is seen as tapping into the unconscious to bring forth crea-tivity to reorganize onersquos thoughts (Friedmann 2011 53) In the drum circles we have observed growth is associated with the acquisition of new drum-ming and socialization skills Both could unconsciously be brought about by some of the benefits of drum circles already mentioned here

bull Musicalskills

When we first started out we had no skills but after practicing and learning we now know how to beat a drum

(cdc1 member)

bull Socialskills

I learned how to interact with people Thatrsquos my greatest hope(cdc1 member)

Now Irsquom very open Irsquom not afraid of meeting people I relax myself(cdc4 member)

Through this activity all of us have met new friends and are happy so why not expand their social circle too

(cdc3 member)

10 Family bonding

This is a different level of bonding beyond the community that although could be a targeted goal for a drum circle activity was not explicitly discussed in the literature reviewed for this study Besides the community and inter-racial bonding mentioned as top responses this was coded differently for its differ-ent level of connection This will require more study in order to flesh out how familial relationships differ or are changed through participation in a drum



313

circle There are not enough families observed during the research to make further enquiries and draw conclusions from

Well today is more like a father and son thing and my son is more satisfied than I am


Yes we are much closer now because we always participate together [with reference to inviting three generations of her family to drum together]

(cdc1 member)

11 Child development

Nothing is specifically addressed to children in the literature on drum circles except for those with special needs such as autism The responses gath-ered in this study came from isolated cases of a foreign Austrian father and Vietnamese mother who believed in the ability of music to help in their childrsquos mental development and the youngest facilitator in Singapore aged 12 who also attended the workshop by Arthur Hull The respondents are not regular attendees of any of the drum circles in this study

Yeah drumming itself is a very positive activity for children especially for our son who started playing all kinds of shakers and drumming and singing and both at home So he plays every day and this plays tremendous influence on his development


After drumming you go home and try to do your homework it actually keeps your spirit up For me it gives me the energy it gives me the you know the push

(pioneering cdc young member)

12 Heightened social awareness

Outreach is not specifically a benefit mentioned in drum circles However the literature reviewed here focused on facilitators who did outreach to senior centres or hospitals specifically to use drum circles to bring about healing This is included here to mention even the most unusual of responses

Doing social work means that we need to go to old folksrsquo homes or orphanages Going to these places makes it very meaningful

(cdc1 member)

faCtors Contributing to a suCCessful Community arts interest grouP in singaPore

In order to provide effective recommendations for the replication of the drum circle model to other interest groups the target member profiles should first be determined The drum circles observed were largely formed for seniors whether intentionally or not and the results of this study are limited by this There is one contrasting case in the youth-led cdc this enables to draw recommendations for a different member profile



314

The following are four factors that contribute to the success of the Singapore cdc

1 Engaging easy-to-follow activity The low level of skills needed to partici-pate in the drum circle is a big attraction to the members and contrib-utes to its benefit of personal enjoyment In relation to this the activity should be something that does not rely on skills-building that is the members should be able to come and not have to remember things learnt from the previous meeting If there is any learning to be done it should be easy enough to review in each session However the activity should be engaging enough that although minimal skills are required it should be able to make the members feel that they are personally benefiting from attending

2 Group activity that allows for member interaction without the need of verbal communication The activity should be group-based One of the key attractions of the drum circle is that members who are shy or unable to communicate in similar language as the majority are still able to feel they are part of the group because of the non-verbal interaction they are able to engage in This opens up initially shy individuals which eventually results into new friendships

3 Exposure activities big occasions that enable to connect beyond their neighbourhoods The activity should have programmes that could show-case the members to the public preferably in big meaningful occasions These programmes add to the excitement and in the case of the cdc more participation This allows the members to feel the impact of what they are doing in a larger scale and definitely a motivating factor A network such as the CDN that connects the different groups and arranges these occasions should be present

4 Committed people and hardworking volunteers The activity must engage volunteers who are committed in taking up the demanding roles of a facilitator and coordinator It is very clear that the hard work of a small team or even an individual serve as the backbone of the CDN and the cdc Without the efforts of these volunteers who are committed to the goals of the drum circle whether politically musically or personally the drum circles can easily fall apart and discontinue The commitment also extends to the members who find something fulfilling in their participation in the drum circle

If the aim is to expand to other populations like youth and young adults the activities must be lsquoskills-based and performance orientedrsquo that is some-thing that would enable the participants to feel some musical growth in spending time in the activity There should be a qualified instructor who would be able to teach techniques that would challenge the participants The youth also seek for a more performance-based activity one that will showcase them onstage

summary ConClusions and reCommendations

Drum circles are believed to have the ability to connect people and create a bond that cuts across race ethnicity and age Drumming on its own has always been associated with spirituality and healing in many cultures around the world (Diallo and Hall 1989 Wilson 1992 Telesco and Waterhawk 2003)



315

9 ThetotalnumberofCCsisnotveryclearCDNchairmanmentioned118whileKallangchairmansaid87ThePAwebsiteprovided106asthecurrentnumberofCCsinSingapore(httpwwwpagovsglocate-our-centresindexhtml)

10 GrassrootsinthiscontextisdefinedaslsquovolunteersappointedbythePArsquo(httpwwwpagovsgabout-grassroots-organisationshtml)

In Singapore where the PA has strong goals of connecting communities and promoting racial harmony the activity is viewed as an effective vehicle to achieve these aims with the recent efforts being made to promote the arts in the community having a crowd-drawing musical activity such as drumming with the participation of hundreds of common people is a natural direction to pursue This potential was not only seen by the PA but also by the NAC who provided funds to spread the idea through workshops and eventually mobi-lized the PA volunteers to form the CDN The alignment of vision between PA NAC and volunteers facilitated the spread of drum circles across CC in Singapore At the conclusion of this study there are eighteen drum circles active in different CCs and the goal is to have one in all 106 CCs9

As evident in the case studies much of the success of the current popular-ity of the drum circle among CC is the fact that it is now a PA initiative Most of the leadersfacilitators are also PA volunteers and the CDN taps into the PA plans under the lsquoPAssionArtsrsquo platform However the CDN would insist that although they are PA volunteers the success still owes a lot from the grassroots10 because they are the ones who make the activity happen The PA and the NAC are good resources to realize their goals for the reasons that they provide opportunities for them to perform together and receive the much needed funds

Currently drum circles in Singapore are mainly interest groups for the seniors aged 50 and above There are other age groups that participate but majority of the participants will be older people There is difficulty in attract-ing young people despite the efforts being put to encourage their participa-tion and the only group with a strong youth attendance aims to become a more professional performing group that can entertain onstage rather than be part of a big crowd as a fringe activity There is also a tendency for groups to cater to one ethnic group and most of the regulars are already enthusiasts of other CC activities One thing that can be surmised about the focus on seniors of most drum circles is that Singapore has a very caring society one that continues to think about the needs of its elderly

It is therefore a challenge for all the drum circles to diversify and attract new members Despite this problem with regular attendance whenever there is a call from the CDN in big events the CCs find it easy to engage other community members of all ethnic backgrounds and age groups Indeed these big events remain a big attraction for people to come and participate In these events young people are keen to assist and add to the numbers The one advantage of the drum circle as members find it is that it does not require a lot of rehearsals in order for newcomers to play with the regulars in big events This is the reason why those who are more interested in advancing skills in drumming techniques do not find the regular sessions that exciting

One of the things that the CDN can pursue is the training of facilita-tors and providing more workshops on drumming techniques If this can be accomplished there will be a chance to attract the youth and those members who are looking into developing their skills This will also improve the musi-cal level of the drum circles which as the analysis of music and facilitation has shown are very basic at this time and thus lacking the complexity to attract more youth members and advance players

In terms of sustainability what the case studies have shown is that the presence of committed leaders and volunteers are important keys The relentless efforts and dedication of these key individuals really contribute to the success and sustenance of the drum circles Thus having a strong and

IJCM_73_Onishi_299-317indd 315 121614 42638 PM


316

stable network such as the CDN is very vital to anchor and ensure that the drum circles besides receiving adequate assistance are engaged in exciting activities

Generally speaking the cdc in Singapore are still in their early stages with regard to facilitator skills and understanding of the full potential of drum circles All the social benefits that somehow connect to the intended purpose of drum circles as expressed by experienced practitioners are all unconscious and at the surface level This is caused by the lack of training among the facili-tators whose roles based on the literature are supposed to lead participants into this deeper level Given more time the goals of the cdc might still change and could grow independently from what the CDN envisions the direction of drum circles across Singapore should go It is therefore too early to draw conclusions regarding the uniqueness of drum circles in Singapore There is certainly a potential for further growth as the groups gain more experience and understanding of the drum circle

Lastly the CDN is a relatively new phenomenon that changes the way interest groups in Singapore CC achieve their common goals of racial harmony and connectedness Its presence allowed the otherwise neighbourhood-based groups to expand their horizons and notions of community Through the relentless efforts of its volunteers Singaporeans are able to celebrate their differences through rhythms and experience the impact of different commu-nities and individuals coming together to support a common goal What the drum circle has shown is that it is possible to positively express and connect through non-verbal means what the CDN has done is to bring this expres-sion in a larger scale

referenCes

Birks M and Mills J (2011) Grounded Theory A Practical Guide Thousand Oaks CA Sage Publications

Diallo Y Y and Hall M (1989) The Healing Drum African Wisdom Teachings Vermont Destiny Books

Friedman R L (2000) The Healing Power of the Drum A Psychotherapist Explores the Healing Power of Rhythm Nevada White Cliffs Media Inc

mdashmdash (2011) The Healing Power of the Drum Book Two A Journey of Rhythms and Stories New Hampshire White Cliffs Media Inc

Hilarian L F (2010) lsquoCommunity music in Singapore as a practical necessity for music-making and social integrationrsquo Musika Jornal 6 pp 122ndash41

Hull A (1998) Drum Circle Spirit Facilitating Human Potential through Rhythm Gilsum NH White Cliffs Media

Lum C H (2011) lsquoReflective dialogues in community music engagement An exploratory experience in a Singapore nursing home and day-care centre for senior citizensrsquo International Journal of Community Music 4 2 pp 185ndash97

National Arts Council (NAC) (2013) Mission Values amp Logo [Online] Available from httpwwwnacgovsgabout-usmission-vision-values-logo Accessed 9 November 2013

mdashmdash (2014) Overview [Online] Available from httpswwwnacgovsgarts-you Accessed 23 January 2014

One HeartBeat (2013) One Heartbeat Percussions [Online] Available from wwwoneheartbeatcomsg Accessed 9 November 2013

PAssion Arts (2014) PAssion Arts Everyone Everywhere Everyday [Online] Available from httppassionartssgaboutusphp Accessed 23 January 2014



317

Peoplersquos Association (PA) (2013) About Us [Online] Available from httpwwwpagovsgabout-ushtml Accessed 9 November 2013

Stevens C (2003) The Art and Heart of Drum Circles Wisconsin Hal Leonard Corporation

Telesco P and Waterhawk D (2003) Sacred Beat Boston Red Wheel Weiser LLC

Wilson S G (1992) The Drummerrsquos Path Moving the Spirit with Ritual and Traditional Drumming Vermont Destiny Books

Yin R K (2014) Case Study Research Design and Methods Los Angeles Sage Publications Inc

suggested Citation

Onishi P C (2014) lsquoDrumming for community building The development of the Community Drumming Network (CDN) and its impact in Singapore societyrsquo International Journal of Community Music 7 3 pp 299ndash317 doi 101386ijcm73299_1

Contributor details

Pamela Costes Onishi (PhD in ethnomusicology University of Washington 2005) is a Research Scientist and Convenor of the Arts Education Research Task Force at the National Institute of Education Nanyang Technological University (NIE-NTU) in Singapore Her research interests include the arts and 21cc multicultural education diaspora music cultures community music education and the gong and drum traditions of South East Asia She has published on Philippine music (hybridities kulintang improvisations tradi-tional music in the schools) and pedagogies and practices in Singapore schools Costes-Onishi co-founded the first Philippine kulintang ensem-ble in Singapore which actively performs locally in festivals and events She is currently handling research projects in community arts and arts educa-tion under the Centre for Research in Pedagogy amp Practice (CRPP) at the NIE-NTU

Contact Nanyang Technological University National Institute of Education 1 Nanyang Walk 637616 SingaporeE-mail pamelaonishinieedusg

Pamela Costes Onishi has asserted her right under the Copyright Designs and Patents Act 1988 to be identified as the author of this work in the format that was submitted to Intellect Ltd


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National ConversationsPublic Service Media and Cultural Diversity in Europe

Gavan Titley Karina Horsti and Gunilla Hulteacuten

ISBN 978-1-78320-175-4pound40 $57170x230mme-Book available

Public service broadcasting is in the process of evolving

into lsquopublic service mediarsquo as a response to the challenges

of digitalization intensive competition and financial

vulnerability While many commentators regard public

service as being in transition a central dimension of its

mission ndash to integrate and unify the nation while respecting

and representing plurality ndash is being reemphasized and

re-legitimated in a political climate where the politics of

migration and cultural diversity loom large in public debate

Through a series of thematic chapters and in-depth national

case studies National Conversations examines the reshaping

of public service media and the concomitant development of

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addressing difference and lived multiculturalism in Europe

Gavan Titley is a lecturer in the School of English Media and Theatre Studies at the National University of Ireland Maynooth Karina Horsti is a lecturer in the Department of Social Sciences and Philosophy at the University of Jyvaumlskylauml Gunilla Hulteacuten is assistant professor of journalism in the Department of Journalism Media and Communication at Stockholm University



300

2 The National Arts Councilrsquos intention is to look at the mechanisms of the CDN and the social impact of drum circles in Singapore Any result that alludes to racial integration is not the original objective of the commissioned work

communities and creating intergenerational bonds2 The model that ensues from this unique situation would hopefully be helpful in understanding local interest groups elsewhere Central to the study is the art activity that was used to facilitate indi-viduals of different ethnic backgrounds to come together as one community this is the drum circle This study shows how the drum circle is found to have the potential to be an effective tool in promoting racial harmony and to bridge the gap between generations It features the voices of the community members who relentlessly engage in this activity in bringing out the meanings and benefits of the drum circle at the personal and communal levels

researCh methodology

This study was conducted through a mixed Case Study and Grounded Theory research methodologies using the ethnographic techniques of interviews field observations documentation and artefact collection Grounded Theory tech-niques are useful for the following two reasons (1) the topic and specific main objectives are exploratory in nature without any precedents in terms of research and (2) the minimal non-scholarly research literature available on drum circles does not allow for an appropriate theoretical framework that correlates with the main questions of the study The data-driven theory on the CDN and drum circles in Singapore is thus appropriate in this pioneering study

There were two sampling methods used in the study convenient and theo-retical The Case Study approach is useful for the very specific and conven-ient sampling of the subjects It is known that the team is to investigate the Community Drumming Network (CDN) and its activities that are observable through the recent spread of drum circles in different Community ClubsCentres (CC) This commissioned work therefore was provided the data to be inves-tigated Theoretical sampling from Grounded Theory is a process that enables the analyst to decide what data to collect next and where to find them based on the emerging theory (Birks and Mills 2011 69) This is the process of pursu-ing clues that arise from analysis for enriching the data Theoretical sampling in this study helps to diversify the largely homogenous make-up of the convenient sampling which is essential in the validity of the Case Study findings

The final analysis therefore are structured through individual reports based on the findings from within each case and a cross-case synthesis to bring out the common categories that could describe the phenomenon that is the CDN The results are based on the salient themes that emerged through-out the coding process of observation field notes video documentation and member interviews This process allows for the emergent theory to frame both literal (same results) and theoretical (contrasting results) replications across the cases increasing the validity of the findings (Yin 2014 57ndash63 164ndash68)

materials reviewed

The materials reviewed fall into three main categories ethnological narrative of the role of drums in healing rituals practised by certain African communi-ties (Diallo and Hall 1989) practitionersrsquo promotion of the psychotherapeutic impacts of drumming circles (Friedman 2000 2011) and guides on how to facilitate or set-up a drum circle (Hull 1998 Stevens 2003) The writings for the first two categories are intimate narration of the authorsrsquo personal expe-riences with drumming and the drum circle The positive psychotherapeutic effects associated with drumming and drum circles are claims by practitioners



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Growth function


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Drumming for Community Building: The development of Communnity Drumming Network (CDN) and Its Impact...

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Transcript of Drumming for Community Building: The development of Communnity Drumming Network (CDN) and Its Impact...