Drum circles and community music: Reconciling the difference

Abstract

This article is a contribution to reconciliation between Indigenous and Settler peoples in Canada through the creation of space for Indigenous voices within the practice of community music. Colonization and policies to assimilate Indigenous peoples have had devastating impacts and have served to undermine their communal way of life and cultural identities. Many urban Indigenous peoples are searching for ways to ‘re-member,’ ‘re-connect,’ and ‘re-claim’ a sense of community and connection to their traditions. This article takes anchor in the stories of urban Indigenous youth and women and what their drum circle means to them.

Traditional crafting as a catalyst for Indigenous women’s intergenerational cohesion and wellness: a Canadian perspective

“…It has become clear through numerous research studies and workshop reports where traditional teachings were evaluated, that engaging in various forms of craft confers, “a sense of belonging and community which is integral to Indigenous people’s identities specifically because of colonization, racism and oppression of the past and present” [ 41 ].…”

“…The healing aspect of engaging in the Indigenous crafting process is not restricted to physical wellbeing but it expands to the spiritual, emotional, and mental realms [ 10 , 41 ]. The connection to cultural practices stimulates increased spirituality, thus promoting wellness through a sense of resilience, survivance and improved healing from historical trauma [ 9 ].…”

COVID-19 and Participatory Music-Making

“…In Westernized contexts, participatory music-making is more likely to be a discrete activity that occurs at a scheduled time and in a specific place. Examples of participatory music communities that have been well documented in the scholarly literature include Irish traditional musicians (ITM), who play and/or sing Irish music collectively in the context of sessions [15]; old-time (OTM) and bluegrass musicians, who play American tunes at jams [16]; hip-hop rappers, beatboxers, and breakers, who exchange verses and dance moves in the context of cyphers [17]; shapenote singers, who participate in a collective hymn-singing tradition rooted in the US South [18]; English carolers, who gather in public spaces to sing traditional carols during the Christmas season [19]; and drum circle participants, who engage with a range of culturally specific drumming practices [20]. Each of these traditions is characterized by a unique repertoire and distinctive practices.…”

An Artistic Product of Globalised Singapore? The Damaru Pan-Indian Folk Drumming Ensemble

“…Drum circle participants have shared that they enjoyed drumming because it is an easy-to-follow group-based activity that encourages bonding with fellow participants, and they appreciate the opportunity to perform at community events (see Onishi 2014). In Canada, Indigenous people living in urban areas have participated in Indigenous drum circles to "re-member," "re-connect," and "re-claim" their indigenous identities and culture (see Laurila and Willingham 2017). In East London, the Guildhall School of Music and Drama initiated the intergenerational music project, bringing together primary school students and seniors over fifty.…”

“…It is no wonder why Thiru's decision to establish a pan-Indian folk drumming ensemble is a calculated strategy. Indian folk drumming is an easy-to-learn group-based activity that promotes personal enjoyment and bonding among the Damaru members, appealing to novice and experienced drummers, echoing the assertions of Onishi (2014), Laurila andVarvarigou, Creech, Hallam, andMcQueen (2011) that drumming can promote personal enjoyment and social bonding.…”