Monday, May 9, 2011

Create Your Own Transformational Rhythm Events...

Learn more here...

Jim Donovan's Drumming Facilitator & Teacher Trainings are  designed to empower you to create your own transformational rhythm and drumming based events. You will learn the skills, concepts and philosophical foundation that will assist you in designing and facilitating meaningful, effective and successful experiences for any group you work with.

What are the prerequisites?
Jim Donovan's Drumming Facilitator & Teacher Training welcomes persons of all experience levels including those with no musical or teaching experience. You will not need to know how to read musical notation, nor will you need a background in music theory. The training is designed to take you as you are and give you the skill sets you need to begin creating your own rhythm based events. If you already have teaching, facilitating, speaking and/ or musical experience, you will be delighted to find how much you will be able to pull from your own experience and apply it to what you learn at the training.

The idea behind Jim Donovan's Training Programs is to give you practical education, experience and feedback in several key ways:

1. The training will be an immersion in the basic tenets of using rhythm as a way to help people learn about themselves.
Jim Donovan's Drumming Facilitator & Teacher Training is designed for you to learn how to lead drumming circles, workshops and rhythm events in a way that maintains cohesion within your groups, while simultaneously opening a energizing space of learning, sharing and healing. The concept behind "Rhythm Renewal" is centered around our ability to use rhythmic events as a way of creating the conditions for people to experience a positive shift in consciousness and a sense of rejuvenation within.

Your experience will include foundation teachings on:
  • Inclusion regardless of ability
  • Letting go of the need to be perfect
  • Being present as a teacher/facilitator
  • Serving the group
  • Finding ways to effectively flow with change
  • Learning the value of cooperation and non-competition within a group
  • What to do with failure
  • How to empower others and create community

2. You will be guided through a wide variety of tools and methods.
Each of the methods I show you are ones specifically designed for easy integration into your own field of specialty. My intention is to connect you with skill sets that you can assimilate and re-form according to your own desires. I will give detailed explanation, methodology and demonstration on an array of malleable rhythm modules.

  • Basic drum circle facilitation skills including signals, body language, facial expressions, eye-contact, energizing the group, highlighting, stepping back, and sculpting
  • How to perform a wide variety of malleable rhythm and voice modules
  • How to weave your message into a rhythm module
  • How to get multiple group rhythms going (and how to help them to stay on track)
  • How to speak the language of the group
  • How to serve the group in front of you
  • How to inspire and hold the attention of the most unruly/apathetic groups
  • How to build your own event from the ground up
  • How to create rhythmic team building exercises
  • How to harness the power of the voice as a way to enhance personal development
  • How to use rhythm as a way enhance personal development
  • How to create rhythmic leadership exercises
  • How to teach the fine art of singing and playing simultaneously
  • How to make complex rhythmic parts easy and accessible
  • How to play the various drums and percussion commonly used in rhythm events
  • How to use rhythm to lead health and wellness experiences
  • How to use rhythm to lead educational experiences
  • How to create an emotional connection with your audience

3. You will get feedback and guidance as you practice rhythm modules with the group
. The great thing about learning in a group setting is that we have the opportunity to learn from each other. The training will provide ample opportunities for you to practice what you are learning, and then gather constructive critique from both myself and the other participants.

4. You will have an opportunity to map out your own event.
The training will include practical advice, methodology, feedback and opportunities for you to practice creating and mapping your own rhythm bases experience from start to finish. You will leave with an understanding of the key components needed to make your events successful.

5. You will be given an opportunity to understand why YOU desire to use rhythm as a tool and how you feel it will help you learn about yourself.
One of the most vital parts of this training is to be clear about the reasons about WHY you are doing what you are doing. We'll cover how to get clear about what your mission for your work is and how to fine tune it. A key component of working with passion is to design what you do in a way that consistently provides opportunities for you to learn and push your own boundaries.

Who should attend?
  • Anyone interested in utilizing the power of rhythm & drumming
  • Music Therapists
  • Music Teachers
  • Drum Circle Facilitators
  • Therapeutic music makers
  • Camp Counselors
  • Alternative healers
  • After school activity directors
  • People who work with disadvantaged youth
  • Social workers
  • Disaster relief workers
  • Church and spiritual group leaders
  • Elementary educators
  • Corporate Facilitators seeking new tools for their activity toolbox

What will you learn?
  • How to enhance and hone your own personal facilitation/teaching style
  • How to take your event from really good to one that is transformational
  • How to create fail-proof events by empowering participants
  • How to serve the group in front of you
  • A wide variety of malleable rhythm and voice modules
  • How to speak the language of the group
  • How to build your own event from the ground up
  • How to inspire and hold the attention of the most unruly groups
  • How to create rhythmic team building exercises
  • How to create rhythmic leadership exercises
  • How to play the various drums and percussion commonly used in rhythm events
  • How to weave your message into a rhythm module
  • How to use rhythm as a means to enhance personal development
  • How to use rhythm to lead health and wellness experiences
  • How to use rhythm to lead educational experiences

What else will you get?
  • A certificate of completion indicating that you are trained in Jim Donovan's Rhythm Renewal methodologies
  • 19 hours of interactive training
  • A clear explanation of the theories behind "The Rhythm Renewal" concept and why they consistently work so well
  • An opportunity to practice and get feedback and coaching from Jim and other participants
  • Specific effective techniques that will help you overcome pre-event nervousness
  • A training manual that outlines the entire Rhythm Renewal Training program for your reference
  • Tried and tested step-by-step foundation methodology
  • World Rhythm Seeds Volume 1 CD Resource Rhythms
  • Rhythmic Ear Training Volume 1 CD Call and response exercise CD
  • Marketing tools, templates and tips for those wanting to create programs to sell
  • Resources for additional reading, source rhythms and ongoing learning
  • Planning templates for you to begin creating and enhancing your own rhythm based events

What is a rhythm based event?
A rhythm based event is one where you use rhythm as the catalyst to consciously create a desired result
Rhythm based events can take many different forms such as:
  • Week long retreats
  • Two minute rhythmic wellness interventions
  • Classroom cultural lessons
  • Ice breakers before a larger event
  • Team building and leadership trainings
  • Community drum circles
  • Spiritual workshops
  • Stress relief courses

The common thread in these any of these occurrences is that rhythm is one of the tools being used to assist you in relaying your broader concepts and meeting your goals.

What kinds of concepts and goals can be addressed and met with rhythm?
  • Taking Chances
  • Fear of Failure
  • Stress Relief
  • Interpersonal dynamics and working together as a team
  • Learning to focus your attention at will
  • Group empowerment
  • Feeling like a part of a team
  • Active listening
  • Collaborative learning
  • Interactive cultural learning
  • Learn a sense of musical timing
  • Hand eye coordination
  • Small muscle development
  • Fine motor skill development
  • Build self esteem, sense of power
  • Mood improvement, gaining energy
  • Creating relaxation
  • Having fun
  • Create a sense of camaraderie
  • Cooperation
  • Non-competition

Why learn to teach and facilitate using rhythm?
1. It levels the playing field.
Level the playing field, remove the hierarchies, and learn to know each other on different terms. Creating music together creates lasting bonds between people unlike any other. By putting all of your participants on the level playing field of group drumming, watch how the hierarchies melt away and you each begin to see the importance of player in the room. Watch how interpersonal relationships become stronger through positive rhythmic interaction.

2. It creates a strong sense of team.
Create more effective team members by turning them into active listeners. Group rhythm unifies and creates a common purpose for your team and is the perfect metaphor for working together in harmony while highlighting the importance of the group dynamic.

3. It encourages creative thinking.
When you drum, it demands that you think outside the box. Drumming uses both hemispheres of the brain. Each player learns how to balance their creativity and expression while supporting others in their own pursuits.

4. It quickly brings focus and concentration to small and large groups alike.
Rhythm and drumming helps to bring immediate focus to any size group. Within moments, everyone is on the same page, letting go of worries, skepticism and concerns, and immersed into an enjoyable group experience.

5. It fosters cooperation instead of competition.
Your participants will feel camaraderie closer as they experience making music together. When all players are working in complete cooperation, and with full focus, extraordinary music results. Create a common ground and a solid sense of community by uniting participants as a team and feel the power of playing as one drum.
6. It melts stress.
Drumming is scientifically documented to quickly and safely help people release stress. With the first five minutes you will feel a significant shift in how you feel, and also how the group is better able to focus.

7. It stimulates deep listening.
Group drumming demands that you learn to hear subtleness. You learn to hear more than one thing at a time. You learn to hear more than just yourself. It increases awareness of others while participants learn to listen and interact with each other.

8. It helps participants to find their own voice.
Learn the power of individual contribution. In their expression individuals make a unique contribution to the success of the entire group. Group drumming is the perfect metaphor for relationships in the workplace and is a cathartic way to enhance personal and self-awareness. Drumming with others with a group encourages self-expression and personal growth.

9. It is easy, energizing and enjoyable!
Percussion is RIGHT NOW. You pick it up, you strike it and it makes a sound. With the leadership skills you'll learn at the training, any group can be turned into a "percussive orchestra" within a very short time. Jim Donovan's programs specialize in building immediate energetic synergy within groups who usually take a long time to develop.

10. It can happen anywhere.
Conference hall, your business, auditorium, rec rooms, class rooms, outside (weather permitting), parking lots, barns, living rooms....
Jim has facilitated sessions in very diverse settings such as a woodworking sawmill, a juvenile prison, factory manufacturing floor, cafeterias... 
All you need is the ability to make loud music and seating for all participants.

Saturday, May 7, 2011

Make Your Own Metal Percussion...

Any metal bowl will do!
Assemble a batch of bowls & beaters of all sizes. Include for starters pencils, chopsticks, various widths and lengths of dowel, knitting needles, small metal rods of various thicknesses, pieces of coat hanger made into beaters, dowels covered in latex tubing...don't forget the sounds that your fingers and nails can make, as well as the sound you get from playing on the metal with a brush (normally used for drumset) or a ring on your finger... 

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Wednesday, May 4, 2011

A Beginner’s Guide To Group Music Making

Jim Donovan and the Saint Francis University World Drumming Ensemble

By Jim Donovan

Philosophy: Us Vs. Me

Let’s begin by taking a look at several important aspects of playing music with a group. The foundation philosophy I encourage musicians to use is to play for the betterment of the group. In other words, find ways to make whatever you play be complementary to the music of the whole group. Put the success of the group ahead of your own by focusing on “us” instead of “me”. What I’ve found out about using a group focused approach to music making is that the better the group sounds, the more positively I am perceived as an individual. It's a win win..

How to help your group dynamic be the best it can be:

1. Listening: Great listeners make even better players. When you take the time to hear what each person around you is offering musically, you become better able to find ways to add to thoughtfully add to it. When other members of your group feel heard by you, it becomes more likely that they will listen to you in return.

2. Communicate: Find something you like about what one of your group members is doing and sincerely compliment them on it. Drawing attention first to what you like is a great way to build trust and open the lines to deeper meaningful communication.

3. Be open to receiving and giving constructive critique.
Remember when criticizing to focus on the actions and not the personality of the person. Also remember to smile and be genuine in any comments you make. When receiving critique, remember that the person on the other end may have important information that could help you grow, even if what they are saying isn’t easy to hear at first.

Musical Techniques

There are a multitude of musical devices that can help you make what your group is playing sound more interesting. Music is not just made up of what you play, but also how you play it. Your approaches to the music as well as the sounds you use have a great effect on how the listener perceives your end result.

Here are a few ideas to get you started:

1. Organize around a common pulse. To create a cohesive sounding piece of music, it is important to establish a mutually agreed upon tempo (or speed). This pulse becomes the reference point for the rest of your creation. Once the group members know what the pulse is, they have something to rely upon and come back to if they make a mistake. It helps to designate a few people to be in charge of holding the pulse. Low drums or high-pitched bells work great for this purpose.

2. Find a wide variety of different timbres. A timbre is the quality of a tone that makes it unique from others. For example, the sound of the human voice has a different quality to it than say the sound of a piano. A good practice to follow in group music making is to use of a wide variety of sounds from across the spectrum.-Low deep bass sounds, high pitched sounds, and mid range sounds. A way to get a sense of how timbre works is to look at the tonal variety in a typical West African drumming ensemble instrumentation.

  1. Djun djuns: (Pitched African bass drums) Usually played in sets of three drums. Low, mid-range and high.
  2. Djembes: (African hand drum) This drum is capable of many sounds, the main ones being a low, medium and high tone. The tones are commonly referred to as the bass, tone and slap.
  3. Bell: (gankoqui or toke) This percussion instrument is the cousin to the modern cowbell, made of metal and is high pitched. The bell is commonly used as a time-keeper since it is loud enough to be heard over all of the other drums. More cowbell!

3. Use dynamics. Experiment with playing at different volumes at points throughout your music as a way to bring interesting variation to it. There’s nothing like suddenly playing very quietly to draw the listener’s attention in before bowling them over with a louder section. Notice what happens to how you feel in your body as you play softly versus when you play louder. Much of what you feel will also be felt in the listener.

Common Rookie Errors

One of the great things about music is how much it can teach you about yourself and your own tendencies. Do your best to avoid these common beginner’s errors and you will be well on your way to creating music that is both enjoyable to you as well as your listeners.

1. Releasing the fear of mistakes. Let’s face it; anytime you try doing something new, mistakes are bound to happen. In fact, I believe that mistakes are where the true learning takes place. There nothing quite like feeling something fall apart to inspire you to want to find ways to make it stay together. When you have a failure, simply allow it to show you what NOT to do the next time.

2. Not listening to each other. When groups aren’t listening to one another, it becomes challenging to create something magnificent. Just because you may be a virtuoso doesn’t mean that you play well with others. Make your focus be on the sound of the whole, rather than on the isolated parts.

3. Overplaying. Great music utilizes silence as much as it does sound. Find ways to strike a balance between playing enough and playing too much. Notice how what you are playing connects and interplays with the other parts in the group.

This guide is by no means exhaustive, but by using even a few of the ideas described above, you’ll give yourself and your group a better chance of creating great music together. Have fun!

Sunday, May 1, 2011

The 2011 Summer Rhythm Renewal

Enjoy a rejuvenating four days of drumming, dance, drawing and writing workshops along with nightly jam-sessions and incredible concerts in the mountains on the pristine campus of Saint Francis University in Loretto, Pennsylvania.
Beginners are warmly welcomed.
Directed by Jim Donovan

Friday, April 29, 2011

Make Your Own Tube Drums

These are the homemade drums that are causing such a stir in the drumming for wellness scene this year.
Tube drums, made from heavy cardboard cylinders are currently THE RAGE, thanks to facilitator and founder of the Eldermusic group at Yahoo, Annie O'Shea. 
 The idea of using heavy cardboard concrete forms, used for pouring concrete, for drums is not entirely new. Banek and Scoville described such tube drums in their book Sound Designs years ago, but they used goatskin and were a little different, hanging in different lengths, different pitches from a rope or cable.

Learn more here...

Monday, April 25, 2011

Making An Easy Homemade Bass Drum

When working with groups, it is very useful to have a wide range of timbres available, that the group might behave somewhat like a band or orchestra. its very helpful to have a 'Mama' drum of some sort, holding down the bottom so the other instruments can float around and experiment.
Enter the lowly laundry tub. We first saw this particular type of tub used in Stomp, and of course it was miked to the hilt, and thunderous, riotously played by a bundle of energy who obviously knew what she was doing... Even unmiked, and played by newbies, it has a good deal of depth and power, although it won't work as well for big & loud seems that the softness of the plastic, usually a drawback in such cases, adds to the warmth and roundness of the tone. The two thicknesses on the bottom make for two distinct notes, an added boon. The handles come in handy too, no pun intended.. sound samples and sample rhythms are forthcoming. 

Wednesday, April 20, 2011

How to Make Shakers...

Shakers are among the oldest of musical instruments, almost certainly a found instrument in the beginning. After all, a calabash gourd, left to dry for a month or two, will be a crude shaker when you pick it up. Someone somewhere in the pre-dawn of music making must surely have picked up a dry gourd, shook it, and and went "Wow", and brought it home for later ;-) Thus perhaps the first collection of percussion instruments began. 

Gourds are always an excellent source for making shakers and shekeres, instruments of all kinds. As a matter of fact, I planted a batch of ipu seeds from the Gourd Connection this week, and four have come up so far, so next year, we may have some nice gourd shaker making articles for you.

Read more here...
Publish Post

Tuesday, April 19, 2011

How to Play Water Bottles

We call polycarbonate resin containers "Moondrums" because they're the first drum light enough to be carried into space...the underrated sound source of the 21st century.
We began using and experimenting with them in 1994. They have served us well, lightweight and reliable tools, whether with a batch of kids in a school or community center somewhere, in the streets of Downtown Dallas and Fort Worth, or in a recording studio somewhere.
When played with the hands, they take on a dreamlike, reflective quality, and played with one wrapped stick or mallet and one hand they are useful in drum circle situations, where a loud instrument is a must...

Read more here...

Saturday, April 16, 2011

Learn To Make Coffee Can Drums

The coffee can drum is a portable, versatile, inexpensive drum, an ideal "first Drum project. It responds well to a thin stick, with techniques that vary from scrapng and striking the side of the can to one hand/one stick techniques not unlike those used on sabar, Mandinka drums, or certain Brazilian instruments..

Learn to make them here...

Thursday, April 14, 2011

Make your own percussion...

When you use your imagination to make or find percussion instruments for yourself, you are following a tradition that stretches back thousands of years to the dawn of human music making. It's an essential part of being a percussionist.

This is only a starting place for ideas. Think outside the box... or the egg, as the case may be...

Thursday, April 7, 2011

Jim Donovan's Drumming Facilitator & Teacher Trainings

Join us June 24, 25, 26, 2011 in Greensburg, PA for Jim Donovan's Drumming Facilitator & Teacher Training

Jim Donovan's Drumming Facilitator & Teacher Training is a three day intensive training designed to empower you to create your own rhythm and drumming based events. You will learn the skills, concepts and philosophical foundation that will assist you in designing and facilitating meaningful, effective and successful experiences for any group you work with.

Learn More Here..

Pricing and Registration...

Drumming on the Edge of Leadership: Hand Drumming and Leadership Skills for the New Millennium

Drumming on the Edge of Leadership: Hand Drumming and Leadership Skills for the New Millennium
Mikenas, Edward E. PERCUSSIVE NOTES. February 2003.
The 20th Century ended with a bang in several ways. A new awareness of the value of leadership training, our growing understanding of the uses of hand percussion, and the trickle-down of quantum concepts into everyday thinking have set the stage for dramatic positive change.

Modern culture has realized that leadership is a valuable quality to develop in individuals for the benefit of the entire community—world or local. The African phrase “It takes a village to raise a child” made the point that everyone is important for a child’s well being, and that the child represents our future. Corporations and government moved from a hierarchical paradigm to the team concept as a way of optimizing ideas and resources, thus creating the need for team leaders. Localities undertook programming to determine “natural” leaders as a way of effecting change in neighborhoods. Middle management became leaders instead of managers.

These changes did not come easily for many due to a long industrial history of “top-down” thinking. Because leaders serve as role models for those they lead, “character education” has now become fashionable in public schools. This teamfocused way of perceiving people and work, while challenging to manage at times, does result in more productivity. A side effect is a more flexible workforce, and flexibility translates into adaptability —the hallmark of all life.

Read more here...

Monday, April 4, 2011

The Use of Drumming as Cure for Children with Post-Traumatic Stress Disorder (PTSD) by David Otieno Akombo, Ph.D.

The Use of Drumming as Cure for Children with Post-Traumatic Stress Disorder (PTSD)
Copyright © 2003 by David Otieno Akombo, Ph.D

Post-Traumatic Stress Disorder (PTSD) can be an extremely debilitating condition that can occur after exposure to a terrifying event in which grave physical harm occurred or was merely threatened. Traumatic events that can trigger PTSD include violent armed conflict like that of Somalia, Rwanda and Burundi, and Sudan. Others may include personal assaults such as rape or mugging, natural or human-caused disasters, accidents, or military combat such as the veterans who are serving in Iraq or those who served in Vietnam and the Gulf Wars; rescue workers involved in the aftermath of disasters of the World Trade Center, survivors of accidents, rape, physical and sexual abuse, and other crimes; immigrants fleeing violence in their countries; survivors of the 1998 Nairobi US Embassy Bombing among others.

Effective treatments have now been developed to help people with PTSD. Research is also helping more scientists to better understand the condition and how it affects both the brain and body. Different forms of music such as drumming are becoming an important therapeutic tool. Drumming exercises greatly reduce stress among Vietnam veterans and other victims of trauma, apparently by altering their brain-wave patterns.

Friday, April 1, 2011

A Guide To Creating Your Own Rhythms

A Guide To Creating Your Own

By Jim Donovan

Part 1 Pulse, Cycles, Subdivision, Space and Accents

1. Find a pulse or a tempo you’d like to use.

A good place to begin is to take walk around the room you’re in and
clap each time you take a step. This is what I refer to as a normal
walking tempo. After you find a pulse, you are going to use it as your
foundation or reference point from which you can begin your rhythm

Musicians will often use counting as a way to keep their place within
a pulse. They will count it like this: one, two, three, four, one, two,
three, four….

This kind of pulse is called a four-beat cycle. There are other kinds
of cycles, but for our purposes today, we’ll just use a four-beat.

Once you establish a pulse, then the fun begins! A pulse can be
manipulated in all sorts of interesting ways.

2. Subdividing the pulse.

Within a pulse are a wide variety of ways to expand rhythmic
possibilities. Adding equidistant beats within a pulse is a good starting

a. Doubling: Find your original pulse. You’ll notice a space in

between each beat in the original pulse. Double the speed of
your pulse by putting one beat in each space.

You can count it like this: one and two and three and four and one
and two and three and four and….

b. Quadrupling: Same idea as doubling, except you put four

equidistant beats within the space of each beat in the original

You can count it like this: one ee and ah two ee and ah three ee and
ah four ee and ah.,..

3. Create spaces in the subdivision

Once you understand how to do simple subdividing of a pulse, you
can begin to create interesting rhythmic variations by establishing a
subdivided pulse and allowing a few of the beats to go by in silence.
As you the silent beats pass, continue to allow them to pass in
silence in the same spot each time the cycle repeats.

For example:

If you are using a quadrupled subdivision (better known and 16th
notes), you could put silence on the “ee” each time it occurs in the

One, silence, and ah, two, silence, and ah, three, silence, and ah,
four, silence, and ah… etc.

4. Accenting parts of the subdivision

Instead of making some of the beats in your subdivision silent, you
can go the opposite way by accenting, or increasing the volume of
some of the beats.

For example:

If you are using a doubled subdivision (better known and 8th notes),
you could put an accent on the “and” each time it occurs in the cycle.
I will use all CAPS to denote an accent. In music you might also see

the symbol “>” over a group of notes to signal an accent.

one, AND two, AND, three, AND, four, AND… etc.

5. Using voicing

Voicing means determining what sound you’ll on specific beats. A
simple way to use voicing is to pick two different sounds (preferably
a low sound and a high sound), then assign one sound to your right
hand and the other to your left hand.

Next, play your rhythm by simply alternating your hands R,L,R,L. As
you play the rhythm you’ll notice that even though the pattern is the
same, the use of 2 distinct voices changes the way you experience
the rhythm. Voicing is quick and easy way to create infinite variation
rather effortlessly.

6. Using handing patterns with voicing

Handing refers to the pattern your right and left hands are performing.

The standard handing is simply to alternate your hands “right, left,
right left”. Where this gets interesting quickly when you start using
different handing patterns on different voices. Even the simplest
handing pattern can really spice up an otherwise boring rhythm.

Try this:

Pick two different sounds (preferably a low sound and a high sound),
then assign one sound to your right hand and the other to your left
hand. Then perform the following handing patterns.





Eight Homemade Instruments... Make your own percussion!

Learn how to make Homemade Instruments and Art Projects from recycled and common materials, such as greeting cards, dowels, and tape. Make community music today!

Read more here...

Tuesday, March 29, 2011

Complementary Therapy for Addiction: 'Drumming Out Drugs'

Complementary Therapy for Addiction: 'Drumming Out Drugs'
by Michael Winkelman, American Journal of Public Health; Apr2003, Vol. 93 Issue 4, p647
Objectives. This article examines drumming activities as complementary addiction treatments and discusses their reported effects.

Methods. I observed drumming circles for substance abuse (as a participant), interviewed counselors and Internet mailing list participants, initiated a pilot program, and reviewed literature on the effects of drumming.

Results. Research reviews indicate that drumming enhances recovery through inducing relaxation and enhancing theta-wave production and brain-wave synchronization. Drumming produces pleasurable experiences, enhanced awareness of preconscious dynamics, release of emotional trauma, and reintegration of self. Drumming alleviates self-centeredness, isolation, and alienation, creating a sense of connectedness with self and others. Drumming provides a secular approach to accessing a higher power and applying spiritual perspectives.
Conclusions. Drumming circles have applications as complementary addiction therapy, particularly for repeated relapse and when other counseling modalities have failed. (Am J Public Health. 2003;93:647-651)

Sunday, March 27, 2011

Healing Power of the Drum Circle

Healing Power of the Drum Circle
by Michael Drake, Sacred Hoop Magazine, Spring 2003, Issue 40

Indigenous cultures have been practicing community percussion for thousands of years. Now people all over the world are taking up drumming in astounding numbers. At a grass roots level, small community drum circles are springing up. While some drum circles are content to jam and make a lot of rhythmic noise, others prefer to explore shamanic drumming.
Shamanic drumming is a time-honored method of healing and helping others. Shamanic drum circles provide the opportunity for people of like mind to unite for the attainment of a shared objective. There is power in drumming alone, but that power recombines and multiplies on many simultaneous levels in a group of drummers. The drums draw individual energies together, unifying them into a consolidated force. Synchronized drumming is the most effective, so individuals should alternate the responsibility of setting the tempo and leading the group. The basic steps that I describe here I have found most effective.

Friday, March 25, 2011

Jim Donovan 2011 Tour Schedule Workshops : Trainings : Retreats : Concerts

The drums I have for you are even bigger than these...
Jim Donovan 2011 Tour Schedule
Workshops : Trainings : Retreats : Concerts

You work hard. Why not take a little time for yourself this year?
Come and drum with us. I have a drum waiting for you...
Peace, Jim Donovan

Saturday, March 26, 2011 Pittsburgh, PA
Kirtan with Krishna Das w/ Jim on percussion

Friday, April 1, 2011 Indiana, PA
The Drum and Chant :: Transformation Workshop with Jim Donovan

Sat. April 2, 2010 Somerset, PA
The Drum and Chant :: Transformation Workshop with Jim Donovan

Friday, April 8, 2011 Emmaus, PA
The Drum and Chant :: Transformation Workshop with Jim Donovan

Friday April 15, 2011 Camp Hill, PA
Rhythm Renewal Drumming Workshop

Sat. April 16, 2011 Binghamton, NY
Day of Drumming and Transformation with Jim Donovan
All New Workshop Experiences for 2011!

Friday April 22 , 2011 Bridgewater, PA
Jim Donovan with Tertium Quid in concert
An evening organic groove...

Fri. April 29, 2011 Altoona, PA
Rhythm Renewal Drumming Workshop

Saturday April 30, 2011 Greensburg, PA

Rhythm Renewal Drumming Workshop

Saturday May 7, 2011 Westminster, MD
The Rhythm Revival :: All Day Drumming Intensive

Friday May 13, 2011 Pittsburgh, PA
Rhythm Renewal Drumming Workshop w/ Jim Donovan

Saturday May 14, 2011 State College, PA
The Drum and Chant :: Transformation Workshop

Sunday May 15, 2011 Coraopolis, PA
The Drum and Chant :: Transformation Workshop with Jim Donovan

May 20-30, 2011 Parma, Italy :: Shows and workshops

Friday June 3, 2011 Brookville, PA  
Rhythm Renewal Drumming Workshop
+ RhythmKids Playshop

Saturday June 4, 2011 Burgettstown, PA
Rhythm Renewal Drumming Workshop

Friday, June 10, 2011 Medina, OH
Rhythm Renewal Drumming Workshop

Friday June 17, 2011  Cleveland, OH
Drum and Chant :: Transformation Workshop
River's Edge :: 216.688.1111

June 24, 25, 26, 2011 Greensburg, PA
Rhythm Renewal Teacher & Facilitator Training

July 2, 2011 Great Blue Heron Music Festival
Saturday Afternoon Rhythm Renewal Drum Circle

July 3/4, 2011 Artemas, PA
Drum & Splash Festival
2 workshops and fire circle drumming

Saturday July 9, 2011 Pittsburgh, PA  

Drum and Chant :: Transformation Workshop with Jim Donovan

July 15/16 Oberlin, OH
Rhythm Retreat

July 25/26/27, 2010 :: Loretto, PA
The Rhythm of Life Design Intensive
with Jim Donovan and Dr. Harry Pepper Ph.D.

July 28/28/30/31
2011 Summer Rhythm Renewal

Sept 2/3/4 2011 Sherman, NY

The Great Rhythm Revival