Drum Circles

According to Mickey Hart: "The ultimate goal (of the drum circle) is not precise rhythmic articulation or perfection of patterned structure, but the ability to entrain and reach the state of a group mind. It is built on cooperation in the groove, but with little reference to any classic styles. So this is a work in constant progress, a phenomenon of the new rhythm culture emerging here in the West. "



In an ethno-specific drum circle the rhythms have history, are hundreds of years old, and are passed down through oral tradition from generation to generation. An example of an ethnic specific drum circle would be Afro-Cuban drum circle. It consists of congas, supported by claves, and bells. Congas in a normal Afro-Cuban drum circle would be a Tumba, a Conga, and a Quinto, each drum having a specific tuning, and each drum has a specific part that, when played creates the Afro-Cuban rumba drum songs of which there are many. Another culturally specific drum circle would be a West African Djembe/djun-djun circle, where only Djembe, djun-djuns and atoke bells would be used to create rhythm songs, specific to the culture that the drums came from.



Today, most likely a drum circle is any group of people of any age playing (usually) hand-drums and percussion in a circle. Other instruments and dance are also incorporated into the drum circle. In Western countries, drum circles have come have had some association with Hippie counterculture. Since the 1970's, as a teambuilding activity drum circles have become an established part of Corporate training events. Professional drumcircle facilitators have been regular visitors in schools for many years.


Babatunde Olatunji was a drum circle artist from the 1960's until his passing in 2003. He worked with many major artists, including John Coltrane, Carlos Santana, Taj Mahal and the Grateful Dead. He earned a Grammy nomination from his 1997 album Love Drum Talk. Arthur Hull is another recognized drum circle advocate, as is Zorina Wolf, a student of Babatunde.