Drum Therapy: On the Drum Circle and the Group Experience

What is drum therapy, and what happens in a drum circle? Read about the possible effects of drumming together, the limits of the research and what to watch for.

For someone who has woken on Ramadan nights to the sound of the sahur drummer (who walks the streets before dawn to wake people for the pre-fast meal), or who has noticed their foot tapping along of its own accord when the davul and zurna (drum and shawm) strike up at a wedding, the drum is no ordinary instrument. Even the sound of a drum in the distance calls you somewhere. In recent years, gatherings held under the name of "rhythm circles" or "drum circles" have become common at company events, festivals and workshops, and some of them are promoted as "drum therapy". So what exactly is drum therapy, why can a group of people meeting in the same rhythm feel so good, and where does the relationship between these activities and therapy begin and end? In this article we look together at the drum circle, the group experience and what research is able to say today.

What Is Drum Therapy?

In everyday language the expression "drum therapy" is used to describe two different things, and it is important to tell them apart.

The first is the use of drums and percussion instruments within music therapy. Active methods, in which the person produces music themselves, play an important part in music therapy. Percussion instruments such as drums, cymbals and frame drums are often chosen for these methods because they require no musical training. Here, the drum is a tool that a trained practitioner uses within a therapeutic framework, in line with specific goals.

The second is group rhythm activities led by a facilitator. A group sitting in a circle keeps rhythm together under a facilitator's guidance, improvises and listens to one another. These gatherings can be enjoyable, unifying and relaxing; but they are not psychotherapy in themselves.

This distinction is not an empty play on words. In Cochrane reviews, music therapy is defined as a therapeutic framework plus musical interaction between the therapist and the participant. However well a rhythm workshop at a festival goes, it is not what this definition describes. We have described the general framework of music therapy in detail in our article on music therapy.

How Does a Drum Circle Work?

Many people joining a drum circle for the first time arrive hesitantly, saying, "I've never played a drum, and I have no sense of rhythm either." Yet a large proportion of these gatherings are designed with exactly these people in mind. A typical flow looks roughly like this:

1. Warm-up: participants get to know the instrument, striking the centre and the edge of the drum with their hands to make different sounds. Sometimes the rhythm starts with clapping or tapping on the knees instead of the drum.
2. A shared pulse: the facilitator starts a simple, steady rhythm and the group joins in. The aim is not a perfect rhythm but finding the same pulse together.
3. Call and response and improvisation: one person or a small group plays a short rhythm and the others respond. Over time participants add little rhythms of their own.
4. Listening and silence: the rhythm slows, the sounds fade, and the group stays in silence for a few seconds. This is often the moment that is felt most strongly.
5. Sharing: in some groups, participants briefly share what they felt at the end.

In this flow nobody plays "wrong". Someone who falls out of the rhythm can easily rejoin thanks to the group's shared pulse. This is often the first thing many participants notice: making sound in a setting where mistakes are not punished.

The facilitator's role

In a well-run drum circle the facilitator does not behave like an orchestra conductor; they are more like someone who holds the group's shared pulse and gently gathers things back together when the sound gets too loud or scatters. They do not decide who plays how much, but they try to open up a space in which everyone's sound can be heard. They do not force a shy participant into the spotlight; nor do they embarrass someone who is playing too dominantly, but invite them back into the group. This attitude keeps the activity safe and inclusive. However experienced the facilitator may be, running a rhythm workshop and conducting a therapeutic process require different skills; addressing psychological difficulties is the work of people trained in mental health.

Rhythm in different groups

Rhythm activities turn up in very different settings. They can be used in schools as a game in which pupils practise listening to one another and waiting their turn, in care homes as a light activity people can join while seated, and in companies as a gathering meant to strengthen team spirit. In each setting the aim and the expectations are different. An activity organised at a workplace will not resolve conflicts within a team or burnout; but it can give employees a chance to come together and laugh together. Knowing these limits allows us to put the activity in its proper place without doing it an injustice.

The familiar face of rhythm in Turkey

In our culture the drum is already associated with community. It has been the sound of wedding processions, of send-offs for young men leaving for military service and of bayram (religious holiday) mornings. Percussion instruments such as the darbuka, the def and the bendir (Turkish hand and frame drums) also accompany many homes and many shared meals. This familiarity can help someone joining a drum circle to feel at ease more easily. On the other hand, for some people a loud drum may be linked to crowds, noisy celebrations or difficult memories. Everyone's relationship with rhythm is different.

Drum Therapy and the Group Experience: Why Can It Feel Good?

Many people coming out of a drum circle say things like "My head cleared", "I haven't laughed this much in ages" or "I shared something with people I'd never met." Several possible elements can be thought to lie behind these experiences:

• Attention coming into the present: following a rhythm can, for a while, stop the mind constantly escaping into the past and the future. When you focus on the movement of your hands and the texture of the sound, there is less room for overthinking.
• Physical release: striking a drum is a physical act. Tension that builds up in the body during the day is felt more, and can be let out, during a loud and active activity.
• A sense of togetherness: meeting in the same rhythm offers the experience of being part of a group without any need for words. For someone who feels lonely, or who feels like a stranger in a crowd, this can be a small but meaningful experience.
• Non-verbal expression: anger, excitement, tiredness or sadness can be reflected in rhythm without being put into words. Sometimes a person notices what they are feeling when they hear the rhythm they are playing.
• An experience of mastery: someone who hesitated at first may feel a small sense of achievement when they find, by the end of the session, that they can keep a simple rhythm going.

Imagine a nurse who works night shifts at a hospital joining a weekend rhythm workshop at a friend's insistence. For the first half hour she sits with her arms crossed, watching those around her. Then the facilitator starts a game in which everyone makes just one beat; when her turn comes she strikes the drum and the group echoes the sound back to her. When the workshop ends she says, "All week I've been running to meet other people's needs; for two hours I just made noise." This experience is not therapy; but it can give someone who has long neglected their own needs a chance to stop and think.

In a drum circle nobody is on stage; everyone is part of the circle.

Does Drum Therapy Work? What Does the Research Say?

It is important to give an honest answer to this question: strong evidence at the level of systematic reviews on rhythm and drum-based group activities is limited. Applications such as rhythm accompanying walking in neurological rehabilitation, for example after a stroke or in Parkinson's disease, are among the areas being researched; but more studies are needed before firm conclusions can be drawn in these areas too.

When we look at the general evidence base for music therapy, the picture is clearer. A 2017 Cochrane review on depression stated that music therapy, when added to usual care, may reduce depressive symptoms in the short term, but that the evidence is of low to moderate certainty. This finding relates to music therapy delivered by a trained practitioner; it cannot be applied directly to a one-off rhythm workshop.

The common limitations of research in this field are:

• Participant numbers are mostly small.
• Blinding is impossible, because participants know what they are taking part in.
• Results rely largely on self-report.
• Follow-up periods are short; how long any effect lasts is unknown.
• "Therapy" and general "music activities" are sometimes mixed up in studies.

In short, working with drums can be an enjoyable and supportive experience; but in conditions such as anxiety, depression or trauma it should not take the place of psychotherapy, medication or medical care. Claims found online such as "healing drum frequencies" or "energy cleansing" with drums are not scientifically supported.

What Should You Bear in Mind When Joining a Drum Circle?

If you are thinking of joining a rhythm activity, the following points can make the experience safer and more enjoyable:

• Protect your ears: in an enclosed hall, a large number of drums can reach a high volume. If the sound bothers you, do not hesitate to use earplugs or to sit on the outer part of the circle.
• Take care of your wrists and hands: playing with loose wrists rather than hard strikes can help prevent hand and wrist pain in long sessions. If you have joint problems, you can start with light instruments such as a shaker or a tambourine.
• Set your own limit: if at some point you get tired, feel overwhelmed by the sound or just want to listen, taking a break is entirely your choice.
• Be prepared for difficult memories: loud and sudden sounds can trigger unexpectedly intense reactions in some people who have been through traumatic experiences such as an earthquake, an explosion or violence. If you have such a history, it is wise to let the facilitator know beforehand and, if necessary, to step away from the circle for a short while.
• Keep your expectations realistic: a rhythm workshop can offer an enjoyable evening, a chance to meet new people and short-term relief. It is not a substitute for treatment of long-standing psychological difficulties.

Small experiments with rhythm at home

Even if you do not have a drum, you can try some small self-care experiments with rhythm:

• Tap lightly with your fingertips on the kitchen table or on your knees to find a slow rhythm that keeps pace with your breathing.

• Put on a folk song you love and accompany only its rhythm by clapping, or by tapping a wooden spoon on a saucepan lid.

• Play "rhythm echo" with your child: one of you plays a short rhythm and the other repeats it. Then swap roles.

• At the end of the day, keep a slow rhythm close to your heartbeat going on the table for one minute; then gradually slow it down and stay in silence for a few seconds. Notice how the silence feels in your body.

If unexpected sadness or restlessness rises during these experiments, stop, take a few deep breaths and feel your feet on the floor. The aim of such experiments is not to "fix" anything, but to give yourself a short break during the day and to remember again the pleasure of playing with sound.

When Should You Seek Professional Support?

Rhythm and music do many people good; but in some situations it is important to speak to a mental health professional:

• If anxiety symptoms such as tension, restlessness or palpitations are disrupting your daily life
• If sudden sounds startle you excessively, or you feel as though you are reliving a difficult experience again and again
• If you have long been feeling lonely and unmotivated and unable to enjoy anything
• If you avoid group settings and crowds because of intense anxiety

For anxiety and panic difficulties, work is done with research-supported methods such as cognitive behavioural therapy; recognising and regulating bodily sensations and approaching avoided situations step by step are important parts of this work. If you are curious about working with creative methods in a group, our article on group art therapy may also give you some ideas. Where necessary, an assessment by a psychiatrist may also be part of the process. If you are having thoughts of harming yourself or ending your life, call 112 (emergency services) in an emergency.

Frequently Asked Questions

Do you need musical knowledge to take part in drum therapy?

No. Drum circles and percussion work in music therapy require no musical training. They start with simple rhythms, and participants are allowed to progress at their own pace.

Is a drum circle the same as music therapy?

No. A drum circle is mostly a group activity led by a facilitator and focused on enjoyment and togetherness. Music therapy is a process carried out by a trained practitioner within a therapeutic framework and directed at specific goals.

Can children take part in rhythm activities?

Yes, many children enjoy playing with rhythm. However, children's ears can be more sensitive to loud sound; the volume should be watched, and a child should not be pushed to take part when they do not want to.

Does playing the drum help to release anger?

Some people feel that hitting a drum reduces their tension. But coping with anger is not only about letting it out; understanding the causes of anger and learning different ways of responding also matter. If anger is felt often and intensely, it may be helpful to talk to a professional.

• #drum circle
• #rhythm
• #group experience
• #music-based activities

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Eda Erkan Alapala

Klinik Psikolog. İstanbul Kent Üniversitesi Klinik Psikoloji Tezli Yüksek Lisans mezunu; bilişsel davranışçı terapi, çocuk merkezli oyun terapisi ve çocuk-ergen psikoterapisi alanlarında eğitimlerini tamamlamıştır.

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