Drum Circles mit Helga Reihl.
Drum Circles mit Helga Reihl
Reflections on Rhythm
Friend and wonderful fellow Drum Circle Faciliator from Drumwithus, Ray Watters included me in his series of interviews named “Reflections on rhythm”
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Vom gewünschten Benefit für die Teilnehmenden bis zum Parkplatz. Nichts vergessen, wenn potentielle Kund:innen anrufen.
Trommeln – ein somatischer Ansatz
Mit der zunehmenden Anzahl an Forschungsarbeiten, die die positive Wirkung des Trommelns belegen, steigt die Aufmerksamkeit für diese Methode in der psychotherapeutischen Praxis. Simon Faulkner beleuchtet in diesem Artikel die Parallelen zwischen körperorientierten Therapieformen und der Nutzung des Trommelns im therapeutischen Kontext.
#5 Respect and Use Transition Points
The current transition due to the pandemic is probably one of the major transitions of this generation. From one moment to the next, a lot of us were forced to stop doing what we were doing. For me it felt like I was just in the middle of a great and wonderful flowing groove with others – sometimes maybe a bit too fast and dense – but all in all just the way, I wanted it to be.
#4 Work With What They Give You
In a Drum Circle we try to stay open for what happens in the moment. We try to use our radar to notice what people bring to the circle, how the common groove is developing and where it is heading. You might want to showcase a musical dialogue or a melody that appears. Maybe someone is playing culturally specific rhythms or someone is vocalising or dancing. There might be someone struggling to hold the drum or keep the beat. Maybe someone steps into the middle trying to take your role.
What is a Drum Circle?
Drum Circle – explained in more than 30 languages. An international project.
Wir fragen uns oft, wie wir Veranstaltungen so gestalten können, dass wir die Barrieren für alle Menschen kleiner machen und wie wir inklusive Events gestalten können, die Vielfalt fördern.
#3 Use Your Radar
We all know Arthur´s metaphor of the tripod of our senses and most of us have been blindfolded during a training in order to become more aware of our auditory and kinesthetic channels. What if we were to use this for our inner Drum Circle? If we listened, looked and felt inside ourselves? Used our senses inwardly and consciously to take note of our inner Drum Circle, it´s parts and how they are playing together?
#2 Establish Trust
When preparing for a Drum Circle, doing the setup, welcoming the participants and doing the Drum Call, we try to create a safe space for everybody and we try to make everybody feel welcome. We try to “establish trust”. How can we transfer these abilities to the facilitation of our inner parts, our “inner Drum Circle”?