Why people come to our drum circle...

“When the rhythm holds, I slip into a trance—the sound and movement settling deep within me. That’s the magic: a powerful spiritual connection.” 

“The drum is like my heartbeat… like wind, thunder, and rain. I feel connected—to myself, to others. Magic happens.” 

“It’s like a universal prayer… without words.” 

“Age just slips away… and suddenly we’re all one—caught up in the rhythm together.” 

“It’s not about performing. It’s just playing—pure fun, connection, and discovery.” 

“The drumming washes over me like a vibrational massage… releasing everything I don’t need to carry.” 

“Sometimes I come for the healing… sometimes for the people… sometimes just to hit something. It always gives me what I need.”

And Maybe the Real Reason… 

People come for different reasons. 

Connection. 

Relaxation. 

Joy. 

Healing. 

Curiosity. 

And sometimes… they don’t even know why they came. They just know something about it feels right.

What You’ll Find Here... 

No experience needed. 

No pressure. 

No performance. 

No drum required

No charge for participation.

No membership requirement. Come when you like.

Just rhythm. Just people. Just showing up—and seeing what happens.

Our Intent

Someone posted an opinion on one of the online drum circle forums I belong to about how drum circle novices should take lessons in traditional African drumming before participating in drum circles and calling themselves "drummers". Here was my response: 

 "I think that this issue depends on the intention of the circle. If the purpose of the circle is to play great traditional African (or Middle Eastern or Latin, etc.) music, then by all means the drummers should be trained so that they know what they're doing. 

On the other hand, if it's a freestyle community drum circle like mine, the intention is different. We drum to create an atmosphere of spirituality or healing or sociality or creativity or fun... whatever the participant comes to get. Most of our newbies drum quietly and don't disrupt the circle. They soon develop the ability to hear the improvised music and interact effectively with it. They learn by doing, by watching. They ask questions. They develop their sense of tempo. They learn to hold down the beat while more experienced drummers play lead. They learn to embellish effectively. They learn when to step into the foreground and when to recede into the background. They intuitively learn what's best for the music. All that's required of me is patience... and the relinquishing of control. 

As recorded music first became accessible... people stopped singing in their homes and while they worked. People who sang for its own sake... for their own enjoyment... heard voices like Caruso's and became embarrassed at the sound of their own voices. I find that sad. That kind of thinking is ingrained in our culture. Our society makes it very clear to our children who should be playing music or sports and who should be drawing or dancing... We're here to achieve, not to enjoy. 

I wonder what the writer would have taught Ann, who began drumming with us at age 90... or Laura, who was born with Cerebral Palsy and Autism. Traditional African drumming? What should we tell our regulars who play conga, doumbek, cajon, or frame drums? 

Creating a community where it is safe to express oneself without words... Where one can grow in so many ways, connect with others, learn, make mistakes, and laugh... building bridges between people instead of walls... That's our intent." 

 Rick Cormier