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Call & response - Emotional Check-In
One at a time around the circle people play how they are feeling – often we use this at the start or end of a session. They create a short phrase on their drum that expresses their feelings (call) and the group
validate that by echoing it back to them (response).
When you drop the ball, how do you respond?
An exercise that looks at how we respond when we drop the ball, make mistakes, and the feeling of
shame that often arises.
Discuss with the group the feelings you get when you make mistakes (give examples) and feel embarrassed
(give examples). Ask people to reflect on how they personally deal with mistakes. In particular, this
exercise is used to focus on the feeling of ‘shame’ - ensure this is discussed. What are some of the
different ways we might respond to feelings of shame - constructive or destructive? List in 2 different
columns on a white-board.
Start a rhythm sequence involving different parts played in order around the circle, for example - Bass, 2
x Tone, Clap, Flam and repeat. Slowly speed up. When anyone loses the sequence, they have to say one
way they might respond in life when feelings such as shame arise from mistakes generally (drawn from
the pre-discussion content), and whether this is a useful response or not.
The first step in dealing with shame is to acknowledge what you’re feeling. It’s not always obvious that what
you’re feeling is shame. Sometimes you experience it as anger, irritability, defensiveness, procrastination, or
depression. Anger is often the response to feelings of shame.
Shame likes to hide. There’s a good reason people often say after telling an embarrassing story, “I wanted
to crawl in a hole.” You want to protect yourself from those who would deride you. It’s also important to
distinguish shame from guilt. Shame goes beyond guilt & involves a deep feeling of inadequacy. Guilt is a useful
emotion. It’s our conscience letting us know we’ve let ourselves down in some way. Feeling guilt may motivates
us to fix our mistakes and improve our behaviour. The important distinction is that guilt applies to our actions
and shame applies to our inherent value. Shame actually makes you less able to improve your behaviour. It
implies that you’re permanently, inherently bad, rather than affirming that you’re capable of growth.
Shame has other functions as well. For example, an overt display of shame can signal remorse to the people
around you. If you’re beating yourself up, they feel more inclined to let you off the hook. In this case, shame
performs a social function, preserving your connection to the community after you’ve done something bad.
Avoiding shame can become a lifetime pursuit – and become a way of keeping yourself stuck. You may feel like
you don’t deserve to be happy because you’re so rotten. Conveniently, this also spares you the effort of trying to
make positive changes in your life. Overcoming shame requires self-awareness, particularly of your inner
dialogue, self-compassion, self-acceptance, and forgiveness of self.
Around the Circle Games For Focus & Concentration
Play in order of drums around the circle
1. Bass, Tone, Tone, Clap – B, O, O, Clap & repeat
2. Bass, Tone, 2 x Tone, Clap – B, O, O o, Clap & repeat
3. Bass, Tone, 3 x Tone, 3 x Clap – B, O, O o O, 3 x Clap, Clap, Clap & repeat.
4. Bass, Tone, 3 x Tone, 2 x Flam plus Clap, - B, O, O o O, Fl, Fl, Clap & repeat.
These games foster teamwork and focus as the group tries to get a smooth sound as the sequence
moves around the circle.
These games are particularly useful when the number of parts in a sequence is not divisible by the
number of participants in the circle – meaning that each person will play a different part of the sequence
each time you go around the room.
} If your group is divisible by four add or subtract a part.
} Each person plays a part of the sequence in turn.
} Aim for smooth and consistent pacing and gradually increase the speed.
} Make up your own sequences and add body percussion and voice
The Name Game
The facilitator explains the sequence in three steps:
1. An individual plays the phrase - My name is ………… (add name) matching the number of beats to the number of the syllables of the words.
2. The group respond with - Their name is ………. (add name) matching the number of beats to the number of the syllables of the words.
3. Everyone finishes up by saying - What’s your name? - playing three flams at the same time, and directing this question to the next person in the circle.
Note: You can break the sequence between numbers 2 & 3 and have people say a couple of additional things
about themselves – e.g., favourite hobby, favourite movie, favourite game, favourite food etc. before counting
in sequence 3.
Then repeat, one at a time, in order around the circle
Before starting ask people to work out how many syllables in their name - give some examples.
Remembering people’s name is an important part of building trust in a group or between individuals.
A syllable is a single, unbroken vowel sound within a spoken word. They typically contain a vowel, or two if one is silent, and perhaps one or more accompanying consonants. So, syllables are always A, E, I, O, U or sometimes Y when it makes a vowel sound. All words are made from at least one syllable.
Syllables are sometimes referred to as the ‘beats’ of a word that form its rhythm and breaking a word into syllables can help English learners with phonetic spelling. Another way to describe a syllable is a ‘mouthful’ of
a word.
Play improvised music, layering in one at a time, then solo the pigs - use two or four.
Ask those holding the pigs to try and get a rhythm going and dialogue with each other, rather than just ‘squeezing’ randomly.
Then when you return to the full group ask people to pass their pig to their neighbour so a new pairing occurs.
Call and Answer – This gives people an opportunity to answer the call in their own way, often with a
reply that is different to the ‘Call’ but complimentary. Similarities in terms of volume, duration and tone
are emphasised.
Arrange drums & chairs in a circle around a metre between each drum
BREAK & Move EXERCISE
Determine which direction you will move and practice the ‘break’
Play improvised music around a Bass pulse or the Heartbeat Rhythm together.
One at a time each person counts down to the break - 4,3,21, Move!
Everyone moves one chair in the same direction. There is a three count break in which to move (1,2,3) and then the improvisation starts on the bass.
The Break - you can get the participants to come up with a break prior to beginning or use the one below
B - O o, B - O o, B B B move
Adaption - replace a drum with a percussion instrument on every second chair.
This is really used to promote teamwork between the person who is blind-folded and the drummers supporting them.
Enlarge the circle if necessary - in larger circles have several people in the middle
Warning to the blindfolded individual not to swing their arms wildly.
One person is blindfolded and has to touch the remaining players in the circle while they must avoid being touched. The drummers support the blindfolded individual (or people) in the middle by rumbling whenever someone is sheltering near them - be alert to too much rumbling confusing the person in the middle and the need for the drummers to work together and only rumble when someone is right opposite them.
This exercise can be used to examine the way the drummers worked together, & the trust required by the blind-folded person in the drummers to guide him/her/them.
Adaption: Instead of rumbles the blindfolded person calls out "Marco" and the drummers closest to those hiding in the middle reply with two Tones (Polo).
The first pattern we teach in Rhythm2Recovery and the starting point for many exercises. Here showcasing cross-body techniques for improved balance & coordination, as well as two extensions for added challenge and interest.
‘Call and Response’ exercises can be used to discuss communication – what allows you to interpret my call and replay it back to me correctly? What skills are you employing and what skills am I employing to make this work?
Efficient communication with the drum relies on a number of factors which each have relevance for communication generally. These include the clarity of the message itself as it is relayed, and the level of attention it receives from the recipient. Details that impact these two core aspects of the communication cycle can be seen in musical language and how readily it is interpreted correctly and responded to, or not. The complexity of a message has a clear correlation to how well it is understood, as does the timing of when it was sent. Correct timing helps align the musicians as they play together and poor timing does just the opposite - how much communication fails due to poor timing?
Questions: What are situations when the clarity of your communication is critical?
You may use this discussion to look at issues around consent.
In my first session, I generally have the drums behind the chairs as people enter the room, and spend the first period of the session explaining the purpose of the group and establishing some group guidelines that will foster safety. Alternatively if the group is enthusiastic & not to disruptive you can introduce the 'Speaker's Chair' exercise and use it to do this, as in this video.
Be clear about the aim of the group and emphasise the fun and accessible nature of drumming, and that there will also be times when we stop drumming and discuss relevant issues. It can also be useful to be open about your inexperience with the drum - “we will be learning together”. When establishing the ground rules for the program it is critical this is an inclusive process where all are involved. One way to do this is to ask each person to contribute one guideline that they would like to see the members abide by, and write these up with their name opposite - I will often laminate this list and have it on the wall as a reference for all future sessions.
Balance is an important factor in life generally, and physical balance is a particular challenge for certain populations in relation to proprioception (our sensory awareness of the body). Many individuals with sensory integration issues, physical challenges, and the elderly face challenges related to proprioception. Additionally balance is closely associated with grounding and good balance often equates to a sense of physical and emotional stability.
Balance Me
Have a select number of your group enter the middle of the circle (3 or 4). On a specific signal from the drum they must change their stance (you may wish to write these on the white-board):
• One Bass note - stand on one leg
• Two Bass notes - swap from one leg to the other
• One Tone note – stand on one leg with the other at 90 degrees
• Two Tone notes – ‘Karate Kid’ Pose
• Three notes Bass or Tone – rest.
One at a time, each remaining member of the group plays one of the signals on their drum & the people in the middle respond. Adapt these movements to the capacity of your group members.
Once the exercise is completed note whether people used each other for balance or not. If not ask them to try the exercise again this time using each other for support.
Discuss the importance of balance to health, including both physical & psychological health. How do you know when your life is out of balance? How might friends help keep your life in balance? How does our need for independence impact the balance in our life?
Note – you can adapt the different postures to meet the physical capacity of your group members.
Call and Response to a Rhythm.
Try it as part of a rhythm – one at a time each person counts down 4,3,2,1, STOP! and then
does a set number of calls – each answered by the group (like an echo) before all return to
the foundation rhythm.
Attention – An exercise for focus and attention.
Low level of focus and attention are symptomatic of many behavioural conditions, including
ADHD, & Autism, and significantly impact an individual’s life chances. The state of flow
achieved during many R2R exercises is a state of pure focus. Fun activities that also
promote attention can help increase both engagement & performance.
Start by identifying those behaviours that are problematic for your group members.
Note sometimes we will ask people to write these down:
• One negative thought that keeps reoccurring
• One problematic relationship that leaves you feeling less confident or uneasy
• One problematic environment that often leads you into trouble
Then play 'Call & Response' but first showcase one rhythm (e.g. OoO BB) that represents
problematic patterns in life and instead of answering this, the group must ignore it (silence).
In order to avoid these behaviours, we first have to identify them and be alert for them.
Positive Psychology Extension - Try the same exercise with one rhythm (e.g. BbBbB)
representing positive things in our lives - things we need to pay extra attention to – if you
hear this rhythm you play it back twice (Giving it twice as much attention). Everything else
you just echo back once.
These exercises are useful for people with inattention and impulsivity issues (e.g. ADHD).
• Omission errors (no response) indicates inattention
• Commission errors (wrong response) indicative of impulsivity.
The Speaker’s Chair – replace some drums with percussion if available
This exercise is used to foster participation in the reflective element of the program. Rather
than ask direct questions to individuals, putting them on the spot and potentially shaming
them or inducing panic, we ask a general question and each person answers it as part of a
rhythm game.
This game forms the basis of a range of questioning exercises, in fact you can use it as
often as necessary to foster participation in the discussion element of the model.
The first time we use this exercise is often when establishing group boundaries at the
beginning of a course of group work. Teach participants the two phrases and use the
drum to emphasise the beats on the ‘1, 2 Let’s all play’ phrase.
This game has everyone playing a foundation pattern or improvising together and the
facilitator counting down to stop and then each person moving one place (to a new chair) in
an anti-clockwise direction. One person will enter the ‘Speaker’s Chair’ each time. A specific
chair is marked out as the ‘Speakers Chair’ (In a school setting I sometimes use the
teachers chair) and each time someone sits there they must answer the question before
resuming the rhythm with the phrase "1, 2, let’s all play".
Once the group understand the routine have the person who has just vacated the chair do
the countdown to stop the rhythm rather than yourself as facilitator (4,3,2,1, STOP).
You can also play this game without moving if you have people who are physically compromised; instead of moving people the chair moves – a new chair each time becomes the ‘Speaker’s Chair’.
These foundation rhythms all stress a strong Bass on the first note of every bar (be careful
not to over-emphasise musical notation). This helps participants locate the pulse and timing
of a 4/4 rhythm.
In Rhythm2Recovery a key analogy is around having a stable Base (linked to the Bass note) in
your life and how that connects to values, healthy relationships and belonging.
It is important to provide participants with rhythms they can master quickly in order to build
confidence and maintain engagement. Note the importance of aligning the rhythms to the
developmental capacity of the individual or group mean.
Play one handed first & then showcase two handed options – slowly and without challenging
people’s confidence. Draw attention to the common time signature 4/4 - practice individually
& then perhaps combine the three foundations into a three-part harmony.
The R2R resource package (including the online videos) features a number of different drum
songs designed to allow participants to gradually increase their rhythmic competence on the
drum. These rhythm songs can be found in the appendix of this workbook and can be
viewed on the training videos of the R2R web site. In many sessions, the facilitator combines
rhythmic song practice with exercises that address specific S&E learning issues. More
examples can be found in the book ‘Rhythm to Recovery’, and in our online videos.
Notation – Capital letters refer to an individual’s strong hand; lower case to their non-dominant
hand: B = Bass note, O = Tone note, Fl = Flam notes.
Binary Beats – playing these rhythms across the midline and with both hands
simultaneously is a great exercise for improving cognition, & activating the
parasympathetic restoration cycle.
Rumble Facilitation.
All play a rumble and change between parts of the drum, volume and tempo to explore
different effects. Conduct the rumble so that it changes in dynamic. If working in a group
experiment with different parts of the group playing louder and others playing softer and
alternating these like a wave. Allow your participants to have a turn at conducting the
rumble. You may potentially use this exercise to explore communication and leadership
issues as well as to allow people the chance to release pent up energy
Pass the Bass. The whole group rumble quietly with their fingertips and one at a time a
person does a loud Bass on their drum – pass the Bass note using eye contact only.
Remember to look before you pass.
Rumble Wave – eyes closed
First with eyes open, pass the rumble from one person to another around the circle. Then
ask people to close their eyes and try the same game – what difference did you notice?
Try it again, but this time choose someone who can call out ‘Switch’ at any time and the
direction of the rumble must change.
We use rumbles across each session to help people answer questions – Rumble
if….. If I ask a personal question directly it is often met with silence - if I ask that same
question using the ‘rumble if......’ technique I often get a strong response". Try getting each
member of your group to ask a rumble If…. question as a way of getting to know each other.
Call & Response exercises are useful for building confidence, developing communication skills, and teaching musicality.
The facilitator plays a brief rhythm phrase on their drum & the individual or participants echo
it back (it is important to keep these rhythm short & simple). As the response becomes more
assured swap roles – again emphasising simplicity.
Take it in turns for different people to lead the exercise, and introduce changes in volume.
Variations of this exercise can be done with voice, movement & body percussion.
Empowerment – it is important that all participants get to lead this process at different times.
The facilitator should avoid too much control.
Exercise 2 - Call and Response to a Rhythm – moving towards improvisation
One person plays a call which is answered by the group and repeats the same sequence
(call & response) two more times - after the third response the whole group keeps playing
the call as a repeated rhythm. Emphasise the simplicity of this exercise in helping people
find their own rhythm and how this starts a longer term, empowering, process of helping
people to connect musically through improvisation, rather than through allocated parts.
Adding Vocals
Certain vocal sounds can be useful in calming the stress response and reducing anxiety.
Adding sounds or words in Call & Response can be useful for this reason – try low guttural
sounds such as Aaaaahhh, Mmmmmmmm, or Ooooohhh. A long Yawn or Sigh can also be
useful.
Bass, Tone, and Flam Exercises.
Part 1 - The key rule is that the 3 notes can only be played in this order (Bass, Tone, Flam).
We are going to pass one strike of the drum, in that order, around the room and see how
fast and smooth we can get it going. First start in a uniform direction around the circle.
Part 2 - Then try this with the same order but one Bass note, followed by two Tones,
followed by three Flams - try doing it nice and slowly in order to get a flowing rhythm going.
Finish with everyone playing this rhythm together – B, O, O, Fl, Fl, Fl. You can try different
combinations in subsequent sessions.
Jump – Try moving the beat around the circle with a Bass note moving the strike to the
person next to you, a Tone note will jump one person, and a Flam will jump two people and
any double strike means swap direction (note each player can only double strike once).
In R2R we use three basic sounds:
Bass (B) - important for the whole hand to hit the drum in the centre of the skin. This is the
key note for connection and grounding – it is important to practice this until a deep resonant
note is obtained.
Tone (O) - important to use the whole length of the fingers, held close together, and avoid
the thumb hitting the edge.
Flam (Fl) - two strikes played almost simultaneously (Slaps or Tones).
In R2R we tend to use the Flam instead of the Slap as our accent note as it is easier to
master and sharp sounds are not therapeutic.
Recommend removing rings and bangles before playing
Emphasise a relaxed hand and bouncing off the drums though the skin was hot.
Demonstrate the three different strikes and put into a rhythm - B O B O, B O B Fl
First pair people up and ask them to get to know each other - highlighting the three things on
the slide
• Their name
• Who they work for and with
• A passion outside of work
Then choose a sport - Basketball, netball, football etc.
When the ball is passed between participants all rumble - when it is caught the rumble stops
and the pair (one of whom has caught the ball) introduce each other, before sending it on its
way again.
Encourage people to pass the ball and catch it in different ways – GET CREATIVE!
Highlight the importance of ‘Slow Motion’ so everyone has a good chance to rumble as the
ball moves between people. Don’t catch it too quickly!
If the ball goes to someone who has already been introduced, they just send it on.
This exercise can be used at any stage to have fun, release tension and examine a
presenting issue – instead of introducing themselves, participants would answer a question
e.g.
• When you catch the ball tell us one thing you did on the weekend
• When you catch the ball tell us one strength you recognise in yourself
• When you catch the ball name one adult you look up to as a role model
• When you catch the ball tell us one thing that you think is important in a healthy
relationship
The aim is to do the exercises around the circle trying to keep a steady rhythm. each person plays one note in the pattern. It is always best to have a group indivisible by 4. Otherwise add an extra sound, so you have patterns that repeat after every 5th person.
1. Bass, Tone, Tone, Clap and repeat
2. Bass, Tone, 2xTone, Clap and repeat
3. Bass, Tone, 3xTone, 3xClap and repeat
4. Bass, Tone, 3xTone, 2xFlam plus Clap, and repeat
Make up your own sequences each week.
Here is how we introduce the game as initially a lateral thinking exercise and then as it becomes more popular we can use it to look at discrimination.
This is a lateral thinking game – that can be just fun or used to examine discrimination
Often, we will play this game with random factors for a few sessions before we move to look at deeper issues.
Tell everyone we are going to play a ‘Lateral Thinking’ game where they have to guess the reason people are barred from the rhythm – explain that you shouldn’t worry about being barred but focus instead on why?
We will play together and then I will stop the drumming and ask the question “Who’s out and what’s it all about?” Then people can suggest reasons. In the first round, you will have no clue and have to guess randomly - after that you will guess on what are the common factors about those being chosen by the facilitator.
Choose a random factor e.g. shoe style, drum type, and ban people because of it (1 person per round) – It should take 2-3 rounds before they get it.
Extension- this exercise can also be used to look at discrimination. Choose a physical factor – e.g. hair colour or eye colour and talk about discrimination or prejudice. – why are some people left out, rejected or discriminated against? How does that feel? How can we stand up to that?
Using the Bass note to help with rhythmical connection.
Run through the different Heartbeat rhythms - anchoring each with a steady BB
Then at the end give everyone a choice to play whatever one they want as long as they connect through the BB
Layer them in one at a time.
Just focusing on moving between high intensity drumming (arousal) and soft slow drumming (calm)
Empowering participants by getting them to lead with their own rhythms.
Teaching the group how to count down to 'STOP' using the Bass note as a reference.
Getting started with drum technique
Divide the group in two and have one half play a foundation rhythm while you lead the other half in call and response. Give some of your participants a chance to also lead this exercise.
These exercises can also act as ice-breakers and help people get comfortable with each other.
Teach the rhythm break sequence where we stop the rhythm on a signal for a set number of beats and then resume playing. In the break participants have to freeze their body movement and facial expression until the resuming count. Silly faces are good!
Extension
Ask every second person in the group to enter the middle of the circle. Have them move randomly to the music but on a specific sound, for example a bell, their group must freeze.
Hand out a range of percussion instruments – one for each person. Ask one person to shut their eyes then point to one person and have them play their instrument for a brief period. The person with their eyes closed must guess what type of instrument was being played.
Adaption
Extend this game by having the person with their eyes shut situated in the middle of the circle and the facilitator asking one person in the outer circle to play their instrument – the person in the middle must track down the sound, moving towards it and stopping opposite the person playing it.
Extend this version by doing the same exercise but this time everyone should play at once and the the person in the middle must track down the one sound amongst all the others.
Practice the drumming phrase Fl, OoOoO, Fl (What do you know about?).
Pair people up to find out two things about each other (e.g. their favourite colour, their favourite animal). Then start a rhythm and when the phrase is played one person at a time answers with two Bass notes and tells the group what they have learnt about their neighbour.
This is often used to help create a safe space.
Pair people up and ask them to find out two things about their partner (e.g.name and one thing they like to do or name and one thing that makes them feel safe). Use a phrase to stop the rhythm and each time you stop they share information about each other.
Everyone plays a steady rhythm with one hand.
One person starts as the 'tagger' and they pass the 'tag' by pointing at someone else in the circle using their other hand (practice this before starting). the person targeted can resist the tag by playing three even Bass notes in response without losing their rhythm (practice this before starting), otherwise they own the 'tag' and now have to try and pass it on in the same way. As people become more adapt at resisting the tag - make the resisting pattern more challenging.
Gaining independence of the two hands using a combination of drumming and hand movement.
Divide the group into two teams – have every second group member move their chair back slightly to differentiate who is in which team (the circle stays intact). Then have each team choose their ‘defence guard’, who must be seated roughly opposite each other.
The game proceeds with people passing the ball to each other using the same naming technique and rumble as in the initial version (identify the person by name or by pointing towards them). Anytime, after three passes, a person can shoot at the goal – to shoot at the goal you don’t have to say a name but you do have to voice the word ‘Shoot’ and look towards the goalie – practice some passing and shooting. To protect their goal the ‘defence-guard’ has to play a specific rhythm immediately after the word ‘Shoot’ comes from the attacker’s lips – I try to make the complexity of this rhythm match the capacity of the group, but often use a five Bass rumble followed by three quick Flams (BbBbB – fl,fl,fl). This will deflect the ball and it is then taken by the defending team. If the goalie makes a mistake with the rhythm or is slow to respond, it becomes a goal and again the ball changes sides. Remember each time there must be a minimum of three passes before someone can shoot at the goal.
How to hold the drum and an introduction to the Bass and Tone.
Using the concept of protecting access to your drum to look at protecting your boundaries.
Starting with a discussion on the sorts of boundaries that keep people safe and support healthy relationships.
Then examining different ways we mark boundaries - looks, language etc.
And how we can maintain our boundaries when others are insensitive to them.
Using the analogy of the Bass as a place of connection. What does that Bass represent on your lives? What things foster good connection and stability between you and others?
Introducing vocals into Call & response
Usually we would have a small group of people in the middle. Remember you can change the postures depending on the needs and abilities of your group members.
Have a select number of your group enter the middle of the circle (3 or 4). On a specific signal from the drum they must change their stance (you may wish to write these on the white-board):
• One Bass note - stand on one leg
• Two Bass notes - swap from one leg to the other
• One Tone note – stand on one leg with the other at 90 degrees
• Two Tone notes – ‘Karate Kid’ Pose
• Three notes Bass or Tone – rest.
One at a time, each remaining member of the group plays one of the signals on their drum & the people in the middle respond. Adapt these movements to the capacity of your group members.
Once the exercise is completed note whether people used each other for balance or not. If not ask them to try the
Discuss the importance of balance to health, including both physical & psychological health. How do you know when your life is out of balance? How might friends help keep your life in balance? How does our need for independence impact the balance in our life?
How to hold the drum and playing the Bass and Tone notes. Followed by some 'Call & Response'.
You can find these soft-toys in the 'pet section' of most supermarkets.
They are a wonderful way to lighten the mood and reduce resistance.
Give out a number to each person.
Ask for a volunteer to be blindfolded.
They must find their seat, which will be in a different place once the group relocate, using people playing their number on their drum.
You can also do this by having people playing a different percussion instrument each - noting the sequence and then finding their chair by recognising where the gap is.
In the middle of the circle, one person (the spotter) should stand at one end facing away from the centre and another one, two or three individuals should stand at the other end. Place a small percussion instrument immediately behind the spotter.
The idea is for the two (or three) individuals to sneak up on the person who is facing away from them without being spotted moving – if the person turns and catches them moving, they return to their chair. If they turn and are stationary the spotter turns back again.
The remaining drummers should play their Bass notes each time one of the people sneaking up moves. The aim is to grab the percussion instrument without being spotted.
If they succeed they take it back to their chair and can use it in the next exercise.
What motivated you to play this game? How do these things relate to motivations in other areas of your life? What stopped your progress? What type of things reduce your motivation to move forward in your life? How can teamwork influence motivation?
More ideas for 'Call & Response'