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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.
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.
Out of Tune Out of Time - It's Not A Crime!
Tolerating and accepting Dissonance in Others and in our Music.
Rumble on your drum if you have ever felt a bit out of sync with those around you - you don’t quite fit in. We have all felt like this at times - yet for some people, not fitting in is a cause of them being victimised
by others and hurt either physically or emotionally. Why do we sometimes find it hard to tolerate people who are different?
In music sometimes when people are out of tune or out of time it can be irritating but equally it can add something different to a sound that can sometimes get a bit repetitive. Often great musicians use dissonance this way - to add to the dynamism of the piece.
In this exercise we will ask one or two people to play in a different rhythm (3, 5 or 7time) to the rest of us
(4 time - B B - -) and try and control our irritation, while seeing whether we can accept their part as part of our group rhythm. If we change our outlook, it can help us see people who are different in a new light.
And maybe when you feel a bit out of place other people will be more accepting of you.
4 Time B B - - B B - - B B - - B B - -
3 Time B O o O B O o O B O o O B O o O B O o O etc.
5 Time B O O O Fl B O O O Fl B O O O Fl etc.
7 Time B O o O O o O O o O B O o O O o O O o O etc.
B = Bass O = Tone Fl = Flam
Discussion: Did you notice that no matter what your timing, there will still be moments when we connect. How hard was it to learn to accept some discord? How important is tolerance in your relationships with other people?
Note: This exercise can also be done with chimes – adding a dissonant B or F note to a pentatonic set.
Understanding What We Can Control In Our Lives And What Is Beyond Our Control
An exercise exploring what we can and can’t control in our relationships, and broader lives. And the importance of focusing on those things we can influence, rather than those we cannot.
Rumble on your drum if you accept that there are some things in our lives that we can control, and some things in our lives that we have no control over.
On a whiteboard draw up four columns - over the first two place the heading ‘DRUMMING’ and over the second two ‘RELATIONSHIPS’
Then allocate one column in each of the two sections to ‘CONTROL’ and the other, ‘BEYOND CONTROL’
When we are drumming, we are in relationship with others in the drum-circle, so many parallels can be drawn between the two situations.
Questions
Rumble on your drum if you often spend time worrying about things you can’t control
Rumble on your drum if you often spend time trying to change things you can’t control
Often if we focus on the things we can control, the things we can’t control will change alongside us. Can you think of an example where changing your behaviour can change the behaviour of others? (To get respect you have to give respect etc.)
Teach the break:
WORDS I Can’t Change Everything, that’s true But I’m in charge Of the things I do
TIMING 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4DRUMMING Fl B B - O o O B B O o B B O o O B B
Layer in a rhythm - each person taking responsibility for their own rhythm and how they play it, without
trying to influence others and periodically bring in the musical-break.
Finish by saying the words and the break together.
The Serenity Prayer
God grant me the serenity to accept the things I cannot change, courage to change the things I can, and the
wisdom to know the difference, living one day at a time; enjoying one moment at a time; taking this world as
it is and not as I would have it; etc.
− Reinhold Niebuhr
If Our Rhythms Don’t Meet, You Don’t Have to Bring Your Heat
Many people struggle with rejection, the antithesis to the human need for social connection, recognition, love and belonging. And it is normal to sometimes feel intense feelings of hurt and sadness when people
turn away from us. Most of us can manage these feelings, understanding that not everyone is suited to each other, (not everyone’s rhythms align) and find companionship elsewhere.
However, for some people theses feelings manifest into shame, anger and violence. The rejection becomes highly personalised and the feelings intensify and become all consuming to a point where they are beyond rational control.
‘Rejection Sensitive Dysphoria’ is one form of this issue impacting many
people.
And a significant amount of violence towards women, and partner violence generally, stems from these uncontrolled emotions.
Pre-Discussion: Rumble on your drum if you’ve felt the pain of rejection. Rumble on your drum if that has led to anger. What are some of the ways you might experience rejection? How easy is it to see this as a
personal affront/attack rather than just a normal part of life? What are some of the feelings you get when you’re rejected by others? How difficult do you find it to manage these feelings? Does understanding that
very few people get along with everyone, and it’s normal for many relationships in peoples lives not to work out make sense to you? If we recognise this perhaps we don’t need to take it so personally, and start
to take more responsibility for our feelings rather than blame others.
If our rhythms don’t meet exercise
TIMING 1 2 3 4 1 2 3 4
Part 1 - Words - If Our Rhythms Don’t Meet You Don’t Have to bring your Heat
Part 1 - Drum B B O o O o B B O o O o O
Part 2 - Words It’s Going to make you blue But don’t let those feelings stew
Part 2 - Drum B B O o O o B B O o O o O
Write the break up on the white-board and discuss. Practice the break several times.
Divide the group in two and separate them slightly.
Give one group a rhythm in four time, e.g.
B O o O o O
And the other half a rhythm in three time, e.g.
B O o O
(These rhythms will meet every 3 or 4 bars depending on which part you are playing).
Help the group recognise when they meet by giving a shout on that connecting Bass note.
Put the rhythms together and then introduce the break, by stopping together on the connecting Bass
note.
Finish by saying and playing the break at the same time
Discussion: We saw in this exercise how hard it is to always find harmony with others, but that doesn’t
mean we need to blame each other or get angry, even though we all felt the frustration when the rhythms
didn’t meet. What are some ways we can manage these feelings of rejection, frustration, shame and
anger? How can we remind ourselves not to take it too personally and respect other peoples decisions
to walk away from us even when it hurts? How does this relate to valuing and respecting each other in
relationships?
Variation
Divide the group in two and separate them slightly.
Choose one person from each side to develop a rhythm of their choice, teaching and then leading their
half of the group - don’t discuss timing or mention the Bass connection!
Put the rhythms together (sometimes they will harmonise, sometimes not, just like our relationships with
different people). Stop the group, every so often, and bring in the break.
I’m Me, He’s He, And there’s Plenty of Room for Diversity
Good or Not So Good Choices – What makes the difference?
Start with a discussion on the importance of good choices in life. All of us have at times regretted some
of the choices we have made - that’s normal & hopefully we learn from these so as not to repeat them.
What are some of the things that help us make good choices? What can we learn from poor choices?
It’s Your Choice
The practitioner starts a slightly complex rhythm (try the following Bb-bB-O-, Bb-bBoOo-) & the individual
or group is given the option of:
} Joining the rhythm at a time of their choosing
} Joining by playing a different, simpler pattern
} Just sitting back and listening
Note there are no wrong choices - we are just interested in which choice was made and why? How do
these options relate to other important life choices?
Discuss the subject of ‘Choice’ – What made you decide which path to follow? How easy is it to get
pulled into unmanageable situations like a complex rhythm? Did you get caught up in the rhythm? How
often do we make poor choices because we get caught up in something without thinking it through? How
hard is it to distance yourself at times like this, so that you can make good choices?
For those who chose a different rhythm - How hard was it to find an alternative choice (rhythm)? What
helped you maintain the connection?
For those who chose to just observe and listen – when would this be a good choice?
Notation: B – Bass, dominant hand. b – Bass, non-dominant hand. O – Tone, dominant hand. o – Tone, nondominant
hand.
What moves your life forward & what moves it backwards?
Backwards & Forwards
This can be used to look at a wide range of issues where one set of actions moves you towards a positive
goal and another takes you on a less useful (possibly destructive) path, e.g.:
} Healthy Relationships
} Relapse (from drug dependency)
} Personal confidence
} Violence
} Happiness
} Grief
Choose a direction around the circle for forwards and the opposite for backwards. Everyone starts by
playing the Heartbeat rhythm together. The facilitator starts with an air-bump towards the person next
to them in the backwards direction saying one thing from the negative (backwards) column as they do so
– that then stops them playing - this sequence is continued around the circle in the backwards direction
until only the last person is playing (isolated and alone).
Then move in the opposite direction (forwards) this time with a fist bump or high five while saying
something positive to bring your neighbour into the rhythm. This starts to connect the group – and so
the process repeats until all are connected.
Discussion - Finish by emphasising the different elements that undermine connection and negativity
impact our intention and those that cement it.
Finding a safe place when there’s nowhere to land.
Sometimes when life becomes unpredictable, and we can’t find our feet, we may need to go into a holding
pattern to find some certainty, and conserve energy - a rhythm that will help us maintain our equilibrium
and prevent us from crashing. This might mean structuring our day around certain routines, staying
close to supportive friends, keeping fit and healthy, or any other patterns of behaviour that offer you a
sense of health & stability. Having a holding pattern gives you a safe place from which to observe the
world around you, a place from which you can plot and trial new landing strategies, a place from which
to observe the safest landing strips and a place where you can return to when your attempts to land fail.
Teach the group a specific rhythm or ask a participant to suggest one, and name this as our ‘Holding
pattern’ (see examples below). Note: The holding pattern should always start with a Bass note – the Bass
being a place of safety & security.
TIMING 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
H Pattern 1 B - Fl Fl B O o O - B - Fl Fl B O o O -
H Pattern 2 B b B b B b B O - B b B b B b B O -
H Pattern 3 B O o o O B O o O o O B O o o O B O o O o O
B = Bass (dominant hand). O = Tone (dominant hand) b = Bass (non-dominant). o = Tone (non-dominant).
Then agree on two signals: One for a landing attempt, it might be a call on the drum or a hand signal, and
this asks everyone to let go of the ‘holding pattern’ and freely improvise.
One for returning to the ‘holding pattern’. If the improvised playing holds together you can continue for
a while and bring the rhythm to a stop before further discussion. If the improvised playing is chaotic give
a signal for returning to the ‘holding pattern’, and repeat until the improvisation locks together - this can
take several attempts.
Discuss with the group how it felt amongst the chaos to return to the holding pattern.
Find examples from the group of the different patterns they might use to regain stability when life
becomes uncertain. Examine the need to often make a series of false landings before you find the right
one - what might indicate that the time is right to venture out beyond the safety of your holding pattern?
Gossip - This exercise focuses on the way rumours spread and the damage they cause.
Start a relatively complex pattern on your drum (in your head use that to represent an innocent statement such as “Amber said she really likes spending time with James” and then send it around the room - watch
how it changes.
Play the final interpretation back to the group and explain that what I said originally was something innocent, but that as it spread it changed to something hurtful (“Amber is sleeping with James” or find
your own suitable example).
Discuss the impact of rumours on people’s self-esteem
What are some of the reasons these messages might change and become hurtful rumours?
How could or should you confront a rumour?
Try the activity again, this time with two patterns following each other – sometimes when you receive too much information it’s impossible to remember it all.
Call and Converse – This becomes more of a conversation, but again players are asked to focus on
attunement – reading each other’s emotional level and replying appropriately.
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.
Emotional recognition is central to emotional control, and also how people get on together – many people struggle to recognise how others are feeling which negatively impacts their relationships. Rumble on your drum if you have ever had your feelings misinterpreted by others? How did that make you feel?
The Emotional Detective
Ask each person in the group to choose an emotion & keep it to themselves.
One person is chosen as the detective and they then choose one person opposite them to expresses their chosen feeling using their drum. The detective then guesses the feeling being expressed by their chosen partner - the partner does not give their answer until after the facilitator has asked “Did anyone recognise something different?” It will quickly become apparent that people interpret feelings differently.
Then the player says what they were expressing. If the detective identifies the feeling correctly, he/she swaps places with the individual who shared their emotion – if not, he/she gets another go to test their emotional detection skills with another person of their choice.
Adaption - The detective can be blindfolded and differences in identifying emotional signals can be discussed between the two senses (eyes open or shut). How might body language confuse your understanding of how someone is feeling?
Discussion: What sort of clues do you look for to work out how people are feeling? How much of this is unspoken? How often do people misinterpret your feelings? Does this give you any insight into how you might sometimes misread others? What are some of the consequences of this form of misunderstanding? How can we improve our performance in this area?
Note: This discussion is particularly relevant to situations where we interpret people’s looks as aggressive, or as giving permission for sexual intimacy.
Many people with low emotional control struggle to identify their feelings - research has shown that just being able to name a feeling increases your control of it - moving brain activity from the primal brain regions to the frontal lobes.
Alexithymia is the term given to the condition of being unable to recognise one’s emotions and feelings and often this extends to being unable to read or identify with others feelings and a concurrent lack of empathy.
Play/Show Some Emotion
In this exercise one person starts a rhythm (everyone joins them) and plays it with a single emotion, after about 20 seconds they name their emotion and the next person changes to a new emotion and after a while, names the new feeling and then the next person comes in with a new feeling etc. until all have had a go. It is OK for people to repeat feelings in larger groups.
You can finish this exercise by listing the range of feelings expressed on a white-board.
Alternative – Make a list of feelings on a white-board or use emotion cards – people pick a feeling from the list or card without telling anyone and then play it on their drum. The rest of the group have to guess which emotion they are playing.
Discuss whether any of the feelings expressed surprised you when they were named and how people express their feelings in very different ways.
Note: Emotions and feelings are not the same but directly impact each other – Emotions are the direct sensations (unconscious) we get from our body and feelings are the mental associations or interpretations (conscious) we give to these sensations.
Two more exercises that examine the common stressors in people’s lives and the things that help overcome them. These exercises can be done separately or in conjunction with each other. A key factor in the strength of this group exercise is ‘universality’ - recognising that many people share the same anxieties and have found ways to overcome them.
‘The Pressure Pot’ & ‘Pressure Valve’ Exercises (These can be done together or separately)
Draw up two columns on the white-board and ask the group to list things that stress them in one column and things that de-stress (relax) them in the other.
Then say we will be playing a simple foundation rhythm (BOBO) and layer in one at a time - each time a new person enters the rhythm they will shout out a ‘stressor’ (from one of the columns) and the tempo will increase - watch my drum so you stay with the right tempo. The facilitator starts by saying their ‘stressor’ and starting a slow rhythm, By the time everyone has joined in, the tempo should be very fast - almost out of control.
Then reverse it (keep going around again) with the tempo slowing each time people shout out something that relaxes them (from the other column). Again, emphasise watching my drum so we change tempo together - by the time everyone has contributed a ‘de-stressor’ the tempo should be very slow.
Repeat.
Note – emphasise paying attention to the facilitator as they change the tempo up or down – it is often easy to speed up (get anxious) and more difficult to slow down (relax).
Discussion: Did you notice any similarities in the types of things that make people feel stressed? How did it feel to be part of the rhythm as the tempo quickened? Did you feel you may have been losing control? In times like these what do you do to regain control? Why was it easier to speed up than slow down? What can we do to help ourselves relax when we are anxious?
Hold onto your Rhythm - Hold onto your Values
An exercise exploring 'Peer Pressure'
Part 1
Name one, two handed, rhythm (B OoO) as something you want to hold onto e.g., respect for others or staying clear headed.
Then name another, two-handed, rhythm (B OoOoO) as something you don’t want to get drawn into such as being disrespectful or drinking too much.
Note: These examples are best coming from the participants themselves - what's relevant to them.
One person has to hold onto the positive rhythm while the rest play the destructive rhythm. If they can hold onto their part explore what strategies they used.
Part 2 - If it is hard for one person to do this, try pairing them up with another person, so two or three are trying to resist together – it can make a big difference to get support when trying to resist peer influence.
Examine these exercises in relation to the way people get pulled in (influenced) emotionally and behaviourally by others around them, sometimes into situations that they might be better off avoiding. A key learning in holding your rhythm is knowing it first – knowing what you want to hold onto – your values.
Also, remember that peer pressure can be a positive influence - you can do this same exercise with the group pulling someone away fro a destructive behaviour towards something more responsible.
Bounce Back Exercise
Discuss with the group the types of things that set people back in life - e.g. Loss, defeat, sickness, poverty, betrayal, dishonesty, etc. Then examine the things that help people get back on their feet - e.g., Friends, self-belief, luck, helping services. You can write these in two columns on a white-board.
In this exercise, we are going to hear one rhythm that knocks you down (long rumble -representing a crisis in life) and play one rhythm (BBB) that sets us back on our feet (resilience). As you slump low think about the types of things that ‘Get you down’ and as you rise up out of your chair think about what helps you ‘Bounce back’.
Start with a simple, foundation rhythm and when you hear the facilitators call (long sharp rumble – e.g., 12 quick Tones followed by a sharp Flan) you have to stop playing and slump in your chairs as low as possible – after a reasonable pause the practitioner counts out aloud & slowly 1,2,3,4,5,6,7,8 as you stand up straight playing three Strong Bass Notes (Back on Track) at the end of the count and then resume your seat and re-enter the rhythm.
Facilitator demonstrates the timing of the break – 8 counts of standing up and then 3 Bass notes before re-joining the rhythm.
Ask different people to have a go bringing in the break (long sharp rumble). Never count in the break – it comes unexpectedly like most crises!
Finish with everyone yelling out ‘Back on Track’ as they stand tall and hit the final three Bass notes.
Many people find themselves surrounded by people who struggle to contain their anger and frustration. An environment where people are constantly exposed to others aggression has a lasting impact on those close to them.
When people realise the emotional impact their social surroundings may have on them, they can take active steps to reduce its harm.
Don’t Stand So Close to Me
Ask the group to play a soft foundation rhythm
Choose one person to play to themselves a happy/uplifting/feel good rhythm over the top of the foundation.
Then ask the two people on either side of the happy player to start to play angrily and aggressively on their drum.
Examine what happened to the rhythm of the happy player and how they felt when the aggression started - how challenging was it to remain upbeat?
If they were able to maintain their positive attitude - explore how.
Extension
Try looking at how a positive, supportive environment can help lift someone who is feeling low.
Reverse the script, so that the nominated person plays sad and the two people on either side work to support and lift them.
Note - it is important for the players doing the support role to start off playing at the same emotional level to the sad individual between them (listening first) before trying to lift them out of their gloom.
When the music has become sparse and calming you can ask participants to think of just one or two things they would like to bring into their life and add these as additional notes – building the rhythm up again.
Recognising that it is not until we have made room for new opportunities by letting go of unnecessary thoughts and worries that we can bring these into our lives.
When we are able to let go of past resentments, anxieties, injustices, regrets and blame etc. we enable a way of moving on from adversity. The concept of acceptance in Acceptance & Commitment Therapy relates to accepting the past, making room for it, and learning from it, in order to move on from it. This differs, and is generally much safer, than many psychoanalytic therapies that delve into the past and use people's experiences to understand their current issues.
Preliminary Discussion - What are some of the smaller things in our lives we might be better letting go of?
‘Drop it’
You can use drums & percussion or Tonal Chimes (pentatonic scale - ACDEG) - hand these out. Explain that we will all start playing together at a certain tempo and that you will ask them to “make more space between their notes” (remove a note from their rhythm) by holding one finger high in the air. Give some examples of how a rhythm might sound as you pare back the notes.
Start the rhythm and after a little while have them remove one note (hold your finger up). Hold this new incarnation for a while and then ask them to remove a further note. Follow this routine until you have a sparse, ambient rhythm. Fade slowly away.
Discussion: Sometimes when we let things go we bring more clarity and peace into our lives. How easy is it to let go of things in your life that are stressing you or are not really necessary? What about the influence of others that might be hurting you in some way - can you let them go? What about your thoughts & feelings that bring you down - how might you reduce their influence? Discuss the use of mindful acceptance here.
There is a problematic trend of polarisation (cancel culture) in many areas of community life where people hold opposing views from each other without seeking to hear, understand or learn from the other, and instead dismiss or belittle each other with increasing venom. There is an emphasis on winning, holding steadfast and resisting compromise. Can you think of instances where you see this in your own world?
Political and social messages that divide and pit ourselves against each other are increasingly common - ‘You’re either with us or against us’
One plus One Makes Three
Divide the group into two and pass out two parts, at a complexity that is commensurate to their ability. E.g., B Oo oO & Fl OoB
Teach the parts and point out how different they are – on the surface they have nothing in common. Then with little warning ask the two groups to play their part together - this sudden instruction should lead to discord. Symbolising two quite different arguments trying to get the better of one another.
Now ask people to listen carefully to each other and then start off one part and bring in the other so they harmonise.
Ask the group to think about the resulting harmony, that incorporated both parts and created something that more at the same time - something that couldn’t be achieved without both working together and respecting each other.
Discussion
Dialectics is a method of problem solving that brings two opposing views together to find a greater truth. It is the process of overcoming seeming opposites by uncovering a reconciling third that is bigger than both of the parts and doesn’t exclude either of them.
What are some of the reasons we find it hard to listen or compromise with others who have different views? How does the concept of ‘Confirmation Bias’ acerbate this? How do social media and search engine algorithms exacerbate this?
What are some of the skills we employed in this exercise to find harmony with each other? Can we employ these to help resolve disputes or differences with others in our lives
Confirmation bias is the tendency to process information by looking for, or interpreting, information that is consistent with one's existing beliefs.
One Door Closes and Another Opens
This exercise is about recognising that sometimes set-backs lead to new opportunities and that loss or hardship can sometimes make us stronger. It is also about reinforcing the idea that we need to grow and adapt to changing situations and that sometimes the old ways of doing things are no longer effective or useful to us.
Pre-discussion – Rumble if you have experienced a situation in your life that at first seemed like a real set back but in fact led to a new opportunity. Would anyone like to give an example?
We will all start playing a 3-time rhythm from the rhythm catalogue, (Use B-OoO) and once we get going you (facilitator) will indicate to one player that the door is shut (looking at them and saying or mouthing “Door Shut”) – when that happens the player must stop and reassess the situation and enter with a new rhythm that compliments the existing pattern (remember the old 4/4 rhythms won’t work here). Once they have re-entered the rhythm and are connected solidly with their new pattern (door open), that player gets to choose the next person on whom the door will shut, & so the game proceeds.
Emphasise the challenge of connecting your rhythm to the group and not falling back on old patterns (bad habits) and remind people of the fall-back position of the Bass (core values). Remind them it may take a few goes before they connect (particularly given this time signature) and not to force it. Also, to think outside the square for new ways to connect. They cannot close the door on someone else until they are firmly connected back into the rhythm.
Afterwards discuss the fact that doors never really close fully, but may appear to – if we look closely there is a lesson or an opportunity available each time. And that sometimes to move forward we have to let go of old patterns (unproductive behaviours). Can you think of an example where one door shut on you but another opened? What can you do if doors keep shutting on you all the time? How easy is it to adapt your rhythm to new opportunities? What are the dangers of sticking to the same old routines?
Note – be sensitive – not everyone experiences a new door opening so easily after loss
4 On & 4 Off - Examining Risk
Pre-Discussion - Often we think of risk-taking as something negative, but growth across our lives generally involves a bit of risk - stepping out into the unknown, making yourself vulnerable and trying something new. What are some of the things you recall doing for the first time that involved some risk but were important to your own development?
In this exercise we are going to use the idea of taking a solo on your drum to represent the risks we may need to take at different times in our lives to move forward. But we will also mitigate that risk a little by having the rest of the group hold the Heartbeat for you during your solo. Often when we need to take risks we can put in place measures to ensure we don't fall too far if the risk fails (like a safety net.
Remind people of the basics of the Heartbeat rhythms, then layer in one at a time, allowing people to add their own accents to the Heartbeat foundation.
Heartbeat Solo exercise
Once they are happy improvising tell them that we will play eight rounds - e.g. 4 x the Heartbeat plus accents, and then four rounds of silence with just the Bass pulse & no accents – practice this a few times until they get the timing.
Once comfortable with this sequence (you can still count what round they are up to so they all know when the gap is coming), get them to improvise in pairs in the four rounds of silence – one pair at a time, before everyone returns for the next 4 bars. Then move to individual solos.
Discuss with the group how it felt to go out on a limb, and the types of risks they can envisage needing to take into the future. How important was the group holding the Bass pulse for you?
What are some of things you might do to reduce the consequences of taking these risks if they don't come off as planned?
Try not to use technical musical language – notation etc. – just help them get a feel for the timing.
A Few Good Friends
Note - Not everyone will succeed in this exercise, some may only find one person - when there is a lot of chaos around you it can be difficult to find those people who are strong and steady.
Discuss the importance of having people who are stable and who you trust, who you can turn to when times are uncertain and you need advice or support. Who might those people be? What do we mean by stable? Where might you turn if you had no one like this in your life? What would you be listening for?
This is also a useful ‘sound localisation’ exercise for people who struggle with identifying where sound is coming from and react inappropriately at times.
One person is blindfolded and told they have to come into the circle and find the two or three people playing steady Bass rhythms. Everyone else will play chaotically and randomly (not too loud). Start by everyone playing chaotically and choose the Bass players to begin. Finally bring the chosen participant into the circle to attempt the challenge.
Post Discussion: What might help? Remind them of the Bass analogy representing healthy relationships and healthy values. Sometimes if we can’t get help from others, we may have to come back to trusting ourselves & following our own values
This exercise is often used to assist people understand what it feels like for people with sensory processing difficulties who often become overwhelmed by sounds and other stimuli we take for granted.
You can also do the Dialogue exercise with a specific intention – one person in each pair plays ‘aggressively’ and the other must respond ‘assertively’. Looking at how people respond to aggression and how challenging it can be for certain people to assert themselves in the face of aggression.
Or you can have one person in each pair play aggressively, and leave it open to other person to respond how they please, looking at how different responses impact aggression.
Note - ensure the receiver is comfortable in receiving the aggression before starting
As well as simply having fun and energising the group, we can use musical chairs to look at problem solving.
Each time you shift seats, lower the volume and ask the group to re-examine what they are hearing, feeling, seeing from this new position. At the end of the exercise discuss how changing your position allows you to see things in a different way and sometimes we need to do that with the problems we have in life.
Questions: Are you someone who finds it easy to see the other side of things or do you tend to see things from one perspective and find it hard to change? Can you think of a problem you have in your life that might be better looked at from another angle?
Musical Chairs
This is an exercise that traditionally is played taking a chair away each time (competition).
In R2R we avoid this and that allows us to avoid the frustrations of losing out, but also to examine the differences and applications of competition and collaboration. Where is competition useful and in what types of situations does it cause problems.
In particular, looking at how competition can undermine relationships.
Don't touch me!
This is an exercise for 2 – 4 persons, often used in family therapy, but applicable to larger groups by breaking into sub-groups of three or four. It is used to examine personal boundaries and teach self-control.
Place the drums close together, almost touching opposite each other or in a triangle or square and have people site behind them. Start with each person playing a simple Heartbeat rhythm on their own drum and doing some collaboration exercises: one to the right, one to the left (that is adding one tone on the person to their right’s drum and then one tone on the person to their left’s drum).
Then call “Random” and everyone tries to maintains the Heartbeat on their own drum but can play tones or other accents (Claps, scratches, flams) on anybody's drum as long as there is no body contact – as soon as anyone touches another person the whole group must stop and return to the Heartbeat rhythm on their own drum and start again with the one to the left, one to the right.
The idea is to play this exercise multiple times across a program or series of sessions, with the aim of continuing longer each time without transgressing onto another person’s body. If you have multiple groups it can become a competition.
Questions – What helped you avoid being touched? What did you do to keep yourself safe? How important is it to respect other people's boundaries? In particular their personal space
Note – a key part of this exercise is learning to pull back and keep yourself safe.
The Values Rhythm exercise
Ask people to think of something important to them in their relationships with others e.g.,
respect, trust, love. Then use the number of syllables in their word to make a rhythm – e.g.
Care – 1 syllable; Love – 2 syllables; Honesty – 3 syllables; Forgiveness – 4 Syllables.
Then layer in their word as a rhythm, one at a time. Start with a one syllable word on the
Bass note to ground the rhythm. As people enter with their value rhythm, they say it as they
play it until after a while stopping speaking and letting the rhythm speak for them – finish the
opposite way with people resuming saying their value and stopping their drum so they are
just chanting together – then fade it away.
Giving and receiving are closely connected. Your ability to give is often commensurate to
your ability to receive, but sometimes the two get seriously out of balance.
People who give or take too much often have ongoing relationship problems. Can you think
of people you know that fit either category? There are challenges and rewards in both giving
and receiving. Can you name some of these? Not all giving is generous - examples?
Often by graciously receiving the gifts of another you are being generous. Sometimes the
best way we can support people is to give them opportunities to give back.
Giving & Receiving Exercise
Hand out Tonal chimes (you can use a combination of drums and percussion as an
alternative) to half the group and ask them to focus on giving the gift of their music to the
other half. Let them play together for around 2-3 minutes. Ask the other half to sit back in a
comfortable position and focus on receiving with generosity.
Then swap roles.
Discussion: What insights can you draw from this exercise about the challenges of giving
and receiving? Who judged their gift as not adequate? How often do we undervalue what
we have to offer others? How difficult was it to receive without judgement? How easy is it for
some people to give to the point of exhaustion?
Note – This can be a good exercise to look at issues of staff burnout. It is also very relevant
for elderly and disabled people who must rely on others for physical care.
In subsequent sessions it can be good to let one half give more (time wise) than the other –
and look at the feelings and implications of not being able to give back equally what you
receive.
Musical Chairs – Issues addressed: Competition versus Collaboration
Version 1 – put percussion on every second chair if available.
Teach the group how to count down to STOP (4,3,2,1 Stop) and then have a count of silence
for seven beats (count the silence out aloud 2,3,4,5,6,7,8) before returning to play – practice
a few times. Once this is perfected each person has to move to a new chair in the silence and
try to resume playing on the one.
Avoid competition – don’t take chairs away.
Discussion - How many people thought it would be fun to take a chair away, as in normal 'Musical Chairs'? What difference would it make do you think? What are some examples of when competition is a good thing? What are some situations where competition might be problematic?
Finding Seven (or five) exercise – Affirming Core Values
On a white-board ask people to list the key things of value or fundamental importance to
them (give examples if people get stuck). Identify those values that are common between
people and settle on a core of five or seven (depending on the size of the group) and order
them by numbering.
Then stop teach the break ‘Finding Five’ (O o O o O - B b B b B) or ‘Finding Seven’ (O o O o
O o O - B b B b B b B) which represents attending to those five or seven core values. The
break repeats three times and then changes on the fourth time to the same number of Tones
answered by everyone playing two Bass notes and one value shouted out. Shout the values
out in order, one each time you insert the break into the rhythm.
Divide the group in two so that half play the Tones and Half play the Bass or in individual
work the practitioner plays one and the individual they are working with the other.
A rhythm is played & a break of five or seven Tone notes is inserted, answered by five or
Seven Bass notes, repeat another two times, before finishing with the Tones answered by
everyone’s two Basses and a group shout. This break represents the chosen values, and
the importance of reaffirming these on a regular basis as we traverse the rhythms of life.
Finish by completing the break again with the word ‘Values’ shouted at the end.
Discussion: How important is it to be able to clearly identify our values? - Why? What
helped you work out your values? How do values govern the way we act? How easy is it for
you to stick to your values?
Follow part 9 of the Heartbeat rhythms with this exercise, where we remove the Heartbeat,
and ask people to try to hold onto their connection in the face of losing that foundation.
Losing Your Foundation
This exercise is used to work with people through the loss of elements in their life that
previously offered stability and security. For example: the loss of a close friend, the loss of a
job, or moving towns. The COVID pandemic is another example where people’s feelings of
stability have been rocked.
Whilst all play together, their different Heartbeat rhythms, on a countdown – 4,3,2,1 –
everyone must drop the heartbeat (double Bass) from their rhythm. There will generally be a
period of instability and the facilitator can add to that by playing disjointedly. The aim is to
hold out through this period and try to regain a new foundation. Note - They cannot return
to the Heartbeat but they can add a Bass note to their rhythm.
Discuss with the group what helped them hold on and the different strategies they used to
find their feet again in the face of uncertainty. How could these same ideas help you in
moments of instability in your own life?
Affirmations using rhythmic music lock-in learning concepts in a strong and robust
way as evidenced in memory studies with people with Alzheimer’s and dementia –
musical memories are amongst the most deeply embedded.
Discuss what the Bass note might represent in term of things that help connect people
together in safe & healthy ways.
Explain how to add in a four Bass break, counting down the rhythm and hitting the Bass note
on the first note of the bar while leaving the next three silent.
Do this four times. Once this is mastered come up with four elements related to one of the
themes below.
After each Bass note in the break the group shout out one of these four in order before
returning to their foundation rhythms.
Note this exercise can be used to highlight a range of themes:
• Four things good friends do for each other
• Four things central to healthy relationships
• Four things that help you overcome adversity
• Four things you can do to stand up to bullying
• Four things that provide you with a sense of safety
And many more………
Slowing Down
Start off with a rhythm that verges on the edge of complexity for the level of your client or groups ability e.g. Fl Fl, BbB, OoOoO
And play this at a reasonably fast tempo, so that many will struggle.
At regular intervals slow the rhythm just a little. Repeat this process until you are playing the same rhythm at a pace where everyone can join in successfully.
Ask the client or group to continue while you stop.
Then rejoin and add a clap after the five tones - this can symbolise either the ease with which we can be overloaded in life by taking on additional tasks (if people lose their way when you add the clap) or how it is only when we slow down that we can successfully take on additional tasks, (if they can successfully incorporate the clap).
Then ask them to stop.
Post group discussion
What did you notice as the rhythm slowed?
How often do seemingly complex problems become solvable when we slow things down? Can you think of any examples?
How did your awareness change of other things around you as the rhythm slowed?
Do you think this has any relevance to the quality of your relationships?
What might you do to reduce the complexity and speed of your life when you feel a loss of control?
Key facilitation & counselling techniques in the Rhythm2Recovery model include 'Rumble If...' for initiating reflective discussions and 'Play how that feels' for expressing and understanding feelings.
Final discussion looking at how people manage and overcome their fears. Three people play a solo representing 'facing your fears' and supporting each other through that challenge. A final discussion follows on the importance of support in overcoming our fears.
Discussion on working through our fears, followed by an exercise where people have a choice to either freeze or play through the break (8 counts) using a different rhythm than they played before.
A general discussion on the emotion of fear, followed by a simple exercise where people freeze upon hearing a triggering sound (5 Flams) and then a follow up discussion on how fear can stop you moving forward with your life.
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?
The self-control game 'Rumble in the Jungle' being used to look at the precursors of aggression. In many of the self-help groups I do with men, where uncontrolled anger is a real issues, 'Shame' is one of the main areas we focus on in this exercise - how even the smallest humiliations can give rise to extreme anger.
: Rumble if you have ever been drawn into conflict you didn’t really want to get caught up in, by friends or within your family.
Start the exercise by reminding people of this fight - a very important one in Mohammed Ali's career. Ali was a rank outsider to beat Foreman, the current world champion and a much bigger and stronger man. Ali won the fight by avoiding conflict until Foreman was exhausted. The best way to win a fight is to avoid it in the first place.
Ali also stood up for his values and refused to fight in Vietnam.
Discuss – how easy it is to be drawn into conflict with others and why. Who has ever found themselves getting drawn into some conflict situation not of their own choosing?
Play 'Call and Response' but with the proviso that a loud rumble represents aggression - the aim of the game is not to be pulled in by other people's aggression. So, if you hear a loud rumble you must respond with a very soft rumble. Every other call you respond to normally.
This exercise requires a degree of regulatory control.
One group member suggests a feeling or emotion, or they can pick from a pre-drawn list.
The rhythm begins and the facilitator counts down to stop (4,3,2,1, Stop). As soon as the music stops (and for as long as it is stopped) everyone has to try and freeze with the said feeling expressed on their face and through their body.
The facilitator draws people’s attention to a specific individual who is exhibiting the feeling clearly and the individual chosen then gets to choose the next feeling prior, name it, and resume the rhythm (1,2, Let’s all play).
Here is the exercise ‘A few steady friends’ that I have been using to start a discussion on the challenge of finding stable influences in times of uncertainty, difficulty or anxiety - the chosen individual has to identify the steady rhythm underneath all the confusion. Questions include What do you look for in someone you think is steady, reliable and trustworthy? What do you listen for? How easy is it to get distracted or separated from these individuals when you are trying to find your way through a period of uncertainty or instability? What can help you find your way through that?
I’ve also found this a useful exercise working with young people enveloped in chaos at home and how we might identify and focus on a few consistent elements in their lives that might help them maintain their balance.
Examining the impact of other people's feelings on your own, by playing the opposite feeling.
How people can bring us down or lift us up.
Hand out Tonal chimes (you can use a combination of drums and percussion as an alternative) to half the group and ask them to focus on giving the gift of their music to the other half. Let them play together for around 3-4 minutes. Ask the other half to sit back in a comfortable position and focus on receiving with generosity.
Then swap roles.
Discussion: What insights can you draw from this exercise about the challenges of giving and receiving? Who judged their gift as not adequate? How often do we undervalue what we have to offer others? How difficult was it to receive without judgement? How easy is it for some people to give to the point of exhaustion? What if I had let one half give more (time wise) than the other -would you have felt short-changed?
Note – This can be a good exercise to look at issues of staff burnout. It is also very relevant for elderly and disabled people who must rely on others for physical care.
You can also do this with drums & percussion if you don't have chimes
Draw up a list of values on the white-board, and ask each person to choose one that is important to them. Then demonstrate how to use the syllables of each to make it into a rhythm, for example: Truth – one beat, Love – one beat, Kindness – two beats, Respect – two beats, Forgiveness – three beats, Honesty – three beats, Generosity – five beats.
Each person has to play a rhythm representing a value that is important to them and connect it to the others in the group.
Start the exercise by playing your ‘value rhythm’ and then have each person enter with their ‘value rhythm’ one at a time. (They can be encouraged to say or sing the name of their value to their beat as they enter.)
Discussion:
How do your values fit with your identity and sense of self?
How hard is it to live up to your values?
How do values connect people? What if your values were very different from someone else? Would it be easy or difficult to get on with someone whose values were different from yours?
One at time, around the circle, we repeat a very simple musical phrase (try BbB) - each time getting softer until it almost disappears, then reversing it so that each time it gets louder.
The challenge is for the increments to be as even as possible.
This is challenging as each player has a different technique and each drum a different resonance, so it can take quite a few goes to get even changes in volume - usually done across several sessions with a group or client.
Use a simple and very soft Bass pulse (40–60 bpm) or the Rhythmic Wave exercise as the focal point for this awareness exercise. Give instructions in a mellow, clear voice, speaking slowly and in time to the rhythm. Remember, the script below is just a guide – make it your own.
• Relax your body.
• Adjust your body until you feel comfortable and relaxed. You may wish to close your eyes or focus on one spot. Focus on and relax any tension in your neck, shoulders, chest, arms, hands, back, hips, thighs, lower legs, feet.
• Slow your breathing – focus on your breath, in and out, aligning it to the pulse, becoming still.
• Now focus solely on sounds. Listen to the Bass note of the rhythm first.
• Listen to it in all its dimensions – tone, pitch, frequency. Listen to it in its primacy as pure sound, rather than naming it.
• If other thoughts come to mind, acknowledge them briefly and move your focus back to the sound of the Bass note.
• If you feel comfortable let the vibrations of the Bass note move through your body, grounding you.
• Breathe gently, slowly.
• Let those vibrations travel down to your feet and exit into the floor, connecting you to the earth.
• Now focus on any other sounds. Experience loud and soft sounds, obvious and not so obvious sounds and the gap between sounds.
• Try and avoid categorising these sounds, but experience them as raw energy. If other thoughts come to mind, acknowledge them briefly and move your focus back to the sounds of your environment.
• Breathe gently, slowly.
• Slowly come back to a focus on the Bass.
• Hold your focus on the Bass and allow the volume to slowly fade away.
If possible, sit in silence for 40–60 seconds or if part of the Rhythmic Wave exercise, you can move back into the improvised rhythm play you started from.
Ask your participants to think about one thing they enjoy doing that gives back or helps out another person or community. Give some examples: maybe you enjoy lending your friends some lunch money; maybe you enjoy helping out around the house; maybe you enjoy standing up for your friends when they are being bullied.
Then have each person ask one question of the rest of the group about whether they too enjoy the same type of giving: for example, ‘Rumble if you enjoy…’
What are the rewards of giving back? Why do we sometimes hold back offering others our help if we know that giving brings these rewards? Can you be taken advantage of sometimes if you are a generous person? What would happen if we all stopped giving and focused only on taking?
Discuss the propensity to find fault with other people, particularly those who might be different from us. Like getting caught in an unhealthy pattern (rhythm), we need to watch how we judge others and try to focus on the positives if we are to develop healthy relationships. Think about the person next to you and find one thing about them you value.
Start with a simple foundation rhythm and then, addressing one person at a time, add the break O o O o O - fl (What I like about you), which stops the rhythm and is followed by the same person stating what that quality is (e.g. Tom is always kind to other people). Then everyone should return to the simple foundation rhythm.
Discuss:
How hard is it say nice things about someone to their face? How often do you remember to do that? What does it feel like to say positive things to your friends and family? What about when people pay you compliments? Are there risks in being more positive towards other people? What else makes it hard to be more positive? What might help?
The facilitator should describe a number of experiences (related to victimisation) and ask the group to rumble on their drum if they can identify with each of the emotions that might be garnered for an individual experiencing that event. The
group rumble in empathy with the individuals in the scenarios and then name the
emotions they may have felt. Examples:
1. Rumble if you can imagine how it might feel to have very few friends - What might you be feeling?
2. Rumble if you can imagine how it might feel to not know where your next meal is coming from - What might you be feeling?
3. Rumble if you can imagine how it might feel if you felt everyone was laughing at you - What might you be feeling?
After giving some examples ask the students to come up with their own scenarios
Discuss the concept of empathy. What is empathy? How does it affect the way
we act towards others? What if people have little empathy, how do they act? How
hard is it to have a respectful relationship with someone with little empathy for
others? What might help someone to develop more empathy?
Start with a short discussion on the importance of helping out others if you can and getting help yourself when you need it – everyone has the potential to do both and each brings rewards. It can be difficult to give and it can also be difficult to ask for help. What are some of the situations where you might need support or be able to offer support?
One person should start a simple foundation rhythm and each person should enter in succession but only at the request of the drummer already playing next to them. The drummer should invite the next person to join the group with the phrase ‘Help me out, if you can!’ (fl, fl, fl, O o O). When everyone is in, finish with all players doing the break and saying the phrase ‘Help me out, if you can’ at the same time.
Discuss the benefits of altruism. What are the rewards of giving or supporting someone in times of need? If giving brings rewards, why is it often hard to ask for help? How does balance impact this issue? Can you ask too much or give too much?
Hand out Tonal chimes (you can use a combination of drums and percussion as an alternative) to half the group and ask them to focus on giving the gift of their music to the other half. Let them play together for around 3-4 minutes. Ask the other half to sit back in a comfortable position and focus on receiving with generosity.
Then swap roles.
Discussion: What insights can you draw from this exercise about the challenges of giving and receiving? Who judged their gift as not adequate? How often do we undervalue what we have to offer others? How difficult was it to receive without judgement? How easy is it for some people to give to the point of exhaustion? What if I had let one half give more (time wise) than the other -would you have felt short-changed?
Note – This can be a good exercise to look at issues of staff burnout. It is also very relevant for elderly and disabled people who must rely on others for physical care.
Everyone should play the heartbeat rhythm of their choice while one member at a time enters the circle blindfolded and tries to locate their empty chair – prior to searching they turn on the spot three times to disorientate themselves. Focus on soft drumming.
Lead a discussion on finding a reference point to get back home or to a place of safety when you feel lost, down and out, or disorientated. What helped you locate your empty chair? How important was it not to give up? How important was it to trust yourself? Did you get support from others in any way? Did you have to rely on your own ingenuity? What did it feel like if you couldn’t get back?
You can use drums & percussion or Tonal Chimes (pentatonic scale - ACDEG) - hand these out. Explain that we will all play at a certain tempo and that you will ask them to “make more space between their notes” (remove a note from their rhythm) by holding one finger high in the air. Give some examples of how a rhythm might sound as you pare back the notes.
Start the rhythm and after a little while have them remove one note (hold your finger up). Hold this new incarnation for a while and then ask them to remove a further note. Follow this routine until you have a sparse, ambient rhythm. Fade slowly away.
Discussion: Sometimes when we let things go we bring more clarity and peace into our lives. How easy is it to let go of things in your life that are stressing you or are not really necessary? What about the influence of others that might be hurting you in some way - can you let them go? What about your thoughts & feelings that bring you down - how might you reduce their influence? Discuss the use of mindful acceptance here.
Addition: Sometimes when the music has become sparse and calming you can ask participants to think of just one or two things they would like to bring into their life and add these as additional notes – building the rhythm up again.
Ask each person in the group to choose an emotion (from a list you have previously identified with the group). One person is chosen as the detective and they stand in the middle of the circle (or they can remain in their seat if preferred) and they then choose one person to expresses their chosen feeling using their drum, facial features or both. If the detective identifies the feeling correctly, he/she swaps places with the individual who shared their emotion – if not the group help out, and he/she gets another go to test their emotional detection skills.
Adaption - The detective can be blindfolded and differences in identifying emotional signals can be discussed between the two senses (eyes open or shut). How might body language confuse your understanding of how someone is feeling?
Discussion: What sort of clues do you look for to work out how people are feeling? How much of this is unspoken? How often do people misinterpret your feelings? Does this give you any insight into how you might sometimes misread others? What are some of the consequences of this form of misunderstanding? How can we improve our performance in this area?
List a range of emotions on a white-board – you can have people contribute to this list.
Divide your group in two or in individual therapy divide roles between the counsellor and the individual. Ask people to define contrasting emotions as in the table below.
Unpleasant emotions Pleasant emotions
Sad Content
Disgust Inspired
Angry Joyful
Contempt Love
Choose an accessible rhythm (one you can play comfortably) and then have each side choose a different contrasting emotion and transfer that into their playing – thus the same rhythm is played with two different feelings. Swap roles so that in each instance different sides are playing the uplifting emotion.
Discuss the feelings these different emotions evoke, contrasts between them and how they interact together in rhythm and in life. What was the impact of one emotion on the other? Were particular emotions dominant? Can we use contracting emotions to limit the impact of more problematic feelings? Did you gain any insights into the nature of different feelings by playing with them this way?
Ask the individual or participants you are working with to come up with one good thing in their lives – give examples (it may be their friends, or it could be something as fundamental as still being alive). Ask them to come up with one positive thing that has happened to them this week, then narrow it down to today (e.g. ‘It wasn’t raining’ or ‘I got here safely’).
Introduce ‘Call and Response’ and showcase one specific pattern that will serve as representing the positive things that happen to people in their lives. If you play that rhythm people must play a loud accent note – fl,fl – on their instrument to mark it. Other rhythms are to be responded to normally as a direct echo.
Start the game and throw in the chosen part sporadically and in ways that may be hard to hear (low volume, different hand technique).
Discuss the challenges of staying positive and the ‘Losada principle 3:1’, which states that we need to hear three positives to balance one negative in order to maintain a healthy self-concept. Why are we often over-conscious of the negatives in life? How can we train ourselves to focus more on what is going right?
Note: Some groups choose to start each session with this exercise as a way of reinforcing the practice of staying positive.
Discuss the following: What are the elements of good communication? Why is good communication so fundamental to healthy relationships?
One person should be asked to choose someone in the group and start a conversation with that person using their drum and the other person should respond. Analyse the conversation for the following elements – balance, listening, dominance, respect.
What are some of the elements of poor communication we can all fall into? How can this impact our relationships? Why? How can we improve our communication skills?
Ask one person to come up with an upbeat (positive) melody on their drum and then have the person sitting next to them play something downbeat (depressive). Watch for changes in the emotional content of either player. Add additional players one at a time to increase the level of negativity and explore how this impacts the mood of the initial upbeat drummer.
How can you maintain your positivity in the face of others who may be cynical or angry?
These two approaches can also be played out between a counsellor and their client.
Adaption
Reverse the exercise so that one influences the other in a positive way (start off with a sad or despondent drummer and expose them to uplifting rhythms one at a time).
How does having positive people around you improve your situation? Are there some people you can’t lift?
The drum can be used to initiate connection between a participant and the facilitator in a fun way. In both one to one counselling and groups you can begin a session by connecting this way, that also often links people emotionally. In groups or classrooms, you can also use this exercise by having people pair up, and explore the different facets of social connection.
Start by discussing the concept of harmony - what do people understand by that word? From their own experience what gets in the way of inter-personal harmony and what facilitates it?
The challenge of this exercise is to each play their own thing but still harmonise with each other. They must start all together playing their own thing, with their heads down, (it will sound wild & disconnected), then slowly raise their heads modify their rhythms to connect with each other in harmony – same volume, same tempo, and leaving space for each to be heard.
Before starting you may decide to warn the group not to try and “force people into your rhythm”. If you decide not to warn them, this can often happen, and serves as an interesting discussion point, in relation to this theme - is it really harmony when we force people to our will?
Discuss: the steps they took to find a harmonious connection in relation to the steps people might need to take to connect well with others.
Introduce the metaphor of a beach ball representing our feelings and emotions and asking people to support each other by keeping those feelings up – keeping the imaginary beach ball in the air using rumble energy. Say: ‘We start as a group lifting the ball as high as we can with our combined energy and then lowering it as low as we can before raising it to a median level, all the time tracking it with our eyes.’
Discuss the challenges of staying positive and the support we can give each other in keeping our spirits up.
Say: ‘Then we pass it on to one person’s drum and ask them to showcase where their emotions are at at present – low or high – before they pass it to another person using their eyes to track the ball as it moves between players, each person expressing the level of their feelings using rumble energy and the height of the imaginary beach ball.’
Discuss the changing nature of feelings, the sharing of feelings and the energy required to sustain our feelings – noting how much you have to put out to keep that ball in the air as an individual compared with when you are getting the support of others.
The exercise also develops teamwork, emotional control and self-awareness. In individual work, I have found this exercise useful in helping clients express how they are feeling and exploring the same concepts but with a more personal focus.