Music and the Sacred Arts Circle

One different element of our Circle is the way in which music-making is organized. It’s very important to understand that the Sacred Arts Circle is NOT a "drum circle". Although the music is often percussion oriented, the agreements which guide the musicians are not those of a community drum circle; nor is it the same as an ethnic-specific music circle — or even the Circle at a Fire Tribe Gathering!

There are a limited number of seats available for people playing musical instruments at any given moment. The seating arrangement encourages the players to look at each other, listen more carefully, and play more mindfully since they are not immersed in a sonic mass of pulsation. The small number of seats means that everyone who wishes to play will takes turns, bringing people back into the Circle for singing and dancing.

Percussion music is just one expression offered in the Circle and is intended to be IN SERVICE to our chant, dance and ritual theatre. Other musical forms that are also in service include melodic interludes such as flute, or Sacred Sounds such as didgeridoos, singing bowls, temple bells and chimes. Those interested in drumming must understand that this Circle maintains a balance, and that percussion must not dominate the sonic space.

When you first arrive at the Circle, please do NOT bring your gear into a particular chair and "stake-out real estate". Anything not actively being played is to be kept outside the Circle. Some of the instrument positions will have signs on the floor in front of them, to remind us of the architecture as well as to help ritualize their function in the Circle. The instruments in these positions are only to be replaced by like kind — i.e. djembe with djembe, conga with conga, etc. If you prefer to play your own instrument, simply replace the one that’s currently in position with yours when you come in to play. Note that the Circle is not designed to accommodate people with multiple drum set-ups — players are asked to contribute by using a single instrument.

Although our Circle includes djembes and dunduns, we highly value the softer voices and different rhythmic structures of the frame drums, doumbeks and congas. Instruments not currently provided with a position may join in at the Sacred Sounds area, or may be played mobile within the moving dance Circle. Once we get to know them they will find a "home" too!

Here’s how we envision the arrival of percussion music in our Circle…

Inspiration for the next offering arrives… often emerging from the stillness embraced and trusted by all. Perhaps a poem is shared… or someone speaks from the heart… or maybe we just breathe together for a while…

Eventually someone begins a chant — ideally in English, and easy to learn in the moment!

All percussionists hold back for quite a while before joining in, allowing people to learn the words, master the melody, and bring the song into fullness through acappella exploration of harmonies, descant parts and other voice propelled magic. EVERYONE is encourage to be a part of this phase…

Perhaps the Sacred Sounds instruments offer non-rhythmic music, still with no percussive offering. Magic fills the air as bowls hum, bells tinkle, didges whisper… There are some chants that are best with no drum accompaniment at all. Allow the Sacred Sounds players to work their magic without any percussion — please DO join the chant or dance! Eventually, we will feel a shared pulsation as the song or chant arrives where it can’t possibly get any juicier alone…

At that point the first rhythm seed is planted by the Shekere. The person playing this instrument understands that their single role— and responsibility — is to hold the simple pulse upon which all else is built rhythmically.

The next instruments to enter are the Dundunba and Sangba, representing the earth in which the seed is planted. The role of one or the other of these instruments (usually the Dundunba) is to play a consistent repeating pattern which reinforces the pulse of the Shekere. Together the Dundunba and Sangba create an interlocking pattern which becomes the roots of the Tree. They do so carefully and quietly, tuning in to the Shekere, and sensitive to the chant continuing onwards…

Now the Clave joins in with its traditional role of playing a pattern that shows us the spot within the rhythm where we are all one; it marks the ONE. The Clave is like the sap or nutrients for the emerging tree, providing a clear reference point for all other players to return to with their parts, should they get "lost".

The Hand Drum players have been listening carefully to the emergent melody, and begin to gently and quietly layer in one at a time. (The chant is still going and drums must be played quietly indeed to avoid drowning out the voices!) Each drummer gives the previous player a while to settle securely into the musical web being woven before adding their own part. Each plays a SIMPLE, SPACIOUS pattern — remembering that the chant tempo is slow, and that the rhythm will often end up twice or even three times faster before the cycle completes. Each hand drum pair plays with, and seeks to compliment and leave space for each other— tuning in all around the Circle. You might also choose to play the same part as one of the other players who are collectively forming the trunk and branches of the tree.

Next, the Cow Bell joins in – fertilizing the tree with animated energy. Again, the Bell plays a consistent repeating pattern, often intending to uplift and enliven the growing tree!

Patiently allow this to unfold, form and settle — all the while consciously serving the chant in progress, with everyone playing an instrument listening intently to each other — with ears, eyes and heart!

As the dance unfolds, soloists serve by playing variations based on the patterns woven by the trunk and branch hand drum players. All other players focus on maintaining the intricate rhythm matrix they have created to serve the chant and dance. The soloists take turns exploring the themes and variations held within the web woven by the trunk and branch players.

A few final thoughts:

We actively encourage opportunities for other offerings besides drumming. Poetry and spoken word moments require a window of opportunity — in other words: SILENCE. We are comfortable with silence, recognizing it as a safe and nurturing portal through which new inspiration and unexpected offerings will arrive.

The Offerings Spot is where people wishing to share didgeridoo or melodic interludes may gather to signal their intentions to the rest of the group. Please keep this area clear at other times, making it easy to notice when someone does step up in this way. Please allow percussion-free sonic space for these offerings!

Please stand up, and move out of the musical position you are in at the end of a rhythmic cycle, allowing someone new to assume that role. You’ve likely enjoyed relating through that modality — give someone else the same gift by moving onwards. There are other ways to play for you too!

The Sacred Arts Circle is about one and a half to two hours long, so the rhythmic cycles may be shorter than you are accustomed to. You can usually tell that the group is ready to re-cycle when the dancers in the Circle have thinned out. At that time we will usually fade gently to an extended silence…this Silence is a great time to take a deep breath and consciously direct the energy we have built for your own magical use. We prefer to make that moment an inner celebration of the sacred, in contrast to shouts of "Whooo!" or lapsing into conversation.

You might enjoy reading The Tree, The Drum and The River

If you would like to join us, please email firetribeinfo@yahoo.com or call (808) 737-3786 for information on the date, time and location of the next open Circle.