Drum Circle Rates and Pricing
So what is the current average price drum circle facilitators charge for providing all the drums, percussion,
and facilitating a drum circle? The short answer? 300 bucks, (one person facilitating, and for under 100 people).
And thatís doing it on the cheap. There really is no set pricing scale, itís where you live,
what the market, current economy will bear, and what groups can afford.
Many of us use a sliding scale for pricing. Anywhere from $100 to $600 depending on for who, how long, how many,
and how far away. Most of us will do a few no charge charity circles a year. I try to do at least 2 or 3, but we
have to at least try to cover our expenses. There are others who won't even negotiate with you for under $500 for
an hour circle. Then there are the ones that jet into town from out of state with a few large tubs of drums and
get $5000 for two 1 hour circles. Most of them are backed by brands, and have national exposure. That doesn't
necessarily mean they are better, a regional facilitator with at least 10 years experience will give you an
excellent music making drum circle experience at a much lower price. So there is no real set pricing,
or specific protocols that need to be followed.
I was able to determine the going rates to charge mainly because of my drum circle finder. I have been updating it
for 16 years, and in the process communicated with a lot of facilitators or hosts. Over the course of updating it
I often saw rates in different areas, and many times spoke or emailed with the organizers.
When you do book and confirm a gig, I get half the cost at least 2 weeks in advance, and collect the balance when
I arrive to do the job, or I ask for or the entire amount at booking. I used to just ask for a check when I arrived,
but times have changed, Iím getting older, and this job is harder. If itís an ongoing client, then I ask for a check
when I arrive. Most want an invoice of some sort. It doesnít have to be fancy or complex, just make a Word doc.
You can change for each job. All the basic stuff, client, date, address, contact numbers, the hiring person,
the rate, time, drum circle length, and so on will suffice in most cases. Some things like public events they
already have an invoice, and you fill them out. With things like working in schools you can end up doing more
paperwork and time spent than you do on the actual job. But it is for kids, so itís worth the trouble.
Many of them get into music and make it a part of their lives because of you.
Because of my drum circles website, also starting around 1999, many people would ask me various questions about
different aspects of drum circles. How to start one up, what to charge, ruthless competitors, dealing with djembe
cowboys, all sorts of things. I offer to answer questions on my website via email, sometimes over the phone, and
I still do. I mention that if you have a question, or need an opinion about anything drum circle related, Iím happy
to try and help. I believe musicians and artists should help and support each other. People helped me to learn along
the way coming up, so I try to give back. Many musicians feel that way, and enjoy helping others to grow so they
can enjoy making music more.
I also worked as an actor in LA for 20 years, and even though we were often up for the same role, and competing against
each other to put food on the table Ė there was still a common respect for each other. Working in various bands it was
the same way, only we were competing for venues. Most drum circle facilitators are caring and good people that are
more than happy to share some advice, and help someone new getting started.
But there is a flip side, and Iíve heard this over and over from many different people. I canít understand why in almost
every market in the country there seems to be a facilitator who has to be the number one go to person no matter what.
Whatís worse, is they put up a false front about how nice they are, all the wonderful things they do, and at the
same time behind the scenes, they are trying to run the competition out of business. For about the last 5 years,
the most common problem issue people from all over the country have asked me is someone trying to run them out
of business. We should be working together, not against each other. There is plenty of work out there for all
of us. Some of them are just plain sociopaths. Putting out negative anonymous posts on social media,
stealing elements of websites, even things like ďwork for them, or you donít work at allĒ.
Iíve had all of that just like many others, had ongoing clients poached from me by drum manufacturer backed facilitators
from out of the state. They can do it by offering cut rates, the promise of a drum grant, and many other ways. That is
just wrong, not much we can do about it either. Again, Iím just a person trying to put food on the table for my family.
Anyway, as it turned out, I kept getting asked a lot of the same questions over and over, I was becoming a sort of drum
circle tech support. So, about 9 years later I decided to write a book about drum circles. It is 300 pages of text,
and the title is A Practical Guide to Hand Drumming and Drum Circles. ($8). Itís actually more like 3 books in one.
I put all my experience, everything Iíve learned and (unlearned ) in there. Everything from facilitating, learning
hand drumming, facilitating styles, covering the art, and practical approaches to facilitating or hosting one.
I havenít exactly traveled the country, but Iíve lived on both coasts, and been to 1000ís of drum circles over the years.
So my pricing is based on that, and speaking with many others through my site and drum circle finder.
Some, (like myself) work on a pricing flat rate, or a sliding scale like I mentioned. Some manage with love donations,
drum rental for an average of $10 - $15 per person, a percentage of sales, and various other means. And some get non
profit status where they can pay themselves, some get sponsors, and/or grants. (Try your local arts counsel, or state
arts funding groups. I've applied for them a number of times, but never managed to get one. But I do know that some
people get them.) Most of the arts funding goes to other disciplines like painters, sculptors, dancers, and etc.
If you can get a regular ongoing gig, that generates lots of other jobs because of the constant community exposure.
Event planners see you, someone wants one for a party or reception, group gathering, even session work. So a low
cost weekly circle or a home base is a great way to generate work. Even if that weekly gig only pays $100 a
night just barely covering expenses. Itís the onlookers and word of mouth that brings you the better paying
work. As I mentioned, my average price is 2 circles for $300. I want to give them a full music making
experience, and a good value for their money.
My pricing scale is pretty competitive if you figure the going rates around the country. I charge $100 for non -
profits, churches, senior groups, etc. They have very limited recreation budgets and most of the time, thatís all
they can afford. For most public events, an all day multiple drum circle school session, a business - corporate
event, I will quote from $400 to $600. If itís more than 100 people, I hire a helper, they need to be paid,
so a little more is added onto the cost.
Some can pay more, but thatís up to you to figure out. If itís far to drive, a public event, if you need to hire a
second facilitator, etc. Thereís a lot of variables. Even things like if all the gear has to be hauled up a couple
flights of stairs. How close can I get my vehicle to unload, and how far is it to the playing area? Can you provide
a few helping hands to carry my gear? That will lower the price because that saves me a lot of energy that Iíd rather
put into bringing the group the best drum circle music making experience that I can. With some events like wedding
receptions there is drinking involved, so you have to factor things like that into the pricing because of the
potential for damage.
Facilitated drum circle rates have gone down a lot in the last 10 years. There are a lot more facilitators around now.
Many facilitators sideline as drum circle facilitator trainers, so there is a lot more competition these days. Lots
of drum circle certification courses are out there, and almost every one claims to be the best. Being well rounded
as a musician and a facilitator is important. Lots of untrained facilitators are being given a training course
and figure they are ready. It takes a bit more than that. You can learn by doing, but Iíve seen some shabby
work by new facilitators that canít even keep time on a drum. Some that run around in the center waving
instructions like some sort of classroom, and some using a cowbell only. On the other hand there are
some truly gifted facilitators in almost every major market, and city in the country. They tend to
work in their own areas so they arenít that well known nationwide.
Most facilitators are good people and will at least be willing to work together, or share leads. Iíve had good working
arrangements where if I had a booking conflict, I would offer the job for a small amount like 10% of the job price,
20 bucks, sometimes even a drum for the lead. And it went both ways. But there are those others. Rather than perhaps
collaborating, maybe working together occasionally, some of them feel they have to be the number one in their market
to earn more, feed their egos, or both. And, for whatever reason many have gotten a lot more ruthless about it.
Iíve experienced a lot of it myself in the last decade since all the facilitator training workshops, and
various certifications have been cranking out students who are untrained in the real world.
So back to drum circle rates. I used to be able to charge around $500 for a drum circle, (sometimes two). When pitching
the cost to a potential client, I would mention itís $400 for a one hour drum circle, and since all my gear is already
there, for $100 more I can do another one hour Ė so $500 for 2 one hour circles. That was then. Now itís more like $300.
$250 for the one hour, and $50 more to add a second hour. Most of the time they will accept that extra value.
Although the numerous and documented benefits of drum circles have become more widely known and accepted Ė most of the
people who are hiring us have never even been to a drum circle, let alone have any concept what it is really like, or
whatís involved with facilitating one. It is a foreign concept. The same goes with most people who contact us to
facilitate for corporate, schools, events, on and on. The second most challenging thing beyond being a good
facilitator, is simply trying to explain what it is to someone like this, and why having one will benefit
people. Music tracks and visual aids like photos and short videos help a lot in a drum circle pitch.
Facilitating two 60 minute circles, or a 90 minute drum circle takes the better part of a dayís work to pull off, and
most people donít realize that. My drums are expensive to buy and maintain. Thereís also the loading up, transport,
unload, set-up, facilitate the circle, haul it all back home, unload again, and wear and tear on my drums.
An initial typical contact call or email can go like this: ďI heard you do drum circles. So you can come and do one
for free, right? You will get lots of exposure.Ē (Umm no.) I need to politely explain to them that no, Iím sorry
but I just canít. As much as I would like to for you, this is what I do for a living,
and I have to charge something for it.
Some that want a drum circle for the first time actually think drums just magically appear...and people can play them.
I am not kidding. I need to explain to them all the years it took of musical training, and experience it took to be
able to do this professionally. Iíve put my heart, and my entire life into doing thisÖitís kind of like the amount
of work and dedication it took to be a ďwhatever the client does for a livingĒ. (College, working up that ladder
to become where they are in the job they are in, etc. I pause there, and then we usually negotiate a price
after a few more emails.)
It doesnít always pay a lot, even if they are endorsed by a drum manufacturer, had some over hyped specific training,
sponsors, and so on. $3000 worth of gear, load it all up, drive for an hour, do the circles, and you end up netting
a hundred bucks. Itís like that for a lot of musicians and facilitators. Itís called paying your dues, and doing
some good in your community.
However, this work is tremendously beneficial to your heart. One week itís a sorority group, the next, an entire school
of kids, 6 circles back to back in a day. A session job for active seniors, where the camera is your drum circle group
and you have to imagine them, and sometimes public events. For just a one on one drumming lesson I charge $40.
For an extra person, $10 more. I provide the drums. (My rate for session work: $300 per day.)
Everythingís gotten more expensive these days, especially things like insurance. I used to have all my drums in a trailer
Ė but, not any more the insurance is way too high. These days insurance is very hefty for a trailer so I had to downsize.
My gear is expensive, and I need some form of insurance. With mine, if all my gear is inside my vehicle, itís covered.
That saves me a lot. I had to sell a lot of my larger drums, and move towards smaller ones like doumbeks, darbukas,
frame drums, I have about 15 of each. I also have at least one set of congas, a few sets of bongos, a dozen assorted
size djembes, and a few other larger drums to round things out. Those sound shape drums are great for facilitators
to round out your kit, because 2 dozen will fit in a cloth grocery bag. (Sometimes there are more people than
expected, and they make a great way to fill out the inventory if needed. Plus, they are fun to play, and lots
of people love playing them.) I had to get a large vehicle, it isnít exactly green, but I can fit enough for
100 in there. All those years of playing Tetris paid off. Who knew? So that is one way to cut a few costs.
Find a Drum Circle Venue: A Craft Brewery, Pubs, Clubs, New Age Shops, Cafe's, & etc.
Back around 2005, I hosted this drum circle at a craft brewery every Tuesday night for 3 years. My hope was that it would
become firmly established and become a fixture and continue on long after I moved out of the area. Happily, a little bit
of me is still there, it still goes on to this day, some 11 years later, and that makes me very happy.
Here's a little history on the brewery circle, and some general info on drum circles at casual drinking establishments:
While living in Florida, I got the idea to start up an indoor drum circle in 2005. I was looking for an indoor venue of
any kind, somewhere that was air conditioned. I liked the Saturday night drumming to the sunset at the beach, but the
summers there are very hot, and the sand gets all up in your drums. Not to mention the humidity, lack of bathrooms,
places to eat, chairs to sit in, and even park the car reasonably close by. Itís a long hike with the djembe,
percussion bag, fluids, and a chair. Parking at the pier was $12. so few of us did that. Most musicians
including myself are way too cheap to pay that much to park so we could drum for a few hours,
and the nearest free parking was about 800 yards. A long way to haul drums and gear.
Thatís why I tried approaching a few Recreational - Community centers, night clubs and bars repeatedly every month with
the idea, but had little success. Everyone I spoke with said it would never work, and many drummers said that trying
to facilitate a drum circle at a place that serves alcohol is just plain crazy.
I went to a local craft brewery now and then. I loved the vibe of the place. I noticed that Tuesday was their slowest
night of the week. So to me, having a drum circle seemed like a good alternative to the Tuesday, sparsely attended
chess and techno music night that was going on at the time. I play chess myself, and donít like the distraction of
techno music at the same time. I never could figure that one out. I figured this had to be my best opportunity,
I just had to try and convince them we werenít a bunch of turtle mound stomping hippies. I dropped in one
afternoon and pitched the idea to the bar manager. He was reluctant at first, but after persisting with
the idea for a few months, he agreed to try it out.
The condition I negotiated was that I would receive no pay unless they turned a profit in two weeks. It was a risky
venture because of the drinking, and possible damage to my drums, but it worked. Within a month, the word had
spread around, the place was packed, and it was hopping beyond my wildest imagination.
Good olí MySpace, newsgroups, and posters - flyers were about the only means of free promotion at the time, (this was
back in 2005, pre-Facebook, IG, & Twitter). Other than that it was mostly word of mouth, making flyers to promote it
and pass out, and signs out in front of the place that Iíd made from those 2 foot abandoned political signs usually
left out after elections. I figured I was helping clean up the off ramps and doing the city a favor,
because usually theyíd sit there for weeks or sometimes even months.
Iíd paint them up white on both sides, and the next day paint some dark text on them. Most would say ďDrum CircleĒ
ďBellydancers WelcomeĒ or, ďOpen Drum CircleĒ Drums providedĒ. Then a pointing arrow toward the establishment at
the bottom. <---- I tried to make them as clean and professional as I could. Posting them the same day as the
circle hours earlier on a telephone pole like a yard sale sign out front was surprisingly effective. In fact,
it turned out to be the most effective promotional tactic. People driving by, going home from work saw them,
and lots of general drive by traffic were caught by the curiosity factor, and made it a point to come check
this thing out. As it happened lots of musicians like to play a hand drum, and there were numerous dance
studios in the area. Many of the teachers and their students came by to check out the scene. It turned
out to be the perfect blend. Musicians jamming to the graceful movement of dancers, with the onlookers
being thoroughly entertained. Everyone was having fun, it was hard to get this thing to stop after
3 hours of straight playing.
My formula was similar to that of an open mic night. I invited local drummers, band members, drum makers, teachers,
and instructors to come attend. In return for jamming with us, they could promote their items, shows, classes and
workshops. I did the same with bellydancing studios. The key to it was making it fun, and accessible to everyone
so they would want to come back. Variety was the thing. The rhythms needed to be challenging and interesting
for the experienced musicians, but also not so complex that the beginners didn't feel lost.
An easy way to do that, is playing rhythms from different cultures. Uptempo Latin and African rhythms, as well as
slower Native American, Bellydance, R & B Groove, and improv. That way, the variety keeps everyone wanting to come
back next week. Some drum circles can fall into this pattern of playing the same default beat most of the time.
That gets a little boring and frustrating for everybody.
The local drum circle took off right from the start. Like I mentioned, attracting musicians so they would come in
and jam, and not charging a fee or cover at the door is what made it work. We just used the honor system to get
people in. They wanted to support it and promote it, and it worked.
Most musicians don't like to pay a cover charge or a fee to get in. (Especially with drum circles.) But they will
buy a beer, soda, or some food once they are in there, and network to their friends. They will support it once
they are in there if it is fun. So the key is to make it fun.
It was a bit of a challenge to host an on going drum circle at a casual drinking establishment, but the vibe was
always good, people had a blast, and the musicianship was even better. Three hours would go by like it was one.
I noticed right away that almost all the locals would drink in moderation, so it never really became an issue.
But sometimes, things do get damaged.
That circle became so popular, that musicians and onlookers came from all around Tampa, St. Pete, and even as far
as Orlando just to check it out and play. We even had out of town musicians show up, usually while on vacation.
Some of the other local clubs got pissed and tried to get it shut down at a city counsel meeting. They made
claims that it was all riff-raff in there. Unfortunately for them a few of the board members were regulars
at the circle and told them the truth. It is mostly decent professional working people from all walks of
life, different backgrounds, and paths with demanding careers that just want to make music with new
friends, be part of a social scene, drum out some stress and have a little fun. It was culturally
diverse, and it brought our community together. How can you argue against that?
Around the country many night clubs, bars, and coffee shops are struggling to find working formulas for weeknights.
Having a drum circle night quickly builds up a community around it with a loyal following that grows very quickly.
The cost to do this is minimal, I've been doing this successfully for years at various venues. What's really
needed is an organizer to help keep things running smoothly, and promote the drum circle.
I look for a small base pay, tips, or a percentage of sales like 10%.
Because believe me, there is a lot of work involved. Also it isn't the drummers, musicians, or dancers that do the
majority of buying your products. They will help support the venue and buy one or two, but it's the onlookers who
are attracted and who will be buying most of the drinks and/or food. And it takes a few months to really get a
drum circle community built up and established. I go into this in much more detail in my blog posts,
and Kindle book about drum circles.
Iíve attended and organized drum circles for over 30 years, and facilitated them for living about 15. My general
approach is treat it like a band gig. I prepare as much as I can, have a set-list of rhythms, and be ready to
throw it out the minute things get going. I learned to just trust my instincts and feel how things should head,
rather then forcing a protocol or next step. I found that just trusting my instinct, feeling the overall vibe,
being spontaneous, organic, letting your personality out, and being honest always works.
So you have booked a venue, a cafťí new age shop, a rec center or the like. Now is the most important part. Making
it fun for everybody each and every week. You have to mix it up a little. Playing a variety of ethnic rhythms is
the way to go. Invite others to start or facilitate a rhythm. It has to be fun in order to have legs and work.
Helpful hint: stay away from sports bars!
I have 3 goals I try to achieve at every drum circle. 1 is getting them playing a warm up rhythm on a body drum,
to get them out of their heads thinking Ė and just playing. There is a healing energy in the body after a half
hour of hand drumming, and I want them to genuinely feel it in their bodies. This has a stunning effect when
you demonstrate it to them. But that comes later at the end.
Almost every time there will be brand new drummers so you have to make them feel welcome, but at the same time,
not bore the more experienced musicians. Most of the gigs I get are people who have never played a drum before,
so I have to adjust my set list accordingly for each gig. I just want to get them playing and creating. I let
people know right away ďPlay whenever you wantÖplay whatever you want Ė just follow the beat.Ē The support
rhythm Iím playing is just a starting point. Add your voice, and take it wherever you want.
Explore the unique sounds you can make with your drum.
I generally start with very little talk and go right to playing a warm up default drum circle rhythm:
Boom, sha-laka, boom, sha-laka, etc. They find a place, and go. Jam it out, 4,3,2,1, rumble and acknowledgement
applause. Then take a minute to talk about hand technique, volume, and away to the next rhythm. I usually go
with something Native American like heartbeat. It helps to ground that downbeat for later to come.
To introduce rhythm, I like to vocalize the 1st few measures of a rhythm as I play it. As Babatunde Olatunji, said,
ďIf you can say it, you can play it.Ē. As much respect as I have for him, I use the go do pa ta method in schools,
and lessons. I find that people can process the Mid-East style, or funny sayings, a little faster. Especially at
a party atmosphere reception. ďYum Yum, tastes like chicken. (pause) Yum Yum, tastes like chickenĒ.
That is always a fun rhythm.
After a few rhythms, itís a great time to try the two people laying down in the center, 2 at a time for a few minutes
each. I bring two yoga mats, (or beachtowels if the vehicle is too cram packed.) How it works is like this: About half
way through the circle, I lay 2 yoga mats in the center of the circle before the next rhythm. I ask two people if
they want to REALLY feel the healing power of the drum. I ask them to carefully lay down on them for a few minutes.
(Starting applause for them helps.) I ask them to lay flat on them, arms to their sides, and close their eyes
while we play a rhythm for a few minutes. When I offer up the idea, there are always a few takers on that one.
And when they get up, the faces say it all. Itís powerful to feel the drum downbeat absorbed into your body.
Up until now, everything is headed toward my 2nd goal, guiding the group toward itís musical synergy. Iím working
toward a group dynamic that forms, and everyone can feel it. Iím like a tourguide Ė Iím going to go with them to
all these different places and cultures, and Iím going to experience it with them. Iím a firm believer that I
play a drum the entire time. I want that connection. After the group dynamic is formed I can back down a bit.
But the fact is, that sometimes on gigs you end up ďpulling the cartĒ for the 1st half hour, sometimes
longer, so you have to be able to have good time, and be able to hold a good down beat.
Generally speaking, if it sounds good, it feels good. Once you have that group dynamic going you have them eating out of
your hands, no matter how inebriated they may be. Make it fun, try those inexpensive belly dance wrap skirts. I bring 2.
Ask who wants to try it? It gets everyone laughing when the guys get in there. I sometimes bring hula hoops also.
It depends on the location and vibe of the reception. Get a few of those going around the perimeter,
and it ramps up the fun.
When timeís up, ask them if they want to do one more. (hopefully an enthusiastic YES! And do one uptempo.)
Then comes goal 3, the real eye opener. ďFeel the healing energy of the drum, in your hands and bodiesĒ.
This is the one where at the end of the drum circle, I ask them to all stand up still in a circle, and hold their palms
open and outstretched, opposite to each person next to them, and palms opposite facing each other,. Hold your palms
outstretched directly above each otherís palms, about 12 inches apart. Now slowly compress your hands to the other
person without actually touching them to about an inch. Slowly compress your hands up and down slowly a few times
and feel that energy. The ohís and ahís as they feel it compress Ė they are feeling their chi, or mojo in their
bodies (some for the very 1st time). This is very powerful. Next, turn their hands into themselves, to let
the healing power reach inward, into your bodies. Start from your head, and work it down slowly. This is
incredibly powerful when you feel it for the first time. This whole process takes about 3 Ė 5 minutes.
It leaves a lasting impression.
Thatís why I try to get everyone to drum, on a real drum for at least a half an hour. To get this energy of the drum
flowing in them. All you have to do then, is demonstrate it to them at the end of the circle.
I do keep a drum circle treasure chest off to the side with tambourines, shakers, maracas, etc. to entice the shy to play.
Later when they see how much fun playing a drum looks, they get in there. As much as I like Sound Shapes for rounding
out my kit, you canít get the healing energy in your soul playing one. Sorry Remo, I love you and all. Most of my
djembe drums are drunk-resistant thanks to you, PVC LP's, Pearl, Tocaís, aluminum doumbeks, congas, and bongos.
I much prefer the organic full rich sound of goatskin heads, but for facilitating this kind of job, only drums that can
take a little abuse. Bongos have cowhide heads and can take a lot of pounding. Things do get dropped and/or broken,
so I add in a little ďinebriation damage feeĒ into my price quote.
Itís surprising the amount of engagement everyone has at a drum circle, and how much they truly appreciate and love
drumming Ė especially with family members. Their expressions and smiles will be permanently etched on your face.
Later at night when I get home and unload Ė have time to reflect Ė it affects me deeply.
Ultimately, I just get rhythms started and let people play. Itís a drum circle for heavenís sake, not rocket science.
It doesnít have to be all complicated and full of protocols, games pie slicing, and activities. Drum up some fun
playing rhythms from around the world. Let your personality out, and with your calm and reassuring manner,
watch the volume, and they will quickly enjoy playing together, connect with you, and end up experiencing
the healing energy of the drum. Many people take up drumming after a single drum circle and it becomes a
part of their lives forever. A place to go when things are down, or even looking up. Itís especially
great for the kids. Many go on to join school band.
My 300 page book, ďA Practical Guide to Hand Drumming and Drum CirclesĒ is $8 on Kindle or Nook. Please visit Amazon or
the main site for more info. My 2 hour DVD ď101 Drum Circle RhythmsĒ is also on Amazon. It is the perfect tool for
facilitators, or to help keep a drum circle fresh and interesting week after week.
Check out my drum circle finder that I mentioned, where you can locate drum circles near you in your state.
Itís been online since 1999, there's over 1000 listed, and still growing. Also a global drum circle finder.
The listings are updated monthly. If you get one going, let me know and I will add it to the database.
Just visit my site: drumcircles.net - I also have sample set list you can download and use.
I hope some of this article is helpful to you, and it gives you a few ideas if you plan on working as a drum circle
facilitator, and an idea what to charge for your services. Please keep in mind that these are just my opinions,
based on my own experiences, and from speaking with many others around the country. My advice? Donít stick
with just one approach. Study with as many different facilitators as you can. If the cost is an issue,
attend their events and watch what works, and what does not. Most do public events you can attend a
few times a year. Participate, and observe them. You learn different things from each one.
Use all methodologies, approaches, styles, and be well rounded. Some are in it for the love,
and some are in it for the money. It's easy to spot the difference. Just be you.
Copyright © Shannon Ratigan All Rights Reserved.
There is increasing recognition of the health benefits of music therapy, particularly facilitated
hand drumming, which is what I do for a living. Unfortunately, places where the people who benefit
the most, such as senior centers and special needs can not afford to pay for this.
If you would be willing to make a contribution of any amount to help me provide this
therapeutic music for free, please click on the Paypal button below.