The science of rhythm project

What did you do/ what are you doing?

The project uses drumming to build self-confidence and break down barriers and inhibitions. This in turn allows the young people who participate in the sessions to explore new ways of communicating, thinking and problem solving and relating to each other. The project is primarily aimed at young people with autism and Asperger’s syndrome.

The central principle behind the project is that any process should begin with the person rather than one aspect of them such as their disability. By using rhythm to establish a rapport with young people and to build their self confidence the project has found that they are more able to engage in both discussions about, and the processes involved in, planning for their own futures.

The work has been the starting point for developing a Transitions Pathway for Independent Life Skills programme, As part of the project young people also do personal identity maps, looking at their family and community.

An allied project, the Passport Project enables young people to explore and question aspects of their identity. Supporting them to understand what their culture and heritage mean to them; something that is often not given priority with disabled young people but which is at the core of who they are.

The process of the Science of Rhythm project is that Biant Singh sets up drumming groups; going into special schools and running the initial sessions. Schools have been able to use Aiming High Transition Support Programme money to purchase drums. Biant leads the first sessions, introducing percussion and the drum, out of the basic foundation notes ‘base, tone, slap,’ young people are able to explore rhythm. Biant finds that the groups are self sustaining because of the enthusiasm that is engendered through the process of drumming and often young people themselves help to facilitate the group.

Biant has developed a toolkit using percussion so that teachers or other members of staff can run the group and it is self sustaining.



What age groups do you work with?

The project works mainly with 11-18 year olds.

The project was initially open only to young people from year 9. However the schools asked Biant to make it available to younger children so some afterschool clubs ‘Rhythm is one’ were also set up.

Although this was initially simply a response to a request Biant has found that it enables him to do a far better and detailed assessment when young people do move into transition because he already has a relationship with them through the afterschool clubs.

Where are you based?

Geographic location / organisation North Nottinghamshire, Mansfield, specialist education provision.

Up to now the project has only been open to pupils in special schools. However, Biant is working with mainstream schools to interest them in the project.

What did you want to achieve?

Biant was inspired by the visual approach used by Helen Sanderson Associates in their approach to person centred planning, using Maps and Paths. He had always done drumming and he felt that it had a contribution to make and that he could bring rhythm into person centred thinking and the Person Centred Review process.

‘I’d always done drumming and the main catalyst was that I felt there was something missing in young people’s lives - that the focus was on young people’s disabilities rather than on them as people… The spirit of rhythm knows no boundaries. Drumming is the tool that helps people to connect and can be used for specific goals such as improve communication, mood and self esteem.’

Biant wanted to turn the Transition process on it’s head so it was engaging young people around an activity which absorbs them and is about them and for them and then move into person centred planning and a transition process that works. He believes that drumming digs deep into human potential and that the confidence and increase in self esteem which it gives to young people is invaluable in enabling them to take a full and active part in their transitions. It is a more positive process where they are in the driving seat, connected with their goals. He describes it as ‘a perfect lesson in equality.’

‘Because when they drum they get it right, they feel good in themselves, ‘yes I can in every groove’, so... Lose the fear of making mistakes, which allows you to make fewer mistakes.

… It Strengthens roles within the group, your values, and vision, a confidence to look forward and think about the future.’

To what extent did you meet these outcomes?

The project works with young people who find it difficult to stay focused for a long period of time and it keeps their attention. Biant has found that the learning is transferable. ‘If there are complex rhythms then they have to learn to deal with it and then that translates into real life situations improve communication, enhance your capacity to listen, stay focused on task through sustained physical activity, improve hand eye co-ordination and use of fine motor skills.’

He also believes that it helps them to lose the fear of making mistakes, because with drumming there is no right or wrong way. There are only three notes, but a whole range of tones come from these.

What is the impact on the children / young people?

The young people involved often haven’t been engaging with services but do engage with this one. They have also had feedback that some non-verbal children have begun to vocalise rhythms as a result of their involvement in the project.

Parental feedback also supports the contention that drumming can make an important contribution to the transition process:

‘Drumming will continue to be a huge influence in Joe’s plans through his transition to adulthood.’

Biant believes that drumming has a special resonance for children whose verbal skills are limited. They are able to communicate, to hold their own with other people. ‘They are all starting at the same point, all playing their own rhythms. They bring to the world “yes I can”. When they hit the drum, you can hear them say “yes I can”, that’s what the rhythms say. It’s incredibly positive.’

Drumming releases endorphins, connects you with other people when language might be difficult.’

Having tracked young people who have experienced the Science of Rhythm project Biant feels more have success when they later move into supported employment or independent living.

What difficulties did you need to overcome?

There was scepticism from some colleagues who felt that children with profound disabilities would not gain any benefit. However, technology such as sound beam means that physically a tiny percentage of children ‘can’t’ drum.

Thinking about the needs of those with more complex needs led Biant to think more creatively about how to maximise the experience for those with sensory impairments. He created the Aromatic Beat Project which involved sessions where essential oils are put onto the drums and the aromas are released as young people drum.

The young people who do not benefit from drumming are those who are very sensitive to sound. With these young people other forms of expression such as art or poetry are used to meet the same ends; enabling them to explore themselves before they address the issue of transition.

Is the impact/ outcome sustainable?

The nature of the project means that the outcome is sustainable. The groups run in schools so accommodation is not an issue. After the initial outlay to buy drums groups develop their own life; the group creates its own facilitators. As the group continues skills knowledge and expertise grows within the school.

Scale of work

At the moment the project runs in special schools in north Nottingham but Biant would like to get it spread across the East Midlands and is also trying to get groups set up in mainstream schools.

What are you most proud of?

‘It’s a privilege to be there and to drum and to see young people with such a passion about drumming to be so engaged and to be a part of that.’

Young people have become group facilitators and leading the sessions putting them firmly in the driving seat when it comes to things like reviews. It helps them to carry their voice into meetings; the confidence really translates into other areas of their life.

Were all of the stakeholders views of the outcomes positive?

Yes

What would you like to improve?

To enable more young people to benefit from the Project.

The aim is to continue to develop the approach using Interactive Rhythm and Drumming in Transitions across schools in Nottinghamshire with young people in groups leading the sessions as facilitators and sustaining Transitions Drumming Groups both in Education settings and the voluntary sector.

What aspects of what you achieved can be passed on to others?

Both the project template, but also its central principles can be passed on to others. That transition must be a process not an event and that giving young people confidence is vital ahead of them making major decisions about the future.

Supporting quotes

‘There was a young man who said to me “Biant, when do I get the groove?” I said “You’ll know when you get it.” A few weeks later he shouts to me across the shopping precinct - “Biant I got it, I know what the groove is.”

‘I have always felt that there was something missing in my life. I thought this was because I was disabled. Now I realise I didn’t know much about who I was as a person. Everyone was so concerned about my disability, they forgot to help me find the real me.’