These protocols are also EVOLVING! Please contact me with any ideas / suggestions.

Drumming Protocols.
1. Respect.
Each and every person has an equal right to participate and express themselves. Each and every person participating becomes a creative part of a spontaneous and ever changing expression of group consciousness. This consciousness is vulnerable to
dominating and egotistical approaches, and becomes strained and belittled, but when approached with total respect, it can relax into a brilliant and diverse expression of life unfolding.
2. Listen.
Drumming teaches us to listen to each others rhythms. We should be able to feel the group rhythm and pulse, before we speak with our drum. The group rhythm is forever changing, and never exacltly repeats itself. It is bigger and more complex than any one individuals input. It is an audio look into the spontaneous moment of manifestation of the divine intelligence of the universe unfolding, which dwells in each and every one of us.
It is therefor important to learn to listen to the ever evolving conversation of the drum circle, to feel its safe and predictable pulse, and also to trust our intuition, which allows us to project to the newest edge of the moment unfolding.
The practice of drumming teaches us that there is no limit to how closely we can listen to any moment in time.
3. Simple and clear.
The more we as individuals keep our input simple, the more playful and conversational the group can become. As in a conversation, we take turns speaking, not shouting at the same time all the time. It's easy and anyone can do it.
The more we tend to simplicity, the more we realize that it's easy, and the more we experience the surprise and fun of other players filling in the gaps we leave.

The Evolving Rhythms Tour.
The Evolving Rhythms Tour is simply a means of reflecting the art of living in harmony with ourselves, with each other, and with our environments, which is the key to rhythm, music, and life.
There has never been a culture anywhere at any time that did not have music, rhythm and dance, as a primary means of celebrating life.
When we drum in a group, every person may play a different part, but all the parts can fit.
As is so in any structure in life, all that is needed is to practice and cultivate awareness of each other, to align with each others rhythms, ideas and directions, and to contribute our own input, sensitive to the energy of the present moment. Then we experience the self as a unique and vital part of a greater co-operative whole, an experience which is absolutely vital in the journey to becoming a well adjusted, aware, contributing member of a society.
As with drumming, dancing gives us an experience of connecting and belonging. The contribution of the dancer can be as profound as the contribution of the drummer in the inspiration of others.
So, in addition to drumming, the Tour, in some cases, will utilize amplification and effecting of key drummers, to deliver a sound experience comparable to festival sound stages and dance party / club sound systems, which further inspires everyone, and brings the ancient into modern day focus.
The Tour has crew members to facilitate a clear rhythmic direction, but any and all people are invited to participate. There is NO BOUNDARY between performers and audience, as the aim is that people might experience themselves as an active, creative part of something powerful and beautiful, not just a spectator of something powerful and beautiful, created by other people, somehow more talented or special than themselves.
This hopefully paves the way for the emergence of a more confident, self realized human being in all areas of life. 
It is important to realise that the Tour is not about practicing traditional rhythms of any particular culture, as this style of drum teaching and practice leads to a fixed approach, a fixed idea of what is correct technique / rhythm, which in turn creates a question in the mind of the beginner drummer: "Is this right?" rather than "This is it!". Although this traditional approach can lead to very powerful poly-rhythms, it moves us away for the goal of sensitivity and spontinaity, which is always the first and most important aspect of this practice. When we let go of a fixed idea, we become more open to the subtle world of new ideas. In this way, drumming becomes a practice of not only connecting with each other, but also of tuning in and connecting with something infinitely more ancient and mysterious, the place from where the inspiration for the intuitive, universal language of rhythm springs from. (Remember that even the oldest traditional rhythms were at some time played for the first time, the fruits of this deeper practice.) This is at the core of the work of the Evolving Rhythms Tour.