Flute circle

Participants playing Native American flutes at a flute circle

A flute circle is an organization of musicians which focuses on the Native American flute. Flute circles typically meet periodically to engage in educational and recreational activities surrounding the instrument. Most flute circles offer instruction on the Native American flute, especially for flutists who are new to the instrument. Many flute circles have a facilitator with experience in group music facilitation and humanistic music education to structure the activities and the music-making.[1]

This use of the Native American flute in community music is notably different from traditional uses of the instrument for courtship, hunting, or ceremony.[2] This new use of the instrument has not been without controversy, and flute circles are generally advised to use the instrument in a respectful manner because of these considerations.[3]

Flute circle participants may span a wide range of experience and training in music — from professionals to novice flutists or enthusiasts of the Native American flute.[4] Many flute circles focus on raising the level of musicality of the participants across a range of levels of musical experience using basic song forms, music improvisation, and techniques of experiential music education. These techniques include duet and ensemble improvisation forms that include drones, ostinato patterns, and call and response forms.[5]: 21–25  Facilitation forms include traveling ensembles, showcasing, segmenting, and general conducted improvisations — techniques that are shared with other community music structures such as drum circles.[6][7]

While some flute circles focus on aspects of indigenous cultures and indigenous peoples of the Americas, they do not typically relate to a single culture or tribe.[8]

Flute circles can also organize events for participants to play at events, festivals, school presentations, or in service settings such as senior centers, elder facilities, and group homes. Flute circles have also engaged in their own concerts, produced music albums, and broadcast live music performances.[9]

  1. ^ Mary Jane Jones (August 2010). Revival and Community: The History and Practices of a Native American Flute Circle (M.A.). Kent State University, College of the Arts / School of Music.
  2. ^ Frances Densmore (1957). "Music of Acoma, Isleta, Cochiti, and Zuñi Pueblos". Smithsonian Institution, Bureau of American Ethnology. 165. Washington, D.C.: United States Government Printing Office.
  3. ^ Edward Wapp, Jr. (1984). "The American Indian Courting Flute: Revitalization and Change". Sharing a Heritage: American Indian Arts, Edited by Charlotte Heth and Michael Swarm. Contemporary American Indian Issues Series, Number 5. Los Angeles: American Indian Studies Center, UCLA: 49–60.
  4. ^ World Flute Society (2016). "Flute Circles, Clubs, and Groups". WFS. Archived from the original on 2016-02-11. Retrieved 2016-02-18.
  5. ^ James Oshinsky (January 2008). Return to Child — Music for People's Guide to Improvising Music and Authentic Group Leadership (Second ed.).
  6. ^ Arthur Hull (1998). Drum Circle Spirit: Facilitating Human Potential Through Rhythm. White Cliffs Media. ISBN 0-941677-84-2.
  7. ^ Arthur Hull (2006). Drum Circle Facilitation. Village Music Circles. ISBN 0-9724307-1-7.
  8. ^ James H. Howard (1983). "Pan-Indianism in Native American Music and Dance". Ethnomusicology. 27 (1): 71–82. doi:10.2307/850883. JSTOR 850883.
  9. ^ Clint Goss (November 2015). "Thriving Flute Circles". Overtones!. 2015 (4): 9–11.