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Classroom Practice/Program

strengths are identified and nurtured to promote student achievement and a sense of well-being about the
students’ cultural place in the world (Lynch, 2016). In order to acquire more knowledge of my students,
I get a printout of each group of students that I teach. I then examine the roster for information on how
students identify and consider the potential for differentiating cultural experiences. This list assists me
in choosing and developing teaching materials representative of the cultures identified in the printout.
Furthermore, although I select the songs that are learned, I offer opportunities for students to make choices.
I have found that my students request songs that have movement in them. My students engage best when
they are active.
Accordingly, another teacher tip would be for educators to examine the demographics of their classes.
Public and private schools in the United States offer this information to teachers in class rosters. A non-
music classroom teacher may use this information in selecting cultural reading materials, creating family-
tree reports, and offering guest speaker events for scholars.

Social-Emotional Learning

A content lesson or unit that defines me as a teacher would be my drum circle experience. This lesson/
unit demonstrates many aspects of my teaching philosophy in building social-emotional relationships in
the classroom, enhancing mutual respect, developing a growth-mindset, and building community. The
circular learning environment is beneficial as all students can see the teacher and one another. In this format,
I am best able to implement my personal teaching style, which is calm, positive, and complimentary to
students.
My beliefs about teaching are demonstrated in this lesson as the children develop a camaraderie and
feeling of a musical family that fosters creativity and self-expression. Everyone is welcome in our circle.
Students feel a sense of belonging that extends beyond the classroom, i.e., onto the playground and into
the hallways and cafeteria.
My drum circle experience also engages students in cultural awareness. I have written grants
through the RuMBa Foundation of Long Beach to have Baba the Storyteller (Africa) come and perform
schoolwide assemblies where students participate in drumming, storytelling, singing, dancing, clapping,
and appreciation of African culture.
This tip for teachers is to offer students circle-time activities and/or games that foster communication
and teamwork between and among students—and that include their teachers. For example, in a music
classroom, one would offer combinations of drumming materials for students. I often use a configuration
of 17 small djembes, 8 medium djembes, and 9 tubano
drums. The eight medium djembes are organized with four
on each side, separating the small djembes from the tubano
drums for optimal sound balance. I carry the small djembe
on my shoulder and circulate to help keep the beat/rhythms
for students. The center area is optimal for student drum
circle leaders and for dancing. I often play multicultural
songs on the piano while students drum along.
Differentiated Learning Techniques

With such a focus on student-centered teaching and the
social-emotional well-being of every individual, seeing my
students achieving is my greatest reward. I enjoy observing
their musical progress from transitional kindergarten up
The power of the drum circle lies in its ability to fifth grade—their growth and achievement from ages
to advance social-emotional learning. 4 years old to 12. I feel proud as I see them increasing in

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