Effect of a Culturally-Centered Group Drum Protocol on Empowerment of Indigenous
Adolescent Girls of the Six Nation of the Grand in Canada
Amy Di Nino
Berklee College of Music

EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL
Abstract
Empowerment-based protocols such as the MTIDE, as implemented with marginalized
populations, aim explicitly to assist people and communities to recover from the
consequences of disempowerment, so each can become active agents in reducing health
disparities and inequities, increasing the capacity to manage individual and group health,
and to adopt lifestyles through building strong community and cultural networks.
The investigator is a board-certified music therapist and a registered
psychotherapist with experience among the Indigenous people. She developed and
implemented MTIDE, or the Music Therapy Indigenous Drum Empowerment project, a
music therapy protocol, and tested its’ effects on the girl’s relationships among
themselves, within their families and also their communities.
A pre-posttest single group design was used to determine the effectiveness of the
multi-faceted protocol. Pre-posttest measures included the Growth and Empowerment
Measure (GEM), administered to evaluate adolescent experiences of inner peace, healing
and growth, connection and purpose. It was hypothesized that there would be significant
pre-posttest changes (p = .05) on scores of the Growth and Empowerment Measure as an
indication of positive perception of empowerment of individuals within the group before
and after the music therapy protocol. The Kessler Psychological Distress Scale (K6) was
used to evaluate distress. It was hypothesized (p = .05) that there would be a significant
difference in pre-posttest scores of the Kessler Psychological Distress Scale following the
MTIDE protocol. It was hypothesized that there would be significant pre-posttest changes
(p = .05) in the reduction of perceived distress in the girls as a result of the music therapy
protocol. The Medicine Wheel Wellness Assessment was used as a self-evaluation
measure of individual health and wellbeing, to include any of four areas of cultural

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growth, spiritual, emotional, physical and mental change throughout the protocol. The
talking stick, a culturally relevant tool, was used in each session, and in the final
ceremony to facilitate verbal self-expression, and as means of sharing thoughts, ideas,
and, ultimately themes shared by the girls.
The purpose of this study was to examine whether music therapy, consisting of a
culturally-embedded drum protocol nested within Indigenous cultural traditions, would
inspire perceived personal growth, empowerment, health and wellbeing. Secondly, the
study examined whether participating adolescent girls would report decreased distress
following the protocol when compared to the pretest as measured by the Kessler
Psychological Distress Scale (K6). Finally, the researcher was interested in whether
individual changes in beliefs or behavior within the group would impact group relating as
a whole, each girl’s family and/or the greater community.
It was hypothesized that there would be significant pre-posttest changes (p = .05)
on scores of the Growth and Empowerment Measure (GEM) as an indication of positive
perception of empowerment of individuals within the group before and after the music
therapy protocol. The null hypothesis on the GEM Scenarios and Emotional
Empowerment Scale was rejected, indicating a significant difference pre- to posttest, (p
<.01) with T = 0. This indicated that the music therapy protocol was highly effective in
increasing the reported perceived empowerment among the girls.
Secondly, the study examined whether the girls would report decreased distress
following the protocol when compared to the pretest as measured by the Kessler
Psychological Distress Scale (K6). The null hypothesis of no differences was rejected at a
significance level of (p <.01) with T = 0. This again indicates that the music therapy

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protocol was resulted in significant decreases in perceived distress following the music
therapy protocol.
Finally, of interest were the observed changes in the beliefs and behaviors of
individual girls and the impact recognized on the group as a whole, each girl’s family,
and the greater community. Themes relating to self-empowerment, empowering peers,
and embodying empowerment internally to inspire family and the community were
gathered through coding and narrative analysis. Oral traditions form the foundation of
Indigenous societies, and the connection between speakers and listeners within each
ceremony was the oral gauge to measure increased empowerment over time.
Despite the small number of participants (n = 10,) in this study, and the minimal
number of weeks of the MTIDE protocol ceremonies (four ceremonies), significant
positive changes in perceived empowerment and reduced distress were observed in the
girls as evidenced by scores on the standardized measures, the Growth and
Empowerment Measure (GEM) and the Kessler Psychological Distress Scale (K6) as
well as shared verbalized themes as expressed by the girls. Results indicate an increased
sense of wellbeing in the group despite unchanged external stressors. This suggests
improved wellbeing and self-belief even in the context of continued life stress.

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Acknowledgements
I am profoundly grateful for the blessing of the Elders of the Six Nation of the
Grand who invited me in as a music therapist, drummer, and student of the Indigenous
culture. Dr. Peggy Codding, thank-you for powerfully inspiring and challenging me as
my advisor throughout this journey together. I was also privileged to have Dr. Suzanne
Hanser and Dr. Darla Hanley provide valuable and timely feedback that deeply energized
me and the scope of my study. Elizabeth Flynn-Dastoor, you are an APA inspiration.
The support of new friends and peers within my cohort was brilliant and full of
well-needed humor. I extend my deepest gratitude to everyone who makes me a better
person and music therapist making music together, including my band mates in Cootes
Paradise, my Grand River Voices choir, and my beautiful clients who all patiently
understand the passion I hold for this study. And to my husband Domenic, staying up late
with me while counting all those time signatures, the best truly is yet to come.

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Table of Contents
Abstract ...................................................................................................................... 2
Acknowledgements ..................................................................................................... 5
Effect of a Culturally-Centered Group Drum Protocol on Empowerment of Indigenous
Adolescent Girls of the Six Nation of the Grand in Canada ........................................... 7
Evaluation of Empowerment ..............................................................................................10
Indigenous Adolescent Young Women At Risk ....................................................................11
Music, “Therapy,” and Ritual as Considerations in Groups ..................................................13
Music’s’ Effects on Individuals and Community ..................................................................15
Drumming, and Indigenous Culture: Intervention of Choice ...............................................17
Culture Connection and Group Experience .........................................................................19
Intervention .......................................................................................................................21

Method ..................................................................................................................... 22
Participants ........................................................................................................................22
Setting ...............................................................................................................................23
Design ................................................................................................................................23
Measures ...........................................................................................................................24

References ................................................................................................................ 49
Appendix G ............................................................................................................. 103

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Effect of a Culturally-Centered Group Drum Protocol on Empowerment of Indigenous
Adolescent Girls of the Six Nation of the Grand in Canada
Empowerment and Well-being in Groups
Inspiring the youth of a culture to independently invest in themselves and nurture
self-empowerment through learning, taking risks and achieving will benefit individuals,
families, community and the overall culture, in the present and for generations to come.
Empowering adolescent girls of the First Nation of the Grand to embrace their individual
potential in order to assume their traditional, yet significant roles in within their
communities is an invaluable investment, one of great interest to everyone. “The
empowerment of Indigenous women as powerful agents of change could only strengthen
their communities and nations in the face of environmental and other challenges”
(Wallerstein, 2006, p. 17). This statement was one of many made by Bruce H. Moore,
senior United Nations official representing Canada at the United Nations Permanent
Forum on Indigenous Issues in 2017. Continuing, he stated, “Specifically, for Indigenous
women, traditional systems have been attacked and displaced. Key among these is
displacement of Indigenous peoples and dispossession of lands, breaking up families by
targeting children through Indian Residential Schools and the child welfare system and
the discrimination and disenfranchisement of Indigenous women and their children
through registration provisions of the Indian Act. As a result, Indigenous women and girls
have been pushed to the margins more so than non-Indigenous counterparts, especially
within urban settings” (United Nations, 2017, p. 1). Amidst these events and experiences,
Indigenous women continue to show resiliency and strength (Bellamy & Hardy, 2015).
Similarly, increasingly prosperous women now sustain flourishing communities (Stige,
2002); however, this prosperity is not possible without the community’s support.

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Empowering adolescent girls of the First Nation of the Grand will be essential to the
present and future of these communities. Responsive programs, services and incentives
will strengthen both individual women and the collective. One example of such an
initiative is The First Nations Mental Wellness Continuum Framework (United Nations,
2017) which was developed through intensive collaboration between Indigenous partners
and Health Canada. This is a shared vision, wherein Indigenous individuals, families, and
communities across Canada are supported to enjoy optimal levels of mental wellness.
Achieving this vision requires: culturally grounded community development and capacity
building that reduces risk factors and increases protective factors; comprehensive,
coordinated, and high quality culturally responsive mental wellness services for
Indigenous people living on a reserve (United Nations, 2017).
The World Health Organization seems to be in agreement with the role
empowerment serves in the well-being of societies. The World Health Organization
(WHO) describes community action and empowerment as prerequisites for health. WHO
defines empowerment as “a process by which people, organizations and communities
gain mastery over their affairs” (Wallerstein, 2006, p. 17); with community
empowerment as “a social action process by which individuals, communities, and
organizations gain mastery over their lives in the context of changing their social and
political environment to improve equity and quality of life” (Wallerstein, 2006, p. 17).
The World Bank describes empowerment as “the process of increasing capacity of
individuals or groups to make choices and to transform those choices into desired actions
and outcomes” [to] “build individual and collective assets, and to improve the efficiency
and fairness of the organizational and institutional context which govern the use of these
assets” and the “expansion of assets and capabilities of poor people to participate in,

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negotiate with, influence, control, and hold accountable institutions that affect their lives”
(Wallerstein, 2006, p. 17).
Empowerment includes both processes and outcomes, with empowerment of
marginalized people being an important outcome in its own right, and an intermediate
outcome in the pathway to reducing health disparities and social exclusion. It is based on
an assumption regarding community cultural assets that can be strengthened through
dialogue and action. Dialogue, that is, participatory critical reflection in interaction with
others through traditional cultural media, enables the development of collective actions in
an ongoing cycle leading to future action. Empowerment begins in small increments, and
grows. Empowerment involves culture and society, and is population-specific. It,
therefore, requires action within a local community context. Empowerment can be seen
as a dynamic interplay between the gaining of a greater internal control or capacity
through personal transformation and psychological empowerment and a one involving an
overcoming of external structural barriers which provides access to community or
institutional resources. When these two events occur in successfully, and in balance,
under appropriate leadership, positive community transformation can also occur.
“Agency” is also an important variable associated with community empowerment.
as identified by the World Bank (2006). This seems especially true among is the role of
marginalized communities seeking to exercise choice and transformation. “Agency” is
defined as ‘what a person is free to do and achieve in pursuit of whatever goals or values
he or she regards as important’ (Sen, 1999, p. 3). Agency involves processes within
community that result in group empowerment. When agency is present, empowerment
cannot be given to or bestowed on people, rather, people empower themselves.

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Empowerment and its sustainability occur as people create their own momentum, gain
their own skills, and advocate for their own changes.
There is a revival in traditional ways, beliefs, and cultural interest among both
young and old within the community of the Six Nation of the Grand reserve in Canada. It
is perceived that empowerment of self and group is desirable and will lead to improved
health and wellbeing within individuals and in the community (Chansonneuve, 2007).
Overall, such empowerment could result in minimized depression, and fewer destructive
individual and group behaviors resulting from poor self-concept or social isolation
(Chinman & Linney, 1998). Valarde, et al., (2002) speak of such empowerment in terms
of healing, that is, coming to terms with the past and present situation, and dealing with
the pain; Gaining control: Becoming strong, both culturally and spiritually; Remaining
calm despite turmoil; Finding voice, participating in change; Working together for a
strong community (Velarde et al., 2002, p. 78). These values, implemented as
components of a strong curriculum or protocol for empowerment, could result in a pattern
of change for adolescents in search of enhanced health and wellbeing, both individually,
and as a community.
Evaluation of Empowerment
It is a challenging task to evaluate cultural empowerment within community, even
as ideas or values that reflect empowerment are identified with some level of agreement.
Still, interventions that result in reductions in social exclusion and health disparities are
laudable. Literature is scant that incorporates comparison of neighborhood, village,
municipal or greater projects seeking to empower groups. By their very nature such
research can be complex and does not easily fit into experimental design (Fetterman,
2002 The World Health Organization published five conclusions regarding the evaluation

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of empowerment interventions, indicating that evaluation should: 1) be participatory, 2)
have adequate resources, 3) examine both processes and outcomes, 4) use a mix of
methodologies and designs, and 4) consult additional expertise in complex design
(Wallerstein, 2006, p. 83). Rifkin (2003), identified six desirable outcomes resulting from
empowerment as each might impact health, wellbeing and development within a group:
Capacity-building, human rights, organizational sustainability, institutional
accountability, contribution, and enabling environment.
Indigenous Adolescent Young Women At Risk
Adolescence has been recognized as a time of dramatic change in the body and
brain (Giedd, 2015). According to the Mental Health Commission of Canada (2013),
about one in four adolescents have been diagnosed with a mental illness, which places
them at much higher risk of experiencing mental illness during adulthood. This
precarious period in development is the peak time for the emergence of anxiety disorders,
bipolar disorder, depression, eating disorders, and psychosis. It is also the most common
time for the onset of substance abuse (Geidd, 2015). Research suggests that Indigenous
adolescents are at higher risk to suffer from chronic health conditions than are their nonAboriginal peers (Royal Commission on Aboriginal Peoples, 1996).
Individuals who have endured a combination of perceived threat and historical
lack of protection due to environmental factors struggle with negative impulsive
behaviors including: risk taking, avoidance, aggression, self-harm, and maladaptive selfsoothing through addictions and negative compulsions (Grof & Grof, 2010). In
Indigenous culture, healing refers to a reprogramming that comes from a purposeful
restructuring of self and community accomplished through the teaching of emotional

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regulation (Van der Kolk, 2014) and resilience (Grof & Grof, 2010) through communitybased learning.
Among adolescents of the Indigenous people, the ability to regulate personal
emotion is an ongoing challenge that contributes to an inability to negotiate healthy and
supportive relationships (Faulkner, 2017). Indeed, observed mental suffering is caused by
this duopoly. Emotional self-regulation is the ability of an individual to adequately adjust
to the distresses of daily life, and it is central to wellbeing and positive adjustment (van
Der Kolk, 2014; Ogden, Minton, & Pain, 2006).
Cultural Considerations Affecting Interventions
Recent trends in treatment dictate that counselors and therapists should consider
the cultural background and life experience of a client or when planning for successful
clinical intervention in various settings (Whitehead-Pleaux & Tan, 2017). Increasingly,
evidence demonstrates that the most effective addictions prevention and intervention
programming for Indigenous people is grounded in the wisdom of traditional Inuit, Metis,
and First Nations teachings (Ellis, 2003). The center of intervention for these people is a
holistic approach focused on a healthy life (Frank, 1992). Indigenous belief systems have
much to teach about a broad approach to recovery because each value set emphasizes: (a)
that all aspects of wellbeing are equally important and interconnected, including the
physical, emotional, mental, and spiritual; (b) that balanced wellbeing is important
throughout the lifespan; and (c) that individual health is a function of the health of
families, communities, nations, and the environment. Each of these three values must be
emphasized in clinical or community intervention settings in order to implement and
sustain the health and wellness of the Indigenous people over the long term, especially in
regards to addictive behaviors (Chansonneuve, 2007).

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Music, “Therapy,” and Ritual as Considerations in Groups
Music is essential to human experience and is known to be a part of all cultures in
some form. Music is the abstraction and transformation of human emotional and physical
energies into acoustic energies that reflect, parallel, and resonate in synchrony with the
physiological system (Stige, (2002). Through music, individuals see themselves reflected
in the most faithful, intimate, profound, and exposed manner. “Music is what human
beings are; it behaves as human beings behave, and causes the human system to behave
as music behaves” (Stige, 2002, p. 68). “It is the mirror of human physical and emotional
energy transformed into sound. It is a temporal, non-static, developmental, evolutionary
transcription of life” (Schneck & Berger, 2006, p. 137). Although music’s cathartic and
transformative powers may be universal, the ways such powers are harnessed and
directed appear to be culturally specific. “Indeed, the forms musical healing may take
within a given community are determined by how its members conceive of health and
illness, as well as their relationship to the material and spiritual realms” (Janzen, 2000, p.
64).
One might ask why music is an essential tool to promote clinical or cultural
change. Music therapist, researcher, and Indigenous woman Carolyn Kenny (2006) states
that, “feeling is a global term in the Native world that suggests not only feeling in the
emotional sense, but in a holistic sense. From experience in music therapy and in my own
culture, I believe that the sense of art, that sensibility which is difficult to name, but
natural as the light of day or the darkness of night, creates integration, coherence, and
strength in our people. This sensibility can help us to realize that we belong. This
acceptance and sense of belonging is reflected in our relationships with each other and is
demonstrated through empathy, a belief in the interconnectedness of all living things. If

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our children can feel this coherence, they can do more than survive. They can thrive” (p.
134).
Values essential to “healing,” culture and music have been conveyed by others.
McCormick (1995), in a study on Indigenous healing, found that expression was the most
important factor in spiritual, mental, physical and emotional healing among indigenous
people. In analyzing responses from First Nations study participants, slightly over one
third of those responding rated expression the highest, on his list of categories on themes
of healing. In the Navajo culture, a person’s wealth is judged by the number of songs he
can sing (Witherspoon, 1977). Kenny (2006) shares that “In our art we reveal ourselves
to one another and to society at large. This revelation helps us to define ourselves
individually and collectively and therefore has many important healing aspects. We build
community.” She says, “we share our hopes and dreams. We participate in the creative
spirit. We create our identities. We participate in the creation of our destiny as individuals
and as communities” (p. 97). Ritter (1996) stated that elders remind us to face the future
with a computer in one hand and a drum in the other. “As a therapist,” Kenny (2006)
states, “I always wait for the creative impulse, the spirit from within, which moves one to
better health. Each person has an inner vision of health. My role as a creative arts
therapist has been to assist people in finding their vision so that they can take charge of
their own destinies” (p. 154).
Regarding culture and music, she asserts, “rituals are repeatable forms that make
space for innovation, and repetition is a fundamental concept in traditional, Indigenous
societies because the cycles of the Earth, the phases of the sun and moon, the
developmental stages of peoples’ lives, the processes of healing all depend on repetition
for keeping the world in balance. Repetition of musical expressions in safe space is

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critical for efficacy of our work” (2006, p. 167). According to d’Aquili et al.’s (1979)
ritual affects us deeply. It may serve to stimulate both the parasympathetic components of
the central nervous system and lower brain mechanisms and, as a result, ritual may
function as a unifying agent within the brain. It is notable that d’Aquili et al. (1979)
describes that ritual itself is the stimulant irregardless of music or another
phenomenon! However, in The Mythic Artery (1982), Kenny (2006) relates, “the music
itself could also be considered a ritual” (p.181).
Music’s’ Effects on Individuals and Community
There is growing evidence to indicate that rhythmic music may positively affect
emotion regulation in individuals. Research in neurology indicates that the specific areas
of the brain impacting perceived emotional response are many of same areas of the limbic
system influenced by rhythmic music (Levitin, 2009). This suggests that individuals with
enhanced vulnerability to dysregulation, impulse control and depression, that is, a
reduced ability to self-regulate, may be assisted by directed, evidence-based music
therapy protocols designed to assist in reducing reactivity of brain function when brain
function is made more vulnerable (less functional/adaptive) by either one’s external or
internal environment (Chanda & Levitin, 2013).
Juslin and Västfjäll (2008) have proposed six underlying mechanisms through
which music may induce emotions: with musical expectancy (the way we expect a piece
of music to continue) being identified as one of those. Musical expectancy reflects
learned schemata about specific styles of music that differ from one culture to another
and that make listeners from different cultures react differently to the same piece of
music (Juslin & Västfjäll, 2008, p. 569). Indigenous girls living on the Six Nations of the
Grand, have been intensely aurally stimulated with traditional music to create a strong

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sense of cultural identity which deepens the connection within a music therapy
intervention and the innate predictability and familiarity increases the possibility of
emotion regulation.
Music is also an effective tool for affective and motivational change within
groups. Henderson (1983) found a positive effect of music therapy on awareness of
mood, group cohesion, and personal self-esteem among adolescent psychiatric clients.
Early research by Montello (1999) suggested that music bypasses the defenses of the
brain’s higher cortical functions and directly affects the limbic system’s emotional
processing. She further indicated that traumatized clients are not fully aware that their
overcharged nervous systems distort natural life rhythms that accompany life
experiences. As a physiological tool (forcing function) for triggering functional
adaptation, music helps drive the sophisticated feedback control system that is the human
body, to adjust its operating set-points (reference signals). This the body does through
mechanisms of entrainment that, in turn, set into motion functionally adaptive processes.
These processes can result in redirected physiological patterns, as well as psychological
attitudes (Schneck & Berger, 2006, p. 115). Straus (2017) stated that when people feel
vertically integrated (awareness of our body and feelings in the moment), our bodies,
limbic region, and cortex in the right hemisphere are all linked, and one is able to
recognize and listen to one’s feelings through awareness of one’s bodies. Vertical
integration helps the brainstem, limbic, and bodily states (all nonlinear, nonverbal,
nonlogical) to be fully present in awareness. In these times, an individual has a wider
window of tolerance and a broader range of emotions. As a result, one does not become
emotionally dysregulated as quickly (Straus, 2017). It is when we become emotionally

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dysregulated that we act impulsively, are affected by the symptoms of depression, or act
on the craving of an addiction.
Drumming, and Indigenous Culture: Intervention of Choice
Drumming has been an integral part of Indigenous cultures since time
immemorial. The drumbeat represents the heartbeat of Mother Earth; the drumbeat is
humanity’s common pulse (Ritter, 1996). Many non-Indigenous people approach playing
a drum as a means of creating sound, but in the Indigenous culture, the desire is, rather, to
draw out the sound from the drum. In this culture of the beating drum as “human heart”
and “heartbeat of the earth,” s/he who draws out the sound from the drum, channels
sound so to connect one’s spirit with that of the earth and the Great Spirit (Meadows,
1996).
The teachings of the Elders are the identity of the Indigenous people, as these are
passed verbally from generation to generation and have become the center of human
identity (Tsey & Every, 2000). In one-on-one experiences with Elders on the Six Nations
of the Grand, the researcher has heard them share the wisdom that, “one must know
where one has come from to know who one is”. Cultural identity is a key determinant of
how Indigenous people view and express themselves (Royal Commission on Aboriginal
Peoples, 1996). Stories of the Indigenous people tell variations of the legend of a drum
being given first to the woman by the Great Spirit, who is told to share it with men who
were then to create peace between warring nations (Garrett, 1999). Wilson (2005) further
describes how cultural identity, and, significantly, how health and wellness are
inseparable and are essentially expressed through Indigenous traditions. Lounsberry
(2001) describes cultural practices surrounding the drum to include the teaching of
younger generations about the drum: to treat one’s drum like a child, by covering it with

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a blanket when it is cold, and refraining from drug and alcohol use when around the drum
because it is sacred. Patterson (1996), shares that Elders also teach that one cannot pick
up another’s drum without that person’s permission as this act is disrespectful to the
other. As the youth of the Indigenous people learn more about traditional sacred items
like the drum, the greater the opportunity to know themselves and understand how to
acquire and maintain spiritual, emotional, physical and mental balance (Vennum, 1982).
The drum and drumming are integral to the culture and beliefs of the Aboriginal
community.
A knowledge of rhythm and an understanding of circular patterns and cycles of
self, culture and community are conceptually intertwined and are essential to wellness
among the Indigenous people. Almost all human behavior falls into patterns or
cycles. Within the neural structures of the brain, rhythm can positively reflect and alter
hazardous personal, recurring behavior (Faulkner, 2017). Rhythm, and the use of drums
to bring it about, has, for years, been a means of communicating with and influencing the
physiological system. Rhythm through drumming is a syntax that the physiological
system of the Indigenous people understands from birth, and one to which it profoundly
responds (Goudreau, et al., 2008).
Essential to the conversation regarding the significance of drumming to
Indigenous culture is that, as much as active drumming can provide energy, it can also
relax and calm our bodies. Drumming in time with our heartbeat can help our psychology
to realign with our body’s natural rhythms (Friedman, 2000). Sound, vibration and
rhythm can assist us in responding more functionally to tension, which is especially vital
to experience as “many people suffering rhythmic mismatches and stressful demands

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may refrain from their natural rhythmic selves in order to accommodate the external
world” (Faulkner, 2017, p. 24).
Entrainment is the human body’s natural predisposition to connect with and
respond to – via feedback/feedforward control loops – both its internal and external
environments (Schneck & Berger, 2006). Despite the non-repetitive nature of everchanging polyrhythms that evolve in group drumming, the fact that such random rhythms
are superimposed over the steady, repetitive pulse of the “mother drum” to which all
adhere sustains the brain’s attention and brings about entrainment to eh point of euphoria
(Schneck & Berger, 2006, p 157). Music is especially suited to providing for adaptation
of this nature because music does not depend on language to be understood. Music does
not rely on the cognitive processes to influence activity. One almost acts musically before
thinking about what and how to respond (Schneck & Berger, 2006). Music’s’ predictive
qualities, present in beat and rhythm, and the mechanism of entrainment can drive human
beings to re-set themselves to a more desirable biological and personal space. Music can
move one from hopeless to hopeful, from lack of focus to focused through entrained
movement and participation.
Culture Connection and Group Experience
Since ancient times, rituals and group gatherings have facilitated deep
transformational change and healing in all cultures and all times. In group healing, the
collective group empowers the inner process of the individual exponentially. When it is
said that a person cannot do something alone, it is most often effortless and much easier
to accomplish with the collective mind, strength and intention of the group (Coyle, 2018).
In his book, The Culture Code, Daniel Coyle (2018) defines culture as, “a set of
living relationships and interactions that generate behavior and belief which moves a

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group towards a goal” (p. 64). Within the group dynamic, he identifies cues that indicate
belonging as: proximity, eye contact, energy, mimicry, turn taking, attention, body
language, vocal pitch, consistency of emphasis, and whether everyone talks to everyone
else in the group. These cues involve three basic characteristics that translate into: We are
close, we are safe, we share a future. On an individual level this clearly states: You are
safe here. These are the indicators of psychological safety. One of our most important
cognitive functions is in alerting to danger, a function which involves the brain’s
amygdala, and feeling. The amygdala is associated with positive feelings as well and
plays an important role in building responding to others in interactions and social
connections. The amygdala takes a received belonging “cue” and tracks members of a
group, tunes into their interactions, and sets the stage for meaningful engagement (Coyle,
2018). Cultural interventions within groups, tied to ritual and drumming and nested in
music therapy practice, could be an effective prevention/intervention protocol when used
as a means of empowering young women. This is especially true in some cultures when
the protocol is presented in a context of a community music experience rather than a
therapeutic one.

The Present Study
Music, especially group drumming embedded in the cultural beliefs and traditions
of the Indigenous culture, could be effective in introducing and forming affective and
motivational elements of personal self-regulation and community empowerment. The
symbols, beliefs and drumming experiences, as well as the drums as symbols of culture,
speak to the people and to their identity and needs. They are already embedded in the
ways of the Indigenous people and speak to the spirit and to healing. The purpose of this

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pilot study is to:
(a) design a culturally-centered group drum protocol using music and symbols
associated with the Six Nation of the Grand;
(b) implement a community-based program for a small group of Indigenous girls
from the Six Nation of the Grand, and;
(c) test assessment tools for measuring outcomes related to self-concept,
motivation and empowerment of individuals within this culturally-specific group as
related to health and wellbeing (e.g., self-concept, motivation, and empowerment) as
considered effective by a board-certified music therapist who is also a registered
psychotherapist familiar with the culture of the Six Nation of the Grand.
Intervention
The Music Therapy Indigenous Drum Empowerment (MTIDE) was used as the
protocol for this pilot study. This method is a culturally-based music therapy drum
protocol that has been developed for Indigenous adolescent girls living within the Six
Nations on the Grand reserve in Brantford, ON, Canada by this researcher, a boardcertified music therapist and registered psychotherapist. Since drumming traditions may
vary among the 3000 plus Indigenous tribes worldwide (Ross, 2006), an opportunity is
created for professionals using the MTIDE protocol to provide a treatment model that can
accommodate diverse tribal traditions. While MTIDE focuses on drumming as its central
therapeutic activity, it also draws upon elements from other treatment programs that are
congruent with Indigenous-based healing concepts. These treatments include talking
circles (Indigenous processing group) and reference to the Medicine Wheel. The
Medicine Wheel is widely utilized as a conceptual framework and integrative approach to
health and wellness for Indigenous people.

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EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL
MTIDE respectfully utilizes clinical music therapy drumming within the
corresponding quadrants of the Medicine Wheel (Appendix B). The clinical music
therapy drumming interventions reflect the tribal traditions of the community where the
music therapy sessions were provided. The MTIDE protocol consists of six ceremonies,
one hour in length, conducted once weekly by the investigator. During the first session,
participants engaged in making their own personal drum that they used for the remainder
of the ceremonies. The specifics of each ceremony are described in detail in Appendix
A.
Method
Participants
Ten Indigenous young women participants from the Six Nation of the Grand
reserve, aged 14-18 years, were recruited for the present study. All participants were
residents of the Six Nations of the Grand, enrolled in either the Six Nations Polytechnic
or the Kawenni:lo/Gaweni:yo high schools, and recruited through previous music therapy
participation with this researcher. Eligibility criteria also include the availability and
means to attend each weekly ceremony at the designated time and location, and the
physical capability to independently interact in the construction and playing of a hand
drum. No formal music education was necessary and individuals with prior music
experience had equal opportunity to participate. Individuals who had been involved in
previous music therapy sessions were provided the opportunity to participate in the
present study with consideration of their physical, spiritual, emotional, and mental needs.
This included girls who had previously disclosed feelings related to depression and
anxiety, a desire to connect deeper with their surrounding culture, an interest in
improving their physical health and were looking for a healthy outlet for self-expression.

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EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL
All participants in the present study were volunteers and gave their assent to participate in
the research.
Setting
Six Nations of the Grand in Brantford, ON, Canada was the location of this pilot
study. Six Nations is the largest First Nations reserve in Canada with an approximate
12,271 reported living on the reserve. It is the only reserve in North America that has
representatives of all six Iroquois nations living together (Wilson, 2005). A private,
designated room in the community center on the Six Nations of the Grand reserve and the
room was set up with chairs in a circle.
Design
The investigator observed the effects of a six-week drum protocol with a single
group, pretest-posttest design. All assessments were conducted before the intervention,
after the third ceremony, and upon completion of the final ceremony at the end of the six
weeks. Pre-determined interview questions were given aurally by the present researcher
during the final, sixth ceremony, in a talking circle format.
Music Therapy Indigenous Drum Empowerment (MTIDE) Protocol
MTIDE was developed by the music therapist over a two-year period and evoked
by the music and the significance of the drum in the culture of the Indigenous people of
the Six Nation of the Grand and their relationship with the Medicine Wheel. It was
created and inspired in conjunction with Elders and the girls and women of the Six
Nations of the Grand. Their input directed the structure of each ceremony, and the stories
used were taken directly from various Elders with a blessing for their use in this protocol.
This application of MTIDE consisted of six, one hour ceremonies over a six-week period
and led by this researcher. Sessions were structured in the following format:

23

EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL
•

Session One: Drum Making and blessing of the new born drum by an Elder

•

Session Two: Focuses on the East/Spiritual/Fire aspects of the Medicine Wheel
and intuition/self-love/sun rising/the heart

•

Session Three: Focuses on the South/Emotional/Water aspects of the Medicine
Wheel and feelings/desires/the soul/fluidity

•

Session Four: Focuses on the West/Physical/Earth aspects of the Medicine Wheel
and the five senses/body sensations/containment/inertia/solidity

•

Session Five: Focuses on the North/Mental/Air aspects of the Medicine Wheel
and movement/ideas and thoughts/creativity/communication

•

Session Six: Final Ceremony and the predetermined Talking Circle questions

Measures
Assessments included the Growth and Empowerment Measure (GEM),
(Appendix C & D), Kessler Psychological Distress Scale (K6). (Appendix E), and
Medicine Wheel Wellness measurement (Appendix F) paper form pre-, mid- and postintervention.
Growth and Empowerment Measure (GEM) (Haswell et al., 2010, p. 3).
“Empowerment, it’s like a tree – there is a foundation (seeds, roots), then the energy and
self-esteem to look after yourself (trunk), so you can grow – the more you grow the
bigger it gets…on the branches (of the tree) are education, job opportunities, housing”
(Haswell et al., 2010). The word empowerment has been adapted by Indigenous people to
mean healing from past wounds, developing strength and skills to live life in a positive
way, to have good relationships with others and to work together to make communities a
better place (Haswell, 2010).

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EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL
The GEM was developed to measure the empowerment and growth within
oneself, one’s family, and one’s community. This tool was created through listening and
consulting with Indigenous people who shared their ideas about questions that should be
asked and how the form should take shape. The process of empowerment story scenarios
approach empowerment like a tree with the underlying assumptions that we all have basic
needs that have to be met and reflecting on those basic needs leads to gaining
understanding of self and situation which begins the process of empowerment. The Kauri
Pine is one of the oldest, strongest living trees in the world, and its presence in Australia
can be traced back 30 million years (Haswell et al., 2010, p. 4). This measurement tool
incorporates the Kauri Pine Tree as a symbol of empowerment and the reclaiming of
Aboriginal culture and strength. While many other Australian trees have significant
meaning for different Aboriginal groups, the choice of the Kauri Pine in this work aims to
represent the collective strengths of Aboriginal culture as one of the oldest surviving
cultures in the world (Haswell et al., 2010).
The GEM collects background information of the participant, covering age,
gender, community (the participant’s Indigenous status), and housing situation (where the
participant is currently residing). Two instruments comprise its main body: Emotional
Empowerment Scale (EES14) and 12 Empowerment Scenarios (12S). Within this study,
Scenario 9 (level of respect in your workplace) was removed because of its irrelevance to
the adolescent age group, with none of the participants currently holding a job. It is
completed on paper with a pen/pencil and takes approximately 10 minutes to complete.
EES aims to capture the extent to which the person is able to feel and show
specific signs of wellbeing in their everyday life. The 12S measures functional aspects of

25

EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL
empowerment. Each scenario assesses the extent to which the person has achieved
movement between empowerment states, pre- to posttest, from the lowest (scored 1) to
highest (scored 4). The selection and broad wording within each stage was identified
through interviews, and completed and refined through the workshop consultations. The
GEM scenarios and EES showed strong reliability on a range of tests, Cronbach’s alpha
consistently >0.85 when initially tested in Australia with local Indigenous people
(Haswell et al., 2010).
Kessler Psychological Distress Scale (K6) (Kessler et al., 2002), is a self-report
measure of psychological distress which involves six questions about a person’s
emotional state. Each question is scored from zero (none of the time) to four (all of the
time). Scores of the six questions are then summed, yielding a minimum score of zero
and a maximum score of 24. Low scores indicate minimal levels of psychological distress
and high scores indicate elevated levels of psychological distress. The K6 is included
because questions from this scale (sometimes with modification) have been relatively
widely used in Indigenous wellbeing surveys and screening tools, including the National
Aboriginal and Torres Strait Islander Health Survey (NATSIHS) (Andrews & Slade,
2001; Australian Institute of Health and Welfare, 2009; and Furukawa et al., 2002).
Strong links between high Kessler scores and increased likelihood of distress-related
mental disorders have been demonstrated in mainstream populations (Kessler, et al. 2008
& Kowal, et al. 2007). Inclusion of the K6 enables a reference point with previous
studies and a possible link with mental health problems. The Kessler Psychological
Distress Scale used in this study is a Government of Canada document. All of the
assessments were self-administered through a written paper format. These instruments

26

EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL
use a client self-report measure making it a desirable method of assessment because it
depends on the clinician’s genuine pursuit to collect information about the client’s current
condition.
The Medicine Wheel Wellness Measurement (Loiselle & McKenzie, 2006).
The Medicine Wheel stems from an Indigenous philosophy of life which promotes health
and wellness through a ‘fully ecological’ and holistic approach based on the Medicine
Wheel (see Appendix B). The purpose of the Medicine Wheel Wellness measurement is
to help the individual to focus on self through a view of his/her current life and through
self-reflection on all four facets (physical, emotional, mental, spiritual) involved in
initiating change in order to promote empowerment and well-being for self and others.
The Medicine Wheel Wellness measurement (Loiselle & McKenzie, 2006) was
developed as an Indigenous contribution to the helping professions in focusing on social
interventions with the individual. The Medicine Wheel combines both the ‘emic’ (based
on cultural particularities), and ‘etic’ (based on universally shared human characteristics)
approaches to helping and is adaptable to a variety of cultures (Massé, 1995). The
Medicine Wheel Wellness measurement graphically identifies small steps that one can
take on the self-help path to empowerment and wholeness. This tool is a positive visual
incentive for motivation and stimulation of the violation to change one’s negative and
destructive attitudes, thinking patterns, self-talk and behaviors for the benefit of the
whole (Bopp et al, 1984). The Medicine Wheel also provides a check list for an
individual to see her progress and adjust herself or her plan on her journey to
empowerment. It can help in transforming herself, her impulse to control others, her
situations and the environment and assists her as she steers herself toward the acquisition

27

EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL
of self-discipline (Morrisseau, 1998). According to Bopp et al., (1984), the Medicine
Wheel Wellness measure may be utilized as a model for what human beings could
become should it be decided to develop one’s full potential and act upon that decision to
do so.
There are two stages to the Medicine Wheel Wellness measurement. The first
exercise is self-assessment where the individual is instructed to write her name in the
center circle of this wheel of life. The following question initiates the process: What am I
doing presently to enhance my physical well-being? The individual begins by listing all
the actual positive activities or things that she is doing in the physical quadrant of the
circle. The same procedure is carried out, with the same basic question, for the
completion of the other three quadrants; emotional, mental and spiritual. The second
exercise is to provide the individual with a graph depicting the first wheel. Writing their
name in the center of the wheel, they will then begin with the physical quadrant and
starting from the center of the circle (beside their name), shade one square for each
activity that is on her list in the first wheel (ex. Three activities listed, the first three
squares will be shaded). The individual continues this process for the three other aspects
of life, filling the number of squares corresponding to her positive activities listed in each
quadrant. After each section is completed, the person joins the outermost shaded boxes of
the four sections by drawing a continuous line in a circular motion from the first to the
last. This joining together of her activities in the four aspects of life will demonstrate if
her wheel is actually a balanced circle or if it looks like an uneven shape. The purpose of
this experience is to provide a new level of personal and self- knowledge. If it is not a
completely round circle, then her wheel of life is out of balance. The individual’s
strengths and weaknesses become clear. This measurement highlights the attitudes and

28

EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL
behaviors one may need to develop in order to live a balanced, harmonious, responsible
and accountable life.
Informed Consent Forms
Informed consent forms were comprised of information regarding procedures,
benefits and risks of participating in the project, an explanation of how to acquire the
results of the research, availability of counselling services, voluntary participation, and
contact information for the researcher (Appendix G).
Materials
Approaching each music therapy session as a ceremony with respect to the
Indigenous culture, notes were recorded by the investigator with a pen and paper. After
each ceremony, the data recorded within the session as well as additional notes to be
coded for qualitative analysis were completed on a password protected computer. The
young women were supplied with pens to complete their measurements.
To complete the construction of the drums in the first ceremony, pre-cut drum
bodies and dried animal skin (for the heads) were supplied and delivered by an Elder,
who remained for the ceremony to assist in the building and blessing of each new born
drum. The completed drums were in the style of a tubano shape and decorated with
painted symbols, animals and designs unique to each girl. At the beginning of ceremony
two, three, four and five, each individual drum was placed in the middle of the room, and
the drums remained covered until the appropriate time in the ceremony. They were
covered at the conclusion of each session and placed into a locked empty office room
where they remained until the following ceremony. At the completion of the final
ceremony, each drum was given a blessing by the Elder to be brought into the homes of
their creator and owners.

29

EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL
The talking stick was also presented at the completion of the first ceremony by the
Elder and collected by the Elder at the completion of the final ceremony. The talking
stick chosen for use in these ceremonies was made of birch, which signifies truth, new
beginnings and cleansing of the past, and wrapped partly with leather. It was decorated
with orange beads which represent kinship, intellect and determination as well as black
beads which represent clarity, focus and success. At the bottom of the stick were purple
and white beads that represent love, peace and family.
Results
Ten Indigenous adolescent girls participated once a week for 90 minutes in the
six-week protocol from February 28th to April 4th, 2018. All ten young women were in
attendance for every session, with one arriving late in the second session, and one
different girl leaving early in the third session, having given notice due to prior
commitments.
Data Analysis
Pretest and posttest results from the GEM (EES and Scenarios) and the K6 were
compared, using the Mann-Whitney U Test. This nonparametric statistical test for
comparing two dependent groups was applied, as the small number of research subjects
negated assumptions of a normal distribution of scores. Qualitative data was composed of
transcripts from four ceremonies, text from the drum construction ceremony that began
the protocol, and notes from the hour and a half concluding talking stick ceremony. This
researcher also wrote memos that contained reactive remarks regarding possible ways to
categorize the data and expose possible relationships. Data were coded using Atlas.ti
qualitative analysis software. First level codes, which summarize segments of data, were
determined. These codes were then arranged into pattern codes, which held

30

EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL
commonalities and formed themes. For example, first level codes of the girl’s meaning of
community were “the houses, the apartments, the basements, the centers, the schools and
the ceremonies”. These were collapsed into the subtheme “physical infrastructure.”
Constant comparison was used to verify the existence of themes on the basis of examples
that repeatedly occurred in the data. It was also used to look for relationships among
themes. Memos created during data collection and analysis informed the themes and their
relationships to broader concepts. This served as an audit trail to strengthen the
dependability of the results. The former is the ability to track shifts in the emergent
design and the latter ensures that data, interpretations, and outcomes are rooted in the
contexts and experiences of the persons involved (Lincoln & Guba, 1995). Narrative
analysis was the tool that allowed the girls’ experiences throughout the six ceremonies to
be highlighted through their own unique words with a focus on the content. Oral
traditions form the foundation of Indigenous societies, connecting speaker and listener in
communal experience. The MTIDE protocol is rooted in the cultural intertwining of
stories and the performative and interactive practice of drumming as it relates to
expression and communication. The participants and their context are described in detail
for the reader to judge whether the findings can be transferred to other settings, as a
measure of transferability.
The null hypothesis of no differences between pretests and posttests on the GEM
Scenarios and Emotional Empowerment Scale was rejected, due to significant differences
(p <.01) with T = 0. The null hypothesis of no differences between pretests and posttest
on Kessler 6 was rejected, due to significant differences (p <.01) with T = 0. This
indicated that the music therapy protocol was highly effective in increasing the reported

31

EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL
perceived empowerment among the girls. Despite the low number of participants (n = 10)
who completed the protocol and the minimal number of weeks of the MTIDE protocol
ceremonies (four ceremonies) change was observed on these standardized measures.
Furthermore, all of the girls increased their scores on the GEM and EES, from pretest to
posttest.
Secondly, the study examined whether the girls would report decreased distress
following the protocol when compared to the pretest as measured by the Kessler (K6).
The null hypothesis of no differences was rejected at a significance level of (p<.01) with
T = 0. This again indicates that the music therapy protocol was resulted in significant
decreases in perceived distress following the music therapy protocol.
Finally, of interest were the observed changes in the beliefs and behaviors of
individual girls and the impact recognized on the group as a whole, each girl’s family,
and the greater community. Themes relating to expanding self-empowerment,
empowering peers, and embodying empowerment internally to inspire family and the
community were noted.
Although the number of participants (n = 10) in this study were quite low, and the
number of weeks of the MTIDE protocol ceremonies was minimal (four ceremonies),
significant positive change sin perceived empowerment and reduced distress were
observed in the girls as evidenced by scores on the standardized measure, the GEM and
the K6 as well as shared verbalized themes as expressed by the girls. Results indicate an
increased sense of wellbeing in the group despite unchanged external stressors. This
suggests improved wellbeing and self-belief even in the context of continued life stress.
TABLE 1.1
Pretest, Posttest Mean Scores and Range of Possible Total Scores of GEM Scenarios

32

EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL
S1

S2

S3

S4

S5

S6

S7

S8

S10

S11

S12

Mean Pretest

1.5

2

1.5

2

1

1.5

1.5

2

1

1.5

1.5

Mean Posttest

3

3

3

3.5

3

3

3

3

3.5

3

3.5

Lowest Score
Pretest

1

1

1

1

1

1

1

1

1

1

1

Highest Score 1.5
2
2.5 2.5 2.5
2.5
2
2
2
2.5
2
Pretest
Lowest Score 1.5
3
2.5 2.5 2.5
3
2.5
3
2.5 2.5 2.5
Posttest
Highest Score
3
4
3.5 3.5
4
4
4
4
3.5 3.5
4
Posttest
Table 1.1 Pretest, Posttest Mean Scores and Range of Possible Total Scores of GEM
Scenarios
TABLE 1.2.
Pretest, Posttest Mean Scores and Range of Possible Total Scores of EES
Mean
Pretest

Mean
Posttest

Lowest
Score
Pretest

Highest
Score
Pretest

Lowest
Score
Posttest

Highest
Score
Posttest

EES1
2.21
3.79
1
2
3
5
EES2
1.93
3.71
1
3
4
5
EES3
2.14
3.69
2
3
3
4
EES4
2.14
3.74
1
2
3
3
EES5
1.86
3.78
1
3
4
4
EES6
2.29
3.93
1
3
4
5
EES7
2.07
3.64
1
2
3
5
EES8
2.21
3.86
1
2
3
4
EES9
2.07
3.57
2
3
3
5
EES10
2
3.79
2
3
4
5
EES11
2.11
4.07
1
3
3
5
EES12
1.97
3.68
1
3
3
4
EES13
2.04
4.01
2
3
4
5
EES14
1.89
3.59
1
2
2
4
Table 1.2. Pretest, Posttest Mean Scores and Range of Possible Total Scores of EES
TABLE 1.3.

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EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL
Pretest, Posttest Mean Scores and Range of Possible Total Scores of K6
Mean
Pretest

Mean
Posttest

Lowest
Score
Pretest

Highest
Score
Pretest

Lowest
Score
Posttest

Highest
Score
Posttest

K1
3.08
2.75
1.5
4
1.5
3.5
K2
3.17
2.76
2.5
4
2.5
3
K3
3.42
2.54
3
4
2.5
3
K4
3.25
2.83
3
4
2.5
3
K5
3.43
2.67
3
4
2.5
3
K6
3.75
2.92
3
4
2.5
3
Table 1.3. Pretest, Posttest Mean Scores and Range of Possible Total Scores of K6
Growth and Empowerment Measure (GEM)
Scenarios. Scenario six ‘How do you think about your own spirituality’ and
scenario eight ‘Are you able to speak out and be heard in your community’ showed the
most significant increase over the six weeks. Two girls felt their situation had progressed
from never thinking about spirituality and it not having any particular deep meaning to
feeling that they are deeply spiritual people, recognizing the power of spirit through
active music making experiences, connections with other people, their culture, land and
past. This gave them a sense of strength which seem to help guide their actions. Three
different girls moved through feeling that they have a long way to go to be sure their
voice is heard, to feeling that people generally respect their words, even when they are
not in agreement with them. They identified the non-verbal aspect of drumming as the
starting point to having themselves be heard. The scenarios are divided into two
components based on their relevance, which is summarized in Figure 1.1 below.

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EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL
Figure 1.1 GEM Scenario Components
Healing and
Enabling
Growth

Connection and
Purpose

Having a
voice

Spirituality

Dealing with
painful
feelings

Identity

Creating
Safety

Being able to
change

Reaction to
judgement

Community
working
together

Engaging with
learning

Being able to
say no

Improving
relationships

Figure 1.1. GEM Scenarios divided into two components based on relevant themes

EES. EES reflects the extent that the person feels Inner Peace and may indicate
social and emotional outcomes of empowerment and the extent to which the person is
achieving their self-capacity to engage confidently with the world. The pre-ceremony and
post-ceremony data reflect that feeling valued and holding self-confidence for one’s self
were the two most improved areas on the Emotional Empowerment Scale within the six-

35

EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL
week study period. The scenarios are divided into two components based on their
relevance, which is summarized in Figure 1.2. below.
Figure 1.2. EES Components

Inner
Peace

SelfCapacity

Dealing with
anger

Voice

Feeling calm
and relaxed

Satisfaction
with
opportunity

Feeling safe
and secure

Feeling
valued

Being
centered and
focused

Feeling
hopeful

Confident

Happy with
self and life
Feeling
strong and
full of energy
Feeling
skillful

Figure 1.2. EES divided into two components based on relevant themes

Kessler Psychological Distress Scale (K6) The comparison of pre-ceremony
with post-ceremony responses revealed that question four, ‘How often did you feel so
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EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL
depressed that nothing could cheer you up?’ and question five, ‘During the past 30 days,
how often did you feel that everything was an effort?’ showed the highest level of
decreased intensity within the participants. ‘Depression’ appeared most frequently within
the ceremonies and concluding talking circle, and was spoken by every girl at least once
in every ceremony. ‘Motivation’ and ‘effort’ were identified as frequently spoken about
within a context of struggle, connectedness to family behaviors and a lack of interesting
and safe opportunities. Putting effort into participating in ‘unhealthy’ and ‘illegal’
activities were described as easily accessible as residents of the Six Nations of the Grand
reserve.
Final Ceremony
The girl’s perceptions of the meaning of empowerment were comprehensive.
They also held idealized views of who an Indigenous Six Nations of the Grand woman is,
the impact of participating in the MTIDE protocol as a group, the positive and negative
effects felt through family interactions and the connection to the greater community.
Throughout the six-week protocol, each girl identified that she had valuable input to
share about all four areas. Overall, they shared many negative experiences, with the
majority feeling that they had little control or power within their personal lives, families
and community. Some of these topics were approached, communicated and shared
together non-verbally through active drumming and music, but the data shared in this
study pertained to the pretest-posttest words inspired through the rhythmic connection.
The common themes were those of individual empowerment and wellbeing, social
connectedness, family growth and strengthened sense of community.
Table 1.1 lists the questions that were posed during the 90-minute talking circle closing
ceremony. Questions were derived directly from the identified sub-sections of the GEM

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EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL
Scenario, EES measurements and the culturally relevant Medicine Wheel. Ceremonial
drumming began the ceremony, marked the completion of one empowerment focus and
centered the group to begin the next empowerment focus, and centered the group to begin
the next empowerment focus and the concluding ceremony. A blessed talking stick
directed the flow of conversation and allowed each participant to independently initiate
sharing their own experiences. An Elder was present upon completion to give one final
blessing on each individual drum as they were leaving the sacred space they had been
built, and to collect the sacred talking stick and give a blessing on the words that it
inspired. Table 1.2 provides a synopsis of the participant’s answers. To keep anonymity,
pseudonyms were created to represent the ten participants.
TABLE 1.1.
Final Ceremony Talking Circle Questions
Individual
Empowerment

Group
Empowerment

Family
Empowerment

Community
Empowerment

Culture

How can I keep my
wheel of life in
balance?

How can we
support each other
in keeping life
balance?

How can my family
keep our wheel of
life in balance?

How can my
community keep
our wheel of life in
balance?

Drum

How is the drum
important to me?

How is the drum
important to us?

How is the drum
important to my
family?

How is the drum
important to my
community?

Skill

How can my selfcapacity effect my
daily life?

How can my selfcapacity effect my
peers?

What am I doing to
help my family
grow?

How do I
meaningfully
connect with my
community?

Action

How do I maintain
inner peace?

How do my actions
support peace
within my peers?

How do my actions
help my family to
heal?

How am I acting
purposefully for my
community?

Table 1.1. Division of Talking Circle Questions by four identified themes

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EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL

TABLE 1.2.
Key Components, Final Ceremony Talking Circle Responses
THEMES

NUMBER OF
RESPONDENTS
IDENTIFYING

QUOTES

Individual

Starting a hobby

B, F, I, J

“Get balanced”
“Peace inside cause it distracts from
the pain”
“When I’m playing my drum I’m
not spending that time getting high
and I feel like I’m making a better
me”

Individual

What’s important to me

A, C, D, F, G, H, J

Individual

Believe in myself

A, C, D, E, I

Individual

Planning for my future

B, C, F, G, I, J

Group

More opportunities

A, B, D, F, H, I, J

Group

Got my back

C, D, E, G, I, J

Group

Relating to my anger

A, B, C, E, G, H, J

Family

Calm in chaos

B, C, F, G, H, I

Family

New trust

A, D, E, F, H, J

Family

Happy where we’re at

B, C, D, F, G, I

“Feel in control when I’m doing
something just for me”
“Making and now owning my own
drum, I am can speak when I have
no words”
“I feel like I have a power that I
didn’t have before, and nobody can
take it away from me, no matter
what”
“I’ve never felt like I have a purpose
but talking about my future changes
that”
“It gives me a visual map, like it’s
going to take me outta here”
“I’m gonna get more done cause
I’ve got this squad, and we’ve got
power together, playing my drum
makes me feel like I can do
anything”
“We are connected now and nobody
can take that away”
“She’s yelling these words that
sound like they’re coming out of me
and it’s connecting to the drum”
“So many people living in my house
and they’re out of control, but I’m
trying to go into myself where it’s
more calm”
“I’m wanting to live more with the
Medicine Wheel because I feel I can
let myself trust some (family) that I
couldn’t connect with before.
Maybe I can be like a healer”
“Learning about being rich inside
myself makes me more happy
because it kinda feels like my

39

EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL

Family

Sharing new skills

A, C, D, E, H, I, J

Community

Thinking about others

B, D, E, F, G, H, I, J

Community

Reaching out to people

A, B, C, G, H, I, J

Community

Learning from Elders

A, B, C, E, F, G, I, J

(family) are already giving me what
I need. Maybe I’m not noticing it
that great”
“My (family) and I have been
talking about drums and my
(family) even sang a couple songs
last week that I had never heard. I
felt closer to
my (family) then I ever, ever had”
“I have lots of friends that are
struggling and playing our drums,
making our drums, I think they
would start to feel different like me”
“When I’m sharing music nobody is
getting hurt, everybody feels safe
and it’s like I feel closer to people
than in any other way. It makes me
want to help other people for the
first time”
“When we built our drums in the
first ceremony with (the Elder) I felt
proud to be (Indigenous), it felt like
a privilege. That’s the first time I’ve
felt like that. Ever. Normally I’m
super embarrassed cause this place
is usually so depressing and ugly”

Table 1.2. Final Talking Circle Responses divided by identified themes
the findings of increased empowerment and wellbeing and decrease in despair were
echoed in the data analyzed from the talking circles and informal commentary and
observation
Individual Empowerment. Subthemes that were identified through the
individual empowerment discussion included: “starting a hobby,” “what’s important to
me,” “believe in myself” and “planning for the future.” Each participant strongly
connected with the cultural approach that the Medicine Wheel Wellness Measurement
provided through a visual representation of balance versus imbalance. “Starting a hobby”
was recognized by the girls as a way to achieve both balance and inner peace and to
counter the time spent engaging in harmful activities. Making music was identified as a
healthy hobby that most had never considered or never would have thought they would

40

EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL
be so inspired by engaging together. “What’s important to me” and “believe in myself”
were both identified as ways the young women felt ‘powerful’ and ‘more in control’.
“Planning for the future” was spoken of in terms of a skill that gave them ‘purpose’ and
also ‘a visual map’ that would help guide them into a more positive direction. Discussion
about their personal drum brought strong and passionate words including: ‘love,’
‘strength,’ ‘release’ and ‘pride in ownership.’ Several girls indicated they had never built
something and indicated an immense sense of satisfaction in both the process and the
physical outcome.
Group Empowerment. “More opportunities,” “got my back,” and “relating to
my anger” are all sub-themes that were identified within the group empowerment talking
circle discussion. Although these girls were acquaintances through school, the weekly
ceremonies and interactive engagement of music and connection, both verbal and nonverbal, their proud description of “got my back” was not only shared with words, but was
evident through body language that became more intimate and comforting as the protocol
unfolded. Similar opinions shared within ceremonies led to observable connections which
blossomed into “more opportunities” of growth and healing in a physical, mental,
emotional and spiritual way. Anger was both talked about and displayed in various forms
and degrees throughout the 6-week protocol. Vulnerability brought on by raw emotion
surrounding living situations, families consumed with addiction and many other
commonalities invited individuals to share a little more freely and deeply with each
passing ceremony. Drumming within this group and in their future, was identified by
several girls as a means to working towards balance within the Medicine Wheel Wellness
measurement.

41

EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL
Family Empowerment. There was a wide variety of living situations and family
dynamics that the young women shared with the group e.g., “calm in chaos,” “sharing
new skills,” “new trust,” and “happy where we’re at.” With a high prevalence of multiple
generations living together, the Medicine Wheel Wellness measurement revealed several
girls highlighting the importance of how their home situation was out of their control, but
that they had the ability to turn inward and try and find inner peace. “Sharing new skills”
was directly centered around the drum, and how it had brought the girls together with
different family members as they shared their drum experience. In two cases, other
family members uncovered their drums, engaging and connecting with cultural music and
growing together. Discussions of an individual’s past, experiences growing up and the
not always knowing who to trust gave way to a “new trust” which puts the focus ahead
and in line with Indigenous belief, and the possibility for some family healing. The
pressures of material desires (Indigenous focus on inner richness) struggled with being
“happy where we’re at” and this often fluctuated from ceremony to ceremony.
Community Empowerment. “Thinking about others,” “reaching out to people,”
and “learning from Elders” were the sub-themes that were uncovered within the
community focus. Adolescence is a time of self-discovery and inward focus, but in the
fifth session, “thinking about others,” a characteristic of the South quadrant of the
Medicine Wheel was brought up in the context of how others would enjoy and could
benefit from participating in this protocol. This led directly into “reaching out to people”
and how sharing music and sharing songs was a ‘safe’ and ‘fun’ way to do that.
“Learning from Elders” came up in the first ceremony, directly stemming from the
building and construction of each participant’s drum. Deciding the depth of desire to
invest in the Indigenous culture, ways and traditions was identified to likely be a life long

42

EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL
challenge and yet they felt that learning and listening could provide wisdom throughout
life’s journey.
Medicine Wheel Wellness Measurement
Figure 1.3 Medicine Wellness Wheel Results

Spititual - 8.2

Emotional - 2.9

Physical - 1.4

Mental - 4.3

Figure 1.3. Average number of shaded quadrants per participant in the Medicine
Wellness Wheel measurement (see Appendix F).

Within the four quadrants, positive activities around spiritual well-being were the
highest frequency and physical well-being being the lowest frequency (see Figure 1.3).
‘Participating in ceremonies’ and ‘listening to Elders and our tribe’s beliefs’ were both
identified by the majority of the girls as areas that they felt promoted individual spiritual
connectedness. ‘Not liking myself and my body’ and ‘various dependencies’ were
identified as factors preventing physical well-being. All of the participants found it
challenging in one way or another to consider physical well-being a priority as one girl
43

EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL
stated, “I inhale so much tobacco smoke in my house throughout the day, why would I
stop smoking myself?” All but one participant felt that the visual representation of the
imbalance in their wheel of life made this a priority and helped to identify both their
strengths and weaknesses.
Discussion
Empowerment-based protocols such as the MTIDE, as implemented with
marginalized populations, explicitly aim to assist people (and communities) recover from
the consequences of disempowerment, so that they can become active agents in reducing
health disparities and inequities, increasing young people’s capacity to manage their own
health and adopt healthier lifestyles with a strong emphasis on building on existing
community and cultural networks. These improvements can only occur within a health
service that is accessible and flexible enough to allow groups such as the girls of the Six
Nations of the Grand to flourish.
The GEM, K6 and Medicine Wheel Wellness measurement scores demonstrate a
significant increase in sense of self-capacity and psycho-social empowerment through
adverse circumstances over the six-week engagement period. Results indicate an
increased sense of wellbeing in the group despite unchanged external stressors,
suggesting improved wellbeing and self-belief even in the context of continued life stress.
The null hypothesis of no differences between pretests and posttests on the GEM
Scenarios and Emotional Empowerment Scale was rejected, due to significant differences
(p <.01) with T = 0. The null hypothesis of no differences between pretests and posttest
on Kessler 6 was rejected, due to significant differences (p <.01) with T = 0. Despite the
low number of participants (n = 10) who completed the protocol and the minimal number

44

EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL
of weeks of the MTIDE protocol ceremonies (four ceremonies) change was observed on
these standardized measures. Furthermore, all of the girls increased their scores on the
GEM and EES, from pretest to posttest. Qualitative data obtained from the concluding
talking circle ceremony, were divided into the four categories of individual, group, family
and community. Individually, the highest number of respondents identified with the
theme ‘What’s important to me’, signifying the girl’s discovery of how honing into and
identifying one’s individual values and beliefs creates the feeling of inner strength, or
empowerment. Within the group category, ‘more opportunities’ and ‘relating to my
anger’ equally had the highest number of respondents identifying. Having both the
physical presence of support and the perceived sense of support beyond the group
meeting put accomplishment as something that is now achievable and ‘relating to my
anger’ held space for all the participants as they could relate to both the words and the
passion shared amongst the girls. The family category had ‘sharing new skills’ as the
highest number of respondents as the girls felt compelled to connect with various family
members and inspired culturally to engage with newly refined skills. Finally, ‘thinking
about others’ was the highest number of respondents from the community category. The
girls’ meaningful experience lent them to identify peers and friends who they felt would
benefit from MTIDE involvement and how this could create a ripple effect throughout
the reserve.
MTIDE was guided and inspired by the Indigenous people of the Six Nations of
the Grand to facilitate working from strengths and focusing on empowerment,
emphasizing relationship development, demonstrating Indigenous leadership, providing
reliable and consistent services, facilitating connection to culture, fostering connections

45

EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL
to other services, maximizing opportunities for choice making and enabling creative
pathways for growth. MTIDE was several years in development, and included an
inclusive, inspiring and original establishment process beginning in the community.
Taking the time and space to find the right path with the community, utilizing meaningful
evaluation processes, emphasizing mechanisms to celebrate small and large achievements
and a focus on strong and sustaining relationships with the community and Elders were
all important steps in implementing MTIDE.
This research supports the use of the MTIDE protocol with several groups
concurrently to continue with respected Six Nations women as leaders in addition to this
researcher. This would be impactful to achieve its full potential in reaching out to
Indigenous girls in the area, while facing the challenges of a lack of consistent and
sufficient resources. The acceptance of western music therapy within the Indigenous
cultural context has given way to the opportunity for the deepest form of healing - one
without stigma and actively involving multiple subjective and objective input. The
current limited physical group space could potentially restrict growth in participant
numbers, although there is a high level of support from the center. This restriction was
identified as potentially affecting both sustainability and growth. However, as another
piece of evidence to support the growth of empowerment, the girls initiated an
independent gathering that they referred to as their ‘seventh ceremony,’ with the purpose
of brainstorming about other potential venues that could give MTIDE an appropriately
sized space and permanent home.
Participants provided both qualitative and quantitative evidence of promising
changes in their lives, particularly in the area of finding meaning and purpose. The data

46

EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL
suggest that the girls are beginning to recognize the capacity within themselves to make
positive changes in their lives, while learning to deal better with painful feelings,
strengthening their identity and handling conflict and criticism more safely. The group
appeared to be gaining skills, voice, confidence and energy to develop creatively and
educationally, as well as to access support for addictive behaviors.
To achieve its full potential and maximize its impact on adolescent health
outcomes in the broader community, MTIDE requires long-term commitment through
policy and resource allocation processes. The benefits of social support in ensuring
healthy life opportunities are enormous for the adolescent to grow individually and within
their family, in order to further impact their community and all that is the Six Nations of
the Grand.
Reflections
The generosity of time and resources given by the Elders of the Six Nation of the
Grand towards this study was immense. Recognizing the greater issue of a county in
crisis, how their people and adolescent girls are being impacted and the potential for
western music therapy and Indigenous culture to compatibly provide empowerment
opportunities is remarkable. The MTIDE protocol, although developed with adolescent
girls as the primary focus, could easily be effectively introduced to adolescent boys as
well as adult women and men. Empowerment begins within one’s self and can be deeply
life enhancing at any age. The original focus on empowering adolescent girls stems from
the role of women in Indigenous culture and the widespread influence each girl has as
they grow into young women and mothers.

47

EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL
The drum is what brought everyone together. Its aural and tactile sensations and
circular shape connected everyone musically, physically, spiritually, mentally and
emotionally. The drum inspired non-verbal communication at times, and promoted
narrative and listening at other times and unearthed the concept of empowerment within
each participant.
The Circle can handle all emotion.

48

EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL
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56

Appendix A

NORTH
- Air/Wind/Mental
- Movement
- Ideas/Thoughts
- Creativity
- Mental & Verbal
Communication

WEST
- Earth/Stability
- Inertia/Solidity
- Physical
- Five senses
- Body sensations
- Contain/Hold

5
4

CULTURE
- Identity
- Pride
- Practice/Pass
on Teachings

3
SOUTH
- Water/Fluidity
- Emotions
- Desires
- Feelings
- Fluid Shape
- Soul

2

EAST
- Spiritual/Fire
- The Heart
- Intuition
- Life-force
- Self-Love
- Expansion
- Sun Rising

EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL
The goal is not to return a person to an average or "normal" state; instead, the goal is to help
the patient actualize his or her fullest potential by discovering the gifts of Spirit.
Music Therapy Indigenous Drum Empowerment (MTIDE)
Session One – Construction of the drums
Room Set Up:
-

chairs in a circle

Music Therapist Sits Facing:
-

the north

1. Smudging/Sharing Circle
Light your smudge and call upon the spirits of the smudge to cleanse and protect you, saying:
“Sacred smudge (sage or incense), drive away all negativity from my heart; take away
everything unworthy and impure.”
First waft the smoke toward your heart. Hold the smudge stick (or incense) away from
you and use the feather to waft the smoke toward you. Then take the smudge smoke over your
head, down your arms and down the front of your body. Imagine the smoke lifting away all
negative thoughts, emotions and energies that have become attached to you.
Breathe in the smudge, visualizing the smoke purifying your body from within. (Note, be careful
if you suffer from respiratory difficulties).
Now bring the smoke down the back of your body toward the ground. Visualize the last
vestiges of negativity being taken back into the earth and up away into the air.
Repeat your smudging once again, this time calling on the sacred spirit of smudge in this way
“Sacred smudge (sweet grass or incense) bring me the positive energy I need to do this work.
Help me to become balanced and purify my soul.” As you smudge, imagine yourself being
surrounded by a gentle, loving energy – breathe in positivity, courage and love.

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EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL
Then you can ask “Mother Earth, keep me safe and grounded throughout this day, stretch
yourself up toward the sky and say “Father Sky give me the confidence to fly like and eagle
today”, Move feet slightly apart and stretch arms out above shoulders and say “May the elements
balance within me to give me strength, wisdom, peace and joy this day.” Visualize a warm glow
in the area of your solar plexus.
2. Blessing by the Elder
3. Materials are used to construct individual drums.
4. Blessing of the Talking Stick
5. Closing Blessing
– Drums are returned to the middle of the circle and covered
– One individual leads the group in the final blessing;
With beauty before me, I walk
With beauty behind me, I walk
With beauty above me, I walk
With beauty below me, I walk
From the East, beauty has been restored
From the South, beauty has been restored
From the West, beauty has been restored
From the North, beauty has been restored
From the zenith in the sky beauty has been restored
From all around me beauty has been restored
Session Two – East/Spiritual
Room Set Up:
-

chairs in a circle

Music Therapist Sits Facing:
-

the east

Drum Placement:
-

in the middle of the circle, covered individually

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EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL

1. Smudging/Sharing Circle
Light your smudge and call upon the spirits of the smudge to cleanse and protect you, saying:
“Sacred smudge (sage or incense), drive away all negativity from my heart; take away
everything unworthy and impure.”
First waft the smoke toward your heart. Hold the smudge stick (or incense) away from
you and use the feather to waft the smoke toward you. Then take the smudge smoke over your
head, down your arms and down the front of your body. Imagine the smoke lifting away all
negative thoughts, emotions and energies that have become attached to you.
Breathe in the smudge, visualizing the smoke purifying your body from within. (Note, be careful
if you suffer from respiratory difficulties).
Now bring the smoke down the back of your body toward the ground. Visualize the last
vestiges of negativity being taken back into the earth and up away into the air.
Repeat your smudging once again, this time calling on the sacred spirit of smudge in this way
“Sacred smudge (sweet grass or incense) bring me the positive energy I need to do this work.
Help me to become balanced and purify my soul.” As you smudge, imagine yourself being
surrounded by a gentle, loving energy – breathe in positivity, courage and love.
Then you can ask “Mother Earth, keep me safe and grounded throughout this day, stretch
yourself up toward the sky and say “Father Sky give me the confidence to fly like and eagle
today”, Move feet slightly apart and stretch arms out above shoulders and say “May the elements
balance within me to give me strength, wisdom, peace and joy this day.” Visualize a warm glow
in the area of your solar plexus.
2. Awakening the Drum/Dedication of Drum

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Walk around the room, wafting smoke into each corner. Call on the spirit of sage to drive away
all negativity from the room. Then ask the spirit of sweet grass to bring harmony and balance
into the room.
Move to the center of the room and briefly stand still. Turn to the East of the room and fan
smudge out into that direction four times, saying: “Spirit of the East, great Spirit of Air, cleanse
and inspire this drum.”
Turn to the South and smudge four times, saying: “Spirit of the South, great spirit of Water,
strengthen and bring peace to this drum.”
Turn to the West and smudge four times, saying: “Spirit of the West, great Spirit of Fire,
energize and protect this drum.”
Turn to the North and smudge four times, saying: “Spirit of the North, great Spirit of Earth,
ground and cleanse this drum.”
Return to your original position and look up toward the heavens, this time sending smudge
upwards four times, saying: “Great Father sky, guard this drum from above.”
Finally, squat toward the floor and send smudge down to the earth four times, saying: “Great
Mother Earth nurture this drum from below.”
Put down your smudge stick and stand quietly with your eyes shut. Visualize the great spirits you
have summoned standing guard around your room. You could imagine them as the great
archangels or the four Spirit Animals of Native North American tradition (North – Buffalo, East

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–eagle, South – Coyote and West – Grizzly Bear). Visualize the loving energy of the mother and
father spirits above and below you. Give thanks to all of them.
Move to the center of the circle and remove your drum from its covering. Carry it back to your
chair.
3. Heartbeat
- The music therapist begins a traditional Tsimshian heartbeat and individuals are invited to join
in their own time
- Tsimshian: Two eighth note pulses followed by three steady quarter note pulses– one/two, two
three, four, one/two, two three four, one/two, two, three, four…
- This continues and fades out in a natural way as a group
- The group sits in silence
4. Heartbeat/What is in your heart?
–

The music therapist begins the traditional Anishinabe heartbeat – two steady eighth notes
followed by a quarter beat of silence – one/two, rest – one/two, rest – one/two, rest

–

In the silence between the eighth notes individuals are given the opportunity to chant one
word that is currently in their heart

5. Rhythm of My Heart
–

The music therapist begins the traditional Anishinabe heartbeat

–

Building off of the word that each individual expressed, one at a time each girl creates a
unique rhythm that expresses the voice of the inner spirit

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–

The group joins in and plays her rhythm

–

This is repeated for each individual

6. Rhythmic Journey - The Eagle Feather
–

Individuals are encouraged to play both the rhythms and emotions of the story character
(eagle)

A long time ago, the Anishinaabek had forgotten the ways of the Creator and no longer offered
their Semma during prayer so that the Creator could hear them. The Creator grew sad that her
children no longer remembered how to use their first gift, Semma. It was decided that it was
time for her children to leave the earth and return to her so she called out for the great spirit in
the west to bring his children home.
The animals heard this news as they can hear the ways of the Creator. They became very
distraught and began to panic. The animals did not want to see the departure of their brothers
and sisters of the Anishinaabeg, so they called a meeting among themselves.
At the meeting of the animals, the eagle volunteered to fly to the creator and vouch for his
brothers and sisters of the Anishinaabeg, for the Eagle was the strongest in flight and would be
able to reach the Creator high in the sky. So, upon agreement the Eagle flew to the Creator.
The Creator greeted the Eagle and heard his plight. With a heavy heart the Creator gave the
Eagle four days to prove that the Anishinaabeg did forget about her and their first gift. On the
fourth day, the great spirit of the west will have arrived and it will be too late to send the spirit
away. It was the task of the Eagle to prove that the Anishinaabeg still offered their Semma in
prayer to their creator. So, the Eagle flew away with great speed in search of that wisp of smoke
that the Anishinaabeg produced while offering their Semma to the Creator through their sacred
fires.

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On the first day, the Eagle flew all across Turtle Island and did not find any evidence of the
Anishinaabeg prayers. At the end of the day, the Eagle needed to rest but he remained optimistic
that tomorrow was another day and he still had time to save his brothers and sisters.
On the second day, the Eagle circled Turtle Island as he had the day before and as the day before
he did not find the evidence he was looking for. When it was time rest, the eagle still remained
optimistic that tomorrow was another day and he still had time.
On the third day, the eagle flew faster and circled around Turtle Island very thoroughly. Still he
came upon no evidence that would save his brothers and sisters. He went to rest with a heavy
heart and decided to get up early, before sunrise to give his brothers and sisters one last chance
before he returned to the creator with what he has found.
On the fourth day, the eagle rose well before sunrise to circle Turtle Island one last time. As the
dawn approached in the East, there was nothing more the Eagle could do so he began his flight to
the Creator.
Just then, out of the corner of his eye, he caught a glimpse of smoke coming from the trees. It
was so faint, and so small that he would have missed it very easily on the days before. He flew
with all his might to the small wisp of smoke.
The Eagle circled above the small clearing where the smoke was coming from. What he saw
was a Grandmother and Grandfather standing over a small fire offering their tobacco to the
creator in their morning prayer. Between them stood their small granddaughter. In their poverty,
the small family could only afford a small fire and a small offering, but that was all that was
needed.
Elated and joyous, the Eagle quickly gathered up a portion of the wisp of smoke and flew with
all his might and the greatest speed back to the Creator. Racing against time to make it there

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before dawn broke the sky.
The Eagle returned to the Creator in time of the breaking day, just before the sun rose, as the
world stands still in anticipation of the coming day.
As dawn broke the sky the Creator called out to the great spirit of the West and gently told him
that he was no longer needed to do this duty and he would not be called upon to provide such a
service again.
The Anishinaabeg were able to take their place once again among the plants and animals of the
Earth. They began practicing their morning prayers once again in abundance and never forgot
the dedication of the great Eagle that did not give up on his brothers and sister of the
Anishinaabeg.
This is why the Anishinaabeg hold the Eagle feather in such high regard. The Eagle has stood
for the people, he protects, serves and watches over his brothers and sisters. The Eagle flies
closest to the Creator so through his feather, our ceremonies have greater meaning, for his
feathers guide our prayers to the Creators ears.
7. Silence
–

With both hands on the middle of the drum, we sit in silence

8. Talking Circle
–

the following questions are posed and each girl is given the opportunity to answer any/all;

–

What is the first word that comes to mind to describe yourself?

–

How has your spirit evolved throughout the years?

–

Can you frame your spirit as positive?

–

How important is how others see you to your sense of self/spirit?

–

Can other people diminish your spirit/fire?

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–

How can we support each other to avoid this?

9. Closing Blessing
–

Drums are returned to the middle of the circle and covered

–

One individual leads the group in the final blessing;
With beauty before me, I walk
With beauty behind me, I walk
With beauty above me, I walk
With beauty below me, I walk
From the East beauty, has been restored
From the South beauty has been restored
From the West beauty has been restored
From the North beauty has been restored
From the zenith in the sky beauty has been restored
From all around me beauty has been restored

Session Three – South/Emotions
Room Set Up:
-

chairs in a circle

Music Therapists Sits Facing:
-

the south

Drum Placement:
-

in the middle of the circle, covered individually

1. Smudging/Sharing Circle
Light your smudge and call upon the spirits of the smudge to cleanse and protect you,
saying: “Sacred smudge (sage or incense), drive away all negativity from my heart; take
away everything unworthy and impure.”
First waft the smoke toward your heart. Hold the smudge stick (or incense) away
from you and use the feather to waft the smoke toward you. Then take the smudge

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smoke over your head, down your arms and down the front of your body. Imagine the
smoke lifting away all negative thoughts, emotions and energies that have become
attached to you.
Breathe in the smudge, visualizing the smoke purifying your body from within.
(Note, be careful if you suffer from respiratory difficulties).
Now bring the smoke down the back of your body toward the ground. Visualize the last
vestiges of negativity being taken back into the earth and up away into the air.
Repeat your smudging once again, this time calling on the sacred spirit of smudge in this
way “Sacred smudge (sweet grass or incense) bring me the positive energy I need to do
this work. Help me to become balanced and purify my soul.” As you smudge, imagine
yourself being surrounded by a gentle, loving energy – breathe in positivity, courage and
love.
Then you can ask “Mother Earth, keep me safe and grounded throughout this day,
stretch yourself up toward the sky and say “Father Sky give me the confidence to fly
like and eagle today”, Move feet slightly apart and stretch arms out above shoulders and
say “May the elements balance within me to give me strength, wisdom, peace and joy
this day.” Visualize a warm glow in the area of your solar plexus.
2. Awakening the Drum/Dedication of Drum
Walk around the room, wafting smoke into each corner. Call on the spirit of sage to
drive away all negativity from the room. Then ask the spirit of sweet grass to bring
harmony and balance into the room. Move to the center of the room and briefly stand
still. Turn to the East of the room and fan smudge out into that direction four times,
saying: “Spirit of the East, great Spirit of Air, cleanse and inspire this drum.” Turn to the

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South and smudge four times, saying: “Spirit of the South, great spirit of Water,
strengthen and bring peace to this drum.” Turn to the West and smudge four times,
saying: “Spirit of the West, great Spirit of Fire, energize and protect this drum.” Turn to
the North and smudge four times, saying: “Spirit of the North, great Spirit of Earth,
ground and cleanse this drum.” Return to your original position and look up toward the
heavens, this time sending smudge upwards four times, saying: “Great Father sky, guard
this drum from above.” Finally, squat toward the floor and send smudge down to the
earth four times, saying: “Great Mother Earth nurture this drum from below.” Put down
your smudge stick and stand quietly with your eyes shut. Visualize the great spirits you
have summoned standing guard around your room. You could imagine them as the great
archangels or the four Spirit Animals of Native North American tradition (North –
Buffalo, East –eagle, South – Coyote and West – Grizzly Bear). Visualize the loving
energy of the mother and father spirits above and below you. Give thanks to all of them.
Move to the center of the circle and remove your drum from its covering. Carry it back
to your chair.
3. Heartbeat
- The music therapist begins a traditional Tsimshian heartbeat and individuals are
invited to join in their own time
- Tsimshian: Two eighth note pulses followed by three steady quarter note pulses–
one/two, two three, four, one/two, two three four, one/two, two, three, four…
- This continues and fades out in a natural way as a group

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- The group sits in silence
4. Heartbeat/What is in your heart?
–

The music therapist begins the traditional Anishinabe heartbeat – two steady eighth
notes followed by a quarter beat of silence – one/two, rest – one/two, rest – one/two,
rest

–

In the silence between the eighth notes individuals are given the opportunity to chant
one word that is currently in their heart

5. Contrasting Emotions
- one of the girls play their future rhythm on the drum and encourages the group to join in
with the same rhythm
- one of the emotions that was chanted earlier is identified and the group is encouraged to
play the rhythm emulating that rhythm
- another emotion is chosen and the same rhythm is played
- each individual who it interested, gets a turn
6. Rhythmic Journey – The Story of Jumping Mouse
-

girls are encouraged to play both the rhythms and emotions of the story

character (mouse)
http://www.firstpeople.us/FP-Html-Legends/TheStoryofJumpingMouse-Unknown.html
7. Silence
-

With both hands on the middle of the drum, we sit in silence

8. Talking Circle
-

How did it feel to express different feelings as a group on your rhythm?

-

What are some ways you get control of your feelings?

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-

What are the consequences of letting your feelings rule your behavior?

9. Closing Blessing
-

Drums are returned to the middle of the circle and covered

-

One individual leads the group in the final blessing;
With beauty before me, I walk
With beauty behind me, I walk
With beauty above me, I walk
With beauty below me, I walk
From the East beauty has been restored
From the South beauty has been restored
From the West beauty has been restored
From the North beauty has been restored
From the zenith in the sky beauty has been restored
From all around me beauty has been restored

Session Four – Stability/Earth
Room Set Up:
-

chairs in a circle

Music Therapists Sits Facing:
-

the west

-

drums are in the middle of the circle, covered individually

1. Smudging/Sharing Circle
Light your smudge and call upon the spirits of the smudge to cleanse and protect you,
saying: “Sacred smudge (sage or incense), drive away all negativity from my heart; take
away everything unworthy and impure.”
First waft the smoke toward your heart. Hold the smudge stick (or incense) away
from you and use the feather to waft the smoke toward you. Then take the smudge
smoke over your head, down your arms and down the front of your body. Imagine the

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EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL
smoke lifting away all negative thoughts, emotions and energies that have become
attached to you.
Breathe in the smudge, visualizing the smoke purifying your body from within. (Note,
be careful if you suffer from respiratory difficulties).
Now bring the smoke down the back of your body toward the ground. Visualize the last
vestiges of negativity being taken back into the earth and up away into the air.
Repeat your smudging once again, this time calling on the sacred spirit of smudge in this
way “Sacred smudge (sweet grass or incense) bring me the positive energy I need to do
this work. Help me to become balanced and purify my soul.” As you smudge, imagine
yourself being surrounded by a gentle, loving energy – breathe in positivity, courage and
love.
Then you can ask “Mother Earth, keep me safe and grounded throughout this day,
stretch yourself up toward the sky and say “Father Sky give me the confidence to fly
like and eagle today”, Move feet slightly apart and stretch arms out above shoulders and
say “May the elements balance within me to give me strength, wisdom, peace and joy
this day.” Visualize a warm glow in the area of your solar plexus.
2. Awakening the Drum/Dedication of Drum
Walk around the room, wafting smoke into each corner. Call on the spirit of sage to
drive away all negativity from the room. Then ask the spirit of sweet grass to bring
harmony and balance into the room. Move to the center of the room and briefly stand
still. Turn to the East of the room and fan smudge out into that direction four times,
saying: “Spirit of the East, great Spirit of Air, cleanse and inspire this drum.” Turn to the
South and smudge four times, saying: “Spirit of the South, great spirit of Water,

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EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL
strengthen and bring peace to this drum.” Turn to the West and smudge four times,
saying: “Spirit of the West, great Spirit of Fire, energize and protect this drum.” Turn to
the North and smudge four times, saying: “Spirit of the North, great Spirit of Earth,
ground and cleanse this drum.” Return to your original position and look up toward the
heavens, this time sending smudge upwards four times, saying: “Great Father sky, guard
this drum from above.” Finally, squat toward the floor and send smudge down to the
earth four times, saying: “Great Mother Earth nurture this drum from below.” Put down
your smudge stick and stand quietly with your eyes shut. Visualize the great spirits you
have summoned standing guard around your room. You could imagine them as the great
archangels or the four Spirit Animals of Native North American tradition (North –
Buffalo, East –eagle, South – Coyote and West – Grizzly Bear). Visualize the loving
energy of the mother and father spirits above and below you. Give thanks to all of them.
Move to the center of the circle and remove your drum from its covering. Carry it back
to your chair.
3. Heartbeat
- music therapist begins a traditional Tsimshian heartbeat and individuals are invited to
join in their own time
- Tsimshian: Two eighth note pulses followed by three steady quarter note pulses–
one/two, two three, four, one/two, two three four, one/two, two, three, four…
- This continues and fades out in a natural way as a group
- The group sits in silence

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4. Heartbeat/What is in your heart?
–

The music therapist begins the traditional Anishinabe heartbeat – two steady eighth
notes followed by a quarter beat of silence – one/two, rest – one/two, rest – one/two,
rest

–

In the silence between the eighth notes individuals are given the opportunity to chant
one word that is currently in their heart
5. Heartbeat/What makes your spirit stable?
-

The music therapist begins the traditional Anishinabe heartbeat – two rhythmic
beats – one/two – one/two – one/two

-

In the empty two beats between the bass notes individuals are given the
opportunity to chant one word that identifies one word that grounds/holds them
spirit

6. Mood Induction – My Sitting Down Place
If you feel comfortable, please close your eyes. Begin to focus inwards, and draw your
attention towards your breath.
- make the space ours - where you can sit/lie comfortably, burning an incense stick or
cone to neutralize the atmosphere and set it apart from mundane activity - use a candle
as a power switch, so that when the candle is lit at the beginning of the induction it
indicates to the subconscious mind that the space is switched ‘on’ for induction and
when there is no candle light, the space is switched ‘off’ and assigned to any mundane
activity
- remove shoes

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- sit comfortably, back straight, legs slightly apart, and feet firmly in contact with the
floor
- rest the palms of your hands on the lower thighs
- relax the body
- relax the mind
- close your eyes and picture a peaceful, beautiful spot. If you have a peaceful spot
where you always feel at ease - a deserted beach by the sea on a warm, sunny day
perhaps, or a cool glade in a forest, or by a gently flowing stream, or in an open
meadow
- just call it to mind. Be there in your imagination, now.
Listen for the sounds of Nature all around you - the gentle lapping of waves on the
sand, the song of birds in the trees, the soft dance of flowing water
Smell the tang of sea air, the musky freshness of trees, the clear fragrance of grass and
heather and wild flowers.
Feel the soft sand under your feet, or the springiness of grass.
Let your imagination activate your inner sense in this way and you will be creating for
yourself a beautiful, relaxing mind-space where you can go anytime and be secure, safe
and tranquil.
7. Rhythmic Journey – The Ripple Effect
- remain in the place that you found yourself after the mood induction
- place one hand in the middle of your drum and one hand somewhere resting on your
body
- with your eyes closed, breath in and find an aroma/scent that is in the air where you are

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- when your body is ready, breath out and play your drum once, making a low tone and
being aware of the ripple of vibration that moves from your heart, through your body
and out through your toes, fingers, and top of your head
- continue this pattern as it begins to entrain into a groove and the chosen aroma/scent
smell enters into your body, vibrates inside and then disperses through your skin
8. Silence
-

With both hands on the middle of the drum, we sit in silence

9. Talking Circle
- Does the scent/aroma that was in the air in your mood induction inspire you?
- How did the sensation of the drums vibrations enter and leaving your body leave you
feeling now?
10. Closing Blessing
-

Drums are returned to the middle of the circle and covered
One individual leads the group in the final blessing;
With beauty before me, I walk
With beauty behind me, I walk
With beauty above me, I walk
With beauty below me, I walk
From the East beauty has been restored
From the South beauty has been restored
From the West beauty has been restored
From the North beauty has been restored
From the zenith in the sky beauty has been restored
From all around me beauty has been restored

Session Five – Air/Wind/Mental
Room Set Up:
-

chairs in a circle

Music Therapist Sits Facing:

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EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL
-

the north

Drum Placement:
-

in the middle of the circle, covered individually

1. Smudging/Sharing Circle
Light your smudge and call upon the spirits of the smudge to cleanse and protect you,
saying: “Sacred smudge (sage or incense), drive away all negativity from my heart; take
away everything unworthy and impure.”
First waft the smoke toward your heart. Hold the smudge stick (or incense) away from
you and use the feather to waft the smoke toward you. Then take the smudge smoke
over your head, down your arms and down the front of your body. Imagine the smoke
lifting away all negative thoughts, emotions and energies that have become attached to
you.
Breathe in the smudge, visualizing the smoke purifying your body from within. (Note,
be careful if you suffer from respiratory difficulties).
Now bring the smoke down the back of your body toward the ground. Visualize the last
vestiges of negativity being taken back into the earth and up away into the air.
Repeat your smudging once again, this time calling on the sacred spirit of smudge in this
way “Sacred smudge (sweet grass or incense) bring me the positive energy I need to do
this work. Help me to become balanced and purify my soul.” As you smudge, imagine
yourself being surrounded by a gentle, loving energy – breathe in positivity, courage and
love.
Then you can ask “Mother Earth, keep me safe and grounded throughout this day,
stretch yourself up toward the sky and say “Father Sky give me the confidence to fly

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EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL
like and eagle today”, Move feet slightly apart and stretch arms out above shoulders and
say “May the elements balance within me to give me strength, wisdom, peace and joy
this day.” Visualize a warm glow in the area of your solar plexus.
2. Awakening the Drum/Dedication of Drum
Walk around the room, wafting smoke into each corner. Call on the spirit of sage to
drive away all negativity from the room. Then ask the spirit of sweet grass to bring
harmony and balance into the room. Move to the center of the room and briefly stand
still. Turn to the East of the room and fan smudge out into that direction four times,
saying: “Spirit of the East, great Spirit of Air, cleanse and inspire this drum.” Turn to the
South and smudge four times, saying: “Spirit of the South, great spirit of Water,
strengthen and bring peace to this drum.” Turn to the West and smudge four times,
saying: “Spirit of the West, great Spirit of Fire, energize and protect this drum.” Turn to
the North and smudge four times, saying: “Spirit of the North, great Spirit of Earth,
ground and cleanse this drum.” Return to your original position and look up toward the
heavens, this time sending smudge upwards four times, saying: “Great Father sky, guard
this drum from above.” Finally, squat toward the floor and send smudge down to the
earth four times, saying: “Great Mother Earth nurture this drum from below.” Put down
your smudge stick and stand quietly with your eyes shut. Visualize the great spirits you
have summoned standing guard around your room. You could imagine them as the great
archangels or the four Spirit Animals of Native North American tradition (North –
Buffalo, East –eagle, South – Coyote and West – Grizzly Bear). Visualize the loving
energy of the mother and father spirits above and below you. Give thanks to all of them.
Move to the center of the circle and remove your drum from its covering. Carry it back

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EMPOWERMENT THROUGH CULTURALLY-CENTRED PROTOCOL
to your chair.
3. Heartbeat
- music therapist begins a traditional Tsimshian heartbeat and individuals are invited to
join in their own time
- Tsimshian: Two eighth note pulses followed by three steady quarter note pulses–
one/two, two three, four, one/two, two three four, one/two, two, three, four…
- This continues and fades out in a natural way as a group
- The group sits in silence
4. Heartbeat/What is in your heart?
–

The music therapist begins the traditional Anishinabe heartbeat – two steady eighth
notes followed by a quarter beat of silence – one/two, rest – one/two, rest – one/two,
rest

–

In the silence between the eighth notes individuals are given the opportunity to chant
one word that is currently in their heart
5. Heartbeat/What makes your spirit stable?
-

The music therapist begins the traditional Anishinabe heartbeat – two rhythmic
beats – one/two – one/two – one/two

-

In the empty two beats between the bass notes individuals are given the
opportunity to chant one word that identifies one word that grounds/holds them
spirit

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6. Rhythmic Journey – The Girl & the Chenoo
One autumn, a Passamaquoddy girl and her three older brothers went to the forest to
hunt for a game over the winter. They found a good place to make camp and built a
wigwam. Since she was the youngest, each morning after her three older brothers went
hunting, the girl took care of the camp, gathered fresh firewood, repaired holes in their
wigwam, and prepared dinner. Before nightfall the brothers would return carrying the
game they captured, and over dinner they would all share stories of the day's adventures.

One night at dinner the brothers were silent. "Why are you all so quiet?" said their sister.
"Today I saw strange footprints to the north," said her eldest brother, "like those of a
man, but much larger." "So did I," said the brother who ventured south. The third
brother, who hunted toward in the west, nodded in agreement. No one needed to say
anything else because they were all thinking the same thing: a Chenoo must be nearby,
the cruel, brutal giant cannibal from the far icy north.
After a tense minute the eldest brother smiled and said, "Oh, it must have been tracks of
a bear." And they all laughed with relief and joked how they had been fooled by mere
bear tracks. But the girl did not laugh. She, too, had seen tracks when she gathered
berries to the east, and knew they were not the tracks of a bear. They were from a
Chenoo.
Before sunrise the next morning, the brothers left to hunt. But the girl did not tend to her
usual tasks. She cleared the wigwam and piled each bearskin that she and her brothers

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slept upon in a single pile in the center. Beside the bearskin pile she laid baskets filled
with berries and fruit. She gathered fresh firewood, then sat by the fire and waited.
While the sun was still low in the sky a very large shadow was cast over her fire. Out of
the woods stepped the terrible Chenoo. Huge and horrible-looking, he looked
fearsomely at her. The sister smiled pleasantly at him and said, "Grandfather, my heart
is glad that at last you have come to see us. Where have you been for so long? I prepared
a fire for your lunch. Or perhaps you would like to lay down inside first and rest. Your
bed is made and there are baskets of fruit by it. You look tired from your travels."
The Chenoo was amazed beyond measure at such a greeting where he expected yells
and prayers, and in mute wonder let himself be led into the wigwam.
The girl said she was sorry to see him so woe-begone, she pitied his sad state, she
brought a suit she had stitched to fit him, she told him to dress himself and be cleaned.
He did as she bade. He sat inside the wigwam on the bearskin bed. He did not lie down
and looked surly and sad, but kept quiet.
She arose and went out. She kept gathering wood for the fire.
The Chenoo rose and followed her. She was in great fear. "Now," she thought, "my
death is near; he will kill and devour me." The Chenoo said, "Give me the axe."
She gave it and he began to cut down the trees. She had never saw such chopping! The
great pines fell right and left, like summer saplings; the boughs were hewed and split as
if by a tempest. Soon the pile of wood was twice as high as the top of their wigwam. She

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cried out, "Grandfather, there is enough! You must be tired from all your cutting, please
rest." So, the Chenoo laid down the axe, walked into the wigwam, sat down on the pile
of
bearskin rugs, still in grim silence. The girl continued to gather wood and remained
silent outside the lodge until he slept.
Before darkness fell her three brothers returned from their day's hunt. She walked
quickly to them and with a fierce look said, "Brothers, you will be pleased to know our
Grandfather is in the tent." Surprised, they started to object but she firmly held her hand
outstretched and said, "I'm sure Grandfather will be glad to hear all about your
adventures later, but first we must be silent and give him time to rest."
At that moment, the huge, hairy head of the Chenoo looked out of the wigwam. Before
her brothers could cry out with alarm, the girl said with a smile, "Grandfather, you have
awakened! I am glad, because now your grandsons have come back and we can all have
dinner." Turning to her brothers, she said with a slight a voice as she could muster, "And
how was it with the hunt today?" "Not so good," gulped one of the brothers, staring
fixedly at the Chenoo, "all I have is this hare." "And I a goose," mumbled her second
brother, also staring at the Chenoo. "I got a deer," offered her third brother.
The Chenoo spoke. "Granddaughter," he said, "have your brothers brought no other
game?"
"Whatever your grandsons have hunted today I will cook for your dinner, Grandfather,"

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said the girl, "in honor of your visit."
The Chenoo said nothing but disappeared into the woods. When he returned, he carried
three full-grown moose, one under each arm and a third wrapped around his shoulders.
That night they enjoyed a feast like no other since they had set up camp.
When it was time to sleep, the Chenoo filled the wigwam so the girl and her three
brothers had to lay down on the dirt outside. But it was more than the roots and rocks
underneath that disturbed their sleep; each one lay awake all night in terror.
In the days that followed they began to realize the Chenoo was useful to have around, as
he could hunt better than twenty grown men. After a few days, he built his own wigwam
nearby, and the brothers and their sister moved back into their own. He ate most of what
he captured, but there was plenty of bear meat and venison leftover for the rest of them,
and the pile of skins they had been saving for trading grew and grew so high that before
long they began to worry it would take many trips to transport it all in their canoe. They
stopped worrying that he would eat them, though the chances of dying by accident were
quite high since he swung trees around like kindling, didn't watch where anything would
smash, and the three brothers and their sister were far too polite and respectful to correct
him about anything.
Eventually the winter days warmed into spring. One day the girl said, "Grandfather,
soon it will be time for us to return to our village."
"I would like to come with you," said the Chenoo. "But your people would scream if

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they saw me. I need your help."
"Of course, Grandfather, anything at all," said the girl.
"Build me a sweat lodge and bring hot coals to it."
The girl was surprised he would ask for this since she knew the Chenoo was from the
icy north and always sat far back from the camp fire. Still, they built the sweat lodge and
when it was finished, and had brought in plenty of hot coals, the Chenoo went inside.
The sweat lodge pulsed with an orange hue from the heat of the burning coals, but the
Chenoo called out, "Bring more hot coals." This they did, several times. The girl heard
the Chenoo moan and cough, then she heard no more sounds. "Grandfather, are you all
right?" she said.
"Yes," said the Chenoo in a voice they barely recognized. "Bring more coals."
So, they brought more hot coals to the sweat lodge and stood a great distance away, as it
was searing with heat. After many long minutes the door creaked open. Out stepped
what must have been the Chenoo, yet seemed much more like a normal, very old human
man, hunched over and wrinkled, with a white beard that reached to his knees. His
wounds had healed; his teeth no longer grinned wildly all the time. The expression on
his face seemed gentle. He leaned over and coughed, and out came a piece of ice in the
shape of a man.
The girl knew what this must be. It was well known that the heart of the Chenoo was
made of ice and was shaped like a man. This icy heart is what made him so fierce.

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"Throw it in the fire, Granddaughter," said he. And she picked it up and threw it into the
campfire but it was so fiercely cold that it put out all the flames. So, she restarted the fire
and her brothers chopped the icy heart into fragments with a hatchet until, bit by bit,
they finally melted it.
The man who used to be the Chenoo then smiled. "Let's go," he said.

So, they hauled their piles of bear and deerskins, and baskets brimming with dried meat,
back to their village, where they traded the skins for whatever they wanted and shared
the dried meat with everyone. And they all lived happily together for many years.
And that is the story of how the kindness of the girl melted the heart of the savage
Chenoo.
7. Silence
-

With both hands on the middle of the drum, we sit in silence

8. Talking Circle
- Does the scent/aroma that was in the air in your mood induction inspire you?
- How did the sensation of the drums vibrations enter and leaving your body leave you
feeling now?
9. Closing Blessing
-

Drums are returned to the middle of the circle and covered
One individual leads the group in the final blessing;
With beauty before me, I walk
With beauty behind me, I walk
With beauty above me, I walk
With beauty below me, I walk

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From the East beauty has been restored
From the South beauty has been restored
From the West beauty has been restored
From the North beauty has been restored
From the zenith in the sky beauty has been restored
From all around me beauty has been restored

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Appendix B

MENTAL
- Cultural Knowledge
- Calming and Clarity
- Positive Thinking and
Confidence

CULTURE
- Identity
- Pride
- Practice Teachings
- Passing on
Teachings
m

PHYSICAL
- Voice
- Energy &
Movement
- Synchronicity
& Entrainment
- Relaxation
- Disease
Prevention

SPIRITUAL
- Connection
- Awakening &
Filling a Void
- Contentment
& Peace
- Growth &
Celebration of
Life

EMOTIONAL
- Being Moved
- Coping & Expressing Feelings
- Comfort
- Humour & Happiness

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Appendix C

HOW I FEEL ABOUT MYSELF
Please tick the appropriate box that matches:
The way you usually feel about yourself most of the time
1.

I feel like I don’t know
anything.

2.
I feel like I don’t know
how to do much of
anything.

3.
I feel slack, like I can’t be
bothered to do things even
when I want to.

4.
I feel very unhappy with
myself and my life.

5.
I am held back from what I
could do, there are no
opportunities for me.

half ‘n’ half

I am knowledgeable
about things that are
important to me.

half ‘n’ half

I am skillful and able
to do things that are
important to me.

half ‘n’ half

I am strong and full
of energy to do what
is needed.

half ‘n’ half

half ‘n’ half

I feel very happy in
myself & with my life.

I am satisfied with
my opportunities
and what I’m doing.

6.

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I feel that other people
don’t admire or
value me.

7.
I have no voice. I can’t
express myself.
Nobody listens to me.

8.
I feel isolated and alone,
like I don’t belong.

9.
I am not hopeful that
anything will change for
me.

10.
Mostly I feel shame or
embarrassed.

11.
I do things for other
people all the time. I’m not
looking after myself or my
family well.

half ‘n’ half

I feel that other
people admire me
and value me.

half ‘n’ half

I can speak out and
explain my views.
People listen.

half ‘n’ half

I belong in community,
I feel connected.

half ‘n’ half

half ‘n’ half

half ‘n’ half

12.
I’m always worrying and

I am hopeful for
a better future.

I have confidence
in myself.

I am centered and
focused on meeting
the needs of myself
and my family.

I feel calm and
half ‘n’ half

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nervous. I can’t relax or
slow down.

relaxed, even
when I’m busy.

13.

I live in fear of what’s
ahead.

half ‘n’ half

I feel safe and
secure; I can face
whatever is ahead.

half ‘n’ half

I don’t hold anger
inside of me about bad
things in my life.

14.

I feel a lot of anger about
the way my life is.

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Appendix D

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Appendix E

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Appendix F
What am I doing presently to enhance my spiritual well-being?
What am I doing presently to enhance my emotional well-being?
What am I doing presently to enhance my physical well-being?
What am I doing presently to enhance my mental well-being?
Place your name in the middle of the Medicine Wheel. List positive activities or positive
things that you are doing in each quadrant of the circle.

M

S

NAME

P

E

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Place your name in the middle of the Medicine Wheel.
Beginning with the spiritual quadrant, start from the center of the circle (beside your name), and
shade one square for each activity that is on your list from the first wheel (three activities, three
squares shaded). Continue this process for the other three aspects of life, filling the number of
squares corresponding to the positive activities listed in each quadrant. After each section is
completed, join the outermost shaded boxes of the four sections by drawing a continuous line in
a circular motion from the first to the last.

NAME

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Appendix G
LETTER OF INFORMATION / CONSENT
TO BE SIGNED BY PARENT/GUARDIAN/CAREGIVER
The Effect of a Culturally-Centered Group Drum Protocol on Empowerment of Indigenous Female Adolescents
Six Nation of the Grand in Canada

Principal Investigator:
Amy Di Nino
Music Therapy Department
Berklee College of Music
Boston, MA 02215 USA
(905) 466-3774
E-mail: adinino@berklee.edu

Purpose of the Study: To measure the effect of a culturally-centered group drum protocol on empowerment of
Indigenous female adolescents Six Nation of the Grand in Brantford, ON, Canada. This is a pilot study using a
board-certified music therapist developed protocol.
th

th

You are invited to take part in this six-week study from February 28 to April 4 , 2018. I am completing this
research for my thesis.
Procedures involved in the Research:
th
You will be involved in a six-week protocol, taking place every Wednesday afternoon, beginning on February 28 .
Each music therapy session will be one hour in length. The first session involves the making and personalizing of
drums, so that you will have your own drum to use throughout the study and in your personal life at the
completion. The next four session involves the use of your drums in music interventions that are inspired by the
emotional, spiritual, mental and physical aspects of the Medicine Wheel. One-on-one interviews will be conducted
during the final, sixth ceremony, in a talking circle format. You will be asked to independently complete the
Growth and Empowerment Measure (GEM), Kessler Scale and Medicine Wheel assessment at the beginning of the
first session, at the completion of the third session, and at the completion of the final ceremony. All sessions will
take place in a designated room in the community centre on the Six Nations on the Grand reserve in Brantford,
ON.
Potential Harms, Risks or Discomforts:
The risks involved in participating in this study are minimal. You may feel uncomfortable with sharing thoughts and
feelings verbally, and at these times I will encourage you to use your drum to communicate. You may worry about
how others will react to what you say or play, but we are all in the group to support each other. You do not need to
answer questions that you do not want to answer or that make you feel uncomfortable. Your participation will
never be shared with anyone besides the Elder’s and your parents/guardians/caregivers.
Are there any benefits to doing this study?
This study is measuring empowerment, and I hope that each of you will feel more empowered as an individual at
the completion of the six ceremonies. This can not only strengthen and help you as an individual, but can also help
to empower your friends, peers, families and community.

Who will know what I said or did in the study?

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You are participating in this study confidentially. I will not use your name or any information that would allow you
to be identified. No one but me will know whether you were in the study unless you choose to tell them. The
information/data you provide will be kept in a locked cabinet where only I will have access to it. Information kept
on a computer will be protected by a password.
Once the study is complete, an archive of the data, without identifying information, will be maintained on a
computer, protected by a password.
Participation and Withdrawal:
Your participation in this study is completely voluntary. It is your choice to be part of the study or not, and if you
decide to be part of the study, you can stop (withdraw), from the study for whatever reason, even after signing the
consent form or part-way through the study or up until April 4, 2018, when I expect to be submitting my thesis. If
you decide to withdraw, there will be no consequences to you. In cases of withdrawal, any data you have provided
will be destroyed unless you indicate otherwise. If you do not want to answer some of the questions you do not
have to, but you can still be in the study.
Information about the Study Results:
I expect to have this study completed by approximately May 7, 2018. If you would like a brief summary of the
results, please let me know how you would like it sent to you.
Questions about the Study: If you have questions or need more information about the study itself, please contact
me at:
Amy Di Nino
adinino@berklee.edu

•
•
•
•
•

CONSENT
I have read the information presented in the information letter about a study being conducted by Amy Di
Nino of Berklee College
I have had the opportunity to ask questions about my involvement in this study and to receive additional
details I requested.
I understand that if I agree to participate in this study, I may withdraw from the study at any time or up
until April 4, 2018.
I have been given a copy of this form.
I agree to participate in the study.

Signature of Parent/Guardian/Caregiver: ____________________________________________
Date: _____________________________
Name of Participant (Printed) ___________________________________________
Signature of Participant: _______________________________________________
Date: ______________________________

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