Drums who are now my old friends.

I went a little early so that I was sure to be on time. I was pleased to see that we would be using real drums (though they had a few packing-taped tires just in case). One of the people there who was also early gave me some ear plugs, which made me so happy. I was also happy to learn we would be in our bare feet, if we choose.

I practiced some kanji while I waited for the class to start. Everyone arrived on time. We introduced ourselves and most people there had some musical background. One woman had even done a lot of taiko while growing up in Japan.  (She was a treat to watch; she looked so amazing doing it.) Then we started with warm-ups. I surprised myself by doing 25 real push-ups.

My sit-ups were oh so more pathetic.

We finished warming up and stretching. Then they played the simple piece that they would, in the three hours, teach us to play. I was a bit skeptical, but hey, aim high.

They set us up and taught us basic stuff. I got the tall standing drum to start, which was a bit hard to apply the basic techniques to. The class had a tendency to speed up while playing. I tried to keep visual beat with the person in the middle. I could never get the form down, but I did surprise myself with the rhythms. However, when things did speed up, I lost it. I was much worse than two-thirds of the class.

We rotated on the drums so we could try all the different types. The breaks were beautifully timed, the exercises did a good job of establishing that we could do it and usually also pushed us beyond our limits. Once we’d gotten some basic hits down (light hits, medium hits, large hits, horse rhythm, rim hits, vocalizations) they taught us and had us memorize (quite well to my surprise) the two fairly complex pieces. They had the whole class play both together and then split us into groups and had us play the interlocking pieces to form the main piece. Half the class would watch, the other half would preform. Since most people were pretty good it sounded reasonable at the end. Most of the people picked it up really well.

Drums of all shapes and sizes.

My first workshop!

And then the instructors finished off the class with a performance of their own which was a lot of fun to watch.

It was fun, it was hard and I’m going to be sore tomorrow. All in all it was a great three hours and they did a really good job of teaching a lot to us in a very short amount of time.

But wait! There are opportunities out there to get a meaningful glimpse into that world without having to throw a wrench in the works. One such opportunity that came into existence recently is the Shidara Residency. Shidara has put together a program that feels like a mini apprenticeship. Their goal is to provide an authentic experience of what it means to be a taiko player in Japan. I had been playing taiko for less than a year when I first heard about it and I jumped at the opportunity and let me say, it was one of the best experiences of my life. Not to mention that it made a big difference in my understanding of taiko.

This was Shidara’s first residency, and while it will most likely evolve and improve over time, they did an amazing job. The residency was two weeks long and took place in April of 2009. The bulk of the residency was spent living and learning alongside Shidara members. Shidara is very dedicated. They live their lives for taiko, 24/7/365. The key here is that you spend your time living as they live. This isn’t a program tailored to what they think North Americans would like to do while in Japan.

This is what a typical day of the residency was like: 0515: Wake up. 0545: Morning taiso then go for a group run in the mountains. 0700: Have breakfast. Squeeze some practice in. 0830: Souji: Clean compound in groups. 0900: Morning workshop. 1200: Have lunch. Clean up. 1315: Afternoon workshops. 1730: Onsen 1915: Dinner. Clean up. 2000: Free Time / Practice 2100: Workshop Participant Meeting 2200: Go to sleep

Shidara put on a mini-performance for us.

For the most part, this is what a typical Shidara member’s day would look like too. There are, of course, some differences. When we did uchi-komi it would last for 15-20 minutes instead of Shidara’s usual 1-1.5 hours. Our practices were structured into detailed morning and afternoon workshops. These workshops were a privilege to attend. I noticed the Shidara apprentices were in the back of each workshop paying close attention and eagerly taking notes. This was obviously a learning opportunity for them as well.

We had workshops covering Bachi and Fue making, equipment maintenance and care, uchi-komi (shime drill), Kihon (basics of Shidara’s style), dance basics (with guest instructor Akira Kataogi), Onikenbai costume history and dance background (with guest instructor Akira Kataogi), and accessories (chappa, shamisen, etc…). We also devoted a day to learning a song called Raku. This is an original composition by Shidara that they have written as a gift to the rest of the world. Their desire is for as many people as possible to learn and play this song, no strings attached. We learned it in a morning workshop and then played it for the local villagers that afternoon as a thank you for the wonderful barbecue lunch Shidara and the villagers made for us.

We made bachi from scratch using locally grown hinoki.	Akira Kataogi performed for us during the dance workshop.

Every aspect of their lives is focused on improving themselves as taiko players. They don’t just practice together, but they live together, which solidifies the group and allows them to draw inspiration from each other and their surroundings. The mountains they live in are often sources of inspiration for their music. And not just big things like that, but other things you wouldn’t necessarily think of…like using their chopsticks in their left hands while eating to improve coordination and dexterity. They truly dedicate their whole lives to taiko.

There is an unbelievable wealth of experiences in a trip like this. A blog post can’t even begin to capture it. An experience like this will increase the breadth and depth of your taiko life. So, visit other taiko groups, attend taiko conferences, see every show you can, listen to every CD, watch every DVD…your instructors didn’t get to where they are by practice alone and neither should you.

Here I am making a fue from local bamboo.	Shidara played for us at the train station as we left Toei cho.

BTW: Shidara is coming to Boston in March of 2010, so if you want a taste of the Shidara Residency but don’t have the time or money for a trip to Japan, then consider a trip to Boston. You won’t regret it. More information can be found on Odaiko New England’s website.

I think it is rare to see such impressive musicianship and excellent teaching skills in the same person, and even more amazing to find a group of four people who work so well together in both of those respects.

They split up the job of teaching us so that each member of On Ensemble taught us something about a different aspect of playing taiko specifically, or playing rhythms in general, all in the context of learning a new song.  Some of the time they taught us as a large group, but for learning the individual parts, they broke us into smaller groups (Maz led my group).

Overall, it was really well planned.  I totally appreciated the fact that they stuck to a well organized schedule, while maintaining a relaxed atmosphere, and did their best to make sure everyone got a chance to play frequently.  When I wasn’t playing I was air drumming along, or doing my best to absorb the details of what the group that was up was doing.  I was sometimes sleepy, but never bored.

The music that we were learning was a new concept for me in more ways than one.  Shoji created something both clever (the sections followed a formula between loud and soft) and intricate, with an deep, pulsing, groove.  At the end of the day, he emphasized the fact that he’d created this as open source taiko…  meaning that we SHOULD take it home, change it up, and make it truly our own, without even crediting him for the song.  He didn’t even give it a name so it can become an entirely different thing for every group that plays it.

STI culminated in playing what we’d learned in front of an audience (whoever Kris could convince to come).  I was relieved to be in the back, playing Odaiko, where I wasn’t super visible, so I wasn’t too nervous.  Instead it was a fun way to end our lessons.

Me with Carrie Carter of All Things Taiko. OC does not mean Orange County.

I’m really sad that STI is over…  three days hardly seems enough.  However, Taiko Conference proper is just about to begin.  We still get to hang out with other players.  For example, the three of us had dinner last night with Kelvin, plus John-Paul and Matt– two of the other participants.  We also have an appointment to rehearse taiko games with Kris this evening.

I’m so glad that the end of STI is not the end of my taiko vacation, and am looking forward to being surrounded by a mob of additional players.

Another note: It was great to see some old friends from the KASA/Mix trip again, including former Kodo apprentice, Joe, as well as John-Paul, and Marinda. I was also pleased to meet fellow STI participant Carrie Carter, writer of All Things Taiko, and to discover that like me, she went to Oberlin College!

‘YA’ stands for ‘Young Audiences of Massachusetts’.   It also represents a major part of Odaiko New England’s mission – to teach the art and culture of taiko drumming to children.  Through Young Audiences, ONE performs at many schools throughout the region.  In addition, many schools/groups book workshops directly from ONE for more hands-on lessons.

This spring, I had the opportunity to assist Juni while she visited at two local elementary schools.  While we taught workshops to the 2nd graders at both schools, the second school included the YA performance.  The performance was lots of fun, especially since I got to play the role of the Rain God which involved a Japanese mask and a squirt gun.

For these schools, ONE’s visit enriched their lessons about Japan.  During each workshop, the kids learned more about the art form and equipment, then got an opportunity to drum. They even got a chance to learn a song.  The kids had great fun banging on the big drums.  My most touching moment came as I watched one student help a fellow student with special needs experience drumming.  The sheer joy it brought to both kids was really fantastic to see.

The school visits have brought new meaning to my own taiko experience.  I look forward to following the yellow suitcase on its future journeys.

You can learn taiko at our upcoming workshops! Here’s the info from our website:

In our popular workshops, new drummers learn taiko fundamentals such as kata (form), kiai (vocalization) and kumidaiko (ensemble drumming). Translation: Look really cool while yelling and hitting things with friends!

Using our entire bodies to drum, we’ll explore first-hand the mesmerizing, heart-pounding power of taiko. It’s an invigorating experience for body and spirit!

Participants in the Youth workshop will enjoy fun musical games that incorporate movement and vocalization as we learn about respect in Japanese culture and phrases in Japanese. Using the oral tradition of passing down taiko rhythms, we’ll learn and play a taiko song.

No experience is necessary! ONE brings enthusiastic and encouraging instructors and all necessary drums and equipment. Participants bring plenty of energy, spirit, and joy!  Space is limited, so sign up today!

Youth Workshop (8-12 years old) is on Monday, May 11th, 4:00 to 5:00 pm
Adult Workshop (13+) is on Tuesday, May 12th from 7:00 to 8:30 pm

Both workshops will take place at the ACAS Center, 29 Montvale Avenue in Woburn. Contact us with any questions regarding this workshop or to reserve your space now: (781-938-3786 ) or classes@onetaiko.org

These workshops are made possible as as part of Woburn Arts/Culture Initiative coordinated by SCI with support from Northwest Suburban Health Alliance/CHNA 15 DoN funds from Lahey Clinic.

Beth, that's not a bachi.

The first way was a purely personal blending of old and new. Sheilarae and I were co-running a taiko workshop. Neither of us had ever run a workshop before. The 6th anniversary of my first taiko workshop is coming up at the end of the month and here I was running one! Thank goodness for Sheilarae! There is no way I could have done it alone and she was so much more engaging than I was. Our first workshop was a little shaky. We didn’t quite know how to time things out.

Our second and third groups were much better though, in no small part to the students who arrived full of energy and interest. Our last group was quite small, but the two enthusiastic women who showed up out kiai‘d the other two groups combined. It was a wonderful note to go to the performance on.

The performance. Now here was a real blending of old and new.

Karen and Greg had been working on their stick flipping for a traditional standard, Matsuri. They needed a third to join them, but none of us had quite mastered it well enough to perform. Beth stepped up to the plate however, but instead of her skill in flipping, she employed her skill in comedy. This is why, two days before, on a dreary afternoon, I went to meet a friend to borrow his rubber chicken. Rubber chicken, two bananas (one real and one plastic), taiko and Beth’s comedic timing made for the most “new” Matsuri I’d ever seen. Bachi flew everywhere, and so did bananas and the chicken, making its plaintive cry as it flew through the air.

Will we ever see the chicken again? Time will tell, but this was definitely a memorable performance and a testament to creativity. Were we making a mockery of the tradition? I don’t think so. I think we were paying tribute to the difficulty of the things that some taiko players make look too easy! Plus we were taking the spirit, old and new, and taking it in our own direction.

Karaoke with Kelvin

Odaiko New England just concluded an awesome week hanging out with Shoji, Maz, Kris and Kelvin from On Ensemble, one of the most cutting-edge and dynamic taiko fusion groups out there. I was blown away by their speed, technique, musicality, complexity, precision– but most of all by their interpretation of what taiko performance can be… hard to imagine that such elevated and inspiring art comes from such down-to-earth and inviting people. How fantastic that our members had this opportunity to not only take workshops with them and watch a killer performance, but also to just hang out and talk to them about their own approaches to the challenges and joys of taiko. It can be difficult for a group out here on the East coast to keep its finger on the pulse of a community that is largely based on the West coast, so having the chance to interact with other taiko players with such deep roots in the art form was a real treat for all of us.

Let’s see– the full recap– we spent 6 hours soaking in Kris’s thoughtful expertise on shime technique and timing, trekked 4.5 hours out to New York City to watch their performance at Drom (en route to DC for Obama’s inauguration– crazy!), sang karaoke with Kelvin till the wee hours, debated with Shoji about everything from the pros and cons of “community” to gender roles in cult sci-fi installments (ok, so maybe Shoji leans more toward esoteric than down-to-earth), allowed ourselves to be humbled as Maz, Kelvin, and Shoji all provided feedback on one of our own concerts– I think each and every one of us walked away from that week with a totally new outlook on who we want to be as taiko players and what we aspire to as a taiko group. Come on, Shoji, there’s your answer– community ROCKS!