SAN JOSE TAIKO Applause Series Curriculum Guide May 12-13, 2016
GUIDE CONTENTS Dear Teachers, About Des Moines Performing Arts
Page 3 Thank you for joining us for the
Applause Series presentation of San Going to the Theater Jose Taiko. We trust that students will and Theater Etiquette be amazed by the group’s Page 4 heart-pounding rhythms and athletic choreography, but we also hope that Civic Center Field Trip Information San Jose Taiko will instill in students a for Teachers new understanding and appreciation Page 5 for how we can celebrate our heritage
and cultural traditions — and even add Vocabulary to that legacy by bringing our own efforts and creativity. Through Page 6 their performance, students will experience traditional Japanese taiko drums and rhythms, while also learning about the unique About the Performance ways that San Jose Taiko has created their own unique style of Page 7 taiko by drawing on rhythms from around the world.
About San Jose Taiko In the following pages, you will find contextual information about Page 8 the performance and related subjects, as well as a wide variety of discussion questions and activities that tie into several curriculum Taiko History areas. Some pages are appropriate to reproduce for your Page 9 students; others are designed more specifically with you, their teacher, in mind. As such, we hope that you are able to “pick and Origins of Taiko: choose” material and ideas from the study guide to meet your ‘Amaterasu and the Cave’ class’s unique needs. Page 10
See you at the theater, The Instruments
Page 11 Des Moines Performing Arts Education Team Costumes and Family Crests Page 12
Pre-Show Exploration Pages 13-16
Post-Show Assessment
Support for Des Moines Performing Arts education programs and the Page 17-18 Applause Series is provided by: Resources and Sources Alliant Energy, American Enterprise Group, Arts Midwest, Bradford and Sally Austin, Bank of America Merrill Lynch, Bravo Greater Des Moines, Page 19 Casey’s General Stores, DuPont Pioneer, EMC Insurance Companies,, Hy-Vee, John Deere, Richard and Deborah McConnell, Polk County, Principal Financial Group, Sargent Family Foundation, U.S. Bank, Wells Fargo & Co., West Bank, Willis Auto Campus and more than 200 individual donors.
This study guide was compiled and written by Karoline Myers; edited by Michelle McDonald. Based on ‘San Jose Taiko School Outreach Curriculum Guide’ by San Jose Taiko and ‘San Jose Taiko Study Guide’ by the Ordway Center for the Performing Arts.
Des Moines Performing Arts Page 2 of 19 San Jose Taiko Curriculum Guide ABOUT DES MOINES PERFORMING ARTS
Des Moines Performing Arts is a private, nonprofit organization and is an DID YOU KNOW? important part of central Iowa’s cultural community. It is recognized nationally for excellence as a performing arts center and is committed to More than 300,000 people visit engaging the Midwest in world-class entertainment, education, and cultural Des Moines Performing Arts activities. venues each year.
Des Moines Performing Arts presents professional touring productions, Des Moines Performing Arts including theater direct from Broadway, world-renowned dance companies, opened in 1979. family programming, comedy, and concerts. Des Moines Performing Arts Education and Community Engagement programs are core to Des Moines has three theater spaces: Performing Arts' mission as a nonprofit performing arts center. Civic Center, 2744 seats Stoner Theater, 200 seats Public education programs allow audience members and local artists to Temple Theater, 299 seats make meaningful and personal connections to the art they experience on (located in the Temple for our stages. Guest lectures and Q&As with company members allow the Performing Arts) audiences to explore the inner workings of the performance. In addition, master classes, workshops, and summer camps taught by visiting No seat is more than 155 feet performers give local actors, dancers, and musicians the chance to from center stage in the Civic increase their skills by working directly with those who know what it takes Center. to succeed on the professional stage. Cowles Commons, situated Through its K-12 School Programs, Des Moines Performing Arts strives just west of the Civic Center, is to ensure that central Iowa students have affordable access to high quality a community gathering space arts experiences as part of their education. More than 50,000 students and that is also part of Des Moines educators attend curriculum-connected school matinee performances Performing Arts. The space through the Applause Series annually. In addition, Des Moines Performing features the Crusoe Umbrella Arts sends teaching artists into the schools to provide hands-on workshops sculpture by artist Claes and residencies in special opportunities that engage students directly in Oldenburg. the creative process. And, through its partnership with the John F. Kennedy Center, Des Moines Performing Arts provides teachers with As a nonprofit organization, in-depth professional development training on how to use the arts in their Des Moines Performing Arts classrooms to better impact student learning. The Iowa High School depends on donor funding to Musical Theater Awards is Des Moines Performing Arts’ newest initiative support facilities, programming, to support the arts in Iowa schools, providing important learning tools and and education programs. public recognition to celebrate the achievements of students involved in their high school theater programs. The Applause Series started in 1996. You are joining us for our 20th season of school performances.
Des Moines Performing Arts Page 3 of 19 San Jose Taiko Curriculum Guide GOING TO THE THEATER . . .
YOUR ROLE AS AN THEATER ETIQUETTE AUDIENCE MEMBER Here is a checklist of general guidelines to follow
when you visit the Civic Center: Attending a live performance is a unique and exciting opportunity. Unlike the passive experience of watching a movie, audience members play an Leave all food, drinks, and chewing gum at school important role in every live performance. As they act, or on the bus. sing, dance, or play instruments, the performers on Cameras, recording devices, and personal stage are very aware of the audience’s mood and listening devices are not permitted in the theater. level of engagement. Each performance calls for a different response from audience members. Turn off and put away all cell phones, pagers, and Musicians and dancers may desire the other electronic devices before the performance audience to focus silently on the stage and applaud begins. only during natural breaks in the performance. Do not text during the performance. Audience members can often take cues from performers on how to respond to the performance Respect the theater. Remember to keep your feet appropriately. For example, performers will often off of the seats and avoid bouncing up and down. pause or bow for applause at a specific time. When the house lights dim, the performance is
about to begin. Please stop talking at this time. As you experience the performance, consider the following questions: Talk before and after the performance only. Remember, the theater is designed to What kind of live performance is this (a play, a amplify sound. Other audience members and the dance, a concert, etc.)? performers on stage can hear your voice! What is the mood of the performance? Is the Use the restroom before the performance or wait subject matter serious or lighthearted? until the end. If you must leave the theater during the show, make sure the first set of doors closes What is the mood of the performers? Are they before you open the second — this will keep happy and smiling or somber and reserved? unwanted light from spilling into the theater. Are the performers encouraging the audience to Appropriate responses such as laughing and clap to the music or move to the beat? applauding are appreciated. Pay attention to the Are there natural breaks in the performance artists on stage — they will let you know what is where applause seems appropriate? appropriate.
A SPECIAL EXPERIENCE Open your eyes, ears, mind, and heart to the entire experience. Enjoy yourself! Seeing a live performance is a very special experience. Although it is not required, many people enjoy dressing up when they attend the theater. GOING TO THE THEATER information is adapted from the Ordway Center for the Performing Arts study guide materials.
Des Moines Performing Arts Page 4 of 19 San Jose Taiko Curriculum Guide CIVIC CENTER FIELD TRIP INFORMATION FOR TEACHERS
Thank you for choosing the Applause Series with Des Moines Performing Arts. Below are tips for organizing a safe and successful field trip to the Civic Center.
ORGANIZING YOUR FIELD TRIP ARRIVAL TO THE CIVIC CENTER Please include all students, teachers, and chaperones When arriving at the Civic Center, please have an in your ticket request. adult lead your group for identification and check-in After you submit your ticket request, you will receive a purposes. A Des Moines Performing Arts staff member confirmation e-mail within five business days. Your may be stationed outside the building to direct you to a invoice will be attached to the confirmation e-mail. specific entrance. Payment policies and options are located at the top of Des Moines Performing Arts staff will usher groups into the invoice. Payment (or a purchase order) for your the building as quickly as possible. Once inside, you reservation is due four weeks prior to the date of the will be directed to the check-in area. performance. Applause seating is not ticketed. Ushers will escort The Civic Center reserves the right to cancel unpaid groups to their seats; various seating factors including reservations after the payment due date. group size, grade levels, arrival time, and special Tickets are not printed for Applause Series shows. needs seating requests may be used to assign a Your invoice will serve as the reservation confirmation group’s specific location in the hall. for your group order. We request that an adult lead the group into the Schedule buses to arrive in downtown Des Moines at theater and other adults position themselves least 30 minutes prior to the start of the performance. throughout the group; we request this arrangement This will allow time to park, walk to the Civic Center, for supervision purposes, especially in the event that a and be seated in the theater. group must be seated in multiple rows. Performances are approximately 60 minutes unless Please allow ushers to seat your entire group before otherwise noted on the website and printed materials. rearranging seat locations and taking groups to the restroom. All school groups with reservations to the show will receive an e-mail notification when the study guide is As a reminder, children under the age of three are not posted online. Please note that study guides are only permitted in the theater for Applause performances. printed and mailed upon request. IN THE THEATER DIRECTIONS AND PARKING In case of a medical emergency, please notify the Directions: From I-235, take Exit 8A (Downtown Exits) nearest usher. A medical assistant is on duty for all Civic Center performances. and the ramp toward 3rd Street and 2nd Avenue. Turn onto 3rd Street and head south. We ask that adults handle any disruptive behavior in their groups. If the behavior persists, an usher may Police officers are stationed at the corner of 3rd and request your group to exit the theater. Locust Streets and will direct buses to parking areas with hooded meters near the Civic Center. Groups Following the performance groups may exit the theater traveling in personal vehicles are responsible for and proceed to the their bus(es). locating their own parking in ramps or metered (non- If an item is lost at the Civic Center, please see an hooded) spots downtown. usher or contact us after the performance at Buses will remain parked for the duration of the show. 515.246.2355. At the conclusion, bus drivers must be available to move their bus if necessary, even if their students are staying at the Civic Center to eat lunch or take a tour. QUESTIONS? Buses are not generally permitted to drop off or pick up Please contact the Education department at students near the Civic Center. If a bus must return to [email protected] school during the performance, prior arrangements or 515.246.2355. must be made with Des Moines Performing Arts Thank you! Education staff.
Des Moines Performing Arts Page 5 of 19 San Jose Taiko Curriculum Guide VOCABULARY bachi: (bah- Ki: the energy that flows through taiko: In chee) the living things. Ki also refers to the Japanese, it sticks used unity of the mind and body. literally to play taiko means “great drums. mon: a Japanese drum.” Large drums symbol that Outside of are played traditionally Japan, the with large bachi, and small drums represents a word is often are played with small bachi. They family. used to refer are often made from a dense to various wood such as oak. San Jose Taiko’s types of costumes feature Japanese The nagado-daiko or Japan: string of islands east of a mon. drums and to long-bodied taiko is the Asia extending 1,300 miles the ensemble most popular drum between the Sea of Japan and the of taiko used in the modern style of taiko playing. western Pacific Ocean. More than myth: a traditional or drummers When ‘taiko’ is used in 127 million people currently live in ancient story which (which is also a compound word, the Japan. was told to answer referred to ‘t’ becomes a ‘d.’ serious questions more about how important specifically as “kumidaiko”). things began or occurred. Myths Sansei: third generation of often feature Japanese in America. supernatural beings, For example, the American born ancestors, or heroes. grandchild of Japanese Amaterasu, The myth ‘Amaterasu immigrants would be referred to the sun and the Cave’ as a Sansei. goddess of explains how taiko Japan. was created. solo: a performance by just one performer. San percussion: the sound or Jose Taiko often vibration that is produced when features solos. one strikes objects together. Percussion instruments all make Map of Japan. sounds in this way. unison: the same movement or Image courtesy of worldatlas.com. series of movements performed at rhythm: the the same time by more than one recurrence or performer. Kata: pattern of also known contrasting as form. In sounds. taiko, the body is in a Rhythm exists all low stance around us. and arm A taiko player movements demonstrates good kata. are fluid and Notice his strong, low stance. strong. A team of rowers synchronize their movements in order to row in unison. Can you think of other examples where people perform actions in unison? Image courtesy of profimedia.si.
Des Moines Performing Arts Page 6 of 19 San Jose Taiko Curriculum Guide ABOUT THE PERFORMANCE
San Jose Taiko celebrates WHAT YOU WILL WHILE YOU LISTEN... traditional Japanese taiko EXPERIENCE As you listen and watch, think drumming, while adding their about the variations in style and San Jose Taiko’s performance will own unique style. Read on to the inspiration for the different include information about the learn more about what you will pieces performed by San Jose history of taiko in Japan and a experience at their performance. Taiko. For instance... demonstration of the instruments that the company uses to Watch how pieces feature create music. drummers playing together, THE MUSIC against each other, and as soloists. San Jose Taiko fuses the The performers will also introduce Listen for pieces that start with traditional art form of Japanese the audience to the four principles a traditional taiko rhythm and taiko with rhythms from around of the San Jose Taiko Learning then blend it with other the world, creating a fresh and Philosophy—including Ki, modern rhythm patterns. empowering experience for Attitude, Kata, and Musical audience members. Technique (see page 8 to learn Think about the inspiration of more about how San Jose Taiko different pieces, such as Ei Ja Their performance introduces the embodies these ideas.) Nai Ka? (Isn’t It Good?) which audience to Japanese culture is inspired by the music and through the company’s use of dance of traditional Japanese traditional Japanese instruments festivals and is dedicated to such as the Chappa and the first Japanese immigrants Atarigane, as well as many types who came to the United of taiko drums (see page 11 to States over one hundred “By playing Japanese learn more about the different years ago. instruments). American music we Watch the technique used to honor our cultural roots. play the different drums. How The company’s performance We draw from a do the drummers hold the expresses the values of traditional source, yet bachi (drum sticks), stand in dedication and cultivating a relation to each drum, or still express ourselves as move between the drums? collective spirit that lie at the heart Americans. By sharing of Japanese philosophy. What does this do to the Ultimately, the company’s our music we take pride sound or how your eyes propulsive rhythms and sounds in our heritage, and hope perceive the piece? have the power to transport the to encourage others to listener into another space and have pride in their own time — proving that all cultures cultural backgrounds.” can relate through music.
Des Moines Performing Arts Page 7 of 19 San Jose Taiko Curriculum Guide ABOUT SAN JOSE TAIKO
In 1973 a group of third- TRAINING Attitude Respect is a key word for San generation Japanese Americans, The audition process to become Jose Taiko. The members must or Sansei, were searching for a part of San Jose Taiko is respect each other, their teachers, way to learn more about their strenuous as participants must the drum, and the art form of cultural history. Looking to Japan complete a year-long training taiko. For them, an attitude of for inspiration, the young Sansei program that consists of rigorous respect begins with an open mind decided to form a taiko drum exercise, taiko basics and lessons and an open heart. No matter group, calling themselves San about the group’s history, what your abilities are, there is Jose Taiko. The taiko drum has philosophy, and process. Physical always something you can held strong spiritual and cultural endurance is very important, and improve. Every time they practice, meaning throughout Japanese running and exercise continue to they strive to improve and better history and gave these Sansei a be requirement at every practice themselves, pushing themselves chance to connect with their session once performers become to play their instruments to the cultural heritage. members of the group. best of their physical and mental
Since that time, San Jose Taiko abilities. has been mesmerizing PHILOSOPHY audiences with their unique style There are four important aspects Musical Technique of taiko, creating new dimensions to the San Jose Taiko style of Musical technique refers to the in Asian American movement taiko drumming: “how to’s” of playing a musical and music. instrument. In taiko, players Kata concentrate on the wrist snap to In some forms of Japanese get the proper sound out of the martial arts, such as karate, “kata” drum and how to hold the bachi or STYLE refers to your form or stance and drumsticks. Members also train All compositions performed by style of movement. In taiko, kata for coordination and concentration San Jose Taiko are written or refers to the way the drummers to perfect their timing, dynamics arranged by members of the stand, how they hold their arms and speed. group. San Jose Taiko is known when they approach the drums, for infusing rhythms from other and how they move when they Ki cultural traditions into their play. For taiko players, good kata Ki refers to the energy or playing. They are described as consists of a strong low stance life-force that flows through all having a world beat, as they often and moving the arms and body in living things. When one attains Ki, use elements from African, a manner that is both flowing and they feel a spiritual unity between Brazilian, Filipino, Latin and jazz. powerful. Kata requires stamina, the mind and body. One of the In addition to composing, strength, and coordination. ways the performers express Ki is members create choreography, through the encouraging shouts design and produce costumes, members of a taiko ensemble give and handcraft many of the drums. each other while they play.
*ABOUT SAN JOSE TAIKO information is adapted from the Ordway Center for the Performing Arts’ San Jose Taiko study guide materials.
Des Moines Performing Arts Page 8 of 19 San Jose Taiko Curriculum Guide HISTORY OF TAIKO
The Japanese word “taiko” USES (tye-koh) simply means drum. Taiko has been associated with The drum has been an important all major aspects of life in Japan, musical instrument in many including the changing of the cultures, but taiko holds a seasons and the cycles of nature. unique place in Japanese Japanese people from all classes culture. used taiko in their daily lives for practical and spiritual purposes.
ANCIENT HISTORY One of the earliest uses of the It is difficult to know when taiko taiko was to determine the began exactly, but scholars boundaries of a village. A believe that taiko drums evolved village was considered to be from Chinese and Korean as large as the booming sound instruments introduced to Japan of the drum would carry. during the 4th to 9th centuries. Around this time, Buddhism was A painting depicting a taiko drum being The taiko was used in battle to used in battle. also introduced to Japan. Thus give courage to samurai Image courtesy of bowdoin.edu taiko became associated with warriors and to intimidate the Buddhism and was first used in enemy. There is some temples and shrines for religious evidence that armies used MODERN HISTORY ceremonies. Priests used taiko to taiko to communicate to each Modern day taiko came about chase evil spirits and to protect other across the battlefield as after World War II when Japan’s rice fields from insects. Taiko was well. borders were re-opened to the considered to be the voice of West. Modern taiko techniques Buddha with the ability to spread Farmers played the taiko are largely attributed to a jazz wisdom, compassion, truth and believing that its thunder-like drummer named Daihachi beauty through its rhythms. sound would bring rain for their Oguchi who changed the rhythms crops. At festivals, the drum of the traditional drum song and After 900 A.D., Japanese culture was played to ward off added taiko drums. He and his became almost entirely closed to sickness and give thanks for fellow players also contributed the the outside world as the imperial prosperity. sense of speed, fluid movement, court focused on Japan’s own and choreography found in the flourishing arts and literature. Taiko was used in the Imperial modern taiko technique. Since that time, Japanese Court by the rich and powerful. craftspeople and performers have been the only ones to shape the taiko drum’s physical form and techniques. As such, today taiko is considered to be a purely Japanese art form.
Des Moines Performing Arts Page 9 of 19 San Jose Taiko Curriculum Guide TAIKO’S ORIGIN MYTH: ‘AMATERASU AND THE CAVE’
According to Japanese myth, the It was not long, however, until The gods decorated the trees taiko was created when the sun Susano-O began to cause outside the cave with mirrors and goddess hid herself in a cave trouble. As he lounged in his bright banners. They began to causing the world to go dark. sister’s kingdom, he began to feel sing songs and to dance, but Read the myth of ‘Amaterasu underappreciated and decided to nothing seemed to work. and the Cave’ to discover the cause trouble to regain some Amaterasu stayed inside the legend behind taiko’s origin. attention. When he and cave. Then, Uzume, the goddess Amaterasu quarreled, he released of mirth, stepped forward with an the wind and rain he held in his idea all of her own. She climbed The legend of taiko’s arms and sent his horses to onto a hollow log and began to creation begins with destroy Amaterasu’s rice fields. dance a joyous dance like no one Amaterasu, who was had ever seen. She stomped her the sun goddess of Amaterasu tried to be patient with feet, beating out wild and inviting Japan. She was her brother’s behaviors. She rhythms. Everyone around her responsible for made excuses for his actions, began to fill with joy as they spreading light and saying that he couldn’t help his listened to the new sounds warmth to the people troublesome nature. Her patience coming from the hollow log. and land. Her and pity, however, only infuriated brother, Susano-O, Susano-O further and he Inside the cave, Amaterasu grew was the storm god. engaged in even worse behavior curious. When she peeked His short temper and fondness for to try to make her lose her cool. outside the cave to see what was picking fights often disturbed the making the sounds, she saw her calm and quiet country. One day, he frightened reflection in the mirrors hanging Amaterasu to such an extent that from the trees. As her ears filled One day, Susano-O decided to she ran away from her kingdom. with the sounds of the drumming, visit his sister up in the sky so that She hid herself in a cave and her eyes were filled with a great he could bask in her light and blocked the entrance with a huge pure light. Her fear of her brother radiance in order to gain strength boulder. When she left, the world disappeared, and she was filled and courage for his journey to the became dark and cold and the with strength and joy. She was so underworld. In his hurry to see his land of Japan began to die away. happy that the gods did not have sister, Susano-O traveled through Feeling that he had won the fight, to catch her. As soon as she saw the sky with crackling thunder, Susano-O finally departed on his her reflection in the mirror, shaking the mountains and journey to the underworld. Amaterasu recognized her fear frightening all the living things and was no longer afraid to face below. As the dark days passed without her problems. She willingly Amaterasu, the other gods grew returned to her kingdom, once Amaterasu was also frightened by very worried. One day, they more spreading joy and light the horrible sounds Susano-O gathered outside Amaterasu's across the land of Japan. made as he traveled through the cave and formed a plan to draw sky. She was afraid that he was her out. They planned to catch Since that time, this drum — the coming to fight her. To prepare for her, make her stand up to her taiko — has been used to spread their meeting, she armed herself brother, and force her to return to joy and courage to the lands of with her bow and quiver. her kingdom to spread her light Japan. However, when Susano-O and warmth back across Japan. arrived, she learned that he had come to visit her, not to fight her. She put aside her bow and arrows and welcomed him into her presence. Myth [mith] noun : a traditional or legendary story, usually about a hero or event, that often explains a practice, rite or phenomenon of nature.
Des Moines Performing Arts Page 10 of 19 San Jose Taiko Curriculum Guide THE INSTRUMENTS
Traditional Japanese drums are O-KEDO UCHIWA made from a hollowed out tree Believed to This hand-held drum is shaped trunk. Taiko makers in the be the oldest like a paddle or fan. In fact, United States often use oak taiko style uchiwa (oo-chee-way) means fan. wine barrels to form the body of drum, the Often seen in parades the drum. Cow hide is stretched body of the and festivals, temple across the top and tacked down o-kedo monks originally with nails to create the head of (oh-keh-doh) is made from staves used them to keep the drum. The larger the drum or planks rather than a solid piece time while body, the deeper the sound of wood. It is easier to carry they becomes. because the skin is roped onto the chanted. drum rather than tacked. These drums are about six feet BACHI NAGADOU-DAIKO long and three feet in diameter. Bachi (bah-chee) are sticks used The nagado-daiko or long-bodied They are usually raised up on a to play the drums. Large drums taiko is the most popular drum high stand and played are played with large bachi, and used in the modern kumi-daiko horizontally. small drums are played with small style of playing. It is common at bachi. These sticks are festivals and in temples and Short bodied o-kedo, which are often made from a shrines (where it is light enough to be carried and dense wood called played while dancing, are such as oak. miya-daiko.) increasingly popular. These may
Its sound is be struck with slats of bamboo to deep and produce a sharp, slapping sound. reverberant.
This drum can SHIME-DAIKO be placed on The shime-daiko (shee-me-dye- OTHER various stands for koh) are similar to the o-kedo in INSTRUMENTS different styles the fact that the skins are San Jose Taiko uses a variety of of playing. attached with rope rather than other instruments in their
tacked. Shime-daiko, however, performances, including: O-DAIKO are much smaller with a high, The largest drum is the O-daiko sharp sound. In taiko groups, the Chappa (oh-dye-koh). It means “big fat shime-daiko is often used to keep (chahp-pah): drum.” O-daiko can reach huge the basic rhythm and establish small hand proportions. It is made out of a time. It can also be used as a cymbals made hollowed tree trunk, over which a versatile solo instrument as well. It of metal. cow hide is stretched and tacked. has a one piece body carved The larger the drum body, the out of Shinobue deeper the sound. O-daiko are hardwood, (shee-noh typically placed on a stand and and the -booeh): played horizontally — often by two shell is although it people at the same time. Usually, often is not a one player beats out a basic beautifully percussion instrument, this small rhythm while the lacquered bamboo flute is heard at most other solos. and festivals because its melodies Mammoth decorated. blend so well with taiko. o-daiko can take Atarigane (ah- the tah-ree-gah-neh): builder small hand-held years to gong made of complete. brass.
Des Moines Performing Arts Page 11 of 19 San Jose Taiko Curriculum Guide COSTUMES AND FAMILY CRESTS
The members of San Jose Taiko Obi (oh-bee): a long piece of SPOTLIGHT ON MON wear costumes that have their fabric that wraps around the The tradition of the Japanese roots in traditional Japanese performer many times and is tied family crest, known as the mon, dress. off at the end. The obi serves as a dates back to the 11th century. belt to keep the happi from The ruling families of the Imperial coming undone. Court designed family symbols to COSTUME put on their formal clothing. The ELEMENTS Tabi (tah-bee): cotton socks with crests they designed often a separate space for the big toe. incorporated flowers and birds as Japanese carpenters used to Happi (hahp-pee): A simple jacket a way to represent the elegance wear tabi while they worked on of court life. that is patterned after those worn roofs of houses. When they at Japanese festivals. They come finished with work, they would put When the samurai class took over in a variety of styles and colors. on their slippers while still wearing Usually a symbol called a mon is the Japanese government in the their tabi and walk home. Tabi are 12th century, they began to use placed on the back of the happi. A worn in martial arts and traditional mon is a family crest. similar emblems on their banners, dances. The tabi worn by taiko flags, and weapons. They chose players have rubber soles on the Hachimaki (hah-chee-mah-kee): designs such as arrows, dragons, bottom so that players don’t slip and bats. There were many wars a rectangular piece of cloth that is when they play. twisted to make a headband. This during this period, and the is used to keep the sweat out of warriors used their family the performer’s eyes. The emblems to identify their camps hachimaki is said to have derived and positions on the battlefield. from a strip of cloth used by warriors to secure their helmets to By the 17th century, family crests their heads. This developed into a were adopted by the common simple strip of cloth, usually people. The symbols they chose printed with a bright color, that included familiar objects such as was tied around the forehead rabbits, mountains, and tools. before engaging in any kind of strenuous work or activity. Because Japan is a small island where many people have learned to live together without wasting space, Japanese design is often very simple. Many mon are created to fit inside a small circular space, and every shape Examples of Japanese mon. and line has a purpose. Images courtesy of brittainica.com.
Des Moines Performing Arts Page 12 of 19 San Jose Taiko Curriculum Guide PRE-SHOW EXPLORATION
1) RHYTHM EXPLORATION 2) HARA BREATHING
Goal: To understand the concept of rhythm and to Goal: In this activity, students will gain an hear the rhythm that exists around us. understanding of meditation — a common practice in Eastern cultures and for the San Jose Taiko Explanation: Rhythm and sounds are a part of life in drummers. every culture. Taiko drummers use a variety of drums and movements to create new rhythms. Students will Explanation: The use of breathing and meditation is create their own rhythms with their bodies and other present in most Eastern religions. Zen Masters, instruments they find in the classroom. martial artists, and taiko drummers are just a few of the groups that work on becoming stronger at their Activity: trade through cultivating their ki (or vital life energy). 1. Create a simple clapping rhythm for the class to Your ki is stored in the hara (a central harmonizing echo. As they master each rhythm, make a new place in the body located two index fingers below complex rhythm for students to repeat. You can your navel.) In this activity students will practice Hara expand from just clapping to stomping your feet, Breathing, which is a form of meditation. snapping your fingers, or gently slapping the knee or chest. Activity: 2. See if you can make a class song using these 1. Practice Hara Breathing or meditation. Start by different rhythms. Divide the class into groups and having students find a comfortable position on the have each group come up with their own rhythm. floor, sitting cross-legged or on their knees. Have them perform them in varying orders or all 2. Make sure hands are resting on knees or in a together. relaxed position. 3. Next, have your students look around the 3. Stretch your head and shoulders to the sky while classroom for ordinary objects that can be used to taking a deep breath in. As you exhale, feel your body create new sounds. For example, scrunching or relax and sink into the floor while maintaining good shaking a trashbag, opening and closing of a pencil posture. box or backpack, tapping a pen on the desktop, etc. 4. Close your eyes, keeping them closed throughout 4. Have students create a short rhythm that they the entire meditation. Try to release any thoughts that would like to make with their chosen “instrument” and arise during the meditation by concentrating on the write out a notation that they can read corresponding following breathing pattern: to their rhythm.* 5. Arrange these notations in different orders to INHALE- through the nose, filling the hara (or your create a class musical piece. stomach) with air as you count to five.
*You may want to collaborate with your school’s HOLD- for a second count of five, accumulating ki music specialist for this part of the activity. in the hara.
Follow-Up Questions EXHALE- through the mouth for a slow count of 1. What is rhythm? ten. 2. Where can you find rhythm? Do you have your own rhythm? 5. Repeat pattern at least ten times. 3. Can you see rhythms? What do they look like? 4. How can you recreate the sounds you hear in Follow-Up Questions: everyday life (rain falling, walking over a bridge, 1. How do you feel? Do you feel different from how brushing your teeth) with percussion instruments? you felt before the meditation exercise? How do these sounds differ? 2. Did you like the activity? Was it hard to stay focused on your breath? 3. What have you done that is similar to this exercise? 4. How do you think you may be able to use this in your everyday life? (e.g. when you are angry, stressed, nervous, etc.)
Des Moines Performing Arts Page 13 of 19 San Jose Taiko Curriculum Guide PRE-SHOW EXPLORATION
3) JAPANESE MON 4) WRITING MYTHS
Goal: To understand the Japanese mon as a symbol Goal: To understand how myths were used to for family. explain how important things began or occurred.
Explanation: In Japan, family crests known as mon Explanation: Myths are a part of every culture and are symbols which have been used for centuries for were used to explain how important things began or identification purposes and to show family pride. occurred. The art form of taiko is so central to Using Japanese design elements, students will create Japanese culture that a myth was developed to a mon representing their family. explain taiko’s creation. Students will study the myth ‘Amaterasu and the Cave’ and then write explanatory Activity: myths of their own. 1. Show students a number of well-known symbols and logos and have them identify the meaning of the Activity: images (ex. Yellow triangle = Yield, Golden Arches = 1. Ask students to brainstorm a list of myths and McDonald’s). Ask them to provide other examples of legends that they are familiar with, thinking about the well-known logos and symbols. What do they think of elements that the stories have in common. when they see these symbols? 2. Have students read the ‘Amaterasu and the Cave’ 2. Explain to students that families once used images, on page 10 of this guide. or crests, to represent themselves. In Japan, these 3. Invite students to generate a list of questions that family crests were called ‘mon’ and were often worn people may have had in ancient times (Examples: on clothing. Why are the stars scattered across the sky? Why do 3. Ask students to create a list of characteristics of dogs have tails? How was the wheel invented?) their family, considering their family’s name, interests, Students will use one of these questions as the business, or other characteristics. They will use this starting point to write their own myth. list as a starting point for designing a symbol to 4. Students should choose a setting for their myth and represent their family. write about two or more characters that are 4. Encourage students to sketch several design facing some sort of problem or conflict. The resolution ideas. Remind students that Japanese design uses of the conflict should answer the question the student space very deliberately and that every line and chose to write about. Remind them that the resolution element of their symbol should have meaning. can be planned by one of the characters or the result 5. Provide students with a paper circle (at least 8” in of an accident. diameter) on which to execute their final design using 5. Once they have revised, proofread, and finalized marker, pen, colored pencils, or paint. their myths, invite students to share their stories with 6. Encourage students to write a paragraph or two one another. Encourage them to discuss how the explaining the elements of their design to be style of the ‘Amaterasu and the Cave’ or other myths displayed next to their completed mon. influenced their composition.
Follow-Up Questions: Follow-Up Questions: 1. What makes an image, 1. What is a myth? Why do you think myths are such as a symbol or logo, created? Are there certain cultures whose myths you instantly recognizable? are more familiar with than others? 2. Why do you think families 2. Think about the characters, conflict, and resolution in Japan used family crests? of ‘Amaterasu and the Cave.’ Is the story of the 3. Was it difficult come up beginning of taiko similar to any other myths or stories with a symbol to represent you know? Which ones? How are they alike? your family? What would 3. Many myths are about the creation of natural strangers be able to learn phenomena, such as the creation of the sun or the about your family from your See page 12 for additional rain. What does it tell you about the place of taiko in symbol? What things about information and Japanese culture that there is a myth about taiko’s your family would they not examples of Japanese mon. origins? be able to discern just from your symbol?
Des Moines Performing Arts Page 14 of 19 San Jose Taiko Curriculum Guide ACTIVITIES AND DISCUSSION QUESTIONS: Grades 10
4) DRUMS AND CULTURE 5) DEBATE A CULTURAL THEORY Goal: Understanding a culture through its music. (Best for grades 7 and above)
Explanation: Explore another culture through its Goal: To understand the complex factors which music using research and presentation. influence a group’s relationship with its cultural
heritage. Activity:
1. Ask students to research (in groups or alone) the Explanation: Students will debate the validity of a history, construction, and purpose of the drum or theory regarding immigrant generations’ relationships other percussion instruments around the world. For with their cultural heritage. Students will research the example: the tabor of the middle east, the steel drums experiences of Japanese Americans to guide their or pans of the Caribbean, gourd rattles, iron bells, analysis. pressure drums, bata drums or the atumpan.
2. Use the following questions as a guide: Activity: In what cultures does the drum exist? 1. Ask students to consider the validity of “Hansen’s How does the drum differ between cultures? Law” (see description on accompanying handout on Is it used for the same or different purposes? page 16 of this guide) regarding different immigrant With what materials is it made? generations’ relationships with their cultural heritage. How does the instrument work? 2. Have students write down their initial reaction to How does the size of the instrument make a “Hansen’s Law.” difference in its sound? 3. Tell students that they will debate the validity of Is the drum tied to any cultural history or “Hansen’s Law” using the experiences of Japanese religions? Americans to confirm or deny the theory. Ask them to What does your research tell you about the research (in groups or alone) Japanese American culture from which your instrument originated? history using the ‘Questions to Guide Your Research’ Is it featured in any stories or myths? listed on the accompanying handout. 3. Have students include a drawing or photo of the 4. Invite students to discuss their findings in relation drum with their research findings. to “Hansen’s Law.” Divide them into groups based on 4. Ask students to present their research to the class. their position and host a formal debate, or facilitate an If possible, allow students to share audio clips of the informal discussion using the questions below. instrument being played, either solo or as part of an 5. Ask students to write a reflection on the exercise, ensemble. citing supporting evidence that supports their final analysis of “Hansen’s Law”. Follow-Up Questions: 1. How do different forms of music enhance Follow-Up Questions: understanding of a culture or historical tradition? 1. How do the experiences of Japanese Americans 2. What can we learn about a culture through its support “Hansen’s Law”? music? How does it change our perception of that 2. How do the experiences of Japanese Americans culture? weaken “Hansen’s Law”? 3. How does the ancient use of the drums compare to 3. Are there other historical factors that could the modern usage in the different cultures studied? influence a generation’s relationship with their cultural Has the importance or symbolism of the drum heritage? Does “Hansen’s Law” take those factors increased or decreased for the culture you are into account? studying over time? How might you explain these 4. Are there other factors that Hansen may have changes? missed when forming his theory? (Consider simple generational differences, how isolated or open the immigrant group was in America, etc.) 5. Did your research and the following discussion lead you to change your mind about the validity of “Hansen’s Law”?
Des Moines Performing Arts Page 15 of 19 San Jose Taiko Curriculum Guide HANSEN’S LAW (For use with Pre-Show Exploration Activity #6)
Step 1: Look at “Hansen’s Law
“What the son wishes to forget, the grandson wishes to remember.”
The above-quote comes from Pulitzer-prize winning San Jose Taiko was founded in 1973 by young Asian Americans historian Marcus Lee Hansen’s 1938 essay “The searching for an outlet to convey their experiences as Sansei, or Problem of the Third Generation Immigrant.” In the third-generation Japanese Americans. essay, Hansen presented a theory about different immigrant generations’ relationships with their cultural heritage. He theorized that: Questions to Guide Your Research:
1. First generation immigrants wish to preserve 1. San Jose Taiko was founded by third-generation their ethnic and cultural identities rather than Japanese Americans, known as Sansei. What are the assimilate; names of the other Japanese American generations? 2. Their children, who are born in the United States, reject their cultural heritage in order to 2. When did each generation group typically arrive in become part of the American mainstream; the United States?
and 3. Were there any significant historical events that shaped certain generations’ experiences in America? 3. Their children, third generation immigrants, have a strong desire to reconnect with their 4. What is/was the typical attitude held by each cultural heritage. generation regarding their cultural heritage?
Hansen suggested that this pattern held true for all 5. How does the formation of San Jose Taiko and immigrant groups, regardless of their country of other American taiko groups fit with the generational origin. This theory became known as “Hansen’s Law” pattern? and has been the subject of scholarly debate since it was first presented. Many scholars found it to be a useful paradigm to explain immigrant experiences and attitudes; others believed Hansen’s theory was based on conjecture rather than evidence and, Step 4: Debate Team up to debate the validity of “Hansen’s Law.” Be therefore, could not be trusted. prepared to use evidence from your research to support your position. Note: You do not need to Step 2: Initial Reaction argue for your initial reaction to “Hansen’s Law” if you What is your initial reaction to “Hansen’s Law”? In a changed your mind during the course of your brief sentence or two, write down to what extent you research. agree or disagree with Hansen’s theory. Step 5: Final Thoughts Write a brief reflection on your experience examining Step 3: Research “Hansen’s Law.” What is your final take and why? Use evidence from your research to support your Research Japanese American history and analysis. experiences. As you conduct your research, think about how your findings support or deny “Hansen’s Law.”
Des Moines Performing Arts Page 16 of 19 San Jose Taiko Curriculum Guide POST-SHOW ASSESSMENT, pg. 1
DISCUSSION QUESTIONS 1) WRITE A LETTER
1. Which piece was your favorite and why? Goal: To reflect on the performance experience and to practice writing skills. 2. Do you remember any of the rhythms that were played during the show? Can you recreate them? Explanation: In this activity, students will write a letter about their experience to either the performers 3. Do you remember the different instruments used? or to Des Moines Performing Arts education donors How did each instrument sound? How did their whose support keeps Applause Series tickets unique sounds contribute to the overall feeling of the accessibly priced for school groups. piece? Materials: 4. In the myth of taiko’s creation, Amaterasu was Paper filled with strength and courage when she first heard Writing utensil the sound of taiko. How did you feel when you listened to the taiko performance? Did certain pieces Activity: make you feel different than others did? What does 1. After attending the performance, discuss the this tell you about the power of music? experience with your students. Use the following
discussion questions to guide the conversation: 5. What did you notice about the costumes worn by the performers? Were you able to identify the happi, hachimaki, obi, and tabi? Did you see a mon on any How did the performance make you feel? of the costume pieces? What surprised you about the performance? What do you think was the main message or idea 6. Why do you think wearing traditional Japanese of the performance? costumes is important to the performers? What did the costumes add to the performance? 2. Next, invite students to write a letter to the performers or to Des Moines Performing Arts donors 7. Taiko is a common instrument for the people of about their theater experience. Japan and is used in many everyday settings. Can you think of any instruments or forms of music that Example letter starter: have a similar presence in mainstream U.S. culture? What other cultures do you know of that have a Dear San Jose Taiko // Dear Donors... distinguishing style of music or instruments? What do these instruments or music tell us about the cultures My favorite part of the show was… they originate from? While watching the show I felt… because … If I could be in your ensemble, I would … 8. San Jose Taiko used instruments besides the taiko drums in their performance. Thinking about the 3. Mail the letters to: sounds of one of the other instruments used in the performance, can you come up with a myth Des Moines Performing Arts explaining its creation? Attn: Education Department 221 Walnut Street 9. What aspects of San Jose Taiko’s performance Des Moines, IA 50309 departed from traditional Japanese taiko and showcased the group’s Japanese American identity? Follow-up Questions: 1. What did you include in your letter? Why did you
want to share that particular idea? 10. San Jose Taiko aspires to encourage others to take pride in their cultural backgrounds. Did any aspects of their performance inspire you to find out more about your cultural background?
Des Moines Performing Arts Page 17 of 19 San Jose Taiko Curriculum Guide POST-SHOW ASSESSMENT, pg. 2
2) WRITE A REVIEW 3) DESIGN A CD COVER
Goal: To write a review of the performance. Goal: Students will synthesize their ideas about San Jose Taiko, using imagery and typography to Explanation: In this activity, students will reflect on capture the mood and message of the ensemble. the performance by writing their own review. Explanation: Artists need to determine how to Activity: represent themselves to the public and stay true to 1. Ask students to imagine that they are a critic for the their particular vision or art form. Often they have to school newspaper. They are going to write a review of rely on others to help make the message both San Jose Taiko to inform others about what they attractive and accurate. In this activity, students will experienced. act as advertising and graphic design professionals 2. In the review they should describe with detail: and design a CD cover that represents San Jose Taiko. what they saw
what they heard Activity: how the performance made them feel 1. Ask students to imagine that San Jose Taiko has what the performance reminded them of asked them to design a cover for their newest CD what their favorite part was and why recording. 3. Remind students that they must paint a picture of 2. Have students think about important ideas and the experience with their words so that others who did images that come to mind when they think about the not see the performance can imagine it as vividly as performance and use those ideas to guide their possible. design. 3. For a greater challenge, limit students’ color palate Follow-up Questions: to black, white and one accent color. 1. What did you include in your review? Why did you 4. After students have created their cover using art want to share that particular idea? materials, have them imagine that they are going to 2. What things did writing the review make you think present their design to San Jose Taiko’s artistic about that you hadn’t thought of by just watching the director (played by the teacher). Ask students about show? the elements they included in their design, why they 3. Is there anything that you would change about the made those design decisions, and what the design show if you could? Would you add something or take communicates about the message of San Jose Taiko. something away? Follow-up Questions: 1. What was your inspiration for the images and typography you chose? 2. How did you choose the colors in your design? 3. Which CD designed by your classmates is your favorite? Why?
Des Moines Performing Arts Page 18 of 19 San Jose Taiko Curriculum Guide RESOURCES AND SOURCES
Classroom Resources:
Websites:
San Jose Taiko: http://www.taiko.org/
Taiko Drums: http://www.miyoshidaiko.com
San Jose Taiko Kidsweb: http://www.taiko.org/kidsweb/ Information, sound clips, and interactive activities for kids. Appropriate for children 12 and under.
Suggested Resources for ‘Debate a Cultural Theory’ Activity on pages 15-16:
Japanese American Citizens League: https://jacl.org/asian-american-history/ Includes information on Japanese American History and Asian Pacific American History, with specific information on immigration from Japan.
Asian Nation: http://www.asian-nation.org/japanese.shtml and http://www.asian-nation.org/assimilation.shtml Discussion of Japanese Americans and general factors affecting assimilation.
Study Guide Sources:
Ordway Center for the Performing Arts’ Study Guides: http://www.ordway.org/education/studyguides
San Jose Taiko- School Outreach Curriculum Guide: http://www.taiko.org
University of Tennessee Chatanooga: Additional information on Japanese Mon. http://www.utc.edu/Departments/edast/ncta/chatt/pdf/Glasscock- LP1_handouts.pdf
Lyrical Works: Taiko Legend of Amaterasu. http://www.lyricalworks.com/stories/amaterasu.html
Des Moines Performing Arts Page 19 of 19 San Jose Taiko Curriculum Guide