TAIKOPROJECT Study Guide For use with TAIKOPROJECT educational programs Steven Nguyen Mari Nakano Steven Nguyen Yuta Kato TAIKOPROJECT PO Box 825 Monterey Park, CA 91754 213 268-4011 [email protected] www.TAIKOPROJECT.com youtube.com/TAIKOPROJECT facebook.com/TAIKOPROJECT twitter.com/TAIKOPROJECT This Study Guide was initially developed as TAIKOPROJECT is represented by: part of the “Big Drum: Taiko in the United Kamstar Artist Management States,” an exhibition curated by the 415.776.5522 Japanese American National Museum. [email protected] INTRODUCTION It is now more important than ever to acknowledge the need for art education. The materials in this study guide are designed to give your class supplementary infor- mation and activities to enhance the student’s appreciation of the TAIKOPROJECT while instilling a broader base of knowledge and understanding of our society’s diversity through different cultural perspectives. America is a country of widespread cultural diversity. Music, and drumming, is a part of every culture, and its function in each culture is integral to its life and vitality. What is an African dance without the drummers? What would Irish music sound like without the dohbran (hand drum)? And what is a Japanese matsuri (festival) without the taiko? Much can be learned about different cultural traditions and lifestyles by experiencing its music. The TAIKOPROJECT performs contemporary Japanese American taiko drum- ming. It is an artform drawn from our Japanese ancestry, but nurtured in America by multi-generational Asian Americans in search of a voice for their dual-culture identity. Through the sharing of our music and stories, we share our pride in our heritage and culture, and encourage others to have pride in and explore their own cultural back- grounds, and those of others. With our school program, we hope to expand students’ knowledge of Japanese American taiko. With our drumming and stories, we hope to cross cultural boundaries and open their minds to our world of music, history, and creative expression. This guide is designed to encourage students to explore the ideas and themes found in the TAIKOPROJECT through individual and class activities, and to prepare them for a more understandable viewing of the performance. TABLE OF CONTENTS “Home” (2003) choreographed by Michelle Fujii TAIKOPROJECT:(re)generation • Origins of Japanese Taiko photo by Robert Meyers • History of American Taiko “Many Sides” (2003) composed by Masato Baba TAIKOPROJECT:(re)generation • Musical Instrumentation photo by Robert Meyers “Discovery of a Voice” (2003) • Homemade Taiko TAIKOPROJECT:(re)generation photo by Robert Meyers • What is Rhythm? • Kuchi Shoga • Oral Tradition • Taiko Glossary • Additional Resources ORIGINS OF JAPANESE TAIKO The Japanese word “taiko” (tye-koh) literally means “drum.” The taiko has been used in Japanese life and culture for centuries. One of its earliest known uses was to deter- mine the boundaries of a village. A village was as large as the powerful sound of its taiko could carry. In the 6th Century, in battle, beating the taiko was used to give courage to samurai warriors and to intimidate the enemy. Taiko is also found in more formalized areas of Japanese culture, such as in Kabuki and Noh theatre and the tradi- tional Gagaku music of the Imperial Court. Taiko also plays an important part in religious activities in Japan. In Shintoism, all natu- ral phenomena, the mountains, fire, water, and animals are thought to contain a spirit of a deity or god. The taiko is often used as a voice to call these gods to give thanks to them or pray to them. They believed that their music was an offering to these deities, which would bring them good fortune. For this reason, taiko was often at the center of folk festivals. Farmers played the taiko believing that its thunder would bring rain for their crops. Fishermen played the taiko to request a bountiful catch. In other festivals the taiko is played to dispel evil spirits, ward off sickness, or give thanks for prosperity. In Buddhism, the taiko is considered the voice of the Buddha, along with the horagai, or conch shell. The modern kumi-daiko (group drumming) ensemble started after World War II in Japan. Daihachi Oguchi, a jazz drummer discovered taiko and was captivated by its power. In the early 50’s he started what is considered to be the first taiko group, Osuwa Daiko, in Nagano, Japan. Taiko groups were formed all throughout Japan since Gagaku/Bugaku that time, in large part to a desire to return to traditional Japanese arts and culture. courtesy of Kinnara Taiko skinning drawings Two other taiko groups from Japan are considered major influences on American taiko, courtesy of Miyamoto Unosuke Shoten Tokyo’s “O Edo Sukeroku Taiko” and “Ondeko-za.” O Edo Sukeroku Taiko is known for Kodo Promotional Card (1984) its dynamic double-drum style of taiko drumming and slant style of taiko drumming. courtesy of Kodo Ondeko-za started in 1969, by Tagayasu Den, and in 1981, the group split, giving birth to the most internationally-known taiko group, “Kodo.” 2 HISTORY OF AMERICAN TAIKO In North America, taiko started in 1968 when Seiichi Tanaka, who recently moved from Japan, saw the San Francisco Cherry Blossom Festival and noticed there wasn’t any taiko. Shortly thereafter, he started the first American taiko group, the San Francisco Taiko Dojo, based on his studies of taiko and martial arts in Japan. In 1969, Rev. Masao Kodani and George Abe, two sansei (third-generation Japanese American) Buddhists were putting away the temple taiko from its once-a-year appearance at the summer-time Senshin Obon festival, when they decided to continue playing the drum. After hours of pounding on the taiko, they were tired, sweaty, hands bleeding, and they decided they should “play taiko more often.” Thus was born the first bonafide Japanese American taiko group. Rev. Kodani formed the taiko group without Japanese formalities such as an established teacher or hierarchical leadership system and formed a philosophy of playing taiko according to Jodoshinshu Buddhist philosophy. Young Asian Americans took to taiko immediately, and with the influence of these first two groups, taiko groups formed across North America, such as San Jose Taiko (San Jose, CA – 1973), Soh Daiko (New York City, NY – 1975), and Katari Taiko (Vancouver, Canada - 1979). There are now over 150 taiko groups throughout North America. Taiko groups in North America are noted for their creativity and innovation in developing a distinctively “American” style of playing taiko. Incorporating world rhythms, dance, music, theatre, and storytelling, American taiko is an exciting, young artform that contin- ues to thrive and become more and more diverse. Not only do those of Japanese ancestry play taiko, but Asian Americans, and Americans of all ancestries play taiko-- Seiichi Tanaka (c. 1970) anyone can play! San Francisco Taiko Dojo courtesy the artist However, like everything else, taiko is not without its issues. Current issues in the Conference Booklet (1997) 1997 North American Taiko North American taiko community include the copyrighting of songs, movements, and Conference Booklet design by Qris Yamashita styles of taiko, the need (or not) for a governing taiko organization like in Japanese martial arts like karate or judo, the idea of a “taiko competition.” Kinnara Taiko (c. 1970) Kinnara Taiko courtesy the artist 3 ARTICLE ONE The following article from the Los Angeles Times contains a good retelling of the history of American taiko by Teresa Watanabe. She wrote this article as a feature on the 1999 North American Taiko Conference. LOS ANGELES TIMES “We have classical dance and tea and a means for villagers to com- “A Taiko Tradition: Bang the Drum ceremony, things that are very municate with one another. In Loudly” precise and proper. But taiko is Japanese folk tradition, Kodani by Teresa Watanabe, exciting and dynamic; it’s musical said, taiko also represents regen- Staff Writer but also visceral.” eration, with the drumsticks as a July 30, 1999 male symbol and the drum, Today, the appeal of taiko’s raw female. Thirty years ago, two people fell power and commanding roar, prey to the lure of the Japanese mesmerizing choreography and It was not until the 1950s, howev- big drum. colorful costuming has moved far er that taiko began to develop as beyond the Japanese American a performing art in Japan, and In San Francisco, a martial artist community. then independently in the United from Japan attending a local cher- States a decade later. ry blossom festival noted the stark Taiko groups now consist of drum- absence of the taiko, the thunder- mers of all races, who perform at Kodani’s Senshin Buddhist ous drum that is a fixture at most venues from public schools to Temple, near USC, was central in every Japanese community cele- Carnegie Hall. The distinctive popularizing taiko by inventing a bration. taiko drumbeat is now featured in way to make drums inexpensively Hollywood commercials and from wine barrels, rather than the In Los Angeles, a Japanese movie soundtracks, including traditional method of carving out American Buddhist priest putting “Star Trek IV: The Voyage Home” whole pieces of wood. The inno- away the temple taiko after an and “The Thin Red Line.” A vation allowed groups to make annual Bon Odori summer festival plethora of taiko styles now mix taikos for about $400, rather than wondered why this glorious instru- dance and theater, salsa and jazz, the Japanese price of a couple ment should stay shuttered away with the traditional Japanese thousand dollars for a small drum but for a few nights a year. drum. to $70,000 for a huge one, Yamami said. Within months of each other, The proliferation of taiko groups Seiichi Tanaka and the Rev.