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 : 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 warriors and to intimidate the enemy. Taiko is also found in more formalized areas of Japanese culture, such as in and theatre and the tradi- tional music of the Imperial Court.

Taiko also plays an important part in religious activities in . 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 , or 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 ’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 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 , taiko started in 1968 when Seiichi Tanaka, who recently moved from Japan, saw the Cherry Blossom Festival and noticed there wasn’t any taiko. Shortly thereafter, he started the first American taiko group, the , based on his studies of taiko and martial arts in Japan. In 1969, Rev. Masao Kodani and George Abe, two (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 (, 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.” (c. 1970) Kinnara Taiko courtesy the artist

3 ARTICLE ONE The following article from the 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- . The distinctive popularizing taiko by inventing a bration. taiko drumbeat is now featured in way to make 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 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. has even sparked an emerging Many Groups, Many Seiichi Tanaka Masao Kodani had formed taiko set of issues that will be Interpretations San Francisco Taiko Dojo performance groups at opposite addressed at the conference. courtesy of The Rafu Shimpo ends of the state—and pioneered They include the ethics of imitat- For the nearly 100 groups that a Japanese American art form ing styles and songs, whether a now flourish in North America, Jeanne Mercer that has exploded in popularity formal organization should govern taiko variously represents an art Shasta Taiko today and will be featured at the the burgeoning number of groups form, a spiritual path, a cultural courtesy of the Los Angeles North American Taiko Conference, and how to safeguard the tradi- expression and a political state- Times which begins today in Little Tokyo. tion’s Japanese roots as the art ment. Johnny Mori moves into the mainstream. “Most taiko groups in America are Kinnara Taiko The conference, which is expect- searching for some kind of root in courtesy of the Los Angeles ed to draw more than 500 taiko “How do you copyright a particular their ancestry,” said Mt. Shasta Times drummers, manufacturers, and movement? Is this going to stay musician Russel Baba, who, fans from the United States, a Japanese American cultural along with his wife, Jeanne Canada and Japan, willfeature a thing? These are all questions Mercer, has played taiko for 27 variety of workshops, demonstra- people need to talk about,” said years and is leading a pilot train- tions, and discussions. Two con- Johnny Mori, a taiko pioneer who ing program for young drummers certs will be held Saturday and plays for the jazz group Hiroshima this week in Los Angeles. Sunday at the Japan America and Kinnara, the group based at Theatre. Kodani’s Senshin Buddhist The development of taiko as a Temple. community art paralleled the civil “As , we did- rights movement and the quest for n’t have any arts that were pas- Shrouded in folklore and myth, ethnic identity. For many, Mori sionate and physical,” said Bryan taiko is said to have been brought said, taiko was one way to re- Yamami, a conference organizer to Japan from thousands of embrace a cultural heritage that with the Japanese American years ago as a Buddhist ritual many cast aside in shame follow- Cultural and Community Center. tool, an instrument of court music ing the internment of Japanese 4 ARTICLE ONE continued

Americans during World War II. who don’t measure up. seems to give many practition- ers, however, one of the men But Mori and other members of In recent years, however, Tanaka who started it all warns against Kinnara (which translates as has added meditation and the taiking it all too seriously. Buddhist celestial music) see Chinese art of energy movement taiko performance primarily as a known as qigong to his curricu- “It’s just a cow skin sheet over a way to practice Buddhist princi- lum. He now sees drumming as wine barrel,” Kodani said with a ples of interdependence, of rec- a path to a healthy life, deriving laugh. ognizing the ego and moving power from the inner forces beyond it. Kinnara members do rather than raw physical strength. not strive for musical perfection; Although his San Francisco Taiko talented showboats are nudged Dojo will not be performing this aside in favor of those with fewer weekend, Tanaka will be leading skills but greater humility, Kodani two workshops today and said. Saturday.

“What we play, how we play it, “These days I am as soft as tofu, when we play it, is all decided but I still have my spirit behind communally,” Kodani said. me,” Tanaka said.

Many of the group’s pieces carry For Generation X-er Ann Buddhist themes. “Samsara,” Ishimaru, taiko has been a way which Kinnara will perform this to reconnect with her roots. weekend at the Taiko Jam ’99 Raised in white suburban com- concerts, expresses the experi- munities around the United ence of being caught in the world States, Ishimaru says she was of self-delusion, while ashamed of her heritage, proud “Prapancha” captures the she could not speak Japanese Buddhist view that most of and pretended she hated sushi. human speech is meaningless. When she was about 12, she Similarly, Centenary Methodist saw her first taiko performance in Church sees its taiko group as a Seattle and was secretly thrilled religious path, with the Bible that a Japanese American art incorporated in its mission state- could be so powerful and com- ment and such compositions as pelling—and performed by “Bringing Down the Walls of women as well. Jericho.” Tanaka, in contrast, developed what he calls “power Years later, as a freshman at taiko”—a musical expression of Stanford University, she signed his martial arts combining disci- up for a class that linked the pline and strength with the rustic loud, steady sound of the drum spirit of Japanese village festi- and the vocal political movement vals. In an effort to hone his to gain reparations for the intern- craft, he shuttled back and forth ment of Japanese Americans. from Japan to study with preemi- nent groups there, including Ishimaru was hooked. She start- Osuwa Taiko and O Edo ed Stanford Taiko, and is now a Sukeroku Taiko. founding members of Portland Taiko. The group, which includes Tanaka’s demanding approach, members of Korean, Chinese, both controversial and respected, Filipino, Laotian, and European re-creates the feudalistic, hierar- ancestry, is aimed at promoting chical relationship between mas- cultural diversity and social jus- ter and student that character- tice, she said. izes wrestling, tea ceremo- ny, and other Japanese arts. He Still others pursue taiko purely as also requires a rigorous physical an end in itself. “I joined regimen of up to four miles of because of the art, the music running, 400 push-ups, and 400 and performing,” said San Jose sit-ups before every practice, and Taiko member Wisa Uemura. he employs “tough love,” whack- ing with his hand the students Despite the deep meaning taiko 5 MUSICAL INSTRUMENTATION Odaiko The Odaiko is the largest drum in the taiko over a metal ring, like the shimedaiko, but family. When “O-“ is added to the beginning then the ring is attached to a wooden han- of words in Japanese, it often means dle. It is often used in dances where the “Great.” The “Odaiko” is considered the dancer plays the drum with one stick but is “Great Drum,” and although they vary in freed up to move around easily. “Uchiwa” size, it is usually the largest drum in a set, means “fan” in Japanese, as the uchi- and can be as large as 12 feet in diameter. wadaiko looks like a Japanese fan. The TAIKOPROJECT’s “Odaiko” is 5 feet in diameter. Bachi Bachi are drumsticks used for playing taiko. Chudaiko They are made from a variety of soft and The Chudaiko is considered the medium hardwoods, such as hinoki (Japanese drum of a taiko set, and is usually around 1 cedar) and hou (magnolia), softwoods, and 1/2 - 2 feet in diameter. The Chudaiko and kashi (Japanese white oak) and maple, Odaiko are considered “Nagado-taiko,” their hardwoods. They are also made in different wooden bodies carved from a single tree sizes—with larger bachi for larger drums, trunk and the cowskin drumheads stretched and smaller bachi for smaller drums. and secured with metal tacks. Chappa Okedo Small brass Japanese hand cymbals The Okedo is a lighter drum made from wooden staves put together like a bucket. Atarigane The drumheads are stretched over metal Brass gong struck with a small mallet in dif- rings and sewn together, and then stretched ferent places to make different sounds. over the wooden bodies with ropes and a special tying method. Its lighter weight makes it easier for taiko players to carry it side flute often played in accompa- while playing, often with an over-the-shoul- niment to taiko, especially in matsuri, festi- der strap. vals.

Shimedaiko The Shimedaiko is made from a wooden body, stretched with rope or with metal bolts. It is tightened higher than any other taiko, From top: Odaiko and its piercing tone cuts through the low Chudaiko Okedo pitches of the other taiko drums. Shimedaiko Uchiwadaiko From top: Chappa Bachi Uchiwadaiko and Atarigane Yokobue Photos provided by The Uchiwadaiko is a drumhead stretched Asano Taiko Company, Ltd. 6 Homemade Taiko When taiko first began in the United States, many groups had to make their own drums due to the high expense of purchasing a taiko from Japan. Thus the invention of the American-style wine barrel taiko came into being. In addition to being a necessity, making one’s own drum taught the taiko player their first important lesson – to respect the instrument.

The intention of this activity is to create your own instruments in order to form your own taiko ensemble. While doing this process, the student’s will also potentially feel a sense of pride and respect towards their own personal taiko.

Activity 1: Newspaper bachi (drumsticks) Items needed: newspaper, duct tape Take 6-8 layers of newspaper and roll them. The diameter should be about 1 1/2 – 2 inches. Fasten the ends with duct tape. If possible, tape the entire newspaper surface so as not to get one’s hands and/or the classroom dirty from the newspaper print.

Activity 2: Coffee Can Taiko (drum) Items needed: emptied coffee cans, clear packing tape Remove the lid from the coffee can. Cover the entire top with clear packing tape. Refer to the pictures on the left. Although any taping style will work, the recommended way is to first start by taping a cross (horizontal, vertical). Then proceed to tape an "X". After this is done, proceed to tape

Student Outcomes: • Create your own drumsticks and drum • Learn about the process of making an instrument • Learn how to respect your own instrument

Conclusion: After this activity, your class will be ready to create your own taiko ensem- ble! Proceed to the following exercises.

7 WHAT IS RHYTHM? Rhythm is something that repeats itself, aurally, visually, or physically. You can hear rhythms everywhere---when it rains, you hear the rhythms of rain hitting roofs of build- ings, when you pass a construction site, you hear the rhythms of the jackhammer hit- ting the ground, and when the telephone rings.

When you can see rhythms, they are called patterns. You can see a pattern in a suc- cession of traffic lights down the street, in rows of windows of a wide building, and even in the pages of a book when you flip them from back to front.

Finally, you can make rhythms with movement. Almost anything you do creates rhythm. Walking creates rhythms with your arms, your legs, and your whole body. When you eat something, your chewing creates a rhythm (and a tasty one, at that!). Put your hand over your heart. This is your own unique, personal rhythm!

Musically, rhythm is defined as organized beats greouped in patterns which are repeat- ed. Rhythm is one of the basic elements of music.

Are you ready to try it out? Here we go!

Exercise 1: Finding Rhythm Together

Student Outcomes: Students will be able to: • Demonstrate steady . Rhythms, hand/feet coordination, and group listening • Understand the three ways we encounter rhythms in our daily lives • Make up their own short, improvisational rhythms

Anticipatory Set: Go over the three types of rhythms and have students identify rhythms that they have experienced.

Activity: Have the students stand up and form a circle. Explain that you are all going to play a rhythm together, starting with a basic “stomp” walk. In an easy tempo, guide stu- dents to walk in unison, “right, left, right, left…” until they are all together. Once they have the “stomp” walk together, then have everyone clap on each step. Then clap every other step…then every third step…and finally every fourth step. Once they’ve tried all of these, try this simple pattern with clapping while still doing the basic “stomp” walk: • clap once every four steps four times • clap once every three steps four time • clap once every two steps four times • clap once every step four times • and repeat!

8 WHAT IS RHYTHM? continued Once they have mastered this, then have them try passing around a “pulse” in the cir- cle—begin with the “stomp” walk in place, then once your “basebeat” is set, designate a student to start the pulse and the direction (clockwise or counter-clockwise), and start with one clap and send it around, keeping in time with the “stomp” walk. Be sure they do not speed it up and explain that if even if the person in front of them doesn’t get it, try to keep the rhythm going. If this goes well, you can try two variations:

• sending around two pulses (after one is set and traveling around, have the same stu- dent – or yourself – send around a second pulse)

• change direction of the pulse with a triple clap (you facilitate this, once the pulse is traveling, after a clap, clap three times fast, with the third clap ending on the next per- son’s clap, upon which the pulse will change direction)

If they master this, you can take the next step and have students do a four count improvisational call-and-response. Start this the same way, with the “stomp” and then, one by one each student has four counts to clap any rhythm, and then the class tries to repeat with the same rhythm. Immediately after the class is done repeating, the next student gives the four-count call and the class responds.

Conclusion: After the activity, go over learning points and encourage students to come up with new rhythm patterns with stomping and clapping and prep them for Activity 2.

9 KUCHI SHOGA Most taiko players learn songs through “kuchi shoga.” “Kuchi” means “mouth” and “shoga” means “to sing.” Literally, taiko players learn how to “sing” the taiko songs and then transfer that song into playing it on the drum. It is one of many styles of learning music and can be notated verbally and written. Each verbal sound represents a sound made by the drum and a time value.

Don (dohn) Hard right hand strike to the drum head (1/4 note)

Dogo (doh-goh) Hard right/left strikes to the drum head (2 – 1/4 notes)

Tsu (tsoo) Soft right hand strike to the drum head (1/4 note)

Tsuku (tsoo-koo) Soft right/left strikes to the drum head (2 – 1/4 notes)

Ka (kah) Hard right hand strike to the drum rim (1/4 note)

Kara (kah-rah) Hard right/left strikes to the drum rim (2 – 1/4 notes)

Su (soo) A Rest – don’t play – (1/4 note)

Eii-yess-SA!! A Kiai – instead of playing the drum, yell!! (aaaayyy – like “day,”– yess—SAW!!)

Bryan Yamami RENSHU Song Patterns photo by Robert Meyers “Renshu” means “practice” in Japanese and is also a taiko song that almost all Michelle Fujii, Tiffany Furuta, American taiko players have learned as their first taiko song. It was written by Seiichi Shoji Kameda photo by Edward Ikuta Tanaka, the founder of San Francisco Taiko Dojo.

TAIKOPROJECT Here are “Renshu” patterns one and two: Arizona workshop photo by Alan Tang Pattern One Don Don Don Don Dondondondon Dorotsuku Don Don RL RL R LR LR LRLRL 12345 6 78

Pattern Two Don Kara Don Kara Don Kara Kara Kara R R L R R L R R L R L R L 1234

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Exercise 2: Learning Kuchi Shoga!

Student Outcomes: Students will be able to: • Sing Renshu Patterns One and Two • Play Renshu Patterns One and Two on their laps • Develop their own “kuchi shoga” ideas and rhythm patterns

Anticipatory Set: Go over definition of “kuchi shoga” and vocalize with students the vocabulary of taiko “kuchi shoga.”

Activity Part One: Starting with Renshu Pattern One, sing the patterns out with the students. Clap on the numbered beats to help keep them together, remind them to listen to each other and to sing the patterns strongly and in time. Once they can sing Renshu Pattern One, go over the hand movements, which are just right-left through the pattern. See notation for R & L denoted beats. Have students sing and play patterns simultaneously. Repeat process for Pattern Two, which is a little trickier. If they get through both, try splitting them into two groups and going back and forth, and then even further, to have one group sing/play Pattern One, while the other sing/plays Pattern Two twice (since Pattern one is twice as long). If they get this, then try speeding up the tempo!

Conclusion: After this activity, you can go into two directions. If the students have homemade instruments, they can create sounds and songs on them. If you are pro- ceeding to the next exercise without homemade instruments, you can run the exercises with just vocal drumming/soings, or use “found” instruments to create songs and rhyth- mic patterns.

11 ORAL TRADITION In many folk music traditions throughout the world like Africa, India, Japan, etc., learn- ing music was transmitted orally. The music was taught by using a verbal vocabulary, which represented the sounds of the instrument. In the previous kuchi shouga lesson, you were introduced to this vocabulary used for taiko.

Within this activity, your class will create your own oral vocabulary. Then you can cre- ate your own taiko songs!

Activity 1: Create your own Vocabulary of Sound You or one student designated as the leader will play one sound at a time on the taiko. The leader can strike the center of the drum loudly, softly, hit the side or the rim. Be creative and find different places on your taiko that could create a variety of sounds. As the leader makes one sound, the class will come up with a syllable or word to descrbe what they heard. This will create your rhythmic vocabulary.

Activity 2: Create your own rhythms Put 4 of those vocabulary words together which forms a rhythm. Slowly begin by say- ing 4 sounds. Then have the students repeat after you. Finish by playing those sounds on the taiko.

Slowly create longer rhythms. If adventurous, begin to join some of these rhythms. This will create a song. Some easy formats are AABA, ABA, ABCD, and ABACA

Student Outcomes • Students will create their own vocabulary for sounds • Students will create their own taiko songs.

Conclusion: By now, students have learned the origins of Japanese taiko, the history of American taiko, they have experienced rhythm patterns first-hand, and have created their own sounds, and arranged them into short song patterns! Now, they are ready to see the show! Encourage them to try to pick out aspects of previous lessons in the show and musical patterns in the taiko songs and to relate their own cul- tural origins to the stories and music of our Japanese American style of taiko drum- ming!

12 GLOSSARY

Bachi Drumsticks used to play taiko -ete “Get ready” command for preparing to play taiko Kata The movement, discipline, and form when playing taiko Kiai Spirited yelling and vocals while playing taiko Kuchi Shoga Vocal notation for translating taiko into songs/sounds Kumidaiko The artform of contemporary group taiko drumming Narimono Percussion and other instruments used with taiko Odaiko “The Great Drum” Sensei “Teacher,” calling someone “sensei” is also a sign of respect (your teacher at school, your coach in sports, are all your “sensei”s!) Taiko “Drum” Americans have taken to calling group drumming “Taiko.” Wadaiko “Japanese Drumming” Japanese call group drumming “Wadaiko” while “Taiko” to them, just means “Drum.”

RESOURCES

www.taiko.com Rolling Thunder Taiko Resource website Good source for general taiko information www.taikoinfo.org More information on taiko drums and music.

TAIKOPROJECT School Show, Kyrene Pueblo TAIKO GROUP WEBSITES Elementary School, Arizona

Bombu Taiko www.TAIKOPROJECT.com The TAIKOPROJECT’s website! Check it out! Japanese Village Plaza, Los Angeles www.taikodojo.org San Francisco Taiko Dojo, first group to form in the U.S. www.taiko.org San Jose Taiko, third group to form in the U.S. TAIKOPROJECT cast photo by Edward Ikuta www.taikoarts.com ’s website, one of America’s leading taiko drummers www.onensemble.org Contemporary taiko ensemble that Shoji, Michelle, and Masato are also members of! www.senshintemple.org The Buddhist temple where American taiko began!

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