Earth Celebration - Part 3 KASA Tour and N. Ameican Taiko

The location of the Raion Taiko Blog has changed. Please visit our new home to read our latest entry, featuring thoughts and reflections from Kodo's Yoshikazu and Yoko Fujimoto during the 2009 KASA Workshop Tour.

Raion Taiko Blog - Earth Celebration Part 3

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Earth Celebration - Part 2

Updates on my location and the status, plus the second installment of my experiences at Kodo's 2009 Earth Celebration.
Earth Celebration - Part 2 - The Shiroyama Concert

Did you miss part 1 of Earth Celebration? No worries
Earth Celebration - Part 1

And be sure to check out pictures from Raion Taiko's debut in Japan:

Raion Taiko Pictures

Kodo Earth Celebration - Part 1

Visit our new blog at our new website, www.michigantaiko.com to read the latest entry covering our trip to Sado Island for Kodo's annual Earth Celebration.

In part 1 I talk about Kodo's Sado Island Taiko Center and the workshop I took with my daughter, "Shin-chan Sensei's Taiko Experience". We both really enjoyed ourselves.

Kodo Earth Celebration - Part 1

Asano 400th Annivesary Opening Concert

I guess it was nearly three weeks ago, but on June 5th, we were able to attend the opening concert for Asano Taiko's 400th annivesary. It was quite an amazing concert featuring some of the taiko world's most famous artists. There were many people and groups whom I have seen perform in the past, such as Hono Taiko, Yamato, and Miyake Taiko, but there were also many groups I saw for the first time, like Tiffany Tamaribuchi, Tokara, Hachijo Jima and current/former members of Kodo and Ondekoza: Imafuku Yuu and Fujimoto Yoshikazu.

The concert venue was the Matto Gakushu Center Hall, which is a small hall attached to a city library. I can't imagine that it would hold much more than a few hundred people, but it was standing room only. One of the benefits of the small theater, though, is the intimate feel it creates. We got very intimate seats in the second row! The mood on the stage I felt from the performers was relaxed (not in a lazy way) and celebratory. Everyone, the performers and the audience, seemed to really enjoy themselves.

Miyake Taiko was powerful and impressive, (as it always is). The groups from outside of Japan, or featuring members from outside of Japan (Tiffany Tamaribuchi and Tokara) had a slightly different feel about them. In a subtle sort of way, they were more light-hearted, they almost had a more optimistic way of playing, if that makes sense to you. Not to say that they were better or worse than any of the other groups, they just had a different, can't-quite-put-my-finger-on-it feel to them. I do remember reading somewhere, though, that one of the Asano brothers commented once on how much N. American taiko players really seem to enjoy themselves while they are playing taiko.

Yamato also certainly seems to enjoy themselves on stage, but in a slightly different way. Yamato began Ogawa-san, the leader, thanking Asano Taiko for all they've done. He said, "If Asano did not exist, Yamato would not exist." This is probably true for most of the groups there that evening. Whether groups use Asano drums or not, Ondekoza/Kodo is probably one of the main reasons for the spread of Taiko around the world, and they have always played Asano drums. Yamato performed their song which features Katsugi Oke Taiko, "Rakuda". It's one of my favorites of theirs.

Another performance that I particularly enjoyed (as did my daughter) was from Imafuku Yuu, a native of Shimane prefecture and former member of Ondekoza (I think). Imafuku san uses elements of Kagura music in his taiko performance, which include singing and dancing. (There is a short clip on his homepage, it should play automatically) For this performance he used a small nagado and was accompanied by a shime taiko played with take bachi (bamboo sticks). He played and sang (he has a wonderful voice) a song about blessings and fortune and good luck. As he played, another performer came out, dressed as one of the Seven Lucky Gods of Japan, Ebisu. Ebisu is: The God of Good Fortune, the Ocean, and Fishing Folk
Also Deity of Honest Labor & Patron of Laborers. He looked something like this. Anyhow, Ebisu danced around on stage and pretended to go fishing. First he reeled in an old boot, which my daughter found amusing (well, okay, I did too). Then he finally caught a Red Snapper, or Sea Bream fish, which is symbolic of congratulatory wishes in Japan, appropriate for Asano's 400th annivesary.

Imafuku-san's nagado taiko was actually quite interesting. On one of the heads, there seemed to be a drawing of some sort. Although I was in the second row, I still couldn't figure out what it was supposed to be. My best guess was a pig. After the concert, I was backstage and Imafuku-san happened to be there with the drum, so I asked him about it. As it turned out, the picture wasn't a picture at all, it was very artistically written arabic. Someone had written it for him as a gift when he was in ... I think it was somewhere in Northern Africa. It said something like "Playing the drum is joy." (note to self: start writing stuff down that you want to remember).

Anyhow, it was a great concert, the performances, the atmosphere, everything. And it only cost 1000 yen. At the end of the concert, Asano Senmu (Akitoshi) stood on stage beaming with happiness, with his eyes glistening looking as if tears of joy were about to overflow. He expressed his thankfulness to all the performers and how wonderful the concert was. Just before he thanked everyone for coming and wished us a safe journey home, he said "I can't wait for the next 400 years!"

Katsugi Oke Taiko Workshop with Hayashida Hiroyuki

Today (Sunday) is the last day of the 400th Anniversary Celebration at Asano Taiko. Today I will take the Miyake Taiko Workshop, and a singing workshop with Yoshikazu Fujimoto, one of Kodo's oldest members. He'll be teaching the song "Kiyari" which is sung along with Miyake Taiko.

Yesterday I had one workshop and my wife had two. My wife took a workshop on Hachijo Jima Taiko and a Chappa (cymbal) workshop from Ryutaro Kaneko (a former Kodo member). My workshop was with Hiroyuki Hayashida, also a former Kodo member.

From the picture, perhaps you can guess that he is known for Katsugi Oke Taiko playing. In fact, he is one of the first people to play Oke Taiko in that style and is credited with developing and refining Katsugi Oke playing. I took the basic/beginner Katsugi Oke Taiko workshop from him, seeing as I have not really played or learned that style before. We actually didn't get to play that much, but I was impressed with his teaching and I could tell that his philosophy about practicing is very similar to mine. For example, some of the advice he gave us: practice a lot of drills like stick control drills, accent drills, paradiddles, and so on. In fact, he said that you should spend most of your practice time on drills, not on practicing songs. (I completely agree) He also scolded taiko players (in a friendly way) who do not use a metronome during practice. He said the metronome is your best friend. Also, in some of the handouts he gave us, it had more good advice, like "practicing 30 minutes a day is better than practicing three hours once a week." Of course, if you grew up taking music lessons all this is common sense. But one of the nice things about taiko is that it tends to attract a lot of people who do not have much of a musical background, so perhaps it is good to remind people of it from time to time.

The workshop was scheduled for 90 min, but it ended up being more than two hours. Hayashida san said usually his Katsugi Oke workshops are seven hours! So he was challenged to try to fit all of that into 90 minutes. We didn't get a lot of playing time, but I still feel as if I learned a lot. Not only about playing Katsugi Oke, but about the care and treatment of the drums as well. What was the biggest thing I learned? That I need to practice a lot more before I will feel comfortable playing Katsugi Oke Taiko.

Today, my wife will also have a Katsugi Oke workshop from Hayashida san, but she is taking the intermediate level. My workshop was for beginners.

More Kaga Taiko and Asano Taiko's 400th Annivesary Concert

I don't have any connecting theme or topic to write about today. Actually, I haven't had any major topic or theme for a couple weeks now, which is why I haven't been writing as much as usual. Sorry, I'll try to fix that. For now, though, I'll just share several updates with you.

I returned to the Ichikawa Juku (Kaga Taiko) last Sunday after an absence of several weeks. Aside from all the second-hand smoke, it is an enjoyable experience. It is quite different to be instructed one-on-one from a master like Ichikawa sensei. (The difference being the one-on-one instruction, our other instructors from Hono Taiko are masters as well, of course.) Ichikawa sensei told me that next Sunday they will be going to visit a nursing home to play Kaga Taiko there and he invited me to come along. I am assuming that I will get to play a little bit as well. It should be an enjoyable experience. In college, my and a group of friends would gather every Saturday evening to play folk music together. Every once in a while, we would show up at a convalescent center and ask if we could play there. The people there really enjoyed it, and we did too. Every now and then, members of that folk circle will gather for an "Old Man Roscoe" reunion. The last time they got together was last June and I, unfortunately, could not be there, but they did post some video of it:

But I digress, I always enjoyed sharing music at the nursing home and am looking forward to it again.

Also, on a Kaga Taiko note, my daughter was with us at our lesson on Sunday and she expressed an interest in learning/playing Kaga Taiko. So, she had her first lesson on Sunday. Having learned taiko at Asano in the Kid's classes for a year and a half helped her to pick up the rhythms quickly. Ichikawa sensei taught her three simple rhythms: don don don (rest) do do-n don (rest) doko doko don (rest)
Here is about 30 seconds of her lesson (which only lasted about 3 or 4 min altogether anyhow).


I was impressed by well Ichikawa sensei teaches children, as well as adults. Perhaps it helps that his granddaughter is the same age as Karen.

The other update I have is regarding Asano's 400th Anniversary Celebration (June 5, 6, 7). On Friday evening there will be a concert featuring at least 12 different performers/groups. Apparently there were so many groups that wanted to be a part of it, they were unable to accommodate all of them. Here is a list of most of the performers who will participate:
Hajijojima
Fujimoto Yoshikazu (Kodo)
Imafuku Yu
Miyakejima Geino Doshikai
Kaneko Ryutaro (Former Kodo member)
Hono Taiko
Wadaiko Yamato
Tokara (Art Lee)
Uruki　(Machiko Asano's group, played at 2008 Exstasia)
Tsurugiji Yahata Taiko (Taiko from Noto Penninsula)
Tiffany Tamaribuchi

And there is one more name that I cannot read. I'll have to investigate further and then get back to you.

The concert is Friday night (5.June) starting at 6:30 PM at the Hakusan-shi Matto Gakushu Center and it only costs 1000 yen!

I have more updates to share, but now I must get ready to go to work. More coming soon.

Asano Taiko - 400th Anniversary Celebration

This June (2009), Asano Taiko is turning 400 years old. To celebrate their birthday, Asano Taiko is putting on three days of taiko workshops and concerts (a rare sale as well) on June 5th, 6th and 7th. I realize that most of my readers do not live in Japan, and posting the great taiko opportunities available in June may just make some of you envious (sorry) but then again, it is in June, which is summer, and there is a chance that some of you might be visiting Japan at that time and may want to plan a visit to Asano into your travels. If you can read Japanese, here is a link to Asano's 400th Anniversary Activities. If not, here is a brief overview of the three days:

Most workshops cost 1000 yen (a great deal) The Mini Taiko workshop is 2009 yen and the outdoor workshops are free.

Friday, June 5
Workshops 10:30 - 18:00
Making a mini-taiko
Outdoor Workshop 1
Shime Taiko Workshop
Odaiko Workshop
Outdoor Workshop 2
Miyake Taiko Workshop
Odaiko Workshop

Special Concert - 1000 yen
18:30 Hakusan-shi Matto Gakushu Center (白山市松任学習センター)
Guests include - Hono Taiko, Kaneko Ryutaro (former Kodo) Fujimoto Yoshikazu (Kodo), Hajijojima Taiko, Miyake Taiko, and more...

Saturday, June 6
Workshops 9:30 - 16:30
Making a mini-taiko
Hachijo Jima Taiko
Outdoor Workshop 3
Play (taiko) and dance Workshop
Shime taiko Workshop
Odaiko Workshop
Outdoor Workshop 4
Chappa Workshop
Katsugi taiko Workshop
Outdoor Workshop 5

Sunday, June 7
Workshops, 9:00 - 15:30
Katsugi Workshop
Shime taiko Workshop
Outdoor Workshop 6
Making a mini-taiko
Hajijo Jima Taiko Workshop
Miyake Taiko Workshop
Hokuriku Mitsu Uchi Workshop
Singing "Kiyari" Workshop ("Kiyari" is the song usually sung before, and during Miyake Taiko)

The workshops are all being led by well known, established, professional taiko players, from groups such as Hono Taiko, Kodo, Miyake Jima Geino Doshikai and so on.

As an added bonus, several times each day, for three days, there will be 15 - 30 minute mini-live performances in the Museum by many of the guest performers and workshop instructors. The times for the mini-live performances are:
Friday
1. 10:00
2. 13:00
3. 16:30

Saturday
1. 10:00
2. 13:00
3. 15:00
4. 16:45 (15 min performance of Gojinjo Taiko)

Sunday
1. 10:00
2. 12:30
3. 14:00 (20 min)
4. 16:00 (45 min finale)

Finally, Asano taiko will be offering 400 items at a sale price, drums, bachi, chappa, bags, etc., so if you're coming from overseas, leave some extra room in your baggage to take home that Odaiko!

If anyone would like more information about these events, needs help registering, and so on, please send me an email with your questions. I can't promise anything, but I'll do what I can to help you out. raion.taiko@gmail.com

A Week of Diarrhea Will Sure "Wipe" You Out!

As it turns out, I was probably too sick to attend the Fujimoto workshop mentioned in the previous post anyhow. That afternoon, as I was at work, wishing that I could be at the workshop, I began to feel very fatigued and my muscles started to feel sore. But I attributed this to having gone running the day before for the first time in a month as well as increasing my dumbbell workout on the same day. The next day, however, I woke up feeling even worse. I took my daughter to her Sunday morning taiko class, but realized that I had something serious and after I got home, I spent the rest of the day in bed. (Oh, except I did drag myself out for the Eitetsu Fu-un no Kai concert.) When I checked my temperature, it was 39.5 (Celsius), which is pretty high, for those who don't know Celsius. Warning: those of you easily disgusted may want to skip this next section...

And then the diarrhea started, and kept going and going and going. I was on an hourly cycle of bed, toilet, bed, toilet for 3 or 4 days. I had no appetite and was eating nothing, so after a day or so, I guess I was having the equivalent of anal dry heaves. For at least a week, nothing even remotely resembling solid feces came out of my back side. Yes, I know it's disgusting, but I warned you.

Finally I went to the doctor. After describing my ordeals and symptoms to him, he said, without hesitation, "This is almost certainly a case of food poisoning. Have you eaten any kind of questionable food lately?" I thought back to the day before the full blown sickness began, and sure enough, I had bought an egg salad and chicken sandwich at a Family Mart convenience store for Saturday's lunch. That had to be it, because before that I felt fine, and that evening I ate dinner with my family and none of them became sick. Curse you, Family Mart! I'll have to get a letter from the doctor and then go and ask the shop for reimbursement for the doctor bills.

A Missed Opportunity

Yesterday was Saturday and I had to work. Usually I can leave work on Saturdays around 1:30, but today I had to stay until 4. Not only did it force me to miss JIGEN practice, but I also missed out on a (perhaps) once-in-a-lifetime opportunity. At least my wife was able to participate in it.

What was it? It was a free, private workshop by Mr. Yoshikazu Fujimoto of Kodo. When I say private, I mean that it was not open to the public, but rather only a few members of groups studying at Asano Taiko. I guess altogether there were about 20 people there. If you follow the link on Mr. Fujimoto's name, you'll know this already, but if you are too lazy, here are the main details on him:
He is one of the founding members of Kodo
He is usually the featured player for "Odaiko" and "Yatai Bayashi" at Kodo performances
He is currently the most senior member of Kodo
this year, he'll be 58 years old!

So it was pretty frustrating to me to have to stay at work while one of the taiko world's greats was giving a workshop. At least my wife was able to go and she will have to give me the details.

Today I can make up for missing the workshop a little bit because we will get to see a short concert in the afternoon. In a sort of indirect way, this concert is also related to one of Kodo's founding members, Mr. Eitetsu Hayashi. Mr. Hayashi, does not perform with Kodo anymore and mostly does solo work on the Odaiko.　　He also has a group of several young men, which he has hand picked and trained from all over Japan. They are called "Fu un no kai" (風雲の会) When he has a performance where he needs more than just his solo Odaiko, he will assemble them to play with him. They also perform in concerts without him. In fact, they were a guest at this past summer's Exstasia. This afternoon, they'll be here in Kanazawa again. We will take our daughter to go and see them perform. It's kind of a short concert (only about an hour) and the tickets are quite reasonable (only 1500 yen).

Golden Week Concert - Wow! Taiko Shock!

Wow! Taiko Shock? Yes, that is what Asano Taiko named the special Golden week concert in which I participated last Sunday. I guess, to a native English speaker, it is not very catchy and doesn't really seem to roll off the tongue all that smoothly. Still, this does not mean that it is the same way for Japanese people. Regardless of the name, I was very happy to have the opportunity to be a part of this event. From Friday evening to Sunday evening, my memory is all a sort of blur of rehearsals, schlepping drums, setting up stages, tearing down stages, etc. At some point, though, during one of the times we played our piece, there were a lot of people in front of us watching, they clapped enthusiastically when we finished and before and after we played, there were some very famous taiko players who performed. (I guess that must have been the concert). I haven't seen any video of our performance, so I am not sure really how we sounded. As far as playing the notes and rhythms correctly, I don't recall making any mistakes. Stylistically, musically, etc. it is harder to comment on without actually watching it. However, a very important critic did tell me the next day, "You are a good taiko one, papa." Well, if my daughter was happy, then what more can I ask for?

It was very exciting to be part of this event, though. We were surrounded by world famous taiko performers and groups, who have toured around the world. There were former members of Kodo (Kaneko Ryutaro) a father and his three sons who actually taught Kodo one of their songs (Miyake Taiko) Hono Taiko, who have played concerts all over the world, and others as well. I imagine my feelings must have been similar to my brother and his band when they had their first chance to tour with Grammy award winning band Wilco. We weren't playing in front of 2000 people, like they did, but we played to a full house. The audience had payed 3000 yen per ticket ($30) and there was literally standing room only.

Here is the complete list of peformers/groups who participated in the concert:
Miyakejima Hozonkai - Mr. Tsumura and his three sons
Matto Yume Mitai (the group I am in)
Yamabe Taishi (?) of Kurashiki Taiko
Hanakagami - made up of former members of Hikari and current Hono Taiko members
Kaneko Ryutaro - former member of Kodo
Ayano Yamamoto - a former member of Hono Taiko, classically trained (?) and an excellent shime taiko soloist
Sasuke - Asano sponsored group made up of junior high and high school male and female students. They recently took part in the all Japan Youth Taiko Competition and received honors for Ishikawa prefecture.
Hono Taiko - Asano Taiko's top group, made up of three women

Seeing as this was a real concert, as opposed to a recital, taking video and pictures was not possible, so unfortunately I cannot post any. I did, however, get a picture during the morning rehearsal, which I will put up. This is Hono Taiko and Sasuke playing the song called "Shoko". Later, I may have a chance to put up a performance of the song at a different event. In the mean time, use the picture to imagine what it sounds like.

How Would You Like to Learn Taiko With Kodo?

I felt honored recently to discover that one of my readers is an apprentice with Kodo. He sent me an email in response to my Hayashi Eitetsu concert post. It was very nice to know that someone like that is interested in what I am writing. Being an apprentice with Kodo, however, he does not have much time to read it, as during training, there is very little opportunity for internet use.

After receiving his email, it occurred to me that some other readers might be interested to know more about being an apprentice with the world famous Kodo drummers. Unfortunately, I cannot give first hand experience, but I will at least pass on the information that is available from their website.

It seems that application is very open to anyone who is interested, regardless of nationality. There are some general guidelines, however. You must be at least 18 years of age, and be in good health (I would even venture to suggest you should probably be in excellent health, and if you've ever seen one of their performances, you will understand why). They also require that applicants have an advanced knowledge of Japanese. I'm sure this is for one's own good, as well as so that one can understand instructions given in training. After all, apprentices are isolated on an island in the Sea of Japan for most of their training. If one couldn't communicate, the feelings of isolation would be even greater.

Most "graduates" of the two-year program appear to be Japanese. Kodo lists the graduates of the program on their website. They only have names for graduates from the last eight years of the program. The number of graduates ranges from five people to nine, most of them from Japan, but two are noted as being from the US, and one graduate from Canada.

The apprentice program runs for two years, beginning in April. The application period seems to be in October. In order to apply, one must submit a resume, a statement of health from a physician, and two essays entitled, "What I hope to accomplish at the Kodo Apprenticeship centre" and "What I hope to do upon completion of the apprenticeship program". Applicants who pass the initial selection process are then invited to Sado Island for personal interviews in January, after which the final decisions are made.

There is a cost involved if one is selected. Apprentices pay 50,000 yen a month (slightly less than $500) to cover room and board (quite reasonable, for the training one would be getting). Some scholarships are available, but only for the second year of the program.

The curriculum is also listed on the site. During the first year, all follow the same program. The general description says you will be learning to live communally (no easy task) learning basics of Japanese traditional culture, and how to develop your body for playing taiko and dance. This includes music lessons, lectures on the island’s traditional culture, such as singing, dancing, farming, tea ceremony, and more, as well as assisting Kodo during festivals (especially Earth Celebration) and workshops.

The second year curriculum continues to develop skills learned in the first year, but also splits into two courses of study, depending on whether one desires to be a stage performer with Kodo, or work as a staff member. Those wishing to become staff members will receive practical experience assisting the Kodo office. It seems that the curriculum for those wishing to become performers seeks to provide more practical performing experiences. Apparently, acceptance into the apprenticeship program is not an automatic guarantee that you will be able to complete the full two years. The website says that everyone is evaluated at the end of the first year and it is then decided whether or not you will be able to complete the second year.

I wish I could write about this firsthand, instead of just passing on information from the Kodo website. With a family to support, however, I must find other ways to study taiko drumming. But some of you may have a bit more "freedom" and if this sounds interesting, exciting, intriguing to you, don't forget about it. Look into it, write it down as a goal and pursue it. (Write it down!)

Just some news

I just got back from Yume Mitai practice. It was our first practice of the year, and Yamada sensei ran things pretty efficiently today. She is trying to get us focused on the recital coming up in March. It is actually a bigger deal than usual because it will be almost like a trial to see if we have what it takes to perform at a major (?) concert event coming up in May. At the beginning of December she told us about the possibility. Apparently there will be a taiko concert during the first week of May, Golden Week holidays in Japan. This is important, because it means people will not have to work and more people are likely to attend the concert. Also, there are some major names on the concert roster, like the Miyake Jima hozonkai leaders, I believe it is a father and two sons who founded the hozonkai. There will also be former members of Kodo playing, and probably Hono Taiko will perform also. I think the concert is partly sponsored by Asano Taiko. Apparently, the people in charge at Asano said if Yume Mitai performs well at the March recital, they will invite us to also play at the May concert. So it is exciting to work hard for the possibility of playing again with world renowned taiko performers.

I learned another fun piece of info at today's practice. When I got to practice today, there was a camera man there also. Apparently, Asano Taiko is making a new promo video for Hono Taiko, and they wanted some footage of Yamada sensei (a member of Hono Taiko) teaching some of the other groups she works with. So, I guess there is a chance that I might be seen for a brief moment in Hono Taiko's promo video. I'll have to be sure to ask for a copy.

And finally, yesterday, we got back late in the evening, from attending Yamato's concert in Nara. It was about a 3 - 4 hour drive from here. I hope to write in more detail about the concert later, but for now I'll just say that I was moved from the first note of the concert to the last. As soon as they hit the first notes on the drum, a chill went through my body. In the past I've often said that Yamato was one of the best taiko groups in the world. I've seen Yamato perform live 5 times now, and I have also seen other world class taiko groups (such as Kodo) perform several times. After last night, I feel that Yamato is not one of the best, but the best taiko group in the world. If they come to your town, please make every effort to see them. Starting next week they kick off a 3 week or so stint in Paris.

Well, I keep trying to make "short" entries, but they always turn out much longer than I intended.

Videos added to Kodo Earth Celebration entries

Just a quick note to say that videos have been added to three of the Kodo Earth Celebration entries. If you would like to see them in context, please scroll back to the previous three entries. Or you can view them in this entry, without the intro.

Miyakejima Hozonkai


Kodo Friday Night Concert - Pre-concert fun


Friday morning performance of Okinawan music and dance

The Miyakejima Hozonkai at Earth Celebration

Part of Friday evening's concert, and Saturday morning’s fringe festival was the Miyake-Jima Hozonkai. If you have ever seen a Kodo performance, live, or on video, it is likely you have seen this piece performed. It is one of Kodo’s old standby numbers, like the Odaiko solo, and Yataibayashi. I believe that Kodo’s continuing performance of this piece has perhaps been a large reason for the widespread popularity of this piece in the taiko world. If you search for Miyake Taiko on Youtube, you will probably find several videos of the song, all performed by different groups.

Although Kodo has helped make this song one of Taiko’s most recognizable, they did not compose it themselves. Miyake Taiko is one of many traditional taiko pieces “kept” and performed by a hozonkai. A hozonkai is a type of cultural preservation group. They seem to be usually dedicated only to a very specific part of culture. For example, the Miyake-Jima hozonkai dedicates itself to the performance and preservation of this single piece of music, which is actually only a few measures of music repeated over and over again. There is also a vocal part which is inserted into the drumming from time to time, but this is also merely a few lines of music.

Perhaps, dear reader, you know the song, “Dueling Banjos”. Imagine a group of people who simply focused on the learning, teaching and performing of this song. If you wanted to learn to play “Dueling Banjos”, you would join this group. The group is dedicated to preserving the folk art of this one piece. From my understanding, this is what a hozonkai does. We have actually joined a hozonkai here, for the song, “Shin Matto Bayashi”. I will write more about that very soon, I hope.

We were able to see the Miyake Hozonkai twice at the Earth Festival. Once during the Friday evening concert with Kodo, and then again, at the Fringe Festival at Kisaki Shrine the next morning. Although the performance at the concert was impressive and enjoyable to watch, the Fringe performance was less restricted, involved more members of the group and lasted nearly 45 minutes. Not to say that I didn’t enjoy the concert, but regarding the Miyake Hozonkai performance, we got a much bigger taste of it the following morning.

I am not good at estimating numbers of people, but I would guess the hozonkai probably had about 50 members with them that morning. They set up one drum on stage, and three more drums on the ground in front of the stage. If you have seen Miyake performed, you know the stance used is very low to the ground and is one of taiko’s most physically demanding positions. Those of you who knew this already may have been surprised when I said they played for nearly 45 minutes. Obviously, with 50 members and only 4 drums, they were not all playing at the same time. Each drum has two people; one is playing the base rhythm (kind of like swing eighth notes - doo ba doo ba doo ba doo) and the other is playing the “melody”. I would say that they switched out players every minute to two minutes. In spite of the short playing time, it was still quite strenuous.

After seeing both Kodo’s performance and the hozonkai’s, I noticed some differences in the music and performance styles.

1. The placement of the drums. Kodo, and most groups that perform this piece, place the drums on a horizontal stand, which is close to the ground. The hozonkai placed all their drums except two directly on the ground. This makes the drum lower to the ground and forces the performer to take on an even lower, more physically demanding stance when playing.

2. Kodo will usually play this song with about 5 drums set up in a V shape. The two performers at the front/center both face the audience, forcing them to mirror each other’s movements. So when one player is hitting the drum with the left hand, the other player is hitting with the right hand. (We tried practicing like this on Sunday, and it takes some getting used to.) The hozonkai did not mirror the person on the other side of the drum. On each drum, one person was facing the audience, and the other had his/her back to the audience.

3. The stance of the person playing the jiuchi (base) rhythm was different. The Kodo players will usually play the jiuchi part with one knee on the ground, while the hozonkai remained on both feet, with their legs spread apart and bent about 90 degrees at the knees. I think they both have advantages/disadvantages. While it is easier for the hozonkai to transition back and forth between the jiuchi and the melody, it seems to be very strenuous for the legs to hold that position for so long. Whereas Kodo’s style of kneeling gives the legs a brief rest, it is more difficult to jump back into the playing stance for the melody and it takes a lot of practice to do it smoothly. It is impressive, though, to see how cleanly they can transition.

4. The hozonkai only played a rhythm of a few measures over and over, whereas Kodo seems to have added different sections in between this “chorus”. They often appear to be improvisations, but I have been told that improvisation is not really a part of taiko playing. Just about every note and movement during a song is planned out.

5. There was also some slight variation in the position of the sticks as they played, but I will not bother to explain that here because it is probably too difficult to illustrate without having a visual aid.

With all their differences, the two playing styles of this piece which we saw were both extremely enjoyable to observe. My wife and I have performed a version of this piece on a few occasions, and we hope to continue to perform it, but after seeing the performances at the Earth Celebration, we could see many areas in which we need to improve. We will continue to work hard and hopefully reach an acceptable level for performance.

Please enjoy this video of the Fringe Festival performance.

Earth Celebration - Kodo Concert

The Concert

In the evening on all three days of the Earth Celebration, Kodo presents a concert along with some of their international guest artists. Kodo headlines all three performances, but the guests artists change each day. This was actually my first time attending the Earth Celebration, but from what I have understood, that is how they have done it for 20 years now.

We were able to attend the first night’s (Friday) performance. The guest performers were the Miyake Taiko Honkzai (about whom I will make a separate entry), so this concert happened to be pure taiko, … The encore, however, involved some international guests. The concert began at 6:30 and must have lasted nearly 3 hours, by the time we they finished.

When we arrived on Sado we were not actually sure if we would be able to attend the concert. We did not have tickets before we left, because the pre-sale tickets were sold out. Uncertain whether there were any same day tickets left, we were forced to wait until we arrived on the island to purchase them. Luckily we were able to still get tickets when we arrived.

It is a bit different, the way they organize the seating. All the tickets are the same price, except that if you are able to purchase a pre-sale ticket, there is a slight discount. Once you have your ticket, you must go to Kisaki Shrine (it is where the entrance to the concert venue is) to receive a color coded seating ticket. Depending on the color you receive, you are given a time and a place to line up for the concert. There are no reserved seats for the concert, so the earlier you can arrive at Kisaki Shrine, the better seating you are likely to have.

The concert venue is called Shiroyama Koen (park) and was built by Kodo specifically for the purpose of giving concerts there (I believe). For those that understand Japanese, you will recognize ‘yama’ as meaning mountain. While the park is not on top of a mountain, it is situated at the top of a rather steep hill. Once we had our color coded entry cards, which we picked up earlier at the shrine, we knew what time we could line up for entry into the park. Our call time was 5:30. Not the earliest, but also not the latest time. We were still able to get quite good seating. Once all the 5:30 people were lined up, each color group began the climb up the steep path to the park.

Towards the top of the hill, some of the concert goers began to rush a bit towards the seating area, in the hopes of getting better seating, I suppose. We chose not to rush and were pleased that we could still secure dry seating, where the view was quite good.

By about 6:15 or so, the park was full. Off to our left, we heard some applause and cheering. I looked and saw several people wearing the traditional Kodo Happi (a style of festival coat). I then looked to my right and noticed a man in a mask, carrying an Okedo taiko making his way towards the audience. His mask covered the upper half of his face and that, combined with his clothing style, reminded me of a character out of Grimm’s fairy tales. Soon, an announcement was made, explaining that these Kodo members were collecting donations for the benefit of victims of the Niigata Earthquake, which occurred in July, I believe. The highlight of this was when the man in the mask finally set up the drum he was carrying and played a short piece. The nice part was that it was not part of the concert (officially) so we were able to take video of it.

As the concert was getting ready to start, there was the pre-concert announcement, asking people to turn off their cell phones, refrain from using cameras and recording devices and other general guidelines and instructions. I was rather surprised to hear them advise guests who wished to stand or dance to use the open areas on either side of the seating area. Dancing at a taiko concert? I couldn’t imagine that. Granted that taiko are drums, and most of the time, drums help to provide a beat or rhythms to dance to, but taiko drum rhythms are often mixed meter (if there even is a meter) and I don’t think I’ve ever heard a piece that lent itself to dancing, or made me want to stand up and shake my bootie (booty? No, that’s for pirates. Perhaps bootay? anyhow…). That’s not to say that I haven’t been moved by taiko performances. As I mentioned in earlier posts, several performances have nearly brought me to tears. Perhaps the pre-concert script was set and was not changed from night to night. After all, the other concerts involved music styles other than taiko, like Latin music, and that certainly will make quite a few people want to dance, you almost can’t help it.

To my surprise, before too many songs had been performed, there were audience members up on the sides of the seating area dancing around. I guess some people just need to dance when they hear any type of music. My son would actually be one of those people, he is only 1, but if he hears music, he swaying back and forth, squatting and standing, leaning back and forth, all to the beat of the music. It’s quite amusing.

Back to the Earth Celebration… The last time I saw Kodo in concert was 7 or 8 years ago I think. I remember the program for that concert was very traditional and rather serious. This time, the concert seemed to have more variety. The traditional and serious pieces were still there, but there were a few “newer” (newer, at least to me) songs which seemed to be more in the modern taiko styles. It was a nice mixture. They ended with their standby crowd favorites: the Odaiko solo, followed by Yataibayashi.

The Odaiko solo is played on a large drum (about 1 meter or more across), which is wheeled onto the stage on a cart surrounded by lanterns. The drum is situated so that the head is facing the audience, and the soloist’s back, therefore is facing the audience. There are actually two people playing the drum, but one is playing the back side and is hardly visible to the audience. This part is more of an accompaniment anyhow.

Yataibayashi is one of Kodo’s most well known pieces, perhaps because of the position in which it is played. The drums are horizontal and placed low to the ground, slightly angled. The performer must play in a position sitting down, yet leaning back like he is midway through a sit-up. Needless to say, it is very physically demanding. These two pieces seem to always be played wearing Kodo’s other signature outfit, the fundoshi. It seems almost disrespectful to describe it as being like a diaper, so if you are unfamiliar with the term, ‘fundoshi’ do a google image search on it and you will get the idea. It seems that only certain members, who have attained a high level of skill, are permitted to perform wearing this “clothing”.

The encore was quite unexpected. By that, I do not mean that I was not expecting an encore, but rather the content of the encore was surprising. By the time it was finished, had lasted more than 30 minutes. I was expecting more taiko for the encore, but the first half did not even feature a taiko drummer, nor a member of Kodo. The first encore performer was Tamango, a West African tap dancer, who lives in New York. He was joined by a Puerto Rican percussionist, Giovanni Hidalgo. You can learn more about them at the following:
http://www.urbantap.net/index.html
http://www.drummerworld.com/drummers/Giovanni_Hidalgo.html

They performed for 15 or 20 minutes together. It actually took me a few minutes to figure out what was actually going on. Although the two performers were very talented and fun to watch, I thought that an encore should be more of the same type of performing that was in the concert. After all, isn’t that what prompted the audience’s response? I finally realized that they would be performers in the following night’s concert and they were just doing a little promotion for the next day’s show. Either way, I did enjoy their performances, and they were eventually joined by members of Kodo. The performing group grew as the members of Kodo joined Tamango and Hidalgo on stage one by one, building up to a climax, featuring more than 20 members of Kodo all playing at the same time. Perhaps it is because it was newer to me, but this was almost more impressive than the Odaiko/Yataibayashi finale.

After close to 40 minutes of encore, the concert finally ended and I would guess that the audience went home very satisfied (except for the one fellow who was removed for disorderly conduct).

Earth Celebration - Weather

As I mentioned in the last post, if I am able to return to the Earth Celebration next year, I would really like to participate in some of the workshops. Otherwise, the options seem to be somewhat limited. Our options were even further limited on the first day because of the weather. After two or three weeks of very hot weather and blue skies, it decided to rain on Friday morning and afternoon on Sado Island.

We had heard rumors of the possibility of such weather, but the only preparations we had made were two umbrellas. This might have been sufficient, except for two problems. First problem: both the fringe event and the evening Kodo concert were outdoors and seating was on the ground, which became wet, of course, after it rained. Second problem: umbrellas were not allowed at the evening's concert because they block the view of other audience members. (Keep this in mind, if you ever have a chance to go). So we were expecting to watch the concert sitting on wet grass while being soaked by the rain.

I also mentioned in my previous post that we had miscalculated our budget by forgetting about $80 worth of fares and fees. As soon as we arrived in Ogi, we sat down and wrote down everything we still needed to buy (meal, parking, hotel, etc.). We had just barely enough, as long as we didn't eat to fancy, or do any of the touristy things, like boat rides and such. We set aside about $20 in an emergency fund because we were not sure if we had enough gas to get home or not. Anyway, we decided that sitting in the mud and getting soaked while watching the concert was enough of an emergency to dip into the $20 and get some rain coats. As it turns out, we were not the only ones unprepared for the weather. Of course many of the other guests had not expected rain and were buying raincoats, but the shop owners in Ogi were also ill prepared and had not stocked up on coats. They were quickly selling out. The first three or four stores we went to had just sold their last ones. Luckily we found a little shop that still had some and we bought their last two. We were relieved to know that we wouldn't get completely soaked for the concert.

A little side story, as we were leaving the shop where we got the raincoats, I saw something moving on the floor. At first I thought it was an enormous spider. Japan, being a semi-tropical country, large insects and such are not uncommon. It turned out to be a little crab. This section of the town was quite a ways from the coast and the shop keeper was about as surprised as we were to see it. She shooed it out of her shop with a little broom.

How does this story end? It rained on and off just about up until about 5:30, when they began seating people for the concert. After that, it didn't rain again that evening. Our raincoats ended up being a barrier between our bottoms and the soggy grass. The grass was actually not even that wet and we were able to enjoy the concert fairly comfortably.

Here some unedited video of the Okinawa dance and music performance at the fringe festival. I apologize for the poor vantage point. I'm not sure if you can tell from the video, but there was quite a steady stream of rain coming down. We were sitting under a tent to stay dry. Unfortunately it was situated to the side, and somewhat behind it.



Again, I will close with some pictures.

The Audience at the Fringe event trying to stay dry.

Okinawan dancers performing at the Fringe event in the rain.

Waiting in line at Kisaki Jinja to go up the hill to Shiroyama Koen (Park), where Kodo would perform that evening.

The stage at Shiroyama Koen before the concert.

My first experience ...

Our departure date is now only a little more than a week away. As we get busier with our moving preparations, we are getting more and more excited about studying taiko drumming. I think I first saw a live taiko performance in 1998, when I first moved to Japan. It was incredible. It was evident that the passion with which the drummers played, moved everyone in the crowd who was watching. The name of the group was Honno Taiko of Ishikawa ken. The group is made up of three women. They were accompanied by several other drums for this performance at some sort of street festival in Kanazawa. Between songs, one of the women jumping around yelling at the audience (in a friendly way). I was actually surprised at her energy, because it seemed that everyone in the group had used up there energy (and then some) during the performance, yet this woman seemed to have an endless supply. Anyone who is familiar with Honno Taiko has probably already realized that I am speaking of Jige-san, who is still a member of the group, and still seems to have no limits to her energy. Anyway, at this point, I had only been in Japan for about two weeks and had a very limited understanding of Japanese. From what I was able to understand, it seemed that Jige-san was inviting us to a larger event later on that month, where Honno Taiko would be headlining. This was most likely Ecstasia, an annual event put on my Asano Taiko in Matto, near Kanazawa. I didn't attend that year, but I did the following year and was, again, speechless with awe at the way these drums were played, and seemed to have the same effect on everyone in attendance.
I also was able to see Kodo perform twice when I lived in Japan from 1998 - 2000. What left the biggest impression on me from their performance were the songs, "O-daiko" and "Yataibayashi", which were performed one right after another. Both of these pieces require an extraordinary level of physical endurance, which was very obvious during the performance. By the time they were at the end of the song, I felt like the drummer's heart was ready to burst. Literally burst, and yet, I also felt that if that were to happen, he would die with a smile on his face. I recently read Jack London's "Call of the Wild". At one point in the story, London writes about certain sled dogs' desires to die in the traces of the sled. The dogs felt shame at being cut out of the traces, even if continuing meant certain death. I felt as if these drummers maybe felt the same about playing taiko. Although I've never heard of any taiko fatalities, I wonder if these drummers had a choice, they would choose to go on stage, literally playing their hearts out.
I am very excited that we will be experiencing these two groups again very soon. We have already purchased tickets to this year's Ecstasia in Matto, where I'm certain Honno Taiko will be peforming along with numerous other groups from all over Japan. We are in the process of making plans to travel to Sado Island in the Sea of Japan, where the members of Kodo live, and practice.
Every summer they hold their annual Earth Celebration weekend. We are hoping to go and camp out on the beach, while spending a couple days enjoying taiko performances and workshops. I am certain I will have plenty to write about following those two events.