The Unshakable Core

Do you ever find that your low back is achy after playing taiko? Are you frustrated that your hits just aren't sounding powerful? Do you lose your balance when striking the drum? A strong mid-section, particularly the abdominals, can be the key to a solution for these problems.

Take a moment to stand at a drum (even if it's imaginary). Tighten your abdomen muscles. You should notice that your pelvis tilts just slightly, into a neutral position. This is a simple step you can take toward protecting yourself from taiko injuries. It may take some strengthening to hold this position while playing. Just like other athletes, it is important for taiko players to do a little cross-training.

Simple crunches can be helpful, but only target one section of the complicated muscle structure, and are often boring. Here are some fun ways you can strengthen your core, and increase coordination simultaneously:

Pilates

Yoga

Running

Dancing

Skating

Kickboxing

Racquet Sports (Tennis, Badminton, Racquetball)

Have more suggestions? Post 'em! Do you appreciate measurable progress and prefer crunches? Email me and I will send you a range of resources for ways to strengthen your entire center with crunches rather than just those "six pack muscles".

Be sure to warm up, cool down, and stretch with any strenuous exercise.

TGIF, Part 2 (taiko drills)

VIDEO DEMO COMING SOON!

Welcome to TGIF, Part 2! Thanks for coming back if you were here last week, and welcome if this is your first TGIF.

Focus: Timing, Right/Left Balance
Watch for:
1. Continue to focus on making vertical strikes with both hands. If your strike comes down at an angle, this can really weaken the sound and clarity of your hit. You can improve this by air drumming this week's drill in front of the mirror at a slow speed, but make sure you're diligent in watching for that straight line.
2. The volume of your hits should be equal for this drill. If you're consistent with this, then take the next step--check out the Extension.

Today's drill is a continuation of last week's so you can continue to focus on last week's tips as we move forward. If you have enough time, after you practice this new drill for 15 minutes, review last week's for an additional 5.

When we play taiko it is really easy to think of the base beat and the body of the song as two separate parts that fit on top of one another. This drill will help you begin to hear the base beat and overlaying rhythms as one. It will take some time to really feel it, but having this skill will make your songs tighter and make it easier to understand complex rhythms.

Okay, right hand is the base beat and continues steadily throughout the whole drill. Play:

DON
DON
DON
DON
DON
DON
DON
DON

Then continue another 8 beats, but fill in the upbeat with your left hand:

DO KO
DO KO
DO KO
DO KO
DO KO
DO KO
DO KO
DO KO

Repeat the base line with your right hand:

DON
DON
DON
DON
DON
DON
DON
DON

Fill in ever other upbeat with your left hand:

DO
DO KO
DO
DO KO
DO
DO KO
DO
DO KO
Loop from the beginning for 15 minutes a day with the help of your favorite metronome. Practice with your strong hand as the base for 5 minutes and your weak hand for 10. Remember to work at a speed that's comfortable for you and try to increase the tempo slightly each day, but don't move forward if you're not ready.

Extension:

Keep your base hand small and make all of the beats with your other hand big and forceful. This will help to mentally emphasize that one hand is keeping the base beat and the other is playing on top if it, even though both hands are playing together.

DON DON DON DON DON DON DON DON
DOKO DOKO DOKO DOKO DOKO DOKO DOKO DOKO
DON DON DON DON DON DON DON DON
DON DOKO DON DOKO DON DOKO DON DOKO



Got questions? Post them in the comments section! Others probably have the same question.

Check back next Friday for another drill. In the meanwhile, I'll be checking in with some information about the body's core, why it's important when playing taiko, and some ideas on how to strengthen yours.

2008 Japan Taiko Matsuri

The Japan Taiko Matsuri (Nihon Taiko Matsuri) is held at Ise Jinguu annually and is hosted by the main professional Ise taiko group, Shinon Daiko. This year there were 20 groups invited to perform from around the country, including my group, Shippu Uchi Daiko. There were 3 stages for 2 straight days of non-stop taiko--heaven, right?

I was there as “staff” this year with instructions from sensei to “learn” by watching the different groups and become familiar with some of the best players in Japan.

Friday night we arrived late at the guest house and were instructed to bathe quickly and go to sensei’s room for a meeting. After a quick overview of the next day’s schedule, they went through the entire set by tapping on the table. I was really struck at that moment how lucky I am to be with such a talented group of drummers, their fingers moving effortlessly on the coffee table, bodies exhausted from the 5-hour drive.

Saturday morning started at 5:30am, dressing in warm-ups, doing preliminary hair and makeup. Then we headed down to the stage to help with set up, tightening okedo and bringing out drums. At one point I remember standing (wouldn’t be surprised if my jaw was hanging open) in awe as the o-daiko was lowered down through the ceiling of the pagoda right onto the performance space.

There was continuous honoring of other players throughout the weekend. I was prepared for this because sensei gave a lecture the night before to make sure that everyone was making an active effort to say good morning, よろしくお願いたします, et cetera whenever anyone passed. So, there would be frequent pauses from the hectic preparations to stand and bow and say おはようございます whenever any group would pass. This did make it quite difficult for me initially to differentiate any sort of status because everyone was treated as equally important as performers at the festival.

Anyway, after everything was set up, we walked down one of the walking streets and took photos with the big banner saying Shippu Uchi Daiko (疾風打太鼓） and then went to eat and get into costume.



I was “working” (mostly I was towel/water girl) the first performance for Shippu Uchi (they had 4 over the weekend), but was then free for the rest of the day on Saturday to study other groups. I saw Miyake Daiko first and was impressed by their playing, but bored by the repetitiveness of their show. They played for 30 minutes–the same rhythm we (taiko players) all know well–getting faster each time. Wachi daiko was next. I was surprised that they, too, only played one song, switching out people.

In the afternoon I was wowed by Honou Daiko, a powerful all-women group. Their leader was very dramatic and very much a dancer, but in a very defined, rigidly graceful way. She was one of my favorites to watch and the group was very creative and choreographed. They made good use of the drum tones and their songs often sounded melodious.

Next was Wa Daiko–a fairly young group from Chiba-ken who utilized an amplified koto. They had quite a few members and different sections had their own choreography which was fun to watch and never boring. Their atarigane player was very dramatic, waving his body around the stage to the point of near comedy.

The most skillful show I saw the whole weekend was a combination show by Shinon Daiko (now one of my favorite groups for their drumming skill), Yamabei Daishi (Okayama-ken), Kirishima Kumen Daiko Wakana (all-women professional group), and Fujimoto Sensei (KODO o-daiko player). In fact, I watched this show twice, once each day.



Sunday, I was staff for Shippu Uchi the whole day, so no more “studying” for me until their shows were done. After their 4th and final show on Sunday, most of the members went home, but Ryo Sensei, Itsuka, and I stayed for the closing dinner and came back on Monday.

Dinner was crazy! I had enough trouble as it was that weekend trying to understand because everything was always in a rush and words were spat faster than bullets. But, then the alcohol flowed! There was a speech by one of the sponsors (the whole weekend is paid for by corporate sponsors) and a big Kanpai! The food was on the tables, but most important was the act of filling others’ glasses and toasting them, so everyone was drunk first and ate later.

I’d been in the background quite a bit the whole weekend, and left to fend for myself, but Sunday I actually got to meet a few people. Katsuji Kondo (former KODO member and Ryo’s teacher) insisted on only speaking his short English phrases to me and had quite a sense of humor (therefore, I didn’t always understand what he meant). Here’s an example of one of the better ones: (points to Ryo) “He’s your teacher. I’m his teacher. So, I’m your grandteacher!” Then, he leaned over to me and said, “I’m sorry. I’m a little… drunk.”

The table next to me was all the younger players (in their 20s) from Miyake Daiko, seated across from the masters from KODO, Shinon Daiko, and someone else I didn’t know. It was fascinating (did I stare too much?) to watch the boys sitting in their tallest seiza and bowing and pouring beer and sake without pause. And the volume! I couldn’t hear the person next to me unless they shouted in my ear. Ah… the enkai.

An announcement was made that we needed to leave the restaurant within 45 minutes, so everyone stood up to bid farewell. However, this only seemed to escalate the festivities as it encouraged more movement and loud singing (shouting?). We were on our way out when we noticed that Fujimoto sensei (KODO) and a few others had wrapped bandannas around their heads and tied them like little old ladies. I got a few shots of this silly moment.



Leaving the restaurant, Shinon Daiko, as the host of the weekend, was lined up to bow and thank everyone on the way out. Unfortunately I was sick with a cold the whole weekend and opted to go to bed as the party continued in Sensei’s room across the hall back at the guest house.

The next morning we had to wake sensei up by pounding on his door and he claimed, on the way down to breakfast, to be still slightly drunk. Breakfast was slow for once because there were no performances to rush to and everyone was hungover. More visiting to and from people for last minute business card exchanges. Just as we were finishing up, Fujimoto Sensei came over to give Ryo his card. Then he asked if everyone at the table was a Shippu Uchi member. Ryo explained that just the 3 of us were members and Fujimoto sensei asked about me.

Ryo introduced me and my taiko background, told him that I was from Seattle Kokon Taiko and Fujimoto Sensei immediately spoke up and said he knew of SKT and then told me that he knows Seattle has many taiko groups and started to list quite a few of them. (Ryo was impressed that he’d heard of SKT) Then the conversation steered to how Stan from SKT doesn’t drink sake–-then a look at me, “doesn’t he?” I tried my best to explain that we don’t really have enkai in the US and that it’s not really a tradition for taiko groups to toast each other to drunkenness. The best my comments did was steer the focus away from Stan and turn it to a general discussion of how Yes, Americans just don’t drink sake like we do here in Japan.

Katsuji-sensei (former KODO), and Fujimoto-sensei (KODO) saw us off in the lobby before we left that morning. The deepest of bows from us to them. They both gave me words of encouragement and we were on our way.

4.5 hours drive, a 1 hour wait at the train station in Yuasa, and 2 hours back to Susami. I arrived last night, exhausted, motivated, and enlightened. It was definitely the taiko event of the year and I can say, in all honesty, even though Ryo confided in me his feeling of being an underdog, that Shippu Uchi Daiko’s performance was one of the best. I was honored to be there with them.

My Story

I jumped right into taiko here, and owe you a bit of a self-introduction.

My first taiko group was in the state of Ohio, Icho Daiko (November 2003-June 2004). During my time with Icho Daiko, Portland Taiko came to Oberlin College to perform and give workshops. I'd been practicing for a couple of months at that time and had never seen a real taiko performance. They were energetic and powerful, but most of all, inspiring. I became motivated to learn all I could about taiko.

I was offered an apprenticeship with Seattle Kokon Taiko from December 2004 and offered membership 8 months later. I stayed with SKT until 2007.

Currently, I live in Wakayama Prefecture in Japan. I am a member of Shippu Uchi Daiko and practice with them on Sundays for 7 hours. On Wednesdays I take private lessons with Ryo Shimamoto　for 3 hours and Fridays I practice on my own for a few hours.

Recently my taiko group here in Japan was invited to perform at the Japan Taiko Festival. Check back tomorrow to read about my experience as a staff member for that performance.

TGIF, Part 1 (taiko drills)

VIDEO DEMO COMING SOON!

Welcome to TGIF!

Focus: Timing, Right/Left Balance
Watch for:
1. Pay attention to the path your sticks take to the drum--are both sticks making identical vertical lines? If either hand strikes with an angled line, focus on correcting this as you practice the following drill.
2. Listen the sound as you strike the drum. Are the two hands equal in volume and tone?

Today's drill is basic, but effective in increasing speed and encouraging balance between the left and right hand. The kuchi shoga is simple:

DON DON DON DON DON DON DON DON

Once you've got that memorized (no problem, right?), let's talk about hands. First, play the line alternating right and left hands:

R L R L R L R L

Next, repeat with double strokes:

R R L L R R L L

If you don't have a metronome there are numerous online sources. I tend to use this one if practicing at home. You can also download a light metronome if hearing it over your taiko is a problem. Using a metronome will help you realize if you have tendencies to change tempo as you play.

Practice first at a speed that's comfortable for you, 15 minutes total. Practice this drill every day, increasing speed regularly, and you'll be ready for the next drill in 7 quick days!

Comment or email if you have questions.

Carrie


Extension: It is essential to practice with your weak hand up to twice as much as you do with your strong hand. I'm right-handed, so for this drill I will practice starting with the right the first 5 minutes and follow it by 10 minutes starting with the left. This helps to feel comfortable with the downbeat on either hand.

Another way to do this is simply by alternating repeatedly throughout the drill:

R L R L R L R L
R R L L R R L L
L R L R L R L R
L L R R L L R R
L R L R L R L R
L L R R L L R R

A Plan

A practical resource for taiko players.

Stop by every Friday for TGIF: Taiko Drills! Every week you can find drills and tips here that will lead you to be a better taiko player. So, join me for the first drill in just a couple of days.

What will I post on the days in between? Well, I suppose you'll see as we go along!

Catch you Friday,
Carrie