I was not present at the North American Taiko Conference Leadership Forum, but I heard from those who attended that one recurring theme in the small group discussions was an online forum for taiko players.
Eventually I caught Alan Okada (Soh Daiko) when he wasn't already chatting with someone, and let him know I was interested in being involved with the exploration of creating an online taiko community. He brought up some very basic, very important questions that should be considered before jumping into anything.
The idea of an online forum has been tried in the past, but gradually trickled out. There are a few forums out there--I know the collegiate groups have one, and there is a UK taiko forum as well. But, a forum can only exist if participants are active. How do we create an atmosphere that is inviting so it can live, thrive, and be useful?
On the other hand, someone mentioned to me that perhaps the great thing about NATC is the space that exists between its recurrence. Every 2 years hundreds of taiko players get together and have an immediate connection through the drums we all love. Would having an online community diminish the effect of this connection?
Certainly there are many opinions on this topic, and many more questions to ask. So, I wanted to start by asking your opinion.
Alan wondered if my blog was active with comments... To be honest, it's not very active here at all. If you feel this is important, please prove me wrong and leave your opinion in the comments below!
1. Are you interested in participating in an online taiko forum? If so, please tell me why and what you would hope to get from it or give to it.
2. Do you feel that having an online forum could have negative effects on the taiko community? Please explain.
A place for useful tips, drills, and information about taiko.
Showing posts with label NATC. Show all posts
Showing posts with label NATC. Show all posts
Wednesday, August 12, 2009
Saturday, August 8, 2009
NATC 2009 Opening Reception
The great thing about NATC is that every moment is filled with running into people you haven't seen in ages, or meeting new friends. The weekend kicked off last night with a reception and, as is an NATC tradition, ended with a bit of jamming.
This year they decided to post up signs to represent the number of years of taiko experience. For example, the first sign was 0-5 Years of experience. If that's you, then you jumped up on a drum and improvised with others within that category. The process continued in increasing incremements until reaching the final group.
Here's a little bit of the ending below. Unfortunately, I didn't capture the wonderful women of taiko, but I'll get some from someone at some point and post it.
These video clips were taken by Marinda Chen of Seattle Kokon Taiko . They're short, but if you watch them multiple times, you'll always find a new person's energy to enjoy!
Seiichi Tanaka Sensei
Kenny Endo
Russel Baba
Now I'm off to the Opening Session, lunchtime Taiko Games demo, Taiko Marketplace, a workshop with Adam Weiner, Special Tribute to Daihachi Oguchi, and the free Taiko Ten Concert tonight! More videos tomorrow!
This year they decided to post up signs to represent the number of years of taiko experience. For example, the first sign was 0-5 Years of experience. If that's you, then you jumped up on a drum and improvised with others within that category. The process continued in increasing incremements until reaching the final group.
Here's a little bit of the ending below. Unfortunately, I didn't capture the wonderful women of taiko, but I'll get some from someone at some point and post it.
These video clips were taken by Marinda Chen of Seattle Kokon Taiko . They're short, but if you watch them multiple times, you'll always find a new person's energy to enjoy!
Seiichi Tanaka Sensei
Kenny Endo
Russel Baba
Now I'm off to the Opening Session, lunchtime Taiko Games demo, Taiko Marketplace, a workshop with Adam Weiner, Special Tribute to Daihachi Oguchi, and the free Taiko Ten Concert tonight! More videos tomorrow!
Friday, August 7, 2009
Make it Your Own, STI Day 3
Time has flown by so quickly! STI is over and we're moving, full-force, into a jam-packed NATC weekend. Hopefully I'll snag some time to keep writing!
Yesterday was the final day of the 2009 Summer Taiko Institute. I was sad to see it go... There's really something great about gathering with a group of people who've never played together before, learning with them, getting challenged by and with them, and bringing it all together with a performance. (okay, it was more like a "showing".)
The song we learned, like Omiyage, is meant to be shared with the taiko community--anyone can perform it. In Shoji's opinion Omiyage, which has been released under a free art license failed to take shape has he hoped, so yesterday morning he spoke to us about how he really wishes this new song to be used by the taiko community.
On Ensemble really embraces differences in people. There's no one way to play taiko--this was communicated loud and clear. But, in addition to that, it's also important to explore and discover what works for you. What is taiko? You must experiment and discover that for yourself. If you want to really say something when you're on the stage, you must take ownership of what you're playing.
Keeping this in mind, Shoji went on to explain that if you use this new song, he hopes you'll make it your own. Take it, pull it apart, put it back together, experiment, share it. Don't say this song is "by Shoji Kameda" because when you use it, it should be yours.
Take a look at one of our final rehearsals of the song below. Be sure to visit my YouTube page for more videos from the week! (I'll continue to post videos in the coming weeks.)
Yesterday was the final day of the 2009 Summer Taiko Institute. I was sad to see it go... There's really something great about gathering with a group of people who've never played together before, learning with them, getting challenged by and with them, and bringing it all together with a performance. (okay, it was more like a "showing".)
The song we learned, like Omiyage, is meant to be shared with the taiko community--anyone can perform it. In Shoji's opinion Omiyage, which has been released under a free art license failed to take shape has he hoped, so yesterday morning he spoke to us about how he really wishes this new song to be used by the taiko community.
On Ensemble really embraces differences in people. There's no one way to play taiko--this was communicated loud and clear. But, in addition to that, it's also important to explore and discover what works for you. What is taiko? You must experiment and discover that for yourself. If you want to really say something when you're on the stage, you must take ownership of what you're playing.
Keeping this in mind, Shoji went on to explain that if you use this new song, he hopes you'll make it your own. Take it, pull it apart, put it back together, experiment, share it. Don't say this song is "by Shoji Kameda" because when you use it, it should be yours.
Take a look at one of our final rehearsals of the song below. Be sure to visit my YouTube page for more videos from the week! (I'll continue to post videos in the coming weeks.)
Wednesday, August 5, 2009
Ghost Notes, STI Day 2
STI is set up in a great way this year. Each of On Ensemble's members gives instruction on specific skills and technique, and then we learn parts of a brand new composition in smaller, break-out groups. Simply put, we are taught a skill and are then given a very immediate and practical way to apply it.
Yesterday, Kelvin Underwood talked about ghost notes as an essential way to keep timing. Ghost notes make up the steady beat the audience doesn't hear while you're playing, but you should always hear it in your head. There's one thing that Kelvin said that I really liked and I'll try my best to recapture here.
We each have our own individual pulse. These pulses do not keep steady time and often fluctuate--perhaps your heart beats faster for a few beats and then slows down. When a group of people play taiko, a steady, shared pulse is created. The goal, then, is to keep that shared pulse to carry you together, through a song.
Last night, a group gathered in the lobby of the Miyako hotel to practice the song we've been learning with a metronome. Using 1 wasn't quite loud enough, so we tried to start 2, simultanously. Suzee, a fellow STI participant, mentioned the idea that if you play metronomes together they will eventually sync on their own. We didn't experiment with this last night, but I think it's a great way to tie together what Kelvin taught us yesterday:
If you put taiko players in a room, and everyone is counting the same ghost beats and feeling it become their own inner pulse: Sync Happens.
Here's a little clip from our lobby practice!
Yesterday, Kelvin Underwood talked about ghost notes as an essential way to keep timing. Ghost notes make up the steady beat the audience doesn't hear while you're playing, but you should always hear it in your head. There's one thing that Kelvin said that I really liked and I'll try my best to recapture here.
We each have our own individual pulse. These pulses do not keep steady time and often fluctuate--perhaps your heart beats faster for a few beats and then slows down. When a group of people play taiko, a steady, shared pulse is created. The goal, then, is to keep that shared pulse to carry you together, through a song.
Last night, a group gathered in the lobby of the Miyako hotel to practice the song we've been learning with a metronome. Using 1 wasn't quite loud enough, so we tried to start 2, simultanously. Suzee, a fellow STI participant, mentioned the idea that if you play metronomes together they will eventually sync on their own. We didn't experiment with this last night, but I think it's a great way to tie together what Kelvin taught us yesterday:
If you put taiko players in a room, and everyone is counting the same ghost beats and feeling it become their own inner pulse: Sync Happens.
Here's a little clip from our lobby practice!
Tuesday, August 4, 2009
Narasu, Summer Taiko Institute (STI) Day 1
I'm here in LA for the Summer Taiko Institute with On Ensemble. We had a great first day and I took lots of video clips that I'd love to share with you, but will have to upload them later--keep an eye out for them. I'll post a Twitter when I actually get them up.
Yesterday was jam-packed with lots of instruction and I really can't recapture everything here. So, my thought is that I'll take one thing that stuck out in my mind for the day and share it with you.
Kris Bergstrom talked quite a bit about "narasu" as he explained On Ensemble's stance when playing the drum. "Narasu" is the verb in Japanese for "to ring" or "to chime". He suggested that, as we consider our role in standing before a taiko, we think "narasu" instead of "tataku" which means simply "to hit" or "to strike".
Kris and On Ensemble's stance really focuses on connecting with the drum, rather than connecting with your audience. They accomplish this by creating a gentle space between your body and the drum as well as between your arms and the drum, focusing more in the drum's direction with your eyes and your upper body, and setting your feet up more vertically (right foot further back than most).
However, like everything they shared, everything is flexible depending on circumstance: What kind of mood does your song have? Do you want to show a connection with the audience instead? How about connecting with your fellow members? Considering and discussing the relationship your own group has to taiko, to each other, and your audience when playing, and then experimenting how to do this is a great way to refine your group's own style.
It's important to keep in mind that there's no one way to play taiko. I think when someone has only one or a few resources, it's certainly tough to keep this in mind.
But, if the above seems to ring true for your taiko goals, get out there and ring your drum!
Yesterday was jam-packed with lots of instruction and I really can't recapture everything here. So, my thought is that I'll take one thing that stuck out in my mind for the day and share it with you.
Kris Bergstrom talked quite a bit about "narasu" as he explained On Ensemble's stance when playing the drum. "Narasu" is the verb in Japanese for "to ring" or "to chime". He suggested that, as we consider our role in standing before a taiko, we think "narasu" instead of "tataku" which means simply "to hit" or "to strike".
Kris and On Ensemble's stance really focuses on connecting with the drum, rather than connecting with your audience. They accomplish this by creating a gentle space between your body and the drum as well as between your arms and the drum, focusing more in the drum's direction with your eyes and your upper body, and setting your feet up more vertically (right foot further back than most).
However, like everything they shared, everything is flexible depending on circumstance: What kind of mood does your song have? Do you want to show a connection with the audience instead? How about connecting with your fellow members? Considering and discussing the relationship your own group has to taiko, to each other, and your audience when playing, and then experimenting how to do this is a great way to refine your group's own style.
It's important to keep in mind that there's no one way to play taiko. I think when someone has only one or a few resources, it's certainly tough to keep this in mind.
But, if the above seems to ring true for your taiko goals, get out there and ring your drum!
Saturday, August 1, 2009
Taiko Drill Part 44, DON TSU KU (taiko set)
Hey there! One of these days I'm going to get all these posts organized, but it's a bit too busy right now. I'm leaving for Summer Taiko Institute in LA with On Ensemble in just 2 days and am looking forward to some new challenges to mind, body, and rhythm!
In the meantime, today's drill is quite simple. Hopefully you've gotten a sense of how to move smoothly back and forth between drums at a moderate pace. Here's another pattern to practice just that.
Focus: Form, Timing
Watch For:
1. Be sure to use a metronome to practice this drill. This helps tremendously with timing. Always work at a comfortable speed where you can keep the pace steady. Need a metronome? Check out my brief intro to my newest Dr. Beat.
2. Keep control from your core!
Today's pattern is 3 don tsuku, followed by do ko do ko. This basic pattern is looped. Aim for 15-20 minutes without stopping.
The initial "don" is played on your high-pitched drum, to your right. The following "tsu ku" and next 2 "don tsu kus" are on the lower-pitched drum, to your left. The initial "do ko" is played on the left drum, and the second is played on the right drum.
Check out the video for an example (I can't view the video at the moment, so I hope the above explanation is correct!):
I'll be playing next week by ear since I'll be in in LA all week for STI and NATC. I'm really looking forward to hitting a drum right now!
Anyone out there going to NATC??
In the meantime, today's drill is quite simple. Hopefully you've gotten a sense of how to move smoothly back and forth between drums at a moderate pace. Here's another pattern to practice just that.
Focus: Form, Timing
Watch For:
1. Be sure to use a metronome to practice this drill. This helps tremendously with timing. Always work at a comfortable speed where you can keep the pace steady. Need a metronome? Check out my brief intro to my newest Dr. Beat.
2. Keep control from your core!
Today's pattern is 3 don tsuku, followed by do ko do ko. This basic pattern is looped. Aim for 15-20 minutes without stopping.
The initial "don" is played on your high-pitched drum, to your right. The following "tsu ku" and next 2 "don tsu kus" are on the lower-pitched drum, to your left. The initial "do ko" is played on the left drum, and the second is played on the right drum.
Check out the video for an example (I can't view the video at the moment, so I hope the above explanation is correct!):
I'll be playing next week by ear since I'll be in in LA all week for STI and NATC. I'm really looking forward to hitting a drum right now!
Anyone out there going to NATC??
Sunday, May 10, 2009
NATC update and Taiko Jam!
In case you haven't checked the NATC website recently, registration opened on April 12. You can conveniently pay online this year, right through the website. This year's cost is $250, with discounts for youth (under 25) and JACCC members.
The list of workshops is available, though you must sign up with a log-in name and password in order to view them. Online registration is not yet available, but when it is activated you can only register for workshops if your payment has been verified. (So, if you've got your eye on a popular workshop, register now so you can be sure to get in!)
Taiko Jam 2009
Saturday, August 8, 8:00pm
Sunday, August 9, 3:00pm
The list of workshops is available, though you must sign up with a log-in name and password in order to view them. Online registration is not yet available, but when it is activated you can only register for workshops if your payment has been verified. (So, if you've got your eye on a popular workshop, register now so you can be sure to get in!)
Taiko Jam 2009
Saturday, August 8, 8:00pm
Sunday, August 9, 3:00pm
includes performances by:
With only 2 shows, tickets are sure to sell out fast at $32-$35! In fact, from my estimation, as of today the Saturday show is already a little less than 1/3 sold out and the Sunday show at just about 1/4.
Tickets for Taiko Jam are not included in NATC registration.
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