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Bang the drum this summer. Follow the beat of a Taiko drum master during an intensive search for the soul of Japan through art and outdoor adventure. Rub your sore hands together after hours of drumming. Stretch your legs for a walk through pristine forests and towering mountain peaks. Learn centuries old rituals during an indigenous Ainu music workshop. Feel the spirit, energy and sense of community during a summer of music that connects you deeply with the people, culture and traditions of Japan.

You and your Corps group explore Tokyo during an exciting introduction to Japanese life and culture. Walk the city with locals, visit Akihabara to see the latest technological marvels, taste fresh sushi and spicy noodles and learn how Taiko drums are made. Then, travel to remote Sado Island to experience the art of Taiko drumming. Between sessions with a Taiko master, train with Japanese student musicians, hike the mountainous paths and enjoy the beautiful shores of Sado as you develop an understanding for both the spiritual and physical nature of Taiko. Following your seminar, take an overnight ferry north to the island of Hokkaido to meet your new family. For the next week, practice your Japanese language skills, cook homestyle meals, learn indigenous Ainu music and meet with Japanese youth. After sharing a final performance of Taiko with your new community, explore natural beauty and cultural traditions as you travel to small towns and villages throughout Hokkaido. You and your group return to Sapporo or Tokyo at the end of the program visiting familiar neighborhoods and discussing re-entry before the journey home.

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Taiko have a mythological origin in Japanese folklore, but historical records suggest that taiko were introduced to Japan through Chinese and Korean cultural influence as early as the 6th century CE; pottery from the Haniwa period depicting taiko drums has also been found. Some taiko are similar to instruments originating from India. Archaeological evidence also supports the view that taiko were present in Japan during the 6th century in the Kofun period. Their function has varied throughout history, ranging from communication, military action, theatrical accompaniment, religious ceremony and concert performances. In modern times, taiko have also played a central role in social movements for minorities both within and outside Japan.

Kumi-daiko performance, characterized by an ensemble playing on different drums, was developed in 1951 through the work of Daihachi Oguchi and later in 1961 by the Ondekoza, and taiko was made later popular with many other groups copying the format of Ondekoza such as Kodo, Yamato, Tao, Taikoza, Fuun No Kai, Sukeroku Taiko, etc. Other performance styles, such as hachij-daiko, have also emerged from specific communities in Japan. Kumi-daiko performance groups are active not only in Japan, but also in the United States, Australia, Canada, Europe, Taiwan, and Brazil. Taiko performance consists of many components in technical rhythm, form, stick grip, clothing, and the particular instrumentation. Ensembles typically use different types of barrel-shaped nagad-daiko as well as smaller shime-daiko. Many groups accompany the drums with vocals, strings, and woodwind instruments.

The origin of the taiko and its variants is unclear, though there have been many suggestions. Historical accounts, of which the earliest date from 588 CE, note that young Japanese men traveled to Korea to study the kakko, a drum that originated in South China. This study and appropriation of Chinese instruments may have influenced the emergence of taiko.[1] Certain court music styles, especially gigaku and gagaku, arrived in Japan through both China and Korea.[2][3] In both traditions, dancers were accompanied by several instruments that included drums similar to taiko.[3][4] Certain percussive patterns and terminology in togaku, an early dance and music style in Japan, in addition to physical features of the kakko, also reflect influence from both China and India on drum use in gagaku performance.[5][6]

Archaeological evidence shows that taiko were used in Japan as early as the 6th century CE,[7] during the latter part of the Kofun period, and were likely used for communication, in festivals, and in other rituals.[8] This evidence was substantiated by the discovery of haniwa statues in the Sawa District of Gunma Prefecture. Two of these figures are depicted playing drums;[8] one of them, wearing skins, is equipped with a barrel-shaped drum hung from his shoulder and uses a stick to play the drum at hip height.[9][10] This statue is titled "Man Beating the Taiko" and is considered the oldest evidence of taiko performance in Japan.[10][11] Similarities between the playing style demonstrated by this haniwa and known music traditions in China and Korea further suggest influences from these regions.[11]

The Nihon Shoki, the second-oldest book of Japanese classical history, contains a mythological story describing the origin of taiko. The myth tells how Amaterasu, who had sealed herself inside a cave in anger, was beckoned out by an elder goddess Ame-no-Uzume when others had failed. Ame-no-Uzume accomplished this by emptying out a barrel of sake and dancing furiously on top of it. Historians regard her performance as the mythological creation of taiko music.[12]

Taiko have been incorporated in Japanese theatre for rhythmic needs, general atmosphere, and in certain settings decoration. In the kabuki play The Tale of Shiroishi and the Taihei Chronicles, scenes in the pleasure quarters are accompanied by taiko to create dramatic tension.[18] Noh theatre also features taiko music,[19][20] where performance consists of highly specific rhythmic patterns. The Konparu () school of drumming, for example, contains 65 basic patterns in addition to 25 special patterns; these patterns are categorized in several classes.[21] Differences between these patterns include changes in tempo, accent, dynamics, pitch, and function in the theatrical performance. Patterns are also often connected together in progressions.[21]

Taiko continue to be used in gagaku, a classical music tradition typically performed at the Tokyo Imperial Palace in addition to local temples and shrines.[22] In gagaku, one component of the art form is traditional dance, which is guided in part by the rhythm set by the taiko.[23]

Taiko have played an important role in many local festivals across Japan.[24] They are also used to accompany religious ritual music. In kagura, a category of music and dances stemming from Shinto practices, taiko frequently appear alongside other performers during local festivals. In Buddhist traditions, taiko are used for ritual dances as part of the Bon Festival.[25][26] Taiko, along with other instruments, are featured atop towers that are adorned with red-and-white cloth and serve to provide rhythms for the dancers who are encircled around the performers.[27]

In addition to the instruments, the term taiko also refers to the performance itself,[28][29] and commonly to one style called kumi-daiko, or ensemble-style playing (as opposed to festival performances, rituals, or theatrical use of the drums).[30][31] Kumi-daiko was developed by Daihachi Oguchi in 1951.[30][32] He is considered a master performer and helped transform taiko performance from its roots in traditional settings in festivals and shrines.[33] Oguchi was trained as a jazz musician in Nagano, and at one point, a relative gave him an old piece of written taiko music.[34] Unable to read the traditional and esoteric notation,[34] Oguchi found help to transcribe the piece, and on his own added rhythms and transformed the work to accommodate multiple taiko players on different-sized instruments.[35] Each instrument served a specific purpose that established present-day conventions in kumi-daiko performance.[36][37]

Oguchi's ensemble, Osuwa Daiko, incorporated these alterations and other drums into their performances. They also devised novel pieces that were intended for non-religious performances.[34] Several other groups emerged in Japan through the 1950s and 1960s. Oedo Sukeroku Daiko was formed in Tokyo in 1959 under Seid Kobayashi,[38] and has been referred to as the first taiko group who toured professionally.[39] Globally, kumi-daiko performance became more visible during the 1964 Summer Olympics in Tokyo, when it was featured during the Festival of Arts event.[40]

Taiko have been developed into a broad range of percussion instruments that are used in both Japanese folk and classical musical traditions. An early classification system based on shape and tension was advanced by Francis Taylor Piggott in 1909.[61] Taiko are generally classified based on the construction process, or the specific context in which the drum is used,[17] but some are not classified, such as the toy den-den daiko.[62]

Taiko are categorized into three types based on construction process. By-uchi-daiko are constructed with the drumhead nailed to the body.[17] Shime-daiko are classically constructed with the skin placed over iron or steel rings, which are then tightened with ropes.[64] Contemporary shime-daiko are tensioned using bolts or turnbuckles systems attached to the drum body.[17][65] Tsuzumi are also rope-tensioned drums, but have a distinct hourglass shape and their skins are made using deerskin.[64]

By-uchi-daiko were historically made only using a single piece of wood;[66] they continue to be made in this manner, but are also constructed from staves of wood.[17] Larger drums can be made using a single piece of wood, but at a much greater cost due to the difficulty in finding appropriate trees.[17] The preferred wood is the Japanese zelkova or keyaki,[67] but a number of other woods, and even wine barrels, have been used to create taiko.[67][68] By-uchi-daiko cannot be tuned.[63] 006ab0faaa