Module Description

Eisa Style Taiko

by Ryukyukoku Matsuri Daiko

As the art of taiko drumming continues to gain popularity throughout the world, the art of eisa, or Okinawan festival drumming, has also gained popularity. Though there are many eisa groups in existence, Ryukyukoku Matsuri Daiko is perhaps one of the most internationally recognized for its fusion of odori (traditional dance) and karate movements. Performers dance and drum simultaneously to an exciting blend of traditional and contemporary Okinawan and Japanese music. Drummers use several types of drums: the odaiko (big drum), which is suspended in front of the body by long pieces of purple cloth over the shoulder and back; the shime-daiko (hand-held, flat, two-sided drum); and finally, the paranku (hand-held, flat, one-sided drum).

Workshop participants will be taught the basics of eisa (hand and feet movement, stances, drum hitting, etc.), heishi (shouts), vocabulary and the choreography of one song during the course of the workshop. All three drum varieties will be rotated amongst the participants throughout the workshop to give everyone an opportunity to experience each type of drum.

Ka-Oriented Solo/Improvisation

by Kris Bergstrom

TBA

Targetting: Downstand Movement/Improvisation

by Joel Mankey (Jishin)

This workshop focuses on several drills pulled from exciting down drumming material pulled from exciting pieces such as Yuta Kat's DokoKara, and my pieces Being on Time and Utage that utilize the wide variety of sounds available on a simple down-stand Chu Daiko including interlocking hocket rhythms, slaps, stick clicks, pass-unders, rainbow-overs, and if there are a lot of Kane available, a very cool set of rhythms using a kane in one hand and a bachi in the other.

Students will get exposure and ideas for how to play the drum in many new ways as well as developing flexibility and dexterity using the exercises in the workshop.

Endurance

by Makoto Taiko

Jump into a series of intensive drills and exercises that focus on improving your endurance.

Body Bayashi

by Yee Man Mui

Learn the main pattern of “Body Bayashi,” a body music/dance piece created during San Francisco International Orff Courses. It is based on the kuchi-shoga (phonetic musical notation for traditional Japanese drumming) of “Mikoshi Bayashi” – a basic pattern from the festival music of old Tokyo, as learned from Kenny Endo-sensei, of Honolulu, Hawai’i. The purpose of the dance is to internalize and embody the interlocking relationship between two instruments simultaneously. The exercise can also be applied to any taiko pieces for ear training and to strengthen listening skills.

Spicing Up Matsuri

by Charlotte Kane (Senryu)

An introduction to soloing techniques for the community favorite song "Matsuri". In this workshop, we will be going through a series of exercises and mini-performances to help you develop your own sense of style and confidence. Good for any level of expertise, including those relatively new to taiko.

Duets/Partner Awareness

by Naruwan Taiko

TBA

Taiko Set Improvisation

by Devin Tani (Jodaiko)

Get used to playing on different surfaces and sounds through a course into Taiko Set drumming. Topics covered include: Dexterity, movement between drums, as well as understanding of Timbre and Improvisation. Get ready to play with each other in this fast paced workshops with multiple drums.

Beta Kata Fundamentals and Form

by Kishin Daiko

TBA

Movement and Expression

by San Jose Taiko

How do we convey mood and make visible connections with each other and our audiences? This workshop covers the basic drills for demeanor, projection, intention while performing.

Taiko Games

by Chelsey Calingo and Ashton Culbertson (Senryu)

In this workshop, we will be focusing on the fun side of taiko by utilizing "games". We hope to give you ideas that you can use in future workshops/performances with young people, the general community, and in your own taiko group.

Super Chunky Yatai

by Tiffany Tamaribuchi

This workshop covers one of the most common arrangements of rhythms from the Chichibu Yomatsuri Festival adapted for staged performances, usually referred to as "Yatai Bayashi" throughout North America and in parts of Japan. We'll talk a little bit about the history and context of the piece and then start breaking it down into manageable chunks. We'll be covering different aspects of kata, sticking methods, being grounded and balanced while in a seated position, core fitness and integration, injury prevention, and staging considerations. If there's time we will also do some work on shime. Please bring the appropriate bachi if you have them.

Polyrhythmic Techniques

by Taiko Project

Participants will learn various drills and overlapping small drum patterns.

Fue Basics

by Kevin Chen (Raijin)

Breath awareness

Breath awareness is fundamental in the study and practice of any wind instrument. The workshop should begin with a brief discussion of attendees’ experience with conscious breathing/diaphragm manipulation/qi gong. We will spend time doing quiet breathing as a group, then work on diaphragm/breath control consciousness techniques, then play long tones on the flute with special consideration to breath.

Embouchure and inner anatomy

A major misconception is that embouchure and outer anatomy take primacy in the formation of tone, power, and expressivity, but actually, the most important aspect of playing comes from inner anatomy and resonance chamber manipulation. Special notes will be given to flute physics, the Cornelius Boots “Lemniscate Model,” total air flow awareness (from root to leaf), and bow-and-arrow analogy. Participants will be asked to practice tone development with special attention to throat tension, palate position, nostril flaring, tongue position, facial musculature manipulation, et cetera.

Special techniques

Techniques from breath to mouth to finger.

Introductory music theory and structure analysis

Introduction to scale degrees, modes, pentatonic scales vs. blues), and translation of theory into practice. Participants will be asked to understand the qualitative characteristics of different modes/scales in terms of their (1) intuition, (2) function, and (3) cultural/social context. Each participant should develop a short 4-bar phrase in a mode/scale of their choosing. Students should go further by developing chord/scale/mode structures in a 12 or 16-bar piece that incorporates more than one chord/scale/mode.

Introduction to kinko-ryu (琴古流) notation

Kinko-ryu notation is used in shakuhachi (尺八) scores, and should not be applied without certification from a shihan (師範) laureate. This section will only be available as an introduction to the system as well as an exploration of the philosophical differences across the kinko-ryu, staff, and scale degree systems of notation.

Listening and improvisation

Students will be grouped by key to improvise over a structure decided a priori.

Katsugi Okedo

by Taiko Project

Participants will learn the basics of katsugi (sling) okedo style playing. Topics will include right and left handed striking techniques, various stances while playing okedo, and drum patterns based on TAIKOPROJECT's song "Here We Go Now!!"

Pulse - Ensemble Cohesion

by David Wells

As we practice form, movement, power, and spirit, taiko players often take timing for granted -- yet it can easily make or break a performance. Organized around the concepts of pulse and subdivision, this workshop will provide opportunities to develop the skill, awareness, and control required to play more confidently as an ensemble.

Ippatsu Uchi: Ergonomic Powerful Strikes

by Patrick Cruz (Jishin)

Ergonomic Powerful Strikes: Derived from Kodo's style of playing, this workshop will focus on the Ergonomic function of using the entire kinetic chain, starting from the Base of Support, to the proper use of Center of gravity/core/Hara.

Hachijo Daiko

by Yuta Kato

Hachijojima is an island located 178 miles south of Tokyo. During the Edo Period, convicts who committed the worst crimes (political activism) were sent to Hachijo island. Often times these convicts were members of the educated Samurai class. They brought with them sophisticated art and culture to the island. Since their swords were taken away, legend has it that the samurai picked up bachi and played taiko as a substitute for martial arts and recreation.

Today, 8,500 people live on this small island, and the spirit of the drum lives on in almost everybody. The style is truly improvisational, with just two people hitting on each side of the drum. Yuta Kato has lived on Hachijo for 15 months and immersed himself in the taiko and culture there. In this workshop he will share his experiences, along with "tendencies" that make Hachijo taiko unique and meaningful.

Group Timing

by Sascha Molina

Do you know those times when you try and do group pattern sequences and they just fall apart? This workshop will teach you drills for improving timing as a group.

Naname Fundamentals

by David Wells

The best hits are lazy hits! Practice and apply a five-point strike technique that puts speed and relaxation at the forefront of developing a much stronger naname drumming sound.

Solid Shime Daiko Playing

by Kenny Endo

Good shime daiko technique will improve your technique on all sized taiko. This class will concentrate on the intricate shime daiko techniques and patterns found in the lively festival music of Edo Bayashi (Tokyo festival music). This technique is quite refined and has applications to all sized taiko. Emphasis will be on timing, playing with precision, grip, sound, nori (groove), and relaxing.

Odaiko Fundamentals

by Isaku Kageyama

Introduction to the grip, stance, and stroke for playing Odaiko. Focus on creating powerful, dynamic motion and producing a solid sound. Learn the composition “Agari Yatai” by Yoichi Watanabe, founder of Amanojaku.

Improvisational Techniques

by Joshua Yoon (Stanford)

Composition/Soloing/Arrangement/Improvization:

Purpose: to provide participants with useful tools and approaches towards (1) composing a new piece, (2) coming up with a solo, and/or (3) arranging a piece they are already familiar with. Background: this workshop is based on my own experiences with composing music not exclusively with taiko, other workshops I've taken, and playing/listening to taiko works by a wide range of artists. There are certain approaches that have helped me learn how to inject musicality into my own playing and in what ways I can express myself through taiko. Of course, I am still a beginner and don't claim to be an expert in this field myself, but it would be great to share with other collegiate taiko players what I've learned so far and provide resources that could be useful for them down the road.

Bon Daiko - Matsuri

by Isaku Kageyama

Bon Daiko, is a folkloric style of drumming from the Kanto region of Japan that accompanies the Obon Festival. The style was popularized by Sukeroku Daiko, who developed the style from a folk tradition into a performing art. This workshop serves as an introduction to the historical roots and in-depth stylistic characteristics of Bon Daiko. All ages and experience levels welcome.

Internalizing Rhythms/Soloing Movements

by PROTA

Ever find yourself lost while playing a solo? Have you ever found yourself out-of-sync with the ensemble and couldn't quite figure out where or how to jump back on the downbeat? Have no fear! Prota is here to help! In our workshop, we will explore multiple methods on how to keep time without the use of a metronome and to feel the pulse of the music in both your head and in your body. Let us unlock the groove that is inside of you!

Group Listening/Kumidaiko

by San Jose Taiko

As individual artists we have the freedom to play whatever we want but in kumidaiko there is the priority to make everyone else in your group sound good. What does it mean to approach your playing from a listening standpoint and how can it be used to connect you with your fellow taiko players? This workshop will cover useful tools that can be applied to individual and group playing.

Hyotan/Shekede

by San Jose Taiko

Learn the fundamentals of San Jose Taiko's hyotan/shekere-playing technique and kata. Individual attention will be given to each participant as members of San Jose Taiko will be there to provide hands-on instruction.

Move On Your Feet!

by Clara Takahashi (Kyodo)

How to move your feet!: In recent years, the collegiate taiko scene has been producing more and more skillful players, but I feel like there’s still a big gap in their toolbox—nobody knows how to move their feet! In Kyodo at least, nearly all of the core repertoire can be played without ever moving your feet aside from standing and sitting, and from what I know of other groups, this isn’t uncommon. So, in my workshop, I’ll address this issue by showing various ways to move your feet while playing both naname and downstand (also applies to nidan/yodan) and explaining the underlying rules so that people can come up with more movements themselves. Teach various kinds of foot movement. At the drum: two-step, basic spin, X pattern, ka spin, power step, jumping across, etc. Moving between drums: basic turn, halftime turn, double spin Teach a short song that incorporates lots of these movements.

Modori

by David Wells

Composed in 2005, Modori is a simple, open-source taiko piece that's easy to learn, fun to play, and features a jaunty, light-hearted fue melody. Playable with as few as two players, yet easily arranged to include more than just the basic parts, Modori is an exceptionally useful addition to the repertoire

Bachi Flair

by Audrey Tu and Anthony On (Senryu)

Participants will learn tips and techniques for bachi twirling and flipping and how to apply them to taiko playing. The workshop includes a drill to practice the flips and twirls covered in the session.

Ki/Stage Energy

by Naruwan Taiko

TBA

Boosting Boldness and Culminating Creativity

by Doug Sakamoto (Jodaiko)

Does your ensemble ever over rehearse songs to the point where it feels too much like routine? Does your solo need some more spice with movement and syncopation? In this workshop, Boosting Boldness and Culmination Creativity, participants will have to put on their thinking caps to push their taiko limits and think outside of the box. Taking chances and risks in both team and individual activities will help us grow and truly understand what we are capable of. Bravely step up to the challenge and we'll explore the taiko unknown!

Pattern Lab

by Sascha Molina

In this workshop, we will explore ways of building our "rhythm bank" for use in soloing and drilling.

Yodan Uchi

by Yuta Kato

Composed by Yoshihisa Ishikura , Yutaka Ishizuka, Seido Kobayashi, and Motoei Onozato

Composed by one of the first kumidaiko groups in Japan (Sukeroku Taiko of Tokyo, formed in 1959), "Yodan Uchi" means hitting on 4 levels. As apparent in the piece, the players will hit on all 4 drum heads using one of the most popular taiko styles in existence today. After training for 3 years in Japan, Yuta Kato was granted permission to teach Yodan Uchi by one of the founders of Sukeroku Taiko: Motoei Onozato. This workshop will cover basics and drills essential in playing Yodan Uchi well, along with patterns to use as starting points for your own arrangement.

Healthy and Creative Kakegoe/Ki Ai

by Al Dupont and Gloria Kum (Senryu and Bakuhatsu)

Cultural terminology, differences, fundamentals and importance of breath training, exercises, and the art of not losing your voice. Understanding the next level of being vocal to complement your music.

Move!

by Kris Bergstrom

TBA

Taiko Set

by Kenny Endo

The practice and performance techniques of playing multiple taiko with be covered in this workshop, among them: stance, grip, basic grooves, independence, soloing, traditional Japanese rhythms, and accompanying. 16th note back beat, Brazilian, Cuban, and patterns from Kotobuki Jishi (Tokyo Lion Dance drumming) will be covered.

Shime Sticking and Timing

by David McKnight (Senryu)

A workshop for beginner to intermediate level taiko players. We will learn and run a drill that focuses on irregular sticking (Double rights/lefts etc.) as well as going over the importance of accents and volume/size of hits. The drill will be open source and may be shared among taiko groups!

Quitiplas in the Pocket

by Yee Man Mui

A piece for solo improvisation on the slant style (naname) drums. The poly-meter base beat is adapted from the Venezuelan Quitiplas music with a stylized solo cue created by Yeeman Mui. The piece focuses on creating different tonalities of the drum. The Venezuelan-inspired polymeter backbeat is challenging but also has a distinctive groove that can open up various platforms for improvisation.

Yokomen-uchi / Lateral Striking:

by Tiffany Tamaribuchi

Popularized by Ondekoza & Kodo through pieces like Utsu-Hachijo and Miyake, this powerful style of drumming is one of the most visually dynamic styles adapted from traditional festival music. It combines physicality, fluidity, improvisation, and dramatic expression deeply expressive ways, and it is specifically one of the styles that drew me into taiko and into work as a professional taiko player in Japan. In my experience, it has also been one of the most dangerous styles to practice, as poor positioning and technique easily leads to muscle pulls and significant knee, shoulder, wrist, and back injuries.In this workshop, we will cover the background of the style and ways it has been adapted for the stage, various aspects of stance and positioning, basic striking techniques, rhythm patterns, furikata and bachi-sabaki (swinging and simple twirls), improvisation/soloing, staging considerations, and injury prevention.

Teaching Techniques

by Jason Junio and Alex Oakland (Senryu)

Our workshop will teach the different collegiate groups several activities that help with the development of fundamental Taiko/performance skills. Specifically, the activities in our workshop focus on solo improvisation, timing/rhythm, and helping students to feel more comfortable performing on stage (This includes being more expressive, kiyai, and in general being put into the spotlight). The focus of the workshop isn't necessarily to improve the participants skills on the spot, but rather to give them tools to improve themselves with once they go back to their respective groups.