Gogue Center Performance Study Guide: Kodo: “Warabe”

PERFORMANCE STUDY GUIDE GRADES 6—12

Kodo: Warabe

The Jay and Susie Gogue Performing Arts Center at Auburn University engages audiences across the university, the state of Alabama and beyond with curated arts experiences that inspire, enlighten and unite.

Our annual K–12 School Performance Series provides opportunities for students to enjoy exclusive performances by some of the most talented and accomplished artists from around the world. Prior to each K–12 school performance, teachers receive a study guide containing details about the performance, artist and company, supplemental information about the art form and its history, and grade-appropriate activities designed to spark conversation and exploration in the classroom.

To learn more about education and engagement initiatives at the Gogue Center, visit goguecenter.auburn.edu/education. produced by Jay and Susie Gogue Performing Arts Center at Auburn University 910 South College Street Auburn, Alabama 36849 k–12 school performance series contact Andrea Jarmon, D.M.A. Education Coordinator telephone: 334.844.7371 email: gpac.education@auburn.edu

© 2024 Auburn University

Kodo: Warabe PERFORMANCE STUDY GUIDE GRADES 6—12

photo: Takashi Okamoto

Kodo group members

Table of contents Where will we go?

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Going to the Gogue Center ¦ 7

Comparing Japanese and Native American Drums

Acoustics: The Science Of Sound ¦ 9

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Kodo ¦ 10 History of Kodo ¦ 10

What to do after the show

What to know before the show

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The Meaning of Kodo ¦ 16

Supplemental books

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Online resources

The Origin Myth ¦ 16

Credits ¦ 42

The Costumes of Taiko ¦ 18 Japan ¦ 25 ACTIVITIES .............................................................................................................................

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worksheet: Taiko Rhythm Practice ......................................................................................................................................................................................................

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worksheet: Myth Planning Graphic Organizer

Designing A Visitor’s Guide To Japan

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worksheet: Mon Template handout: Examples Of Japanese Mon

Exploring Japanese Haiku Through Music

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38 39

Credits

The Instruments of Taiko ¦ 17

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Alabama Course of Study standards index

The History of Taiko ¦ 16

Creating A Mon

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The Performers ¦ 12

Crafting Myths

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ACTIVITIES

What Does the Audience Do? ¦ 7

Examining Taiko Drumming

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Drums of Native Americans ¦ 34

Who Will You See Here? ¦ 7

Who to know at the show

Why we go to the show

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The Jay and Susie Gogue Performing Arts Center at Auburn University

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Where will we go?

What Does the Audience Do? Alabama Course of Study  GMu3-5.15  GMu6-8.14

GOING TO THE GOGUE CENTER The Jay and Susie Gogue Performing Arts Center, otherwise known as the Gogue Center, is located on the campus of Auburn University in Auburn, Alabama.

The Gogue Center houses the 1,200-seat Woltosz Theatre. The theatre was built with exceptional acoustics so that it is possible to hear well from every seat.

National Standards  MU:Pr6.1.3-8b

The audience is an important part of the performance. Without the audience, who would watch the performers? Who would clap and sing along and appreciate what the artists bring to the stage? When you are a member of an audience at the theatre, there are a few things to know about what to do and what not to do.

WHO WILL YOU SEE HERE? Ushers These are the people who will greet your bus, lead your class into the building and help you find your seat. Be sure to say “hello!”

Sit in your seat and look around, but please keep your feet toward the ground.

Stage Crew These are the people who work backstage, so you won’t see them in the lobby, but you might see them before or after the performance, and sometimes, they even come on stage during the performance to move things.

Listen and watch, but do not talk.

Lighting & Sound Operators These are the people who control the lighting and the sound for the performance. You may see them in the middle of the auditorium at the big sound board or in the back of the auditorium in the booth.

Sometimes, the spotlight operators are in the back way above your head.

Performers These are the people on the stage who may be dancers, musicians, singers, actors or acrobats.

It is their job to communicate using their bodies, instruments and voices.

Audience Members This includes you, your classmates, and other students and teachers from around the state of Alabama and maybe even Georgia.

Have a camera or phone? Please turn it off.

The performers will take to the stage, and we know they will engage. You can laugh, you can sing, you can get up and dance, but just make sure that you give them all a chance!

VO! B RA

NK THA U! YO

When the song is done, or the show comes to an end, make sure that you give the performers a hand! Applause is the way that we can say thank you for all that they did today!

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Walter Stanley and Virginia Katharyne Evans Woltosz Theatre

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Acoustics: The Science of Sound Alabama Course of Study Standards  SC1.1 National Standards  NS.K-4.1  NS.5-8.2

Acoustics is the study of sound and how that sound reacts in spaces, particularly rooms and buildings. What is sound? Sound is vibration. That vibration travels through the air and into our ears where we hear it.

Vibration begins through movement—for example, strumming a guitar string. That vibration creates a sound wave. In a theater or concert hall, acoustics are important so that everyone can hear the performers.

There are two ways that acoustics are controlled. The first, reverberation, is controlling how sound waves bounce off surfaces, like walls and floors. Hard surfaces cause more reverberation and make spaces louder. The second way, absorption, is the opposite of reverberation. Soft surfaces absorb sound waves and make rooms quieter.

Let’s see if we can figure out which of these materials cause reverberation and which cause absorption of sound: • • • • • •

Tile Carpet Marble Curtains Cushions Wood

The controlling of reverberation and absorption of sound waves is how acoustics are controlled in the Woltosz Theatre.

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Who to know at the show KODO

HISTORY OF KODO

Exploring the limitless possibilities of the traditional Japanese drum, the taiko, Kodo continues to forge new directions for a vibrant, living art form. Since the group’s debut at the Berlin Festival in 1981, Kodo has given more than 7,000 performances across five continents, spending about a third of the year overseas, a third touring in Japan and a third rehearsing and preparing new material on Sado Island.

1970s In 1971, a handful of young men and women gathered on Sado Island to establish Sado no Kuni Ondekoza, a group that provided Japanese youth a way to learn traditional Japanese performing arts and crafts. To support the group financially, the original Ondekoza members began to study and perform taiko, eventually taking the sound of the drum on globe-spanning tours. Members lived communally in an abandoned elementary school and spent much of their time practicing the taiko and training to run marathons. After debuting internationally in 1975, Ondekoza emerged as a professional performance group that became highly acclaimed among European and North American audiences.

Kodo strives to both preserve and re-interpret traditional Japanese performing arts. Beyond this, members on tours and research trips all over the globe have returned to Sado Island with a kaleidoscope of world music and experiences that now exerts a strong influence on the group’s performances and compositions. Collaborations with other artists and composers cover the breadth of the musical spectrum, and Kodo’s lack of preconceptions about its music continues to produce startling new fusion and forms.

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1980s As time went by, many of the members began to feel that the philosophy and goals of Ondekoza leader Tagayasu Den no longer reflected those of the group. Den eventually left Sado Island, taking the name Ondekoza with him. The members who remained on Sado Island reorganized and founded Kodo in 1981. Although performances became the primary focus of Kodo’s activities, the initial dream to establish a center for studying traditional Japanese performing arts and crafts has never been forgotten. The first leader of Kodo, Toshio Kawauchi, envisioned Kodo Village as a creative space where members could explore new possibilities and interact with artists from around the world. In 1984, the One Earth Tour became the ongoing banner for Kodo’s mission to bring the sound of the taiko to the ears of the world, and in 1988, the dream of Kodo Village became a reality.

1990s As the number of concerts increased, both domestic and international performances received the highest acclaim. More members with a musical background joined the group, and events such as Earth Celebration enabled more exchanges with other cultures and musical genres. As taiko culture spread internationally, Kodo emerged as an authority in the field and solidified its identity as a musical performance group. In 1997, the Kodo Cultural Foundation was established to facilitate more educational and outreach programs.

Tamasaburo Bando, Artistic Director Tamasaburo Bando is a leading kabuki actor and the most popular and celebrated onnagata (actor specializing in female roles) currently on stage.

He has demonstrated his profound aesthetic across numerous platforms, receiving the highest acclaim for his many artistic endeavors. Bando’s artistic direction of productions such as Romeo and Juliet and Kaijin Besso garnered numerous accolades, while he shined as a movie director in films such as Gekashitsu, Yume no Onna and Tenshu Monogatari, which caused a splash in the arts world. In April Kodo in the New 2012, Bando assumed Millennium the position of Kodo’s Looking for new artistic director. In Topographic map of Sado Island ways to share the September 2012, he profound subtleties was recognized as an Important Intangible Cultural of taiko, Kodo began to explore richer levels of Property Holder, or a “Living National Treasure.” In stage expression. The Kodo Cultural Foundation, 2013, he was decorated with the highest honor of which supports local and international activities France’s Order of Arts and Letters, Commander. through social education and outreach projects, was designed to give back to local communities. In 2011, Kodo celebrated its milestone 30th anniversary with a special commemorative tour throughout Japan, North America and Europe. In 2012, Kodo invited kabuki luminary Tamasaburo Bando to become its artistic director.

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THE PEFORMERS Eiichi Saito joined Kodo in 1982. Since then, he has been a featured performer on domestic and international tours, as well as in recordings and collaborations with artists of various genres. For four decades, he has captivated and saito invigorated audiences worldwide with his energetic performances. In addition to his stage activities, Saito shares his passion for creative exchange by leading workshops that convey the power of taiko through self-discovery. Along with the ever-popular annual live-in taiko workshop Kodo Juku on Sado Island, he also leads workshops on demand throughout Japan and around the world. In 2020, Saito’s alter-ego—That Banana Guy—launched a series of how-to videos to share his original Wave Method for Taiko Drumming online.

Kenta Nakagome entered the Kodo Apprentice Centre in 2004 and became a Kodo member in 2007. On stage, he predominantly plays taiko, showing his unique prowess through drum solos in pieces such as O-daiko and Yatainakagome bayashi. He is an orthodox taiko player whose powerful, energetic performances make him a favorite with audiences worldwide.

Along with performing, Nakagome also composes and directs performances. He is always eager to take part in cross-genre collaborations, recently working with illustrator Seitaro Kuroda, drummer Tatsuya Nakamura, composer Sunao Isaji and actress Meiko Kaji. Nakagome also performs with fellow Kodo member Yuta Sumiyoshi as Kentataku Yutataku, a quicksilver improv unit that has given livestream performances and released three albums to date. In recent years, Nakagome has also taken on teaching

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roles, offering instruction to Kodo’s next generation and apprentices along with students attending Kodo Taiko School online from across Japan and around the world.

Jun Jidai played taiko in high school before moving to Sado Island to join Kodo. He entered the Kodo Apprentice Centre in 2011 and became a Kodo member in 2014. On stage, he is featured mainly on taiko drums, metal percussion instruments jindai and in dance pieces. Jidai is a multi-talented performer whose adaptability, physical suppleness and sensitivity add range and depth to his artistic expression. He is often featured in Kodo’s comical numbers, which let his sunny personality shine through.

In 2018 and 2022, Jidai served as the director of the School Workshop Performance tour. He also directed the 2022 Kodo Sado Island Performance in Shukunegi. Jidai also leads taiko workshops on Kodo’s tours, offering instruction to people of all ages in Japan, the United States, Europe and China. Since 2021, he has expanded his teaching to include Kodo’s apprentices along with students attending Kodo Taiko School online from across Japan and around the world. Jidai is currently managing Kodo’s official Instagram account, using his passion for photography to connect with fans through social media.

miura

Koki Miura’s taiko journey started when he joined his high school’s taiko club. He entered the Kodo Apprentice Centre in 2011 and became a Kodo member in 2014.

On stage, he is featured mainly on taiko drums, metal percussion instruments, vocals and in dance pieces. He is a multi-talented

performer with a captivating stage presence. Since 2020, Miura has appeared as the o-daiko (big drum) soloist on Kodo’s international tours.

His flair for dance and enthusiasm for learning and sharing regional folk arts has led him to develop new dance-centered pieces for the Kodo stage.

For Kodo’s 40th Anniversary touring productions, Miura incorporated Sado Island folk arts into two dynamic new numbers: Hitohi in Tsuzumi (2020), and Okoshi in Warabe (2021). In recent years, he has also been working hard to help teach and mentor the ensemble’s newcomers and apprentices.

Reo Kitabayashi began playing taiko in elementary school. He entered the Kodo Apprentice Centre in 2013 and became a Kodo member in 2016. On stage, Kitabayashi is mainly featured on taiko drums. Kitabayashi is a determined, genuine kitabayashi performer who is known for his beaming smile. For Kodo’s 40th Anniversary, the ensemble created two works based on its name: Tsuzumi (2020) took its name and theme from the drum character, and Warabe (2021) from the child element. In Tsuzumi, Kitabayashi appeared center stage as a soloist in Dyu-Ha and Zoku—both coveted positions that were double-cast with Mizuki Yoneyama. In Warabe, he performed a solo piece on katsugi okedo daiko, a barrel taiko drum carried on a shoulder strap. Kitabayashi plays a wide range of taiko sizes and styles with dexterity and grace, from the base rhythm played on the back of the mighty o-daiko to support the soloist to portable drums and taiko kits.

Masayasu Maeda entered the Kodo Apprentice Centre in 2014 and became a Kodo member in 2017. On stage, he is mainly featured on taiko drums. Recently, Maeda has been actively expanding his expressive range through new maeda challenges such as dance roles, composing and serving as an instructor for amateur and student taiko groups.

Since his directorial debut in 2020, Maeda has shown unique flair for creating new concert programs, including Kodo’s School Workshop Performance tour and mainstage concerts at international music festival Earth Celebration in 2022 and 2023. In August 2021, Maeda appeared playing taiko as a solo artist in the Tokyo 2020 Paralympics Opening Ceremony. He is a dexterous performer who enjoys exploring a wide range of genres with curiosity and ingenuity, from traditional festival and theatrical pieces to avant-garde music.

Kodai Yoshida joined his local taiko group at the age of 6, playing with them from his first year of elementary school until he graduated from high school. He entered the Kodo Apprentice Centre in 2014 and became a Kodo member in 2017. yoshida On stage, Yoshida is mainly featured on taiko drums and shamisen (banjo-like instrument). He specializes in powerhouse pieces such as O-daiko, which suit his “less talk, more work” nature. Yoshida has also shown a flair for teaching and connecting with youngsters, proving a popular taiko experience leader—affectionately called “Yoshii”—during Kodo’s School Workshop Performance tours. He has recently expanded his creative repertoire by composing.

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Seita Saegusa entered the Kodo Apprentice Centre in 2015 and became a Kodo member in 2018.

On stage, Saegusa is mainly featured on taiko drums. Since his debut year, he has been cast in the ensemble’s signature powerhouse pieces, such as saegusa O-daiko and Yatai-bayashi, and has steadily gained experience in the most physically demanding roles. Saegusa is also adept at singing and composing. His compositions have been featured in a wide range of productions, from School Workshop Performances to Kodo’s main stage performances, including the auspicious Kodo 40th Anniversary Concert Series at Tokyo’s Bunkamura Orchard Hall in 2021.

When Kodo and Sado Island’s annual music festival Earth Celebration was forced to go virtual in 2020 due to COVID-19, Saegusa directed and appeared in SADO x KODO—Good Weather, Good Vibrations at Onogame, which was filmed at one of Sado Island’s leading tourist attractions—a majestic monolith by the sea. This spirited online performance shared Kodo’s music and Sado Island’s stunning nature with a global audience.

Chie Yamawaki entered the Kodo Apprentice Centre in 2015 and became a Kodo member in 2018. On stage, Yamawaki is mainly featured on taiko drums, bamboo flutes and vocals. Her passion for singing has seen her emerge as a solo vocalist, yamawaki captivating audiences in Kodo’s 40th Anniversary touring productions in 2020 and 2021 with her emotive renditions of “Kono Mine no” in Tsuzumi and “Inochi” in Warabe.

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In 2021, Yamawaki performed a lively lion dance as part of a duo with Moe Niiyama in Warabe, uncovering new facets of her expanding expressive range. She often has an air of cool sophistication in photos, so people are sometimes surprised by her warmth and humor when they meet her in person.

Yamawaki’s passion for her craft radiates from the inside out.

Taiyo Onoda started playing taiko in the United States when he was 8 years old. He entered the Kodo Apprentice Centre in 2016 and became a Kodo member in 2019. On stage, Onoda is mainly featured on taiko drums. Earnest by onoda nature, he tackles every role with determination, steadily gaining trust as he rises to each new challenge. Before moving to Japan to join Kodo, Onoda majored in food science and technology and Japanese at the University of California, Davis. Performing with Kodo is physically demanding, so his cooking skills and knowledge about nutrition are great assets, helping him look after himself and his colleagues. Onoda dreams of giving back to the North American taiko community through his work with Kodo, hoping his activities will invigorate and inspire the people who raised him.

In recent years, he has been working on video content creation centered on his performance activities, editing and subtitling performance and educational videos. He has also taken on teaching and interpreting roles at Kodo Taiko School, facilitating bilingual group lessons online that bring the international taiko community together to learn the spirit, physique and technique that Kodo has cultivated to date.

Shun Takuma started playing taiko in a local group when he was 6 years old. He entered the Kodo Apprentice Centre in 2016 and became a Kodo member in 2019. On stage, Takuma is mainly featured on taiko drums. As a junior member, he impressed takuma audiences with his physicality when he tackled the coveted “Miyake” solo position in the 2018 Michi performances. Takuma continues to hone his performance of this signature piece, using his entire body to beat out the robust rhythms.

His goal is to play taiko that is powerful enough to change someone’s life, just by listening to it.

Moe Niiyama began playing taiko at the age of 3—it was part of her kindergarten curriculum. She entered the Kodo Apprentice Centre in 2017 and became a Kodo member in 2020. On stage, Niiyama is mainly featured on niiyama taiko drums, vocals, tategoto (vertical harp) and bamboo flutes. Her goal is to bring power, substance and flair to the stage as a female performer. In Kodo One Earth Tour: Warabe, Niiyama performs a lively lion dance as part of a duo with Chie Yamawaki, showing new facets of her expanding expressive range. Despite being relatively new to the ensemble, she was selected to feature front and center in the main visual for Kodo Performance in Asakusa 2022, “Shoso.” All eyes are on Niiyama as a promising, captivating member of Kodo’s next generation.

Jumpei Nonaka started taking Miyake-style taiko classes when he was 6 years old. He entered the Kodo Apprentice Centre in 2018 and became a Kodo member in 2021. On stage, Nonaka is mainly featured on taiko and bamboo flutes. He is nonaka also honing his skills as a kokyu (Japanese violin) and Nohkan (Noh flute) player. His goal is to become a performer who is meticulous about the sound of each beat he plays. He is striving to depict deep emotions when he plays stringed instruments, too. In 2022, Nonaka appeared in one of the coveted front row positions of the Kodo One Earth Tour: Tsuzumi climactic finale, “Yatai-bayashi.”

Kazuma Hirosaki entered the Kodo Apprentice Centre in 2020 and became a Kodo member in 2023. As a newcomer, he appeared in the Tamasaburo Bando and Kodo Yugen New Year performances in January 2023. About his hirosaki future aspirations, Hirosaki says, “I want to return the favor to everyone who supports me by striving to play music that moves people.”

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What to know before the show THE MEANING OF KODO The Japanese characters for Kodo convey two meanings.

The first means “heartbeat,” the primal source of all rhythm. The sound of the great taiko is said to resemble a mother’s heartbeat as felt in the womb, and babies are often lulled to sleep by similar sounds. The second, read in a different way, can mean “children of the drum,” a reflection of Kodo’s desire to play their drums simply, with the heart of a child. This youthful willingness also lies behind Kodo’s success in experimenting with new musical forms and creating some startling new fusions for taiko.

THE HISTORY OF TAIKO The Japanese word taiko simply means “drum.” It is believed that the taiko was introduced to the Japanese in the fourth century and came from China and Korea.

The taiko is tied to two important parts of Japan’s history: religion and war. The three main religions of Japan traditionally were Buddhism, Shinto and Confucianism.

Buddhists believed the taiko to be the voice of Buddha spreading wisdom, truth and beauty wherever it was played. Followers of Shinto believed the taiko had its own spirit (kami) and that playing the taiko gave one the ability to communicate with nature, animals and the elements.

In war, the taiko was used to inspire troops, frighten enemies and communicate. The taiko was also used to communicate in daily life and could be used to signal a coming storm or determine the borders of the village. The village was as large as the sound of the taiko could travel.

THE ORIGIN MYTH While Buddhism is the predominant faith of most Japanese today, many in ancient Japan believed in Shinto, a sort of Japanese mythology. Shinto literally translates to “the way of the gods.” It revolves around a belief in and worship of kami, supernatural spirits or deities that inhabit all things. One such kami is Amaterasu, the sun goddess, often considered the chief deity of Shinto. Amaterasu had two brothers, Tsukuyomi and Susanoo. Tsukuyomi is god of the moon and Susanoo is god of storms and sea. There Edgar Degas (1834–1917) are as to Fernando, how the three Missvarious La La atmyths the Cirque 1879 came to be, but it is said most commonly that Amaterasu was born when her Oil on canvas father, Izanami, National Gallery,washed London,his UKleft eye, Tsukuyomi when he

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washed his right eye, and Susanoo when he washed his nose after a trip to the underworld.

Myths about these siblings were used to explain the difference between night and day, the birth of agriculture and even the creation of the taiko. As the story goes: Once, at a time more distant than human memory, the storm god Susanoo left his home on the seas and began to ravage the land. His wild rages so upset his sister Ameterasu (the sun goddess) that she fled to a cave and, rolling a boulder over its entrance, vowed never to show herself again.

The world fell into darkness and devils sprang from their hiding places to roam freely across the earth in its endless night. Knowing that all life was doomed without Ameterasu, the gods of heaven and earth gathered at the cave’s mouth.

They reasoned. They begged. They threatened. At last, they tried to force the rock from the cave’s entrance, but Ameterasu would not budge from her refuge. All creation seemed doomed.

Until Ame-no-Uzume, a small goddess with a face creased by age and laughter, made her way into the midst of the other gods and declared that she would coax Ameterasu from the cave.

The mightier gods looked at the old woman and sneered. Ame-no-Uzume smiled back at them, poured out a huge sake barrel, jumped on its head and began a wild dance.

The loud, hard, frenetic pounding of her feet made a sound unlike any ever heard before. The rhythm was so lively, so infectious that soon the other gods, caught in Ame-no-Uzume’s revelry, began to dance and sing as well. Music filled the earth, and the celebration became so raucous that Ameterasu peeked out from her cave and, seeing the joyful faces, brought her light to the earth again. Thus, Ameterasu light returned to earth, Susanoo was banished, and taiko music was born.

— Wai Taiko

nagadou-daiko

THE INSTRUMENTS OF TAIKO Taiko drums are beautifully crafted, hand-made instruments. The Asano family, one of the oldest and most respected drum makers in Japan, has been building taiko for nearly 400 years. Like many other artistic and cultural traditions, the art of building taiko is carefully passed down from generation to generation.

While there are many types and variations of taiko, these instruments are most frequently seen at taiko performances.

o-daiko

Nagadou-daiko The nagado-daiko,1 or long-bodied taiko, is the most popular drum used in the modern kumi-daiko style of playing. It is common at festivals and in temples and shrines (where it is called miya-daiko). Its sound is deep and reverberant.

This drum can be placed on various stands for different styles of playing.

O-daiko The largest drum is the o-daiko. It means “big fat drum.” The o-daiko can reach huge proportions. It is made of a hollowed tree trunk, over which a cow hide is stretched and tacked. The larger the drum body, the deeper the sound.

O-daiko are typically placed on a stand and played horizontally—often by two people at the same time. Usually, one player beats out a basic rhythm while the other solos. Mammoth o-daiko can take the builder years to complete.

o-kedo

O-kedo Believed to be the oldest taiko-style drum, the body of the o-kedo is made from staves or planks rather than a solid piece of wood. It is easier to carry because the skin is roped onto the drum rather than tacked. These drums are about six feet long and three feet in diameter. They are usually raised up on a high stand and played horizontally.

Short bodied o-kedo, which are light enough to be carried and played while dancing, are increasingly popular. These may be struck with slats of bamboo to produce a sharp, slapping sound.

shime-daiko

Shime-daiko The shime-daiko is similar to the o-kedo in the fact that the skins are attached with rope rather than tacked. Shime-daiko, however, are much smaller with a high, sharp sound. In taiko groups, the shime-daiko is often used to keep the basic rhythm and establish time. It can also be used as a versatile solo instrument as well. It has a one-piece body carved out of hardwood, and the shell is often beautifully lacquered and decorated.

1 When a modifier is put before the word “taiko,” a euphonic change takes place from “taiko” to “daiko.”

For example, o-daiko means “large drum.” It simply sounds more agreeable in spoken or written Japanese.

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uchiwa

THE COSTUMES OF TAIKO

bachi

fue

shamisen

Uchiwa This hand-held drum is shaped like a paddle or fan. In fact, uchiwa means “fan.” Often seen in parades and festivals, temple monks originally used them to keep time while they chanted.

During the performance, Kodo will wear traditional taiko costumes. While each garment serves a practical purpose, some also carry significant cultural meanings.

Bachi Bachi are sticks used to play the drums. Large drums are played with large bachi, and small drums are played with small bachi. These sticks are often made from dense wood such as oak.

Kodo’s happi are natural indigo-dyed cotton as worn traditionally by Japanese workmen. Workmen’s clothing was adapted by Kodo because it was traditionally the workers who played the drums at festivals in their everyday work clothes.

Fue Fue are native Japanese flutes. There are many varieties but are usually made from bamboo and have a higher range.

Shamisen The shamisen is a Japanese string instrument. This banjolike instrument has threestrings that are usually played by plucking.

Happi or Hanten The happi is a colorful jacket that is usually worn with an obi (belt). There is often a symbol called a mon on the back. The mon is a family crest possessed by every Japanese family. In taiko ensembles, the mon contains the name and logo of the group.

Tabi Tabi are cotton socks with a separate space for the big toe. Tabi are worn in martial arts and traditional dances.

The tabi worn by taiko players have rubber soles on the bottom so that players don’t slip when they play.

Momohiki Momohiki are pants that resemble tights and tie around the waist.

Obi The obi is a belt or sash that holds a happi. It is made of thick, stiff fabric three-to-four inches wide and about three-to-five feet long. It is tightly wrapped twice around the body and tied in a decorative bow.

Hachimaki The hachimaki is a headband made from a strip of cloth that is usually brightly colored. It is said that the hachimaki originated from the warriors’ practice of securing their helmets to their heads with cloth strips.

The hachimaki is tied around the forehead before engaging in strenuous activity.

Fundoshi* The fundoshi is a cloth wrapped around the legs and waist that is worn when playing the o-daiko or o-kedo.

The fundoshi helps a drummer concentrate their energy in the abdominal core.

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*A NOTE FOR TEACHERS ON FUNDOSHI

When audience members, especially young audience members, see Kodo for the first time, they are sometimes surprised to see that certain pieces (not all) within the performance require the artists to wear traditional Japanese fundoshi, a cloth that is wrapped around a man’s legs and waist and worn when playing the o-daiko or o-kedo drums. This leaves the man’s upper body and legs exposed, similar to wearing a bathing suit.

If you are bringing young people to this performance, you may wish to discuss fundoshi with them prior to the performance. Share with them that performers in Kodo, like other professions, wear special uniforms. Swimmers, for example, wear swimsuits; ballerinas wear tutus; cooks wear aprons; and o-daiko and o-kedo drummers wear fundoshi.

You may also wish to share why it is important for them to change costumes from happi coats and momohiki pants to the fundoshi when working with larger drums. These large drums often require drumsticks that approach the size of baseball bats, and players strike them against the drum quite rapidly. If they were wearing coats with sleeves, the drumsticks could get caught in their clothing, which would be dangerous.

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EXAMINING TAIKO DRUMMING Alabama Course of Study Standards  AE17:MU.6.1  AE17.MU.6.3  AE17.MU.6.10  AE17.MU.6.17  AE17:MU.7.3  AE17.MU.7.10  AE17.MU.8.3  AE17.MU.8.10  AE17.MU.TEE.N.1  AE17.MU.TEE.N.5  SS10.8.3  SS10.8.12  SS10.WH.4 National Standards  MU:Cr1.1.6  MU:Cr1.1.7  MU:Cr1.1.8  MU:Cr2.1.6b  MU:Cr2.1.7b  MU:Cr2.1.8b  NSS-WH.5-12.3  NSS-G.K-12.2

OBJECTIVE

c.

ka – This is a sharp rap on the rim producing a wood sound. Multiple hits are written as “kara” or “kaka.”

d.

su – This is a rest or space; in other words, an “empty hit.”

By completing this activity, students will: •

Learn about the cultural significance of taiko drumming

•

Practice rhythm patterns inspired by taiko drumming

4. Practice these patterns using the “Taiko Rhythm Practice” worksheet on page 21.

MATERIALS For this activity, you will need the following items: •

Videos or audio clips of Taiko drumming performances

•

“Taiko Rhythm Practice” worksheet on page 21

5. Group students and challenge them to create their own

taiko-inspired rhythm sequences. Encourage creativity and collaboration.

PROCEDURE To complete this activity, follow these steps:

1.

Begin with a discussion on the history and cultural significance of taiko drumming in Japan.

Highlight its role in festivals, religious ceremonies and modern performances.

2. Show a video clip of a taiko

drumming performance.

Encourage students to observe the energy, coordination and teamwork involved.

X Kodo – “O-Daiko”

3. Taiko uses an oral tradition to teach and preserve songs,

rather than written music found in the Western tradition.

Each stroke or hit of the drum has a specific sound or syllable to represent it. To learn to play taiko, students must first learn these sounds:

20

a.

DON – This is a hard hit on a drumhead. Multiple hits are written as “dogo,” “doro” or “doko.”

b.

tsu – This is a soft hit on a drumhead. Multiple hits are written as “tsuku.”

6. Organize a drumming circle where students can showcase their rhythm patterns.

7.

Encourage students to listen and respond to each other’s rhythms.

8. Conclude with a reflective discussion. Ask students

to share their insights about taiko drumming and their experience playing the taiko patterns.

Name

Date

Taiko Rhythm Practice* ichi (one)

ni (two)

san (three)

shi (four)

1.

DON

DON

DON

DON

2.

DON – DON

DON – DON

DORO – doro

DON – DON

3.

DON

tsu

DON

tsu

4.

DON – tsuku

DON – tsuku

DON – tsuku

DON – DON

5

DON – kara

DON – kara

DON – kara

DON – DON

6.

DORO –tsuku

DORO –tsuku

DORO –tsuku

DON – DON

7.

DON

ka

DON

ka

8.

kara – tsuku

kara – tsuku

kara – tsuku

DON – DON

9.

DON – su

DON – su

DON – su

DON – su

10.

DON – DON

su – DON

su – DON

DON

*Generally, alternate hands right-left; however, Don – kara and DON – tsuku are played right-right-left.

21

CRAFTING MYTHS Alabama Course of Study Standards  ELA21.6.R4  ELA21.6.4  ELA21.6.7  ELA21.7.R4  ELA21.7.3  ELA21.7.4  ELA21.7.7  ELA21.8.R4  ELA21.8.3  ELA21.8.4  ELA21.8.8  ELA21.9.R5  ELA21.9.1  ELA21.9.4  ELA21.9.9  ELA21.10.R5  ELA21.10.4  ELA21.11.R5  ELA21.11.4  ELA21.12.R5  ELA21.12.4  WL17.LAT.L1.6  SS10.8.3  SS10.8.4  SS10.HG.3  SS10.WH.4 National Standards  NSS-G.K-12.2  NSS-WH.5-12.3  NL-ENG.K-12.1  NL-ENG.K-12.2  NL-ENG.K-12.4  NL-ENG.K-12.5  NL-ENG.K-12.6  NL-ENG.K-12.9

OBJECTIVE

5. Have each group present their analysis to the class, focusing on the key elements they identified.

By completing this activity, students will: •

Analyze the key elements and purposes of myths from various cultures

6. Explain that students will create their own myths,

•

Create and write an original myth incorporating these elements

7.

•

Develop creative writing skills and enhance their understanding of storytelling

incorporating elements of myths that they have learned.

8. Encourage students to brainstorm ideas individually or in pairs. Remind them to consider cultural influences, moral lessons or natural phenomena they want to explain.

MATERIALS For this activity, you will need the following items: •

Examples of myths from different cultures (e.g., Greek, Norse, Egyptian, Native American, etc.)

•

Writing materials (e.g., paper, pens, or digital devices)

•

“Myth Planning Graphic Organizer” worksheet on page 23

•

Visual aids or art supplies for illustrating myths (optional)

PROCEDURE

9. Allow students time to write their myths, focusing on creativity and coherence.

10. Have students share their myths with the class or in small groups.

11. Encourage feedback and discussion on the creativity and effectiveness of each myth.

12. Conclude with a reflection on the process of creating a myth and what students learned about storytelling and cultural perspectives.

To complete this activity, follow these steps:

1.

Begin with a discussion on what myths are and their various purposes in ancient cultures (e.g., explaining natural phenomena, teaching moral lessons, entertaining, etc.).

2. Share examples of well-known myths from various

cultures. Highlight common elements such as gods and goddesses, heroes and heroines, supernatural events and moral lessons.

3. Divide students into small groups and assign each group a different myth to analyze.

4. Provide guiding questions for analysis:

22

a.

What is the main story or event in the myth?

b.

Who are the main characters, and what are their roles?

c.

What natural phenomenon or moral lesson does the myth explain?

d.

What cultural values or beliefs are reflected in the myth?

Provide students with copies of the “Myth Planning Graphic Organizer” workseet on page 23 to help them plan their myths.

EXTENSION ACTIVITY •

Invite students to illustrate their myths or create a storyboard to visually represent their stories.

•

Explore connections between ancient myths and modern storytelling found in books, movies or video games.

Name

Date

Myth Planning Graphic Organizer Question to be explained:

Setting:

Characters:

Plot:

23

24

JAPAN Geography

Japan is an island nation located off the Asian continent in the Northwestern Pacific Ocean. It is actually a string of islands known as an archipelago. The 14,125 islands of the Japanese archipelago are part of the Ring of Fire, which is a string of volcanoes and seismically active areas around the edges of the Pacific Ocean. Only 260 of the islands of Japan are inhabited. The landscape of Japan is mountainous and there are around 200 volcanoes, 111 of which are active. The most well-known volcano in Japan is Mount Fuji. Being part of the Ring of Fire means Japan experiences high seismic activity as well. While most of the earthquakes in Japan are minor, destructive earthquakes do occur and can trigger tsunamis.

mt. fuji

The five main islands of Japan are Hokkaido, Honshu, Kyushu, Shikoku and Okinawa. The capital city is Tokyo, located in the Kanto region of the island of Honshu, which is the largest island of Japan. Tokyo is one of the most populous cities in the world, with more than 14 million residents. Some other large Japanese cities include Yokohama, also in the Kanto region; Osaka in the Kansai region; Nagoya in the Chubu region; Sapporo, the largest city on Hokkaido; Fukuoka, the largest city on Kyushu; Kobe in the Kansai region; and Kyoto, also in the Kansai region.

History

Japan is known as the “Land of the Rising Sun,” an association symbolized by its flag. Its history dates back thousands of years, though it may have been inhabited during the Paleolithic era more than 30,000 years ago.

Legend says that the grandson of Amaterasu, the sun goddess, founded a kingdom in Japan in 660 BCE, and that this established the imperial line. Early Japan closely followed the Chinese in religion and the structure of its government. It was not until the Heian period (794–1185 CE) that Japan began to develop its own distinct culture.

Emperors ruled Japan until the 12th century, when military rulers known as shoguns took control.

In feudal Japan, the samurai, a group of elite and noble warriors, aided in the creation of a new form of government, the shogunate. A shogun was a nobleman who was somewhat like a military dictator. The shogun ruled Japan from 1185 to 1868. During this time, Japan weathered a 100-year period of civil wars and upheavals as different feudal lords attempted to expand their power and territory. In the 15th century, the shoguns expelled all foreigners from Japan, allowing Japanese culture to develop uninfluenced by the outside world for centuries. In the 1860s, the shogun lost their power as the Mikado (emperor) was restored as the head of the Japanese government. The samurai were outlawed, and a time of modernization began for Japan.

samurai

25

Though Japan and the United States were allies during World War I, on December 7, 1941, the Japanese bombed Pearl Harbor, drawing the United States into World War II fighting against the Japanese.

In 1945, the United States dropped atomic bombs on the Japanese cities of Hiroshima and Nagasaki, leading to the surrender of Japan.

After the war, the Japanese government adopted a new constitution and declared itself a democracy. Today the United States and Japan enjoy a friendly relationship.

While the government of Japan is led by an elected prime minister and legislative bodies, it is also the only country in the world to still have a reigning emperor.

Culture

Japanese cuisine mostly consists of seafood, rice and noodles. There is very little red meat, minimal oils and fats, and almost no dairy. There are multiple reasons for this, one is the abundance of available seafood to the island nation. Secondly, Buddhism frowns upon the eating of four-legged creatures, so much so that red meat consumption was forbidden in Japan until 1872. Typical food seasoning includes soy sauce, dashi, sake, mirin, vinegar, sugar and salt. Strongly flavored condiments like wasabi and Japanese mustard are used to help mask fishy odors. The use of bean products like red bean paste and miso is common in both savory and sweet dishes. Vegetables include seaweed, green beans, daikon radishes, carrots, bamboo, chestnuts, corn, cabbage, peas and more. Overall, the traditional Japanese diet is considered extremely healthy and the Japanese people, on average, live longer lives than anyone else in the world.

kimono

Japanese is normally written in a combination of logographic characters borrowed from Chinese known as kanji, and syllabic scripts known as kana. Modern Japanese also uses Latin script, which is the use of the Roman alphabet.

pronounce: nihan translation: japan

26

Japan celebrates 16 nationally recognized holidays: New Years’ Day (January 1), Coming of Age Day (second Monday of January), National Foundation Day (February 11), The Emperor’s Birthday (February 23), Vernal Equinox Day (March 20 or 21), Sho– wa Day (April 29), Constitution Memorial Day (May 3), Greenery Day (May 4), Children’s Day (May 5), Marine Day (third Monday of July), Mountain Day (August 11), Respect for the Aged Day (third Monday of September), Autumnal Equinox (September 22 or 23), Health and Sports Day (second Monday of October), Culture Day (November 3) and Labor Thanksgiving Day (November 23).

The national sport of Japan is sumo, a form of competitive wrestling in which each wrestler tries to force his opponent out of a circular ring. Martial arts such as judo and kendo are taught in school. Football, known in the United States as soccer, is gaining popularity, but baseball is considered the most popular sport in Japan.

of court life. When the samurai class took over the Japanese government in the 12th century, they began to use similar emblems on their banners, flags and weapons. They chose designs such as arrows, dragons and bats.

Additionally, warriors used their family emblems to identify their camps and positions on the battlefield.

By the 17th century, family crests were adopted by the common people as well. The symbols they chose included familiar objects such as rabbits, mountains and tools. Popular designs were often symmetrical and enclosed in a circle. The mon design reveals something about the Japanese economic use of space. Because Japan is a small nation where many people have learned to live together without wasting space, it makes sense that Japanese design is very simple. Many mon are created to fit inside a small circular space, and every shape and line has a purpose.

Japanese art has a long history and utilizes a large variety of mediums from pottery, sculpture, ink painting and calligraphy on silk and paper, woodblock paintings and prints, origami and bonsai, to the more modern anime.

sumo

The kimono is the traditional garment of Japan. It is a rectangular-shaped garment that is wrapped in the front, left over right, with a square sleeve.

The tradition of the Japanese family crest, known as the mon, dates back to the 11th century. The ruling families of the Imperial Court designed family symbols to put on their formal clothing. The crests they designed often incorporated flowers and birds to represent the elegance

The Japanese word for music is ongaku. The traditional music of Japan does not follow the rules of Western music. It does not use Western musical notation, nor does it use a Western diatonic scale. The oldest known forms of Japanese music are the shomyo (Buddhist chants) and gagaku (classical music of the imperial court). The folk music of Japan can easily be divided into five main categories: work songs, lullabies, religious songs, children’s songs, and songs used for gatherings or celebrations. The shamisen, taiko drums, and shakuhachi (a type of fue) are the typical instruments used to accompany folk songs.

27

DESIGNING A VISTOR’S GUIDE TO JAPAN Alabama Course of Study Standards  SS10.7G.1  SS10.7G.2  SS10.7G.5  SS10.8.3  SS10.8.12  SS10.WH.4  SS10.WH.11  SS10.WH.15  SS10.CWI.5  SS10.HG.3  SS10.HG.4  SS10.HG.5  SS10.HG.6  SS10.HG.13  SS10.HG.14  ELA21.6.R3  ELA21.7.R3  ELA21.8.R3  ELA21.9.R4  ELA21.10.R4  ELA21.11.R4  ELA21.12.R4  AE17.VA.6.2  AE17.7.2  AE17.8.1  AE17.VA.N.2 National Standards  NSS-WH.5-12.3  NSS-WH.5-12.5  NSS-WH.5-12.6  NSS-WH.5-12.7  NSS-WH.5-12.9  NSS-G.K-12.1  NSS-G.K-12.2  NSS-G.K-12.4  NL-ENG.K-12.7  NL-ENG.K-12.8

OBJECTIVE

5. Students will use gathered information to design and

create their own travel brochure about Japan. Encourage students to be creative, and use visuals and incorporate key details in their design of the brochure layout.

By completing this activity, students will: •

Be able to identify and explain key aspects of Japanese culture through comprehensive research, analyses of cultural elements and presentation of findings

6. Have students present their travel brochures to the

class, and highlight the key aspects of Japan that they chose to include.

MATERIALS For this activity, you will need the following items: •

Electronic device with internet access

•

11” x 8.5” paper for students to either fold in half to create a bi-fold brochure or into thirds to create a tri-fold brochure

•

Pencil

•

Colored pencils or markers

PROCEDURE

7.

After the presentations, lead a brief discussion on the diversity and richness of Japanese culture, and highlight the things students discovered in their research.

JAPAN IN A BACKPACK Instead of creating a travel brochure, have students fill a backpack with items that they would bring back from a trip to Japan that represent key elements of Japanese culture, history, geography, etc.

To complete this activity, follow these steps:

1.

Explain that students are going to create a travel brochure about Japan. Remind them to highlight key aspects such as geography, history, culture, cuisine, sports, traditional clothing, art and music.

2. Show students a brief video clip and images that showcase different aspects of Japanese culture.

X Japan for kids – an amazing and quick guide to Japan

3. Ask students what they know about Japan and what aspects of Japanese culture they find interesting.

4. Allow students to work in pairs to research and gather

information on Japan and its culture. Students should gather information on geography, history, culture, cuisine, sports, traditional clothing, art and music.

28

Share your students' colorful creations with us.

We'd love to see the masterpieces your talented students create. Send us a photo of their visitor’s guide and other projects from this performance study guide. Be sure to include each student's name, age, grade and school with your submission. You can send all submissions to the Gogue Center via email at gpac.education@auburn.edu.

29

CREATING A MON Alabama Course of Study Standards  AE17.VA.6.1  AE17.VA.6.2  AE17.VA.6.10  AE17.VA.7.2  AE17.VA.7.3  AE17.VA.8.1  AE17.VA.8.3  AE17.VA.8.5  AE17.VA.N.1  AE17.VA.N.2  AE17.VA.N.3  AE17.VA.I.1  AE17.VA.I.3 National Standards  VA:Cr1.2.6a  VA:Cr2.1.6a  VA:Cr3.1.6a  VA:Cr1.2.7a  VA:Cr2.1,7a  VA:Cr2.3.7a  VA:Cr1.1.8a  VA:Cr2.1.8a

OBJECTIVE

PROCEDURE

By completing this activity, students will:

To complete this activity, follow these steps:

•

Learn what a mon is and its relationship to Japanese culture

•

1.

Create their own mon and use it in a monochromatic design

•

Learn about symmetry, asymmetry and the relationship between positive and negative space

MATERIALS For this activity, you will need the following items: •

8 1/2 x 11 plain white paper (at least 3 sheets per student)

•

Graphite drawing pencil

•

White pencil or crayon

•

“Mon Template” worksheet on page 31

•

Ruler

•

Scissors

•

Glue stick

•

“Examples of Japanese Mon” handout on page 32

Begin by distributing the “Examples of Japanese Mon” handout on page 32 or finding examples of traditional mon online. Have students think about symbols that represent their family. On a blank sheet of white paper, have students sketch ideas for their personal mon. Sketches may be based on traditional designs, personal connections to nature or symbols, or a combination of the two.

2. Once a design is chosen, give each student a copy of the “Mon Template” worksheet on page 31. Have students redraw or trace their design using white pencil or white crayon inside the black circle.

3. Have students cut out the black circle. They may choose to leave the outer white circle as a border or remove it entirely.

4. Have students choose one half of the circle to be the

“positive” side and one half to be the “negative” side. Have students glue the positive side of the circle onto a clean sheet of white paper exactly as is.

5. Have students take the negative half of the circle and cut

out all the black (or negative) space. When all the black space is cut out, students should be left with something that looks like a stencil of their original design. Have students set the white piece aside and work with the black pieces.

6. Have students look at the positive half of the circle. Like

a puzzle, match up where the black pieces from the negative half of the circle would go on the positive side.

Lay the black pieces on top of the positive half, then, like pages in a book, flip the black pieces over onto the blank side of the white paper. Line up the cut edges of the positive circle and the black negative shape and glue the black shape down. As each shape is glued down, the original design should begin to emerge in the white spaces between the black pieces.

7.

30

Students should repeat this process until all the black pieces are glued down. Have them color over the design on the positive side with white pencil or crayon to make it stand out more. For an added challenge, see if they can use the unused portion of the negative side of the circle to create a second image, or incorporate it into a new design.

Name

Date

Mon Template

Resource: Morse Museum Kamon Lesson Plan

31

Examples of Japanese Mon

32

EXPLORING JAPANESE HAIKU THROUGH MUSIC Alabama Course of Study Standards  ELA21.6.9  ELA21.7.3  ELA21.7.4  ELA21.7.9  ELA21.7.22  ELA21.8.10  ELA21.9-12.R2  ELA21.9.3  ELA21.9.4  ELA21.9.5  ELA21.9.16  ELA21.10.3  ELA21.10.4  ELA21.10.5  ELA21.10.16  ELA21.11.3  ELA21.11.4  ELA21.11,19  ELA21.12.3  ELA21.12.4  ELA21.12.5  ELA21.19 National Standards  NL-ENG.K-12.1  NL-ENG.K-12.3  NL-ENG.K-12.4  NL-ENG.K-12.6  NL-ENG.K-12.9

OBJECTIVE By completing this activity, students will: •

Analyze the structure of a haiku

•

Create their own haiku inspired by Japanese music

11. Ask students: How can we express music through words in just a few lines?

12. Instruct students to write their own haiku inspired by Japanese music.

13. Encourage them to focus on the sounds, feelings and MATERIALS For this activity, you will need the following items: •

Clips of Japanese music, including Kodo

•

Paper

•

Pencil

PROCEDURE To complete this activity, follow these steps:

1.

Introduce the concept of haiku poetry and its origins in Japan.

2. Allow students to read some haikus.

3. Discuss the 5-7-5 syllable pattern of a haiku.

imagery evoked by the music.

14. Ensure they adhere to the 5-7-5 syllable structure and showcase creativity in their poems.

15. After students have written their haikus, have them share with the class.

16. Summarize key points about haiku structure and themes in Japanese music.

17. Reflect on the effectiveness of using concise language to convey emotions.

EXTENSION ACTIVITY Challenge students to create a visual representation of their haiku (e.g., a drawing or collage).

4. Highlight the importance of capturing emotions and exploring nature in a haiku.

5. Discuss rhyme scheme and the lack of rhyming in a haiku.

6. Be sure to read haikus by Japanese poets as well as poets 7.

Haiku Form

from other cultural backgrounds.

• Three lines

Discuss the role the poet’s cultural background may play in their writing style.

• Syllable pattern of 5–7–5

8. Examine the use of imagery, figurative language and other literary elements found in various haikus.

9. Discuss the concept of writing poetry in response to art as a way to express what one sees, hears or even feels.

10. Play a short piece of traditional Japanese music—an example from Kodo or something like this:

X Sakura “Cherry Blossoms”; Traditional Music of Japan, Classical Koto Music

• Usually doesn’t rhyme • Usually about nature • Often includes a reference to a season • Often a single sentence, but may be sentence fragments

33

Why we go to the show DRUMS OF NATIVE AMERICANS Many different cultures around the world have used drums and percussion instruments for millennia. For example, Native Americans have been playing drums in powwows, celebrations, religious ceremonies and spiritual festivals for centuries.

Native Americans believe strongly in using their resources and not creating waste. When they hunted an animal for food, they would also use the animal’s hide. One of the things that they made with animal hides were drums. They soaked the hide, removed all the hair and then stretched it over a base made from wood, usually a hollowed-out log.

The different woods and animal hides create different sounds. The drums are sometimes decorated using paint created from natural materials like berries or rocks that have been crushed to create dye. Some drum makers will even carve images into the wooden base.

Native Americans believe that the drumbeat symbolizes the heartbeat of the earth and connects people to the spirit world. They use the drums to give thanks or communicate with the “Great Spirit.”

The different rhythms they use help the dancers to know the style. The shape of the drums is round to symbolize the circle of life. The drums are played with sticks or hands.

There are several different kinds of drums the Native Americans use. A water drum, as its name suggests, uses water in its base to create a unique sound when played. Footed drums have an open area at the bottom that is held by the feet. The open area is what creates the distinctive sound of the footed drum. The most common type of Native American drum is the hand drum. These drums are held and can be played with a stick or with the hands. The powwow drum is a large circular drum that can be played by many people at the same time, sometimes eight or more.

34

Water Drum X About the water drum

Powwow Drum X Video of a powwow drum being played

Footed Drum

Hand Drum X Video of a hand drum being played

35

COMPARING JAPANESE AND NATIVE AMERICAN DRUMS Alabama Course of Study Standards  ELA21.6.7  ELA21.6.24  ELA21.6.25  ELA21.6.26  ELA21.7.7  ELA21.7.23  ELA21.7.24  ELA21.7.26  ELA21.7.27  ELA21.7.27  ELA21.7.30  ELA21.8.8  ELA21.8.22  ELA21.8.23  ELA21.8.25  ELA21.8.26  ELA21.8.27  ELA21.8.29  ELA21.9.6  ELA21.9.7  ELA21.9.9  ELA21.9.10  ELA21.9.16  ELA21.9.22  ELA21.9.24  ELA21.9.25  ELA21.9.26  ELA21.9.2  ELA21.10.6  ELA21.10.7  ELA21.10.9  ELA21.10.10  ELA21.10.15  ELA21.10.1  ELA21.10.22  ELA21.10.24  ELA21.10.25  ELA21.10.26  ELA21.10.27  ELA21.11.1  ELA21.11.7  ELA21.11.8  ELA21.11.13  ELA21.11.24  ELA21.11.25  ELA21.11.27  ELA21.11.28  ELA21.11.29  ELA21.11.30  ELA21.12.7  ELA21.12.8  ELA21.12.13  ELA21.12.24  ELA21.12.25  ELA21.12.27  ELA21.12.28  ELA21.12.29,  ELA21.12.30  SS10.8.14 National Standards  NL-ENG.K-12.1  NL-ENG.K-12.3  NL-ENG.K-12.4  NL-ENG.K-12.6  NL-ENG.K-12.9

• In what contexts are the drums used (e.g., ceremonies, communication, entertainment, etc.)?

OBJECTIVE By completing this activity, students will: •

Research the cultural significance and uses of Japanese and Native American drums

•

Write a comparative analysis highlighting similarities and differences

•

Present their findings to the class, enhancing their research and public speaking skills

• What cultural or spiritual significance do the drums hold?

5. Allow students time to conduct research using a variety

of sources. Encourage them to take notes using a graphic organizer to compare and contrast the two cultures.

6. Have students use their research notes to write a

comparative analysis. The analysis should include: • An introduction to the topic;

MATERIALS

• A detailed comparison of the types, materials and uses of the drums;

For this activity, you will need the following items: •

Access to research materials, such as books, articles or the internet

• An exploration of the cultural significance of drums in each tradition;

•

Information from this study guide about Japanese and Native American drums

• A conclusion summarizing the key similarities and differences.

•

Graphic organizers for notetaking and organizing information

•

Writing materials, such as paper, pens or digital devices

•

Presentation tools, such as poster boards, slides or digital presentation software

PROCEDURE To complete this activity, follow these steps:

1.

Begin with a brief introduction to the cultural importance of drums in both Japanese and Native American traditions.

Highlight how drums are used in ceremonies, rituals and as a form of communication.

2. Explain the objectives of the lesson, which include

researching, writing and presenting a comparative analysis.

3. Divide students into small groups and assign each group to

7.

Encourage students to use clear and concise language and to support their analysis with evidence from their research.

8. Instruct students to prepare a presentation of their

findings. They can use visual aids such as slides, posters or digital presentations to enhance their presentations.

9. Allow each group to present their comparative analysis to

the class. Encourage students to engage with the audience and answer any questions.

10. Conclude with a class discussion reflecting on the research process and the insights gained from comparing Japanese and Native American drums.

11. Ask students to consider how understanding cultural

differences and similarities can enhance their appreciation of global traditions.

focus on either Japanese or Native American drums.

4. Provide guiding questions for research: • What are the different types of drums used in the culture?

• What materials are used to make these drums?

36

EXTENSION ACTIVITY • Invite students to explore the influence of traditional drums on modern music genres.

• Encourage students to create a visual art project inspired by the designs and patterns found on Japanese and Native American drums.

37

What to do after the show POST-SHOW DISCUSSION Included in this section are some post-performance activities you can share with your students.

Ask students if they enjoyed Kodo: Warabe. Ask them to share their thoughts about the following:

1.

Which part of the performance did you like best? Why?

2. What stood out to you about the performance?

3. Was there anything unexpected about the performance?

4. Did the performance make you interested in seeing other cultural musical performances? (or interested in seeing other performances that explore different cultures?)

38

Alabama Course of Study standards index ARTS EDUCATION Standard Description AE17:MU.6.1

Generate simple rhythmic, melodic, and harmonic phrases within AB and ABA forms that convey expressive intent.

AE17.MU.6.3 Use standard and/or iconic notation and/or audio/ video recording to document personal simple rhythmic phrases, melodic phrases, and two chord harmonic musical ideas.

AE17.MU.6.10 Identify how cultural and historical contexts inform performances.

AE17.MU.6.17 Identify the context of music from a variety of genres, cultures, and historical periods.

AE17:MU.7.3 Use standard and/or iconic notation and/or audio/ video recording to document personal simple rhythmic phrases, melodic phrases, and harmonic progressions with more than two chords.

AE17.MU.7.10 Identify how cultural and historical contexts inform performances and result in musical intent and meaning.

AE17.MU.8.3 Use standard and/or iconic notation and/or audio/ video recording to document more complex personal rhythmic phrases, melodic phrases, and harmonic sequences.

AE17.MU.8.10 Identify how cultural and historical contexts inform performances and result in different musical effects.

AE17.MU.TEE.N.1 Compose and improvise melodic and rhythmic ideas or motives that reflect characteristics of music or texts studied in rehearsal.

AE17.MU.TEE.N.5 Share personally-developed melodies and rhythmic passages—individually or as an ensemble—that demonstrate understanding of characteristics of music or texts studied in rehearsal.

AE17.VA.6.1 Work collaboratively to develop new and innovative ideas for creating art.

AE17.VA.6.2 Formulate an artistic investigation and discovery of relevant content for creating art.

AE17.VA.6.10 Compare and contrast works of art or design that reveal how people live around the world and what they value.

AE17.VA.7.2 Develop and implement criteria to guide making a work of art or design to meet an identified goal.

AE17.VA.7.3

Develop and demonstrate skills with various techniques, methods, and approaches in creating art through repeated and persistent practice.

Grade Activity

Page

6

Examining Taiko Drumming

20

6

Examining Taiko Drumming

20

6

Examining Taiko Drumming

20

6

Examining Taiko Drumming

20

7

Examining Taiko Drumming

20

7

Examining Taiko Drumming

20

8

Examining Taiko Drumming

20

8

Examining Taiko Drumming

20

9–12

Examining Taiko Drumming

20

9–12

Examining Taiko Drumming

20

6

Creating a Mon

30

6

Designing a Visitors Guide to Japan Creating a Mon Creating a Mon

28

6

30

7

Designing a Visitors Guide to Japan Creating a Mon

28

7

Creating a Mon

30

39

ARTS EDUCATION (CONTINUED) Standard Description AE17.VA.8.1 AE17.VA.8.3

AE17.VA.8.5

AE17.VA.N.1 AE17.VA.N.2

AE17.VA.N.3

AE17.VA.I.1 AE17.VA.I.3

Apply early stages of the creative process visually and/or verbally in traditional or new media.

Engage, experiment, innovate, and take risks to pursue ideas, forms, and meaning that emerge in the process of creating art.

Plan select, organize, and design images and words to make visually clear works of art using traditional and/or digital methods.

Explore multiple approaches to begin the creative process.

Utilize the elements and principles of art/design in an artistic investigation of present-day life using traditional and/or contemporary practices.

Explore works of art and/or design that demonstrate basic technical skills and craftsmanship with various art media used to create images from observation, memory, and imagination.

Apply multiple approaches to formulate artwork using the creative process.

Make works of art and/or design that demonstrate technical skill and craftsmanship with various art media when creating images from observation, memory, and imagination.

ENGLISH LANGUAGE ARTS Standard Description

8

Page

8

Designing a Visitors Guide to Japan Creating a Mon Creating a Mon

30

8

Creating a Mon

30

9–12

Creating a Mon

30

9–12

Designing a Visitors Guide to Japan Creating a Mon

28 30

9–12

Creating a Mon

30

9–12

Creating a Mon

30

9–12

Creating a Mon

30

Grade Activity

28

Page

ELA21.6.R3

Use digital and electronic tools appropriately, safely, and ethically when researching and writing, both individually and collaboratively.

6

Designing a Visitors Guide to Japan Creating a Mon

28 30

ELA21.6.R4

Utilize a writing process to plan, draft, revise, edit, and publish writings in various genres.

Describe the use of literary devices in prose and poetry, including simile, metaphor, personification, onomatopoeia, hyperbole, tone, imagery, irony, symbolism, and mood, and indicate how they support interpretations of the text.

Produce clear, coherent narrative, argument, and informative/explanatory writing in which the development, organization, style, and tone are relevant to task, purpose, and audience, using an appropriate command of language.

Participate in collaborative discussions about literary devices and elements found in prose and poetry.

Write about research findings independently over short and/or extended periods of time.

Quote, paraphrase, and summarize information from sources and present findings, following an appropriate citation style, with guidance and support.

6

Crafting Myths

22

6

Crafting Myths

22

6

Crafting Myths Comparing Japanese and Native American Drums

22 36

6

Exploring Japanese Haiku through Music

33

6

Comparing Japanese and Native American Drums Comparing Japanese and Native American Drums

36

ELA21.6.4

ELA21.6.7

ELA21.6.9

ELA21.6.24 ELA21.6.25

40

Grade Activity

6

36

ENGLISH LANGUAGE ARTS (CONTINUED) Standard Description ELA21.6.26

ELA21.7.R3

ELA21.7.R4 ELA21.7.3

ELA21.7.4

ELA21.7.7

ELA21.7.9

ELA21.7.22 ELA21.7.23

ELA21.7.24

ELA21.7.26

ELA21.7.27

ELA21.7.28

ELA21.7.30

ELA21.8.R3

ELA21.8.R4

Utilize research findings to communicate relevant details, opinions, and ideas about a topic or text in oral presentations.

Utilize research findings to communicate relevant details, opinions, and ideas about a topic or text in oral presentations.

Utilize a writing process to plan, draft, revise, edit, and publish writings in various genres.

Explain how the author’s choice of setting, plot, characters, theme, conflict, dialogue, and point of view contribute to and/or enhance the meaning and purpose of prose and poetry, using textual evidence from the writing.

Evaluate literary devices to support interpretations of literary texts using textual evidence, including simile, metaphor, personification, onomatopoeia, hyperbole, imagery, tone, symbolism, irony, and mood.

Produce clear, coherent narrative, argument, and informative/explanatory writing in which the development, organization, style, and tone are relevant to task, purpose, and audience, using an appropriate command of language.

Participate in collaborative discussions about prose and poetry by evaluating the use of literary devices and elements.

Choose language that expresses ideas precisely and concisely.

Implement ethical guidelines while finding and recording information from a variety of primary, secondary, and digital sources.

Determine the relevance, reliability, and validity of information from nonfiction and fictional printed and/or digital texts.

Produce research writings over extended periods with time for research, reflection, and revision and within shorter time frames, with minimal guidance.

Quote, paraphrase, summarize, and present findings, following an appropriate citation style and avoiding plagiarism.

Incorporate research into oral presentations, summarizing and supporting opinions and ideas with relevant details.

Read and evaluate texts from science, social studies, and other academic disciplines to determine how those disciplines treat domainspecific vocabulary and content organization.

Use digital and electronic tools appropriately, safely, and ethically when researching and writing, both individually and collaboratively.

Utilize a writing process to plan, draft, revise, edit, and publish writings in various genres.

Grade Activity

Page

6

Comparing Japanese and Native American Drums

36

7

Designing a Visitors Guide to Japan

28

7

Crafting Myths

22

7

Crafting Myths Exploring Japanese Haiku through Music

22 33

7

Crafting Myths Exploring Japanese Haiku through Music

22 33

7

Crafting Myths Comparing Japanese and Native American Drums

22 36

7

Exploring Japanese Haiku through Music

33

7

Exploring Japanese Haiku through Music

33

7

Comparing Japanese and Native American Drums

36

7

Comparing Japanese and Native American Drums

36

7

Comparing Japanese and Native American Drums

36

7

Comparing Japanese and Native American Drums

36

7

Comparing Japanese and Native American Drums

36

7

Comparing Japanese and Native American Drums

36

8

Designing a Visitors Guide to Japan

28

8

Crafting Myths

22

41

ENGLISH LANGUAGE ARTS (CONTINUED) Standard

Description

ELA21.8.3

Analyze how authors use key literary elements, including setting, plot, theme, characters, internal and external conflict, dialogue, and point of view, to contribute to the meaning and purpose of a text, using text evidence as support.

Analyze the use of literary devices, including simile, metaphor, personification, onomatopoeia, hyperbole, imagery, tone, symbolism, irony, mood, and allusion, to support interpretations of literary texts, using textual evidence to support the analysis.

Produce clear, coherent narrative, argument, and informative/explanatory writing in which the development, organization, style, and tone are relevant to task, purpose, and audience, using an appropriate command of language.

Engage in coherent and collaborative discussions about prose and poetry by evaluating the use of literary devices and elements.

Apply ethical guidelines while finding and recording information from a variety of primary, secondary, and digital sources.

Determine the relevance, reliability, and validity of information from nonfiction and fictional printed and/or digital texts.

Produce research writings independently over extended periods of time which encompass research, reflection, and revision and over shorter time frames.

Quote, paraphrase, summarize, and present findings, following a recognized citation style and avoiding plagiarism to demonstrate responsible and ethical research practices.

Synthesize and present information during the research process to answer follow-up questions and participate in both informal and formal discussions about research findings with gradeappropriate command of language.

Read, analyze, and evaluate texts from science, social studies, and other academic disciplines to determine how those disciplines treat domainspecific vocabulary and content organization.

Utilize active listening skills in formal and informal conversations, following predetermined norms.

Use digital and electronic tools appropriately, safely, and ethically.

Utilize a writing process which includes planning, revising, editing/peer-editing, and rewriting to create a focused, organized, and coherent piece of writing for a specific purpose and audience.

ELA21.8.4

ELA21.8.8

ELA21.8.10

ELA21.8.22

ELA21.8.23

ELA21.8.25

ELA21.8.26

ELA21.8.27

ELA21.8.29

ELA21.9.R3 ELA21.9.R4 ELA21.9.R5

42

Grade Activity

Page

8

Crafting Myths

22

8

Crafting Myths

22

8

Crafting Myths Comparing Japanese and Native American Drums

22 36

8

Exploring Japanese Haiku through Music

33

8

Comparing Japanese and Native American Drums

36

8

Comparing Japanese and Native American Drums

36

8

Comparing Japanese and Native American Drums

36

8

Comparing Japanese and Native American Drums

36

8

Comparing Japanese and Native American Drums

36

8

Comparing Japanese and Native American Drums

36

9

33

9

Exploring Japanese Haiku through Music Designing a Visitors Guide to Japan

28

9

Crafting Myths

22

ENGLISH LANGUAGE ARTS (CONTINUED) Standard Description ELA21.9.1

ELA21.9.3 ELA21.9.4

ELA21.9.5

ELA21.9.6

ELA21.9.7

ELA21.9.9

ELA21.9.10

ELA21.9.16

Read, analyze, and evaluate complex literary and informational texts written from various cultural perspectives, with an emphasis on works originating outside the United States and the British Isles through 1599.

Analyze how an author’s cultural perspective influences style, language, and themes.

Analyze how authors use characterization, connotation, denotation, figurative language, literary elements, and point of view to create and convey meaning in a variety of texts.

Analyze the impact of context and organizational structures on theme, tone, and the meaning of the work as a whole.

Compare and/or contrast the perspectives in a variety of fiction, nonfiction, informational, digital, and multimodal texts produced from diverse historical, cultural, and global points of view, not limited to the grade-level literary focus.

Read, analyze, and evaluate texts from science, social studies, and other academic disciplines to determine how those disciplines treat domainspecific vocabulary and content organization.

Compose both short and extended narrative, informative/explanatory, and argumentative writings that are clear and coherent, use an appropriate command of language, and demonstrate development, organization, style, and tone that are relevant to task, purpose, and audience.

Present research findings to a peer audience, either formally or informally, conveying credible, accurate information from multiple sources, including diverse media.

Interpret how an author’s grammar and rhetorical style contribute to the meaning in both fiction, including poetry and prose, and nonfiction, including historical, business, informational, and workplace documents.

Grade Activity 9

Crafting Myths

22

9

Exploring Japanese Haiku through Music Crafting Myths Exploring Japanese Haiku through Music

33

9

Exploring Japanese Haiku through Music

33

9

Comparing Japanese and Native American Drums

36

9

Comparing Japanese and Native American Drums

36

9

Crafting Myths Comparing Japanese and Native American Drums Music

22

9

Comparing Japanese and Native American Drums

36

9

Exploring Japanese Haiku through Music Comparing Japanese and Native American Drums

33

9

ELA21.9.22

Use a variety of search tools and research strategies.

9

ELA21.9.24

Utilize responsible and ethical research practices to write clear, coherent products with a command of language suitable for a particular target audience and purpose.

Integrate information from at least two sources into writing by quoting, paraphrasing, or summarizing and cite sources, following the rules of a particular style guide.

Compose clear, coherent writing that incorporates information from at least one scholarly source and demonstrates a clear position on a topic, answers a research question, or presents a solution to a problem.

9

ELA21.9.25

ELA21.9.26

Page

22

36

Comparing Japanese and Native American Drums Comparing Japanese and Native American Drums

36

9

Comparing Japanese and Native American Drums

36

9

Comparing Japanese and Native American Drums

36

36

43

ENGLISH LANGUAGE ARTS (CONTINUED) Standard Description ELA21.9.27

ELA21.10.R3 ELA21.10.R4 ELA21.10.R5

ELA21.10.3 ELA21.10.4

ELA21.10.5

ELA21.10.6

ELA21.10.7

ELA21.10.9

ELA21.10.10

ELA21.10.15

ELA21.10.16

ELA21.10.22

44

Utilize responsible and ethical research practices to present clear, coherent products with a command of language suitable for a particular target audience and purpose.

Utilize active listening skills in formal and informal conversations, following predetermined norms.

Use digital and electronic tools appropriately, safely, and ethically.

Utilize a writing process which includes planning, revising, editing/peer-editing, and rewriting to create a focused, organized, and coherent piece of writing for a specific purpose and audience.

Analyze how an author’s cultural perspective influences style, language, and themes.

Interpret an author’s use of characterization, connotation, denotation, figurative language, literary elements, and point of view to create and convey meaning in a variety of texts.

Analyze context and organizational structures to determine theme, tone, and the meaning of the work as a whole.

Compare and/or contrast the perspectives in a variety of fiction, nonfiction, informational, digital, and multimodal texts produced from diverse historical, cultural, and global viewpoints, not limited to the grade-level literary focus.

Read, analyze, and evaluate texts from science, social studies, and other academic disciplines to determine how those disciplines treat domainspecific vocabulary and content organization.

Compose both short and extended narrative, informative/explanatory, and argumentative writings that are clear and coherent, use an appropriate command of language, and demonstrate development, organization, style, and tone that are relevant to task, purpose, and audience.

Present research findings to peers, either formally or informally, integrating credible, accurate information from multiple sources, including diverse media.

Create and deliver an individual or collaborative presentation that is suitable in purpose and tone for its intended audience and occasion.

Interpret how an author’s grammar and rhetorical style contribute to the meaning in both fiction, including poetry and prose, and nonfiction, including historical, business, informational, and workplace documents.

Use a variety of search tools and research strategies to locate credible sources.

Grade Activity

Page

9

Comparing Japanese and Native American Drums

36

10

33

10

Exploring Japanese Haiku through Music Designing a Visitors Guide to Japan

28

10

Crafting Myths

22

10

Exploring Japanese Haiku through Music Crafting Myths Exploring Japanese Haiku through Music

33

10

22 33

10

Exploring Japanese Haiku through Music

33

10

Comparing Japanese and Native American Drums

36

10

Comparing Japanese and Native American Drums

36

10

Comparing Japanese and Native American Drums

36

10

Comparing Japanese and Native American Drums

36

10

Comparing Japanese and Native American Drums

36

10

Exploring Japanese Haiku through Music Comparing Japanese and Native American Drums

36

10

Comparing Japanese and Native American Drums

36

ENGLISH LANGUAGE ARTS (CONTINUED) Standard Description ELA21.10.24

ELA21.10.25

ELA21.10.26

ELA21.10.27

ELA21.11.R3 ELA21.11.R4 ELA21.11.R5

ELA21.11.3 ELA21.11.4

ELA21.11.7

ELA21.11.8

ELA21.11.13

ELA21.11.19

ELA21.11.24 ELA21.11.25

Utilize responsible and ethical research practices to write clear, coherent products with a command of language suitable for a particular target audience and purpose.

Integrate information from at least two kinds of sources into writing, using quotations, paraphrases, and summaries that consistently follow a particular style guide.

Compose clear, coherent writing that incorporates information from at least one scholarly and at least one non-scholarly source and demonstrates a clear position on a topic, answers a research question, or presents a solution to a problem.

Utilize responsible and ethical research practices to present clear, coherent products with a command of language suitable for a target audience and purpose.

Utilize active listening skills in formal and informal conversations, following predetermined norms.

Use digital and electronic tools appropriately, safely, and ethically.

Utilize a writing process which includes planning, revising, editing/peer-editing, and rewriting to create a focused, organized, and coherent piece of writing for a specific purpose and audience.

Analyze how an author explicitly exhibits his/her cultural perspective in developing style and meaning.

Analyze how an author uses characterization, figurative language, literary elements, and point of view to create and convey meaning.

Compare and/or contrast the perspectives in a variety of fiction, nonfiction, informational, digital, and multimodal texts produced from diverse historical, cultural, and global viewpoints, not limited to the grade level literary focus.

Read, analyze, and evaluate texts from science, social studies, and other academic disciplines and explain how those disciplines treat domain-specific vocabulary and content and organize information.

Synthesize multiple sources of information (including diverse media), evaluate the credibility and accuracy of each source, and share information orally.

Interpret how an author’s grammar and rhetorical style contribute to the meaning in both fiction, including poetry and prose, and nonfiction, including historical, business, informational, and workplace documents.

Evaluate the credibility of sources in terms of authority, relevance, accuracy, and purpose.

Use a variety of search tools and research strategies to locate credible sources.

Grade Activity

Page

10

Comparing Japanese and Native American Drums

36

10

Comparing Japanese and Native American Drums

36

10

Comparing Japanese and Native American Drums

36

10

Comparing Japanese and Native American Drums

36

11

33

11

Exploring Japanese Haiku through Music Designing a Visitors Guide to Japan

28

11

Crafting Myths

22

11

Exploring Japanese Haiku through Music Crafting Myths Exploring Japanese Haiku through Music Comparing Japanese and Native American Drums

33

11

11

22 33 36

11

Comparing Japanese and Native American Drums

36

11

Comparing Japanese and Native American Drums

36

11

Exploring Japanese Haiku through Music

33

11

Comparing Japanese and Native American Drums

36

11

Comparing Japanese and Native American Drums

36

45

ENGLISH LANGUAGE ARTS (CONTINUED) Standard Description ELA21.11.27

ELA21.11.28

ELA21.11.29

ELA21.11.30

ELA21.12.R3 ELA21.12.R4 ELA21.12.R5

ELA21.12.3 ELA21.12.4

ELA21.12.5

ELA21.12.7

ELA21.12.8

ELA21.12.13

46

Synthesize research results, using responsible, ethical practices to gather information, and write clear, coherent products demonstrating command of language that is suitable for the target audience and purpose.

Integrate ethically-acquired information from at least three sources of varying types, including at least one visual or statistical source, into a research product, using proper quoting, paraphrasing, summarizing, and citation practices that consistently follow rules of a particular style guide.

Compose clear, coherent writing that incorporates information from a variety of scholarly and nonscholarly sources and demonstrates a clear position on a topic, answers a research question, or presents a solution to a problem.

Synthesize research using responsible and ethical practices to create and orally present clear, coherent products demonstrating command of language that is suitable for the target audience and purpose.

Utilize active listening skills in formal and informal conversations, following predetermined norms.

Use digital and electronic tools appropriately, safely, and ethically.

Utilize a writing process which includes planning, revising, editing/peer-editing, and rewriting to create a focused, organized, and coherent piece of writing for a specific purpose and audience.

Evaluate how an author explicitly exhibits his/her cultural perspective in developing style and meaning.

Evaluate an author’s use of characterization, figurative language, literary elements, and point of view to create and convey meaning.

Evaluate structural and organizational details in texts to determine the author’s purpose, including cases in which the meaning is ironic or satirical.

Compare and/or contrast the perspectives in a variety of fiction, nonfiction, informational, digital, and multimodal texts produced from diverse historical, cultural, and global viewpoints, not limited to the grade level literary focus.

Read, analyze, and evaluate texts from science, social studies, and other academic disciplines and explain how those disciplines treat domain-specific vocabulary and content and organize information.

Evaluate the credibility and accuracy of sources from diverse media and/or formats and then use multiple suitable sources of information to develop an idea or further a position.

Grade Activity

Page

11

Comparing Japanese and Native American Drums

36

11

Comparing Japanese and Native American Drums

36

11

Comparing Japanese and Native American Drums

36

11

Comparing Japanese and Native American Drums

36

12

33

12

Exploring Japanese Haiku through Music Designing a Visitors Guide to Japan

28

12

Crafting Myths

22

12

Exploring Japanese Haiku through Music Crafting Myths Exploring Japanese Haiku through Music Exploring Japanese Haiku through Music

33

12

Comparing Japanese and Native American Drums

36

12

Comparing Japanese and Native American Drums

36

12

Comparing Japanese and Native American Drums

36

12

12

22 33 33

ENGLISH LANGUAGE ARTS (CONTINUED) Standard Description ELA21.12.19

ELA21.12.24 ELA21.12.25

ELA21.12.27

ELA21.12.28

ELA21.12.29

ELA21.12.30

SS10.7G.2 SS10.7G.5

SS10.8.3

SS10.8.4

SS10.8.12

Page

Interpret how an author’s grammar and rhetorical style contribute to the meaning in both fiction, including poetry and prose, and nonfiction, including historical, business, informational, and workplace documents.

Evaluate the credibility of sources in terms of authority, relevance, accuracy, and purpose.

Use a variety of search tools and research strategies to locate and acquire credible, relevant, and useful information.

Synthesize research results, using responsible, ethical practices to gather information, and write clear, coherent products demonstrating command of language that is suitable for the target audience and purpose.

Integrate ethically-acquired information from at least three sources of varying types, including at least one visual or statistical source, into a research product, using proper quoting, paraphrasing, summarizing, and citation practices that consistently follow rules of a particular style guide.

12

Exploring Japanese Haiku through Music

33

12

Comparing Japanese and Native American Drums Comparing Japanese and Native American Drums

36

12

Comparing Japanese and Native American Drums

36

12

Comparing Japanese and Native American Drums

36

Compose clear, coherent writing that incorporates information from a variety of scholarly and nonscholarly sources and demonstrates a clear position on a topic, answers a research question, or presents a solution to a problem.

Synthesize research using responsible and ethical practices to create and orally present clear, coherent products demonstrating command of language that is suitable for the target audience and purpose.

12

Comparing Japanese and Native American Drums

36

12

Comparing Japanese and Native American Drums

36

SOCIAL STUDIES Standard Description SS10.7G.1

Grade Activity

Describe the world in spatial terms using maps and other geographic representations, tools, and technologies.

Determine how regions are used to describe the organization of Earth’s surface.

Explain how cultural features, traits, and diffusion help define regions, including religious structures, agricultural patterns, ethnic enclaves, ethnic restaurants, and the spread of Islam.

Compare the development of early world religions and philosophies and their key tenets.

Identify cultural contributions of Classical Greece, including politics, intellectual life, arts, literature, architecture, and science.

Describe China’s influence on culture, politics, and economics in Japan, Korea, and Southeast Asia.

12

Grade Activity

36

Page

7

Designing a Visitors Guide to Japan

28

7

Designing a Visitors Guide to Japan

28

7

Designing a Visitors Guide to Japan

28

8

Examining Taiko Drumming Crafting Myths Designing a Visitors Guide to Japan Crafting Myths

20 22 28 22

Examining Taiko Drumming Designing a Visitors Guide to Japan

20 28

8

8

47

SOCIAL STUDIES (CONTINUED) Standard Description SS10.8.14

SS10.HG.3 SS10.HG.4 SS10.HG.5 SS10.HG.6 SS10.HG.13 SS10.HG.14

SS10.WH.4

SS10.WH.11

SS10.WH.15

SS10.CWI.5

Describe key aspects of pre-Columbian cultures in the Americas including the Olmecs, Mayas, Aztecs, Incas, and North American tribes.

Identify the characteristics, distribution, and complexity of Earth’s cultural mosaics.

Describe elements of the landscape as a mirror of culture.

Compare the geographic distribution of linguistic features around the world.

Explain how religion influences cultures around the globe.

Critique music, art, and dance as vehicles for understanding world cultures.

Describe key aspects of pre-Columbian cultures in the Americas including the Olmecs, Mayas, Aztecs, Incas, and North American tribes.

Explain the relationship between physical geography and cultural development in India, Africa, Japan, and China in the early Global Age, including trade and travel, natural resources, and movement and isolation of peoples and ideas.

Describe the impact of European nationalism and Western imperialism as forces of global transformation, including the unification of Italy and Germany, the rise of Japan’s power in East Asia, economic roots of imperialism, imperialist ideology, colonialism and national rivalries, and United States’ imperialism.

Describe post-World War II realignment and reconstruction in Europe, Asia, and Latin America, including the end of colonial empires.

Analyze cultural elements, including language, art, music, literature, and belief systems, to determine how they facilitate global understanding or misunderstanding.

WORLD LANGUAGES Standard Description WL17.LAT. L1.6

48

Investigate and describe the most important Greco-Roman deities, including their characteristics, duties, and associated myths.

Grade Activity

Page

8

Comparing Japanese and Native American Drums

36

9–12 9–12

Crafting Myths Designing a Visitors Guide to Japan Designing a Visitors Guide to Japan

22 28 28

9–12

Designing a Visitors Guide to Japan

28

9–12

Designing a Visitors Guide to Japan

28

9–12

Designing a Visitors Guide to Japan

28

9–12

Designing a Visitors Guide to Japan

28

9–12

Examining Taiko Drumming Crafting Myths Designing a Visitors Guide to Japan

20 22 28

9–12

Designing a Visitors Guide to Japan

28

9–12

Designing a Visitors Guide to Japan

28

9–12

Designing a Visitors Guide to Japan

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Grade Activity 9–12

Crafting Myths

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Supplemental books The Smallest Samurai

by Fiona French Japanese God, Heroes and Mythology

by Tammy Gagne The Amazing Shark Man: A Tale from Japanese Mythology

by Ima C. Gonzalez I Am Tama, Lucky Cat: A Japanese Legend

by Wendy Henrichs The Crane Girl (picture book)

by Curtis Manley The Stone-Cutter (picture book)

by Gerald McDermott The Boy from the Dragon Palace

by Margaret Read McDonald The Tale of the Mandarin Ducks

by Katherine Patterson Japanese Children’s Favorite Stories: Anniversary Edition

by Florence Sakade Under the Cherry Blossom Tree: An Old Japanese Tale

by Allen Say The Boy of the Three-Year Nap

by Dianne Snyder Amaterasu: Return of the Sun (graphic style)

by Paul D. Storrie The Farmer and the Poor God: A Folktale from Japan

by Ruth Wells Japanese Myths, Legends and Folktales

by Yuri Yasu Wabi Sabi (picture book that also contains haiku)

by Ed Young

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Online resources If you would like to continue to learn and explore, here are some resources that might be helpful.

Japan: Arts & Culture – The Kennedy Center Education X https://www.kennedy-center.org/education/resourcesfor-educators/classroom-resources/media-andinteractives/media/international/japan-arts--culture/ Understanding the History Behind Native American Drums – Tachini Drums X https://tachinidrums.com/understanding-the-historybehind-native-american-drums/#:~:text=The%20 Drum’s%20Significance,religious%20ceremonies%20 and%20spiritual%20festivals.

Introduction to Japanese Taiko Drumming – Shango Percussion X https://shangopercussion.org/docs/TaikoWorkShop_ BasicsHandout.pdf Taiko Primer – Seattle Kokon Taiko X https://seattlekokontaiko.org/about/taiko-primer/

Credits All images featured in this performance study guide are wholly owned and copyrighted by their respective copyright holders and are used for educational purposes only. No copyright infringement is intended. The Gogue Performing Arts Center does not claim ownership of any images unless explicitly stated otherwise. If you have concerns about the use of any image included herein, please contact us immediately.

For a list of additional image sources and credits, please contact our Department of Communications and Marketing by telephone at 334.844.7234 or via email at jaosborne@auburn.edu.

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The Jay and Susie Gogue Performing Arts Center at Auburn University serves students and educators across the state of Alabama and beyond with its annual K–12 School Performance Series.

Abbie Gaston 4th Grade Creekside Elementary School Auburn City Schools

These high-quality and transformative arts experiences are further enriched with performance study guides that provide meaningful cross-curricular connections.

Cynthia Jackson ELA, Curriculum & Instruction W.F. Burns Middle School Chambers County Schools

Developed by our Department of Education and Engagement, in collaboration with the Gogue Center Curriculum Council, each performance study guide contains information about the featured performing artist(s) or company, the art form, and relevant, grade-appropriate lessons and activities designed to help incorporate academic and arts standards into the classroom.

Martin McKay Assistant Principal Headland Middle School Henry County Schools

Our sincerest thanks to the members of the 2024–25 Gogue Center Curriculum Council.

Amber Pickard Social Studies Lee-Scott Academy Alabama Independent School Association

2024–25 Gogue Center Curriculum Council

Josh Roberts Head of School Alabama Christian Academy Private School, Montgomery

Lacey Basgier Secondary Art Lee-Scott Academy Alabama Independent School Association

Ruth Marie Romero Pre–K Peter Crump Elementary School Montgomery Public Schools

Stacey Blakemore Secondary ELA Oak Mountain High School Shelby County Schools

Charlotte Ellison Williams Retired Educator/Administrator Dothan City Schools Henry County Schools

Brooke Braswell 2nd Grade Cary Woods Elementary School Auburn City Schools Euri Carr Arts Specialist Alabama State Council on the Arts State of Alabama Jennifer Dempsey Media Specialist Wrights Mill Elementary School Auburn City Schools

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2024–25 Season Sponsors

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cover photo: Takashi Okamoto 120624

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