KODO
TEACHER RESOURCE GUIDE 2010–2011
UMS 10-11
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SUPPORTERS
The Andrew W. Mellon Foundation University of Michigan Anonymous Arts at Michigan Arts Midwest’s Performing Arts Fund The Dan Cameron Family Foundation/Alan and Swanna Saltiel CFI Group
This Teacher Resource Guide is a product of the UMS Youth Education Program and is an adaptation of the original UMS Kodo Teacher Resource Guide developed in the 1998-1999 season by Michael Gould, Sue Ratcliffe, and Ben Johnson and then later adapted by Kristin Fontichiaro and Erin Dahl. UMS thanks Linda Grekin, Pam Reister, the University of Michigan Museum of Art, and Omari Rush for their feedback and support in developing this current adaption of the Kodo guide.
Community Foundation for Southeast Michigan Doris Duke Charitable Foundation Endowment Fund DTE Energy Foundation The Esperance Family Foundation David and Jo-Anna Featherman Forest Health Services David and Phyllis Herzig Endowment Fund JazzNet Endowment W.K. Kellogg Foundation John S. and James L. Knight Foundation Masco Corporation Foundation Michigan Council for Arts and Cultural Affairs THE MOSAIC FOUNDATION [of R. & P. Heydon] National Dance Project of the New England Foundation for the Arts National Endowment for the Arts Prudence and Amnon Rosenthal K-12 Education Endowment Fund PNC Bank Target TCF Bank UMS Advisory Committee University of Michigan Credit Union University of Michigan Health System U-M Office of the Senior Vice Provost for Academic Affairs U-M Office of the Vice President for Research Wallace Endowment Fund
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UMS 10-11
Cover Photo: Taro Nishita Title Page Photo: Buntaro Tanaka
KODO
Thursday, February 24, 2011 • 11AM - 12 NOON • Hill Auditorium TEACHER RESOURCE GUIDE 2010–2011 U M S Y outh E ducatio n P rogram
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TA B L E O F C O N T E N T S
Short on time? If you only have 15 minutes to review this guide, just read the sections in black in the Table of Contents. Those pages will provide the most important information about this performance.
Attending the YOUTH PERFORMANCE 6 Coming to the Show 8 Map + Directions 9 Hill Auditorium 10 Being an Audience Member ABOUT KODO 12 Kodo Overview 14 About Kodo 15 Kodo Village Concept 1985 16 Japan
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UMS 10-11
TAIKO DRUMMING 29 About Taiko Drumming 20 Building a Taiko Drum 22 Types of Taiko Drums 24 Clothing of a Taiko Drummer RESOURCES 27 National Standards 28 Curriculum Connections 31 Lesson Plans 32 Visual + Performing Arts 34 Literary + Performing Arts 36 Taiko Vocabulary 38 Additional Resources
ABOUT UMS 40 What is UMS? 41 Youth Education Program 42 Contacting UMS
AT T E N D I N G T H E YOUTH PERFORMANCE
UMS 10-11 Photo: Taro Nishita
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D E TA I L S
AT T E N D I N G T H E S H O W We want you to enjoy your time with UMS! PLEASE review the important information below about attending the Youth Performance:
TICKETS TICKETS We do not use paper tickets for
DOOR ENTRY A UMS Youth Performance
DURING THE PERFORMANCE At the
Youth Performances. We hold school reserva-
staff person will greet your group at your bus
start of the performance, the lights well
tions at the door and seat groups upon arrival.
as you unload and escort you on a sidewalk to
dim and an onstage UMS staff member will
your assigned entry doors of Hill Auditorium.
welcome you to the performance and provide important logistical information. If you have any questions, concerns, or complaints (for instance, about your comfort or the behavior
ARRIVAL TIME Please arrive at the Hill
USHER
of surrounding groups) please IMMEDIATELY report the situation to an usher or staff memer in the lobby.
Auditorium between 10:30-10:50am to allow you time to get seated and comfortable before
SEATING & USHERS When you arrive at
the show starts.
the front doors, tell the Head Usher at the door the name of your school group and he/ she will have ushers escort you to your block of seats. All UMS Youth Performance ushers
PERFORMANCE LENGTH One hour with
wear large, black laminated badges with their
no intermission
names in white letters.
DROP OFF Have buses, vans, or cars drop off students on East Washington, Thayer or North University streets based on the drop off assignment information you receive in the
AFTER THE PERFORMANCE When the
mail.If there is no space in the drop off zone,
performance ends, remain seated. A UMS
circle the block until space becomes available. Cars may park at curbside metered spots or in
BEFORE THE START Please allow the usher
staff member will come to the stage and
the visitor parking lot behind the power Center.
to seat individuals in your group in the order
release each group individually based on the
Buses should wait/park at Briarwood Mall.
that they arrive in the theater. Once everyone
location of your seats.
is seated you may then rearrange yourselves and escort students to the bathrooms before the performance starts. PLEASE spread the adults throughout the group of students.
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UMS 10-11
BUS PICK UP When your group is released,
SENDING FEEDBACK We LOVE feedback
ACCESSIBILITY The following services are
please exit the performance hall through the
from students, so after the performance please
available to audience members:
same door you entered. A UMS Youth Perfor-
send us any letters, artwork, or academic
• Courtesy wheelchairs
mance staff member will be outside to direct
papers that your students create in response
• Hearing Impaired Support Systems
you to your bus.
to the performance: UMS Youth Education
AAPS
Program, 881 N. University Ave., Ann Arbor,
PARKING There is handicapped parking
MI 48109-1011.
located in the South Thater parking structure. All accessible parking spaces (13) are located on the first floor. To access the spaces, drivers need to enter the structure using the
AAPS EDUCATORS You will likely not get
south (left) entrance lane. If the north (right)
on the bus you arrived on; a UMS staff mem-
entrance lane, the driver must drive up the
ber or AAPS Transportation Staf person will put you on the first available bus.
ramp and come back down one level to get
NO FOOD No Food or drink is allowed in the
to the parking spaces.
theater.
WHEELCHAIR ACCESSIBILITY Hill Auditorium is wheelchair accessible with ramps found on the east and west entrances, off South Thayer Street and Ingalls Mall. The au-
LOST STUDENTS A small army of volunteers staff Youth Performances and will be
PATIENCE Thank you in adavance for your
ready to help or direct lost and wandering
patience; in 20 minutes we aim to get 3,500
students.
people from buses into seats and will work as efficiently as possible to make that happen.
ditorium has 27 accessible seating locations on its main floor and 8 on the mezzanine level. Hearing impairment systems are also available.
BATHROOMS ADA compliant toilets are available near the Hill Auditorium box office (west side facing South Thayer).
LOST ITEMS If someone in your group loses an item at the performance, contact the UMS
ENTRY There will be ushers stationed at
Youth Education Program (umsyouth@umich.
all entrances to assist with door opening.
edu) to attempt to help recover the item.
Wheelchair, companion, or other special seating
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E . HURO N S T
S TAT E S T
RA C KHA M
P OWER
E. WAS HI NG T O N S T
PAL M E R DRI V E
ZONE C
WAS HT E NAW AV E NUE
F L E T CHE R S T
ZONE B
T HAY E R S T
E. LI B ER TY ST
PA R K
HIL L M AL L PARK I NG &
WI LLI A M ST
ZONE A N. UNI V E RS I T Y AV E NUE
CHURCH S T
MAP + DIRECTIONS This map, with driving directions to the Hill Auditorium, will be mailed to all attending educators three weeks before the performance.
MAP
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VENUE
HILL AUDITORIUM HILL AUDITORIUM was built by noted
In May, 2002, Hill Auditorium under-
and loading dock, and improvements to
architectural firm Kahn and Wilby.
went an 18-month, $38.6-million dollar
landscaping.
Completed in 1913, the renowned
renovation, updating the infrastructure
concert hall was inaugurated at the
and restoring much of the interior to its
Interior renovations included the
20th Ann Arbor May Festival, and has
original splendor. Exterior renovations
creation of additional restrooms, the
continued to be the site of thousands
included the reworking of brick paving
improvement of barrier-free circulation
of concerts, featuring everyone from
and stone retaining wall areas, restora-
by providing elevators and an addition
Leonard Bernstein and Cecilia Bartoli to
tion of the south entrance plaza, the
with ramps, the replacement of seating
Bob Marley and Jimmy Buffett.
reworking of the west barrier-free ramp
to increase patron comfort, introduction of barrier-free seating and stage access, the replacement of theatrical performance and audio-visual systems, and the complete replacement of mechanical and electrical infrastructure systems for heating, ventilation, and air conditioning. Re-opened in January, 2004, Hill Auditorium now seats 3,538. HILL AUDITORIUM 850 North University Ave Ann Arbor, MI 48109 Emergency Contact Number: (734) 764-2538 (Call this number to reach a UMS staff person or audience member at the performance.)
Photo: Mike Savitski
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D E TA I L S
BEING AN AUDIENCE MEMBER When preparing students for a
members from hearing. Often in large
on stage or whether they will miss
live performing arts event, it is impor-
rock concerts or in movie theaters,
something because of the sound and
tant to address the concept of “concert
the sound is turned up so loud that
movement you are making. Given this
etiquette.” Aside from helping prevent
you can talk and not disturb anyone’s
consideration, it’s often best to wait
disruptive behavior, a discussion of concert
listening experience. However, in other
until a pause in the performance (a
etiquette can also help students fully enjoy
concerts and live theater experiences,
pause of sound, movement, or energy)
the unique and exciting live performance
the sound is unamplified or just quite,
or to wait until the performer(s) bow to
experience. The following considerations
and the smallest noise could cause
the audience to share your enthusiasm
are listed to promote an ideal environment
your seat neighbor to miss an impor-
with them.
for all audience members.
tant line of dialogue or musical phrase.
Your Surroundings • Concert halls and performing arts venues are some of the most grand and beautiful buildings you might ever visit, so be sure to look around while you follow an usher to your group’s seats or once you are in your seat.
Movements or lights (from cell phones) may also distract your audience neighbors attention away from the stage, again, causing them to miss important action...and there’s no instant replay in live performance! • At a performance, you are sharing the physical components of the performance space with other audience
• UMS Ushers will be stationed through-
members. So, consider whether you
out the building and are identifiable
are sharing the arm rest and the leg
by their big black and white badges.
room in such a way that both you and
They are there to help you be as
your seat neighbors are comfortable.
comfortable as possible and if you have a question (about the perfor-
• As an audience member, you are
mance, about where to go, or about
also part of the performance. Any
what something is), please ask them,
enthusiasm you might have for the
and don’t feel shy, embarrassed, or
performance may make the perform-
hesitant in doing so.
ers perform better. So, if you like what you are seeing make sure they know it!
Sharing the Performance Hall
Maybe clap, hoot and holler, or stand
with Other Audience Members
up and cheer. However, when express-
• Consider whether any talking you do during the performance will prevent your seat neighbors or other audience
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UMS 10-11
• Out of respect for the performer(s), if you do not like some part of the performance, please do not boo or shout anything derogatory. Remember, a lot of hard work went in to creating the performance you are watching and it takes great courage for the performer to share his or her art with you. Share your Experience with Others • An important part of any performing arts experience is sharing it with others. This can include whispering to your seat neighbor during the performance, talking to your friends about what you liked and didn’t like on the bus back to school, or telling your family about the performance when you get home. More Information • For more specific details about coming
ing your own personal enjoyment of
to the concert (start time, bathroom
the performance, consider whether
locations, length), see pages 6-8 of this
your fellow audience members will be
guide.
able to see or hear what’s happening
ABOUT KODO
UMS 10-11 Photo: Taro Nishita
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OVERVIEW
KODO Who is Kodo?
Earth Celebration
In addition to Kodo and the major
Kodo was formed in 1981 by a com-
From their base on Sado Island, the
guests, the festival includes lectures and
munity of people who had come to Sado
“One Earth Tour” has taken Kodo all
workshops (which can range from how
Island in the Sea of Japan ten years ear-
over the world, during which they have
to make bamboo xylophones to local Ogi
lier to devote themselves to the study of
been steadily making friends among
Okesa dance), art exhibitions, and an
the taiko, the traditional Japanese drum.
percussionists and artists from many
all-comers fringe event modeled on the
Their objectives are not only the study
cultures. The idea of inviting the world’s
Edinburgh Festival.
and preservation of traditional Japanese
musicians back to the beautiful sur-
performing arts, but also the creation
roundings of Sado has progressed from
One Earth Tour
of new directions for what they believe
a dream to a reality.
Kodo has always called their tours the
are still vibrant living art-forms. They
“One Earth Tour,” an idea taken from
also place great emphasis on cultural
Together with the celebrations for the
the tradition that the sound of the village
exchange through joint-performances,
opening of Kodo Village in 1988, the
drum binds a community together. They
festivals and workshops, and pursue a
first “Earth Celebration” festival was
hope that in some small way they can the
continuing belief in the importance of
held in the town of Ogi, near the land
audiences around the world to feel that
contact with the natural world. 1981
that the group had finally found for its
they have something in common. They
marked the beginning of the continuous
long-dreamed of village. Driven by Kodo’s
also protest the continued research and
“One Earth Tour”, Kodo’s major vehicle
dedication to providing ways in which
production of nuclear weapons, which
for its performance activities.
the world’s cultures can learn more about
still threaten with instant destruction
each other, Earth Celebration is now firmly
the environment, peace, and life. Kodo
The meaning of “Kodo”
established as an international percussion
believes that art has an important role to
The Japanese characters for Kodo convey
and arts festival that takes place on Sado
play in communication. It can often make
two meanings. In the first intepretation it
Island every year. The central theme is
bridges where leaders and politicians
means “heartbeat,” the primal source of
always Tataku - to beat a rhythm.
cannot.
all rhythm. The sound of the great taiko is said to resemble a mother’s heartbeat
The performances in the natural outdoor
as felt in the womb, and it is no myth
theatre of Shiroyama Park have featured
that babies are often lulled asleep by
performers ranging from Africa’s exuber-
the sound of the mother’s heartbeat.
ant Drummers of Burundi, through Bali’s
Secondly, read in a different way, the
mysterious Suar Agung giant bamboo
word can mean “children of the drum,”
xylophone ensemble, to jazz-great Elvin
a reflection of Kodo’s desire to play their
Jones. In particular, Earth Celebration has
drums simply, with the heart of a child.
become identified with some extraordi-
This youthful willingness also lies behind
nary joint-performances and impromptu
Kodo’s success in experimenting with
sessions between performers who,
new musical forms and creating some
because of language barriers, are often
startling new fusions for taiko.
unable to speak to each other.
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UMS 10-11
UMS 10-11 Photo: Shinji Minami
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ABOUT
KODO Nature has always played a very
for demolition. It has now been extended
and females of any nationality between
strong role in Kodo’s lifestyle, training
and includes communal cooking and
the ages of eighteen and twenty-five.
and musical inspiration. All of the com-
dining areas as well as a library devoted
No special schooling, work experience
munity’s efforts over the last decade have
to world music and dance. Since then,
or musical training is a prerequisite for
been directed towards the gradual build-
a reception building (also a reassembled
admission.
ing of Kodo Village in a thickly-forested
farmhouse), a dormitory building, a stu-
area on the southern peninsula of Sado.
dio and rehearsal hall have been added.
The typical apprentice program is for the
It is here that the community of around
In addition to these main communal
first year to focus on General Curriculum.
40 people lives, trains and prepares for its
buildings, married members of the group
This includes flute, drumming, dancing,
worldwide tours. Since its inception, the
have been building family homes on sur-
singing, an introduction to traditional cul-
founders of Kodo have nurtured a dream
rounding land.
ture, the building up of physical strength
of establishing an artistic community in the wild surroundings of Sado.
and flexibility, and the experience of Looking to the future, Kodo envisions
communal living. Apprentices also begin
the village as being not just a home base
to work in farming and woodworking.
Amongst some of the most beauti-
for its touring activities but a center for
The second year of apprenticeship is
ful landscape in Japan, the island is a
a wider range of artistic activities, and
tailored to the individual’s aspirations and
treasure house of Japanese performing
an essential part of its plans to provide
abilities, focusing on more intensive taiko
arts with a living tradition of drum-
opportunities for artists of the world to
training and instruction, often learning
ming, dancing and theatre. Throughout
meet and understand each other.
pieces from Kodo’s repertoire. After two
Japanese history, the island has also been
years, an apprentice who is deemed
a home for exiles, from political prisoners
Apprenticeship
worthy to continue becomes a junior
and convicts to the founder of the Noh
Although Kodo is sustained by a core of
member.
theatre (Japan’s Classical Opera Theatre),
longtime members, new members are
and it was here that Kodo created a ha-
needed to replace those who choose to
Junior members learn several Kodo
ven where Japan’s traditional arts could
leave the group. In 1985, an apprentice-
pieces and may tour and perform with
not just be preserved, but kept alive and
ship program was established to train
the large group for one year. At the end
developing.
the next generation of Kodo performers.
of their junior year, junior members may
The program used to only be available
be asked to join as full performing mem-
After more than a decade of living in a
to those that intended to join Kodo, but
bers of Kodo. This intensive internship
converted schoolhouse, the group finally
as of April 1998 the apprenticeship has
is designed to allow apprentices to be
obtained 25 acres of thickly-forested
been opened to anyone up to 25 years
judged not only on their musical ability
land on the Ogi peninsula in the south-
old, and the program has extended from
but on their personal integrity. Members
ern part of the island, and in 1988 the
one year to two years. Kodo chose to
of Kodo are chosen for their high levels
opening ceremony of the village was
make this change because they believe
of musicianship as well as strong moral
held. In keeping with Kodo’s dedication
that the same principles that go towards
character.
to preserving traditional arts, the first
making a Kodo performer also apply to
structure, the main office building, was
helping someone prepare to become
reassembled from the timbers of a 200
a positive member of the society at
year-old farmhouse that was scheduled
large. Apprenticeship is open to males
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EXCERPT
K odo V illage C oncept 1 9 8 5
O
riginally mankind was part of nature, breathed with nature, lived together with her. Since we settled on Sado Island, nature’s voices—the songs of birds and insects in the fields, the whisper of the trees in the wind, the sound of the waves breaking on the rocks—have seeped
inside us, unseen. They have become the starting point for our creativity. We remain with Sado as the base for our lives because there is space for both nature and us to live together. As our roots penetrated deeper into this soil, the plan for Kodo Village came about as a place where we might think and act on a global level. Our activities will be based on 3 concepts: Living, Learning and Creating. In the process of studying and creating we will discover our potential. While planning a life filled with richness, we will be creating not only our own lifestyles, but also a permanent place for those who follow. The 3 concepts are an expression of the internal energy of a life lived ‘humanistically.’ You could also call it the heartbeat of humanity or the heartbeat of the universe. While acknowledging that energy in each other we will build this village together. That is the bedrock upon which it will stand. As we turn our gaze beyond borders, as one member of the community of Earth, as citizens of the globe, we will interact with other members of our world. We want to help create a world in which people recognize and accept one another’s lifestyles and cultures. As far as possible, we want to create a self-supporting and unique culture. A place where people of all cultures can interact surrounded by nature’s beauty and bounty. A public square where something is always being born. It will be a magnetic field which embraces contradictions, where opposites attract; settling down/ going on the road, the city/the country, romance/reality. A magnet for that permanent energy born from the internal struggle. This is the village we want and work for. If more tiny villages like this were made around the world perhaps a Union of World Villages might appear, reaching over the walls of nationhood. A world like this would be so much more fun. —The roots of the Kodo village can be found in a essay called ‘The Kodo Village Concept’, written by Hancho (Toshio Kawauchi, 1950-87). In the on-going process of creating Kodo Village, its members pursue the dream of Living, Learning and Creating, as first outlined in this document.
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HOME
J A PA N Since 1988 Kodo Drummers have lived together in Kodo Village on the Ogi Penisula of Sado Island, Japan.
About Sado Island From the early 17th century, when one of the world’s richest gold mines was discovered, Sado Island served as a keystone in Japan’s economy and a vital stopover for the Kitamae ships that plied Japan’s coast stretching from Osaka to Hokkaido. These ships brought not only trade but a lively cultural infusion. 260 kilometres in circumference, Sado lies at the junction of warm currents from the south and cold from the north, making it both culturally and climatically like a microcosm of Japan as a whole. Sado, a place of banishment, has a com-
MAP OF EAST ASIA
pelling history full of controversial Japanese figures, such as Zeami—the founder of noh, Japan’s most sophisticated theat-
the noh repertoire as they work their
Japanese home of the severely endan-
rical tradition. Sado’s status as a fife run
fields. Together with its three genres of
gered Japanese Crested Ibis (Nipponia
directly by the national government also
puppet theatre and a wealth of festi-
Nippon). The residents of Sado treasure
gave islanders the wherewithal to indulge
vals held throughout the year, Sado has
the rich cultural and natural beauty of
themselves in the arts, as evident by the
been referred to as a ‘floating treasure
their island, and are grateful for the im-
over thirty noh theatres dotted across the
chest’ of traditional culture. Sado is not
mense contribution it makes to their own
island, and by the not uncommon occur-
only blessed with lush mountain scenery
creativity.
rence of farmers humming refrains from
and the encircling sea, it is also the last
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UMS 10-11
Japan: Quick Facts Capital: Tokyo Population: 126,804,433 Language: Japanese Currency/Money: Yen Size: The country of Japan is 377,915 sq km, slightly smaller than the state of California Flag: The red dot in the middle of the white Japanese flag represents the sun without rays
JAPAN
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TA I K O D R U M M I N G
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UMS 10-11
Photo: Shizuka Minami
ABOUT
TA I K O D R U M M I N G
Photo: Taro Nishita
The roots of taiko come from a long and diverse history of religion and war. In Japan, a large portion of the drums that are found within contemporary taiko ensembles have their roots established in Buddhism, Shinto, and Zen religious services. They believed the sound of the drum was the voice of Buddha. Shintoists believe that drums have a Kami (spirit). In Shinto, when one uses a drum, one has the ability to talk to the spirits of animals, water, and fire. Another example of taiko in religious ceremony is the uchiwa daiko, which helps monks and the congregation keep time while chanting. However, the uchiwa is not only found inside temples, it is often played during festivals by monks marching down the streets. Taiko has also taken part in Japan’s feudal reign and the contemporaneous battles. A 16th century legend exists in which the Emperor Keitai brings a large drum from China to raise the morale of his troops and frighten hostile enemies from his castle in the town of Mikuni. The emperor called his drum Senjin Daiko or “front drum¹”. Another myth reveals that taiko drums were used to delineate town borders by how far the drums sound traveled. With the many myths, outside influences, and vast history of taiko and its associated genres, it is very difficult to pinpoint its evolution and musical influences. It is only within the last 70 years that taiko has come out of its traditional setting and become its own ensemble. Today’s taiko bands blend the music of many cultures giving new life to this very old and traditional music. Many people are familiar with Japan’s premiere taiko band, the Kodo Drummers of Japan which are the focus of this packet, however, there are thousands of small town taiko bands in Japan that bring people together to experience the joys of their rich culture. In conjunction with town bands, there are also pre-school and day care bands that teach and perform taiko. It seems nowhere else on the planet can one find so many people and government branches involved in playing and supporting percussion. 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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19
INSTRUMENTS
B U I L D I N G A TA I K O D R U M - by Michael Udow, U-M Professor of Percussion
I had the unique opportunity to talk
this point in the process that most taiko
the head in rice bran also produces the
with Yukihiro Umetsu, the president of
manufacturers receive their shells.
same effect of loosening the hair from
Umetsu Daiko, a famous taiko manu-
the hide. After removing the hair, the
facturer, to learn about his company’s
Once a shell has been delivered, prepara-
head must sit and dry for one year. Once
process and the unique history of taiko
tions begin for final shaping of the inside
dried, the head is cut to a size and thick-
manufacturing. The company, located in
and outside of the drum. The first step
ness appropriate to the style of drum and its
Hakata in Fukuoka Prefecture, has been
on the inside is to chisel out the bearing
use. For example, a drum used indoors in a
making drums since 1821. Mr. Umestsu
edge. This is done with a deep-grooved
temple can have a much thinner head than
is the seventh generation of drum mak-
chisel. Once both sides are complete, the
one used by a taiko ensemble in an outdoor
ers in his family. After much coaxing he
inside is sanded smooth, except for below
performance. The skin has loops added in
revealed some details of how his com-
each of the bearing edges. The bear-
the final preparation for mounting the head
pany constructs taiko drums. Since most
ing edge remains the thickest part of
on the drum.
taiko manufacturers receive their drum
the drum to keep the integrity of the
shells rough cut, they are responsible for
shell’s shape
finishing the drum. This process will be
Fitting the Head To make the head more pliant to fit over
explained chronologically in three parts:
Once the inside has been finished, the
the shell, the head is soaked in water.
shell construction, head treatment, and
outside of the drum is sanded for stain-
At Umetsu Daiko, the smaller drums are
final assembly.
ing (see figure 2). Using several grades
soaked in a tub. For larger sized skins,
of sandpaper, an electric sander finishes
the water is poured directly on to the
Shell Construction
the outside. After this is completed the
head to make it more malleable (see fig-
The shell is the most difficult and time-
handles are nailed on to the drum. With
ure 3). After the head has been placed on
consuming process in the manufactur-
heavier drums, the handles are more dec-
the shell, metal rods are placed through
ing of a taiko. After an order has been
orative than functional. After the handles
each of the loops of the head. The rope
placed, Umetsu Daiko calls their lumber
are in place, preparations for placing the
that is used to tighten down the head is
supplier to find the appropriate diameter
head on the shell begin.
held in place by the rods. With the metal
log. After the tree has fallen, it must sit
rods in position, the drum is moved to a
for one and a half years to dry. After the
Head Preparation
appropriate time, the tree (log) is cut
The first step in making a taiko head is to
to the proper length for the drum. The
remove the hair from the animal skin that
The hydraulic table consists of a grid
rough shape of the drum is then made
will be stretched over the drum shell’s
of timbers on which a platform with
using a machine, or by chiseling it out
opening. This is done by soaking the hide
hydraulic jacks is placed. Each rope com-
by hand, depending on the size of drum
in a river or stream for one month. The
ing down from the head forms a loop
and the supplier (see figure 1). A good
winter months are more conducive to
that is placed under its respective timber.
craftsman can chisel two or three rough
hair removal because of the colder water
Hydraulic jacks are used to provide ten-
shells out per day. The shell must then
temperatures. The process of soaking
sion to stretch the heads (see figure 4).
sit for three years to completely dry! It is
the head is called kanzurashi. Soaking
Once stretched, small lengths of bamboo
20
UMS 10-11
hydraulic table for tightening.
are twisted through each of the ropes
After the head has been tacked down
to even out the tension around the
the excess hide is removed. This is done
Figure 1 The inside of the bearing
drum. When this is complete it is left to
using a scoring tool around the circum-
edge is chiseled out with a deep-
dry. The sound is checked and adjusted
ference of the drum. Once scored, a
grooved chisel / Figure 2 The outside
up or down in pitch with the press and
larger knife is used to cut off the excess
of the drum is sanded for staining, /
bamboo pieces. After the head has dried,
skin. The drum is now ready to be
Figure 3 Water is poured directly on
a measuring tool marks off where each
stained.
the head of the drum to make the skin more malleble. / Figure 4 Hydraulic
of the tacks is to be placed on the head. This tool is similar to a compass with
The staining process is the last step (see
jacks are used to stretch the head of
sharp points on both ends. This leaves
figure 6). Once the first coat of stain
the drum on to its shell. / Figure 5
a small guide hole. These tacks aid in
is used, a light coat of fine sawdust is
Tacks are placed in the head to keep
keeping the head in place and taut. A
applied as a buffer to give the drum a
it in place and taught. / Figure 6 The
medium sized drum has around 300
high luster.
final step is staining the outside of the
tacks per side (see figure 5).
drum
UMS 10-11
21
INSTRUMENTS
T Y P E S O F TA I K O D R U M S There are many myths and legends in taiko, especially given its long history. This is an interesting story heard in Kawada Taiko’s factory in Japan in 1997. “While touring the workshop, we got into a conversation regarding old taiko and their repair. We went over to look at a very old taiko, probably from the “Edo” period. It was a very large drum that needed to be re-skinned. I noticed that the tacks (“byou”) looked very old, and were slightly rusted. I asked Mr. Kawada if people generally wanted the tacks replaced, or if they wanted to re-use the old ones. Mr. Kawada replied for very old taiko, everyone insisted on re-using the old tacks. He said that it is commonly believed that old tacks were made from the metal of samurai swords that the Tokugawa Shogunate ordered destroyed during the “Edo” period. Therefore it is believed the metal is superior, and has a special spirit – the samurai’s spirit.”
Nagadou-daiko
Odaiko
Hira-daiko
The nagado-daiko (long-bodied taiko)
Odaiko literally means “big fat drum”
The hira-daiko tends to be a small drum,
is by far the most popular taiko used in
and can refer to any large taiko drum.
but they can reach extremely large
the modern kumi-daiko style of playing.
However, the term is usually reserved
proportions as well. The big versions are
They are also very common in festivals
for nagado-daiko that have a head
popular among many taiko groups who
and in temples and shrines (where they
over three feet in diameter. Odaiko are
can buy an odaiko sized hira-daiko for
are often called miya-daiko). They have
typically placed on a stand and played
much less than an equivalent nagado-
a characteristically deep, reverberant
horizontally, often by two people at
daiko. Smaller hira-daiko are not used
sound. These drums are often called by
once. Typically, one player will beat out a
much in the kumi-daiko style of play-
their size: josuke is the most common
basic rhythm while the second player so-
ing, but have a place as an orchestral
size, chu-daiko translates as “medium
los. Odaiko can reach huge proportions,
instrument, used in Hayashi music. They
drum,” and odaiko (big fat drum) ranges
sometimes weighing in at over three tons
have a boomy, reverberant sound like the
from 3 shaku on up to 6 shaku or more.
and spanning over six feet in diameter.
nagado-daiko, but it decays much faster
(Shaku a traditional unit of measure used
These Mammoth Odaiko are often built
due to the shallow body.
throughout Asia.) There are many styles
for shrines or temples, and they can cost
of playing this taiko, with a wonderful
hundreds of thousands of dollars.
selection of different stands that hold the nagado-daiko in various positions.
22
UMS 10-11
Shime-daiko
Uchiwa Daiko
Shime-daiko used for classical Japanese
The Uchiwa Daiko are paddle drums used
music such as Noh, Kabuki and Na-
to keep time during Buddhist chants.
gauta are sometimes just called taiko or
These drums are also used by monks in
wadaiko, and have relatively lightweight
parades and festivals.
bodies and thin heads, often with a circular patch of deer skin in the middle of the head. Shime-daiko used for folk music and kumi-daiko (left) are called tsukeshime-daiko; they are much heavier, have thicker skin, and are capable of being stretched to create very high pitches. In taiko groups, the shime is often used to keep the basic rhythm and establish time, but they are a versatile solo instru-
Daibyooshi Daiko
ment as well.
Daibyooshi Daiko are used in the contemporary taiko ensembles, temples, and in folk music. They are played with thinner sticks and sometimes played while slung over the right shoulder.
Oke Do-daiko The oke-daiko, or okedo, is made with a stave construction - it is not carved from a single piece of wood as the nagadodaiko is. They tend to be larger than a typical nagado-daiko, often around six
Kotsuzumi
feet in length and three feet in diameter.
An hourglass shaped drum with two
They are usually played horizontally,
heads. It contains two sets of ropes
raised up on a high stand. There are also
to hold the head in place. One set of
short bodied styles which are becom-
ropes holds the head on the shell while
ming increasingly popular. They have a
the other encircles the tension ropes to
loud, flat, booming sound, and are often
change the pitch of the drum.
played with slats of bamboo which produces a sharp, slapping sound.
UMS 10-11
23
ABOUT
CLOTHING OF A TA I K O D R U M M E R Taiko drummers wear specific and specialized clothing when performing.
Hachimaki (headband)
Bachi (Sticks)
Happi (Short, Kimono-like costume)
Obi (sash or belt)
Momohiki (tight-like pants)
Tabi (split toed socks)
Photo: Taro Nishita
Happi, or Hanten—the colorful “short
Tabi - shoes worn by taiko players. They
Obi - the belt that holds a kimono or
coats” that are usually worn with an obi
are similar to high-top “kung fu” shoes,
happi coat
(belt). Often the happi bears the name
but the big toe is separated, like the
and logo (called “mon”) of the taiko
thumb of a mitten.
Fundoshi* - the cloth that is wrapped around a man’s legs and waist (similar to
group. Momohiki - the pants often worn by
small jockey pants), and worn when play-
Haragake - originally used as a carpen-
taiko players. They are like long under
ing the O-daiko or Okedo.
ter’s apron. Haragake look like aprons:
pants, or tights, but tie around the waist.
they cover the chest and stomach and have straps that criss-cross over the
Hachimaki - the head band worn by
shoulders (not shown).
many taiko players (and sushi-ya).
24
UMS 10-11
*A special note about 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) require the performers 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 okedo drums. This leaves a 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 okedo 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.
Photo: Taro Nishita
UMS 10-11
25
RESOURCES
26
UMS 10-11
Photo: Taro Nishita
ENGAGE
N ational S tandards The following are national standards addressed through this Youth Performance and through the ideas in the following curriculum connections.
Mathematics
Social Sciences
ENGLISH LANGUAGE ARTS
Measurement Pre- K – 2
Geography K-12
English Language Arts K-12
NM-MEA.PK-2.1 Understand Measurable
NSS-G.K-12.1 The World in Spatial Terms
NL-ENG.K-12.6 Applying Knowledge
NSS-G.K-12.2 Places and Regions
NL-ENG.K-12.8 Developing Research Skills
Attributes of Objects and the Units, Systems and Processes of Measurement NM-MEA.PK-2.2 Apply Appropriate Techniques, Tools and Formulas to Determine Measurements. Measurement 3-5
Economics K-4 NSS-EC.K-4.1 Productive Resources
MUSIC
Economics 5-8
Music K-4
NSS-EC.5-8.1 Productive Resources
NA-M.K-4.6 Listening To, Analyzing and Describing Music
NM-MEA.3-5.1 Understand Measurable Attributes of Objects and the Units, Systems and Processes of Measurement. NM-MEA.3-5.2 Apply Appropriate Techniques, Tools and Formulas to Determine Measurements. Numbered Operations Pre-K-2 NM-NUM.PK-2.3 Compute Fluently and Make Reasonable Estimates. Numbered Operations 3-5 NM-NUM.3-5.3 Compute Fluently and
NA-M.K-4.7 Evaluating Music and Music
SCIENCE Science K-4 NS.K-4.6 Personal and Social Perspectives Science 5-8 NS.5-8.6 Personal and Social Perspectives
Performance NA-M.K-4.9 Understanding Music in Relation to History and Culture Music 5-8 NA-M.5-8.6 Listening To, Analyzing and Describing Music NA-M.5-8.7 Evaluating Music and Music Performance NA-M.5-8.9 Understanding Music in Relation to History and Culture
Make Reasonable Estimates.
UMS 10-11
27
ENGAGE
C urriculum C onnections The UMS Youth Performance by Kodo gives students the chance to explore the music, geography, history, communities, and cultures of Japan. To help connect these performances to classroom curriculum, pick one of these concepts and activities or create an entire interdisciplinary curriculum with these as a base.
Drums The word, “Taiko “is often used to mean a Japanese drum performance, but the word actually refers to taiko drums themselves. There are many kinds of taiko drums. They are different sizes and different shapes, but they are all hit with a stick called a bachi. The biggest drums are put on a stand and played horizontally, often by two people at once. Measurement Taiko are measured by the size of the diameter of the drum’s head. Before attending the performance of Kodo, talk to your class about the different kinds of drums used in Japanese music perfor-
Photo: Buntaro Tanaka
mance. You can find pictures of them by
with the name of the object and its
ments used in the Kodo performance.
googling taiko drums. Introduce the term
diameter. Do some comparisons or some
After the performance talk about how
diameter and define it. Some of the taiko
graphs.
those instruments made sounds.
feet in diameter and some weigh over
Sound
Conservation and Scarcity
three tons and span six feet in diameter.
The sound of a drum is made by the
Byou-daiko are drums that have bodies
These drums are often built for shrines or
vibration of the drum’s membrane or
that are carved from a single log. This
temples. Give students measuring tapes
head. How do other instruments make
means that a large tree that has grown
and have them measure the diameter of
a sound? What vibrates? Have students
for a minimum of two hundred years is
some things in your classroom or school.
name as many instruments as they can.
needed. What does this have to do with
They can also measure some objects they
List these on the board. Talk about the
environmental and economic issues?
have at home and bring the measure-
different ways instruments make their
Discuss the scarcity of old growth forests
ments to school. Show them how big a
sounds. Strings vibrate, reeds vibrate, lips
which has driven prices up and made
drum that is six feet in diameter would
vibrate, membranes vibrate, etc. Cat-
these drums very expensive. Ask students
be. Is there anything they measured that
egorize the instruments according to the
if they have any ideas about how to fix
is that big or bigger in diameter? Make
way in which they make their sound. Tell
these problems. Remind them that the
a chart of the things students measure
students to look at the type of instru-
drums are expected to look beautiful
drums have a head that is over three
28
UMS 10-11
Japan's Flag
and to sound good. Tell them, then, that
“adjective.” List some adjectives. Tell
like these? What information is usually
taiko makers are looking for other ways
students that they will be attending a
included in the first paragraph? Tell stu-
to make their drums. Some of them
performance of Japanese drumming. Ask
dents to write a newspaper article about
laminate several pieces of wood together
them to predict which adjectives might
the Kodo performance.
to save wood and lower prices.
describe the performance. After the performance either together as a class,
Comparisons and
Language/Word Meanings
individually or in pairs have students
the Research Paper
Before the performance tell your students
come up with specific adjectives they
If you are introducing the research paper
that the word, “Kodo” has two mean-
think describe the performance they just
to your students, an interesting topic to
ings, heartbeat and children of the drum.
saw. Use the adjectives students suggest
assign would be a comparison of the use
Ask them how many English words they
to write a class listing poem about the
of the drum by the Japanese, the Native
can think of that have two meanings.
performance or have students write their
Americans and the Africans. This general
As examples you might give them the
own poem titled “Kodo” using adjectives
topic, of course, can be made more
word left. Make a list of those words.
to describe the performance.
specific. Resources can be found on the
Tell students to choose two of the words
internet and in print.
and create a sentence using both their
Writing and Newspaper Articles
meanings. An example would be, “The
The newspaper, either in print or online,
Japan - Location
boy turned to his left and then left the
can make a great learning tool. Give
In preparation for the Kodo performance
room.” This can be difficult.
students several articles describing and/
talk about Japan. Bring out a map and
or critiquing a music performance. What
have students locate Japan. What coun-
Adjectives and Poetry
types of things does the writer point out?
tries is it near? How many miles is it from
Introduce or review the meaning of
What are the characteristics of articles
the United States? Is it further than England? France? Argentina? South Africa? UMS 10-11
29
How would you get there? What countries
Capital Cities –
Borders –
would you have to fly over? Would you
Washington and Tokyo
Function and Need
have to cross any oceans? Which ones?
What function does the capital of a
Japanese villages had their own taiko
country have? What is the capital of
drum. It is said that the furthest point at
Japan - Island
Japan? Where is it located? What is our
which the village taiko could be heard
Japan is an island. Define island. How is
capital? Where is it located? How do the
marked the edge of the village. So the
an island different from a peninsula? Ask
two capitals compare in size? In popula-
drums were used to delineate the village
students if they can name any other is-
tion? In climate? What buildings can be
borders. Ask students to define a border
lands. Are there any islands in the United
found in a capital city? This is a great
as it refers to geography. How do we
States? What island can they name in
time to look at Washington, D.C. and
delineate borders? How do we decide
Michigan? Ask students how living on
talk about the buildings, monuments
where one city ends and another begins?
an island might make their life different
and museums you can find in our capital.
Are these borders marked anywhere?
from the lives of people who don’t live
Students might do reports or brochures
What part do surveyors play in marking
on islands. Discuss food, transportation,
about what to see and do in our capital
borders?
imports and exports, recreation.
and in Tokyo. Do borders keep people in or keep
Japan - Flag
Music – Its Function
people out or both? Why are borders
Show a picture of the Japanese flag. The
in a Community
necessary? Can anyone cross a border
Japanese flag is a white banner with a red
Taiko drumming has been a part of the
from one country to another? What do
circle in the middle. The circle represents
Japanese culture for many centuries.
you need to do that? Why can’t you just
the sun. The flag is called Hinomaru,
Taiko drums are played at shrines and in
walk across? Do different countries have
which means circle of the sun. This flag
temples for religious festivals and cere-
different rules about borders? Examples?
has been used for over 1000 years and
monies. They are used for entertainment
Now is the time to talk about citizens,
was officially adopted as the flag of Impe-
and they used to have a part in warfare,
green cards, immigration, legal and illegal
rial Japan on January 27, 1870. No one
making sounds big enough to scare away
immigration, deportation.
knows who designed it or when it was
the enemy. The drum is a ritual tool in
designed. Compare the Japanese flag
Japan played whenever a community
with the flag of The United States. Who
needed to come together. How do we, in
designed our flag? When was it done?
the United States, use music? In the same
When was it first used? Do the stars and
ways? What kind of music and which
stripes have a special meaning? Has the
instruments do we use in religious cer-
flag ever been changed in any way?
emonies? For national celebrations? Did we ever use drums and music in warfare?
Show students pictures of some of the
Do we still?
flags of countries around the world. Talk about the meaning of the colors and
The Japanese played the drum to bring
symbols of those flags. You could also as-
a community together. At what times
sign a country to each student and have
do communities in our country “come
them look up the flag of the country and
together?” During times of fear and war-
describe it to the class. Tell students to
fare? During celebrations? To help people
imagine that they are citizens of a new
or communities in trouble? What does
country. Tell them to briefly write a para-
“coming together” really mean? What
graph or two describing their country. Tell
are some of the smaller communities that
them to design a flag for their country
make up the large national community?
and then write a paragraph describing
What brings them together? Emotion?
the meaning of the colors and symbols
Speeches? Competition? Shared need?
they used. This can be done individually
Does music help? How?
or in pairs.
30
UMS 10-11
ENGAGE
LESSON PLANS Artsedge.org offers a wide range of arts-infused lesson plans and materials for educators to use. Below are a few that relate to this Youth Performance.
Giving Voice to History http://artsedge.kennedy-center.org/educators/lessons/grade-6-8/Giving_Voice_to_History.aspx In this lesson, students will come to understand a somber period in American history. During World War II, the U.S. government ordered more than 120,000 Japanese Americans to detainment camps - the only reason given: being Japanese American. Drawing upon research and analyzing a variety of sources—including the historical novel The Journal of Ben Uchida, firsthand accounts, government documents, and select portions of the Bill of Rights to the U.S. Constitution—students will write dramatic monologues that testify to some of the injustices of this period. Gyotaku Japanese Fish Painting http://artsedge.kennedy-center.org/educators/lessons/grade-5/Gyotaku_Japanese_Fish_Painting.aspx By acquiring knowledge of historical and cultural qualities unique to this particular art form, students can gain an understanding of how Gyotaku reflects a part of Japanese history. Students will select a fish, prepare it, ink it, apply the paper or fabric, and complete the fish print for display. During this process they will also examine the fish and learn the correct names and uses of the external anatomical parts of the fish. Japanese Woodblock Prints http://artsedge.kennedy-center.org/educators/lessons/grade-9-12/Japanese_Woodblock_Print.aspx This lesson explores the history and evolution of the Japanese woodblock print. Students will study the Ukiyo-e from its early beginnings to its height in the late 1800s. Students will also learn about the techniques and development of this process, view prints from the time period, and create their own Ukiyo-e prints. You Too Can Haiku http://artsedge.kennedy-center.org/educators/lessons/grade-3-4/You_too_can_Haiku.aspx This lesson will introduce students to the Japanese poetic form haiku. Students will briefly examine the geography of Japan and Japanese culture through examples of Asian art and music. After learning about and listening to some examples of haiku, they will write their own haiku. Lastly, students will illustrate and “publish” their finished poems in the style of a Japanese scroll using rice paper, ink, and watercolor.
UMS 10-11
31
CONNECTIONS
V isual + P erforming A rts The following artwork is part of the University of Michigan Museum of Art Collection.
Look at the images on pages 29 and 30 and consider the following: How do these two images reflect your perception of Kodo or Japanese culture? If you wrote or could pick a piece of music to represent each of these images, what kind of music would it be? Why? How are these two images similar? How are they different? How do these two images physically represent music? What are three words you would use to describe each image? How do these three words relate to what you know about Kodo or Japanese culture? What material (mode) are these images made out of? How does that affect how they appear and what they represent?
Japan, Artist unknown Otsu-e: The Thunder God Fishing for His Drum 20th century Ink and color on paper Gift of Dr. and Mrs. J.E. Val-Mejias, M.D., 1987/1.368
32
UMS 10-11
Sam Mackey (American, 1897-1992) Untitled 20th century Crayon, ink and graphite on paper Gift of the Daniel and Harriet Fusfeld Folk Art Collection, 2002/1.205
UMS 10-11
33
CONNECTIONS
L iterary + P erforming A rts Framing Question: How does this Japanese tale related to the Kodo drummers or their performance? Tiny Finger: A Japanese Tale
the Sun Goddess. Accepting this blessing,
And again Tiny Finger asked, “Will you
Many, many years ago, an honest man
they named the baby Issunboshi, which in
give me a wooden bowl and a chopstick?
and his wife lived together in a small
English means “tiny finger.”
I must go up the river to get to Kyoto.
village in the southern part of Japan.
I will use the bowl for a boat and the
This couple lived happily together, and
Though the little boy was tiny, Kenta and
chopstick for an oar.” So Kenta hurried
even when they were tired from the
Mori loved him very much. And though
to the kitchen and returned with a small
day’s work, they cheered each other with
Tiny Finger grew older and stronger, he
rice bowl and a chopstick.
the news of the day. Kenta, the man,
remained just as small as he was when
would tell his wife what had happened
he was born. Mori and Kenta often went
The day for his departure arrived, and
in the village that day, and Mori, his wife,
to the temple to ask the Sun Goddess to
Tiny Finger said good-bye to his par-
would tell him the latest gossip.
protect their little son.
ents. As Tiny Finger rowed away from the shore of the river Yodo, his parents
Although they were poor, Kenta and Mori
Even though he was small, Tiny Finger
watched with sad eyes. They waved to
were happy. Their happiness was not com-
was a brave and strong boy. One day he
him, and soon the little boy and the tiny
plete, however, for they had no son to
said to his parents in his thin and lovely
boat were out of sight. In the river Yodo,
carry on the family name. Each morning
voice, “Dear Father and Mother, thank
the little wooden boat bobbed up and
the old couple would pray that the Sun
you very much for your love during my
down like a cork. But Tiny Finger was a
Goddess would bless them with a son of
boyhood, but the time has come now,
strong boy, and, using all his strength,
their own. Kenta and Mori wished for a
and I am of age. I wish to go to the great
he rowed with the chopstick. It was a
son so badly that one day while praying
capital of Kyoto where the emperor lives.
dangerous trip for such a small boat, and
they said, “We would be happy even
There I wish to serve the emperor and
the oar seemed so heavy, even though
if our son was just as small as our little
become a brave warrior in his house-
it was only a chopstick. Sometimes the
fingers. If you give us a child, we will do
hold.” Kenta and Mori were a little sur-
wind blew, and the large waves almost
anything in return for your kindness.”
prised, but they realized their son was old
wrecked the little boat. Sometimes large
enough to go out into the world. Still, it
fish appeared from the blue waves and
Many months passed, but still no child
was difficult for them to let him go, for
attacked the strange little traveler in his
was born. At last, when they had almost
he was so small and looked so helpless.
small, funny craft. However, Tiny Finger
given up hope, Mori surprised her hus-
However, there was nothing that would
did not lose courage, and he rowed for
band by telling him that soon they would
satisfy Tiny Finger except to go to the
many days and nights, keeping his boat
have a child. Their delight was beyond
emperor and seek to enter his service.
skimming over the water.
to the village shrine and thanked the Sun
After his mother and father gave permis-
After a long and hard voyage, Tiny Finger
Goddess for this blessing.
sion for the trip, Tiny Finger asked them,
reached Kyoto. At last he had arrived
“Since I am going out into the world, will
where he longed to be—in the city
But when the day of the baby’s birth
you give me a needle? From the needle, I
where the emperor lived. Full of delight
arrived, everyone was astonished and
can make a sword. If I am to be a warrior,
and feeling extremely brave, Tiny Finger
puzzled to see that the child was no larger
I must have a weapon to protect and
went into the city of Kyoto. Everything
than the little finger of a human hand.
defend myself.” So old Mori took a large,
was strange to the little country boy, for
Nevertheless, Kenta and Mori were happy,
sharp needle from her sewing box and
he had never before been in a large city
and they remembered their promise to
attached it to the vest of her little son.
—or, for that matter, in any city at all.
description! Immediately Kenta hurried
34
UMS 10-11
Tiny Finger just gazed in wonderment at
the bravery of the little visitor. “You shall
trembling under a tree while Tiny Finger
the sights. On the main street, long lines
be a soldier,” he said. “Come and meet
fought with the bandit, now approached
of warriors marched one after another in
my young daughter. I think I will make
him with delight and appreciation.
wide ranks. On one side of the street rode
you her personal guard.”
an armored warrior lord on a splendid
To her small protector she said, “Thank
white horse. And on the other side of the
Life in the castle with the princess was
you for battling that wicked bandit. You
street was a wonderful golden carriage,
a wonderful experience for Tiny Finger.
have saved my life. If it weren’t for you,
perhaps belonging to a princess. The
The princess grew to love her finger-
the bandit would certainly have carried
brilliancy and noise of this splendid city
high guard, and he accompanied her
me away into the forest and he would
overwhelmed Tiny Finger, and his heart
wherever she went. One day the princess
have made my father pay a large ransom
beat fast with excitement. He grasped his
was visiting a shrine on the outskirts of
for my release. I will tell my father how
precious sword even tighter and set out
the city, and Tiny Finger went along as
brave you are, and he will reward you.”
for the palace of the emperor.
usual. On their way home they passed
Then the princess picked up the mallet
through a deep forest, and just as they
the bandit had left, and she said to Tiny
Soon he came to a tall, wooden gate
were near the middle of the woods, a
Finger, “This is a wonderful and mysteri-
where two huge warriors stood with
tall, fierce bandit suddenly appeared
ous mallet, my little soldier. It is a treasure
long swords. There they guarded the
before the princess. The bandit was very
of the bandit family. If you make a wish,
gates and watched all the passers-by.
bold and he gruffly caught the princess
you will receive anything you ask of it.”
Tiny Finger knew that he had found the
by the sleeve of her kimono. “Help me!
palace of the emperor at last. Being so
Help me!” the princess cried. She tried to
Tiny Finger was most delighted, and he
small, Tiny Finger nimbly jumped through
escape from the bandit, but he was too
made a wish. “Please,” he said, “make
an opening in the huge gate and entered
strong, and he held her tightly.
me a tall and strong boy like all the other
the garden of the palace. Timidly he
boys of Japan.” He shouted this wish
approached the front door of the palace
Seeing the princess in danger, Tiny Finger
three times, and, to his astonishment, he
and cried, “Hello! Hello!” But his voice
unsheathed his needle sword and sprang
grew several feet every time he shouted.
was so thin that no one could hear
at the bandit. Running and kicking, he
Before the very eyes of the princess, he
it. Then with all his might Tiny Finger
finally succeeded in pricking the bandit
became a handsome and strong warrior.
shouted over and over again, “Hello,
with his needle sword. “Oh! Oh! Oh! I
There was a great feast in the banquet
great lord, hello!”
have been cut!” roared the bandit. Then
hall of the grand palace that night. Many
he looked all around for the one who
soldiers praised Tiny Finger, and everyone
At last, one of the guards heard Tiny
had hurt him. But Tiny Finger was so
admired his beauty and strength. The
Finger’s weak voice and brought the
small that he could run in and out be-
great lord was so pleased with the brav-
Lord of the Palace to the doorway. The
tween the bandit’s feet, sticking the long
ery of the young warrior that he gave his
Lord of the Palace thought that no one
needle into the bandit’s big toes and into
daughter in marriage to Tiny Finger.
was there. He did not expect such a tiny
his heels. The bandit was so tall and so
visitor. The thin little voice kept calling,
clumsy that he could not catch Tiny Fin-
The next day Tiny Finger and his lovely
“Hello! Hello! Great Lord of the Palace, I
ger. Nor could he escape from him. Every
bride set out for the town where Kenta
am down here by your feet! “
time the bandit tried to run away, Tiny
and Mori lived. But this time Tiny Finger
Finger would catch him by one trouser
did not sail in a rice bowl, nor did he row
leg and stick him with his needle.
with a chopstick. The old lord had given
And when the Lord of the Palace looked down, there stood the smallest boy he
the young couple a strong and sleek ship
had ever seen. The great lord bent down
The bandit could not get away from the
with tall white sails to help them skim
and in a soft voice asked Tiny Finger,
little boy, and he could not catch Tiny
over the water. Off they went over the
“Strange little boy, what do you want?”
Finger. So he surrendered. When Tiny
blue waves to visit the aging parents of
Tiny Finger replied, “I am Tiny Finger,
Finger jumped down to the ground, the
the young warrior. In time, Tiny Finger
and I came here to learn to be as great
bandit escaped into the forest, leaving
became a great lord himself.
a soldier as you.” The Lord of the Palace
behind him many precious treasures and
was delighted with this speech and with
a mallet. The princess, who had stood UMS 10-11
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EXPLORE
Taiko V ocabulary
Photo: Shizuka Minami
Atarigane - Also known as the chan-
Chu-daiko - General term for a medium
Do - Also Doh (English variant). General
chiki. A hand gong. Often used to
sized drum, roughly around 2 shaku
term used for the body of a drum.
keep time. Played held in the hand or
in diameter. Most often refers to a
suspended by a cord. Struck with a
drum of that size of the nagado-daiko
deer horn mallet called the shumoku. Bachi - Also buchi. General term for
place of the way. Dora - A gong with a deep lip and pronounce center boss. Fuchi - The rim of the drum, where the
drum sticks. Also refers to the plec-
daiko style drum used for religious
trum or pick used by shamisen and
ceremonies and is played with short,
biwa players.
padded beaters. Da-daiko are usually
Fue - In the broadest meaning, fue
around two meters in diameter, and
refers to any blown instrument
are one of the oldest styles of taiko
including nohkan, shakuhachi and
used in Japan, dating from at least
sho. However, the term is widely used
the 7th century.
to refer to a transverse (horizontal)
Buna - The Japanese beech tree. Used for bachi. Byoo-daiko - Also Byoouchi-daiko. General term for a nailed-head drums. Chappa - Also called tebyoshi. Small hand cymbals. Choochin - Paper lantern. Used for
Dai - General term used for a drum stand.
“ka” note is played.
bamboo flute. Futatsu-domoe - A design made up of
-daiko - Suffix used to indicate a type
two comma shaped marks in a circle
decoration by some taiko groups. It
of drum, a Taiko group, or a style of
(similar to a yin-yang symbol) that is
is common to have a taiko group’s
taiko playing in a compound word.
commonly lacquered on the heads of
name written on a choochin.
36
style. Da-daiko - Highly decorated okedo-
Dojo - A place for studying. Lit: the
UMS 10-11
Odaiko.
Photo: Shizuka Minami
Hara - Belly. Location of the Ki energy in humans. Also refers to center of the drumhead. Hayashi - General term for ensemble music that includes drums. Hinoki - Japanese Cypress tree. The wood is used for making oke-daiko and for bachi. Hira-daiko - General term for a drum wider than it is deep (Literally “flat drum�). Hogaku - Japanese classical music. Hyooshigi - Wooden blocks used as clappers. Similar to latin clave, but struck at the tips rather than in the middle of the block. Jiuchi - Also called ji. A base, or backing rhythm. Usually a simple duple beat or a swing beat. Kakegoe - Shouts, vocal calls. Used
Kiai - A shout used to channel ki. Often used as kakegoe. Kotsuzumi - A small hand drum. Kuri-nuki-daiko - General term for a drum that has been carved out of one log. Ma - The space between two events (two notes or beats on the drum,
Paranku - Small one headed drum somewhat similar to a robust tambourine. Suzu - A bell similar to a jingle bell. Taiko - General term for Japanese drums. Take - Bamboo. Tsuchibyoshi - A style of okedo-daiko
etc). Somewhat equivalent to a rest in
used in Kabuki music. The low pitch
Western notation.
of the drum is used to represent of
Minyo - General term for folk music.
the atmosphere and ambience of the
Miya-daiko - Shrine or Temple drum.
countryside. This taiko is also used
Also used as a general term for
in folk Shinto shrine music. Also see
nagado-daiko.
daibyoshi.
Nagauta - A form of Japanese classical music, focusing on long songs and
Tsuzumi - General term for hourglass shaped drums.
with shamisen and vocal melodic lines
Uchite - A taiko player.
supported by percussion.
Uho-gaku - Music of the Right. The
Narimono - General term for small,
Music of the Right includes Gagaku
handheld percussion instruments.
compositions from Korea, as well as
Odaiko - In general, the term is used for
Japanese compositions in that style.
in rhythm, and to encourage other
any drum larger than 84 centimeters
Visually, Uho-gaku is associated with
performers.
in diameter. Historically, it refered
the color red, the mitsu-domoe and
to the largest drum in any particular
the image of Chinese dragons. See
to accent the music, signal shifts
Kamae - A stance. Kane - A gong or large bell. Kata - Form or style. Kawa - Leather, skin (for drumheads). Ki - Your body’s energy or spirit.
ensemble. Odori - A dance. Also a general term for Japanese dance. Oroshi - A drum pattern of increasingly rapid beats, often leading to a drum roll.
Gagaku. Uta - A song. Also a general term for singing. Yotsutake - Slats of bamboo used as clappers.
UMS 10-11
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EXPLORE
A dditional R E S O U R C E S Organizations
UMS 10/11 Japan-Related Performances
University Musical Society 881 N University Ave
Sankai Juku
Ann Arbor, MI 48109-1101
c/o Pomegranate Arts
(734) 615-0122
1140 Broadway, Suite 305
umsyouth@umich.edu
New York, NY 10001
www.ums.org
(212) 228-2221 www.sankaijuku.com
Center for Japanese Studies University of Michigan
Kodo
1080 South University, Room 4648
Kodo Village
Ann Arbor, MI 48109-1106
Sado Island, Niigata 952-0611 Japan
 (734) 763-4301
(phone) 81-(0)259-86-3630
www.ii.umich.edu/cjs
heartbeat@kodo.or.jp www.kodo.or.jp
Great Lakes Taiko Center 43000 W. Nine Mile Rd
Bach Collegium Japan
Novi, MI 48375
info@bach.co.jp
(248) 773-8899
www.bach.co.jp
www.michigantaiko.net raion.taiko@gmail.com Japan Society 333 East 47th Street New York, NY 10017 (212) 832-1155 www.japansociety.org
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UMS 10-11
UMS
UMS
W H AT I S U M S ? The University Musical Society (UMS) is committed to connecting audiences with performing artists from around the world in uncommon and engaging experiences. One of the oldest performing arts presenters in the country, the University Musical Society is now in its 132nd season. With a program steeped in music, dance, and theater performed at the highest international standards of quality, UMS contributes to a vibrant cultural community by presenting approximately 60-75 performances and over 100 free educational and community activities each season. UMS also commissions new work, sponsors artist residencies, and organizes collaborative projects with local, national, and international partners.
UMS Education and Community Engagement Department MAILING ADDRESS 100 Burton Memorial Tower 881 North University Ave
STAFF
INTERNS
Kenneth C. Fischer,
Caroline Buse
UMS President
Ann Arbor, MI 48109-1011
Matthew MejĂa Claire C. Rice Interim Director
Emily Michels
Mary Roeder
Britta Wilhelmsen
Residency Coordinator
Omari Rush Education Manager
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UMS 10-11
UMS
U M S Y O U T H E D U C AT I O N P R O G R A M 10 THINGS TO KNOW
QUALITY Every student deserves access to
ACCESSIBILITY Eliminating participation barriers
“the best” experiences of world arts
Working directly with schools to align our programs with classroom
• UMS subsidizes Youth Performance
and culture
K-12 SCHOOL PARTNERSHIPS
goals and objectives
tickets to $6/student (average subsidy: • UMS presents the finest international
$25/ticket)
performing and cultural artists.
Ann Arbor Public Schools and the Washt• When possible, UMS reimburses bus-
• Performances are often exclusive to
• Superintendent of Ann Arbor Public • UMS Youth Education offers person-
Schools is an ex officio member of the
alized customer service to teachers in
UMS Board of Directors.
• UMS Youth Performances aim to
order to respond to each school’s unique
present to students the same perfor-
needs.
mance that the public audiences see (no watered-down content).
enaw Intermediate School District.
sing costs.
Ann Arbor or touring to a small number of cities.
• 14-year official partnerships with the
• UMS has significant relationships with Detroit Public Schools’ dance and world
• UMS actively seeks out schools with
language programs and is developing
economic and geographic challenges to
relationships with other regional districts.
ensure and facilitate participation. • UMS is building partnerships with or of-
DIVERSITY Highlighting the cultural, artistic,
fering specialized services to the region’s ARTS EDUCATION LEADER
independent and home schools.
and geographic diversity of the world One of the premier arts education • Programs represent world cultures and
programs in the country
mirror school/community demographics. • UMS’s peer arts education programs: Car• Students see a variety of art forms:
negie Hall, Lincoln Center, Kennedy Center.
classical music, dance, theater, jazz, choral, global arts.
• UMS has the largest youth education
UNIVERSITY EDUCATION PARTNERSHIPS Affecting educators’ teaching practices at the developmental stage
program of its type in the four-state region
• UMS Youth Education is developing
• UMS’s Global Arts program focuses
and has consistent school/teacher participa-
a partnership with the U-M School of
on 4 distinct regions of the world—
tion throughout southeastern Michigan.
Education, which keeps UMS informed
Africa, the Americas, Asia, and the Arab World—with a annual festival featuring
• 20,000 students are engaged each sea-
the arts of one region.
son by daytime performances, workshops and in-school visits. • UMS Youth Education was awarded “Best Practices” by ArtServe Michigan and The Dana Foundation (2003).
of current research in educational theory and practice. • University professors and staff are active program advisors and workshop presenters. UMS 10-11
41
KENNEDY CENTER PARTNERSHIP
TEACHER ADVISORY COMMITTEE
• UMS Youth Education has been a
Meeting the actual needs of today’s
member of the prestigious Kennedy
educators in real time
Center Partners in Education Program since 1997. • Partners in Education is a national consortium of arts organization and public school partnerships.
• UMS Youth Education works with a 50-teacher committee that guides program decision-making. • The Committee meets throughout the season in large and small groups
• The program networks over 100 na-
regarding issues that affect teachers and
tional partner teams and helps UMS stay
their participation: ticket/bussing costs,
on top of best practices in education and
programming, future goals, etc.
arts nationwide. IN-SCHOOL VISITS & CURRICULUM PROFESSIONAL DEVELOPMENT “I find your arts and culture workshops to be one of the ‘Seven Wonders of Ann Arbor’!” –AAPS Teacher
DEVELOPMENT Supporting teachers in the classroom • UMS Youth Education places international artists and local arts educators/ teaching artists in classes to help educa-
• UMS Youth Education provides some
tors teach a particular art form or model
of the region’s most vital and responsive
new/innovative teaching practices.
professional development training.
• UMS develops nationally-recognized
• Over 300 teachers participate in our
teacher curriculum materials to help
educator workshops each season.
teachers incorporate upcoming youth performances immediately in their daily
• In most workshops, UMS utilizes and engages resources of the regional community: cultural experts and institutions, performing and teaching artists.
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UMS 10-11
classroom instruction. UMS Youth Education Program umsyouth@umich.edu | 734-615-0122 www.ums.org/education
SEND US YOUR FEEDBACK! UMS wants to know what teachers and students think about this Youth Performance. We hope you’ll send us your thoughts, drawings, letters, or reviews.
UMS YOUTH EDUCATION PROGRAM Burton Memorial Tower • 881 N. University Ave. • Ann Arbor, MI 48109-1011 (734) 615-0122 phone • (734) 998-7526 fax • umsyouth@umich.edu www.ums.org/education
UMS 10-11
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