Chichibu Yatai Bayashi

by Benjamin Pachter One major characteristic of contemporary taiko performance is the manner in which artists have integrated regional drumming styles into new arrangements and compositions, which in turn has exposed audiences around the world to some of the diverse ways in which drums are used in Japanese music. In works like “Suwa Ikazuchi,” Osuwa Daiko utilized rhythms from kagura-daiko – the drumming of Shinto … Continue reading Chichibu Yatai Bayashi

Eisa エイサー

by Hernán Arias Tamashiro Everytime we have a chance to enjoy other groups playing their drums to beautiful, catchy tunes on such a colorful atmosphere, we, as part of the audience, cannot help but to let ourselves go and give in to tears or to jump on our chairs while dancing or screaming IA SASAA (even if many of those times we don’t really know … Continue reading Eisa エイサー

Why Hachijo-jima?

by Yuta Kato November, 2001 Coming back to my tiny dorm room in Tokyo, I receive a phone call from a taiko friend that lives in New York, Hideaki.  The conversation goes something like this, “Hey Yuta! Hitomi and I are visiting Japan for a bit. We’re planning on going to Hachijo since we made friends with some of the folks there, you wanna come?” … Continue reading Why Hachijo-jima?

“Miyake” & Kodo’s Continued Arrangement of Regional Drumming Styles

In 1970, the groundbreaking wadaiko group Ondekoza was founded as a means to raised funds in order to “create an artist’s village where people can learn about Japan’s folk performance arts and industrial arts” (Kodo Cultural Foundation 2011, 37). Performers learned music performance techniques and received dance and movement instruction from Japanese classical (hōgaku) musicians, but they also learned regional musical and dance styles from … Continue reading “Miyake” & Kodo’s Continued Arrangement of Regional Drumming Styles