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Go directly to: Kodo Arts Sphere America Hosts Southern California Taiko Workshops Los Angeles and Bay Area Traditional Artists! Proceeds from the license plate sales will benefit the California Arts Council (CAC)
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WHAT'S NEWSubscribe to The New Moon, ACTA's Monthly E-Newsletter. See the latest edition of The New Moon New Guidelines Available for ACTA’s Living Cultures Grants ProgramThis month ACTA announces the availability of guidelines and application forms for the second round of its Living Cultures Grants Program. The postmark deadline for proposal submission is August 1, 2006. Guidelines and application forms are now available online. Alternatively, please call (415) 561-7893 (ACTA’s San Francisco office) or (559) 237-9812 (ACTA’s Fresno office) to request a copy be mailed to you. The ACTA staff is always available to discuss the program and is happy to work with first-time grant seekers. The Living Cultures Grants Program funds non-profit organizations to support exemplary projects in the traditional arts in California. Approximately 25-35 grants of up to $7,500 will be made in this funding cycle. Information about previously funded projects is available on our website. The Living Cultures Grants Program is a project of the Alliance for California Traditional Arts in partnership with the Walter and Elise Haas Fund, the William and Flora Hewlett Foundation, and the James Irvine Foundation. Save The Date!From May to July, ACTA staff will host six informational meetings around the state – in Arcata (TBA), Fresno (June 7), Los Angeles (June 28), Oakland (June 6), Riverside (May 9), and San Diego (May 10). For More Information ContactLily Kharrazi Kodo Arts Sphere America Hosts Southern California Taiko Workshops
Eiichi Saito instructs members of Zenshuji Zendeko at the Zenshuji
Soto Mission, Los Angeles, February 24, 2006. Sojin Kim, Ph.D., Curator, Japanese American National Museum (Consulting Folklorist to ACTA) Eiichi Saito, an athletic, casually dressed, barefoot and very bald man stands in the middle of a circle of about twenty-two Japanese drums—taiko—of varied size, shape, and tension. A group of drummers surrounds him. About half are female; two-thirds are of Japanese ancestry, a third are not; and they range in age from 17 to 75 years old. Saito encourages them with enthusiastic gestures as they play a sequence of rhythmic patterns demonstrated by Masami Miyazaki, an energetic young woman, who stands at a shime-daiko, a smaller, rope-tensioned drum. The word “taiko” in Japanese literally means drum. The word also refers to a form of ensemble drumming based around multiple Japanese drums. While drumming has always been a part of Japanese and Japanese American community life—for example, in religious rites and seasonal festivals—it was not until the decades after World War II that the group drumming form popularly practiced and performed as “taiko” developed in both Japan and the United States. The group of drummers pay close attention to Saito’s instructions as he leads them through a series of exercises, each progressively more complex, that emphasize sticking and coordination. The different tones and timbres of the various taiko—some have heads that are metal-bolted to heavy barrel-shaped bodies; others have rope-tensioned heads on shallow, snare-sized bodies—create a rich and booming sonic environment. The sound bounces off the walls of the Higashi Hongwanji Buddhist Temple social hall in Los Angeles’s Little Tokyo, where Saito and Miyazaki are leading one of four Southern California taiko workshops organized by Kodo Arts Sphere America (KASA) in February 2006 and funded in part through the Living Cultures Grants Program of the Alliance for California Traditional Arts (ACTA).
Members of Zenshuji Zendeko perform for Eiichi Saito, Masami Miyazaki,
and other workshop participants at the Zenshuji Soto Mission, Los
Angeles, February 24, 2006. Saito and Miyazaki are members of the Japanese taiko group Kodo, arguably the most well known taiko group in the world. Recording with Sony Music and performing in sold-out venues across the globe, their name has become so strongly associated with taiko that people often mistakenly refer to taiko or Japanese drums as “Kodo drums.” KASA is a nonprofit organization established by Kodo in 2002. Operating out of California, the organization’s mission is to facilitate intercultural exchanges and communication between Japanese and American taiko players and communities. Based on Sado Island, Japan, Kodo is committed to preserving traditional Japanese performing arts and to re-interpreting these in stage performances for popular audiences. They are admired for their intensity, precision, and power, and when people recount the experience of a Kodo performance, they typically tend towards extreme language. For example, the Village Voice described them as “percussionist kamikazes;” the Boston Globe called them “perfection in music.” Others have referred to their “primal power,” and described them as “breathtaking,” “electrifying,” and “awe inspiring.” While Kodo is the group most responsible for bringing taiko to the world stage, members readily acknowledge that some degree of their success and acceptance even back in their home country of Japan was built upon the early support they received from American audiences—and in particular, the support of American taiko groups, who provided them with rehearsal spaces, food, and helped to publicize their performances. These KASA workshops, then, and the organization of KASA itself, represent a significant and appropriate continuation of relationships nurtured across national borders for over two decades. As with many contemporary traditional arts, taiko has emerged from creative processes that are transnational and hybrid in nature—rather than through the transmission of any “pure” or “authentic” singular source. In fact it was a Japanese jazz drummer, Daihachi Oguchi of Nagano prefecture, who is credited with the first arrangement of ensemble taiko. In 1951, Oguchi adapted a simple festival drumming pattern into a more complex arrangement that was performed by multiple players on different types of taiko. Subsequent Japanese taiko groups would draw inspiration from various combinations of popular culture (movies), traditional Japanese drumming, and other Asian percussion styles. Similarly, American taiko groups have developed their style and repertoire
from Japanese forms as well as from cultural sources in their own immediate
environments. The first American taiko groups—San Francisco Taiko
Dojo, Kinnara Taiko, and San Jose Taiko—were formed between 1968
and 1973. Their cultural references included Japanese American sakura
matsuri (cherry blossom festival), bon odori (Buddhist "festival of lanterns") R&B
music, and the activities of the American civil rights and ethnic consciousness
movements. Today, there are over 200 groups in North America and Hawai‘i.
They may be found in temples, churches, community centers, college
campuses; and in areas as far flung as California’s Central Valley
to Burlington, Vermont, to Santa Fe, New Mexico. Some have memberships
that are entirely Japanese American, others have no Asian American
members.
Members of Zenshuji Zendeko pose for a portrait with Eiichi Saito The KASA workshops in Los Angeles this past February underscored the ever-changing and diversifying landscape of contemporary taiko. They were held at three Buddhist temples— Senshin Buddhist Temple, Higashi Hongwanji Buddhist Temple, and Zenshuji Soto Mission—all of which have served Southern California Japanese American communities for decades and continue to be important community anchors. All three have also served as the context in which landmark developments in American taiko have emerged. Since 1969, Senshin Temple has been the home of Kinnara Taiko, the second oldest American taiko group. Founded by the temple’s minister, the group’s approach to taiko is an extension of their Buddhist practices and reflects their particularly Japanese American sensibilities. Zenshuji Soto Mission is the home base of the group Zenshuji Zendeko. Formed in 1986 as a youth ensemble, they reflect the growing phenomenon of taiko activities directed at youth in America’s Buddhist temples. They received their initial inspiration and training from a Japanese group, and this continues to influence their particular repertoire and style. Since 2002, Higashi Hongwanji Buddhist Temple has sponsored three relatively new affiliated groups: Kitsune Taiko, a youth group; Bombu Taiko, a community adult group; and TAIKOPROJECT, a professional performing ensemble, which became the first American group to win the Tokyo International Taiko contest in Japan in 2005. Members of these groups as well as from other Southern California ensembles participated in the four Southern California KASA workshops in February. The participants included players with 30 years of experience, players with less than a year of training, children, and senior citizens. Through Saito and Miyazaki’s dynamism and enthusiasm, all were engaged and integrated into a series of exercises, which were direct and accessible—and ultimately used as a means for conveying deeper lessons about the nature of ensemble playing and performance, which involves the communication of energy, emotion, and spirit—not just the accomplishment of note-perfect playing. In his comments, Saito repeatedly emphasized the importance of playing as a group—not just technically and with precision, but with emotional togetherness. His essential message being that regardless of any one individual’s level of polish and professionalism, ultimately taiko is a collaborative endeavor that requires that members support one another and approach it with a sense of mutual respect, cooperation, and even humor. In one exercise at the Higashi temple workshop, Eiichi Saito moved about the inside of the circle of drummers, keeping a base beat with chappas (a hand-held percussion instrument—like the Cuban clave). Masami Miyazaki introduced a series of three distinct rhythmic patterns, which each participant played in turn. Eventually, everyone was playing simultaneously—circulating the three patterns in sequence around the circle. Sometimes the drummers fell out of rhythm—but through gestures Saito kept encouraging the group to continue to play—smiling, opening his eyes wide, gesturing with his head, whole body swaying to the beat. When the rhythms finally became hopelessly lost, and a loud, clattering cacophony ensued, Eiichi exclaimed: “Yeah! I like contemporary music!” A Michoacán ExperienceIn February 2006, two of ACTA’s board members, Robert Arroyo and Vicki Filgas, traveled to Michoacán, Mexico, with Los Paisanos, a 40-year old Mexican folkloric dance ensemble based at Selma High School in the San Joaquin Valley. Los Paisanos, a former participant in ACTA’s Traditional Arts Development Program, traveled to Mexico to learn new Mexican dances to add to their repertoire. The teenagers and their chaperones stayed with local families so that they could learn more about the culture and way of life in Michoacán. Vicki Filgas, director of Los Paisanos Ballet Folklorico, shares her experience: We were honored to study about the traditions of the Purépecha Native Americans and the Lagos Region of Michoacán through their dance and music. Upon arrival to Patzcuaro, we were welcomed at the local Escuela Secundaria Tecnica Numero 4, where Professor Romaldo Valenzuela Romero teaches. For the past 18 years, Professor Romaldo has been a researcher of Purépecha dance and traditions in the Instituto Nacional de la Difusión de la Danza Mexicana. The secondary school where he works has accommodated a special room for his dance classes that he teaches after regular school hours. Adjacent to his dance room is his costume room that houses a small fortune in authentic costuming for the many regions presented by his young group.
La Danza del Pescado, performed by Mirando
al Lago Ballet Folklorico de Patcuaro. Dance classes were organized together with his students, thus the "covivencia" or sharing among them. Students danced on a cement floor (less than tolerable for our spoiled youth) with classes lasting about three hours each session. Professor Romaldo taught the Selma students dances from the Apatzingán region of Michoacán, also known as Tierra Caliente. These dances are "de sones y gustos" with a type of competition among the couples. My students also learned the traditional danza de Negritos, a danza performed since the Spanish influence. Dancers dress in traditional black suits and ties with masks resembling the light skinned Spaniard, finished off with a top hat. The music is reminiscent of the marches brought to the Americas by the marching wind bands of World War I. Students also learned the most famous danza of the region, Los Viejitos. This danza pokes fun at old people with a humor that also bestows respect and appreciation for the aged. These danzas are also performed in masks that depict old men. Professor Romaldo shared his most recent work with out students, a set of dances from Chiapas. These dances are very animated and full of life, music played with the traditional marimba of Chiapas.
Danza de la Pluma, Michocán style,
performed by Our students never tired of the dancing, and did well in memorizing the newly learned materials. The last day of our stay, his students had a special surprise for ours. They prepared a short show of their current work including dances from the Lagos Region, and of particular interest was their own Danza de la Pluma. It was a special treat to see these 12 and 13 year-old students so amazingly proficient and disciplined in dance.
Los Paisanos de
Selma learning new dance
repertoire. Upon our return, I asked my students to teach their newly learned dances to those who stayed behind in Selma. They also shared their journals of the trip and cultural materials gathered during the trip. One month prior to departing for Mexico, the traveling students were paired up with other students in the class and assigned a common Michoacán theme for a term paper. The traveling students were expected to gather materials to share with the others about their theme. This was a great way to involve all students in the class in the adventures of the trip. Also, upon return, students started the process of mask-making and costuming. We will be exhibiting this new material in a public showing in Selma on May 3, 2006. This has been an excellent way to obtain new, original materials that have not been altered by the “re-teaching” process. We are truly privileged to have had this opportunity. Students worked hard to earn their Michoacán experience. Robert Arroyo, who served as a chaperone, shares his experiences on this unique trip: In early February my wife Celia and I had an opportunity to make, what was for us, a unique trip to Mexico. This opportunity came thanks to the courtesy of our good friend and ACTA board colleague, Vicki Filgas, who invited us to join her Mexican folkloric dance class on a student exchange trip to the city of Patzcuaro, in the center of the state of Michoacán. Michoacán is a beautiful region of volcanic mountains and picturesque valleys about 200 miles west of Mexico City. This is an area I had visited several times previously, the last time nearly 20 years ago. Because it had been so long since my most recent visit and more particularly for me, because this was the state where my father was born, his patria chica, I saw this invitation as a very welcome opportunity. But beyond the family connection, several features made this trip to Michoacán different than the previous ones, beginning with the fact that it was not primarily for commercial tourism but rather to experience a real slice of life in Mexico. Formally, Celia and I traveled as Vicki’s assisting chaperones for the high school students, an adventure in itself since it included multiple segments like field trips, by bus. Thanks to Vicki’s experience with that high school-aged group, we survived quite well and enjoyed the several extended periods of fun and joviality. Also unique for us was the fact that this was the first time that either of us had participated in a ‘home-stay’ with a local host family. We had often heard anecdotes on home-stays from friends and colleagues and knew that they could be enjoyable and/or challenging experiences. Fortunately our particular experience was great. Among other benefits, this home-stay afforded us a much appreciated opportunity to practice our Spanish on an on-going basis. The fact that our hosts spoke no English allowed us to become personally acquainted with thoughts, feelings and something of the life style character of regular citizens, as expressed in their own language. Our home base, the city of Patzcuaro, a town of some 120,000 inhabitants, was founded in the mid-1500’s and is situated at the center of the land of the Purépecha nation, named Tarascos by the Spaniards. Prior to the Spanish conquest the Purépecha occupied lands covering a larger territory than that of the Aztec empire. To this day much of Michoacán preserves notable vestiges of the pre-Columbian and colonial culture, character and history of the Purépcha people. These vestiges appear in the form of art, artisanry, architecture, language, as well as the physical features of the people themselves. All but two days of our seven day stay in Patzcuaro began with an excursion to significant sites, which included a national park featuring phenomenal water resources, some of which were molded into beautiful artificially sculptured waterfalls; a shrine of partially excavated ruins of a pre-Columbian Purépecha ceremonial center; a sanctuary of millions upon of millions of Monarch butterflies; a visit to the state capital city of Morelia, founded in the 1540’s, whose entire central core has been declared a protected national shrine. Added to these were trips to nearby locations including a traditional market center town and to the village of Santa Clara del Cobre, which is known for its centuries old copper works. Nearly all daily activities, including almost all “free time,” began in the main square, la plaza grande. Since my very first trip to Mexico in 1955, I looked with envy on the importance the plaza plays in the daily lives of Mexican towns, big and small. This is the gathering place for young, old and middle aged. It is used for community-wide functions, social gatherings and school activities, or just individual quite time. Patzcuaro has several well developed and well cared for plazas. Our favorite happened to be the main plaza. Not surprisingly, if one needed to find a wayward member of the group or designate a meeting place, it would be the plaza.
Party for El Día de Amor
y Amistad, Day of Love and Friendship, on February
14, 2006. Music
group Rondalla de Amistad, played for the guests. Valentines Day happened to fall during our stay in Patzcuaro. We wondered how, if at all, the day would be observed in Mexico. We learned that the term Valentine or St. Valentine was not used, but that the same date is observed there as El Día de Amor y Amistad, Day of Love and Friendship. As the name indicates, the observance is devoted to both love (but not only romantic love) and friendship as partner concepts. Our group observed the day with an evening party in the patio of our host family’s home with the students of both dance groups and the adults joining in. The emphasis here was amistad, although there appeared to be some signs of budding romance mixed in. During the return trip, various thoughts occurred to me about our travels, what we saw, how things are done there, and the inevitable comparisons to our own country. Two particular thoughts stand out. Firstly, what we call “traditional,” as in the traditional arts, is in fact a living reality in parts of the world. I had often thought of the traditional arts as iconic representations of the past culture that we strive to preserve in museums and other specialized institutions for esthetic purposes. Those representations might come in the form of folkloric dance and music, painting styles and materials, copper or fiber artisanry, or historic and classical architecture, to name a few. In Michoacán, we find that many of these icons are in fact often living representations of daily life. Examples of this might be the continued use of folk music and dance for contemporary entertainment, handmade, perhaps “old fashioned,” copper utensils in a modern kitchen next to the microwave and an internet café advertising wireless chat room service in a protected 16th century building. Secondly, I was somewhat struck by the fact that Mexican governments, nationally, regionally and locally, invest a surprising proportion of their limited fiscal resources in the preservation, reconstruction, and protection of what is called with pride el patrimonio national, which encompasses natural, cultural, and social resources. Yet, Mexico is a third world country with all the economic and social problems that entails. I wondered how could it be that in our country, the wealthiest in the world, and in our state, the richest in the country, an institution such as the California Arts Council could be left virtually penniless after an economic downturn that would be considered a period of prosperity in most third world countries? I guess the easy answer to this would be that it is simply a difference in social values. This answer is easy perhaps, but not very satisfying. Los Angeles and Bay Area Traditional Artists!
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