Oh hi! Still not in Paris. Will I ever make it? (This is a bad joke that I won’t stop until the show stops)!
Little update, it’s cherry blossom time aka peak sakura foliage season. I live by Ueno and often run around the pond, which has felt like a fairy tale. The trees don’t have leaves, they have flowers. The petals fall like snowflakes and there’s a of spectrum of types ranging from white to pink colors. However, I think many would argue that it is an excuse for many Japanese people to go outside and drink heavily.
Jason Matsumoto wrote a piece called “Hanami” where each section of the piece indicates people becoming more raucous and drunk under these incredibly delicate flowers. I shared Yamagata sake flavored with sakura and mochi wrapped in sakura leaves (kinda salty, lil bitter) while watching drunk businessmen try to sit upright. A sight to be seen! Unfortunately many of the flowers will be gone soon, but the azalea will blossom next.
You’ve reached the taiko portion of this blogdiggityblawg, teaching edition. If you are not a taiko player, maybe you can find overlap in your life around this topic.
Performing, leading, and teaching. It's rare to find people who encompass all 3. As Ai Watano (Ai chan) once roughly said, “being a fast learner or good at taiko doesn’t translate to being a good teacher.” Chances are, you've experienced this with a coach, a music or art teacher, when you start a new job, or even a science or literature professor. At Tawoo Dojo, I feel very fortunate to be surrounded by generous and skilled teachers. But what makes a good taiko teacher?
S#$%,I don’t know! Would love to hear your opinion on this. I struggle with finding confidence as a taiko instructor. I think everyone has a different learning style, and there isn't one answer. There’s also cultural differences in teaching styles, which may also have an influence on learning and familiarity starting from a young age. For a very broad generalized example, the common approach in Japan when learning a task is to observe, repeat, not question, and see the big picture either towards the end or while you're completing the task. In opposition, American culture starts with the big picture and asks “WHY” we’re doing something before even starting. Both ways work, just a difference in communication.
Oh also, the teacher needs to make it fun for everyone. I always forget that part, hehe.
At Tawoo, the teaching staff is composed of a team that can individually stand on their own, but I’ve really benefited from taking lessons from each of them. Their teaching styles compliment each other and help create a larger picture, easier for all students to understand. Here’s my quick break down of the Tawoo teaching staff as someone who struggles with Japanese:
Kaoly Asano - The magical leader and creator of this one-of-a-kind style of taiko
Floating in from a greater universe comes Kaoly san, a fairywitch with big hair, sparkling eyes, and a small frame. She carries empathetic magic, and through storytelling, imagery, and clear demonstration, she makes you feel something in her performance AND class. Isn't that the point of music? Are you living if you don't feel anything?
Her nonverbal instructions are very clear and easy to understand through the use of picking apart lines and slowing down the pace of her original compositions. The imagery that she verbally and physically demonstrates don't just explain the artistry of the song, but also indirectly teaches you how to lift your arm with of the use your entire body. You can visibly see the students react to the imagery in their faces, but also in their bodies through a change of playing mechanics.
She breaks the lines down because each hit has a specific sound and physical approach. We may spend an hour on one phrase, as the goal of the class isn’t for us to learn the whole song, rather to develop the basics, the feeling, and kinematic understanding. Then, she pushes the students to complete the phrase and incorporates it into the song. While we’re all playing, she divides the class into sections based on experience to challenge everyone of all levels. She's like a conductor.
This flow, repetition, and conducting strategy is used by the other teachers as well who are Gocoo and/or Tawoo members and staff.
Nori san- the interpreter
As Tawoo member Barbara once described, while our beloved fairywitch is floating above, Gocoo performing member Nori san brings Kaoly’s ideas to earth and explains it logically with clear directions. I love taking her classes because although she’s great with beginners’, she addresses more advanced, specific technical questions. She challenges and pushes you to use your tanden in a way that resembles budo (martial arts), and incorporates drills to develop specific skills. With her detection skills, she identifies the student’s struggle, and corrects it directly without the student saying anything. Also, she’s a badass performer.
Kazumi chan- the giver
Kazumi chan reminds me of a pseudowitch when she plays because of her long limbs and ability to levitate. She is also a Tawoo member and Gocoo staff, and most likely someone you’ve communicated with if you’ve worked with Kaoly san on a project or adjacent. She often leads the children’s classes and is someone who keeps the class light, but also direct. I enjoy watching her lead, as she comes up with creative ways to keep the children engaged throughout the practice by changing the class direction based on the students’ needs. You can tell she sincerely loves them and will sometimes bring them small gifts and creatively connect to them. One time, she brought a jump rope to help them understand tanden and rhythm. She’s good at laughing at herself, which allows the class to feel more comfortable and less pressured.
Ai chan - the entertainer and beginners’ best friend.
“Let’s have fun!” is the first phrase that comes to my mind when I think of Ai chan, the Gocoo staff and Tawoo member. We spend a lot of time together, and she’s become an older sister figure. She once told me that she considers herself a slow learner which gives her empathy towards the students who struggle with learning. I think every beginner should try her class because she slows it down and comes up with other imagery that resembles, but differs from kaoly san’s, allowing those who didn’t understand it the first time to catch it later. Also, she's a goofball! The adult classes are fun and you can often find her laughing.
She also leads a group of adults with mental diabilities. Ai chan is very in tune with each individual’s need. For example, she let’s them play in a corner away from everyone or lets them play in the middle of the circle. She often uses the student’s favorite non-taiko songs, like pop or TV intro songs, to play along to. She also encourages them to create new pieces based on these favorite tunes. Unlike the adult class, we’re constantly changing the focus and not staying on one phrase for too long, in order to keep it fun and the brain stimulated. It’s a real treat to be part of this, as it’s apparent how much she enjoys leading this class, and how much they appreciate her.
Other key notes: Since they rely on repetition and observation, speaking is at a minimum, only to explain imagery or difficult concepts. They have one big break and a few water breaks, but despite the “light and fun” feel of the Tawoo Dojo practices, they’re 3 - 4 hours long and require immense attention and observation. A few takeaways:
Play more: Repeat repeat repeat.
Talk less: Trust that the student will pick it up by themselves after repeating the line multiple times, but if they don’t then slow it down. No need to explain every specific mechanic, use imagery if you have to and demonstrate it yourself.
Play less: Don’t give them too many lines to repeat because then they will focus on memorization, rather than movement, feel, and everything else that makes taiko different than typical Western musical instruments.
Listen to the taiko people: This is beyond going over taiko lines the group struggles with. If the group finds talking and hanging out important, build that specifically into the practice like a 15 minute break as opposed to running through a 3 minute piece and then breaking and talking.
And importantly make it personal. Enjoy what you’re doing because if you’re not, then the students won’t. And care! Create connections, hear why they play or what inspires them to continue. Ask them questions about themselves. Maybe knowing more about them will make you want to help them more and recognize that taiko doesn’t have to focus on memorizing, but playing with people that feel good in turn can make you feel good.
Hi Emily, I am a big Jambo fan - can you tell me what is written under the ABC in that picture? my kanji is non existent at the moment...Also - I have been just 3 weeks ago to 2 Tawoo practices with Kaoli and so much of what you wrote echoes with me too! :-) sorry I missed you!