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A document for educators to help them prepare their students to see the UMS Youth Performance of Kodo.
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1UMS 10-11T E A C H E R R E S O U R C E G U I D E 2 0 1 0 – 2 0 1 1
KODO
2 UMS 10-11
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
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
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.
Cover Photo: Taro Nishita
Title Page Photo: Buntaro Tanaka
SUPPORTERS
3UMS 10-11
KODO
T E A C H E R R E S O U R C E G U I D E 2 0 1 0 – 2 0 1 1
U M S Y O U T H E D U C AT I O n P R O G R A M
Thursday, February 24, 2011 • 11AM - 12 NOON • Hill Auditorium
ATTEnDInG THE YOUTH PERFORMAnCE6 Coming to the Show8 Map + Directions9 Hill Auditorium10 Being an Audience Member
ABOUT KODO12 Kodo Overview14 About Kodo15 Kodo Village Concept 1985
16 Japan
TABLE OF CONTENTS
TAIKO DRUMMInG29 About Taiko Drumming20 Building a Taiko Drum22 Types of Taiko Drums24 Clothing of a Taiko Drummer
RESOURCES27 National Standards28 Curriculum Connections31 Lesson Plans32 Visual + Performing Arts34 Literary + Performing Arts36 Taiko Vocabulary38 Additional Resources
ABOUT UMS40 What is UMS?41 Youth Education Program42 Contacting UMS
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.
4 UMS 10-11
5UMS 10-11
AT T E n D I n G T H E Y O U T H P E R F O R M A n C E
Photo: Taro Nishita
6 UMS 10-11
TICKETS We do not use paper tickets for
Youth Performances. We hold school reserva-
tions at the door and seat groups upon arrival.
DOOR EnTRY A UMS Youth Performance
staff person will greet your group at your bus
as you unload and escort you on a sidewalk to
your assigned entry doors of Hill Auditorium.
BEFORE THE START Please allow the usher
to seat individuals in your group in the order
that they arrive in the theater. Once everyone
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.
DURInG THE PERFORMAnCE At the
start of the performance, the lights well
dim and an onstage UMS staff member will
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
of surrounding groups) please IMMEDIATELY
report the situation to an usher or staff memer
in the lobby.
PERFORMAnCE LEnGTH One hour with
no intermission
AFTER THE PERFORMAnCE When the
performance ends, remain seated. A UMS
staff member will come to the stage and
release each group individually based on the
location of your seats.
SEATInG & USHERS When you arrive at
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
wear large, black laminated badges with their
names in white letters.
ARRIVAL TIME Please arrive at the Hill
Auditorium between 10:30-10:50am to allow
you time to get seated and comfortable before
the show starts.
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
mail.If there is no space in the drop off zone,
circle the block until space becomes available.
Cars may park at curbside metered spots or in
the visitor parking lot behind the power Center.
Buses should wait/park at Briarwood Mall.
DETAILS
AT T E N D I N G T H E S H O WWe want you to enjoy your time with UMS!
PLEASE review the important information below about attending the Youth Performance:
TICKETS
USHER
7UMS 10-11
BUS PICK UP When your group is released,
please exit the performance hall through the
same door you entered. A UMS Youth Perfor-
mance staff member will be outside to direct
you to your bus.
AAPS EDUCATORS You will likely not get
on the bus you arrived on; a UMS staff mem-
ber or AAPS Transportation Staf person will
put you on the first available bus.
LOST STUDEnTS A small army of volun-
teers staff Youth Performances and will be
ready to help or direct lost and wandering
students.
LOST ITEMS If someone in your group loses
an item at the performance, contact the UMS
Youth Education Program (umsyouth@umich.
edu) to attempt to help recover the item.
AAPS
SEnDInG FEEDBACK We LOVE feedback
from students, so after the performance please
send us any letters, artwork, or academic
papers that your students create in response
to the performance: UMS Youth Education
Program, 881 N. University Ave., Ann Arbor,
MI 48109-1011.
nO FOOD No Food or drink is allowed in the
theater.
PATIEnCE Thank you in adavance for your
patience; in 20 minutes we aim to get 3,500
people from buses into seats and will work as
efficiently as possible to make that happen.
ACCESSIBILITY The following services are
available to audience members:
• Courtesy wheelchairs
• Hearing Impaired Support Systems
PARKInG There is handicapped parking
located in the South Thater parking structure.
All accessible parking spaces (13) are located
on the first floor. To access the spaces, driv-
ers need to enter the structure using the
south (left) entrance lane. If the north (right)
entrance lane, the driver must drive up the
ramp and come back down one level to get
to the parking spaces.
WHEELCHAIR ACCESSIBILITY Hill Au-
ditorium is wheelchair accessible with ramps
found on the east and west entrances, off
South Thayer Street and Ingalls Mall. The au-
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).
EnTRY There will be ushers stationed at
all entrances to assist with door opening.
Wheelchair, companion, or other special
seating
8 UMS 10-11
POWER
HILL
ZONE C
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PARK
PALMER DRIVE
E. HURON ST
E. WASHINGTON ST
E. L IBERTY ST
WILLIAM ST N. UNIVERSITY AVENUE
WA
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NU
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FLET
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RACKHAM
M A P + D I R E C T I O N SThis map, with driving directions to the Hill Auditorium, will
be mailed to all attending educators three weeks before the performance.
MAP
9UMS 10-11
H I L L A U D I T O R I U M
VENUE
HILL AUDITORIUM was built by noted
architectural firm Kahn and Wilby.
Completed in 1913, the renowned
concert hall was inaugurated at the
20th Ann Arbor May Festival, and has
continued to be the site of thousands
of concerts, featuring everyone from
Leonard Bernstein and Cecilia Bartoli to
Bob Marley and Jimmy Buffett.
In May, 2002, Hill Auditorium under-
went an 18-month, $38.6-million dollar
renovation, updating the infrastructure
and restoring much of the interior to its
original splendor. Exterior renovations
included the reworking of brick paving
and stone retaining wall areas, restora-
tion of the south entrance plaza, the
reworking of the west barrier-free ramp
Photo: Mike Savitski
and loading dock, and improvements to
landscaping.
Interior renovations included the
creation of additional restrooms, the
improvement of barrier-free circulation
by providing elevators and an addition
with ramps, the replacement of seating
to increase patron comfort, introduction
of barrier-free seating and stage access,
the replacement of theatrical perfor-
mance and audio-visual systems, and
the complete replacement of mechanical
and electrical infrastructure systems for
heating, ventilation, and air condition-
ing. 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.)
10 UMS 10-11
WHEn PREPARInG STUDEnTS for a
live performing arts event, it is impor-
tant to address the concept of “concert
etiquette.” Aside from helping prevent
disruptive behavior, a discussion of concert
etiquette can also help students fully enjoy
the unique and exciting live performance
experience. The following considerations
are listed to promote an ideal environment
for all audience members.
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.
UMS Ushers will be stationed through-•
out the building and are identifiable
by their big black and white badges.
They are there to help you be as
comfortable as possible and if you
have a question (about the perfor-
mance, about where to go, or about
what something is), please ask them,
and don’t feel shy, embarrassed, or
hesitant in doing so.
SHARInG THE PERFORMAnCE HALL
WITH OTHER AUDIEnCE MEMBERS
Consider whether any talking you do •
during the performance will prevent
your seat neighbors or other audience
members from hearing. Often in large
rock concerts or in movie theaters,
the sound is turned up so loud that
you can talk and not disturb anyone’s
listening experience. However, in other
concerts and live theater experiences,
the sound is unamplified or just quite,
and the smallest noise could cause
your seat neighbor to miss an impor-
tant line of dialogue or musical phrase.
Movements or lights (from cell phones)
may also distract your audience neigh-
bors 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 perfor-
mance space with other audience
members. So, consider whether you
are sharing the arm rest and the leg
room in such a way that both you and
your seat neighbors are comfortable.
As an audience member, you are •
also part of the performance. Any
enthusiasm you might have for the
performance may make the perform-
ers perform better. So, if you like what
you are seeing make sure they know it!
Maybe clap, hoot and holler, or stand
up and cheer. However, when express-
ing your own personal enjoyment of
the performance, consider whether
your fellow audience members will be
able to see or hear what’s happening
on stage or whether they will miss
something because of the sound and
movement you are making. Given this
consideration, it’s often best to wait
until a pause in the performance (a
pause of sound, movement, or energy)
or to wait until the performer(s) bow to
the audience to share your enthusiasm
with them.
Out of respect for the performer(s), if •
you do not like some part of the per-
formance, 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 •
to the concert (start time, bathroom
locations, length), see pages 6-8 of this
guide.
B E I N G A N A U D I E N C E M E M B E R
DETAILS
11UMS 10-11
A B O U T K O D O
Photo: Taro Nishita
K O D O
OVERVIEW
WHO IS KODO?
Kodo was formed in 1981 by a com-
munity of people who had come to Sado
Island in the Sea of Japan ten years ear-
lier to devote themselves to the study of
the taiko, the traditional Japanese drum.
Their objectives are not only the study
and preservation of traditional Japanese
performing arts, but also the creation
of new directions for what they believe
are still vibrant living art-forms. They
also place great emphasis on cultural
exchange through joint-performances,
festivals and workshops, and pursue a
continuing belief in the importance of
contact with the natural world. 1981
marked the beginning of the continuous
“One Earth Tour”, Kodo’s major vehicle
for its performance activities.
THE MEAnInG OF “KODO”
The Japanese characters for Kodo convey
two meanings. In the first intepretation it
means “heartbeat,” the primal source of
all rhythm. The sound of the great taiko
is said to resemble a mother’s heartbeat
as felt in the womb, and it is no myth
that babies are often lulled asleep by
the sound of the mother’s heartbeat.
Secondly, read in a different way, the
word can mean “children of the drum,”
a reflection of Kodo’s desire to play their
drums simply, with the heart of a child.
This youthful willingness also lies behind
Kodo’s success in experimenting with
new musical forms and creating some
startling new fusions for taiko.
EARTH CELEBRATIOn
From their base on Sado Island, the
“One Earth Tour” has taken Kodo all
over the world, during which they have
been steadily making friends among
percussionists and artists from many
cultures. The idea of inviting the world’s
musicians back to the beautiful sur-
roundings of Sado has progressed from
a dream to a reality.
Together with the celebrations for the
opening of Kodo Village in 1988, the
first “Earth Celebration” festival was
held in the town of Ogi, near the land
that the group had finally found for its
long-dreamed of village. Driven by Kodo’s
dedication to providing ways in which
the world’s cultures can learn more about
each other, Earth Celebration is now firmly
established as an international percussion
and arts festival that takes place on Sado
Island every year. The central theme is
always Tataku - to beat a rhythm.
The performances in the natural outdoor
theatre of Shiroyama Park have featured
performers ranging from Africa’s exuber-
ant Drummers of Burundi, through Bali’s
mysterious Suar Agung giant bamboo
xylophone ensemble, to jazz-great Elvin
Jones. In particular, Earth Celebration has
become identified with some extraordi-
nary joint-performances and impromptu
sessions between performers who,
because of language barriers, are often
unable to speak to each other.
In addition to Kodo and the major
guests, the festival includes lectures and
workshops (which can range from how
to make bamboo xylophones to local Ogi
Okesa dance), art exhibitions, and an
all-comers fringe event modeled on the
Edinburgh Festival.
OnE EARTH TOUR
Kodo has always called their tours the
“One Earth Tour,” an idea taken from
the tradition that the sound of the village
drum binds a community together. They
hope that in some small way they can the
audiences around the world to feel that
they have something in common. They
also protest the continued research and
production of nuclear weapons, which
still threaten with instant destruction
the environment, peace, and life. Kodo
believes that art has an important role to
play in communication. It can often make
bridges where leaders and politicians
cannot.
12 UMS 10-11
13UMS 10-11
Photo: Shinji Minami
14 UMS 10-11
K O D O
ABOUT
nATURE HAS ALWAYS played a very
strong role in Kodo’s lifestyle, training
and musical inspiration. All of the com-
munity’s efforts over the last decade have
been directed towards the gradual build-
ing of Kodo Village in a thickly-forested
area on the southern peninsula of Sado.
It is here that the community of around
40 people lives, trains and prepares for its
worldwide tours. Since its inception, the
founders of Kodo have nurtured a dream
of establishing an artistic community in
the wild surroundings of Sado.
Amongst some of the most beauti-
ful landscape in Japan, the island is a
treasure house of Japanese performing
arts with a living tradition of drum-
ming, dancing and theatre. Throughout
Japanese history, the island has also been
a home for exiles, from political prisoners
and convicts to the founder of the Noh
theatre (Japan’s Classical Opera Theatre),
and it was here that Kodo created a ha-
ven where Japan’s traditional arts could
not just be preserved, but kept alive and
developing.
After more than a decade of living in a
converted schoolhouse, the group finally
obtained 25 acres of thickly-forested
land on the Ogi peninsula in the south-
ern part of the island, and in 1988 the
opening ceremony of the village was
held. In keeping with Kodo’s dedication
to preserving traditional arts, the first
structure, the main office building, was
reassembled from the timbers of a 200
year-old farmhouse that was scheduled
for demolition. It has now been extended
and includes communal cooking and
dining areas as well as a library devoted
to world music and dance. Since then,
a reception building (also a reassembled
farmhouse), a dormitory building, a stu-
dio and rehearsal hall have been added.
In addition to these main communal
buildings, married members of the group
have been building family homes on sur-
rounding land.
Looking to the future, Kodo envisions
the village as being not just a home base
for its touring activities but a center for
a wider range of artistic activities, and
an essential part of its plans to provide
opportunities for artists of the world to
meet and understand each other.
APPREnTICESHIP
Although Kodo is sustained by a core of
longtime members, new members are
needed to replace those who choose to
leave the group. In 1985, an apprentice-
ship program was established to train
the next generation of Kodo performers.
The program used to only be available
to those that intended to join Kodo, but
as of April 1998 the apprenticeship has
been opened to anyone up to 25 years
old, and the program has extended from
one year to two years. Kodo chose to
make this change because they believe
that the same principles that go towards
making a Kodo performer also apply to
helping someone prepare to become
a positive member of the society at
large. Apprenticeship is open to males
and females of any nationality between
the ages of eighteen and twenty-five.
No special schooling, work experience
or musical training is a prerequisite for
admission.
The typical apprentice program is for the
first year to focus on General Curriculum.
This includes flute, drumming, dancing,
singing, an introduction to traditional cul-
ture, the building up of physical strength
and flexibility, and the experience of
communal living. Apprentices also begin
to work in farming and woodworking.
The second year of apprenticeship is
tailored to the individual’s aspirations and
abilities, focusing on more intensive taiko
training and instruction, often learning
pieces from Kodo’s repertoire. After two
years, an apprentice who is deemed
worthy to continue becomes a junior
member.
Junior members learn several Kodo
pieces and may tour and perform with
the large group for one year. At the end
of their junior year, junior members may
be asked to join as full performing mem-
bers of Kodo. This intensive internship
is designed to allow apprentices to be
judged not only on their musical ability
but on their personal integrity. Members
of Kodo are chosen for their high levels
of musicianship as well as strong moral
character.
K O D O V I L L A G E C O N C E P T 1 9 8 5
EXCERPT
Originally 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 whis-
per 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 penetrat-
ed 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 creat-
ing 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 cre-
ate a self-supporting and unique culture. A place where people of all cultures can interact surround-
ed 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.
15UMS 10-11
16 UMS 10-11
MAP OF EAST ASIA
J A PA NSince 1988 Kodo Drummers have lived together in Kodo Village
on the Ogi Penisula of Sado Island, Japan.
HOME
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 cul-
turally and climatically like a microcosm
of Japan as a whole.
Sado, a place of banishment, has a com-
pelling history full of controversial Japa-
nese figures, such as Zeami—the founder
of noh, Japan’s most sophisticated theat-
rical tradition. Sado’s status as a fife run
directly by the national government also
gave islanders the wherewithal to indulge
themselves in the arts, as evident by the
over thirty noh theatres dotted across the
island, and by the not uncommon occur-
rence of farmers humming refrains from
the noh repertoire as they work their
fields. Together with its three genres of
puppet theatre and a wealth of festi-
vals held throughout the year, Sado has
been referred to as a ‘floating treasure
chest’ of traditional culture. Sado is not
only blessed with lush mountain scenery
and the encircling sea, it is also the last
Japanese home of the severely endan-
gered Japanese Crested Ibis (Nipponia
Nippon). The residents of Sado treasure
the rich cultural and natural beauty of
their island, and are grateful for the im-
mense contribution it makes to their own
creativity.
17UMS 10-11
JAPAn
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
18 UMS 10-11
TA I K O D R U M M I n G
Photo: Shizuka Minami
19UMS 10-11
TA I K O D R U M M I N G
ABOUT
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 be-
lieved 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.
Photo: Taro Nishita
20 UMS 10-11
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
INSTRUMENTS
I had the unique opportunity to talk
with Yukihiro Umetsu, the president of
Umetsu Daiko, a famous taiko manu-
facturer, to learn about his company’s
process and the unique history of taiko
manufacturing. The company, located in
Hakata in Fukuoka Prefecture, has been
making drums since 1821. Mr. Umestsu
is the seventh generation of drum mak-
ers in his family. After much coaxing he
revealed some details of how his com-
pany constructs taiko drums. Since most
taiko manufacturers receive their drum
shells rough cut, they are responsible for
finishing the drum. This process will be
explained chronologically in three parts:
shell construction, head treatment, and
final assembly.
SHELL COnSTRUCTIOn
The shell is the most difficult and time-
consuming process in the manufactur-
ing of a taiko. After an order has been
placed, Umetsu Daiko calls their lumber
supplier to find the appropriate diameter
log. After the tree has fallen, it must sit
for one and a half years to dry. After the
appropriate time, the tree (log) is cut
to the proper length for the drum. The
rough shape of the drum is then made
using a machine, or by chiseling it out
by hand, depending on the size of drum
and the supplier (see figure 1). A good
craftsman can chisel two or three rough
shells out per day. The shell must then
sit for three years to completely dry! It is
this point in the process that most taiko
manufacturers receive their shells.
Once a shell has been delivered, prepara-
tions begin for final shaping of the inside
and outside of the drum. The first step
on the inside is to chisel out the bearing
edge. This is done with a deep-grooved
chisel. Once both sides are complete, the
inside is sanded smooth, except for below
each of the bearing edges. The bear-
ing edge remains the thickest part of
the drum to keep the integrity of the
shell’s shape
Once the inside has been finished, the
outside of the drum is sanded for stain-
ing (see figure 2). Using several grades
of sandpaper, an electric sander finishes
the outside. After this is completed the
handles are nailed on to the drum. With
heavier drums, the handles are more dec-
orative than functional. After the handles
are in place, preparations for placing the
head on the shell begin.
HEAD PREPARATIOn
The first step in making a taiko head is to
remove the hair from the animal skin that
will be stretched over the drum shell’s
opening. This is done by soaking the hide
in a river or stream for one month. The
winter months are more conducive to
hair removal because of the colder water
temperatures. The process of soaking
the head is called kanzurashi. Soaking
the head in rice bran also produces the
same effect of loosening the hair from
the hide. After removing the hair, the
head must sit and dry for one year. Once
dried, the head is cut to a size and thick-
ness appropriate to the style of drum and its
use. For example, a drum used indoors in a
temple can have a much thinner head than
one used by a taiko ensemble in an outdoor
performance. The skin has loops added in
the final preparation for mounting the head
on the drum.
FITTInG THE HEAD
To make the head more pliant to fit over
the shell, the head is soaked in water.
At Umetsu Daiko, the smaller drums are
soaked in a tub. For larger sized skins,
the water is poured directly on to the
head to make it more malleable (see fig-
ure 3). After the head has been placed on
the shell, metal rods are placed through
each of the loops of the head. The rope
that is used to tighten down the head is
held in place by the rods. With the metal
rods in position, the drum is moved to a
hydraulic table for tightening.
The hydraulic table consists of a grid
of timbers on which a platform with
hydraulic jacks is placed. Each rope com-
ing down from the head forms a loop
that is placed under its respective timber.
Hydraulic jacks are used to provide ten-
sion to stretch the heads (see figure 4).
Once stretched, small lengths of bamboo
21UMS 10-11
FIGURE 1 The inside of the bearing
edge is chiseled out with a deep-
grooved chisel / FIGURE 2 The outside
of the drum is sanded for staining, /
FIGURE 3 Water is poured directly on
the head of the drum to make the skin
more malleble. / FIGURE 4 Hydraulic
jacks are used to stretch the head of
the drum on to its shell. / FIGURE 5
Tacks are placed in the head to keep
it in place and taught. / FIGURE 6 The
final step is staining the outside of the
drum
are twisted through each of the ropes
to even out the tension around the
drum. When this is complete it is left to
dry. The sound is checked and adjusted
up or down in pitch with the press and
bamboo pieces. After the head has dried,
a measuring tool marks off where each
of the tacks is to be placed on the head.
This tool is similar to a compass with
sharp points on both ends. This leaves
a small guide hole. These tacks aid in
keeping the head in place and taut. A
medium sized drum has around 300
tacks per side (see figure 5).
After the head has been tacked down
the excess hide is removed. This is done
using a scoring tool around the circum-
ference of the drum. Once scored, a
larger knife is used to cut off the excess
skin. The drum is now ready to be
stained.
The staining process is the last step (see
figure 6). Once the first coat of stain
is used, a light coat of fine sawdust is
applied as a buffer to give the drum a
high luster.
22 UMS 10-11
T Y P E S O F TA I K O D R U M S
INSTRUMENTS
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
The nagado-daiko (long-bodied taiko)
is by far the most popular taiko used in
the modern kumi-daiko style of playing.
They are also very common in festivals
and in temples and shrines (where they
are often called miya-daiko). They have
a characteristically deep, reverberant
sound. These drums are often called by
their size: josuke is the most common
size, chu-daiko translates as “medium
drum,” and odaiko (big fat drum) ranges
from 3 shaku on up to 6 shaku or more.
(Shaku a traditional unit of measure used
throughout Asia.) There are many styles
of playing this taiko, with a wonderful
selection of different stands that hold the
nagado-daiko in various positions.
ODAIKO
Odaiko literally means “big fat drum”
and can refer to any large taiko drum.
However, the term is usually reserved
for nagado-daiko that have a head
over three feet in diameter. Odaiko are
typically placed on a stand and played
horizontally, often by two people at
once. Typically, one player will beat out a
basic rhythm while the second player so-
los. Odaiko can reach huge proportions,
sometimes weighing in at over three tons
and spanning over six feet in diameter.
These Mammoth Odaiko are often built
for shrines or temples, and they can cost
hundreds of thousands of dollars.
HIRA-DAIKO
The hira-daiko tends to be a small drum,
but they can reach extremely large
proportions as well. The big versions are
popular among many taiko groups who
can buy an odaiko sized hira-daiko for
much less than an equivalent nagado-
daiko. Smaller hira-daiko are not used
much in the kumi-daiko style of play-
ing, but have a place as an orchestral
instrument, used in Hayashi music. They
have a boomy, reverberant sound like the
nagado-daiko, but it decays much faster
due to the shallow body.
23UMS 10-11
SHIME-DAIKO
Shime-daiko used for classical Japanese
music such as Noh, Kabuki and Na-
gauta are sometimes just called taiko or
wadaiko, and have relatively lightweight
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 be-
ing 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-
ment as well.
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 nagado-
daiko is. They tend to be larger than a
typical nagado-daiko, often around six
feet in length and three feet in diameter.
They are usually played horizontally,
raised up on a high stand. There are also
short bodied styles which are becom-
ming increasingly popular. They have a
loud, flat, booming sound, and are often
played with slats of bamboo which pro-
duces a sharp, slapping sound.
UCHIWA DAIKO
The Uchiwa Daiko are paddle drums used
to keep time during Buddhist chants.
These drums are also used by monks in
parades and festivals.
DAIBYOOSHI DAIKO
Daibyooshi Daiko are used in the con-
temporary taiko ensembles, temples, and
in folk music. They are played with thin-
ner sticks and sometimes played while
slung over the right shoulder.
KOTSUzUMI
An hourglass shaped drum with two
heads. It contains two sets of ropes
to hold the head in place. One set of
ropes holds the head on the shell while
the other encircles the tension ropes to
change the pitch of the drum.
24 UMS 10-11
C L O T H I N G O F A TA I K O D R U M M E R
Taiko drummers wear specific and specialized clothing when performing.
ABOUT
HACHIMAKI (headband)
HAPPI (Short, Kimono-like costume)
MOMOHIKI (tight-like pants)
OBI (sash or belt)
TABI (split toed socks)
BACHI (Sticks)
Happi, or Hanten—the colorful “short
coats” that are usually worn with an obi
(belt). Often the happi bears the name
and logo (called “mon”) of the taiko
group.
Haragake - originally used as a carpen-
ter’s apron. Haragake look like aprons:
they cover the chest and stomach and
have straps that criss-cross over the
shoulders (not shown).
Tabi - shoes worn by taiko players. They
are similar to high-top “kung fu” shoes,
but the big toe is separated, like the
thumb of a mitten.
Momohiki - the pants often worn by
taiko players. They are like long under
pants, or tights, but tie around the waist.
Hachimaki - the head band worn by
many taiko players (and sushi-ya).
Obi - the belt that holds a kimono or
happi coat
Fundoshi* - the cloth that is wrapped
around a man’s legs and waist (similar to
small jockey pants), and worn when play-
ing the O-daiko or Okedo.
Photo: Taro Nishita
25UMS 10-11
*A SPECIAL nOTE ABOUT FundoShi
When audience members, espe-
cially 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. Swim-
mers, for example, wear swim-
suits; 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 ap-
proach 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
26 UMS 10-11
R E S O U R C E S
Photo: Taro Nishita
27UMS 10-11
N AT I O N A L S TA N D A R D S
ENGAGE
The following are national standards addressed through this Youth Performance and through the ideas in the following curriculum connections.
MATHEMATICS
Measurement Pre- K – 2
NM-MEA.PK-2.1 Understand Measurable
Attributes of Objects and the Units, Sys-
tems and Processes of Measurement
NM-MEA.PK-2.2 Apply Appropriate
Techniques, Tools and Formulas to
Determine Measurements.
Measurement 3-5
NM-MEA.3-5.1 Understand Measurable
Attributes of Objects and the Units, Sys-
tems and Processes of Measurement.
NM-MEA.3-5.2 Apply Appropriate Tech-
niques, Tools and Formulas to Deter-
mine 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
Make Reasonable Estimates.
SOCIAL SCIEnCES
Geography K-12
NSS-G.K-12.1 The World in Spatial Terms
NSS-G.K-12.2 Places and Regions
Economics K-4
NSS-EC.K-4.1 Productive Resources
Economics 5-8
NSS-EC.5-8.1 Productive Resources
SCIEnCE
Science K-4
NS.K-4.6 Personal and Social Perspectives
Science 5-8
NS.5-8.6 Personal and Social Perspectives
EnGLISH LAnGUAGE ARTS
English Language Arts K-12
NL-ENG.K-12.6 Applying Knowledge
NL-ENG.K-12.8 Developing Research Skills
MUSIC
Music K-4
NA-M.K-4.6 Listening To, Analyzing and
Describing Music
NA-M.K-4.7 Evaluating Music and Music
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
28 UMS 10-11
C U R R I C U L U M C O N N E C T I O N S
ENGAGE
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 horizon-
tally, 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-
mance. You can find pictures of them by
googling taiko drums. Introduce the term
diameter and define it. Some of the taiko
drums have a head that is over three
feet in diameter and some weigh over
three tons and span six feet in diameter.
These drums are often built for shrines or
temples. Give students measuring tapes
and have them measure the diameter of
some things in your classroom or school.
They can also measure some objects they
have at home and bring the measure-
ments to school. Show them how big a
drum that is six feet in diameter would
be. Is there anything they measured that
is that big or bigger in diameter? Make
a chart of the things students measure
with the name of the object and its
diameter. Do some comparisons or some
graphs.
SOUnD
The sound of a drum is made by the
vibration of the drum’s membrane or
head. How do other instruments make
a sound? What vibrates? Have students
name as many instruments as they can.
List these on the board. Talk about the
different ways instruments make their
sounds. Strings vibrate, reeds vibrate, lips
vibrate, membranes vibrate, etc. Cat-
egorize the instruments according to the
way in which they make their sound. Tell
students to look at the type of instru-
ments used in the Kodo performance.
After the performance talk about how
those instruments made sounds.
COnSERVATIOn AnD SCARCITY
Byou-daiko are drums that have bodies
that are carved from a single log. This
means that a large tree that has grown
for a minimum of two hundred years is
needed. What does this have to do with
environmental and economic issues?
Discuss the scarcity of old growth forests
which has driven prices up and made
these drums very expensive. Ask students
if they have any ideas about how to fix
these problems. Remind them that the
drums are expected to look beautiful
Photo: Buntaro Tanaka
29UMS 10-11
and to sound good. Tell them, then, that
taiko makers are looking for other ways
to make their drums. Some of them
laminate several pieces of wood together
to save wood and lower prices.
LAnGUAGE/WORD MEAnInGS
Before the performance tell your students
that the word, “Kodo” has two mean-
ings, heartbeat and children of the drum.
Ask them how many English words they
can think of that have two meanings.
As examples you might give them the
word left. Make a list of those words.
Tell students to choose two of the words
and create a sentence using both their
meanings. An example would be, “The
boy turned to his left and then left the
room.” This can be difficult.
ADJECTIVES AnD POETRY
Introduce or review the meaning of
“adjective.” List some adjectives. Tell
students that they will be attending a
performance of Japanese drumming. Ask
them to predict which adjectives might
describe the performance. After the
performance either together as a class,
individually or in pairs have students
come up with specific adjectives they
think describe the performance they just
saw. Use the adjectives students suggest
to write a class listing poem about the
performance or have students write their
own poem titled “Kodo” using adjectives
to describe the performance.
WRITInG AnD nEWSPAPER ARTICLES
The newspaper, either in print or online,
can make a great learning tool. Give
students several articles describing and/
or critiquing a music performance. What
types of things does the writer point out?
What are the characteristics of articles
like these? What information is usually
included in the first paragraph? Tell stu-
dents to write a newspaper article about
the Kodo performance.
COMPARISOnS AnD
THE RESEARCH PAPER
If you are introducing the research paper
to your students, an interesting topic to
assign would be a comparison of the use
of the drum by the Japanese, the Native
Americans and the Africans. This general
topic, of course, can be made more
specific. Resources can be found on the
internet and in print.
JAPAn - LOCATIOn
In preparation for the Kodo performance
talk about Japan. Bring out a map and
have students locate Japan. What coun-
tries is it near? How many miles is it from
the United States? Is it further than Eng-
land? France? Argentina? South Africa?
Japan's Flag
30 UMS 10-11
How would you get there? What countries
would you have to fly over? Would you
have to cross any oceans? Which ones?
JAPAn - ISLAnD
Japan is an island. Define island. How is
an island different from a peninsula? Ask
students if they can name any other is-
lands. Are there any islands in the United
States? What island can they name in
Michigan? Ask students how living on
an island might make their life different
from the lives of people who don’t live
on islands. Discuss food, transportation,
imports and exports, recreation.
JAPAn - FLAG
Show a picture of the Japanese flag. The
Japanese flag is a white banner with a red
circle in the middle. The circle represents
the sun. The flag is called Hinomaru,
which means circle of the sun. This flag
has been used for over 1000 years and
was officially adopted as the flag of Impe-
rial Japan on January 27, 1870. No one
knows who designed it or when it was
designed. Compare the Japanese flag
with the flag of The United States. Who
designed our flag? When was it done?
When was it first used? Do the stars and
stripes have a special meaning? Has the
flag ever been changed in any way?
Show students pictures of some of the
flags of countries around the world. Talk
about the meaning of the colors and
symbols of those flags. You could also as-
sign a country to each student and have
them look up the flag of the country and
describe it to the class. Tell students to
imagine that they are citizens of a new
country. Tell them to briefly write a para-
graph or two describing their country. Tell
them to design a flag for their country
and then write a paragraph describing
the meaning of the colors and symbols
they used. This can be done individually
or in pairs.
CAPITAL CITIES –
WASHInGTOn AnD TOKYO
What function does the capital of a
country have? What is the capital of
Japan? Where is it located? What is our
capital? Where is it located? How do the
two capitals compare in size? In popula-
tion? In climate? What buildings can be
found in a capital city? This is a great
time to look at Washington, D.C. and
talk about the buildings, monuments
and museums you can find in our capital.
Students might do reports or brochures
about what to see and do in our capital
and in Tokyo.
MUSIC – ITS FUnCTIOn
In A COMMUnITY
Taiko drumming has been a part of the
Japanese culture for many centuries.
Taiko drums are played at shrines and in
temples for religious festivals and cere-
monies. They are used for entertainment
and they used to have a part in warfare,
making sounds big enough to scare away
the enemy. The drum is a ritual tool in
Japan played whenever a community
needed to come together. How do we, in
the United States, use music? In the same
ways? What kind of music and which
instruments do we use in religious cer-
emonies? For national celebrations? Did
we ever use drums and music in warfare?
Do we still?
The Japanese played the drum to bring
a community together. At what times
do communities in our country “come
together?” During times of fear and war-
fare? During celebrations? To help people
or communities in trouble? What does
“coming together” really mean? What
are some of the smaller communities that
make up the large national community?
What brings them together? Emotion?
Speeches? Competition? Shared need?
Does music help? How?
BORDERS –
FUnCTIOn AnD nEED
Japanese villages had their own taiko
drum. It is said that the furthest point at
which the village taiko could be heard
marked the edge of the village. So the
drums were used to delineate the village
borders. Ask students to define a border
as it refers to geography. How do we
delineate borders? How do we decide
where one city ends and another begins?
Are these borders marked anywhere?
What part do surveyors play in marking
borders?
Do borders keep people in or keep
people out or both? Why are borders
necessary? Can anyone cross a border
from one country to another? What do
you need to do that? Why can’t you just
walk across? Do different countries have
different rules about borders? Examples?
Now is the time to talk about citizens,
green cards, immigration, legal and illegal
immigration, deportation.
31UMS 10-11
L E S S O N P L A N SArtsedge.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.
ENGAGE
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. Draw-
ing 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 understand-
ing 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 begin-
nings 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.
32 UMS 10-11
V I S U A L + P E R F O R M I N G A R T SThe following artwork is part of the University of Michigan Museum of Art Collection.
CONNECTIONS
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
33UMS 10-11
Sam Mackey
(American, 1897-1992)
Untitled
20th century
Crayon, ink and graphite on paper
Gift of the Daniel and Har-
riet Fusfeld Folk Art Collection,
2002/1.205
34 UMS 10-11
L I T E R A RY + P E R F O R M I N G A R T S
CONNECTIONS
Framing Question: How does this Japanese tale related to the Kodo drummers or their performance?
Tiny Finger: A JAPAnESE TALE
Many, many years ago, an honest man
and his wife lived together in a small
village in the southern part of Japan.
This couple lived happily together, and
even when they were tired from the
day’s work, they cheered each other with
the news of the day. Kenta, the man,
would tell his wife what had happened
in the village that day, and Mori, his wife,
would tell him the latest gossip.
Although they were poor, Kenta and Mori
were happy. Their happiness was not com-
plete, however, for they had no son to
carry on the family name. Each morning
the old couple would pray that the Sun
Goddess would bless them with a son of
their own. Kenta and Mori wished for a
son so badly that one day while praying
they said, “We would be happy even
if our son was just as small as our little
fingers. If you give us a child, we will do
anything in return for your kindness.”
Many months passed, but still no child
was born. At last, when they had almost
given up hope, Mori surprised her hus-
band by telling him that soon they would
have a child. Their delight was beyond
description! Immediately Kenta hurried
to the village shrine and thanked the Sun
Goddess for this blessing.
But when the day of the baby’s birth
arrived, everyone was astonished and
puzzled to see that the child was no larger
than the little finger of a human hand.
Nevertheless, Kenta and Mori were happy,
and they remembered their promise to
the Sun Goddess. Accepting this blessing,
they named the baby Issunboshi, which in
English means “tiny finger.”
Though the little boy was tiny, Kenta and
Mori loved him very much. And though
Tiny Finger grew older and stronger, he
remained just as small as he was when
he was born. Mori and Kenta often went
to the temple to ask the Sun Goddess to
protect their little son.
Even though he was small, Tiny Finger
was a brave and strong boy. One day he
said to his parents in his thin and lovely
voice, “Dear Father and Mother, thank
you very much for your love during my
boyhood, but the time has come now,
and I am of age. I wish to go to the great
capital of Kyoto where the emperor lives.
There I wish to serve the emperor and
become a brave warrior in his house-
hold.” Kenta and Mori were a little sur-
prised, but they realized their son was old
enough to go out into the world. Still, it
was difficult for them to let him go, for
he was so small and looked so helpless.
However, there was nothing that would
satisfy Tiny Finger except to go to the
emperor and seek to enter his service.
After his mother and father gave permis-
sion for the trip, Tiny Finger asked them,
“Since I am going out into the world, will
you give me a needle? From the needle, I
can make a sword. If I am to be a warrior,
I must have a weapon to protect and
defend myself.” So old Mori took a large,
sharp needle from her sewing box and
attached it to the vest of her little son.
And again Tiny Finger asked, “Will you
give me a wooden bowl and a chopstick?
I must go up the river to get to Kyoto.
I will use the bowl for a boat and the
chopstick for an oar.” So Kenta hurried
to the kitchen and returned with a small
rice bowl and a chopstick.
The day for his departure arrived, and
Tiny Finger said good-bye to his par-
ents. As Tiny Finger rowed away from
the shore of the river Yodo, his parents
watched with sad eyes. They waved to
him, and soon the little boy and the tiny
boat were out of sight. In the river Yodo,
the little wooden boat bobbed up and
down like a cork. But Tiny Finger was a
strong boy, and, using all his strength,
he rowed with the chopstick. It was a
dangerous trip for such a small boat, and
the oar seemed so heavy, even though
it was only a chopstick. Sometimes the
wind blew, and the large waves almost
wrecked the little boat. Sometimes large
fish appeared from the blue waves and
attacked the strange little traveler in his
small, funny craft. However, Tiny Finger
did not lose courage, and he rowed for
many days and nights, keeping his boat
skimming over the water.
After a long and hard voyage, Tiny Finger
reached Kyoto. At last he had arrived
where he longed to be—in the city
where the emperor lived. Full of delight
and feeling extremely brave, Tiny Finger
went into the city of Kyoto. Everything
was strange to the little country boy, for
he had never before been in a large city
—or, for that matter, in any city at all.
35UMS 10-11
Tiny Finger just gazed in wonderment at
the sights. On the main street, long lines
of warriors marched one after another in
wide ranks. On one side of the street rode
an armored warrior lord on a splendid
white horse. And on the other side of the
street was a wonderful golden carriage,
perhaps belonging to a princess. The
brilliancy and noise of this splendid city
overwhelmed Tiny Finger, and his heart
beat fast with excitement. He grasped his
precious sword even tighter and set out
for the palace of the emperor.
Soon he came to a tall, wooden gate
where two huge warriors stood with
long swords. There they guarded the
gates and watched all the passers-by.
Tiny Finger knew that he had found the
palace of the emperor at last. Being so
small, Tiny Finger nimbly jumped through
an opening in the huge gate and entered
the garden of the palace. Timidly he
approached the front door of the palace
and cried, “Hello! Hello!” But his voice
was so thin that no one could hear
it. Then with all his might Tiny Finger
shouted over and over again, “Hello,
great lord, hello!”
At last, one of the guards heard Tiny
Finger’s weak voice and brought the
Lord of the Palace to the doorway. The
Lord of the Palace thought that no one
was there. He did not expect such a tiny
visitor. The thin little voice kept calling,
“Hello! Hello! Great Lord of the Palace, I
am down here by your feet! “
And when the Lord of the Palace looked
down, there stood the smallest boy he
had ever seen. The great lord bent down
and in a soft voice asked Tiny Finger,
“Strange little boy, what do you want?”
Tiny Finger replied, “I am Tiny Finger,
and I came here to learn to be as great
a soldier as you.” The Lord of the Palace
was delighted with this speech and with
the bravery of the little visitor. “You shall
be a soldier,” he said. “Come and meet
my young daughter. I think I will make
you her personal guard.”
Life in the castle with the princess was
a wonderful experience for Tiny Finger.
The princess grew to love her finger-
high guard, and he accompanied her
wherever she went. One day the princess
was visiting a shrine on the outskirts of
the city, and Tiny Finger went along as
usual. On their way home they passed
through a deep forest, and just as they
were near the middle of the woods, a
tall, fierce bandit suddenly appeared
before the princess. The bandit was very
bold and he gruffly caught the princess
by the sleeve of her kimono. “Help me!
Help me!” the princess cried. She tried to
escape from the bandit, but he was too
strong, and he held her tightly.
Seeing the princess in danger, Tiny Finger
unsheathed his needle sword and sprang
at the bandit. Running and kicking, he
finally succeeded in pricking the bandit
with his needle sword. “Oh! Oh! Oh! I
have been cut!” roared the bandit. Then
he looked all around for the one who
had hurt him. But Tiny Finger was so
small that he could run in and out be-
tween the bandit’s feet, sticking the long
needle into the bandit’s big toes and into
his heels. The bandit was so tall and so
clumsy that he could not catch Tiny Fin-
ger. Nor could he escape from him. Every
time the bandit tried to run away, Tiny
Finger would catch him by one trouser
leg and stick him with his needle.
The bandit could not get away from the
little boy, and he could not catch Tiny
Finger. So he surrendered. When Tiny
Finger jumped down to the ground, the
bandit escaped into the forest, leaving
behind him many precious treasures and
a mallet. The princess, who had stood
trembling under a tree while Tiny Finger
fought with the bandit, now approached
him with delight and appreciation.
To her small protector she said, “Thank
you for battling that wicked bandit. You
have saved my life. If it weren’t for you,
the bandit would certainly have carried
me away into the forest and he would
have made my father pay a large ransom
for my release. I will tell my father how
brave you are, and he will reward you.”
Then the princess picked up the mallet
the bandit had left, and she said to Tiny
Finger, “This is a wonderful and mysteri-
ous mallet, my little soldier. It is a treasure
of the bandit family. If you make a wish,
you will receive anything you ask of it.”
Tiny Finger was most delighted, and he
made a wish. “Please,” he said, “make
me a tall and strong boy like all the other
boys of Japan.” He shouted this wish
three times, and, to his astonishment, he
grew several feet every time he shouted.
Before the very eyes of the princess, he
became a handsome and strong warrior.
There was a great feast in the banquet
hall of the grand palace that night. Many
soldiers praised Tiny Finger, and everyone
admired his beauty and strength. The
great lord was so pleased with the brav-
ery of the young warrior that he gave his
daughter in marriage to Tiny Finger.
The next day Tiny Finger and his lovely
bride set out for the town where Kenta
and Mori lived. But this time Tiny Finger
did not sail in a rice bowl, nor did he row
with a chopstick. The old lord had given
the young couple a strong and sleek ship
with tall white sails to help them skim
over the water. Off they went over the
blue waves to visit the aging parents of
the young warrior. In time, Tiny Finger
became a great lord himself.
36 UMS 10-11
TA I K O V O C A B U L A RY
EXPLORE
Atarigane - Also known as the chan-
chiki. A hand gong. Often used to
keep time. Played held in the hand or
suspended by a cord. Struck with a
deer horn mallet called the shumoku.
Bachi - Also buchi. General term for
drum sticks. Also refers to the plec-
trum or pick used by shamisen and
biwa players.
Buna - The Japanese beech tree. Used
for bachi.
Byoo-daiko - Also Byoouchi-daiko. Gen-
eral term for a nailed-head drums.
Chappa - Also called tebyoshi. Small
hand cymbals.
Choochin - Paper lantern. Used for
decoration by some taiko groups. It
is common to have a taiko group’s
name written on a choochin.
Chu-daiko - General term for a medium
sized drum, roughly around 2 shaku
in diameter. Most often refers to a
drum of that size of the nagado-daiko
style.
Da-daiko - Highly decorated okedo-
daiko style drum used for religious
ceremonies and is played with short,
padded beaters. Da-daiko are usually
around two meters in diameter, and
are one of the oldest styles of taiko
used in Japan, dating from at least
the 7th century.
Dai - General term used for a drum
stand.
-daiko - Suffix used to indicate a type
of drum, a Taiko group, or a style of
taiko playing in a compound word.
Do - Also Doh (English variant). General
term used for the body of a drum.
Dojo - A place for studying. Lit: the
place of the way.
Dora - A gong with a deep lip and
pronounce center boss.
Fuchi - The rim of the drum, where the
“ka” note is played.
Fue - In the broadest meaning, fue
refers to any blown instrument
including nohkan, shakuhachi and
sho. However, the term is widely used
to refer to a transverse (horizontal)
bamboo flute.
Futatsu-domoe - A design made up of
two comma shaped marks in a circle
(similar to a yin-yang symbol) that is
commonly lacquered on the heads of
Odaiko.
Photo: Shizuka Minami
37UMS 10-11
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
to accent the music, signal shifts
in rhythm, and to encourage other
performers.
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.
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,
etc). Somewhat equivalent to a rest in
Western notation.
Minyo - General term for folk music.
Miya-daiko - Shrine or Temple drum.
Also used as a general term for
nagado-daiko.
nagauta - A form of Japanese classical
music, focusing on long songs and
with shamisen and vocal melodic lines
supported by percussion.
narimono - General term for small,
handheld percussion instruments.
Odaiko - In general, the term is used for
any drum larger than 84 centimeters
in diameter. Historically, it refered
to the largest drum in any particular
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.
Paranku - Small one headed drum
somewhat similar to a robust tam-
bourine.
Suzu - A bell similar to a jingle bell.
Taiko - General term for Japanese
drums.
Take - Bamboo.
Tsuchibyoshi - A style of okedo-daiko
used in Kabuki music. The low pitch
of the drum is used to represent of
the atmosphere and ambience of the
countryside. This taiko is also used
in folk Shinto shrine music. Also see
daibyoshi.
Tsuzumi - General term for hourglass
shaped drums.
Uchite - A taiko player.
Uho-gaku - Music of the Right. The
Music of the Right includes Gagaku
compositions from Korea, as well as
Japanese compositions in that style.
Visually, Uho-gaku is associated with
the color red, the mitsu-domoe and
the image of Chinese dragons. See
Gagaku.
Uta - A song. Also a general term for
singing.
Yotsutake - Slats of bamboo used as
clappers.
Photo: Shizuka Minami
38 UMS 10-11
A D D I T I O N A L R E S O U R C E S
EXPLORE
ORGANIZATIONS
University Musical Society
881 N University Ave
Ann Arbor, MI 48109-1101
(734) 615-0122
www.ums.org
Center for Japanese Studies
University of Michigan
1080 South University, Room 4648
Ann Arbor, MI 48109-1106
(734) 763-4301
www.ii.umich.edu/cjs
Great Lakes Taiko Center
43000 W. Nine Mile Rd
Novi, MI 48375
(248) 773-8899
www.michigantaiko.net
Japan Society
333 East 47th Street
New York, NY 10017
(212) 832-1155
www.japansociety.org
UMS 10/11 JAPAN-RELATED
PERFORMANCES
Sankai Juku
c/o Pomegranate Arts
1140 Broadway, Suite 305
New York, NY 10001
(212) 228-2221
www.sankaijuku.com
Kodo
Kodo Village
Sado Island, Niigata 952-0611 Japan
(phone) 81-(0)259-86-3630
www.kodo.or.jp
Bach Collegium Japan
www.bach.co.jp
U M S
40 UMS 10-11
W H AT I S U M S ?
UMS
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
Ann Arbor, MI 48109-1011
STAFF
Kenneth C. Fischer,UMS President
Claire C. RiceInterim Director
Mary Roeder Residency Coordinator
Omari RushEducation Manager
InTERnS
Caroline Buse
Matthew Mejía
Emily Michels
Britta Wilhelmsen
41UMS 10-11
K-12 SCHOOL PARTnERSHIPS
Working directly with schools to
align our programs with classroom
goals and objectives
• 14-year official partnerships with the
Ann Arbor Public Schools and the Washt-
enaw Intermediate School District.
• Superintendent of Ann Arbor Public
Schools is an ex officio member of the
UMS Board of Directors.
• UMS has significant relationships with
Detroit Public Schools’ dance and world
language programs and is developing
relationships with other regional districts.
• UMS is building partnerships with or of-
fering specialized services to the region’s
independent and home schools.
UnIVERSITY EDUCATIOn PARTnERSHIPS
Affecting educators’ teaching prac-
tices at the developmental stage
• UMS Youth Education is developing
a partnership with the U-M School of
Education, which keeps UMS informed
of current research in educational theory
and practice.
• University professors and staff are
active program advisors and workshop
presenters.
ACCESSIBILITY
Eliminating participation barriers
• UMS subsidizes Youth Performance
tickets to $6/student (average subsidy:
$25/ticket)
• When possible, UMS reimburses bus-
sing costs.
• UMS Youth Education offers person-
alized customer service to teachers in
order to respond to each school’s unique
needs.
• UMS actively seeks out schools with
economic and geographic challenges to
ensure and facilitate participation.
ARTS EDUCATIOn LEADER
One of the premier arts education
programs in the country
• UMS’s peer arts education programs: Car-
negie Hall, Lincoln Center, Kennedy Center.
• UMS has the largest youth education
program of its type in the four-state region
and has consistent school/teacher participa-
tion throughout southeastern Michigan.
• 20,000 students are engaged each sea-
son by daytime performances, workshops
and in-school visits.
• UMS Youth Education was awarded
“Best Practices” by ArtServe Michigan
and The Dana Foundation (2003).
U M S Y O U T H E D U C AT I O N P R O G R A M1 0 T H I N G S T O K N O W
UMS
QUALITY
Every student deserves access to
“the best” experiences of world arts
and culture
• UMS presents the finest international
performing and cultural artists.
• Performances are often exclusive to
Ann Arbor or touring to a small number
of cities.
• UMS Youth Performances aim to
present to students the same perfor-
mance that the public audiences see (no
watered-down content).
DIVERSITY
Highlighting the cultural, artistic,
and geographic diversity of the world
• Programs represent world cultures and
mirror school/community demographics.
• Students see a variety of art forms:
classical music, dance, theater, jazz,
choral, global arts.
• UMS’s Global Arts program focuses
on 4 distinct regions of the world—
Africa, the Americas, Asia, and the Arab
World—with a annual festival featuring
the arts of one region.
42 UMS 10-11
KEnnEDY CEnTER PARTnERSHIP
• UMS Youth Education has been a
member of the prestigious Kennedy
Center Partners in Education Program
since 1997.
• Partners in Education is a national con-
sortium of arts organization and public
school partnerships.
• The program networks over 100 na-
tional partner teams and helps UMS stay
on top of best practices in education and
arts nationwide.
PROFESSIOnAL DEVELOPMEnT
“I find your arts and culture work-
shops to be one of the ‘Seven Won-
ders of Ann Arbor’!”
–AAPS Teacher
• UMS Youth Education provides some
of the region’s most vital and responsive
professional development training.
• Over 300 teachers participate in our
educator workshops each season.
• In most workshops, UMS utilizes and
engages resources of the regional com-
munity: cultural experts and institutions,
performing and teaching artists.
TEACHER ADVISORY COMMITTEE
Meeting the actual needs of today’s
educators in real time
• UMS Youth Education works with a
50-teacher committee that guides pro-
gram decision-making.
• The Committee meets throughout
the season in large and small groups
regarding issues that affect teachers and
their participation: ticket/bussing costs,
programming, future goals, etc.
In-SCHOOL VISITS & CURRICULUM
DEVELOPMEnT
Supporting teachers in the classroom
• UMS Youth Education places interna-
tional artists and local arts educators/
teaching artists in classes to help educa-
tors teach a particular art form or model
new/innovative teaching practices.
• UMS develops nationally-recognized
teacher curriculum materials to help
teachers incorporate upcoming youth
performances immediately in their daily
classroom instruction.
UMS Youth Education [email protected] | 734-615-0122
www.ums.org/education
43UMS 10-11
S E N D U S Y O U R F E E D B A C K !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 • [email protected]
www.ums.org/education
