Another Perspective of the Conference

Impact of Taiko

Opening Speech

Group Photograph

Community Dialogue

Photo Gallery

2003 Taiko Conference

Hi folks--I should have had something more prepared when Johnny handed me the mike at the Opening Session, but just didn't have the timeto put something together. The following article is one I had ample time to work on after the conference, that was recently printed in the Rafu Magazine in L.A. Some of the thoughts below are probably what I would have touched on if I had time to prepare for the Opening Session, but I was busy making sure people could see video clips of Johnny from the 70's and Alan Okada talking to Oscar the Grouch. Enjoy and I welcome feedback...(yamami@jaccc.org) Over the past thirty-three years, taiko drumming in the U.S. has become many things to many people. It continues to grow across the nation and around the world. Outside of Japan, Los Angeles has the largest and most active taiko community. The JACCC has been at the forefront of this community and the "North American taiko movement" for the past twenty years, especially in the last five years as the coordinator and host of the 1997, 1999, and 2001 North American Taiko Conferences. The American taiko community is comprised of over 100 groups from across the continent and on the islands of Hawaii, and up north in Alaska. These groups range from children's groups to community groups to professional touring ensembles. Along with around 20 groups in Canada, the community has been convening every two years at the JACCC for the Taiko Conference, not just to take workshops from master teachers and performers, but to dialogue about and explore what "taiko" was, is, and will be. For the majority of non-taiko players out there, it may not seem that taiko has changed much over the past few decades, perhaps just that you see it more and more at festivals, weddings, concerts, and so forth. But one major difference that has evolved is that a lot of people playing taiko today are not playing for the same reasons that the original pioneers did. American taiko was borne and developed in its early stages in an environment of social change, of a search for cultural identity, of questioning "what is American," "what is Japanese," and "what is Japanese American?" Largely composed of Japanese American Sansei, early taiko players drummed to express themselves culturally and politically. Ever since then, taiko groups have formed from all sorts of other angles, to share Japanese culture, as a social activity, as a family endeavor, from Americans who started learning taiko in Japan, to as a solely artistic means of expression. But unlike other Japanese forms that have caught mainstream like judo, karate, and sumo, taiko does not have a formal and long-standing tradition that must be adhered to. This is both a blessing and a curse, as it can allow for great artistic freedom, but also since there is no agreed-upon "standard," there is no guarantee that what you see being performed and called "taiko," might not be a worthy or respectful representation of the drum or the form. Change is inevitable. As the community grows larger, and more taiko drummers become part of this family, it seems obvious that it will just add more differing perspectives as to "what taiko is." But the strength of the taiko community lies in that diversity (in style, philosophy, mission, training and members) and their acceptance of that diversity. I may not like what one other taiko group is doing with taiko, and they might not like what I'm doing, but hopefully we can respect each other for our mutual commitment and love for taiko. When it all comes down to it, we're both playing the drum. As taiko grows past its original cultural and political roots, groups are forming in places like Oklahoma, Idaho, and Georgia; outside of even the smallest Japanese American communities. Remo Inc.'s line of synthetic taiko drums are currently available, and can expect orders from high school and college marching bands to include them into their orchestrations. Cirque du Soleil uses taiko in their Las Vegas production of "Mystere," although perhaps not to its full potential. What is clear, though, is that the love of hitting a drum, of creating music with a group of people, perhaps sharing in cultural heritage, perhaps not, but just wanting to play taiko, is becoming more universal every day. This is a wonderful thing. Who knew such a simple musical instrument could do so much for so many people? I have great respect for what it has done, but I also have great respect for the pioneers of the taiko community who persevered to make this all happen. It is an important history that needs to be documented and passed on to future generations of taiko players. Let's get started. Bryan Yamami was the Lead Coordinator of the 2001 Taiko Conference, which took place at the JACCC from June 29 - July 1, 2001. He is currently a Program Manager at the JACCC.