UCR Taiko Ensemble
Taught by Rev. Tom Kurai
Rev. Tom Kurai demonstrating the chudaiko to four students in the UCR Taiko Ensemble class, June 1999.
Photo by Steve Walag.
 

The UCR Taiko Ensemble was started in Spring 1999 in response to student interest.  It will probably be offered during the fall, winter, and spring quarters of the 1999-2000 academic year (see below for more information on how to register).

Our instructor, Rev. Thomas Shuichi Kurai, is a Zen Buddhist minister who has taught and performed the art of taiko for twenty-five years.  He has studied taiko with many groups in the U.S. as well as in Japan.  Currently Rev. Kurai is a performing artist with the Los Angeles Music Center, conducting taiko classes and workshop at public and private schools.  He has received grants from Cal Arts and the Los Angeles City Cultural Affairs office to preserve the art of taiko in the community.  Rev. Kurai received a Dramalogue and L.A. Weekly awards for best musical performance in live theater and recently performed taiko in the Academy-Award nominated film, The Thin Red Line.  The Taiko Center of Los Angeles was founded in 1996 by Rev. Kurai to promote the art of taiko through performances and classes.  The Taiko Center performing ensemble features local taiko artists as well as guest artists from Japan and collaborates with jazz, Latin, and African drummers.  Its latest collaboration is with the UC Riverside Javanese Gamelan Ensemble.  Rev. Kurai is also the artistic director for Kishin Daiko, a renowned community taiko group based in West Covina, California.


What is taiko?

"Taiko" in general is often used to mean the relatively modern art of Japanese drum performances (kumi-daiko, literally ‘group taiko’), but the word actually refers to the taiko drums themselves.  Taiko means "big drum," although there are many shapes and sizes of taiko.
Photo by Steve Walag.
 
 
 
 
 
 
 
 

Reputedly, the first use of taiko was as a battlefield instrument, used to intimidate and scare the enemy—a use to which drums have been put in many cultures.  The drums may also have been used to signal the troops.  In addition to its martial history, Japan has always used taiko in the most refined cultural settings as well.  Taiko were used in the opening celebrations of the Todaiji Buddhist temple in the sixth century, and were quickly incorporated into the Imperial court music as well.  Certain taiko have gone on to become some of the most elegant and beautiful of all Japanese instruments.

Photos by Steve Walag.

Taiko has continued to find a place in religious ceremonies, both Buddhist and Shinto.  The Nichiren sect uses taiko as an aid in chanting.  Some Buddhist sects use taiko to represent the voice of the Buddha, and Bon dancing in summer is centered around Buddhist rites.  It was used in village Shinto rites to offer up prayers to the deities.  In addition, village festivals were celebrated with the sound of drumming, developing a rich body of traditional taiko rhythms which are a now a never ending source of inspiration to modern players.

Photo by Steve Walag.
Taiko as it is performed today—as a massed drum ensemble—is a relatively new phenomenon.  Much of the credit for the current taiko boom is given to Daihachi Oguchi.  Oguchi was a jazz drummer who happened upon a old piece of drum music in the early 1950s.  Deciding to  perform the old music, Oguchi "jazzed it up" by adding drums and new rhythms.

In 1968, Seiichi Tanaka formed the first North American taiko group, the San Francisco Taiko Dojo.  While there had been previously many bon odori style drummers in the Japanese immigration to American, Tanaka brought the exciting kumi-daiko, or group taiko, style to the States.  The group went on to inspire many, if not most, of the taiko groups throughout American and Canada, while developing a powerful and unique Odaiko style of playing.  Kinnara Taiko of Los Angeles started the following year, creating a uniquely American hybrid—Japanese American Buddhist taiko.  San Jose Taiko followed in 1973, focusing on making taiko a Japanese American art form.  San Francisco Taiko Dojo and San Jose Taiko have gone on to turn professional, and both groups have returned the favor by touring Japan.

Although utilizing ancient instruments, taiko has been infused with a thoroughly modern spirit and has continued to grow in popularity in both Japan and throughout the world.  At this point in the late 1990s, American taiko has attracted the attention of many Asian Americans generally, moving beyond its original Japanese American base.  Indeed, many groups are more broadly multiethnic, particularly in Southern California.  As such, the American tradition is a vital hybrid: with a deep traditional base, the taiko tradition continues to change, and UCR stands ready to participate in its growth.

Want to learn more about taiko?  Check out the Rolling Thunder Taiko Resource.

First class session, Spring 1999: Rev. Kurai shows the students how to hold their bachi (sticks).


 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 


 
 
 

Next, he shows the students how the bachi should extend out from the arms in a straight line.


The UCR Taiko Ensemble is open to all UCR students; no previous musical experience (of any sort) is required.  During Fall 1999, students can register for the course under Music 166, "Chamber Music," for 2 units.  The class will meet once a week in Olmsted A127, day and time TBA.  By Winter and Spring 2000, the course will appear under its own course number as Music 169 and Asian Studies 169, "Taiko Ensemble," for 2 units.  Come to class wearing loose, comfortable clothing and athletic shoes.  Be prepared to get a good workout!

For more information, contact Prof. Deborah Wong at (909) 787-3726 or by e-mail.