FLYNN CENTER PRESENTS
YAMATO
Drummers of Japan
Welcome to the 2015-2016 Student Matinee Season!
Today’s scholars and researchers say creativity is the top skill our kids will need when they
enter the work force of the future, so we salute YOU for valuing the educational and
inspirational power of live performance. By using this study guide you are taking an even
greater step toward implementing the arts as a vital and inspiring educational tool.
We hope you find this guide useful. If you have any suggestions for content or format of
this guide, please contact [email protected].
Enjoy the show!
We appreciate and value your feedback.
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Click here to evaluate our study guides.
Click here for Teacher Feedback Forms for the performance.
Click here for Student Feedback Forms for the performance.
Click here for Parent Forms to help parents engage with their children around the show.
This guide was written & compiled by the Education Department at the Flynn Center for the Performing Arts with inspiration from
The American Place Theatre Literature to Life Program. Activities in this guide are sourced from the Literature to Life Resource
Guide. Permission is granted for teachers, parents, and students who are coming to Flynn shows to copy & distribute this guide
for educational purposes only.
The Background of Yamato
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About the Production
Did you know...
The Evolution of Taiko
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Introduction
Shinto Mythology
Early History
Secular Uses
Theatrical Taiko
Modern Performances
Taiko in America
Common Core Standards
Instruments of Taiko
The Common Core broadens the
 Drums, Atarigane, Chappa, Koto, Shakuhachi, Shinobue definition of a “text,” viewing
performance as a form of text, so your
students are experiencing and
Clothing of Taiko
 Hatchimaki, Happi, Dunuri, Momohiki, Tabi, Teki, Bachii interacting with a text when they
attend a Flynn show.
Activities to Deepen Understanding
Seeing live performance provides rich
opportunities to write reflections,
 Sounds of the Natural World
narratives, arguments, and more. By
 Movement Memories
writing responses and/or using the
 Making a Hatchimaki
Flynn Study Guides, all performances
 Bare Bones Response
can be linked to Common Core:
Further Exploration
CC ELA: W 1-10
 Japanese Folktales
You can use this performance and
 Typical Taiko Daily Schedule
study guide to address the following
Common Core Standards (additional
Your Visit
standards listed by specific activities):
 The Flynn Center
CC ELA: RL 1-10, , SL 1-4, L 3-5,
 Etiquette for Live Performance
RH1-10, WHST 7-9
C3 Hist: D2.His.2&4
 Why is Etiquette Important?
The Flynn Center recognizes that field trip resources for schools are extremely limited, thus matinee prices for
schools are significantly lower than prices for public performances. As a non-profit organization, the Flynn is
deeply grateful to the foundations, corporations, and individuals whose generous financial support keeps
matinees affordable for schools.
A special thank you to Nancy McClellan and Elliott Douglas for sponsoring this matinee performance.
Thank you to the Flynn Matinee 2015-2016 underwriters: Andrea’s Legacy Fund, Champlain Investment
Partners, LLC, Bari and Peter Dreissigacker, William Randolph Hearst Foundation, Forrest and Frances Lattner
Foundation, Surdna Foundation, Tracy and Richard Tarrant, TD Charitable Foundation, Vermont Concert Artists
Fund of the Vermont Community Foundation, Vermont Community Foundation, New England Foundation for
the Arts, National Endowment for the Arts, and the Flynn Jazz Endowment.
Additional support from the Bruce J. Anderson Foundation, Green Mountain Fund, Walter Cerf Community
Fund, the Vermont Arts Council, the Susan Quinn Memorial Fund, and the Ronald McDonald House Charities.
Exuberantly loud,
boisterously active
and frenetically
energetic, Yamato is
an exciting group of
eleven young
performers from
Japan. Much more
than simply a
“drumming group,"
Yamato blends
theater and musical
arts into a
performance of
tightly synchronized
percussion and
expressive solos. Yamato has drawn broad critical
acclaim on previous tours, with performances that
"have the power to put an audience on its feet,
laughing, clapping and taking part" (London Times)
During the past twelve years, the troupe has performed
more than one thousand concerts around the world,
including Europe, Brazil, China, Korea, Indonesia,
Austria, England, Belgium, and Germany.
Yamato.” The name "Yamato" has special significance
for this group: in the eighth century, Japan was then
known as Yamato and Nara was the city where
Japanese culture is believed to have started. Yamato
combines traditional
Japanese musical formats with modern rhythms and
themes. The inclusion of women in the group is a clear
break with Japanese tradition.
Wadaiko (Japanese Drum) is an old instrument, believed
to have existed in many parts of the world. The sound
of this instrument touches the hearts of peoples of all
ages. Yamato has been able to touch people with these
very simple drums by putting their hearts into them.
The sound of the heartbeat goes all the way to the
audience. The rhythms which they use are sometimes
intense, sometimes funny, or warm.
Their wish is to express different moods, times, and
places, as they face the world with courage and beat
taiko. With this feeling in their souls, they train their
bodies everyday towards Taikodo, sometimes in a
dynamic, sometimes in a soft manner. The moment the
heartbeat coincides with the rhythm of the soul it is
Yamato. The moment every member of the audience
feels refreshed by something new within them, the
Yamato was founded by Masaki Ogawa in 1993 in Nara,
power of life is being communicated.
the ancient capital of Japan and "the land of the
DID YOU KNOW…
-there are about 200 volcanoes in Japan?
-there is usually no insulation in the walls of Japanese houses?
-the Japanese have the highest life expectancy in the world at about 81-82 years?
-over 90% of the Japanese population buy a comic magazine daily?
-anime account for about 80% of Japan's book economy?
-the most populated city in the world is Tokyo, with 30,000,000 residents?
-the two Japanese car brands, Toyota and Honda, were both named after rice?
-the two most common last names in Japan are Sato and Suzuki?
-tsunami is a Japanese word that means "harbor wave"?
-Japan is made up of more than 6000 islands?
-Japan is the world leader in climate research?
-frogs are the symbols of good luck in Japan?
-in Tokyo, a bicycle is faster than a car for most trips that take up to 50 minutes?
-green Tea is the national drink of Japan?
-it is quite common in Japan to eat rice, soup, or steamed vegetables in the morning?
-in Japan, it is common to have special slippers to wear to the toilet?
-in Japan, the teachers move from class to class and the students stay in one room?
-the predominant religions are Shinto, Buddhism, and Christianity?
-Japan fits 127 million people into a space about the size of California?
-Japan has few mineral resources and must import fuel and nearly all the raw materials it
needs for industry?
-less than 1/5 of the land is suitable for cultivation?
-Japanese farmers grow about 3/4 of the country's food?
INTRODUCTION
Taiko, which is Japanese for "big drum", is a relatively modern revival of
ancient Japanese drumming traditions. The word "taiko" refers not only to the
art of Japanese drumming but also to the drums themselves. Taiko
incorporates drums up to eight foot in diameter, struck with wooden sticks
using full-body enthusiasm and almost ritualistic choreography influenced by
Shinto and Buddhist ritual, the martial arts, and the delicate, stylized
movement of Japanese theater.
SHINTO MYTHOLOGY
The origins of taiko are linked to the earliest history of Japan - mythology of Shinto, the indigenous or folk
religion of Japan. Much like the ancient Greeks and Romans, the Japanese had a pantheon of gods and
goddesses. The Japanese deities, or Kam~ were descended from the primal pair of Izanagi and his wife
Izanami. According to Shinto legends, the people of Japan are descended from their daughter, Amerterasu the Sun Goddess.
... One day Amaterasu discovered that her brother the storm god Susanowo, had been exceedingly
unruly. He had broken down the boundaries of her rice paddies and killed the piebald colt of heaven her favorite. The sun goddess, mortally offended, shut herself in a cave with a boulder. As the stone
went into place, the world was plunged into darkness. The eight hundred residents of heaven
despaired. To give them hope Uzume, the goddess of mirth and dance, gathered everyone around the
mouth of the cave. She overturned a wooden tub and began to dance a ludicrous dance on it and all
the observers laughed uproariously. Amaterasu became curious. She opened the stone door a crack to
peek outside, whereupon the people rolled away the boulder, and
sunshine lit the world once more....
EARLY HISTORY
The specific types of drums used by taiko were present in ancient India and are
thought to have migrated with Buddhism across China to Japan. Archeological
findings in Japan indicate that taiko style drums were present in 500 AD. The drums
used in Buddhist temples were originally intended to represent the voice of Buddha,
and to help worshipers become more in touch with a sense of inner awe. They were
played infrequently and only at certain times of the year in specific rituals. Around
1175 AD, Honen Shonin introduced a new form or sect of Buddhism (Jodo) which
provoked salvation by the constant recitation of the Amida Buddha's name, called
nembutsu. Over time nembutsu evolved to include dancing, drumming and ringing
of chimes.
The dancing on the tub became the
beating of the taiko, which for
centuries has been used to appease
the gods and provide joy and relief for
the people.
SECULAR USES
In addition to festivals, drums became integrated into everyday village life in many
other ways. In olden times, priests used taiko to dispel evil spirits and insects from the
rice fields. Samurai used taiko to instill fear in their enemies and courage in themselves.
Village property limits were often determined by how far away one could hear the
beating of the town's taiko. Many argue that this was the inspiration for building larger
and larger drums eventually resulting in the monstrous O-Daiko, or great drum.
THEATRICAL TAIKO
Japanese performing arts have also had a tremendous influence on taiko. In
ancient Japan, wandering priests with lion (shishi) masks would dance to the
music of the
taiko for the purpose of exorcism and for the prevention of sickness. Gagaku,
classic court music imported from China during the eighth century, featured the
Dadaiko, large elaborate drums of striking visual effect. With brightly painted,
flame-like carvings surrounding the drum itself, the dadaiko often stood twenty
feet tall and served as decorative wings for the open stage.
In classical Japanese Nohtheater, musicians still use the shime-daiko, ataiko
instrument, and several rope-tensioned drums thought to have been imported
from Korea. The replication of natural sounds which is prevalent in Noh music has
also had a strong influence ontaiko composition.
MODERN PERFORMANCE TAIKO- "KUMIDAIKO"
Creating a performance exclusively from taiko pieces is a recent development. Because Japan is comprised of
mountainous islands and travel is difficult, it was unusual for a village to know more than one style or piece,
and thus many different styles of taiko developed. Following the second world war, Japan's national selfesteem was badly damaged by the US occupation. American influences were permeating the culture at a
tremendous pace and many Japanese were searching for sources of national identity.
Taiko, with its visceral excitement and roots in the rituals and traditional national festivals of Japan, became
very popular, resulting in "kumdaiko" or performance taiko. With travel and communication improved,
professional musicians began to collect sufficient material to develop professional performances.
TAIKO IN AMERICA
Kumidaiko did not reach America until the late 1960's when Grandmaster Seichii Tanaka founded San Francisco Taiko
Dojo. Tanaka Sensei brought with him the intense discipline of kendo (Japanese sword form), chigong, and other
martial arts. His teaching style has had tremendous influence on American Taiko and his dojo has been the training
ground for most of the top American taiko performers. At the first North American Taiko Conference held in Los
Angeles in 1997, over 500 players from 60 of the 100 North American groups attended; including Burlington Taiko
Group, founded in 1987, which is the only representative of taiko in Vermont. It is interesting to note that while in
Japan the art form was traditional male, in America over 60% of taiko players are women. The majority of taiko groups
are associated with Buddhist churches, but many have formed as community organizations, with a small few retaining
the Japanese-style Sensei model.
Burlington Taiko Performing
DRUMS
There are many types of taiko drums in Japan but they can be broadly divided into two
categories: taiko with a nailed head (Nagado-daiko, pictured right) and taiko with the
skins stretched over a hoop and tensioned with ropes (Shime-daiko, pictured right). The
term Shime-daiko (pronounced "she may") from the Japanese verb "shimeru" which
means to bind or tighten up, is often used to refer to a particular small drum. The
various Shime-daiko and Nagado-daiko are by far the most popular drums for
performing taiko groups. People are sometimes confused by the occasional usage of the
word daiko for taiko. Ko means drum or drumbeat. In olden days taiko was written with
the kanji (Chinese characters) symbols of both dai (big) and tai (fat, thick, or broad). So
both daiko and taiko imply a big, thick drum. Today the latter is more common unless
used in a compound word such as O-daiko. In Japan the bodies of the taiko are usually
carved from a single log, which means that the making of a large taiko takes a large
tree. The scarcity of old growth forests makes it difficult to obtain large enough logs. To
compensate, some taiko makers now use used oak wine or whiskey barrels for the
drum body. The drum heads of the taiko are made of leather, typically the rawhide of a
cow. For some extremely large taiko, the skins of water buffalo may be used.
ATARIGANE – A hand gong often used to keep time. It is played held in the hand
or suspended by a cord. It is struck with a deer horn mallet called the shumoku.
CHAPPA - Also called tebyoshi. Small hand cymbals.
KOTO - Japanese zither, usually with 13 strings, although bass and custom versions with
more strings are also found.
SHAKUHACHI - Bamboo end-blown flute, with four holes in front and one in the back. Takes
its name from the standard instrument size of one shaku, eight (haci) sun, although a wide
variety of sizes are available. Known for its delicate tonal shadings and evocative, breathy
sounds.
SHINOBUE - Also known as fue, hayashi-bue, takebue or yokobue. Bamboo transverse flute.
Taiko is at its roots a folk music. It grew from the need for music at festivals and celebrations in ancient Japanese
village life. All of the people in the village were included; farmers, carpenters, fishermen, everyone. When they
played, they often wore the clothes they worked in. Over time these work clothes developed into the clothing
worn today.
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The Hatchimaki (headband) was originally used by farmers and fishermen as a towel to wipe away sweat.
Today it is worn by anyone that intends to work hard. The Japanese also believe that putting pressure on the
forehead helps concentration. Japanese children wear the Hatchimaki with the rising sun symbol to help them
study.
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Happi - The coat worn by taiko players is called the Happi coat. It is believed that this style developed from a
coat designed by the fire brigades of Tokyo in the Edo period. It is meant to be simple, colorful and provide for
freedom of movement, perfect for taiko. Happi comes from the Chinese word for chair covering that it in
some way resembles.
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The Donburi or vest was originally a carpenter's tool belt. It has many pockets for tools, nails, and rulers. After
a Taiko piece is played, the drummer will often use the pockets of his Donburi to hold the bachii or drumsticks
while moving equipment.
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Pants- The pants are referred to as Momohiki.
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The shoes of a Taiko drummer are called Tabi like mittens for the feet, they are shaped to keep the big toe
separate from the others. Most Japanese find this more comfortable, probably because they are used to
wearing thongs which also have something between the big toe and the other toes. The socks underneath are
shaped the same way in order to fit comfortably. Many carpenters also wear Tabi. The gap between the toes
allows the carpenters to use their feet to climb bamboo scaffolding much more quickly.
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Teki or wristbands are worn to keep the wrists warm and limber during cold Japanese winters. They also
prevent sweat from running onto the hands and making the bachii slippery.
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The sticks used to play the taiko are called Bachii. Drummers use different stick sizes, shapes and weights
depending on the drum being played. In Japan, Japanese oak is most often used because it has a long straight
grain. This helps prevent small pieces chipping off when the drum is played very hard. ln America, drummers
use oak or ironwood.
We have found that it's most effective to
experience some of these exercises prior to
attending the performance. Once students have
had a chance to make some of these creative
choices themselves, they become more attentive
audience members as they are able to appreciate
the performance with acritical eye, watching for
specific choices being made and often comparing
them to their own. Doing the exercises after the
show can help the students analyze the
performance choices further. It is often after the
show that the real learning begins. You and your
class have had a shared experience - and it's in
reflecting on the experience together that you will
learn the different kinds of responses the show
elicited. Sharing these responses gives students
opportunities to learn about things that they didn't
see or hear. It helps them broaden their
perceptions and hone their evaluative skills,
cementing what they themselves think.
Sounds from the Natural World
One defining characteristic of Japanese music is its
affinity for and inclusion of sounds from the
natural world. The taiko has been used to
represent thunder, earthquakes and tidal waves.
Ask students to sit quietly for 1-2 minutes,
preferably outside. Write down the different
sounds they hear. Was there a barking sound?
Chairs scraping? An air sound? A metallic sound? A
quick sound? Slow sound? Have the group see if
they can replicate (sing, clap, tap) the melody in
everyone's sound in some sort of pattern, preferably in the
same sequence and timing that they heard it. (Allow space to
be a part of the piece)
Making a Hatchimaki
Purchase several yards of white cotton material. Cut the
material into 2-3" strips, one for each student. For 36"
material, trim the length to 20-26" depending on the age of
the students. Have the students draw a small picture from
Japanese culture in a 2" square in the exact center of the
strip. Mt. Fuji, or the Rising Sun are always easy. The intent is
to place a symbol of importance in an area that will be in
constant focus or attention. In Japan, school mascot or
emblem is often used and so would also be agood choice.
When finished, have them tie the Hatchimaki as follows:
1. Place the fabric flat, with the picture face down.
2. Fold the fabric in thirds lengthwise so that it forms along
strip with the picture still showing.
3. Twist the two ends of the Hatchimaki in opposite
directions, so that it becomes ropelike.
4. Grasp the hatchimaki at either end and place the center
against your forehead with the picture (or as much as is still
visible) facing out.
5. Cross your hands behind your head, right over left.
6. Allow your right hand to drop, and your left to rise, then
uncross your hands. This will cause a twist to form in the
hatchimaki.
7. Still holding onto the ends, take the twist and rotate it
forward (towards your head- or clockwise as seen from the
right) and down.
Presto- the ends should be now be trapped by the
hatchimaki and will stay in place.
Have the students wear these hatchimaki for some period of
time. Then ask them what they notice. Do they notice any
difference? Do the hatchimacki help concentration, focus?
Are they distracting?
Bare Bones Response
You can also demonstrate natural percussion rhythms. Take a
ball (basketballs work great). Drop it from head height. Listen Invite students to make a list of the feelings evoked in them
during the show or images inspired by the performance.
to the accelerating rhythm of the sounds. This accelerating
From their lists, ask them to select one feeling or image and
rhythm is used frequently in Japanese music.
write a cinquain (5 line) poem, either as a group or
Movement Memories
individually, reflecting on how the performance expressed
Invite each student to choose one particular movement from the culture. Here is the format:
the show that stands out in their memory. Remind them of
NOUN
the different types of moves they saw and ask for volunteers
2 ADJECTIVES
to demonstrate the movements as best they remember
3 GERUNDS (-ing words)
them. As each volunteer performs a movement, invite
everyone to create their own interpretation of that same
SIMILE
movement and perform these pieces simultaneously. (Hint: NOUN (synonym for the word in line one)
use the lights in your room to cue the start and end of the
“performances.”) Ask the students what made these
movements memorable.
To get a deeper sense of the culture,
read a few traditional folk tales by a
selection of translators.
The following provides a good place to start. The
ones marked with * are picture books.
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*Hodges, Margaret, The Boy Who Drew Cats.
Holiday House, 2003. A young boys' obsession
with drawing cats changes his life.
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*Kimmel, Eric, Three Samurai Cats: a story of
Japan. Holiday House, 2003. A feudal lord seeks a samurai cat to rid his castle of a savage cat, but soon
discovers that violence is not always the best way to accomplish things.
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Martin, Rafe. Mysterious Tales of Japan. G.P. Putnam, 1996. Traditional Japanese tales expanded, developed
& reinterpreted by noted storyteller.
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*Morimoto, Junko. The Inch Boy. Viking Kestrel, 1986. An inch-high boy proves himself a warrior by
vanquishing the giant red demon with his cunning and bravery.
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*Mosel, Arlene. The Funny Little Woman. Dutton, 1972. While chasing a dumpling, a little lady is captured by
wicked creatures from whom she escapes with the means of becoming the richest woman in Japan.
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*Myers, Tim, Tanuki’s Gift: A Japanese Tale. Marshall Cavendish, 2003. One winter, a priest takes in a furry
tanuki and the two become friends, but when the tanuki tries to repay the priest, they both learn a lesson.
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Sakade, Florence, Japanese Children's Favorite Stories. Tuttle, 2003. A delightful collection of Japanese
folklore, first released in 1953.
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*Schroeder, Alan. Lily and the Wooden Bowl. Doubleday, 1994. A young girl who wears a wooden bowl over
her face to hide her beauty overcomes a variety of trials and eventually finds love, riches and happiness.
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Snyder, Diane. The Boy of the Three Year Nap. Houghton Mifflin. 1988. A poor Japanese woman maneuvers
events to change the lazy habits of her son.
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Watkins, Yoko Kawashima. Tales from the Bamboo Grove. Bradbury Press, 1992. A collection of Japanese
folktales recalled from the author's childhood.
Typical Daily Schedule for Taiko Drummers
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8am Come to the Leader's House
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Run 10 Kilometers in the Mountains
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9am Eat Breakfast Together
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10 am Weight Training
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Suburi - 1000 - 2000 Repetitions
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12 pm Lunch Together
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1 pm Go to Dojo and set up Taiko for Practice
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3pm - Practice
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9pm Return to the Leader's House
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Dinner
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Meeting
12 am Go Home
The Flynn Center
The Flynn has been at the center of Vermont's cultural
landscape for over 80 years—from its earliest days as a
vaudeville house through five decades as a movie theater to its
present life as the region's leading performance center and
arts education organization. Today, the Flynn Center for the
Performing Arts is recognized internationally for its significant
artistic, educational, and community outreach activities;
superb technical capacity; beautiful historic setting; and worldclass presentations. At the Flynn, we celebrate a rich legacy of
connecting our community with the arts. The Flynn is
recognized for its stellar artistic programming in theater, dance, and music; and for educational programs
that reach far into the community to advance teaching and learning. For more about the Flynn, click here.
Etiquette for Live Performances
The Essentials
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Listen, experience, imagine, discover, learn!
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Give your energy and attention to the performers.
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At the end of the show, clap for the performers’ time and energy.
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Eating, drinking, and chewing gum are not okay.
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Talk only before and after the performance.
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Turn off wireless devices. No photos, videos, texting, or listening to music.
Why is Etiquette Important?
A good live performance is a powerful communication
between audience and performer. The more the audience
gives to the performer, the more the performer can give
back to the audience. The performer hears the audience
laughing, senses its sympathy, and delights in the
enthusiasm of its applause. Furthermore, each audience
member affects those sitting near him or her, in addition to
the performers onstage. Technological devices (cameras,
phones, etc.) have become so prevalent in our daily lives,
but using these devices is distracting to the performers
onstage and other audience members trying to watch the
show. Even the light from checking the time, or the buzz of a phone on vibrate can pull
the people around you out of the experience. Cell phone frequencies can even interfere
with the microphones in the production, and taking photos can be unsafe for performers.
Additionally, an artist has the right to decide what photos and videos go out into the
world. Phones keep you from being present and fully engaged with the show. Thank you
for turning devices completely off!
DISCUSS BEING A
MINDFUL AUDIENCE
MEMBER:
How is going to see a live
theatre performance
different from seeing a
movie, going to a
concert, or watching TV?
In small groups, come up
with a list of positive
audience behaviors, and
behaviors that would be
disruptive to performers
and other audience
members. Come
together and create a
master list.
We can’t wait to see you at the theater!
Teachers, a few reminders:
 Fill out the Seating and Travel Survey, so we can best accommodate your group’s needs in regards to dismissal,
bussing, students with different needs, etc.
 Share your experience with us! Use the feedback links, or share your students’ artwork, writing, responses. We
love to hear how experiences at the Flynn impact our audiences.
 Explore other student matinees at the Flynn this season. We’ve still got seats in some shows and we’d love to help
you or other teachers at your school enliven learning with an engaging arts experience!
We have some new initiatives to deepen student connection and experience!
Hello from
the Flynn!
Pre or Post-Show Video Chats:
Help students build enthusiasm or process their experience with a free, 5-10 minute
video chat before or after the show! We can set up Skype/Facetime/Google
Hangouts with your class to answer questions about the content, art form, and
experience. Contact Kat, [email protected] to set up your chat!
Autism and Sensory-Friendly Accommodations:
The Flynn Center has been working diligently to break down barriers for audience
members with disabilities, with a particular focus on those with sensory-sensitivities.
Social stories, break spaces, sensory friendly materials, and more are available for all
student matinees. Feel free to let us know ahead of time if any of these would be
useful, or ask an usher at the show!
Make your field trip the most meaningful learning experience it can be with a preparatory
Companion Workshop in your classroom!
An engaging Flynn Teaching Artist can come to your school to deepen students’ understanding of both content and form with
an interactive workshop, enriching kids’ matinee experiences. Funding support is often available. To learn more, check out this
link. To book a workshop, click here. Questions? Contact Lauren: [email protected] or (802)652-4508