NATC 2025 Phoenix

This workshop is for people who feel they have an interest in a melody instrument and are willing to try it out and discover new possibilities.

The shinobue seem to be easily included with the Taiko, and somehow, the Shakuhachi has always been forgotten. So we need to correct this lapse in the past 30 years, and along with the Shinobue, we would like to finally give those interested a chance to try the Fue and the Shakuhachi.

This will give you an insight into the different bamboo flutes and styles and help you find what works best for you. We will learn to extract sounds from the flutes, simple basic melodies, and ways to practice on our own or find sources to further our studies.

This is a great introduction to Japanese flutes. Discover the possibilities for making your taiko songs sound better and more musical.

Prerequisite/What to bring: If you have flutes, bring them along. We will have some Fues and Shakuhachi for you to try. Just bring a great attitude and an open mind to discover something new.

Join Actually Autistic Artists, Yeeman “ManMan” Mui and Carrie Alita Carter, for an introspective workshop that invites participants to explore the connection between taiko, Neurodiversity, and personal creativity. In a society often focused on consumption, this workshop shifts the focus inward, encouraging participants to reflect on their own unique personal challenges and discover the beauty and resilience that arise.

Our show, Listening into Silence, grew out of our own personal struggles and revelations as we came to understand and claim our true selves. Humans and other life forms have developed coping mechanisms to survive and thrive in desert-like environments. The journey is difficult and, at times, debilitating, and there is beauty in that. It creates the transition from simply existing to prospering.

The session will begin with a powerful excerpt from Listening into Silence that intertwines spoken word and original taiko composition, setting the stage for introspection. Participants will then engage in silent reflection and journaling, using guided prompts to delve into their individual experiences and how these shape their artistic practice.

Through small group discussions and collaborative activities, attendees will have the opportunity to share insights about their own journeys, examining themes such as ableism, disability, and the intersection of neurodiversity and creativity. This workshop welcomes all levels of experience with taiko and encourages a spirit of openness, reflection, and personal growth.


Prerequisites and What to Bring:
This workshop is designed for participants of all backgrounds and experience levels, particularly those interested in exploring the intersection of taiko, neurodiversity, and personal creativity. No prior taiko experience is necessary; however, an open mind and a willingness to engage in self-reflection are essential.

Participants should come prepared with something to take notes with/on (notebook, computer, etc.). Chairs will be provided and if they prefer sitting on the floor, they are welcome to bring whatever would make them more comfortable there (pillow, etc.)

The heart is the essence of who we are, the place where our thoughts, emotions, desires, and intentions reside. When we play the taiko with our heart, we are not merely producing sounds but expressing our deepest truth. The taiko magic is born from this union of rhythm and feeling, transforming each beat into a bridge between our inner energy and the world around us.

In this workshop, we will explore how to transmit this power and authenticity through the taiko. More than just technique, we will learn to play with our soul, creating genuine and moving connections with those who listen. Let your heart guide your hands and discover the magic that echoes from inside to outside.

Open to players of all levels.

This workshop covers the steps of concert composition and general technique that can be applied to taiko music. Although this workshop is most beneficial to someone who has been exercising, this is open to any level of player because composition exercise is a great way to cultivate ensemble(kumi daiko) and give extra depth of perception to the performance.

Course outline
Basic information: melody, harmony, rhythm, dynamics, and structure

Analize: Active listening and analyze variety of music (Taiko music and variety of genre of non-taiko music)

Exercise: Application of above to create your own short music with applied limitation and materials

Prerequisite/What to bring: Group performance experience.

From the very beginning of the history of Japan, people have believed in the existence of deities living with them, in their lives, and they could communicate with those deities through the sound of their drumming, Taiko.
Shinto is widely known as a Japanese indigenous religion, it is the way of life and reflection of Japanese culture. This workshop focuses on the relationship with Japanese people and Kami(Deity), the backbone of performing arts and taiko from Mythology, role of Matsuri(festival), role of Taiko, Shinto and Buddhism relationship and how those reflect to Japanese culture.

Prerequisite/What to bring: None

Taiko and ethnic studies has a long and enduring relationship in the context of North America. It is imperative, given the current climate of political precarity, to understand not only the ways in which racial dynamics operate within taiko spaces, but to understand taiko and race through relational lenses. From 'Racist Love' to techno-Orientalism, taiko remains a critical site of analysis for reckoning with the intimacies of race, gender, and other axes of power. My work situates taiko within foundational ethnic studies concepts such as Orientalism and intersectionality to build an understanding of the political opportunities and limitations that taiko makes possible. The discussion portion following the lecture provides a space for community members to ask questions and to participate in conversations at the forefront of ethnic studies and how it continues to shape the legacies and futures of taiko in the United States.

Prerequisite/What to bring: There is no prerequisite knowledge or personal equipment required for this discussion.

From the very beginning of the history of Japan, people have believed in the existence of deities living with them, in their lives, and they could communicate with those deities through the sound of their drumming, Taiko.
Shinto is widely known as a Japanese indigenous religion, it is the way of life and reflection of Japanese culture. This workshop focuses on the relationship with Japanese people and Kami(Deity), the backbone of performing arts and taiko from Mythology, role of Matsuri(festival), role of Taiko, Shinto and Buddhism relationship and how those reflect to Japanese culture.

Prerequisite/What to bring: None

Have you ever wondered why it is called upstage and downstage? Are you confused when someone tells you to move your drum stage right? Have you ever wondered what the heck a stage manager does? If so, then this workshop is for you.

Join Emma Valentine on a backstage tour of the behind-the-scenes magic of taiko shows. From rehearsals to performance, from load-in to load-out, from the booth to the wings, Emma will share firsthand knowledge of working professionally in theatre communities and how these experiences have translated to fit the taiko community.

Objectives:
By the end of this workshop participants will:
- Walk away with a basic knowledge in vocabulary, etiquette, North American theatre know-how and other fundamentals for live performers.
- Learn some tips and tools to confidently prepare as a performer to enter a theater space and transition smoothly to the stage. Expand beyond practicing songs.
- Know the who’s who of a theatre space, what their job description is and what you as a performing artist can provide them with in order to have an easy and respectful working relationship.

Leaders in our taiko community need to consider the future and how succession planning is important to help ensure that their taiko group is on stable ground. Roy and PJ Hirabayashi will lead this discussion as they share their leadership transition out of San Jose Taiko and the steps they took to continue their own taiko careers. The session will allow participants to ask questions and share their experiences or challenges.

Did you want the highest pitch/ the most bounce/ for the lightest weight bachi?
The tenor sound that doesn't make ears wince indoors? Or the thick heavy skin that can handle 'Ushi-Goroshi' ( cow-killer ) bachi?

When do we hope it will sound great?(1 year, 3 years, 6 top 10?)
Is the goal a looser or softer skin(auditory kindness indoors)? How loose is too loose ? - for skin #1? - for skin #2?
How soon would you like it? How many extra steps are we willing to add? Can we sacrifice the longevity of the skin to get there sooner? Can we add weight to the skin and give it deeper tone?
What factors can we bring to the table? What extra steps? What risky techniques?

This is a short panel about Brazilian Taiko History.
Brazilian Taiko started in the 70´s and for a lot of reasons, it developed differently from North America. We will explain those differences and how it became what it is today.

Prerequisite/What to bring: None