By Shawn Bender
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Additional info for Taiko boom : Japanese drumming in place and motion
At the conclusion of this two-month period, Tatsu informed me that I had been able to integrate myself into the group well enough that returning to do a longer-term study would not cause problems. Meeting the probationary members, negotiating with Tatsu, and working in the office provided revelatory glimpses into Kodo’s place at the turn of the twenty-first century. What I had imagined as a group of artists interested in revitalizing local performance culture and performing it around the world included a number of young players interested as much, if not more, in the latter than the former.
Sarugaku was augmented in later years by the addition of Chinese acrobatics (sangaku) and the rice-planting dances of peasants (dengaku). These two forms of sarugaku remained virtually indistinguishable until they were formalized and stylized in the late fourteenth and fifteenth centuries by a father-son duo, Kannami Kiyotsugu and Zeami Motokiyo. Both men were affiliated with a shrine in Nara and were sent by the shogun at the time, Yoshimitsu, to Kyoto, where they combined contemporary sangaku with Buddhist chanting to create a new hybrid theatrical performance called sarugaku-no-noh.
I n t roduc t ion • 13 By the time that Kodo reached its decision in October of that year, I was already in Japan undertaking advanced language study. Tatsu told me that the group had approved my proposal on a preliminary basis, but that I should plan on visiting Sado Island to work out the details and acquaint myself with Kodo’s headquarters, Kodo Village. I arranged to visit the group during a break in my language study at the end of December. The timing was hardly fortuitous. Sado, which is located in the northern Japan Sea, has brutally cold winters, and December is one of its chilliest months.
Taiko boom : Japanese drumming in place and motion by Shawn Bender