The next couple of posts will refer to the dancer, choreographer, and dance/movement theorist, Rudolf Laban and his book The Mastery of Movement (1971, originally published in 1950).
According to Laban, some dancers prefer highly rhythmic music with corresponding rhythmic movements, while others prefer “the free, irregular unfolding of time-rhythm” (135). He observes that legs and feet often respond best to regular rhythms, but he instructs the dancer to train his or her feet, arms, and hands, so that they are “equally able to express the qualities of a free time-rhythm.” Laban adds: “In fact, the whole body should be able to express the regular and irregular vibrations and waves of movement” (135).
In taiko, most of our pieces utilize a steady basebeat (ji), and the rhythms we play directly correspond to the underlying ji. Everything is, or should be, precise and in time, and we train our muscles to perform rhythmically. This training produces strong performers and tight ensembles, but at the same time, it could lead to stiff and jerky movements. We need to cultivate independence of arms and a sense of flow that is not necessarily dependent upon the ji. In many cases, particularly in Sukeroku or bon odori styles, one arm will sweep around the drum while the other strikes the drum head. While the striking arm needs to be in-time, the sweeping arm should free itself from any strict sense of rhythm. One arm needs to feel a steady pulse, and the other arm needs to acknowledge that pulse but move in a (mostly) non-rhythmic manner. Here are two drills that might help.
1. With the chu daiko on the floor or on a beta stand, play steady notes with the right arm (ideally with a metronome). The left arm should join the right in unison on every second note. Once you’re comfortable, the left arm should play every third note. Consciously increase the arc of extension and move the left arm at a slightly slower pace. Then play every fourth note, again increasing the arc and moving slower. Switch arms.
2. With the chu daiko in the same position, play steady notes with the right arm. Sweep the left arm in a large counter-clockwise circle, starting very slowly and gradually getting faster, then slower. etc. The whole time, the right arm should continue to play the steady notes without change. Switch arms.
I find it exciting that there are others out there studying and using Laban’s findings in connection with taiko. I would like to suggest also taking a look at Bartenieff’s work on movement fundamentals and creative connectivity.
Comment by Nicole — August 6, 2010 @ 5:31 pm