The Burlington Taiko Drummers
By John Small
“Don ka ra ra ka, don da ra ka ka…” the drummers vocalize, not just to keep rhythm, They are imitating each unique sound of their drums, from the sustaining reverberation of the epicenter’s “don” to each respective sound. The drummers move and spin to what sometimes seems like a choreographed drama; drums and drummers making s9und and music. These elements combine for a dramatic visual and auditory performance that leaves audiences impressed and energized. Meet the Burlington Taiko Group.
“It becomes a mantra after awhile,” Start Paton, the group’s leader and founder explains, referring to the mnemonic vocalizations, the mnemonics involve both the verbal approximations of the drums’ sounds, and grunts and utterances made to bring out the drummer’s internal energy. Other specific sounds, which are not coal approximations of the drums’ sounds, such as “ho,” “yo,” “ya,” and “sore,” are actually taught to the drummers, These commonly voiced sounds serve to bring the group together, provide timing, and keep everyone in unison. Patterned sound and movement provide the group with a degree of cohesion that other groups can’t really attain. Mick Jagger might write his lyrics, but it just isn’t integrated into the sounds and movements of the other band members. Still, Paton explains, each member is finding his or her own “kiai” or energy sound. “There’s room for personal touch,” he notes.
Taiko members train for the exertion of playing by doing numerous push-ups and sit-ups during practices. When practicing, the group might do sets of up to 50 or 100 at a time, ultimately doing hundreds during a practice. Their workouts don’t end there, but extend into squatting exercises., wrist exercises, six different kinds of arm circles, and various leg stretches and lifts. The Burlington group stops short of touring the country on foot, as “Ondekoza ''--the Japanese troupe–does, but the definition of their triceps will tell the observer just how much these performers train for their art.
Subtler training might involve instruction from Japanese voice artists, Japanese avant garde movement artists (named “Butoh”) or Japanese dance performers (“Noh”). These performers express themselves in a very specific, very stylized manner. The group also might be encouraged to learn flute, which sometimes accompanies taiko drumming.
The enormous taiko drums and the physical approach to playing them are ideally suited for performance. Traditionally played at “matsuri,” or festivals in Japan, taiko has established itself as an incredibly entertaining performance art. The Burlington Taiko Group has stored strong reactions: one Japanese woman, who herself was deeply impressed with the performance. Told that her friend cried for the intense associations made with her native country. Mention of the group brings an enthusiastic response from almost anyone who has had the pleasure to experience their performance.
Paton, the group’s founder and leader, learned to play at the San Francisco Taiko Dojo, run by Master Seichi Tanaka Master Tanaka's vision was to integrate the martial arts into taiko to create a modern expression mashed on ancient sounds, sounds that date back in Japan to 500 A.D. when the drums made their way across the Korean peninsula from China. “ From the very beginning,” Master Tanaka writes, “I had to follow a frontier spirit through the wilderness of the American desert, planting and cultivating the seeds of taiko.” These seeds are certainly coming to fruition in Burlington under the care and energy of Stuart Paton.
Paton, who grew up in Tokyo, found himself drawn to conga drums during his college years in Ohio. When he couldn’t find anyone willing to teach him to make a conga drum, he turned to taiko after an encouraging conversation with Master Tanaka. “I teach you for free. You come to San Francisco,” Tanaka-sensei advised. In the summer of ‘84 , Paton heeded, studying taiko for 10 weeks.
Paton leads and teaches the four not only the technical aspects of playing, but also the etiquette–the proper bows and attitudes that endow the group with polish and professionalism. “A Lot of the ritual is involved in the teaching and learning of taiko. There’s a lot of etiquette,” he notes. Paton also enjoys the sense of community that develops in taiko groups.
After his first year of practice, Paton experienced an enthusiastic reaction at a commencement ceremony in Oberlin, Ohio. He didn’t play on drums, however–he didn’t own any– but on tires instead. The first Burlington class happened at the UVM Church Street Center in ‘87; the first Burlington performance came at City Hall in June ‘89, a year after the group formed. In the ensuing years, hundreds of would-be musicians have thumped and beat on tires and drums, attempting to bring their rhythm and energy to this rigorous art form. While everyone, including non-musical dabblers and experimenters are accepted into the beginning level class, only those who attain an appropriate level of skill or display sufficient effort move onto the performing group. Presently, 14 members comprise the Burlington Taiko Group. True artists, these individuals receive no financial remuneration for the time and energy they put into practice and performance.
Taiko music, with its sustained beat and occasional rabid drum pummeling, has something of a powerful warrior feel to it. Villagers in Japan were known to play taiko to ward off bandits encamped at the edge of their village. Once can imagine, as the bandits must have, the stirring reverberations echoing into the netherworld where the appropriate spirits dwell. Taiko also prepared samurai to go into battle. In more formal instances, taiko was played by Buddhists for ceremonial purposes, or by court musicians to entertain the imperial palace. With all its intensity and male oriented tradition, the Burlington group finds itself with four capable female performers. During an early performance of the group, when the women are visible only to arrange the instruments (the task of all beginners,) some audience members criticized the band for the groups perceived sexism. Likewise, astute high school audiences have questioned the group’s male-female ratio. While some taiko groups treat female members as a special species, and others don’t accept women at all, the Burlington group makes no distinctions other than ability and desire. Paton recalls his sensei’s words when assessing a beginning drummer: “The fire that is slow to light will last forever,” Of course, the opposite insight sees the bright burning fire burning itself out quickly. For a rock musician, it might be preferable to burn to avoid rusting, but for the taiko drummer who adheres to the Japanese approach to life, neither course is desirable. Dedication and sustainability are more highly valued. With the physical and mental discipline involved in playing taiko, rust doesn’t seem like much of a possibility anyway.
Taiko has shown impressive development in America, “I see such fabulous drums here,” Master Tanaka has noted. Paton recalls that, “He (Master Tanaka) admires the American taiko style where most are making their own drums. And they’re playing a lot harder. There’s more effort,” Anyone who witnesses the Burlington Taiko Group will undoubtedly share that sentiment.
John Small lives in Lincoln, Vermont. He’s an admitted Japanphile.