1. An idea for a percussion and arts performance group based in Japanese tradition Nimachi-kai Taiko Ensemble Next Slide

2. May 20052 Four Paths for Nimachikai 1.Solo: individual activity, give performances demonstrations and instructional presentations; arrange collaborative events 2.Garage Band: small group of players (2-4) exploring taiko for own enjoyment, playing in public at some future date; self-funded 3.Performance Group: medium size organization (6-12) with public performance as a goal; combination of member funded, performance payment and grants 4.Full-scale organization: (12+ members, not including students) includes performance group and a teaching school; member funded, performance payments, grants and endowments and school tuitions Next Slide

3. Develop a presence in anticipation of growth and success Nimachi-kai Brand Identity Next Slide

4. May 20054 THE BRAND Nimachikai = Twin Cities Group “ni” meaning two (2) – a shortened and English-friendly form of “futago” or twin “machi” meaning city “kai” meaning group, member (kai-in) or club LOGO ELEMENTS “Diamond” shape from traditional decoration “Double bar” kanji for two (2) Belwe typeface Colors taken from traditional fabrics Nimachikai “Indigo” PMS 275 4C - 98/100/0/43 RGB - 30/23/95 Nimachikai “Cedar” PMS 4705 4C - 0/62/71/49 RGB - 128/75/50 Nimachikai “Ocha” PMS 4505 4C - 0/15/78/36 RGB - 168/147/67 Nimachikai “Tatami” PMS 460 4C - 4/5/44/0 RGB - 243/243/165 Next Slide

5. May 20055 THE BRAND: COLOR COMBINATIONS This diagram shows the logo in different color combinations LOGO COLORS TatamiOchaCedarIndigoBlack Next Slide

6. May 20056 EXPOSURE Create press kit material for submission: printed material, audiotape, audio CD, videotape, DVD Create a web site and email address Sample web page Creative in anime style Next Slide

7. May 20057 APPAREL & COSTUMES As members change and time elapses, the problem with off-the-rack ordering is that one is at the mercy of a supplier that has a specific design. Ideally, a local seamstress or tailor could be used with patterns owned by the organization. Material selection is still limited to simple designs (if Japanese prints are available) or plain colors. An other solution is to create a look borrowing apparel from other established disciplines that make the same apparel items ongoing, such as Chefs and Bakers. SCULL CAP Bakers’ 3” cap Prefer Indigo but black will do. Embroidered with logo. Worn pre & post performance Water Shoe An aquatic shoe or yoga slipper will work in place of zori or tabi Obi Obi belt made of a heavier woven material to be its own element and not lost on the happi Hachimachi Hachimachi headbands can be worn in various ways, two styles shown Next Slide

8. Singly be an ambassador of the art form. Accept outreach invitations to inform, instruct and demonstrate taiko as it relates to Japanese culture. Nimachi-kai “Solo Efforts” Next Slide

9. May 20059 Enjoyment and Experience Accept performance and outreach opportunities as they are presented Acquire a sample of instruments representing types, construction and use Keep up with taiko trends and news Learn historical influences No single affiliation with other groups or organizations Share creativity and experiences Participate in local workshops, events Next Slide

10. A small group of players (2-4) exploring taiko for own enjoyment, playing in public at some future date; self-funded Nimachi-kai “Garage Band” Next Slide

11. May 200511 Enjoyment and Experience Loosely knit Having own instruments important, not necessary Meet at members home Timing as schedules allows No affiliation with other groups or organizations Includes students and players Share creativity and experiences Next Slide

12. Medium size organization (6-12) with public performance as a goal; combination of member funded, performance payment and grants Nimachi-kai “Performance Group” Next Slide

13. May 200513 THE FOCUS A gathered group of dedicated individuals who want to explore and promote Japanese culture through performance arts – The vehicle: Japanese ensemble drumming or kumi-daiko Closely follow the philosophy of Grand Master Seiichi Tanaka – Korada: discipline of the body; strength and stamina – Kokoro: discipline of the mind; spirit and positive energy – Waza: musical skill, expression and rhythm – Rei: interaction through respect, harmony unity of the spirit Develop a repertoire mix of 70% traditional rhythms; 30% contemporary, experimental or non-Japanese inspired rhythms Next Slide

14. May 200514 AUDIENCE Fresh Listener: limited knowledge of Asian performing arts, not aware of taiko or differentiates between cultures; any performance is a good performance Educated Listener: has seen or heard Asian performing arts, may be able to distinguish between cultures; starting to understand styles Enthusiastic Listener: attends taiko performances as the opportunity arises, may be follows a certain group, may have taken classes or purchased music; forming opinions on quality of performance Critical Listener: seeks out taiko performances regularly, is a student or performer, accumulates knowledge on own; has ability to critique performances with an educated reference Next Slide

15. May 200515 REPERTOIRE The goal of the repertoire is to be robust enough to have a dedicated fan attend gigs and be pleasantly surprised by the mix and not feel that the group is playing the same old material Preplan the mix per an X number of possible events per year 70% Pacific or Asian; 30% occidental, experimental – For every new song is a 30% category, 1 or 2 in the 70% category must be composed or arranged to balance Develop a Group rhythm (default ji) starting point for jams, etc. First song at venue is a throw away (warm up); driving, all solos Reserve players from a strenuous song to play an interlude/next song in order to rest the group (i.e. hand percussion section) for the next song There can be boy-only songs – Songs that have power & strength – Also songs that show grace and elegant movement There can be girl-only songs – Songs that show grace and elegant movement – Also songs that have power & strength There are combined gender songs – Songs that show grace and elegant movement – Songs that have power & strength Members can specialize on instruments; depending on outside training, i.e. wind, woodwind, percussion, string or vocal incorporated with Japanese-slant (end sequence Zatoichi 2004) – All are encouraged to participate in drum playing, dance and kiai. Help methods: muscle memory (warm ups and “air –taiko” that reinforce playing movements), standardized movement for rhythms with specific names (in Japanese), rhythm modules with specific names (in Japanese or cultural reference), standardized footing (jazz square; physically lay down a carpet square or taped out a square) Next Slide

16. May 200516 BEGINNING SONG LIST IDEAS Chudaiko Blues — Patterned after an American Blues rift (three cord pattern); slow and easy; a recovery song E.O. 9066 — TBC; features a Swing opening, a solemn section for internment; building ending for regrowth Keiichi Undo — Fully composed; driving beat and sharp ka’s bring to mind a mikoshi parade Nimachi Matsuri — Pattern this version of matsuri after Soh Daiko’s (get permission) Questions 27 & 28 —Fully composed; improvisational oroshi of two players explores the duality of the loyalty question posed to the internees and the cultural pull between Japan/America, Issei/nisei, nisei/kibei Radio Taisho — TBC; beats and movements taken from the popular morning exercise activity; fun & light Taikobushi Rap — Fully composed; uses Hanyabushi by Hanayui but changes the words for current members Taiko Part 2 — Patterned after “Rock & Roll Part 2”-Gary Glitter; used for American audiences to show familiar rhythms Taiko Student — Patterned after “Hollywood Swinger”-Kool & The Gang; used for American audiences to show familiar rhythms; uses a “don- don-don--do-doro-do” ji Tanabata — TBC (partial); tells the story of Altair and Vega but in the Japanese folk tale; a indoor concert piece, complex with a story arc TBD (Mori no Ike) — TBC (partial); from a popular Japanese chant heard at the Mori no Ike language camp Teppenyakibushi — Patterned after “Livin’ in the USA”-Steve Miller; used for American audiences to show familiar rhythms; uses a “do-do-tsuku” ji We Like Taiko — Patterned after “We will rock you”-Queen; used for American audiences to show familiar rhythms; uses a “don-don-ka--” ji 13 songs 5 non-J 30% non-J 70% trad. TBC = To Be Composed Next Slide

17. May 200517 Preparation Period GENERAL TIMELINE - Start Up & Goals Nimachikai concept start Nimachikai concept research Find Practice Space Advertise for members Try-outs 1st Member Meeting Start Practices/Songs Start Venue search Evaluate Progress Set Repertoire Perform NATC www. Presence Ready for Local Public Performances Publicity & Information Costume and Staging Record Audio CD Create Demo Media Goals: no set dates Long Term Goals: no set dates Next Slide

18. May 200518 INSTRUMENTS & HANDLING 3 shime; 1 odaiko; 4 chudaiko; various hand percussion Drums and instruments of any kind to be treated with respect as a musical instrument, not a toy or physical therapy equipment Individuals responsible for use, retrieval and storage of every piece played – Especially at open-air festivals where pieces can be lost Syntax very important when describing personal experience to an uninformed audience, “to beat”, “to wail”, “my therapist” or “to take out daily frustrations” encourages a misunderstanding of the art form and mistreatment of instruments Next Slide

19. May 200519 GROUP PLAYING STYLE This diagram represents the taiko set up and playing style. The chudaikos are in a more traditional vertical position off the floor than the Edo Sukeroku* style slanted on stands used by many groups A horizontal taiko position with a floor stand for height; played in a near standing style A vertical taiko position, slightly slanted on a short floor stand for additional sound from second head; played in a bent knee position In this set up the player will use more of an arc when coming from the odaiko to the chudaiko Returning to the odaiko from the chudaiko will have an under-swing swoop * Some members of Edo Sukeroku have expressed concerns of copyright infringement of their slant-style of set up and playing nagado taiko Next Slide

20. May 200520 VENUES & COMMUNICATIONS 1.Sponsoring organization events 2.Japanese community events 3.Cross-cultural events 4.Outreach events 5.Corporate sponsored events Create press kit material for submission: printed material, audiotape, audio CD, videotape, DVD Create a web site and email address Next Slide

21. Full-scale organization: (12+ members, not including students) includes performance group and a teaching school; member funded, performance payments, grants and endowments and school tuitions Nimachi-kai Non-profit Organization Next Slide

22. May 200522 CAREER PATH Enthusiastic Supporter: mushi (attends performance, likes taiko); would like to play a drum one or two times maybe learn one song; has no personal equipment – Single, self-contained introductory class Occasional Player: tokidoki (likes taiko); has some skill; attends activities infrequently; has a least a pair of own bachi – Form and rhythm class – no structured songs Devoted Student: taikosei (loves taiko); moderate-high degree of skill; attends activities regularly/consistently; has many sizes of bachi and invested in other equipment or instruments – Curriculum structure to sustain interest – back up performer High Achiever: otaku (taiko-geek); has high expectations of staff and career path; moderate-high degree of skill; attends activities regularly/consistently; extra-curricular learning; has invested in various pieces of equipment/instruments, maybe a drum or two – Curriculum structure to sustain interest – options: assist instructor, song leader, back up performer, performance group member, composer/performer Physical and vision disabilities: welcomed; play shime/odaiko (drum stand adjusted); hand percussion; participation by coordination level and rhythm ability; concern for handling certain disabilities Next Slide

23. May 200523 LEVELS AND REWARDS Western philosophy likes to know where the individual stands in a group and wants to measure success and progress. The levels described below would be for a teaching situation or intern-to-performance group player Create visible reward system (especially if classes are offered): belt colors as in martial arts White-Beginner (satin*) – colors for levels – black-Advanced – white-Senior (linen*); color levels can be - blue, brown, dk green, gold, green, indigo, orange, purple, red, yellow Ranking resource: *Zen Guitar by Philip Toshio Sudo (individual dojos choose own colors; some have none) http://www.martialartsresource.com/anonftp/pub/the_dojang/digests/koreanma.htm http://www.martialartsresource.com/anonftp/pub/the_dojang/digests/koreanma.htm Testing system based on song, taiko proficiency and leadership —Taiko: play with proper form on a number of drum types; other instruments (as a uchite [taiko player]) —Songs: ji sustained; individual phrases; individual part; multiple parts; whole song (as a contributor to the group) —The Art: taiko origins; history; key individuals/organizations; playing styles (as an ambassador of the art) Next Slide

24. May 200524 GENERAL PRACTICE OR REHEARSAL SESSION STRUCTURE Dojo open 30 minutes prior to session – Equipment set up – Personal warm up Session starts – Individuals take 5 minutes to gather into the Group and warm up – – Movements mirror playing seguays and poses. – Tai-Chi inspired exercises – Song review practice – New song development – Experimentation Group takes 5 minutes to cool down/disperse – Taiko related stretching and movement Dojo closes 15 minutes after session ends Next Slide

25. May 200525 WARM UPS AND EXERCISES All activities must relate and be connected with muscle memory of taiko movements, endurance or strength – This is a group and performance building activity; any physical enhancing program should be done on a personal basis Personal warm ups: includes any athletic-style stretching, endurance and strengthening modules; done as lifestyle and before session. It is the goal of the group to advance the repertoire, a minimal amount of group time to be spent on this activity, not an athletic competition Dojo warm ups: reflect taiko movements developed for songs to reinforce muscle memory, “air taiko”; done as 5 minute start and cool down also can be separate exercise for new member training or new movement learning Next Slide

26. May 200526 SONGS AND DRILLS Musical drills broken down by smallest unit (rift) mastered by group then added upon step-by-step; goal is to build group voice (phrasing/ji) even at the expense of progress (1 song well played rather than 3 played mediocre) Goal is to develop each individual’s musicianship; to be able to play strong or soft; fast/soft; solo, duo or group, etc. (cultural context = Karate Kid, Miyagi sensei-do) Develop kiai only exercises; movement (muscle memory) only exercises Expand to folk dance and singing; Throat singing, Monkey chanting, etc Traditional songs: build on unique renditions. Learn some songs as is. Songs such as Matsuri transcends groups and is universal in the art (freeware) New and unique material: work on phrasing with movement and transitions. Ultimate goal to call an audible (like in football) that could produce any number of variations. Gives the illusion of spontaneity Use of traditional Japanese folk rhythms as a source. Japanese music theory for composition (jo-ha-kyu composition) Captains during songs (such as 1 st violin in western orchestras) by position of instrument for that song. Shime is not always the leader or rhythm keeper Next Slide

27. May 200527 IDEAL DOJO SPACE ELEMENTS Interior elements An ideal physical home base would have as many of the features shown below. Set in some light industrial zoning where noise would not be a problem and buildings have open floor space. Located in an area that may be in an arts redevelopment plan, safe at night for people, secure for equipment. Next Slide

28. May 200528 IDEAL DOJO SITE ELEMENTS This building on the corner of Blaisdell and W 29th St. looks to be ideal. A former light manufacturing building, it would have open floor space. It is at the end of the Nicollet “Eat Street” entertainment corridor. A small independent theater is one block away and has hosted other taiko events. It is near downtown Minneapolis and can be considered central for the metro area. There are other commercial businesses across from and adjacent to this building, a greenway to the south and backdoor with a major retail store beyond. The nearest residential neighbor is across Blaisdell, a major thoroughfare, which creates a sound buffer. It has on-premise and on-street parking. It also has been empty for a number of years. Sample building exterior views Next Slide

29. May 200529 USE AND LEARNING OF JAPANESE Learn and use as much Japanese language and customs as possible – More than just counting to ten and some taiko specific terms Ideally incorporate traditional folk dances and singing using Japanese lyrics Learning through multiple media access: recordings, handouts, kuchi showa, oral, banners, personal example Next Slide

30. May 200530 FUNDING & OPERATION Ideally, under the umbrella of a local established non-profit – Use of existing tax exempt status – Use of existing community ties Set up as a club organization with dues? – Open finance reporting – Establish goals for funds; rent, equipment, travel Set up a teaching branch? – Would require permanent location – Dedicated instructors – Practice equipment separate from performance equipment – Performance/reward outlet: recital, auxiliary performer or performance group To Start