Taiko are types of Japanese drums. In Japan, the word "taiko" can refer to any drum, but outside Japan, it is used to describe specific Japanese drums called wadaiko and a group style of drumming called kumi-daiko. The way taiko are made can differ depending on the maker. Preparing the drum body and skin can take many years, depending on the method used.
Taiko drums have stories from Japanese myths, but historical records show that taiko were brought to Japan by cultural influences from China and Korea as early as the 6th century CE. Pottery from the Haniwa period shows images of taiko drums. Some taiko are similar to drums from India. Evidence from the Kofun period also shows that taiko existed in Japan during the 6th century. Over time, taiko have been used for many purposes, including communication, military actions, theater, religious ceremonies, and concerts. In modern times, taiko have also been important in social movements for minority groups in and outside Japan.
Kumi-daiko, a style of group drumming, was created in 1951 by Daihachi Oguchi and later developed further in 1961 by the group Ondekoza. This style became popular when other groups, such as Kodo, Yamato, and Taikoza, copied the format of Ondekoza. Other styles, like hachijō-daiko, have also developed in specific regions of Japan. Kumi-daiko groups perform in many countries, including the United States, Australia, Canada, Europe, Taiwan, and Brazil. Taiko performances include many elements, such as rhythm, technique, stick grip, clothing, and the types of drums used. Groups often use large barrel-shaped nagadō-daiko drums and smaller shime-daiko drums. Many performances also include singing, string instruments, and wind instruments.
History
The origin of the taiko and its variations is not clearly known, but many theories exist. Some of the earliest records from 588 CE mention that young men from Japan traveled to Korea to study the kakko, a drum that came from South China. Learning and using Chinese instruments may have influenced the creation of taiko. Court music styles like gigaku and gagaku were introduced to Japan from China and Korea. In these traditions, dancers were often accompanied by drums similar to taiko. Certain rhythms and terms in togaku, an early Japanese music style, along with features of the kakko drum, suggest influences from both China and India on gagaku performances.
Archaeological evidence shows that taiko were used in Japan as early as the 6th century CE, during the Kofun period. These drums were likely used for communication, festivals, and rituals. This evidence was supported by the discovery of haniwa statues in the Sawa District of Gunma Prefecture. Two of these statues show people playing drums. One figure, wearing animal skins, holds a barrel-shaped drum over his shoulder and uses a stick to play it at hip height. This statue, called "Man Beating the Taiko," is considered the oldest known example of taiko performance in Japan. The way this figure plays the drum resembles styles found in Chinese and Korean music traditions, suggesting possible influences from those regions.
The Nihon Shoki, one of the oldest books of Japanese history, includes a myth about the origin of taiko. The story describes how Amaterasu, a powerful goddess, hid in a cave out of anger. An elder goddess named Ame-no-Uzume lured her out by dancing on a barrel of sake. Historians believe this performance represents the mythical beginning of taiko music.
During feudal Japan, taiko were used to encourage soldiers, give orders, and set the pace for marching. Marches were usually timed to six steps for each drumbeat. In the 16th-century Warring States period, specific drum rhythms were used to signal troops to retreat or advance. Instructions for these rhythms and techniques were written in historical texts. For example, the war chronicle Gunji Yoshū describes how nine sets of five beats could call an ally to battle, while nine sets of three beats, played faster, signaled an attack. A story from the 16th century mentions Emperor Keitai, who received a large drum from China. He named it Senjin-daiko and used it to inspire his army and scare enemies.
Taiko have been used in Japanese theater for rhythm, atmosphere, and decoration. In kabuki plays like The Tale of Shiroishi and Taihei Chronicles, taiko create tension during scenes set in pleasure quarters. In Noh theater, taiko music follows strict rhythmic patterns. The Konparu school of drumming, for example, includes 65 basic rhythms and 25 special ones, organized into categories. These rhythms differ in speed, emphasis, loudness, and their role in performances. They are often combined into sequences.
Taiko continue to be used in gagaku, a classical music tradition performed at the Tokyo Imperial Palace and local temples. In gagaku, traditional dances are guided by the rhythm of taiko.
Taiko play an important role in many local festivals in Japan and are used in religious rituals. In kagura, a type of Shinto music and dance, taiko appear alongside other performers during festivals. In Buddhist traditions, taiko are used during the Bon Festival for ritual dances. Taiko are also placed on towers decorated with red-and-white cloth to provide rhythm for dancers surrounding the performers.
The word "taiko" also refers to the performance itself, especially a style called kumi-daiko, or ensemble-style playing. This style differs from festival, ritual, or theatrical uses of taiko. Kumi-daiko was created by Daihachi Oguchi in 1951. He helped shift taiko from traditional settings to new forms of performance. Oguchi, trained as a jazz musician, received an old piece of taiko music written in difficult symbols. He worked with others to rewrite it and added rhythms to allow multiple players to perform on different-sized drums. Each drum had a specific role, forming the basis of modern kumi-daiko.
Oguchi's group, Osuwa Daiko, used these changes and created new pieces for non-religious performances. Other groups formed in Japan during the 1950s and 1960s. Oedo Sukeroku Daiko, founded in Tokyo in 1959 by Seidō Kobayashi, became the first professional taiko group to tour. Kumi-daiko gained global attention during the 1964 Summer Olympics in Tokyo, where it was featured in the Festival of Arts.
Kumi-daiko also developed through Den Tagayasu, who gathered young men to train in taiko. He chose Sado Island for its unique drumming tradition called ondeko, which requires great strength. Den named his group "Ondekoza" and trained members with strict routines, including long-distance running. In 1975, Ondekoza became the first taiko group to tour the United States. Their first performance in the U.S. happened after they ran the Boston Marathon in traditional uniforms. In 1981, some members left Ondekoza to form Kodo, led by Eitetsu Hayashi. Kodo continued training on Sado Island and became widely known for popularizing taiko through tours and collaborations. Kodo is now one of the most famous taiko groups in Japan and globally.
Estimates suggest there are up to 5,000 taiko groups in Japan, though some sources say about 800 groups are officially registered with the Nippon Taiko Foundation, the largest organization for taiko groups. Some early kumi-daiko pieces still performed today include Yatai-bayashi from Ondekoza, Isami-goma from Osuwa Daiko, and Zoku from Kodo.
Categorization
Taiko drums have been developed into many types of percussion instruments used in Japanese folk and classical music. In 1909, Francis Taylor Piggott created an early system to classify taiko based on shape and tension. Taiko are usually grouped by how they are made or the situations in which they are used. However, some drums, like the toy den-den daiko, are not classified.
Most taiko have a drum shell with drumheads on both sides and a sealed space that makes sound. The drumhead is attached to the shell using different methods, such as ropes. Taiko can be tunable or non-tunable, depending on the method used.
Taiko are divided into three main types based on how they are constructed. Byō-uchi-daiko are made by nailing the drumhead to the body. Shime-daiko are traditionally built with skin stretched over iron or steel rings, which are tightened with ropes. Modern versions use bolts or turnbuckle systems. Tsuzumi are also rope-tensioned drums but have an hourglass shape and use deerskin for their drumheads.
Byō-uchi-daiko were historically made from a single piece of wood, though some are now made from wooden staves. Larger drums made from a single piece of wood are rare and expensive because finding suitable trees is difficult. The preferred wood is Japanese zelkova or keyaki, but other woods and even wine barrels have been used. Byō-uchi-daiko cannot be tuned.
The most common byō-uchi-daiko is the nagadō-daiko, an elongated drum shaped like a wine barrel. These drums come in various sizes, with head diameters measured in shaku (about 30 cm). Sizes range from 1 to 6 shaku (30 to 182 cm; 12 to 72 in). Ko-daiko are the smallest, about 1 shaku (30 cm; 12 in) in diameter. Chū-daiko are medium-sized, ranging from 1.6 to 2.8 shaku (48 to 85 cm; 19 to 33 in), and weigh about 27 kilograms (60 lb). Ō-daiko are the largest, up to 6 shaku (180 cm; 72 in) in diameter. Some Ō-daiko are too large to move and remain in performance spaces like temples or shrines. The term Ō-daiko means "large drum" and refers to the largest drum in an ensemble. Another type of byō-uchi-daiko is the hira-daiko, a flat drum where the head diameter is larger than the body length.
Shime-daiko are small, snare-drum-sized instruments that can be tuned. They are usually tightened with ropes or cords, though some use bolts or turnbuckles. Nagauta shime-daiko have thinner drumheads with a central patch of deerskin, and are played only on that area. Tsukeshime-daiko are heavier and come in sizes 1–5, named namitsuke, nichō-gakke, sanchō-gakke, yonchō-gakke, and gochō-gakke. The namitsuke has the thinnest skin and shortest body, while the gochō-gakke has the thickest skin and tallest body. All shime-daiko have drumheads about 27 cm (10.6 in) in diameter.
Uchiwa-daiko are racket-shaped drums without a sound box and only one drumhead. They are played with a drumstick while hanging from the other hand.
Examples:
– A large ō-daiko from a Kodo performance has a tomoe design on its skin.
– A shime-daiko tightened with rope.
– An okedō tightened with rope.
– A tsuri-daiko displayed at the Museu de la Música de Barcelona.
– A 17th-century ko-tsuzumi.
– An uchiwa-daiko.
Okedō-daiko are a type of shime-daiko made with narrow wooden strips and a tube-shaped frame. Like other shime-daiko, their drumheads are attached with metal hoops and tightened with ropes or cords. They can be played with drumsticks (bachi) or by hand. Okedō come in short- and long-bodied types.
Tsuzumi are hourglass-shaped drums. Their bodies are carved by hand, and their skins are made from cowhide, horsehide, or deerskin. Ō-tsuzumi use cowhide, while ko-tsuzumi use horsehide. Some classify tsuzumi as a type of taiko, while others consider them separate from taiko.
Taiko can also be grouped by the situations in which they are used. Miya-daiko are made like byō-uchi-daiko but have ornamental stands and are used in Buddhist temple ceremonies. Sumō-daiko (a type of ko-daiko) and sairei-nagadō (a nagadō-daiko with a cigar-shaped body) are used in sumo wrestling and festivals, respectively.
Several drums, called gagakki, are used in gagaku, a traditional Japanese theatrical form. The lead instrument is the kakko, a small shime-daiko with deerskin drumheads placed horizontally on a stand. Another instrument is the san-no-tsuzumi, a small tsuzumi played horizontally with a thin stick. Dadaiko are the largest gagaku drums, with drumheads about 127 cm (50 in) in diameter. They are placed on tall pedestals with decorative flames and mystical figures like wyverns. Dadaiko are played while standing and usually only on the downbeat of the music. Tsuri-daiko are smaller, with drumheads about 55 cm (22 in) in diameter. They are used in ensembles that accompany bugaku, a traditional dance performed at the Tokyo Imperial Palace and in religious settings. Tsuri-daiko are suspended on stands and played sitting down with shorter mallets covered in leather. Two performers can play them at the same time: one strikes the head, and the other uses bachi on the body.
In Noh theater, larger ō-tsuzumi and smaller ko-tsuzumi are used in openings and dances. Both are struck with fingers, and players adjust pitch by pressing on the drum’s ropes. The color of the ropes indicates the musician’s skill: orange or red for amateurs, light blue for experts, and lilac for masters. Nagauta-shime daiko or uta daiko are also used in Noh performances.
Many taiko used in Noh are also used in kabuki performances, often in the same way. Kabuki performances use ō-daiko offstage to set the mood for scenes, in addition to ō-tsuz
Construction
Taiko drum construction involves several steps, including shaping the drum body, preparing the drum skin, and adjusting the skin to fit the drumhead. Changes in the construction process are common during the steps involving the drum skin. Historically, byō-uchi-daiko were made from the trunks of Japanese zelkova trees that were dried over many years using methods to prevent splitting. A skilled carpenter then shaped the rough form of the drum body with a chisel; the texture of the wood after carving softened the drum’s sound. Today, taiko drums are shaped on large lathes using wood pieces or logs that can be adapted to fit different drum sizes. Drumheads can be left to air-dry for years, but some companies use large, smoke-filled warehouses to speed up the drying process. After drying, the inside of the drum is carved with a deep-grooved chisel and sanded. Handles are then attached to the drum. These handles help carry smaller drums and are used as decorative elements on larger drums.
The skins or heads of taiko drums are usually made from cowhide from Holstein cows about three or four years old. Skins can also come from horses, and bull skin is preferred for larger drums. Thinner skins are used for smaller taiko, while thicker skins are used for larger ones. On some drumheads, a patch of deer skin in the center is used as a target during performances. Before attaching the skin to the drum, the hide is soaked in a river or stream for about a month. Winter months are preferred because colder temperatures help remove hair more easily. To stretch the skin over the drum, the drum body is placed on a platform with hydraulic jacks underneath. The edges of the cowhide are attached to a device below the jacks, and the jacks gradually stretch the skin to apply even tension. Other methods use ropes, cords, wooden dowels, or iron wheels to create tension. Small adjustments are made using twisted bamboo pieces around the ropes. Very large drumheads are sometimes stretched by having workers in stockings jump rhythmically on the drum in a circle. After the skin dries, small nails called byō are added to secure it. Chū-daiko drums require about 300 nails on each side. Once the body and skin are finished, excess hide is trimmed, and the drum can be stained as needed.
Several companies specialize in making taiko drums. One company, Miyamoto Unosuke Shoten in Tokyo, has produced drums exclusively for the Emperor of Japan since 1861. Another major company is Asano Taiko Corporation, which has made taiko for over 400 years. The family-owned business began in Mattō, Ishikawa, and initially made taiko for Noh theater and military equipment. It later expanded to create festival instruments during the Meiji period. Asano now operates a complex called Asano Taiko Village and produces up to 8,000 drums each year. As of 2012, there was approximately one major taiko production company in each Japanese prefecture, with some regions having multiple companies. In Naniwa, Taikoya Matabē is one of the most successful companies and has helped raise the community’s profile, attracting many drum makers. Umetsu Daiko, based in Hakata, has produced taiko since 1821.
Performance
Taiko performance styles differ among groups in terms of the number of performers, types of music played, choices of drums, and performance techniques. However, some early groups have greatly influenced the tradition. For example, many pieces created by Ondekoza and Kodo are now considered standard in many taiko groups.
Kata refers to the posture and movement used during taiko performances. This concept is similar to kata in martial arts, where both traditions emphasize the hara, or the core of the body, as the center of being. Shawn Bender, an author, explains that kata is the main feature that helps distinguish different taiko groups and is important for judging performance quality. Because of this, many taiko practice rooms include mirrors to help players see their movements. A key part of kata in taiko is keeping the body stable while playing. This can be done by standing with legs wide and low, the left knee bent over the toes, and the right leg straight. The hips should face the drum, and the shoulders should remain relaxed. Some teachers note that players often rely too much on the upper body and stress the need to use the whole body during performance.
In Japan, especially in Tokyo, some groups highlight the iki aesthetic, which is a lively and spirited style of movement. In taiko, iki reflects the grace and sophistication of the merchant and craftspeople classes during the Edo period (1603–1868).
The sticks used to play taiko are called bachi. They are made from different types of wood, such as white oak, bamboo, and Japanese magnolia, and come in various sizes. Bachi are held in different ways. In kumi-daiko, players often hold their sticks loosely between the V-shape formed by the index finger and thumb, pointing toward themselves. Other grips, like the shime grip, allow for more complex rhythms. In the shime grip, the bachi are held at the back end, with the pivot point between the index finger and thumb, and the other fingers remain relaxed and slightly curled.
Some taiko groups follow principles from Zen Buddhism. For example, the San Francisco Taiko Dojo uses the concept of rei (礼), which focuses on respect, communication, and harmony. The way bachi are held can also have spiritual meaning. For some groups, bachi symbolize a connection between the body and the sky. In Buddhism, parts of the taiko drum, such as the drum body, its skin, and the tacks, also have symbolic significance.
Kumi-daiko groups use a variety of drums, each with a specific role. The most common drum in groups is the nagadō-daiko. Chū-daiko often provide the main rhythm, while shime-daiko set and change the tempo. A shime-daiko frequently plays the Jiuchi, a basic rhythm that unites the ensemble. Ō-daiko create a steady, underlying beat and act as a counter-rhythm to other parts. Many performances begin with a single-stroke roll called an oroshi (颪, "wind blowing down from mountains"). The player starts slowly, spacing out strikes, then gradually increases the speed until a rapid roll is reached. Oroshi are also used in theatrical performances, such as in Noh theater.
Drums are not the only instruments in taiko ensembles. Other Japanese instruments, like the atarigane (a small gong played with a mallet), are also used. In kabuki theater, the shamisen, a plucked string instrument, often accompanies taiko. Kumi-daiko performances may also include woodwinds like the shakuhachi and the shinobue.
Voiced calls or shouts, called kakegoe and kiai, are common in taiko. These are used to encourage other players or signal changes in tempo or dynamics. In contrast, the concept of ma, or the space between drum strikes, is also important. It helps shape rhythmic phrases and create contrast.
Players wear a variety of traditional clothing during performances. Many kumi-daiko groups use the happi, a decorative coat, and hachimaki, traditional headbands. Tabi (split-toe socks), momohiki (loose-fitting pants), and haragake (working aprons) are also common. Eitetsu Hayashi, a member of Ondekoza, suggested wearing a loincloth called a fundoshi during a performance for French designer Pierre Cardin in 1975. The Japanese group Kodo has also worn fundoshi in some performances.
Education
Taiko performances are usually taught by speaking and showing how to play. In the past, some rhythmic patterns were written in books, like the 1512 encyclopedia called the Taigensho. However, most written music for taiko pieces is not available today. One reason for using oral teaching is that different groups often play the same piece with slightly different rhythms. A music researcher named William P. Malm noted that Japanese players in a group rely on listening to each other rather than using written music to understand how to play together. In Japan, printed music is not used during lessons.
Orally, students learn patterns called kuchi shōga, which are words that mimic the sounds of drum beats. These words help teach the rhythm and tone of each strike. For example, "don" (どん) represents one hit in the center of the drum, while "do-ko" (どこ) means two hits, first with the right hand and then the left, lasting the same time as one "don" hit. Some taiko pieces, like Yatai-bayashi, have patterns that are hard to write in Western musical notation. The exact words used for these patterns can also vary between regions.
In recent years, Japanese books have been created to help standardize taiko performance. The Nippon Taiko Foundation was started in 1979. Its goals were to help taiko groups in Japan work together, share knowledge, and teach how to perform taiko. Daihachi Oguchi, the leader of the Foundation, wrote a book called Japan Taiko with other teachers in 1994. He wanted to ensure that proper techniques would not be lost over time. The book explains the types of drums used in kumi-daiko performances, how to hold the drumsticks, correct posture, and suggestions for choosing instruments. It also includes practice exercises and music transcribed from Oguchi’s group, Osuwa Daiko. Earlier books existed before 1994, but this one became more well-known because of the Foundation’s influence.
The system of basics introduced in Japan Taiko was not widely used because taiko styles differ greatly across Japan. In 2001, the Foundation published an updated book called the Nihon Taiko Kyōhon ("Japan Taiko Textbook"), which describes regional styles that differ from the main techniques in the earlier textbook. The authors of the book stated that learning a set of basic skills should not prevent students from studying local traditions.
Regional styles
In addition to kumi-daiko performances, several folk traditions involving taiko drums are practiced in different parts of Japan. These include ondeko ("demon drumming") from Sado Island, gion-daiko from Kokura, and sansa-odori from Iwate Prefecture.
Many folk dances from Okinawa, called eisa, often use taiko drums. Some dancers play drums while performing. These dances typically follow two styles: groups on the Yokatsu Peninsula and Hamahiga Island use small, single-sided drums called pāranku, while groups near Okinawa City use shime-daiko. Over time, shime-daiko has become the more common style. Small nagadō-daiko, known as ō-daiko in this tradition, are also used and worn in front of performers. These drum dances are not only found in Okinawa but also in places with Okinawan communities, such as São Paulo, Hawaii, and major cities in Japan.
Hachijō-daiko is a taiko tradition from Hachijō-jima. Two styles of Hachijō-daiko are practiced: one based on historical records and another influenced by mainland groups.
The Hachijō-daiko tradition was first documented in 1849 through the journal of an exile named Kakuso Kizan. He described unique features, such as a taiko suspended from a tree while women and children gathered around. He also noted that performers used either side of the drum. Illustrations from his journal show women participating, which was unusual because taiko performances elsewhere were usually done by men. Teachers of the tradition have noted that most performers were women, with some estimates suggesting women outnumbered men by three to one.
The first style of Hachijō-daiko is believed to come directly from Kizan’s account. This style, called Kumaoji-daiko, was created by Okuyama Kumaoji. It involves two players on a single drum. One player, called the shita-byōshi, provides the basic rhythm, while the other, called the uwa-byōshi, adds unique, often improvised rhythms. The drums are sometimes suspended from ropes or trees.
The modern style of Hachijō-daiko is called shin-daiko ("new taiko"). It differs from Kumaoji-daiko in several ways. Shin-daiko uses larger drums on stands instead of the smaller drums used in Kumaoji-daiko. Performers use larger, stronger bachi (drumsticks) to create a more powerful sound. They also wear looser clothing to allow for wider movements. The rhythms used for the shita-byōshi role can vary. One rhythm, called yūkichi, is played faster in shin-daiko than in Kumaoji-daiko. Another rhythm, called honbadaki, is unique to shin-daiko and includes a song in standard Japanese.
Miyake-daiko is a style of taiko that has spread through groups associated with Kodo. It is formally known as Miyake-jima Kamitsuki mikoshi-daiko. The name "Miyake" comes from Miyake-jima, part of the Izu Islands, and "Kamitsuki" refers to the village where the tradition began. Miyake-style taiko originated from the Gozu Tennō Festival, held annually in July on Miyake Island since 1820 to honor the deity Gozu Tennō. During this festival, players perform on taiko while carrying portable shrines through the town. The style is characterized by a nagadō-daiko placed low to the ground, played by two performers standing on either side. They adopt a low stance, nearly kneeling, while playing.
Outside Japan
Taiko groups in Australia began forming in the 1990s. The first group, named Ataru Taru Taiko, was created in 1995 by Paulene Thomas, Harold Gent, and Kaomori Kamei. Later, a group called TaikOz was formed in 1997 by percussionist Ian Cleworth and Riley Lee, who was once a member of Ondekoza. This group has performed in Australia since 1997. They are known for helping increase interest in taiko among Australian audiences, such as by creating a complete education program with both formal and informal classes. They also have a large group of supporters. Cleworth and other members have written several original pieces of music.
The introduction of kumi-daiko performance in Brazil began in the 1970s and 1980s in São Paulo. A person named Tangue Setsuko started a taiko dojo named after her and became Brazil’s first taiko group. Later, Setsuo Kinoshita formed a group called Wadaiko Sho. Brazilian taiko groups have combined traditional Brazilian and African drumming styles with taiko. One example is a piece called Taiko de Samba, created by Kinoshita, which highlights both Brazilian and Japanese musical traditions. Taiko became more popular in Brazil starting in 2002 through the work of Yukihisa Oda, a Japanese person who visited Brazil several times with the Japan International Cooperation Agency.
The Brazilian Association of Taiko (ABT) estimates there are about 150 taiko groups in Brazil, with 10–15% of players not being Japanese. Izumo Honda, who helps organize a large annual festival in São Paulo, said about 60% of taiko performers in Brazil are women.
Taiko was introduced to the United States in the late 1960s. The first group, San Francisco Taiko Dojo, was formed in 1968 by Seiichi Tanaka, a Japanese immigrant who studied taiko in Japan and brought the art to the United States. A year later, members of Senshin Buddhist Temple in Los Angeles, led by their minister Masao Kodani, created another group called Kinnara Taiko. In 1973, San Jose Taiko was formed in San Jose’s Japantown by Roy and PJ Hirabayashi. Taiko spread to the eastern United States in the late 1970s, with groups like Denver Taiko (1976) and Soh Daiko (1979) in New York City forming. Many early groups did not have enough money to buy drums for every member and used materials like rubber tires or wine barrels to make their own drums.
Japanese-Canadian taiko began in 1979 with a group called Katari Taiko, which was inspired by San Jose Taiko. Many of its early members were women. Katari Taiko and later groups were seen as a way for younger Japanese Canadians to connect with their heritage, build community, and explore other musical traditions.
There are no official numbers for how many taiko groups exist in the United States or Canada, as no single organization oversees all groups. Unofficial estimates suggest there were about 30 groups in the U.S. and Canada in 1989, with seven in California. By 2001, around 120 groups were active in both countries, many linked to San Francisco Taiko Dojo. Later estimates from 2005 and 2006 suggested there were about 200 groups in the United States alone.
Taiko performances have appeared in shows by Cirque du Soleil, such as Mystère in Las Vegas and Dralion. They have also been used in advertisements, like a 2005 Mitsubishi Eclipse campaign, and at events like the 2009 Academy Awards and 2011 Grammy Awards.
From 2005 to 2006, the Japanese American National Museum held an exhibition called Big Drum: Taiko in the United States. The exhibition discussed topics like the creation of taiko groups, how they built drums from available materials, and their role in social movements. Visitors could try playing smaller drums.
North America hosts the North American Taiko Conference (NATC), which started in 1997 in Los Angeles. In 2013, the Taiko Community Alliance (TCA) was formed as a nonprofit group to support and promote taiko. The TCA helps organize NATC conferences to educate people and raise awareness about taiko.
Collegiate taiko in the United States is a student-led tradition that combines performance, community, and cultural expression. It began in 1990 with UCLA’s Kyodo Taiko and has since grown to many campuses across the country. Each group creates its own style and approach to performances and campus activities. These groups also take part in events like the Intercollegiate Taiko Invitational (ITI), where students share skills and connect with others.
Kagemusha Taiko, based in the southwestern United States, was formed in 1999 by Jonathan Kirby. They create their own original music and are known for performing in schools. They have performed in venues in the United Kingdom, the United States, and Japan.
Related cultural and social movements
Some groups have used taiko to support social or cultural movements, both in Japan and other parts of the world.
Taiko performances have often been seen as an art form connected to men. Historians say that taiko traditions come from masculine practices. The people who created group-style taiko in Japan were men, and through the influence of Ondekoza, the ideal taiko player was shown as a strong, working-class man, especially through the character Muhōmatsu in the 1958 film Rickshaw Man. It has also been said that taiko performances require physical strength, and some believe women’s bodies are not always seen as able to meet these demands.
Before the 1980s, it was rare for Japanese women to play traditional instruments, including taiko, because their participation was not allowed. An exception was the San Francisco Taiko Dojo, led by Grandmaster Seiichi Tanaka, who was the first to let women join. In Ondekoza and early performances of Kodo, women only danced during or between taiko shows. Later, more women began to take part in kumi-daiko, and by the 1990s, women had the same number of roles as men, or more. Even though more women are now involved in taiko, some people worry that women still do not perform the same roles as men and that taiko remains a field where men are more common. For example, a Kodo member was told by the group’s apprentice program director that women could play taiko, but only “as women.” Others in the program noticed differences in roles, such as which pieces women were allowed to perform or how physical standards were based on male examples.
Female taiko performances have also helped challenge stereotypes about Japanese women being quiet, obedient, or overly seductive. Some groups believe these performances help change how women are seen in taiko and in society.
People who make taiko drums are often from the burakumin, a group that has faced discrimination in Japan. This group was treated unfairly during the Tokugawa period, and even after laws changed, they continued to face social challenges, like being judged by employers or in marriage. Some drum makers have used their work to fight against discrimination.
The Taiko Road, called “Taiko Road of Human Rights,” is in Naniwa Ward in Osaka, where many burakumin live. The road has taiko-shaped benches and shows the burakumin’s role in making drums and leather goods. It ends at the Osaka Human Rights Museum, which explains the history of discrimination against the burakumin. The road and museum were created partly because of efforts by the Buraku Liberation League and a group of young taiko performers called Taiko Ikari, meaning “taiko rage.”
Taiko performances were important for third-generation Japanese people in North America, called sansei. During World War II, second-generation Japanese people, called nisei, were forced into internment camps in the U.S. and Canada because of their race. After the war, Japanese people were discouraged from speaking Japanese or forming communities. This left sansei without a connection to their culture and made them focus on fitting into mainstream society. Sansei also wanted to escape stereotypes about Japanese people. In the 1960s, the civil rights movement inspired sansei to explore their heritage through Japanese culture, including taiko. Groups like San Jose Taiko formed to help Japanese-Americans feel connected and share their experiences. Later generations used taiko in programs started by sansei. A social scientist named Hideyo Konagaya says that sansei may have been drawn to taiko because it is easy to learn and full of energy. Konagaya also says that taiko’s revival in Japan and the U.S. had different reasons: in Japan, it was to reconnect with traditions, while in the U.S., it was to show strength and power in Japanese-American men.
Notable performers and groups
Many performers and groups, including early leaders, have been honored for their work in taiko performance. Daihachi Oguchi is best known for creating kumi-daiko performance. He started the first kumi-daiko group, called Osuwa Daiko, in 1951. Oguchi helped spread the popularity of taiko performance groups in Japan.
Seidō Kobayashi is the leader of the Tokyo-based taiko group Oedo Sukeroku Taiko as of December 2014. He started the group in 1959 and was the first to tour professionally. Kobayashi is considered a master of taiko performance. He also controlled the group's style, which influenced many other groups, especially in North America.
In 1968, Seiichi Tanaka founded the San Francisco Taiko Dojo. He is known as the Grandfather of Taiko and the main developer of taiko performance in the United States. He received a 2001 National Heritage Fellowship from the National Endowment for the Arts. Since 2013, he has been the only taiko professional honored with the Order of the Rising Sun 5th Order: Gold and Silver Rays by Emperor Akihito of Japan. This award recognizes his contributions to improving US-Japan relations and promoting Japanese culture in the United States.
In 1969, Den Tagayasu founded Ondekoza, a group known for making taiko performance famous worldwide and for its artistic contributions. Den also created a place on Sado Island in Japan where Ondekoza members live and train together. This place was known for its strict training and wide-ranging programs in folklore and music.