Taiko (太鼓) are a variety of Japanese percussion instruments. In Japan, the word "taiko" can mean any drum, but outside Japan, it usually refers to special Japanese drums called wadaiko (和太鼓, meaning "Japanese drums") and a group style called kumi-daiko (組太鼓, meaning "set of drums"). The way taiko are made can differ between makers. Preparing the drum body and skin may take many years, depending on the method.
Taiko drums have stories from Japanese myths. However, records show they came to Japan from China and Korea as early as the 6th century. Pottery from the Haniwa period shows pictures of taiko drums. Some taiko drums look like ones from India. Evidence from archaeology also shows taiko were in Japan during the 6th century in the Kofun period. Over time, taiko drums have been used for many purposes, like sending messages, in battles, in plays, religious events, and concerts. Today, taiko drums are also used in social movements for minority groups in and outside Japan.
Kumi-daiko, a group style where many people play different drums, started in 1951 with Daihachi Oguchi and later in 1961 by the Ondekoza group. Other groups like Kodo, Yamato, and others copied Ondekoza's style, making taiko more popular. Other styles, such as hachijō-daiko, have also come from specific communities in Japan. Kumi-daiko groups are now found in many countries, including the United States, Australia, Canada, Europe, Taiwan, and Brazil.
Taiko performances include many parts, like rhythm, how the drums are held, clothing, and the types of instruments used. Groups often use barrel-shaped nagadō-daiko and smaller shime-daiko drums. Some performances also include singing, string instruments, and wind instruments.
History
The origin of the taiko and its different types is not clear, but many ideas exist. Early records from 588 CE mention that young Japanese men traveled to Korea to study the kakko, a drum that came from South China. This borrowing of Chinese instruments may have helped create the taiko. Court music styles like gigaku and gagaku reached Japan from China and Korea. In these traditions, dancers used drums similar to taiko. Some rhythms and terms in togaku, an early Japanese music style, and features of the kakko drum show influences from China and India on gagaku performances.
Archaeological findings show that taiko were used in Japan as early as the 6th century CE, during the Kofun period. This was supported by haniwa statues found in the Sawa District of Gunma Prefecture. Two of these statues show people playing drums. One figure wears skins and carries a barrel-shaped drum on his shoulder, using a stick to play it at hip height. This statue is called "Man Beating the Taiko" and is the oldest known evidence of taiko performance in Japan. The way this haniwa plays the drum is similar to music traditions in China and Korea, suggesting influences from these regions.
The Nihon Shoki, an old Japanese history book, includes a myth about the origin of taiko. The story describes how Amaterasu, a goddess who hid in a cave, was lured out by Ame-no-Uzume. She danced on a barrel of sake, which historians believe represents the creation of taiko music.
In feudal Japan, taiko were used to encourage soldiers, give orders, and set the pace for marching. During the 16th-century Warring States period, specific drum rhythms signaled commands to retreat or advance. Texts from this time describe these rhythms. For example, nine sets of five beats called allies to battle, while nine sets of three beats, played faster, signaled an attack. A story about Emperor Keitai, who lived in the 6th century, mentions he 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 dramatic tension during scenes in pleasure quarters. Noh theater uses taiko with highly specific rhythmic patterns. The Konparu school of drumming includes 65 basic patterns and 25 special ones, organized into categories. These patterns differ in speed, emphasis, volume, pitch, and role in performances. Patterns are often connected in sequences.
Taiko continue to be used in gagaku, a classical music tradition performed at the Tokyo Imperial Palace and local temples. In gagaku, traditional dance is guided by the rhythm of taiko.
Taiko play an important role in many Japanese festivals and religious rituals. In kagura, a type of Shinto music and dance, taiko are used during local festivals alongside other performers. In Buddhist traditions, taiko are used in 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, which is group-style playing (different from festival, ritual, or theatrical use). Kumi-daiko was developed by Daihachi Oguchi in 1951. He helped change taiko from traditional festival and shrine settings to a modern performance style. Oguchi was trained as a jazz musician in Nagano and received an old taiko music piece. He transcribed it and added rhythms to make it work for multiple players on different-sized drums. Each drum had a specific role, creating today’s kumi-daiko conventions.
Oguchi’s group, Osuwa Daiko, included these changes and created new pieces for non-religious performances. Other groups formed in the 1950s and 1960s. Oedo Sukeroku Daiko, founded in 1959 by Seidō Kobayashi, was the first professional taiko group to tour. Kumi-daiko became more visible globally during the 1964 Tokyo Olympics, where it was shown at 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. His group, Ondekoza, trained rigorously and toured the United States in 1975. Some members later formed Kodo, which continued training on Sado Island and became a globally recognized taiko group.
Estimates of taiko groups in Japan vary. Some say there are up to 5,000 active groups, while others say about 800 based on membership in the Nippon Taiko Foundation. Early kumi-daiko pieces, like Yatai-bayashi from Ondekoza, Isami-goma from Osuwa Daiko, and Zoku from Kodo, are still performed today.
Categorization
Taiko drums have become a wide variety of percussion instruments used in both traditional Japanese folk and classical music. In 1909, Francis Taylor Piggott created a classification system based on the shape and tension of the drums. Taiko are usually grouped by how they are made or the specific situations in which they are used. 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 hollow space that helps the drum make sound. The drumhead is attached to the shell using different methods, such as ropes. Some taiko can be adjusted for pitch, while others cannot, depending on the system 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 made by placing the skin over iron or steel rings and tightening them with ropes. Modern shime-daiko use bolts or adjustable metal parts. Tsuzumi are also rope-tensioned drums but have an hourglass shape and use deerskin for their skins.
Historically, byō-uchi-daiko were made from a single piece of wood, though they are sometimes made from pieces of wood today. 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, a long drum shaped like a wine barrel. These drums come in many sizes, with the head diameter 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, usually 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, sometimes as big as 6 shaku (180 cm; 72 in) in diameter. Some ō-daiko are too large to move and stay 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’s length.
Shime-daiko are small, snare-drum-sized instruments that can be tuned. They are usually tightened with ropes or hemp cords, though some use bolts or adjustable metal parts. Nagauta shime-daiko, sometimes called "taiko" in theater, have thinner heads with a patch of deerskin in the center. Drum strokes are usually limited to this area during performances. Tsukeshime-daiko are heavier shime-daiko 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 sizes have head diameters of about 27 cm (10.6 in).
Uchiwa-daiko are racket-shaped drums with no sound box and only one skin. They are played with a drumstick while hanging from the other hand.
- This ō-daiko from a Kodo performance has a tomoe design on its skin.
- Example of a shime-daiko, tensioned using rope.
- Example of an okedō, tensioned using rope.
- A tsuri-daiko on display 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 heads are attached with metal hoops and tightened with ropes or cords. They can be played with drumsticks (called bachi) or by hand. Okedō come in short- and long-bodied types.
Tsuzumi are hourglass-shaped drums. Their bodies are shaped on a spool and carved by hand. Skins can be 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 how they are used. Miya-daiko are made like byō-uchi-daiko but have an ornamental stand 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.
Drums called gagakki are used in Japanese theater called gagaku. The lead instrument is the kakko, a small shime-daiko with deerskin heads, placed horizontally on a stand. Another small drum in gagaku is the tsuzumi, called the san-no-tsuzumi, struck with a thin stick. Dadaiko are the largest gagaku drums, with heads about 127 cm (50 in) in diameter. They are placed on tall pedestals with flame-like decorations and mystical figures like wyverns. Dadaiko are played while standing and only on the downbeat of the music. The tsuri-daiko is a smaller drum with a head about 55 cm (22 in) in diameter, used in ensembles that accompany bugaku, a traditional dance. Tsuri-daiko are suspended on a stand and played sitting down, using shorter mallets with leather knobs instead of bachi. Two performers can play tsuri-daiko at the same time: one strikes the head, and the other uses bachi on the body.
Larger ō-tsuzumi
Construction
Taiko construction involves several steps, including shaping the drum body (or shell), preparing the drum skin, and adjusting the skin to fit the drumhead. Differences in the process often appear during the steps of preparing the drum skin and tuning it. Historically, byō-uchi-daiko were made from the trunks of Japanese zelkova trees that were dried over many years using methods to avoid splitting. A skilled carpenter then carved the rough shape of the drum body using a chisel; the texture of the wood after carving softened the drum's sound. In modern times, taiko drums are shaped using large lathes with wood pieces or logs that can be adjusted to fit different drum sizes. Drumheads may 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 are used to carry smaller drums and are also used as decorative elements on larger drums.
The skins or heads of taiko are usually made from cowhide from Holstein cows about three or four years old. Skins from horses are also used, and bull skin is preferred for larger drums. Thinner skins are used for smaller taiko, and thicker skins are used for larger ones. On some drumheads, a piece of deer skin is placed in the center to serve as a target for strikes during performances. Before attaching the skin to the drum, the hair is removed by soaking the hide in a river or stream for about a month. Winter months are preferred because colder temperatures help remove the 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 secured to a device below the jacks, and the jacks gradually stretch the skin to apply even tension across the drumhead. Other methods use rope or cords with wooden dowels or an iron wheel to create tension. Small adjustments are made using pieces of bamboo twisted around the ropes. Very large drumheads are sometimes stretched by having workers wear stockings and jump rhythmically on the skin in a circle along its edge. After the skin dries, small nails called byō are added to secure it on certain drums. Chū-daiko require about 300 of these nails on each side. Once the body and skin are complete, excess hide is cut away, and the drum can be stained if needed.
Several companies specialize in making taiko. One such company, Miyamoto Unosuke Shoten in Tokyo, has produced taiko exclusively for the Emperor of Japan since 1861. Another major company, Asano Taiko Corporation, has made taiko for over 400 years. The company began in Mattō, Ishikawa, and initially made taiko for Noh theater and military equipment. During the Meiji period, it expanded to create instruments for festivals. Asano currently operates a large complex called Asano Taiko Village and produces up to 8,000 drums each year. As of 2012, there was approximately one major taiko company in each prefecture of Japan, 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 been making taiko since 1821.
Performance
Taiko performance styles differ among groups in the number of performers, types of music played, choices of instruments, and stage techniques. However, some early groups have greatly influenced the tradition. For example, many songs created by Ondekoza and Kodo are now commonly used by many taiko groups.
Kata refers to the posture and movements in taiko performances. This idea is similar to kata in martial arts, where the hara (the area around the navel) is considered the center of balance and strength. Shawn Bender, an author, says that kata is the most important feature that helps identify different taiko groups and is a key part of judging performance quality. Because of this, many taiko practice rooms include mirrors to help players see their movements. An important part of kata is keeping the body steady during performance, which can be done by standing with wide, low legs, 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 their upper bodies and stress the need to use the whole body while playing.
In Japan, especially in Tokyo, some groups focus on the iki aesthetic, which means lively and spirited movement. In taiko, this style reflects the elegance of people from 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 index finger and thumb, forming a V-shape. Other grips, like the shime grip, allow for more complex rhythms. In the shime grip, the sticks are held at the back end, with the fulcrum (the point where the stick is held) between the index finger and thumb, and the other fingers are relaxed and slightly curled.
Some taiko groups follow ideas from Zen Buddhism. For example, the San Francisco Taiko Dojo uses the concept of rei (礼), which means respect, communication, and harmony. The way bachi are held can also have meaning; for some groups, bachi symbolize a spiritual connection between the body and the sky. Parts of the taiko drum, such as its body, skin, and tacks, also have symbolic meanings in Buddhism.
Kumi-daiko groups use many percussion instruments, each with a specific role. The most common drum in groups is the nagadō-daiko. Chū-daiko are used to create the main rhythm, while shime-daiko control the tempo. A shime-daiko often plays the Jiuchi, a basic rhythm that holds the ensemble together. Ō-daiko provide a steady, underlying beat and act as a counter-rhythm to other parts. Performances often begin with an oroshi, a slow roll of strikes that gradually speeds up. 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 stringed instrument played by plucking) often accompanies taiko. Kumi-daiko performances may also include woodwinds like the shakuhachi and shinobue.
Voiced calls or shouts, called kakegoe and kiai, are common in taiko. They help encourage other players or signal changes in tempo or dynamics. The concept of ma, which refers to the space between drum strikes, is also important for creating rhythmic contrast.
Taiko performers wear a variety of traditional clothing. 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 fundoshi (a loincloth) during a performance for French designer Pierre Cardin in 1975. The group Kodo has also worn fundoshi in some performances.
Education
Taiko performance is usually taught by speaking and showing how to play. In the past, some taiko patterns were written in books like the Taigensho from 1512, but written scores for taiko pieces are rarely available. One reason for using an oral tradition is that different groups often play the same piece with slightly different rhythms. A music expert named William P. Malm noted that Japanese players in a group could not easily understand each other using written music and instead relied on listening. In Japan, printed music parts are not used during lessons.
Orally, patterns of sounds called kuchi shōga are taught from teacher to student. These sounds show the rhythm and tone of drum hits for a specific piece. For example, "don" (どん) represents one hit in the center of the drum, while "do-ko" (どこ) represents 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, include rhythms that are hard to write in Western musical notation. The exact words used for these sounds can also vary by region.
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 Japan Taiko with other teachers in 1994. He was worried that correct techniques might be lost over time. The book explains the types of drums used in kumi-daiko, how to hold them, proper form, and instrument choices. It also includes practice exercises and written versions of songs from Oguchi’s group, Osuwa Daiko. While similar books existed before 1994, this one became more widely known because of the Foundation’s influence.
The system of basics 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 textbook. The book’s creators believed that learning a set of basic skills could still work with learning local traditions.
Regional styles
In addition to kumi-daiko performances, several folk traditions that use taiko drums are found in different regions of Japan. These include ondeko ("demon drumming") from Sado Island, gion-daiko from Kokura, and sansa-odori from Iwate Prefecture.
Folk dances from Okinawa, known as eisa, often use taiko. Some dancers use drums while performing. These dances usually follow one of 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. Shime-daiko has become more common across the island and is now the main style. Small nagadō-daiko, called ō-daiko in this tradition, are also used and worn in front of the performer. These drum dances are not only practiced 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 have developed and are popular among residents: one based on historical records and another influenced by mainland groups and practiced by most islanders.
The Hachijō-daiko tradition was first written about in 1849 in a journal by an exile named Kakuso Kizan. He described unique features, such as a taiko being hung from a tree while women and children gathered around. He also noted that players used either side of the drum during performances. Drawings from Kizan’s journal show details of Hachijō-daiko, including women performing, which was unusual because taiko performances elsewhere were typically done by men. Teachers of the tradition say most performers were women, with some estimates showing three women for every one man.
The first style of Hachijō-daiko is believed to come directly from the description by Kizan. This style is called Kumaoji-daiko, named after its creator, Okuyama Kumaoji. Kumaoji-daiko uses two players on a single drum. One player, called the shita-byōshi ("lower beat"), provides the basic rhythm. The other player, called the uwa-byōshi ("upper beat"), adds unique, often improvised rhythms. While the basic rhythms are specific, the second player can create original beats. Kumaoji-daiko also features unusual drum setups, such as drums hung from ropes or trees.
The modern style of Hachijō-daiko is called shin-daiko ("new taiko"). It differs from Kumaoji-daiko in several ways. For example, shin-daiko uses larger drums on stands instead of having two players on one drum. Shin-daiko emphasizes a louder sound, so performers use larger, stronger bachi (drumsticks). Performers wear looser clothing compared to the traditional kimono worn in Kumaoji-daiko, allowing for more open movements. The rhythms used for the shita-byōshi role can also vary. One rhythm, called yūkichi, is played faster in shin-daiko. Another rhythm, called honbadaki, is unique to shin-daiko and includes a song in standard Japanese.
Miyake-daiko is a style 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 performances during the Gozu Tennō Sai ("Gozu Tennō Festival"), an annual event held 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 and played by two performers, one on each side. Performers stand in a low stance, almost kneeling, while holding the drum.
Outside Japan
Taiko groups in Australia began forming in the 1990s. The first group, called Ataru Taru Taiko, was formed in 1995 by Paulene Thomas, Harold Gent, and Kaomori Kamei. TaikOz was formed later by percussionist Ian Cleworth and Riley Lee, who was a former member of Ondekoza, and has performed in Australia since 1997. This group is known for creating interest in taiko performances among Australian audiences, such as by developing an education program with both formal and informal classes. They have a strong fan base, and Cleworth and other members have created several original pieces.
The introduction of kumi-daiko performance in Brazil began in the 1970s and 1980s in São Paulo. Tangue Setsuko founded a taiko dojo named after her and was Brazil’s first taiko group. Later, Setsuo Kinoshita formed the group Wadaiko Sho. Brazilian groups have combined native and African drumming techniques with taiko performance. One example is a piece called Taiko de Samba, created by Kinoshita, which highlights both Brazilian and Japanese styles in percussion. Taiko was also popularized in Brazil from 2002 through the work of Yukihisa Oda, a Japanese native who visited Brazil several times through the Japan International Cooperation Agency.
The Brazilian Association of Taiko (ABT) estimates that there are about 150 taiko groups in Brazil, with 10–15% of players being non-Japanese. Izumo Honda, who coordinates a large annual festival in São Paulo, estimated that about 60% of all taiko performers in Brazil are women.
Taiko emerged in the United States in the late 1960s. The first group, San Francisco Taiko Dojo, was formed in 1968 by Seiichi Tanaka, a postwar immigrant who studied taiko in Japan and brought the styles and teachings to the US. A year later, members of Senshin Buddhist Temple in Los Angeles, led by its minister Masao Kodani, formed another group called Kinnara Taiko. San Jose Taiko was formed in 1973 in Japantown, San Jose, under Roy and PJ Hirabayashi. Taiko began to spread to the eastern US in the late 1970s, including the formation of Denver Taiko in 1976 and Soh Daiko in New York City in 1979. Many early groups did not have enough resources to provide each member with a drum and used materials like rubber tires or wine barrels to make their own taiko.
Japanese-Canadian taiko began in 1979 with Katari Taiko, which was inspired by the San Jose Taiko group. Its early members were mostly women. Katari Taiko and later groups were seen as a way for younger, third-generation Japanese Canadians to explore their heritage, build a sense of community, and blend taiko with other musical traditions.
There are no official counts of active taiko groups in the United States or Canada, as neither country has a governing body for taiko groups. Unofficial estimates suggest that in 1989, there were as many as 30 groups in the US and Canada, seven of which were in California. One estimate from 2001 suggested about 120 groups were active in the US and Canada, many linked to the San Francisco Taiko Dojo. Later estimates in 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 featured in commercial projects, like the 2005 Mitsubishi Eclipse ad campaign, and at events such as 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 covered topics like the formation of performance groups, how they used available materials to build taiko, and their connection to social movements. Visitors had the chance to play smaller drums.
North America hosts the North American Taiko Conference (NATC), which has been held since its first meeting in Los Angeles in 1997. In 2013, the Taiko Community Alliance (TCA) was formed as a virtual nonprofit organization with the goal of supporting and promoting taiko. The TCA helps organize NATC conferences to educate people and raise awareness about taiko through the taiko community.
Collegiate taiko in the United States is a student-led tradition that combines performance, community, and cultural expression. It began with UCLA’s Kyodo Taiko in 1990 and has since grown to many campuses across the country. Each group develops its own style and approach to performances and campus involvement. These ensembles also take part in events like the Intercollegiate Taiko Invitational (ITI), which helps students connect and share skills.
Kagemusha Taiko, based in the southwest, was formed in 1999 by Jonathan Kirby. They create original pieces and perform in schools, as well as in venues in the UK, USA, and Japan.
Related cultural and social movements
Some groups have used taiko drums to support social or cultural movements, both in Japan and other parts of the world.
Taiko performances are often seen as an art form connected to men. Historians say that the tradition of taiko comes from practices linked to men. The people who created ensemble-style taiko in Japan were men, and through the influence of Ondekoza, the ideal taiko player was shown as a strong, masculine farmer, especially through the character Muhōmatsu in the 1958 film Rickshaw Man. The idea that taiko has masculine roots also comes from the belief that men are better at "spectacular bodily performance," a skill that some say women may not always meet physically.
Before the 1980s, it was rare for Japanese women to play traditional instruments, including taiko, because their participation was often limited. One exception was the San Francisco Taiko Dojo, led by Grandmaster Seiichi Tanaka, who was the first to allow women to join the art form. In Ondekoza and the early performances of Kodo, women performed only dance routines during or between taiko shows. Later, more women began to take part in kumi-daiko, and by the 1990s, women were equally or more represented than men. Even though more women are now involved in taiko, some people say women still do not play the same roles as men and that taiko remains a field where men are more common. For example, a member of Kodo was told by the group’s apprentice program director that women could play taiko, but only "as women." Other women in the program noticed differences in roles, such as which pieces they were allowed to perform or physical expectations based on male standards.
Female taiko performers have also challenged stereotypes about Japanese women being quiet, obedient, or overly dramatic. Through their performances, some groups believe they are helping to change how women are seen in taiko and in society more broadly.
People who make taiko drums are often part of the burakumin, a group that has faced discrimination in Japanese society. This group includes people who worked with leather or animal skins. Discrimination against the burakumin began during the Tokugawa period, when they were treated unfairly by law and seen as social outcasts. Even after official discrimination ended with the Tokugawa era, the burakumin continued to face challenges, such as being judged by employers or facing difficulties in marriage. Drum makers have used their work to fight against unfair treatment of their community.
The Taiko Road ("Taiko Road of Human Rights") in Naniwa Ward, Osaka, honors the contributions of the burakumin. The road includes taiko-shaped benches that show their role in making drums and working with leather, as well as their influence on Japanese culture. The road ends at the Osaka Human Rights Museum, which displays 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 younger taiko performers called Taiko Ikari ("taiko rage").
Taiko performances were important for third-generation Japanese people in North America, known as sansei. During World War II, second-generation Japanese people, called nisei, were forced into internment camps in the United States and Canada because of their race. After the war, Japanese people were discouraged from speaking Japanese or forming communities. Because of this, sansei were often raised to fit into mainstream society instead of learning about their heritage. At the same time, stereotypes about Japanese people were common, and sansei wanted to challenge these ideas. In the 1960s, the civil rights movement inspired sansei to reconnect with their culture, including through taiko performances. Groups like San Jose Taiko formed to create a sense of community and share the experiences of Japanese-Americans. Later generations have continued to use taiko in programs started by sansei. A social scientist named Hideyo Konagaya says that taiko may be popular among Japanese-Americans because it is easy to learn and full of energy. Konagaya also says that the reasons for the rise of taiko in Japan and the United States are different: in Japan, it was about preserving sacred traditions, while in the United States, it was about showing strength and power in Japanese-American men.
Notable performers and groups
Many performers and groups, including early leaders, have been honored for their work with taiko drums. Daihachi Oguchi is most famous for helping create kumi-daiko performances. He started the first kumi-daiko group, Osuwa Daiko, in 1951 and helped spread the popularity of taiko groups in Japan.
Seidō Kobayashi is the leader of the Tokyo-based taiko group Oedo Sukeroku Taiko as of December 2014. He founded the group in 1959 and was the first group to tour professionally. Kobayashi is known as an expert performer of taiko. He also took charge of how the group performs, which has influenced many groups, especially in North America.
In 1968, Seiichi Tanaka started the San Francisco Taiko Dojo. He is called the "Grandfather of Taiko" and is mainly responsible for developing taiko performances in the United States. He received a 2001 National Heritage Fellowship from the National Endowment for the Arts. Since 2013, he is the only taiko performer to be given the Order of the Rising Sun 5th Order: Gold and Silver Rays by Emperor Akihito of Japan. This honor recognizes his contributions to improving relations between the United States and Japan and promoting Japanese culture in the United States.
In 1969, Den Tagayasu founded Ondekoza, a group known for making taiko performances 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 intense training and wide-ranging education in folklore and music.