Drum Tao 30th Anniversary Review
On Sunday, February 18th I had the pleasure of witnessing Drum Tao perform at Wells Hall at the Parker in Fort Lauderdale. The company was stablished in 1993 and are based in Oita, Japan. This performance was glorious, divine, and superb! It features the taiko drums and the “beautiful melody of the Japanese Shinobue (flute), Koto (harp), and Syamisen (guitar)” (https://drum-tao.com/en/index.php/about/) and something similar to hand symbols. There was dance, music, martial arts, comedy, singing, and theater. I felt like I was at a rock concert and a musical. The ensemble of 11 artists are storytellers, engaging the audience through visually and aurally stimulating displays of artistry and evocative technical prowess (movement and music).
The set design, lights, and props that included sticks (short and long) which they twirled like other worldly machines. I mean these long sticks where massive, and they spun them effortlessly. There were fans, umbrellas, a spinning silver cube, and let’s not forget the use of skirts/dresses. They wore fluted skirts with shiny silver armlets, fitted tops (leotard cutouts), with black tights and they moved (bodies and skirts).
The movement was FULL. They beat the drums with so much power and force. The visual of the percussionist beating the drum and seeing the rapid action of the stick was cinematic. Then there was the balancing and turning with the drum like they were in a duet with a submissive partner. The movement was “choreographed precision and dynamics” that featured slaps to the floor, big jumps, summersaults/acro, and intricate floor patterns. Some sections were like watching a martial arts movie with those amazingly choreographed fight scenes.
There was fighting and dancing with each other and the drums. The movement was internal with lots of looking down and on the floor. And my goodness the ways they lifted those big drums up and down—nothing but core and upper body strength. They used their entire body to beat the drum. The POWER…
Some of my favorite moments was the section where the men were seated on the floor, playing the drum. Their backs were arched, sternums lifted to the ceiling, contracting, and releasing honoring Mutha Martha. That bottom sound penetrated my pelvis, my insides vibrated, increasing in speed and power. It was a climatic rush. The sound was hypnotic and mesmerizing, transposing me to another atmosphere.
The second moment was the beautiful solo performed by a man that danced with a white fabric. It was a duet with him and the fabric. The fabric was an anthropomorphic representation of sensuality, playfulness, and tenderness.
The transitions were seamless, sliding the drums in and out, up, and downstage.
Connections
This performance reminded me of my MFA thesis concert where I choreographed “Dig Deep.” I used the artist KODO which is a taiko drumming group from Sado Island in Japan. I am definitely resurrecting this work and restaging it (soon).
I saw a connection to African drumming and dancing. I felt and heard the polyrhythm. My body was doing manjani (from Guinea and Mali in West Africa) in the seat to some of these rhythms. I was also reminded of the dundun dance from Guinea, West Africa as I watched the Japanese percussionist engage with the drums. I saw call and response and elements of the cypher as they transitioned in and out of the center/circle.
I couldn’t get any good pictures because the ushers were in full force policing. It was like you were at a Baptist church and talking while the pastor was preachin’. Bay bay! They were not playin’. Drum Tao will be back in two years and so will I!
On Sunday, February 18th I had the pleasure of witnessing Drum Tao perform at Wells Hall at the Parker in Fort Lauderdale. The company was stablished in 1993 and are based in Oita, Japan. This performance was glorious, divine, and superb! It features the taiko drums and the “beautiful melody of the Japanese Shinobue (flute), Koto (harp), and Syamisen (guitar)” (https://drum-tao.com/en/index.php/about/) and something similar to hand symbols. There was dance, music, martial arts, comedy, singing, and theater. I felt like I was at a rock concert and a musical. The ensemble of 11 artists are storytellers, engaging the audience through visually and aurally stimulating displays of artistry and evocative technical prowess (movement and music).
The set design, lights, and props that included sticks (short and long) which they twirled like other worldly machines. I mean these long sticks where massive, and they spun them effortlessly. There were fans, umbrellas, a spinning silver cube, and let’s not forget the use of skirts/dresses. They wore fluted skirts with shiny silver armlets, fitted tops (leotard cutouts), with black tights and they moved (bodies and skirts).
The movement was FULL. They beat the drums with so much power and force. The visual of the percussionist beating the drum and seeing the rapid action of the stick was cinematic. Then there was the balancing and turning with the drum like they were in a duet with a submissive partner. The movement was “choreographed precision and dynamics” that featured slaps to the floor, big jumps, summersaults/acro, and intricate floor patterns. Some sections were like watching a martial arts movie with those amazingly choreographed fight scenes.
There was fighting and dancing with each other and the drums. The movement was internal with lots of looking down and on the floor. And my goodness the ways they lifted those big drums up and down—nothing but core and upper body strength. They used their entire body to beat the drum. The POWER…
Some of my favorite moments was the section where the men were seated on the floor, playing the drum. Their backs were arched, sternums lifted to the ceiling, contracting, and releasing honoring Mutha Martha. That bottom sound penetrated my pelvis, my insides vibrated, increasing in speed and power. It was a climatic rush. The sound was hypnotic and mesmerizing, transposing me to another atmosphere.
The second moment was the beautiful solo performed by a man that danced with a white fabric. It was a duet with him and the fabric. The fabric was an anthropomorphic representation of sensuality, playfulness, and tenderness.
The transitions were seamless, sliding the drums in and out, up, and downstage.
Connections
This performance reminded me of my MFA thesis concert where I choreographed “Dig Deep.” I used the artist KODO which is a taiko drumming group from Sado Island in Japan. I am definitely resurrecting this work and restaging it (soon).
I saw a connection to African drumming and dancing. I felt and heard the polyrhythm. My body was doing manjani (from Guinea and Mali in West Africa) in the seat to some of these rhythms. I was also reminded of the dundun dance from Guinea, West Africa as I watched the Japanese percussionist engage with the drums. I saw call and response and elements of the cypher as they transitioned in and out of the center/circle.
I couldn’t get any good pictures because the ushers were in full force policing. It was like you were at a Baptist church and talking while the pastor was preachin’. Bay bay! They were not playin’. Drum Tao will be back in two years and so will I!
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