For Nen Daiko members, taiko is a big part of our lives, but we know many audience members have never seen taiko before. Here are tips for how you can have even more fun during our performances. Your reactions can cause us to perform at an even higher level. 

Tip #1 - Shout, cheer, and clap!
Many taiko performers shout during performances. These sounds are called “kiai” or “kee-eye.” It takes a surprising amount of energy to shout while performing, but it is so important. When we hear kiai, it gives us courage and energy. When we hear the audience kiai, it gives us a LOT of energy.

What sounds could you make? Most kiai start with a letter “S” or “H” and end with a vowel. The “S” sound cuts through the loud noises, and the “H” sounds like a big breath. Example sounds include sore (sor-EH), ha, saa, hoh, yo and seiya (say-YA).

Tip #2 - Keep a safe distance
When we set up the stage, we make sure there is enough space in case one of our drum sticks (bachi) goes flying through the air. Bachi can also split in half and that is a moment of excitement! We want you to have a great view, but we also want you to be safe. If you have small children who want to dance during the performance, we LOVE this, but please find a safe spot to dance that is not too close to the stage. ​

Tip #3 - Read the stories behind our songs
At many performances, we get to share the stories behind our songs, but sometimes we need to quickly move through the performance. On our website in the Performances section, you can learn:

• who wrote the songs and what inspired them,
• what are the names of the instruments in the song, and
• what to look for during the song - such as patterns or emotions.

Tip #4 - Take photos and videos to share on social media
We really appreciate it when audience members tell the world about Nen Daiko. We are performing, so we can’t get the photos and videos ourselves. We love to find your posts on social media after the performance, so be sure to tag us at @nendaiko. Sometimes we even share your posts on our social channels. After many performances if the schedule is not too tight with other performers, we are available for photos with you. 

We also appreciate it when you write what you thought of the performance. Your testimonials encourage others to come see us perform!

Tip #5 - Visit with us after performances
Sometimes we kick off an event and have to leave before we can talk with the audience. But we really look forward to hearing your observations and questions where possible. Here are the questions we most commonly hear:

• How much do you train? - We practice about three hours per week as a group, plus individual practices at home. We also have supplemental practices for those who are learning a new song. 
• Is it hard on your arms? - Taiko is played with the whole body. Imagine throwing a ball with just your arms versus your whole body and you will get a pretty good idea. A lot of the power comes from being grounded and our core. 
• Is it typical for women to play taiko? - Our style of taiko is called kumi-daiko, which means ensemble drumming. In this style, taiko is played as much by women as by men. Kumi-daiko is a relatively new style of playing that started in the 1950s. 
• Why do you wear a band on your head? - This is called a hachimaki. It typically is worn to focus one’s energy, but it also can have a practical purpose like keeping the sweat from running down into our eyes when we play. 
• What is the symbol on the back of your uniforms? - It is the symbol for Nen, which is the first syllable in our group’s name. It comes from the Buddhist word “Nembutsu,” a type of recitation.
• Where do you get your drums? - Nen Daiko members built the drums starting in 1994 when the group was formed. They are made from whisky or wine barrels and cow hides. We replace the heads with new cow hide approximately every 10 years. It is a lot of work, taking several weeks of soaking and stretching the hide. You can see photos of a drum reheading on our blog.

Bonus Tip - Try taiko! 
Hopefully our performance inspires you, and you’d like to learn more. You can come to our monthly open house at Ekoji Buddhist Temple. If you’d like a more in-depth experience, we offer workshops in September - one for adults and one for children. The dates are announced on our Performances page and our social media channels.

We hope to see you at our performances during Cherry Blossom season. Also we hope you’ll come to our annual summer festival held every July at Ekoji Buddhist Temple. 

Nen Daiko performed in Taiko Jam 2017 at the North American Taiko Conference in San Diego, California. This conference is held every two years and the 2017 conference was the 10th one. It brings together taiko performers from mostly North America, but also from other parts of the world including Japan and Europe.

Taiko Jam is the keynote concert for the conference where a few groups are invited to perform for conference attendees and the public. This was Nen Daiko's first time ever to be invited to perform at Taiko Jam - a huge honor. The concert also featured:

• On Ensemble with guest performer Shogo Yoshii
• Kyosuke Suzuki and
• Unit Souzou.

As part of Nen Daiko's set, we had the honor of including Yuichiro Funabashi, Leader of Kodo's Taiko Performing Arts Ensemble.

So many of you were instrumental to Nen Daiko being able to perform at Taiko Jam! Your generous donations to our Taiko Jam quilt campaign were essential to getting 13 of us to San Diego. We felt like you were all with us on this adventure! We were posting throughout to social media, but here's a summary of Taiko Jam 2017 from Nen Daiko's perspective. 

Nen Daiko helped promote Taiko Jam on a local television station's morning show. It was an early performance - 5:40am! - but hopefully enticed more people to come to Taiko Jam. 

The morning of our first performance, we had our technical rehearsal with Roy Hirabayashi and the amazing stage crew. This was our first opportunity to play on the gorgeous Asano drums. We were blown away by their sound and heft! We practiced moving them safely during the performance - they are quite a bit heavier than our own drums.

Our friends at Soh Daiko, who performed in two Taiko Jams, advised us to savor every minute leading up to performances. They suggested we really tune in to each other. This was the best advice and led to special moments even before we went on stage. For example, we did this exercise which involves listening to each other as each person practiced their solo components from the songs.

Backstage, we enjoyed delicious snacks provided by the Taiko Jam team (Hawaiian-style chicken and rice) as well as three types of spam musubi lovingly made by Judy Koyama and many other treats. Hooray for Team Koyama!

After trying not to over-stuff ourselves, we calmed our nerves by singing Wanderlust. Months earlier, when we contemplated singing this song instead of playing it on fue (bamboo flute) as usual, some Nen Daiko members were skeptical. Can we even sing? But the answer is clearly "yes" and the acoustics of the green room boosted our confidence.

Another highlight of our pre-performance time was getting to know Yuichiro Funabashi from Kodo. Yuichiro was instantly an honorary Nen Daiko member, eating with us and getting to know our quirks. We gave him a Nen Daiko t-shirt and a block print of our logo, and were thrilled when he wore the t-shirt!

Speaking of block prints, we made these fabric prints as gifts to our fellow performers and the stage crew. It was so cool to see many performers wearing them around their necks. 

Soon it was time to get dressed for our performance. We were performing last in the show (!) so we had plenty of time to feel nervous. 

​This is how we look when we are nervous.

​The last thing we did before performing was our meditation. This time we meditated holding the Taiko Jam quilt and thinking about all of our supporters.

Before we knew it, the hours had evaporated and it was time to perform! Thank you to the volunteer photographers who captured these incredible moments. On stage, we had no idea how things looked to the audience, so seeing these photos has helped make the whole experience more real! As Walt Whitman wrote, "We were together. I forget the rest."

​Nen Daiko was introduced to the audience by Alan Okada. Alan was one of the founders of our sister taiko group Soh Daiko. He and his group were instrumental in getting Nen Daiko started back in 1994. He helped ground us before going on stage, by reminding us of all the history and members of the taiko community that were at our foundation supporting us. 

The song Satori no Michi was composed by long-time Nen Daiko member Ruth Setsuko Vines and she was in the audience when we performed at Taiko Jam! For those who had joined Nen Daiko in recent years, this was the opportunity to meet our famous Ruth, and it was clear we were all Nennies, as the connection was instantaneous. Ruth said that our performance of Satori no Michi made it even "more alive" for her.

In addition to Ruth, many other former Nen Daiko members came to the performance, including founder Beth Fujishige, Elsa Tung, Kevin Shin, Gerald Nagatani and Chad Kawamura.

Satori started with the opening verse of the Jodo Shinshu Buddhist chant Shoshinge. We chose to include the piece to reflect the Buddhist part of Buddhist taiko. 

We received numerous comments from audience members who praised our fue (bamboo flute) players during Shiawase Ondo. Having four fue players so in tune with each other takes a lot of practice! Others were taken by the lyrical movements of the drummers. 

Yuichiro Funabashi from Kodo then wowed the audience with a tremendous odaiko solo. We got to see peeks of it from backstage. His movements were so powerful, he used his whole body to form each strike. He owned that giant drum.

​The transition into and out of Yuichiro's solo was actually a very special part of our set. We were initially very nervous and weren't sure how a professional artist would fit into the middle of our community group's songs. Yuichiro felt strongly about putting in the effort to create a seamless transition into and out of his solo so both Nen Daiko songs and his solo were part of the same set. He really honed in on the fact that we were in this together. We were very touched and motivated by his openness, which led to a very special moment for all of us. 

Who knew that Nen Daiko could sing? Many folks said that Wanderlust touched their hearts. 

The song Wanderlust expresses the bittersweet emotions between leaving the comforts of home and the excitement of new experiences and challenges when going on a journey. ​

It's part of life that Nen Daiko members depart from our ranks as they continue on their adventures. Taiko Jam offered a special opportunity to welcome back Nen Daiko member Dee who traveled from Hawaii to perform with us. She had practiced with us via Skype all year. It was also on our minds that Nen Daiko member Victoria will leave us in October for a work assignment. The song Wanderlust reminds us of all the friendships we make as part of Nen Daiko. 

The song that pushes us to practice many extra hours, the song that reminds us we are not getting any younger, the song that takes away all our stress because it takes all your brain to play - Rouga. It felt like composer Ryo Shimamoto was playing right there beside us. 

When the performances were done, Nen Daiko breathed a big sigh of relief and joy! We were met outside the theater by our families and friends. Soh Daiko gave us this beautiful Asano mini-drum! 

Thank you to everyone who supported Nen Daiko on this journey! We learned so much about ourselves and the global taiko community. We hope it helps more people to become aware of Ekoji Buddhist Temple and Buddhist Taiko. We were grateful to be a representative of the North American Taiko community!

Each Nen Daiko member or "Nennie" brings a lifetime of experiences to the Taiko Jam performances at the North American Taiko Conference, August 12-13 in San Diego. We'd like to share our stories with you and we hope to see you there! 

(Nennies are listed in alphabetical order by first name.)

When did you decide you wanted to play taiko?
I came to Ekoji to remember my grandpa who had recently passed away. I met a temple member that day and he told me about the taiko group there, how it was a fun activity to try, and that his daughter was single. [It was Maya and they did get married.]

Out of all the things you could do, why do you choose to spend time on taiko?
The close bond between the Nennies makes it way more fun than any other activity. After a long week, there is nothing like Rouga to work out the stress.

Tell us about one of your most memorable experiences playing taiko.
The reason why Nen Daiko’s 20th Anniversary Concert was important to me was because it celebrated the origins of Nen Daiko. We had emcees to honor that perspective too, Beth Fujishige (our founder), and Alan Okada of Soh Daiko (who taught Nen Daiko how to play in the first place). We had both of our sister groups, Soh Daiko and Hoh Daiko, who took time out of their schedule to come down en masse. It was the first time we did our own first stage production too. We played Okedo, which was a new piece. It was a lot of firsts. It was also an realization of one of the core tenets of Buddhist taiko, which is being aware of the causes and conditions that brought you where you are today. Where we are today is because of all the people, influences, and actions throughout our history.

What memory exemplifies being a Nennie?
During transitions, sometimes I play fue. Our group is very open to letting people learn on the fly and early on, I found myself in a role to play fue at gigs. There is always encouragement  and opportunity to try new things. We want to do things well, but we don’t expect professional caliber when we get up there. I got through a lot of those early gigs but I was not very good, so I never get more than a polite reception. I’ll remember this one gig though, it was the last gig of the year, and when I finished, I heard a kid say “Wow!” and there was real applause and that meant a lot to me. It’s very motivating, not wanting to let each other down and it was totally satisfying to be able to feel like I was successful for the group. All of us in Nen Daiko strive to be better, together, and it pays off. 

What are you most looking forward to about Taiko Jam?
I am looking forward to being on stage with Nen Daiko for this once-in-a-lifetime opportunity. We have worked really hard - extra practices each week on top of all the other obligations. There is a lot of stress we have to manage at work, home and taiko. Having all 13 members fly to San Diego, playing the last act with these incredible professional groups - these are causes and conditions that will never happen again. 

What should the audience look for in Nen Daiko’s performance at Taiko Jam?
A genuine energy and appreciation for being there.

What is Brant’s taiko playing superpower according to the other Nennies?

• He is Nen Daiko’s spirit animal, the spirit of the songs.  
• He has an ability to communicate the core emotional idea of our pieces better than anyone.
• His exuberance - Like the cartoon character Omnom, he can’t contain his excitement. On stage, he channels that exuberance in a way that fits the song.
• I don’t know if I have seen anybody as energetic in his playing and it inspires everyone else to throw their energy out there and go all in. ​

​When did you decide you wanted to play taiko?
I don’t think I decided to play - I was just so young when I saw taiko played at Orange County Buddhist Church. I remember climbing on the drums and odaiko stand when I was about 5 or 6 - my mom was so embarrassed by my behavior. I played as soon as they would let me.

Out of all the things you could do, why do you choose to spend time on taiko?
Taiko is relaxing because it is home. It is an expression of myself where the stresses and whatever else are pushed aside for a while. It takes full body dedication so you can’t think about anything else.

Tell us about one of your most memorable experiences playing taiko.
When I mentored younger players, I was always impressed by these quiet kids. They were unassuming, not extroverts, but when they played, they dedicated themselves to making the music come alive. I have seen these quiet kids flourish when they play taiko.

What memory exemplifies being a Nennie?
Hawaiian food, most importantly. I also love the interaction between Nennies. It is a different dynamic from other groups I have seen where there is a more senpai-kōhai structure or where there is one main leader. With Nen Daiko, we are all in this together. We pull together everyone’s different experiences to come up with our performance.

What are you most looking forward to about Taiko Jam?
I am most looking forward to performing for my daughter, Yuko. I travel so much and I’m not around a lot. It means a lot when she takes pride in what I do and says, “That’s my daddy.” I want to share with her my love for music, even if she may not understand why this performance has so much gravity for me. I also hope some people from my taiko group in California, Daion Taiko, might be able to attend.

What should the audience look for in Nen Daiko’s performance at Taiko Jam?
The communication and interaction between the Nennies. Even when there are solos, no one plays alone. Others will be playing the gi or kiaing. There will be a genuine togetherness with everyone.

What is Kevin’s taiko playing superpower according to the other Nennies?

• He brings a wealth of taiko experience from other groups and brings new ideas to how we play.
• He has the most expressive face that shows total engagement when he’s playing.
• His commitment and love for taiko - he commits to taiko and to every piece. He shows this by driving a really far distances to practice and performances. He will do it even if he has been up for 20 hours. Taiko is such a huge part of who he is. He really wants to know how he can contribute to a piece and he brings it.
• Whatever the challenge or pain, Kevin taps in deep. He has a strong internal resilience.​

When did you decide you wanted to play taiko?
I lived in Japan as a kid and I was always interested in Japanese arts and culture. I studied sumo wrestling and koto, but not taiko. When I was in college at Swarthmore, a girl on my ultimate frisbee team kept missing tournaments for her taiko class. I thought it would be cool to get college credit playing taiko. I had played violin seriously growing up, and that was a mostly intellectual musical experience where you didn’t improvise. In contrast, taiko was a fusion of music and physicality. I am an all-or-nothing person, so it was not long before I was also playing with the taiko club, a nine-hour-per-week commitment. There was a senior doing his thesis project - a two-hour taiko concert. We worked together to make it happen and I experienced a real sense of community. When you are working with a group towards a big goal, it is very meaningful for everyone.

Out of all the things you could do, why do you choose to spend time on taiko?
I first started playing with Nen Daiko because I wanted the feeling like playing with my college group. I appreciate that Nen Daiko has a serious commitment to the art form, but we also have the reality of full-time jobs. Over time, I felt my commitment grow. Now the Nennies are my family. There is so much unspoken when we play. I can actually feel our relationships changing when we play - it is how we express ourselves to each other. To perform at this level while working full-time requires sacrifice in other areas of our lives. It inspires me that people are willing to do it. We play not only for the love of taiko but for each other. I feel people’s sacrifices very personally, all so that we can give our energy and art to the world.

Tell us about one of your most memorable experiences playing taiko?
When I was apprentice, I was at my final evaluation playing Renshuu after nine months of training. I was so thrilled, excited and hopeful. I was hoping I was good enough. It was a happy relief when all three of us made it. I felt like a new future opened for me.

What memory exemplifies being a Nennie?
For our 20th year anniversary concert, we wanted to celebrate all the people who made Nen Daiko possible through the years. We worked hard to incorporate them in the show. We are always mindful of how we got where we are and what makes us who we are as a group.

What are you most looking forward to about Taiko Jam?
Preparing for Taiko Jam, we re-envisioned some pieces and revisited their core meaning. We improved the choreography and, in some cases, rearranged the piece itself. That exploration was an exciting part of the process and it is fun to share it with fellow taiko players.

What should the audience look for in Nen Daiko’s performance at Taiko Jam?
Look for how each player’s personality is expressed as they play. We are all expressing the same emotion but in our own ways. Each person’s performance forms a cohesive thought.

What is Victoria’s taiko playing superpower according to the other Nennies?

• She is deeply observant of what everyone does and picks what works.
• She is a precise technical player, diligent about improving.
• She gives feedback that makes sense to me.
• She is smooth and fun to watch. Her play is very natural.
• We benefit from Victoria’s keen sense of observation. It can be difficult to watch others play and identify what could be improved. It takes a certain ability to give broad and nuanced feedback. Victoria observes and communicates in a way that is useful.
• Her spirit and her attitude - she is always positive with everyone. It is helpful to see someone so dedicated to it. ​

***

So be sure to get your tickets to see Taiko Jam on August 12 and 13 at the University of California San Diego! Tickets are currently sold out for the Saturday evening show so we hope you can come Sunday.

If you can't make it to San Diego for the show, we'll be sharing lots of photos & videos via social media, so be sure to follow Nen Daiko on Facebook and Instagram. 

Nen Daiko is so grateful for everyone who contributed to the success of Obon 2017, the summer festival at Ekoji Buddhist Temple. We received many incredible photos and videos from attendees. If you took photos or video, we'd love to hear from you at info@nendaiko.org!

For this year's performance, Nen Daiko played the four songs that we are preparing for Taiko Jam 2017 at the North American Taiko Conference next month in San Diego, California - Satori no Michi, Shiawase Ondo, Wanderlust and Rouga. There are some tickets still available if you live nearby - August 12 & 13 at the University of California at San Diego.

Before we perform, we meditate off-stage. This is particularly important at Obon where we have all been volunteering at top speed for days. (Photo: Evan Cantwell)

This song was composed by former Nen Daiko member Ruth Vines. 

The song started with the Buddhist chant Shoshinge. (Photo: Kris Ikejiri)

The audience kindly sat down all around so everyone could see - thank you! (Photo: Evan Cantwell)

This song is a call-and-response between the odaiko (the large upright drum) and the chu-daikos (the smaller angled drums. (Photo: Kris Ikejiri)

The people playing the smaller drums have solos, representing their individual paths to Enlightenment. (Photo: Kris Ikejiri)

The odaiko represents the Buddha. (Photo: Kris Ikejiri)

Satori is a lot of fun to play! (Photo: Kris Ikejiri)

This song was composed by Greg Nakamura (playing the tied drum in this performance). 

The song begins with the higher pitched tied drum, or shime-daiko, accompanied by the chappa or cymbals), and a kane or dish-shaped bell. (Photo: Heather Mitchell-Buck)

The taiko accompany the shino-bue or bamboo flute melody. (Photo: Heather Mitchell-Buck)

It helps to be light on your feet when playing Shiawase. (Photo: Kris Ikejiri)

This song has a lot of choreography with big happy movements. (Photo: Evan Cantwell)

Many people love this song for its lively melody and the joy on our faces. (Photo: Tara Innes)

Check out this clip of Shiawase, shared on Instagram by Rhonda Geyer with @jetsetseniors:

This song was composed by Greg Nakamura.  It expresses the bittersweet emotions between leaving the comforts of home and the excitement of new experiences and challenges when going on a journey. ​

Photo: Evan Cantwell

Photo: Tara Innes

At the end, we slowly turned away from the audience and knelt during the last solo. (Photo: Kris Ikejiri)

This song was composed by Ryo Shimamoto. It is about a pack of wolves hunting for prey & it's a very intense song. 

Photo: Kris Ikejiri

Photo: Kris Ikejiri

Photo: Heather Mitchell-Buck

Photo: Kris Ikejiri

Photo: Heather Mitchell-Buck

Almost done - look at the intensity of those faces!!! (Photo: Kris Ikejiri)

For a little sense of the intensity of Rouga, check out this video taken by Lesly Cox who shared it at @shoupealoop on Instagram:

To prepare for our trip to the North American Taiko Conference performances in Taiko Jam 2017, friends and family have donated to our expenses. Each donor's name is sewn on a Taiko Jam quilt. We shared the quilt at the concert.

There is still time to support Nen Daiko on this adventure, and travel with us virtually to California! Visit our GoFundMe page to support Nen Daiko at Taiko Jam 2017.

Photo: Heather Mitchell-Buck

Photo: Kris Ikejiri

Nen Daiko loves performing at Obon AND we love all the other aspects of the experience. Here are a few photos of the many other activities.

There is Bon Odori or community dancing. Nen Daiko provided taiko accompaniment to the dancing. (Photos: Kris Ikejiri)

The Aloha Boys play the best Hawaiian music! (Photo: Kris Ikejiri)

The heart of the Obon celebration is to remember our ancestors and loved ones that have passed on.
Everyone is encouraged to light a candle in memory of those who have passed. These are placed in our Japanese garden and lit during a brief ceremony in the evening after it gets dark. (Photo: Kris Ikejiri)

​And so much more!!! Learn more at the Ekoji Obon website.

Members from our sister taiko group Soh Daiko drove from New York City to volunteer for the day - thanks guys! (Photo: Carla Brown)

Having the power of 12 drummers in Rouga would not have been possible without the help of Mark H. Rooney. Thank you for the use of your drums and equipment! If you'd like to try taiko, check out Mark's taiko workshops!

Thank you everyone who came to Obon at Ekoji Buddhist Temple. We hope to see you again next year and bring your friends!

For those in the DC area who would like to see Nen Daiko before Taiko Jam, they will perform at Obon Festival, a Japanese summer festival, at Ekoji Buddhist Temple on July 8, 2017 at 7:30pm. The festival draws hundreds for taiko, great food and a candlelight ceremony. Visit http://ekojiobonfestival.weebly.com/. 

Taiko Jam 2017 takes place on August 12-13, 2017 in San Diego. Visit https://taikojam.com/.  

If you'd like to interview Nen Daiko about this honor, please email us at info@nendaiko.org. ​

Photo: Don Smith, Obon 2016

Mike Gallan
There is a phrase, "the best camera is the one that's with you".  If a point and shoot camera or smartphone is what you have, by all means use it!  Similarly, don't get a camera that's so bulky that you're unlikely to bring it.
​
Don Smith
Your creativity and imagination are probably more important than technical considerations.  You will be happier with your results, however, if you use a camera that allows you to set the shutter speed and aperture.  ​

Bruce Guthrie
​Every camera today can take decent pictures and "auto" works for quite a lot of what you're going to photograph.  Unfortunately, "auto" doesn't always realize the drumsticks are moving fast like hummingbirds.  If your camera has the chops, screw around with the ISO setting, try for quicker exposures (ISO 3200 can be a godsend).  Most cameras have a setting somewhere that lets you adjust the ISO.  

Bruce Guthrie
If you're at a live performance, there are going to be spectators.  Little kids are going to block your shots.  Figure you'll lose whole chunks of them and take extras!  If you try something new and it doesn't work out, try it again with a slight change.  Keep at it!  

Mike Gallan
Take *lots* of photos and be selective about what you share.  I took about 200 photos of the Obon 2016 performance but only shared 18 of them.  Many were near-duplicates but I still had tough decisions to make about which to include.  Yes, it can be embarrassing to admit how many photos you throw away, but I believe a lot of photography is trial and error!

In terms of photo editing, I use Lightroom, but there are many alternatives.  Many are free. The ability to brighten "shadows" or shaded areas is a key feature for me.  I'm still surprised how a little cropping or adjustment can turn a seemingly hopeless photo into a keeper.

Have fun taking pictures!  Shoot what catches your eye and draws your attention. For me with Nen Daiko, it's always about capturing energy, power, and the joy and camaraderie of the performances.

We hope you have fun taking photos at our performances and then you’ll share your favorites with us! We love to share them with fans over social media and we are dedicated to always listing photo credits.

If you use Instagram, remember to tag photos from our performances with #nendaiko. We’ll be checking and re-sharing your photos on our account!

Thank you AGAIN to Sarah, Bruce, Mike and Don for sharing their talents. We hope you are inspired!​

Dee moved from Hawaii to attend George Mason University. She started playing with Nen Daiko as a college freshman. As she wrote in her farewell letter to us, “Everything was so new and unfamiliar, and the culture was so different from my upbringing. Finding a taiko group out here helped me feel like I’d found a small piece of home in this 'foreign' land.”
​
Dee had played taiko since she was a girl and brought a wealth of expertise to Nen Daiko even as a young woman. She adjusted to the Nen Daiko style of playing taiko. She overcame shyness to engage with a whole new group of people.

Dee tells a story about her first year with Nen Daiko, when Nennie Greg Nakamura composed a taiko song for his friends’ wedding. In one week, and with the composition still in flux, Dee learned the piece to play at the wedding. It was called Shiawase Ondo, which means happiness, and became Dee’s favorite piece of all Nen Daiko’s repertoire.

When asked what song she would most miss playing, Dee said it would be Yamabiko, a happy song with lots of movement and dancing. The drummers face each other as we play, and we share energy with big smiles and loud shouts of encouragement. As Dee wrote, “I can’t help but smile when playing this piece and everyone’s energy is just so infectious.”

Dee describes the song Rouga as “the most challenging piece that I have ever learned and also the most different.” This song represents a wolf pack chasing prey. It requires us to stand in a very different stance than typical taiko songs, so that we look like we are ready to pounce.

“In the time we’ve spent on this piece, I’ve really been able to learn about the art of subtlety, and have become more attuned to body awareness,” said Dee.

That is really saying something, because one of Dee’s many talents is her ability to watch someone play and articulate very clearly and kindly how they can improve their playing. Dee has trained many Nennies, all with varying body shapes and musical backgrounds, to play in a way that looks cohesive.

​

Dee’s last performance as a Nennie was at our Obon festival last July, where Nen Daiko and the audience applauded her.

This month, Nennies from past and present came together to share memories of Dee. We ate her favorite spaghetti and meatballs from the restaurant Villa Bella, along with many homemade treats such as her favorite Funfetti cupcakes.

We made a slideshow and a scrapbook. We sang Aloha ʻOe, accompanied by Kevin Koyama on ukulele and Greg Nakamura on piano – which was moving for all of us. (Video by Chris Bistline)

It’s not easy to put into words the impact that Dee made on Nen Daiko. She often sets the standard of how to play the songs in our repertoire, making it look effortless. She always listens with a smile, sneaks in a word of encouragement and shows up every time. She laughs easily and remembers everything. You can’t play the shime part to that song? Ask Dee. You are not sure where we put the tape / bolt / rope? Ask Dee. Thank goodness there is Skype so we can ask Dee.

There are many reasons to play taiko, and being part of a group that cares for each other is by far one of the most important reasons. In Dee’s farewell letter to Nen Daiko, she shared the poem Footprint on My Heart by Flavia Weedn, which ends with the lines:

Some people come into our lives
and leave footprints on our hearts
and we are never ever the same.

​Dee, domo arigato gozaimashita.

by Greg Nakamura

Like some kids, my formal musical training began in the third grade, when I started piano lessons. In fifth grade, I took up the euphonium, which I’ve now been playing for 30 years. I’ve been a band director in public schools for 15 years and a Nen Daiko member for 17 years. During that time as both a student and teacher, there are many tips that I’ve picked up regarding practicing a musical instrument. Some I learned as a student, and some I’ve learned from fellow music teachers.

One thing that I’ve realized is that the skills we learn as we practice music are applicable to achieving any goal. What goal are you hoping to achieve? You can apply these tips to any goal you might be working towards.

Tip #1: Keep a Practice Log or Journal
For my elementary students, I have them complete weekly practice charts to track how many minutes they practiced.  It is a simple tool that, combined with encouragement and guidance, can help motivate students to keep practicing at home.
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However, when I was in college I learned about using a practice log or journal. This goes beyond simply logging time, but also helps make practicing more effective. Part of the journal is to set a goal for each practice session, which helps focus your practicing much more effectively. The practice journal also helps with:

• Focus – While a beginner will see improvement in only 10 minutes of practice per day, a more advanced player won’t even scratch the surface in that time.  To make each practice session count, set a goal/priority to focus on. 
• Lesson Preparation – In a practice, you know what is not working. However, you might forget by the next time you are with your teacher or mentor where you can get help.
• Progress – When practicing, you will likely see similar challenges from week to week.  However, over a longer period of time, you can see improvement if you write down your ups/downs.

Keeping a record of your practice sessions reinforces your intent to achieve your goal, as well as helps to document any challenges/achievements you experience during your practicing.

To achieve your goal, how could you keep a journal or sketchbook?

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Tip #2: Set Aside Focused Time and Space
For my elementary school students, I ask them to practice 60 minutes per week. I encourage them not to do the whole hour all at once because their lips will fall off.  (While this may not be the actual effect, I do explain that shorter pockets of time consistently is often more valuable than “binge practicing” once in awhile).

I encourage families to create a dedicated practice area with the music stand set up. Students can put their instrument together when they get home and have it ready even if they don’t feel like practicing right away. A teacher once told me, “The hardest part of practicing is opening the instrument case.”

Practicing 5-10 minutes per day may not sound like much, but it adds up. Also, if you tell yourself that you will practice for just five or 10 minutes, you might be more likely to do it than if you think it must be 30-45 minutes. 

To achieve your goal, how could you create a dedicated place and time?

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Tip #3: Break Goals Down into Little Steps to Practice Over and Over
Learning to play an instrument involves many sub-tasks and challenges, so it is important to break it down and identify as many sub-tasks / challenges first, and then practice each step separately over and over.  For example, they need to learn how it feels to use the amount of air that a wind instrument requires, or even something more basic, such as how to properly assemble the instrument.  Once I establish the sub-task, I then tackle each one on its own.  As my students learn the basics, I also try and work on developing their muscle memory through repetition.  If they learn and internalize incorrect techniques in the beginning, they will face frustration later when they have to unlearn those items. 

My students often do not have the skill set to break up a larger task into smaller parts, so I break it down for them. It’s a great life skill to see a goal as a whole and figure out its components.  In addition, understanding that you need to master smaller simpler tasks before being able to attempt putting them together will also help later in life.

To achieve your goal, how could you break up a larger goal into something small and achievable?

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Tip #4: Use Motivational Tools
For some people, seeing progress represented visually is motivating. At school, we use charts where the kids can earn a star or a “belt” (following the karate color scheme). I will also use stickers.

Another example is something I picked up from a mentor, which is for my flute players.  It is a grid consisting of combinations of two different notes.  Kids demonstrate they can transition between two notes, which on the flute can be a challenge for young players.  When the student demonstrates the skill, they color a grid with highlighters – and they like coloring.

You might think colorful charts are for kids, but it can work for adults too. People are into coloring books these days – what about coloring goal charts on your fridge?

My best motivational tool is knowing I have a performance coming up. So for adults, a motivational tool might be signing up for events where you have to perform your skill. 

To achieve your goal, how could you track your progress visually or set deadlines?

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Tip #5: Listen to the Pros
I recommend that my students watch videos or live performances of professional musicians. Different players have different approaches to a piece. I encourage my students to get a feel for what they like and note it in their practice journal. It helps you develop preferences for your own performances. The more you listen to good players, you have that sound in your head. 

On social media or podcasts, you can follow professionals to see their videos or photos for inspiration. 

In taiko, it’s fun to research a piece like Omiyage, a composition that is played by many taiko groups. It is inspiring to see how each group interprets the piece. It helps us think about both what we like, and what we might do differently.  (Keeping note in our journal or log, of course).

To achieve your goal, where can you go to see or hear others, either for comparison or inspiration? 

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Tip #6: Seek Guidance/Support
My students see me once a week in a large class, so a private teacher is essential if they want to progress more quickly. Another way to progress is to find a group of like-minded people in an in-person or virtual group – such as Nen Daiko! I also learn from mentors who explain how they worked through the same challenges and act as a sounding board. 

Private teachers, groups, and mentors provide accountability. You tend to practice more before you see them next. 
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To achieve your goal, who could you seek to act as a teacher, group, or mentor? ​

Every July, Ekoji Buddhist Temple hosts an Obon celebration. For Buddhists, Obon is a time to express gratitude to loved ones who have passed on before us. For Nen Daiko, Obon is an opportunity to give back to Ekoji.

Nen Daiko members always volunteer in a big way for Obon on the organizing committee or in many other capacities before and during the event. We were also fortunate to have members from our sister group, Soh Daiko, come to help, play, and celebrate with us.

This year, Obon had special meaning for us because it was Dee Miyasato's last performance as a full-time Nen Daiko member, at least for now! After 14 years with Nen Daiko, she is moving back to Hawaii. Dee has been such a central figure in Nen Daiko's story - as a performer, mentor, and friend. 
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Thank you to all the volunteers who worked so hard to make Obon 2016 a successful event! And to our audience members who give such great energy every Obon performance!  We look forward to seeing you again next July!

Thank you to Melvin and Hanae Coutrier for taking video of the songs Shiawase & Matsuri at Obon!

Thank you to Melvin Coutrier, Chuck Fletcher, Mike Gallan and Don Smith for their amazing volunteer photography!

Fox Mill Elementary School in Herndon, Virginia, has a well-known Japanese immersion program. Nen Daiko gave a children’s workshop at their Japanese festival. Thank you to the festival organizers for inviting us and to all the families for coming to learn about taiko.
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Four Nen Daiko members facilitated the workshop – Brenda, Carla, Kevin and Chris.

Brenda was excited to facilitate because of her childhood memories of taiko.

“When I was 7 years old, growing up in Hawaii, I saw my first taiko performance,” she said. “I knew right away that I wanted to learn how to play taiko. I did not have an opportunity to do it until I was 26 years old. These types of workshops are so important because I want other kids to have a dream to play taiko.”

Carla was looking forward to the workshop as a way to make taiko a more impactful experience.
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“When Nen Daiko performs and we make it look easy, people may not have a real understanding of what goes into the drumming,” she said. “If an audience member can hold a bachi in their hands and try our stance, their appreciation of what we are doing will increase, and they move from passively watching to actively imagining themselves playing taiko.”

The workshop kicked off with Brenda and Kevin doing spontaneous solos with Chris playing chappa or cymbals. It was like a mini-taiko jazz moment. This attracted many families to come to the area of the school where we were performing.
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Brenda welcomed the audience in Japanese and tested their knowledge of Japanese words such as taiko, bachi and renshuu (drum, drumstick and practice). She showed the audience how we use certain words to represent the sounds of the taiko. For example, don means a direct hit in the center of the drum head, while kara means tapping the edge of the drum with the tip of the bachi.

Carla demonstrated how taiko players learn the rhythms of a taiko song – with kuchi showa, or spoken sounds. She taught the audience the first two lines of the song Renshuu, which is the song all new Nen Daiko apprentices learn in their first year. One audience member later told us, “I have seen taiko many times in my life but I never imagined that is how you learn the song – it was fascinating.”
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Chris taught the proper taiko stance – a low, grounded stance. He had everyone in the audience stand up and give it a try. The kids seems to hold the stance without complaint, but many adults were groaning. Kevin showed how when you play in this stance, it greatly increases the volume of the hits, and makes the performance more fun to watch. 

​After a quick performance of Renshuu, it was now time for the kids to warm up and have turns playing taiko. Kevin taught taiko to kids when he played with Daion Taiko in Orange County, California. He knew just how to keep the kids engaged as we did jumping jacks and stretches, counting to 10 in Japanese. Groups of children each had a turn playing the taiko. Some played on chu or medium-sized drums while others played gomidaiko or drums made from large rubber trash cans.

We finished the workshop with a special appearance from a new Nen Daiko member, Kevla or Carlin, who wore a double-wide happi coat. The audience was very kind to our newest member who has only had a few opportunities to practice, and who learned playing Renshuu one-handed with another person is much more difficult than you would expect. We also learned that while everyone may sweat when performing on stage, you sweat even more when inside a shared happi coat. The happi coat was sewn by Carla using recycled fabric scraps which came together in a very fun design.
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We hope Kevla or Carlin has other opportunities to capture the imaginations of kids and adults. It was a wonderful experience sharing taiko with these enthusiastic families. We hope there was a least one 7 year old who now has a dream to play taiko.

Experience family-friendly taiko activities at our annual Obon Festival on July 9 from 5-9pm at Ekoji Buddhist Temple. Nen Daiko will perform and there will be opportunities to learn more about taiko.

For adults, we have monthly open houses. Our next two are May 22 and July 26 at 2pm at Ekoji Buddhist Temple. You can do our weekly warm-up exercises and have an opportunity to play a taiko. Donations of $5 are appreciated.

If you would like to experience taiko in a workshop setting, our annual workshops are held each September at the Ekoji Buddhist Temple. There are two workshops – one for children and one for adults. Follow Nen Daiko on Facebook for announcements about dates and times. 

Photos by Carl Brown (thanks Dad!)