Kodo Rehearsal Report: “Eternity,” the Origin of Kodo and Taiko –Part 4–
“Eternity,” the Origin of Kodo and Taiko –Part 4–
Original Japanese Article by Koichi Imai (Freelance Writer) ● Photos by Takashi Okamoto
Accumulated Knowledge and Experience: Harnessing Knowledge Towards New Discoveries, Kodo Style
Kodo members not only harness the power and allure of the taiko, they find something new that transcends the taiko itself, and it is this indescribable experience that they share with the audience. That is a depiction of “eternity.” Once again, they revert to their purest selves as they face the taiko. After taking the time to analyze the taiko in all of its sounds and possibilities, they discard everything they know and start all over again in search of something new. In “Eternity,” the O-daiko (big drum), which used to be a requisite symbol of Kodo that typically marked the climax, never even appears on stage. But I do not find this the least bit strange. In its stead, various taiko conjure a wealth of other expressions, some of which do not sound like taiko at all. That is what makes a strong, tenacious taiko performance stand out and lets the performers move us. At the same time, I feel the amazing power of Kodo’s accumulated history, methodologies, experiences, and environment spanning over thirty years. One of the group’s challenges is also to find new meaning in these things.
“We have been trying all manner of things since Tamasaburo (Bando) became our artistic director, no matter what people said,” explains Masayuki Sakamoto. “I hope that people come to consider what we do as a whole as a ‘Kodo performance,’ not to label it as new or old. I hope that we can find our voice equally in traditional pieces as well as fields such as contemporary dance.”
“It is easy for us to just revert to doing Japanese performances and folk arts, so right now I think we should try do everything new, as much as possible,” says Tsuyoshi Maeda. “We should broaden our horizons and then we will have a greater arsenal to choose from later on.”
I would like to end with Yosuke Oda‘s words:
“I have finally caught a glimpse of what Tamasaburo is aiming to do. I can see how he wants us to evolve as taiko players and artists in the future. He is not seeking to lead us somewhere ordinary: his sights are set on a much higher level. I would venture to say that our performances right now might seem more contemporary and elaborate than ever before, but at the same time they may also take hints from ancient times. I’m not talking about Kodo’s history; I mean we are calling on the origins of taiko itself. We are all a culmination of our experiences to date, but we sometimes have to let go of our pasts to see the future. Perhaps it is precisely in letting go of the desire to find self-expression that we can find our true selves.”
And so, I would like to send Kodo this message:
Kodo will never change, and yet it will keep changing. Perhaps this is the essence of “Eternity.”
▶Watch on YouTube http://youtu.be/8_BHh_OyRVs
Kodo One Earth Tour 2015: Eternity
June 6 (Sat) Ryutopia Concert Hall, Niigata City
June 7 (Sun) Joetsu Bunka Kaikan, Joetsu, Niigata
June 17 (Wed) Sagami Women’s University Green Hall, Sagamihara, Kanagawa
June 19 (Fri) Yokosuka Arts Theater, Yokosuka, Kanagawa
June 20 (Sat) Chigasaki Shimin Bunka Kaikan, Chigasaki, Kanagawa
June 26 (Fri) Pastoral Kazo, Kazo, Saitama
June 27 (Sat) Mikabo Mirai Kan, Fujioka, Gunma
June 28 (Sun) Kimitsu Shimin Bunka Hall, Kimitsu, Chiba
July 3 (Fri) Shin-Kabukiza Theater, Osaka City
July 4 (Sat) Shin-Kabukiza Theater, Osaka City
July 5 (Sun) Shin-Kabukiza Theater, Osaka City
July 7 (Tue) Matsumoto Performing Arts Centre Grand Hall, Matsumoto, Nagano
July 11 (Sat) Kyoto Performing Arts Center Shunjuza, Kyoto City
July 12 (Sun) Kyoto Performing Arts Center Shunjuza, Kyoto City
July 17 (Fri) Yawatahama-shi Bunka Kaikan Yume Mikan Dai Hall, Yawatahama, Ehime
July 19 (Sun) Miyoshi Shimin Hall, Miyoshi, Hiroshima
http://www.kodo.or.jp/oet/index_en.html#schedule17b
Koichi Imai (Freelance Writer)
Koichi Imai became a theater afficionado during his college years, and graduated from Nihon University College of Art. He went on to spend sixteen years working for “Theater Guide” magazine in Japan. Next, he assumed a public relations role at Matsumoto Performing Arts Centre, where he worked for over five years before becoming a freelance editor and writer. Based in the Nagano area, his current work focuses on theater, as well as artists, artisans, and farmers. He is also involved in organizing various events.