As you can imagine, it’s been very challenging holding the festival during the pandemic. More than ever, Earth Celebration needs your support to be able to continue into the future. EC also wanted to welcome more people to watch the 2021 concerts, so Kodo Cultural Foundation launched a crowdfunding campaign on EC’s behalf to tick both of these boxes.

In early August, when EC Committee made the decision to change the concerts from hybrid to online only, they realized that refunding all the in-person tickets was going to seriously impact EC moving forward. So they made the sudden decision to launch a crowdfunding page, and we worked hard to get it ready in time… but we were only able to launch it the night before on Aug. 20.

Five days after the campaign began, EC had already received over 1,000,000 yen in donations. Thank you so much, everyone!

This year was the 34th EC. Over the years, there have been many legendary standout moments and wonderful performances. I think the 2021 Harbour Concerts will go down in history as outstanding performances within that long history.

If you didn’t get to watch the performances on ZAIKO, that’s a real shame. We really want as many people as possible to enjoy the concerts, so we decided to add a different way of watching the archive footage as a crowdfunding perk.

If you choose the video perk, you will receive a link to watch the concert video online for one month. I’m sure some of you who watched the concerts on ZAIKO want to see them again, too.

Thank you in advance for your support!

Akio Tsumura from Miyake-jima Geino Doshi-kai and Tomohiro Mitome in “Kiseki—Tomohiro Mitome 30 Years with Kodo Commemorative Performance” on Aug. 21, 2021

Shuichi Hidano and Tomohiro Mitome in “Kiseki—Tomohiro Mitome 30 Years with Kodo Commemorative Performance” on Aug. 21, 2021

From “Kodo All-Star Special Performance” on Aug. 22, 2021

How will the donation be used?

The target amount of 2,000,000 yen will be used to cover the shortfall in labor costs for production, and streaming distribution. After deducting necessary expenses such as credit card processing fees, Kodo Cultural Foundation will deposit the amount to the Earth Celebration Executive Committee.

Crowdfunding Campaign Page

Please support Earth Celebration 2021!

■ Crowdfunding Target: 2,000,000 yen
■ Campaign Ends: Sep. 10 (Fri) JST

Delivery Schedule for Campaign Perks

• Thank you video/ Harbour Concert video(s):
  Emails with video links will start being sent out in early September. (Video will be available until Oct. 15)
• T-shirts:
  [In Japan] Will be delivered by courier during September.
  [Overseas] Will be shipped from Japan by EMS in September.
• Signed EC posters:
  Will be shipped in mid-September.

Your perks will be sent as soon as possible. Thank you for your patience!

The finale of a special concert for refugees from Ukraine in Tallinn, Estonia, on Mar. 29, 2022

Takuro Susaki

The Europe tour cast and crew have returned to Japan.

It was a real joy for Kodo to have been able to welcome and delight so many people at the concert venues we visited across Europe. I sincerely thank everyone who attended our performances, along with the many people who gave their all to make our performances possible.

As many of you know, the cast and crew faced numerous difficulties touring during a pandemic, including situations like concert cancellations that had a huge, direct impact on our tour. In Estonia, we held a concert for refugees from Ukraine, where Kodo felt the close presence of a large number of people who had lost their homes and family due to war. In many ways, this tour shook the cast and crew to the core.

Now that they are safely home, we would like to use our blog as a space where the cast members of our Europe tour can unpack and share their thoughts. I want the entire Kodo Group to learn from their experiences and for us to explore and process their stories as a group. We will use these learnings together as we plan what we can and should do next.

Takuro Susaki
President
Kitamaesen Co., Ltd.

Ryotaro Leo Ikenaga

We have just got back to Japan safely after our two-month-long Europe tour.

Two years ago, our Europe tour was suddenly cut short when the COVID-19 pandemic escalated: we had to return to Japan, canceling the remainder of our performances. This time, we were touring during times of pandemic and war. While both tours were memorable in different ways, our 2022 tour was an experience that really shook each and every one of us to our core.

Prior to leaving Japan, we did not know what to expect; how many people would show up to our performances? However, much to our surprise, we were welcomed by a large, warm audience everywhere we went.

Since the pandemic started, we Kodo members have felt conflicted about our purpose in this world. Performing in front of a full house audience and hearing the words “Thank you for coming,” was truly reassuring for all of us.

What can we do as taiko performers to make this world a better place?

Tackling this question has been Kodo’s mission for over 40 years, and this tour reminded all of us that we must once again ask ourselves this very question.

Ryotaro Leo Ikenaga
Kodo “Tsuzumi” 2022 Europe Tour Cast Member

Throughout history, people have worked hard to protect their honor, and that of their family. To seek a better life. To take on new challenges. To understand nature. Throughout history, people have also lived with the fear that people from other places might encroach on those things. Fear of losing what we have worked hard to get has continued to drive people to invade, pillage, and fight.


Every day, billions of people strive hard to get or keep hold of what they need. Sometimes, their actions lead to tug-of-wars, and tragic conflicts between nations. Every day, we are confronted by terrible situations and events in the news. We try to use logic and words to process what we see, but we feel a sense of helplessness. Often, that’s because these events do not stem from brand new issues: they were there for decades, centuries, and sometimes thousands of years, embedded in a region or in a recollection. In some cases, things were brewing in the shadows, or beneath the surface. Then suddenly things erupted again.

The other day, I came across a letter written in 1975 by Mr. Tsuneichi Miyamoto to the members of Kodo’s antecedent group, Sado no Kuni Ondekoza. It was Mr. Miyamoto’s reply to a letter that the Ondekoza members had sent to him after they finished back-to-back performances at Espace Pierre Cardin in Paris, France.

Here’s two excerpts from his letter:

“The world has become too convenient, and neither Sado nor Paris are far away anymore. But, we still feel a huge sense of distance, and remoteness, between us and people from different places. I think the most important thing for us to focus on now is getting rid of the sense of distance between the people on Earth.”

“I keep thinking about just how much work and effort are required to get rid of war. You are all playing taiko, so I think we must share the same hope.”

Unfortunately, 47 years on, that sense of distance between people from different places hasn’t disappeared. Travel and the flow of information have evolved, but that’s not enough. That sense of distance between people hasn’t changed. What can we do about that?

Billions of people lead their daily lives in similar ways, regardless of which country they call “home.” We don’t hear about all their hard work in the news. We don’t hear about their joy or their sorrow. But their efforts and their feelings are important because they shape our world. I think the feelings of all 7 billion people on Earth are more important to mankind than what is important to any one person or nation.

Festivals, performing arts, and music connect people. They delight people and make them smile. Perhaps arts and music can help melt away the fears we have about people from different places? By sharing arts and music, I think the people on this planet will come together as one, little by little.  

Kodo’s One Earth Tour began in 1984. Now, 38 years on, Kodo has just returned to Japan after a tour of nine countries in Europe. Despite facing many difficulties along the way, we completed that tour thanks to the support of many people. I am sincerely grateful that we could carry out this 2022 tour. I pray that this tour somehow brought us even fractionally closer to achieving our goal—One Earth. 

Kodo’s activities center around harnessing the resonant sound of taiko to foster empathy and a sense of community. I think our activities serve as a response to the letter our antecedent group received from Mr. Miyamoto 47 years ago. When faced with pandemics and conflict, we shall not be seized by fear. We will continue our activities, trusting that when people exchange smiles, and enjoy taiko and performing arts, it makes a positive difference here on Earth.

Photo: Radoslaw Kazmierczak

Call for Support

Our dear friend Takashi Akamine passed away on March 18. I’m sharing this blog post on May 5, the forty-ninth day after he passed away, which is a significant day in Buddhist mourning rituals. 

Takashi met Kodo in London during the first “One Earth Tour” in 1984. It was Hancho (Toshio Kawauchi) who noticed Takashi’s presence at the performance venue. Apparently, he said, “There was a Japanese person in the first row watching our performance with great excitement in his eyes.”

This is how Takashi himself recalls it.
“The first time I saw Kodo perform, I felt as if the sound of the taiko was dropping all the way down into the deepest part of my core with a resounding boom. As someone in a foreign country at the time, that sensation really jolted my identity. As soon as Yoshikazu got on stage and started beating the drums, the audience was drawn in at once. Even after O-daiko (the big drum solo) ended, I was so overwhelmed that I couldn’t even applaud.” (From Inochi Moyashite, Tatakeyo. – 30 Years of Kodo)

Kazuaki Tomida, who was a Kodo member at that time and on that tour, recalls having closed his eyes when he was playing the shamisen at Covent Garden. When he finished playing, he opened his eyes, and Takashi was there.

In London, 1984 (Photo: Kazuaki Tomida)

Takashi liked Kodo and his desire to work with Kodo grew stronger. After the performance, he met Hancho, whose first words to Takashi were, “When can you start (work)?” 

Takashi came to Sado in January 1986.

At Kitatanoura Apprentice Centre, 1986 (Photo: Kazuaki Tomida)19

Hancho was managing the negotiations for international tours by himself, but the anticipation that Takashi’s addition to the team would strengthen his work was short-lived. On January 1, 1987, Hancho had an unfortunate accident during his holiday in the Philippines and passed away.

While the team was grappling with devastating grief, the departure date for the North America tour was approaching. 

The day before the tour was set to depart, Hancho’s funeral was held in his hometown, Tokyo. Takashi began his first job with Kodo as an overseas tour manager at a time when the survival of the group was on the line. 

During the 1987 One Earth Tour (Photos: Kazuaki Tomita)

From then on, Takashi was a tour manager for Kodo’s domestic and international tours. He also had a range of other roles, including serving as staff for Kodo workshops and looking after the international guest artists at Earth Celebration. This continued until 2008 when he left his position at Kodo due to personal reasons.

During the 1995 North America Tour (Photo: Yasukazu Kano)

In his role as the group’s international tour advisor from 2010 onwards, Takashi mainly supported Kodo’s overseas performance activities. Throughout his career, Takashi constantly fostered connections between people with great sincerity.

I took this opportunity after he passed away to re-read the words that Takashi wrote for Kodo’s newsletters. His personality and his profound love for Kodo were flowing through his words. Takashi had fostered precious connections with people all over the world. 

I’d like to share some extracts with you from the back issues of Kodo’s monthly newsletter.

The Children of Tampa  From the June 1988 Issue

The children gave me the opportunity to reconsider and reaffirm the sensibilities that adults have almost lost.
During the tour, when we were in Tampa, Florida, some elementary school students came to watch Kodo’s performance. When I saw them, I noticed that there were children with disabilities within the group, and they blended into the group very naturally. They were not given priority admission into the venue, nor were they the last to come in. They came in holding hands with their friends. The children without disabilities did not hold any weird prejudices against the children with disabilities. They just chatted happily away as they helped each other, and it looked like it was the most natural thing for them to do.

After the performance, a visually-impaired girl came forward. With her tiny arms, she hugged the taiko closely to her little chest and pressed her cheek against the drumhead. I was slightly surprised by this. Her action was courageous and cute, and she looked bold and full of life. To her, this was a compelling desire. Touching. And confirming. I could also empathise with her earnest expression of this flow of consciousness. And a boy who was looking down and smiling shyly, reached out his hand to ask for a hand shake. I felt that his action was not a reflection of logic, but rather of his sparkling sensibilities.

The children of Tampa made me wonder how anyone could ever say anything unkind about vulnerable people.

At a workshop held during the 1992 North America tour (Photo: Yasukazu Kano)

Holding Kodo Juku Overseas is Fun, Too! — Kodo Juku in Northern Ireland  From the December 1991 Issue

We conducted Kodo Juku in response to a request by a Japan Festival held in the UK.

The people who came from London had particularly high expectations, but we were able to match their enthusiasm with ours. That gave us a sense of reassurance somehow and we were able to run the workshops without feeling nervous. Afterwards, they even sent faxes to us on Sado to tell us they enjoyed it. Seeing their reaction after the experience, it seemed that the participants had a more fulfilling time than they expected. This delighted us, too.

What was so special about it? I think it was the human interaction. During performances, we always have a realm where there is a line separating the stage and the audience. We can’t speak to each other. But during the workshops, it’s fun because direct communication is possible. It really feels good. That was the biggest reason.

Kodo Juku in Northern Ireland, 1991

In a separate room, we also had a workshop using traditional Irish drums: the Bodhrán and the Lambeg. These two drums have a religious background, with one being Catholic and the other Protestant. Even now, conflicts about religion are still a big problem in the UK. When I asked them, “Do you sometimes play together?,” the reply was definite with a strong tone, “NEVER.” “Impossible.”

However, later there was a social get together for the participants, and the performers joined in, too. Not surprisingly, the two participant groups were just observing each other at the start, and they stayed as far apart as possible. But, as we casually asked them questions, both parties came closer and closer….
In the end, we even joined them to perform together. A performance they said was “impossible.” 

Later, I heard it was described as “a historical event.”

This probably wouldn’t have happened if we had acted in a strange way or if we were nervous. I believe we were able to come together because we simply showed our interest in music.

The historical jam session with Irish and Japanese drums. The big drum is the Lambeg (back), the small drum is the Bodhrán (front). 

Every Kodo Juku  Conversation exert from the October 1998 Issue

Participants of various ages and backgrounds come from all over Japan, around the world in fact, for the sole purpose of playing taiko. One of the attractions of Kodo Juku is the opportunity to meet all kinds of people.

I think Kodo Juku is a rare opportunity for the Kodo apprentices, too. Let’s call it an occasion where they can hone their sincerity. When you cook, for instance, you prepare each dish wholeheartedly so that all the participants will thoroughly enjoy it. If someone asks or requests something, you respond to the best of your ability. This event gives them time to think long and hard about always putting your heart into the things you do and being grateful. Kodo Juku is a once-in-a-lifetime opportunity to turn your attention to those things.

Personal Essay  From the June 2008 Issue 

I’m in Okinawa now.
There’s an abundance of time in Okinawa. Of course, this is merely an illusion. Yet I can feel it in my skin, in my Okinawan DNA. It feels very good, and I’m rejoicing. When I have time, my thoughts flow to Kodo and Sado. When that happens, it occurs to me that Kodo and Sado have brought peace to my soul, and given me the energy and courage to live. I feel as if Kodo and Sado have become part of my identity, too. Kodo, Sado, Okinawa—I was able to discover my purpose and reason for being within these three elements.
Through Kodo, I was blessed with unforgettable encounters. Each of these encounters and events is flowing through my veins. I was truly happy for my 22 years at Kodo. I’ve gone on and on about personal matters, but this is the last thing I’ll say. Kodo is my treasure and my pride.

See you, everyone. Until we meet again.

With Takuro and Junko Susaki on their visit to Okinawa, 2011

Translated by Kimberly Kam and Melanie Taylor

The “Kodo OET2020: Legacy” tour members recently arrived home safely after starting their tour around Europe at the end of January.

As many of you would have heard, we were faced with concert cancellations due to the outbreak of COVID-19: four in Italy, one in Poland and five in Germany. This resulted in our tour finishing two weeks earlier than planned.

Knowing that there were audiences waiting for us, we could not help but feel an immense sense of regret—and at times rather emotional—about not able to reach the places where people were looking forward to seeing Kodo perform.

In that situation, we were confronted by a profound realization: the value of each performance. We noticed giving performances as planned is something we almost always took for granted. As we moved forward in this difficult time, we felt a greater significance and weight towards each and every performance that we were about to deliver.

Traveling with the tour group, which consisted of many newcomers to the Kodo Group, some with limited experience abroad, we were faced with many challenges. However, we feel that this experience will become a source of encouragement for us as we remain diligently devoted to bringing Kodo’s unique sound to the rest of the world.

We are deeply touched and grateful for the countless heartfelt words of encouragement and support we have received from within Japan and all over the world. On behalf of the European tour group, we would like to say thank you from the bottom of our hearts.

Our next European tour is scheduled for 2022. We truly look forward to seeing you again then!

Mio Teycheney-Takashiro and Ami Akimoto
“Kodo One Earth Tour 2020: Legacy” Tour Managers

Updated: Kodo Group Response to Coronavirus Disease (COVID-19)

Kodo’s mission is to “explore the limitless rhythmic possibilities of taiko, and in the process, forge new directions for a vibrant living art-form.”
But I also believe that taiko has the endless ability to gather and connect people.
This is what I think is the most attractive aspect of taiko.

Tomorrow marks our final performance of our two-month-long North American tour of ‘Evolution.’
We were so lucky to have met and reunited again with new and olds friends across this continent.

To the local taiko groups who are talented in so many ways in embracing their creativity, and to our long time friends who have been watching and listening to our performances from way back when: Thank you so much to everyone who has come out to our performances this year!
Everyone’s passionate hearts for taiko definitely gave us energy and strength to pull through the tour.

The possibilities are still limitless.
Who have we not met yet? Who is still out there? What will our friendships bring?
These are just a few thoughts that excite me!

“Kodo One Earth Tour 2019: Evolution” North America Tour

Tour Finale

• Mar 25 (Mon), 2019 National Arts Centre, Ottawa, Ontario, Canada

I have seen Kodo’s performances as an audience member many times before, however there was so much more that to learn about Kodo that I not seen before stepping behind the scenes as a staff member on this tour.

As I spent time on this tour, I had realised that there are so many different thoughts that existed in all the people who were a part of or had encountered Kodo. The performance and staff members on the tour all had their own reasons and unique thoughts, individual challenges, personal goals, and uncertainties to overcome. But there was always a sense of respect and understanding towards each other, which may assist in creating the feeling of ‘oneness’ as a group, transforming each performance into something spectacular on stage. 

Personally, as I spent more time with the members, I found that the feelings I had towards watching each performance changed as well. I gained a new sense of appreciation and started to notice something new every time.

I had also discovered, through the direct contact with the audience members as part of my role in the tour, that the audience members all had very unique thoughts and different senses of appreciation for the performance they saw. It was not only from the love they had for taiko: there were also people who enjoyed the energy they felt through all senses in their body. There were people who seemed to be filled with a sense of courage and passion, perhaps simply from seeing the beaming performers on stage. And others who felt motivated to change in a positive way after seeing the dedication from the performers, just to name a few. I felt that this was proof of Kodo’s ability to connect and create something special that resonated and lingered differently within the souls of many people.

This was also true for the many local venue volunteers and staff members, bus drivers and stage hand staff that we met during the tour. Whether there was a common language spoken or not, it seemed that there were always smiles and positivity wherever we travelled, and new connections and relationships formed.

As I spent time on the tour, I realised that there are many feelings, numerous different reasons, and countless desires that wondrously co-exist and bring everyone together.

In line with the wish behind the title “One Earth Tour,” I hope that Kodo continues to be a special part of many souls, overcoming language and cultural barriers, resonating with an even wider audience from around the world.

Furthermore, I hope that the art of taiko can help to bring people together to understand one another, to form many special connections, and create infinite possibilities!

“Kodo One Earth Tour 2019: Evolution” North America Tour

• Mar 23 (Sat), 2019 Place des Arts, Montreal, Quebec, Canada
• Mar 25 (Mon), 2019 National Arts Centre, Ottawa, Ontario, Canada

LUMINANCE opens with Shine a Light, a piece composed by Kodo’s Yuki Hirata in 2019 that embodies his hope for a much brighter future for Kodo. Soon after, as the 2020 pandemic took hold, those hopes for a promising future were something everyone was clinging to all over the globe.

The sound of flutes emerge from the darkness, then dazzling light heralds in a formidable taiko ensemble. The powerful opening serves as a beacon, delivering a message of hope: no matter how hard things get, the future will be brighter. Shine a Light’s composer Hirata is the artistic director of LUMINANCE. While he has directed several Kodo performances in Japan, their Europe 2026 tour marks his international directorial debut.

New Taiko Inspired by Stride

Photo by Takashi Okamoto

This catchy piece by Kodo’s Mitsuru Ishizuka features performers dancing to the beat as they play katsugi okedo taiko—barrel drums carried on a shoulder strap. Originally composed for one of Kodo’s album recordings, when the ensemble later prepared to play it on stage, they found the need for drums that allowed them to move about more dynamically. So Kodo contacted their trusted taiko maker and they worked on creating a new type of okedo taiko together. Most okedo taiko are made from Japanese cedar, but for this drum, the taiko maker switched the timber to a lighter, thinner paulownia, making it easier to beat either side of the drum. They used horse hides on both sides, which they processed to be thinner and lighter than usual, too. When you see the performers get into the groove with Stride, you’re bound to find yourself moving along with them, too.

The Origins of Miyake and Kodo’s Adaptations

Photo by Takashi Okamoto

Kodo’s Miyake is based on the taiko that accompanies a portable shrine carried from door to door during a festival on Miyake Island, south of Tokyo. Kodo members were first taught these rhythms in 1982 during a visit to the Kamitsuki region of the isle. With permission, Kodo arranged it for the stage and has been performing this taiko music ever since. Kodo’s Miyake differs from the original festival accompaniment in various ways. One is the number of taiko used: Kodo often performs this piece with three miya-daiko drums, while on Miyake Island, they play just one taiko at the festival, with people subbing in and out to keep the rhythms going all day long. Kodo’s arrangement for the stage is synchronized and has uniform movements, but on Miyake Island, the rhythms and forms change from player to player. Another interesting difference is that the locals stand with their legs apart and sink into a deep squat to play the base rhythm, whereas Kodo members crouch down and have one knee resting on the ground. The reason is apparently that when Kodo first encountered this style of drumming on the island, the people playing happened to get tired and put one knee down to steady themselves. If you ever have the chance to visit Miyake Island during their annual festival, you’ll see how this strong taiko beat encourages people as they carry the heavy portable shrine throughout their town.

There are thirty-three Kodo performers. They range in age from 21 to 68 years old, just like a big family.
Each of our performances has a unique cast selected from that large group. As you’d expect within a big ensemble, the members are all closer to some of their colleagues than others. However, one thing we often hear from our audience are comments about perfect coordination, synchronicity, and teamwork. So where does that come from?

Today is our first day of work on location for our two-month-long North America tour.
The Smith Center is a new, art-deco style theater in a redeveloped area near downtown Las Vegas. This theater hosts performances by world-class classical, jazz, and rock artists.

Still struggling with jet lag, the tour members all began unpacking their instruments, which had been shipped over from Japan. They checked the condition of all the drums and set up for the first performance, while meticulously organizing all the equipment for the long tour ahead.

Lifting heavy instruments onto stands, tuning drums by tightening the heads, and choosing the position for each drum on the stage… I really notice their synchronicity and feel that sense of teamwork when I see them carry out this type of work and their various discussions and checks. These are all important team tasks at beginning of the tour.

The curtain is about to rise for the opening night of “Kodo One Earth Tour 2019: Evolution.”
I hope you’ll come along to experience the unique groove this particular cast creates on stage.

Photos: Takashi Okamoto

“Kodo One Earth Tour 2019: Evolution” North America Tour

Ten Fun Facts About Kodo “Evolution”

Winter is on its way and the autumn leaves on Sado Island won’t be around for much longer.

When I see the mark for snow show up on the weekend weather forecast, I know it’s time to brace ourselves for another long, cold winter.

It’s easy to get sick now the temperature is much lower in the mornings and evenings, so it’s a good time to actively increase your intake of probiotic lactic-acid bacilli and get your gut microbiome in order!
So, on the menu this month at Kodo Village we’ve had:

*Grilled Fish (Saury)
Saury (sanma in Japanese) is an exemplary bluefish. Blue fish oil lowers cholesterol.

*Probiotic Lactic Acid Bacteria-Packed Soup
This soup has soy milk, kimchi, and miso in it. Kimchi contains plant lactic acid bacteria, which regulates the intestines. The pungent component of kimchi increases your metabolism and disintegrates fat.

*Sweet Potato Salad
We use yoghurt as a dressing. Yoghurt makes good bacteria activate, so it helps prevent constipation. Walnuts bring an enjoyable crunch element to the dish.

Kodo Menu Supervisor: Mari Takatsu