Taiko and the Asian American Movement: the Making of a Modern Folk Art

©Stanley N. Shikuma

(This is a heavily edited version of a longer paper by Stan that traces the development of Taiko in the Northwest. All errors are the editors. The full version of Stan's paper, "Making A Modern Folk Art: Taiko in the Pacific Northwest/Canadian Southwest Region" is available by e-mail)

Taiko in Japan

Taiko is the generic word for "drum." Taiko have played (and continue to play) an important role in Japanese art and culture. During the period of rapid industrialization of the late 19th and early 20th centuries, however, many traditional folk arts were neglected or ignored in the rush to "modernize" (and militarize) Japan. Many arts experienced a resurgence following World War II. Some experimented with new ways of using traditional methods, including the development of large taiko ensembles playing percussive performance pieces.

Taiko in North America

Taiko first appeared in North America as Japanese labor immigrated here in the late 19th and early 20th centuries. As in Japan, the drums were used in religious ceremonies, theater productions and most commonly in festivals like Oshogatsu (New Year's festival) and Obon (Buddhist festival to honor ancestors). In major West Coast cities like Vancouver, Seattle, San Francisco and Los Angeles, a vibrant Nikkei community supported numerous artistic performances and cultural institutions. Much of this heritage was lost, however, when both the United States and Canadian governments incarcerated all people of Japanese ancestry on the West Coast in concentration camps during WWII.

Racist laws and attitudes shaped much of early Japanese American life here, including where Japanese could live, which schools they could attend, what jobs they could hold, where they could farm, and who could own land. Still, despite the racial, economic and political discrimination, most Nikkei communities managed a rich cultural life before the war. During the war, though, cultural suppression increased dramatically, followed in the post-war period by a heavy self-censorship lasting well into the 1960's. All of the early North American taiko groups formed in the context of these larger social and historical forces.

In 1969, Rev. Masao Kodani, Johnny Mori, George Abe and others started Kinnara Taiko at Senshin Buddhist Temple in Los Angeles. Kinnara pioneered in building "wine barrel" taiko and widely shared their design, a development that made taiko both available and affordable to players in North America. Through their temple connections and the Horaku ("temple entertainment") circuit, Kinnara has taught and inspired dozens of groups. They are known for their unique style of "leaderless" organization, stemming from their religious philosophy.

San Jose Taiko formed in 1973, led by Roy and PJ Hirabayashi and others. After receiving some early training from Tanaka Sensei, San Jose Taiko went on to develop their own unique style and original repertoire and have been leaders in developing and defining a North American style of taiko. Many of San Jose Taiko's early members were active in the Asian American Movement of the time, including work within the Asian American Studies Program at San Jose State University. While SJT has become a major performing arts organization, they still maintain ties and view themselves as a Nikkei community group.

It is important to note that all three of these pioneer groups formed at a time when the movements for Civil Rights, Black Power, Anti-Vietnam War and Ethnic Studies were sparking both a desire to explore Japanese cultural roots among young Sansei (third generation Japanese Americans) as well as an interest in what we now call "Word Music" among the general public. In many ways, taiko offered a way to break the stereotypes of Japanese as "the quiet Americans" who tried to "out-white the whites" in order to assimilate into mainstream culture. Taiko instead offered an opportunity to reclaim one's cultural heritage and to serve the community. Taiko was a radical development in the American cultural movement of the time.

Cont'd: A Second Wave (next)
Taiko in the Pacific Northwest
A Modern Folk Art

In many ways, taiko offered a way to break the stereotypes of Japanese as "the quiet Americans" who tried to "out-white the whites" in order to assimilate into mainstream culture. Taiko instead offered an opportunity to reclaim one's cultural heritage and to serve the community. Taiko was a radical development in the American cultural movement of the time.