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Taiko drums sex

Sonically, in the taiko context, it is the somatically enveloping sound that invites audience participation and desire. It is a narrative that shifts focus away from figures such as Seiichi Tanaka founder of the San Francisco Taiko Dojo — SFTD — and widely recognized as the grandfather of American taiko , even while recognizing their immense contribution. This work combines a deeply ethnographic approach with feminist, queer, and performance studies to present the ways taiko performers are multiply figured race, sex, history, gender as well as the diverse spectatorial perspectives of audiences. It is, of course, obvious that audiences are heterogeneous. Pointing to Joni L. With this in mind, Ahlgren analyzes the construction of the mythos surrounding Seiichi Tanaka and the SFTD, one that venerates him as the archetype of Japanese authenticity in American taiko. Ahlgren explores not the category of authenticity, but the process by which an authenticity is constructed between performers and audience members. Such an interpretation opens taiko to multiple explanatory possibilities beyond the Orientalist framework and into a space of myriad perspectives in community.

Taiko drums sex


This is noteworthy because it invokes a particular narrative about taiko as both political and artistic. What distinguishes kumi daiko from traditional Japanese taiko drumming is a focus on the taiko as the primary instrument, as opposed to a background time keeper. Ahlgren explores not the category of authenticity, but the process by which an authenticity is constructed between performers and audience members. It has since spread beyond Japanese- and Asian-American communities, with particularly strong growth on college campuses. Taiko Drumming and Asian American Identifications. Such an interpretation opens taiko to multiple explanatory possibilities beyond the Orientalist framework and into a space of myriad perspectives in community. The writing is organized into an introduction and three chapters. Each subsequent chapter concerns a specific group and subject matter. It is a narrative that shifts focus away from figures such as Seiichi Tanaka founder of the San Francisco Taiko Dojo — SFTD — and widely recognized as the grandfather of American taiko , even while recognizing their immense contribution. The ironic use of the term emphasizes their unity in sexual identity and plays on the stereotypes of Asian homogeneity. The choreography stylistically resembles the physical labor of farmers and people working on the railroad, and this is explained to audiences. Pointing to Joni L. Orientalist imagery plagues perhaps every North American taiko ensemble. Finding Hope at the Theater. Depending on the venue, San Jose Taiko performers will invite audience members to dance along, thereby working collaboratively to re-envision and embody an Asian American identity. Her work is important in as much as it opens taiko to the possibility of a utopic politics of inclusion and community rather than an oppositional one. North American taiko initially developed in Japanese American and Japanese Canadian communities particularly among the younger Sansei, or third generation, many of whom were searching for ways to connect with their Japanese ancestry. She offers an equally critical eye to the origin stories of Kinnara Taiko. As in Chapter 2, Ahlgren disrupts the Orientalist gaze, putting in its place the possibility of a positive, collective response to queer performance. New York and London: Sonically, in the taiko context, it is the somatically enveloping sound that invites audience participation and desire. University of Michigan Press, , p. Ahlgren highlights the multiple modes of engagement with taiko for participants and audiences that reveal common desires and, at its best, community building. Performing Race, Gender, and Sexuality in North American Taiko is an astute exploration of the interrelated discursive practices informing the performance and historical narrative of North American taiko. Using theories from theater, queer, feminist, and performance scholarship, Angela Ahlgren unveils new possibilities for politics, sexuality, and participation not only within taiko performance, but for the performative context generally. However, in that same show might be a Korean adoptee maybe the only Asian in her class who is encouraged by seeing another Korean adoptee perform this powerful music. With this in mind, Ahlgren analyzes the construction of the mythos surrounding Seiichi Tanaka and the SFTD, one that venerates him as the archetype of Japanese authenticity in American taiko.

Taiko drums sex


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4 thoughts on “Taiko drums sex

  1. Kazrakree Reply

    It is, of course, obvious that audiences are heterogeneous. Orientalist imagery plagues perhaps every North American taiko ensemble.

  2. Dalar Reply

    Pointing to Joni L.

  3. Yozshulkree Reply

    Ahlgren explores not the category of authenticity, but the process by which an authenticity is constructed between performers and audience members.

  4. Zulucage Reply

    Finding Hope at the Theater.

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