Synonyms for osuwa or Related words with osuwa

daiko              bayashi              taiko              sukeroku              kazuhito              shamisen              sanjo              masamichi              shodo              nagauta              ondekoza              daishi              motoharu              kengyo              mabuni              nakama              ritsu              gojinjo              isshin              koto              gekidan              takenouchi              katori              mitate              haruichi              shunsuke              takehisa              hakkei              shakuhachi              terutaka              ikuzo              kiyohiko              ongaku              yasuharu              rakugo              odori              honkyoku              iwadera              ichirou              itaru              iwaya              mayuzumi              jikishinkage              toshiya              noro              shinden              kazuhisa              taneda              matsujiro              kaburagi             

Examples of "osuwa"
Stanford Taiko was also initially influenced by the Osuwa style of taiko. Joe Kimura, a Stanford Taiko charter member, had previously been a founding member of St. Louis Osuwa Taiko. In its early years, Stanford Taiko borrowed lessons from a myriad of groups, and Kimura contributed his perspectives in the form of the Osuwa Daiko pieces he knew, including "isamigoma" and "hiryu sandan gaeshi".
In "1981", the first Japan-US Taiko Festival included Grand Master Daihachi Oguchi and Osuwa Daiko.
The Osuwa festival is held every August in Yoshii. Many people come to this festival from different places to enjoy traditional Japanese dancing.
Osuwa Daiko was founded by Daihachi Oguchi in 1951 in Nagano Prefecture, who was inspired by his background as a jazz drummer and was interested in expanding the scope of percussion traditions in Japan. Although taiko drums had existed for several centuries beforehand, Osuwa Daiko was the first to use several, differently-sized drums in an ensemble format. This was in contrast to taiko performances that often accompanied theatrical performances such as gagaku or Buddhist ceremonies like Obon, though these styles influenced Osuwa Daiko's performance work.
Initially, performances by the group were restricted to regional venues such as inns and sometimes hotels in Japan. Osuwa Daiko started to become more visible later in the 1950s. Televised performances of the group were shown on NHK, one of the major television networks in Japan. Osuwa Daiko, and taiko performance in general, also gained international attention when they were featured at the 1964 Winter Olympics. This televised performance also popularized taiko performance locally in Japan.
In the development of taiko performance in an ensemble format, Osuwa Daiko has been considered one of the dominant, leading groups in Japan. Specifically, their style of instrumentation, presentation on stage, kata, and repertoire of pieces have largely contributed to how contemporary taiko is understood and practiced. In addition, Osuwa Daiko is known for its activity in training and teaching of other taiko groups in terms of technique and repertoire, particularly newer groups.
Master Japanese drummer Daihachi Oguchi is credited with inventing kumi-daiko, the taiko ensemble, in 1951. After founding his own ensemble, Osuwa Daiko, he led the spread of modern Taiko throughout Japan and the U.S.
Mark Miyoshi, one of Denver Taiko's founders, led the process for the group's first homemade drum. The group has also received drums as gifts from Osuwa Daiko and the Ogden Taiko Group.
Stanford Taiko's initial repertoire was largely borrowed from other groups. The first two pieces were "Renshu", literally "practice" and "Matsuri", both derived from musical elements of Oedo Sukeroku repertoire. These were followed by "Isamigoma" and "Hiryu San Dan Gaeshi" of Osuwa Daiko. Osuwa Daiko pieces featured prominently because of the influence of Joe Kimura, a founding member of St. Louis Osuwa Taiko. Later, Stanford Taiko added "Hachijo", from Ondekoza's arrangement of the traditional folk drumming. In 1993, Hiroshi Tanaka composed the first original Stanford Taiko piece, titled "Hanabi". He followed up with "Tatsumaki", the second original Stanford Taiko piece. Ann Ishimaru composed the third original piece, "Amaterasu". All three pieces became Stanford Taiko's signature repertoire. In the spring of 1998, Stanford Taiko made the decision to perform only original pieces in their repertoire, and has done so ever since.
A number of performers and groups, including several early leaders, have been recognized for their contributions to taiko performance. Daihachi Oguchi was best known for developing "kumi-daiko" performance. Oguchi founded the first "kumi-daiko" group called Osuwa Daiko in 1951, and facilitated the popularization of taiko performance groups in Japan.
Estimates of the number of taiko groups in Japan vary up to 5000 active in Japan, but more conservative assessments place the number closer to 800 based on membership in the Nippon Taiko Foundation, the largest national organization of taiko groups. Some pieces that have emerged from early "kumi-daiko" groups that continue to be performed include "Yatai-bayashi" from Ondekoza, from Osuwa Daiko, and from Kodo.
Oguchi helped turn the traditional form into a dramatic performance spectacle, elevating the traditional folk sounds of taiko to modern music played in concert halls, not just festivals and shrines. The period from 1970s to 1990s in Japan seemed to be the Renaissance of taiko music. The activities of Osuwa Daiko and other early kumi-daiko groups in 1960s, and the taiko performance at the Tokyo Olympics in 1964 ignited the phenomenal taiko boom for next decades.
Although he had received some basic taiko training in his home town, he had not received any of professional quality, so he returned to Japan and asked to become the apprentice of Grand Master Daihachi Oguchi (the man who combined traditional Japanese drum rhythms with a jazz influence to create the first ensemble taiko group, Osuwa Daiko). Tanaka became the first of Oguchi’s apprentices from outside of the family, and after working hard to learn the principles of the art form, he returned to San Francisco to play in the 1968 Cherry Blossom Festival. Later that year, he opened the San Francisco Taiko Dojo.
Oguchi's ensemble, Osuwa Daiko, incorporated these alterations and other drums into their performances. They also devised novel pieces that were intended for non-religious performances. Several other groups emerged in Japan through the 1950s and 1960s. Oedo Sukeroku Daiko was formed in Tokyo in 1959 under Seidō Kobayashi, and has been referred to as the first taiko group who toured professionally. Globally, "kumi-daiko" performance became more visible during the 1964 Summer Olympics in Tokyo, when it was featured during the Festival of Arts event.
Many of the initial performers in Osuwa Daiko were not professional musicians, and so parts were partitioned out across different drums into simpler rhythms for individuals to play. For instance, the "shime-daiko", a high-pitched drum, carried the role of keeping the tempo. Several styles of medium-sized drums were used to play the "melody" of the piece and also incorporated phrasing. A large "o-daiko", using a simple rhythm, established a pulse for the rest of performers. Each performer was also equipped with several different drums at once, similar to a jazz drum set.
More recently, Japanese publications have emerged in an attempt to standardize taiko performance. The Nippon Taiko Foundation was formed in 1979; its primary goals were to foster good relations among taiko groups in Japan and to both publicize and teach how to perform taiko. Daihachi Oguchi, the leader of the Foundation, wrote "Japan Taiko" with other teachers in 1994 out of concern that correct form in performance would degrade over time. The instructional publication described the different drums used in "kumi-daiko" performance, methods of gripping, correct form, and suggestions on instrumentation. The book also contains practice exercises and transcribed pieces from Oguchi's group, Osuwa Daiko. While there were similar textbooks published before 1994, this publication had much more visibility due to the Foundation's scope.
A former jazz drummer, Daihachi Oguchi took ancient rhythms, broke them down and created new arrangements and compositions to accommodate an ensemble of drummers. One day, he was asked to interpret an old sheet of taiko music for the Osuwa Shrine, which was found in an old warehouse. The sheet music was written in an old Japanese notation and he could not understand it at first. He, fortunately, found an old man who had performed the tune, and then he succeeded in interpreting it at last. However, as a jazz player, the rhythm pattern of the tune was too simple for him to play. He wondered why nobody played taiko together. A marvelous idea came across his mind and made him decide to break through the tradition. Inspired by a western drum set, he formed a group in which each player beats a different taiko; in short, he gave the group a function as a drum set. A high-pitched Shime-daiko established a basic rhythm like a snare drum does. A growling Nagado-daiko added accents like a bass drum. His intention was right to the point, and this epoch-making invention changed the taiko music forever.
In the first eight months of their existence, over 50 different people took part in the several times a week group practices with many leaving after various periods of participation. The high turnover rate was due in part to the physical demands and time commitment required (Taoka was a strict teacher who emphasized fundamentals and encouraged at-home drilling). An even bigger impediment may have been the lack of actual drums. The group drilled in a rat-infested, empty storefront in Seattle's Chinatown on used car tires, and later, one broken Chinese Lion Dance drum salvaged from the trash. As the core group began to emerge they solicited local merchants in the Japanese American community to raise funds to purchase the materials needed to make the first set of taiko drums. In July 1981 the Seattle Taiko Group made its official debut at the Seattle Chinatown/International District Summer Festival with a line-up that included Sue Taoka, William Satake Blauvelt, Jeff Hanada, Richard Higa, Ann Kawasaki, Kathy Kozu, Jan Kubota, Akemi Matsumoto and Masaye Okano (later Nakagawa). Although positively received the group was dissatisfied with its performance and decided to postpone any further appearances for an extended period. During this time Taoka left the group to attend law school full-time and the group filled the gap by holding workshops with more established groups and teachers including Kinnara Taiko of Los Angeles, Roy and P.J. Hirabayashi of the San Jose Taiko Group and Sensei Seiichi Tanaka of the San Francisco Taiko Dojo. Fellow travellers who also helped or encouraged the group at this time were sister group Katari Taiko of Vancouver B.C., Canada (who had formed the year before) and singer-songwriter Robert Kikuchi-Yngojo of San Francisco, CA. Over the next several years the group's line-up changed with only Blauvelt, Hanada and Okano (Nakagawa) remaining from the original group. Key new members included Stan Shikuma, Ken Mochizuki, Sheri Nakashima, Michelle Kumata, Tom Eng, Joanne Egashira, Harriet Kashiwada, Kaoru Nakamura, and Michio Teshima. The group performed at venues throughout the city and region and took part in workshops with Grand Master Daihachi Oguchi of Japan's Osuwa Daiko and the Okinawan all-women's group Miyarabi Taiko at the Japan/US Taiko Festival in San Francisco. The group also participated in and performed at one of the first pilgrimages to Tule Lake, California - the site of one of 10 former concentration camps that held Japanese Americans during World War II. While there the group met influential taiko artists Russel Baba and Jeanne Aiko Mercer from whom they would take workshops over the years.