“I wouldn’t accept such violence in any other context, but I also had to think of reacting in a way that wasn’t disrespectful of his position.” By darting dirty looks his way, Guilbert managed to put a stop to his behaviour.” (Cummings 24)
Hence, the inclusion of women into Taiko learning and practice finds resonance with women’s emancipation in general. This is a step in the right direction for two reasons. First, they represent the political rights of equality won by women. Second, they enhance and add grace to the art of Taiko, which takes on a new dimension as a result.
Works Cited
PortlandTaiko. “Akatombo – www.PortlandTaiko.org.” YouTube. Web. 3 Mar 2010. <http://www.youtube.com/watch?v=oqrl-n5ArFQ>
Cummings, Melanie. “Turn the Beat around [Women’s Drumming Groups].” Horizons Winter 1999: 24. Print.
“Japanese Discipline of Drumming Emphasizes Form.” Daily Herald (Arlington Heights, IL) 20 Sept. 2007: 1. Print.
Portland Taiko. “TaikoKinesis DVD, Album Notes.” CDBaby.com. Web. <http://www.cdbaby.com/cd/portlandtaikodvd>
Toto, Christian. “American Taiko: Different Drummer.” The Washington Times (Washington, DC) 16 Feb. 2000: 4. Print.
Um, Hae-Kyung. Ed. Diasporas and Interculturalism in Asian Performing Arts: Translating Traditions. New York: RoutledgeCurzon, 2004. Print.
Wong, Deborah. Speak It Louder: Asian Americans Making Music. New York: Routledge, 2004. Print.