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For the last year or so, I’ve been exploring slant form and “matsuri” / “bon” taiko. I have been searching for a way to notate my new movements and have been reading about dance notation. I’ll do a separate post on taiko movement notation once I’ve figured out a workable system. In the meantime, here are quick reviews of the books I’ve read thus far, including one fantastic work by Ann Hutchinson Guest with historical and philosophical perspective on dance notation.

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Hiro and I are making progress on the dream home! In addition to the Shoebox House described earlier, we’re exploring another design concept called the Two Box House. Working with Ron Golan of (RGON Architecture), we’ve now have a 3D model of the rough schematic design. Here are the first renderings! (Note the shadows are a little wacky because the walls are made transparent.)

Parallel configuration

Perpendicular configuration

More images and info after the break!

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Working with Matt Gallizzi at NoTix Technical Solutions, Hiro and I implemented a photo auto-blogging system to take shots of our meals. There are still a few rough spots to work out but you can see our most recent meal in the updated header of my blog, and our last 30 meals here. Nerdy, no?! Howto coming soon!

Developing and Refining Movement Phrases
by dancer and choreographer, Rachel Cohen

Rachel Cohen has prepared a workshop at my request for the Matsuri Aces crew entitled Developing and Refining Movement Phrases, to be held next Tuesday, August 24. Although spaces for participation are full, if you would like to observe, you are welcome to join us. Send me an email and I’ll give the details!

About Rachel Cohen

Rachel’s strong proclivity for the arts led her to a career as a dancer, choreographer, and dance educator, earning two degrees from UCLA, and performing and choreographing professionally. She has taught dance at UCLA, Loyola Marymount University, and El Camino College. Seeing a necessity to create national visibility for local dance companies, Rachel founded Cadence Arts Network, Inc., in 1989, which now includes an international roster of artists in dance, music, and theater. She frequently lectures in universities, and serves as a consultant, mentor, and mediator for a variety of performing artists.

Brent’s work graces OnEnsemble.org frequently. He is the modern renaissance man; graphic designer, screen printer, photographer, videographer, DJ, and all-around great person.

Brent is taking a college course called Environmental Portraiture and asked me to play model for an evening. I have reservations about portrait shots… staring into the camera requires a force of personality I don’t seem to have. But Brent made it fun. He came to my practice space in the underground parking garage at GVJCI and started shooting. Thank you, Brent!

For a few years now, I’ve been feeling like On Ensemble’s performances would benefit from the addition of a movement-focused taiko piece. The problem is, I don’t have the choreographic vocabulary to utilize convincing movement in my pieces. So I’ve started a long-term project to improve my movement and choreographic skills. I’m developing a series of bon-taiko-inspired movement phrases, a methodology for practicing and teaching them, and games and exercises for arranging phrases in convincing ways. If all the parts miraculously come together, the end result will be a deck of 52 playing cards, each featuring a movement phrase, along with a guidebook of games and practice challenges. The project is called Matsuri Aces!

I’ve arranged a performance at the Gardena Valley Japanese Cultural Institute Carnival on June 27 2011, as a way-point for the project. The goal is to develop a series of movement phrases and try working them into an actual performance piece. I’m arranging a series of workshops with non-taiko artists with the hope that taiko can benefit from different perspectives. I have a small group of great taiko players joining me to explore the possibilities and I’ll be blogging about our findings here!

The previous leader of my shamisen school, Kineya Katsusaburo 7th, passed away on June 27, 2010 at the age of 82. My teacher, Katsuyukie, studied under him for more than 50 years, and considered Katsusaburo one of the greatest players and teachers of all time. He is the Iemoto who granted my natori, and I had the pleasure of spending time with him on a few occasions in Japan (Maz met him too!). He was always supportive and generous, and interested in getting the latest news on things in the United States, having travelled the world extensively.

When I spoke with my teacher on the phone, she said that although she’s sad about his passing, “It’s a rare treasure to complete such a dramatically successful and fulfilling life.”

Beautiful Evidence, by Edward Tufte
Healing with Whole Foods, by Paul Pitchford
What I Talk About When I Talk About Running, by Haruki Murakami

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