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Weblog of Kaoru Watanabe, NY based Flute/Fue player

Tour Report: Jamaica/Nicaragua

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Tour Report: Jamaica/Nicaragua

First of all, I would like to thank Mr. Matsumoto, Ms. Yanagi, Ms. Yamazaki at the Japan Foundation and everyone at the Japanese Embassies of Jamaica and Nicaragua and Ms. Matsui of American Airlines.

Sunday the 9th  

After a short layover in Miami, I arrive in Jamaica.  Before going through customs I am greeted by representatives of the Japanese Embassy who whisk me through the process.  Immediately, I am aware of a certain jovial lightness of being in the people - even while waiting for luggage.  The humidity and warmth on my face reminds me of summer in Japan even though we are already a week into November.  I meet Kenny at the hotel and have my first taste of the national dish ackee and saltfish, albeit in the post-modern manifestation of ackee and saltfish lasagna.

Monday 10th

In the morning, Kenny and I practice in the hotel room, revisiting older pieces and developing a new piece of mine entitled "A More Perfect Union".  The name, as most of you know, comes from a phrase in the US constitution which Barack Obama consequently used in a speech he gave a few months ago that addressed the complexities of race relations in America.  The contents of the speech reflected Obama's profound understanding of the issues at hand that grew from both studied knowledge and personal experience and the speech was delivered with grace and humility.  The song doesn't have much to do with the speech other than it was written around the same time but it does serve as a reminder to me of these historic times.  I find wherever I go, people seem as pleased and excited about America's choice for president elect as I am and I allow myself to actually feel a sense of pride for being an American.  
In the afternoon, Kenny and I take some time to visit the concert hall and school where we will be performing and giving workshops.  I notice a sign at the school that says "BEWARE SLEEPING POLICEMAN".  I thought this sign was hilarious and imagined all sorts of explanations for what the sign could mean until someone told me that a "sleeping policeman" is a speed bump.  
In the evening, Kenny and I are invited to dine at the Japanese embassy with Ambassador Obata.  We are treated to an exquisite seven course meal prepared by a private chef and learned much of the relationship between Jamaica and Japan.  The menu contains elements of the local cuisine, such as jerk sauce and ackee.  My deep-felt thanks to Ambassador Obata, Mr Ishihama and Ms. Shimote for the gracious hospitality.

Tuesday 11th

We have a performance and lecture demonstration at Mico College.  The students are very receptive to our music, much of which I can imagine contained many new sounds for many of them.  We are greeted with very warm applause and insightful questions at the end.  Many teachers approach us and very insistently ask us to come back and teach their students more about Japanese culture and music.  
We visit the Bob Marley museum in the afternoon and learn of this local hero's short but rich life and buy some cheap souvenirs.  I don't know many people who aren't huge fans of Bob Marley's music, but learning more of what he believed in and fought for, I gain even more respect for him as a person.  One of his sons, Damian, whose dreadlocks went down to his calves, also happens to be there with his entourage.  We pass wordlessly in the parking lot.  
We have dinner with friends - more Jamaican food: conch in curry sauce, fried foods called "festival" and "bammy".  This of course is all washed down with a bottle or two of Red Stripe beer.    

Wednesday 12th

We perform at the Courtleigh Auditorium, the largest concert hall in Kingston.  After our performance there are short presentations by local groups- a trio of young children drummers and a choir called Nexus.  We finish the concert with all the performers doing Bob Marley's seminal "One Love" which was appropriate for the general feeling of well being in the room that night.  After the show, we are swamped with people young and old with questions and requests for autographs.  Again, many students and teachers are adamant that we come to their school to teach more.  Among the audience members was a woman from Sado, Japan and a music teacher from Austria who had been in Jamaica for decades.  Kenny and I are in great appreciation of the Embassy of Japan in Jamaica for presenting us and especially to Ms. Shimote for all her hard work in making sure everything is taken care of.  
By the end of our three days in Kingston, I have integrated some of the local dialect, patois, into my regular speech: "Wha ah gwan?"  "mi gaan" "criss" etc  as well as learned a few of the handshakes (locking the fingers and rubbing the thumbs, etc).  As people of most cultures do, Jamaicans find it endearing to be greeted in the local manner by someone who doesn't seem like they should know how to.  
After getting back to the hotel, I get a call from two teachers- a mother and her daughter- whom I'd been talking to about traditional Jamaican drum and flute music.  They were at the hotel and brought with them a CD of the music and two pages handwritten descriptions of the music.  I was very moved by what they had done for me.  As they were about to drive away, an interesting thing happened.  The mother said to me almost as if berating me, "I can see you're on the heart path...  Always keep on that path."  I acknowledged that perhaps I tried.  She continued,  "Because..." she paused a long time to consider her words.  Her voice became softer and she seemed to almost tear up a little.  "Because ...  it is important."   With that, they drove off.  

Thursday 13th

We travel to Nicaragua via Miami.  We are informed of the flagrant voter fraud that was exposed recently (destroyed and discarded ballots) and how as a result there are massive demonstrations and confrontations between supporters of opposing parties.  Until very recently America has also had election day treachery, having this problem in common with the second poorest country in Central America after Haiti.  Another result is our performance at Managua's main concert hall has been cancelled and that we are asked not to leave the hotel unless accompanied by someone from the Japanese Embassy.  We are taken to a nearby mall to look for souvenirs where we find that someone offers Chinese calligraphy workshops once a week.  

Friday 14th

We have an appearance on a nationally broadcast morning television show.  Usually, television shows are very particular about time and about timing in order to coordinate all the commercials and various segments.  We quickly learned that this was not necessarily the case with Canel 11 in Managua.  We arrive early to prepare for our alloted time slot but the producers decide to put us on right away- about half an hour early.  The interviews are haphazardly thrown together, the order of things turned upside down and we are never told how long to play.  I end the piece at my own discretion and people seem fine with it- so fine in fact that they ask us to perform again in twenty minutes.  We quickly decide what piece to do and unpack another drum and stand.  Again, we answer a few more random questions and perform a piece of undetermined length.  As soon as we finish, the crew moves in to reset the stage for the next show.  We are told the next day by a waiter in our hotel that he saw the show and really enjoyed our performance.  Due to the cancelled concert, Kenny points out the television appearance was probably the performance that the most people watched during our time in Nicaragua.  
In the afternoon, we give a lecture demonstration at a music school.  Again, a very responsive audience with good questions.  Many violin players there.  Students are shocked to hear how expensive some of my flutes are.  I am told later that an average salary for someone with a "decent" job in the city often can't cover even the electric bill.  I would imagine the thought of saving thousands of dollars for a bamboo flute is incomprehensible to most of the people in attendance.  The workshop takes place in a four story high building, one of the few in Managua due to a devastating earthquake in the 70's from which the city still hasn't recovered.  The tallest buildings still standing from that time are for the most part condemned and there are no funds to neither repair nor tear them down.  A beautiful old cathedral, badly cracked and slightly lopsided stands next to the music school, abandoned for decades.  I reflect on how much I have in terms of material goods, instruments, an education, and opportunities.  On the other hand, as a whole, I find Nicaraguans seem no more or no less miserable nor happy than people in New York or Tokyo.  Misery and poverty, joy and spiritual wealth can be found anywhere.

Saturday 15th

Because the evening performance has been cancelled, we quickly put together a small concert in the Japanese Embassy for staff members and their family.  It turns out there is a small taiko at the Embassy thats been sitting in a storage room unused for many years.  We borrow the drum for our performance.  We strongly encourage people at the embassy to use the drum to start a taiko group here in Nicaragua.  We promise to return for workshops and to check on their progress.  
Again, we are very grateful to the Embassy of Japan in Nicaragua and especially Mr Fuchigami and Mr. Nakayama for his tireless effort in accommodating our many requests.
In the afternoon, we are shown around the town of Masaya and other areas outside of Managua and are treated to breathtaking vistas of Lake Managua and Lake Nicaragua, of valleys lush with green and others black with igneous rock formed when one of the many volcanos in the area erupted some centuries ago.  We are also treated to some wonderful Nicaraguan Marimba playing by an elderly man in a market.  
In the evening, we go see some live music at a club near the hotel.  The music features two guitars, bass, keyboard, accordion and the Nicaraguan marimba with everybody singing.  The leader speaks as much as he sings, going on at length in Spanish about things that are far beyond my comprehension.  However, his charming voice, coupled with the festive music and Flor De Cana rum make for a relaxing final last evening of our short tour.  We hear news that people are planning a march for the afternoon of the next day which can very possibly lead to more violence.  We leave Nicaragua early in the morning- it is a warm sunny day, very peaceful despite the ominous news of what the day may bring.  I am home in Brooklyn by nightfall.  
categories Diary/report

White Wave's 2008 Wave Rising Series(Oct.29-Nov.2)

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Kaoru will perform with Lee & Wang Dance (CA)  at the  White Wave's 2008 Wave Rising Series. Oct. 29 Gala 3 - Performance,   7:30 pm  $50 Oct. 30 and Nov 1,   7:30 pm (Program E)  $20 Nov 2,   4:00 pm(Program E)  $20

ticket: http://www.smarttix.com/show.aspx?showCode=20049

White Wave's 2008 Wave Rising Series http://www.whitewavedance.com/ John Ryan Theater 25 Jay Str, Brooklyn, NY 11201

categories Live / workshop Info

Duo with jazz pianist Eri Yamamoto (Oct.19)

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Oct 19th 3pm Duo with jazz pianist Eri Yamamoto   http://www.eriyamamoto.com/

Eri Yamamoto and I will be performing piano and western/Japanese flute duets in an intimate salon style concert.  Eri has had a weekly trio gig at Arthur's Tavern in the Village for the past nine years and is a member of legendary downtown bass player William Parker's trio.  She is to say the least a wonderfully versatile and inventive pianist.  We will be playing primarily original music in the "jazz" vein with elements of Japanese music and free improvisation.  http://www.eriyamamoto.com/e-index.htm    

She and noted jazz pianist Bruce Barth present these "Circle 57" concerts,  which feature musicians and an artist, this time, painter/illustrator Russian native Inga Poslitur.    http://www.ingaposlitur.com
Seating is very limited so please e-mail me to RSVP.
admission : $10-
place : 408 West 57th street #7N             New York, NY 10019 (bet. 9th & 10th Ave/South side of 57th Street/2nd building from 9th Ave.) * Please be ready to take off your shoes !  Thank you.

subway : 1, A, C, B, D at 59th Columbus Circle (5min. walk)                  N, R, W, Q at 57th (10min. walk).  There are cross town buses on 57th street, too.

categories Live / workshop Info

Live at Zebulon Cafe (Oct.4)

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Oct 4th, 9 pm FREE Zebulon Cafe 258 Wythe Ave Brooklyn, NY 11211 718-218-6934

Kaoru duo with Takumi Kato (taiko) with guests (TBA)

Takumi Kato, a taiko musician from Gifu prefecture of Japan, recently achieved great notoriety for winning 1st place in solo Odaiko at the International Taiko Contest in Tokyo.  Takumi spent two years training at the Kodo apprentice center, learning traditional dance, drumming and singing.

 

categories Live / workshop Info

Gale Winds & Turiya by Lee & Wang Dance

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LEE & WANG DANCE 2008 Fall Season San Francisco Los Angeles New York

Artist Directors: Lenora Lee & Elaine Wang Music Composition: Kaoru Watanabe With dancers Mina Nishimura (in SF/LA), Denesa Chan(in LA/NY), musicians Melody Tanaka(in SF) and Kenny Endo(in LA)

Gale Winds & Turiya by Lee & Wang Dance

<San Francisco> September 6th, 8pm September 7th, 1pm CounterPulse Theater 1310 Mission Street San Francisco, CA 94103 Admission: $15 general, $10 CounterPulse menbers, children 12 & under For tickets, visit www.brownpapertickets.com or call (800)838-3006

<Los Angeles> September 13th, 8pm September 14th, 7pm Rosalie and Alva's Performance Gallery 1417 W. Eighth Street San Pedro, CA 90732 Admission: $15 at the door for reservations, email YearofQi@yahoo.com or call (310)408-2020

<New York> October 29 Gala Performce, 7:30pm October 30 & November 1, 7:30pm November 2, 4pm John Ryan Theater as part of White Wave’s 2008 Wave Rising Series 25 Jay Street Brooklyn, NY 11201 Admission: $50 for Gala, $20 all others for information, visit www.whitewavedance.com

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Lee & Wang Dance http://www.leewangdance.org/

 

categories Live / workshop Info

San Francisco Journal

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San Francisco Sept 8th

I have spent the last week in SF with dancers Lenora Lee, Elaine Wang and Mina Nishimura, performing at a small dance studio called CounterPulse, sharing the bill the Melody Takada, Francis Wong, Genny Lim, Tatsu Aoki and Nishijima Sensei.  For me, this series of performances marks my debut as a "modern" dancer although I strongly hesitate in using the word in parenthesis.  I have trained and performed traditional Japanese folk dance extensively during my time with Kodo and have studied lots of movement and balance techniques though dealing with the very physical art of playing taiko, and studying and performing with great Kyogen, Ryukyu Buyo, Kabuki, Noh, and Butoh dancers.  With this performance however, I am doing what I suppose would be considered "modern dance" for the simple if not quite accurate argument that it is not any sort of Japanese dance, other folk dance, nor is it ballet nor jazz nor hip hop nor swing nor break etc.  In a very free form way, I am twisting, turning, bending, crouching and swaying and even lifting and catching my partner of one piece, the beautiful Elaine Wang - all while playing the flute.  It is all very new to me although Elaine and I have been working on it off and on for some time now.  Elaine taught me very basic ballet technique every time we got together to work on the piece and shared with me her knowledge and insight into dance.  People seem to enjoy the performances the last couple of days  and I have been able to abandon any self-consciousness that I may have had and am able to really put myself out there.  We take this show to LA this week and then will perform it in New York in October.  
This morning I woke up around 6:30 and went up into Buena Vista park and played fue in the hills for about an hour.  Walking up that hill with the sounds of birds accompanying the crunch of my footsteps and my breathing loud in my ears, I was reminded of what it was like during my apprenticeship with Kodo, living on Sado Island, waking before sunrise everyday to run six miles up and down along the coast.  It was very hard training but made easier by the routine of it and the fact that all your fellow apprentices are going through just as much as  I was.  When starting out, I felt my body gradually warm up and often very quickly find myself quite alone on the long stretch of road in the semi darkness.  Some days it rained, some it snowed but the guys, in our youthful exuberance, ran shirtless all year round.  As the sun rose and the trees, the sign posts, the guard rail, the small fishing villages, and - over the waves Japan Sea, far on the horizon - Niigata city slowly came clearer into view, my body fell into rhythm with my breathing.  It was peaceful and beautiful but the truth of the matter is, I don't think a day went by that I didn't think about turning back a little before the halfway mark and start heading home early- what's skipping a mile or two once in a while if you're running six miles everyday, six days a week for two years?  But I don't think a day went by when I actually did.    
Since the apprentice center was deep in the mountains, the final mile or so of the run was a steep climb up from sea level road.  I would do a hard sprint for the final fifty yards up hill and finally stop running when I crested the hill that lead to a short gentle downhill slope to the grounds of the center.  I would practice some shouts and songs during that final short walk, shouting "HA" repeatedly from the diaphragm and singing various folk songs at the top of my lungs.  Not only was it good singing and shouting practice- your vocal chords are all warmed up and your lungs feel very strong and loose after such a long and intense run- but I realize in retrospect that it was also a sort of declaration of triumph- not to sound overly dramatic, but like the roar of an animal after catching their prey.  It was the satisfying completion of the morning ritual that started another day of even more strenuous drumming and dancing.  I not only conquered the 6 mile road and the long final uphill, but, even if only for one more day, by sheer will I was able to push through the fatigue to make it back home.  Then it was time for breakfast.  
  
categories Diary/report

Mare Serenitatis (Sea of Serenity) (Sep.19)

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On Sept 19th, I will be a part of a piece called Mare Serenitatis (Sea of Serenity) at the JACCC(Japanese American Cultural & Community Center) in Los Angeles as part of the Sacred Music Festival. Information at JACCC's website: www.jaccc.org/08summerfall.htm

Synopsis:

A program of the UCLA World Festival of Sacred Music, Mare Serenitatis (Sea of Serenity) is a performance in 3 movements, blending traditional rites from Japan with classical and contemporary Western influences. The evening ends outside with a large 12-million candlelight searchlight beaming across the night sky, illuminating a path to the moon. Conceived and performed by JACCC's Artistic Director Hirokazu Kosaka, Mare Serenitatis also features choreographer and Japanese Butoh dancer Oguri, IKKYU Zen Archers, flute player Kaoru Watanabe (Kodo 1998-2006), harmonica player Tetsuya Nakamura (80's rock band, War) the dance troupe BodyTraffic, court musicians Kinnara Gagaku and Okinawan dance troupe Majikina Honryu.

==========================

Mare Serenitatis (Sea of Serenity) A Contemporary performance inspired by the moon

Friday, September 19, 8pm @Aratani/Japan America theatre $25 General Admission, $20 JACCC Members, Seniors & Students Buy ticket online at http://www.theatermania.com/content/show.cfm/show/145660

categories Live / workshop Info

Live at Caffe Vivaldi (Aug.19)

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August 19th, Caffe Vivaldi in the West Village at 9:30, I will be playing a random assortment of originals and covers (Stevie, Horace Silver, Rick James, etc) with Mike Block and friends.  In his words:Dear NYC friends-  this TUESDAY TUESDAY TUESDAY!!!! August 19 at 9:30-11 at Caffe Vivaldi Vivaldi Vivaldi!!!! I'll be joined by some very special PEOPLE PEOPLE PEOPLE! We will be playing Jazz as well as some World music (with Japanese and Indian specialists!) Kersten Stevens - violin (www.kerstenstevens.com/home.asp) Trina Basu - violin (www.myspace.com/trinabasu  Kaoru Watanabe - western and Japanese Flutes (http://www.watanabekaoru.com/e/) Mike Block, cello (www.BlockBlockBlockBlock.com)

At Caffe Vivaldi in the West Village -- FREE FREE FREE! all ages welcome!  32 Jones Street (inbetween 6/7 avenues just south of W4th)  1 train to christopher st., or A/C/E/F/V/B/D trains to W 4th http://caffevivaldi.com/-   bring an appetite - they have good food AND AND AND beer! ******In other news, the Mike Block Band's first CD, "Get In Line" is for sale online at www.CDBaby.com/mikeblock! hope to see you on tuesday and hang OUT OUT OUT after!**********

categories Live / workshop Info

KAORU WATANABE TAIKO CENTER

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KAORU WATANABE TAIKO CENTER

Now offering ongoing weekly Japanese drum workshops for all ages and skill levels. Every wednesday and sunday/ 4-6pm and 6-8pm $30 per person per class / $250 for ten classes

TAIKO (Japanese drum) Since ancient times taiko has been used as a medium to communicate with ancestors and gods in rituals both secular and sacred. Because the sound of the taiko is something that anyone can feel, taiko maintains its relevance in the modern world, bridging musical, cultural and geographic boundaries. Participants in the workshop will learn rhythm and movement while developing balance, stamina, flexibility, strength and mental discipline.

place: VILLAGE@GUREJE Renate Albertsen-Marton Space 886 Pacific Street, Brooklyn (A/C to Clinton-Washington, 2/3/4 Brooklyn Museum, NRQW to Atlantic/Pacific)

for more information, please call 646-624-9405. 

categories News

Two workshops in Aug.

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Just to clarify, I will be beginning two workshops this month.  The one beginning on Aug 3rd in Brooklyn, NY will be ongoing for an undetermined length of time - possibly decades!  These classes will take place every wed and sunday.  For more info please click here.

The other one, presented by Otatsu taiko will take place for five weeks in Stamford, CT.  For info, please click here.

categories News

O-Tatsu Taiko Special Taiko workshops Aug.2008

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o-tatsu-info-brochure-2008 (PDF) Kaoru Watanabe, former performing member and artistic director of internationally acclaimed taiko ensemble, KODO, based on Sado Island, Japan will be leading a special 5-session workshop series.

Kaoru will teach fundamental drills and techniques- starting with conditioning the body with warm ups and stretches and continuing with some basic drumming exercises that will develop control, speed and strength. No drumming experience is necessary to participate in this special workshop series.

There are sessions for both children and adults. In addition, Kaoru is also available to teach fue (Japanese flute) upon request.

This 5 session series will commence on Monday, August 4th and classes will be held on the following dates: Monday, Aug 4 Thursday, Aug 7 Monday, Aug 11 Monday, Aug 18 Thursday, Aug 21

Taiko Workshop Series for Kids with Kaoru Mondays, 3:30-4:30pm (Aug 4, 11, 18) Thursdays, 3:30pm-4:30pm (Aug 7, 21)

Fees $85 for 5-session workshop series, $19 per class with advance reservation and payment or $22 walk-in

Taiko Workshop Series for Adults Mondays, 6:00pm-9:00pm (Aug 4, 11, 18) Thursdays, 6:00pm-9:00pm (Aug 7, 21)

Fees $135 for 5-session workshop series, $33 per session with advance reservation and payment or $40 walk-in

Registration Call Sandra at 203-323-3950 or send an email to: info@otatsutaiko.com

Place: Connecticut Ballet Studio 20 Acosta Street Stamford, CT

 

categories News

Performing at Symbiosis (Aug.1)

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In commemoration for the beginning of my taiko school, I will be giving short performances on both fue and taiko at Village@Gureje on the 1st of August during a 21 artists group show.  Please come down and check it out. 

Symbiosis - An Art Exhibition / Sale

The Village @ Gureje presents its indoor and outdoor art exhibition/ Sale and workshops celebrating diversity in global warming.   Opening date: Aug.1, 2008 Time: 3pm-11pm   Music: Kaoru Watanabe (Japanese Flute/Taiko drums)            Marvis "SWAN" Poole (Jazz Vocals)   Venue: The Village @ Gureje ( 886 Pacific Str. Brooklyn, NY 11238) Tel: 718 857 2522   THE VENUE; The Village @ Gureje is an all-round hub for community activities ranging from serving as a meeting place for local block associations, community board meetings to product launching and promotional events.

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An evening of gratitude to all our patrons and supporters 

Featuring artist:   Donavan Nelson, Nephrii Ameni, Otto Neals, Abou Ndoye, Elle Balk,Al Johnson, Onyedike Chuke Danny Simmons, Joseph Bell-Bey, Melissa SafiOrenzo, Trevor Brown, Wayne Summerlin Snr. Ramona Candy, Margulis Natalia, Herb Schiffrin, Karl McKintosh, Trevor Todd, Tafa Kim Chang B, Nate Ladson, Peter Giscombe

categories Live / workshop Info

TAIKO workshop will start

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taikoworkshopflyer (PDF)

I will be starting a taiko (Japanese drum) classes in Brooklyn August 3rd.  Please come down to try it out and spread the word!  Based on my 20 some years of taiko experience and extensive training and performing experience with KODO, classes will deal with developing form, balance, strength, flexibility, hitting technique, repertoire, voice and learning some of the cultural and historical background behind the drum.

The classes will take place every wednesday and sunday, from 4 to 6 and 6 to 8 and open to people of any age, and any level of musicianship- absolute beginners more than welcome.  $30 dollars for one 2 hour class with discounted rates if you buy classes in advance.

categories News

Performance at Zebulon(Jul.25)

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I will be performing with the great Adam Rudolph and Tatsuya Nakatani at Zebulon in Williamsburg this fri at 9 pm for free.

July 25, 2008 Fri 9PM @Zeblon Cafe 258 Wythe Ave. Brooklyn, NY 11211 718-218-6934

Adam Rudolph Kaoru Watanabe Tatsuya Nakatani Special guest: TBA

 

categories Live / workshop Info

Performing with Kenny Endo (Jul.4)

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I will be performing with Kenny Endo on July 4th in Denver, Colorado as part of the Japanese American National Museum Conference 2008.  I believe you have to attend the conference to see the show - which will be worth doing even if we weren't playing.  July 4th, Denver CO 11:45 am to 12:15 Hyatt Regency, Denver at the Colorado Convention Center

For details please visit: http://www.janm.org/projects/ec/conference/

 

categories Live / workshop Info