Interview: Yuta Kato talks Suzuki sensei, Saburo sensei, Hachijo, and Yodan Uchi

I had a fun time talking with Yuta Kato about his experiences in Japan. There were a lot of different topics we could have covered in this interview but I primarily wanted to hear about Yuta’s studies with the two very important teachers we have in common: Kyosuke Suzuki sensei and Saburo Mochizuki sensei. This discussion brought up many ideas we find important such as artistic integrity, teaching skills, the value of studying in Japan, and the different points of view on Sukeroku Daiko’s iconic piece Yodan Uchi. I also asked Yuta to share his story about becoming a passionate advocate for Hachijo Island, its taiko style, and the culture of the people there. This topic prompted us to converse about concepts like the importance of ryuha and iemoto (school and its leader) in traditional arts, striving for honesty in our soloing, efforts to connect people by removing barriers, and the valuable lessons that kumidaiko players can acquire from traditional Japanese music.

The impetus for this interview came in part from my recent discussion with Yuta and Masa Miyano about the upcoming event DONference at Asano Taiko US. In addition to covering the details and logistics, I felt like we touched upon some important concepts which could be covered in greater depth. If you haven’t checked that out, I would recommend it as a good supplement to this interview. I would like to thank Yuta for taking valuable time out of his schedule to talk with me. I think we were able to go beyond the surface and talk genuinely about some very meaningful things in music and life.

Yuta and Masa interview
https://www.eienhunterishikawa.com/blog/interview-yuta-and-masa-talk-about-donference

DONference website
https://www.solatidon.com

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Yuta Kato was born and raised in California to a Japanese-only speaking family. Introduced to taiko by Kagami-Kai, a local rice-pounding group, he decided to further his studies with San Francisco Taiko Dojo at the age of 10. Since then he has been a part of UCLA Kyodo Taiko, Nihon Taiko Dojo, Getsuyoukai, and professional groups: TAIKOPROJECT, ON Ensemble, and Portland Taiko. From Fall 2007 until Winter 2011, he resided in Japan to study under masters of various traditional Japanese music. Upon returning to the US in 2011, he served successfully as Coordinator for the 2011 North American Taiko Conference, one of the largest gatherings of taiko players from around the globe.

Kato is also a sought after taiko instructor and has been invited to teach throughout the world. He currently resides in California serving as the principal and instructor for LATI (Los Angeles Taiko Institute) housed at Asano Taiko US, which opened in 2013. He performs as a member of UnitOne (Torrance, CA).

Los Angeles Taiko Institute
https://taiko.la

Asano Taiko US
http://asano.us

Interview: Yuta Kato and Masa Miyano talk about DONference

I had a fun and informative conversation with Yuta Kato and Masa Miyano about the upcoming taiko conference at Asano Taiko US called DONference. We touched on topics such as:

- how to pronounce DONference
- why this conference is happening
- the details such as schedule, registration, and concept
- workshops, student recital, and concert lineup
- Eien’s workshop & 30 Days of Taiko Skills video project
- other fun activities
- how to learn more about this event

Registration is open starting today and you can find more information at:
https://www.solatidon.com

I am teaching workshops at DONference and am currently running a fundraiser called 30 Days of Taiko Skills to help support this event. You can see my videos and make a donation here:
https://www.eienhunterishikawa.com/30-days-of-taiko-skills

Thank you to Yuta and Masa for making time to talk about this conference. I am also grateful to Asano Taiko US and Los Angeles Taiko Institute for hosting this event and asking me to be part of it.

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Yuta Kato was born and raised in California to a Japanese-only speaking family.  Introduced to taiko by Kagami-Kai, a local rice-pounding group, he decided to further his studies with San Francisco Taiko Dojo at the age of 10. Since then he has been a part of UCLA Kyodo Taiko, Nihon Taiko Dojo, Getsuyoukai, and professional groups: TAIKOPROJECT, ON Ensemble, and Portland Taiko. From Fall 2007 until Winter 2011, he resided in Japan to study under masters of various traditional Japanese music. Upon returning to the US in 2011, he served successfully as Coordinator for the 2011 North American Taiko Conference, one of the largest gatherings of taiko players from around the globe.

Kato is also a sought after taiko instructor and has been invited to teach throughout the world.  He currently resides in California serving as the principal and instructor for LATI (Los Angeles Taiko Institute) housed at  Asano Taiko US, which opened in 2013.  He performs as a member of UnitOne (Torrance, CA).

Masa Miyano began his taiko career with UC Irvine's Jodaiko in 2008. After graduating in 2012, he became a member of the performing ensemble, Prota. He is also currently a member of UnitOne, the ensemble in residence at Asano Taiko US, and is an instructor/coach at LATI (Los Angeles Taiko Institute).

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Shimedaiko Rope Types and How to Choose One

Shimedaiko rope used for testing

This guide is for anyone looking for information about shimedaiko rope. I prefer using the traditional rope-tightened style of shimedaiko over the bolted kind for several reasons:

1. They sound better to my ears.

2. They look better to my eyes.

3. They feel better to my arms when I carry them.

4. They are kinder on my stands, floors, limbs, and any surface that comes in contact with the drum.

5. They are still the only type used by professionals in many traditional arts such as kagura, noh, kabuki, and Edo Bayashi.

Obviously, the bolt-style drums are legitimate and have many fans, mainly due to the ease of tightening and loosening the drum quickly and evenly. To tighten properly, both drum styles require lots of practice and careful attention to detail to get the best sound and longevity of the instruments. I believe that rope shimedaiko can be more fun, rewarding, and beneficial to your growth as a player once you gain the knowledge and develop the skills required to care for it correctly. This blog entry is only about rope types, so send me an email if you are interested in learning more about the advantages of the wooden mallet tightening technique described here:

https://www.eienhunterishikawa.com/blog/my-favorite-shimedaiko-tightening-met

Kuremona (9mm)

Vintage 3 strand (10mm)

When I started my research about rope options for shimedaiko, I was surprised at how little information I could find online. There is a huge variety of rope types out there and this overabundance of choice is confusing when you are trying to compare materials, pricing, diameter, color, stretch, and the ability to hold knots. Hopefully this guide will help you narrow down the sea of choices and focus your own quest for the best rope. A special thanks to Chris Huynh for helping with my research.

The two most important characteristics for shimedaiko rope performance are: not stretching and not slipping. The rope needs to hold knots during tightening, and then hold the tension after the drum is tightened. With these requirements in mind, here are the ropes I eliminated from my list of acceptable materials:

Nylon - too stretchy, too slippery
Cotton - too weak, too stretchy
Sisal - too hard, brittle, and rough
Kevlar - no good options available
Dyneema - too slippery
Spectra - too slippery
Hempex & Unmanilla/Promanilla - these are said to stretch and slip, but I haven’t tried it
Any braided rope - too smooth, and therefore too slippery

Below are the ropes that work, with pros and cons for each. They are all 3-strand twist because of their ability to hold knots better. Some of these ropes can tend to unravel, so I would recommend always keeping a tight twist for better durability and limiting the stretchiness. The first two are natural ropes - the texture is rougher so it’s a good idea to use gloves when working with them. The other synthetic ropes are generally easier on the hands.

1. Hemp - the traditional rope, best for not stretching and holding knots. The main disadvantages: the rope is rough on your hands, they ‘shed’ material on the floor, your clothes, and into the air. Depending on the supplier, some hemp rope (like the one I bought, even after days of sun exposure and spraying with vinegar solution) smells so bad that I don’t want to handle it. Although I haven’t personally used them yet, the hemp rope sold at Miyamoto Unosuke Shoten and Asano Taiko are of high quality and don’t seem to have any offensive smell. They also seem to only carry the natural rope, with no dyed-color options. Asa is the Japanese word for hemp. I have been told that hemp shrinks over time, so that’s something to keep in mind.

2. Manila - a very inexpensive and easy-to-find alternative to hemp, it performs very well by holding knots and not stretching. Depending on the supplier, it can be rougher on the hands and shed even more than hemp. But it’s cheap and available everywhere. If there are higher-quality manila ropes out there, I would be interested in trying them out.

3. Kuremona - a synthetic rope that both Miyamoto and Asano carry. I would think that there are different types of kuremona, but my only experience with this rope is on the Edo Bayashi taiko made by Miyamoto. It stretches and slips more than the natural rope mentioned above, but it is within the acceptable range of performance. The advantages: the variety of colors available, and the rope feels nice in the hands.

4. POSH - a synthetic rope I recently became aware of and decided to try out. It stretches less and holds knots better than kuremona, but the main disadvantage is its stiffness. I would think that the rope will eventually soften, but I have only used it once. The lack of suppleness make it hard to get the slack out of knots before you tighten, and this doesn’t allow you full control of how much tension the rope creates on the drum heads. If this rope softens, it would be my top choice. I purchased this rope online at R & W Rope. It has been suggested that perhaps putting the rope through a wash cycle might soften it. The photo below shows the impressive array of POSH color options at R & W Rope. This photo was emailed to me by Ray, who was very helpful in helping me narrow down the choices. The online store shows less color selection, so you might need send them an email to order a specific color.

5. Vintage 3 Strand - another synthetic rope I recently learned about and purchased to try. This is softer and easier to handle than POSH, but with slightly less knot-holding ability. It also only comes in one color, a natural beige. Because it’s cheaper and easier to work with, I would place this rope slightly ahead of POSH in terms of performance. This was also purchased at R & W Rope.

The 4 ropes I tried back-to-back to compare

Rope samples from Miyamoto - five kuremona colors and hemp (far right)

POSH colors available at R & W Rope

Rope Diameter and Length

It makes sense to use the appropriate diameter rope for the size of shimedaiko you use. For the typical medium sized (2 or 3 chogake) drum, I think 10 - 12mm works well. A smaller drum might take 8 - 9mm and the biggest drums (4 or 5 chogake) could use 12 - 13mm, depending on the drum maker and rope type. In the US, 3/8 inch (9.5mm) rope is very common and easy to find. Thicker diameter is better for durability and less stretch but a rope too thick can be hard to work with. Take into consideration the depth of the body, how stretched the skins are already, and how large the holes near the rings are. For example, the Edo Bayashi taiko pictured below has a 9mm kuremona rope - it works fine, but I would prefer something slightly thicker for this drum. You can see that the holes are definitely wide enough for a bigger rope. I have learned that both Miyamoto and Asano sell a preset diameter rope for each shimedaiko size, which makes it simpler to order the appropriate rope for each drum size. However, you might want to ask for more detail about the material and diameter of the ropes so that you can choose one that best fits your needs. It’s common in Japan to use the traditional unit ‘bu’ (3mm) for rope, and for our purposes we would look for 3 or 4 bu (9mm or 12mm). But I’m pretty sure that other diameter ropes would be available in 1mm increments, and will continue my research to learn more about our options.

Miyamoto Edo Bayashi shimedaiko with 9mm kuremona

The taiko companies also seem to provide a set length for each shimedaiko size, but I think it would be possible to place a custom order. After the drum is tightened, I prefer to follow the common practice of winding the rope 3 times around before tying off. I have noticed that Kodo and Hayashi Eitetsu both wind the rope 2 times, so I can understand people using this method as well. For me, it’s like the martini olives rule - you should have an odd number, and 1 is too few (and 5 won’t fit). Because each drum will have differences in the length of rope required, I ordered 36 feet (11 meters) of rope for my testing and cut off the excess after tightening the drum for the first time. I feel more at ease knowing that I will have plenty of rope to work with, but you can certainly order less than this. If you are ordering from Miyamoto or Asano, it might be a good idea to ask about the set rope length and see if you can purchase your preferred length in addition to the diameter.

Whipping on the end of the rope

General Tips

1. It’s worth learning how to tie a proper whipping knot on the end of the rope to prevent it from fraying or unraveling. Tape can do the job, but it’s less aesthetically pleasing and it can come off with some pressure. A quick online search will give you many photo and video tutorials on how to whip the end of a rope.

2. Prioritize function over appearance. I have seen many drums with beautiful ropes that don’t work well at all, resulting in less than ideal sound and tightening performance. Instead of trying to find a rope that takes dye well (such as cotton) at the expense of function, search for rope that is already the color you are looking for within the category of acceptable performance.

3. Experiment to learn your individual preferences on material, diameter, length, and price. Then ask questions so that the supplier is sending you exactly what you are looking for. For example, I should have asked the salesperson about the smell of their hemp rope before ordering. Ask other taiko players, makers, and stores for detailed information so that you can build your base knowledge and find the best rope for you. I also found it interesting to learn about the wide the variation in pricing, so don’t forget to make note of the differences carefully. Let me know if you have any recommendations and I will add them to my list.

4. Learn proper tightening technique so that you value the performance of the rope. There are several different tightening methods that are commonly used. Choose one that works best for you and practice a lot. And boosting your ability to play the drum will increase your appreciation of the sound and condition of the skins over time.

5. Understand that your treatment of your shimedaiko can impact not just the sound, but also the longevity. A clamshelled shimedaiko will not last as long as a more evenly tightened one. And keeping a drum tightened all the time will result in a shorter lifespan than one that is loosened between uses. Of course, other factors like stick selection, playing technique, stand design, weather, and general handling practices will all affect how long your heads will last.

6. Links to suppliers:

Miyamoto Unosuke Shoten

Asano Taiko US

R & W Rope

Partially tightened Edo Bayashi shimedaiko by Miyamoto Unosuke Shoten

Complete set of Edo Bayashi instruments and accessories

8 Concepts for Becoming a Better Improviser

Eien on taiko-drumset hybrid setup

I have added a new entry about improvisation to my articles page, which contains other topics such as stick selection, metronome games, ji playing, and atarigane technique. By making these free tip sheets available, it's my hope that they help you find new ways of approaching these topics. I'm always happy to take questions or any feedback so feel free to contact me. For more in-depth discussion and demonstration, check out my instructional videos. Previews are on my youtube channel. While the best way to learn involves being in the same space, I would consider online private lessons to be a great alternative option because it still allows for live feedback and in-person demonstration. Finally, I will be covering the topic of solo creation in a workshop on June 4 at Asano Taiko US in Torrance. Here is the information and registration page: 

http://taiko.la/event/solo-creation-taiko-workshop-eien-hunter-ishikawa

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8 Concepts for Becoming a Better Improviser

Improvisation is a valuable skill which anyone can develop through deliberate practice and by accumulating experience. It can create spontaneous interaction during performances and help ignite a creative spark for new compositions. Mistakes during performance are inescapable; being prepared to improvise with them can produce new avenues for inspiration. Like any skill, the specific way you practice improvisation is important. Here are eight concepts for becoming a better improviser:

1. Copy good improvisers – choose several improvisers you like and learn to play their solos exactly note for note. This can be done by ear or transcribing into notation. Analyze why you like these improvisations.

2. Focus on rhythmic accuracy – the first sign of insecurity is inconsistent rhythm. Use a metronome and start with simple ideas to focus on the quality of your rhythmic placement. Record yourself and listen back for areas to improve.

3. Self copy game – improvise a one-measure phrase and then play the exact copy in the next measure. Continue the cycle and gradually add complexity. Make it more challenging by working with two-measure phrases or with odd meter.

4. Sing what you play – simultaneously singing and playing your improvisation is an excellent way to break away from the limited ideas that are stored in your muscle memory. If this is too challenging, only sing your ideas first.

5. Incorporate space – strive to become comfortable using space, which can be used to highlight the notes and improve your phrasing. Not playing anything can be an opportunity to think about what to do next and to listen for ideas from others.

6. Explore sounds, timbers, and dynamics – practice a wide variety of ways your instrument can be played. Exaggerate contrast to expand your range.

7. Work on accompanying – being a good accompanist is just as important as developing your own improvisation skills. Listen, play mindfully, be solid, and provide energetic support.

8. Trade solos – trade improvised solos with other players. If they are better than you, your musicianship will grow more quickly.

See more articles at www.eienhunterishikawa.com/articles

Interview: Katsuji Asano of Asano Taiko US - 日本語 (translated by Julia Asano)

Katsuji Asano of Asano Taiko US

I am very excited to feature Katsuji in this interview, which was superbly translated by Julia. It has been a pleasure working with Asano Taiko US (ATUS) and the Los Angeles Taiko Institute (LATI) since they opened their fantastic facility in Torrance, California - offering workshops, co-coordinating Kyosuke Suzuki sensei's US workshop tours, and helping to make Edo Bayashi materials available on their online store. My first visit to ATUS was filled with a sense of awe at the scale and commitment to quality in every detail. The two main studios are equipped with everything a drummer could want: high-tech sound dampening in the walls, beautiful floors and mirrors, white boards, amplifiers, comfortable temperature, and of course the incredible number of amazing taiko sitting there ready to play.

Asano Taiko US

Operating out of this facility is LATI, a one-of-a-kind taiko school offering an extensive array of classes taught by some of the most experienced and thoughtful teachers I know. I especially appreciate the balance of older and newer taiko forms originating from Japan as well as elsewhere. Because of its clear significance, ATUS has quickly become a hub of high-quality workshops, hosting a constant stream of musicians and educators offering an assortment of topics in various genres. 

Katsuji helped to fund my Edo Bayashi intensive in Tokyo in October 2016 where I was able to deepen my study of this festival music through one-on-one lessons with Suzuki sensei. I'm certain that his thoughtful responses in this interview provide insight into his vision of advancing the art form of taiko, and I'm happy to be involved in this symbiotic partnership. I also want to thank Julia for making this information available in English, capturing the essence of Katsuji's answers much better than I could have.

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1. Can you describe the history of Asano Taiko and how Asano Taiko US (ATUS) was opened in Torrance, California?

Asano Taiko US in Torrance, California

私がアメリカの太鼓を初めてみたのはNATC2005年LA。この時「太鼓」が海外でこんなにも熱狂があるものかと衝撃をうけました。そして独自のコミュニティー、情報を共有するなど日本は無い形だった事に新鮮な気持ちと、このように発展してる太鼓界がとても面白く感じました。

Juliaとも出会い、アメリカの太鼓界にも少し関わったりする中、もしアメリカで太鼓屋の拠点があったらどうなのか？太鼓文化がもっともっと発展していくのでは？日本にも世界ににも良い影響が与えられるのでは？ビジネスになるのか？などたくさんの疑問から始まりました。太鼓文化の発展に関わる事ができたらどんなにやりがいのある事になるかと夢と希望が湧き、そして2011年のNATCの盛り上がりとお話を聞くなかででやろう！っと決め本格的に動きだしました。

場所の選定では西海岸、東海岸か。日系コミュニティー、太鼓チームが多い地区、日本との行き来、世界のハブ。

多方面の要素が踏まえLA近郊で決めました。LA近郊で治安問題を踏まえ探していくとまずは新しくてこれから発展していくアーバイン近郊が候補に入ってきましたが、交通の便、物件の良さがあったのでトーランスに決めました。

The first time I saw taiko being performed in America was at the 2005 North American Taiko Conference. I was surprised to see how popular taiko was and how different the U.S. taiko was from Japan. Taiko players in the U.S. are very open natured and willing to share their knowledge of taiko which was both surprising and interesting for me. 

After meeting Julia, I had opportunities to participate in many American taiko events and started to wonder, what if I started a business in the U.S.? Would the taiko community grow even more? Would Japan, or even on a larger scale, the world have any effect on this unforeseeable challenge I’m about to embark on? Can we make this a business? I started pondering many questions to myself. After attending the 2011 North American Taiko Conference and seeing the US taiko community again, I decided to take the first step and start the business.

My first debate was choosing the right location. Should I start the new business in the east coast or west coast? After researching which areas had the most taiko groups and a bigger Japanese community, I decided that Southern California is the place to be. I chose Torrance as the city due to its accessibility for commute and ideal properties. 

2. What is the Los Angeles Taiko Institute (LATI)?

Los Angeles Taiko Institute

http://taiko.la
LATI is a taiko institute housed in Asano Taiko U.S. located in Torrance, California. We opened in July 2013 (when Asano Taiko U.S. opened) and started with less than 20 students and now have over 200 students coming every week. We offer various types of classes for all levels and have 9 instructors who teach anywhere from 2 yr olds to students in their 70’s.

3. UnitOne, the ATUS taiko ensemble, consists of very experienced players. What is the artistic vision and mission for this group?

UnitOne at 2015 North American Taiko Conference

始めたきっかけ
How it started

日本の場合は島国、小民族で形成されていたので限られた音楽性（これは良い事であり、何百年と続いている伝統芸能などある）で次世代に繋がってきています。チームプレーに徹する事が日本の和太鼓の良さにもなっていると私は思っています。

Due to our country being an island nation, I believe that when it comes to musicality, the style of music becomes limited as they get passed on to the next generation (I would like to note that this is a good thing, as this is how traditional art have been continuously protected and honed over the generations). Because of its small ethnic group that Japan is based on, I believe it created strength in team play when it comes to expressing Japanese Taiko.

逆は独創がなかなか生まれにくい。持っているグルーブ感が限られている。アメリカでは色々な文化が入り混じり、様々なジャンルの音楽に触れ合う機会が多いです。そして人々の中にそういった日本にはない感性が多く入ってます。現在のアメリカの太鼓でよく見られるのは独創的な音楽性。一人一人の個性が非常に際立つ事。

However, the downside to this close-knit formation is that it becomes harder to create new and innovative music with originality. The groove feeling of the artists have become limited. But in America, various cultures and backgrounds intertwine, allowing many opportunities to interact with diverse genres of music. It from this melting pot where taiko in the U.S. have the sensibility that Japan has yet to experience. Taiko in America has its strength in originality, their ingenious musicality standing out in each and every player.

いと昔は日本と同じでチームとしての統一感があり、アメリカの太鼓文化も今まさに「変化」していっている状態だと思います。この日米のいいところを伸ばす事ができるチームが出来たらおもしろい！とおもいました。私が日本の良い所を取り入れながら、プレイヤー自身のもっているものを生かせればと。

Currently, I believe that taiko in both countries have the same sense of unity as a team which has always been unchanged, yet we are in a place where taiko culture is facing a shift before our very eyes and “transforming” into something new. Instinctively I felt that it would be amazing if we can develop a team that can incorporate the strengths from both countries!  My hope is to deliver the good components of Japanese taiko, and give life to the potentials in each taiko player here in the U.S.

また私のそばに素晴らしい太鼓プレイヤーがいる事が始めようと思った非常に大きなポイントです。基礎を大事だと思ってくれ、また自分自身を成長しようと思うプレイヤーがここには多くいます。そのような太鼓打ちを輩出していく事もこの会社の使命だと思っています。

Lastly, the major reason why I decided to start this company is because I am surrounded by amazing taiko players. Many of the players here put much respect in the foundation and philosophy of taiko, and take it upon themselves to incorporate it back into their lifestyle for their own growth. I believe it is our mission as a company to continue this cycle and produce more taiko players such as them, making a mark in the art and history of traditional Japanese music in America.

4. What are some of your observations regarding the North American taiko scene?

・コミュニティーを大事にしている
・太鼓楽しく打つ事を大事にしている（日本と違い表に出す）
・自分らしさを太鼓を使って自分なりに表現している
・ベテンランも学ぶ姿勢がある
・情報を共有している
・新しい道を探している

- They look after their community
- They value the ideal of enjoying taiko (compared to Japan, they openly express their emotions)
- Taiko is used as their way of expressing their individuality
- Even the seasoned veterans are in a humble stance to learn
- They share their knowledge and expertise
- They are always passionate and striving to broaden their horizon

5. In 2015, ATUS sponsored Kyosuke Suzuki sensei’s workshop tour of California, Oregon, and Washington. Can you talk about some other ways in which ATUS is contributing to advance the art form?

NATCへはここにある全楽器を持って行き貸し出しします。Taikoインビテーショナルへの楽器の貸出。日本からのゲストを呼んでWSを行ったり,交流と技術の習得を支援。

We lend all of our studio drums to TCA during the North American Taiko Conference, and also to Intercollegiate Taiko Invitationals. We invite artists from Japan to host various types of workshops to bridge American artists in hope that they can have more access to Japanese art forms. 

6. What products and services does ATUS offer in the Torrance facility as well as the online store?

Asano Taiko US in Torrance, California

浅野太鼓商品全般を販売しています。在庫が置いていない商品でも日本に在庫があれば１週間程で届くシステムができています。また販売に関して特注品（バチや衣装、その他の楽器、台など）も受け付けており、できるだけプレイヤーの要望に応えられるようにしています。祭り関係のお店とASANO TAIKO USが直接取引きがあるので太鼓に関わるものを大体提供できます。また太鼓の締め直しや革の張り替え。浅野の商品以外での修理も受けています、修理はASANO TAIKO USで行うので時間と費用が随分抑えられます。「太鼓の音を育てもらう」そうゆう風に楽器と一生付き合って行ってほしい願っています。Online shopも開設して全米、世界に向けて販売が可能になっています。

We sell Asano Taiko products here at Asano Taiko U.S. Products out of stock can be ordered from Japan and we will receive them in 1-2 weeks. We also accept customized orders mainly on costumes, bachi, taiko, and stands, hoping to cater to all the needs of the taiko player. Asano Taiko U.S. has direct contracts with many shops that carry festival goods, allowing us to be able to supply most items relating to taiko and we also offer reskinning and restretching service. We gladly accept repair orders even for non-Asano brand items, and since repairs are done on-site, time and cost can be reduced greatly. We have also established an online store so now customers throughout the world can place an order with us. 

7. Do you have any events coming up in the next several months?

4月バチBBQ
6月大江戸助六さんWS（予定）
7月ブリーチ祭り
8月NATC
12月発表会

April - Bachi BBQ (LATI event)
June - Oedo Sukeroku Taiko workshops
July - Bridge USA performance
August - North American Taiko Conference
December - annual recital

8. What are some long-term goals for ATUS and LATI?

より多くの人に「太鼓」に関わってもらう事。
Growth of the taiko community.

「和太鼓」という芸能の価値を高める事。
To branch out and root deep in hopes that “taiko” will become a higher valued art form.

太鼓プレイヤー全体のレベルアップ。
Improve skill levels of all taiko players.

日本では出来ない事をアメリカでやっちゃう（色々な意味で）。
Challenging many things that are possible only in the U.S.

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Katsuji Asano of Asano Taiko US in Torrance, California

Born in 1983 into the famous Asano Taiko drum-making family, Katsuji Asano quickly discovered a love for both business and the arts.  After graduating from Kanazawa Institute of Technology in 2006, Asano joined the Percussion Division of Yamaha Music Trading Corporation. 

In 2006, Asano returned to taiko (Japanese drums), and began work at Asano Taiko, Inc. in Ishikawa prefecture.  He learned both the craft of Japanese drum-making and the business side of marketing, working directly with taiko artists.  With hopes of spreading the art of taiko on an international scale, Katsuji Asano opened Asano Taiko U.S., Inc. in 2013, the first facility of its kind outside of Japan to offer an instrument store, on-site workshop, and taiko school staffed by professional taiko players.

Links
Asano Taiko US
Los Angeles Taiko Institute
UnitOne