taiko – Mysterium Coniunctionis

It was our great honor to host Marco Lienhard and his student Mark as Taikoza performed in our garden by the river. We’ve known Marco for more than 15 years, and he and musicians touring with him often stayed at our home in Reservoir Hill in Baltimore. To have musicians of this caliber perform in our garden for an audience of 90 people was quite special.

In my introductory remarks (in clumsy French) I tried to express that we host these events to share our garden space with as many people as possible, and hope to curate events which allow artists and audiences to forge connections. We actually met a man who lives in Paris but has a second home in nearby Veix because of this concert. He is French-Vietnamese and is a huge Taiko hobbyist, collecting drums and doing workshops for young people. He was so thrilled that Marco and Taikoza were performing in the Correze that he offered the use of his larger drum, and helped Marco carry it down to the garden and set up. Connection forged!

This was the third garden concert we’ve hosted, and by far the largest. It was the first time we charged admission and were able to give the musicians money, and a local Japanese caterer made and sold lovely Bento boxes which added substantially to the event.

Also, for the first time, we had a substantial number of French attendees–the previous concerts attracted a few but those audiences consisted mostly of Anglo-Saxon expatriates.

The evening was a huge success and we received positive feedback across the board. Excited audience members interacted with Taikoza during and after the show and asked about the drums and several T-shirts and CDs were sold.

Marco also performed on the Shakuhachi. He is an internationally recognized master of the instrument.

I must, however, address some concerns shared the next day by a friend who attended. I’ll preface my response by noting that this is an important topic and that I’m happy to have this conversation.

Concern “White Europeans should not dress in Japanese clothes to do such a performance. This is like white dudes who play the didgeridoo barefoot and think they are woke when they are actually appropriating and exploiting another culture.”

My response In this era it is common to assume that any white person performing music which is not of European or North American origin is appropriating another’s culture. Marco is of Swiss German heritage and his student Mark is American, so I can understand this assumption, and again raising this concern is important.

BUT, it is vital before making snap judgments to at least look at Marco’s biography. A “white dude barefoot playing the didj” likely learned to play the instrument betwixt snapping bong hits and most probably did not travel to Australia to study with an indigenous musician, perhaps deserving a bit of contempt. But Marco went to Japan and learned and toured Japan for 18 years with a famous Taiko group. Further, he attained mastery of various Japanese flutes in the traditional manner by studying in Japan with Japanese masters. He speaks and reads fluent Japanese and is deeply passionate and knowledgeable about the culture and history of these instruments and the music. It is his life-long mission and his career to share his knowledge and expertise of these art forms and this culture. In Japan he tours regularly and is regarded as a master musician and he performs regularly with Japanese musicians and in front of Japanese audiences. Any concerns that he is exploiting another culture are easily dismissed by a glance at his resume. Marco is hardly exploiting these traditions–he is a recognized master of these traditions, and has been a highly regarded teaching artist of these forms for decades with audiences around the world.

As for the costumes, they are a requisite part of the performance, and to perform this music in Western clothes–t-shirts and sweat pants or even suits–would be deeply disrespectful to the tradition and could not be advertised as a Taiko performance. Were Marco to do so it would actually be cultural appropriation.

I asked a Japanese friend who lives in Treignac and who was in attendance if she was worried that Taikoza was exploiting Japanese culture. Her response was simple: “This was a beautiful and authentic performance of Japanese music. I know many Japanese who go to the West and study violin or piano for years, and who perform Beethoven and Mozart around the world in Western dress. This is not stealing another’s culture.”

While it is important to raise these issues and have these conversations, we must not rush to judgment. We also must be cautious not to confuse cultural appropriation with cultural exchange. Artists of different ethnicities, cultures, nationalities have always traded ideas and learned each others’ music and instruments and traditions. They take each others’ art forms and are inspired to create new and evolving forms. Taiko itself owes heavy debts to Chinese art forms, from which it borrowed heavily and eventually evolved. In our quest to avoid exploitation and further colonial degradation, we must not stifle genuine work to promote cultural forms and to share them.