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Like the human heartbeat the Brazilian bassdrum Surdo represents the carrying power in the TaKeTiNa field. Its´sound does not vary during the entire session, meanwhile all the other rhythmic layers are steadily changing. The surdoplayer allows the underlying silent pulse of the music to be audible. Like in the brazilian Samba the emphasis of the rhythm is shifted to the second beat: bic BOUM, bic- BOUM.... |
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The Brazilian music bow Berimbau, played by the leader of the group, provides rhythmic stabilization and creates also tension. And through challenges it allowes musical evolution. The Berimbau player is the tribal chief and creates the rhythmic momentum, invites confidence in the groove, and takes the individual as well as the collective into self discovery and deeper rhythmic knowledge. Right from the beginning of call and response until the fade out of the session the Berimbau intices the field into harmonic resonance with the drown note of its string. On the other hand, the percussive sounds of the Berimbau are trigging the micro-structure of the rhythmic field. |
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Steps in TaKeTiNa are either pulsating or dance-like, always related to the basic beat of the surdo in the center of the circle. This rhythmic stepping becomes a motion of its own accord, like walking. These "roots of rhythm" remain easily accessable and understandable for body and mind even if other rhythms in the process are becoming more complex. Falling out of rhythm is the best way of learning: if the base of the rhythm is challenged, while the groove of the collective continues, confidence grows and one falls into rhythm at his or her own pace. The experience of being carried in rhythm creates profound confidence in life. |
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In many cultures handclapping is a form of musical expression. In India it guides the musicians through long rhythmic cycles and in spanish flamenco the palmas are a refined musical instrument. In general the layer of the hands is the equivalent of concious action in life. The hands represent our will, in rhythm and music it is the place where creation happens. In TaKeTiNa the handclaps are the second rhythmic layer after the steps are introduced. While the basic steps sink deeper and deeper into the unconcious, the individual drops into a state of simultaneous perception. The rhythm of the clap layer, often in polyrhythmic relation to the basic rhythm, confronts the steps, as in life we are confronted by the unexpected. |
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The speaking voice in western civilization is the home of the spoken word that provides meaning. Unlike in daily life, where repetition can be boring or irritating, in the realm of rhythm the impact is quite different: Repetition of sounds or sentences without meaning in ancient cultures had a different effect: it was and is still used for contemplation and meditation and creates silence and emptiness. This state of silence allowes a new understanding and knowledge to emerge. Through repetition of rhythmic mantras the voice is the bridge between perception and motion. |
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In the ongoing process of call and response in TaKeTiNa, like in tribal cultures, the human voice enters the arena for freedom of musical creation. The singing voice leaves the rhythmic matrix while always relating to the basic pulse and groove. If the rhythmic field needs stabilization, the leader returns to the carrying rhythmic mantra call or matrix call, a call which includes all rhythmic layers like steps and claps at the same time. This chanting brings everybody back to a place of familiarity that feels like home. The alternation of challenge and stabilization allowes the underlying rhythmic structure to emerge and the whole collective - participants, leader and surdo player - deeply sink into trance and relax into the rhythm. |
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The rattle is one of the oldest instruments in the world. The sound of a rattle is connected to the basic body movement of shaking. The more structured the motion is, the more complex is the resulting rhythm. A rattle is transferring the body movement into sound. In the Ta Ke Ti Na process the small brazilian rattle caxixi (speak: "cashishi") is used. "A rattle groove connects the fast movements that underlie each rhythm to the slower movements of cycle and basic pulse. (...) When shaken, the caxixi creates a combination of ongoing groove and accentuated rhythmic patterns. The sound of the caxixi combines the rhythmic layers of steps and voice to turn the body into a polyphonic orchestra." (Reinhard Flatischler) |
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