"The Making of Harbor"
An interview with Kris and Minh of Arugakki
In January of 2021, Arugakki debuted Harbor, an ambitious stage piece for percussion, piano, electronic instruments, and contemporary dance, and the result of a pandemic-era artist-in-residency that morphed into an eight-month quarantine in a theater. Courtney Ozaki facilitates a personal and candid discussion with the creators to tease out theory, inspiration, and practical tips for creation. From the artists: "We don't want to be the kind of artists who blab about themselves. We promise to get straight to the good stuff... the art, and why composition is such a delightful struggle."
part 1: welcome
part 2: stretch and movement exercises
part 3: Shimmer, Q&A
part 4: Kelp Forest->Mooring->Delivery, Q&A
part 5: Surfacing->Rubble, Q&A
part 6: Imagination Liberation exercises
It's okay to ask about anything, including:
-- the many versions of taiko success
-- fitting the mold vs. breaking the mold
-- is there enough taiko composition happening?
-- composition using "structure" vs "what do I hear next?"
-- what it means to "serve the piece"
-- "angel" vs "devil"
- "Be patient."
- "Recognize your progress."
- "Everyone is rooting for you."
- "Don't be lazy."
- "It's not as good as jazz/nagauta/pop."
- "It will disappear unless it's great."
-- finding collaborators
-- setting up a studio
-- finding residency opportunities
Personal / philosophical
-- veganism vs taiko skins
Imagination Liberation notes for Kris
- "Give Voice" taiko + dancer
-- drumming with each dancer's step
-- R step: precision, L step: sloppy
-- How would you voice a slide?
-- What should we do for the R hand, the L hand?
- "Tragedy" odaiko piece
-- only hands
-- "low-end" theory (odaiko, chu, okedo frequencies)
- Les Twins-style naname improv
-- sharp movements coordinated to surprising elements in the music
-- brothers know each others' moves, taste, and tendencies
- commissions from established composers
-- what music that I love has some connection to taiko?