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Drummin' Fun and Village Heartbeat are pleased to bring you

TA KE TI NA in Southern California
Saturday - Sunday
May 21-22, 2005

The European workshop in Los Angeles for the first time ever !
Ta Ke Ti Na Rhythm For Evolution




Ta Ke Ti Na
A Bold New Way to Learn

Fun for everyone, no prior instruction or musical training is necessary.

TaKeTiNa is...
  • A deep relaxation and revitalization of the nervous system and the body's rhythms.
  • A way of learning where humans encounter one another free of common behavior patterns.
  • A method of creating rhythmic competence and creativity in all styles of music for both professional musicians and beginners.
TaKeTiNa means...
  • A completely new way of learning and understanding rhythm.
  • An encounter with our primal rhythmic knowledge.
  • A musical group process that dissolves behavior patterns which have been inhibiting our lives and relationships.
More information about TaKeTiNa: taketina.com and villageheartbeat.com
More information AND registration for TaKeTiNa: DrumminFun.com

Registration is limited so plase be sure to register early!

TAKETINA LA --- $225.00
Register by April 30, 2005 and save $40 --- $185.00

About Ta Ke Ti Na

TaKeTiNa is a musical process originated by Austrian percussionist Reinhard Flatischler. It is an opportunity to learn about the world of rhythm and how rhythmic knowledge can open new pathways to learning and self-definition. Learning can be a magical, joyful, and powerful process that allows us to use our innate instincts and our natural abilities to explore the world around us and within us.

In ancient cultures, learning music was ascribed special value; it simultaneously encouraged personal, social, and intellectual development, involving both the body and the soul, both emotions and analytic thinking. Learning music was holistic learning at its best.

TaKeTiNa combines principles and techniques that cannot be found in any other current education system. Its principles and techniques can be taken far beyond the realm of TaKeTiNa. They can be applied to all kinds of learning situations, and, used in the right way, they can revive our primal fascination with the process of learning. TaKeTiNa philosophy holds that each of us has access to a deeper understanding of our own lives than our waking consciousness can recognize. But this only holds true for the archetypal realm; the world of rhythm archetypes is where the TaKeTiNa learning process begins.

Rhythm archetypes are a mirroring of vibrational laws in our consciousness and form the foundation of our rhythmic knowledge and skills. For a child born in an environment filled with rhythm, these archetypes are naturally activated. Over the centuries, the lack of profound and ongoing contact with drums and rhythm has caused much of the western world to lose contact with these fundamental rhythmic laws in music and in nature. The seeds of this knowledge reside within us yet remain ungerminated; to access them, we need only find our way back.

TaKeTiNa is a profound rhythm experience wherein the body itself is the instrument. Using simple steps, clapping, and call-and-response singing, we internalize the simultaneous constructions. Through rhythmic physical exploration, we recognize that the tools we use in more analytical processes are not useful for all types of learning. We accept that our failures are equally useful as our successes, and we learn to exult in falling in and out of rhythm.

Founded by Austrian percussionist Reinhard Flatischler in 1970, TaKeTiNa is an outgrowth of Reinhard's decade of musical studies and research in Cuba, Brazil, Korea, India, Bali and other countries. The TaKeTiNa process is built on Rhythm Archetypes--a mirroring of rhythmic laws and universal images in our unconscious and a genetic imprint passed down through all time. These archetypes have been uncovered by every culture on earth. In TaKeTiNa, these laws have been synthesized into a coherent process that enables everyone to access his or her own rhythmic ability.

Ta Ke Ti Na: A New Approach to Learning

TaKeTiNa is a new approach to learning, using rhythm as the vehicle.

Many forms of learning are based on a sequential mastery style, in other words one piece of information is built on previous piece of knowledge.

In the experience of the physical, kinesthetic world, this is not always the case.. for instance: learning to walk requires a number of very important and fundamental orientations to balance, weight shifting, eye adjustment... however all of these functions occur simultaneously.

TaKeTiNa uses simultaneity as a way of re-triggering a body- based intelligence that understands orientations to time and space in rhythm. Participants stand together in a circle and are guided into simple stepping patterns with syllables that connect to their movement. After a period to time of stepping, the footsteps begin to "fade into the background " of our awareness and the the next layer of information is introduced. Clapping in a different rhythm than the footsteps is next but cannot be achieved with the use of the voluntary mind. This frustrates the normal way that we have been trained to approach things. However, after a period of time , the knowledge which is already inherent in us begins to assert itself. As the feet are stepping in one pattern and the hands clapping in another, the leader begins to sing in a call- and- response fashion.. first singing in a way to stabilize these two different patterns in the body and gradually beginning to give the group more and more challenging calls that challenge the feet to stay in rhythms or the hands to continue clapping.

This takes participants into situations where they can experience a "safe" chaos, and then the leader will bring the group back to known territory. Now there are two things that begin to happen. One is the a person's personal evolution and the other is the group or collective experience. The group can, as a whole, fall out of rhythm and comes back to balance again. They become more and more comfortable with this planned chaos, knowing that if they become confused that they will find their way back to balance again.

The individual begins to trust that they don't always have to "get things right", that the group as a whole can support their finding their back to familiar ground in the rhythm, and they they have time to find their own way. People report feeling more patient with themselves, finding it funny when they can't "get " it , and being more accepting.

TaKeTiNa is as effective with musicians as with housewives, truck drivers, hairdressers, corporate leaders, and editors. Everyone works at their own level, at their own pace.

But what could this possibly have to do with our world today? This work for lack of a better word is could be seen as a good training for life and the unpredictability and chaos that are part of it. It also orients us toward the kind of awareness that has to do more with being than doing. The liabilities that limit us in this rhythm circle are reflections of the same things that limit us in life; trying too hard, needing to be perfect, fear of making mistakes.. as we find our own way in rhythm we can relax some of the habits of mind that limits our perspective in life.

Course Description

TaKeTiNa is a rhythm playshop in which you practice letting go of your brain's control of your rhythmic abilities and let the brain and body move rhythmically together without your conscious interference.

For anyone who enjoys the natural freedom of rhythmic movement, whether in dance, in playing a musical instrument or in their daily lives, this workshop is a must!

Some people have a fear of rhythm and even the most accomplished musicians often lack confidence in their rhythmic abilities.

TaKeTiNa is structured so that it works for the accomplished musician or dancer as well as for the rhythmically dyslexic. Rhythms are built up from a simple base until the most accomplished person in the group is challenged while at the same time there is always a simpler underlying rhythm which is there for the less able to occupy themselves with.

Zorina Wolf playing the berimbao

About Zorina Wolf

Zorina Wolf is Palo Alto California's local African drum teacher, promoter, and organizer of the US TaKeTiNa teacher training. She also is the leader of TaKeTiNa events and drum classes, teacher of rhythms on the drum, and organizer of Reinhard Flatischler's US West Coast events and teacher training programs. She is also an advanced TaKeTiNa rhythm teacher.

Zorina Wolf has been playing the drum for 15 years and teaching introductory classes in the Bay Area in drum music for the last ten. She began her exploration of the world of rhythm when she connected with her longtime mentor, the late Nigerian drummer, Baba Olatunji. Through Baba's influenece Zorina feels the importance of fostering drum communities based on cooperative teaching and learning. As people learn to play together they can also learn to live together as musical interaction mirrors life.

When Zorina met Reinhard Flatischler, the developer of the TaKeTiNa process, at one of his workshops in 1996, Zorina saw the potential for the next step that she neeede to takes to learn rhythm from the inside out. Zorina completed her three-year basic level TaKeTiNa training under Reinhard Flatischler in 2001, in 2003 she completed her advanced level exam.

More About the Ta Ke Ti Na Experience

The workshop provides a supportive and non criticizing space in which you can work on all those negative messages you give yourself about not being able to do things. Learning to combat these messages helps you to get in touch with your own rhythms and your own innate abilities. This has a strong psychological effect which induces a sense of well being and increases self confidence. The TaKeTiNa process is totally non critical and supportive so that making mistakes is encouraged and you are never punished or humiliated for getting it wrong. Nor does getting it wrong disturb other people or destroy the equilibrium of the group.

We are all rhythmical beings; everybody has a heart beat and a pulse. The first thing the doctor does when he examines you is to take your pulse and listen to your heart beat. Acupuncture, Chinese medicine and Osteopathy listen to many pulses and Rhythms in the body. If our hearts stop beating we die and if our rhythmical functions are disrupted it is a sign of dis-ease in our system. So a new form of therapy which describes itself as therapy for your rhythms is a good thing for people interested in their health and in ensuring that they reach optimum performance in their daily lives. This form of therapy is TaKeTiNa which is a rhythm workshop in which you practice letting go of your brain's control of your rhythmic abilities and let the brain and body move rhythmically together without your conscious interference. For anyone who enjoys the natural freedom of rhythmic movement, whether in dance, in playing a musical instrument or in their daily lives, this workshop is a must do experience.

The workshop provides a supportive and non criticizing space in which you can work on all those negative messages you give yourself about not being able to do things. Learning to combat these messages helps you to get in touch with your own rhythms and your own innate abilities. This has a strong psychological effect which induces a sense of well being and increases self confidence.

The TaKeTiNa process is totally non-critical and supportive, so that making mistakes is encouraged and you are never punished or humiliated for getting it wrong. Getting it wrong does not disturb other people or destroy the equilibrium of the group.

Falling out is encouraged, as a method of learning, so that you have the pleasure of falling back in. If you fall out you are encouraged to enjoy it, not feel guilty and this is the key to how TaKeTiNa works, and explains why it is psychologically healing. Because, in the workshop, adults can receive the unconditional positive support and encouragement that is normally only experienced as a baby.

What To Expect

In TaKeTiNa people stand in a circle around a leader and a surdo player. The surdo is a Brazilian drum on which the main rhythmic beat of the group is maintained. The circle is a healing structure. The leader starts by saying some basic syllables which are repeated by the group, and once their rhythm is established the syllables are accompanied by a simple foot movement. Once this is established a hand movement, usually a clap, is introduced and the group takes on the form of a simple dance. At this stage you can use your brain to control the movements, but the idea of the process is to encourage you to let go of your brain and start feeling the rhythm intuitively, just like you did as a child. In order to allow this to happen the leader introduces a series of calls and responses while accompanying him/herself on a berimbao, which is a simple percussion instrument, also from Brazil. Once the voice is introduced you can no longer manage by an act of will and you have to let go and let the rhythm carry you. The leader can vary the complexity of the calls so that the more advanced group members are challenged while at the same time making sure that the weaker members are still supported.

The calls and responses are sung, but they are simple tunes and no ability in singing is needed. The singing and the movements are highly enjoyable and no previous knowledge of singing, rhythm, dance or anything else is presupposed or necessary to enjoy the workshop.

One of the unique things about the workshop is the way in which it caters for people at all levels of experience, from the most advanced to the least knowledgeable, at the same time. The fact is that, as I have already said, there is no sense of criticism for getting it wrong and no one is ever humiliated or made to feel embarrassed. It is very important both in terms of learning TaKeTiNa and more so in terms of learning to feel confident and capable about rhythm and life. The totally accepting environment is therapeutic in itself and all that is expected of you is that you do what you can comfortably achieve.

The rhythm is held and supported by the gentle base boom of the Surdo. If trying to get a particular rhythm proves too much for you or if you feel you are trying too hard with your brain, you are invited to lie down in the middle of the circle and allow the rhythm of the group and the Surdo to beat through you. Often when you feel ready to stand up again and rejoin the circle, people find that what was previously so difficult has become easy.

Nothing is presumed or expected of you and each time a new movement or sound is introduced it takes the form of an offer which you can take up or not as you please. This is very important as the whole ethos of the workshop is doing less not more with no pressure to perform. TaKeTiNa is a workshop where you can do nothing wrong.

Most people have a fear of rhythm and even the most accomplished musicians often lack confidence in their rhythmic abilities.

Because of the way TaKeTiNa is structured it works for the accomplished musician or dancer as well as for the rhythmically dyslexic and this is because the rhythms are built up from a simple base until the most accomplished person in the group is challenged while at the same time there is always a simpler underlying rhythm which is there for the less able to occupy themselves with.

Each session starts from this basic point so that while people move on they are not rushed and beginners do not get that feeling that the whole thing has moved on and left them behind.

Our earliest experience of rhythm is in the womb and the workshop even provides opportunities to experience something like the beating of your mother's heart in the womb. The basic Surdo beat is the heart beat of the group and provides a maternal support and I always encourage participants to lie down in the middle of the group at least once and feel the mother's heart beat pulse through them.

The workshop is like an ideal neonatal environment in which participants experience only support which is why I say that for optimal psychological health every one should experience a TaKeTiNa workshop at least once in their lives. Just imagine spending a week end or longer in a workshop where you are never criticized and you can never get it wrong. In TaKeTiNa this is especially vibrant because most people's experience of rhythm is that they are criticized for getting it wrong and humiliated by their mistakes.

The Benefits of Ta Ke Ti Na

The reduction of tension and stress that the workshop provides, is health promoting in itself and the fact that it makes you more aware of all the ways you make yourself tense, by being out of touch with your rhythms, completes the picture. It is not a therapy group, although time is allowed for feed back and, as such, Ta ke ti na appeals to men and the groups generally have an even gender balance.

Stress reduction is a common reason for doing TaKeTiNa and many people find that a workshop once or twice a year works wonders in keeping their stress levels under control.

TaKeTiNa is basically a rhythm experience, but rhythm in this sense should not be defined too narrowly, because it is also a movement and a voice experience in which physical co-ordination and posture can be improved. Clearly people benefit from being happy and content and in touch with themselves, and TaKeTiNa also helps with health problems which have their roots in poor posture. Feeling confident about your ability to keep time has helped many people to stand up straight in their bodies and in the world.

Improvements in self-confidence are reported by most participants which spill over into all sorts of situations outside the workshop, both personal and professional. People report increased confidence in presentation skills and increased ease in social situations, especially where dancing singing or clapping in time to the music, are part of the event.

It can even be argued that people improve their ability to relate to others as they learn to listen to and appreciate people with rhythms other than their own. Personally I can say that TaKeTiNa has made me a more tolerant person, more able to see the value in others and to enjoy their company and I am confident that that I am seen as a more sympathetic person as a result. This has helped me in both my personal and professional relationships.

When people do a TaKeTiNa workshop they get something out of it they never expected. Musicians and dancers are surprised at the warmth of the experience and discover the music of relationship, while people who are looking for personal growth find themselves surprised at the level of their artistic involvement and improvement.

Attendance

Spaces are Limited to 40 people so please register early!

When

May 21-22, 2004

Saturday, May 21 - 10:00 am - 6:00 pm
Sunday, May 22 - 10:00 am - 5:00 pm

Location

Remo Percussion Center
7308 Coldwater Canyon
North Hollywood, CA 91605
1 block N of Sherman Way
Phone (818) 982-0461

Fee

TAKETINA in Southern California --- $225.00
Register by April 30, 2005 and save $40 --- $185.00

Please send your check for $225.00 (or $185.00 if postmarked by April 30), made out to VILLAGE HEARTBEAT. All payments are non-refundable. Mail your check to: Janet Planet, Drummin' Fun, 2801 Ocean Park Blvd #207, Santa Monica, CA 90405.

Additional Information

There will be a lunch break both days and there are many restuarants at varying prices within walking distance.

What to Bring

  • Your open spirit and sense of playfullness
  • Water
  • Snacks
  • Yoga mat
  • Dress comfortably! We suggest comfy shoes, dance shoes, or no shoes. We will be on carpet.
Southern California Contact

Janet Planet 310-770-7370 or email janet

Drummin Fun
2801 Ocean Park Blvd #207
Santa Monica, California 90405
United States of America

Phone Number

Main Office Number: 310-770-7370

775
775
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