Friday night at Joe's Pub downtown on Astor Place I saw the Kodo drummers so close up that when I lifted my drink to toast them, one of these incredible musicians lifted his hand drum and clinked my glass.
I'd seen them many times before — as I have seen many different taiko drum groups. But they'd never played such a small venue in the US. Last time they were here they were at Carnegie Hall.
Okay. I admit it. One reason I go is because they're just so damn hot. The intense masculine sexuality just drips from the stage (along with the sweat that splashes off their foreheads). But there's nothing more joyously primitive (and I mean that in the best possible way) than letting go into a complex percussive rhythm. It is transcendent in the way that great sex with deep connection is transcendent — and it should be no surprise to anyone who sees Kodo to learn that their art is a spiritual discipline. It's nothing less than an erotic connection to the great heartbeat of the universe.
Even better, the other night at the late show, they brought out guest artists from Urban Tap (performing later this month at the Joyce). One singer/dancer sang words from Psalm 137:
"By the rivers of Babylon, there we sat sat and wept, as we thought of Zion. There on the poplars we hung up our lyres, for our captors asked us there for songs, our tormentors, for amusement, "Sing us one of the songs of Zion." How can we sing a song of the LORD on alien soil? If I forget you, O Zion, let my right hand wither; let my tongue stick to my palate if I cease to think of you, if I do not keep Jerusalem in memory even at my happiest hour."
It was rather dizzying to experience, a true 21st Century moment, to see Japanese drummers and a black modern dancer/singer perform an ancient Hebrew lamentation. It was dis-occidenting to hear this psalm performed and given deeper resonance by a descendant of kidnapped African slaves and by a musical troupe that formed out of the ashes of WW2. It gave voice to every refugee and victim whose strategy of survival is performing for the ruling culture even as their hearts break. It was achingly beautiful to see.
This was followed by another artistic collaboration with the dancer Tamango — to call him a tap dancer doesn't do his art justice — his movement in percussive improvisation with the drummers was a controlled competitive musical explosion/expression of joy.
I hope Kodo comes back soon and continues to play with other artists.
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