Taketina

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TaKeTiNa is a musical group process with which the participants can develop a sense of rhythm. This concept was developed by the Austrian musician and author Reinhard Flatischler since the 1970s. Flatischler assumes that every person has a rhythmic talent, to which he can be given access by means of TaKeTiNa rhythm education. He understands rhythmic learning as human learning. His TaKeTiNa rhythm textbook Rhythm for Evolution received the Comenius EduMedia Award .

Mode of action

Flatischler presents the essential elements of the TaKeTiNa process as follows:

voice

Every exercise begins out of silence with the rhythmic voice . In this talk , the participants of a TaKeTiNa rhythm loop certain rhythm -Silben ( "rhythm Mantras " as "Ga Ma La", "Ta Ke Ti Na", "Mu San Ga La" et al.). Starting with speaking these syllables, rhythm develops in such a way that it is realized on different levels with the body. As a result, the rhythm should not only be understood from the head, but should also gain entry into body awareness.

steps

Starting with speaking the rhythm mantra, steps are set on certain syllables . This enables a first rhythmic level to be realized in the body.

Clap

If the taking of the steps is anchored in the body, another rhythmic level is added. This is realized by clapping - also starting from the rhythmic voice . Here again certain syllables of the rhythm mantra are underlined with clapping. The rhythm of clapping contrasts with the rhythm of steps ( polyrhythmics ).

Call & Response Singing

If the clapping is also anchored in the group, speaking the rhythm mantra is replaced by mutual singing. The trainer sings different specific patterns ("call") during a rhythmic unit, the group answers in the following unit.

simultaneity

In the course of the exercise, different rhythmic levels are realized simultaneously (steps - clapping - call & response). Because of this simultaneity , a voluntary, thought-based control of each of these individual levels is impossible. In order not to fall out of the rhythm, it is necessary to anchor the different rhythms (and thus the different body movements) in the body consciousness so that they can become autonomous movements (“as if they go by themselves”). The anchoring of a rhythmic level in body awareness is made easier by the next level above: the waking awareness is busy with internalizing the next level and can no longer “take care” of the level below. This shapes and expands the abilities of body awareness. The rhythmic simultaneity allows perception to expand: for example, the focus is initially directed alternately on the movements of the feet and hands and then finally merges into a bifocal or multifocal unit. The simultaneity of "actually" contradicting sensations becomes possible in this way: thinking and feeling, intention and devotion, doing and letting happen.

Individual learning in a collective

In a TaKeTiNa rhythm journey, rhythm happens through the group , the participants of the journey take steps, they clap and they sing. This brings rhythmic information into the room: optically, acoustically. This information is available to all other participants in the group, so they can use it as a guide if they should have fallen out of the rhythm. At the same time, the group is a common field of experience for each individual participant. When a common rhythm is realized, the group becomes a collective .

Learning at your own time

In TaKeTiNa, each participant can learn individually and in their own time at the point where they are. Since maintaining the rhythm does not depend on a single group member, everyone can take as much or as little of the rhythm as they like at any time.

The rope “knows” the rhythm

Rhythm archetypes, rhythmic magnetism

TaKeTiNa assumes that there is “rhythmic primal knowledge” of humanity. These rhythm archetypes are rhythmic patterns and certain polyrhythmic connections that are not only common to all cultures, but can even be physically proven in some cases. An example is: A skipping rope is rotated with a certain frequency, the resulting arch spans from one side to the other. If the rotational frequency is increased, a short chaos phase occurs above a certain frequency, and a junction is then formed in the middle of the rope: the rope divides into two halves. If the frequency is increased again, the same thing happens again, only the rope then divides into three parts. These nodes are comparable to the harmonics on the guitar . The interesting question here is how the rope “knows” where it has to part. This is explained in TaKeTiNa with rhythmic magnetism: There are certain rhythmic points that have an attractive effect - on a rope as well as on the rhythmic feeling of the person. However, the phenomenon cannot be fully explained physically, there is no scientific evidence for a “rhythmic magnetism”.

Learning in alternating phases of chaos and order

A structure of a polyrhythmic TaKeTiNa journey controlled (exclusively) by will and thinking is not possible. During the construction of the rhythm journey, there are always phases in which individual participants inevitably “fall out of the rhythm”. These chaos phases are of central importance for learning as it happens in TaKeTiNa and are therefore wanted. By falling out, the participants are encouraged to catch up with the rhythm again. In doing so, they can find out how it is best to find their way back in, they can experiment - the more often they fall out, the more they can experience. You can also find out here that the best way to get back into the rhythm is when you find yourself in a balance between intention (“I want to join in again”) and surrender (“surrender to the rhythmic flow”, “let it happen”) : Then it is most likely to be “caught” by rhythmic magnetism. If too much willingness is involved, finding your way back into it becomes difficult or even impossible.

Mirror of own behavior patterns - transformation of behavior patterns

If a participant in the exercise falls out of the rhythm, "inner voices" can appear that comment on the falling out. These comments can be benevolent (“well that was probably too much”), but they are often derogatory, express dissatisfaction, and evaluate the failure as a “failure”. These "inner voices" are seen in TaKeTiNa as a 1: 1 image of those inner voices that comment on our actions in daily life. In the TaKeTiNa process, the participants are invited to see falling out as an integral part of the (learning) process and to welcome it as such, TaKeTiNa wants to arouse the participants' curiosity about what happens when we fall out of the rhythm. This also includes perceiving these “inner voices” as such - and also perceiving that they are commenting. Everyone can then decide whether they want to follow this voice or not. In the TaKeTiNa process there is the possibility to discover learned behavior patterns, to look at them and to decide whether one wants to keep them or not. If you don't want it, the behavior can be changed during the TaKeTiNa process (quasi “experimentally”, because the TaKeTiNa process is a time-limited space). If such a change took place during the TaKeTiNa process, the new behavioral repertoire could also have an impact on daily life.

Instruments used

The basic pulse and thus the pulse for the steps is played on the surdo . Its sound is soft, but penetrating and present.

The course leader accompanies himself on the berimbau during the Call & Response singing . Its clear sound represents the basic tone of the song and can be rhythmically very varied.

The Caxixi has a very concise sound that asserts itself well.

The Grelot (a bell ) is played by putting a metal ring over the thumb and hitting it against the Grelot, which is placed on the middle finger. The sound is bright and penetrating. Together with the Caxixi, the Grelot can make two rhythms at the same time: one with the right hand, the other with the left.

  • Berimbau

  • Caxixi

  • Surdo

Individual evidence

  1. ↑ http://taketina.com/?Books
  2. ↑ Arte: Therapists learn the groove. With rhythm to healing Video, 4:24 minutes

literature

  • Reinhard Flatischler: The way to rhythm. Ta Ke Ti Na . Synthesis, 1993. ISBN 978-3922026488
  • Reinhard Flatischler: The forgotten power of rhythm. TA KE TI NA. The rhythmic path to awareness . Synthesis, 1994. ISBN 978-3922026280
  • Reinhard Flatischler: Rhythm for Evolution . Mainz, 2006. ISBN 978-3795705398
  • Reinhard Flatischler & Kirsten Becker: TaKeTiNa - Ur-Kraft Rhythm . Paderborn, 2009. ISBN 978-3-87387-722-1
  • Reinhard Flatischler: TaKeTiNa - The healing power of rhythmic primal movements . Irisiana 2012. ISBN 978-3424151558

Web links