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The 5th North American


James Word
Senior Assistant:

Reinhard Flatischler
Rhythm Teacher Training 2015 2017

1. The TaKeTiNa Rhythm Process 5

2. TaKeTiNa Today 6

3. TaKeTiNa Teacher Certification Program 7

4. Training Leader and Assistant 8

5. Is the TaKeTiNa Rhythm Teacher Training for you? 10

TaKeTiNa 6. The Training Curriculum 13

is one of the most efficient learning methods 7. Drums and Percussion Instruments 17
available today. 8. Organization, Training Location and Finances 20
is a musical group process that works equally
for professional musicians and beginners. 9 Application, Introduction-Workshop, Enrollment 21
develops rhythmic competence and musical 10. Dates, Application Timeline and Summary 22
creativity in all styles of music.
is currently used in various forms of therapy.
has applications and benefits for health and
wellness that have been studied by scientists
and physicians at three European universities.

For more information visit:

1. The TaKeTiNa Rhythm Process

TaKeTiNa is a unique process capable of activating human and musical potential through
rhythm. It is a path in which musical learning always goes hand in hand with personal

The TaKeTiNa Rhythm Process helps to develop:

profound rhythmic consciousness.
increased competence in playing drums and percussion instruments.
a deep connection to your singing voice.
foundation for improvisation and composition.
real leadership and the ability to facilitate a complex musical group process.
enter a state of deep relaxation.
presence and a state of inner silence.
stay focused for exceptionally long periods.
deal creatively and effectively with chaotic phases.
lessen your anxiety about mistakes and thus, help you make fewer mistakes.

TaKeTiNa enables people to absorb, under- In TaKeTiNa, the body is the main instrument.
stand, and learn in the most natural manner. Using the voice, claps and steps, participants
Instead of teaching rhythmic patterns from an are guided into three different rhythmic layers
intellectual or theoretical base, TaKeTiNa di- simultaneously. A surdo (bass drum) rhythm
rectly guides participants to experience primal stabilises the steps. The claps mark a different
rhythmic movements anchored in the sensory- rhythm and the overlaid call-response singing
motor system of every human being. This rhyth- in ever-changing rhythms leads participants to
mic foundation expresses itself through music fall out, and fall back into rhythm. This process
in every culture. allows action and surrender to merge: I play
and it grooves come together in an experience
that is direct, intense and lasting.

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2. TaKeTiNa Today 3. TaKeTiNa Teacher Certification Program

Today TaKeTiNa is successfully used by more than Ever since 1984, TaKeTiNa Rhythm Teacher Train- In TaKeTiNa, musical and personal evolution are large group settings. The training is conducted
200 certified TaKeTiNa rhythm teachers in music ing has been conducted in small groups, allowing intimately connected. To lead a group TaKeTiNa over 28 days, split into two or three sets. It
universities, rehabilitation and psychotherapeu- the most intensive learning process possible. process, a facilitator needs a variety of skills in concludes with the student leading a one-day
tic clinics, corporate training programs, theatre different realms, operating simultaneously. After public workshop, and giving a separate lecture
schools and elementary schools worldwide. Participants in the 2015-2017 training will be the 5th building proficiency in leading the TaKeTiNa on particular working methods and effects of
cohort to join a growing field of TaKeTiNa teach- process during the Basic Training, teachers may the TaKeTiNa process.
Scientific research has substantiated that TaKeTiNa ers in North America. It will be the first time the choose to continue through several more cer-
can lead to: training has been offered on the east coast. Dont tification levels, which each add successively SENIOR TAKETINA RHYTHM TEACHER TRAINING
profound states of relaxation by stimulating miss this one-time opportunity! broader leadership and musical skills.
heart rate variability. This is the capstone TaKeTiNa teacher train-
the co-operation/networking of the two brain For information about current TaKeTiNa events, basic TaKeTiNa Rhythm Teacher Training ing. It guides students towards embodying the
hemispheres. trainings, workshops and research conducted by TaKeTiNa process in a full and complete way,
This research was conducted 2008-2012 with the fol- the Flatischlers, please visit: This training prepares participants to facilitate and responding with utmost reliance to most
lowing European scientists and physicians an effective TaKeTaNa group process, with any situation that would arise in a TaKeTiNa
For information about the activities of certified responsible leadership and competence. It circle. The training is conducted in 6 sets, over
Dr. A. Lohninger, Autonom Health GmbH, TaKeTiNa Rhythm Teachers please visit: spans three years and comprises 84 training a 3-year period, the world over. The training (Europe) days (two 14-day training sets each year). The concludes with the student leading an entire
Univ-Prof.Dr. Klaus Felix Laczika, Medical University (North America) training concludes with each participant lead- 3-day workshop, and offering a public perform-
Vienna Dr. med. Michael A. berall, Medical Director, (Australia) ing a public TaKeTiNa circle to demonstrate ance, demonstrating accomplishment with
Institute for Neurosciences, Algesiology and Pediatrics Basic Teacher proficiency. voice, drums and other percussion.
Dr. med. Gerhard Mller-Schwefe,
Research published at, awaiting fur- TRAINING
ther publication in 2014 This training prepares and qualifies participants to
This training extends what was learned in the provide TaKeTiNa teacher trainings to others. Can-
Basic Teacher Training. It prepares the stu- didates prepare through apprenticing as teaching
dent to take the TaKeTiNa rhythm process into assistants, to Reinhard Flatischler, during a mini-
universities, schools, conventions, and other mum of two TaKeTiNa Basic Teacher training sets.
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4. Training Leader and Assistant

Reinhard Flatischler James Word

Musician, Composer, Founder of the Senior-TaKeTiNa-Rhythm-Teacher
TaKeTiNa process, Training Leader in Master training

Born in Vienna, July 1950 Holds a degree in psychology from the University of
P iano concert diploma at the Vienna University of Music California Berkeley, where he focused on Buddhist psycho
under Prof. Bruno Seidelhofer logy, dreamwork, and musical perception
M  ore than 15 years of continous drumstudies with master- Studied African drumming for several years with S. Kwaku
drummers in Asia, Africa and Latin America Daddy
F ounder and composer of MegaDrums, a musicgroup that Resided for two years at Kanzeon Zen Center, where he
includes Airto Moreira, Zakir Hussain, Glen Velez, Leon- studied and trained with Zen Master Genpo Roshi, founder
ard Eto (KODO), Milton Cardona and Steven Kent amonst of the Big Mind, Big Heart process, and Tenkei Roshi
others. (then Tenkei Sensei), abbot of Zen River Temple in North-
M  ember of the Scientific Commitee in the International ern Holland
Society for Music in Medicine Has been a regular guest lecturer at the UC Berkeley and
F ounder of the project TaKeTiNa and Paintherapy that is currently teaches the Rhythm and Sound course at The
hosted by the German Socity for Paintherapy Sound and Consciousness Institute in San Francisco,
M  ember of the Society for Chronobiological Research California.
Vienna Founding member of the North American TaKeTiNa As-
F latischlers award winning CDs are amongst the best- sociation. He has brought TaKeTiNa to companies and
selling in the field of percussion institutions like REMO, The American Music Therapy As-
F latischler book, The Forgotten Power of Rhythm is con- sociation, and The San Francisco Conservatory of Music
sidered a standard work in music literature. Has facilitated international workshops in France, Germa-
ny, Austria, Australia and regularly offers classes, work-
shops, and private trainings in the San Francisco Bay Area

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5. Is the TaKeTiNa Rhythm Teacher Training for you 5.4 Motivation for daily practice 5.6. Qualification / Certification

The TaKeTiNa Rhythm Teacher Training is a The TaKeTiNa Rhythm Teacher Training
5.1 Recommendation 5.3. Motivation comprehensive, professional training that will concludes with a qualification-set, in which
require regular practice in order to master the each participant will guide beginners through a
This training uses rhythm to stretch many realms For everyone involved, the training implies a necessary skills. Applicants should be clear TaKeTiNa process for 2 1/2 hours.
of human potential. It is particularly recom- lot of inner and outer work. The intense immer- about their motivations and their ability to Every participant receives detailed feedback on
mended for musicians, dancers, actors, educa- sion in rhythm creates an expanded awareness, practice regularly. From the second training-set his/her qualification set. Successful participants
tors, social workers, therapists, healing arts which is not only the prerequisite to lead a group onwards, participants will need to work with a receive certification. Anyone who is not able or
professionals, life and business coaches, and through the TaKeTiNa process but also promotes practice group at their home location to prac- willing to build an adequate skill level during the
corporate trainers. personal growth. Everyone intending to partici- tice various skills. training may choose to do the qualification-set
pate in the training should have developed the during any other TaKeTiNa Supervision.
following qualities:
5.2. prerequisite 5.5 Training Goals
Self-motivation: the ability to continue the cho-
Although no musical skills are required, all ap- sen path independently, especially when facing The goal of the TaKeTiNa Rhythm Teacher Train-
plicants should have: difficulties. ing is to enable each participant to effectively,
Self-responsibility: the ability to respect ex- joyfully and successfully lead groups with the
some basic knowledge in music theory. isting limitations and the curiosity to expand TaKeTiNa Process. The training will provide par-
participated in at least one TaKeTiNa workshop. beyond those limitations. ticipants with the following skills:
the intention to work with the TaKeTiNa pro Curiosity and positive regard for other human
cess after the training. beings. Music: playing drums and percussion instru-
some experience in meditation and ments at a high level.
self-awareness. Leadership: leading TaKeTiNa rhythm work-
shops effectively, helping people to overcome
their personal limitations and develop intui-
tion, creativity and presence.
Knowledge: competence in knowing the effects
of rhythmic phenomena and their practical

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6. The Training Curriculum

Training set #1 Training set #3

Berimbau skills necessary for the TaKeTiNa Starting to lead parts of the TaKeTiNa Process
process under direct guidance - Structure Evolution,
Voice training: Developing a resonant voice in Field Stabilization. Participants start practice-
speaking and singing. Overtone - singing and groups in the home location.
basic interval training. Reading the body language of people attend-
The simultaneity of drumming and storytelling ing the process.
- learning to lead while playing Berimbau playing in faster tempo with more
Understanding and implementing the princi- complex structures.
ples of the TaKeTiNa process Surdo: playing in faster tempo with more com-
Sensomotoric training - entrainment of primal plex structures, the interplay of leader and
rhythmic movements: Offbeats, Cycles and Surdoplayer.
Subdivisions. Drum classes: simple improvisation, creating a
Independence and coordination of Left-Right simple composition with rhythm elements and
arm movements with Grello Caxixi Exercise. the voice, practice in drum ensembles.
Basics in body reading during the TaKeTiNa Voice training: learning all Matrixcalls while
Process. playing Berimbau, finding scales and melodies
Selecting the drum for the drum opening for the Call Evolution. Learning to find a basic
(Changgo or Conga) tone.

Training set #2

Surdo skills necessary for the TaKeTiNa pro

cess - Various Surdo Melodies, Energywork,
various ways to accompany the process.
Initiating the drum - Changgo / Conga basic
skills for the drum opening
Deepening berimbau skills, playing faster and
learning more complex rhythms
Learning the Call-Evolution with stabalizing
and destabalizing calls: Mantra, Matrix-call
and Energylines
Voice training: intonation, interval and singing

Training set #4 Training set #5

The Art of Induction (preparing the group for the T he Art of Induction (preparing a group for the
process) process) - deepening the skills.
Berimbau: leading the structure - opening with B erimbau and Surdo: integration of skills in lead-
berimbau. ing dynamic sets.
Surdo: Learning the turning movements, left-right B alancing groove and tool calls in the call
independence and the interplay between leader - evolution.
and surdo player. Deepening the skills involved in D  ynamic sets - deepening the understanding of
speaking to the group while playing the drum. the effects in of the TaKeTiNa process.
Dynamic sets - a way of learning to stay fully D  rum classes: Continuing drum opening sets, also
present while leading the group process. In gaining strength in a guided six hour play through.
a secure setting, participants will encounter Preparation for the Qualification Set.
personal behaviour patterns that hinder the
process. Contracting and dissolving dynam-
ics of the leader will surface. A lack of presence Training set #6
is mirrored through rhythm and can be trans-
formed by rhythm. Participants learn to read the The final training set is the qualification set during
relevant signs in the field and gain competence which each participant will lead an open TaKeTiNa
for responsible leadership. workshop for 2 1/2 hours. Other training partici-
Drum classes: Starting Drum Openings, putting pants and the leader will observe and witness the
the principles of the drum opening into a practi- process. Each participant will receive detailed
cal context. feedback from the group.

7. Drums and Percussion Instruments

7.1 TaKeTiNa Instruments

The art of playing Surdo and Berimbau is an integral part of leading a TaKeTiNa circle. An enormous
part of the training is dedicated to the evolution of the skills necessary and the integration of these
instruments into leading the TaKeTiNa process.

The Surdo Caxixi and Grello

The Surdo is a double headed, cylindrical bass The rattle, perhaps the oldest percussion instrument
drum from Brazil. It not only marks the pulse of humankind, not only marks a distinct rhythm, but
of Samba, it also represents the heartbeat also has a powerful trance-inducing effect. The Caxixi
of TaKeTiNa. No other drum provides such a rattle used in the TaKeTiNa Process allows combina-
steady rhythmic foundation like the pulse of a tions of accentuated and soft sounds and opens the
Surdo. It accompanies and stabilises the steps possibility for rhythmic structure.
of the participants - it is the Mother Drum.

While the leader plays the Surdo, he/she leads

the TaKeTiNa circle with words - speaking and
playing simultaneously, just as ancient story-
tellers have led their audiences into the simul-
taneous perception of the unequally spaced
rhythm of the words and the steady flow of the
drum rhythm.

The Grello is an iron castanet from West-Africa

that makes it possible to clap with one hand. The
combination of Grello and Caxixi open a door for
an unlimited number of rhythmic variations. Grello-
Caxixi exercises, as developed by Reinhard Flatisch-
ler are a powerful tool for developing left-right in-
dependence and coordination. As recent TaKeTiNa
research shows, these exercises trigger an intense
networking between the two brain hemispheres.

The Berimbau

Also originating form Brazil, the Berimbau is a

single-stringed music-bow that blends sound and
rhythm. It naturally supports the singing voice of
participants. Although this instrument may look
simple, it requires a complex playing technique and
provides an abundance of musical colours.

7.2 The Drums for the Drum Opening

Participants of the training will also learn to play Changgo

one drum of their choice: Conga or Changgo. represents the interaction of left and right side.
Origin: Korea
In the training both drums are played on a stand
or hanging on a strap, so that participants can The Changgo is a double-headed drum from Korea,
move freely with their feet. The goal of a drum played in the shaman cut ceremonies. The Changgo
opening is to create a stable rhythmic foundation is played with a thin stick (Jolche) and wooden mallet
for the leaders voice to improvise. (Gungulche). It can also be played with hands.
The drum-body has an hourglass shape and the left
skin, called Kung Pyon literally means Door to the
Conga / Atabaque / Kpanlogo Drum other worlds while the right skin, call Tsche Pyon
represents the energy connecting with the earth represents the Door to the rational world and is
Origin: Africa, Cuba, Brazil connected to the structuring quality of the right hand.
Playing the Changgo generates a deep understanding
These drums are played by hand and even the of the cooperation between the two sides of the body.
slightest change in the palm posture alters the
sound. The combination of open, bass, muffled Although the Changgo is a Korean drum, it represents
sounds and slaps allows musicians to create ever the archeytypal principal of a transversal drum and is
changing sound-landscapes. a great instrument for the drum opening.

7.3 Learning Drums with TaKeTiNa

Learning drums with TaKeTiNa involves the whole body: steps, arm movements and the voice.
This working method enables you to:
experience several different rhythms at the same time.
create musical complexity even if the hands are playing a simple rhythm. When foot movements,
hand movements and voice interact, they sound interesting and complex. Even a slight change in
one layer creates a completely new body sensation.
practice drum sounds or rhythm elements over a long period of time without getting bored.
understand how archetypal rhythmic movements are linked together in music, leading directly and from the
very beginning to the art of improvising.
8. Organization, Training Location and Finances 9. Application, Introduction Workshop, Enrollment

8.1 Organisation 8.2 Training Location 9.1 Application tion price. Fees for workshops in other cities will
be the same as for the general public; Contact the
All sets of the training will be held at Dahlonega Spa All prospective students must complete an ap- local organizer for registration information. If you
Resort, in the foothills of the Blue Ridge Mountains plication available at are applying from outside the U.S. and cannot
north of Atlanta, GA. Dahlonega Spa offers comfort- Send your application by email to the Organizers, attend any of the Introduction Workshops, please
able single or double accommodations in a serene Amy and Colleen, who will forward it to Training contact the Organizers for other arrangements.
environment with expansive mountain views, nature Leader, Reinhard Flatischler. A maximum of 33
trails and an outdoor Jacuzzi. DSR serves meals students will be selected by Mr. Flatischler after
focusing on healthy, seasonal ingredients and can reviewing all applications and meeting each can- 9.3 Student Acceptance and Enrollment
accommodate special dietary requests. Dahlonega didate in person at one of the required Introduc- Agreement
is about 90 minutes by car from Atlantas Hartsfield- tion Workshops.
Jackson International Airport (ATL). Selected applicants will be sent an invitation to
This training is organized by Colleen Caffrey participate and an Enrollment Agreement. The
and Amy Jackson of DrumRise, an Atlanta-based 9.2 Required Introduction Workshop and Enrollment Agreement is a contract between the
Information Session participant and the organizers stating the rights
company offering educational programs that
and obligations of both parties. It will remain
harness the power of rhythm to promote joy, 8.3 Costs of the Training
All applicants must attend one of the Introduction in effect throughout the entire training except
community connection, health and wellness. Workshops, offered in several North and South in cases of serious illness or death. Students
Both Amy and Colleen are TaKeTiNa teachers Cost of the training is $24,988, which includes American cities in 2013 and 2014. must enroll in the entire Training as a whole; it
who were members of the 4th U.S. training and tuition, meals, and double-occupancy lodging. A Introduction Workshops are public TaKeTiNa is not possible to attend individual classes or
are passionate about seeing the TaKeTiNa field limited number of single-occupancy rooms will be weekend workshops conducted by the Master sets. Students choosing to enroll must send their
grow. They have extensive organizational expe- available for an additional charge on a first-come, Teacher, Reinhard Flatischler which will include signed contract and tuition deposit to the organ-
rience, having hosted numerous international first serve basis. A non-refundable deposit of an information session for prospective students to izers by the Enrollment Deadline to secure their
teaching artists in Atlanta, including Reinhard $4,988 is required to complete the students en- learn more about the Training and for Mr. Flatis- enrollment.
Flatischler and Guinean master drummers Ma- rollment. Payment plan and credit card payment chler to meet the prospective students.
mady Keta and Famoudou Konat. options are available. The list of Introduction Workshops scheduled as
of this printing is subject to change. Please see 9.4 W
 aiting List
Please contact DrumRise for any ques- for current schedule.
tions about organization, administration and 8.4 Required Instruments Students not selected during the normal enroll-
logistics. Prospective students who submit their applica- ment period may be placed on a waiting list. If the
PO Box 33054 Instruments necessary for the training are: berimbau, tions by August 15, 2014 will receive an invitation Training is not full after the matriculation dead-
Decatur, GA 30033 surdo, caxixi, grello, ankle bells, and either conga or to attend the September, 2014 Atlanta Introduc- line, applicants on the waiting list may be invited
tel: 404-784-2462 changgo, as well as appropriate mallets and sticks. tion Workshop for a deeply discounted registra- to enroll.
email: Cost for these will range from $850 to $1500, depend-
ing on the quality of the instruments. Organizers can
offer advice on purchasing instruments.
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Celebrating Our New Collaboration with TaKeTiNa and Reinhard Flatischler

Remo has been an innovator of percussion products for over 50 years and has also
been an unswerving advocate for the use of rhythm for wellness, celebration, commu-
nity building and so much more.

As a result of Reinhard Flatischlers creativity, dedication and vision, the TaKeTiNa

10. dATEs, APPLIcATIoN TImELINE ANd summAry methodology has created wonderful outcomes for individuals and organizations for
over 40 years. Together We Move Forward In Rhythm.
10.1 PubLIc TAKETINA WorKshoPs 2013 Acceptance Notification: October 31, 2014
Enrollment & Deposit Deadline: November 30, 2014
Reinhard Flatischler will be on Tour in North and Training Begins: March 3, 2015
South America in Fall, 2013. These public workshops
are opportunities to experience TaKeTiNa in depth
and help you decide if the Training is right for you. 10.4 TrAININg dATEs & schEduLE
Currently scheduled dates are below. But please
see for up to date schedule. Set 1. March 3, 2015 through March 17, 2015
Set 2. September 22, 2015 through October 6, 2015
October 11-13, 2013 San Francisco, CA Set 3. April 5, 2016 through April 19, 2016
October 18-20, 2013 Atlanta, GA Set 4. August 30, 2016 through September 13, 2016
October 25-27, 2013 Boston, MA Set 5. March 7, 2017 through March 21, 2017
November 2-4, 2013 Bogot, Colombia Set 6. August 29, 2017 through September 12, 2017
[also an early Introduction Workshop]
November 8-10, 2013 Sao Paulo, Brazil All Training sets will begin at 8 pm on the first day
[also an early Introduction Workshop] and end at 1pm on the last day.
November 15-17, 2013 Sao Paulo, Brazil
[also an early Introduction Workshop]
10.5 summAry

10.2 rEquIrEd INTroducTIoN WorKshoPs The TaKeTiNa Rhythm Teacher training will qualify
(ATTENd 1 or morE) you as a true group leader, a competent musician
and will place you firmly in an innovative area at
November 2-4, 2013 Bogot, Colombia the intersection of music education and personal
November 8-10, 2013 Sao Paulo, Brazil development. A commitment to regular instrumen-
November 15-17, 2013 Sao Paulo, Brazil tal practice and group practice is essential. Due
March 7-9, 2014 Dallas, TX to the intensity of the training, a maximum of 33
September 26-28, 2014 Atlanta, GA participants will be accepted.
October 3-5, 2014 San Francisco, CA


Early Application Deadline: August 15, 2014
Publisher: Rhythm Synergy, LLC PO Box 33054, Decatur, GA 30033
(Apply by this date to receive an invitation for Layout and graphic design: M4 Media, Mnster, Germany,
discounted registration at the September 26-28 Photo credits: Archive Flatischler, G. Menzel, O. Werbach
Copyright by TaKeTiNa Institute for Rhythm Education and Rhythm Research
Introduction Workshop in Atlanta.) D-82377 Penzberg, Zist 3, Germany, Europe
Application Deadline: October 15, 2014 All rights reserved.

Its time to stop thinking of the drum as just a musical instrument. Start thinking of it as a unifying tool
for every family, a wellness tool for every retiree, and educational tool for every classroom. - Remo Belli
Rhythm for Evolution

FLA 161