Today we’d like to introduce you to Kenny Endo

Hi Kenny, so excited to have you with us today. What can you tell us about your story?

My life’s work has been in music, specifically, taiko (Japanese drumming).

In 1975, I started out in California with the Kinnara Taiko (based in Los Angeles at Senshin Buddhist Temple) and the San Francisco Taiko Dojo. Outside of Japan, kumi daiko (ensemble drumming) was just beginning . Wanting to learn about the roots of taiko (and the roots of my family), I went to Japan in 1980 and studied and was able to work with great teachers and musicians of Japanese instruments who were involved in contemporary music. In 1990, my wife, Chizuko, and our two children moved to Honolulu where I pursued a Master’s Degree in Ethnomusicology at the University of Hawaii. We established the Taiko Center of the Pacific in 1994. Honolulu has become home.

In 2025, I will celebrate 50 years of being a performer, composer, and instructor in this art form. In some ways, I feel like I’m just getting started. The instrument itself is perfect, so the challenge is: how can we match its beauty or give it the life it deserves. My work during the past 50 years has been to chase the elusive goal of becoming the best that I can and do justice to the instrument.

I’m sure it wasn’t obstacle-free, but would you say the journey has been fairly smooth so far?

As with all paths worth pursuing, there are both positive and negative aspects to deal with.

The heaven: The drums are made from a single tree trunk and the skins come from cowhide. The maker of my taiko is a company called Miyamoto Unosuke Shoten. Their taiko are works of art- they look amazing, sound incredible, and have a spirit waiting to be released. When I practice or perform taiko, I feel like I chose the right path and feel truly happy and alive.

The hell: The drums are big and heavy. They require the utmost care in maintaining their condition and must always be moved around and transported carefully. The logistics of moving trees and cows around takes a lot of planning and time. If people aren’t careful, they can get injured by mishandling the taiko.

It’s difficult for artists (both performing artists and visual artists) to make a living from their art in most countries around the world. Unfortunately, art is not valued for what it can offer to society but is seen as extracurricular, entertainment, and a luxury. The arts have the potential to heal, to communicate, and to bring people together.

At the same time, for me, through music, I’ve met the most wonderful people and had the best experiences. I’ve realized that basically people are the same everywhere and that peace is not a lofty idealistic concept but a real possibility which takes much effort and wisdom.

As you know, we’re big fans of you and your work. For our readers who might not be as familiar what can you tell them about what you do?

It has been amazing to be a part of the blossoming of the art of taiko Taiko groups can be found all over the world.

My performance activities are primarily with my ensemble, performing solo, or collaborating with other artists. In my performances, there is a lot of collaboration going on, mostly between east and west. This happens through the instrumentation, the musical and artistic backgrounds of the performers, and the general esthetic of the presentation.

In addition to performing, I continue to compose and teach regularly. For myself, tradition has been a basis of innovation.

Our school, Taiko Center of the Pacific (TCP), is in Honolulu, where we teach public classes from age 2 through senior citizens. In 2024, Taiko Center of the Pacific marked 30 years since being established. Within TCP, we have an adults performing ensemble and a youth performing group. Looking to the future, we are now working on bringing new leadership to the organization.

We have tried to stress the importance of Japanese values and important ideas such as: respect, hard word, quality of mind-body-spirit, basic form and technique, listening, being aware of what’s going on around you, and coming into the dojo (place of learning) with a good attitude.

If people are able to become better human beings and respect each other, the world will improve. That should take precedence over technique, form, and performing well.

Are there any apps, books, podcasts, blogs or other resources you think our readers should check out?

The Teachings of Don Juan: A Yaqui Way of Knowledge by Carlos Castaneda

Go Rin No Sho by Musashi Miyamoto

Tao of Jeet Kun Do by Bruce Lee

Change We Must by Nana Veary

Ten Shin Mao: The Way of Zen by Master Tanouye Tenshin

Confronting Silence by Toru Takemitsu

Pricing:

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Contact Info:

• Website: https://www.kennyendo.com
• Instagram: booking: Karen Fischer, Pacifika Artists Network, email: [email protected]

Image Credits

personal photo: Toyo Miyatake

sitting onstage: Shuzo Uemoto

playing set: Marcia Campbell

green Odaiko: Raymond Yuen

rhythm summit trio: Marcia Campbell

tsuzumi: Jorge Vismara

Navajo: Kinnara Gagaku