If yes, 1) How long did you do this? 2) Did you pay or were you paid to do this? 2) If you stopped, what was the reason? 3) Would you like to do this again?
| I started before lockdown and have resumed. I am a volunteer. I plan to work with other disadvantaged groups soon. |
| Ad-hoc workshops for kids with Additional Support Needs. I did it pro-bono through my Dojo. |
| Current, so less than 1 year, no pay |
| We do it regularly with our group, we do not get payed but mostly we get drinks for free |
| Just one performance. Yes, I want to do this again. I want to help people with trauma heal with taiko. |
| question: 1) from September 2019 2) I paid for the lessons 3) I’m not going to stop yet! 4) / |
| 1) 4 classes of 2 hours 2) yes 3) the project stopped 4) no |
| the TaikoPeaceProject nearly 10years, volunteering pop ups & performances (you do not ask money for Peace!) the LadiesFirstProject only 3years and negotiate the fee. We did not stop but we feel less interest after lockdowns … |
| This was a chance show. The family missed our scheduled show and we were packing up. The parents were so bummed out they missed the show (unpaid school spring festival), that we took the opportunity of the unscheduled stage to run our 20-minute show again. Would we do it again? Absolutely. |
| It was a one time workshop that lasted for about two hours, volunteer |
| From the strart of the school, it also functions as a publicity device for the Yamato performance group. 2) the price covers only insurance and other operational costs of the events. 3) yes, please! |
| 20 minutes with small worship. We were paid. We do this often |
| In total we have done the ‘project’ with the young adults at least 5 times in the last 10 years. I did not get paid for this. If they ask me again I would definitely do this again. The tutoring I still do today. For this I just get a small transport fee. |
| No money earned or paid, it was a volunteering experience. I think if some money was paid, it went into the group fund. I would love to teach taiko some day, possibly start my own group. |
| I have been doing this since I became a therapist because I started taiko the same year I graduated, so about 10 years now. I am picky with whom I do rhythm therapy with as I mix a number of different disciplines and due to the sensitive nature of the work I do, I d prep clients for rhythm therapy and negotiate a set timeframe for this. |
| Some shows were for pay or honorarium. Prison shows were free. Gigs come and go. Will certainly perform again. |
| With Triangle Special Taiko it is volunteer, but our group gets the community center practice space and drum storage closet for free (for both Special Taiko and the performing group practices) in exchange. The other performances were either fully paid gigs, “non-profit client discount” gigs, or prop bono gigs. Absolutely interested in continuing and learning more. |
| We do one-time appearances at schools. We are paid to perform. We usually do one or two local non-paid performances a year for the good of our local community and to introduce taiko to more people. The Variety show was one of those events. |
| Only a few gigs as they reached out to us, rather than us seeking out such opportunities. They were paid. I would very much like to continue such outreach programs. |
| It’s part of my music curriculum. |
| Only once no money just love |
| I do this as a volunteer so have only had a few occasions when my diary has allowed it. I would be more than happy to do it again if the opportunity arose. |
| We are usually brought in to deliver workshops to schools and groups and are paid to do this by council or by the groups themselves. We also write funding applications for grants to develop and deliver our own projects. We have a tendency to continue to work long-term with communities as we build such deep bonds and friendships and the taikolove is strong! We will continue to work with communities even if there is no funding or payment, although we are getting better at ensuring this doesn’t happen. |
| It was one show. And we’d love to do it again, but formally. The show was for a family with four kids with autism that came late to one of our regular performances. They were so sad they missed the show, we did it again, just for them. |
| We adapt to the needs that are asked of us. |
| N/a |
| 1 day, unpaid |
| I did this in a professional capacity – qualified teacher – and will doubtless do so again, inter alia. |
| I had this student for a couple of months I think. Whenever I get the opportunity, I’d like to do it. These request come to our group. We usually get paid. I’m getting paid for the time I spent with this lady who comes to my house. |
| Several years. Our group was paid. Pandemic is the reason we stopped. Yes! I would love to do this again. |
| Just once. Then pandemic started. No payment. Yes, I would do it again. |
| – |
| It was an annual gig; I only played it once. |
| 1) 3-4 years 2) I was paid to do this, but it wasn’t that much 3) The reasons were mostly organisational ones 4) Yes, if the circumstances are right |
| – |
| Usually paid (the group, not individuals), sometimes for free or free + transportation costs. |
| Our group was paid gas money and sometimes food was provided. We stopped because of the pandemic. |
| It was a one time hired gig. I would do it again, but would not do a regular class, as I don’t think I would be able or am I qualified to handle small children for longer periods. |
| I get paid to cover the costs. |
| I have created a Sensory-Friendly taiko performance for the Mondavi Center. Sensory-friendly performances are designed especially for individuals with autism spectrum disorders, sensory sensitivities, or other disabilities. During these programs, patrons enjoy shows together with family and friends in welcoming, inclusive and relaxed spaces. We were paid to do this. Before the performance we had time for the audience to come up and touch the drums and bachi and make a bit of noise. We played with the audience surrounding us (on stage….not in the theater seating) and of course we played at 30% sound. There are plans to do another one with Mondavi. |
| 1. I teach in schools with 3-5 / 7-8 kids. 7-8 workshops 1 hour a week and final show. I get paid. I would do it again and hope will start again after the pandemic. 2. We did workshop for young people with Ondine sindrome. Never repeated for lack of funding. Would do it again. 3. I though taiko in for an orchestra of teens in suburban areas of Milan (social-economic distress mainly, but also some psychological problems). I stop for money reason (I didn’t get any reimbursement of expenses and the money was not enough) and because of difficulties in putting taiko together with other instruments such as violin voice and guitar (kids had always to play soft so they really enjoyed our taiko songs and hated to play the song with the orchestra!). I do not know if I would do it again … 4. We did workshop for kids-teens second generation immigrants mainly from Africa of teens in suburban areas of Lecco (social-economic distress mainly, but also some psychological problems). Never repeated for lack of funding. Would do it again. 5. I was working on workshop for Parkinson’s patients (never started due to the pandemic) 6. During my thesis I assisted rev Tom Kurai teaching taiko at the mental criminal hospital of LA. Would like to work in prison, tried here but there was no possibility of getting paid. (My dream is to work with victims and perpetrators and having a moment where using taiko they can confront) |