While the Ta-Ke-Ti-Na Rhythm process combines principles and methodologies
from various fields, it is best practiced in bare feet and involves many aspects
that advance from spiral line principles elaborated in the Eas-i-Chi application
of tri-lateral balance center integration, bilateral coordination, and
In Ta-Ke-Ti-Na, music, dance, communication, neurological research, and chaos theory are integrated to create a new process for learning and transformation.
It is nearly impossible to do two different movements simultaneously using
only an active, controlled awareness. However if we allow one rhythmic
movement to slip into a passive state we can deliberately, actively and
analytically create a second layer that differs from the first.
Moving from the labyrinth through Eas-i-Chi to Ta-Ke-Ti-Na you experience enhanced gradients of the conscious and unconscious levels interlacing.
Chaos is a natural and vital part of the rhythmic process and performs the same role in human physiology. At certain intervals every organism falls from it's existing order into a state of chaos and then back again. In actuality, our hearts go: lub drub, lub drub, lub ip-ub, lub drub, etc., with intermittent pulse intervals (IPI) as a natural synchrony and idiosyncratic emblem of the way the universe operates.
The challenge in rhythmic chaos is to let go of control, to allow confusion. When we learn to drop out of the rhythm without panic, we find returning to it happens by itself".
Ta-Ke-Ti-Na Rhythm Process is a unique transformational music learning approach, which employs, polyrhythm and cross rhythm by integrating the feet, hands, and voice. As well as being highly musical Ta-Ke-Ti-Na is a deeply relaxing and meditative process that requires no musical experience.
Ta-Ke-Ti-Na provides a mirror for personal processes that enables participants to transform patterns inhibiting ones life and relationships. Participants are guided into a state of rhythmic simultaneity, where one experiences a mode of being both active, and at the same time passive. Sooner or later as the established steps and claps are challenged, participants experience a state of falling in and out of rhythm.
What do you do or feel in this moment of chaos?
How do you witness your own learning process?
How do you find your way back?
As a group process Ta-Ke-Ti-Na facilitates access to the body's intrinsic rhythmic knowledge. Instead of being taught random rhythm patterns, participants are guided into the experience of rhythm archetypes - the underlying structure of all forms of music.
Participants interested in a holistic movement and voice-oriented method of relaxation and meditation, as well as those wanting to gain a deeper rhythmic knowledge, can benefit from this process.
No musical experience is necessary.
As a nonlinear learning process Ta-Ke-Ti-Na allows participants to go at their own pace of learning.
A profound rhythmic body knowledge, which impacts on the body's natural rhythms
A natural rhythmic orientation that develops rhythmic competence and creativity.
A mirror for personal processes that enables participants to transform behavior
patterns inhibiting ones life and relationships. A deep relaxation and
vitalization of the nervous system and body rhythms. An encounter with primal
rhythmic knowledge A completely new way of learning and understanding rhythm
Universities, music conservatoriums and music schools at all levels Ta Ke Ti Na
is officially part of the curriculum at music conservatoriums located in
Hamburg, Zurich and Switzerland and most recently at the University of Music and
Performing Arts, Vienna.
Percussion and drum schools.
Theatre, dance companies and corporate training programs Pain management and psychotherapy, social work settings including prisons, drug rehabilitation programs and communication programs Meditation practices.
For more information on this process please visit www.taketina.com
Stepping, Clapping, Vocalizing.
For most of a session you will be taking small steps to the left and right for between 2½ and 3 hours so comfortable footwear (or bare feet) are encouraged. If this sounds like too much hard work then bear in mind that should you get tired at any point then you will be more than welcome to lie down in the middle of the circle and listen to the music.
There is no pressure to "do any or all of it". Taking such a break during the session is a wonderful experience and I would encourage you to sample it at least once during a session. Remember, it also helps to take small steps!
At the end of the Ta-Ke-Ti-Na session there is also a relaxation phase on the floor for 5 to 10 minutes.
Ta-Ke-Ti-Na allows you to explore and have fun with complex musical forms using an instrument that we can all play - the human body!
The process is deceptively simple but it is a surprisingly effective method of teaching rhythm.
Ta-Ke-Ti-Na works closely with body rhythms, stepping, clapping, chanting, laughing, falling in and out of rhythm.
It is easy, playful, simple and enjoyable whilst at the same time being a profoundly unique experience.
No pressure to get it right - making mistakes is all part of the fun!
Ta-Ke-Ti-Na relaxes, rejuvenates and revitalizes the nervous system.
Difficult to describe in words, best experienced!
To many musicians, rhythm is something that is done by the hands and/or feet, representing mathematical divisions. But as Reinhard Flatischler makes clear in this engrossing study, rhythm is an internal force that exists in the foundations of life (breathing and heartbeat) and is best experienced through movement and vocal sounds.
One quickly discovers that being able to feel rhythm through the entire body gives musical performance (especially drumming) a great deal of conviction.
The book combines historical and cultural information about rhythm with exercises designed to make one more aware of rhythmic pulse land subdivision. Some of the material is based around the Indian system of assigning syllables to different subdivisions. Singing "ta ke ti na" may seem exotic at first, but it's not all that different than counting "1 e & A" except that it proves to be more sophisticated, especially with groupings such as five and seven, in which the Western counting system falls apart. Flatiscshler's exercises help one discover the character of different subdivisions as opposed to the mere arithmetic involved. The corresponding CD gives relevant examples of the subjects discussed in the book.
Ta-Ke-Ti-Na Training Brochure