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Rhythm Teacher Training 2015 – 2017

The 5 th North American

TAKETINA

LEAdEr:

rEINhArd FLATIschLEr (AusTrIA)

sENIor AssIsTANT:

JAmEs Word

TAKETINA

• is one of the most efficient learning methods available today.

• is a musical group process that works equally for professional musicians and beginners.

• develops rhythmic competence and musical 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: www.taketina.com

1. ThE TAKETINA rhyThm ProcEss

2. TAKETINA TodAy

3. TAKETINA TEAchEr cErTIFIcATIoN ProgrAm

4. TrAININg LEAdEr ANd AssIsTANT

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coNTENT

5. Is ThE TAKETINA rhyThm TEAchEr TrAININg For you?

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6. ThE TrAININg currIcuLum

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7. drums ANd PErcussIoN INsTrumENTs

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8. orgANIzATIoN, TrAININg LocATIoN ANd FINANcEs

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9 APPLIcATIoN, INTroducTIoN-WorKshoP, ENroLLmENT

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10. dATEs, APPLIcATIoN TImELINE ANd summAry

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1. ThE TAKETINA rhyThm ProcEss TaKeTiNa is a unique process capable of activating human and
1. ThE TAKETINA rhyThm ProcEss TaKeTiNa is a unique process capable of activating human and

1. ThE TAKETINA rhyThm ProcEss

1. ThE TAKETINA rhyThm ProcEss TaKeTiNa is a unique process capable of activating human and musical

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 development.

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- stand, and learn in the most natural manner. Instead of teaching rhythmic patterns from an intellectual or theoretical base, TaKeTiNa di- rectly guides participants to experience primal rhythmic movements anchored in the sensory- motor system of every human being. This rhyth- mic foundation expresses itself through music in every culture.

In TaKeTiNa, the body is the main instrument. Using the voice, claps and steps, participants are guided into three different rhythmic layers simultaneously. A surdo (bass drum) rhythm stabilises the steps. The claps mark a different rhythm and the overlaid call-response singing in ever-changing rhythms leads participants to fall out, and fall back into rhythm. This process allows action and surrender to merge: ‘I play‘ and ‘it grooves‘ come together in an experience that is direct, intense and lasting.

2. TAKETINA TodAy 3. TAKETINA TEAchEr cErTIFIcATIoN ProgrAm Today TaKeTiNa is successfully used by more
2. TAKETINA TodAy 3. TAKETINA TEAchEr cErTIFIcATIoN ProgrAm Today TaKeTiNa is successfully used by more

2. TAKETINA TodAy

3. TAKETINA TEAchEr cErTIFIcATIoN ProgrAm

Today TaKeTiNa is successfully used by more than 200 certified TaKeTiNa rhythm teachers in music universities, rehabilitation and psychotherapeu- tic clinics, corporate training programs, theatre schools and elementary schools worldwide.

Scientific research has substantiated that TaKeTiNa can lead to:

• profound states of relaxation by stimulating heart rate variability.

• the co-operation/networking of the two brain hemispheres. This research was conducted 2008-2012 with the fol- lowing European scientists and physicians

Dr. A. Lohninger, Autonom Health GmbH,

www.autonomhealth.com Univ-Prof.Dr. Klaus Felix Laczika, Medical University

Vienna

Institute for Neurosciences, Algesiology and Pediatrics Dr. med. Gerhard Müller-Schwefe, President, German Society for Paittherapy Research published at www.taketina.com, awaiting fur- ther publication in 2014

Dr. med. Michael A. Überall, Medical Director,

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Ever since 1984, TaKeTiNa Rhythm Teacher Train- ing has been conducted in small groups, allowing the most intensive learning process possible.

Participants in the 2015-2017 training will be the 5 th cohort to join a growing field of TaKeTiNa teach- ers in North America. It will be the first time the training has been offered on the east coast. Don’t miss this one-time opportunity!

• For information about current TaKeTiNa events, trainings, workshops and research conducted by the Flatischlers, please visit: www.taketina.com

• For information about the activities of certified TaKeTiNa Rhythm Teachers please visit:

www.taketina.net (Europe) www.taketina.org (North America) www.taketina.au (Australia)

In TaKeTiNa, musical and personal evolution are intimately connected. To lead a group TaKeTiNa process, a facilitator needs a variety of skills in different realms, operating simultaneously. After building proficiency in leading the TaKeTiNa process during the Basic Training, teachers may choose to continue through several more cer- tification levels, which each add successively broader leadership and musical skills.

bAsIc TAKETINA rhyThm TEAchEr TrAININg

This training prepares participants to facilitate an effective TaKeTaNa group process, with responsible leadership and competence. It spans three years and comprises 84 training days (two 14-day training sets each year). The training concludes with each participant lead- ing a public TaKeTiNa circle to demonstrate Basic Teacher proficiency.

AdVANcEd TAKETINA rhyThm TEAchEr TrAININg

This training extends what was learned in the Basic Teacher Training. It prepares the stu- dent to take the TaKeTiNa rhythm process into universities, schools, conventions, and other

large group settings. The training is conducted over 28 days, split into two or three sets. It concludes with the student leading a one-day public workshop, and giving a separate lecture on particular working methods and effects of the TaKeTiNa process.

sENIor TAKETINA rhyThm TEAchEr TrAININg

This is the capstone TaKeTiNa teacher train- ing. It guides students towards embodying the TaKeTiNa process in a full and complete way, and responding with utmost reliance to most any situation that would arise in a TaKeTiNa circle. The training is conducted in 6 sets, over a 3-year period, the world over. The training concludes with the student leading an entire 3-day workshop, and offering a public perform- ance, demonstrating accomplishment with voice, drums and other percussion.

mAsTEr TAKETINA TEAchEr TrAININg

This training prepares and qualifies participants to provide TaKeTiNa teacher trainings to others. Can- didates prepare through apprenticing as teaching assistants, to Reinhard Flatischler, during a mini- mum of two TaKeTiNa Basic Teacher training sets.

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4. TrAININg LEAdEr ANd AssIsTANT

4. TrAININg LEAdEr ANd AssIsTANT rEINhArd FLATIschLEr Musician, Composer, Founder of the TaKeTiNa process, Training

rEINhArd FLATIschLEr Musician, Composer, Founder of the TaKeTiNa process, Training Leader

• Born in Vienna, July 1950

• Piano concert diploma at the Vienna University of Music under Prof. Bruno Seidelhofer

• More than 15 years of continous drumstudies with master- drummers in Asia, Africa and Latin America

• Founder and composer of ‘MegaDrums‘, a musicgroup that includes Airto Moreira, Zakir Hussain, Glen Velez, Leon- ard Eto (KODO), Milton Cardona and Steven Kent amonst others.

• Member of the Scientific Commitee in the ‘International Society for Music in Medicine‘

• Founder of the project ‘TaKeTiNa and Paintherapy‘ that is hosted by the ‘German Socity for Paintherapy‘

• Member of the ‘Society for Chronobiological Research‘ Vienna

• Flatischler´s award winning CDs are amongst the best- selling in the field of percussion

• Flatischler book, ‘The Forgotten Power of Rhythm‘ is con- sidered a standard work in music literature.

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is con - sidered a standard work in music literature. 8 JAmEs Word Senior-TaKeTiNa-Rhythm-Teacher in Master
is con - sidered a standard work in music literature. 8 JAmEs Word Senior-TaKeTiNa-Rhythm-Teacher in Master
is con - sidered a standard work in music literature. 8 JAmEs Word Senior-TaKeTiNa-Rhythm-Teacher in Master

JAmEs Word Senior-TaKeTiNa-Rhythm-Teacher in Master training

Word Senior-TaKeTiNa-Rhythm-Teacher in Master training • Holds a degree in psychology from the University of

• Holds a degree in psychology from the University of California Berkeley, where he focused on Buddhist psycho- logy, dreamwork, and musical perception

• Studied African drumming for several years with S. Kwaku Daddy

• Resided for two years at Kanzeon Zen Center, where he studied and trained with Zen Master Genpo Roshi, founder of the “Big Mind, Big Heart process”, and Tenkei Roshi (then Tenkei Sensei), abbot of Zen River Temple in North- ern Holland

• Has been a regular guest lecturer at the UC Berkeley and currently teaches the “Rhythm and Sound” course at The Sound and Consciousness Institute in San Francisco, California.

• Founding member of the North American TaKeTiNa As- sociation. He has brought TaKeTiNa to companies and institutions like REMO, The American Music Therapy As- sociation, and The San Francisco Conservatory of Music

• 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 5.1 rEcommENdATIoN This training uses rhythm

5. Is ThE TAKETINA rhyThm TEAchEr TrAININg For you

5.1 rEcommENdATIoN

This training uses rhythm to stretch many realms of human potential. It is particularly recom- mended for musicians, dancers, actors, educa- tors, social workers, therapists, healing arts professionals, life and business coaches, and corporate trainers.

5.2. PrErEquIsITE

Although no musical skills are required, all ap- plicants should have:

• some basic knowledge in music theory.

• participated in at least one TaKeTiNa workshop.

• the intention to work with the TaKeTiNa pro- cess after the training.

• some experience in meditation and self-awareness.

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5.3. moTIVATIoN

For everyone involved, the training implies a lot of inner and outer work. The intense immer- sion in rhythm creates an expanded awareness, which is not only the prerequisite to lead a group through the TaKeTiNa process but also promotes personal growth. Everyone intending to partici- pate in the training should have developed the following qualities:

• Self-motivation: the ability to continue the cho- sen path independently, especially when facing difficulties.

• Self-responsibility: the ability to respect ex- isting limitations and the curiosity to expand beyond those limitations.

• Curiosity and positive regard for other human beings.

• Curiosity and positive regard for other human beings. 5.4 moTIVATIoN For dAILy PrAcTIcE The TaKeTiNa

5.4 moTIVATIoN For dAILy PrAcTIcE

The TaKeTiNa Rhythm Teacher Training is a comprehensive, professional training that will require regular practice in order to master the necessary skills. Applicants should be clear about their motivations and their ability to practice regularly. From the second training-set onwards, participants will need to work with a ‘practice group‘ at their home location to prac- tice various skills.

5.5 TrAININg goALs

The goal of the TaKeTiNa Rhythm Teacher Train- ing is to enable each participant to effectively, joyfully and successfully lead groups with the TaKeTiNa Process. The training will provide par- ticipants with the following skills:

• Music: playing drums and percussion instru- ments at a high level.

• 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 applications.

5.6. quALIFIcATIoN / cErTIFIcATIoN

The TaKeTiNa Rhythm Teacher Training concludes with a qualification-set, in which each participant will guide beginners through a TaKeTiNa process for 2 1/2 hours. Every participant receives detailed feedback on his/her qualification set. Successful participants receive certification. Anyone who is not able or willing to build an adequate skill level during the training may choose to do the qualification-set during any other TaKeTiNa Supervision.

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6. ThE TrAININg currIcuLum TrAININg sET #1 • Berimbau skills necessary for the TaKeTiNa process

6. ThE TrAININg currIcuLum

TrAININg sET #1

• Berimbau skills necessary for the TaKeTiNa process

• Voice training: Developing a resonant voice in speaking and singing. Overtone - singing and basic interval training.

• The simultaneity of drumming and storytelling - learning to lead while playing

• Understanding and implementing the princi- ples of the TaKeTiNa process

• Sensomotoric training - entrainment of primal rhythmic movements: Offbeats, Cycles and Subdivisions.

• Independence and coordination of Left-Right arm movements with Grello Caxixi Exercise.

• Basics in body reading during the TaKeTiNa Process.

• Selecting the drum for the drum opening (Changgo or Conga)

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 scales

TrAININg sET #3

• Starting to lead parts of the TaKeTiNa Process under direct guidance - Structure Evolution, Field Stabilization. Participants start practice- groups in the home location.

• Reading the body language of people attend- ing the process.

• Berimbau playing in faster tempo with more complex structures.

• Surdo: playing in faster tempo with more com- plex structures, the interplay of leader and Surdoplayer.

• Drum classes: simple improvisation, creating a simple composition with rhythm elements and the voice, practice in drum ensembles.

• Voice training: learning all “Matrixcalls“ while playing Berimbau, finding scales and melodies for the Call Evolution. Learning to find a basic tone.

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TrAININg sET #4 • The Art of Induction (preparing the group for the process) •

TrAININg sET #4

• The Art of Induction (preparing the group for the process)

• Berimbau: leading the structure - opening with berimbau.

• Surdo: Learning the turning movements, left-right independence and the interplay between leader

and surdo player. Deepening the skills involved in speaking to the group while playing the drum.

• Dynamic sets - a way of learning to stay fully present while leading the group process. In

a secure setting, participants will encounter personal behaviour patterns that hinder the

process. ‘Contracting‘ and ‘dissolving‘ dynam- ics of the leader will surface. A lack of presence

is mirrored through rhythm and can be trans-

formed by rhythm. Participants learn to read the relevant signs in the field and gain competence for responsible leadership.

• Drum classes: Starting Drum Openings, putting the principles of the drum opening into a practi- cal context.

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TrAININg sET #5

• The Art of Induction (preparing a group for the process) - deepening the skills.

• Berimbau and Surdo: integration of skills in lead- ing dynamic sets.

• Balancing ‘groove‘ and ‘tool‘ calls in the call - evolution.

• Dynamic sets - deepening the understanding of the effects in of the TaKeTiNa process.

• Drum classes: Continuing drum opening sets, also gaining strength in a guided six hour play through.

• Preparation for the Qualification Set.

TrAININg sET #6

The final training set is the qualification set during which each participant will lead an open TaKeTiNa workshop for 2 1/2 hours. Other training partici- pants and the leader will observe and witness the process. Each participant will receive detailed feedback from the group.

pants and the leader will observe and witness the process. Each participant will receive detailed feedback
7. drums ANd PErcussIoN INsTrumENTs 7.1 TAKETINA INsTrumENTs The art of playing Surdo and Berimbau

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

The Surdo is a double headed, cylindrical bass drum from Brazil. It not only marks the pulse of Samba, it also represents the heartbeat of TaKeTiNa. No other drum provides such a steady rhythmic foundation like the pulse of a Surdo. It accompanies and stabilises the steps 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.

rhythm of the words and the steady flow of the drum rhythm. ThE bErImbAu Also originating

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.

cAxIxI ANd grELLo

The rattle, perhaps the oldest percussion instrument of humankind, not only marks a distinct rhythm, but also has a powerful trance-inducing effect. The Caxixi rattle used in the TaKeTiNa Process allows combina- tions of accentuated and soft sounds and opens the possibility for rhythmic structure.

sounds and opens the possibility for rhythmic structure. The Grello is an iron castanet from West-Africa

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.

As recent TaKeTiNa research shows, these exercises trigger an intense networking between the two brain hemispheres.

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7.2

ThE drums For ThE drum oPENINg

7.2 ThE drums For ThE drum oPENINg Participants of the training will also learn to play

Participants of the training will also learn to play one drum of their choice: Conga or Changgo.

In the training both drums are played on a stand or hanging on a strap, so that participants can move freely with their feet. The goal of a drum opening is to create a stable rhythmic foundation for the leader‘s voice to improvise.

coNgA / ATAbAquE / KPANLogo drum represents the energy connecting with the earth Origin: Africa, Cuba, Brazil

These drums are played by hand and even the slightest change in the palm posture alters the sound. The combination of open, bass, muffled sounds and slaps allows musicians to create ever changing sound-landscapes.

allows musicians to create ever changing sound-landscapes. 7.3 LEArNINg drums WITh TAKETINA chANggo represents the

7.3 LEArNINg drums WITh TAKETINA

chANggo represents the interaction of left and right side. Origin: Korea

The Changgo is a double-headed drum from Korea, played in the shaman ‘cut‘ ceremonies. The Changgo is played with a thin stick (Jolche) and wooden mallet (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 other worlds‘ while the right skin, call ‘Tsche Pyon‘ represents the ‘Door to the rational world‘ and is connected to the structuring quality of the right hand. Playing the Changgo generates a deep understanding of the cooperation between the two sides of the body.

Although the Changgo is a Korean drum, it represents the archeytypal principal of a transversal drum and is a great instrument for the drum opening.

drum and is a great instrument for the drum opening. Learning drums with TaKeTiNa involves the

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.

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8. orgANIzATIoN, TrAININg LocATIoN ANd FINANcEs 9. APPLIcATIoN, INTroducTIoN WorKshoP, ENroLLmENT 8.1 orgANIsATIoN This
8. orgANIzATIoN, TrAININg LocATIoN ANd FINANcEs 9. APPLIcATIoN, INTroducTIoN WorKshoP, ENroLLmENT 8.1 orgANIsATIoN This
8. orgANIzATIoN, TrAININg LocATIoN ANd FINANcEs 9. APPLIcATIoN, INTroducTIoN WorKshoP, ENroLLmENT 8.1 orgANIsATIoN This

8. orgANIzATIoN, TrAININg LocATIoN ANd FINANcEs

9. APPLIcATIoN, INTroducTIoN WorKshoP, ENroLLmENT

8.1 orgANIsATIoN

INTroducTIoN WorKshoP, ENroLLmENT 8.1 orgANIsATIoN This training is organized by Colleen Caffrey and Amy
INTroducTIoN WorKshoP, ENroLLmENT 8.1 orgANIsATIoN This training is organized by Colleen Caffrey and Amy

This training is organized by Colleen Caffrey and Amy Jackson of DrumRise, an Atlanta-based company offering educational programs that harness the power of rhythm to promote joy, community connection, health and wellness. Both Amy and Colleen are TaKeTiNa teachers who were members of the 4 th U.S. training and are passionate about seeing the TaKeTiNa field grow. They have extensive organizational expe- rience, having hosted numerous international teaching artists in Atlanta, including Reinhard Flatischler and Guinean master drummers Ma- mady Keïta and Famoudou Konaté.

Please contact DrumRise for any ques- tions about organization, administration and logistics. PO Box 33054 Decatur, GA 30033 tel: 404-784-2462 email: taketina@drumrise.net

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8.2 TrAININg LocATIoN

All sets of the training will be held at Dahlonega Spa Resort, in the foothills of the Blue Ridge Mountains north of Atlanta, GA. Dahlonega Spa offers comfort- able single or double accommodations in a serene environment with expansive mountain views, nature trails and an outdoor Jacuzzi. DSR serves meals focusing on healthy, seasonal ingredients and can accommodate special dietary requests. Dahlonega is about 90 minutes by car from Atlanta’s Hartsfield- Jackson International Airport (ATL). www.rrresorts.com/dahlonega/

8.3 cosTs oF ThE TrAININg

Cost of the training is $24,988, which includes tuition, meals, and double-occupancy lodging. A limited number of single-occupancy rooms will be available for an additional charge on a first-come, first serve basis. A non-refundable deposit of $4,988 is required to complete the student’s en- rollment. Payment plan and credit card payment options are available.

8.4 rEquIrEd INsTrumENTs

Instruments necessary for the training are: berimbau, surdo, caxixi, grello, ankle bells, and either conga or changgo, as well as appropriate mallets and sticks. Cost for these will range from $850 to $1500, depend- ing on the quality of the instruments. Organizers can offer advice on purchasing instruments.

9.1

APPLIcATIoN

All prospective students must complete an ap- plication available at taketina.drumrise.net. Send your application by email to the Organizers, Amy and Colleen, who will forward it to Training Leader, Reinhard Flatischler. A maximum of 33 students will be selected by Mr. Flatischler after reviewing all applications and meeting each can- didate in person at one of the required Introduc- tion Workshops.

9.2 rEquIrEd INTroducTIoN WorKshoP ANd INFormATIoN sEssIoN

All applicants must attend one of the Introduction Workshops, offered in several North and South American cities in 2013 and 2014. Introduction Workshops are public TaKeTiNa weekend workshops conducted by the Master Teacher, Reinhard Flatischler which will include an information session for prospective students to learn more about the Training and for Mr. Flatis- chler to meet the prospective students. The list of Introduction Workshops scheduled as of this printing is subject to change. Please see www.taketina.com for current schedule.

Prospective students who submit their applica- tions by August 15, 2014 will receive an invitation to attend the September, 2014 Atlanta Introduc- tion Workshop for a deeply discounted registra-

tion price. Fees for workshops in other cities will be the same as for the general public; Contact the local organizer for registration information. If you are applying from outside the U.S. and cannot attend any of the Introduction Workshops, please contact the Organizers for other arrangements.

9.3 sTudENT AccEPTANcE ANd ENroLLmENT AgrEEmENT

Selected applicants will be sent an invitation to participate and an Enrollment Agreement. The Enrollment Agreement is a contract between the participant and the organizers stating the rights and obligations of both parties. It will remain in effect throughout the entire training except in cases of serious illness or death. Students must enroll in the entire Training as a whole; it is not possible to attend individual classes or sets. Students choosing to enroll must send their signed contract and tuition deposit to the organ- izers by the Enrollment Deadline to secure their enrollment.

9.4 WAITINg LIsT

Students not selected during the normal enroll- ment period may be placed on a waiting list. If the Training is not full after the matriculation dead- line, applicants on the waiting list may be invited to enroll.

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10. dATEs, APPLIcATIoN TImELINE ANd summAry 10.1 PubLIc TAKETINA WorKshoPs 2013 Reinhard Flatischler will be

10. dATEs, APPLIcATIoN TImELINE ANd summAry

10.1 PubLIc TAKETINA WorKshoPs 2013

Reinhard Flatischler will be on Tour in North and 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. Currently scheduled dates are below. But please see www.taketina.com for up to date schedule.

October 11-13, 2013 San Francisco, CA October 18-20, 2013 Atlanta, GA October 25-27, 2013 Boston, MA November 2-4, 2013 Bogotá, Colombia [also an early Introduction Workshop] November 8-10, 2013 Sao Paulo, Brazil [also an early Introduction Workshop] November 15-17, 2013 Sao Paulo, Brazil [also an early Introduction Workshop]

10.2 rEquIrEd INTroducTIoN WorKshoPs (ATTENd 1 or morE)

November 2-4, 2013 Bogotá, Colombia November 8-10, 2013 Sao Paulo, Brazil November 15-17, 2013 Sao Paulo, Brazil March 7-9, 2014 – Dallas, TX September 26-28, 2014 – Atlanta, GA October 3-5, 2014 – San Francisco, CA

Acceptance Notification: October 31, 2014 Enrollment & Deposit Deadline: November 30, 2014 Training Begins: March 3, 2015

10.4 TrAININg dATEs & schEduLE

Set 1. March 3, 2015 through March 17, 2015 Set 2. September 22, 2015 through October 6, 2015 Set 3. April 5, 2016 through April 19, 2016 Set 4. August 30, 2016 through September 13, 2016 Set 5. March 7, 2017 through March 21, 2017 Set 6. August 29, 2017 through September 12, 2017

All Training sets will begin at 8 pm on the first day and end at 1pm on the last day.

10.5 summAry

The TaKeTiNa Rhythm Teacher training will qualify you as a true group leader, a competent musician and will place you firmly in an innovative area at the intersection of music education and personal development. A commitment to regular instrumen- tal practice and group practice is essential. Due to the intensity of the training, a maximum of 33 participants will be accepted.

10.3 APPLIcATIoN ProcEss TImELINE

Early Application Deadline: August 15, 2014 (Apply by this date to receive an invitation for discounted registration at the September 26-28 Introduction Workshop in Atlanta.) Application Deadline: October 15, 2014

Im Pub
Im
Pub

ImPrEssum

Publisher: Rhythm Synergy, LLC PO Box 33054, Decatur, GA 30033

Layout Lay and graphic design: M4 Media, Münster, Germany, www.m4media.de

Photo Pho credits: Archive Flatischler, G. Menzel, O. Werbach

Copyright Cop by TaKeTiNa Institute for Rhythm Education and Rhythm Research

D-82377 D-8 Penzberg, Zist 3, Germany, Europe

All All rights reserved.

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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 Flatischler’s creativity, dedication and vision, the TaKeTiNa methodology has created wonderful outcomes for individuals and organizations for over 40 years. Together We Move Forward In Rhythm.

remo.com
remo.com

“It’s 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

FLA 161

TAKETINA

Rhythm for Evolution