TaKeTiNa Rhythm Process

Take Tina is a musical group process by which participants can develop a sense of rhythm. This concept was developed by the Austrian musician and author Reinhard Flatischler since the 1970s. Flatischler assumes that each person has a rhythmic talent, to give access may be mediated by the TaKeTiNa rhythm pedagogy. He understands rhythmic learning as human learning. His TaKeTiNa rhythm textbook Rhythm for Evolution was awarded the Comenius EduMedia Award.

Operation

Flatischler provides the essential elements of TaKeTiNa process this way:

Voice

Each exercise begins from the silence with the rhythmic voice. In this case ( such as " Ga Ma La ", " Ta Ke Ti Na ", " Mu San Ga La " and others " rhythm mantras " ) the participants in a TaKeTiNa rhythm circle speak certain rhythm syllables. Starting from speaking these syllables, rhythm was developing itself so that it is realized on different levels with the body. Thus, the rhythm should not be understood only from the head, but to gain entrance into the body consciousness.

Steps

Starting from speaking of the rhythm mantras steps are set to certain syllables. Thus, a first rhythmic level can be realized in the body.

Clap

Is the setting of the steps in the body anchored, there is an additional rhythmic level. This is realized by - also emanating from the rhythmic voice - clapping. Here again certain syllables of the rhythm mantras are underlined with clapping. Here, the gossip rhythm contrasts the step rhythm ( polyrhythms ).

Call and response singing

Is also the clapping in the group anchored, speaking of the rhythm mantras will be replaced by the alternate singing. The instructor sings various specific pattern ( " Call" ), while a rhythmic unit, the group responds to the subsequent unit.

Simultaneity

In practice routine is different rhythmic levels achieved simultaneously (steps - Clapping - Call & Response). Due to this simultaneity a voluntary, proceeding from the thinking control of each of these individual levels is impossible. To nevertheless not to fall out of rhythm, it is necessary that different rhythms (and thus the various body movements ) to anchor in the body consciousness so they can become autonomous movements ("like go by itself" ). The anchoring of a rhythmic level in the body consciousness is facilitated by the next layer above: the conscious mind is occupied with the internalization of the next level and can no longer "take care " to the underlying level. This forms and expands the capabilities of the body consciousness. Through the rhythmic simultaneity, the perception can expand: the focus is, for example, first turn on the movements of the feet and hands and finally merge in the course of a bifocal or multifocal unit. The simultaneity of "actually" contradictory feelings in this way is possible: thinking and feeling, intention and devotion, doing and let things happen.

Individual learning in collective

In a TaKeTiNa rhythm rhythm travel is done by the group, the participants of the trip take steps, they clap and sing. This rhythmic information come into the room: visually, audibly. This information is available to all other members of the group are available, because they can orient themselves when they should be dropped out of the rhythm. At the same time the group is a common field of experience for each participant. By itself realized a common rhythm, the group to the collective will.

Learn at your own tempo

In TaKeTiNa, any participant at the point at which it is just to learn individually and in their own time scale. Because maintaining the rhythm is not dependent upon any particular group member, anyone can take place at any time as much or little of the rhythm as he likes.

Rhythm archetypes, rhythmic magnetism

TaKeTiNa assumes that there are " rhythmic primal knowledge " of humanity. This rhythm archetypes are rhythmic patterns and polyrhythmic certain compounds, which are not only common to all cultures, but can be detected even physically sometimes. An example is: a skipping - rope is rotated at a certain frequency, the resulting ranges from one side to the other. If the rotational frequency increases, it comes from a specific frequency to a short chaos phase and then in the middle of the rope forms a junction: the rope is divided almost in half. If the frequency is increased again, the same thing happens again, only that the rope is then divided into three parts. These nodes are comparable to the Flageolettton on the guitar. Interesting here is the question of where the rope " knows" where it has to share. This is explained in TaKeTiNa with rhythmic magnetism: there is certain rhythmic points, which appear attractive - on a rope as well as on the rhythmic feeling of the people. The phenomenon is, however, fully explained physically, scientific evidence of a " rhythmic magnetism " does not exist.

Learning in alternating periods of chaos and order

A (only) the will and controlled by thought building a polyrhythmic TaKeTiNa travel is not possible. During the construction of the rhythm trip it always comes back to phases in which individual participants inevitably " fall out of rhythm ." This chaos phases are central to learning as it happens in TaKeTiNa and are therefore wanted. By dropping out, participants are required to return to catch up with the rhythm. They can learn how the Find Into can again be realized most likely, they can experiment - the more often they fall out, the more they can learn. Likewise, they can here learn that they best into place again in the rhythm when they are in the balance between intention ( " I want to again join " ) and devotion ( " surrender to the rhythmic flow ", "it" can happen ) is Then a " self- trapping - Let " the rhythmic magnetism is most likely to occur. Is too much want in the game, re - Into Find is difficult to impossible.

Mirror of their own patterns of behavior - transformation of behavior patterns

If a participant of the exercise of the rhythm, as " inner voices " may emerge that comment on the falling out. These comments can be benevolent ( " well that was probably too much"), often but they are pejorative, express dissatisfaction rate falling out as "failure." This " inner voices " are seen in TaKeTiNa a 1:1 scale of those inner voices that comment on our actions in daily life. In TaKeTiNa process, participants are invited to see the falling out as an integral part of the (learning) process, and as such to welcome, TaKeTiNa want to make the participants curious about what happens when we fall out of rhythm. This also includes those " inner voices " perceive as such - and also perceive that they comment. Everyone can then decide whether they want to follow that voice or not. In TaKeTiNa process so that there is the opportunity to discover learned behavior pattern to look at them and decide whether you want to keep them or not. Wool is not it, can the behavior during the TaKeTiNa process (quasi "experimental " because the TaKeTiNa process is indeed a temporary space ) to be changed. Did such a change during the TaKeTiNa process occurred, the new behavioral repertoire could also act in daily life.

Instruments used

On the Surdo the basic pulse and thus the pulse of the steps is played. Its sound is soft but penetrating and present.

The Instructor accompanied during the call and response singing on the berimbau. Meanwhile, clear sound represents the root note of the song and can be rhythmically varied.

The Caxixi has a very distinctive sound which penetrates well.

The Grelot ( an African castanets made ​​of metal ) is played by plugging a metal ring on the thumb, hitting him against the Grelot that it puts on the middle finger. The sound is bright and penetrating. Together with the Caxixi can you do with the Grelot two rhythms at the same time: the one with the right hand, the other with his left.