How it works

TaKeTiNa rhythm teaching combines rhythmic knowledge that has been available in many cultures for thousands of years with the newest findings from music, rhythmical research, communication, brain research and chaos theory to form a new method of learning and self-discovery. The TaKeTiNa method is described in detail in Reinhard Flatischler's book "Rhythm for Evolution".

In TaKeTiNa, the body is the main instrument; the learner encounters rhythm directly and intensively. Using the voice to sing, the hands to clap and the feet for sequences of steps, TaKeTiNa participants are guided at three simultaneous rhythmic levels. The pulse of a bass drum accompanies and stabilizes the basic rhythm of the steps; contrasting rhythms are gradually introduced in the hands. Constantly changing call-and-response melodies add an improvisatory element as well as a destabilizing force into the process. The interplay of stabilizing and destabilizing elements necessarily causes individual participants to fall out of rhythm – but the rhythm of the group brings everyone gently but powerfully back – a process which enables every participant to develop his or her own deep musical self-confidence.

The body as one's teacher
Basic musical skills and rhythmical knowledge can be developed in the body much more directly, effectively and rapidly than by playing a musical instrument. At the same time, learning with the body is effective preparation for joyful and successful instrumental playing. When learning with the body, even those can join in who would otherwise never actively participate in a musical activity.

Learning through the alternation of chaos and order
In the "tug-of-war" between chaos and order, the power of self-organization can support the learning process. The group is the stabilizing force that enables the individual to fall out of rhythm without being left behind. This helps create profound trust in the carrying power of rhythm and enables learning musical interaction, organically flowing music-making and natural rhythmic orientation.  

Simultaneously working at several rhythmic levels
The learner is gradually guided to develop three different rhythms, one with the steps, one with hand-claps and the last with the voice. This enables him or her, sooner or later, to simultaneously perceive and play with these various rhythmic levels. Polarities between thinking and feeling, acting and letting happen, between speaking and listening dissolve.

Learning at the archetypal level
Today, for the first time in human history, we have access to music from all cultural circles. This shows us that the diversity of various forms of music rests on basic archetypal forms of rhythmic movement. These "ancient patterns" are alive in every human today. The TaKeTiNa process helps the learner to experience these "rhythmic archetypes" physically by going back to this ancient knowledge that has been forgotten by most people who belong to Western civilization.

Learning through repetition
Because a number of rhythmic levels are constantly working together in the TaKeTiNa process, the learner constantly experiences something new even when the steps remain the same over long periods of time. This allows participants who lose the rhythm to easily reenter the unfolding musical process.

Individually learning in a group context
In the TaKeTiNa process, everyone can learn at his or her own speed while always remaining a member of a dynamic musical group process. The complexity of the TaKeTiNa process allows beginners as well as experienced musicians to learn with each other in the same circle.