TAKETINA IS…
TAKETINAÂ
Is…
TAKETINA IS A COMBINATION OF RHYTHMIC MEDITATION, MUSICAL CREATIVITY & SELF-AWARENESS
TaKeTiNa is a musical practice, creative self-awareness and a fundamentally new way of looking at rhythm. It shows that every human being is a rhythmic being by nature and has the gift of being in perfect harmony with the rhythmic occurrences of the world. Nevertheless, most people are unable to use this gift to fully connect with rhythm, as there is often a lack of external stimuli or opportunities in life. Through the rhythm process, one’s own rhythmic primal knowledge is opened up and with it the core of one’s being in which this knowledge is anchored.
PROCESS, METHOD & PHILOSOPHY
TaKeTiNa is used in music education, self-awareness workshops, corporate training and also in therapeutic processes. Even in the early days, it became apparent that TaKeTiNa had healing effects and so it was used in high pain medicine as well as in burnout prevention, trauma therapy and in the treatment of people with depression.
Doctors investigated the effects in the area of heart rate variability and EEG and came to the conclusion that TaKeTiNa has a positive effect on the ‘re-synchronisation of body rhythms’ and can lead to deep states of relaxation. A clinical study on how TaKeTiNa works to prevent depression was conducted at Erlangen University Hospital in 2023.
TaKeTiNa is a method that makes it possible to break new ground in composing and arranging music. TAKETINA SYMPHONIC and MegaDrums were realised with TaKeTiNa.
TaKeTiNa can also be used as a daily exercise. For this purpose, “TaKeTiNa Online” was developed, which enables participants to practise rhythm exercises and rhythm meditations at any time and at their own pace.
“As I made my way through various rhythm cultures of this world, I encountered in all of them the same rhythm archetypes underlying the many voices of music.
From this foundation I developed TaKeTiNa—
a path to explore, entrain and experience rhythm with your main instrument—the body.“
Reinhard Flatischler
TAKETINA WAS BORN OUT OF THESE 3 QUESTIONS:
1. Is everyone rhythmic by nature?
2. If so, how can this predisposition be unlocked?
3. Are there basic rhythmic building blocks that are valid across cultures?
The first question has been answered by more than five decades of continuous work with TaKeTiNa: Every human being has access to the experience of being completely one with rhythm – in the rhythm of life, in the rhythm of music, in the rhythm of nature.
TaKeTiNa opens up this rhythmic knowledge and conveys rhythm in a way that people can best grasp and learn by nature: Through the physical experience of primal rhythmic movements, the basic rhythmic building blocks on which all music in the world is built are learnt.
The rhythms of Africa, India, Brazil and Korea cannot be explained with our European view of rhythm, but they can be understood from their archetypal building blocks. TaKeTiNa is based on laws of vibration that are universally valid, such as pulsation, cycle and subdivision pulsation. They occur in musical rhythms, rhythms of nature and rhythms of the body.
TaKeTiNa enables everyone, whether with or without musical experience, to immerse themselves in this process. People who say they have neither access to rhythm nor can practically realise the simplest rhythms are led into complex rhythmic contexts in which they can experience: ‘I am rhythm!’. Anyone who has this experience realises that this state cannot be the result of linear, musical practice. In order to achieve this, we need to open up an inner source that is inherent in us, but has obviously remained closed to many until now.
TAKETINA IS A COMBINATION OF RHYTHMIC MEDITATION, MUSICAL CREATIVITY & SELF-AWARENESS
TaKeTiNa is a musical practice, creative self-awareness and a fundamentally new way of looking at rhythm. It shows that every human being is a rhythmic being by nature and has the gift of being in perfect harmony with the rhythmic occurrences of the world. Nevertheless, most people are unable to use this gift to fully connect with rhythm, as there is often a lack of external stimuli or opportunities in life. Through the rhythm process, one’s own rhythmic primal knowledge is opened up and with it the core of one’s being in which this knowledge is anchored.
PROCESS, METHOD & PHILOSOPHY
TaKeTiNa is used in music education, self-awareness workshops, corporate training and also in therapeutic processes. Even in the early days, it became apparent that TaKeTiNa had healing effects and so it was used in high pain medicine as well as in burnout prevention, trauma therapy and in the treatment of people with depression.
Doctors investigated the effects in the area of heart rate variability and EEG and came to the conclusion that TaKeTiNa has a positive effect on the ‘re-synchronisation of body rhythms’ and can lead to deep states of relaxation. A clinical study on how TaKeTiNa works to prevent depression was conducted at Erlangen University Hospital in 2023.
TaKeTiNa is a method that makes it possible to break new ground in composing and arranging music. TAKETINA SYMPHONIC and MegaDrums were realised with TaKeTiNa.
TaKeTiNa can also be used as a daily exercise. For this purpose, “TaKeTiNa Online” was developed, which enables participants to practise rhythm exercises and rhythm meditations at any time and at their own pace.
“As I made my way through various rhythm cultures of this world, I encountered in all of them the same rhythm archetypes underlying the many voices of music.
From this foundation I developed TaKeTiNa—
a path to explore, entrain and experience rhythm with your main instrument—the body.“
Reinhard Flatischler
TAKETINA WAS BORN OUT OF THESE 3 QUESTIONS:
1. Is everyone rhythmic by nature?
2. If so, how can this predisposition be unlocked?
3. Are there basic rhythmic building blocks that are valid across cultures?
The first question has been answered by more than five decades of continuous work with TaKeTiNa: Every human being has access to the experience of being completely one with rhythm – in the rhythm of life, in the rhythm of music, in the rhythm of nature.
TaKeTiNa opens up this rhythmic knowledge and conveys rhythm in a way that people can best grasp and learn by nature: Through the physical experience of primal rhythmic movements, the basic rhythmic building blocks on which all music in the world is built are learnt.
The rhythms of Africa, India, Brazil and Korea cannot be explained with our European view of rhythm, but they can be understood from their archetypal building blocks. TaKeTiNa is based on laws of vibration that are universally valid, such as pulsation, cycle and subdivision pulsation. They occur in musical rhythms, rhythms of nature and rhythms of the body.
TaKeTiNa enables everyone, whether with or without musical experience, to immerse themselves in this process. People who say they have neither access to rhythm nor can practically realise the simplest rhythms are led into complex rhythmic contexts in which they can experience: ‘I am rhythm!’. Anyone who has this experience realises that this state cannot be the result of linear, musical practice. In order to achieve this, we need to open up an inner source that is inherent in us, but has obviously remained closed to many until now.
In TaKeTiNa, MUSICAL LEARNING TAKES PLACE IN CONNECTION WITH DAILY LEARNING. IT IS BASED ON Inspiration AND ENTHUSIASM. THIS REQUIRES A Creative LEARNING ENVIRONMENT THAT CONNEcTS BODY, MIND, EMOTIONS And INTELLECT, AS WELL AS THE CONSCIOUS AND UNCONSCIOUS.
In daily life, TaKeTiNa can help you to…
- increase mental, emotional and physical resilience.
- gain access to presence and inner stillness.
- develop resilience.
- develop an exceptionally strong ability to concentrate.
- open up a perceptual space in which several different events can be perceived simultaneously.
- understand chaos as a force of life and to find a creative way of dealing with it.
Musically, TaKeTiNa can help you to…
-
develop a profound rhythmic orientation.
-
understand rhythm through elementary building blocks.
-
be able to improvise in all styles of music.
-
become more competent and creative in dealing with instruments.
-
lose the fear of making mistakes.
-
improve left-right coordination and independence.
TaKeTiNa is an excellent preparation and valuable addition to learning a musical instrument.
The building blocks of
the TaKeTiNa process
The building blocks of the TaKeTiNa process
THE BODY AS AN INSTRUMENT
Understanding the body as a musical instrument is as old as mankind itself. However, TaKeTiNa uses voice, hand and step movements in a completely new way: Participants are guided into three different rhythms with stepping movements, clapping and singing—an experience that normally only a musically trained person can have. TaKeTiNa opens up this possibility to everyone. Rhythmic qualities are internalised through syllables and physical movements.
The Rhythmic Voice
The TaKeTiNa syllables were developed by Reinhard Flatischler and are transmitters of sound and rhythm.
When someone speaks TaKeTiNa, the speaking movement goes from the teeth (Ta) to the throat (Ke), back to the teeth (Ti) and then up to the palate (Na). This stimulates an inner movement of 4.
In call-and-response singing, the voice introduces a third, independent rhythmic layer that alternately supports and challenges the other rhythms.
Steps
In TaKeTiNa, most steps are lateral movements, which engage and stimulate the body’s sense of equilibrium. The constant shifting of body weight in these movements forms a complex network that provides deep rhythmic orientation, allowing the steps to become autonomous.
Claps & Arm Movements
Clapping, rattling, and arm movements introduce yet another rhythmic dimension. These actions represent voluntary, conscious elements within the rhythmic layers.
The simultaneous execution of autonomous steps and deliberate clapping bridges two realms of movement that are usually separate, creating a rich, interconnected rhythmic experience.
SIMULTANEOUS PERCEPTION
All three rhythmic levels, which are built up in the TaKeTiNa processes with the voice, in the steps and with the clapping, are elementary and easy to realise on their own. However, a high level of complexity arises in their simultaneity. In order to master this, a new type of perception is required—SIMULTANEOUS PERCEPTION.
Simultaneous perception is the opposite of multitasking. The latter consists of a rapid fluctuation between different events. The result is stress.
Simultaneous perception, on the other hand, means pure relaxation and is an effective tool for coping with the flood of information in today’s world. It is the opening of a large inner space of perception, which becomes emptier the more events are added.
TaKeTiNa activates the ability to receive, send and act on several ‘channels’ at the same time. What sounds impossible on a logical level is, in practical experience, a fundamental experience that can be transferred to all areas of life and open up access to unshakeable inner peace.
RELATIVE COORDINATION
TaKeTiNa works with RELATIVE COORDINATION—a deliberately controlled fluctuation between chaos and order phases. The repeated and guided ‘falling out of rhythm’ and ‘finding one’s way back into rhythm’ leads to a sense of being carried by rhythm.
Doing and letting things happen are connected, the rhythm fluctuates, is lively and easy to realise. This allows participants to enter a state of flow.
At the same time, participants learn to deal creatively with chaotic processes and develop physical, mental and emotional flexibility. Inscrutable situations become less threatening. They learn that there is an entity within everyone that can find their own direction, even when things are going haywire. This gives you deep trust in life.
The fear of making mistakes is also reduced, which means that people actually make fewer mistakes.
PRIMAL RHYTHMIC MOVEMENTS
For the first time in human history, we have direct access to all the different musical voices on our planet. Analyses of sound recordings from the most remote areas of the earth make it clear that all music in the world is based on the same basic rhythmic movements.
These are the three manifestations of rhythmic vibration: Pulse, subdivision pulse and cycle, as well as the power of synchronisation that leads to the archetypes of offbeats, polyrhythms and cycles.
Learning with TaKeTiNa means learning at the roots of rhythm. TaKeTiNa enables everyone to physically experience these rhythmic primal movements and thus opens up new dimensions of learning and experiencing rhythm.
LEARN AT YOUR OWN PACE
With the TaKeTiNa process, everyone can learn at their own pace. If someone wants to achieve results faster than is possible at the moment, the learning process slows down. Taking breaks at the right time, on the other hand, can significantly speed up learning. This makes it possible for beginners and experienced musicians to learn together.
The TaKeTiNa process unfolds in its complexity and multi-layered nature; the individual can only take out and implement parts of the programme at a time.
As each participant can take on different roles in the group process, a learning process takes place that clarifies what one’s own measure of time means in each moment. This can change from moment to moment and everyone who learns to sense this measure of time develops in the best possible way.
THE BODY AS AN INSTRUMENT
Understanding the body as a musical instrument is as old as mankind itself. However, TaKeTiNa uses voice, hand and step movements in a completely new way: Participants are guided into three different rhythms with stepping movements, clapping and singing—an experience that normally only a musically trained person can have. TaKeTiNa opens up this possibility to everyone. Rhythmic qualities are internalised through syllables and physical movements.
The Rhythmic Voice
The TaKeTiNa syllables were developed by Reinhard Flatischler and are transmitters of sound and rhythm.
When someone speaks TaKeTiNa, the speaking movement goes from the teeth (Ta) to the throat (Ke), back to the teeth (Ti) and then up to the palate (Na). This stimulates an inner movement of 4.
In call-and-response singing, the voice introduces a third, independent rhythmic layer that alternately supports and challenges the other rhythms.
Steps
In TaKeTiNa, most steps are lateral movements, which engage and stimulate the body’s sense of equilibrium. The constant shifting of body weight in these movements forms a complex network that provides deep rhythmic orientation, allowing the steps to become autonomous.
Claps & Arm Movements
Clapping, rattling, and arm movements introduce yet another rhythmic dimension. These actions represent voluntary, conscious elements within the rhythmic layers.
The simultaneous execution of autonomous steps and deliberate clapping bridges two realms of movement that are usually separate, creating a rich, interconnected rhythmic experience.
SIMULTANEOUS PERCEPTION
All three rhythmic levels, which are built up in the TaKeTiNa processes with the voice, in the steps and with the clapping, are elementary and easy to realise on their own. However, a high level of complexity arises in their simultaneity. In order to master this, a new type of perception is required—SIMULTANEOUS PERCEPTION.
Simultaneous perception is the opposite of multitasking. The latter consists of a rapid fluctuation between different events. The result is stress.
Simultaneous perception, on the other hand, means pure relaxation and is an effective tool for coping with the flood of information in today’s world. It is the opening of a large inner space of perception, which becomes emptier the more events are added.
TaKeTiNa activates the ability to receive, send and act on several ‘channels’ at the same time. What sounds impossible on a logical level is, in practical experience, a fundamental experience that can be transferred to all areas of life and open up access to unshakeable inner peace.
RELATIVE KOORDINATION
TaKeTiNa works with RELATIVE COORDINATION—a deliberately controlled fluctuation between chaos and order phases. The repeated and guided ‘falling out of rhythm’ and ‘finding one’s way back into rhythm’ leads to a sense of being carried by rhythm.
Doing and letting things happen are connected, the rhythm fluctuates, is lively and easy to realise. This allows participants to enter a state of flow.
At the same time, participants learn to deal creatively with chaotic processes and develop physical, mental and emotional flexibility. Inscrutable situations become less threatening. They learn that there is an entity within everyone that can find their own direction, even when things are going haywire. This gives you deep trust in life.
The fear of making mistakes is also reduced, which means that people actually make fewer mistakes.
PRIMAL RHYTHMIC MOVEMENTS
For the first time in human history, we have direct access to all the different musical voices on our planet. Analyses of sound recordings from the most remote areas of the earth make it clear that all music in the world is based on the same basic rhythmic movements.
These are the three manifestations of rhythmic vibration: Pulse, subdivision pulse and cycle, as well as the power of synchronisation that leads to the archetypes of offbeats, polyrhythms and cycles.
Learning with TaKeTiNa means learning at the roots of rhythm. TaKeTiNa enables everyone to physically experience these rhythmic primal movements and thus opens up new dimensions of learning and experiencing rhythm.
LEARN AT YOUR OWN PACE
With the TaKeTiNa process, everyone can learn at their own pace. If someone wants to achieve results faster than is possible at the moment, the learning process slows down. Taking breaks at the right time, on the other hand, can significantly speed up learning. This makes it possible for beginners and experienced musicians to learn together.
The TaKeTiNa process unfolds in its complexity and multi-layered nature; the individual can only take out and implement parts of the programme at a time.
As each participant can take on different roles in the group process, a learning process takes place that clarifies what one’s own measure of time means in each moment. This can change from moment to moment and everyone who learns to sense this measure of time develops in the best possible way.
WOULD YOU LIKE TO LEARN MORE?
WOULD YOU LIKE TO LEARN MORE?
