Solo #1, Part 2

So, I've been working on my solo for Matsuri. I know I'm going to look back on this someday and wonder why I was so stressed, or laugh at why I was so stressed. But note to self: the things that we think are so easy now, were actually really hard then. It's the struggle that makes us so snug later.

Anyhow. I've been working on my solo, and I realized today that in composing solos that I'm not struggling as hard now as I used to. I mean, yes, this is really hard for me. I've been thinking about the same 8 bars of music all day long, but it's a different kind of struggle than I've had, say, 2 or 3 years ago. I remember I had to compose a short solo for one of the first versions of Heiya and it took me a really, really long time. I wound up stealing like crazy and actually performed it, and while I think I would cringe to listen to it today, it was nice to undergo that struggle and come out on the other side with something that I created. Tonight I was happy with myself because I was incorporating, quite easily, all sorts of movement into my solo, while just 6 months ago, incorporating any kind of movement at all would have been just excruciating.

I'm learning a lot. It is wonderful to have a really good teacher. I am growing by leaps and bounds and taking direction by someone I totally trust and respect. That is so important. I wouldn't be where I am, wouldn't even aspire or dream of this whole taiko thing if it weren't for someone who pushes me, challenges me, and in turn, shows me the same kind of respect. I know that taiko can have its hierarchies--the senpais, the kohais, the senseis. I don't think for a minute that I am anything but a total newbie, but to be treated as an equal by someone who could so easily be put on her own pedastal and feared/revered (but who gives no cause for that, at all) is something that I am always thankful for. It is equally wonderful to be able to play with really talented people, and to be able to feel free to explore and put yourself out there.

Solo #1, check.