Japan
From my conversations with PANMAN, he describes asalato culture in Japan as being divided into generations.
first generation - 1980s - 1990s
In the 1980s, the asalato was introduced to Japan from West Africa. Two asalato players named Kakuei and KEIZOmachine! helped popularize the asalato. They learned the basic techniques that were originally used in West Africa.
Kakuei developed the company PATICA-WORLD and produced patica, a plastic version of asalato. At this point in time, the only asalato available to Japanese players were these patica, as gourd asalato from West Africa was not avaliable to Japanese players.
The vast majority of techniques used here were techniques native to West Africa, such as flip-flop, den-den, air-turn, click, and knock.
second generation - 1990s - 2000s
The second generation of asalato players includes PANMAN, Watari Sato, Nobumasa (NOBLE), JUN, and HIBIKI; among others. These players gathered in a park everyday, bringing ideas and new rhythms each day. With this experimentation, these asalato players developed new techniques such as flop wrist click.
PANMAN says that this generation developed their style independently, so each player has a strong signature style.
The first ASALATO NIGHT, an asalato gathering, was held in 1997. The first Asalato Freestyle Battle at ASALATO NIGHT was held on February 11th, 2007.
During this period of time, asalato players began to experiment with new materials for asalato, such as cork. Cork asalato was invented to use as practice sets that are quieter in volume, so that asalatists could practice in an apartment or similar locations where loud noise is not permitted.
Asalato players were very few in number. During this period of time, most asalato players assumed they were the only active asalato players, until they eventually found other players.
Players begin to develop signature styles. Signature refers to a player having a distinct style or technique. An example would be JUN's signature snap click.
third generation - 2010s - Present
The asalato grew in popularity online through social media platforms. This attracted the third generation of asalato players.
PANMAN says that this new generation tends to have less signature style, because many of these younger players simply copy rhythms from videos online rather than developing new rhythms.
As of 2025 in Japan, most asalato players do not have formal Western musical training.
PANMAN describes that, whenever he plays, he thinks of the movements first, with the resultant rhythm as a consequence of the movements that he is executing.
The asalato community is Japan is especially welcoming of outside influences and unfamiliar playing styles, and holds new playing styles and exploration in high regard.