> Jeff, I like your phrase, "it takes a great deal of
> embodying of a piece (read:=20
> mindful practice) in order to remove the finish and
> reveal the grain." Nice.=20
This is a great phrase.. Not too metaphysical and easy
to understand. Thanks for sharing that, Jeff. :)
> but I also wonder if some of the Fuk=E9 and
> lay shakuhachi players=20
> experienced their moments of ecstasy and their
> consciousness shifts within the=20
> greater context of both their Japanese culture and
> their Buddhist practice.
I have questioned this concept for many years now.=20
And with the greater understanding I have acquired of
Watazumi Do and his background, can't help but feel
this playes a bigger role. I sometimes wonder how
many shakuhachi players outside of Japan, engage in
buddhist pratice?
Cheers,
Isaac=20
--- RbtJonas@aol.com wrote:
> Thanks Jeff and Mark for your interesting
> discussion about honkyoku and=20
> improvisation. I've learned from both your
> insights. One small point: =20
> Jeff, I like your phrase, "it takes a great deal of
> embodying of a piece (read:=20
> mindful practice) in order to remove the finish and
> reveal the grain." Nice.=20
> =20
> You also write, "I believe the original
> purpose in the spiritual=20
> practice of honkyoku was to achieve a sustained
> consciousness shift." I agree=20
> with you, but I also wonder if some of the Fuk=E9 and
> lay shakuhachi players=20
> experienced their moments of ecstasy and their
> consciousness shifts within the=20
> greater context of both their Japanese culture and
> their Buddhist practice. I=20
> don't know that much about Japanese culture, so I
> can't comment on that. =20
> Perhaps a cultural historian in the crowd could
> suggest ways that a consciousness=20
> shift in a Japanese person might be experienced and
> interpreted differently by,=20
> say, an American who undergoes a "similar" shift.
> I know a little more about Buddhist practice. =20
> I think it's safe to say=20
> that for all the major Buddhist lineages, the
> Buddha's teachings are=20
> important, especially the (eventually disappearing)
> roadmap of the Four Noble Truths=20
> and the Eightfold Path. I'm guessing that for
> shakuhachi players who are=20
> Buddhist, ecstatic experiences and consciousness
> shifts would be tested and held=20
> within the context of the Buddha's other teachings,
> primarily his teaching=20
> about the ubiquitous nature of suffering and how we
> might find liberation. The=20
> Eightfold Path includes:
>=20
> Right Understanding (samma ditthi)
> Right Aspiration (samma sankappa)
> Right Speech (samma vaca)
> Right Action (samma kammanta)
> Right Livelihood (samma ajiva)
> Right Effort (samma vayama)
> Right Mindfulness (samma sati)
> Right Concentration (samma samadhi)
>=20
> A thorough-going Buddhist shakuhachi player would
> probably check himself or=20
> herself out in each of these eight directions in
> each note, in each piece, and=20
> in a lifetime of playing the instrument. There
> would be a deep, essential,=20
> organic connection between consciousness, beauty,
> joy and morality. =20
> In each breath many associated koans
> arise--e.g., "Who am I?" and "How=20
> am I living?"
>=20
> Respectfully,
> Jonas
>=20
=3D=3D=3D=3D=3D
____________________________________________________________
Isaac Marshall
Seattle Shakuhachi Society
http://www.megaseattle.com/shakuhachi/
____________________________________________________________
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