Gasshos to the Shakuhachi community-
A note from the most inarticulate novice - please forgive my
ignorance. Today I have these thoughts, tomorrow they may be different-
How can the publishing of notions hinder the art of Shakuhachi? Does the
art then suffer from being introduced to the West? Does the art suffer
from there being recordings whereby one may play along without the
masters presence? The first mistake then was the writing down of the
36 original pieces. The biggest hindrance I see is the 50,0000 yen to
get the notation- just to appreciate the calligraphy, just to gaze at
the trail of the hand of the master while hearing the movement of his
breath. Maybe we should damn Bodhidarma for ever leaving India in the
first place.
(Sorry, I’m probably out of line here, I am starved for anything having
to do with the Shakuhachi- since I don't know anyone within 2000
miles even knowing what the instrument is or being able to teach it.)
Then on the other hand I can say that no music for this instrument
should be written down. Nor should one study with anyone- since to do so
is to move away from the essence of the origin of Shakuhachi. Part of
the dilemma seems to me to stem from this bridge of Zen and then the ART
thing. .... ..... isn't this a little like the “mistaking the finger for
the moon”? I guess my final thoughts are that it is not the notation of
the music that is in question- but how we or what we do with it. It
could, from my position so far down the rung, give great glimpses
beyond where I now dwell. But it is also MY responsibility to not
mistake that finger for the moon.
Again my apologies for opening my mouth.
Jonathon Cassel
This archive was generated by hypermail 2b29 : Wed Jan 12 2000 - 13:24:03 PST