Dear Shakuhachi list,
I will be returning to Vancouver, Canada on October 2 to proceed with my
studies of shakuhachi with Hoshi Bonchiku and to begin the Bamboo-In project
along with Takeo Yamashiro. These past couple years have been some of the
most enlightening, beautiful and moving experiences of my life. I'm sad to
leave but very happy to return to Canada again. In this last update from
Japan I will relate to you my final, key shakuhachi experiences, in
particular the shakuhachi camp in Bisei, Okyayama this past summer in which
I interviewed Katsuya Yokoyama at his home. To read a more detailed version
of this update and to see pictures from this and the others, please come to
http://www.Bamboo-In.com/10.html
>From here onwards, I will write updates on the developments of the Bamboo-In
in Vancouver, Canada but I will not announce them on the shakuhachi list, so
I invite you to check back at our site seasonally or more occasionally for
latest developments.
Thank you for reading and sharing your thoughts about shakuhachi and life.
Blowing beyond the opposites,
Al
Update 10: Farewelcome
Summer Shakuhachi Camp at the International Shakuhachi Training Center,
Bisei, Okayama
The last time I was in Bisei was in 1994 at the first International
Shakuhachi Festival which Katsuya Yokoyama hosted. I had such an amazing
time there seeing and meeting all the wonderful shakuhachi people. Seven
years later I am back and it's interesting how different things are this
time from this vantage point on my shakuhachi path. Seven years ago I had
virtually no connection with Yokoyama Katsuya and other great players, and
now they are my friends and close teachers.
I took the overnight bus from Shinjuku on Wednesday night and arrived in
Kurashiki bus terminal in Okayama Prefecture the next morning at 8:30 am.
The bus was surprisingly comfortable and pleasant. I love the feeling of
travelling to new places on the road of shakuhachi. I walked to Kurashiki
J.R. Train Station and took the local train to Shin Kurashiki Station where
I was to meet Furuya, Matama, and Kakizakai sensei at 2:30 pm. I had six
hours to kill so I just sat in the station and read. It was quite hot and
humid so it was best to keep still and conserve my energy.
I pondered about my life up to now. Everyone has so many challenges and pain
in life. Why are some more blessed than others? To be on this beautiful path
of shakuhachi and befriending all these wonderful people in my life, I felt
like crying for joy. And I wondered how Yokoyama sensei feels now that he
can't play shakuhachi after a lifetime of immersion in the Art. I wondered
how he's coping with it.
At 2:30 pm the three senseis and two young volunteers arrived at the station
and we were met by Mrs. Yokoyama Katsuya who drove us to Yokoyama sensei's
home in the deep country side of Bisei Town. Through winding mountain valley
roads we travelled enjoying the changing scenery of gorges, rivers, oceans
of rice paddies and traditional Japanese houses. As we drove we all talked
and I got acquainted with Yokoyama sensei's wife who struck me as a very
loving and sensitive woman. I immediately sensed a connection with her.
We arrived at the Yokoyama residence about an hour later and realized what a
magnificent dream I'm living. I never imagined I would enter the home of
Yokoyama sensei, whom I consider a great spirit in my life. The gravity of
this experience is almost beyond words and I am still trying to understand
how this all came to be. His house is quite large and spacious with various
art objects placed around the house. It seemed to be a bit disheveled and
had a feeling of freedom and transiency about it, like letting one's hair
down after a long day. We made our way into the guest room were we all sat
around a circular table. A few minutes later Yokoyama sensei entered the
room and slowly made his way to the sofa chair at the head of the table. He
said his body wasn't so good, but his spirit was as vibrant as ever. I was
very moved that despite his physical condition, he still maintained his
sense of humour and never once did he bring anyone down or said anything
negative about his condition. Very great teaching. I got reacquainted with
Yokoyama Sensei and we enjoyed the coffee, tea, sweets, and delicious corn
on the cob served by by Mrs. Yokoyama. Afterwards, the three senseis and
volunteer staff headed to the Kenshukan just a few minutes from Yokoyama
sensei's house.
The Kenshukan is an old school house that was transformed into a seminar
hall by Yokoyama sensei. We took the next several hours cleaning up all the
rooms, dusting, vacuuming, sweeping, wiping, and arranging all the tables
and chairs for the workshop. When we were done, we all had dinner together
in the kitchen. Okada-san, who teaches out of Kansai joined us later. Then
it was practice time. For the next several hours I watched and listened in
awe as Furuya, Matama, and Kakizakai practiced. Their level of playing and
excitement for shakuhachi is so high I was moved deeply. In the shakuhachi
world, Yokoyama's sound and style appeals to me the most and these disciples
of Yokoyama embodied his teachings so closely and maintain a such a great
respect for him, I was deeply moved. I felt a deep kinship with them, which
was reciprocated.
After practice, we took showers and enjoyed a midnight drink together,
relaxing before bed. Hanging with these kindred spirits made my heart soar.
In the storms of life, it is moments like these I will remember and cherish.
The next morning was spent cleaning and practicing more. Then after lunch we
made another visit to Yoyoyama sensei's house where I gave him a small
interview to pick his brain about shakuhachi playing. The following is a
summary of the interview. Thanks to Kakizakai Sensei for helping with
translating.
Q: How should a beginner approach shakuhachi?
A: One should create their own philosophy and perception about shakuhachi
playing.
Q: What do you do about hand problems in shakuhachi?
A: Do a proper warm up and stop when you feel tired.
Q: How do you memorize honkyoku?
A: Practice. Singing is important as well in helping memorize.
Q: Is a teacher important in learning shakuhachi?
A: Yes. You need a teacher to show you the many nuances in playing a
particular style. Also, listening to good shakuhachi music is important in
learning.
Q: What do you think of improvisation?
A: One needs to train in improvisation. I used to practice constantly
everyday by listening to music on the radio and improvising with it. It's
like saving money. The more skill you save by practicing the better you get
at improvisation.
Q: What's the relationship between Zen and shakuhachi?
A: For me they are one and the same. When I play I think about Zen.
Shakuhachi, music, philosohpy, and Zen are all the same. But everyone is
different. Many of my top students have different ways than me. Just sing
from the heart.
Q: How has Watazumi-do influenced you?
A: In my opinion, he was the best player ever. Due to my efforts in
recording his music, he expanded the world of honkyoku in an unprecedented
way.
Q: What are some important points in shakuhachi expression?
A: The most important feeling in playing is like the final expression in a
haiku poem. If you change one thing in a haiku poem, the whole meaning
changes. Muraiki is everything and nothing. If muraiki is only an effective
sound, it doesn't work
Q: What about MA and TAMEH?
A: Now, that's very difficult. Ma is the relationship between two things.
Tameh is a very individual expression. That's all I can say now.
Q: What's better to learn first, honkyoku or sankyoku?
A: Whatever one likes. Honkyoku is technically the most difficult kind of
shakuhachi music.
Q: What kind of hand exercises do you do?
A: For example, everywhere I go I excercise the ring finger and index finger
of my left hand, my top hand, by doing tapping excercises like when you do
korokoro, slow to fast.
Q: Should we study Western music theory?
A: Yes. Your world will increase from it.
After the interview, we went back to the Kenshukan and greeted the
participants. About 40 people in all showed up. I was surprised and happy to
see Dan Ribble again. He came up all the way from Kochi to attend and we had
a great time catching up with eachother and practicing honkyoku side by
side. At 3:00 we all broke up into groups. The workshops began with the
study of: Takiotoshi, Sanya, and Koden Sugomori. The workshops went until
6pm.
After dinner was the student concert in the main hall. Yokoyama sensei
attended to give us advice about our playing. I was to play "Yamagoe" and I
was really nervous even though I knew this piece as my own body. First the
three teachers played the technically demanding piece, Kanae, by Matsumoto
Masao which was amazing to witness. Then I was up. I was a bit tense. I
closed my eyes and as I played the piece, time seemed to slow down as I
concentrated on my sound and fingers and breath. I thought I would surely
make a mistake, but when I finished the piece, I knew I played it well. The
MC asked me to say a few words but I had nothing to say. Then Yokoyama
sensei stood up and praised me which I felt I didn't deserve since I was
expecting words on how I could improve my playing. Nonetheless, it sure was
encouraging! Dan Ribble played a beautiful "Tamuke", and others played
"Shika no Tone", "Honshirabe", "Shoganken Reibo", and some modern duets.
After the student performances, the night was the time for getting to know
eachother, and everyone got into various groups to either practice or talk
about shakuhachi. My favorite room was where a bunch of us got into a big
circle with sakeh to drink and their shakuhachis to share and compare. It's
really a great learning experience talking to everyone and playing different
flutes from different makers.
The next morning after breakfast was workshops again. In addition to
learning honkyoku, we all learned a piece with three shakuhachi parts, Fudo
#1, by Kineya Seiho, and an "orchestral" version of Kuroda Bushi which
included kotos.
The workshops ended around 5 pm and we all headed to the main ampitheatre 10
minutes walk from the Kenshukan and everyone had bento there. Then we had
our rehearsal with kotos joining us for some of the pieces. At 8 o'clock the
concert started with Yokoyama sensei attending. The show was such a
wonderful experience for everyone. Afterwards the volunteers rushed back to
the Kenshukan to get the place ready for the final enkai. At the enkai when
everyone was jovial from the drink, Kaki-sensei told me that someone
requested I play didigeridoo for everyone. Isaka-san brought his didgeridoo
which he procured from Australia and gave it to me to play. Furuya sensei
told me to take my shirt off so I could look more like a real aborigine. So
I did. I stood on top of a chair and proceeded to play a 10 minute
didgeridoo improvised piece which everyone enjoyed. Afterwards, several
lined up and wanted to try to blow the didge and attempt to circular breath
which was very fun and interesting.
At one point, Mende-san from Hiroshima brought up a very interesting topic
which was sparked by my performance of Yamagoe: In honkyoku playing, should
one move try to be as physically still as possble or let one's natural
bodily movement manifest ? Mende said that my performance would improve much
if I stilled my body. Then another fellow player remarked that it was
unnatural to try to keep still, that one should naturally express one's
natural physicality when playing music.
On Sunday morning after breakfast, everyone left for home. After the
volunteers and teachers cleaned up all the rooms we all went to Yokoyama
sensei's house one last time to close the circle. Just as in the begining,
Mrs. Yokoyama served us cakes, coffee, and tea. I asked Yokoyama sensei more
questions about his life then thanked him deeply.
We took a taxi-van back to Shin Kurashiki station where we all bid eachother
farewell.
Next summer after the Boulder Summer Camp in the Colorado, Kenshukan is
planning to come to Vancouver for a performance and workshop on their way
back to Japan. Please come by and join us in Beautiful Vancouver, Canada for
a wonderful shakuhachi experience!
On September 2, I joined the master shakuhachi player and maker, Sogawa
Kinya (http://www.fides.dti.ne.jp/~sogawa/") (also an old student of
Yokoyama sensei and Tamai Chikusen) and his wife Laurie Kazsas (old student
of Aoki Reibo), and 5 other fellow shakuhachi players for a honkyoku
performance at Koku Park near Tokorozawa, which was wonderful. The
performance started with the eight of us playing "Yobi Take Uke Take" in a
circle. Then each of us played one honkyoku each. Then the second half
Sogawa-san and I played a solo on other instruments then all of us got again
for one last improvised jam session on various percussion and wind
instruments, which was quite mesmerizing. Laurie was recently bestowed the
honor of being the first person and first woman in history to teach
shakuhachi at a university in Budapest, Hungary. She'll be leaving for
Hungary on September 30. Wish her luck!
On September 11, Christopher Yohmei and I were scheduled to fly up to Akita
prefecture to play at the music festival for a Jr. Highschool. Due to a
heavy typhoon we were forced to stay in Tokyo. That night we witnessed the
horrific destruction of the World Trade Twin Towers live on CNN. Utterly
shocked and confused we found the strength to make the trip the next morning
to Akita where we played the pieces, Sokaku Reibo (Tsuru no Sugomori), Shika
no Tone, Sanya, Osaka komoriuta, Hama no Chidori, and Take, by Yamamoto
Hozan. Christopher had the 600 Jr. Highschool students spellbound that
afternoon with his eloquent, flawless Japanese, Komuso outfit and beautiful
playing. Christopher will be publishing the English translation of his book,
"Shakuhachi Odyssey", under Kodansha which will be coming out in the next
year or so. It won top prize in a Japanese literary contest last year. He
let me read the manuscript and I must say, it is an enlightening and
wonderful book describing Christopher's 30 years in Japan following his
shakuhachi path. A must read for all shakuhachi players, enthusiasts, and
students of Japanese culture and art.
On September 20, I visited Yokoyama Sensei's dojo in Nakano, Tokyo.
On September 22, I received my teaching license from Kenshukan.
September 30/October 1, I will attend Christopher Yohmei's and Tanaka
Yukio's (my biwa teacher) performance of Toru Takemitsu's November Steps in
Tokyo.
October 2, I return to Canada.
Thank you again, and may peace be your guide in these troubled times,
Al
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