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Regarding the hochiku - shakuhachi talk I decided to ask Yokoyama for his
opinion about it. Here's his reply...
First of all he said that what he was about to say was only his opinion so
couldn't be taken or misconstrued as some sort of universal truth. Other
people may have a different opinion which serve them as well as his opinion
serves him. Then he went on to say that the spirituality of the
person-flute coupling was strictly personal, between the person and the
flute. If one person believes that hochiku are more appropriate than
shakuhachi then that person should use a hochiku. The opposite also
applies. The flute considered alone is meaningless since without the
person, the flute doesn't work at all. Shakuhachi and hochiku don't just
lie there on the floor and sound honkyoku or any other song by themselves.
He further remarked that whichever type of flute one uses, finds suitable,
h/she will eventually come up against the limitations of the flute, there
will be something that one wants to do but cannot do, not because of oneself
but because of the flute. And it takes a long time, a lot of practice,
which cannot be accomplished in a few years, to know that it is, in fact,
the flute which is the problem. But finally when one does know, then either
alter the flute or get a different one that will do what you want to do. If
this means dabbing something into the bore of a hochiku or removing
something or both, then, by all means, do it and get on with doing. If it
means getting, making, a different flute, then get one or make one, and get
on with the doing.
The problem of not being able to accomplish the doing is compounded by the
fact that one's idea about what the doing is and ones idea of what a
suitable flute is, changes all the time. So there is never an end to it.
Additionally, he stated that if one made 100 strictly hochiku flutes, the
chances of finding one which would be useful are nil. If one made 1000 the
chances are improved to the point where one might find a flute that came
close but still wouldn't do everything easily, and easier is, after all,
easier.
Lastly, he mentioned that everyone should make their own flute, thereby
avoiding the trap of mistaking one's own shortcomings and blaming the flute
maker.
That's about it.
Personally, I like the last part about everyone making their own flutes
since that's what I've always done. I do have good flutes made by other
people but still use my own more than the others.
So...let's get on with it. If enough of us do it long enough, someday,
somewhere, another great master will come along and provide the rest of us a
lot of delight.
Happy today since the sun came out again.
Tom Deaver
Bei Shu Shakuhachi Workshop
http://www3.ocn.ne.jp/~shaku100/
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<HTML>
<HEAD>
<TITLE>Opinion</TITLE>
</HEAD>
<BODY>
Regarding the hochiku - shakuhachi talk I decided to ask Yokoyama for his o=
pinion about it. Here's his reply...<BR>
<BR>
First of all he said that what he was about to say was only his opinion so =
couldn't be taken or misconstrued as some sort of universal truth. Oth=
er people may have a different opinion which serve them as well as his opini=
on serves him. Then he went on to say that the spirituality of the per=
son-flute coupling was strictly personal, between the person and the flute. =
If one person believes that hochiku are more appropriate than shakuhac=
hi then that person should use a hochiku. The opposite also applies. &=
nbsp;The flute considered alone is meaningless since without the person, the=
flute doesn't work at all. Shakuhachi and hochiku don't just lie ther=
e on the floor and sound honkyoku or any other song by themselves.<BR>
<BR>
He further remarked that whichever type of flute one uses, finds suitable, =
h/she will eventually come up against the limitations of the flute, there wi=
ll be something that one wants to do but cannot do, not because of oneself b=
ut because of the flute. And it takes a long time, a lot of practice, =
which <U>cannot</U> be accomplished in a few years, to know that it is, in f=
act, the flute which is the problem. But finally when one does know, t=
hen either alter the flute or get a different one that will do what you want=
to do. If this means dabbing something into the bore of a hochiku or =
removing something or both, then, by all means, do it and get on with doing.=
If it means getting, making, a different flute, then get one or make =
one, and get on with the doing.<BR>
<BR>
The problem of not being able to accomplish the doing is compounded by the =
fact that one's idea about what the doing is and ones idea of what a suitabl=
e flute is, changes all the time. So there is never an end to it. <BR>
<BR>
Additionally, he stated that if one made 100 strictly hochiku flutes, the c=
hances of finding one which would be useful are nil. If one made 1000 =
the chances are improved to the point where one might find a flute that came=
close but still wouldn't do everything easily, and easier is, after all, ea=
sier.<BR>
<BR>
Lastly, he mentioned that everyone should make their own flute, thereby avo=
iding the trap of mistaking one's own shortcomings and blaming the flute mak=
er.<BR>
<BR>
That's about it.<BR>
<BR>
Personally, I like the last part about everyone making their own flutes sin=
ce that's what I've always done. I do have good flutes made by other p=
eople but still use my own more than the others.<BR>
<BR>
So...let's get on with it. If enough of us do it long enough, someday=
, somewhere, another great master will come along and provide the rest of us=
a lot of delight.<BR>
<BR>
Happy today since the sun came out again.<BR>
<BR>
Tom Deaver<BR>
<BR>
Bei Shu Shakuhachi Workshop<BR>
http://www3.ocn.ne.jp/~shaku100/ <BR>
</BODY>
</HTML>
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