-------------------------------1084156769
Dear Malcom,
I think we have some similar interests. Here's some information I've
gathered. Much of this is based on tradition; shakuhachi lore is very rich and
varied, so you have a choice of which version of the "truth" you prefer.
Music in the Sanya format has a traditional association with birth. The word
"Sanya" has many meanings; if you read the Japenese characters literally, it
means "three valleys", but it can also mean "assembly" or "to assemble". Some
people say it comes from the Sanskrit word, "Samaja", which is very close to
the Zen concept of "Samai", self-effacement, which was an important part of
the komuso's goal. However, the word "San" can also mean "birth", and "Ya", can
mean "peace," or "safety".
We have a tradition that komuso would pass uncooked rice through a flute, and
this rice would be given to a woman (some say just as she was going into
labor, others say after the birth, others say both...) to assure a safe childbirth
and a plentiful supply of milk. The komuso would play Sanya during the
labor.
This practice has acquired a reputation for producing female children...I
have heard of some people who have tried this; yes...all of them ended up with
daughters! :)
Music in the Reibo format is traditionally associated with passage at the
other end of life. We have legends that the playing of Reibo was once banned in
the Yoshiwara "pleasure quarters" at one time, because when a famous player
came through playing Reibo, it provoked too many double-love-suicides. Other
legends say that it was banned because someone's playing Reibo each evening at
twilight was causing a large number of old folks to quietly shuffle off the old
mortal coil, and blissfully pass on.
There are various stories about which form of Reibo or Sanya is most closely
associated with these stories. However, since the music was passed on by an
oral tradition, and only started to be written down after the komuso were
banned, and since many of these different forms of the pieces are related, I'm not
sure we can pin the stories down more than this. Legends abound !!!
Banshiki is also associated with the ceremonial aspects of death. I have
played it at several Buddhist funerals. Some traditions have playing it as part
of the procession. Sometimes the mourners light incense during the pauses in
the music. I've also played it at the burial of the ashes, and at annual
memorials. If you have a 1.9 length flute, try playing Banshiki on it. The key of
the music produced by the 1.9 flute is also called "Banshiki."
The Dokyoku "Tamuke" is said to deal with the contemplation of death...but
the Watazumi-style Dokyoku tradition is a more modern development, not from the
old komuso.
Several of the pieces in the Neza-Sa-Ha tradition relate to komuso, but they
were more likely played by samurai, about the theme of komuso and their
activities, rather than actually by real komuso. Neza-Sa-Ha became popular at the
time of the Meiji Restoration, just when komuso and their supporting temples
were banned.
The Kinko school piece Hi-Fu-Mi-Hachikaeshi is also about the komuso's
begging, receiving a bowl, and returning it with thanks. I cherish a romantic hope
that the komuso were receiving more than just rice; as boddhisattva
"wannabees", they also should have had the intent of taking on the donor's sufferings
and bad karma, and then thanking them for that.
Yoki-Dake, Uke Dake, as collected by Jin Nyodo, was supposed to be a
call-and-response used by komuso to identify themselves, and expose impostors (called
"maisu"). If you didn't give the proper Uke Dake response after three
Yoki-dake calls, you were in big trouble !!! Supposedly, a monk could also tell from
which temple or sect a person came by his playing style.
In a more modern vein, Some new-age types feel Choshi is good for diagnostic
and rapport work, as it has to do with attunement of player, listener, and
flute, as well as an exploration of the curent condition of all concerned. The
word "Choshi" means "condition".
Again, in a more modern vein, some Reiki practitioners associate certain
notes with certain chakra. They say that the crown, heart and root chakra are
associated with the note G; that would be RE on a 1.8 shakuhachi. The third eye
and sacral chakra are associated with D, or RO on a 1.8 length flute. The
throat chakra is associated with A, or Chi, and the solar plexis as associated
with F, or TSU.
Hope to hear from you about your continued experiences with healing sounds.
I've been playing for about 17 years, now, and am in the middle of a series of
5,000 honkyoku as a healing offering for those lives disrupted by the events
of 9/11. I'm up to # 2589 now. It's slow going because I want to play each
one as well as possible. (My lousiest performance will be the one that's for
me.)
Gassho,
Barbara Krooss
-------------------------------1084156769
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<DIV>Dear Malcom,</DIV>
<DIV> </DIV>
<DIV>I think we have some similar interests. Here's some information I=
've gathered. Much of this is based on tradition; shakuhachi lore is v=
ery rich and varied, so you have a choice of which version of the "truth" yo=
u prefer.</DIV>
<DIV> </DIV>
<DIV>Music in the Sanya format has a traditional association with birth.&nbs=
p; The word "Sanya" has many meanings; if you read the Japenese characters l=
iterally, it means "three valleys", but it can also mean "assembly" or "to a=
ssemble". Some people say it comes from the Sanskrit word, "Samaja", w=
hich is very close to the Zen concept of "Samai", self-effacement, which was=
an important part of the komuso's goal. However, the word "San" can a=
lso mean "birth", and "Ya", can mean "peace," or "safety".</DIV>
<DIV> </DIV>
<DIV>We have a tradition that komuso would pass uncooked rice through a flut=
e, and this rice would be given to a woman (some say just as she was&nb=
sp;going into labor, others say after the birth, others say both...) to assu=
re a safe childbirth and a plentiful supply of milk. The komuso would=20=
play Sanya during the labor. </DIV>
<DIV> </DIV>
<DIV>This practice has acquired a reputation for producing female children..=
.I have heard of some people who have tried this; yes...all of them ended up=
with daughters! :)</DIV>
<DIV> </DIV>
<DIV>Music in the Reibo format is traditionally associated with passage at t=
he other end of life. We have legends that the playing of Reibo was on=
ce banned in the Yoshiwara "pleasure quarters" at one time, because whe=
n a famous player came through playing Reibo, it provoked too many double-lo=
ve-suicides. Other legends say that it was banned because someone's pl=
aying Reibo each evening at twilight was causing a large numb=
er of old folks to quietly shuffle off the old mortal coil, and bl=
issfully pass on. </DIV>
<DIV> </DIV>
<DIV>There are various stories about which form of Reibo or Sanya is most cl=
osely associated with these stories. However, since the music was pass=
ed on by an oral tradition, and only started to be written down after the ko=
muso were banned, and since many of these different forms of the pieces are=20=
related, I'm not sure we can pin the stories down more than this. Lege=
nds abound !!!</DIV>
<DIV> </DIV>
<DIV>Banshiki is also associated with the ceremonial aspects of death. =
I have played it at several Buddhist funerals. Some traditions h=
ave playing it as part of the procession. Sometimes the mourners l=
ight incense during the pauses in the music. I've also played it at&nb=
sp;the burial of the ashes, and at annual memorials. If you have a 1.9=
length flute, try playing Banshiki on it. The key of the music produc=
ed by the 1.9 flute is also called "Banshiki."</DIV>
<DIV> </DIV>
<DIV>The Dokyoku "Tamuke" is said to deal with the contemplation of death...=
but the Watazumi-style Dokyoku tradition is a more modern development,=20=
not from the old komuso.</DIV>
<DIV> </DIV>
<DIV>Several of the pieces in the Neza-Sa-Ha tradition relate to komuso, but=
they were more likely played by samurai, about the theme of komuso and thei=
r activities, rather than actually by real komuso. Neza-Sa-Ha became p=
opular at the time of the Meiji Restoration, just when komuso and their supp=
orting temples were banned. </DIV>
<DIV> </DIV>
<DIV>The Kinko school piece Hi-Fu-Mi-Hachikaeshi is also about the komuso's=20=
begging, receiving a bowl, and returning it with thanks. I cheris=
h a romantic hope that the komuso were receiving more than just ri=
ce; as boddhisattva "wannabees", they also should have had the intent of tak=
ing on the donor's sufferings and bad karma, and then thanking them for that=
. </DIV>
<DIV> </DIV>
<DIV>Yoki-Dake, Uke Dake, as collected by Jin Nyodo, was supposed to be a ca=
ll-and-response used by komuso to identify themselves, and expose impostors=20=
(called "maisu"). If you didn't give the proper Uke Dake response afte=
r three Yoki-dake calls, you were in big trouble !!! Supposedly, a mon=
k could also tell from which temple or sect a person came by his p=
laying style. </DIV>
<DIV> </DIV>
<DIV>In a more modern vein, Some new-age types feel Choshi is good for diagn=
ostic and rapport work, as it has to do with attunement of player, listener,=
and flute, as well as an exploration of the curent condition of all concern=
ed. The word "Choshi" means "condition".</DIV>
<DIV> </DIV>
<DIV>Again, in a more modern vein, some Reiki practitioners associate certai=
n notes with certain chakra. They say that the crown, heart and root c=
hakra are associated with the note G; that would be RE on a 1.8 shakuhachi.&=
nbsp; The third eye and sacral chakra are associated with D, or RO on a 1.8=20=
length flute. The throat chakra is associated with A, or Chi, and the=20=
solar plexis as associated with F, or TSU.</DIV>
<DIV> </DIV>
<DIV>Hope to hear from you about your continued experiences with healing sou=
nds. I've been playing for about 17 years, now, and am in the middle of=
a series of 5,000 honkyoku as a healing offering for those lives disru=
pted by the events of 9/11. I'm up to # 2589 now. It's slow goin=
g because I want to play each one as well as possible. (My lousie=
st performance will be the one that's for me.)</DIV>
<DIV> </DIV>
<DIV>Gassho,</DIV>
<DIV>Barbara Krooss</DIV></BODY></HTML>
-------------------------------1084156769--
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