Hi Jeff,
You should have been at the Panel discussion where your questions were
discussed, of course, in detail by the ladies present (and from questions
from the Audience)!
The overwhelming consensus was that it was a wonderful experience (indeed
even though some of them were at first apprehensive - upon meeting each
other they felt that it was the beginning of a definite birth of a
community).
There were a number of reasons that I came up with the idea:
1- Women Historically in Japan (up through WWII) did not play Shakuhachi.
2- Even today, 1/2 Century later they are not given the same respect in many
circles.
3- The presence of the first all Women Shakuhachi Masters Concert ever gave
a lot of power to their individual and collective creative expressions.
4- Although N.America was represented more than any other area (the Festival
was in NYC after all!), we had women Shakuhachi Masters from 4 continents
and 6 countries. 20% were from Japan.
5- It was concluded (and not that it matters how I feel about it - but I
feel 100% the same way), that the Women all felt that it was a great
experience, were glad they did it - but would NOT want it to be part of
other Shakuhachi Festivals. Of course, I agree as that would ghettoize Women
Shakuhachi Masters. This was a one-time only event - and the questions and
discussions were really interesting.
I have the panel discussion on tape and will make a DVD of it to go along
with the other 6 Concerts
<http://www.bigappleshak.com/bas/dvdorder.pdf>
...if there is enough interest.
You know that I wanted you at the Festival, Jeff - your presence was missed.
Cheers,
Ronnie
> Greetings All,
>
> Well it seems that the World Shakuhachi Festival in New York city has come
> and gone, no doubt dissipating like a slow running syrup in the minds and
> hearts of those who participated either actively or passively. The festival,
> organized by Ronnie Seldon ( much applause to you Ronnie for pulling off
> what had to be an overwhelming job at times) featured what is now a well
> known list of teachers and performers (less those who couldn't make it due
> to health and/or monetary reasons) from around the world with a strong
> representation from the U.S.A followed by Japan. According to participants
> writing in mailing lists, satisfaction was found within the bounds of the
> festival, though one comment written by a well spoken practitioner and
> enthusiast from North America was interesting and perhaps should be taken
> into account for future considerations. That was referring to the 'event'
> dedicated to and featuring female shakuhachi players. The intention, no
> doubt, in including this spectacle into the festival was to pay homage to
> the growing group of female players largely in North America, and to
> recognize them for their efforts( shouldn't all players of accomplishment as
> well as learners be recognized for their good efforts regardless of
> conditions of birth perceived as disadvantageous or not). My question is:
> does gender restrict or impede musical expression in this medium or in any
> way limit the channels of recognition that already exist, and if so, is that
> specific to North American practice? History explains the reason why women
> didn't traditionally and in large play the shakuhachi in Japan or for that
> matter, didn't take part in the spiritual practices that were evident in its
> origins. Was the concept of this event an attempt to rectify this situation
> or to distance modern players from the roots of the practice that seem to be
> politically incorrect? It seems to me that by creating an event, and I think
> the word spectacle is better here, to display, portray and expose players
> simply because they were born with biologically feminine apparatus, fails in
> paying homage to those players for their musicianship and accomplishment,
> but rather, sets them up in public view and says through what would seem a
> biologically male perspective, 'Wow! And they can play too!'. The fact that
> no women have spoken out on the obvious exclusionary aspect of this event is
> curious.
> Devoid of the cultural traditions that exist with the shakuhachi in Japan,
> does the inclusion of this event set precedence for future displays that
> satisfy the North American appetite for political spectacle? Are we doomed
> to be witness to 'Gay Shakuhachi Master's panel discussions', or ' The Music
> of Vietnam War Veteran Shakuhachi Master's' or perhaps 'A Special Concert of
> Shakuhachi Players Shunned by Popular Internet Mailing Lists.'
> With the apparent ongoing ness of the World Shakuhachi Festival, I would
> hope that organizers consider how the events included not only move the art
> ahead but add to a greater accessibility of existent knowledge and
> instructional techniques. If there are feminine or masculine aesthetics that
> can and should be expressed through the instrument, then they will be
> expressed by all with sufficient artistry , insight and desire to do so and
> not be restricted by ones consequence of birth.
> Though I was unable to participate in this festival, I felt compelled to put
> my thoughts about this out and welcome discussion or comments from any.
> All the best,
> Jeff Cairns
>
>
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>
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