Chichibu update

One of the attractive facets of Japanese design is the 'ki' wood. It emphasises natural features and natural beauty and weathers with humility, natural faults and knots, considered desirable. The humility of wood is appropriate to remind humans of their frailty and imperfection. Sabi (used commonly in the expression adopted recently by Western design from Japan, 'wabi sabi') referred originally to things withered by age. More recently it has been applied to aesthetics of tranquillity and simplicity or the 'rust of age' that engenders beauty and character, particularly important in the Tea Ceremony, in which rough implements, avoiding adornments and technological sophistication are appreciated. Savouring the 'rust of age' reveres nature, changing seasons, weathering and wearing, aging and naturalness. From 'Elements of Japanese Design' by De Mente, Tuttle Publishing, 2006, VT. Many of the rustic, old buildings in Chichibu embody these notions with delightful rust and faded paint, wooden panels and marks of age.



Yesterday, I visited Chichibu again for a shakuhachi lesson and also had the chance to wander around the small mountain town a little more, always encased by mountains. It has a sleepy village-like atmosphere and neighbourly friendliness, some retiring buildings and is generally flat with low-rise dwellings surrounded by the hills, conveying a different sense of suburbia and visibility for longer distances, a vista that cannot be found in the Tokyo metropolis where a building rises in every direction, hiding the sun and colouring the view. One experiences very little sense of natural formations in Tokyo, apart from microcosmoses of gardens and parks (which are truly beautiful oases) but one looses the whereabouts of mountains or sea, except on the riverside locations. Chichibu seems much more nested in and connected with its natural surroundings. I visited the trailer-home or cyber-caravan as we call it, where an Argentinean couple and their son, Horacio, Vika and Kai are currently living. This is where I will spend November before moving to Youkobo. The internet connection is faster than Sydney Uni's!

Lessons in Chichibu and Tokyo

Shakuhachi lessons at Tachikawa in Tokyo suburbs and in Chichibu (Chichibu Saitama prefecture in the mountainous countryside, 2 hours west of Tokyo) are going well. Kakizakai Sensei never runs out of wisdom and new things for me to learn and it is invaluable having high-frequency lessons concentrating on single pieces per lesson. Currently I am really trying to work on the embouchure thing that Yokoyama and his Kenshukan promote so ardently (for good reason) that produces round strong tone and flexibility for meri (lowered) pitches. Saturdays I go to the Tokyo lessons and Wednesday to Chichibu as research seminars have now ceased for the month of August for summer break. Even after practising several hours some days, the right sound is nowhere to be found. It is very difficult. The lesson in Chichibu (another tomorrow) also meant a welcome diversion into the scenic mountainous countryside by express train from Ikebukuro. The ride takes you quickly out through the sprawling suburbs to agricultural plots giving way to hillside, tea, rice and eventually mountains, occasional mining, steep embankments, mind-boggling retaining walls, groves of bamboo, rivers and steep valleys, shadowed on both sides by monster-sized mountains. Compared to Australian mountains that have lilting rounded contour often in the sandstone mountains, these were aggressively sheer rising sometimes at precipitous 80 degree angles beside the train and visibly crumbling and tumbling where mining has excavated into their sides. It is a completely different landscape from Tokyo and the Chichibu-Saitama National Park is renowned for its scenic trails and walking tours, a circuit of shrines and temples and pathways used for spiritual pilgrimages featuring many mountaintop shrines and views. I am sure that when I live there in November, I will be making a couple of these pilgrimages!





The first lesson I attended at Tachikawa had a serendipitous ending when I caught a 'mystery' bus (not the correct number but worth an experiment) and ended up in Hana-Koganei, a town that just happened to be celebrating its annual matsuri (festival) in flare, colour, noise and festivity with dancing, wheeling out huge odaiko and taiko drums into the streets that were closed for the ceremony. The striking thing about these festivals, most localities have one of some size, while Chichibu's is notoriously one of the most impressive, is that the whole community seriously engage in the activity. It must take weeks, even months for preparation. The taiko-players in Hana Koganei were professional but in many towns, the folk rehearse and prepare their playing. In this town, everybody looked harmonious in their matching outfits, some for dancers, some for carrying the portable shrine through the town, others for drumming and so on such that a real mass of colour and community was visible right down to details. People had clearly put a great deal of time into their appearances and costumes. Grandchildren, parents, grandparents were all involved, through processions, group dances, eating street food from little tents lining the side oft he village centre, painstakingly cooked skewers stretchy octopus, okonomiyaki pancakes, etc. Even family pets were dressed to comply and I was surprised by how many people brought along their dogs: why? Because it was so very loud with processional bells, gongs, transverse flutes of very bright piercing tone, maybe shinobue-like, the thundering taiko, at times concurrently and the chanting, frenzy of the cheerleaders and crowd pursuing the mobile shrine through the crowds, not to mention giggling shrieking children, the excitement of the crowd and it was generally so noisy for several hours - it must have been difficult or a little terrifying for the pets dragged along. This was my first experience of a matsuri and it was amazing to be swept up in the charged atmosphere and feel the energy of the taiko in its 'natural' or original context. It was exhilarating and really cohesive, primal.

Chris Blasdel's concert

Christopher Yohmei Blasdel's 'exTemporal' recital to commemorate 35 years of shakuhachi playing was held 90/06/07 at Tsuda Hall in Tokyo. This generous hall holds maybe 400 people, filled to capacity and with very sympathetic acoustics for shakuhachi and voice. Chris' concert revolved around the theme of extemporisation/improvisation in traditional Japanese music and contemporary, explored through dance, sculpture, voice shamisen, koto and shakuhachi with staging and lighting to complement the theatrical concept of mind/body/earth integration.

The sculpture of a human torso from anatomically accurately shaped wood cut off in shards at the limb-ends by Koji Ohno in a globe-shaped 'cage' formed the centrepiece for interactive dance by Hideo Arai with vocalist Mika Kimula (revolving around contemporary improvisation with traditional elements). Both dancer and singer vocalised a dynamic range of sounds and explored the mediation between media fused with chris' improvised shakuhachi in the piece, Sokoku Butai that concerned the "synthesis of audible and visual" through shakuhachi, dance, singing, sculpture, lighting, inspired by anatomist and morphologist Shigeo Miki (Dr/Sensei), influenced by the sensuality and spirituality embodied in the relationship between the word and the body and between the body and the natural forces of the earth. It seems reminiscent of the the philosophy of aikido. Both Kimula and Arai moved and both vocalised so the boundaries between art-forms were fused there too, interacting with the sculpture by Koji Ohno.

The first part o the programme explored a Kinko style honkyoku, and jiuta/song for shakuhachi with vocal parts by both koto and shamisen players, Yutaka Mikoya and Tohru Chiba. Chiba is a talented student of Mikoya sensei. A more contemporary improvisation originating from the myth of the giant Geruda bird was performed as a duet between shakuhachi and ryuteki, performed by Sukeyasu Shiba. Here the ryuteki is emulating the ancient mythical Garuda giant bird squealing and crying in duet with shakuhachi. The Garuda with its "intense stare and tempestuous visage" [Chris' notes] plays ryuteki - tones that pierce straight through the soul - and it does. Most personnel were connected through a long association with Chris since University days. The stage setting, lighting and projection dramatically influenced the unity and macabre shadow dance on the walls surrounding the stage, giving it a large, multi-dimensional quality that silhouetted different angles of the body and the dance.

More photos are in the flickr set.

Kenshukan shakuhachi crazy!

In the words of the sensei: "Hello shakuhachi friends!

We International Shakuhachi Kenshukan are going to have an event that is
called 'The 20th anniversary of the International Shakuhachi Kenshukan
festival in Bisei'.

Date:24th 25th and 26th August 2007
Place : Bisei town in Okayama Japan (It's the place where the 1st world shakuhachi festival was held.) (This includes 2 nights stays, 6 meals, workshops , concerts , and farewell party(s?).

Everybody who is interested in shakuhachi can attend the event. You can see(touch) real "Katsuya Yokoyama".

And there will be a lot of non-Japanese shakuachi players listed below: David Wheeler, JimFranklin, Bruce Huebner, Jinmei Linder Gunnar, Neptune Kaizan, Kiku Day, Riley Lee, Marco Lienhard
Peter Hill, Stan Richardson, Véronique Piron

And from Kenshukan : Teruo Furuya, Kazushi Matama, Kuniyoshi Sugawara, Akikazu Nakamura, Ichro Seki, Toshimitsu Ishikawa, Michiaki Okada, Yoichi Iwahashi, Kaoru Kakizakai

We are very looking forward to seeing you shakuhachi crazy.

Best regards,
Kaoru Kakizakai"

Chris Blasdel 35 years in Japan concert

I plan to attend this concert cellebrating Chris' being in Japan now for 35 years studying and playing shakuhachi!

June 9 , 2007, Tokyo
A recital to commemorate Christopher Yohmei's 35 years in Japan studying shakuhachi: 'Shakuhachi exTemporal': Exploring improvisation in comtemporary and traditional shakuhachi music
Christopher Yohmei: Shakuhachi ; Sukeyasu Shiba: Ryuteki; Mika Kimula: Voice; Yutaka Mikoya: Koto; Hideo Arai: Dance; Koji Ohno: Sculpture

Date & Time: June 9 (Sat), 6:30 PM.
Place: : Tsuda Hall (03-3402-1851). Right in front of JR, Sobu Line Sendagaya Station or subway, Oedo Line Kokuritsu Kyogijo
Admission: 4000 yen (advance sale) 4500 yen (at the door)
For information or reservations, please contact: Aura-J Office
Tel: 03-3749-3741, Fax: 03-3749-3719, Mail: info@ora-j.com

Part I: Sokoku Butai--Shakuhachi, voice and dance brings to life the impeccable sculpture of Koji Ohno.
Part II: The classics reborn in the spirit of improvisation.
Tsuki no Kyoku (Kinko style honkyoku)
Sarashi (Jiuta Sokyoku)
Night of the Garuda (contemporary duet for shakuhachi and ryuteki)

Winter Koto Concert

The Sawai International Koto School presents: Winter Koto Concert
When: Saturday 16th June 2007 7.30pm for 8pm start
Where: St Stephens Church Hall Church Street, Newtown

Koto Performers: Catherine Brown, Dwight Dowda (and Michael Field on flute), Moko Eade, Anne Grantham, Miyama McQueen-Tokita, Shoko Ono, Mizuno Oyuki, Miko Wilkin
Director: Satsuki Odamura

Admission free, Donation at door would be appreciated
Contact: Shoko Ono shoko.ono-1@uts.edu.au 0402 655 851

Raw

This afternoon I recorded Koku with passing buses and car horns [for the purposes of observation and subsequent reference]. It is still very rough but I am working on the flow and certain ornamentations to achieve greater simplicity. Hopefully, the sound will become more refined with practise. Yesterday, my double CD album of Yokoyama Katsuya 'Zen' arrived from Amazon. I am not sure why I have not this earlier! Of course it includes Koku and, in this case, played on flute-length closest to my own. My 2.1 has a 'B' fundamental and Yokoyama is using an approximate 'A#' - is that 2.2? Somehow, with so many things to think about, Koku feels very energetic when I play it but Yokoyama makes it sound perfectly serene and with superlative long phrases ...

Blue Mountains excursion

Yesterday was a beautiful crisp autumnal yet sun-filled day for Kevin [Melville] and I to take an excursion by train to Katoomba for shakuhachi lessons with Bronwyn (my first since the arrival of her new baby and hence a chance to meet Alina). Kevin was working on Honshirabe and I was struggling with Koku. It was very fruitful in terms of refreshing and learning more about the detail of the piece and its flow. I like this piece very much but I also find it the most difficult I have studied to date because of its fairly insistent intense high register and powerful, often explosive raw undercurrent while overall 'emptiness/serenity': an interesting concurrence. Technically, it contains many fine subtleties and requires utmost accuracy of pitch (of course every piece does but this one weaves around considerably). Both Kevin and I observed Bronwyn's uncanny calm and concentration despite occasional cries from Alina in the adjacent room. Overall, the composite of scenic train journey, nice Niche Nosh at the vegetarian cafe and beautiful outlook around Bronwyn's and Katoomba in general, made it a delightful one-day excursion: the seemingly long 10-hour excursion for a shak lesson turned out to be very enjoyable!

From komuso.com, "Kokû (Dokyoku) is a Koten piece from the Dokyoku school (founded by Watazumi Doso Roshi in the 1950's)" and ‘Empty Sky’ is a ubiquitous translation of Koku. This piece, transmitted through the Watazumi/Yokoyama lineage of shakuhachi, is one of many versions of 'Empty Sky', which is one of a trilogy of the oldest and venerated honkyoku, the other two being ‘Empty Bell’, and ‘Flute on the Misty Ocean,’ i.e. (in the Fuke set repertoire): Kyorei, Mukaiji, and Koku. These works are collectively referred to as the Koden Sankyoku. They are respected as the oldest works and transmitted in all branches of shakuhachi playing. "The work is in three part form: calm-movement-calm. Even though it is a very long piece it is very well organized. In each part various techniques are developed. According to legend, Kyochiku (literally, ‘empty bamboo’), a Zen priest who founded the Myoan temple in Kyoto in the thirteenth century, fell asleep while practicing shakuhachi inside the temple at Ise. He dreamed of a solitary boat floating on a misty sea and heard a strange sound from the heavens. As the mist gradually disappeared, another sound reached his ears. Awakened, he immediately transcribed the mysterious sounds into the sounds of his bamboo instrument, thus creating three pieces: Koku (Empty sky or ‘Vacuity’), Kyorei (Empty bell), and Mukaiji (Misty Sea)."

Apropos tone production [and requisite emptiness] "let go of sound and focus on the process" [Bronwyn]

Kevin (silhouette with the Eucalypts) and Bronwyn. The colour and resolution of these images look much better at Flickr.

Easter holidays in Oberon

I am fortunate to be able to 'escape' for breaks to the country. My intention was to practice [shakuhachi] quite a bit but naturally the scenic surroundings also caught my attention, ranging from the prolific wood fungus growing on sawn-off pines while running in the forest to the wind farm at Blayney driving to Cowra, small country villages in drought-stricken rural NSW, the autumnal colours of changing poplars and red deciduous trees and gorgeously alive sounds of frogs, birds and other wildlife on the farm.

Cowra Japanese Garden in NSW, Australia

With Mum and Dad, I took a (nearly 3 hour one-way) drive through country NSW from Oberon to to Cowra Japanese Gardens. Designed by Ken Nakajima in 1971, opening 1979, the gardens commemorate the Cowra POW breakout and long association of Cowra with Japanese immigrants to Australia. Somehow this deplorable time in Australia's history has been transformed into something very beautiful. In addition to the stroll garden pictured, there is a rock (and pebble) meditation garden, bonsai house, pottery and in season a Sakura Matsuri! www.cowrajapanesegarden.com.au/ and more photos here Flickr/

Running and walking around Sydney Harbour

I recently started running again (and sometimes walking), mostly in the early mornings. This is supposed to increase my phrase-length on shakuhachi! I am very fortunate that this often takes me to some of the most picturesque locations on Sydney Harbour's northern foreshore. For the benefit of my overseas friends, I am including here some pictures from around Lavender Bay, Milsons Point and Kirribilli. Other times, I run down to the water at Balls Head Reserve in Waverton and Berry Island Reserve in Wollstonecraft, incorporating a very hilly but scenic course including many natural bush regeneration areas and quiet roads. In Oberon, I ran in the paddocks and along dirt forestry roads through the pine trees and sheep (and managed not to disappear down a wombat hole!)