World Shakuhachi Discussion / Go to Live Shakuhachi Chat
You are not logged in.
(I wrote the following after reading a thread speaking of one player’s adherence to a traditional method and his personal journey in that practice toward something that seems to be other than musical mastery. Thank you Prem for your comments. And sorry, I couldn’t find that thread so I put this here.)
I just finished listening to a lecture given by ethno-botanist Terrance McKenna on what he termed ‘psychedelic society’ before reading this thread, and found some interesting insights.
Let me begin by saying that I fully understand that there are several, if not many reasons for taking up the practice of shakuhachi today. In so saying, I’m wondering if those different paths might be one and the same.
It seems that in the prospect of beginning to learn the shakuhachi, some questions may well be posed: why am I blowing into this tube? Surely, ‘because it’s fun to do’ can’t be a realistic answer since in an overwhelming majority of cases, the beginnings are wrought with difficulties that would be explained as anything but ‘fun’. Why am I learning the names of these symbols and learning to interpret them in this particular way? Adherence to an existing tradition would be an improbable answer since at the beginning, a deep knowledge of the various traditions is often not known—making judgment of choice a nearly impossible task. What is motivating me? What do I hope to achieve? Am I driving or am I being driven?
The very fact that the shakuhachi is so culturally bound in its traditions even today, and that it has managed to survive to be transmitted outside of its origins, suggests that there may be a hint of the fulfillment of transcendence of some sort within the mysteries of its processes; that the masculine technicality may give way to feminine expansiveness (as McKenna discusses); that hardware will become absorbed and incorporated by software.
McKenna suggests that we as the inhabitants of this world right now are in an important transformative stage where the hard-wired (hardware), masculine, technical aspects of living are about to be transcended by the software, feminine, perceptive aspects of our being. In so doing, the hardware (methodology) will be internalized and the software (all pervading uniqueness of being) will be externalized and as such, will supplant a very different paradigm than the one we are accustomed to. Ken Wilber, the -- what is he? (“leading proponent of the ‘integral’ movement” says Wikipedia), suggests much the same situation in his linear, hierarchical, transformative states of integralism, but goes on to suggest that glimpses of all transformed states, including any possible ultimacies, are possible from any other state of awareness; a kind of ‘wormhole’ that gives an immediate connection to a transformed state, but is too erratic and minuscule to be immediately accessed and negotiated.
Applied to the ideas suggested here by Prem: “I truly feel that each of us has a unique voice and abilities. However, they must be honed, honed and re-honed”; with respect to the practice of the origins (true or not) of the myoan style (or any style) of shakuhachi playing and the validity of studying the basics as opposed to simply expressing ones ‘feelings’ (sic) an interesting perspective is suggested. That is, in studying the traditions, and suggesting the necessity of doing so, are we simply grappling with the hardware, or are we motivated by a glimpse of the promise of transcendence? Is this hardware the “shell” that Prem speaks of? (e.g., “But my goal in life is not momentary joy. I want to be PUSHED! And then pushed HARDER! I want to grow and I want to break my shell.”)
Time and time again, we hear in these pages of people’s feeling of something deep, and deeply rewarding, when being exposed to the sound of the shakuhachi for the first time, and that is often the initial motivating factor that inspires the desire to play . We’ve also seen it suggested time and time again, new students should seek out a knowledgeable and reputable teacher if they want to prevent ‘re-inventing the wheel’ in acquiring proficiency on the instrument (is hardware mastery the ultimate goal?). Or, do these comments suggest that by seeking out that teacher, we will be able, somehow, to skip over the mire and obstacles typical to the hardware and get a quicker glimpse of the promise of what lies over the cusp of transcendence? Or rather, that some of that mire is necessary to experience in order to achieve the same goal as perceived by the teacher? The implication of a ‘path’ suggests that there is ‘rightness’ and ‘wrongness’ with regard to a perceived process and end, whatever that may be. So, what is such a ‘rightness’ and ‘wrongness’, as applied to the variety of paths available to the shakuhachi player—and how malleable are those paths? Is this ‘path’ concerned with merely being technically wrong according to some tradition, or does it suggest that the tradition in question, when done properly, is the key that will unlock the door to a glimpsed, desirable state?
I think that it goes without question that the perceptive nature of each shakuhachi player 300 to 1200 years ago in Japan (honed by conditions unique to each individual), are different than those of many alive today. The paths that were chosen by those historical figures were undoubtedly suggested by their contemporary conditions—as are ours. In adopting an ancient path, are we addressing the unique nature of our contemporary situation? In other words, are those ancient paths somehow, all-inclusively transformative; or, are we indeed missing the point? Were and are the paths (traditions) made up of indisputable and all-pervading components perceived as steps of attainment that lead to the same transformation, or are some more valid than others in achieving this? Or on the contrary, are the unique judgments that the knowledgeable teacher makes when considering the individual needs and progress of the student the real vehicle to transformation, rather than the trappings of tradition and therefore any old methodology will do?
Offline
Whether or not you seize not not the historical perspective against the mental perspective of shakuhachi practice you and studies you, to be gone is very importantly, not against tradition in favor of the individualismus. Therefore the experience of modern western shakuhachi player and the its from Kurasawa Kinko both the same is different and. The same is different, or sometimes it is different. Best way is to refine one wurst instead of booting in the waste. Und mit bier you must purify instead of angering the Rheinheitsgebot. Same one with shakuhachi cast bore or not. Carpe Diem.
Last edited by Horst Xenmeister (2008-05-10 22:30:02)
Offline
Horst,
Happy to have been drawn through the eye of that needle.
Offline
it's not the path
nor the destination
but the journey that's enlightening
Offline
Back to your comments Jeff. We should all be thankful that the monks who developed this music and practice left something so universal behind that we of a totally different time and place can get engrossed in it. The music and sound is so powerful that when we are in the moment with it, we certainly attain a similar state as the players of old.
Offline
Jeff wrote wrote:
Applied to the ideas suggested here by Prem: “I truly feel that each of us has a unique voice and abilities. However, they must be honed, honed and re-honed”; with respect to the practice of the origins (true or not) of the myoan style (or any style) of shakuhachi playing and the validity of studying the basics as opposed to simply expressing ones ‘feelings’ (sic) an interesting perspective is suggested. That is, in studying the traditions, and suggesting the necessity of doing so, are we simply grappling with the hardware, or are we motivated by a glimpse of the promise of transcendence? Is this hardware the “shell” that Prem speaks of? (e.g., “But my goal in life is not momentary joy. I want to be PUSHED! And then pushed HARDER! I want to grow and I want to break my shell.”)
I am a very simple person and my approach is a visceral one. I like this definition of visceral very much because it describes exactly the way I feel about music:
1 : felt in or as if in the viscera(ex. HEART): deep
2 : not intellectual : instinctive, unreasoning
3 : dealing with crude or elemental emotions : earthy
I am very attracted to VITAL music. It always is played by persons that are not interested in music for the sake of music, but for the sake of something else. Usually this "something else" is Reality or Truth or some similar such idea. The best example I can use in our context is Watazumi Doso. I have never heard such power and discipline in sounds. I was attracted to that experience because up until this point I played my own creative music on guitar and I was not satisfied. I always tried to move my music in this more visceral direction. Only guitar was not addressing what I was moving toward. When I discovered shakuhachi and Watazumido I was very attracted to developing strength and discipline through sounds and music. But these were always just merely ideas because I never met anyone that actually practiced in this manner. I have found that shakuhachi players often think that just playing the instrument is some kind of "spiritual" pursuit. I personally DO NOT hold that opinion. However, I feel that through shakuhachi one can become stronger if they find someone that is stronger than them and can push them to become stronger. To me this strength is not just more knowledge of the music. However, that is a good place to start. To me this has NOTHING to do with the music itself. I have been very fortunate, but I have also been VERY persistent. I have now found someone that is pushing me hard to become stronger. That is what I am after at this point. As I mentioned, others are free to use/play shakuhachi in any manner. I have absolutely no opinion regarding this. But for me a form(Honkyoku) is a way to develop strength, a way to put VITALITY into music. Simply speaking, I like Honkyoku, it is really that simple for me. There is NO idea of transcendence for me, for there is nothing to transcend. If one seeks Truth it is much wiser to find someone that has mastered life and lives in the perpetual state of Reality, NOT through shakuhachi. These are merely my personal opinions and observations.
Prem
Last edited by -Prem (2008-05-11 19:26:40)
Offline
Good points Prem, but off topic. What does that have to do with sausage and beer?
Do you do any busking in Kyoto? That might be a way to make some $$$$$$ at the same time as it would help with your memorization, stamina, projection, etc. You'll probably meet some interesting people as well. And follow in the komuso tradition.
Offline
Tairaku wrote:
Good points Prem, but off topic. What does that have to do with sausage and beer?
Do you do any busking in Kyoto? That might be a way to make some $$$$$$ at the same time as it would help with your memorization, stamina, projection, etc. You'll probably meet some interesting people as well. And follow in the komuso tradition.
I would careful doing that stuff now in Kyoto. They have been cracking down on any music players and monk that dont have a Kyoto license to do so lately so I would be extra carefull about that being a Gaijin especially now that if this gets tagged to your passport you might be prevented from entering Japan if this type of illegal activity gets tagged with your passport and pic.
Offline
Gishin wrote:
[
I would careful doing that stuff now in Kyoto. They have been cracking down on any music players and monk that dont have a Kyoto license to do so lately so I would be extra carefull about that being a Gaijin especially now that if this gets tagged to your passport you might be prevented from entering Japan if this type of illegal activity gets tagged with your passport and pic.
What about getting the license? Is that insurmountable?
Offline
-Prem wrote:
I have found that shakuhachi players often think that just playing the instrument is some kind of "spiritual" pursuit. I personally DO NOT hold that opinion. However, I feel that through shakuhachi one can become stronger if they find someone that is stronger than them and can push them to become stronger.
Well I don't exactly understand where you are trying to go on this one or maybe its just that I am missing the point but if as you say Shakuhachi can make someone become stronger then it makes me tend to say that in itself this was because spiritually the practice of Shakuhachi gave something to the individual that became stronger. Anyway any form of practice (Tea, calligraphy, martial arts, walking in the mountains etc...) CAN BE sprirtual if by spiritual it makes you become better in some way.
Everybody body has their own goal and purpose in trying to practice something so in the end if they achieve it or did not but at least realized something while trying to grasp at something that cannot be grasped I feell that this means that at least achieved something in the end.
For example my own goal to start Shakuhachi was to enhance my Mojo and it did!
Offline
Tairaku wrote:
Gishin wrote:
[
I would careful doing that stuff now in Kyoto. They have been cracking down on any music players and monk that dont have a Kyoto license to do so lately so I would be extra carefull about that being a Gaijin especially now that if this gets tagged to your passport you might be prevented from entering Japan if this type of illegal activity gets tagged with your passport and pic.What about getting the license? Is that insurmountable?
I have no clue for musical playing but for monks you need to go to the city hall and apply for a Takuhatsu permission. Show your valid Japanese visa, Monks license and address of the tmeple where you live etc..
Then when doing Takuhatsu your card needs to be visible at all times now. Most of the time they never do any crack downs but couple of times each year they do it to catch fake monks (beggars dressed up in used monks outifts) those people can be spotted very fast cauz there is always something wrong with their suits like wearing running shoes or mixing parts of monks outfits that belongs to 2 different schools etc.. Also when you try to speak to them to ask theym any question they will also avoid you.
Offline
Most cities have some kind of policy about busking, usually a stupid one. Does anybody know the rules in Kyoto?
Offline
I want to thank those of you who contributed to this thread.
As for busking in Kyoto, I don't know, however the busking community here in Kumamoto is growing, but seems to be largely university aged guitar strummers and singers and it happens only late at night in the arcades. There doesn't seem to be any licensing for this (though it may be lawfully needed) and the police aren't trying to shut it down or check up on it as there is very little police visibility at night in the arcades. There's also a group called Kumamoto Street Artplex, whose cause is to promote culture on the downtown streets through a variety of art promotions and presentations. Twice a year there are extravaganzas that welcome all manner of buskers from anywhere to perfom on the street and the arcades become more of a circus than they already are. I've personally played shakuhachi, saxophone and bagpipes in these situations.
Offline