EUROPEAN SHAKUHACHI SOCIETY Newsletter: Issue 2 October 2006

Well, here we are again – the second ESS newsletter is out! I know we are still only in the very beginning stages of setting up our society but, why wait! We still want to hear what everyone has to say and a newsletter is a good way of allowing that to happen. This issue will mainly cover details of the fantastic Summer School that was hold at SOAS, London this July. It was a fabulously successful event and we have all been waiting with baited breath to find out the location of the 2007 European Summer School – see Jim’s article on the ESS ‘A Work in Progress’ for more info on that! This issue includes a Summer School review from Kiku Day; ‘Memories of Summer School’ from several participants; Part One of ‘A Story of Urushi’ by Justin Williams; An article on ESS developments by Jim Franklin; A list of European shakuhachi teachers; a CD review; a performance review and lots of dates for your diaries! By the way, please note the addition at the top of this newsletter of the new ESS logo – congratulations go to Graham Ranft who submitted this entry and won the competition, as voted for on the final night of the Summer School. Many thanks to everyone who sent in entries. Issue 3 will come out beginning of January 2007. Please send all Articles / Photos / Concert; CD; Book reviews / Diary Dates / Recommended Websites, etc, etc by end of November to: stephaniehiller9@yahoo.co.uk

Please be as prompt as you can, as I have a very busy December and

would rather not spend my Xmas on the computer

The process of creating the first Pan-European Shakuhachi Summer School

with Koto and Shamisen SOAS, University of London 19th-22nd July 2006

From an organiser’s viewpoint. By Kiku Day

Photo: Christiane Werner The Shakuhachi Summer School with Koto and Shamisen was part of the SOAS World Music Summer Schools series. SOAS was a perfect environment for this first attempt at a large shakuhachi event, and I feel strongly that many forces came together and made this year a perfect time for this important first shakuhachi event to happen at SOAS. I contacted the music department at SOAS regarding hosting a shakuhachi summer school for the first time in September 2002 after having participated in the World Shakuhachi Festival in Tokyo and Klezfest (one week of klezmer music classes and events). However, SOAS still didn’t have a Music Summer School yet. I graduated from SOAS with a BA in ethnomusicology in 2003 and left England to do a Master degree in performance in California, USA.

When I returned and registered in September 2005 the following came together like a natural force:

SOAS has one of the leading departments in ethnomusicology in Europe and is in possession of six koto and five shamisen.

SOAS had had two successful Music Summer Schools and was therefore in a much better position than earlier to host such an event.

Michael Coxall, a Yamaguchi Goro student and excellent shakuhachi performer, who teaches at SOAS was very enthusiastic and willing to co-organise this crazy project.

An active Japanese Music Society was created and led by Arisawa Shino in Sept. 2004, any many Japanese music aficionados were assembled at SOAS. The members later showed to be indispensable for the success of running the Summer School over the four days, as they were all used to working together.

The Music Department Head was Dr. David Hughes, a min’yô scholar and a person full of energy. This was his last year as head.

The Summer School organiser, Sareata Ginda, was very enthusiastic from the first moment I spoke to her on the first day of my registration as a Ph.D. student in September 2005.

Ken LaCosse kindly provided us with shakuhachi for the beginners to borrow and perhaps buy for a very reasonable price.

I suppose it would be fair to mention the fact that I returned to SOAS this year as a Ph.D. student (luckily first year) and was naïve and enthusiastic enough to go ahead and do this project.

Sankyoku at the Student Concert. Photo: Joe Brown

Thus the ball began rolling late September 2005. Not only did SOAS come together, but it felt like Europe was ready:

Véronique Piron was getting well established in France and was full of energy for shakuhachi projects, coming up with very good suggestions from the beginning.

Dr. Jim Franklin had moved to Germany and very generously offered his help and expertise from his experience in Australia where a shakuhachi society is already established and running.

Gunnar Jinmei Linder had moved back to Sweden and came up with good suggestions.

All were indispensable to the success of the project – as were many more people who helped later. One thing the ‘London Team’ (consisting of Michael Coxall and myself) agreed on from the beginning was no favouritism of school or style, it had to be an inclusive event (although a guarantee of teaching quality had to be met) and most of all: The participants and their leaning process and performance experience were to be in focus. This was not to be an event where the performance of the teachers occupied the most important space. Therefore, we decided to have running classes that participants could follow for four days, with the gala concert at the end being the students’ concert.

Brian Ritchie’s class. Photo: Joe Brown The Shakuhachi Summer School began with a four-week beginners course twice a week in the evenings from 19 June to 17 July 2006. There were five students—two of whom had played for a little while on their own before attending the course. The following material was covered: first students learned how to produce a sound; thereafter correct embouchure positioning, reading skills and elementary pieces were

taught. They were provided with CDs to help them understand the differences in shakuhachi styles and schools and approaches to shakuhachi music and the instrument itself. Some of the matter covered was taught to the group as a whole; however, each student was given personal attention when necessary in order to correct embouchure and other techniques. The method used was that developed by Iwamoto Yoshikazu in order to teach groups of beginners. It provides a systematic approach to the learning process, but is very restrictive with respect to explanations. The teachers (Michael Coxall and myself) felt that this method, despite newer elements such as its systematic approach, would give the student a view of how traditional Japanese music has been taught for centuries, where listening and imitating are the norm.

Okuda Atsuya. Photo: Christiane Werner The main Shakuhachi Summer School with Koto and Shamisen was held at between 19 and 22 July 2006 and attracted a total of 48 students. Fourteen classes were offered, ranging from those in honkyoku in Kinko (Yamaguchi Goro branch), Zensabô (Okuda Atsuya’s school) and KSK (Kokusai Shakuhachi Kenshûkai (Yokoyama Katsuya’s school) styles, a shakuhachi novice class, min’yô (folk song), koto and shamisen classes, sankyoku classes with koto and shamisen, shinkyoku and gendaikyoku classes (some accompanied by koto), a novice class, and finally shakuhachi in jazz and rock. Most classes were divided according to different levels of proficiency, and all these classes worked towards participation in the students’ concert on our last day. As we had several courses running simultaneously, we structured the classes so that the students after two days could change from one to another to gain a taste of another style or genre of music. Where possible, classes were therefore structured in blocks of two days. The string instruments, koto and shamisen, constitute a vital part of the extended shakuhachi repertoire. In order to promote these instruments in Europe, where they are not that well known, we thought it important to incorporate them into the Summer School and provide instruction, rather than merely employing them as accompaniment to the shakuhachi. The lack of knowledge about these instruments in Europe, along with the difficulty in purchasing them and the lack of teachers, probably affects their popularity. Thus only seven students attended these classes. Be that as it may, we believe that exposing people to these instruments has made a difference. The quality of the teachers was very high, including the third and fourth heirs to the head of the Seiha ikuta ryû. Not only did the string players contribute to the Summer School by enabling shakuhachi players to play in sankyoku ensembles, but they also provided the concert audience with the opportunity to experience another type of sound from Japan over and above that of the honkyoku tradition of shakuhachi. Indeed, after the concert, Iwamoto Michiko was surrounded by members of the audience keen to ask questions about the koto and her training as a musician.

Josephine, Chris Roaf, Okuda Utanoichi, Okuda Masako and Chas. Photo from Chris Roaf

Five talks and one meeting took place during lunchtime breaks and four concerts after dinner in the evening. The talks added to the diversity already described above. They consisted of:

Phillip Horan (Ireland) presenting his approach to playing Irish traditional music on

the shakuhachi. John Kaizen Neptune (resident in Japan), by chance, was in the country to play at

Queen Elizabeth Hall in the RhythmSticks series. He was kind enough to agree to participate and gave a talk on how to practice in order to gain maximum improvement.

Tilo Burdach (Germany) gave a talk on the Meian school of shakuhachi as taught by Nishimura Kokû.

Richard Stagg (UK) demonstrated how to maintain and repair a shakuhachi. Dr. Jim Franklin (Germany) demonstrated breathing techniques. The last day saw a meeting about the creating of a European Shakuhachi Society.

These talks were well attended and gave the participants a chance to see and hear about other approaches and ideas, and receive advice on techniques etc.

The following concerts were given:

1. A closed first-night open mic evening where everybody had the chance to go up and perform. The evening ended with a jam session by the two jazz players, John Kaizan Neptune and Brian Tairaku Ritchie.

2. The first public concert by teachers was held the second evening in the Khalili Lecture Theatre at SOAS. The hall was full and some attendees had to stand along the wall. The theme this evening was mainly contemporary music and improvisation, although honkyoku was also performed. Contemporary compositions for koto and shamisen were also performed, as well as sankyoku pieces.

3. The second public concert was held the third evening in the Brunei Gallery Lecture Theatre at SOAS. This evening’s theme was mainly traditional music, including honkyoku, sankyoku, min’yô (sung by Dr. David Hughes), and a world premiere of a piece by the Australian composer Bruce Crossman. About 150 people attended this concert.

4. The gala night was reserved for the participants in the Summer School. The students had worked throughout the courses with their teachers for this concert. We had a wonderful evening of very good quality music from our shakuhachi, koto, and shamisen students. The pieces performed included honkyoku, sankyoku, min’yô, jazz, improvisation, contemporary music and compositions by students. An extraordinary end to four intensive days of music study!

John Kaizan Neptune and Brian Tairaku Ritchie. Photo: Christiane Werner I found the students’ concert very moving and inspiring, indeed. There were participants that had only picked up the shakuhachi at the Summer School, and after four days of

intensive study, they played a solo on stage supported by the others in the group playing a drone. It was one of my top shakuhachi experiences!

Student Concert. Photo: Joe Brown The student body of the Shakuhachi Summer School was very diverse. We managed to attract players from many corners of Europe, and even from outside the continent. The shakuhachi students were residents of:

UK: 23 Germany: 6 US: 2 Belgium: 1 Finland: 1 Ireland: 1 Japan: 1 Netherlands: 1 Norway: 1 Poland: 1 Spain: 1 Sweden: 1 Switzerland: 1

All the seven koto and shamisen players are residents of the UK.

One of the most amazing experience, organising an event like this, was the people I acquainted. There are many people in all corners of Europe teaching, playing and loving the shakuhachi. These ‘new’ contacts will surely be very important for future Shakuhachii Summer Schools. There are plans to host the next Shakuhachi Summer School in France next year. London was so hot in July,that I wished for a summer

school in winter. However, summer is when most working people can take time off work. We surely hope this will come true as both Michael Coxall and myself are in Japan next summer and we will not be able to host it again at SOAS. The creation of the European Shakuhachi Society is just around the corner. Thus the future of the shakuhachi and koto / shamisen seems very bright here in Europe. The Summer School has been a very vital step in consolidating the European shakuhachi community and increasing cultural exchange with Japan, and we are sure that it constitutes the beginning of great developments in the future.

Okuda Atsuya, Keven Frith, Joe Brown, Kiku Day. Photo from Joe Brown Let me finally use this opportunity to thank everybody that helped in any form, whether it being giving suggestions, help with the actual planning or helping out during the four days.

Special thanks to all the teachers: Clive Bell, Jim Franklin, Okuda Atsuya, Véronique Piron, Brian Tairaku Ritchie, Arisawa Shino, Iwamoto Gayue, Nakagawa Toshiyu, Okuda Masako, Okuda Utanoichi, and the talk presenters. Thank you to Delmar Mavignier, who made the designed the webpage and who’s energy and dedication to the future of the shakuhachi was indispensable. Thank you to John Kaizan Neptune for spending so much time with us. Thank you to the JMS members! Without you, the running of the Summer School would not have been so smooth: Lenka for your accounting talent, Chris, Jon and Miwako for always being willing to step in when an extra hand was needed, Bob for his sale talent, and Deirdre for your support! Next year we surely hope to see Gunnar Jinmei Linder teaching and performing as he, unfortunately, had to cancel due to health reasons. See you all there!

Iwamoto Gayue, Véronique Piron, Okuda Masako Photo: Chris Roaf

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Translation in German, by Jim Franklin, below:

Die erste gesamteuropäische Shakuhachi-Sommerschule

mit Koto und Shamisen - Ein Bericht über ihre Entstehung

SOAS, University of London 19th-22nd July 2006

Vom Stanpunkt der Organisatoren

Kiku Day Die Shakuhachi-Sommerschule mit Koto und Shamisen war Bestandteil der Reihe der SOAS World Music Summer Schools. SOAS war eine ideale Umgebung für diesen ersten Versuch einer größeren Shakuhachi-Veranstaltung, und ich bin der tiefen Überzeugung, dass viele Gründe zusammen trafen, um dieses Jahr zum idealen Zeitpunkt für dieses wichtige erste Shakuhachi-Ereignis an SOAS zu erheben. Ich setzte mich zum ersten Mal im September 2002 mit der Musikabteilung an SOAS in Verbindung, um die Möglichkeit einer Shakuhachi-Sommerschule zu erörtern, nachdem ich das Shakuhachi-Festival in Tokyo und ans Klezfest (eine Woche von Klezmermusikklassen und Veranstaltungen) teilnahm. SOAS hatte jedoch damals noch keine Musiksommerschule. Ich graduierte von SOAS mit einem BA in Ethnomusikologie im 2003, und verließ England um auf einen Master-Grad in Performance in Kalifornien, USA zu studieren.

Bei meiner Rückkehr und Immatrikulierung im September 2005 trafen folgende Faktoren wie ein Naturereignis zusammen:

• SOAS verfügt über eine der besten Institute für Ethnomusikologie in Europe, und besitzt sechs Koto und fünf Shamisen.

• SOAS hatte zwei erfolgreiche Musiksommerschulen veranstaltet, und war daher viel besser als früher in der Lage, so eine Veranstaltung zu unterbringen

• Michael Coxall, ein Schüler von Yamaguchi Goro und ausgezeichneter Shakuhachi-Spieler, unterrichtet an SOAS und war sehr enthusiastisch, dieses verrückte Projekt mit zu organisieren.

• Eine aktive Japanische Musikgesellschaft wurde im September 2004 von Arisawa Shino ins Leben gerufen und seither geleitet. Viele Liebhaber der japanischen Musik waren daher an SOAS angesiedelt. Später erwiesen sich die

Mitglieder als unerlässlich für den Erfolg der über vier Tage laufenden Sommerschule, weil sie daran gewöhnt waren, zusammen zu arbeiten.

• Leiter des Musikinstituts war Dr. David Hughes, ein Spezialist für Min’yô und ein Mensch, der vor Energie strotzt. Dies war sein letztes Jahr als Institutsleiter.

• Die Organisatorin der Sommerschule, Sareata Ginda, war vom Anfang an sehr enthusiastisch, als ich am ersten Tag meiner Immatrikulation als Doktorantin im September 2005 ansprach.

• Sehr freundlicherweise verlieh uns Ken LaCrosse eine Anzahl von Shakuhachi, die Anfänger ausleihen und eventuell sehr günstig erwerben konnten.

• Es wäre wohl fair, die Tatsache zu erwähnen, dass ich dieses Jahr an SOAS als Doktorantin (PhD) zurückkehrte, und war unbedarft und enthusiastisch genug, mit diesem Projekt einen Anlauf zu machen.

Die Sache kam also im späten September ins Rollen. Nicht nur machte SOAS mit; es schien als ob Europa dafür startbereit war: • Véronique Piron war dabei, sich in Frankreich zu etablieren, und war voller

Energie für Shakuhachi-Projekte. Vom Anfang an bat sie sehr gute Ratschläge. • Dr. Jim Franklin war nach Deutschland ausgewandert, und war großzugig mit

seine Hilfe und Kenntnissen aus Australien, wo eine aktive Shakuhachi-Gesellschaft bereits besteht.

• Gunnar Jinmei Linder war nach Schweden zurückgekommen, und machte sehr gute Vorschläge.

Alle waren unerlässlich für das Projekt – so wie auch die vielen anderen Leute, die später halfen. Eine Sache wurde vom “London-Team” (bestehend aus Michael Coxall and mir) sehr früh beschlossen: es sollte keine Schule oder kein Stil bevorzugt sein. Es musste ein inklusives Ereignis sein (obwohl die Qualität des Unterrichts gewährleistet werden müsste). Hauptsache auch: die Teilnehmer und ihr Lernprozess und ihre Erfahrung als Hauptspieler sollten im Mittelpunkt stehen. Dies sollte keine Veranstaltung werden, bei der das Spielen der Lehrer an zentraler Stelle stand. Wir beschlossen also, laufende Serien von Klassen zu planen, mit dem Schülerkonzert am Schluss als Haupt- und Abschlusskonzert. Die Shakuhachi-Sommerschule begann mit einem vierwöchigen Anfängerkurs abends zweimal in der Woche, vom 19. Jun bis zum17. Juli 2006. Es gab fünf Schüler - zwei davon hatten bereits eine Weile für sich vor dem Kurs gespielt. Folgende Themen würden bearbeitet: Zuerst lernten die Schüler, einen Ton zu erzeugen, danach wurden korrekte Mund- und Lippenstellung, Notenlesen und Anfängerstücke unterrichtet. Die Schüler erhielten CDs, um ihnen dabei zu helfen, die Unterschiede zwischen Stilen und Schulen der Shakuhachi und verschiedene Ansätze der Musik der Shakuhachi und des Instruments selbst zu verstehen. Ein Teil des Stoffes wurde an die Gruppe als Ganze unterrichtet. Jeder Schüler erhielt jedoch Einzelbetreuen, falls notwendig, um Anblas- und andere Techniken zu korrigieren. Die Methode war diejenige, die Yoshikazu Iwamoto entwickelt hatte, um Gruppen von Anfängern zu unterrichten. Sie stellt einen systematischen Ansatz des Lernprozesses dar, ist aber in Bezug auf Erklärungen sehr beschränkt. Die Lehrer (Michael Coxall und ich) waren der Meinung, dass diese Methode trotz neuerer Elemente so wie ihre Systematisierung den Schülern einen Einblick in die Art und Weise wie japanische Musik seit Jahrhunderten unterrichtet worden ist, wobei Zuhören und Nachspielen die Normen bilden.

Die Hauptsommerschule für Shakuhachi mit Koto und Shamisen fand 19.-22. Juli 2006 statt. Es kamen 48 Teilnehmer. Vierzehn Klassen wurden angeboten, von Honkyoku in Stilen von Kinko (Yamaguchi Goro-Linie), Zensabô (Schule von Okuda Atsuya) und KSK (Kokusai Shakuhachi Kenshukan – Schule von Yokoyama Katsuya), über eine Klasse für Shakuhachi-Anfänger, Min’yô (Volkslieder) , Klassen für Koto und Shamisen, Klassen in Sankyoku mit Koto und Shamisen, Klassen in Shinkyoku und Gendaikyoku (teilweise mit Koto-Begleitung), bis auf Shakuhachi in jazz und Rock. Die meisten Klassen wurden nach Grad der Spielfähigkeit unterteilt, und alle Klassen arbeiteten auf Teilnahme beim Schülerkonzert am letzten Tag hin. Da wir mehre Klassenserien gleichzeitig hatten, strukturierten wir die Klassen so, dass die Schüler nach zwei Tagen in eine andere Serie wechseln könnten, um einen anderen Stil oder eine andere Musikrichtung kennen zu lernen, Wo möglich wurden die Klassen in Einheiten von zwei Tagen strukturiert. Die Streichinstrumente Koto und Shamisen stellen einen unerlässlichen Teil des erweiterten Repertoires der Shakuhachi dar. Um diese Instrumente in Europa zu fördern, wo sie nicht besonders gut bekannt sind, erachteten wir es für wichtig, sie in die Sommerschule einzuschließen und Unterricht anzubieten, statt dass man sie bloß als Begleitung der Shakuhachi einsetzte. Mangel an Kenntnisse dieser Instrumente in Europa, und dazu die Schwierigkeit, Instrumente zu erwerben, und Mangel an Lehrer, wirken sich wohl negativ auf ihre Beliebtheit aus. Nichtsdestotrotz glauben wir, dass das Bekanntmachen dieser Instrumente etwas ausgemacht hat. Das Niveau der Lehrer war sehr hoch: darunter die Dritten und Vierten in der Linie zur Oberhaupt der Seiha ikuta ryû. Die Streichinstrumentenspieler leisteten einen Beitrag zu Shakuhachi-Sommerschule nicht nur dadurch, dass sie es den Shakuhachi-Spielern ermöglichten, in Sankyoku-Ensemblen zu spielen, sondern sie ermöglichten auch, dass das Konzertpublikum eine andere Art von Klang aus Japan zusätzlich zu dem der Honkyoku-Tradition der Shakuhachi hörte, In der Tat wurde Iwamoto Michiko nach dem Konzert von Interessierten aus dem Publikum umgeben, die ihr Fragen zur Koto und zu ihrer Ausbildung als Musikerin stellen wollten. Es fanden fünf Vorträge und eine Versammlung in den Mittagspausen und vier Konzerte an den Abenden nach dem Essen statt. Die Vorträge erweiterten die oben erwähnte Vielfalt. Sie behandelten folgende Themen: • Philip Horan (aus Irland) stellte seinen Ansatz beim Spielen von traditioneller

irischer Musik auf Shakuhachi dar. • John Kaisan Neptune (Wohnsitz Japan) war zufällig im Land, um an Queen

Elizabeth Hall in der RhythmSticks-Reihe zu spielen. Er war so freundlich, bei der Sommerschule teilzunehmen und heilt einen Vortrag über das Üben, um maximale Fortschritte zu erzielen.

• Tilo Burdach (Deutschland) sprach über die Meian-Schule der Shakuhachi, so wie sie von Nishimura Kokû unterrichtet wird.

• Richard Stagg (UK) zeigte vor, wir man eine Shakuhachi pflegt und repariert. • Dr. Jim Franklin (Deutschland) führte Atemtechniken vor. • Am letzten Tag fand eine Versammlung statt, um das Gründen einer

Europäischen Shakuhachi-Gesellschaft zu besprechen. Diese Vorträge wurden gut besucht, und ermöglichten es den Teilnehmern, über andere Ansätze und Ideen zu hören, technischen Rat zu erhalten, usw. Folgende Konzerte fanden statt:

5. Am ersten Abend ein geschlossenes “Open-Mic”-Konzert, bei dem jeder/jede die Chance hatte, aufzutreten. Der Abend endete mit einer Jam-Session von den zwei Jazz-Spielern, John Kaizan Neptune und Brian Tairaku Ritchie.

6. Das erste öffentliche Konzert der Lehrer fand am zweiten Abend im Khalili-Vorlesungssaal an SOAS statt. Der Saal war voll, und einige Zuhörer fanden nur Stehplätze. Thema des Abends war hauptsächlich zeitgenössische Musik und Improvisation, obschon auch Honkyoku und Sankyoku gespielt wurden.

7. Das zweite öffentliche Konzert fand am dritten Abend im Brunei-Gallerie-Vorlesungssaal an SOAS statt, Thema des Abends war hauptsächlich traditionelle Musik, darunter Honkyoku, Sankyoku, Min’yô (von Dr. David Hughes gesungen), und eine Uraufführung eines Stückes vom australischen Komponisten Bruce Crossman. Etwa 150 Zuhörer waren dabei.

8. Das Hauptkonzert am letzten Abend war für die Teilnehmer der Sommerschule bestimmt. Die Schüler hatten im Lauf der Kurse mit ihren Lehrern auf dieses Konzert hin gearbeitet. Wir erlebten einen wundervollen Abend von Musik sehr hoher Qualität von unseren Schülern der Shakuhachi, Koto und Shamisen. Unter den Stücken waren Honkyoku, Sankyoku, Min’yô, Jazz, Improvisation, zeitgenössische Musik und Kompositionen von Schülern. Ein außergewöhnlicher Abschluss der vier Tage intensiven Studierens!

Auf mich wirkte das Schülerkonzert äußerst inspirierend und bewegend. Bei der Sommerschule gab es Teilnehmer, die erst dort mit Shakuhachi begonnen hatten; nach vier Tagen intensiven Studiums spielten sie sogar solo auf der Bühne, mit Begleitung eines liegenden Tones, von anderen in der Gruppe gespielt. Dies war eins meiner Spitzenerlebnissen der Shakuhachi! Die Schülerschaft der Shakuhachi-Sommerschule war sehr verscheiden. Es gelang uns, Spieler aus vielen Ecken Europas nach London zu locken – und sogar von außerhalb des Kontinents. Die Shakuhachi-Schüler hatten ihre Wohnsitze in:

UK: 23 Deutschland: 6 USA: 2 Belgien: 1 Finnland: 1 Irland: 1 Japan: 1 Niederlande: 1 Norwegen: 1 Polen: 1 Spanien 1 Schweden: 1 Schweiz : 1

Alle sieben Koto- und Shamisen-Spieler sind in der UK wohnhaft.

Eins der erstaunlichsten Erlebnisse beim Organisieren eines solchen Ereignisses waren die Leute, die ich kennen lernte. Es gibt viele Leute in allen Ecken Europas, die Shakuhachi spielen, unterrichten und lieben. Diese ‘neuen’ Kontakte werden gewiss bei künftigen Shakuhachi-Sommerschulen sehr wichtig sein. Es bestehen Pläne, die nächste Shakuhachi-Sommerschule in Frankreich zu veranstalten. In London war es dieses Jahr so heiß, dass ich mir eine Sommerschule im Winter gewünscht hätte! Sommer ist jedoch der Zeitraum, in dem die meisten Berufstätigen etwas Zeit frei nehmen können. Wir hoffen, dass dies tatsächlich so wird, da Michael

Coxall und ich im kommenden Sommer in Japan sind, und wir werden es daher nicht nochmals an SOAS veranstalten können. Das Gründen der Europäischen Shakuhachi-Gesellschaft steht unmittelbar bevor. Die Zukunft der Shakuhachi und der Koto/Shamisen sieht also in Europa sehr rosig aus. Die Sommerschule war ein wesentlicher Schritt beim Konsolidieren der Gemeinde der Shakuhachi-Spieler in Europa und beim Erweitern des Kulturaustausches mit Japan. Wir sind zuversichtlich, dass sie auch den Anfang von großartigen Entwicklungen in der Zukunft darstellt. Am Schluss erlaube ich es mir, jedem zu danken, der auf irgendeine Art und Weise half: ob durch Vorschlage, ob bei der Planung oder ob als Hilfskraft während der vier Tage. Besonderer Dank gilt den Lehrern: Clive Bell, Jim Franklin, Okuda Atsuya, Véronique Piron, Brian Tairaku Ritchie, Arisawa Shino, Iwamoto Gayue, Nakagawa Toshiyu, Okuda Masako, Okuda Utanoichi, [Kiku Day – Anm. des Übers.], und den Vortragenden. Danke auch an Delmar Mavignier, der die Webseite entwarf, und deren Energie und Hingabe an die Zukunft der Shakuhachi unerlässlich waren. Danke an John Kaizan Naptune, der so viel Zeit bei uns verbrachte. Danke an die Mitglieder der JMS! Ohne Euch wäre die Sommerschüle nicht so glatt gelaufen: Lenka für Deine Begabung bei der Buchhaltung; Chris, Jon und Miwako, die immer bereit waren, einzuschreiten, wenn eine zusätzliche Hand gefragt war; Bob für Deine Verkaufstüchtigkeit, und Dierdre für Diene Unterstützung! Nächstes Jahr wünschen wir uns sehnlich, dass Gunnar Jinmei Lindar dabei unterrichtet und spielt; dieses Jahr musste er leider auf gesundheitlichen Gründen absagen. Wir sehen uns also nächstes Jahr!

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Translation, in French, by Kiku Day and Freya Day below:

Le processus de création de la première

Rencontre pan-européenne du Shakuhachi avec Koto et Shamisen

SOAS, Université de Londres 19-22 juillet, 2006 Le point de vue d’une organisatrice. Kiku Day

La Rencontre du Shakuhachi avec Koto et Shamisen fait partie de la série université d'été de la musique mondiale à SOAS (School of Oriental and African Studies, University of London). SOAS estl’environnement parfait pour cette première éditiond'un grand événement autour du shakuhachi. Les forces se sont réunies, et même le temps était au rendez-vous pour ce grand événement.. Je contacté la faculté de musique deSOAS la première fois en septembre 2002, pour discuter de la possibilité d'accueillir une école shakuhachi d'été après avoir participé au Festival de Shakuhachi Mondial à Tokyo et à Klezfest (une semaine de classe de musique klezmer et d'événements en Angleterre). Pourtant, SOAS n'avait pas encore d’université d'été de musique et j'ai terminé mes études à SOAS avec une licence en Ethnomusicologie en 2003. Et puis j’ai quitté l'Angleterre pour faire une maîtrise en spectacle / interprétation en Californie, aux Etats-Unis.

Quand je suis revenue et me suis inscrite en septembre 2005 à SOAS, les suivantes s’est réunie comme par hasard:

• SOAS héberge une des principales facultés d’Ethnomusicologie en Europe et possède six koto et cinq shamisen.

• SOAS adéjà eu deux universités d'été de musique très réussies et était donc disposé à accueillir la première Rencontre.

• Michael Coxall, un étudiant de Yamaguchi Goro, et joueur de shakuhachi excellent, qui enseigne à SOAS, était très heureux et disposé à co-organiser ce projet un peufou.

• Une société de musique japonaise a été créée et menée par Arisawa Shino depuis septembre 2004, donc beaucoup de musiciens passionnés par la musique japonaise ont été rassemblés à SOAS. Ayant déjà collaborés ensemble auparavant, les membres de cette société ont été indispensables au succès de l'école d'été pendant les quatre jours en juillet.Le Directeur de la Faculté de Musique était Dr David Hughes, un érudit de min’yô, mais aussi une personne débordante d'énergie. C'était sa dernière année comme directeur.

• L'organisatrice de l’école d'été, Sareata Ginda a été très heureuse d’y participer, et ce, dès le début, à partir du premier moment où je lui ai parlé de mon entrée en doctorat en septembre 2005.

• Ken LaCosse nous avait fourni des shakuhachi pour les débutants, qui ont eu l’opportunité d’emprunter et même d’acheter les instruments à un prix très raisonnable.

• Je suppose qu'il sera juste de rajouter le fait que je suis revenue à SOAS cette année en tant qu’étudiante de doctorat (heureusement en première année) et que j’étais naïve et spontanée ( ??) pour faire ce projet.

Ainsi la machine s’est mise en marche vers la fin septembre 2005. Non tous les éléments positifs étaient réunis côté SOAS réuni, mais j’ai eu l'impression que l'Europe était prête:

• Véronique Piron s’établi à l’Ouest de la France et était très intéressée par les projets de shakuhachi. Dès le début, elle nous a été d’un conseil précieux..

• Dr jim Franklin avait déménagé en Allemagne et nous a très généreusement offert -son aide et le fruit de ses expériences en Australie où une Fédération du Shakuhachi est déjà établie.

• Gunnar Jinmei Linder s'était reétabli en Suède et avait beaucoup de bonnes suggestions.

Tous étaient indispensables pour le succès du projet – tout comme d’ailleurs les personnes qui s’y sont associées qui plus tard. 'L’équipe de Londres’, composée de Michael Coxall et moi-même, était convaincu depuis le début, qu’aucun favoritisme d'école ou de style devrait exister. Cela doit être un événement inclus ?? (bien qu'une garantie de la qualité d'enseignement était important). L’idée était de se dire : les participants et leur expérience d’interprétation et de processus d'érudition devaient être le but principal. Cela ne devait pas être un événement, où l’interprétationdes enseignants occupe l'espace le plus important. Donc, nous avons décidé d'avoir des classes courantes, de permettre aux participants de suivre tous les quatre jours, et le concert de gala à la fin était le concert des étudiants.

La Rencontre du Shakuhachi commençait par un cours de débutants de quatre semaines - deux fois par semaine le soir du 19 juin au 17 juillet 2006. Il y avait cinq étudiants, dont deux avaient joué un moment tous seuls avant le cours. Les matières suivantes ontété étudiées: L’étudiant a appris comment produire un son; l'embouchure par la suite a été corrigé, l’étudiant apprend comment lire les partitions et les morceaux élémentaires. On a écouté des CDs pour aider à la compréhension des différents styles, les écoles et les approches de la musique shakuhachi et de l'instrument lui-même. On a enseigné au groupe en masse, mais aussi donné une attention particulière à chaque étudiant lorsque cela était nécessaire. La méthode utilisée était celle développée par Iwamoto Yoshikazu pour enseigner des groupes de débutants. Il fournit une approche systématique au processus d'apprentissage, mais est très limitatif en ce qui concerne les explications. Les enseignants (Michael Coxall et moi-même) ont estimé que cette méthode, malgré d’autres éléments plus récents comme son approche systématique, donnait à l'étudiant une vision de comment la musique japonaise traditionnelle a été enseignée pendant des siècles, où la musique transmise oralment par imitation était la norme. La Recontre principale du Shakuhachi avec Koto et Shamisen s’est tenue entre le 19 et 22 juillet 2006, et a attiré un total de 48 étudiants. Quatorze cours ont été donnés. On avait Honkyoku: Kinko (la branche de Yamaguchi Goro), Zensabô (l'école de Okuda Atsuya) et KSK (Kokusai Shakuhachi Kenshûkai - l'école de Yokoyama Katsuya), une classe de novice shakuhachi, min’yô (la chanson folklorique), classes de koto et shamisen, sankyoku classes (avec koto et shamisen), shinkyoku et les classes gendaikyoku (certains accompagnés par koto), et finalement shakuhachi dans le jazz et le rock. La plupart des classes ont été divisées en focntion des différents niveaux de compétence. Toutes ces classes ont travaillé en vue de la participation au concert des étudiants le dernier jour. Comme nous avions plusieurs cours simultanément, nous avons structuré les classes pour que les étudiants puissent, au bout de deux jours, changer de cours pour découvrir également d’autres styles ou genres de musique. Dans la mesure du possible, les classes ont été ainsi structurées dans des blocs de deux jours. Les instruments de corde, koto et shamisen constituent une partie essentielle du répertoire du shakuhachi. Pour promouvoir ces instruments en Europe, où ils ne sont pas bien connu, nous avons trouvé important de les incorporer dans La Rencontre, comme une partie intégrale de l’enseignement, plutôt que de les employer comme des accompagnements au shakuhachi. La difficulté pour trouver ces instruments et le manque d'enseignants, affectent probablement leur popularité et le manque de connaissances de ces instruments en Europe. Ainsi seulement sept étudiants se sont inscrit à ces classes. Cependant, nous croyons que faire découvrir ces instruments aux gens a fait une différence. La qualité des enseignants était très bonne, on avait notamment les troisièmes et quatrièmes héritiers du Seiha ikuta ryû. Les joueurs des instruments de corde n’ont pas seulement contribué à l'école d'été en permettant les joueurs du shakuhachi de jouer dans des ensembles de sankyoku, ils ont aussi fourni à l'audience l'opportunité de connaître un autre type de son venu du Japon. Après le concert, Iwamoto Michiko a été approché par de nombreuxpersonnes du public, qui ont posé des questions sur le koto et sa formation en tant que une musicienne. Nous avons eu cinq conférences et une réunion pendant les pauses du déjeuner et quatre concerts après le dîner le soir. Les conférences ont rajouté encore plus de diversité à un programme déjà très riche. Elles étaient composés de:

• Phillip Horan (l'Irlande), qui a présenté son approche, celle d’associer la musique traditionnelle irlandaise au shakuhachi.

• John Kaizen Neptune (résident au Japon), qui, par hasard, était à Londres pour jouer à Queen Elizabeth Hall dans la série RhythmSticks, a eu la gentillesse d’accepter notre proposition et a donné une conférence sur comment s'exercer une progression optimale ( ??)

• Tilo Burdach (l'Allemagne) a donné une conférence sur l'école Meian, enseigné par Nishimura Kokû.

• Richard Stagg (le Royaume-Uni) a expliqué comment maintenir et réparer un shakuhachi.

• Dr Jim Franklin (l’Allemagne) a présenté des techniques de respiration. • Le dernier jour s’est tenue une réunion pour discuter de la création d'une

Fédération Européenne du Shakuhachi Ces conférences ont été bien accueillis et ont donné aux participants une chance de voir et d’entendre d'autres approches, d’autres idées et de recevoir des conseils à propos des techniques etc. Les concerts suivants ont été donnés :

1. La première soirée seulement pour les participants de l’école d'été avec un open-mic, où tout le monde pouvait jouer. La soirée s’est finie avec une séance par les deux joueurs de jazz, John Kaizan Neptune et Brian Tairaku Ritchie.

2. Le premier concert public par les enseignants a été tenu le deuxième soir dans le Théâtre de Conférence de Khalili à SOAS. Le hall étaitplein et quelques uns ont dû se tenir debout le long du mur. Le thème de la soirée était la musique contemporaine et l'improvisation, bien que honkyoku, les compositions contemporaines pour koto et shamisen et des morceaux de sankyoku aient aussi été joué.

3. Le deuxième concert public s’est tenu le troisième soir dans le Théâtre de Conférence de la Galerie de Brunei à SOAS. Le thème de la soirée était la musique surtout traditionnelle, honkyoku, sankyoku, min’yô (chanté par Dr David Hughes) et une première mondiale d'un morceau par le compositeur australien Bruce Crossman. Environ 150 personnes ont assisté à ce concert.

4. La soirée de gala était réservée aux participants de l'école d'été. Les étudiants avaient travaillé pendant les cours avec leurs enseignants pour ce concert. La soirée était magnifique avec de la musique de très bonne qualité offert par nos étudiants de shakuhachi, koto et shamisen. On a écouté des morceaux de honkyoku, sankyoku, min’yô, jazz, l'improvisation, la musique contemporaine, et les compositions des étudiants. Une fin extraordinaire à ces quatre jours d'études intensives de musique!

J'ai trouvé le concert des étudiants très émouvant et encourageant. Certains participants n’avaient jamais joué le shakuhachi avant la Rencontre du Shakuhachi. Après quatre jours d'études intensives, ils ont joué en solo sur la scène soutenu par les autres dans le groupe jouant un drone. C'était une de mes meilleurs expériences de shakuhachi! Nous avons réussi à attirer des joueurs de beaucoup de pays d’Europe et même au délà. Les étudiants shakuhachi étaient des résidents de : Le Royaume-Uni: 23 L'Allemagne: 6 Les Etats-Unis: 2 La Belgique : 1

La Finlande : 1 L'Irlande : 1 Le Japon : 1 Les Pays-Bas : 1 La Norvège : 1 La Pologne : 1 L'Espagne : 1 La Suède : 1 La Suisse : 1 Tous les sept joueurs de koto et shamisen étaient des résidents du Royaume-Uni. Une des expériences les plus stupéfiantes, en organisant un événement comme cela, était les gens dont j’ai fait la connaissance. Il y a beaucoup de personnes en Europe, qui jouent, enseignent et aiment le shakuhachi. Ces 'nouveaux' contacts seront sûrement très importants pour les futures Rencontres du Shakuhachi. Des discussions sont en cours pour accueillir l'école d'été de shakuhachi l'année prochaine en France. Nous espérons sûrement que ce se matérialisera tant comme Michael Coxall et moi-même sont au Japon l'été prochain et nous ne serons pas capables d'organiser une Rencontres du Shakuhachi de nouveau à SOAS.

Il faisait tellement chaud à Londres en juillet, que j'ai rêvé d’une école d'été en hiver. Mais comme l'été est la période des vacances pour ceux qui travaillent, il est difficile de faire autrement

La création de la Fédération Européenne du Shakuhachi s’annonce proche. Ainsi l'avenir du shakuhachi et de koto/shamisen semble très brillant ici en Europe. La rencontre du Shakuhachi a été un pas essentiel dans le processus de consolidation de la communauté du shakuhachi en Europe et dans l’intensification des échanges culturels avec le Japon et nous sommes sûrs qu'il est le début de grands développements dans l'avenir.

Permettez-moi de saisir finalement cette opportunité pour remercier toutes les personnes qui ont contribué au projet : les conseils , le soutien organisationnel réelle ou la présence et l’aide pendant les quatre jours. Remerciement spéciaux à tous les enseignants : Clive Bell, Jim Franklin, Okuda Atsuya, Véronique Piron, Brian Tairaku Ritchie, Arisawa Shino, Iwamoto Gayue, Nakagawa Toshiyu, Okuda Masako, Okuda Utanoichi et tous les présentateurs des conférences. Merci à John Kaizan Neptune d’avoir passé tant de temps avec nous. Merci aux membres de JMS! Sans vous, la Rencontre du Shakuhachi n'aurait pas pu avoir lieu: Lenka pour son talent de comptabilité, Chris, Jon et Miwako pour leur disponibilité à tous moments, Bob pour ses talents de vendeur, et Deirdre pour son soutien! L'année prochaine nous espérons sûrement voir Gunnar Jinmei Linder enseigner et jouer comme il sait le faire.Malheureusement, il a dû annuler pour des raisons de santé.

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Memories of Summer School

My greatest Shakuhachi Summer By Katja Kornetzky This year is was the first time that a Shakuhachi summer school was taking place in Europe, and I was really looking forward to going there.

First of all it gave me the chance to meet my teacher Jim Franklin and also Veronique Piron, who I had met last in Tokyo. I was very impressed when I saw the program on the website. It showed so many different teachers from so many different schools and so many styles. Wow, what a great chance I thought. I wasn’t sure whether I really had the skills to participate in all those sessions, but anyway, I thought listening in might be helpful, too. The first morning of summer school I immediately enjoyed the atmosphere in our little practice room of SOAS. People blowing Ro, others chatting, and they came really from all over the world. It was a very lively atmosphere, indeed!

Afterwards I was amazed at how quiet and focused we all could be when we were blowing Ro together. It felt like each of us was being held by the group, a wonderful feeling. From that point, socialising went smoothly. First you start talking to your neighbour about the little cracks in your instrument, then continue how you started playing the instrument. To me it seems

that everybody who plays Shakuhachi has an interesting tale to tell. The sessions provided a balanced mixture of intense learning, laughing and listening, and the concerts were just extraordinary. Also the final concert on Saturday took the best out of us. After the four days I left London feeling invigorated and energized. Back in Germany, I immediately started drawing my impressions. Out come a few pictures, some of people who I was very impressed with (or maybe easy to draw), or some gestures, expressions that had left a deep imprint on my mind. I felt that the people I met in London will stay close to me for a

long time and I am looking forward to seeing the European Shakuhachi Society grow.

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Shakuhachi Summer School 2006 Just an impression by Hans von Loon

Travelling by train from Holland to London, I was wondering what was awaiting me there, as this was the first time for me to attend such a happening, and it was also the first time that it was possible for shakuhachi players to meet at a shakuhachi festival in Europe. Getting out of the train at Waterloo station, the crowd was overwhelming, and it took me some time to find out how the metro worked, and after getting on the wrong metro at first, I finally managed to get to Kings Cross, from where I knew how to get to Dinwiddy House. After nearly being hit by car a few times (they all drive on the wrong side of the road) I arrived at my room. After dinner I went for a walk, to find out where SOAS was, and how long it would take me next morning to get there. For someone from the Dutch countryside, it is very noisy and crowded in London. Next morning the big moment was there: start of summer school. We had to subscribe first, and make choices of which lessons we would like to attend. I did not know the differences between all the styles, but filled in the form as I thought it would best fit with my level of playing. I study shakuhachi for six years now with Kees Kort in Holland, so I know a bit how to read Kinko scores, and fortunately it was enough to understand what was taught in the lessons. Then the teachers introduced themselves, and lessons started. The first lesson for me was Hi Fu Mi Hachi Gaeshi with Michael Coxall. For me this was a very difficult piece, but he patiently taught us so many techniques in that music, that I have enough material to study for years. One of the things that I also learned is that it is best to know how the music has to sound, because the Japanese play notes that are not written, and write things they don’t play. And amazing how many fingerings there are for the note HA. In the afternoon there was Zensabo Honkyoku with Okuda Atsuya. To make confusion even bigger, he invented a new notation system, but his lessons were great. When Kiku was not there to translate, he went on, just saying “O.K.” after each line, and continued. His lessons where really fun for me. And for such a famous teacher, he stays so modest.

Okuda’s class.

In Brian’s lessons I found out that improvisation is also possible if you’re a beginning student.

Then there were very good lectures. I was very happy to have John Neptune check my flute. I bought it without really knowing the qualities of the instrument, but it appeared to be a really good one, so now I know it is me who has to improve, and not the shak. As a result of his talk in which he gave some practice tips, I am now experimenting with recording myself, and it really helps to find the weak spots in my playing. He also amazed me by showing how many different sounds you can get from a shakuhachi. The atmosphere was very good. Relations between students and teachers felt very relaxed and as the days passed by, the group became one more and more. Last day, when playing our daily Hi Fu Mi Cho, I was touched, so many people playing such a simple song, being one altogether. When going home, it felt as having made lots of new friends. Students concert was going beyond frontiers for me again, as I don’t dare to play in public normally, and now did 3 pieces ! It was wonderful how even people playing for the first time in their live, did give their first concert. All together it was for me an impressive event, which I will never forget, and in which I have met two teachers with whom I can study in the future, Tilo Burdach and Veronique Piron. Last but not least, compliments for Kiku and Michael for the huge task of organizing such an event so well. It was great.

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SOAS Shakuhachi Summer School Ramblings from a lonely Tozan player by Nigel Puttergill After studying under the Tozan School of shakuhachi in Kyoto for three years, I returned last summer to the UK with no idea on how to continue my shakuhachi studies. I desperately tried to find a Tozan teacher in the UK, but without success. However, after searching the internet for some time I eventually made contact with Kiku Day. She was most helpful, but couldn’t help me find a Tozan teacher in the UK. Although at that point I was not able to further my studies under the Tozan School, Kiku kindly registered me on various mailing lists to keep me up to date on SOAS events and activities in London. It is from Kiku Day that I came to learn of the Shakuhachi Summer School. Realizing that most of the Summer School participants were likely to be Kinko players, I was somewhat reluctant to participate at first, as I can only read Tozan notation. Eventually I did decide to participate in the event, because the Summer School offered an opportunity for me to continue my shakuhachi studies in the UK. Although in Japan I studied honkyoku, sankyoku, shinkyoku and minyo to an intermediate level, the first day at the summer school was an absolute disaster. I felt quite stupid not being able to read kinko notation, or being able to participate to a level I knew I was capable of. It was so frustrating that I nearly packed my bags and left for home after the first day. The second day was better. There was a small glimmer of light at the end of the tunnel. I found teachers who were very supportive and helped in explaining Kinko

notation; I found wonderful new friends with a common interest in shakuhachi; I met world class shakuhachi players; and most important of all I began to learn new things. From thereon life just got better and better. By the end of the four day summer school I was reluctant to return home. I didn’t want to leave my new found friends and teachers. It was a fabulous experience to meet, learn from, and talk to some of the best international players in the shakuhachi world. I can’t think of any other way one could have gained so much knowledge and experience in such a short time. I started the Summer School as a lonely Tozan player in UK, and left as a European Shakuhachi player belonging to an International school. It was a fabulous experience, and one that will be difficult to better. For those who couldn’t make the Summer School, I can only say that you missed out on a wonderful event. For those who where there (including organizers, teachers, guests and students) I can only say THANK YOU for everything you gave to me. I have many wonderful memories (like most of you) from those four days, but most of them I will keep to myself. Each one of us gained something from those few days together, but one thing I think we all experienced was a real strong common bond. If you have the same feeling, then lets work together to strengthen the European Shakuhachi Society and make the 2nd International Summer School (wherever that may be) as good as the first.

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Reflections on Shakuhachi Summer School By Jeff Bateman It now, unfortunately, seems like the distant past but the Shakuhachi Summer School was really a great experience for me. It was truly wonderful to be able to have the opportunity to meet so many people with a similar interest in Japanese music. It was also a great opportunity to be exposed to some of the different genre of Shakuhachi. The contrast between the deeply spiritual aspect of Shakuhachi and the purely technical aspect was also refreshing. For me the Shakuhachi will always be a tool for reaching something deeper and focusing the mind. Regardless of ‘level achieved’ I think that each person can gain something and draw something out of the sound of the Shakuhachi. Whether it is sound for meditation or whether it is described as music is not important. I was first attracted to the Shakuhachi for meditation. But studying with Michael Coxall over the last couple of years has helped me appreciate Sankyoku. If I were to mention everybody who inspired me at the summer school the list would be long as it included both teachers and students. However, top of the list has to come the Okuda family. I felt that each one of them brought a special something and it was so lovely to see a family together at such an event. I especially enjoyed the spontaneous performances of Okuda sensei during the breaks. Looking forward to seeing you all again next year.

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Summer School Memories (a mini recap) by Stephanie Hiller As temperatures soared to a squelchy 39C, the first ever Pan-European Shakuhachi Summer School began. Memories? Oh yes, I have some wonderful memories:

• Putting faces to names of people I’d emailed, but never met • Meeting new people who all wanted to talk about shakuhachi • Finding out that I was not alone in my obsession! • So many happy faces - everyone was having such a great time and everyone

was so friendly! Highlight: Getting to meet, hear and learn from all those teachers who had only been a name up until now. Lowlight: Having to leave right after the Student concert, and missing the party Scary moment: Having to rush off and change my trousers on the last day (thank goodness I had my suitcase with me!) as the ones I was wearing were in danger of falling down! A clear lesson to us all never to lose weight ;-) * Regret: I didn’t make more of an effort to learn people’s names (I think we should all have had our names tattooed on our foreheads when we arrived – maybe next time?!)

So, over-riding memories of Summer School are a feeling of being surrounded by lovely, friendly, like-minded people, all having a great time and learning from each other. Roll on next year!!! Oh, did I mention – it was HOT!! * Well, clearly musical activities and clothes falling off is a theme for me – the first (and I had hoped, last!) experience for me being when my skirt fell off on stage at the Royal Albert Hall (fortunately, as part of a choir of c200) – but that, as they say, is another story.

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�“Seek the sound which is evoked from within�….improved, polished and developed

inside yourself. The Shakuhachi demands of you your candid self �– thus, put your whole being into the Shakuhachi. Inhale once and

expire. There is no second chance in life. Each exhalation must be pure.�”

MIYAMOTO MUSASHI

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European Shakuhachi Society – a work in progress By Jim Franklin Since the Shakuhachi Summer School in London, things have been progressing towards the formation of the European Shakuhachi Society – gradually but steadily, after a recovery phase, to allow us all to recuperate! We’ve been moving on two directions: the formation of the Society itself, and starting to lay plans for the 2007 Shakuhachi Summer School. As far as the Society is concerned, we (in essence, the teachers and organisers of the London event) have put together a draft set of articles of association for the Society. We’ve kept this internal to the work group so far, as we’re still refining it, but we should be ready to make it available for public viewing and comment in the next few weeks. When ready, it will go up on what will become the Society’s website (www.shakuhachisociety.eu). We’re trying to be very careful to formulate the aims of the Society, along the lines of discussion at the open meeting in London: to support and represent all schools and directions of shakuhachi in Europe with mutual respect and without prejudice, for the benefit of all players. This is an important goal, and requires correspondingly careful formulation. But we’re confident that we’re coming up with something that embodies this, and trust that all potential readers will be happy with the result. Regarding a Summer School for 2007, we’ve had to move quickly to secure a suitable space. The core of discussion in London, both formal and informal, and

subsequent discussions (in person, by phone, by e-mail) revealed a strong sense that the next Summer School should take place somewhere on the Continent, somewhere in July. A preference also became clear that it should be a live-in situation, allowing for an intensive exchange of ideas both inside and outside the teaching spaces, as well as for more meeting at a social level. Véronique Piron was able to find a place near Colmar, in the east of France, towards the French-German border, that filled the requirements, and which is available in early July 2007. The exact dates are still being decided, but keep the first week of July free (or organise to take holidays then), and start saving! We haven’t yet created a budget, so we can’t yet advise the likely cost, but we will be attempting to keep it at a reasonable price that maintains a good standard for the event. So, as you can see, shakuhachi as a pan-European phenomenon is gathering momentum. Keep blowing!

_______________________ Translation in German Below: Europäische Shakuhachi Gesellschaft – ein Werk am

Entstehen Jim Franklin Seit der Shakuhachi-Sommerschule in London hat es einige Fortschritte bezüglich Gründung der Europäische Shakuhachi-Gesellschaft gegeben – langsam aber sicher, nach einer Erholungsphase, damit wir alle wieder zu Kräften kämen! Wir gehen in zwei Richtungen vor: die Gründung der Gesellschaft an sich, und das Schmieden der ersten Pläne für die 2007er Sommerschule. Was die Gesellschaft betrifft, wir (im Grunde genommen die Lehrer und Organisatoren des Ereignisses in London) haben einen Entwurf der Gründingsatzungen der Gesellschaft geschrieben. Bis jetzt haben wir dies arbeitsgruppenintern gehalten, da wir sie noch verfeinern. Wir sind aber wohl in den nächsten Wochen damit so weit, dass wir den Entwurf der Öffentlichkeit zwecks Kommentare und Rückmeldungen zugänglich machen. Wenn’s so weit ist, kommt das Dokument auf die entstehende Webseite der Gesellschaft (www.shakuhachisociety.eu). Wir passen sehr stark darauf, die Grundausrichtung der Gesellschaft genau zu formulieren, so wie bei der öffentlichen Versammlung in London besprochen wurde: Alle Schulen und Richtungen der Shakuhachi in Europa mit gegenseitigem Respekt und ohne Vorurteil zu unterstützen und vertreten, damit alle Spieler davon profitieren. Dies ist ein wichtiges Ziel, und verlangt dementsprechend eine klar überlegte Formulierung. Aber wir sind zuversichtlich, dass wir etwas entwerfen, was dies verkörpert, und dass alle potentiellen Mitglieder mit den Ergebnissen zufrieden sein werden.

In Bezug auf die 2007er Sommerschule mussten wir schnell handeln, um einen passenden Veranstaltungsort zu finden. Der Kern der Gespräche in London, formell wie informell, und auch hinterher (persönlich, per Telefon, per E-mail) ergaben ein starkes Gefühl, dass die nächste Sommerschule irgendwo auf dem Kontinent irgendwann im Juli stattfinden sollte. es wurde auch klar bevorzugt. sie als Veranstaltung komplett mit Unterkunft/Verpflegung zu gestalten, um einen regen Austausch innerhalb und außerhalb der Unterrichtsräume zu ermöglichen, und dazu mehr Raum für soziale Begegnungen zu schaffen Véronique Piron konnte ein Tagungshaus bei Colmar (im Osten von Frankreich, bei der Grenze zu Deutschland) finden, das alle Bedingungen erfüllte, und das Anfang Juli 2007 zur Verfügung stand.. Die genauen Termine sind noch nicht festegelegt worden, aber am besten hält man

die erste Juli-Woche frei (oder beantragt Urlaub dafür), und spart etwas Geld zusammen! Wir haben bis jetzt kein Etat ausgearbeitet, deshalb können wir noch keinen Preis mitteilen, wir versuchen aber, den Preis in einem vernünftigen Rahmen zu halten, der das gute Niveau der Veranstaltung sichert. Also, wie man sehen kann: Die Shakuhachi als Europa-weites Phänomen kommt ins Rollen. Frohes Blasen!

_____________________ Translation in French below, by Veronique Piron:

Fédération Européenne du Shakuhachi – un chemin en progression

Jim Franklin Depuis le Séminaire de Shakuhachi à Londres nous avons progressé dans la formation de la Fédération Européenne du Shakuhachi, de façon régulière et sûre, après une période de répit pour nous permettre de récupérer! Nous avons progressé dans 2 directions: la formation de la Fédération elle-même, et la planification de la prochaine Rencontre Estivale de 2007. En ce qui concerne la Fédération, nous (c'est-à-dire les professeurs et organisateurs de l'évènement de Londres) avons dressé une liste d'articles sous forme associative pour établir sa fondation. Pour l'instant celle-ci reste encore interne au groupe de travail puisque nous sommes en train de l'affiner, mais elle sera bientôt rendue public et pourra faire l'objet de commentaires dans les quelques semaines à venir. Lorsque ce sera prêt elle apparaîtra sur le site web de la fédération (www.shakuhachisociety.eu). Nous sommes particulièrement soucieux quant à la formulation des buts de la Fédération, en accord avec ce qui a été discuté à la réunion de Londres: promouvoir et représenter toutes les écoles et toutes les directions prises par le shakuhachi en Europe dans un respect mutuel et sans préjugés, pour le bénéfice de tous les joueurs. C'est un pari important et qui demande une formulation adéquate. Mais nous restons confiants dans notre capacité à pouvoir relever le défi, et nous sommes sûr que tous les lecteurs potentiels seront satisfaits de ce résultat. En ce qui concerne une Rencontre Estivale pour 2007 nous avons été obligés d'agir vite afin de pouvoir s'assurer d'un lieu adéquat. Le cœur de la discussion à Londres, autant formelle qu'informelle et celles qui ont suivies (de personne à personne, par téléphone, par courriel) a révélé l'idée majeure que la prochaine Rencontre Estivale devrait avoir lieu quelque part sur le continent en juillet. Il est aussi devenu clair que la préférence irait vers un lieu unique réunissant lieux de cours et hébergement, permettant des échanges réciproques d'idées, autant à l'intérieur qu'à l'extérieur des salles de cours et favorable aux relations sociales. Véronique Piron a pu trouver un lieu dans la région de Colmar, dans l'Est de la France proche de la frontière franco-allemande, qui remplit les conditions et qui est disponible pour début juillet 2007. Les dates exactes ne sont pas définitivement fixées, mais gardez bien en mémoire la 1ère semaine de juillet (ou organisez-vous alors pour prendre des congés), et commencez à économiser! Nous n'avons pas encore établi de budget, nous ne pouvons donc pas garantir le même tarif, mais nous essayerons de le garder à un prix raisonnable qui soit à la hauteur de l'évènement. Donc comme vous pouvez le voir, le shakuhachi en tant que phénomène européen se propage vite! Alors bon vent!

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A Story of Urushi, by Justin Williams

PART ONE As the rain fell steadily all day, I worked away here in my home outside Tokyo. Yesterday I had added another layer of ji inside both halves of shakuhachi – a mixture of specially roasted powdered stone, rice I cooked here in my home, and urushi. Today was time to shape it, sanding it down carefully readying it for the next stage. Then after crafting the pieces for the central joint it needed gluing with a mixture of urushi and wheat dough, then painting with a thick strong black urushi (“roiro”), for strength and perfect fit. They will rest now in a dust free room for several days. Two days ago I coated the inside of a 3.3 shaku jinashi with “ki” urushi, the most unrefined urushi. This protects the bamboo from cracking which can happen by losing water when the weather is dry, and also protects from too much moisture, from breath (which especially can damage the utaguchi) and humid climates which can cause mould. Now the urushi is cured, and I play some honkyoku through it's hollow body as the darkness looms through the windows. So it is that urushi plays so central a role in the creation of shakuhachi.

Some old shakuhachi with urushi applied externally

So what is urushi? Urushi is the sap of the urushi tree (Rhus vernicifera), growing in China, Japan, Korea and the Eastern Himalayas. The wood of the tree itself is not particularly strong, but it defends itself well with its sticky sap which, upon contact with air and moisture, hardens into a marvelous protective barrier, resistant to heat, cold and chemicals (such as acids and alkalis). Stone age people discovered its excellent adhesive properties (even when wet, unlike animal glues) and used it for attaching spear and arrow heads to wooden shafts. Later it was used similarly in farming implements, and also as a coating for ornaments, giving a marvelous shine and also taking colours, from its natural black to an intensely deep black when treated with iron, and a most beautiful red when mixed with cinnabar. (As the craft developed more colours also became possible; Ferric oxide for brown, orpiment for yellow and a mixture of Prussian blue and orpiment for green. Red and black, however, have always remained the most popular). The earliest ornamental urushi work discovered to date are some 9000 year old burial ornaments unearthed in Hokkaido, the Northernmost island of. They are still a bright red, and the body of the ornament, made of hair, still in good condition. This truly shows the durability of urushi!

6000 year old red Urushi comb (wooden body) from Fukui,

3200 year old Earthenware carafe coated with Red urushi Hokkaido Gathering urushi sap

As history progressed, urushi came to be used in many ways, coating pottery and wood, repairing pots and statues, and, especially in China, in exquisite designs employing the use of gold powder, shells, and ever more intricate and advanced techniques. These elaborate techniques were carried to Japan from China and Korea along with Buddhism from about the 6th century. The techniques involving gold powders to create designs became especially refined in Japan, largely due to the fact that of all urushi, the urushi of Japan is the hardest, thus enabling the most intricate and fine details.

Bowl with classic black finish and gold ‘makie’ designs

You can imagine that the technology of urushi, after at least 9000 years of development, is rather complex. Rather than describe to you all the various techniques, I thought to offer a short glimpse at the process of making a smooth black surface, the Japanese way. And, as with many things here in Japan, the simplest things (five holed bamboo stick, for example!) are often the most complex. Indeed, that is one of the things I love most about this country. Simplify, and refine. Even the shakuachi itself, is basically like a xiao (its Chinese ancestor) with less holes and an open top! Simpler, and yet far more dynamic and conducive to the highest refinement in terms of expression. So, as a general application of urushi art in Japan involves wooden objects with a smooth black finish, imagine if you will, a rectangular piece of wood. Remember that we would like our work to last for as long as possible – not the two or three years life of much modern consumer technology, but preferably tens or hundreds of years. Wood may warp and even crack. So the first step is to find some strong hemp cloth. This is glued to cover the wooden surface with a mixture of rice paste and raw urushi. After a day in a cedar box, which keeps it dust free and humid (necessary for curing), it is ready. Indeed, every step is followed by a day or more in that box. Next we apply “ji”. Now, in the shakuhachi world, what is usually refered to as ji is generally a mixture of very fine stone powder (tonoko), urushi and a little water. However in the urushi world that is known as “sabi”. “Ji” is with a coarser grade of powdered stone (jinoko). There are different methods depending on the region of Japan for this. Wajima has very high quality usushi work and is famed throughout Japan, and so I will describe their method – their special jinoko has been roasted and is black in colour. Made into a paste by mixing with urushi and rice paste it is spread thinly over the now hardened hemp cloth to create a smooth surface. On curing, this is sanded down perfectly flat. This is repeated again twice, each time with a finer grade of jinoko powder, every time becoming smoother and smoother. Finally this is repeated with tonoko and very fine powder, urushi, and water. After sanding with specially cut inch long sanding stones, you are left with a very even surface. After a thin coat of raw urushi to seal it (and another day in the box!) it is ready for the first coat of black urushi. After filtering the urushi, it is painted onto the surface very carefully with a special brush made of human hair. (This hair must be perfectly straight and in very good condition. If you have been to Japan you may have noticed that nearly every girl has bleached their hair to some extent. This yields it useless for urushi brushes! I believe the main source now has to come from the Chinese countryside, where such fashions have yet to reach!) Each successive layer has served to fill in the ever-decreasing-in-size dips and holes left by the previous layer. And so, even after grinding this layer of black urushi with a fine stone, job is not over. It takes another two coats, interspaced with increasingly fine grades of grinding, before the painting is finished.

So the last layer of black urushi has been cured. From there there are two options. If one is fortunate to have a perfectly dust free environment (urushi workshops traditionally were floored not with tatami but with wood, and in the summer it was often the case that the urushi painters would work without clothes on, to avoid the imperfections resulting from dust landing on the wet urushi surface) then one may choose to finish without further polishing. This gives a semi-matte finish, and requires very great care and skill, especially in the late painted coat. The other option is to give a polished finish. This requires that the last coat is followed by grinding with three fine grades of stone, then sealed with 3 coats of very thin raw urushi (back in the box in between each coat) and a final polish with the ash of deer antlers.

Stages of making a black surface. (Here there is only one layer of ji as a Kyoto method was employed). And there you have it. A very flat, very smooth, black surface. Justin Williams 15th September 2006. Japan. (Part Two will appear in the next issue of the ESS newsletter, due out January 2007).

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THE REVIEW SECTION BRIAN TAIRAKU RITCHIE – ‘RYOANJI’ THYLACINE CD BY CLIVE BELL (Originally written for Wire Magazine) This is a shakuhachi record, but one with sweat on its brow and mud stains on its kimono. Bass player with Milwaukee alt-rockers Violent Femmes, Brian Ritchie was inspired to tackle a wind instrument after seeing Steve Lacy in New York. Eventually he hit on the Japanese Zen monk’s flute of choice and developed his own muscular, improvisational approach. His first release, Shakuhachi Club NYC from 2004 on Weed Records, pits Ritchie’s flute against banjo, tuba and drums (Billy Ficca from Television). Ritchie blasts away as if on trombone, but the context is so raucous it almost overwhelms what is essentially a delicate instrument. Ryoanji, while still unpolished in the best sense, is a step forward. Ritchie’s own playing is stronger and more focused, and his current band make a dark and appropriate sound: Dave Gelting on string bass and John Sparrow on gongs and cajon (the Afro-Peruvian wooden box also used in flamenco). Ritchie takes Japanese folk songs and treats them as stomping jazz vehicles for group exploration. Classic shakuhachi “honkyoku” pieces are enlisted as drifting melodies, played unison with bowed bass and coloured by tympani. Popular melody “Kojo No Tsuki” leads to free

blowing in the manner of Ayler and Coltrane, and there’s a Steve Lacy lament for a Japanese friend that plays well as a thoughtful, downbeat blues. At the album’s centre is “Ryoanji”, a fourteen minute version of a late John Cage piece inspired by the Zen rock garden. Shakuhachi and bass glide around eerie glissandi while the percussionist thumps an irregular pulse. It’s a stirring performance: definitely Cage with jacket and tie off, and immediately followed by “Soran Bushi”, a riotous drinking song.

NOTE: Sabu Orimo has recently brought out 2 albums. Clive Bell will be writing a review for the next newsletter. However, in the meantime, you can always check out the Subjective Sound label website for more information, which is: http://www6.ocn.ne.jp/~sssound/frametop.html

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DOZAN FUJIWARA BY CLIVE BELL In September this year I was in Tokyo for a week, and was lucky enough to see Dozan Fujiwara play about eight different sizes of shakuhachi in the Setagaya Public Theatre. Fujiwara might be called the poster boy for the shakuhachi’s new face in Japan, one of several young, gorgeous looking performers who are causing the Japanese to take a fresh look at the traditional instruments they have become largely used to ignoring. The context was a pair of plays titled Atsushi: stories from novels by Atsushi Nakajima (died 1943), adapted and performed by Mansai Nomura and his company. Nomura himself is a phenomenon: trained in Noh and Kyogen traditional theatre techniques, he applies those techniques to contemporary work, and was seen in London three years ago playing Hamlet. The music was played live by Fujiwara and the o-tsuzumi drummer Hirotada Kamei, seated downstage in full visibility. All devised by the musicians themselves, it made a powerful contribution. One minute Fujiwara was rumbling ominously around the bottom end of his longest flute, the next he was supplying effects for flying arrows or mimed activities on stage. Fujiwara’s technique is impeccable, whether swooping aloft with a high-pitched melody or hammering a fanfare of brassy low notes. The music itself was imaginative and evocative, and a long way from the sweet New Age approach evident on his records. Those records have sold in large numbers, however, and you can hear several extracts on his Sony website at http://columbia.jp/%7edozan/index.html

I talked briefly to Fujiwara afterwards, and he showed me the shortest shakuhachi I have ever seen, an isshaku flute in the key of A, a kind of bamboo penny whistle. Apparently it was presented to him by an amateur flute making club.

EUROPEAN TEACHERS – WHO, WHAT AND WHERE

Below is a list (non-exhaustive) of shakuhachi teachers in Europe, where they are available to teach, plus their contact details. Teacher are categorised according to country, and the teachers within each section are in alphabetical order. I have included those who I know about and whose contact details I know. If any other teachers would like to be included, please forward your details to stephaniehiller9@yahoo.co.uk.

Belgium

VERONIQUE PIRON France: - West side in Rennes (including a collective lesson in a music school) and Nantes - in Paris for a monthly lesson Belgium: in Bruxelles for a monthly lesson and week-end Teaching Languages: French, English, Japanese contact: nipponflutes@yahoo.fr tel: 33 (0)6 77 82 41 81 http://nipponflutes-actualite.blogspot.com/ Véronique Piron who is a French flutist and flute teacher has been playing shakuhachi since 1992. From Katsuya YOKOYAMA's school, she has been working firstly in France with Yoshikazu Iwamoto and then in Japan, under a 'Lavoisier' scholarship from the French Foreign Affairs Ministry between 2000 and 2002, with Teruo Furuya and Katsuya Yokoyama from whom she received her shihan license. She was also introduced there to nohkan and shinobue with Kohei Nishikawa from Nipponia group and got a French State Diploma in Traditional Music (Japanese shakuhachi) in 2004. Véronique has been teaching shakuhachi since 1996 as much inside an independent frame as institutional: working on breath, sound and the traditionnal repertoire (Koten Honkyoku, Sankyoku, Minyô) and contemporary (Shinkyoku and Gendaikyoku). She is organizing workshops* for the introduction of the shakuhachi inside flute and winds classes in conservatoires, Japanese music workshops* opened to a large public for festivals and several musical academies using oral teaching and improvisation. She is working regularly for the Music Museum in Paris, and is performing in concerts and shows in France and abroad. *look at the article in newsletter 1 France: - Bretagne: Rennes (dont cours collectif à l'école de musique du pays de Brocéliande), et Nantes - Paris (cours mensuels) Belgique: Bruxelles (cours mensuels et week-end) contact: nipponflutes@yahoo.fr tel: 33 (0)6 77 82 41 81 http://nipponflutes-actualite.blogspot.com/ Véronique Piron, flûtiste et professeur de flûte, pratique le shakuhachi depuis 1992. Issue de l'école de Katsuya YOKOYAMA elle travaille d'abord en France avec Yoshikazu IWAMOTO puis au Japon, alors lauréate d'une bourse Lavoisier du gouvernement français de 2000 à 2002, avec Teruo FURUYA et Katsuya YOKOYAMA, dont elle reçoit sa licence professionnelle "Shihan". Elle y est aussi initiée au nohkan et au shinobué par Kohei NISHIKAWA du groupe Nipponia, et elle obtient en 2004 un Diplôme d'Etat français d'enseignement de la musique traditionnelle (Japon, Shakuhachi). Véronique enseigne le shakuhachi depuis 1996 autant dans un cadre indépendant qu'institutionnel: travail autour de la respiration, du son et des répertoires traditionnnel (Koten Honkyoku, Sankyoku, Minyô) et contemporain (Shinkyoku et Gendaikyoku). Elle organise des ateliers* d'introduction au shakuhachi pour les classes de flûte et vents dans des conservatoires, des ateliers sur la musique japonaise ouverts au plus grand nombre pour des festivals et des diverses structures musicales avec pratique de l'oralité et de l'improvisation.

Elle intervient régulièrement au Musée de la Musique à Paris, et se produit dans divers concerts et spectacles en France et à l'étranger. *voir article dans le 1er numéro de cette lettre d'information

France

Sôzan C.KARIYA ville:paris france langue:japonais Français anglais contacte:sozanckariya@aol.com tel (+33) 06.65.56.85.72. information de musician: sôzan chiaki kariya est né à Hyogo,prés d'Osaka.il commence à étudier le shakuhachi à l'âge de 13 ans avec son père,conseiller de shin-Tozan Ryû,élève de Ichizan Hoshida 1er et fondateur de la branche Singensha de l'école Ikuta de koto IL acquiert le titre de Grand Maitre(daishihan) de shakuhachi et nommé le représentant de l'école Shin-Tozan Ryu en France. il a également appris le violoncelle au conservatoire national supérieur de musique de paris avec Maurice Gendron et jacqueline HEUCLIN sôzan kariya a beaucoup d'activitès musicale en France,en Belgique,au japon'en allemagne et en abgleterre. il a notamment eu un grand succès au festival Womad de Londres pour son shakuhachi solo.on a pu le voir sur TF1,sur france 3.concert de shakuhachi au musée Guimet avec mr.iwamoto soliste pour l'orchestre symphonique de musique comptenplaine etc; plusieurs CD sont sorti. outre son activité de concertiste.sozan kariya est professeur de shakuhachi et de violoncelle àl'école de musique SNCF de paris et membre de la SACEM DANIEL LIFERMANN 19 rue de Conflans F-94220 CHARENTON Tel/Fax : 33 (0)1 43 53 25 60 Web site : www.shakuhachi.fr mail : nardlife@club-internet.fr Daniel LIFERMANN started playing shakuhachi in 1983 in Japan. He studied with IWAMOTO Yoshikazu Sensei and FUKUDA Teruhisa Sensei and is the founder of the french shakuhachi association La Voie du Bambou in 1994. He teaches since 1988 and now gathers 25 students in his group. Regularly performs in France. He likes to play Honkyoku repertoire and contemporary pieces. Very involved in the transmission of spirituality in music. DANIEL LIFERMANN 19 rue de Conflans F-94220 CHARENTON Tel/Fax : 33 (0)1 43 53 25 60 Web site : www.shakuhachi.fr mail : nardlife@club-internet.fr Daniel LIFERMANN s'est initié au shakuhachi en 1983 au Japon. Il a étudié avec IWAMOTO Yoshikazu Sensei et FUKUDA Teruhisa Sensei. En 1994 il fonde l'association française La Voie du Bambou. Il enseigne depuis 1988 et rassemble autour de lui actuellement 25 étudiants. Il se produit régulièrement en France. Répertoires favoris : Honkyoku et pièces contemporaines. Particulièrement impliqué dans la transmission de la spiritualité dans la musique. VERONIQUE PIRON France: - West side in Rennes (including a collective lesson in a music school) and Nantes - in Paris for a monthly lesson Belgium: in Bruxelles for a monthly lesson and week-end Teaching Languages: French, English, Japanese contact: nipponflutes@yahoo.fr tel: 33 (0)6 77 82 41 81 http://nipponflutes-actualite.blogspot.com/ Véronique Piron who is a French flutist and flute teacher has been playing shakuhachi since 1992. From Katsuya YOKOYAMA's school, she has been working firstly in France with Yoshikazu Iwamoto and then in Japan, under a 'Lavoisier' scholarship from the French Foreign Affairs Ministry between 2000 and 2002, with Teruo Furuya and Katsuya Yokoyama from whom she received her shihan license. She was

also introduced there to nohkan and shinobue with Kohei Nishikawa from Nipponia group and got a French State Diploma in Traditional Music (Japanese shakuhachi) in 2004. Véronique has been teaching shakuhachi since 1996 as much inside an independent frame as institutional: working on breath, sound and the traditionnal repertoire (Koten Honkyoku, Sankyoku, Minyô) and contemporary (Shinkyoku and Gendaikyoku). She is organizing workshops* for the introduction of the shakuhachi inside flute and winds classes in conservatoires, Japanese music workshops* opened to a large public for festivals and several musical academies using oral teaching and improvisation. She is working regularly for the Music Museum in Paris, and is performing in concerts and shows in France and abroad. *look at the article in newsletter 1 France: - Bretagne: Rennes (dont cours collectif à l'école de musique du pays de Brocéliande), et Nantes - Paris (cours mensuels) Belgique: Bruxelles (cours mensuels et week-end) Français, Anglais, Japonais contact: nipponflutes@yahoo.fr tel: 33 (0)6 77 82 41 81 http://nipponflutes-actualite.blogspot.com/ Véronique Piron, flûtiste et professeur de flûte, pratique le shakuhachi depuis 1992. Issue de l'école de Katsuya YOKOYAMA elle travaille d'abord en France avec Yoshikazu IWAMOTO puis au Japon, alors lauréate d'une bourse Lavoisier du gouvernement français de 2000 à 2002, avec Teruo FURUYA et Katsuya YOKOYAMA, dont elle reçoit sa licence professionnelle "Shihan". Elle y est aussi initiée au nohkan et au shinobué par Kohei NISHIKAWA du groupe Nipponia, et elle obtient en 2004 un Diplôme d'Etat français d'enseignement de la musique traditionnelle (Japon, Shakuhachi). Véronique enseigne le shakuhachi depuis 1996 autant dans un cadre indépendant qu'institutionnel: travail autour de la respiration, du son et des répertoires traditionnnel (Koten Honkyoku, Sankyoku, Minyô) et contemporain (Shinkyoku et Gendaikyoku). Elle organise des ateliers* d'introduction au shakuhachi pour les classes de flûte et vents dans des conservatoires, des ateliers sur la musique japonaise ouverts au plus grand nombre pour des festivals et des diverses structures musicales avec pratique de l'oralité et de l'improvisation. Elle intervient régulièrement au Musée de la Musique à Paris, et se produit dans divers concerts et spectacles en France et à l'étranger. *voir article dans le 1er numéro de cette lettre d'information

Germany DR. JIM FRANKLIN Primarily in Germany (student groups in Nuremberg, Stuttgart, Bamberg and Hannover). For students outside these areas, or for those seeking more concentrated instruction, the possibility of studying as uchi-deshi (live-in student) near Nuremberg for shorter or longer periods of intensive training is available. Teaching Languages: German, French, Italian. Ottensooser Weg 1 D-91207 Lauf, Germany Tel: +49 91239 961935 Mobile: +49 172 1590514 email: dr_jim_franklin@t-online.de Qualifications: Shihan (Kokusai Shakuhachi Kenshukan, issued bei Katsuya Yokoyama, 1996), PhD in composition/musicology with focus on contemporary compositions for shakuhachi (1998). Shakuhachi studies: intially with Riley Lee in Australia, then with Teruo Furuya and Katsuya Yokoyama in Japan. Teaching direction: primarily honkyoku of the Kokusai Shakuhachi Kenshukan (sometimes called Dokyoku), with honkyoku from the Chikuho Ryu as preparatory and additional work. Also contemporary music for shakuhachi and improvisation, as well as gaikyoku and shinkyoku. Flute type: ji-ari, but has

taught students with ji-nashi flutes in the past. Recordings: primarily on the Celestial Harmonies label (www.harmonies.com), under artist name "James Ashley Franklin" Personal interests relating to shakuhachi: honkyoku, and composition for shakuhachi, especially with other instruments (Japanese and Western) including with electronics (especially theremin).

Japan MICHAEL COXALL Tokyo 9/06 - 8/07 London 9/07 onwards Tel & Fax: 044-988-6137 Mobile: 090-9334-3117 email: mc9@soas.ac.uk Studied shakuhachi in Japan for many years under the legendary Chikumeisha Kinko-ryû master and ‘Living Cultural Treasure’, the late Yamaguchi, Goro and still continues his studies with Mizuno, Kohmei on regular visits to Japan. Has been teaching full time at SOAS, University of London, since 1986 and is particularly interested in the jiuta-sokyoku repetoire of Kinko–ryû shakuhachi. As well as teaching and recording, has performed widely in the UK and is the founder member of the London Hogaku Ensemble, has featured in numerous solo and ensemble performances with the Anglo-Japanese Collective and as an accompanist in recitals with visiting traditional Japanese performers in the UK including Kikuchi Teiko, Matsumura Homei and Kyoto Eirakukai, and Nagai Seiho.

Scandinavia GUNNAR JINMEI LINDER Main areas are Sweden and Scandinavia – but, in theory, anywhere. Teaching Languages: Swedish, English and Japanese shakuhachi.bz@mac.com www.shakuhachi.bz Skype address: gunnar_linder_in_tokyo Kallangsvagen 7, 2 tr S-181 43 Lidingo Phone� +46 (0)8 731 04 61 Mobile +46 (0)708 32 33 14 Started to learn shakuhachi, after arriving in Japan 1985. Studied with Yamaguchi Goro (Kinko-ryu, Chikumeisha). Lived in Japan 1985 to 2005; lives in Stockholm, Sweden since July 2005. M.A. in Shakuhachi as Performing Art; Tokyo Geijutsu Daigaku (B.A. in Japanology and Philosophy) Shihan from Yamaguchi Goro (Kinko-ryu, Chikumeisha) Head of Chikumeisha Tachikawa Branch; keiko-ba in Ota-ku, Tokyo; Asahi Culture Center in Tachikawa and Yokohama Head of Chikumeisha European Branch; keiko-ba in Stockholm Council of Chikumeisha (chikumeisha hyougiin) Member of Kinko-ryu Kyokai, Nihon Sankyoku Kyokai, Komuso Kenkyukai Main genres: kinko-ryu honkyoku, sankyoku (jiuta-sokyoku), improvisation

Spain HORACIO CURTI Teaching in Barcelona, Valencia and Madrid Teaching Languages: Spanish, English and Portuguese [+34] 93 674 2710 horacio.curti@gmail.com www.shakuhachi.es Shakuhachi shihan (master) from Yokoyama Katsuya Plays and teaches mainly koten honkyoku and free improvized music

Sweden GUNNAR JINMEI LINDER Main areas are Sweden and Scandinavia – but, in theory, anywhere. Teaching Languages: Swedish, English and Japanese shakuhachi.bz@mac.com www.shakuhachi.bz Skype address: gunnar_linder_in_tokyo Kallangsvagen 7, 2 tr S-181 43 Lidingo Phone� +46 (0)8 731 04 61 Mobile +46 (0)708 32 33 14 Started to learn shakuhachi, after arriving in Japan 1985. Studied with Yamaguchi Goro (Kinko-ryu, Chikumeisha). Lived in Japan 1985 to 2005; lives in Stockholm, Sweden since July 2005. M.A. in Shakuhachi as Performing Art; Tokyo Geijutsu Daigaku (B.A. in Japanology and Philosophy) Shihan from Yamaguchi Goro (Kinko-ryu, Chikumeisha) Head of Chikumeisha Tachikawa Branch; keiko-ba in Ota-ku, Tokyo; Asahi Culture Center in Tachikawa and Yokohama Head of Chikumeisha European Branch; keiko-ba in Stockholm Council of Chikumeisha (chikumeisha hyougiin) Member of Kinko-ryu Kyokai, Nihon Sankyoku Kyokai, Komuso Kenkyukai Main genres: kinko-ryu honkyoku, sankyoku (jiuta-sokyoku), improvisation

United Kingdom MICHAEL COXALL Tokyo 9/06 - 8/07 London 9/07 onwards Tel & Fax: 044-988-6137 Mobile: 090-9334-3117 email: mc9@soas.ac.uk Studied shakuhachi in Japan for many years under the legendary Chikumeisha Kinko-ryû master and ‘Living Cultural Treasure’, the late Yamaguchi, Goro and still continues his studies with Mizuno, Kohmei on regular visits to Japan. Has been teaching full time at SOAS, University of London, since 1986 and is particularly interested in the jiuta-sokyoku repetoire of Kinko–ryû shakuhachi. As well as teaching and recording, has performed widely in the UK and is the founder member of the London Hogaku Ensemble, has featured in numerous solo and ensemble performances with the Anglo-Japanese Collective and as an accompanist in recitals with visiting traditional Japanese performers in the UK including Kikuchi Teiko, Matsumura Homei and Kyoto Eirakukai, and Nagai Seiho. KIKU DAY Teaches in London, and the North of England (in the near future) Teaching Languages: Danish, English, Swedish, French, and Japanese kiku@kikuday.com www.kikuday.com A ji-nashi shakuhachi player from Denmark with roots from Japan, America, Russia and Ireland and is now based in London. With a background in piano and flute, she spent over ten years in Tokyo studying honkyoku on ji-nashi skakuhachi under Okuda, Atsuya. After returning to Europe she completed her BA Ethnomusicology at SOAS, University of London, and also studied improvisation with Clive Bell and composition with Daniel Chua at King’s College, London. She completed her MFA Performance at Mills College, California, in 2005 where she focused on contemporary music and improvisation under Fred Frith, Jon Raskin, Joelle Leandre and others. Kiku is currently a doctoral candidate at SOAS in performance and ethnomusicology and is exploring the possibilities of playing the ji-nashi shakuhachi in contemporary music Kiku has performed widely in the US and the UK with various performers including Ikue Mori, Sylvie Courvosier, Carla Kihlstedt, Alvin Curran, Willie Wynant, John Raskin, Fred Frith, Henry Kaiser and Clive Bell

RICHARD STAGG West Hendon, London richard.stagg@bbc.co.uk 0208-200 9593. Will teach shakuhachi, all levels, at his home in West Hendon. Also repairs and retunes instruments. A a former student of Yoshikazu Iwamoto. Recordings are available under Yamato Ensemble, ARC Music Productions International Ltd., address www.arcmusic.co.uk/int His solo album is EUCD 1777.

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DATES FOR YOUR DIARY: Saturday December 9th 2006 7:30 pm An informal evening of music from members of the Mosaic Orchestra in a relaxed cafe setting, to include shakuhachi by Geoff Duckworth, playing a mix of folk and honkyoku music. The Centre, 1 Bath Place, Barnet, Herts EN5 5XE, UK.

Jim Franklin Shakuhachi concerts and events - Germany, October-December 2006

06-08.10.06 Seminar: Amida-Buddhism, (including concert and lecture on shakuhachi), Abbey St. Martin, Beuron (Danube Valley) Information: Fr. Jakobus Kaffanke, KlauseStBenedikt@t-online.de 08.10.06, 15:00 Shakuhachi concert, Zen-Centre Eisenbuch (Bavaria) Auskunft: Zen-Zentrum.Eisenbuch@t-online.de 13.10.06, 20:00 Windklang: Zen meets Jazz Concert with shakuhachi, theremin and saxophone (with Norbert Eisner) Sophienhöhle (limewstone cave), near Burg Rabenstein (Franconia) Information: info@burg-rabenstein.de 19.10.2006, 19:30 Shakuahchi concert (classical) Studio13, Bamberg (Franconia) Information: Angelika Schanz-Gilg, Tel. 0951 2086303 22.10.06, 15:00 Shakuhachi, Seminar House Deinsdorf, Deinsdorf 2 (Franconia) Information: seminarhaus-deinsdorf@t-online.de 25.10.2006, 19:30 Shakuhachi concert (modern, also with theremin) Studio13, Bamberg (Franconia) Auskunft: Angelika Schanz-Gilg, Tel. 0951 2086303 29.10.2006, 19:00-21:00

„Wellness-Evening“ with shakuhachi Frankenalb Thermal Baths, Hersbruck (Franconia) Auskunft: Frau Kotter, kotter@frankenalbtherme.de 09-12.11.06 Sesshin with private lessons and masterclasses for beginners and advanced students (with meditation teacher Tobias Reiss), Zenhof Eintürnen (Bad Wurzach, southern Germany) Information: tobias.reiss@zenhof.de. Price: €265 incl. teaching, accommodation and all meals 15.11.06, 20:00 Shakuhachi concert Linden-Museum, Stuttgart Information: Herr Otto-Hörbrand, Otto-Hoerbrand@lindenmuseum.de 17-18.11.06 Shakuhachi concert and seminar, Meister-Eckart-Haus, Kleve (near Dutch border) Concert: 17.11.06, 20:00 Seminar: 18.11.06, 9:00-16:00 Information: Paul Kohtes, mail@meister-eckhart-haus.de 01.12.2006, 20:30 Concert with shakuhachi, organ and theremin (with Felix Muntwiler) (preceded by opening of the Installation „Der Augenblick danach, ist die Furcht davor“, by Thomas Moritz Müller, 18:00, with shakuhachi music) St. Paul’s Cathedral, Esslingen (near Stuttgart) Information: Felix Muntwiler, felix@muntwiler.de 15-17.12.06 Short sesshin with Shakuhachi (with zen teacher Doris Zölls) Benediktushof, Holzkirchen (Franconia) Information: kurse@benediktushof-holzkirchen.de Price: €80, plus accommodation and meals ca. €87-€159

Clive Bell playing shakuhachi:

Thurs 19 Oct Spitz, Spitalfields market, London Improvisation with David Ross Fri 20 Oct, 19.30 Karl Jenkins Requiem in Leicester, Leicester Philharmonic Choir Sat 28 Oct, 19.30 Karl Jenkins Requiem in Bath, Bath Abbey Thurs 9 Nov, 17.45 MOMA, Oxford In concert with Melissa Holding for Okeanos group, contemporary and improvisation.

Sun 12 Nov, 19.30 Karl Jenkins Requiem in Glasgow, Royal Concert Hall, BBC Scottish Symphony Orchestra. Fri 17 Nov, 18.00 free, Ray's Jazz in Foyles, Charing Cross Road, London, jazz with Taeko Kunishima (piano). Sat 18 Nov, 19.30 Contemporary music in Oxford with Okeanos group, Jacqueline du Pre Hall. Tues 28 Nov, 20.00 Vortex, Dalston, London. Jazz with Taeko Kunishima group, record launch.

Kiku Day Jinashi Shakuhachi concerts:

23rd November 2006 at 7pm £6/5 Admission Five Voices, A Sacred Space. Poetry reading and music. The Rosslyn Hill Unitarian Church, Hampstead, London The theme of the evening is the natural world with its wonder, reflections and metaphor. The combination of four artists presenting words spoken and sung with the hauntingly beautiful sounds of the Shakuhachi flute and the ancient tones of the Tibetan singing bowls will bring a magic and a sacredness to the chapel. Deborah O'Brien will present selections from her poetry and the mystics, she will sing some of the poems in traditional unaccompanied style. Kiku Day is a Ph.d music student at Soas in London, she will play the Shakuhachi flute www.kikuday.com Rosalind Beeton, Acupuncturist, Cranial Sacral therapist, painter, musician, singer will present her poetry. Eugenie Lee, artist and founder member of The Lotus Foundation, London will play Tibetan singing bowls. http://www.lotusfoundation.org.uk/genie/ The Rosslyn Hill Unitarian Chapel Rosslyn Hill, Hampstead, London NW3 (Between Willaughby Road and Pilgrim's Lane - view map www.rosslynhillchapel.com/) Transport: Hampstead Underground - Buses: 268 & 46 25th January 2007 Performance of Takmitsu's November Steps with Odense Symphony Orchestra, Odense Koncerthus, Odense Soloist in Takemitsu Tôru's November Steps together with Ueda, Junko (biwa) with Odense Symphony Orchestra, Odense, Denmark. The rest of the program is: Beethoven: Ruins of Athens, Chen Yi: Duo Ye, Schubert: Symphony no. 4. The direct link is: www.odensesymfoni/wienorientent/r For more general information about Odense Symphony Orchestra: www.odensesymfoni.dk

8th March 2007 Solo Ladies - Celebrating International Women’s Day: Kiku Day (shakuhachi) & Sun Zhuo (guzheng) Brunei Gallery Lecture Theatre, SOAS, University of London Kiku will share this concert with the fantastic gu-zheng player Sun Zhuo. The pieces played will be premieres of pieces by Yumi Hara Cawkwell, Mogens Christensen, Gabriel Erkoreka www.soas.ac.uk/departments/departmentinfo