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Index

Letter from the editor! ! ! ! ! ! Philip Horan! ! ! ! ! 2World Shakuhachi Festival! ! ! ! ! Kiku Day!! ! ! ! ! 3News ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! 5Koichi Yoshida à Paris" " " " " " Jean-François Lagrost" " " 10Doctoral dissertation by Gunnar Jinmei Linder Jim Franklin!! ! ! 12Shakuhachi Spring in Spain" " " " " Jose Vargas-Zuñiga"" " " 14News (Spanish)! ! ! ! ! ! ! trans. by Maris Morales! ! ! 17Prague Shakuhachi Festival 2012 ! ! ! Marek Matvija! ! ! 22Collaboration of Contrasts! ! ! ! ! Justin Senryu! ! ! ! ! 25Primavera del Shakuhachi en España 2012 "" Jose Vargas-Zuñiga" " 27

Membership of the European Shakuhachi Society!! ! ! ! ! ! ! 29Adhésion à la Fédération Européenne du Shakuhachi" " " " " " " 30Mitgliedschaft in der European Shakuhachi Society! ! ! ! ! ! ! 31

Letter from the editor,

Just on the eve of the World Shakuhachi Festival, I launch the May edition of the newsletter. We wish all European players and performers the best in their performances and travels.

This edition introduces a news feature. It has broken records in terms of the number of non-regular contributors. There are also a wide variety of countries represented. Many thanks to the many contributers. Please continue to send in your news, even if only a few lines.

A special thanks to Maris Morales who translated the news items into Spanish and Jose and Jean-François who provided bilingual versions of their articles.

I am putting the final touches to the new player and teacher profiles for the ESS website. I have contacted many players/players/organisations and invite more to send their profiles to me.

Philip Horan

Cover photo of Ichijo shakuhachi provided by Jean-François Lagrost and photographer Alice Courchay.

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World Shakuhachi Festival

It is a pleasure for me to announce that the ESS is represented with two concerts at the World Shakuhachi Festival in Kyoto. I find it important that we show our presence and also show how varied and strong the European shakuhachi community has become. The first concert consists of players who are still on the path of learning, so to speak. The programme looks like this:

Concert of the European Shakuhachi Society (ESS) 1

1. Ki Reibo. Composed by Bambooway and Andrew Jilin.performers: Sergey Maksymenko (Ukraine) and Andrew Jilin (Russia)

2. Ryuro. Composed by Seiho Kineya.performer: Joke Verdoold (The Netherlands)

3. Sagariha no Kyoku. Kinko-ry! honkyoku.performer: James Long (UK)

4. Tabibito no Kyoku. Composed by Fukuda Rando.performer: Armin Lohbeck (Germany)

5. Oshusaji. Zensabo style honkyoku.performer: Sergey Maksymenko (Ukraine)

The next concert organised by the ESS will be by performers who are teachers of shakuhachi or people who have made a living by playing shakuhachi. The programme looks like this:

1. Woman with jinashi shakuhachi. Composed by Frank Denyer (UK).performer: Kiku Day (DK)

2. Roma Tibi# Signate Signa

# Modus Variabilis. Composed by Vlastislav Matou"ek.

performers: Vlastislav Matou"ek (Czech) and Veronika Matou"ek, voice (Czech)

3. San`an. Watazumi style honkyoku.performer: Uwe Walther (Germany/Japan)

4. Songs from the Lake no.2. Composed by James Franklin.performer: James Franklin (Germany/Australia)

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I believe that the process of making the programme and choosing performers has been a very democratic process, where players have responded to a call for pieces. It shows the strength of the ESS which is meant to be for everybody loving the shakuhachi in Europe. We hope the ESS can continue adding to the shakuhachi community here and give more people opportunities to perform such as a large-scale event like the World Shakuhachi Festival. I will be the MC at both concerts, and apart from introducing the performers, my aim is also to talk and represent the ESS and tell the audience about our work.

I am very much looking forward to the future of the ESS, where I envision an increase of exchanges and collaborations between the different groups of shakuhachi playing in Europe! I am thus delighted that we can showcase two concerts to the world of shakuhachi in Kyoto.

Kiku Day

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Organic shakuhachi!

I'd like to share the information about a concert in Japan I am excited about... (ok, I am

always excited about gigs....)

Saturday 26 May 2012 from 10:30 ～ 17:00 (we go ahead even if it rains)

Place: Pitara Farm

Address: 1118 Yokote, Hakushu-ch#, Hokuto-shi, Yamanashi Prefecture, Japan

(山梨県北杜市白州町横手1118)

☆ Pitara Farm is an organic farm and there are buses directly to Pitara Farm from

Shinjuku, Tokyo!

Entry: ¥2000

$ Programme $

10:30: Doors open

11:00: Bagor ensemble (translated from katakana so not sure I spelt this right), baul

music

12:00: Lunch and walks - enjoy the beautiful environment. There will be organic food for

sale.

13:30: Kiku Day, shakuhachi

14:30: Kuri, guitar, song world

15:30: Wulang, didgeridoo and guitar, song

16:30: Jam session (Yay!!!)

Come and join us and enjoy some of Japan's breathtaking landscapes + organic farm!

Kiku Day5

Jenkins’ Requiem performance

On March 24, the Socrates Choir of Zeist and the Amsterdams Symfonieorkest Con Brio with director Sven Boogert, performed the Requiem of Karl Jenkins in the Broederkerk, a lovely church in the oldest part of the town. It was the first time in the Netherlands this piece was performed with real shakuhachi instead of flute. I was the lucky shakuhachi player and it was quite an experience and hard work to match the orchestra. When I heard it back on a recording, it worked quite well. Anyway, we enjoyed doing it and the public enjoyed listening.

On May 13, I will leave for Japan. I will have two performances in Tokyo on May 17 and 19 and then I go on to Kyoto, first to participate at the Rockies Shakuhachi Camp, held in Kyoto Otani Hall and then to participate at the WSF.

On August 18, I will be playing at the Convention of the European Bamboo Society which is held at the bamboo gardens of Babberich (Germany). I haven’t heard what is the result, but the organisation is also trying to organise an experiment of me playing together with Hans van Koolwijk with his Bambuso Sonoro (some huge bamboo-instrument-Google). If that is going to happen, I’ll let you know the details.

Joke Verdoold

Viz the suizenpunk on youtube

I wrote an article about Alexander Lauterwasser, a famous German scientist who makes water-sound figures. I work together with him and now I have amazing shakuhachi water-sound pictures. Look at my website: http://paraviz.com/presse.html

Here is also a video of water-bowl with my shakuhachi sound:http://www.youtube.com/watch?v=A-oxWXLhVRk&feature=player_embedded

Also the water-sound video of my free version of Tamuke:http://www.youtube.com/watch?v=iV71L04PN-s

Here again is my website: www.paraviz.comWebsite Alexander Laterwasser: www.wasserklangbilder.de

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Bamboo Breathing in the Ukraine

On May 29 in Kiev (Ukraine), in the yoga club Lotus,#I will perform a#honkyoku shakuhachi concert, "Bamboo Breathing".

Sergey Maksymenko (student of Kiku Day)

Komei Yoshimura visit

Komei Yoshimura (Chikumeisha) from Nishinomiya (Osaka) will visit me with his shamisen-playing wife in July for a week. There will be a charity concert in Osnabrueck (Germany) in the very beautiful and big church, St. Marien, on Saturday, July 21 at 8 p.m.. The proceeds will go to Yume-Kaze-Kikin, a Japanese organisation that helps disabled persons who are earthquake and tsunami victims. The program will be: Yobitake-Ukitake, Azuma Jishi, Yuugao, Ichijo, Tabibito no Uta, Sokaku Reibo and Shika no Tone. The performers are Komei Yoshimura and Armin Lohbeck (shakuhachi) and Yayoi Yoshimura (shamisen).

Armin

News from Greece

I had a solo Shakuhachi concert in Athens. The place I performed was the Onassis Culture Center. I was found by the director of the center about a year and a half ago by internet. The concert was on the 23rd of March. The center had a webpage and advertised the concert. The big surprise was.... a Greek person contacted me about a shakuhachi lesson!! It was about two months before the concert. Another person contacted me about three weeks before the concert about another shakuhachi lesson!! The two players had never met. Even in Greece there are shakuhachi enthusiasts!!

Kaoru Kakizakai

Shika no Tone performance

I will play Shika no Tone during the closing festivities of the Cultural Festival ‘Around Sweelinck’#on June 10, 2012 in the Maranata church. The festival is on the occasion of the birth of#the composer, J.P. Sweelinck, 450 years ago.

Annelies Nederbragt

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Oxford lessons

There are a number of shakuhachi players in the Oxford area who play in a variety of styles. James, Isobel, Ruud, Jeannie, Rupert and Gentian all live in the area and maybe there are others? We are extremely lucky to have a wonderful shakuhachi teacher, Michael Soumei Coxall living nearby in Wantage. He used to teach at SOAS and is a Kinko

and sankyoku player. He was a student of Yamaguchi Gor# and is now a student of Mizuno Kohmei. Michael#sometimes plays in concerts with koto and shamisen players.

Rupert and Gentian, who both separately have regular shakuhachi lessons with him, agree that the pleasure of the lessons is enhanced by visiting Wantage, a small town so different in every way from Oxford. It feels like an old traditional village with not a student or other nationality in sight... and there are some wonderful old fashioned cafes where we go to recover afterwards.

Gentian

Folding Cosmos

Keiko Kitamura and Michael Soumei Coxall gave a performance of traditional and contemporary Japanese music for koto, shamisen, voice and shakuhachi at the opening night of the contemporary Japanese design exhibition, 'Folding Cosmos',#at the Bath Artists' Studios Gallery on 27th April, 2012. The#exhibition has already been shown in#Sapporo and New York and after Bath it goes on to Helsinki, Berlin and Paris.www.foldingcosmosbath.wordpress.com/events

Michael Soumei Coxall

London Shakuhachi Study Group Update

The next meeting of the London shakuhachi study group will be held on Saturday the 2nd of June in SOAS London. The first half of the meeting will be devoted to shakuhachi playing at all levels. In the second half, we will be joined by two great min'yo singers to practice our min'yo shakuhachi. Apologies that the meeting does clash with the World Shakuhachi Festival. We chose this date because it's one of the few weekends when our min'yo singers are available. But we'll be thinking of everyone in Kyoto.

The meetings so far have been great fun, with between 5 to 10 players attending. It's been a chance to share ideas, hear other styles, and play duets. It is also a rare chance to practice playing min'yo with singers. New members, of any style or level, are always welcome. For more information, please email joeshaku@googlemail.com.

Joe Browning

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The Tale of the Bamboo Cutter

On June 21, I will perform with Charles Marshall (biwa) at the Chester Beatty Library in Dublin at 1 p.m.. This is part of a series of events around a new exhibition at the library. The tale of the Bamboo Cutter is the oldest Japanese work of prose fiction, written in the early Heian period (794-1185). The Chester Beatty Bamboo Cutter scrolls, dating to the early seventeenth century, are believed to be the earliest surviving illustrated

version of the tale.#They are representative of the long tradition in Japanese narrative hand-scrolls (emakimono) of alternating paintings with exquisite cursive text.#This pair of scrolls, recognized as a masterpiece from a Kano School artist of the early Edo period (1600-1867), merges elements of Chinese painting with the decorativeness, colour and pattern of Japanese painting.

With the generous support of The Sumitomo Foundation, the scrolls have recently undergone two years of extensive specialist conservation in the Restorient Studio in the Museum Volkenkunde, Leiden.#This exhibition provides a unique opportunity for visitors to enjoy the scrolls on their return to Dublin.

Philip Horan

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Koichi Yoshida à Parispar Jean-François Lagrost

Profitant de la série de concerts que donnait Koichi Yoshida en Europe en avril et mai, je l'ai invité le 9 mai au conservatoire dans lequel j'enseigne, au Kremlin-Bicêtre près de Paris. La rencontre a consisté en un mini-stage de deux heures suivi d'un concert dans un espace assez insolite du théâtre du Kremlin-Bicêtre (une petite scène située sous une pyramide en verre et un escalier en colimaçon).

Koichi Yoshida a étudié le shakuhachi de

l'école Kinko avec Y#d# Kurahashi. Musicien polyvalent, il est à l'aise dans le répertoire traditionnel aussi bien que dans le rock, le jazz, le folk ou l'improvisation. Il a récemment fondé

le groupe Y!gao, projet rassemblant

shakuhachi, violoncelle, piano et tablas, avec lequel il se produit à Ky#to.

Lors du mini-stage, il a enseigné les pièces Mukaiji et Sanya Sukagaki à une douzaine d'élèves de tous horizons. J'ai eu le grand plaisir de l'accompagner pour trois duos lors du concert, dont un dialogue pour flûte traversière et shakuhachi (Hi no obijime, 2006). Le concert s'est terminé sur le traditionnel Shika no toone, spatialisé dans la pyramide.

Koichi Yoshida : http://koichiyoshida.tumblr.com/Jean-François Lagrost : http://www.flute-shakuhachi.com

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Taking advantage of the concert tour that Koichi Yoshida made in Europe in April and May, I invited him on May 9th to the conservatoire where I teach, in Le Kremlin-Bicêtre near Paris. The meeting consisted of a little workshop of two hours followed by a concert in the rather unusual space of the Le Kremlin-Bicêtre theater (a small stage beneath a glass pyramid and a spiral staircase).

Koichi Yoshida studied Kinko style of

shakuhachi with Y#d# Kurahashi. As a versatile musician, he is comfortable in the traditional repertoire as well as in rock, jazz, folk and improvisation. He

recently founded the group Y!gao, a

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project bringing together shakuhachi, cello, piano and tabla.

During the workshop, he taught Sanya Sukagaki and Mukaiji to a dozen students from all backgrounds. I had the pleasure to accompany him for three duets during the concert, including a dialogue for concert flute and shakuhachi (Hi no obijime, 2006). The concert ended with the traditional Shika no Tone, spatialised into the pyramid.

Koichi Yoshida : http://koichiyoshida.tumblr.com/Jean-François Lagrost : http://www.flute-shakuhachi.com

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Tradition Reconsidered

Deconstructing Tradition in Japanese Music: A Study of Shakuhachi –

Historical Authenticity and Transmission of Tradition Reviewed by Jim Franklin

Doctoral dissertation by Gunnar Jinmei LinderStockholm: Stockholm University Press, 2012

One of the most frequently-heard terms in discussions of the shakuhachi is “tradition”. We speak of the shakuhachi “tradition”, “traditional” pieces, “traditional” techniques, and so forth. Very rarely, however, do we stop to think about what this means. What, actually, is the shakuhachi “tradition”? Or, more pointedly: does it even exist?

Discourse on this topic, including the latter question, is rare. Gunnar Jinmei Linder takes a bold step along the path of this discourse with his recently-published doctoral dissertation, Deconstructing Tradition in Japanese Music: A Study of Shakuhachi – Historical Authenticity and Transmission of Tradition. His basis is not only experiential, founded on his many years as a master shakuhachi performer, but also theoretical. Drawing on concepts of “tradition” as propounded by scholars such as Shils, Hobsbawm and Ben-Amos, and underpinned by Nattiez’ semiology of music, Linder creates a framework within which it is possible to discuss and analyse the notion of “tradition” in the historical (or perhaps pseudohistorical) development of the shakuhachi, and to examine the role of “tradition” in the transmission of repertoire in the present. Quite understandably, in the latter discussion, Linder draws primarily on his own

experiences in the Kinko school and with his teacher, Yamaguchi Gor#.

In some previous discussions of the shakuhachi, particularly by non-Japanese writers (such as Riley Lee), the notion of insider/outsider to a tradition assumes an important role. In his dissertation, Linder reveals himself as an insider not only to the music of the shakuhachi, but also to the literary culture of Japan. His linguistic skills permit him access to textual sources which have often been either overlooked or possibly misinterpreted by previous authors, including central Japanese scholars of the 20th

century, such as Kamisang# Y!k# and Nakatsuka Chikuzen. The works of these scholars in particular have been seminal in shaping the perceptions of the history and tradition of the shakuhachi, in Japan and in the West.

The shakuhachi is, of course, a musical instrument. Nevertheless, the core of Linder’s thesis is not (ethno-)musicological, but literary. He presents a series of textual analyses of documents relating to the depiction of supposedly monastic shakuhachi-playing

organisations – boro, komos#, komus#. These include (amongst others) the Kyotaku denki kokuji-kai, the document (now generally regarded as fictitious) in which the Fuke sect

attempted to create a self-justification; the Keich# okite-gaki, the (probably also fictitious)

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ordinance of privileges of members of the Fuke sect; various poems by Ikky!; and scroll

paintings and texts, such as Sanj!ni-ban Shokunin uta-awase (late 15th century) and

Shichij!ichi-ban Shokunin uta-awase (start of the 16th century). Linder’s findings in these analyses are surprising: in contrast to the generally assumed notation of continuity of

development - boro to komos# to komus# – he concludes that the documentary evidence by no means supports the notion of a connection or linear transition between these

groups. His conclusion is nevertheless convincingly argued: that not only did the komus# create a fictionalised history to justify their existence and raise their status beyond that of an obscure and exclusive religious sect, but that the process of fictionalisation was continued in the 20th century – presumably with the intent of providing the world of the shakuhachi with a “solid” historical underpinning, following the revelation of the Fuke mythology as a fiction. Linder makes bold to suggest that this may have been, consciously or unconsciously, a reflection of an underlying Japanese nationalistic sentiment, demonstrating the quintessential Japanese identity and uniqueness of the shakuhachi. He further suggests that this perception, with its emphasis on a correlation with Zen, may also reflect a form of reimportation of perceptions outside of Japan of the shakuhachi as an instrument with a long spiritual and meditative tradition. In so doing, Linder provides both evidence and food for thought about the two-way nature of intercultural processes.

Linder does not leave his observations in the past, but brings them into the present. Having established that the “tradition” of the shakuhachi is in fact an invented tradition, he turns to the process of transmission. Again with reference to a model derived from Nattiez’ musical semiotics, Linder makes clear how complex the process of transmission actually is, and how it operates on many levels between student and teacher(s), with the result that a high degree of fluidity is inherent in the process – in what is often perceived as an unchanging musical corpus. In the course of this discussion, Linder develops analytical tools which are applicable not only to the shakuhachi and the honkyoku, but potentially to other musics as well. In particular, he draws on and clarifies the notion of kata, underlying musical patterns or gestures, extending the work of scholars such as Kikkawa Eishi, Tsukitani Tsuneko and Nishiyama Matsunosuke.

Despite his bold stance of questioning the notion of a long, spiritual tradition of the shakuhachi, and revealing this as an invented tradition, Linder never at any point casts the least doubt upon the value of the music itself. It is clear that he himself feels a deep connection to this music, while at the same time seeking to pare away the fictions that have developed around it. I find this approach refreshing and invigorating. His conclusions will no doubt find supporters and opponents. I hope that this thesis will open a pathway to healthy debate about the nature of the shakuhachi and its music, and look forward to ongoing research and discussion.

In providing such an opening, Linder’s thesis reveals itself as a piece of research of very high quality. I recommend it not only to all shakuhachi players, but also all those with an interest in Japanese culture and history.

Dr Jim Franklin is a shakuhachi performer, teacher and composer. He studied composition and musicology in Sydney, Stuttgart and Amsterdam, and shakuhachi with Riley Lee, Furuya Teruo and Yokoyama Katsuya. He received his shihan (master) license in the Kokusai Shakuhachi Kenshukan, Japan, from Yokoyama-sensei in 1996. He currently lives in Germany.

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2012 Shakuhachi Spring in Spain

by Jose Vargas-Zuñiga

April 5th - Véronique Piron and Chiku Za in Madrid! I was very happy to meet two great masters. We were going to start a shakuhachi rally, for nearly three weeks, great fun!

April 6th - Concert at Espacio Ronda. Few people. It was Easter Friday, very interesting concert with Japanese traditional music from different ages. The concert was video recorded. Some of it will be on the Internet soon. By the way, thanks to Armando Lozano and the UPF people. They are doing an incredible job supporting all kinds of cultural activities in Madrid. Please check Espacio Ronda videos on Youtube.

April 7th – We went to the country, to my workshop place, two hours from Madrid. Véronique had flute making lessons during the weekend. In the evening, a concert at Baraka café, in Villanueva de la Vera (Cáceres), a crowded and quite noisy place, an informal concert for the villagers. I could play honkyoku together with Chiku Za, and I even tried the shamisen and played Itsuki no komoriuta with Véronique, I had a really great time!

April 8th – A real Spring Sunday, including a little flute making workshop for Véronique and Gonzalo, and paella for lunch. Thanks to Marcia, my wife, also for her overall support.

April 9th – Back to Madrid, a free afternoon with some tourism, we went to the Prado museum and had some walking around Madrid.

April 10th – Véronique Piron went back to France. She is indeed a top flute player, and a very friendly and sweet person. We spent some very nice days together. In the afternoon, Chiku Za and I drove back to the countryside. In July 2011, before the London summer school, he passed by Spain, and had two concerts and some recording sessions. The idea was to record again to complete a CD.

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April 11th and 12th – Recording sessions at Eliseo Parra home recording studio, a quiet and easy place by the mountains, an unusually good studio for recording honkyoku with clean ambient sound and no hassle. Eliseo is a musician with a long career, one of the main Spanish folk music researchers and teachers, also a good singer, percussionist, and player of different instruments. His home is a museum, full of old popular music instruments from many places, specially from all around Spain.

April 12th – Back to Madrid in the afternoon, to meet Flavien Testard, coming from Paris. He is going to video record the next concert and the making workshop, also to help us with the organisation.

April 13th- Concert in Retiro Anandamaya. Again, not many people, but this time it helped our purpose of recording with a live CD in view. It was a very impressive concert, we got 1 h. 45’ recording, a remarkable time for a honkyoku solo concert, a European record at least, I guess. (Third encore was a 16’ Shin Kyorei, and people didn’t move out.) It is not easy finding a good place for honkyoku concerts. Retiro Anandamaya is a meditation center with three halls that give different possibilities. The leading people there, José Cruz and Isabel Ward, are open to all kinds of activities related to spiritual growth. Chiku Za performed there three times already. We have our making workshops there also.

April 14th and 15th - Jinashi shakuhachi making workshop. Four new students, plus two old ones from last years’ workshops. Another student got sick the day before and couldn’t come. As we were few people, we had more time for explanations, with the help of Yurika Kodama’s translation from Japanese. Yes, we had a good time, those who came know it...

...and everybody was happy with their flute at the end!

April 16th – We had a short walk in the center of Madrid in the morning. In the afternoon, Flavien flew back to Paris, Chiku Za and I had ro buki practice with more people in a meditation place.

April 17th - Back to the countryside, we needed to listen to the recordings, and maybe we were going to need another recording session.

April 18th – To complete the CD, we decided to try recording Sanya besides a mountain stream. The day was cloudy but finally we found a very nice spot, though the wind had something to say also.

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April 19th – Travel day. In the morning, back to Madrid and by train to Valencia in the afternoon.

April 20th – Visiting the old city of Valencia in the morning, we even climbed the stairs to the top of the cathedral’s tower, one of those crazy things you do only when you are a tourist. The view is worth the climb, though. In the evening, concert in Shadana center. It was the first time Chiku Za performed in Valencia. We had a very fine concert and nice conversations afterwards, people were so interested. Thanks to Antonio Triguero.

April 21st – Lessons from Chiku Za in the morning, lunch at a friend’s,

and back to Madrid.

April 22th – A nice sunny morning, we walked by the Rastro, the Madrid freemarket, open only on Sundays. We had the afternoon for listening to the recordings.

April 23th – Listening and deciding, finally we had materials for 2 CDs, besides the video recording of the Anandamaya concert. Chiku Za choose the cuts for the first CD, everything played in a 3.25 except Shingetsu, performed in a 3.7. So, there will be a Chiku Za CD release, hopefully soon.

April 24th - Chiku Za’s departure. Me and my family were happy having him among us, we hope he will be back soon!

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¡Shakuhachi ecológico!

Me gustaría compartir información sobre un concierto en Japón por el que estoy entusiasmada… (de acuerdo, las actuaciones siempre me entusiasman…)Sábado 26 de Mayo 2012 de 10:30 a 17:00 (seguiremos adelante aunque llueva)Lugar: Pitara Farm

Dirección: 1118 Yokote, Hakushu-ch#, Hokuto-shi, Prefectura de Yamanashi, Japón(山梨県北杜市白州町横手1118)

☆ Pitara Farm es una granja ecológica y hay autobuses directos hasta la granja desde

Shinjuku, T#kyo!Entrada: ¥2.000

$ Programa $

10:30 Apertura de puertas11:00 Bagor ensemble (traducido del katakana, no estoy segura de si lo deletreo bien), música baul12:00 Almuerzo y paseos – disfrutar del hermoso entorno. Habrá comida ecológica a la venta.13:30 Kiku Day, shakuhachi14:30 Kuri, guitarra, música del mundo15:30 Wulang, didgeridoo y guitarra, canto16:30 Jam session (¡Bien!)Venid y uniros a nosotros y disfrutad de los impresionantes paisajes de Japón + granja ecológica!

Kiku Day

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Interpretación del Requiem de Jenkins

El 24 de Marzo, el Socrates Choir de Zeist y la Amsterdams Symfonieorkest Con Brio con el director Sven Boogert interpretaron el Requiem de Karl Jenkins en Broederkerk, una adorable iglesia en la parte antigua de la ciudad. Era la primera vez en Holanda que esta pieza era interpretada con un shakuhachi de verdad y no con una flauta. Yo fui el afortunado músico de shakuhachi y fue toda una experiencia y un trabajo duro ajustarse a la orquesta; pero cuando lo volví a oír en un registro, funcionó muy bien. De cualquier forma, disfruté haciéndolo y el público disfrutó escuchando.

El 13 de Mayo, saldré para Japón y tendré dos actuaciones en T#kyo el 17 y 19 de Mayo y

luego iré a Ky#to, primero para participar en el Rockies Shakuhachi Camp, que tendrá

lugar en el Ky#to Otani Hall y posteriormente participaré en el WSF (Festival Mundial de Shakuhachi).El 18 de Agosto, tocaré en la Convención de la European Bamboo Society que se celebrará en el jardín de bambús de Babberich (Alemania). No he oído hablar sobre el resultado, pero la organización está intentado organizar también, un experimento conmigo tocando junto con Hans van Koolwiik y su Bambuso Sonoro (un tipo de órgano de bambú inmenso). Si ello ocurre os tendré informados sobre los detalles.

Joke Verdoold

Viz el Suizenpunk en youtube

Escribí un artículo sobre Alexander Lauterwasser, un famoso científico alemán que hace figuras en el agua con sonido. Trabajo con él y ahora tengo unas sorprendentes fotografías de sonido en agua con shakuhachi. Podéis verlas en mi página web:http://paraviz.com/presse.htmlAquí hay también un video de cuenco de agua, con sonido de mi shakuhachi:http://www.youtube.com/watch?v=A-oxWXLhVRk&feature=player_embeddedTambién el video del sonido en agua de mi versión libre de Tamuke:http://www.youtube.com/watch?v=iV71L04PN-sY aquí una vez más mi página web: www.paraviz.comWebsite Alexander Laterwasser: www.wasserklangbilder.de

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Respirando bambú en Ucrania

El 29 de mayo en Kiev (Ucrania), en el club de yoga Lotus, interpretaré un concierto de shakuhachi honkyoku «Respirando Bambú».

Sergey Maksymenko (estudiante de Kiku Day)

Visita de Komei Yoshimura

Komei Yoshimura (Chikumeisha) de

Nishinomiya (%saka) me visitará en Julio por una semana, con su esposa intérprete de shamisen. Habrá un concierto benéfico en Osnabrueck (Alemania) en la muy bella y gran iglesia de St. Marien; el sábado 21 de Julio a las 8 p.m. la gestión será a cargo de Yume-Kaze-Kilin, una organización japonesa que ayuda a personas con discapacidad y que son víctimas del terremoto y del tsunami. El programa será: Yobitake-Ukitake, Azuma Jishi, Yuugao, Ichijo, Tabibito-no-Uta, Sokaku Reibo y Shika-no-tone. Los músicos son Komei Yoshimura y Armin Lohbeck (shakuhachi) y Yayoi Yoshimura (shamisen).

Armin

Noticias desde Grecia

He realizado un concierto de solo de shakuhachi en Atenas. El lugar donde toqué era el Onassis Culture Center. El director del centro me encontró hace año y medio por internet. El concierto fue el 23 de Marzo. La gran sorpresa fue... que el centro tenía una página web y habían anunciado el concierto. ¡Una persona griega me contactó para clases de shakuhachi!! Aquello fue dos meses antes del concierto. ¡Otra persona me contactó unas tres semanas antes del concierto para otra clase de shakuhachi!! Los dos músicos nunca se habían encontrado. ¡Incluso en Grecia hay entusiastas del shakuhachi!!

Kaoru Kakizakai

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Interpretación de Shika-no-Tone

Tocaré Shika-no-Tone durante el festival de clausura del Cultural Festival sobre Sweelinck el 10 de Junio, 2012 en la iglesia de Maranata. El festival será con ocasión del nacimiento del compositor, J.P. Sweelinck hace 450 años.

Annelies Nederbragt

Clases en Oxford

Hay varios músicos de shakuhachi en el área de Oxford que tocan en distintos estilos. James, Isobel, Ruud, Jeannie, Rupert y Gentian viven todos en el área y quizá haya más? Somos extremadamente afortunados de tener un maravilloso profesor de shakuhachi, Michael Soumei Coxall que vive cerca en Wantage. Enseñaba en el SOAS y es un intérprete de Kinko y Sankyoku. Fue discípulo de Yamaguchi Goro y ahora estudia con Mizuno Kohmei. Michael toca a veces en conciertos con músicos de koto y shamisen.Rupert y Gentian que, por separado, tienen clases de shakuhachi regularmente con él, están de acuerdo en que el placer de las clases se realza con la visita a Wantage, una pequeña ciudad tan distinta en todo de Oxford. La sensación es la de un antiguo y tradicional pueblo donde no hay ningún estudiante o nacionalidades distintas a la vista…además hay varios cafés de estilo antiguo para ir a recuperarse.

Gentian

Folding Cosmos

Keiko Kitamura y Michael Soumei Coxall dieron un concierto de música tradicional y contemporánea para koto, shamisen, voz y shakuhachi en la Noche de Inauguración de la exposición «Folding Cosmos» de diseño japonés contemporáneo en la Galería Bath Artists’ Studios el 27 de abril, 2012. La exposición ya ha sido vista en Sapporo y Nueva York y después de Bath irá a Helsinki, Berlín y Paris.www.foldingcosmosbath.wordpress.com/events

Michael Soumei Coxall

Actualización del Grupo de Estudio de Shakuhachi de Londres

La próxima reunión del grupo de estudio de shakuhachi de Londres tendrá lugar el sábado 2 de junio en el SOAS de Londres. La primera mitad del encuentro estará dedicada a tocar el shakuhachi en todos los niveles. En la segunda mitad, se nos unirán dos grandes cantantes de min’yo para practicar nuestro shakuhachi min’yo. Nos disculpamos si el encuentro coincide con el Festival Mundial de Shakuhachi. Elegimos esta fecha porque es uno de los pocos fines de semana que nuestros cantantes de min’yo están disponibles. Pero

tendremos en nuestro pensamiento a todos los que estén en Ky#to.Las reuniones hasta ahora han sido muy divertidas, con aproximadamente entre 5 y 10 participantes. Ha sido una oportunidad para intercambiar ideas, oír otros estilos y tocar dúos. También es una rara oportunidad el poder practicar la interpretación del min’yo con cantantes. Nuevos miembros, de cualquier estilo o nivel son siempre bienvenidos. Para más información por favor enviar un mail a joeshaku@googlemail.com.

Joe Browning

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El Cuento del Cortador

de Bambú

El 21 de junio, actuaré con Charles Marshall (biwa) en la Chester Beatty Library en Dublín. Esta es parte de una serie de eventos alrededor de una nueva exposición en la biblioteca. El cuento del Cortador de Bambú es la obra japonesa más antigua de ficción en prosa, escrita a principios del periodo Heian

(794-1185). Los rollos del cortador de Bambú de Chester Beatty, datan de principios del siglo XVII, y se cree que son la primera versión ilustrada superviviente del cuento. Representan la larga tradición de rollos de la narrativa japonesa (emakimono) en la que se incluyen textos en una cursiva exquisita alternando con pinturas. Este par de rollos, reconocidos como una obra de arte de la Escuela del artista Kano de principios del periodo Edo (1600-1867) fusiona elementos de pintura china con los diseños, colorido y decoración de la pintura japonesa.Con el generoso apoyo de The Sumitomo Foundation, los rollos han sido sometidos a una extensiva conservación especializada de dos años en el Restorient Studio en el Museum Volkenkunde, de Leiden. Esta exposición da una oportunidad única para los visitantes de disfrutar de estos rollos en su regreso a Dublín.

Philip Horan

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24-28/08by Marek Matvija

The Prague Shakuhachi Festival is an annual event which focuses on Japanese and contemporary music. It includes concerts, masterclasses, introductory courses and a musicological conference. It is one of the best events to visit if you would like to experience Japanese and contemporary music from multiple perspectives. Every year, we invite some of the most interesting players from Japan, some of whom seldom play

abroad. We must thank Christopher Yohmei Blasdel, a well-known Kinko-ry! shakuhachi player, who helped to organise the festival from its very beginning and who willingly shares his insights of the Japanese hogaku scene.

Last year, Sakai Shodo, head of the Chikuho-ry!, was invited. This year, the festival’s main

guest will be no less interesting. Takahashi Ry!do, a traditional Myoan style player, is one of the foremost experts on traditional shakuhachi music of the Yamagata region (Northern Honshu). Takahashi will also bring his son to the festival, to aid him in teaching. His son, Takahashi Taiichi, is also a very skilled player of Myoan style shakuhachi.

In 2010, when Prague hosted the European Shakuhachi Festival, we invited the renowned professional koto and shamisen player, Kikuko Sato. We were so impressed with her performance and teaching attitude that, this year, we decided to invite her again. Not only will she lead koto and shamisen courses, but she will also accompany the students during sankyoku lessons.

The focus of the Prague Shakuhachi Festival isn’t only Japanese traditional music. We make sure that contemporary music is equally represented in concerts and teaching. In 2012, the festival will welcome Jean-François Lagrost, a young and brilliant shakuhachi player and flute teacher at Asnières and Le Kremlin-Bicêtre conservatoires near Paris. We will also welcome our long-time friend, composer and shakuhachi virtuoso, Jim Franklin to teach contemporary music and techniques of the shakuhachi. Last but definitely not

least, Vlastislav Matou"ek, leading Czech ethnomusicologist, composer and festival president, will introduce players to his new compositions.

Great Kinko-ry! players, Christopher Yohmei Blasdel and Gunnar Jinmei Linder, will lead

the sankyoku class and teach Kinko-ry! honkyoku. We are still trying to expand and negotiate our budget, so we can invite more players. We hope we will be able to announce new names as the time of the festival approaches.

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Masterclasses and Introductory Courses

The festival offers a unique selection of masterclasses and introductory courses of Japanese instruments: koto, shamisen and the shakuhachi. All courses (including those for absolute beginners) are led by professional players from Japan and Europe.

Every year, people from all over the world visit the Prague Shakuhachi Festival because of the special opportunity to spend four days under the tutelage of great masters. Last year, players from twelve countries came to take part in the group and individual lessons the festival offers. For many of them, it was not for the first time. Over the years, Prague has become a stable part of their summer schedule. Thanks to the atmosphere of hard work during the day and companionship during the night, the festival has become an important platform for an international community of players, for whom music and spirituality are inseparable concepts.

This year, for the very first time in the festival history, we offer a four-day masterclass, focusing on shakuhachi and live-electronics which will be led by excellent Australian composer and musician, Jim Franklin.

All courses will enjoy the glorious setting of the Lichtenstein Palace, located at Malostranske Namesti, right in the heart of Prague’s historical city centre. The palace now belongs to the Academy of Performing Arts and, therefore, has all the facilities and features needed for teaching music at the highest level. Every room is isolated from the other (sound-wise) and features a piano. The main teaching room even features Haba’s quarter-tone piano which is especially useful for demonstrating some rare intervals used in Japanese and contemporary music.

Courses begin in the morning of August the 25th and the festival ends on the evening of August 28 with the student concert. Participants are granted free admission to all festival concerts and lectures of the musicological conference. Participants of the shakuhachi masterclass and introductory course for beginners are expected to bring their own instrument (a 1.8; in case, you don’t have one, please contact us and we will assist you with the purchase). Participants of koto and shamisen masterclass and introductory courses can use instruments provided by the festival.

Prices for the courses are:SHAKUHACHI INTRODUCTORY 70 EURKOTO INTRODUCTORY 70 EURSHAMISEN INTRODUCTORY 70 EUR

KOTO MASTERCLASS 160 EURSHAMISEN MASTERCLASS 160 EURSHAKUHACHI MASTERCLASS 195 EUR; ess members 185 EUR

Concerts

Every night from August 24 until August 28, there will be a concert dedicated to a specific music genre. The opening night will be dedicated to electro-acoustic music, featuring some of the freshest approaches to the shakuhachi. The next night will be dedicated to contemporary and avant-garde, this year revolving around images of the whale and sea appearing in ensemble contemporary music. The main concert the next day will present the finest examples of Japanese ensemble and solo music and then, on the 27th, the concert will be dedicated solely to the spiritual music of the shakuhachi. Finally, the festival will conclude with the student concert on the 28th.

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Furthermore, you can look forward to other complementary events, such as sound installations, video screenings, small afternoon concert and more.

Conference: From Zen to the Avant-Garde

The musicological conference is open to contributions that either explore the historical developments of Japanese music and instruments or approach Japanese music from contemporary social or anthropological perspectives. Contributors are required to send in abstracts which will be reviewed. Please send your abstract or inquiries to matvija@komuso.cz

For applications, detailed info about our guest performers and more, please see www.komuso.cz

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Collaboration of Contrasts: Justin Senryu and Rodrigo Rodriguez

Last year I had the pleasure of teaching and performing around India and Europe, and on my way visited my old friend Rodrigo Rodríguez in Mallorca. We had studied together under Kakizakai Kaoru in Chichibu in 2005.#Since then, we had not seen each other, so I was happy to receive Rodrigo's invitation to stay in his home and arrange a concert together last Summer.

Since we played together in 2005, Rodrigo had stayed for 3 years with Kakizakai, and then gone to study with Miyata Kohachiro, one of the most#renowned#masters of modern shakuhachi music.#I had only spent a short time with Kakizakai before studying with#Furuya Teruo in Tokyo from the same school. I also had the opportunity to learn from Yokoyama Katsuya, the head of the school, who passed away in 2010. After that I had been dedicating myself to the study of ancient honkyoku styles with various masters around Japan.

This made for a very interesting encounter - both of our sounds had evolved in very different directions from the times we had shared practicing under cold bridges in Chichibu all those years before. The contrast was a delight. We played Shika no Toune, with Rodrigo's part in Miyata's style and my own part as taught to me by Araki Kodo. I

shared with Rodrigo the alternate key versions of Kimpu-ry! Shirabe and Sagariha from Orito Nyogetsu's lineage so we could play the same melody together using two different sized shakuhachi. And we improvised together, which was a joy for me since I rarely had such a chance in Japan - the shakuhachi world in Japan is generally quite conservative in that respect.

There were some challenges in how to fit our differing styles within the same piece. Our aim was to keep the uniqueness of our respective styles as much as possible, taking advantage of the diversity while taking care to create a coherent whole, a music which makes sense. This was a delightful process.

Since we enjoyed ourselves so much, we performed again in November in Japan, and put on another concert in April this year in Mallorca. The concert was at Finca Sa Taulera, Mallorca, Spain on 7th April 2012.

We played:Improvisation: Justin 1.8 shakuhachi, Rodrigo 1.8 shakuhachi

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Tamuke: Justin 2.9Improvisation: Justin 2.9, Rodrigo 2.1Sagariha: Rodrigo 2.1Improvisation: Justin 1.8, Rodrigo 1.8Kumoi Jishi:#Justin 1.8, Rodrigo 1.8Improvisation: Justin on setar, Rodrigo 2.1Azuma Jishi (duet arranged by Justin): Justin 2.4, Rodrigo 1.6

Improvisation: Justin 1.8, Rodrigo 1.8

We were also happy to receive a request from Kurahashi Yodo II to perform in the shakuhachi festival in Kyoto this year but unfortunately we are both unable to attend. Though I qualified, I also regrettably have had to withdraw from the International Shakuhachi Competition due to commitments in Europe. Best wishes to all those going. I'm sure it will be a lot of fun.

We have more work to do in terms of recording, but in the meantime here are a couple of

improvisations we did:

A duet from 2011http://www.youtube.com/watch?v=S-9uDe5ceNI

A duet from April 2012http://www.youtube.com/watch?v=e98sSfKfx4U

Just at time of going to press, Rodrigo sent me these dates of upcoming events:

June 7 19:40 h #- Shakuhachi concert at the Son Mir Mansion, Mallorca

September 28 20:00 h- Concert at Fundacio Coll Bardollet, Mallorca

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Primavera del Shakuhachi en España 2012

Relatos desde Madrid. Un diario de Jose Vargas-Zuñiga

5 de Abril 2012 - Véronique Piron y Chiku Za en Madrid! Feliz de recibir a dos grandes maestros

Comenzaban casi tres semanas dedicadas al shakuhachi, unos días muy interesantes y di-vertidos.

6 de Abril – Concierto en Espacio Ronda. Muy poca gente, era Viernes Santo, un concierto muy interesante, con música tradicional japonesa de diferentes épocas. Se grabó vídeo, y se podrá ver algo en internet.

Aprovecho para agradecer a Armando Lozano y a la gente de la UPF su gran labor de apoyo a la cultura en Madrid, mirad los vídeos de Espacio Ronda en Youtube.

7 de Abril. – Nos fuimos al campo, al lugar donde tengo el taller, Véronique iba a tener clases de construcción de flautas el fin de semana. Por la tarde, concierto en el café Baraka en Villanueva de la Vera (Cáceres).

El lugar estaba repleto, el concierto fue informal, pude tocar honkyoku con Chiku Za, in-cluso me atreví a tocar el shamisen, Itsuki no komoriuta, junto a Véronique, me lo pasé en grande.

8 de Abril – Un Domingo soleado, con taller de construcción para Véronique y Gonzalo, y paella para almorzar. Gracias a Marcia, también por su apoyo en general.

9 de Abril – De vuelta a Madrid, una visita al museo del Prado, y un paseo por el centro por la tarde.

9 de Abril – Véronique Piron volvió a Francia, es,sin duda una flautista excepcional, además es una excelente persona, y muy simpática, pasamos buenos días juntos.

Por la tarde, Chiku Za y yo volvimos al campo. En el veranos del 2011, antes de la escuela de verano en Londres, Chiku Za pasó por España y grabó varias sesiones. Ahora vamos a grabar de nuevo para completar un cd.

11 y 12 de Abril – Sesiones de grabación en el estudio de Eliseo Parra en la Sierra de Gre-dos, un lugar agradable y relajado, buen sitio para grabar hokyoku.

Eliseo es un músico de larga carrera, y uno de los mejores estudiosos de la música popular de España. Su casa es un museo, lleno de instrumentos de toda procedencia.

12 de Abril – De vuelta a Madrid por la tarde, para recibir a Flavien Testard, que viene desde Paris para participar en el taller, pero también para filmar y ayudar con la organi-zación.

13 de Abril – Concierto en Retiro Anandamaya. Acudió menos gente de la prevista, pero esta vez nos vino bien para grabar en vídeo el concierto.

Fue un concierto extraordinario, grabamos 1h. 45’. (La tercera propina fue un Shin Ky-orei de 16’ y las personas no se movían, tuvimos que anunciar que se había acabado).

No es fácil encontrar buenos lugares para los conciertos de honkyoku. Retiro Ananda-maya es un sitio muy adecuado, con varios espacios diferentes. Las personas responsa-bles, José Cruz y Isabel Ward organizan actividades relacionadas con el desarrollo espiri-

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tual. Chiku Za ha tocado allí en tres ocasiones, y también es el lugar donde hacemos los talleres de construcción.

14 y 15 de Abril – Taller de construcción de shakuhachi jinashi.

Cuatro estudiantes nuevos, más dos veteranos de cursos anteriores. Otro estudiante cayó enfermo y no pudo acudir a última hora. Al ser pocos, tuvimos más tiempo para las expli-caciones, con la traducción de Yurika Kodama.

Nos lo pasamos bien, los que estuvimos lo sabemos...

...y todos estaban contentos con su flauta al acabar el taller.

16 de Abril – Por la mañana, un paseo por el centro de Madrid. Flavien volvió a Paris por la tarde, y Chiku Za y yo tuvimos una sesión de ro buki con otras personas en un centro de meditación.

17 de Abril – De vuelta al campo, tenemos muchas grabaciones para oír, y quizá nece-sitábamos alguna sesión de grabación más.

18 de Abril – Para completar el cd, fuimos a grabar SanYa junto a un arroyo en la mon-taña. Estuvo amenazando lluvia todo el día, y al final encontramos un lugar perfecto, aun-que el viento aportó su opinión en la grabación.

19 de Abril – Día de viaje, a Madrid por la mañana, a Valencia, en tren, a última hora de la tarde.

20 de Abril – Visitamos el centro de Valencia, incluso subimos a la torre del Miguelete, una de esas cosas locas que solo hacen los turistas, y la vista vale la pena.

Por la noche, concierto en la sala Sadhana. Es la primera vez que Chiku Za toca en Valen-cia, tuvimos un concierto estupendo, y una charla muy agradable después, las personas estaban muy interesadas. Gracias a Antonio Triguero y a su tripulación.

21 de Abril – Lecciones de honkyoku con Chiku Za para dos estudiantes, almuerzo con amigos, de vuelta a Madrid.

22 de Abril – Una mañana de Domingo soleada, nos fuimos al Rastro, el principal merca-dillo de los Domingos en Madrid. La tarde la dedicamos a escuchar grabaciones.

23 de Abril – Finalmente, teníamos material para dos cds, más la grabación en vivo del concierto de Anandamaya. Chiku Za decidió lo que iba a ir en el primer cd, todo tocado en un 3.25, excepto Shingetsu, interpretado con un 3.7.

Esperamos tener preparado el primer cd de Chiku Za dentro de poco tiempo.

24 de Abril – Vuelta de Chiku Za a Japón, mi familia y yo estamos felices de tenerle con nosotros y esperamos que vuelva pronto!

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Membership of the European Shakuhachi Society

Membership of the ESS is open both to players of the shakuhachi and to non-players who are interested in the music of the shakuhachi in all its forms.

Since the ESS is not affiliated with a particular school or aesthetic direction, its members represent a broad cross-section of styles and genres of shakuhachi.

Supporting ESS through joining is a means of helping maintain a coordinating resource of the shakuhachi in Europe.

The benefits of membership include access to information about shakuhachi events and tuition throughout Europe and beyond, as well as discounted participation fees at events such as the European Shakuhachi Summer Schools.

The membership fee is !20. To join the ESS:

• Please send email, giving your name and contact details, and if you wish, a little information about your interest in and experience with the shakuhachi.

• and pay the membership fee by Pay-Pal."If you cannot make payment using this method, please send an email to

ess-member@shakuhachisociety.eu ."

We look forward to welcoming you into the European Shakuhachi Society!

• Join the ESS Shakuhachi Forum at http://www.shakuhachiforum.eu/index.php

• Visit our yahoo mailing group at http://launch.groups.yahoo.com/group/Euroshak/

• Learn about upcoming events on the European Shakuhachi Society website at http://www.shakuhachisociety.eu/

• Join our Facebook group.

The European Shakuhachi Society is a registered charity. Registered charity no. 1123060.

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Adhésion à la Fédération Européenne du Shakuhachi

L’adhésion à la fédération (ESS) est ouverte aux prati-quants et non pratiquants,intéressés par la musique du shakuhachi dans toutes ses formes.

Comme la fédération n’est affiliée à aucune école ou esthétique particulière, sesmembres représentent l’intersection entre les différents styles et genres dushakuhachi existants.

Soutenir la fédération en y adhérant signifie avoir la possibilité de maintenir unecoordination entre les différentes ressources sur le shakuhachi en Europe.

Les bénéfices de l’adhésion incluent autant l’accès à l’information sur les évènementset l’apprentissage du shakuhachi à travers l’Europe et au-delà, que des réductionsfaites sur les tarifs de participation aux évènements tels les Rencontres Européennesdu Shakuhachi estivales.

Les tarifs d’adhésion (pour 2009) sont de £20/!20, ou de £10/!10 pour le tarifréduit (étudiants, demandeurs d’emploi). Si vous voulez bénéficier du tarif réduit,nous vous demanderons une preuve de votre statut (merci d’envoyer un courriel).

Pour contacter la fédération:• Merci d’envoyer un courriel, avec votre nom et les détails de votre contact, et sivous le désirez, quelques mots sur votre intérêt et/ou expérience avec le shakuhachi.• puis faites le paiement de votre adhésion en utilisant Paypal.

Si vous ne pouvez pas faire de paiement par cette méthode, merci d’envoyer uncourriel à: ess-member@shakuhachisociety.eu .Nous nous réjouissons de vous accueillir au sein de la Fédération Européenne duShakuhachi!• Visitez notre groupe de discussion:

http://launch.groups.yahoo.com/group/Euroshak/• Visitez le site web de la Fédération Européenne du Shakuhachi:• http://www.shakuhachisociety.eu/• http://www.shakuhachiforum.eu/index.php

La Fédération Européeene du Shakuhachi est une organisation caritative (enregis-

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Mitgliedschaft in der European Shakuhachi Society

Die Mitgliedschaft in der ESS steht sowohl Spielern der Shaku-

hachi als auch Nichtspielern offen, die an der Musik der Shakuhachi

in allen ihren Formen interessiert sind.

Da die ESS nicht an eine bestimmte Schule oder ästhetische Richtung angebunden ist, repräsen-

tieren ihre Mitglieder eine große Bandbreite von Stilen und Genres der Shakuhachi.

Die Unterstützung durch Beitritt zur Gesellschaft ist ein Mittel dabei zu helfen, eine Koordination

der Ressourcen der Shakuhachi in Europa aufrecht zu erhalten.

Die Vorteile einer Mitgliedschaft beinhalten den Zugang zu Informationen über Shakuhachi-

Veranstaltungen und Unterricht in ganz Europa und darüber hinaus auch ermäßigte Teilnahme-

gebühren für Veranstaltungen wie die European Shakuhachi Summer Schools.

Der Mitgliedsbeitrag beträgt (für 2009) £ 20,00 / EUR 20,00, der ermäßigte Beitrag (Studenten,

Arbeitslose) £ 10,00 / EUR 10,00. Wenn Sie eine Mitgliedschaft zum ermäßigten Mitgliedsbeitrag

beantragen, benötigen wir Nachweise für den Grund der Ermäßigung (bitte senden Sie eine E-Mail).

Um der ESS beizutreten:

• Senden Sie bitte eine E-Mail und geben dabei Ihren Namen und Ihre Kontaktdaten bekannt,

und, wenn Sie wünschen, etwas Information über Ihr Interesse an der Shakuhachi und Ihre

Erfahrung.

• Bezahlen Sie den Mitgliedschaftsbeitrag über PayPal.

Wenn für Sie diese Zahlungsmethode nicht möglich ist, senden Sie eine E-Mail an

ess-member@shakuhachisociety.eu.

Wir freuen uns darauf, Sie in der European Shakuhachi Society willkommen zu heißen!

Besuchen Sie unsere Yahoo-Group unter http://launch.groups.yahoo.com/group/Euroshak/

Besuchen Sie die Website der European Shakuhachi Society at http://www.shakuhachisociety.eu

http://www.shakuhachiforum.eu/index.php

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