There are about a couple of thousand registered Komuso in Japan. Not all of us live in Japan, but majority do; the rest are registered here through their teachers. Among those in Japan, only a few are consistently active, meaning they have the necessary paperwork but don’t always show up for events. Nowadays, most Komusos only attend Komuso-related events. To my knowledge, there are maybe only three or four who actively engage in Takuhatsu. There’s a sensei in Nagoya who practices it, as well as a woman in Chiba. According to her posts, there might be one or two other individuals nearby also involved in the practice.
Lastly, as far as I know, there’s only me in Osaka. We are a diminishing group, fading away much faster than the interest in traditional Japanese music. I don’t get out as much as I’d like or could, but I manage to be out at least once or twice a month. I also have other aspects to my Zen training.
The weather had warmed up enough for the cherry blossoms to bloom. The peak days had passed a couple of days ago; however, I was preoccupied. There was the Shakuhachi Concert at Komyoji. I’ll post about that next. The day after the concert, I lost my voice, unrelated to playing, but I had been battling a cold the week before. Thus, I decided to take it easy for a day. The world wouldn’t end if I missed my yearly Takuhatsu at the lakeside.
So now, a couple of days past the Sakura’s prime, I ventured out. It was a weekday; the peak was during the weekend. Today is Thursday. I didn’t expect anyone to be at the lake. Maybe a few retired people… I thought I’d just practice outside a bit and take some photos. Even being seen by the retired can sometimes bring them joy—plus, it helps inform those unaware that we’re still around; sometimes, they’re curious enough to inquire.
Regardless, the primary goal is not about gathering, but about touching someone’s spirit with the essence of sound. I didn’t anticipate anyone today, so my focus was on communing with the spirits of the trees and the air.
It turned out there were more people than I had expected. None paid attention to me. I continued with my practice, took some photos, and departed. It was a tranquil and serene day beneath the cherry blossoms’ shade. The wind came and went, carrying the cherry blossoms in swirls and gusts back to the ground.
A while back at a visit to my temple in Amagasaki, Komyo-ji. After a ceremony the head monk, his disciple and I had our usual social gathering. Food, drinks, chatting about life, Buddhism, Zen, Shakuhachi. Komyo-ji is an official Myoanji Shakuhachi Dojo, besides being a Jodo-shu temple. It is also where I hold Zen sessions, which is unusual for. Jodo-shu temple.
On this day I decided I would do some recording of our talk. I had some questions for Oshosan and Jonen-san is student. Jonen-san is a former Komuso and Osho-san is of course a Komuso as his temple is a Myoanji dojo.
I did a large amount of editing on this as Osho-san English is not good , there was a lot of background noise from the leftover people from the event, and the mic set up was poor. I have since then changed the recording process, so when I do this again or something like it, the sound should be better.
I posted this video a while back. While going through this site’s log and seeing what I had not posted as yet. I found I started a post for this. I was going to just let it go, however I was checking my stats here and was SHOCKED to find there are over 400 followers to this site, way more than my other site. Ok, so I figured perhaps there is an interest in this so I will put a bit more effort into sharing here.
That said, here is the video of that evening at the Temple.
It was now my second of three days in Fukuoka. Today I was to meet the Icchoken-ji temple head monk. Today was the main day of my purpose to visit Fukuoka. This is the headquarters of the Fukuoka sect of Komuso. I had seen a few pictures and had a very brief chat on Facebook with the head monk. We have the same Zen sect, Rinzai, and I visited the temple where he did his training in Kyoto. Which was a very nice and large temple. So this was a special event for me. To speak with someone of my sect in Japan who is also a Komuso. Furthermore, it is a temple head, not just any Komuso.
I had breakfast at the hotel restaurant, and while it was not particularly good, I had enough to not go hungry. I was not to meet the Oshosan until 2:00 in the afternoon. So I had plenty of time to kill. my plan was to walk to explore by walking around, since everything was fairly nearby. This was very handy.
My first stop was a temple called Shokufu-ji. It is the main temple of this complex; I found out there are several other temples. I entered Shokufuji and found a large garden with a lake. It was quite peaceful. Only a few people, here and there. It was still early. I walked around, taking in the sights and the temple, peeking in where I could. Photos can be found here; if you are a subscriber to my channel, you can view more pictures and a brief video on the other log post.
Before leaving, I checked out what I could do for a good amount of time here. Next, I followed the map to what I thought was another temple, which may or may not have been Icchoken. I found the names of the temples on the map confusing. When I looked at one map list, it was called Ichokenji; on another, it was called something else. I figured I would just explore. So back on the street again and walked following the map and the wall around the temple in closure.
I came upon a small gate leading to a small temple. I looked in, as the grounds were open. I had gone past another couple of temples before the last one, and the grounds were closed. This was open, so I went into the parking lot to peek. As I got closer, I thought, Hmmmm, this place looks familiar; is it where I want to go? Icchoken-ji. I checked the website photo, and yes, it was the temple. I just happened to stumble upon it easily! Wow, this is great! I am way too early, but at least I know where it is now. I took a few more photos, and I went back on the street to explore more. I found another temple; however, it was closed off. So no, go there; just a peek through the gate. I walked on, and I found another temple. Another small one. Unlike the ones I had found earlier, this one had a cemetery. I looked around some, took some photos, and then went back on the road.
I ended up coming out of the back side of the first temple I visited. At that point, the ground complex made more sense of being connected. I slowly made my way back to the hotel to hang out for a while until it was time to meet Osho-san.
At a good time, I took off again for the temple. I was able to take a leisurely stroll since I know where to go now. I arrived at the correct time and entered the grounds. Osho-san saw me in the garden filming and came to the door to greet me. We went into a small side room at the entrance. We did the greetings, and he served me tea.
I enjoy green tea; the only problem with it is that it makes me go to the loo a lot! Which I had to do a lot during the visit! Maybe every 15 minutes or so. It was embarrassing but could not be helped. I explained this to Oshosan so he would not be concerned. LoL.
After a brief conversation about various topics while we sat, he recommended that we head inside the hondo. Which is the main temple altar room, where I could play at the altar? We walked into the main section of the building. It was a small but comfortable room. I enjoyed seeing some of the older pottery displayed and the calligraphy. He showed me the altar up close, and I went to see some historical statues. One of the Komuso is another historical figurehead of the Fuke sect.
Next, I sat and played Tamuke at the altar, a sign of respect. It was a big personal moment for me. I have been to the Wakayama, Komuso temple, but only got to play at the gate.
From there, we went into a smaller side room. OshoSan showed me his flutes and those he has for students. We discussed the size used at this temple. Which is 2.0 as their standard. I have come to understand that each place is different. Myoanji uses 1.9 for classes; we at the Classical Shakuhachi Society, even though setup by a Myoanji member, use 2.5. However, when we all get together, they play Choshi on a 1.8. On an added note, it was told to me by my Sensei, who was invited once to Kokokuji, where they all play different sizes when doing choshi. Anyway, after some misc talk, we played Choshi together. Both are using 2.4 since that is what I had with me.
Oshi-San showed me a flute he made some 20 years ago. He does not regularly make flutes. I think he said this was the only one. It was quite nice. Next, he played a honkyuku for me. It was not fancy; it was just a simple song, not complex and impressive. I recorded it, although he asked not to post it, so it is private. Later, my Shakuhachi Sensei told me after listening to it that he thought it was an old traditional song only played at that temple these days, which is pretty rare. He was not sure, but if it was that song, he told me it was a rare honor to hear it from the master of the temple.
After a while, we moved back to the first room. I think because it was closer to the toilet for me, who had to go often 🥹😅
Back in the main room, we spoke about small, miscellaneous topics. It was not a flowing talk; there were a lot of dead spots because he spoke only a little English and was not a big talker, unlike the Sensei in Nagoya. So I had to keep the chat going with questions. I suppose that was good training for me. I did get to find out some things I was curious about, which was the point of going. Including some Zen topics. It was a good chance for that, since he is a Zen master. A true Zen master was the first I actually got to meet and speak with in Japan, so that was great!
There is a sign on the front gate of the temple saying there is a Zazen class on the first of every month. On my next visit, I will schedule the visit so I can attend.
So we spent a while there in the room, and his wife came and took our picture. He then suggested I return to my hotel; he would meet there in about an hour, and we would go to dinner! We had a reservation for 6:00 pm. I thanked him and returned to my hotel for a short while. It was a good break for me to not have to think of talking. I was talked out, and I am better at listening.
An hour later, Oshosan came to the lobby where I was waiting, and we walked a few blocks to the eating place. He had said an Izakaya. I was expecting a small hole in the wall; however, it was an upscale place! Not extreme, but not cheap either. The give-away was that they served real wasabi with the food, not the cheaper paste.
After a small bit of discussion on what I could eat, Oshosan ordered. I was shocked when they laid down raw squid! Wow! Ok, I could not be insulting, so I had some. I would just deal and roll with it. I was surprised that it was really okay. Not the taste I expected. With soyu and wasabi, it was good. I ate a few slices, and the rest was taken and made into tempura. I loved that! So fresh tasting, not oily, but good crispness!
That was really good 👍🏾! Much more to my taste. We had some other miscellaneous dishes; nothing else was really outrageous for my mind and taste. It was nice. I had some sake, which was very good, and Osho-San just had tea.
After the meal, Oshosan got up and paid. I asked to pay half, and he said no! Then we walked back to my hotel and said our good-byes, and I gave more thanks! He said when I return to Fukuoka, be sure to contact him!
I was very pleased with the visit. It was a success!
More of this pilgrimage is or will be on the other blog.
The second main part of my pilgrimage to Nagoya was upon me. I was to meet a Shakuhachi master today, the last day of my time in Nagoya. We had it arranged for 1:00, my train would leave at 4 something, but I wanted to be back by 3:30. I hate feeling rushed. I was somewhat nervous as the master, Shin-Ichiro Makihara spoke no English that I knew of. So I was dependent on my poor Japanese and a smartphone.
Things started with him picking me up at the train station. That was easy and a good place to be returned location. I knew him right away, as he had on his Komuso gear. So there was no mistake. He was quite friendly and started talking right away. I felt relaxed with that. He said nothing complex, and I understood enough to respond with some basic answers.
He took us to the Nagoya Castle grounds. He would do Takuhatsu there. He spoke about how the parking lot was so empty before the COVID hit. Now it was getting busy again. We went to the Noh playhouse and museum. It was big and empty of people, but we did. Quick walk in there and out. He picked a spot outside the main entrance and started playing after getting himself all together. He did one song there after a bit of chanting.
Next, we moved to another nearby spot on the main street. There was much more traffic and people. He played again. Several people and a couple of small groups took pictures and clapped. Watching, I could see they would not understand putting a donation in his neck bag. That is why my bamboo container makes a difference. People understand to put money in here when they see it! Jonen-san had also mentioned that when he used the bamboo I made for him, his donations went up! I need to make another one for him, as he said his is falling apart. That is on my list since I am on my feet again.
Next, we went to his apartment. He served me tea and some small chocolates. He opened his collection of shakuhachi and showed me, them. He played a couple of very small old ones. Explaining how they had five holes. Then he showed me a couple of other flutes of his that had 7 holes. He played them a little too. I was impressed he did not just play honkyoku, but some modern tunes quite comfortably.
He asked to see my flute I took it out. We spoke about it a bit. He asked me to play a song I had shown him on my iPad. I totally blew it. I could not get the sound I was expecting, and I had completely forgotten how the song went, so I could not find it. Being nervous played a big part in that. We continued. Then I played Tamuke, and he joined me. I felt better, I had redeemed myself by playing. We spoke more about misc Shakuhachi stuff. His flutes and about the ones John Neptune had given him. Also, he was one of three Japanese who took lessons from him. Most of the traditional Japanese players did not consider Neptune a real Shakuhachi player. He played in too modern a style. However, for him, he said it was an eye opener.
I asked how long he had played Shakuhachi, and he said 60 years. He was now almost 80. He started playing very young for his uncle. As a child, he found a shakuhachi stored away in a closet because Japanese traditional things were out of fashion in the 1960s. However, he wanted to play.
After a while, he took out his biwa and played. I was impressed. He said the Biwa and Shakuhachi were the only instruments that, when played, had a healing frequency.
He started one freestyle song on the Biwa and had me join him on my Shakuhachi. It was difficult in that I am used to playing with a rhythm, and a beat. Here, there was none that I could find. So it was very freelance style. I was not pleased with my playing at the time. Later, when I went back to the recording, it was not as bad as I thought, but still not my best playing.
He spoke on the Honkyoku song SanYa. Saying it in Japanese it is pro one way, which means three mountains. However, he researched things and found that in Sanskrit, it means zero. I know there is a philosophical meaning behind it. However, I can not recall off hand what it is. Some time has to do with connecting with the universe and the start of things, the foundation of life? Something I vaguely remember from my mystical studies.
It was a pleasant and educational visit. I did not understand everything, but enough that we could communicate. I had my wife translate my recording ps when I got home.
The last things we spoke of on the ride to the station was about Komusos. Some people thought that because they dressed up like Komuso, or even were real Komusos, they were then the official “Priest.“. This is a misconception, he said. Those who were actual official Komuso were only, for lack of a better word, half-priests. Sort of priest, but not really. They could not do official priest monk stuff. I said yes, I know. Being a Komuso does not make you a priest or monk. Really a “play” priest, unless one is a priest or monk outside of being a komuso.
Another thing was that there are not many Komuso who are actually on the streets. Many are just “show” Komusos. I thought I was doing a good thing, and please keep it up.
The visit was interesting. If I ever go back to Nagoya, I will visit him again. Maybe take a lesson.
My next upcoming pilgrimage I was really excited about. I will go to Fukuoka and visit the High Abbot of the Komuso Temple there. A real monk and Shakuhachi player. We are both from the Rinzai sect of Zen.
There is a Taoist saying, “one is rich when knowing one has enough”.
January year of the Dragon ZenCafe. The weather was cold however not too bad on that day, although there was a chance of rain, it did not happen. On this day, I decided to go full-on Komuso wear, not just a Samue. So I came with my Kimono. I thought I would stand at the entrance longer on this day. I could get some practice time and perhaps bring a few more people into the temple.
Once dressed I stood outside for about 45 min. It is difficult to stand in one spot usually, however, since the accident it is even more so challenging. After about 15 min my foot and ankle hurt, but I stayed with a Shugyo training outlook. I do not believe that people who have learned a few songs on the Shakuhachi purchased a Tengai, and call themselves Komuso appreciate the effort that goes into doing Takuhatsu. Which is the actual public work of traditional Komuso. Not just going to an indoor exhibition. Even without the ankle injury, it takes willpower and strength to play holding the shakuhachi for a long period.
I received one small donation from a guy I saw inside the temple who took a picture of me playing. That was cool. It was also a day of photography for me. I got to try out my new-to-me Nikon lens.
I took a bunch of misc photos here and there around the temple. Testing and experimenting.
It was a pretty quiet day, yet filling as such. I did some solo practice inside the temple working on some Honkyoku pieces. Even though mostly played for myself, it did add to the temple feel for those there visiting. A win for everyone.
I was set in my mind to do some Takuhatsu that day. The weather was decent and even though Jonen-san was attending that day I would also do Takuhatsu. I usually yield to him as he needs to raise money for his trip to Komyoji or his wife will not let him attend. However, I figured today we would just do shifts or something. however, it turns out that was not needed as he was given some work to do by Emi-san the temple Kaicho!
After the morning introductions, I made ready to go out in front of the temple. I was surprised how it had warmed up nicely. I dressed in my casual Komuso wear and went to the front. I set up to take a couple of photos for my records and miscellaneous posts when Oshosan showed up to do so, I was surprised as I did not see him earlier at the opening. He grabbed a couple of shots, then left. I started playing.
I was using a new flute today a 2.0. I had just gotten it from Oota Sensei the head maker and leader of our shakuhachi group. I wanted a different flute to play when I did some jams with MK the Shamisen player. Anyway, I had this new flute I was trying out. As the key is different the usual stuff I play sounded different. It took me a while to adjust to the new key, which was strange to my ear. The flute played well, but it took my ear a while to adjust to the key.
Played about three or four songs, when I began to notice the pain in my foot, the damaged ankle foot. I tried ignoring it, shifted around my weight some, and kept playing/training. Going beyond the pain as we would say in Kung Fu class.
After about 30 min I thought, ok, no need for this to continue. One needs to know when one has enough. So I grabbed my gear and went inside. I figured it was as good a time as any to have lunch. I had purchased a rice ball and some green tea on my way to the temple. I was set with that so went to the garden to chill and eat among the autumn colors.
When that was finished the next item on my plan for the day was to play shamisen and record some musical musings and then play along with that. It was a chance to just practice at the same time add some background music to the temple event for those near enough to hear and yet I would not be distracted by them watching. I could just sit in the garden and be in my own world. Still, because I am always conscious of my sound when learning, or playing something new, and the shamisen was still very new to me, I played fairly soft unlike what MK would have done.
I played undisturbed for a while and recorded a couple of short tracks. Then switched up to Shakuhachi to play along. About this time someone came out to watch and video. I found this interesting, however tried to ignore them as I was not doing anything special or particularly good, so trying not to be self-conscious, I played on.
Shortly later I decided to play Shamisen again this time turning to a different key to test the sound. As I was sitting and returning, the video person returned this time with a friend who had brought along her temple bell and coffee. She played it, perhaps rang it is a better word. While I was tuning, turns out it was the same pitch I was looking to reset on. By the time I had gotten the tuning correct, she was finished and just drank her coffee and left. I was unsure if any of that had anything to do with me. If she was just doing a coffee break or wanted to play along with me. Just when I was set to play she stopped and left. Oh well.
Now I am alone again and am ready to try some new sound musings … I make some fine-tuning and boong! A string breaks! Snap! Oh well so much for that. No extra strings on hold as this is a new instrument for me. So note to self, order new strings, plus extra.
The rest of the day was spent doing miscellaneous stuff, photos, trying some tricks shots, shakuhachi practice, and chatting. The Chinese couple from the other day at the Shakuhachi after meeting dinner came by the Temple. I showed them around as Osho-san was busy elsewhere. Jonen-san showed up after a while and took over. Which was a relief to me as he could speak way better Japanese. I was speaking a poor mix of Japanese, Chinese, and English. We continued the tour and went to the Hondo, (Main temple area) after a while Osho-san returned and took over. I went back downstairs until I was called to join a group picture.
The couple left shortly after that, and we, the usual temple group settled in for drinks and a light meal for the evening and comparing flutes.
I had had a long day at Daianji Temple in Nara just on Friday it was now Sunday. I took a day of rest Saturday, and now I am back at it again going to Myoanji. This is to be my first time playing at The Head Temple. I had played at a couple of other temples, including the main Zen temple of Tofukuji, but never at Myoanji. I had listened to a couple of performances there but never played.
The weather was good that day, rain was expected the following day but today was good. I left a bit on the early side to be sure I would arrive in time for the opening ceremony and the playing of Choshi.
As it turned out, I missed the opening. I was at a station and I needed to change trains, I also needed to go to the “Loo”, so I skipped the train that was leaving when I arrived and took the next one. As it turns out at that point all the trains were stopped due to someone being hit by a train it was announced. There would be a wait.
It turned out to be a delay of about 45 min. I had timed it so I would be there early so the delay only put me about 45 behind the event at the temple start. Others were also late I heard later. So I am guessing they started a little late, to give people a chance. I arrived in time to hear one of my group play he was the first of our group. He was #4, I believe, and I was #16 so I had plenty of time, to settle in.
Another of my club members played a few spots ahead of me, and one was scheduled after me and after lunch. I sat and listened to the players. All upper-level Sensei, some were fairly impressive, and some were boring. I noticed there was a lot of nap-taking throughout the event day. Understandable because many of the songs were low-key and long. I was up and down a lot, taking pictures, toilet, etc.
Finally, it was my turn. I had been struggling to take care I would not miss my time. I went to the back a little early to try to warm up a bit, and get my lips ready. Then I took a seat at the staging spot next to the stage entrance. I was feeling only a bit nervous as this was my first time playing at this venue. I had played in front of other Sensei in the past before Coronavirus shut down these events. However, this was my first at Myoanji, the Komuso headquarters, so that made this special.
I limped onto the stage and took a seat, bowed, and started to play. I did not have as rich a sound as I wanted to start the first note, but it was okay. The rest of the song went okay, no glaring mistakes, I did make a few small additions since the song was short. Then it was over. I had no idea how it was received as there is never applause after any song. It is not that kind of event.
I returned to the rest area and was met by the members of my group, I got a thumbs up from one of the seniors, so that was a relief. I was told it was lunch break shown the dining table and told to take the lunch with my name on it. We sat and for the most part, dined in quiet. I was surprised when I was approached, by someone. A Monk I had seen earlier. He came and greeted me. He was/ is the head monk of the Komuso temple in Kyushu. I had noticed him earlier across the playing hall. This was our first time meeting in person. I have spoken to him several times via Facebook over the last couple of years. Recently I spoke with him about visiting, the temple in Fukuoka, which we were going to arrange a time after the New Year. I was surprised to see him there and it was good to meet him now. I was looking forward to hearing him play later. As it turned out he was near the end.
After lunch and the last of our group played, they left to return to Osaka. I stayed, since to wanted to hear the Monk from Fukuoka play. Also, I saw one of the senior sensei from our group, who does not attend meetings often and is famous showed up, I greeted him and asked if he had played already. He said no he would go on soon, so I made a point of staying for that.
Overall, it was an interesting day. Sort of boring and interesting at the same time. Several of the songs were I thought too long and uninteresting, some were good and well-played. Some were just so-so. There was one Sensei who I thought played very well, the songs were interesting, but I thought would never end. It was at least 15 min, the average was about 10 min, and mine was about 6. Many people nodded off into sleepland because the sounds were so peaceful.
After I left which was before all was done, I went over to main Kyoto to my favorite Mexican food stop and an incense shop. it was a long day but pleasant, even the late train ride home was not spoiled by crowded trains, nice!
Today is just past the 1 month anniversary of the accident. I am told I can walk with 100% weight on my injured leg. I have not fully tried it, but I think it will be no problem. I am going little by little.
Recently there was an online shakuhachi event. It was a worldwide event. Classes and players from all over to place. On the first day of the event, there were several classes as training for new teachers. I took a class. It was a beginner class, however, it covered a couple of things of interest to me. First off it was Kinko-ryu which is my style, the second thing is the song was a Komuso song. I had not learned it so I made sure I attended. It was worthwhile. The song was simple enough, but I picked up a few insights into the style that I did not know.
There was a more advanced class with a different song, that said something about Buddhism and meditation in the description, but I did not really care for the song that much, so I passed.
The next week the main event, everyone played Rho together online as an effort to world peace and healing. I believe I heard there were at least 80 people or more from all over the world, taking part. We all played 108 Rho to start the event. Next, there were individual players doing songs. I did not requester in time to be included. I did get a chance to play at one point when someone was not. However, there was some technical difficulty on my end, because using an iPad I could not be heard, well the Shakuhachi could not be heard. There was some setting I needed to adjust but did not have on the iPad. So I missed that, next time I know. There were several well-known and high-level players involved. Head of Myoanji temple the Komuso headquarters in Kansai, the Head of the Komuso temple in Kyushu, and many high-level Sensei including my recent friend Helene from the Netherlands. ( blog here).
The end of the event 12 hours later ended as it started with Rho 108.
In doing my plans for upcoming temple pilgrimages. I had planned on going up north and visiting a monk up there. However, he rudely did not reply to my email. Very disappointing on a couple of levels. However, I did come up with the idea to go to Kyushu and see about visiting a Zen Monk there who plays shakuhachi and speaks English. We had already spoken a couple of times. I asked, and he said please do come and visit, after Dec. Wonderful! I thought. Then I found out he is or was the head of the Komuso headquarters temple in Kyushu, so great luck.
That will be a good pilgrimage for next year. It also turns out I can take the Shinkansen train at a significant discount due to my retirement age. There are also several temples of interest in the Area so it will be a great weekend trip. Something to look forward to doing. Very cool!
Coming next month will be a concert at the Komuso headquarters in Kyoto, at the Myoanji temple, my first performance there. There will be members from my Shakuhachi group also attending. So great I will not feel alone. It may be fun!
Other than doing some help at Komyoji Temple with ceremonies every few months, doing Komuso is the mainstay of my Buddhist Practice. Getting out and sharing Musical dharma breath is my ministry. There was once a famous Japanese monk who was called the leaf Whistling Monk . He would sit in the park and play tunes for people on a tree leaf, then sometimes engage with them in a talk with whoever wanted to. There is a book about him.
(From Chat AI: The Japanese monk you are referring to is likely Eshin Nishimura, also known as “The Leaf Whistling Monk.” Eshin Nishimura gained fame for his unique ability to create beautiful melodies by blowing on leaves. He became known for his performances in Japan and even internationally, using various leaves as instruments to produce music that resonated with audiences. His performances were not only entertaining but also spiritually uplifting, reflecting the connection between nature and human expression. Eshin Nishimura’s talent with leaf whistling showcased the beauty of simplicity and the harmonious relationship between people and the natural world.)
Anyway. Have not been out that much these days. Mostly confined to being in front of Komyoji and playing. That, the last few months has not been happening as Jonen-san has been coming out and doing that. Two of us are too much. Also, there is only one Tengai there, which is his. So all that to say I will need to change up and start bringing my own and also start venturing out more when he is at the temple, then be in front when he is not. Some kind of change up. To reset my practice.
Even so, that will not be happening for a while until my leg heals and I can walk crutch-less once again. A recent motorcycle accident has shut down my practice for a while. Well, not just my practice but everything until I recover. No Buddhist retreat in Thailand, no new study of Baqua, and no local temple pilgrimages. I do, I can still practice Shakuhachi at home, bedridden. I recently purchased another shakuhachi, for my travels. As it turns out my first real playing of it was in my hospital pilgrimage. Life happens…
I do have a couple of Shakuhachi performances lined up for Oct. and Nov. both of which are at temples. One is at The main Kansai Komuso temple, Myoanji. It will be my first time playing there. I have been to concert events there and played at Tokofuji, but never at the Myoanji exact temple. The reason being it cost. I figured I should do it at least once, and there would be a lunch served (extra ) cost. Additionally several of the members from my classical Shakuhachi Group will also attend, so I will know several people. That will be more comfortable.
—————————————— I was wondering how and AI would rewrite this post, here it is AI style :
Title: “Resilience and Reinvention: The Komuso’s Journey”
In the tranquil embrace of Komyoji Temple, I have found the heart of my Buddhist practice, and it resonates through the enchanting melodies of the Shakuhachi. As a Komuso, my ministry is simple yet profound: sharing the musical dharma breath with the world.
In the annals of Japanese monastic history, there is a beloved figure known as the “Leaf Whistling Monk.”.This venerable monk would sit beneath the rustling canopy of trees in a serene park, his Shakuhachi in hand. With skill and grace, he would play enchanting tunes on a humble tree leaf. Passersby would gather, drawn to the ethereal sounds, and engage in conversations about life, spirituality, and the profound interconnectedness of all existence. It’s a tale of pure, spontaneous sharing that has inspired many, leaving an indelible mark on the collective consciousness.
Recently, however, my own journey as a Komuso has undergone a subtle transformation. I’ve found myself spending more time within the tranquil confines of Komyoji Temple, contributing to ceremonies every few months. While this practice remains deeply meaningful, it’s become apparent that I need to embrace change and rediscover the essence of my ministry.
One of the primary reasons for this shift is the presence of Jonen-san, another devoted monk at the temple, who has taken up the mantle of playing the Shakuhachi in front of the temple. Two of us offering our musical dharma breath simultaneously felt overwhelming, and, after all, there’s only one Tengai (monk’s basket hat) at the temple, which rightfully belongs to Jonen-san.
So, it’s time for a change—a reinvigoration of my practice. I plan to bring my own Tengai, the iconic symbol of a Komuso, and venture out more when Jonen-san is at the temple, ensuring that our offerings complement each other harmoniously. When he is not present, I will step forward, playing my Shakuhachi in front of the temple, a return to the roots of my ministry.
However, the path forward will be a bit longer than expected. A recent motorcycle accident has temporarily halted my practice. The accident has not only affected my spiritual journey but also put a pause on my plans, including attending a Buddhist retreat in Thailand, embarking on new studies of Baqua, and partaking in local temple pilgrimages.
Yet, the flame of my commitment continues to burn. Even in the confines of my home, bedridden due to my injuries, I find solace and purpose in practicing the Shakuhachi. I’ve even acquired a new instrument, one that will accompany me on my future travels. Remarkably, my first significant performance on this new Shakuhachi took place during my hospital stay—a testament to the resilience of the human spirit and the unwavering devotion to the musical dharma breath.
Looking ahead, I have a couple of Shakuhachi performances scheduled for October and November, both at temples. One of these performances holds particular significance as it will be at the main Kansai Komuso temple, Myoanji. It’s a unique opportunity, as I’ve attended concert events there but have never played at the Myoanji temple itself. This choice marks a departure from my usual practice and carries some added costs, including lunch. However, it’s a step toward embracing change and furthering my journey within this cherished tradition. Moreover, knowing that several members from my classical Shakuhachi Group will also be in attendance brings a sense of comfort and camaraderie.
In life, as in music, the rhythm can change unexpectedly. Yet, the essence of the melody remains, waiting for us to rediscover its harmonious notes. My journey continues, and I remain dedicated to sharing the musical dharma breath, whether in moments of stillness or amidst the symphony of life’s unpredictable cadence.
“Sharing Ki/Chi: The Spiritual Breath of Shakuhachi in Martial Arts and Komuso Spiritual Practice”
Introduction
In the intricate tapestry of martial arts, meditation, and spiritual awakening, the Shakuhachi—an ancient Japanese bamboo flute—holds a place of profound significance. As a devoted martial artist, my journey has led me to explore the fascinating connection between this melodious instrument and the cultivation of Chi/Ki, the life force energy that courses through our being. In this essay, we will embark on a deeper exploration of how the practice of sharing Ki via the Shakuhachi aligns harmoniously with martial arts, meditation, and the path to spiritual enlightenment.
The Role of Chi/Ki in Martial Arts
Before we immerse ourselves in the world of the Shakuhachi, it is essential to grasp the central role that Chi/Ki plays in martial arts. Chi/Ki, often referred to as the life force energy or vital energy, serves as the cornerstone of various martial arts traditions, including Tai Chi, Qi Gong, Karate, Kyudo and more.
The cultivation of Chi/Ki represents a dedicated practice that involves harnessing this inner energy for physical and mental fortitude. Martial artists devote countless hours to refining their Chi/Ki, and the rewards are nothing short of extraordinary. Beyond physical strength, Chi/Ki can accelerate the healing process and deepen meditation experiences, ushering practitioners into realms of heightened focus and awareness.
One of the most renowned practices for nurturing Chi/Ki is Qi Gong—an array of exercises and techniques that empower martial artists to cultivate and circulate their life force energy. What makes Qi Gong particularly exceptional is that it can be pursued solely for health and longevity, independent of martial combat applications, making it accessible to individuals from all walks of life.
The Breath: A Tangible Manifestation of Chi/Ki
In the intricate realm of Chi/Ki, the breath emerges as one of the most palpable manifestations. Practitioners can not only feel the presence of Chi/Ki within themselves but also hear it and witness its effects through controlled and intentional breathing techniques. In ancient wisdom, the breath is categorized as one of the five primal energies, playing a pivotal role in various holistic practices, including Chinese and Indian traditional medicine and the art of Feng Shui.
Within the philosophies of martial arts, such as Ysing Yi Quan, Ba Qua Quan, and Tai Chi, Chi/Ki stands as a fundamental element contributing to combat effectiveness. The ability to harness and channel one’s Chi/Ki during martial arts techniques can significantly influence a practitioner’s power, precision, and overall performance.
Chi/Ki in Spiritual Practice
Beyond the realms of martial arts, Chi/Ki finds profound relevance in the journey of spiritual development. As a student of Ch’an/Zen and Yoga, I have come to appreciate that Chi/Ki extends far beyond the physical realm, serving as a catalyst for the deepening of spiritual consciousness and the transcendence of material limitations.
Various meditation methods incorporate Chi/Ki as a means to elevate spiritual awareness and reach the lofty summit of enlightenment. Additionally, Chi/Ki plays a pivotal role in some spiritual practice traditions in the reduction of karmic burdens, enabling individuals to progress on their spiritual journey with greater clarity and purity of heart.
The Shakuhachi: A Conduit for Sharing Ki/Chi
Now, let us embark on the profound connection between Chi/Ki and the Shakuhachi. As a Komuso Ch’an priest, part of my sacred ministry involves the art of playing the Shakuhachi in public—an act that serves as a unique opportunity to share my Chi/Ki as a form of spiritual and musical expression.
When I breathe life into Shakuhachi’s hauntingly beautiful melodies, I am not merely producing music; I am channeling my Chi/Ki into the notes and sharing it with the world. The vibrations and harmonies become carriers of spiritual energy, inviting listeners to embark on their own inner odyssey. Through the resonant power of sound, I convey profound spiritual truths, creating a deep and lasting connection with my audience.
Conclusion
In this fascinating convergence of disciplines and philosophies—martial arts, meditation, and spiritual practice—the Shakuhachi emerges as a harmonious vessel for Chi/Ki. It bridges the physical and spiritual worlds, enabling practitioners to channel their life force energy and share it with others through the art of sound.
The Shakuhachi becomes a portal for enlightenment and self-discovery, uniting the martial artist, the meditator, and the spiritual seeker on a shared path. As I play the Shakuhachi, I share not only melodies but also the essence of Chi/Ki, inviting all who listen to tap into their own spiritual potential. In this symbiotic relationship between music and life force energy, we discover a profound connection to the world around us and an enduring link to our inner selves.
尺八 吹禅 - Komuso Khronicles 