Last year, I presented the fantastic work of my colleague and friend Fiore Seichiku De Mattia: “Floatings Souls” (Anime Fluttuanti), a project conducted as part of the Music Research Laboratory in Psychiatric Community, Fondazione Emilia Bosis (Bergamo). Since that time, Fiore made and uploaded 3 new videos about this project, chosen as the most representative ones. In these videos, he plays original shakuhachi solo compositions of Fukuda Teruhisa: Kanjinhijiri, Roro no Shirabe and Hijiri.
The spiritual inspiration of Fukuda sensei’s compositions, the “floating sounds” of the shakuhachi and Fiore’s profound reflection about the mystery of the other guide us to find the connection to these “floating souls”.
It is moving and beautiful. Continue reading Floating Souls (2)
We don’t really like to think about death. Although death is part of life, it is quite taboo in our society and a difficult topic to address. Like it would bring bad luck.
Two and half weeks ago, I gave a shakuhachi presentation in a zen center in Rotterdam (The Netherlands). I gave explanations about the history of the instrument, played a couple of honkyoku, and guided the participants to make their first sounds on the shakuhachi. We also had a very nice talk about the relationships between shakuhachi and zen meditation. It was a very rich experience for all of us. At a moment, while I was playing, one participant became very emotional. Afterwards, the organiser of the workshop, who is one of my students, told me that when I was playing, he was thinking that shakuhachi would be very appropriate to be played during funerals. “Actually” I answered, “I played a week ago during the funeral of my cousin. I am quite used to play at family funerals. Before, I used to play the flute, but now, playing the shakuhachi adds a spiritual dimension I really appreciate and need myself.”
I also told him about the time I was asked to play for a nature funeral of a total stranger.
During my demonstration at the zen center, the piece the participant became emotional with was Azuma Jishi (Azuma no kyoku). Was supposed to be. I did start playing it, but in the middle of it, as I was playing by heart, I mixed it up with Kumoi Jishi, which was the piece I played for my cousin’s funeral, and couldn’t come back to Azuma Jishi anymore, so I ended up playing Kumoi Jishi.
My student’s comment about thinking of a funeral while I was playing and the participant’s reaction during this piece make me think that there was still a lot of my sadness from the death of my cousin in my shakuhachi play on this day. Continue reading Playing shakuhachi at funerals
Recently, my Italian colleague and friend Fiore Seichiku De Mattia sent me a few links about his current project “Floating Souls” (Anime Fluttuanti), a Music Research Laboratory in Psychiatric Community, Fondazione Emilia Bosis (Bergamo). When music can be a wonderful tool for non-verbal communication and to find ways to connect to people whenever words are barriers, the shakuhachi proves to be a very special music instrument to go even deeper in this connection. Continue reading Floating souls
There is a lot of discussions going on about what shakuhachi is or is not, should be or shouldn’t be: is it a meditation instrument? is it a music instrument? or both? should we or shouldn’t we pay attention to the musical result when we play it?
The first thing I would like to say about it is that we are all different people, so it looks normal to me that we have each a different approach of the shakuhachi, different goals, different needs, and that we like different things in it. I think that the shakuhachi is a great instrument to teach us to be non-judgemental. But I read and hear a lot of judgements here and there, about what shakuhachi is and is not, and that surprises me. I think we can express what we like in playing and listening to shakuhachi without considering that our way is the only way. In my teaching, I try to help my students to find their own way, not to imitate me or Fukuda Teruhisa. Our school and repertoire is wide enough to provide different aspects of the music for shakuhachi, but not all aspects. And the most important to me is that my students play in alignment with themselves, and take lessons from me only if they find what they like in our school.
So music or meditation?
Continue reading Meditation or music? Or both?
Going to Japan was an old dream. Since I met Fukuda Teruhisa Sensei in 2006, I was looking forward to the day I could fly again to Tokyo and study with him there. Life took its time to make this trip possible. Preparing it was already great. Doing it was overwhelming.
I’m back since a few days, after 3 weeks of travel and experiences. I didn’t have time to write and post when I was there. I always need time to reflect on my experiences.
What attracts me most in the shakuhachi, what touches me most beyond its fabulous sound, is the spirituality and the nature. Maybe they are both the same for me. Being in nature is meditating. I sometimes go to the the forest nearby where I live with a head full of thoughts, and I come back with a head full of birds’ songs.
Playing a traditional music which isn’t from your own country is like speaking a foreign language. Going to Japan was going to the source of this language and trying to discover and feel what inspired the people who created this music. Quite a program. In two parts. Tokyo, for the shakuhachi lessons, the culture, the modern life. Hokkaido for the nature. There were both as inspiring.
Continue reading Japan
She lies in her bed, in the living-room, close to the window with view on the garden. I’m playing for her, from a distance, very softly, I don’t even see her under the blankets. I don’t know if she can hear me. In a couple of weeks, she will be dead.
I met the family in a sunny afternoon of October, after I received a unusual and touching email. “My wife is dying, she asks for live shakuhachi music to be played at her funeral, is this something we can ask you?” Continue reading A nature funeral