I have been so luck to receive a scholarship from the Danish Composers Union. I will work in natural materials of various kinds to make music for the duo Sonas Mutua with composer/performer Marisol Jimenez. Thank you to the Danish Conposers Union for giving me this opportunity
Let’s hope for a wonderful 2022 with lots of music, good health and happy times!
I have now begun a new role as a member of the SEM (Society for Ethnomusicology) Council. I am very excited about this. The role of the Council is to advice the board.
I was also a member of the Bruno Nettl Prize Committee 2021. In this role I got to read quite a few very good books, I would probably not have read otherwise.
I interviewed Araki Kodo VI, a.k.a. Hanz Araki or Hanz Araki-Campbell. I really think I managed to get a fascinating glimpse into the world of an amazing shakuhachi legacy in modern times with a cross-cultural twist because of the honesty and openness of Hanz. It was a touching narrative about the transmission of shakuhachi music, culture and art from father to son. We also spoke about how it was to enter such a stronghold of traditional music as “half Japanese”. I hope many will watch because it is really an insider story most fo us rarely can access. Grateful to Hanz sharing his amazing story!
(please subscribe to my YouTube channel)!
This is an interview with Professor in Buddhist Studies Max Deeg. Professor Max Deeg deconstruct the tale of the Fuke sect in his article from 2007: “Komusō and “Shakuhachi-Zen”: From Historical Legitimation to the Spiritualisation of a Buddhist denomination in the Edo Period”. The conversation on this video is based on this article and Professor Deeg explains the historical sources that shows the Fuke Sect came about much later than most of us shakuhachi players are told. We speak about the political and cultural environment during the time of the komusō. • Please subscribe to my YouTube channel with conversations with shakuhachi scholars and performers. • The article by Professor Deeg can be found here: https://tinyurl.com/v2me8m4p
Kodama Hiroyuki is a great jinashi shakuhachi player. He is a student of Okuda Atsuya and my senpai. He studied jinashi shakuhachi making with Okuda and Murai Eigoro, and today is one of the key makers of this style of shakuhachi. In this video he will take you through the basic jinashi shakuhachi making process. Although a short film cannot show all the detailed and delicate parts of the making prcess, requiring a great deal of intuition, you can clearly get a sense of how someone as experienced as Kodama works with the bamboo in dialogue and respect. It is also easy to feel his spirit and approach to life as well as bamboo and nature.
The shakuhachi history is a mystery! There are many unknown areas. It is therefore interesting to hear from researchers with various approaches. Here is the shakuhachi history seen through paintings. It is a relaxed conversations with IZUMI Takeo, professor emeritus with many wonderful paintings of shakuhachi playing people from the Middle Ages to the Edo period. Izumi explains what can clearly be seen when following the changes of paintings of komosō and komusō. He also talks about a mysterious person…
2 editing mistakes:
• 00:40 IZUMI Takeo is a curator emeritus at Kyoto National Museum and not an honorary librarian.
• 24:43 Izumi speaks about komosō but in the subtitles it is written komusō. FCPX could not handle macrons so the subtitles are without macrons unfortunately.