Take a deep breath...
Kiku Day hulahooping while playing shakuhachi with a tengai on
This is what happens when 4 ethnomusicologists from SOAS are visiting (David Hughes, ShzrEe Tan, Hwee-San Tan, Ruard Absaroka). They were the ones saying: “Can you hulahoop with the tengai on?” And since I could… then “Can you play the shakuhachi as well?”
Hello everyone in tumblrland! Just inviting you to my brand spanking new forum project: Geijutsu Forever — a place for people to discuss, learn, and fan girl about various traditional Japanese arts; kimono and geimaiko included, of course. (“geijutsu” means “the arts”)
I’m a huge fan of kabuki and Noh, Japanese crafts and artwork, history, folklore, literature — and it is SO hard for me to find people who are as interested as I am :/ it’s not just an academic thing… This stuff is like my Harry Potter lol. Even if you know absolutely nothing, interest counts for everything, so think about it?
I literally set this up last night, so yes it is completely empty. Please consider joining and helping me make this into something great n_n I was prompted by the announcement that Immortal Geisha forums will be closing and becoming a read-only source. They’re moving to facebook, but for privacy reasons and general hatred of fb lol, I won’t be joining :(
I prefer a forum setting anyway, and I have one thread up right now asking anyone for their site suggestions. Let’s keep the geijutsu community alive!
Reblogging because this new message board community includes traditional Japanese music in its scope.
Sorry, I have been silent for longer than anticipated. Firstly, I rescheduled my lesson to 5 August. Unfortunately, Michael forgot to note it down in his calendar, and with it being a busy month, we ended up missing the lesson on 5 August. Still, it was postponed to today, so all’s well that ends well.
The lesson was a rehash of Hifumi Hachigaeshi, up to the 9th line/column in the score. There were so many details that I will have to refer to the video recording to recall them!
One detail does stand out: instead of the usual fingering for ハ on the 3rd line, i.e., holes #1 and #3 closed, the rest shaded, Michael offered the option of leaving hole #3 open, with hole #5 shaded and the rest closed. With this fingering, an ornamentation technique becomes possible when transitioning to ツめり.
My next lesson will be on 26 August, if the wind blow true! :)
Tuesday’s lesson was on Hifumi Hachigaeshi. We covered the first eight lines of the score that Michael gave me.
The “backstory” of this piece is that “hifumi” is an archaic way of saying “one two three”, hence I was confused by the “一二三” in the title and section title. It turns out that the piece may have been two separate pieces originally, though now it is treated as a single piece. The “hifumi” refers to the piece being elementary, while the “hachi” refers to the begging bowl of komuso monks, with “gaeshi” referring to how they would place the bowl when or after begging.
A few things to take note of:
Okay, there are more things to take note of than just these, but I have to review my video recording… which I forgot to start until towards the end of the lesson.
Oh well. My next lesson will be on 29 July!
Shirley Kazuyo Muramoto/koto and Kaoru Kakizakai/shakuhachi play Haru no Umi
Nothing to do with the current pieces that I am learning, but my attention was drawn to this performance via the Hidden Legacy: Japanese Performing Arts in WW II Internment Camps Facebook group.
More Horai today. Michael walked me through it again, and considering that I lack practice, it was pretty good.
Working on higher air speed appears to be key at this juncture. I already know what to do from previous lessons, reinforced in this lesson, so I just need to practice.
After working through Horai, Michael introduced me to the start of Hifumi Hachigaeshi. The piece appears to involve an interesting technique called スリ whereby a note is played with a variation in that one’s finger would hover over the repeat hole shortly before completing the note. By playing the previous note in the same pitch because it is one before in the basic note progression but played in 大メリ, there is a kind of a curious sound bending effect.