Parabola Magazine retelling from 'Orlando Furioso' with Sumie

Asian flutes ( Saluang, Shakuhachi and Nohkan)

Saluang

Circular breathing alters the brain, I’m sure of it. I play the saluang, a bamboo flute of the Minang people of West Sumatra, Indonesia, which requires circular breathing, breathing in through the nose while simultaneously blowing out through the mouth. The effect of playing a single, uninterrupted note for thirty, forty, fifty minutes is amazing, and can’t be explained away as hyperventilation. Much more is happening.

Shakuhachi

My research recently has led me to rediscover an old friend, the shakuhachi. The shakuhachi, a bamboo flute of Japan, is the most responsive instrument I’ve ever come across. It is one with the breath, the mouth shape, head position and posture of the player. A change of breath, a small head shake, even a slight pursing of the lips will change the sound. A disciplined player, with perfect control, can bring the sound from an extreme distance to a close up presence and back again, or gather white noise from nothing, focusing it into a pure tone before allowing it to blur into white. As a listener, the experience can be calming yet astounding. I wonder how the sound effects the brain of the player, or the brain of the listener.

Nohkan

Lately I’ve been looking into the nohkan, the bamboo flute that accompanies noh, the masked dance drama of the samurai. It’s construction is unique, assuring that blowing won’t give you the same note an octave higher (as on a western flute). During lessons in Tokyo, when my teacher and I played at the same time, the slightly different tuning caused distortions that I hadn’t heard since attending a Stevie Ray Vaughn concert, and I was surprised that such a sound could penetrate my brain without overwhelming my ears with sheer volume. This was a unique and exhilarating experience. I am curious to find out what effect this has on the human brain.

(Kumiko's post) Archangel Michael-Sumi is on Parabola magazine!!

One of my Sumi paintings is being used on Parabola magazine's web site cover slide show (www.parabola.org) . This painting of Archangel Michael will be featured in their Summer issue with the Italian epic "Orlando Furioso". Thank you angels and everybody for supporting my art!

Cutting Edge and Tradition - Anime reaches Samurai @ Sakuracon2015

In 2015, Soju Projekt once again took part in Sakuracon. Because of the enthusiasm of the audience at our 2014 lecture-demonstrating 'What is Noh?' we chose to present a more specific lecture focusing on the theme 'Traditional Asian Music and Theater in Anime' using specific examples, followed by a live performance of a newly composed piece that illustrates many of the topics discussed in the lecture. The Noh-inspired performance featured gamelan music from Indonesia, music from Japan and the Himalayas, and interactive computer projections of neo-traditional sumi-paintings. 

It's always a thrill to present at Sakuracon. It is truly odd to lecture to and perform for an audience of steampunk robots, dwarves and Sailor Moons, but they are always attentive, and their questions well-thought out. I am always pleased by their sincere interest in the traditional arts of Asia. 

The popular samurai anime "Samurai Champloo" defied convention by effectively using the hip-hop music of Nujabes, Tsutchie, Fat Jon and Force of Nature to enhance the anachronistic feel of its alternative Edo setting.

But examples of traditional music in anime are not difficult to find. The shakuhachi and Noh flute often enhance the eeriness of a scene, and one of the  'villains' in 'Blade of the Immortal' even performs Noh chant before each duel. More surprising is the increasing presence in anime of theme songs and background music performed on or inspired by gamelan, the traditional knobbed-gong ensembles of Java and Bali.    

Interestingly, anime may have had a lot to do with the spread of gamelan not just in Japan but in the United States as well. Gamelan inspired composers such as Impressionist Claude Debussy and American Lou Harrison, but its popularization was more likely due to popular performers such as the influential rock performer Peter Gabriel. Progressive rock mainstays King Crimson have also sited gamelan as an influence for their rhythmically complex, interlocking pieces. Still, the gamelan-influenced theme song of the anime classic 'Akira' by Shoji Yamashiro may have been the first exposure of many in Japan and the United States to the music of gamelan. 

More recently, composer Kiyoshi Yoshida composed the theme song for the disturbing anime 'Shigurui' scored for the unusual combination of gamelan, Japanese taiko, didgeridoo and strings. 

The influence of gamelan is also clear  in the theme from 'Ghost in the Shell: Arise,' composed by Cornelius (Keigo Oyamada).

In addition to inspiring the music for anime theme songs and background music, the influences of traditional Japanese theater can be seen in its esthetics. The well-known liminal expressions on traditional Japanese Noh masks are often used to great effect during fight scenes. See, for example, the emotionless expressions of the little girl automaton dolls during their assassination attempts and mass suicide attacks in 'Ghost in the Shell: Arise.' 

Other Noh esthetics in play in many anime include the concept of 'mu' or nothingness. Silence is used to great effect in many anime, including 'Mushishi,' 'Ergo Proxy' and Makoto Shinkai's beautiful "Five Centimeters per Second."

There is in the Noh repertoire a type of Noh called 'Mugen Noh' or Dream Noh. In Noh of this type, there is a blurring of time, of space and of identity. The distant becomes close; dream and reality, past and present become indistinguishable; who someone is, who they say they are and who we think they are becomes unclear. The underlying dreamlike esthetic of Mugen Noh, whether invoked consciously or unconsciously, is apparent in several of the anime already mentioned, including 'Mushishi,' 'Five Centimeters per Second,' 'Ergo Proxy,' 'Ghost in the Shell, and 'Shigurui.'

The traditional esthetics mentioned in Kenneth E. Lawrence's lecture on traditional Asian theater in anime were illustrated in the performance that followed the lecture, Sakura Projekt's performance of the piece 'Mist.' While the form of the piece were inspired by Noh theatre, the libretto, written by Kenneth E. Lawrence, was inspired in equal parts by two geniuses, Zeami Motokiyo and American author Gene Wolfe. 'Mist' is the story of a samurai warrior who, due to a brain injury, is unable to recall his past and must piece together his life from what he sees around him. The piece was a collaboration with Golden Heron Gamelan director Jeff Milano, sumi painter Kumiko Lawrence, visual cretor Kaz, taiko drummer Stan Shikuma and electronic musician Kaley Eaton.

"Mist" - Performance at Sakuracon 2015.

Projekt’s multimedia piece “Mist” was presented at Sakuracon 2015.

n 2015 Soju Projekt once again took part in Sakuracon. In 2014 I lectured on Noh, and I’m always pleased at the interest in traditional Asian theatre, the well thought-out questions and the enthusiasm shown for our performances. We presented at SakuraCon 2015 on the theme ‘Traditional Asian Music and Theatre in Anime.’ The performance, entitled ‘Mist,’ featured a live performance of gamelan music from Indonesia, music from Japan and the Himalayas, projections of the neo-traditional sumi paintings of Kumiko Lawrence, masks, costumes and video clips. 

Sakuracon is always such an odd experience. There’s just something about lecturing to and performing for an audience of robots, dwarves and Sailor Moon. But this year again they were attentive and asked excellent questions. I particularly enjoyed composing ‘Mist’ for a mixed ensemble of gamelan, taiko drum, electronics and narration. Kumiko’s sumi-paintings were a nice addition, and Kaz’s interactive computer projections were amazing!

Kenneth E. Lawrence’s libretto was inspired by noh theatre and the works of author Gene Wolfe. “Mist” was a collaboration with Golden Heron Gamelan, sumi painter Kumiko Lawrence, visual creator Kaz, taiko drummer Stan Shikuma and electronic musician Kaley Eaton.

Looking forward to 2016!

Noh - Hawai’i Public Radio Interview : Kenneth E Lawrence

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While on Maui, Soju Projekt's Kenneth E. Lawrence was a featured guest on Hawai'i Public Radio's 'The Conversation.' The ten minute interview was a preview of our presentation that evening at the Maui Culture Center.

After asking about my background and how i originally got involved in Noh theater, we discussed the tradition of Noh, its history and keeping the tradition alive. We also discussed 'Kiyotsune,' the featured play of the evening, and its author, Zeami Motokiyo, the genius of Noh. Then we talked about Soju Projekt's work in the schools, and about our visiting Noh performers, Munenori and Fumiyuki Takeda, how pleased they were to see the interest and excitement the kids expressed about Noh theater. Many other topics were discussed, including Noh's influence, modernization, and the costumes, stories, masks and techniques used in Noh. 

I was impressed by host Chris Vandercook's interviewing style. He is very disarming, and his questions are very well thought out. I am grateful to him and to HPR for their kind assistance in helping us share traditional Japanese performing arts in Hawai'i.

Link to the show:  Hawai’i Public Radio Interview : Kenneth E Lawrence

http://cpa.ds.npr.org/khpr/audio/2015/02/TC0203.mp3?origin=body

Noh at the University of Hawai'i: Mementos and the Solace of Forgetting

In February, Soju Projekt presented at the University of Hawai'i's Orvis Auditorium with two Noh performers, Munenori and Fumiyuki Takeda. It is always heartening to see a sellout crowd for Noh events, good to know that people share our interest in and enthusiasm about traditional Japanese performing arts. It was also good to look into the crowd and see immediately faces of friends I hadn't seen for many years. It was an incredibly warm audience - so much aloha! - and a very attentive and responsive one. People came ready to laugh, and when the subject became serious, they listened with undivided attention.

The focus of the the lecture-performance was the Noh play 'Kiyotsune.' This is one of my favorite plays to discuss because, among other things, though it was written approximately 600 years ago for a very different audience, it is very easy for us to relate to. 

‘Kiyotsune’ is unusual in many ways. Many of the Heike Monogatari-based plays, including ‘Yorimasa’ and ‘Sanemori,’ take the form of dream plays or ‘mugen noh,’ but some, including ‘Kiyotsune,’ consist of just one act. It is one of only two shura-noh where the supporting character is not a Buddhist monk. And, unlike most shura noh, the action doesn’t take place on a battlefield but in a place dear to him, his home.  

The play also involves a ghost of very different character. In the Heike Monogatari, Kiyotsune, Shigemori’s third son, is a minor character. In him, however, Zeami found a sensitive, refined character, a talented player of the flute.

Most of us have experienced death in some form, the loss of a friend or loved one. If you could have just one more hour with that person, what would you do? What would you say? In the play ‘Kiyotsune,’ the spirit of a samurai warrior, drawn by his widow’s intense suffering, returns to offer her solace. In a shockingly human reaction, given the gift of one final moment together, the spirit and his wife argue.

But their argument is an interesting one. His wife argues that he chose not to return, but he says no, it was not his fate to return. Surrounded by enemy forces, Kiyotsune made offerings and prayers, only to be told by the God of War that his prayers were useless: there was no hope of him surviving the coming battle. Forsaken by fate, by gods and Buddhas alike, Kiyotsune returns to his ship and watches the moon sailing her course west. Then he asks the Hamlet question: Is life worth it? Is it worth it to continue the struggle if you know that in the end you will lose? For Kiyotsune, the answer is no. Drawing his flute from his waistband, he plays clear melodies to the crescent moon and, calling to Buddha, and throws himself into the sea.  

The play opens with Awazu no Saburo, retainer to Lord Kiyotsune, stealing back into the capital. It is autumn, mournful and winter-tinged. Rain soaks his traveling robe. In haste he has crossed the surging sea waves, an unexpected return with a tragic message. He stops at his lord’s home and announces his arrival.

Lord Kiyotsune’s wife comes, breathless. She had heard he came through the recent battles unscathed. Has he renounced this world and become a monk?

The retainer attempts to explain. “When Lord Kiyotsune’s retreat to the capital was cut off,” he says, “he refused to fall into the hands of common soldiers. Late one moonlit night, off the coast of Yanagi, he threw himself from his ship into the sea.”

She is stunned. Not taken by illness, not killed in battle, but into the sea? Suicide by samurai warriors was not unheard of, but her lord’s suicide was not an expression of sincerity or saving of face after a defeat. He had simply given up.  

The retainer offers a raven lock of her lord’s hair that he had left behind for her as a keepsake. “Pray find solace in it,” he says.

“No,” she says. “No, take it back. Take it to the temple.”

She cries herself to sleep. Her longing for Kiyotsune is so intense that his spirit responds to her summons, appearing by his wife’s pillow. Perhaps it is only a dream, but still she is grateful, grateful but bitter. By killing himself, he has betrayed all his vows to her. She accuses him of giving up hope too easily. In order to aid his wife's understanding of his dilemma, he tells his story.

In most Warrior Noh plays, the spirit of the warrior first appears in disguise – a fisherman or a grasscutter, for example- later revealing their true identity. The ghost of Kiyotsune, however, appears from the first as himself, undisguised. He also unique in that he appears not to a monk to ask for prayers to release him from the torments of warrior hell, but to his wife in order to bring her relief from her suffering.

The spirit of Kiyotsune appears by his wife’s pillow. “Dear one, I have come for you,” he says. Perhaps it is only a dream, but still she is grateful, grateful but bitter. By killing himself, he has betrayed all his vows to her. Kiyotsune, in his turn, chides his wife for rejecting the lock of his hair he left for her. “The memento I left for you,” he asks, “why did you reject it? Did you grow weary of its sight?”

She shakes her head. The memento helped her to remember, she tells him, but it wouldn’t allow her to forget, even for a moment. Her grief was overwhelming. Side by side they lie, close but distant. Tears fall, then rest jewel-like on their arms. She accuses him of giving up hope too easily. In order to aid his wife's understanding of his dilemma, he tells his story, offering her that rare thing, insight into an otherwise inexplicable death.

“Defeated, our clan left Kyoto, then Kyushu, sailing through the night to a place called Yanagi. An imperial visit was announced, a visit to the shrine of Hachiman, God of War. Silver and gold and seven steeds we offered as tribute, keeping vigil before the altar for days on end, uttering in awe strong vows and countless prayers to the oracle. But then a voice came, a voice divine, telling us our prayers were in vain. We again took to our ships, hearts heavy, destination unknown.”

Forsaken by fate, by gods and Buddhas alike, Kiyotsune watches wild geese in the night sky and the moon sailing her course west. Then he asks the Hamlet question: Is life worth it? Is it worth it to continue the struggle? For Kiyotsune, the answer is no. He resolves to follow in the moon's path and sink to the bottom of the sea.

In the final lines of the play it is clear that Kiyotsune, in his final moments, had been saved from the tortures of warrior hell by offering the Ten Prayers and invoking Buddha’s name.

Many noh plays feature the spirits of dead samurai who seek release from earthly attachments. In the play 'Kiyotsune,' the dead samurai's spirit is already at rest and returns to his wife to offer her solace. In their final evening together, however, they argue. Kiyotsune had been told by the War God that there was no hope of him surviving the coming battle. His wife argues that he had a choice, but he says no, it was not his fate to return. It's a beautiful piece about the costs of war that, unfortunately, are still very relevant today, some six hundred years later.

Noh in Hawai’i – Universtiy of Hawaii Manoa lecture/performance

Noh in Hawai’i

It was great to be back in Hawai’i, but busy. We toured with some noh performers, visiting a hula halau and several schools and Maui (they bussed 650 kids in for one performance)! On Oahu I got to give several lectures on Japanese history, religion and performing arts. The performance at the Maui Culture Center was nice, and the reception we got at the University of Hawai’i at Manoa was awesome. The audience listened intently when the lecture was serious, but during looser moments they were ready to laugh! On our last day, Kumiko and I had a chance to hit our old hangouts, see the house where we lived when the kids were young, visit their elementary school and some old friends, even crash for a bit on the beach. Good nostalgia!

Hawaii / Maui - Traditional Japanese Arts in the Schools

Noh on Maui: Traditional Japanese Arts in the Schools

Soju Projekt's lightning tour of Maui was met with overwhelming enthusiasm. We were able to share Noh with a new and younger audience at several schools across the island. For one presentation the district bused in over seven hundred students to a large auditorium. There they participated in a workshop on the history of Noh, its stories and aesthetics, and how to do the meaningful gestures particular to Noh. 

A highlight, not surprisingly, was the action sequence. Twenty students selected in advance by their teachers, were allowed to come to the stage and learn the movements involved in a samurai duel. The students were assured that, though winning was, of course, great, losing was okay because it looked very cool. It was good to see so many smiling faces.

In addition, Soju Projekt and Noh performers Munenori and Fumiyuki Takeda were taken by bus to various school assemblies and after-school programs. It was a joy to share traditional Japanese performing arts with such a young and enthusiastic audience.    

U of Hawaii/ Our Manoa days2

U of Hawaii/ Our Manoa days

U of Hawaii Classes

U of Hawaii/ Orvis Auditorium

Reading back then & reading nowadays

 Kumiko doesn't have to tackle Ken's Everest height book pile at home. 

Thanks, iPad!! 

Happy Holidays!!

A Himalayan singing bowl - Suren to Seattle again!

A Himalayan singing bowl healing session. Kumiko and I have been working with sound and resonance, and these bowls are truly amazing! It was great to see our teacher, Suren Shrestha, again. Thank you, East West Books, for bringing Suren to Seattle again!