Embodying History and Pedagogy: A Personal Journey into the Dokyoku Style of Japanese Shakuhachi

Abstract

The shakuhachi () came to Japan in the seventh century from China as a six-holed flute used in Imperial Court music. In the middle ages, mendicant komusō Zen monks, wishing to be delivered from earthly desires by blowing zen “suizen” (), transformed the shakuhachi into the five-holed flute played today. Honkyoku are the songs created by these monks. The name shakuhachi () means “1.8 shaku,” and refers to its size. It is a compound of two words: () means “shaku,” an archaic unit of width equal to 30.3 cm (0.994 English feet) and subdivided in ten subunits and hachi (), which means “eight,” here “eight sun or tenths” of a shaku. The shakuhachi world is divided up among various schools, called ryu, most commonly the Tozan-, Meian- or Myoan- and Kinko-ryu. The Tozan-ryu, which utilizes western notions of rhythm and structure is built on an iemoto structure, with the head of the organization defining the values and styles of the school. The Meian- or Myoan-ryu is often associated with the Fuke Zen sect and traditionally employs the shakuhachi for spiritual reasons. The Kinko-ryu focuses on a combination of both komusō related honkyoku as well as modern music. In this chapter, I describe the historical background and performance techniques associated with my work as an accredited master (shihan) performer of the shakuhachi. I reflect on how shakuhachi music has evolved across time and how cultural memory and perceived historical truths often conflict. I also describe some of my own experiences as a student of shakuhachi, and the array of complex techniques and considerations required for a performance of a program of selected shakuhachi repertoire that was mastered through many years of intensive training.