_ r would like me to relay the Shakuhachi Story. I would like to ask r, why? But I don’t bother. Answers seem to never come, and when they do, either they change over time so as to never be grasped, or in answering the question, 10 new questions arise which illuminate a 10-fold larger ignorance, or otherwise, they simply ruin the joy of a magic trick unless you wish to be a magician, in which case, you are doomed like everybody else.
THE SHAKUHACHI STORY
The Shakuhachi Flute was used in the Fuke sect of Zen Buddhism in the practice of suizen -blowing meditation- and is considered a very deep spiritual tool and is highly respected in Japanese history and tradition. The first non-Japanese person to become a Shakuhachi Master is the American-Australian, Riley Lee. This pleased some, and displeased others in Japan.
There was once an accomplished Western Shakuhachi Master who was especially renowned for his unique approach to the instrument. He toured many places in the world, playing his flute to enthusiastic crowds. One day, he was asked to perform in Japan, wherein the rich history of the Shakuhachi is to be found. Honored, he packed his bags and began his journey. With his translator, he performed in a festival, at several large halls, and in a number of smaller venues. He was much admired by the Japanese youth, but some of the elders, many Masters of the Shakuhachi themselves, found his playing untraditional, too aggressive, and much too Western. Some were nothing short of offended.
One day, the Shakuhachi player made a visit to a man renowned for his legendary craftsmanship in the making of Shakuhachi flutes. He was an old man, a revered Shakuhachi Master, and considered to be one of the finest Shakuhachi players in all of Japan.
After browsing through the shop, the Shakuhachi player found an extraordinary instrument that felt alive in his hands. “This is the one I would like to purchase,” he said.
The shopkeeper regarded him. “I know who you are,” he said. And then, in Japanese, he had a short conversation with the translator, who then politely informed the Shakuhachi player that the old Master would not be selling this or any of his flutes today, or ever, to this man.
As the Shakuhachi player and his translator left the shop, he asked the translator, “Why?”
The translator replied, “There are only two reasons, one of which is true. Either he feels your playing is so offensive, he would not wish to disgrace his heritage, his tradition, his family, himself, and his flute. Or otherwise, he is so impressed with your playing that he feels the quality of his flute is beneath you, and would never wish to give insult.
“Well,” asked the Shakuhachi player, “which is it?”
“I am afraid, I do not know.”
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Tom Miller: That’s it? That’s the end of the story? So the guy gets screwed on the deal?
Project r: Or otherwise, he sits comfortably in the embrace of mystery.
Tom Miller: Which one is it then?
Project r: I am afraid, I do not know.
THE SHAKUHACHI STORY
The Shakuhachi Flute was used in the Fuke sect of Zen Buddhism in the practice of suizen -blowing meditation- and is considered a very deep spiritual tool and is highly respected in Japanese history and tradition. The first non-Japanese person to become a Shakuhachi Master is the American-Australian, Riley Lee. This pleased some, and displeased others in Japan.
There was once an accomplished Western Shakuhachi Master who was especially renowned for his unique approach to the instrument. He toured many places in the world, playing his flute to enthusiastic crowds. One day, he was asked to perform in Japan, wherein the rich history of the Shakuhachi is to be found. Honored, he packed his bags and began his journey. With his translator, he performed in a festival, at several large halls, and in a number of smaller venues. He was much admired by the Japanese youth, but some of the elders, many Masters of the Shakuhachi themselves, found his playing untraditional, too aggressive, and much too Western. Some were nothing short of offended.
One day, the Shakuhachi player made a visit to a man renowned for his legendary craftsmanship in the making of Shakuhachi flutes. He was an old man, a revered Shakuhachi Master, and considered to be one of the finest Shakuhachi players in all of Japan.
After browsing through the shop, the Shakuhachi player found an extraordinary instrument that felt alive in his hands. “This is the one I would like to purchase,” he said.
The shopkeeper regarded him. “I know who you are,” he said. And then, in Japanese, he had a short conversation with the translator, who then politely informed the Shakuhachi player that the old Master would not be selling this or any of his flutes today, or ever, to this man.
As the Shakuhachi player and his translator left the shop, he asked the translator, “Why?”
The translator replied, “There are only two reasons, one of which is true. Either he feels your playing is so offensive, he would not wish to disgrace his heritage, his tradition, his family, himself, and his flute. Or otherwise, he is so impressed with your playing that he feels the quality of his flute is beneath you, and would never wish to give insult.
“Well,” asked the Shakuhachi player, “which is it?”
“I am afraid, I do not know.”
---------------------------------------------------------------------------
Tom Miller: That’s it? That’s the end of the story? So the guy gets screwed on the deal?
Project r: Or otherwise, he sits comfortably in the embrace of mystery.
Tom Miller: Which one is it then?
Project r: I am afraid, I do not know.