SHAKUHACHI WORKSHOP:

How to Make and Play Shakuhachi with Ken LaCosse and Michael Chikuzen Gould

What:  This will be a double workshop: Learning how to Make Shakuhachi with Ken LaCosse
and Honkyoku Playing Workshop  with  Michael Chikuzen Gould.
     
Where:  Tatsumaki Taiko, 725 Gilman St. Berkeley, CA

When:  Saturday,   August 25,  2007 2:00pm~9:00pm
2:00~5:00 Flute making
5:00~6:00 dinner break
6:00~9:00 Shakuhachi playing

Fee:  $1,000,000,000

Contact:  Ken LaCosse  at emptyflute@mujitsu.com or 415-242-0919
or Michael Gould at chikuzen@earthlink.net or 313-600-2610.

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Learning how to Make Shakuhachi:   Ken LaCosse

Regardless of your playing level with shakuhachi, it's always a wonderful experience to make your own instrument. It's also an important part of the shakuhachi experience to develop an understanding of why the shakuhachi sounds the way it does.

For the shakuhachi making workshop, we'll be using Tonkin non-root bamboo. There will be no additives, paints or glues used. All participants will be guided through the steps necessary to walk away with their own, handmade shakuhachi. Special emphasis will be placed on the individuality of each piece of bamboo; an important aspect of flute making.

The workshop is ideal for beginners as well as more experienced players who wish to complete the equation and make what they play.                                                                           



Honkyoku Playing Workshop:  Michael Chikuzen Gould

The roots of shakuhachi are meditation, chanting and nature. Meditation is breathing and focus of concentration which is what doing shakuhachi is. We will look at similarities in Shorei chanting and campare them to shakuhachi playing. We will also learn a revised version of  the song "Horai"  to understand a song that was derived from chanting.  We will learn also learn "Bosatsu", an arrangement which takes songs from various honkyoku.

 I believe that there are many ideas about shakuhachi that are born from inexperience of any "hands on" work with making shakuhachi and also from not having a chance to spend much time with craftsmen who make them. And also, with inexperience in chanting and meditation and lack of a chance to  study the direct connection with these  with a clear presentation, leads to rootlessness.  In my mind, this leads to what I would call an an unhealthy and  "improper appreciation" of the instrument, the craftsmen who make them and the tradition they originated in. I hope we can help create a real and healthy perspective by offering this opportunity to spend time with us, learn more about the craft and the roots of shakuhachi. I think it will lead to a more complete and fullfilling shakuhachi experience.