M-am fortat sa fiu credincios ecoului unei voci care pare inca muta, la cea mai mare parte din oameni. Doresc ca acest ecou sa aiba oarecare valoare pentru ei. Faptul ca milioane de fiinte in jurul meu, nu sunt preocupate decat de afaceri cu totul de un alt ordin, ma impinge sa le reamintesc faptul ca ei si activitatea lor va disparea curand de pe glob, in timp ce este un drum deschis inaintea lor, care conduce la tainicele comori ale vietii vesnice.
Multi ma vor incadra in categoria visatorilor decadenti care cred in sublima grandoare a omului. Nu vor gresi, dar le cer sa binevoiasca a-si da seama ca ei au puterea de a face din visul meu o realitate, realitatea lor. Calea pe care am urmat-o este in adevar, in afara drumurilor batute, dar nu este asa de departata pentru ca altii sa nu o poata urma. Daca un secol nesocotit se numeste o “banda de simpli visatori”, noi, cel putin, avem consolarea de a sti, ca pe cat noi visam, cei chiar care ne batjocoresc, dorm inca teribilul somn al inconstientei spirituale.
Altii vor intreba: “Putem sa ne gandim a urma aceasta cale a luminii in mijlocul mahnirilor si durerilor prezente?” Acelora le voi raspunde: “Timpul nostru este tocmai acela cand valoarea sa divina se afirma mai limpede”.
Unele adevaruri esentiale privind viata, unele principii fundamentale inalterabile care guverneaza esenta noastra, au fost cunoscute de intelepti in toate timpurile, de la cea mai inalta antichitate si pana in zilele noastre. Astfel ca este un leac pentru orice rau. Nici un om nu este atat de doborat si de trudit de greutatile nenorocirii, bolii, saraciei, ca sa nu poata gasi o iesire, un mijloc de a ocoli greutatile sau la urma urmei a le suporta. Astfel este si trebuie sa fie astfel, caci tot omul este o parte din Spiritul Universal, care a provocat lumea noastra – acest spirit in care locuieste calitatea nemuritoare, intelepciunea de nepatruns si pacea indestructibila.
Atatea lucruri urate in viata care ne inconjoara, ar parea sa contrazica aceasta afirmatie! Dar acel care consimte sa faca efortul de a dezvolta clarvederea launtrica, va descoperi ca, cu toate aparentele contrarii, aceasta siguranta traieste. Cel mai mic rezultat al unui efort perseverent in directia aratata de carte, va aduce aceluia care se deprinde, o intreaga pace launtrica, prin care se va distinge de cei din jurul sau, ca o fiinta caruia i se va indica echilibrul neclintit, cand va gasi aceasta pace, altii vor veni la el, tineri si batrani, intrebandu-l despre acest secret care pare ca lor le-a scapat. La randul sau el va arata Drumul.
„Viaţa este o joacă. O joc. Dacă respiraţia îmi dă viaţă, atunci inspir cu toată fiinţa mea. Dacă iubirea îmi aduce lumină, atunci mă înec în ea. Dacă râsul îmi aduce stele, atunci râd cu toată lumea. Dacă lacrimile mă purifică, atunci plâng în fiecare zi. Dacă durerea îmi aduce noi dezvăluiri şi cunoaştere, atunci o simt. Sunt vântul – liberă, uşoară, trecând prin vieţile oamenilor, lăsând o mângâiere. Sunt apa, trecând prin oameni, cunoscând fiecare celulă a corpurilor lor ca şi cum ar fi ale mele. Sunt focul, aprinzând pasiuni şi iubiri care aduc creaţie şi o nouă viaţă. Sunt pământul, dându-le stabilitate, ceva de care să se sprijine când se simt pierduţi. Sunt iubirea pe care o împart şi o simt. Eu sunt în ei, astfel încât să fiu înconjurată de emoţii, căldură şi mângâieri, râsete şi lacrimi. EU SUNT TOTUL. EU SUNT.”
If starry space no limit knows And sun succeeds to sun, There is no reason to suppose Our earth the only one. ‘Mid countless constellations cast A million worlds may be, With each a God to bless or blast And steer to destiny.
Just think! A million gods or so To guide each vital stream, With over all to boss the show A Deity supreme. Such magnitudes oppress my mind; From cosmic space it swings; So ultimately glad to find Relief in little things.
For look! Within my hollow hand, While round the earth careens, I hold a single grain of sand And wonder what it means. Ah! If I had the eyes to see, And brain to understand, I think Life’s mystery might be Solved in this grain of sand.
‘That’s another thing no one tells you about death. That every emotion – good or bad – is blown up and magnified, rendered more vivid than you could possibly imagine. We’re temporarily shaken out of the ridiculous mass delusion that we’re immortal, forced to realize that one day the world will carry on without us in it. Perhaps there’s something weirdly galvanizing and exhilarating about knowing in your very bones that life is short.’
‘Mr. Almost Right’ – Eleanor Moran
I really liked this book about the search for Mr. Right, the trials of trying to find your true self in a too crowded world, full of illusions. Costume designer Lulu and her twin sister Alice, a school teacher dating a man with anger management problems will make you laugh, cry, hold your breath and smile at the end, when things don’t quite turn out how you would have expected them to, but better. Mix in some crazy friends, Zelda – Lulu’s boss, an award winning costume designer and her tragic story, actor Charlie who’s too involved with himself and apparently falls for Lulu and that wouldn’t be such a problem if he weren’t married, Gareth – Lulu’s gay, super nice colleague and Ali – the very nice policeman who’s trying to win Lulu’s heart.
And on the same theme, of love and death, but on a more profound note is the book ‘The One I Love’ by Anna McPartlin which I really really loved. It made me cry more than once, it made smile and laugh, but most of all it made me think about my life, my relationships with others, about my selfish nature and the importance of telling your loved ones ‘I love you’, ‘I care’, ‘I miss you’… every time you have the chance, because you never know what might happen. We’re all ‘dust in the wind’ anyway, but make every second count. Live like you have never lived before and treasure yourself more.
Kitagawa Utamaro, “Flowers of Edo: Young Woman’s Narrative Chanting to the Samisen”
The shamisen or samisen, also called sangen, is a three-stringed, Japanese musical instrument played with a plectrum called a bachi.
The shamisen had many forms before it arrived to Japan, though it’s unclear where it originated from. It is said that a three stringed lute arrived in China during the later years of the Yuan Dynasty (1271-1368). This instrument is called the sanxian. Trade flourished between China and the Ryukyu kingdom (Okinawa). Many instruments were brought over, including their sanxian, now called the Okinawan Sanshin. It is said to have been brought over by merchants from Fukien in 1392, a time when there was considerable immigration from southern China.
The Sanxian
Now we come to it’s arrival to Japan. It’s generally said that the sanshin came to Japan in 1562, in the city of Sakai (a port city south of Osaka). It’s assumed to have come from Okinawa, though with all the trade that was happening with China, direct importation was by no means out of the question. There probably were Chinese sanxian in Japan before 1562, but not in significant enough numbers to start anything. The Okinawan sanshin is what caused the shamisen to be taken up by the Japanese.
Soon after, biwa players took up the sanshin (now called the shamisen) so they could be better heard on the street. And being the first players of the instrument in Japan, they could do what they wanted with it! And do they did.
Kusakabe Kimbei - Geshia Playing Shamisen
The shamisen is a plucked stringed instrument. Its construction follows a model similar to that of a guitar or a banjo, with a neck and strings stretched across a resonating body. The neck of the shamisen is fretless and slimmer than that of a guitar or banjo. The body, called the dō , resembles a drum, having a hollow body that is taut front and back with skin, in the manner of a banjo. The sao, or neck of the shamisen is usually divided into three or four pieces that fit and lock together. Indeed, most shamisen are made so that they can be easily disassembled and stowed to save space. The neck of the shamisen is a singular rod that crosses the drum-like body of the instrument, partially protruding at the other side of the body and there acting as an anchor for the strings. The pegs used to wind the strings are long, thin and hexagonal in shape. They were traditionally fashioned out of ivory, but as it has become a rare resource, they have been recently fashioned out of other materials, such as various kinds of wood and plastic.
The three strings are traditionally made of silk, or, more recently, nylon. Traditionally, silk strings are used. However, silk breaks easily over a short time, so this is reserved for professional performances. Students often use nylon or ‘tetron’ strings, which last longer than silk, and are also less expensive.
Shamisen maker with a customer
The shamisen can be played solo or with other shamisen, in ensembles with other Japanese instruments, with singing such as nagauta, or as an accompaniment to drama, notably kabuki and bunraku. Both men and women traditionally played the shamisen.
The most famous and perhaps most demanding of the narrative styles is gidayū, named after Takemoto Gidayū (1651–1714), who was heavily involved in the bunraku puppet-theater tradition in Osaka. The gidayū shamisen and its plectrum are the largest of the shamisen family, and the singer-narrator is required to speak the roles of the play, as well as to sing all the commentaries on the action. From the 19th century female performers known as onna-jōruri or onna gidayū also carried on this concert tradition.
Two geishas playing the shamisen
Music for the shamisen can be written in Western music notation, but is more often written in tablature notation. While tunings might be similar across genres, the way in which the nodes on the neck of the instrument (called tsubo) are named is not. As a consequence, tablature for each genre is written differently.
Vertical shamisen tablature, read from right to left. Nodes for the 3rd string are indicated by Arabic numerals, for the 2nd string by Chinese numerals, and for the 1st string by Chinese numerals preceded by イ.
The shamisen is played and tuned according to genre. The nomenclature of the nodes in an octave also varies according to genre. In truth, there are myriad styles of Shamisen across Japan, and tunings, tonality and notation vary to some degree. Three of the most commonly recognized tunings across all genres are “honchoshi” (本調子), “ni agari” (二上がり), and “san sagari” (三下がり).
The construction of the shamisen varies in shape and size, depending on the genre in which it is used. The bachi used will also be different according to genre, if it is used at all. Shamisen are classified according to size and genre. There are three basic sizes; hosozao, chuzao and futozao. Examples of shamisen genres include nagauta, jiuta, min’yo, kouta, hauta, shinnai, tokiwazu, kiyomoto, gidayu and tsugaru.
In most genres the shamisen, the strings are plucked with a bachi. The sound of a shamisen is similar in some respects to that of the American banjo, in that the drum-like dō, amplifies the sound of the strings. As in the clawhammer style of American banjo playing, the bachi is often used to strike both string and skin, creating a highly percussive sound. In kouta ( literally “small song”) style shamisen, and occasionally in other genres, the shamisen is plucked with the fingers.
In the early part of the 20th century, blind musicians, including Shirakawa Gunpachirō (1909–1962), Takahashi Chikuzan (1910–1998), and sighted players such as Kida Rinshōei (1911–1979), evolved a new style of playing, based on traditional folk songs (“min’yō”) but involving much improvisation and flashy fingerwork. This style – now known as Tsugaru-jamisen, after the home region of this style in the north of Honshū – continues to be relatively popular in Japan. The virtuosic Tsugaru-jamisen style is sometimes compared to bluegrass banjo.
Kouta (小唄) is the style of song learned by geisha and maiko. Its name literally means “small” or “short song,” which contrasts with the music genre found in bunraku and kabuki, otherwise known as nagauta (long song).
Jiuta (地唄), or literally “earthen music” is a more classical style of shamisen music.
One contemporary shamisen player, Takeharu Kunimoto, plays bluegrass music on the shamisen. Another player using the Tsugaru-jamisen in non-traditional genres is Michihiro Sato, who plays free improvisation on the instrument. Japanese American jazz pianist Glenn Horiuchi played shamisen in his performances and recordings. A duo popular in Japan known as the Yoshida Brothers developed an energetic style of playing heavily influenced by fast aggressive soloing that emphasizes speed and twang; which is usually associated with rock music on the electric guitar. Japanese traditional and jazz musician Hiromitsu Agatsuma incorporates a diverse mix of genres into his music. He arranged several jazz standards and other famous western songs for the shamisen on his latest album, Agatsuma Plays Standards.
