Performing Shakuhachi with guitar, accordion and voice for an Asian Pacific American Herititge Month celebration. Presented by Asian American Arts Alliance and Manhattan Borough President Scott M. Stringer.  May 23, 6 -8 pm. Red Egg, Chinatown.

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Lou is on the far left with sunglasses in the photo circa 1967.

Jewellery made by Lou Zeldis
Portaits by Sarah St Clair Renard
2.4 Chikusing Shakuhachi

I met Lou in 1994 when we worked on Oedipus the King directed by Ellen Stewart, music by Liz Swados. Lou passed away on May 6, 2012 in San Diego California from lung cancer. He was a magical person whose deep artistry was overshadowed by his generous spirit. I was given the role of Oedipus. It was a little daunting as the performer who originated the role was Min Tanaka. Lou happened to be back in NYC visiting from Bali and offered some great suggestions on how to approach the work since he had been in the original production in the early 80’s. There was a moment where I was working the fight choreography with a fellow actor and Lou came up and simply grabbed the other actor by his neck (at least that how it appeared) and threw him to the ground. It was so violent, and yet so perfect. He simply demonstrated that good art has to be done with conviction, otherwise the audience thinks your just pretending (yawn). During a rehearsal, I saw Lou twisting silver around a bead.  When I inquired about it, he brought me to his NYC studio, a room shimmering with crystals, beads, shells and hand dyed fabrics. By the window facing East 4th St. was his work bench and carefully organized tools. There, I got a glimpse of how incredible a life journey can be if we can allow ourselves to follow the path that unfolds before us.  I wonder if I would be making shakuhachi now if I hadn’t experienced that exact moment.

I improvised this Honkyoku for Lou as a prayer and offering. In his spirit, each note is played for the ephemeral moment.

See you on the next stage Lou.
- Perry

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http://www.japansociety.org/event/celebrating-japans-childrens-day-kodomo-no-hi
May 6, 2pm, New York City. See link for more info.

Hi all, Sorry for the silence. It’s been a crazy month. Along with the usual shop work, I started working on music for the Japan Society production of Momotaro, the classic Japanese folk tale of a boy born from a peach. It’s a story of a boy who makes friends with animals and together they join forces to fight a mean giant. Although it was made for young children 3-10 years of age to celebrate Japan’s Children Day - Kodomo no hi,  it is a wonderful theater piece for children of all ages (you know who you are).  Also, big thanks to all who asked about the notation for the Trayvon Martin Honkyoku. I will write it out after the Momotaro show. I first heard the shakuhachi in a theater setting, not a concert stage. Aside from crafting and repairs, performing for theater and dance is another one of my passions for sharing the shakuhachi. The photo above is my view from the stage of the Lila Acheson Wallace Theater in the Japan Society. The last time I was here, I saw Kazuo Ohno perform on this very stage. I could feel the energy as soon as my bare feet touched the stage. Kazuo and Yoshito (father and son) are my heroes and a constant source of inspiration. I was lucky to have worked with them in Japan.

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Shakuhachi Honkyoku music is often played as an offering for life events such as births, wedding and funerals. I am extremely grateful for having the practice of the shakuhachi as it not only allows me to participate in a community, but also engages me in deep reflection. I normally play Tamuke for the passing of a soul, but this situation was close to home as I am a parent. I needed to process my emotions in some way so instead of playing a piece of Honkyoku written in the past, I decided to bring things into the present moment so I wrote A Song for Trayvon as my offering. Bertolt Brecht’s once said something like, “Art is not only mirror of society, but a hammer which shapes it.” I’d like to add that the act of conscious art making can produce a transformative affect for the practitioner. In working through the composition, I found the destructive force of anger replaced with the nurturing energy of compassion. For now, as we acknowledge a life violently interrupted, I hope we can all find a way to send positive energy to support the parents and family of Trayvon Martin.

With hands folded in prayer, Perry

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A tough repair job came in this week. The Ji plaster inside was compromised when the crack first happened and over time the urushi coating started to peel up. This is what happens when a flute is left to dry out.

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TAMUKE is a piece of Japanese Honkyoku music played on shakuhachi flute by the Komuso monks of Zen Buddhism. The Chinese characters of Tamuke reads “Hands Folded in Prayer”. It is traditionally performed in a personal ritual for the safe passage of a soul into the next life. Today, I am remembering the people of Japan and those affected by the events one year ago.

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Hi all, I receive inquires often on how to make a sound on the flute. Some people get it naturally while others need guidance. I made this video for someone who had this flute for years but was never able to make a sound. As you can see, it is quite functional. I decided to ask my Facebook friends if they would like to share any tips on getting a sound. Here are the responses I got:

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I have a group of really wonderful shakuhachi to work on right now but NY1 was on this morning and I found myself swept up in the Linsanity. I’m not a basketball fan (I’d rather go the the ballet any day), but how can I not be swept up in Jeremy Lin’s journey right now. He must be walking an amazing path.

On to the restorations.
Namaste, Perry

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