GAGAKU in Shinto Wedding

As some of our readers may already know, you're truly was married on March 26th in a Shinto Wedding at the Grand Tsubaki Shrine of America in Granite Falls Washington State. One question people have asked us was if there was any music played in the opening of the ceremony. For those not familiar, GAGAKU - the Imperial Court Music of Japan (most typically heard at New Years) was played for the opening moments which made for a most mystically auspicious beginning to this wonderful new chapter of our lives. While we do not have the exact track on hand for you to sample, this video from 2014 is pretty close.

Please Enjoy!

Kotohajime 2014

No New Year’s celebration in Little Tokyo is complete without the JACCC’s annual Kotohajime (First Performance) show at the Aratani Theater.  This being UMA - Year of the Horse has ushered in some notable changes in the both the show and the JACCC. What remains consistent as in years past is the shows strong visual presentation which never disappoints the packed audiences who attend year after year often making it part of their own New Years traditions. This year’s Hatsu-Kagami (First Mirror) was by no means an exception. Directed by Hirokazu Kosaka, this year’s Kotohajime opened with the hues of a subtle blue backdrop amidst the classical ethereal sounds of ancient Japan by the Kinnara Gagaku. Gagku as defined by translation as Elegant Music which dates back to the 7^th Century. This was once the sole domain of the Imperial Court. Kinnara is a Sanskrit word which is described in the shows program as being a Buddhist term for Celestial Musician which suits its sense of mystic ambiance that Kinnara Gagaku brings to Southern California. Kinnara Gagaku would perform three musical pieces which in its third piece included the rarely seen Bugaku dance which featured two masked dancers in colorful costumes which moved in slow precise regal movements that once entertained Japanese Nobility.

The second segment featured a crowd favorite of two back to back Natori dances by Wakayagi Hisami: Hana no Kai. The first dance titled Toto-Jishi was performed by Wakayagi Haruka in a beautiful red kimono to a most traditional dance which was later followed by Jyudo performed by Wakayagi Hisami who performed her dance with great refined elegance and grace elevating this high art form to a level deserving of its rich cultural heritage.

The show next picked up the pace with a unique improvisational harmonica solo performance by Mr. Tetsuya Nakamura (a former member of the legendary group WAR) who once played with Los Lobos, Hiroshima, Snoop Dog, and the legendary Carlos Santana. What struck us was his phenomenal sound that when paired with a drum took off into a whole new dimension of musical appreciation. It could be said that his performance once conjoined with the earlier than expected arrival of the LA based Kyudo Group IKKYU made for a strange juxtaposition if not an ingenious pairing with the Zen archery taking place evoking the imagery of Western influenced Samurai films of the 1960s. As with every year, IKKYU’s Ending Rite of Purification fired the traditional first arrow of the year which upon striking its designated target unleashed a flurry of colorful streamers onto the stage signaling the conclusion of this year’s show. 

As with every year, the select group of invited dignitaries take to the stage to deliver their new year’s greetings and participate in Kagamibiraki (breaking the Sake barrel) before the audience participates in the traditional sake toast. Following the Sake toast as per Kotohajime tradition, the assembled dignitaries then tossed out bags of mochi into the audience for good luck which often sends people scurrying to their feet to catch good fortune and delicious mochi treats rolled in one. Given how The Year of the Snake has treated this author, we made it a point not to go home empty handed. This year’s notable attendees in attendance were Japan Consul General Jun Nimi, former LA City Councilwoman Jan Perry, Singer/Songwriter Jackson Browne, and outgoing JACCC Chairwoman Sandy Sakamoto.

This year’s Kotohajime was undoubtedly a Japanese affair noting some absences of some of regular groups we have seen in the last four years reflecting some the changes taking place. While popular, the show itself remains a consistent visual cultural presence not found in other parts of the country making Little Tokyo and by that of the continued efforts of the JACCC to bring to the City of Angels a series of unique and rarely seen traditional Japanese cultural performances not seen anywhere else in the country. We wish JACCC continued success in that endeavor.

ががく Gagaku: The Sacred Court Music of Japan

Gagaku is the Sacred court Music of Japan whose history dates back some 1300 years. It is a cultural treasure that is still with us today as the oldest surviving and rarest continuous orchestral music in existence today. As that being said, this music had been confined to the Imperial Court and had we lived 170 years ago in Japan chances were that unless you were part of the nobility you could not hear these sacred sounds. In fact it wasn’t until 1887 during Meji’s reign that special permission was given to Ryōdo Ono of the Terusaki Shrine to perform for the general public outside the Imperial Court. And even still, such performances would have been rare. Fortunately for us we don’t live in those times and can now have opportunities to appreciate such performances. This last Saturday March 19^th, we were treated curtsey of Mr. Shige Higashi of the Cultural News to a special Gagaku performance which was performed in two segments in Costa Mesa California. And what a unique experience this was.

So going back to the performance, the first segment of the Gagaku performance was entitled “The Classical Sounds of Gagaku Music” The second conclusive segment was aptly named “Contemporary Music for Gagaku Instruments.” Performing on stage was master musicians Takeshi Sasamoto on Ryūteki, Hitomi Nakamura on Hichiriki, and Mayumi Miyata on Shō or as translated as the “Phoenix pipe.” Each performer appeared in traditional garments of the Imperial Court for the first segment and instantly mesmerized the audience in attendance with the haunting sounds of the shō. This continued on well into the second segment when the musicians returned in modern clothing to express their free form almost jazz like use of Gagaku instruments in the most unique and entertaining sounds. I must admit I was quite taken by the sounds of the shō. It is impossible to conceive of this keyboard sounding instrument that is a wind blown driven pipe could have existed some 1300 years ago. It is very fitting for Shinto weddings, funerals, and Imperial Installations. But is also something as I will alude to in my last paragarah very relevant to what has been taking place in the wake of Japan's worst disaster in modern history since the end of WWII.

Gagaku is as timeless as it a national treasure. It has endured over the centuries under strict adherence to traditions of the Imperial Court. But sometime during the early 1970’s it was realized that these very restrictions meant to preserve the sacred music were endangering Gagaku to extinction. In fact up until the 1960’s it was considered heresy to even think of creating new pieces for Gagaku. It was said then that Gagaku in its rigid preservation could suffer the fate of the butterfly pinned to a collection for safe keeping. This would not be enough to keep the art alive. For this reason a new thinking was employed and gradual experimentation was given to Gagaku performers particularly to Sukeyasu Shiba of the Imperial Household Agency to utilize Gagaku unique instruments in exploratory fashion to keep Gagaku from dying. As a result new pieces have been composed and performed in ways earlier Gagaku musicians could have never dreamed of. Since then, Gagaku has found new interest and is said to be even an elective in schools as a musical course which has resulted in Gagaku clubs forming in and around Tokyo.

This rare Gagaku performance which was presented by the Philharmonic Society in conjunction with JapanOC had been planned months in advance. But with the extraordinary events that culminated in the combined disasters in Japan, the concert took a more somber tone as to reflect on those lives lost and those still missing. This real life drama painted a deeper picture to what was already a transformative performance that is best experienced least described. As with many other Japanese events taking place during this time, a plea for donations for the relief efforts in Japan was called for the audiences generosity. What better music to stir the soul during times of need. We would like to thank JapanOC and the Philharmonic Society for their efforts for the People of Japan.

If you would like to know more about Gagaku here in this country there is an actual Gagaku music curriculum in Columbia University in New York. If possible please attend their next performance. Gagaku is as enriching as it is southing for the soul (particularly in times of great tragedy) and indeed a true Japanese National Treasure to be enjoyed.