1. Ma Intro
1.1 The kanji for Ma has two parts:
--: MON: meaning "gate" or "door" = Spatial Relationships and Transitions.
--: NICHI: meaning "sun" or "day" = Temporal Relationships and Transitions.
Mon: The concept of Mon is inherently linked to spatial geometry. A 'Gate' or
'Door' defines a boundary or opening between two spaces. A 'Door' divides space into
two distinct areas: inside and outside, or room A and room B. Opening and closing a
'Gate' involves a transformation of potential movement, changing the accessibility and
relationship between two areas.
Nichi: Many ancient cultures based their calendars and timekeeping systems on
the Sun's movements. The concept of a "Day" itself is derived from the Sun's daily
cycle. The 'Sun' is a central figure in human history and culture because it shapes our
physical, biological, and mental existence. The 'Sun' gifts us with sight and the
awareness of spaces. Many religions and spiritual practices incorporate the 'Sun' as a
symbol of life, energy, power, growth, creation, enlightenment, or a higher power.
1.2 The Essence of Ma
--: Ma is the art of creating meaning through negative and
positive space and asymmetrical and cyclic time.
--: Ma is about finding balance and harmony. It's about
appreciating the beauty of emptiness, the power of
silence, and the importance of waiting. It's about
understanding that sometimes, less is more.
--: Ma can be felt in the silent interval, the pause between
thoughts, breaths, or actions. It is the empty space
within the mind, where clarity and insight can emerge.
1.3 Ma in Everyday Life
--: Art and Architecture: In Japanese aesthetics, Ma is
essential. It's the empty space in a painting, the deliberate
pause in a poem, or the uncluttered design of a room.
--: Gardens: Japanese gardens are renowned for their use of
Ma. The carefully arranged rocks, trees, and water bodies
are connected by empty spaces that invite contemplation.
--: Tea Ceremony: The tea ceremony is a ritualized
performance where Ma is paramount. The pauses between
actions are as important as the actions themselves.
--: Everyday Life: Ma can be found in the rhythm of daily
life, in the moments between tasks, and in the quietude of
nature. Ma makes daily life rich and fulfilling.
1.4 Ma in Shakuhachi Music
--: Shakuhachi music is not merely about the notes played, but also the
spaces between them. These silences, or Ma, are considered as integral
parts of the music, carrying as much weight as the actual notes.
--: The Shakuhachi player's breath is crucial. The inhalation and exhalation,
the moments before and after a note, are manifestations of Ma. It's about
controlling the breath to create meaningful pauses and transitions.
--: Shakuhachi is deeply connected to the meditative state of mind required
for playing the instrument. The music becomes a dialogue between the
player, the instrument, and the surrounding space, filled with moments of
silence and contemplation.
--: Ma is not just about silence, it's about expression: the tension and
release created by the interplay of sound and silence. It's the space that
allows the listener to reflect, to feel the emotions conveyed by the music.
--: Ma in Shakuhachi is not merely about the absence of sound but about
the living, breathing space that gives the music its depth, meaning, and
emotional impact. It's the art of creating music through what is not
played, as much as what is.
1.5 Deep Awareness
--: MA in shakuhachi playing is the little precious
moment between the end of the sound and
start of the inhale and between end of
inhaling and the starting of the exhale with
which we make sound.
--: Ma is the formless transition gate where
intuition, inspiration, and illumination can
come streaming into one's awareness.
2. Ma and Shakuhachi Music
2.1 Use of Silence and Breath:
--: In shakuhachi music, Ma is often expressed
through the use of silence and the natural pauses
created by the breath. The intervals between notes
are as important as the notes themselves, allowing
the music to "breathe" and creating a meditative
quality. The player must be mindful of when to let
the sound resonate and when to introduce silence,
making the music more contemplative and spiritual.
2.2 Timing and Rhythm:
--: Shakuhachi music, especially in traditional
forms such as Honkyoku (original pieces),
doesn't follow a strict metrical rhythm. Instead,
the rhythm is more free-flowing, with the
concept of Ma guiding the timing of the notes.
This creates a sense of naturalness and fluidity,
where the music feels more like a part of nature
rather than a structured composition.
2.3 Nature and Soundscape:
--: The sound of the shakuhachi, often described
as reminiscent of the wind or natural elements,
is enhanced by Ma. The pauses between notes
create a soundscape that mirrors the ebb and
flow of nature, with the silence acting as a
natural counterpart to the sound, much like the
spaces between trees in a forest or the gaps
between waves in the ocean.
2.4 Expressiveness and Emotional Depth:
--: The Ma in shakuhachi music allows for deep
emotional expression. The pauses and silences
invite the listener to engage more deeply with
the music, creating space for reflection and
introspection. The interplay between sound and
silence enhances the emotional impact, making
the music not just a series of notes, but an
experience.
2.5 Physical and Spiritual Connection:
--: The physical act of playing the shakuhachi, where
the player's breath is directly responsible for
creating sound, is deeply connected to the concept
of Ma. The control of breath, and the intentional
use of pauses, reflects a spiritual practice where the
player is fully present in the moment. The silence
between notes can be seen as a form of
mindfulness, aligning the player with the practice of
being aware of the space within and around the
music.
2.6 Deep Awareness:
--: Ma is the formless transition gate where
intuition, inspiration, and illumination can
come streaming into one's awareness.
--: Ma is the ever-present now of perpetual
change where the Experiencer and the
Experience are transcended in the living
Experiencing.
3. Shakuhachi and Breath
3.1 ESS Bamboo 2020 journal:
quoting KAKIZAKAI KAORU:
"In order to make the silent part meaningful, there are three processes
that are important:
--: Firstly, to end the previous sound so quietly that you do not notice
when it ended.
--:Secondly, although difficult to do, it is important to maintain a silent
moment before the next inhalation. Once the sound is over, many
would want to inhale immediately. It may be painful, but needs
perseverance in order to preserve the vacuum.
--: The third process is to wait a short moment after inhaling before
playing the next note. Ensuring this process will improve the
impression of the space without sound, the 'Ma'."
3.2 Lindsay Dugan's Research:
--: In many contexts, it's common for there to be
differences in what is said and thought about a
particular subject, and what is actually done in
practice. Shakuhachi is no different. This is why the
quantitative analysis component of my research is so
important: it reveals what people are actually doing in
performance. My research conclusions, and the
interpretations I recorded, depend on that. As for the
pause after inhalation, well, I sought, but I did not find.
Not in years of work. (Lindsay Dugan)
--: I have verified by listening that on
most CDs the note starts as soon as the inhale ends,
but I heard Grandmaster Chikuzen leave this third space,
especially preceding a meri note. (Shakuhachi Spirit)
3.3 A Harmonic Dance:
--: Ma includes a perception of fluid, elastic time that can be
stretched, contracted, and even suspended. The
deliberate pacing and use of silence encourage both the
performer and the listener to experience the music in a
contemplative manner, emphasizing mindfulness and
presence. Ma refers to a gate swinging between form and
non-form aspects:
--: Between sound and silence.
--: Between mental experience and sensory existence.
--: Between the present note and the song.
--: ...
3.4 Both Inside and Outside:
--: Shakuhachi players practice deep, controlled
breathing to cultivate a sense of calm and focus.
It's not just about physically blowing air into the
flute; it's about controlling the flow of the
energy of conscious awareness. The breath
becomes a bridge between the player and the
instrument, the inner and the outer world.
--: Where is the Breath?
3.5 Listening while Playing:
--: This use of Ma allows the player to explore the
emptiness and presence in their music,
reflecting the principles of finding depth in
simplicity and silence. The quality of the breath
affects the timbre and the emotional depth of
the music and allows for a sense of tension and
release, creating a profound impact. Players use
breath to create subtle nuances, pauses, and
dynamic shifts, making the act of playing the
shakuhachi a form of meditation.
3.6 Clear Mind
--: Pausing after the note and before inhaling lets
the note which has slowly faded continue in
the clear mind with a feeling of serenity and
satisfaction (But too long and the flow ends).
--: Pausing after the inhale for a very brief period,
adds a hunger for the next note, like you can
smell it coming before tasting it (But too long
and the flow stalls).
