1. Perspective:
--: Koshinto is the original or ancient form of Shinto.
--: All Natural Forces are Kami and influence our lives.
--: Shinto is not a religion, belief system, or dogma; but
is an Indigenous World View which has evolved and
which remains a part of Japanese culture. I am using
what I have learned to understand my musical instrument,
the Shakuhachi, and how to improve my music.
--: It is wrong to simply label Shinto as Animism, a
Western philosophical concept with a complex history
(and many definitions or versions).
--: It is wrong to overlay modern concepts such as saying
the Kami are Gods because even though they were
personified for storytelling, they were much more
than anthropomorphic entities.
2. The Essence of Shinto (by Motohisa Yamakage):
--: These are quotes from the book and provide some perspective on Shinto.
--: Shinto has no idols. Shinto has no dogma/fixed doctrine. Since there is
no doctrine espoused in Shinto, there are no absolute precepts.
--: Shinto is at its core a life-affirming faith. Living in the world is a positive
experience, but it is not regarded as the only reality and never should
the presence and power of an 'unseen' world be denied.
--: It is true that people make their ceremonies by facing the sanctuary of
the shrine or the rock, which is called iwakura, or rock seat. This does not
necessarily mean they are worshiping either the shrine or the rock
itself, and that they treat them as icons. They are merely places where
the worshiper finds spiritual inspiration and so journeys from one level
of reality to another, experiencing a true connection with Kami.
--: For the purpose of a shrine is not to impose a single idea or belief
system, but to create a pervasive sense of reverence and awe and so
enable us to access the spiritual dimension.
--: ..., it was an unprecedented situation for Shinto to be
faced with government control in the beginning of the
Meiji Era in 1868.
--: During this time of great turmoil, Shinto was forced to
mutate into a distorted, nationalized religion, of which
grotesque ethnocentrism was the most notable
characteristic.
--: Most of the themes of this book are taken from Yamakage
Shinto, which was handed down through the Yamakage
family for many generations. The author of this book is
the 79th successor. Yamakage Shinto is also known as
koshinto.
--: Then Yoshida Shinto developed, which integrated the way
of yin and yang inherited from Daoist influences. Later,
Shirakawa Shinto and Great Shrine Family Shinto (Shake
Shinto) developed.
--: Shinto sees everything in existence as generated by and
transformed from the ultimate origin of life; this is expressed
in the idea that all forms of life are a child-spirit of the
original Kami.
--: It is always so easy for human minds to expand lazily and
limitlessly, and in so doing to lose stability. We must
therefore keep our mind firmly at the center of our body
(tanden, tantien, or Center of Gravity)
that is the center of our true self, to
avoid its falling into a state of imbalance.
--: It is said that Shinto begins and ends with Harai
(purification). Harai of the spirit of sounds means
purification through the use of music.
--: The purification with Harai through heaven involves
receiving spiritual light from the spirit of Kami, the spirit of
the Word (kotodama) or the spirit of sound (otodama). The
Harai of spiritual light from the spirit of Kami signifies the
worship of Kami and cleansing of oneself by receiving sacred
vibrations.
--: Since we chant these words with energy from the
abdomen, it naturally creates the repetition of deep
breathing from the belly: this way of breathing is called
the 'long breathing method' (okinagaho) in Shinto.
--: Through this breathing, the power in the physical body is
increased. The word Chinkon has a long history. It
originates in a saying found in an article about Iso no Kami
Shrine in the old book named Twenty-two Sha Hon'en.
This saying is: ''Chinkon means making our drifting soul
settle down at chufu (tanden, the spot below the belly
button).'' In other words, it means finding the physical
center and the center of consciousness.
--: The Japanese word for breathing is kokyu (the two
characters in kokyu mean exhale and inhale). Since
ancient times it has been understood that you must first
thoroughly exhale to effectively practice the breathing
method.
--: According to the teaching handed down to
Yamakage Shinto, our material world mirrors
the hidden world, and every existence is the
mirrored embodiment of the spirit of Kami,
or shinrei. Therefore we can say that the
hidden world is the land of root (nenokuni),
that is, the root from which everything has
emerged.
--: Human beings have the potential to become
Kami!!!
3. Shinto and Ma
--: In Shinto, Ma is closely related to the idea of sacred spaces,
known as yorishiro or iwakura, where Kami Energies exist.
These spaces, often marked by Torii gates or other natural
features, are seen as thresholds between the mundane world
and the spiritual realm. The concept of Ma represents the
invisible boundary or interval that separates the sacred from
the ordinary, allowing for a space where humans can connect
with the divine.
--: Shinto rituals emphasize the importance of timing, rhythm, and
the proper sequencing of actions. Ma plays a crucial role in
these rituals by defining the pauses and intervals that give
meaning to the ritual acts. The spaces between words in
prayers (norito), the intervals in ceremonial movements, and
the timing of festivals (matsuri) are all infused with Ma,
creating a flow that is in harmony with the spiritual world.
--: Shinto is deeply connected to nature and the cycles of
the natural world. Ma in Shinto reflects the balance
and harmony that is central to this belief system. It is
the space that allows for the coexistence of
opposites, such as light and dark, life and death, or
the human and the divine. By recognizing and
respecting these intervals, Shinto practitioners
maintain a harmonious relationship with nature and
the Kami.
--: The concept of Ma is also linked to the Shinto practice
of purification (Harae). Before entering a sacred space
or participating in a ritual, individuals often undergo
cleansing rituals, such as washing hands and mouth at
a temizuya (purification fountain). The act of
cleansing creates a Ma, a gap between the impure
state and the purified state, allowing for a transition
from the mundane to the sacred.
--: Ma in Shinto encourages living in harmony with the
present moment, acknowledging the spaces and
pauses in life as opportunities for reflection and
connection with the Kami. Shinto emphasizes the
importance of mindfulness in everyday actions,
recognizing that the divine can be found in the
simple, everyday spaces and moments that are often
overlooked.
--: Shinto rituals and festivals often involve the
community coming together, and Ma can be seen in
the social interactions and communal activities that
define these events. The spaces between individuals,
the timing of communal actions, and the rhythm of
collective prayers all reflect Ma, fostering a sense of
unity and harmony within the community.
--: In summary, the concept of Ma is deeply
embedded in Shinto practices and beliefs,
influencing the way sacred spaces are
perceived, rituals are conducted, and life is
lived in harmony with nature and the divine.
--: Ma serves as a bridge between the physical
and spiritual worlds, creating spaces where
the presence of the Kami can be felt and
honored.
4. Japanese Music Theory VII: Time and Space, Ma
--: The following profound quote is from a Youtube video by Shawn Tairyu Head:
Japanese Music Theory VII: Time and
Space, Ma
--: "Space was thought of like void - like the vacant
holy zone - and even concrete objects were
thought to be void within. Kami were believed to
descend to fill these voids with spiritual force
(chi). Perceiving the instant at which this ocured
became decisively important for all artistic
endeavor. Space was perceived as identical with
events or phenomena occurring within it; that is,
space was only observed in relation to time flow."
~ Arata Isozki, "Ma: Japanese Time-Space" p. 71
5. Ma and the Shinto Gate
--: The Japanese concept of Ma is closely
related to the Shinto gate, known as a Torii.
The Torii is a traditional Japanese gate most
often found at the entrance of Shinto shrines,
and it serves as a symbolic threshold between
the mundane world and the sacred space
where the Kami (underlying active essence) resides.
--: 5.1. Threshold and Transition:
--: Ma represents the space or interval that exists between different
states or realms. The Torii gate embodies this concept by marking
the boundary between the ordinary, everyday world and the
sacred, spiritual realm of the shrine. Passing through the Torii is an
act of transition, moving from the profane to the sacred, and Ma is
the invisible space that facilitates this transition.
--: 5.2. Symbolic Space:
--: The space within and around the Torii gate is considered to be
imbued with Ma. This space is not just physical but also symbolic,
representing the idea of separation and connection between the
human and the divine. The Torii creates a Ma that invites reflection
and mindfulness as one prepares to enter a sacred area.
--: 5.3. Ritual Pause:
--: In Shinto practice, approaching a Torii gate often involves a
pause or moment of contemplation, which is an expression
of Ma. This moment allows individuals to mentally and
spiritually prepare themselves for entering the shrine. The
act of pausing before passing through the Torii emphasizes
the importance of Ma as a space for reverence and
awareness.
--: 5.4. Alignment and Harmony:
--: The placement of Torii gates is often carefully aligned with
natural elements or the layout of the shrine, creating a
harmonious flow between the environment and the sacred
space. This alignment reflects the concept of Ma as the
space that harmonizes the relationship between the human
world and the spiritual world, ensuring that the transition
through the gate is smooth and balanced.
--: 5.5. Multiplicity of Gates:
--: In some shrines, especially the famous Fushimi Inari Taisha
in Kyoto, there are multiple Torii gates lined up in
succession, creating a tunnel-like pathway. This series of
gates enhances the experience of Ma by extending the
transition from the outer world to the inner sanctum, with
each gate serving as a successive marker of deeper entry
into sacred space.
--: 5.6. Spatial Awareness:
--: The design and structure of the Torii gate, with its open and
simple form, emphasizes the importance of the space it
defines. Unlike a solid wall or door, the Torii's open
structure draws attention to the space it frames, making
the concept of Ma-the interval or gap-more apparent. It
invites those who pass through to be aware of the space
they are entering and the significance of that passage.
--: 5.7. Torii & Ma Summary:
--: In summary, the concept of Ma is intricately
linked to the Shinto Torii gate, as it represents
the crucial space of transition, reflection, and
connection between the human and the
divine. The Torii gate embodies Ma by marking
the boundary between worlds, creating a
space that is both physically and spiritually
significant, and encouraging a mindful
approach to entering sacred ground.
6. Shakuhachi Music
6.1. Taki Ochi
--: Have you ever hiked with the destination of a
Waterfall?
--: Have you ever been hiking and found a small
waterfall and been moved to pause there?
--: What is the spirit or essence of Waterfall
energy?
--: You can play Waterfall energy on the Shakuhachi
and people will stop due to an ineffable energy (Kami)!
6.2. Daha
--: Have you ever sat by an ocean, sea, or large
lake and listened to the waves crashing or rolling?
--: Have you ever felt that sitting in the presence
of waves changes your perception of the
passage of time?
--: The shakuhachi can play sound that crashes or rolls like
wave Kami and changes the space-time of the listener!
6.3. Shingetsu
--: Have you ever seen a smiling crescent moon
and felt happy that the moon would be
waxing again?
--: Have you ever been out under the full moon
and enjoyed the play of moon shadows?
--: Do you feel the changes in your being as the
moon changes its phases?
--: Shakuhachi can express the moon's power (Moon Kami)!
6.4. Sanya
--: Have you ever enjoyed hiking (or driving)
from a mountain valley up to the mountain
top and hiking (or driving) back down?
--: How does the feeling of the rich, lush
Mountain Valley differ from the feeling of the
expansive view from the Mountain Peak?
--: The shakuhachi can sound like the journey
through the mountains (Mountain Kami sound), rising and
descending (and life rises and falls as well)!
6.5. Uki Gumo
--: Have you ever watched floating clouds and
how they swirl and continually change form?
--: Have you ever let your imagination allow the
patterns in clouds form pictures and remind
you of earthly forms?
--: The Shakuhachi can sound like floating clouds Kami
and allow the listener to imagine scenes in
their mind's eye, reflecting their nature and
providing a teaching of everything changes
and is impermanent.
6... Other Kami Honkyoku...
7. Being Kami
--: You and the Shakuhachi with the use of Ma
can open a liminal Torii gateway from the
realm of the ordinary into a sacred space
where transcendental experiences are felt.
--: You and the Shakuhachi with the use of Ma
can open a Sound Gate and bring into awareness
the Kami forces of nature.
--: The effects of pure tone shakuhachi vibrations
will change ordinary space-time
to reveal the underlying sacred space-time.
