IMJS: Japanese Cultural Heritage Initiatives
Columbia University
Treasuring the Past・Enriching the Present・Transforming the Future
- This event has passed.
30th Anniversary Event: The 700th Anniversary Memorial Service for the Zen Abbess Mugai Nyodai (1223－1298)
Saturday, November 21, 1998 @ 10:00 am - 12:00 pm
無外如大禅尼 (1223－1298) 700年遠忌法要
700th Anniversary Memorial Service in honor of the Zen Abbess Mugai Nyodai (1223-1298)
Commemorating the thirtieth anniversary of its founding in 1968, the Institute held a series of events November 21-23, 1998 on The Culture of Convents in Japanese History at Columbia University.
Nuns from the few remaining Imperial Buddhist Convents of Japan now being studied by the Institute visited the United States for the first time to conduct a rare Buddhist ceremony in St. Paul’s Chapel in memory of their spiritual leader, Zen Abbess Mugai Nyodai, who is known as the first female Zen master in Japan. The seven-hundredth anniversary of her death in November 1298 was commemorated as part of the Institute’s thirtieth anniversary.
During the memorial service, nuns from Kyoto, Osaka, Nara and Tokyo conducted Buddhist rituals never before seen outside Japan, and never viewed by the general public even in Japan. Chief Abbot Keido Fukushima of Tofukuji monastery performed a special incense burning and poetic invocation.
Unprecedented musical offerings were conducted in honor of Abbess Mugai Nyodai, including not only a world premier of Mind in Mirror: Nyodai’s Dream composed by Yuriko Hase Kojima for shakuhachi, pipa and bass koto, but also an offering of songs composed by the medieval German Catholic nun, Hildegard von Bingen, performed by members of Columbia’s Collegium Musicum.
Dr. Peter Haskel (First Zen Institute of America) chanted The Heart Sutra, and words and poetry were offered by Prof. Barbara Ruch (Institute Director); Dr. George Rupp (Columbia University President); Ambassador Seiichiro Otsuka (Consul General of Japan in New York); Rev. T. Kenjitsu Nakagaki (Buddhist Council of New York); The Very Rev. James Parks Morton (Interfaith Center of New York); and High Priest Shunsho Manabe (Kanagawa Prefectural Kanazawa Bunko Museum). (The full text of these remarks can be seen in the Program of the Memorial Service.)
The entire ceremony took place in front of a Buddhist altar arranged before an exact replica of the thirteenth-century chinso portrait statue of Abbess Mugai Nyodai. The replica, the original of which is designated an Important Cultural Treasure and enshrined in a Kyoto convent, was lent to the memorial service by its owner, the Kanagawa Prefectural Kanazawa Bunko Museum.
Led by Abbess Shozui Rokujo of Domyoji Convent, the nuns’ rituals included a rare performance of the scattering of paper lotus petals in a circumambulation to gagaku music.
At the conclusion of the two-hour service, more than 200 guests from around the world offered incense at the altar in honor of Abbess Mugai. Following the memorial service, the Buddhist clergy and special memorial service guests participated in a traditional tea ceremony provided by the Urasenke Chanoyu Center of New York in the Rotunda Gallery of Low Memorial Library.
In conjunction with the Gagaku-Hōgaku Classical Japanese Music Curriculum and Performance Program at Columbia University, launched in September 2006, the Institute for Medieval Japanese Studies presents several public gagaku concerts and instrumental workshops to introduce the ancient music of Japan to a greater audience at Columbia University and in New York.
Concerts
Leading gagaku artists are invited from Japan to perform at our New York concerts. Members of the renowned gagaku ensemble Reigakusha, such Mayumi Miyata (shō), Hitomi Nakamura (hichiriki), and Takeshi Sasamoto (ryūteki), have presented pieces from the classical repertory as well as contemporary compositions for the ancient gagaku instruments. The concerts are an important showcase for newly-commissioned works for gagaku instruments. At the March 2006 and February 2007 concerts, new compositions by Hiroya Miura, commissioned by the Institute for Medieval Japanese Studies, were given their world premieres. These musical gatherings are also an opportunity for collaboration between musicians and artists from Japan and the United States, as well as between performers of eastern and western instruments. In November 2006, the gagaku musicians and bugaku dancers of the Ono Gagaku Society of Tokyo performed with Shrine Celebrant Kagura Dancers from the International Shinto Foundation in New York.
Workshops
Visiting gagaku artists from Japan also lend their expertise by providing instruction for open instrumental workshops. Participants, including both beginners as well as professional musicians, gain hands-on experience with their choice of the three gagaku wind instruments: hichiriki, ryūteki, and shō.
Japanese court music (gagaku) is the oldest continuous orchestral music in the world today, with a history in Japan of more than 1300 years. The term gagaku itself, which means elegant or ethereal music, refers to a body of music that includes both dance (bugaku) and orchestral music (kangengaku) handed down over the centuries by professional court musicians and preserved today by musicians belonging to the Imperial Household Agency in Tokyo.
Gagaku can be divided into three categories according to origin: 1) indigenous vocal and dance genres, accompanied by instruments and employed in imperial and Shinto ceremonies; 2) instrumental music and dance imported from the Asian continent during the 5th to the 9thcenturies; and 3) vocalized poetry in Chinese or Japanese set to music from the 9th to the 12thcenturies. The best known and most frequently performed is the music of the second category, known as Tōgaku (if of Chinese and continental origin), or Komagaku (if of Korean origin). Classical Tōgaku pieces are performed by large instrumental ensembles of up to thirty musicians, consisting of shō (mouth organ), hichiriki (double-reed pipe), ryūteki (transverse flute), biwa (pear-shaped lute), koto (long zither), taiko (large drum), kakko (cylindrical, double-headed drum), and shōko (bronze chime). When accompanying bugaku dance, however, the Tōgaku ensemble consists only of winds and percussions.
Gagaku is comprised of many musical traditions and influences that traveled the Silk Road from the Middle East through Central Asia and Tibet, flourished in T’ang Dynasty China (618-907), and finally journeyed further to Korea and Japan. Although this musical heritage has been abandoned in many other countries, this ancient orchestral music continues to be performed and preserved in Japan, a country where foreign cultural imports were readily absorbed and where aspects of ancient high culture were revered and rarely abandoned. Without a doubt, gagaku, in tempo and even in certain melodies, is not today what it was in ancient Japan or on the continent, but in many ways, today’s gagaku may be the only living evidence of those ancient musical ensembles, their musical instruments, musical sounds, and the musical cosmology of the Asian continent and of ancient Japan.
Until at least the 1960’s, due in great part to the Imperial Household Agency’s mission to preserve permanently musical forms that are more than a millennium old, gagaku musical traditions were transmitted as faithfully as possible to their originals. Over the past few decades, however, some imperially-trained musicians have become increasingly aware that preservation alone is not enough to keep an art alive. Pioneers such as former Imperial Household Music Department member Sukeyasu Shiba, who created the Reigakusha gagaku ensemble outside of the court, have held an important role in training new artists. His and other similar ensembles are impacting the present-day international musical scene with their performances of gagaku compositions, both classic and contemporary.