The International Shinto Foundation, Inc. (ISF) feels it a great honor and proud of that it has sponsored two Gagaku concerts presented in New York City late November 2006. The first concert took place on November 28, 2006, at the auditorium of the Japan Society of New York under the joint auspices of the Permanent Mission of Japan to the United Nations and the Japan Society commemorating the 50th Anniversary of Japan’s membership in the United Nations. The second one was organized by the Institute for Medieval Japanese Studies at Columbia University to celebrate the 20th Anniversary of the Columbia University’s Donald Keene Center of Japanese Culture on November 30, 2006 in the Riverside Theatre at the Riverside Church.
     The two concerts were performed by the selected members of Ono Gagaku-kai Society from Tokyo. Gagaku, which literally means elegant or refined music, was under continual patronage of the imperial court since the 6th century in Japan; this music is often said the oldest extant orchestral music in the world, and one of the main orchestral forms of Japanese music. The essential core of Gagaku music tradition managed to survive through the vicissitudes of Japanese imperial history; today we can still listen to music that is over a thousand years old played in a style close the original.
     Ono Gagaku-kai Society is the oldest private Gagaku organization, established in 1887 by Ryodo Ono, the chief prist of Onoterusaki Shrine in Tokyo. Ono Gagaku-kai was established the year Gagaku was first made available to commoners.
     ISF, as an international NGO in consultative status with the United Nations Economic and Social Council and associated with the UN Department of Public Information, prepared and arranged the Gagaku concerts in New York City in cooperation with Ono Gagaku-kai.
     The first concert at the Japan Society was entitled “An Evening of Gagaku, Japanese Court Music” for the invited guests from the diplomats and distinguished circles, and the second one at the Riverside Theatre was entitled “Gagaku, Japanese Royal Court Music and Sacred Dance” for the students and general public who are interested in learning a Japanese cultural value.
     We are glad to present herewith the contribution of three persons who attended one of the two concerts.

Mrs. Melanie Shintaku’s impression

     Thank you very much for inviting us to the Gagaku performance the ISF sponsored at the Japan Society.

     I wanted to let you know how much I appreciated attending this special event. All of the artists were amazing. However, I particularly enjoyed the performance of Urayasu no Mai. Watching as the two dancers took to the stage, I thought about how calm and tranquil they looked, just like two angels who appeared.

     Initially the natural beauty of the dancers, their fans, the embroidery and colors of their clothing captured my attention. However, as soon as they began dancing, what captured my attention was no longer the superficial. I found myself mesmerized. Each dancer looked as if they were praying through their dance. Their peaceful nature and calm demeanor made it possible for me to feel as if it were just the dancers and myself in those moments, as if we were actually transported someplace else. I believe their performance of this sacred shrine dance explains the nature of Shinto heart best. Through eloquent, peaceful movements the recognition of a calm, spiritual world became evident. The music, singing and dance combined in perfect harmony bridging the spiritual with the earthly.

    Again, I thank you on behalf of myself and my family for this unique and truly memorable experience. This experience will resonate with me for a long, long time.

(Mrs. Melanie Shintaku is a computer programmer working in Washington, D.C. She married to Mr. Shiro Shintaku, a Master of Japanese martial arts under the school name of “Ten-Shin-Ichi-Ryu”. Melanie has been practicing Japanese dance belonging to and qualified by Onoe-school, one of the major Japanese dance organizations.)

Mr. Robert Sosinski’s impression

     On November 30th, I made my way to an event I was looking forward to for over a month, a live performance by the esteemed Ono Gagaku Society of Tokyo. The reason for the event was to mark the 50 year anniversary of Japan’s membership into the United Nations and the 20 year anniversary of Columbia University’s Donald Keene Center of Japanese Culture. It is of no surprise that a Gagaku performance was chosen to mark these two very important occasions. As the oldest known form of orchestral music, Gagaku carries with it not only strong ties to Japanese tradition, but to human culture throughout the world. Sponsoring the event was the International Shinto Foundation from New York City and the International Foundation for Arts and Culture from Tokyo, both of whom did a fantastic job. When the event was ready to begin, I took my seat at the front and as the lights dimmed, prepared for the music.

     Gagaku music is quite a bit different than what many Westerners are used to listening to, and as such can be confusing when experienced for the first time. The reason is two fold: Firstly, Western musicians strive to have their instruments work in a certain harmony in efforts to create one tightly woven sound. Gagaku however, tries to distinguish each instrument independently. For this reason, Gagaku music may initially seem to lack rhythm. However, upon paying attention to the beat of the double-headed kakko drum and noticing the gradually reverberating pace of all players involved, Gagaku’s rhythm becomes noticeable and very intriguing. Once the music’s tune becomes evident, the listener can start to piece together each independent sound and create in their mind a fantastic and very unique musical experience.

     The other major difference is that Gagaku strives to avoid any emotion or romance. This is of major difference between Western style music, especially symphony, where instruments were even associated with certain emotional characteristics. The trombone for example, was believed to symbolize the sound from the dark underworld. The reason Gagaku strays away from these characteristics is so the music stays as formal as possible. By doing so, the orchestra allows people to focus their emotional energy onto the event at hand, such as the marriage of bride and groom or graduation of family and friends from school.

     The event was pieced into three disciplines, Orchestral Works (Kangen), Sacred Dance by Miko Shrine Maidens (Kagura mai) and Dance Pieces (Bugaku). Starting the orchestral event was a piece called Hyojo no netori, or tuning in the key of E. Westerners usually do not consider tuning a part of the performance, however it is critical in Gagaku that the audience and orchestra establish a rhythmic relationship that will last the entire performance. Once the atmosphere was set, the orchestra continued into three other pieces, Goshoraku no kyu, Etenraku and finally, Bairo, all of which were very soothing, spiritual and enjoyable.
After a brief pause, the event moved into my favorite part, The Sacred Shrine Maiden Dance. As the high-piched ryuteki flute started to play, Noriko Sugisaki and Suzue Nitobe acted as Miko Shrine Maidens, who while wearing full ceremonial court robes methodically moved onto the stage and started to dance in perfect unison. Seeing both dancers slowly and carefully move around the stage with folding fans and brass bells to the tune of Gagaku music was an amazing experience. The performed dance of Urayasu no mai strives to create a tranquil experience and is rooted in Japans endeavor to create a peaceful world. As the performance came to an end and the dancers left the stage, I was of my belief that the two dancers succeeded in doing exactly so.

     After a short intermission, the event moved into two Bugaku dance pieces, Ryo-o and Nasori. In each piece, a heavily dressed dancer slowly enters the stage and in very fluid motions dances in sync with the Gagaku music. While wearing red and blue ceremonial outfits representing dragons and masked warriors, Hiroshi Shibata and Ryoki Ono created a fantastic atmosphere that complimented the Gagaku music perfectly.

     Concluding the event was a final piece played not only by the Ono Gagaku Society of Tokyo, but also by students of Columbia University’s new Gagaku music class. This is very significant as it shows that Japan’s endearing culture is growing to other cities around the world. To continue the growth of Gagaku outside of Japan, the Ono Gagaku Society donated a 13 string gaku-so to Columbia University, which I am sure will be put to good use. Between experiencing the event and learning of how Gagaku will continue to thrive outside of Japan’s borders, I can only say I am impressed by the performers, very grateful to have been able to witness such a timeless tradition and also learn of such a major milestone in culture worldwide. It is my sincere hope that everyone involved will continue to grow in their musical endeavors, of which I have no doubts otherwise.

(Mr. Robert Sosonski is a computer engineer working in New Jersey and deeply interested in Japanese culture after a few year-long living in Japan.)

Ms. Patricia Patton’s impression

     I had the extremely rare pleasure of hearing the elegant music of ANCIENT JAPAN, Gagaku, in New York City last month. Actually,no words (are enough)to describe the wonderful music which was performed by the "Ono Gagaku Society"...the closest words to describe it would be ..." a subtle magic."...and even these words are not enough! The musicians were there, yet "not there" at the same time, in other words they let the music "shadow" them ,in this way, they become an integral and true embodiment of the GAGAKU's expression!...

     I am very interested and attracted to GAGAKU because we Native Americans, have that similarity in our culture when we "play" music. For example, the Drum MEANS more than the physical instrument...the players or the musicians blend with the drum, become an extension of the drum in order that they give total and full EXPRESSION to nature...in American Indian culture, the drum is the heartbeat of the earth and our flutes give vocal cords to the wind...I saw and felt something similar to this happening on the stage as I watched this GAGAKU EXPRESSION....I don't want to use the word concert. which is in the category of entertainment...GAGAKU of course transcends that!

(Ms. Patricia Patton was born and raised in New York City and became interested in Japanese culture about ten years ago. She has been teaching English to many Japanese students for over fifteen years.)