Showing posts with label zen in the art of archery. Show all posts
Showing posts with label zen in the art of archery. Show all posts

Sunday, July 5, 2009

July 5

Book
Zen Mind, Beginner's Mind - Shunryu Suzuki
On Practice....

"You may think that if there is no purpose or no goal in our
practice, we will not know what to do. But there is a way.
The way to practice without having any goal is to limit your
activity, or to be concentrated on what you are doing in this
moment. Instead of having some particular object in mind,
you should limit your activity. When your mind is wandering
about elsewhere you have no chance to express yourself. But
if you limit your activity to what you can do just now, in this
moment, then you can express fully your true nature, which
is the universal Buddha nature. This is our way.

When we practice zazen we limit our activity to the small-
est extent. Just keeping the right posture and being concen-
trated on sitting is how we express the universal nature. Then
we become Buddha, and we express Buddha nature. So in-
stead of having some object of worship, we just concentrate
on the activity which we do in each moment. When you bow,
you should just bow; when you sit, you should just sit; when
you eat, you should just eat. If you do this, the universal
nature is there.

When you practice zazen you should not try to attain any-
thing. You should just sit in the complete calmness of your
mind and not rely on anything. Just keep your body straight
without leaning over or against something. To keep your body
straight means not to rely on anything. In this way, physically
and mentally, you will obtain complete calmness. But to rely
on something or to try to do something in zazen is dualistic
and not complete calmness.

In our everyday life we are usually trying to do something,
trying to change something into something else, or trying to
attain something. Just this trying is already in itself an ex-
pression of our true nature. The meaning lies in the effort
itself. We should find out the meaning of our effort before we
attain something. So Dogen said, "We should attain enlight-
enment before we attain enlightenment." It is not after at-
taining enlightenment that we find its true meaning. The
trying to do something in itself is enlightenment. When we
are in difficulty or distress, there we have enlightenment.
When we are in defilement, there we should have composure.
Usually we find it very difficult to live in the evanescence of
life, but it is only within the evanescence of life that we can
find the joy of eternal life.

By continuing your practice with this sort of understand-
ing, you can improve yourself. But if you try to attain some-
thing without this understanding you cannot work on it prop-
erly. You lose yourself in the struggle for your goal; you
achieve nothing; you just continue to suffer in your diffi-
culties. But with right understanding you can make some
progress. Then whatever you do, even though not perfect,
will be based on your inmost nature, and little by little some-
thing will be achieved."


Tuesday, June 30, 2009

June 29

Reading
Was taking a look (again) at "Zen in the Art of Archery" today. This is probably the most important book I've ever read relating to playing my instrument. I recommend this book to anyone in the arts. As I read this book, I just substitute the word trumpet every time Herrigel uses archery.
"What is to be done? How does skill become "spiritual," and how does sovereign control of technique turn into master swordplay? Only, so we are informed, by the pupil's becoming purposeless and egoless. He must be taught to be detached not only from his opponent but from himself. He must pass through the stage he is still at and leave it behind him for good, even at the risk of irretrievable failure. Does this sound as nonsensical as the demand that the archer should hit without taking aim, that he should completely lose sight of the goal and his intention to hit it? It is worth remembering, however, that the master swordmanship, whose essence Takuan describes has vindicated itself in a thousand contests."

Zen in the Art of Archery - Eugen Herrigel, pg 72


Art
Wassily Kandinsky

I'm a HUGE fan of Kandinsky's work. I started reading this book of Kandinsky's today. This is a follow-up to his first book, "Concerning the Spiritual in Art." In these two books, he outlines the dynamics involved in his painting regarding texture, time, and even drawing parallels between color and musical pitches and the emotional effects.

"Composition V" 1911 - Wassily Kandinsky

Music
Chet Baker Interview
In college I really got into a deep Chet "thing." Probably lasted from 1980 to 1983 when I had moved to Washington, D.C. I was never into the stuff Chet did in the early years. I was very attracted to his playing just before he died. He spent all that time in Europe after having new teeth put in. I thought his playing in the later years had really changed. To my ears, his sound had become darker and more soulful. He was always a person that had a good balance of space in his melodic lines. I think in the later years, he had really mastered the use of space. His improvisations really remind me of a painting. His use of space along with the harmonic color and his vocabulary was very much like a painter.


Chet Playing Cherokee in Antwerp
I included this video cause it's nice to hear Chet "fly." A lot of people would be surprised to hear him playing like this on Cherokee. A lot of people only associate Chet with My Funny Valentine and other moody ballads. That's something I like about his playing. He could play as fast as anyone but, he wasn't the kind of player that felt a need to have to show you that all the time. Maybe cause he had reached such a level of maturity and detachment, he didn't have to be "up in your face."

I remember reading something pianist Hal Galper mentioned in the liner notes of a recording I was listening to a lot in the early 80's. Galper was talking about his time working with Chet in Europe. Galper talked about how Chet was a master at not playing too much.
"Chet always knew how to leave the audience wanting more."
Hal Galper

Performance at OPCM

Free Rein, a performance at OPCM on April 3, 2009 from mxxx palmer on Vimeo.



Poetry Reading: Ted Kooser


Stevie Wonder wrote this tune for Michael Jackson
I Can't Help It (Live)


Edward Elgar
I started looking into Elgar's life and music today. Here is a rare clip of him conducting his own incredibly famous "Pomp and Circumstance."
k