Practical experience course (Performance on the last day)
Koto; February 10, 11, 12, 2024 at Ryogoku Monten Hall, Sumida City, Tokyo
Biwa; February 16, 17, 18, 2024 at Ryogoku Monten Hall, Sumida City, Tokyo
Ichigenkin; February 23, 24, 25, 2024 at Ryogoku Monten Hall, Sumida City, Tokyo

Hands-on experience event
Ichigenkin, Koto, Biwa
Number of practical skill sessions per participant (including presentation/rehearsals for presentation)
4 sessions
(3 Practical experiences and Performance)

Principal instructor
Koto;
Yoko Nishi
Koto Instructor assistant; Yumika Ehara, Ami Komatsu, Aya Kojima
Biwa;
Yoshiko Sakata
Biwa Instructor assistant; Akiko Kubota
Ichigenkin;
Instructions for playing Ichigenkin: Shinozawa, Ichiren and Ogino, Ichihan. MC: Fujii, Itten.
‘Primary Lecturers’; Talk: Aizawa, Shirotomo “Ichigenkin and The Tale of Genji” .
‘Characteristics of the Lesson’; Offer a basic technic for playing Ichigenkin that is meant for oneself as a spiritual training not to perform to the public audience.

Event features
The course is split into two components depending on participants’ experience and ability.
Group 1: Elementary school students to junior high school students (parents may also participate with their children)
Group 2: High school students and above
Participants of each course may observe sessions of the other course.

The koto using movable bridges and plectrums is the most familiar type of Japanese koto. However playing it involves many little-known tasks before and after performances, such as preparing the instrument, tuning it, cleaning and packing it away afterwards, and other aspects you need to be careful of in order to use it and look after it for a long time. The structure of the instrument may be simple but people don’t realize how many things are involved in playing it. This will be the starting point of the course. When participants actually try playing the instrument, they will be able to discover plenty of unexpected sounds and will be able to appreciate the differences with European instruments and aesthetics.

While gaining firsthand experience of the “sawari” tone which is a major feature of the biwa, participants will learn pitch changing and reverberation techniques.
They will then each practice a set piece of music, and at the final presentation showcase their playing techniques and katari narrative.

Offer a basic technic for playing Ichigenkin that is meant for oneself as a spiritual training not to perform to the public audience.
Appreciation of the performance video of the late Issui Minegishi, Fourth Head of Seikyodo Ichigenkin.

Publicity methods for the recruitment of participants (collaboration, cooperation, networking, etc.)
Publicity leveraging the Sumida River Sumi-Yume Art Project network.
Flyers on shelves at cultural facilities in the Sumida River area.
Distribution of flyers to elementary and junior high schools.
Placement of an announcement regarding the recruitment of participants in the Hogaku journal.

Ways to enable participants to continue with practical skills experience (other than programs covered by this grant) after the end of the event
(1) After the course, we can introduce those who want to continue learning the Koto/Biwa/Ichigenkin as a hobby to suitable instructors and instruments, depending on individual needs and conditions.
(2) We will set up a Monten Traditional Performing Arts reunion group through which we will continue to hold exchanges and performances with instructors, participants, and spectators.
(3) We will hold concerts enabling firsthand experience of professional performances by the instructors. Creating the opportunity for participants to hear professional performances as well as rehearse in the same hall where they have actually taken lessons and experienced performing will create opportunities for continuous exposure to traditional performing arts.