The Birdmachine & Michael Pestel
Tokyo’s bird population has declined drastically in the past 75 years. I’m told that’s due primarily to pollution and loss of traditional thatched roofs where many birds nested. Enter the crows, or kurasu, the world’s greatest synathropes, masters of what we do best: produce garbage. There are upwards of 150,000 of them terrorizing the populace with their brilliant antics and survival strategies. It's no wonder that one calls their flock a "murder" of crows. Enter the Birdmachine, a multiphonic, multi-timbrel musical instrument designed to attract and jam with birds, butoh dancers, and anyone else dedicated to avian sound and movement. That includes crows.
From March 17 to April 9, 2015, I'll be in Tokyo performing and jamming with avian butoh dancer, Taketeru Kudo, as well as with vocalist, Mika Kimura, and expatriate shakuhachi players, Yohmei Chris Blasdel and Bruce Huebner, among others. For his April 4th performance at the Tadao Ando Tokyo Art Museum in Sengawa, Chris has invited me and Mika to join him in an unusual acoustic concert space. The performance with Kudosan at Konno Hachimangu, Shibuya's oldest Shinto shrine, on March 22, is the event that set all this in motion. But mostly, I'll be busy exploring the urban soundscape by visiting places where birds used to sing, places where they still sing, and places whose bird names celebrate a particular species. As a kind of shamanic ornithologist bent on discovering the soul of Tokyo's bird life, I'll invoke an avian past of lost sounds in order to connect with the present. I know the crows will be listening!
Showing posts with label Konno Hachimangu. Show all posts
Showing posts with label Konno Hachimangu. Show all posts

Friday, April 3, 2015

Day 16, Wednesday, April 1 – The Dog House

Kudo and I were expected at Joni's place in Shibuya at 8:00. When we got to Tamachi station, I realized I'd lost another Suica subway pass. That was two in one day, my forty-dollar April Fool's joke on myself. Kudo noted that he'd seen such a pass on the sidewalk in front of the Butoh House, but hadn't connected it with me. We decided to hoof it back there, a fifteen minute walk, though neither of us really expected it to still be there. The foot traffic up that street was pretty intense, and anything even slightly out of place would be cleaned up. Sure enough, it wasn't there. 

Tuesday, March 31, 2015

Day 14, Monday, March 30 – Konno Hachimangu Photos

Here's part of my solo when Kudo left the stage for a costume and makeup change. Joni has the Tasmanian Ridgeback, a natural born lion killer, securely leashed in hand and I'm about to put my little Yamaha guitar amp into overdrive.


Joni emailed these photos of the Konno Hachimangu performance the other day. They're pretty good, and may have to do for now, since the video from Yuki's antiquated JVC needs to be reformatted to a codec iMovie can read. For now the sound coming out of that remarkable Yamaha amp slung around my shoulder shall remain mute in the face of Kudo's visual splendor. In the meantime, definitely need a hat, a haircut, and a shave... in no particular order! 





Monday, March 23, 2015

Day 7, Sunday, March 22 – Konno Hachimangu Performance

I'm writing this the day after the performance at Konno Hachimangu. I'll add performance images and quicktime as I acquire them. Kudo was going to arrive at 5:00, and so I asked Yuki to arrive then as well. I, in the meantime, was pathetically lost trying to retrace my steps out of Shibuya Station from two days earlier and was forty minutes late. Somehow I went exactly the wrong way out of the station and up the wrong hill. I asked a couple of women for directions and they went to work on their global GPS cell phones. People in Tokyo are very cell phones savvy and love to help strangers in directional distress. They soon set me straight.

When I got to the shrine, Kudo and Yuki were already there. The three of us were led by the co-abbot, an Austrian man in his thirties, into a changing room in a brand new building on the shrine grounds. We spoke for a while in German about how he came to be here and what the shrine meant to the community, about how they stand on the side of religious flexibility and social innovation. Our butoh performance was a case in point.