my 2 cents about the whole teacher thing

This is very interesting to me Kiku. I can see your point- I am wondering what types of things you have in mind regarding the change in one's personality that occurs with further practice. Is it more than socialization? Is it politics? Is it "spiritual" in nature? All of the above? (is the ice cracking under us)

To address Brian, I think that both Justin, from what I know of him, and Peter are both exceptional occurrences based upon unique circumstances.

The whole licensing thing is fraught with subjectivity, inconsistency and sometimes fraud. You've also got good players, bad players, good teachers, bad teachers, licensed, unlicensed and in every configuration of those factors.

Somebody told me he was the best western player, although nobody recognizes him. I don't think I'd like to study with that dude!

About the maturity issue.......in the west shakuhachi is usually a pursuit of weirdos. We wouldn't be into it if there wasn't something askew about our personalities. I wouldn't hold my breath waiting for people to be well balanced in the shakuhachi world.

Furthermore the best musicians usually have some kind of obsessive compulsive disorder, introversion, ego-mania, and other mental problems. That's how they get to be good. You practice more if you have a lot of time on your hands, few friends, and like to be by yourself.

I don't know how long or what the criteria are for Shihan in KSK, maybe Kakizakai Sensei or Chikuzen can fill us in.

It took me 7 years for Jun Shihan in Jin Nyodo.

Or "mental enhancements", as the case may be!

I just spoke to Chikuzen, he said it takes about 10 years but could take more or less depending on the student and other non-musical factors.

Yokoyama sensei didn't like giving out Shihans and there are very few people who have them. He didn't mind writing the Jun Shihan ones as much although there are not many people with those from him too. Justin and Peter are definitly exceptions. I don't know the circumsatnces So I can't say anything. If someone is intested in their real stories they should ask them. In Japan, you have to learn a lot of sankyoku songs as part of the process. In part, it depends on how many of these the teacher demands you play to determine how long it will take to get a Shihan. It could add years.

I agree with what Brian says about some subjectivity in this area from teacher to teacher. I'm currently rethinking some of my own criteria for certification.

I always thought my Jun-Shihan meant, "ready to teach", not "good player" although one would hope that would be the case.

More like, "Ready to try your hand at teaching".

Luckily we teach beginners when we are beginner teachers ourselves.

That's so right. Since there's no "Methodology for Teaching Shakuhachi"manuel, our teachers are the most immediate reference for how to teach. But we all know how much great performers make great teachers. Ha ha. Some do but that would only be because they are a "teacher" anyway, no matter what field they would have been in. I think that Kiku's mention of maturity goes along these lines. Ayway, nobody is a good teacher when they start. You need experience, like in any field. But, especially shakuhachi. I believe.

Teaching is about problem solving because every student is a different challenge.

Sometimes the best players are crap teachers, no patience and arrogant.

Shakuhachi license is like driving license: it marks the beginning of learning, not the end...

I agree on the driving license thing! That is a good analogy. We all begin out as beginner teachers! And it actually feel really good to take the small steps where you think: "Hey... that advice I just gave came from the experience of teaching I have built up!"

What I meant with the word "maturity" is somewhat the way you place yourself in the shakuhachi scene and history - as well as the maturity in teaching and performing. In some way you will always be a little brick in the whole picture - while some do have tendency of, what Brian described as "obsessive compulsive disorder, ego-mania" etc. An excessive need of quick recognition as the greatest, a narrow-minded view of the shakuhachi, its history and what is right and wrong. That kind of thing. It is hard to avoid it all together - I had aspects of all the above myself (even not licensed)... you get over it (most of the times) - and it would be nice if the shakuhachi world had enough time to wait for that kind of "big head" phase is over.... but then it will be such a subjective judgement.... so I don't even know if I can recommend to follow what I am writing.....

I like the view that shakuhachi practice is like a mountain path, and the certificate and licenses are sign-posts on the path. The sign-posts are not the path- the path is the path, walking the path is the "thing". And the path continues as a trajectory from beginner through shihan, and on... up the mountain. The path can be well-worn by your teacher and lineage, or rugged without... Or rugged with a teacher!

Kiku, your path has no signs .

A signless path in the dark - uphill.....
Mmmmmm.... perhaps I should get my sumie equipment out again and paint that path... or haiku....
perhaps it is best in the imagination.
Nice one!

I love your assessment of master musicians and shakuhachi players, Brian! I couldn't agree more
I started studying shakuhachi exactly thirty three years ago, and I don't know if I can even see the peak of the proverbial mountain!... but that's the beauty of it. I remember praising my South Indian master after he played the most outrageous drum solo, and he answered: "that was nothing... you should have heard my guru play". That taught me a beautiful lesson: at whatever level we are, we always will have someone to look up to... music is an ever humbling and joyful path.
Can't wait to be surrounded by weirdos in Kyoto soon! Hope to meet many of you there...