Fil-Japan Friendship: bridging cultures through music and shared experiences

Photo by Paul Louie Serrano

During the performance and the workshop the following day, the artists have repeatedly mentioned that when the country's traditional musical instrument Koto is played, the air excuded the presence of the cherry blossom, Japan's natural flower.

If this is the artist's way of establishing "cultural connections through music," as they declared then Japanese musicians Aki and Kuniko certainly won the hearts of the audience of the University of the Cordilleras (UC) theater last July 16.

Acoustic guitarist Aki, and Koto player Kuniko performed through two standing ovations and an encore in an hour long concert that was part of the 2012 Philippine Japan Friendship month in Baguio City.

Supported by the Japan Foundation which also brought to Philippine films, performances and exhibits on the recovery of Japan's Tohoku region after March 11, 201, "Great East Japan Earthquake." Aki and Kuniko were slated to perform more in two venues- Manila and Cebu after their UC engagement.

Japan Foundation Manila assistant director Mitomi Yukie explained that the inclusion of the performances and exhibits in the aftermath of the Fukushima Earthquake in Japan's way of extending their gratitude to the world "for its compassionate support" to the nation and to demonstrate Japan's resolve to rise from the disaster.

Aki and Kuniko's July 16 performance also recalls a similar disaster that occurred in the North Philippines including Baguio City on July 16, 1990.

But none trauma of the both disasters was conveyed during Aki and Kunikos performance. instead the "acoustic duos" repertoire of ten instrumental pieces brought into focus the ethereal and gentle sound of the Koto, heard live for the first time by some in the audience.

Commonly used in the japanes folked music, the koto according to Yukie, is ussually played during New Year and Spring Festivities. The instrument she said, can be played by both genders but it is the female who is mostly seen playing music with it.

Filipinos might recall a song crossover "Sakura" which is accompanied by Koto. Sans vocals the main tune is essentilly delivered by the Koto. " Sakura" is Japanese for "cherry blossom," the inspiration of the fourth song   in Aki and Kuniko's reportoire, the "flower dance".

But while the koto delivers "delicate heartrending murmurs" when plyed by itself, the instruments range widens and becomes driving and forceful when matched with an acoustic guitar.

According to Aki and Kuniko, the acoustic guitar and the koto are natural blend. "The instruments do  not accompany each other but rather they are complementary."

In the next days workshop attended by the Uc Percussion and orchestra, The UC Hapiyoh cultural groups and Students from Baguio City National High School, both musicians elaborated in their instruments are 

complementary.

“ There is a dominant and passive dynamic to our music,” they said alluding to the concept of balance and harmony Yin and Yang.  “The guitar adjusts with the fixed structure of the Koto,” they explain.

The koto’s fixed structure is the result of the tuning system where the bridge for each of its thirteen strings is provided. Tone is assigned by positioning the bridge nearer or farther from the string catch for higher and lower tones. Unlike the guitar, the Koto has no tuning Pegs.

Uc Percussion and Orchestra conductor Paul Louie Serrano observed that Koto is tuned in octaves, which is set apart from the standard tuning of the Acoustic Guitar. Aki acknowledges that he must indeed detune his acousticguitar – adding one whole step from the lower A and D strings and subtracting one whole step from the higher N and E strings to match the Koto’s tuning system.

This results in a guitar chord pattern that matches the musicality of the Koto. Yukie explaines that Aki and Kuniko musical collaboration consict of original compositions inspired by traditional classical and contemporary music. Chording with the acoustic guitar unifies the sound of the Koto where it is played with the single note picking.

However the dynamic of the guitar also shows when Aki plays scales and it is Kuniko’s turn to blend. Aki says he generally plays the E minor pentatonic which is blues and jazz driven. Koto players , explaines Kuniko, optimizesthe instruments range through different techniques in drawing the sound. These consist on plucking the low, middle and high tones, blending, blending, sweeping and scratching the strings.

For the workshop participants, the upclose encounter with the Koto was an experience. “for now, let us forget Hip-hop, rap and rock music. Let us indulge with learning first,” one participant said.

The instrument which was originated from China, is made of hollowed Paulonia wood known in Japan as Kiri. Kuniko explains the design and pattern of the Koto’s body is that of dragon’s. While the bridge and strings were traditionally made out of Ivory and Silk, today they are made of synthetic materials.

“But the care and attention devoted to the instrument is still traditional,” Kuniko said. “ There is a specialist dedicated to fixing strings, another specialist tunes it.”

Source: Baguio Midland Courier