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| National Living Treasure of Japan, Sanshin Master |
Interviewed By Arlynne Hurley
Ryukyu Koten Afuso-ryu Ongaku Kenkyu Choichi Kai participated in the 16th Annual Honolulu Festival. This group, based in Hawaii, is the first Ryukyu classical Afuso-ryu music school to be organized outside of Okinawa. Membership has steadily grown with over 60 members today. The founder of the organization is Master Choichi Terukina who was designated a National Living Treasure of Japan in 2000. That is an incredible feat. His two sons and grandson came from Okinawa to participate in the Honolulu Festival and support Grant Sandaa Murata Sensei, head of the Hawaii group. This group specializes in Ryukyuan classical, folk, as well as modern compositions. We are hoping that the youthful and physically fit Terukina Sensei who is a septuagenarian will participate in the 17th Honolulu Festival.
Terukina Sensei(Right) and Arlynne(Left) A delightful surprise... I was asked to interview Terukina Sensei who happened to be in Hawaii the last week of March. Many reasons for his visit. First of all, the city and county of Honolulu officially declared March 27, 2010 as Choichi Terukina Day. Omedeto gozaimasu!
His group had organized a golf tour from Okinawa to celebrate this wonderful occasion. And to top it off, their group would perform at the 2010 Tobe! Uta-Sanshin in Hawaii Benefit Concert for the Hawaii United Okinawa Association commemorating the Hawaii Okinawa Center's 20th anniversary. A lot of activities in one week.
As I prepared for the interview and researched Terukina Sensei's background and the history of sanshin, I thought about my own roots. My father is Nisei from Hawaii. My grandparents are Issei from Okinawa who came to work in the sugar plantations in the early 1900's. As a child I lived in Okinawa for four years. My parents encouraged me to learn Okinawan dance. I loved it… the beautiful kimono, the sound of the sanshin and drums, the graceful moves and all that make up! Okinawan music, it still comforts my soul.
My father, later in life, lived in Okinawa and distinguished himself as an Okinawan sanshin master having competed successfully against 180 aspirants for a coveted Nomura-ryu Koten Shamisen Shinjin-sho proficiency award in 1988.
I was busy raising two small children then. I wish I had taken more interest in my father's dream. This project with Terukina Sensei brought back all these wonderful memories. I thought that sharing this with Terukina Sensei would give me a better connection with him, make it easier to ask him to carve out some precious time from his busy schedule. I was right. He was delighted to talk after I introduced myself and showed him pictures of me dancing and a news clip about my father.
The theme for the 16th Honolulu Festival was "Discovery through Traditions." And as a part of this theme the Honolulu Festival and the students of Kapiolani Community College had set up a booth at the Hawaii Convention Center called "Share your Voice with the Next Generation." We livestreamed interviews of people expressing their thoughts on this subject.
A little bit about how he got into sanshin. Sensei picked up his first sanshin at age 6. He played it with his own style and played children songs like "Hato poppo" and "Moshi moshi kame yo." He was encouraged by his grandfather who would make Terukina Sensei tune grandpa's sanshin. Grandpa praised him, "You tune so well and that's half of mastering sanshin." Sensei continued to play sanshin and dance through his teens in their annual village talent shows. He was introduced to classical music through his brother who was taking lessons from Afuso-ryu Master Haruki Miyazato. Sensei thought he played well enough but he was awed by the beauty of classical sanshin music when he first began to learn from Miyazato Sensei. That was about fifty years ago. And he's still going strong.
There are a few heartwarming stories that he told us that really need to be shared. Sensei told us the first story when asked, "How did you feel about mastering your art when you were young? Did you feel it was your responsibility to preserve and perpetuate this legacy?" He had an inspirational moment or as Oprah would refer to as an "aha moment" in the mid 60's during his first visit to Hawaii.
After traveling to Minneapolis, Miami and Los Angeles, his desire to visit Hawaii was stronger than ever, even though he had spent all of his money. His buddy and he had come this far. Going home without visiting Hawaii was unthinkable. His friend had relatives in Hawaii so figuring that they could borrow some money when they got to Hawaii they hopped on a plane, landing in Honolulu.
Their first stop was at KIKU TV where Sensei played his sanshin on an Okinawan program. After that, a circle island tour. He thought they would check into a hotel after that but was instead taken to a party where he was greeted by a crowd of 300 local Okinawans who had come to welcome him. So he performed on his sanshin again. The well wishers passed a hat around and Sensei received a large tip for his performance. He wasn't broke anymore! The Issei and Nisei from Okinawa all wept as they listened to his music. They were overwhelmed by the beauty of his Okinawan music. He was sure that they were remembering their past, their furusato (home). That was when he had his "aha moment." That's when he realized that it is his responsibility to continue and spread this art.
Sensei shared an old saying with us at this time, "Gei wa mi wo tasuku." It means that talent or art helps oneself. He felt lucky that he had a special gift. He knew that it was not only for himself but to share with others as well.
After returning to Okinawa, Sensei continued with his two passions, his work at Northwest and then his own business Naha Airport Ground Service, and teaching of sanshin, until the age of 68. He was very busy with work and music, as he says, "ni soku no waraji," (wearing two pairs of shoes). As you can tell, Sensei loves "kotowaza" (proverbs).
So we asked Sensei, "What would you like to share with the next generation?" His desire is to reach as many young students to excel in the traditional performing arts of Okinawa. His program "Tobe Uta-Sanshin" (going on 19 years) is exactly that. "Tobe" means to fly or leap forward. It captures the essence of Sensei's desire for young people to energetically pursue their musical studies. "Tobe" targets the youth. He knows that because he experienced it himself. "If you start when you are young, even if you quit, you can pick it up later. It is best if you continue but it is not necessary. You are quick to learn when you are young. Wakai toki wa waza. (Learn technique when you are young.) Toshi tottara asobi. (Enjoy it when you are older.) Traditions must be started when you are young."
He went on to say, "Sanshin will not disappear. It is a natural instrument, not manmade like a piano. It only has three strings and where you press, that's the sound that comes out. You can adjust the sound to your voice. That is why uta and sanshin are one. Okinawa music is older than European but it did not spread as quickly because we did not establish schools. Our music is free but difficult. You must study hard."
Okinawan performing arts are very popular today, especially in Okinawa and Japan. Eisa (drums) have spread throughout the world. It is not as difficult as sanshin according to Sensei.
History of Tobe:
Okinawa began to give grants in the 1980's to encourage the arts to spread abroad, to encourage foreigners to study Okinawan music. Students travelled to Okinawa to learn. To validate this program Sensei started Tobe in 1994. It is a recital to show what you have learned, to commemorate hard work and accomplishment, and receive recognition.
Sensei's message to local Okinawans:
"The Issei endured hardship when they came to Hawaii to work on the plantations. But it was common belief in Okinawa that if you come to Hawaii, you can make money. The Issei worked hard and made sure they raised their children properly. The Issei made their children study hard. Education was important. And because of these basic values, during WWII, the Issei worried about the Okinawans. The Nisei also felt this concern because they were obedient children. They sent pigs and goats to Okinawa so that the people of Okinawa can recover from the war quickly. The people of Okinawa were very grateful. The Hawaii Center was created to continue this relationship. I want to say to the Issei and Nisei, otsukaresama and arigato (thank you for your hard work). And to the Sansei and Yonsei, pursue your culture."
Terukina Sensei's love for Hawaii spans over 40 years. He loves the people and even listens to Hawaiian music. He says he knows Aloha Oe. "It is so so," he chuckled.
What a special story…from a wonderful storyteller. After the interview, he was going to get ready to go on stage. "Three generations tonight… my grandson, my two sons and me." Just talking to him and thinking about our heritage made me reconfirm my feelings of how proud I am to be Okinawan. We wish Terukina Sensei and his school much success in Okinawa, Hawaii and the rest of the world. Thank you for preserving and perpetuating the traditions and culture of Okinawa. Otsukaresama!
Ippe Nihei Deebiru! Mahalo.
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