Welcome to the home of New York City performing artist and professional shakuhachi craftsman Perry Yung. My work in with this special instrument ranges from crafting and repairing of traditional flutes to performing in theater, recording for film and in concert with both traditional and contemporary music, most notably with the renown composer Vangelis (Qatar 2011). In 2002, I received support by both the American and Japanese governments to specifically study shakuhachi making and playing in traditional lineages. I received combined grants from the Japan-US Friendship Commission, National Endowment for the Arts and the International House in Tokyo that enabled me to travel throughout Japan to meet with both Zen and modern shakuhachi makers and master players. I was introduced to my main shakuhachi making and playing sensei, Kinya Sogawa, through my New York City shakuhachi teacher, Ralph Samuelson. Before I embarked on my journey to Japan, I had been performing on the shakuhachi in experimental theater productions internationally with La MaMa E.T.C. What I experienced in Japan was utterly fantastic and beyond the scope of an introduction. It would be both a privilege and honor to share that experience and encourage any questions what so ever.

I was primarily trained as a visual and performance artist having graduated from San Francisco State University with a Bachelor’s Fine Art and Summa Cum Laude with an Outstanding Student Award for graduating at the top of my class. My time in New York City was first spent honing my stage craft as a full scholarship student at the Martha Graham School of Contemporary Dance and then by performing with some of downtown New York City’s quintessential theater artists like Ping Chong, Fred Ho, Pan Asian Repertory Group, Theadora Skipatares and Ellen Stewart’s Great Jones Repertory Group to name a few.

With Great Jones Repertory Group, Celebrating Ellen Stewart, 2010

My performance work takes precedent but I take shakuhachi commissions and repair work daily. Your flutes will receive my utmost attention.

I was first introduced to the shakuhachi in both music and making through Yukio Tsuji and Genji Ito, two resident musicians of La Mama E.T.C. Shortly after, I studied traditional music under Ronnie Nyogetsu Reishin Seldin, Brain Ritchie and Ralph Samuelson before going to Japan to start my Japan/US Friendship artist residency. I studied making and playing in the Dokyoku style of Watazumi under Kinya Sogawa in Saitama, Japan and in order to gain a wider, unbiased understanding of shakuhachi making, I began studying other styles of traditional music - Jin Nyodo style under Keisuki Zenyoji (Jin Nyodo’s godson) and Goro Yamaguchi (Chikumeisha Kinko) under Christopher Blasdel. I also studied modern techniques with Akikazu Nakamura (Katsuya Yokoyama, Berklee College). For shakuhachi making, I visited the workshops of Tom Deaver, John Neptune, Motofumi Tatekawa and the Seikado workshop. I also attended workshops in Japan and the US with master Kifu Mitsuhashi (Jin Nyodo) and did several private intensive lessons with Riley Lee to study the Chikuho Notation system. And as part of my on-going studies, I continue to expand and hone my understanding of the shakuhachi by studying the most contemporary style known as Tozan Ryu.  These days, Ralph Samuelson is my main teacher but I am greatly indebted to all my wonderful, generous teachers whom I try to honor by continuing to spread the shakuhachi with transparency and inclusion.

Performing aburanuki (oil removal) on newly harvested bamboo with Kinya in 2003

The main reason why I teach shakuhachi making is to spread the beauty of the instrument. I have been an invited guest artist to teach shakuhachi making workshops in traditional shakuhachi music settings such as Michael Chikuzen Gould’s shakuhachi camps, in zen centers - The Zen Center of New York City (Fire Lotus Branch) and Zen Mountain Monastery (Mountains and Rivers Order): http://www.mro.org/zmm/retreats/detail/2011/ART1151.php , museums - Tibetan Museum, New York and also institutions of higher learning - University of Massachusetts, Smith College and Washington College (to name a few).
photo by Larry Mullins
Teaching a shakuhachi making workshop at Dia Shihan Michael Gould’s Chikuzen Ro Camp 2007

At Zen Mountain Monastery (Mountains and Rivers order). March, 2011

With music and anthropology students at Washington College, Maryland. November, 2011

Aside from experimental theater, contemporary and traditional shakuhachi music, I also truly enjoy exploring and sharing the flute in a spiritual approach. I have worked with ordained Buddhist Monk and shakuhachi shihan Barry Daido Houun Weiss and Ralph Samuelson by making shakuhachi for their workshops in zen monasteries. The shakuhachi as taught properly in America today, is largely based on the transmission of a lineage of shakuhachi music - Myoan, Taizan, Seian, Dokyoku, Kinko, Minyo, Tozan etc…. In Japanese tradition and culture, the teacher must have a license to teach the music of the lineage. It is an experience rich and deepens in time when adhered to. However, the simple process of making a sound is still powerful and uniquely personal for everyone beyond this cultural formality. In a nutshell, playing the shakuhachi can be can be divided into two main approaches - the musical the spiritual. Working in zen centers has helped me fuse both traditional music and spiritual practice. This solidified my own personal idea of the shakuhachi, that this duality can live together harmoniously. For me, there is no wrong way to play the shakuhachi. Whether one wants to sit and breath deeply with a natural bamboo flute, or perform in an ensemble at Carnegie hall with a modern instrument, there is an appropriate flute and teacher for the situation. It is simply matter of understanding the scope of the flute in it’s historical, anthropological and artistic roles. In other words, there are choices for everyone.  I have worked with nearly all the traditionally licensed teachers in the United States. Feel free to contact me for advice or recommendations.

As part of my theater work with the La Mama Great Jones Reperetory Group and The SLANT Performance Group, I have taught performance workshops focusing on individual expression across the United States and in Europe and Asia for nearly 20 years. Since returning from Japan in 2003, I found myself using the shakuhachi in my workshops as a tool that demonstrates a path towards the individual voice. These days, due to my shakuhachi making workshops and performances, people have come to me specifically to learn how to play the shakuhachi. While I am not a traditional, licensed teacher, I am happy to share my approach. I use traditional Honkyoku music (solo shakuhachi music of the Komuso Monks) as a starting point for understanding the power of natural breathing. My philosophy for teaching is influenced by both the professional, musical world and personal, spiritual growth. I start by introducing Akikazu Nakamura’s Millet Embouchure method infused with the Buddhist practice of mindfulness. They work together harmoniously influencing both musical sound and the spirit. There is no mystery, just learning good form that will lead to a good sound and provide a fulfilling path one can explore for a lifetime of musical and spiritual enrichment.

Namaste, Perry