Modern Komusō Article - 1951

This article was published in The Asahi Picture News in 1951.

"When a komusō encounters another komusō on the street while collecting alms, proper etiquette is to play a tune facing them, call out, approach, and then turn and play in unison."

"While komusō were not always welcomed in private homes, merchants and shop owners often happily encouraged them to play, believing their presence would be good for business."

"Although komusō collected alms by playing on the streets, they often shared a portion of their earnings with the sick or needy they meet."

"Komusō from Myōan-ji Temple hold regular bimonthly meetings to share experiences and report on how their alms collecting is going."

"Komusō often visited places where tourists gathered, such as parks during the autumn leaves season. Here, a Komusō is helping a lost child search for their parents."

"Many of the komusō were business owners or had full-time jobs. This man makes shakuhachi at home and also teaches others how to make them."

"When going out to play for alms, komusō would leave their young children with neighbors or prepare meals in advance for their school-age children, who might return home before them."

"The husband of this female komusō is an office worker. She herself is a koto and nagauta teacher (traditional Japanese vocals), and in her spare time she goes out to play for alms."

"When collecting alms, komusō would not remove their tengai under any circumstances. Here, the komusō, upon returning home, reveals her smile to her child."

"This komusō, whose wife has been hospitalized for six months, is taking care of his four children by himself. Upon returning from collecting alms, he buys some dishes for dinner."

"For children from the Kyoto area, there is nothing scary about the sight of a komusō. Here, they gather with interest as the komusō plays the theme song from a radio drama series “Kane no Naru Oka” (鐘の鳴る丘 1947)."

"Long ago, Myōan-ji Temple in Kyoto, together with Isshin-ji (一身寺?)　Temple in Edo, served as the two major headquarters of komusō monks in Japan. Wearing their tengai and carrying a single shakuhachi, komusō traveled throughout the country on pilgrimages, not returning to their temples until they had mastered all thirty-six pieces.

However, in 1871, the Fuke sect was disbanded after being associated with an unsanctioned religious sect. As a result, Myōan-ji Temple was also abandoned, and the shakuhachi—once used primarily as a religious tool—came to be regarded as a mere musical instrument, eventually evolving into an art form that some people now use to support their livelihood.

Today, the memorial tablets (reihai / or maybe ihai) formerly housed at Myōan-ji Temple are said to be kept at Zenne-in Temple, located within the grounds of Tōfuku-ji Temple in Kyoto. A Myōan association exists there and continues efforts to revive the Fuke sect. However, members gather only twice a year, in spring and autumn. As a result, there is no communal Shakuhachi Zen training or spiritual discipline practice. Instead, playing Shakuhachi for alms is carried out individually and at each member’s own discretion.

Due to the lack of centralized oversight and organization, many unauthorized performers now also appear as komusō, leaving the state of the komusō world in considerable disarray (Literally says like a warring period). That said, authentic ways of being a komusō and collecting alms do still exist. Official rules include requirements such as performing in groups of a least two or more, beginning no earlier than thirty minutes after sunrise and ending no later than thirty minutes before sunset, and not accepting anything offered expect money intended as an alms offering.

In current times, however, following these rules may earn a komusō only around 300 yen per day, an amount insufficient in today’s society, especially considering the demands of a full day spent walking and playing. Consequently, very few people strictly adhere to these practices. Most present-day players also hold full-time jobs, making it impossible to commit to the komusō life entirely. Their komusō activities therefore function more like part-time pursuits. They may be seen performing in the city during the day and playing in bars in areas such as Ponto-chō, Gion, and Shimabara at night, often favoring locations where affordable food is available.

As times and people have changed, the komusō—once practitioners of a spiritual discipline known as Shakuhachi Zen, and then later often portrayed in theater as villains or spies who concealed their identities beneath their tengai—have, for some, just  become a means of earning a living. Moreover, today’s players are pressured to learn wide range of repertoire, including various forms of koten sankyoku and dance songs such as Tonkobushi or Tankōbushi. While this may appear an unusual sight of mixed eras, this is just one part of the many aspects that make up the life of a komusō."

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Many thanks to Jared Stanford for the translation.  I hope you have enjoyed reading!