This article on komusō in Kyoto was published on July, 6 1949 in The Asahi Picture News.
Following in her father’s footsteps and taking up the path of the komusō, this female komusō makes nighttime alms rounds with her teacher. Her attire is worth around 30,000 yen, while her shakuhachi is valued at approximately 100,000 yen. She also wears a rather luxurious, diamond imbued kesa (monk’s stole) and obi (sash), provided by her teacher’s wife, who runs a small goods shop.
Upon request, komusō may have accepted invitations to play for individuals or groups, sometimes even entering private homes for performances. However, because this was against the rules of the tradition—and because their sole purpose was to promote the shakuhachi—the komusō would not accept payment for such performances.
Even if the straps on a komusō’s geta sandals are breaking, the komusō will not remove their tengai until returning home.
The origins of the komusō are rooted in China and begin with their founder, a monk known as Kyōchiku. It is said that he came to Japan from China and founded the temples that would later become Myōan-ji in Edo and Kyoto. Wearing his tengai and carrying his shakuhachi, he traveled throughout Japan, playing for alms. He is said to have established the rule that one must not return to one’s home temple until mastering all 36 pieces in the repertoire.
As times and people changed, the shakuhachi—once a purely religious instrument—became regarded as a musical instrument and even an art form used to support one’s livelihood. However, in recent years there has been a curious revival of komusō performing alms rounds and refusing to accept anything beyond donated alms, and female komusō can now also be seen.
This female komusō took up the path in the autumn of last year, stating, “The komusō path is the perfect training for these times. Day after day, I play Myōan pieces along the banks of the Kamo River.”
On days when this komusō does not go alms collecting, she runs her coffee shop, practices the shakuhachi, and attends lessons in nagauta and kiyomoto (traditional Japanese musical forms).
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Many thanks to Jared Sanford to the translation to English. I hope you have enjoyed the reading!
