Chanting: Historical Fragments

Surfing the net I came across the following from Venice Hongwanji Temple’s newsletter (.pdf):

In Shin Buddhism, there are no reasons why the chantings (sic) cannot be revised. Traditional chanting, both in melody and content are derived from the Tendai Sect. In the 15th century, Rennyo Shonin created a liturgy based upon the Shoshinge, and used more Japanese intonations. In the 16th (? ed. 17th I think!) century, the Patriarch Jakunyo reintroduced aspects of Tendai music and influences of Shingon chanting were brought into the Hongwanji tradition. In the 18th century, Patriarch Honyo reorganized and systematized Shin chanting as an independent tradition. Further musical theory in 1910 and 1933 have brought the tradition to what it is today. So there is no fundamental reason why, in the future or present, more modifications could not be made. Just remember, the Jodo Shinshu position is that modifications ought to arise out of spiritual experience and not for [a]esthetic reasons, novelty or convenience.”

(from The Book of Jodo Shinshu Chanting (BCA Ministerial Association Gonshiki Liturgy Committee))

Jishin and I have mentioned in the past that our temple follows the Higashi Honganji liturgical tradition and our styles of chanting are different to the Nishi Honganji.  Having said that however I’ve never known much about the specifics of these differences other than those I have noticed in actually listening to the services of each tradition.

Bearing in mind that the the Honganji split took place in 1602 we can possibly ascertain from the above quote that the differences are at least partially related to the Higashi’s non-involvement in the Nishi sect’s re/introduction of Tendai and Shingon styles into the liturgy and the re-organisation that they undertook in the 18th century.  That said I would hesitate to assume that the Higashi traditions liturgy is ‘older’ as it is perfectly possible that they undertook their own changes.

Elsewhere I also came across mention of a special Higashi Honganji ceremony that I have never previously encountered* (I attended the Hoonko ceremony of our head temple in Japan in 2006 and it had its own different tradition of liturgy involving a very high-toned, powerful style of chanting):

On November 28 [2007], Higashi Honganji Temple, the headquarters of the Shinshu Otani sect of Buddhism, in Shimogyo Ward, Kyoto, held the “Bando-bushi” service in Amida Hall. Bando-bushi is the closing service of “Hoonko,” a memorial service in honor of Shinran, the sect’s founder. Approximately 60 seated monks dynamically swayed their upper bodies, and their booming chants of the Buddhist invocation “Nembutsu” echoed in the hall.

During the sutra reading, one monk in the inner sanctuary led recitation of “Namu-amida-bu,” and other monks, called “Do-shu,” also began chanting Nembutsu at the top of their voices while moving their upper bodies back and forth and side to side. Amida Hall was packed with 4,500 followers, who brought their hands together in prayer before the wooden statue of Shinran and the principal image of the temple.

This unique prayer style is said to represent the image of the founder of the sect, Shinran, who continued offering fervent prayers on a boat rocking in the water when he was exiled to Echigo, the old name for the most part of Niigata Prefecture 800 years ago. Now, Higashi Honganji Temple is the sole temple that maintains this prayer style. (Kyoto Shimbun 2007.11.28)

* The Higashi splits further into several other groupings.  Our Shogyoji tradition is completely independent of any but has strong links of friendship and communication with the Tokyo Higashi Honganji.

 

Gongyo Practice

The other day I mentioned that, since I have had to start going to work earlier, I am having to do evening gongyo only and not in the morning. I miss the former though and have taken to listening to a recording of a service from our temple on my headphones. The recording is of one of our two-monthly formal services so is a bit different to our normal morning service (slower, heavier style and no super-fast chanting of the Amida Kyo {Smaller Pure Land Sutra}). Also the reading of the Ofumi would in real life be a different letter everyday. Although our temple is independent we follow the Higashi Honganji style of chanting due to our historical links with that sub-sect. In my experience though followers of the different sub-sects often really get a kick out of visiting other temples and hearing their different ways of chanting.

Incidentally in Higashi Honganji there are 10 styles of chanting the Shoshinge and in Nishi Honganji 5. Only about two or three styles are used on a regular basis. The general rule about the style is everyday: fast and light, formal occasion: slower and heavier.

Because I only get to the temple once or twice a month I have been trying to practice my chanting at home. I’ve got a few cassette recordings of priests’ training sessions that I am using. I’d like to copy these to CD but have discovered there don’t seem to be any audio input sockets on my PC which is annoying.

Here is a link (mp3) to a Nishi Honganji version of Shoshinge (from www.rrhi.com/bsc/) and here is one to another Higashi Honganji version (from livingdharma.org) followed by nembutsu wasan (hymns) and an eko (gan ni shi ku do ku etc.) - check out the difference! Both have their qualities I think - the first has a sort of simplicity whilst the latter has more of a rythmn. I prefer the latter but then that is what I am used to!

 

Learning Jodo Shin chanting (2)

Listening to others and right attitude

Following my last post my Dharma friend Jishin, who lived in a taya* house for a time, sent me an email about some of the things he has been taught - which are very helpful I think:

“When chanting with others we should concentrate not on listening to our own voice but listen attentively to those around us. In doing so we lose our self-consciousness and our voice begins to harmonise with everyone elses. It stops us from feeling pride in having a strong voice or in being embarrassed if our voice seems weak or stumbling.”

“The second point is that when we chant to the Buddha our voice should be an offering to him, one in which we put in as much effort and energy as we can.”

I have also been taught similar things myself. Attending Hoonko (Shinran Shonin’s memorial day) this year I commented to a priest that I found the chanting of the last verses of the Hoonko hymns (wasan) very loud and harsh. The priest pointed out that in that particular verse the words are:

“Such is the benevolence of Amida’s great compassion,
That we must strive to return it, even to the breaking of our bodies;
Such is the benevolence of the masters and true teachers,
That we must endeavor to repay it, even to our bones becoming dust.”
(Shozomatsu Wasan 59)

The point being that, in this particular case, putting one’s whole body and mind into the sincere offering of thanks was the most important thing. Context is important.

Other points …

- When chanting the nembutsu it is good to look at the object of worship i.e. the Buddha image or calligraphy of the Name (omyogo). This need not be a rigid rule, indeed closing one’s eyes at certain times is also beneficial, but it is a skillful practice.

- When listening to the person who is reading Rennyo’s letters (Ofumi / Gobunsho) it is traditional to turn towards them, close one’s eyes, and incline one’s body and head downwards in a respectful half-bow, remaining that way throughout the reading.

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* Taya - Accomodation in or near to a Jodo Shin temple, provided so that followers can stay and study the Dharma intensively for a period. Also a system of spiritual encounter.

(The picture above is from Shogyo-ji temple in Japan)

Namuamidabutsu.