By Elena Anraku FalconeTo make noise in the zendo during a workshop was to breathe in the middle of an oxymoron - deep, deliciously, and with joy. The February 21st Workshop on Sound was an opportunity for 18 of us to share and to teach each other about the forms and possibilities of the temple instruments and sounds that mark our practice - wood (han, mokugyo), brass (bells, large and small) and voice.The workshop was led by our teacher, Susan Jion Postal, with sangha members from the Practice Leadership Group contributing their experiences in using the temple instruments. I've had the opportunity to work with all of the instruments and roles before, but, as has been true of each day I've spent at Empty Hand Zen Center, I came away with new insights. What was special about this day was the added pleasure of making noise with fellow sangha members - a concert of wood, brass, and voice. Here are a few things that resonated (pun intended!):Wood - Loud, but not too loud: The words of the Han and the sound of the Han communicate the same thing: Awake! Waste not a minute! Appropriately, the Han can be quite loud; but, since we are surrounded by apartments with potentially sleeping neighbors, we do not strike it loudly. This is important during the run at the end, in which the intent is to speed up but not get louder. Sometimes a bell is much more than bell: Susan shared a teaching by Suzuki Roshi in which the striking of the bell was analogous to giving birth to the Buddha. I appreciated that thought, because striking and hearing the bell often feels so full and complete, an outward movement and gift. There is also a view in which striking the bell brings energy and attention inward. Bruce, a sangha member who often takes the role of Doan, has trained several of us. He wasn't at the workshop but he was quoted by both Catherine and Chuck as having shared a very active notion of bell ringing. He notes that the Doan, usually in position before everyone else, has the opportunity to offer quite a few returning bows to those who take their seats. Each bow brings the Doan's eyes into the bowl of the big brass bell. Bruce said he has come to think of this action as bowing each of us into the bell, bringing us all together in readiness for practice.Voice and song: We explored what is appropriate to chanting as a group. In reciting the sutras together we found parallels with singing as an ensemble in which all listen and adjust so that voices blend to make one energetic sound. To do this Maezumi Roshi said it best: "Chant with your ears, not with your mouth...Always adjust yourself to others, rather than expecting them to adjust to you...Chant as though each syllable were a drop of rain in a steady shower..mild, consistent, and sustained." I remember being uncomfortable with chanting, but now see it as another opportunity for practice. I also have found it to be a great gift to, as chant leader, offer the invocations after the sutras, essentially using my voice to call forth on behalf of all of those present. It is that experience of invocation that allowed me to hear anew Susan's words and those she shared from Blanche Hartman describing chanting as an opportunity to do something useful when other actions are not possible. We may not be able to prevent a friend's illness or distress or single-handedly end a war, but we can call forth compassion and with attention and intention direct it to where we think it can help. Fully owning my very deep rational pragmatism, I know in my bones that when done with sincerity and heart, this action makes a difference. Dance: Wait. Dance? Indeed. We've all been part of this zen dance - more subtle than the Electric Slide, but just as fluid. By the close of the workshop, I felt deep appreciation for for the unspoken choreography that weaves together a sitting period, a service, and a day-long retreat. From the Doshi's first bow that signals the Han, to the closing bow that we offer each other with hands in gasho, each person who takes a position in service leads a part of the dance. The Doan signals movement but with an awareness of time and readiness of all, the Chant Leader and Mokugyo listen for each other to keep the pulse of the Heart Sutra steady, and we each rise, walk, turn, sit with each other and the Buddha, from kinhin to closing bows. Each sitting period, each workshop, each retreat is built with our intention and colored with the sounds and silence of practice. Come dance, at least 18 of us now know the steps.
