A life crafted from English and the strains of koto生田流正派邦楽会・ 大師範の中川雅玲さん

日本で古くから演奏されてきた伝統和楽器「お箏（こと）」の生田流正派邦楽会・大師範である中川雅玲さん。お箏が創り出す日本の美学が詰まった音色の魅力を多くの人に広めるべく、世界各国で演奏を行なうだけではなく、外国人向けのお箏教室を英語で開催している。

Garei Nakagawa is one of those rare people who have turned their passions into a successful profession. She is a bilingual koto shihan (teacher) who can coach the traditional zither in two languages, and she also has the digital skills to conduct online lessons and hold webinars. The koto is steeped in Japanese tradition but Nakagawa herself is a global performer and lecturer. Her last overseas concert, held in April, was in Madrid.

Surprisingly, Nakagawa wasn’t born into a koto family and didn’t study English abroad. “I get asked when I studied overseas and the answer is ‘never,’?” she says laughing. “But I always loved the English language. In high school, I wanted to get a job requiring English skills and thought of becoming a cabin attendant.” Her method of honing her English was and still is, listening to NHK’s Business English for global competence.

At the same time, Nakagawa was just as passionate about the koto. “It was always a part of my life. But I went to a regular university and got a job at a major pharmaceutical company. It was fine and I took koto lessons after work.” In her mind, however, was the feeling that her place was with her koto and not in an office. “So after a while, I took the leap and quit the company. I became a koto teacher.”

As with other traditional arts, the koto runs on the iyemoto, or grandmaster system. In the 21st century, some rules have relaxed, but most restrictions remain in place, Na-kagawa explains. The koto teacher hails from the Ikuta school of koto, which originated in Osaka during the Edo Period. She says that translating centuries old koto jargon and methodology into English for foreign students is a huge challenge. “Fortunately, one of my students – an American – was so committed to the koto that he now has a school of his own. He often gives me advice on translations and I’m grateful for that exchange.”

Nakagawa’s open-mindedness and language skills have made her the go-to teacher for foreigners interested in the koto. “The sounds of the koto cannot be expressed by Western sheet music. They simulate the sounds of nature, which is a big part of the Japanese aesthetic. For example, the Japanese value and see beauty in the sounds of crickets, which may seem strange to the Western ear. What Westerners perceive as noise, the Japanese hear as music.” She adds: “When I was younger I wasn’t as attuned to the beauties of koto and Japanese culture. Now I feel like I’m learning something new all the time and feel a deep joy in being able to share that with my foreign students.”

When Japanese hear the word “koto,” they immediately assume the instrument is way out of their league,” says Nakagawa. “They may feign polite interest but that’s about it. Foreign people on the other hand, are curious and uninhibited. They tell me how much they like the music and how they would love to be able to play it.”

It’s actually a good time for Japanese traditional art. The weak yen is attracting foreign tourists in droves and many of them arrive armed with to-do lists. On some lists is an item about playing the koto and that’s where Nakagawa comes in. “Many Japanese assume that the koto is a very expensive instrument, both to own and to learn. Actually, the lessons cost about the same as piano lessons, and the price tag of the instrument itself isn’t that steep either.” Nakagawa took her first lesson at the age of 4, and her parents encouraged her to keep taking lessons and nurture her love for the instrument. “My twin passions have always been the koto and English. I never thought I could combine these two into a single career but I managed to make it happen.” Next on her agenda? “I would love to be able to share the joys of the koto with more of my fellow Japanese.” (Kaori Shoji)

Words to live by