Okeiko-Glenn-2022-11-27

Gyo no Gyo

• Nothing that different during ro actually. Do the usual hoyasan stuff and taking/leaving the hishaku etc, just as you would add it into a regular temae.
• Midare
  • After setting up the hakkebon, move the shakutate laterally to the center of the ji-ita (going into midare)
  • After returning the kensui at the very end (put futaoki in, place on ji-ita), move the shakutate back.
  • Both times, because you have hibashi in the shakutate, you should treat it like moving shakutate (ie hands down at both beginning and end)
  • Moving the shakutate itself is just with one hand.
• Shakutate
  • For gyo temae and below (including konarai), Glenn takes the hibashi at 12 o’clock and the hishaku at 3 o’clock. For shin temae, hibashi are from the back and hishaku is from the front.
  • Coming out from 3 o’clock, you shouldn’t bring it to 6 o’clock then forward. Instead, gently curve it around like an “S” so once it reaches the edge of the ji-ita, it’s coming out straight.
• Imai
  • Gyo no gyo imai is half way between the ro corner and the tangent line to the daisu.
  • Shin no gyo imai is at the tangent line to the daisu.
  • However, recently there has been a push to simplify and set imai always at the gyo position. Glenn doesn’t do that, and in fact, sometimes Glenn uses the shin position for gyo temae. So, do what brings you joy.
• Positioning when turning
  • Sitting outside the ro (and by extension, karamono no ichi) is only done during haiken. When you turn out to serve the bowl, you do NOT sit outside the ro.
  • Nowadays, there are only two positions: 3 mei off-center (karamono no ichi), and 7 mei off-center (gyo and shin), which in practice becomes sitting completely outside the ro. Originally, there used to be three positions: 3, 5, and 7 for shikaden, gyo, and shin respectively.
• Shomenguchi
  • This isn’t a canonical thing, so it’s hard to be explicit about it. The standard for okuden is a mawari-sado 4.5-mat, in which case you back out from temae-datami with R, pivot L back, then bring R to the sadoguchi.
  • His feeling is that, for shomenguchi, it feels very strange to turn toward the wall. Even for kensui, it would be better to turn to guests.
  • To do this, you can turn as if you were turning “regularly” in a hakobi temae when exiting temaeza at the end. So, back out with R, bring your L heel to the far corner, R to the sadoguchi entrance, then L exit.
• Chawan during chasentoshi goes right where the kensui would have gone on the ji-ita. Not in the center of the ji-ita.
• Hibashi can be tori-gashira in gyo and below, but some juuden ladies feel it should be rotationally symmetric here as well (no hard rule)

Irekodate with Ryuusei-dana

(and/or Sou Kazari)

• When to ask questions (also applicable for sou kazari)
  • Rewiping the bowl and chakin shibori are the indicators that someone is doing sou-kazari, ie no haiken, so you should ask about things during the temae.
  • Chawan — When bowl is first returned, before wiping
  • Chashaku — When teishu puts it on fukusa to start kiyome
  • Natsume — When teishu moves it back to honjimae
  • Mizusashi — When you scoop water to replenish the kama (????)
  • Tana — When you put the chawan and natsume on top
  • Futaoki — When you take it and turn to mizusashi shomen
  • Kama — Not now! Way before, during
• Chakin shibori
  • We were taught to do it like chabako, but Glenn’s style is way different.
    • Take the L outer corner and the R inner corner after flipping the chakin onto your hand, then stretch out to hold across the diagonal.
    • Bringing the corners out and away from you (so the body falls into you), make a triangle with the flat base pointing away from you. Points are primarily held with R.
    • While you’re creating that triangle, fold the excess flap (which will be on your R) into the triangle with L. This should be a fluid motion.
    • Fold the points of the triangle up, like how we usually do (make the triangle, fold up) so there are bunny ears sticking out.
    • With R, take the underside of the chakin and pinch to organically fold it in half. From there, shibori with both hands on the underside.
    • Unfold slightly after shibori, then give to L (pinching between index and middle finger) and take the bunny ears with L and R.
• Holding the kensui + chawan when walking in
  • Glenn’s style is to have it flat on L palm with thumb on the side (versus all five fingers being together below), then R holding vertically with fingers on bottom, thumb on top.
  • He’s also seen it where R is holding like chawan, ie round across the whole side wall. But his preference is the former.
• Placing the kensui
  • Ro and furo are different!
  • For ro:
    • Place exactly on the bisecting line when you enter. Take chawan etc.
    • Then, pivot the kensui in-place to turn the seam toward the wall (but keep it on the bisecting line).
    • At the end, rotate the seam back toward you while pulling it low, tangent to the heri.
  • For furo:
    • Place on the bisecting line when you enter. Take chawan etc.
    • Then, PULL the kensui below to be tangent to the heri while turning to katte.
    • [????] not sure what to do at the end. Just pivot?

Tana stuff

• On leaving the hishaku during koicha
  • iirc, Suzuki-sensei said to always take the hishaku and futaoki out after koicha
  • However, Glenn says that the rule is that you must take the hishaku out after hakobi koicha temae (ie shitsukedana, standing tana with mizusashi on the floor, etc). You do not need to do that for non-hakobi temae.
• Square tana, if you put the hishaku diagonally, hishaku go is 1/3rd space in the back and handle is 1/4 in the front
• Ryuuseidana kazari options
  • Hishaku vertical along the side of ten-ita, natsume in center of remaining space, futaoki on ji-ita below the hishaku handle (cute because it follows the pattern of hishaku on the side)
  • Hishaku diagonal, futaoki L and natsume R
  • Hishaku diagonal, chawan L and natsume R with futaoki on ji-ita left front (sou-kazari)
  • Hishaku vertical, chawan L and natsume R in remainng space with futaoki on ji-ita left front (sou-kazari)
• Leaving fukusa on kiji
  • The previous rule was that it must be left on lacquer (either nuributa or lacquer ten-ita).
  • But, the new white books have a tana photo of sou-kazari with the fukusa left on the ten-ita of a kiji tana. So it seems like that’s okay now? wild!

Other

• Shin chasen
  • Being a shin chasen describes the shape, not the number of tines.
    • ie the tines don’t go straight out (rikyu konomi), or curl inward at the top
    • Shin chasen form this rounded shape that bows out and comes back in
  • There can be any number of tines, not just 64 (even if that’s what the shops seem to have)
• Hakkebon
  • The only two hakkebon for Urasenke that he’s aware of is the standard raden hakkebon (ennosai-konomi?) and the midarebon with the symbols going around the edge written as kanji with red ink (created by fukkensai?).
  • So this one on rikyucha, kakiawase with trigrams in red, doesn’t ring a bell
• Kensui tips
  • Get food-safe silicone from the pet store to caulk the edges
• Hanaire tips
  • Coat both interior and exterior in polyurethane to keep from cracking (and hold water)