In the soft hum of Rudder Forum, ancient tones of bamboo flutes floated through the air as master musicians from around the globe gathered for the 2025 International Shakuhachi Festival. Held April 17-20 at Texas A&M, the four-day celebration introduced the meditative sound of the Japanese shakuhachi to the Bryan-College Station community through concerts, workshops and cross-cultural conversation.

The shakuhachi, a traditional Japanese end-blown bamboo flute with a history tracing back over a thousand years, has transformed from a tool of Zen monks to a modern instrument embraced by musicians worldwide. One of the festival organizers and longtime practitioner, David Kansuke Wheeler, said the instrument’s global evolution is part of what makes events like this powerful for attendees.

“Our vision is to share this music and this musical culture with people that never heard of it,” Wheeler said. “And I truly believe that anyone who comes to one of these concerts will find something in that concert that resonates with their musical awareness in a way that they’ll be like, ‘Wow, that was cool.’”

Wheeler first encountered the shakuhachi in 1977 before eventually moving to Tokyo, where he lived for over two decades. His journey began as an exchange student and later continued as a graduate student on scholarship, solidifying his lifelong path in the world of traditional Japanese music.

“I think all of the arts — and I’m a musician, so I’m partial to music, stimulate a part of us that helps us find the commonality across the human race,” Wheeler said.

The festival featured daily concerts and workshops open to the public. Attendees could speak with artists and attend lectures on shakuhachi history, performance technique and its spiritual roots.

Kuniyoshi Sugawara, a performer at the festival, shared how his deep connection to music began during childhood thanks to his mother, a koto player. Surrounded by her musical practice, Sugawara’s journey with the shakuhachi began as a natural extension of that early exposure.

“As a child, I would wait for my mom to finish her koto lessons before I could eat,” Sugawara said. “I became so familiar with the music that I could tell exactly where they were in the song, even without looking.”

Sugawara described the simplicity of the flute’s five finger holes as a strength that allows for deep emotional expression. 

“Because of the simplicity of the instrument, it’s very easy to channel your own feelings, your own emotions through that to an audience,” Sugawara said.

Economics senior Steven Jurk volunteered at the festival and said the event was a refreshing change of pace from daily student life.

“As students, we get so single-minded about our classes and work that we miss these incredible opportunities,” Jurk said. “This is the first time this has happened in Texas, and to experience something like this so close to home is incredible.”

Martin Regan, a professor in the Music Performance Undergraduate Program and one of the festival’s directors, said the event was deeply aligned with the university’s educational mission, particularly for students studying Japanese language and culture.

“It gives students an experience of authentic engagement with Japanese traditions … beyond textbooks,” Regan said. “Events like this one create lasting impressions and help students see the living culture behind the language they’re learning.”

Though steeped in tradition, artists emphasized how shakuhachi is evolving with global influence. Sugawara noted how the internet has expanded the instrument’s reach, creating new styles and sounds.

“Now the internet is popular and it is spreading to the world,” Sugawara said. “Each person uses shakuhachi to express their own music with their own feelings.”

For many, the appeal lies in that very adaptability: a paradox of simplicity and depth.

“When a musical instrument evolves, it becomes more convenient,” Sugawara said. “Shakuhachi instruments don’t evolve. So, we have no choice but to evolve.”

Alcvin Ryūzen Ramos, a shakuhachi master with a shihan license, a title given to those who have reached a high level of proficiency and are recognized as fully licensed teachers, earned under teachers in Japan, brings a deeply personal and global perspective to his art. Born in Japan and now living in British Columbia, Canada, Ramos embodies the cultural fusion that the instrument has come to represent.

He said the World Shakuhachi Festival is more than a musical gathering: It’s a testament to the instrument’s evolving legacy.

“This kind of festival brings so much to the table,” Ramos said. “It’s not just about hearing new music or watching skilled performers. It’s about experiencing the essence of another culture. Shakuhachi’s not dying. It’s growing, man. Just like bamboo.”