Over the past two years I have had a surfeit of training with our headmaster: training in Japan, training in New Home 2.0, and training in New Home 3.0. If I do the training in my head, that is almost two full weeks of training with a living national treasure this year, or a month over two years.
I am blessed beyond all measure.
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What is like to train in a traditional art?
It is is repetition. A great deal of repetition. And a great many reminders of where one can improve (I leave every seminar with a rather long list of improvements).
It is is repetition. A great deal of repetition. And a great many reminders of where one can improve (I leave every seminar with a rather long list of improvements).
One of the main points I was reminded of in 2024 was the fact that, as a traditional art, my job is not to "interpret" the art. My job is to faithfully replicate the art - as someone noted, "Add nothing to it, subtract nothing from it". Take is as a received item.
While that might seem like a simple thing, I find it more difficult than you might expect. I cannot fully define why I find it so: part of it, I suspect, is due to the fact that the level of concentration required to fully pay attention is something that I struggle with immensely. Part of it may be that - like lots of Americans - I like to put my "stamp" on things, because "individuality" and "personal expression:.
One of the greatest changes in how one trains is the realization that it is very much not about you. It is very much about the art.
In a way, this concept seems similar to me in the treatment of heirlooms such as swords in Japanese culture. One does not "own" such items; one is merely a caretaker for them until they pass to the next generation. This is one of the reasons that one finds, for example, swords of 400 years of age throughout the world: the "collectors" understand they are merely caretakers, not owners, and while the sword may be bring them joy, ultimately it is about the sword, not them.
In a same manner, the art is about the art, not me.
I will train hard, write down my corrections, and prepare for the next training (hopefully in Japan again). And try, very hard, to remind myself that it is executing the thing as it is transmitted to me, not as I see fit to execute it.
The master is the die, we are the material. We should so be like them that there is never any question what art we follow.
This -> ". . . as a traditional art, my job is not to "interpret" the art. My job is to faithfully replicate the art" is a concept we've completely lost in the age of individualism. What I find curious, is that people wanting to make their mark in any particular field prize their personal adaptation, yet seem to end up just imitating others, usually with poorer quality. I think it takes greater strength of character to follow and respect an established art and its traditions.
ReplyDeleteLeigh, it is a great exercise in humility, to make someone else's practice the only thing you imitate.
DeleteThat is an interesting note that people making their personal adaptation just seem to imitate at a poorer quality. How foolish to think it more important to be "one's self" at a lower quality than shine in the field or course of study or practice by embodying the practice. To your point, we become more important than that which we study.
Yah that "add nothing, subtract nothing" is a difficult to adhere to in a land/culture that believes so much in individuality. Remember TB.....Do or do not, there is no try.........:)
ReplyDeleteNylon12 - It is difficult to adhere to as I think that it is second nature for Americans and indeed much of the West.
DeleteSadly, all I seem to do is try.
Leigh's use of "the age of individualism" trumped whatever I was going to say. I'm going to have to borrow that phrase.
ReplyDeleteIt really is, Ed. I am going to think on it more as well.
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