Japanese Schools of Traditional Arts and
Practices
In Japan, the idea of formal
learning and certification in arts, crafts and traditional practices is
an ancient process with very deep roots. It came about not only for the
purpose of training and educating people but also to insure that
traditional skills and practices are upheld. Initially training was
only for upper classes and/or the performers or practitioners of these
traditions, but as modernization expanded, more common people gained
leisure time and could partake as well. More and more people had the
opportunity to honor, study and practice traditional skills, as a
source of pleasure and relaxation.
For people choosing these
areas as vocations and professions, it was expected that basic
qualification standards would be met to either work or teach in a given
field. However, the formal learning and certification process was
just as strong a presence among non-professional admirers of these
practices that were enjoying the subjects as a hobby or avocation.
There is a saying in Japan that translates to "everyone has a hobby" –
it's almost a “requirement” in Japanese life. Even though these
activities are pursued for pleasure, enjoyment and enrichment, hobbies
are studied and practiced as dilgently as one's profession. Such
formal training for a “hobby” may be unusual or even contradictory to
those outside of Japanese culture, but it is a common and standard
practice in Japan that is still very much respected and followed.
While a group that is
focused around a subject would usually be referred to as an
“association,” “society” or “organization” in the West, it is
historically common in Japan to still refer to many such groups as
“schools.” They originally were the schools that provided training and
apprenticeships in the traditional skills and practices of ancient
Japanese culture. In more modern times, use of “association” or
“society,” etc. has come into some use in Japan, but they still
function as a school. There is one (or more) school or
organization that guides and governs the learning in virtually every
Japanese cultural practice and art: Tea Ceremony, Ikebana, Calligraphy,
Origami, dance, instrumental music, painting, embroidery, papermaking
... to name just a few. The use of the term “school” may also describe
a particular approach to a subject. For example, there are several
“schools” of Tea Ceremony, each of which traces back to a different
Sensei who established a following using different particulars within
the Ceremony procedures. It should be noted that these branching
schools of the same traditional practice evolve through decades (if not
centuries) of time, and often not until after the founder's death,
because of the respect given to a Sensei from those around him – not
because someone wakes up one day and thinks “I'm going to start a new
school”. It comes only from time, respect and honor.
Both in years past and in
present time, the learning process for skills engaged in for recreation
is as directed and intense as it is for professionals in that art or
practice. There are established classes presented by certified
teachers of the school or association. Teachers must have passed a
certain number of level certifications within the school to be
qualified to teach. Classes may be held at the school or
association headquarters or elsewhere. A student attends class
regularly, pays attention (it's not a social gathering; quiet is
maintained with the focus on the teacher and material being presented;
little or not talking; hands raised to ask questions...), takes notes,
follows along by doing as the teacher directs, and diligently practices
at home prior to the next class. Very often there will be some sort of
annual exhibition, recital or other public demonstration of the year's
accomplishments to bring recognition to the school, teacher and
students.
Ranking is a central concept
of Japanese society. Schools and associations are no different; they
all offer levels of certification by standard examinations. The purpose
of certification is not for competition. It is to encourage
dedication to learning and practicing traditional standards and skills,
to honors those that have gone before, and to insures that those
teaching are qualified to do so (thus preserving and continuing the
traditional skills and curriculum.) Not until a student has proven a
mastery of the traditional basics through successful completion of
several qualification levels is license given to add one’s personal
inflection. Privileges granted through various levels of certification
often follow an accelerated form of traditional apprenticeship
(accelerated, since a true traditional apprenticeship can take a
minimum of 80 years). The number of certification levels varies
according to the art and skill. Certification levels are granted to all
those who meet the criteria; it is not a "double competition" or
what would be considered "juried" in the West. There are not a limited
number of certificates awarded - they are similar to diplomas where you
are being evaluated against traditional standards, not against your
fellow students. Requirements for each level include both time spent
learning and practicing as well as demonstration of required skills
meeting the school standard. The privileges earned at various levels
also vary by school, but it is universal that there is a minimum level
that must be attained before one is certified to teach that art or
practice. Experience as a teacher and continued study for attainment of
additional levels of certification will determine what level of student
a teacher is deemed worthy to instruct. As a member of a school or
association, a student continues to honor this process while learning
and enjoying his craft, and it often becomes a lifelong dedication.
Patience and respect is as revered as skill and talent. There is a very
firm belief that anything worth having is worth working for, whether it
is time spent learning, time spent practicing and gaining experience,
and even the funds needed to study & practice and for examination
fees.
Everyone is taught the same
curriculum with the same diligence, regardless of whether or not
exams are to be taken. Classes are for the purpose of learning the art
or practice, and both students and teachers are there first and
foremost for enjoyment from and dedication to their art. It is not
required that everyone submit to examination for certification, though
many do. Certification is secondary to learning, not the primary
purpose. It is the teacher's responsibility to determine if a student
is worthy to present for examination. The teacher may invite a student
who is considered worthy to present for exams, but it is that student's
choice of whether or not to accept. Should a a teacher determine that a
student is not prepared to take an exam, that decision is to be humbly
accepted by the student; and the student will continue to study and
practice until the next exam offering. If a student is going to
present work for a level exam, samples of the student’s
work will be selected (which usually have been completed as a
matter of general course, not done as special work for the exam) and
the teacher will collect these along with the examination application
& fees, and deliver them to the examiner(s) by the stated deadline
(exams are usually annual, but can vary by school). Evaluations are
conducted by one or several highly honored Sensei, artists who
generally have spent whole lifetimes devoted to practicing their arts.
(In many cases, these people may be descedents of revered artisans with
skills being passed on from generation to generation, beginning when a
child is even too young for regular school).
Upon a student’s successful
passing of a certification examination, it is a long standing practice
that the submitting teacher receives an honorarium from the school
equal to one-half of the student's exam application fee. This is
a wonderfully unique and effecive system in that it accomplishes
two purposes. First, it functions as “insurance” that the traditional
skills and techniques will be upheld throughout the basic levels. A
teacher has a solid incentive to hold true to the traditional
curriculum when teaching basic levels, without infusing his or her own
perceptions or interpretations. (Higher levels may allow more
personal interpretation - but remember the Japanese apprentice system:
you must earn your qualifications in the historical basics before you
are granted the liberty to infuse your own creative thoughts into your
work.) This carries over into teaching responsibilities – The
instructors teach to the standards of the school, not their own.
Especially for early levels, if a teacher is not guiding students in
the traditional skills, they will not present or qualify for
certification, and the teacher receives no honorarium. Secondly,
the honorarium insures a level standard for classes, and that everyone
is taught the same lessons with the same intensity, regardless of who
in a class may wish to pursue certification examination. While a
teacher may charge for standard classes in a particular art, everyone
is taught with the same dedication; there is no distinction in
curriculum between those who desire certification and those who do not.
The only goal is dedication to learning the art. No classes
beyond the regular school curriculum are required in order for a
student to present for the exam. Likewise, no costs other than
the school’s normal exam fees are necessary, because the teacher is
compensated through the honorarium. At most, a teacher may advise
a student to devote himself to more practice, but the student isn't
presented with material that is different from, or supplemental to,
what is being taught to the class as a whole.
As a footnote, the Japan Temari
Association functions as the certifying school for Temari. There
are four
levels of certification. The first two focus on basic skills and
understanding. The third concentrates on testing one’s knowledge base
of the art’s traditional skills, use of them and presentation of them
to qualify for teaching. The fourth allows and invites a more personal
infusion of expression to foster growth of the art form and carry it
into the future. Upon passing the third level, one is considered
qualified to teach and may present students for examination (starting
with Levels 1 and 2). A qualified teacher receives an honorarium in an
amount equal to one-half of the JTA exam application fee for each
student that she presents who successfully passes the examination.
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Last updated 11/09 © 1998, 2009
G.Thompson with deep thanks to friends and members of
the MH Japanese Association