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Shuhari and Creativity Dr. Ricardo Sosa ([email protected])

Shuhari and Creativity

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Page 1: Shuhari and Creativity

Shuhariand

CreativityDr. Ricardo Sosa ([email protected])

Page 2: Shuhari and Creativity

or: what the Japanese concept of “shuhari” can tell us about teaching creativity

Dr. Ricardo Sosa ([email protected])

Page 3: Shuhari and Creativity

Dr. Ricardo Sosa ([email protected])

Shu (obedience) Ha (divergence) Ri (transcendence)

“This approach to learning has been instrumental in the survival of many Japanese knowledge traditions: martial arts, flower arranging, puppetry, theater, poetry, painting, sculpture and weaving”

Page 4: Shuhari and Creativity

Dr. Ricardo Sosa ([email protected])

Yukiyoshi Takamura (1928-2000)

Classical learning process: “Embracing Diverging Discarding”

Page 5: Shuhari and Creativity

Dr. Ricardo Sosa ([email protected])

ShuEducational core

Most visible, accessible

Page 6: Shuhari and Creativity

Dr. Ricardo Sosa ([email protected])

“Students must first resign their ego to a seemingly random series

of repetitious exercises

physical and mental discomfort,neuro-muscular processes

become intuitively ingrained”

Page 7: Shuhari and Creativity

Dr. Ricardo Sosa ([email protected])

“Advanced kata will be presented throughout training which present

greater and more diverse challenges, but the mental methodology for learning is now in place”

Page 8: Shuhari and Creativity

Dr. Ricardo Sosa ([email protected])

“It is possible for some students to reach this level of training entirely by learning from a device like a book

[but…] diligent instruction even at the most basic level of training is absolutely mandatory”

Page 9: Shuhari and Creativity

Dr. Ricardo Sosa ([email protected])

Transition:

“the sensei helps the student begin to grasp the existence of the ura,

those aspects that lie hidden beneath the surface of the physical form”

Page 10: Shuhari and Creativity

Dr. Ricardo Sosa ([email protected])

Ha

“First hint of creative expression allowed the student”

Page 11: Shuhari and Creativity

Dr. Ricardo Sosa ([email protected])

“Divergent form existing within the form.

Extremely attentive instruction is required by the sensei at this juncture because

too much deviation will lead to sloppiness,while too much restraint can cripple any

underlying intuitive talent”

Page 12: Shuhari and Creativity

Dr. Ricardo Sosa ([email protected])

“Strict adherence to the core concepts of the particular tradition must be adhered to at this time. Sensei often fall into the trap

of becoming too unstructured in their teaching at this level of training.”

Page 13: Shuhari and Creativity

Dr. Ricardo Sosa ([email protected])

Transition:

“Once students discover the boundaries of training within the greater kata, they

will find the possibilities of learning almost endless.

Progress comes now in leaps of ability not experienced in the past”

Page 14: Shuhari and Creativity

Dr. Ricardo Sosa ([email protected])

Ri

Advanced level of training.

“It is a state of execution that simply occurs after shu and ha have been internalized”

Page 15: Shuhari and Creativity

Dr. Ricardo Sosa ([email protected])

“Ri is difficult to explain as it is not so much taught as it is arrived at.

Some practitioners outside the experience of deep study,see the kata as the art itself instead of a sophisticated

teaching tool that is only a surface reflection of an arts’ core concepts

The kata, in their flawed interpretation is the art. This is like the flaw of assuming a dictionary to be

a complete representation of language”

Page 16: Shuhari and Creativity

Dr. Ricardo Sosa ([email protected])

“It is form without being conscious of form. It is intuitive expression of technique that is as efficient

as the prearranged form but utterly spontaneous.

Such level of technical execution is realistically beyond the ability of many practitioners.

Some observers try to dismiss this recognition of limitation as elitist. Remember that the humble individual

realizes that mastery in one pursuit does not guarantee even average talent in another.”

Page 17: Shuhari and Creativity

Dr. Ricardo Sosa ([email protected])

“Technical expertise does not necessarily guarantee teaching expertise”

More a leader and pointer of the way, the sensei should proudly stand beside his student with a glad heart. His task

of teaching is over.

He is now a grandfather instead of a father.”

Page 18: Shuhari and Creativity

Dr. Ricardo Sosa ([email protected])

ShuSkills, ‘design thinking’,

techniques and methods,creative literacy

HaAdvanced creative, innovative practice and collaborations,

heuristics, frameworks

RiPersonal creative realisation,

a fulfilled life, a creativeorganisational culture

edwdebono.com

dschool.stanford.edu

openinnovation.net

centralstory.com

Page 19: Shuhari and Creativity

Sources

• “Teaching and Shu-Ha-Ri, The traditional Japanese method of knowledge transmission” YukiyoshiTakamura, edited by Nanette Okura: http://www.advdojo.org/shuhari.html

• “The Sacred Art of the Japanese Tattoo”: https://www.youtube.com/watch?v=oy6rdkBC13Y

• “The meaning of Shuhari”: http://aikiorlando.com/article/meaning-shuhari

• “Karate Dō Life Training”: https://books.google.co.nz/books?id=RVT2OhFfOxkC

• “Teaching and Shu-Ha-Ri”: http://members.aikidojournal.com/public/teaching-and-shu-ha-ri/

• Master of Science in Marketing & Consumer Insight Programme: http://www.nanyangmscmarketing.com/

Dr. Ricardo Sosa ([email protected])