Characteristics of Japanese Arts

This is extrapolated from a treatise on the Japanese Mind. I pulled this out because it relates certain characteristics of Japanese Arts, such as martial arts, and provides a fundamental understanding on forms from a more Japanese Zen perspective.

The characteristics associated with Japanese arts are:

Keishikika (Formaliztion)
Kanzen Shugi (the beauty of complete perfection)
Seishin Shuyo ( mental discipline)
Toitsu (integration and rapport with the skill)

Then the article goes on the provide the "steps" followed:

- The establishment and formalization of the form or pattern (kata): every action becomes rule-bound (Keishikika).
- Repetition, repetition, repetition of the pattern or form (kata) (hampuku).
- Mastering the form (kata), as well as the classification of ability on the "way" to master which results in grades or levels. (kyu and dan)
- Perfection of the form (kata) (Kanzen Shugi): the beauty of perfection.
- Finally and most importantly to kata or form expression into reality is going beyond the pattern or form, where one becomes "one" with it (toitsu).

Common Expressions regarding this process of practice and training:

Kata-ni-hairu or follow the form
Kata-ni-jukutatsu suru or perfection of the form
Kata-kara-nukeru or going beyond the form.

As we practice in an atmosphere we may not fully comprehend the process to achieve this goal is due to a requirement to practice in a place where the atmosphere is one of quiet, obedience, and respect. This is the same requirement in Japanese Arts for absolute obedience and respect of the master-student relationship. 

When we are on the receiving end of this type of training or relationship, i.e. Sensei-Deshi/Sempai-Kohai, we may not fully understand "why this is so" until we find out by our research or, hopefully a Sensei who explains well, by instruction that the core of this form of training/instruction is derived by the deep belief system of Zen Buddhism where originally Zen and Chinese Buddhism/Taoism were the impetus of furthering this form.

In Taoism it was believed that only through discipline can one achieve such levels of practice and we may find that this is how it all began in China by the influences of buddhist doctrine where exercises were provided to strengthen the mind and body thus the spirit of the individual.

This form of instruction provided the ability to teach many persons at one time and became a means of teaching the teachers. In order to accomplish this task of teaching the masters a formalization, similar to the one's where karate, etc. were implemented into the school systems of both Japan and Okinawa, was required called, Do practices. This began for Japan in the Edo period.

When implemented the outcome was arts such as budo (bushido), sado, kado, shogi (Japanese chess), reading and writing, abacus, and most other types of learning in Japan. There were "forms" to follow, and teachers needed to study the forms to train the students. To me, this confirms the need for these forms if we intend to pass along the traditions and traditional forms of martial practice. It is the core.

I have also found that although the Japanese might want to forget the influences of China that they, much like Okinawa, received a great deal of influences concerning Taoism and Buddhism that have been accepted and changed into the current Zen Buddhism practices that permeate the entire history up to the current minds of today's Japanese. It seems to me the one commonality that binds China, Okinawa and Japan in a spirit that may be separated only by prideful ego beliefs, etc.

No matter the differences in systems or customs of each country the system of teaching/instruction at its fundament core are these systems of training, i.e. patterns or forms (kata). Even in the tea ceremony there are forms to follow.

The reason for such repetitive and perfectionist practice is to build good character and a sense of "harmony" with the discipline. Following such patterns/forms results in the individual developing a mind that discards all extraneous thoughts promoting present moment mind  of "no-mind [mushi]" which promotes full acceptance to reality which is a core to learning and understanding any kind of "Do" practice.

Mushin: Where one achieves a singular thought and action the is the essence of the spirit of "do."

In this system the perfection comes first after many years of such practice, i.e. repetitive forms or patterns. Once this is achieved the person has found the "way" and in perfecting the way the practitioner goes beyond the forms and  develops new patterns and approaches to practice and follow and instruct/teach. In other words this is bringing their practice full circle, i.e. "one."

This does not mean we remain steadfast in the pattern or form. The term, "kata-ni-hamatta-hitto, or rigid, inflexible people stuck in the form, cannot be creative and bring growth to the art unless they adhere to the original form and pattern yet reach the point where the must go beyond the form, i.e. kata-kara-nukeru.

This for me provides the core of why I would continue to practice and teach kata. Even with the advent of digital video capability where one could record the system the recording of the core of the system is still best served by pattern or kata or form.

Bibliography:
Davies, Roger J. and Ikeno, Osamu. "The Japanese Mind: Understanding Contemporary Japanese Culture." Tuttle Publishing. Tokyo, Japan. 2002.