Abstract
The role of “craft language” in the process of teaching (learning) “Waza” (skill) will be discussed from the perspective of human intelligence.
It may be said that the ultimate goal of learning “Waza” in any Japanese traditional performance is not the perfect reproduction of the teaching (learning) process of “Waza”. In fact, a special metaphorical language (“craft language”) is used, which has the effect of encouraging the learner to activate his creative imagination. It is through this activity that the he learns his own “habitus” (“Kata”).
It is suggested that, in considering the difference of function between natural human intelligence and artificial intelligence, attention should be paid to the imaginative activity of the learner as being an essential factor for mastering “Kata”.
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The oldest extant professional theatre; a form of musical dance-drama originating in the 14th century. E. O. Reishaueret al. (eds.)Encyclopedia JAPAN (1983), Kodansha International Ltd, Tokyo.
One of the three major classical theatres of Japan, together with the Noh and puppet theatre (Bunraku) (ibid.).
Art of self-defence that uses no weapons and relies instead on arm strides (uchi), thrusts (tsuki) and kicks (keri) (ibid.).
A form of unarmed combat that stresses agile motions, astute mental judgment, and rigorous form, rather than sheer physical strength (ibid.).
Japanese fencing based on the techniques of the two-handed sword of the samurai (ibid.).
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Ibid., p. 44.
The brilliant actor, playwright, and critic who established Noh (sarugaku) as a classic theatrical art (1363–1443) (E. O. Reishaueret al. (eds)Encyclopedia JAPAN, Kodansha International Ltd, Tokyo, 1983).
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Kabuki actor (1865–1940).
Kabuki actor (1838–1903).
Nakamura, Utaemon,Nihon no Geidan 2, Kugei Publishing Company 1979, p. 192.
Kabuki actor (1911–1988).
Kabuki actor (1885–1949).
The popular 18th-centurykabuki play. A tale of revenge based on “the forty-seven ronin incident”, is a famous play shown even now in near entirety. (E. O. Reishauer,et al. (eds.)Encyclopedia JAPAN, Kodansha International Ltd, Tokyo, 1983).
The ramp extending into the audience toward the left side of the theatre, which serves both as a secondary stage and as the means by which the actors often make their dramatic entrances and exits (ibid.).
Seki, Yoko (1985).Nakamura Kanzaburo Gakuya-banashi, Bungeishunju Publishing Company, pp. 45–46.
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Ibid., p. 54.
For the further argument on this problem, see Kumiko Ikuta (1987),Waza kara shiru (Learning from Skill), Tokyo University Press.
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This article is a modified English version of Chapter 5 of my bookWaza kara shiru (Learning from Skill), Tokyo University Press, 1987, pp. 93–105.
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Ikuta, K. The role of “craft language” in learning “Waza”. AI & Soc 4, 137–146 (1990). https://doi.org/10.1007/BF01889640
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DOI: https://doi.org/10.1007/BF01889640