THE FLOATING BLOSSOM

 by Phillip Starr

I've previously addressed the subject of Westerners trying to “get” the essence of Chinese and Japanese martial arts many times and I've often spoken of the difficulties involved in trying to transmit a part of one culture into another many times...so many times that readers may believe that I think Westerners are all dumb as a stump when it comes to appreciating the deep, profound aspects of the martial Way. Not so at all. In fact, I tend to believe that the West offers people a greater potential for exploring other cultures than any other. For instance, I know Americans who can spot a genuine 16^th century katana from a block away, who are knowledgable about every step of its creation, and who are skilled in its use. But I don't know a single Chinese person who has similar qualifications for, say, Appalachian folk pottery. Are there many (or any) corresponding experts in Japan on the weapons and tactics of the American Revolution? I really doubt it.

So, I have no quarrel with the West but I do have a contention...that it is very difficult to truly understand some aspects of a foreign culture and that misunderstandings, which are quite frequent, are liable to have unexpected and undesirable consequences. This is true when Westerners try to delve deeply into an Eastern subject, and it also happens when Easterners try to master a Western art...

“Many students practice faithfully and train very hard but I wonder if they really have a feel for it” and “It's impressive on the surface but it's actually rather shallow” are quotes you might think that I've made about Westerners struggling to learn the martial ways of the East. But actually, they're made by musicians speaking about Western music...as it's played in Japan!

Western music is hugely popular in Japan as well as China. There are at least a dozen professional symphonies in Tokyo alone. Products from soap to beer often use Western music in advertising and every high school in Japan has a classical orchestra. Pieces from Bach, Beethoven, and Mozart are as well known to the Japanese as any native composer. And it's not just the adults; Japanese symphony halls seem to attract large numbers of young people as well. It would seem that classical Western music (as well as more contemporary types) have been assimilated and adopted into Japanese and Chinese culture but if you look deeper, you get a different perspective...

Numerous critics note that much of the time (especially in the case of younger folks), concerts are more about socializing than enjoying and appreciating the music. They also complain that Japanese and Chinese performers are too mechanical. Their music, although technically correct, never shows any individuality. One critic noted that his countrymen didn't seem to have any strong opinions about the music they play. A music professor at a well-known university (one that specializes in teaching Western music) compared classical music in the East (or at least his country) to a blossom floating on a pond. He said of this subject, “It's big and beautiful...but it has no roots.”

Interesting...many of the same criticism that I've made about Westerners trying to master the martial ways are made by Eastern critics regarding Western music that's been imported to their cultures.

Many Western martial art devotees stress that martial arts transcend culture and they dismiss the native cultures of the arts they practice as, at best, a superfluidity. In a sense, they're correct; the movements, lessons, and spiritual path provided by the martial ways are open to all who are sincere and dedicated. However, they are wrong to insist that the attendant culture of their chosen arts carry no weight. For instance, a Westerner who's been raised in a culture deeply colored by Christianity (even though he may not be a Christian himself) has a different “feel” for music that was inspired and composed in the paradigm of that culture. The religion that inspired the music influences it. The culture in which a piece of music was written and played for centuries had a great influence on more than just the notes and composition; a familiarity with that religion and a lifelong conversance with the culture that spawned it provide insight and perspective on the music that is extremely difficult for someone not similarly equipped.

So, does this mean that an ensemble in Grand Island, Nebraska will automatically perform Bach's minuet better than one in Kyoto or Shanghai? Not likely. It means simply that the people in Nebraska would have a perception and shared aspects of the music that would be difficult for a foreigner to grasp. That doesn't mean it's impossible...just more difficult. It's very ignorant to assume that one's race or place of birth somehow conveys a special, privileged power for mastering or even understanding various aspects of a given culture. At the same time, it is very arrogant to believe that each of us is automatically equal in grasping various other cultures of the planet.

This is a challenge we face in trying to master the traditional martial ways. But the obstacles we face aren't insurmountable; we're not doomed to never “get” the real thing and penetrate its depths. But we must admit that the parent culture of these arts is considerably different from our own and we must understand that the influences of the parental culture(s) have not been slight or incidental. We don't come to class with a set of “cultural decoders” that break down the barriers that stand in our way. It's a daunting task...more formidable than those faced by Japanese or Chinese musicians trying to get to the heart of Bach. Are you up to it?