The document discusses the Japanese concept of "shuhari", a three stage process for learning and creative development. The stages are: shu (obedience), where students learn fundamentals through repetition; ha (divergence), where students begin creative expression while adhering to core concepts; and ri (transcendence), an intuitive, spontaneous expression of mastery. This process is used in many Japanese arts and can inform how creativity is taught, with shu building skills, ha fostering innovative practice, and ri realizing personal creative fulfillment.

1. Shuhari
and
Creativity
Dr. Ricardo Sosa (rsosa@aut.ac.nz)

2. or: what the Japanese concept of “shuhari”
can tell us about teaching creativity
Dr. Ricardo Sosa (rsosa@aut.ac.nz)

3. Dr. Ricardo Sosa (rsosa@aut.ac.nz)
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”

4. Dr. Ricardo Sosa (rsosa@aut.ac.nz)
Yukiyoshi Takamura (1928-2000)
Classical learning process: “Embracing  Diverging  Discarding”

5. Dr. Ricardo Sosa (rsosa@aut.ac.nz)
Shu
Educational core
Most visible, accessible

6. Dr. Ricardo Sosa (rsosa@aut.ac.nz)
“Students must first resign their
ego to a seemingly random series
of repetitious exercises
physical and mental discomfort,
neuro-muscular processes
become intuitively ingrained”

7. Dr. Ricardo Sosa (rsosa@aut.ac.nz)
“Advanced kata will be presented
throughout training which present
greater and more diverse challenges,
but the mental methodology
for learning is now in place”

8. Dr. Ricardo Sosa (rsosa@aut.ac.nz)
“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”

9. Dr. Ricardo Sosa (rsosa@aut.ac.nz)
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”

10. Dr. Ricardo Sosa (rsosa@aut.ac.nz)
Ha
“First hint of creative expression
allowed the student”

11. Dr. Ricardo Sosa (rsosa@aut.ac.nz)
“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”

12. Dr. Ricardo Sosa (rsosa@aut.ac.nz)
“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.”

13. Dr. Ricardo Sosa (rsosa@aut.ac.nz)
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”

14. Dr. Ricardo Sosa (rsosa@aut.ac.nz)
Ri
Advanced level of training.
“It is a state of execution that simply occurs
after shu and ha have been internalized”

15. Dr. Ricardo Sosa (rsosa@aut.ac.nz)
“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”

16. Dr. Ricardo Sosa (rsosa@aut.ac.nz)
“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.”

17. Dr. Ricardo Sosa (rsosa@aut.ac.nz)
“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.”

18. Dr. Ricardo Sosa (rsosa@aut.ac.nz)
Shu
Skills, ‘design thinking’,
techniques and methods,
creative literacy
Ha
Advanced creative, innovative
practice and collaborations,
heuristics, frameworks
Ri
Personal creative realisation,
a fulfilled life, a creative
organisational culture
edwdebono.com
dschool.stanford.edu
openinnovation.net
centralstory.com

19. Sources
• “Teaching and Shu-Ha-Ri, The traditional Japanese method of knowledge transmission” Yukiyoshi
Takamura, 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 (rsosa@aut.ac.nz)