A. A. Borisova
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The article is focused on the principal challenges facing the iemoto system (the main structural system of the schools of traditional Japanese arts) in the second half of the 20th — early 21st century. The iemoto system is rather conservative and traditional. These features are viewed as the desire of the heads of schools to restrict the creative potential of the apprentices. The same dissent was demonstrated towards the fi xed form of the exercises, which do not let reveal one’s initiative. The title of iemoto is hereditary, regardless the actual abilities of the heir, which also causes sharp criticism. On the other hand, the existence of the iemoto system itself is designed to keep the
traditions and the secrets of the art in its original form.
Key words: iemoto system, traditional Japanese arts, tea ceremony, ikebana, the Noh
theatre.
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