Criticism of the Iemoto System and Attempts to Transcend Its Boundaries in Japanese Traditional Arts

This article examines the iemoto system — a traditional hierarchical structure for organizing schools in Japanese arts that has shaped their development for centuries. The aim of the paper is to analyze the criticism of this system in the second half of the 20th century, when it came to be perceived as an obstacle to creative freedom and the renewal of the arts.
Attempts to transcend the boundaries of the system are analyzed through three key case studies: the revolt of young Noh theater actors in 1970, who refused to follow the canons of a single school; the introduction of hierarchical structures into traditional Okinawan dance, which paradoxically led to a blurring of styles; and the history of the Sawai koto school (founded in 1979), established as an open educational institution but inevitably reproducing key elements of the iemoto system under pressure from students' demands.
It is concluded that the system's resilience is explained not only by the conservatism of tradition but also by its nature as a social contract reproduced "from below". The iemoto fulfills a socially demanded function of certification and institutionalized recognition, for which no alternative has emerged in contemporary Japan. Despite criticism, the system demonstrates a remarkable capacity for adaptation while retaining its structuring role.

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