Seishin, which basically refers to inner strength and spiritual strength, is a uniquely Japanese concept. Being defined as a human quality related to possessing traits such as endurance, strong will, intention, fortitude, hard work, and mental power, which are gained through long years of disciplined training, it occupies a prominent place within Japanese traditional arts as well as their transmission. This fact renders seishin a part of the process of selfdevelopment or self-cultivation that is considered an ideal in these arts. This study aims to disclose the details of acquiring seishin in the context of nihonbuyō training, which requires a critical process of mind/body adjustment and transformation. Nihonbuyō is a living theater/dance tradition that appeared in the 17th century by taking and interpreting elements from previous forms and has been developed until today also by being influenced by nonJapanese forms in the 20th century. The discussion in this study is mainly based on the data collected during the researcher’s fieldwork on the transmission of nihonbuyō, which was conducted in Kyoto (Japan) between May 2022 and March 2023. Participant observation specific to qualitative research was the main method that was used in the fieldwork. The individual lessons of two different masters of nihonbuyō —Nao Yoshimura and Yayoi Wakayagi— with both professional and amateur students were followed regularly. The collected data show that nihonbuyō training is highly embodied. Reflecting the Japanese way of learning that gives prominence to the body rather than the distrusting mind under the influence of Zen teaching, the masters of nihonbuyō use limited verbal explanation or other techniques that induce mental activity. Instead, the training depends on the repetition of already set patterns of movement (kata) that are learned through the students’ faithful imitation of their master’s live performance. Here, what is aimed at is shaping/developing the mind via physical training so that the Zen ideal of body-mind unity is achieved. Being another important concept in Japanese culture and arts, kata basically refers to shape, form, and style. Nevertheless, what is at stake here is not an abstract and empty form but rather a loaded form that is embodied within a context and therefore value-laden. This adds the transmission of kata in nihonbuyō training an intersubjective quality. Whereas the master is considered a model to emulate, what is transmitted from master to disciple goes beyond movement patterns or repertoire but involves certain cultural values and sensibilities. Besides, what a student learns from the master is not only the form but also the way of doing. Via extensive repetition of already set patterns of movement, the performers of nihonbuyō are channeled into entering a state of receptivity by the suspension of individual will or volition. Through this process, they are expected to learn to let the movement or action occur on its own. At this level of mastery, the performers do not produce strength by their own volition but become able to invite the strength to induce movement. This is a moment of controlled spontaneity, in which the mind is passive, and the performer begins to think with the body. The aim is letting the body act according to its own nature, as it is. This is also considered a journey of self-actualization, in which for the student, the master is a guide and a model who has already passed the same route. When all obstacles that may prevent the mind/body from functioning naturally are removed, the inner spiritual strength that is called seishin is fully embodied by the performer. From now on, kata as form falls into the second place, while kata as the way of doing takes the lead.