Mujitsu and Tairaku's Shakuhachi BBQ

I'm bringing up this post here as an extension to some thoughts that came up due to a discussion in another thread in this section.
There are some obviously exceptional shakuhachi players who have an extremely broad knowledge of the instrument, its inherent particularities and applied uses who deserve applause  because they are something of a hybrid and their efforts, desires and love for the instrument have put them in a position that is possibly pointing toward the future.
The traditions as they are taught in Japan are generally exclusive of other styles or modes of playing.  Most players have a very limited knowledge of what lies beyond their own division of the school they learn in.  As most people know, the methods of transmission here in Japan involve a life-long teacher/student relationship.  Students rarely change teachers unless they physically move away from their teacher and can't afford to travel to the teacher even infrequently.  Then the original teacher will introduce the student to a chosen, known teacher in the student's new location.  Even fewer players have knowledge about the varieties of construction methods of the instrument as crafting and playing are seen as two distinct disciplines that don't necessarily overlap.  Fewer players still dare to wander far from the expected musical styles of their teaching.  In short, this world is very insular.
One of the main observations I've had since joining this forum, though, is that those players living outside of Japan with little access to a constant and unique teacher, tend to grasp at anything that falls under the umbrella of shakuhachi.  Long held biases aren't observed.  Lines are often unknown.   If styles are known,  they are accepted for what they portray and not necessarily seen as superior to any other.  Grasping multiple styles isn't unheard of.  For those who have been taken by the depth and beauty of this instrument (almost all vocal people here, and many who still remain silent) embracing absolutely anything and everything related to the instrument just makes sense: history, lore, styles, craft and theory.  As such, rare (but increasingly less so) individuals are emerging.  From my perspective, this is good and we can be very thankful that we have access to this valuable resource.  Though there are some forward thinking individuals here in Japan who are supporting new ideas and new ways, it seems to have more to do with the perceived struggle of continuance of the art form than its inevitable evolution.  What's happening outside is a different kettle of fish altogether.  And for that, and you who represent that with passion, I applaud!