Isn’t it interesting how we use language in martial arts?
Within a teaching/training environment instructors will use all kinds of examples, metaphors etc. to communicate their ideas. Over the years you develop a whole arsenal of teaching ploys aimed at getting things across to your students.
For a martial art as an ‘art of war’ it is surprising how un-warlike the language can be. It tends to be just very practical, workaday, descriptive (in a mechanical, functional way) no emotion necessary just direct communication.
Compare that to types of language used by professional sports people and sports commentators, these tend to be oh so very warlike!
Battlefield and human combat metaphors and expressions come thick and fast. Tennis players are described as ‘punching above their weight’, the last time I checked punching wasn’t part of tennis – oh, apart from that really puzzling ‘punching the air’ gesture that top tennis players do when they win a point or match – what is that all about?
Golfers have a ‘battle on their hands’ – really? Footballers ‘hold the line’ – very 1914-18. And so it goes on.
Yet in serious martial arts disciplines you never hear these phrases.
This first occurred to me in a multi-discipline seminar, working with other martial arts styles. I found myself puzzled by phrases I had never heard used in traditional Dojos. I heard one instructor telling students that the objective of the technique was to “destroy the limb”, the phrase was clearly meant to dramatise the the effect of the technique rather than describe it. Opponents were described as “the bad guy”, ribs were “crushed”, and attacks to the knees were intended to “cripple” the opponent.
This was an emphasis on the after-effect of the technique and certainly not about the physiological mechanics of the technique, or how it affects the opponent’s structural integrity.
I know that in saying this I am sounding like an awful snob and being too picky, but I draw attention to it to maybe prompt people to think about where this is coming from, or even to think about what signals instructors send to their students.
So what is happening? Why that choice of language?
In part I think it is the cynical use of the language of fear. Consciously or unconsciously the instructor is cooking up a scenario of good versus evil – you are the good guy and you are having to ‘destroy’ the bad guy (and the world is full of ‘bad guys’, isn’t it? Well no actually, not if looked at proportionally; besides there’s good and bad in all of us).
For anyone familiar with Abraham Maslow’s ‘Hierarchy of Needs’ you will know that if you want to motivate people into taking action all you need to do is remove one or more of the component parts of the hierarchical building blocks, particularly level 2. Remove ‘Security’ or ‘Safety’ and people are forced into stressful, fearful mindsets. Remind them of their own fragility (illustrated with lurid examples) and then offer an antidote and you have a model for business success. But you have to keep the illusion/fantasy alive – hence the language; we can ‘take the man out’, we ‘annihilate the opposition’, ‘take him down’ literally and metaphorically.
I realise I am probably going to have to be super-cautious with my own teaching language from now on, or I may find myself ‘hoisted by my own petard’.
Maslow’s Hierarchy of Needs.
Back of the net! Tim Shaw
In Ushiro Kenji’s book, ‘Karate and Ki – The Origin of Ki – The Depth of Thought’, he mentions that when your sensei asks you if you understand, you should always be wary of answering it with an emphatic “Yes”. A better answer may be, “Yes, but only to my current level of understanding”. How can you really state that you are fully in the picture of what your Sensei is trying to communicate? It all becomes relative to your current point of development, and (if we are being realistic) we are all existing on a continuum of expanding knowledge – or we should be.
This is nothing new. Socrates (469 – 399 BCE) had worked it out (and was despised by some of his contemporaries for this). Here is a quote from the Encyclopaedia of Philosophy [online], “[The] awareness of one’s own absence of knowledge is what is known as Socratic ignorance, … Socratic ignorance is sometimes called simple ignorance, to be distinguished from the double ignorance of the citizens with whom Socrates spoke. Simple ignorance is being aware of one’s own ignorance, whereas double ignorance is not being aware of one’s ignorance while thinking that one knows.”
In my last job I spent many years advising teenagers about to depart for university, and one thing I used to say to them was that one of the worst insults that could ever be thrown at them was for someone to describe them as ‘ignorant’; I also included shallow as well, but ignorance was the most heinous of crimes.
An obvious part of this is to be aware of the lenses you are looking through (check out, ‘observer bias’ and the closely related ‘cognitive dissonance’). Martial artists seem particularly prone to this. We see this when someone has a pet theory, or a favourite concept and feels a need to carve it in stone. Once it’s gone that far down the line there’s really no going back, and even in the light of new evidence which contradicts or turns over the pet theory they are stuck with it and it can become a millstone around their neck.
The error is in not acknowledging your own ignorance; feeling you should set yourself up as the authority in all things.
We are not very good at understanding the limits of our own knowledge. We make an assumption that in all areas of life we are existing on the cutting edge of what is possible – that may be true but we still encounter stuff that is either imperfect, or goes wrong, or breaks down; be that in systems, societies or technology. Deep down we know there is the possibility of improvement and advancement, but that’s always for tomorrow.
Take medical science as an example. Someone recently said to me that there’s never been a better time to be ill. Now, I take issue with that in more than one way; the obvious one being that really there is no ‘better’ time to be ill at all! Another point is that this comment was probably the same one used by an 18th century surgeon when he was just about to saw someone’s leg off without anaesthetic.
I suppose it is the arrogance within humanity that arrives at these rather bizarre conclusions. Perhaps in a way it is a kind of comfort blanket; maybe we are hiding from a much more sobering reality? Sometime in the future will some social historians be looking back at us and marvelling at how primitive and naïve we were? Or perhaps this is already happening within our own lifetime? Maybe my generation has been the first to witness such a dramatic rate of change and advancement. It’s a fact; compared to previous centuries the rate of change has speeded up phenomenally. One factor alone sums it up nicely – the Internet. I think we can talk confidently about ‘Pre-Internet’ and ‘Post-Internet’.
However, human skill development at a physical level does not increase at the same high speed that technological development can. Athletes can still shave a hundredth of a second off a 100 metre sprint, but it can take years to achieve this comparatively tiny gain. In fact any significant human skill still takes hours of dedicated practice to achieve. A 21st century aspiring pianist still has to put the same amount of hours in that an 18th century one did. Of course we are smarter about how we organise the learning process, this is sometimes supported by technology but the body still has to do the work. Our attitude towards human physical achievement and ambition has changed over the last 100 years. Take the example of Roger Bannister’s breaking of the 4 minute mile; critics at the time claimed that Bannister had cheated because he trained for the event! Their attitude of course was that Bannister should have done it based upon his own innate undeveloped physical attributes; his God given talent.
The acknowledgment of ignorance is inevitably a positive thing; it’s the acceptance that there is a whole big world out there, a boundless uncharted territory which is loaded with amazing possibilities.
For the 6th year running we have been honoured to host the Shikukai Karate-Do International winter course presided over by our chief instructor F. Sugasawa Sensei 7th Dan.
We at Shikukai Chelmsford (Shouwa Jyuku 翔和塾) have been surprised as to how the popularity of this annual course has grown over the years; even more so when it became recognised as the official Shikukai winter course. Attendance this year increased even more and we have had to plan for larger venues to cope with the numbers.
This year we had students from as far afield as Hungary, Holland, The Czech Republic and Norway, as well as students from Devon and Yorkshire.
In all this was an opportunity for four days training, kicking off with our regular club night on the Thursday. This was taken by Shouwa Jyuku instructor Tim Shaw 7th Dan and assisted by Steve Thain 4th Dan. The class was centred around some very usable, carefully designed continuous paired drills which incorporated Wado’s characteristic body shifting (Tai Sabaki).
Friday evening’s training was orchestrated by Sugasawa Sensei. Sensei started off with training and grading for the children’s class who are based at the Woodham Walter Junior School and instructed by Sue Dodd. He gave them some very useful kata instruction, particularly on Pinan Sandan. The children taking the examination had been well prepared and inevitably succeeded in their grading. They were a credit to themselves and the care and attention taken by their instructors.
In the senior session Sensei based the first part on the use of the elbows; this naturally led on to the correct application of the elbows in Kake Uke, and then on to paired kumite.
After the training a meal had been organised at the pub across the road, who coped really well with such a large group taking over their dining room.
Saturday training was at the Danbury Sports & Social club. The three hour training began with foundation techniques for everyone and then the class was split three ways with training directed by the senior instructors. We were lucky this year as we not only had Sugasawa Sensei overseeing the classes but also Shikukai seniors, Tim Shaw Sensei, Steve Rawson Sensei, Carol Chatterton Sensei, Richard Barham Sensei and Tim Dixon Sensei. The last half of the class was selected kata for each of the grade groups.
Saturday night was a chance for everyone to get together. We took over a town centre restaurant and for some the revelry went on into the early hours of the morning – others took to their beds at a more sensible time.
The training on Sunday started with an excellent warm-up and stretch by Richard Barham Sensei, Keri Waza in all its variations followed split within grade groups. The second half was dedicated to Kumite, with Dan grades getting some detailed breakdowns from Sugasawa Sensei.
The course ended with a Dan grading. Mark Troman of Shene passed Shodan and Adam Jakab from Hungary passed Nidan. An excellent finish to a very successful weekend. Planning for next years winter course has already started – keep your 2020 diary free.
A huge thank you to the main organisers Sue Dodd and Natalie Hodgson who worked tirelessly to ensure things ran smoothly, as well as the army of people who organised restaurant arrangements, accommodation and airport runs.
My intentions are to present a book review and at the same time expand it to look at the potential implications for martial artists of this very interesting theme.
For anyone who has not discovered the ideas of psychologist Mihaly Csikszentmihalyi get hold of his book. ‘Flow – The Psychology of Happiness’.
This came to me from a very roundabout route. Initially I was curious about Mushin no Waza, (technique of no-mind), a concept many Japanese martial artists are familiar with; but further research lead me on to ‘Flow States’. Musicians might describe this as working ‘in the groove’, or ‘being in the pocket’, psychologist Abraham Maslow called it ‘Peak Experience’, being so fully immersed in what you do, in a state of energised focus almost a reverie. It’s all over the place with sporting activities. Csikszentmihalyi describes it as an ‘optimum experience’.
I should say at this point that it’s nothing mystical or magical, although some would like to describe it as such. As with magic – magic ceases to become magic once it’s explained. I know that once the illusionist’s sleight of hand technique is revealed we all feel a little disappointed and the magical bubble has burst, but if explanation leads to greater understanding it’s a loss worth taking. So it is with Csikszentmihalyi’s book; he unpacks the idea and neatly describes the quality of flow experiences as well explaining the cultural and psychological benefits.
In a nutshell, flow states happen when:
Whatever activity you are engaging in creates a state of total immersion that you almost lose yourself within the activity.
The identifying qualities include:
- Total focus (excluding all external thoughts and distractions).
- The sense of ‘self’ disappears but returns renewed and invigorated once the activity has concluded.
- Time has altered, or becomes irrelevant.
- The activities must have clear goals.
- A sense of control.
- Some immediate feedback.
- Not be too easy, and certainly must not be too hard and entirely out of reach.
Now, I challenge you to look at the above criteria and ask yourself how these line up with what we do in the Dojo. I would bet that some of your most valuable training moments chime with the concepts of the flow state – you have been there. Many of us struggle to rationalise it or find the vocabulary to explain it, but we know that afterwards we have grown.
This ‘growth’ is vital for our development as martial artists and human beings. This is what they mean when they describe martial arts as a spiritual activity; but ‘spiritual’ devoid of religious baggage, but ironically in traditional martial arts there is generally a ritualistic element that sets the scene and promotes the mind-set necessary to enable these flow state opportunities; so I wouldn’t be too quick to dismiss this side of what we do.
Csikszentmihalyi says that flow experiences promote further flow experiences; i.e. once you have had a taste of it you yearn for more, not in a selfish or indulgent way but instead part of you recognises a pathway to human growth and ‘becoming’. We become richer as these unthought-of experiences evolve; we become more complex as human beings.
What is really interesting is that flow states are not judged upon their end results; for example the mountaineer may be motivated by the challenge of reaching the top of the rock face but it is the act of climbing that creates the opportunity and pleasure and puts him in the state of flow and rewards him with the optimal experience that enables him to grow as a human being. So, not all of these experiences are going to be devoid of risk, or even pain and hardship, they may well be part of the package.
Another aspect is that in the middle of these flow experiences there is no space for errant thoughts, if you are doing it right you will have no psychic energy left over to allow your mind to wander. In high level karate competition the competitor who is ‘in the zone’ has no care about what the audience or anyone else might think about his performance or ability; even the referee becomes a distant voice, he is thoroughly engaged in a very fluid scenario.
How many times have you been in the Dojo and found that there is no space in your head for worries about, work, home, money, relationships. You could tell yourself that this ‘pastime’ just gives you an opportunity to run away and bury your head in the sand, but maybe it’s more a case of creating distance to allow fresh perspective.
If Otsuka Sensei saw Budo as a truly global thing, as a vehicle for peace and harmony, then consider this quote from author and philosopher Howard Thurman, and apply it to the idea of Flow;
“Don’t ask what the world needs. Ask what makes you come alive, and go do it. Because what the world needs is people who have come alive.”
Early 20c Japanese Jujutsu.
I recently watched a YouTube video which was focussed upon the sanitisation of old style Jujutsu techniques that were cleaned up to make them safe for competitive Judo. Throws and techniques which were originally designed to break limbs and annihilate the attacker in dramatic and brutal ways were changed to enable freeform Judo randori where protagonists could bounce back and keep the flow going.
This inspired me to review techniques in Wado, some of which I believe went through a similar process.
We know that the founder of Wado Ryu Karate, Otsuka Sensei had his origins in Koryu Jujutsu and that Wado was crafted out of this same Koryu base; Wado is certainly still considered as a continuation of the Japanese Budo tradition. Koryu Jujutsu in particular had historically developed a reputation as an antiquated form of brutality which was not compatible with an agenda developed by modernisers like the founder of Judo Kano Jigoro.
To set the context; Wado went through many transformations, and even though quite elderly Otsuka Sensei was still reforming and developing Wado Ryu throughout his long life; a project that was continued through subsequent generations of the Otsuka family.
But how much has Wado allowed itself to be sanitised? Did we lose something along the way? Was Wado de-fanged, did it have its claws clipped? And, if it has, where is the evidence?
But beyond that – does it matter? The loss of these dangerous aspects may well be a moot point; the development of Wado may well have bigger fishes to fry, and this particular issue may just be a distraction from a much larger agenda.
However, to my mind it’s still worth considering.
First of all, I am reminded of a discussion I had with another instructor regarding the craziness of the practice of the Tanto Dori. Thinking back to when these knife defence techniques were part of the Dan grading syllabus, nobody seemed to care what kind of blade you pulled out of your kit bag; blunted pieces of stick, to razor-sharp WW2 bayonets, in fact there seemed to be a badge of honour based upon how sharp and dangerous was your Tanto! We laughed about how such practices would be looked at in today’s politically correct, health and safety environment.
In Judo there are the Kinshi Waza, the banned techniques; these include. Kani Basami (Crab Claw scissors), Ashi Garami (Entangled leg lock), Do Jime (Trunk strangle), Kawazu Gake (One leg entanglement). These are the techniques that the authorities decided were more likely to cause injury, so not necessarily banned because of their viciousness, more their proclivity to cause accidental damage.
Within Wado undoubtedly some techniques were ‘cleaned up’, even within my time.
I can think of at least fifteen techniques, most of which existed inside the established paired kata which were ‘made safe’. Sometimes this came out of trial and error, i.e. the Japanese Sensei saw too much damage incurred by over-enthusiastic students, so decided to soften the technique to minimise injury. Others were implied techniques, e.g. ‘if this technique were to be taken through to this position it would result in significant damage’. Some of these techniques were hidden; you would struggle to spot them if they weren’t explained to you. In some cases the ‘brutal’ part of the technique was actually easier to execute than the so-called ‘cleaned up’ version, but this latter version remained closer to the practice of Wado principles; a contradiction….maybe, maybe not.
A variation on Kumite Gata. The body is ‘scissored’ apart; this is combined with a leg action that completely takes away the base. It is almost impossible to practice this technique safely.
I think that most people are aware that some throwing techniques were designed so that a successful breakfall (Ukemi) would be extremely difficult or even impossible, resulting in damage that you would never recover from; not something to dwell on lightly. (A prime example in Wado is the technique known as Kinu Katsugi, which we now practice in a way that enables uke to land relatively safely).
This Ohyo Gumite technique is very effective on its own, but another variation involving standing up from this position would result in Uke being dropped to the floor with very little chance of being able to protect themself.
Right, Suzuki Sensei showing the ‘stand up’ associated with this technique.*
There are other Wado techniques which on the outside look incredibly dangerous but are sometimes so wrapped up in misunderstood formalism that the accepted coup de grace becomes a merely academic endeavour (works well on paper but could you make it do the job?). Usually this is because of a misunderstanding of the mechanism of the technique itself, or the mechanism of ‘kata’ and how the teaching model actually functions.
I remember Suzuki Sensei sometimes held ‘closed-door’ sessions, you had to be above a certain grade to participate and no spectators were allowed. I attended some of these and the best I can describe them was that they involved what some would think of as ‘dirty tricks’, but very effective fighting techniques which would really damage your opponent.
To reiterate; while it is interesting to speculate on these matters, compared to the other complexities of Wado they could be looked upon as a mere side-show, after all, just the fundamentals take a lifetime to get your head round, never mind all of this.
*Photo credit, Pelham Books Ltd, ‘Karate-Do’, Tatsuo Suzuki 1967.
This one has been around for a long time, but it’s a very useful model and can be used in many ways.
The Monkey Trap is supposed to be a real thing, a real trap used by primitive tribes to outsmart monkeys. Traditionally the trap features a narrow necked jar which is either tethered to the ground or weighted down. Scattered around the jar are treats the monkey would like but there are more inside. The monkey reaches inside the jar, closes its fist around one of the treats and, with a closed fist it cannot extract its hand past the neck. The monkey is stuck, because of its unwillingness to relinquish its grip on the treat – its own stubbornness, greed and narrow thinking trap it in position. The story was used by Tolstoy in ‘War and Peace’ to describe the French’s unwillingness to discard their loot on the retreat from Moscow. Robert M. Pirsig made use of the same story in ‘Zen and the Art of Motorcycle Maintenance’. There’s even an episode of the Simpsons where Homer thinks he can reach inside a vending machine to steal a can of drink, the fire brigade have to free him but a fireman points out to him that all he had to do was let go of the can and his hand would slide out.
Therapists are attracted to this neat little story; it’s a literal example of the pitfalls of not ‘letting go’.
I can think of a number of ways it relates to training. In a way it’s another example of the necessity of ‘emptying your cup’, but, to me, it’s a much more interesting model.
I can see it relating to the problem solving involved in fighting, about the unwillingness to depart from set formulas to solve the problems your opponent is presenting you with. I also see a warning to those of us who have many years behind us in training. I know it’s easy for senior instructors to rest on their laurels and start to believe their own propaganda and particularly to trade upon their association with the stars in the Wado firmament (the ones still with us and the ones departed) but this can have a detrimental effect. In these cases it is possible to get stuck with your hand inside the jar, by being unwilling to let go of perceived status attached to such associations. It’s a matter of judging what’s important to you. By hanging on to such shiny baubles as a form of comfort you miss the opportunity to engage with the wider world and in particular to follow the path of development that got you to where you are in the first place. A monkey stuck in a jar, or a case of wilful arrested development? You decide.
‘Never rely on autopilot, it will always let you down’. In kata training I am always saying this to students; particularly when preparing for grading of competition.
Autopilot in kata is just switching your brain off and letting your body take over and rattling through the moves at top speed. Most of the time you will get through the kata okay, but at what cost? Mindful practice is infinitely more valuable. But all too often autopilot will stall or glitch and then all the wheels will come off. The more kata you know the more it is liable to happen. Many of you will know what can go wrong part way in to Kushanku kata… everything was going well then suddenly you have missed out four shuto uke and slipped into Pinan Yondan!
That is one type of autopilot error. The other one affects the more senior experienced karateka. This is the one where you let your body take over assuming that all the moves are spot-on perfect, even at full throttle! It may not be the case. If you do that be wary of what audience you are putting it in front of. A knowledgeable audience will see all your weaknesses. If you are a senior Dan grade always give the same scrutiny to your own techniques that you give to your students; don’t assume you are getting it right.
There is another aspect that connects with the physical understanding and performance of kata and that is the question; is it possible to depart from the kata while still staying with the kata? Sounds like a contradiction but it’s not; it all depends on how you use the kata. It is possible to go so far into the kata that you come out the other side. The second grandmaster of Wado Ryu gave some methods of departing from the kata while still holding on to its integrity. He had two methods of free-forming within the kata, but to do this demanded supreme confidence and knowledge of the character of the kata. It reminded me of something I had heard which was common to the creative Arts (visual and performing), the concept was; ‘Once you know the rules inside out and every which way, then you are allowed to break them’. This is the same with painters as it is with musicians. Jazz trumpeter Miles Davis famously said, “It’s not the note you play that’s the wrong note – it’s the note you play afterwards that makes it right or wrong”. This example from jazz fits really well with the second grandmaster’s approach to aspects of kata.