After writing the initial ‘Use it or Lose it’ blogpost and listening to feedback, I realised there was more scope for exploration.
Right at the start I must say that I don’t hold myself up as an expert in this field, and I only have the layman’s understanding of the science behind the subject; so, as is often the case, all we are left with is opinion.
I will start by stating the very obvious; but it is useful to have these things nailed down to establish some kind of context, or framework.
It is clear that all living organisms have a limited shelf-life, and within that allotted time (which is in no way guaranteed) there is likely to be a physical peak which we as humans (hopefully) climb towards, this is sometimes referred to as our ‘prime’, and then we have to resign ourselves towards a steady slide into decline. It’s sad, but it has to be said.
What has always been of interest to me is how we manage this particular ‘allotted time’, specifically relating to our physicality. Do we stumble into an uncertain future and hope that our bodies follow some kind of unwritten innate game plan? Or should we perhaps be more proactive and realistic about how we want to develop and mature?
As I mentioned in the first blogpost, we are designed for movement; we are very good at it, well at least we start out being very good at it. Eventually, throughout our early development we emerge at the top of a very steep learning curve. Young children learn about movement through an amazing capacity to bounce back from failure and pure trial and error, while still remaining emotionally resilient they cope with adversity amazingly well, full of optimism and a ‘can-do’ attitude. If you think about it, it’s truly inspirational.
We all did it; we rode on the crest of a wave… and then the wave dropped flat and we descended into habitual modes of movement; for example; it’s much cooler to walk instead of run; take the lift rather than the stairs – there’s too much effort required to do otherwise, it’s a much smarter way of operating; or so we tell ourselves.
What happens to our youthful selves?
While still in the flush of youth we are corralled into institutionalised physical activity in schools, with one-size-fits-all P.E. lessons. For some people it worked; for the majority the wind was taken out of their sails and they had to navigate rules and regulations, militarised team structures, pecking orders, triumphs for a minority and potential humiliation for everyone else, and then, to add to the misery, a sizable majority found their ship colliding with the rocky coastline of puberty and body awareness of the most negative kind (particularly, though not exclusively, girls). The P.E. teachers I have met are always well-intentioned and very good at defending their corner of the curriculum; with talk of ‘team work’ and ‘life’s competitive realities’, they believe they supply a partial antidote to the snowflake generation. More progressive P.E. educationalists have tried to rethink what is essentially a 19th century mind-set but it’s like swimming against the tide.
But what happened to ‘play’? It always intrigued me how, in school gymnasiums and on sports fields the word ‘play’ (as in its most refined form) became redundant or even sneered at; unless, of course, it was used as a command.
Playfulness, the most valuable thing in children’s early development (of both mind and body) has been left behind. To ‘play’ is to explore. In its purest form it exists unashamedly in only a few disciplines.
Without apology or pretensions, musicians ‘play’, and when they get together they are inclined to indulge in ‘free play’, they might call it ‘jamming’ or free improvisation, a common thing with most musicians, particularly in jazz, but it’s still ‘play’ in the original meaning of the word. What is interesting about these musicians is that their freedom to play tends to come after a period of intense discipline, a prolonged apprenticeship. In the visual arts Picasso is supposed to have said something to the effect that you need to learn the rules well before you are allowed to break them. This does not mean it is the only path to the top of the mountain; some of the greatest musicians or visual artists achieved amazing expressive work without formal training, intuitively through play, unconstrained by boundaries.
Israeli movement guru Ido Portal holds ‘play’ as central to his system. He has developed some interesting practices to explore movement as a mode of personal discovery and development. One of his methods is to punch a tennis ball against a wall, to see how many times you can return the ball with just your fists; of course everyone fails horribly, but for Portal that is the point. Really the aim is not to get good at returning the ball, because as soon as you get ‘good’ at it, the benefit has gone; the cutting edge of exploration has disappeared. This is very similar to Jordan Peterson’s demarcation of the line between chaos and order (See blog post) you engage freely and willingly with chaos. As soon as we start to think this way we are in the zone of real learning.
The body needs to experience significant challenges through movement if we are to explore our fuller potential; but not in a damaging, reckless way. But beware of what your body is telling you, it is too easy to get boxed in by habitual patterns, to slump into a chair and tell ourselves we are being kind to our body, when the truth is the complete opposite.
A Pilates teacher confided in me that she observes how people get in and out of a chair; she says it tells her so much about their physical condition. After hearing this I became quite self-conscious and started observing more closely how I moved, which parts of my body were taking the strain, or rather not taking the strain when they should. Very young children use their knees when standing up; their body movements are instinctive, uncultured yes, but natural.
It’s similar with animals; I would challenge anyone not to be in awe of the movements of both hunter and prey caught on documentary films of big cats in action.
It is a truism that you really only appreciate something when it’s gone. From my observations young people take their mobility for granted; they seem to assume that it will stay with them throughout their lives, despite observing the opposite in members of the older generation.
People in the second halves of their lives tend to have a more uneasy relationship with their bodies; after a while the wear and tear begins to make it mark. It’s a complex subject but don’t believe everything you hear; sports people don’t necessarily reap the benefit of a lifetime of activity. For example; statistics seem to indicate that people who are long term and active sportsmen/women seem to go to the doctors less often. The assumption being that they are more healthy because of their sporting activities; this is not the full picture. Further research says that they may reap some specific benefits, but in their sporting lives they have also accumulated more reference points to pain and how to manage it. Put simply, they suffer pain as much as everyone else, but they just learn to put up with it.
Part of the answer is to know your own body, be aware of your own strengths and weaknesses and don’t be afraid to take advice from the experts. I know there are a lot of ‘modalities’ out there, many offering miraculous results and claiming to have the evidence, but do your own research, look at the counter arguments, and, if you have the time, look towards the science. Figure out what works for you.
My conclusions to all this (bear in mind this is advice I direct towards myself):
- Don’t take your body for granted.
- Embrace movement in all its forms, even if it is outside of your usual discipline/comfort zone.
- Enjoy movement; engage with the idea of ‘play’.
- Recognise the opportunities created by chaos.
- Learn to have an open curiosity to all forms of human movement, whether it’s dance, gymnastics, or balancing and acrobatics.
- Look towards your own habitual ways of moving, and if you don’t like what you see, change it.
- Decline isn’t inevitable; everything is under your control. If you are smart you can stack the odds in your favour by making good lifestyle choices.
- Turn human movement into a study, but don’t accept everything at face value.
- Be wary of ‘modalities’ in the same way you would be wary of ‘Big Pharma’, after all, it’s just business.
- Look towards functionality rather than vanity.
Here is quote from Fred Turok chairman of ukactive from 2014,
“By 2020, the average Brit will be so sedentary that they will use only 25 per cent more energy than if they spent the whole day sleeping… Over the last 50 years in the UK, physical activity levels have declined by 20 per cent. Even worse, they are projected to decline by a further 15 per cent by 2030.” And here we are, in 2020 (but maybe not the 2020 that Fred Turok envisioned) and have we sunk to the levels that Turok predicted?
Despite the fact that evolution has designed us for movement technology has relentlessly moved us step by step towards a utopia we shouldn’t really be aspiring to; a future of avoiding movement.
For example; we travel short distances and long distances in motorised armchairs; we seldom make our own entertainment any more, we sit back and let other people do it for us. The argument has been that ‘labour-saving’ devices have freed us from domestic drudgery; but what do we do with that freedom? We ‘rest’, but ‘rest’ from what?
Essentially we have made terrific inroads into NOT using our bodies.
If we look at the longest timeline of human existence, the vast majority of it had movement as part of its vital make-up. This is movement for survival as hunter-gatherers; movement for warfare, movement in migration and movement in rituals and dance and other creative activities.
Maybe there is some good news – but it’s mixed.
It could be said that a kind of counter-culture has been around for a very long time. The so-called ‘fitness industry’ has been in existence in one form or another since the days of the ancient civilisations, but interestingly physical culture for its own sake was mostly available to only a limited range of people. The list included; the wealthy, with leisure time available, and the young. Looking at the price of modern gym membership and who the advertising is pitched at, not much seems to have changed.
We are now being told that poor diet and obesity is a national problem (particularly in the light of developing information about Covid-19). It is an interesting observation that for the first time in many thousands of years, the rich get thinner while to poor get fatter; what a turn-around that is.
But there are other contradictions here:
I see online ads for gyms full of people engaging in what I’m sure they consider as low-tech training methods; tractor tires are rolled, turned over and hit with sledge hammers, sometimes happening in converted industrial units – oh the irony. I wonder what my grandfathers would have thought about that?
My paternal grandfather’s job was described as being a ‘hewer’ or a ‘ripper’ which Wikipedia describes as, “men who remove the rock above the coal seam and set rings (arches) to raise the height of the gate or road as the coal face advances”. I never knew him; he was killed in a roof collapse at the age of 48 in 1935. My maternal great grandfather was a railway navvy (navigator) and a bare knuckle fighter; he dug tunnels, extending the London Underground network in the 1880’s. Both of these would probably have been amused beyond imagination at the sight of people sweating and grunting with tractor tires and ‘battle’ ropes, (snort!) and paying for the privilege! Pumping iron in ex-industrial units where men used to ‘pump iron’ for real. I’m sorry to say it but, this is satire beyond satire.
My physio says he loves these people who ‘play with’ tractor tires; saying that they keep him in business. I quote, “Here are people who in their daily lives never pick up anything heavier than a pen – nobody teaches them proper lifting techniques, nobody thinks to start them off on smaller tires and they wonder why their back has gone out! They keep me in business. Give them my card”.
‘Boot camp’ training often has the same problem; the assumption being that training that is designed for indestructible 17 year old recruits is going to work for flabby office workers, really?
Forgive my cynicism, but, despite all these advancements I wonder if we have over-complicated the issue. It is true that generally we are not moving enough, we are not engaging with our bodies or celebrating our own individual capacity for movement and hence not reaping the benefits. Fitness culture is too often conflated with vanity; certainly the Ad men would want us to believe that, it sells gym subscriptions and feeds off our insecurities.
But what about movement for movement’s sake, as when young children play, run and climb, or movement as part of human expression, as with dancers? And for the older person, there are immeasurable opportunities for engaging with movement, either through structured meaningful disciplines or just taking to your feet and indulging in the clean open air, in sunshine or foul weather and celebrating just being alive.
Random reading during lock-down lead me back to a theme that had interested me for some time. In the past I had picked up a number of books on the history of the martial arts in the west. (I will give a list at the end of this post if anyone is interested).
What always intrigued me was the ‘how’ and ‘why’ questions. I was particularly interested in the civilian arts, how they were developed, how they were taught and how they were commodified.
This is a complex story but I will give a couple of examples that surprised me, and sometimes amused me.
I learned that historically the English did what the English are always prone to doing, i.e. despising the foreigners and always holding themselves up as the best. If you are interested read up on George Silver, whose book ‘Paradoxes of Defence’ written in 1599 took a swipe at the cowardly foreigners use of the rapier to stab with the pointy end instead of the slashing action of the ‘noble’ English backsword. The Italians and the French bore the brunt of Silver’s ire and he aggressively sought to make his point stick – literally. He had a hatred for immigrant Italian fencing masters, particularly Rocco Bonetti and Vincentio Saviolo. He challenged Saviolo to a duel, but Saviolo failed to turn up, which caused George Silver to crow about his superiority to anyone who would listen.
Fast forward nearly 200 years and the fencing master is still in demand. There was a market for slick Italian and French ‘masters’. Many of them taught horsemanship and, surprisingly, dancing (thus proving an observation I made in an earlier blogpost; ‘a man who can’t dance has got no business fighting’). The demand did not come from the hoi polloi, the proles – no, it came from the aristocrats, and for good practical reasoning.
From the 16th century onwards the idea of the ‘Grand Tour’ was all the rage. Wealthy young bucks were sent abroad to widen their horizons and soak in the classical antiquities around Europe and the Mediterranean. Although there was some effort made to chaperone these entitled and indulged young men (almost exclusively men) there was an expectation of expanding not just their minds but their… worldliness. This often resulted in an awful lot of bad behaviour (see, one of my particular heroes, Lord George Gordon Byron, 6th Lord Byron). Unfortunately, quite a number of these heirs came significantly unstuck. Sometimes whole fortunes were lost through gambling, or they fell under a robber’s blade or some equally dastardly misfortune.
Hence preparation for the ‘Tour’ was deemed necessary, and not just preparation of the mind, but the skills of defence, and often of fighting dirty. It was here that masters like Bonetti, Saviolo and in the 18th century the wonderful Domenico Angelo (more of him later) came in. These masters were paid well to teach sword and rapier, left-handed dagger and, intriguingly, skills like ‘cloak and lantern’; put simply, the cloak was used for defence and sometimes ensnarement, and the directed light from the lantern was used to dazzle or temporarily blind an opponent to allow the use of the sword or left-handed dagger.
But to return to Domenico Angelo (1717 – 1802). Angelo was sponsored by the Earl of Pembroke and later the dowager Princess of Wales; this patronage did him huge favours and boosted his reputation enormously. He was astute enough to build a business from his arts and turn it into a dynasty, three generations of Angelo’s thrived in their property in Soho Square and other premises. Angelo was an excellent example of early marketing, publishing a fencing instruction book, L’École des armes”, in 1763. He is said to have single-handedly turned the art of war into sport and health promotion; where have we heard this before?
But it is the issue of publication that intrigues me. This dissemination of martial skills through whatever means possible had been around for hundreds of years. There are medieval European fencing manuals still in existence. These are pored over by enthusiasts, researched both intellectually and physically by obsessives who enjoy nothing better than swinging two-handed blades at each other in full armour – the medieval version of Fight Club.
The manuals served a number of purposes. Expert in the field John Clements proposed eight possible motives for the creation of these books, all of which have resonance with recent discussion regarding how we access and archive martial arts material in the 21st century:
- To preserve the instructor’s teachings.
- As a private study guide for selected students.
- As a primer or reminder for students when not in class.
- To impress nobles with their knowledge as a professional instructor in order to gain patronage.
- At the behest of an interested sovereign or aristocratic supporter of the art.
- To promote themselves and teachers of the craft and acquire new students.
- To publicly declare their skills or dispute the teachings of other masters.
- As a means of acquiring a pension through recognition or appreciation of years of service and dedication.
What motivated medieval masters and swords masters right up until recent times to publish and present is pretty much the same as it is now. If we look at Japanese martial arts a similar pattern can be seen.
From the ‘patronage’ perspective I will cite a few examples:
The Yagyu dynasty of swordsmen from the 17th century, sponsored by the Tokugawa clan.
The 20th century sponsorship of Ueshiba Morihei founder of Aikido by various well-connected individuals.
Also Funakoshi Gichin, who worked hard to establish karate on mainland Japan in the 1920’s, something he could not have done without courting the right kind of sponsorship.
In the far east books and ‘master texts’ on martial arts have a long history; whether it is the ‘Bubishi’ or ‘Karate-Do Kyohan’. But they are never all-encompassing; it has to be said that it’s a virtual impossibility to give the complete body of information through the printed or written medium.
In line with the above list these publications fall into various categories; crib books, catalogues, visual cues, or in the case of Koryu Densho, transmission scrolls with opaque lists meant to be decoded only by the initiated. What surprises me, in this age of digital curation, archiving and future-proofing is that the old technology of printed paper versions have held up so remarkably well.
Some martial arts are better supplied by these various types of repositories. If your fighting method is comprised of only a handful of techniques, as can be found in some military manuals, then all you need is a few diagrams and a basic description. But if your art is more refined, with nuances and subtleties it is impossible to put these across in anything other than face to face encounters. The founder of Wado Ryu karate Otsuka Hironori is said to have expressed his frustration with trying to put his ideas into printed form. As this extract from a 1986 interview with Horikawa Chieko, widow of Daito Ryu master Horikawa Kodo tells us;
“On one occasion… an expert in Wado-ryu karate by the name of Hironori Otsuka happened to visit the dojo. He and Horikawa got on quite well. He was a wonderful person, and very strict about technique. He was talking with Horikawa and he said, “I’ll never write a book either” for example, there are many ways to put out one’s hand, but in a book all that can be conveyed is the phrase “put out your hand”, which misses all the subtleties. Both he and Horikawa agreed that techniques cannot be expressed in books or in words.”*
This is a discussion that could go on and on, and it is clear that the market place hasn’t so much become crowded as to have almost decamped altogether to the online world, where clamoring voices and slick marketing compete for our attention, almost to the point of overload.
A debate as to how this could all work out in the 21st century, with the involvement of new technology, can be found in an excellent slim publication by Matt Stait and Kai Morgan called ‘Online Martial Arts. Evolution or Extinction’. Ironically available in printed form and download from Amazon.
*Pranin, Stanley, ‘Daito-ryu Aikijujutsu’ 1996.
‘By the Sword’ Richard Cohen 2002.
‘The English Master of Arms’, J. D. Aylward, 1956.
I was recently teaching and explaining the concept of ‘Irimi’ within Wado on a Zoom training session. This post is meant in part to reinforce and extend that particular lesson.
Taken simply ‘Irimi’ is a Japanese Budo term which means to enter into your opponent’s space in order to defeat them. I once heard someone describe it as a ‘mad dash in towards the centre’, a good image to hold on to.
The concept of Irimi has been a part of Japanese Budo, armed and unarmed for a very long time and is inextricably wrapped up in issues of timing, distance, rhythm and ‘Initiative’ (‘Sen’). The founder of Wado Ryu, Otsuka Hironori would have understood this concept from the very early days of his training.
In Aikido, the founder, Ueshiba Morihei, thought it so important that he made it one of the cornerstones of his art. Ueshiba had gained experience in the concept of Irimi at the very start of his martial journey, even as early as his short military career, where he learned the importance of the ‘mad dash towards the centre’ in hand to hand bayonet training. Developments of this bayonet training (Jukendo) remained part of his personal repertoire, and can be seen in the iconic 1935 Asahi Newspaper film shot when Ueshiba was in his physical prime at the age of 51.
Ueshiba Morihei in military clothing, with bayonet, photographed for Shin Budo magazine March 1942.
Sometimes Irimi is seen as a sidestep in towards the opponent; this can be quite misleading. A more meaningful and sophisticated way of using Irimi is to understand it as moving in deeply to occupy your opponent’s space – he wants to dominate and abide in that space; it’s his territory; the centre of his operation; his physical and psychological core. The laws of physics say that two objects cannot occupy the same space at the same time; so your job is to turn this particular law on its head – you conquer time and space; not through anything supernatural, but instead by an orchestration of superior judgement, the right timing, the right distance and the right cadence all working together with determination and commitment.
In Wado there are multiple opportunities to operate and sharped Irimi; it is part of our refined art, for example by creating narrow corridors of access through positioning and reading your opponent’s intent. For this you need sharpened perception (Kan) and an acute awareness of the ebb and flow (Kake Hiki), which is clearly a part of the formal kumite of Wado Ryu.
In my Zoom session I was teaching it specifically through the mechanics of Shuto Uke, starting with the slide into position and narrowing of the body to ‘sneak’ into the opponent’s centre. The body and the arm move in like a blade. If done correctly the point of contact becomes irresistible as the elbow of the blocking arm stymies the opponent’s attack without any harsh, angular clashing of force. This results in superior positioning and direct access into the opponent’s weak angle and the contact arm effortlessly slides into the inside line accessing the head/neck; all of this supported by kuzushi and together would have a devastating effect, following the dictum of ‘fatally compromising the opponent while putting yourself into a position of safety’.
An article by Ellis Amdur which partly inspired this post: https://aikidojournal.com/2016/05/06/irimi-by-ellis-amdur/
I was recently listening to a very good series of Shotokan karate podcasts.
The interviewers were discussing how the various Shotokan split-offs were sometimes characterised not by adherence to the Shotokan system, but instead by one individual’s interpretation of Shotokan karate. This was sometimes based upon that individual’s physical build, specialist area, or even their own blinkered understanding of what Shotokan karate was.
One of the conclusions they came to was that although the Sensei could make it work for him, the student’s attempts to ‘be’ him were doomed to failure. In the some cases the senior students techniques become an empty parody of their teacher – to borrow from Ellis Amdur, they are a ‘shadow’ of their teacher, and… a shadow doesn’t cast a shadow of its own.
Some do this in the name of ‘tradition’ but, it’s tempting to quote Gustav Mahler, “Tradition is not the worship of ashes, but the preservation of fire”.
Thinking about this, I had seen manifestations of this myself, and not necessarily in Wado.
I trained with a Goju Ryu group many years ago; excellent hard working dedicated people, but I distinctly remember them talking about the need to develop a ‘Goju Ryu body’; to them this was the barrel-chested, stocky legged, powerful solidity of the likes of Miyazato Eichi or Higoanna Morio. I am sure that for some of them this was a physical ideal they tried hard to achieve; they seemed to suggest that this physicality was the embodiment of the ryu – how true that is I don’t know.
In the interview the Shotokan guys spoke of the physical models of Shotokan leading lights like Enoeda and Kanazawa; but one of the interviewers was quick to add that he thought this was a fallacy; he said he believed that people had to find ‘their’ karate, not somebody else’s.
This is something I would agree with; but it comes with some caveats. For example; I am reminded of a very senior Japanese Wado Sensei who once grumbled that students tend to imitate their instructor’s bad points but seldom their good points – it’s a fair comment. Also, in pursuing and formulating ‘your’ karate be sure you are not pandering towards your own weaknesses.
I suppose it comes down to the understanding of Principles. This is certainly true in Wado. If the core Principles are fully recognised and adhered to your Wado may become nuanced but never flawed. Right Principles, right techniques, right mentality. In Wado this can work well with dedicated students because Wado allows for nuances. But the down-side of this is that it doesn’t necessarily work well in mass teaching situations, unless your objective is cookie-cutter Wado. For me Wado works best as a bespoke, tailor-made thing, which is perfect, but only it is overseen by a master tailor.*
I couldn’t resist this; a very old example of Jewish humour.
*The Suit Joke. Source: https://www.121msg.com/single-post/2017/10/04/A-Fitting-Point-for-a-Classic-Joke
All his life, Blevins wanted a tailored suit. With hard hard work and self-denial he was finally able to afford one. He found a classy tailor and was measured and fitted. After two weeks he went to pick up the suit.
He tried it on and looked at himself in the mirror. He could not believe how elegant he looked.
“Gorgeous,” said the tailor.
“Unbelievable,” said the tailor’s assistant.
“Only one thing,” said the tailor. “You have a little scoliosis. Maybe you didn’t know. But your right shoulder droops. I did what I could to correct for it, but there’s only so much I can do. If you really want the suit to look good you’ll hoist your right shoulder a little.”
Blevins lifts his right shoulder slightly.
“Ooh!” says the assistant
“Wow,” says the tailor.
Blevins begins to go. “One more thing,” says the tailor. “Your right leg — maybe you don’t know — is about an eighth of an inch shorter than your left. I did what I could to correct for it, but you don’t want too much material on one side compared with the other side. So if you just straighten your right leg and bend your left leg a little, it’ll fall perfectly.”
Blevins straightens his right leg and bends his left leg.
“There!” says the assistant.
“Magnificent,” says the tailor.
“One final thing,” says the tailor. “Because you’re bending one leg and straightening the other, the crotch area is a pinched, so if you just tilt your knees out a little… there!”
And the assistant says, “I’m crying it’s so handsome.”
Blevins leaves and exits onto Main Street. He walks down the block with one shoulder up, one leg straight, one leg bent, his knees bowed out.
He passes two men.
One says, “Oh my, do you see that horribly crippled man? He must have been in a terrible industrial accident.”
“Yes,” says the other, “but that’s a beautiful suit he’s wearing.”
I think the phrase ‘unprecedented times’ despite its accuracy has been overused of late, but really these are the unforeseen times that we were always told would come – ‘Not a case of ‘if’, but ‘when’ the experts always said.
But… what has been so uplifting in this current crisis was to see how karate could still function in people’s lives and perform a valuable service. This seems to have been almost exclusively accessed through various on-line platforms. Instructors and students have had to get nimble with new technology; necessity is truly the mother of invention. People have been going Live on Facebook (see Jerry Smit and Martijn Schelen’s Facebook classes), have been submitting videos through YouTube, and have been keen to let everyone know that despite the lock-downs they are keeping body and soul together and pursuing their passions. Tacitly people are making statements through their actions; whether they are conscious of it or not – they are saying ‘we are doing our best to work towards a future time when this will have all blown over’ while also acknowledging that the world will not be the same place afterwards.
The other side of this is ‘community’.
These various platforms are supplying extended virtual communities.
Most good Dojo are communities, offering companionship and mutual support as well as shared enthusiasm for the chosen discipline. Through these on-line platforms these communities can still function. Clearly, it’s not the same, but in a world of diminishing possibilities with everyone hunkering down behind closed doors, even a bad option is better than no option at all.
With this in mind Shouwa Jyuku (Chelmsford) decided to construct our own virtual Dojo through the conferencing platform Zoom. As of this posting we are only a few classes in but so far it has been a real success, although it has been a steep learning curve. Currently it is operating as a closed group but that may not always be the case. Sugasawa Sensei has even developed the habit of dropping in and observing lessons!
There is clearly scope for more flexible thinking incorporating targeted classes for grade groups, or exploring kata in greater depth. Shikukai members are presently enjoying another Zoom project championed by Shouwa Jyuku assistant instructor Steve Thain 4th Dan who is running an early morning kick improvement, strengthening and flexibility class, but 7.30 am may not be everyone’s prime time; but people are rediscovering their personal discipline, reclaiming some kind of structure and getting a definite feel-good buzz from knowing that they are doing something.
I suppose at some level we could all see it coming; on the eve of this recent course in Holland Covid-19 was knocking on the door of European civilisation like the Goths invasion of the Roman Empire. We weren’t to know it but this course happened just before the doors were slamming tightly shut, and who knows when they will be opened again.
Naturally we had our reservations, but as of that particular time we followed guidelines and took the safety of participants very seriously.
I honestly thought that attendance would be very low but was surprised that only a handful of people had cancelled. This meant that the Dojo was not too crowded and we had the space and the time to make sure that everyone gained individual attention and we could really dig deeply into the planned agenda.
I had thought this one through very carefully – I always plan the courses in detail, and this time I wanted to tackle some of the lesser covered themes. This was deliberately designed to be challenging, not necessarily physically, but mentally and technically.
For our first two hours on the Friday night I chose Tanto Dori (knife defence). Initially we looked at techniques that were from the standard Wado playbook. I made sure that people understood that these were densely packaged forms (kata) with layered lessons contained within each specific part of the sequence. I then moved on to lesser-seen Tanto Dori; ones which operated from the formal kneeling position; much more demanding physically, as the body manoeuvres and evasive techniques demanded absolute concentration and control to avoid being skewered.
Saturday’s class was for three hours and covered different dynamics of movement which ultimately took us into Kushanku kata. For some reason a kata that contains so much information tends to be left behind, I’m not sure why. We did not avoid the more athletic aspects of this form; in fact I encouraged people to embrace the character of the kata, with its elongated movements, low drops and demanding spins and turns.
The last day, Sunday, everything was geared towards pairs practice with Kihon Gumite No. 10 as the apex technique. We explored other principles which acted as an introduction to Kihon Gumite and made links to moves found in the Pinan kata. We were fortunate to have mats available and this gave everyone a chance to experience that big over the top throw found in Kihon Gumite 10 (in a safe manner).
And so it ended, and, with a heavy heart, I had to leave my friends in Holland, not knowing when we would all get a chance to train together again. We have spoken optimistically about another course in October, but let’s see how things work out.
Huge thanks to Martijn Shelen and his team who hosted this course and to everyone who came along.
Rumours about the appearance of this book circulated a long time ago, and so finally it is here.
For me it was well worth the wait. Although it is a weighty tome I found it difficult to leave alone and so now I am on my second reading.
The organisation of the book is neatly packaged with many excellent photographs, diagrams and images. It covers historical, theoretical and technical aspects of Shindo Yoshin Ryu Jujutsu and supplies very informative personal and anecdotal experiences of key figures within the Takamura ha Shindo Yoshin Ryu.
The history section immerses you into the complex world of what was to be called ‘Koryu’ Budo/Bujutsu and it easily dispels any myth, which usually come out of oversimplification. Piece by piece an image of Shindo Yoshin Ryu Jujutsu starts to appear out of the miasma of Japanese lineages. Facts collide with legend, which in turn throws up further questions, some of which are unlikely ever to be answered.
It is clear that Threadgill Sensei and the late Ohgami Sensei have been involved in significant on the ground research; chasing down leads and engaging with surviving descendants of some of the main SYR players involved in this complicated saga.
Throughout the complexities, the jigsaw images of evidence, anecdote and documentation SYR appears as a system that was buffeted by change, navigating around the powerhouse that was late 19th century, early 20th century Judo, which lured traditional Jujutsuka into a world of Randori and contest and away from their fuller curriculum. It also describes the ascent and descent of various SYR branches which echoed much of what was happening to the traditional martial arts of Japan in the Meiji to Showa periods of Japanese history.
Does this book have relevance to students of Wado karate?
It depends where you are on your journey in Wado. For history buffs like me it was like catnip. I couldn’t get enough. But also, although SYR and Wado are as different as cats and dogs their connection cannot be ignored and as such, a surprisingly large section was devoted to the founder of Wado Ryu, Otsuka Hironori.
I was impressed with the author’s approach to the potentially thorny issue of Otsuka Hironori’s role in all of this. This was dealt with in an even-handed and factual way with Otsuka Sensei reputation intact, perhaps even boosted. Throughout the book the authors acknowledge the huge contribution Otsuka Sensei had made to the survival of SYR, without really being aware of it. The irony of course being that at the age of 30 Otsuka Sensei left SYR behind to synthesise his accumulated Budo experiences into the formulation an entirely new entity, Wado Ryu Jujutsu Kempo. Thus, for a long time, SYR became a footnote in Wado history – but not any more.
It is clear that Wado enthusiasts were drawn by curiosity to the surviving SYR and this curiosity extended sufficiently to cause some of them to beat a path to the door of Takamura ha Shindo Yoshin Ryu Kaicho Tobin Threadgill Sensei – his recent seminars in Europe attest to that.
In the technical section of the book, although deliberately and understandably incomplete, it is possible to see common strategies and common nomenclature. Within the body of this section it is possible to read between the lines and gain glimpses of Otsuka Sensei’s technical base and the underlying strategies of Wado Ryu. My conversations and experiences of people within TSYR have certainly informed my reading of this text, reinforcing my view that when Wado was formed the baby was not thrown out with the bathwater.
Who knows, perhaps there is more to come from the pen of Threadgill Sensei. I certainly hope so.
I have it on good authority that the late Ohgami Sensei was able to see advance productions of this book and greatly approved of the completion of this joint project before his passing. Although I only met him once I know that he will be greatly missed.
This is about systems; and martial arts are systems.
I came across this while reading up on the influences and developments of new technology and found myself reading Jordan Hall’s analysis of the dangers of the evolving ways that people communicate in the modern world.
I found myself thinking; whichever martial arts people choose to pursue they may find themselves engaging with a system that could either be described as ‘complicated’ or ‘complex’. This might be down to the system, or the practitioner’s approach to the system.
But first of all, what is the difference between ‘complicated’ and ‘complex’?
To quote Jordan Hall, “A complicated system is defined by a finite and bounded (unchanging) set of possible dynamic states. While a complex system is defined by an infinite and unbounded (growing, evolving) set of possible dynamic states.”.
He uses a Boeing 777 as an example of a complicated system; it is VERY complicated but it is still a bounded system; very linear with regard to cause and effect. The only time a Boeing 777 can come unstuck is when it clashes with a complex system; like the weather or a flock of birds. We can read from this that Nature is the domain of complex systems – and, probably one of the most amazingly miraculous complex systems is the human brain, which truly has no limits (despite how people choose to run their lives).
When I first read about the definition of a ‘complex system’ the first image that came into my head was the sea; being both predictable and unpredictable; its capriciousness is held in awe by even the most experienced sailors. But it can be navigated, but not by approaching it in the same way you would a complicated system.
Complex systems have ‘dispositions’, the funny thing is that sometimes they can only be understood with hindsight, ‘oh, that’s why that particular thing happened!’ we get a reflective overview, this is why stories and metaphors can be useful; for example, old sailors telling tales of the sea – this is accumulated knowledge; valuable attempts to make sense of the truly complex.*
To work with complex systems you have to sense the patterns, read the signs. If this involves other people it can get even more complex, this could even include the messy interpersonal stuff. There can be cause and effect but in an amazingly interconnected way, not linear – focus on one small part and you are lost. Very much like fighting.
So, is your martial arts system complicated or complex? Or maybe you are approaching your system as if it were complicated, for convenience sake, when it is really complex? I have no doubt that some systems were deliberately designed to be complicated, bounded and finite. This may well have been out of pure necessity, for example, limited by time or situation.
A complex martial art system is perhaps too daunting for most people. For anyone wanting immediate results taking up a complex system may not be for you, unless you have an insane level of motivation and conscientiousness and a lot of free time on your hands. It is also possible that people might come to the realisation that they have bought into a system that they assumed was ‘complex’ only to hit the buffers on its limitations, or THEIR limitations, but for argument’s sake let’s say it’s the former, then to avoid backtracking they feel a need to concoct complexities that were never there! As the saying goes; what a tragedy it is when people spend their whole lives trying to get to the top of a particular ladder, only to find that it’s propped against the wrong wall!
It has to be said that ‘Complicated’ can reach its limits when it is driven by simplicities like ‘harder’, ‘faster’, ‘stronger’.
When navigating a truly ‘complex system by necessity we are driven into instantaneous and creative actions; verging on the instinctive and intuitive. This is the domain of ‘potential’, and growth, everything about human life is about about engaging with the ‘potential’, there is nothing else. The opposite of potential is stasis and inertia. For the martial artist (or the fighter) inertia is not just negative, it’s potentially fatal.
There is one more ‘system’ that has to be taken into consideration; but it’s really a system without a system, and that is Chaos.
The fact is that Chaos can erupt around us at any moment, this is when unpredictable events happen within something that should be navigable. Everyone has their own pet theory of how to cope in the middle of Chaos; whether that be, ‘stop, pause, think and re-evaluate’, or ‘just do something – anything!’. But overall, it would be wrong to fail to consider Chaos as a possibility we may have to engage with.
The last words on this should be with Otsuka Hironori founder of Wado Ryu karate, “Martial art technique is like the cosmos; it is infinite. Know that there are no such things as limits”.
*I am also tempted to draw a connection between the idea that the difference between complicated and complex are the same differences between technicians and artists.
For anyone interested in looking at the origin of these definitions, Google, ‘Dave Snowden Cynefin Framework’.
‘Finding Your Balance Using the Japanese Wisdom of Chōwa’ by Akemi Tanaka.
‘Chōwa’ when broken into its two parts means, ‘Cho’ ‘searching for’ or ‘working at’, establishing ‘Wa’ Harmony (Yes the very same ‘Wa’ 和 as in Wado Ryu!)
Although this book only takes a gentle nod in the direction of Japanese martial arts it is nonetheless a fascinating study and guide for anyone wanting to gain an insight into Japanese culture and society; as well as gaining an understanding of how the all-encompassing Japanese concept of ‘Wa’ operates within Japanese society.
The book is multi-layered; yes it gives a wonderfully unique perspective that crosses between eastern and western cultures but it also delivers incredibly practical and usable advice for modern living.
Akemi Tanaka casts an objective but critical eye on her native Japanese culture; unafraid to outline where she believes that Japanese culture has been somewhat adrift. She includes issues such as feminism and aspects of personal relationships, love, romance and family dynamics. She runs useful comparisons between the western approach and the eastern approach that were particularly enlightening and she includes fascinating Japanese concepts; some of which we encounter within our studies of Japanese Budo.
Her suggestions for focus and tips for modern living were a real breath of fresh air. There are ‘Chōwa lessons’ and suggestions about how to uncomplicate and unclutter your life. For anyone running a hectic household and balancing family life there are some real practical gems.
Akemi Tanaka is open and frank about her personal life and the difficulties she experienced trying to carve her own way in the world. The book crackles with her personal energy and drive; her battles to establish herself and her triumphs through her charity work. She adeptly balances the concept of ‘the self’ and ‘society’, encouraging individuality and creativity.
For me the book unravelled some of the complications I had often puzzled about when dealing with all things Japanese. I had always admired the very practical way that Japanese people dealt with the social conundrum of close living, particularly household living. The book outlined how carefully crafted social conventions acted to oil the wheels of people accustomed to living cheek by jowl. But this is also living Artfully, not just ‘existing’, which is a whole exercise in enrichment and personal fulfilment while still being inside of society and contributing fully.
At the end of the book there is a feeling that author has shared with you something truly personal.
For my mind the book was too short; but then isn’t that always the case with a really good read?
I had heard a while ago that theory and practice in martial arts were like the two wheels of a cart. One without the other just has you turning around in circles.
It is a convenient metaphor which is designed to make you think about the importance of balance and the integration of mind and body. On one hand, too much theory and it all becomes cerebral, and, on the other hand practice without any theoretical back-up has no depth and would fall apart under pressure.
But here’s another take on it, from the world of Yoga.
Supposing the ratio of theory to practice is not 50/50, and it should be more like 1% theory and 99% practice?
So, for some of the yoga people it’s is very nearly all about doing and not spending so much time thinking about it. I sympathise with this idea, but I feel uneasy about the shrinking of the importance of theory and understanding about what you are doing.
I am sure that I have mentioned in a previous blog post about how the separation of Mind and Body tends to be a very western thing. In eastern thinking the body has an intelligence of its own, over-intellectualisation can be a kind of illness. How many times have we been told, “You’re overthinking it, just do it”? Or, “Don’t think, feel”.
Maybe this points to another way of looking at the diagram above…
Perhaps it’s more like this?
I.e. a huge slice of theory, study, reflection, meditation, intellectual exploration and discussion (still making up only 1%), and an insane amount of physical practice to make up the other 99% to top it off!
Just a thought.
A presumptuous title, I know, but bear with me, I have a theory.
I have often wondered how Otsuka Hironori the founder of Wado Ryu thought. I wished I had been able to climb into his head, navigate all those very Japanese nuances that are so alien to the world I live in and see as he saw; a bit like in the movie ‘Being John Malkovich’. But more importantly and specifically to see what he saw when he was dealing with an opponent.
I am fairly convinced he didn’t see what we would see in the same circumstances, the mindset was probably very different.
This is all guesswork and speculation on my part but to perhaps support my claim, let me backtrack to a comment made by a very well-known Japanese Wado Sensei.
I was present when this particular Sensei made a very casual off-the-cuff comment about Otsuka Sensei – so quick and matter-of-fact it was easy to miss. It was in a conversation generally about movement; I can’t remember the exact words but my understanding was this; he said that Otsuka Sensei’s ‘zone’ was ‘movement’ – he (Otsuka Sensei) could work with ‘movement’, but inertia held no interest for him, it was no challenge. That was it; an almost throwaway comment.
I held on to this and thought about it for a long time, and out of this rumination I would put this theory forward:
It is highly possible that Otsuka Sensei was acutely tuned to zones of motion and energy; like vectors and forces governed by Intent and energised by Intent; an Intent that for him was readable.
For him it is possible that the encounter was made up of lines of motion which, in a calculated way, he chose to engage and mesh with. These involved arcs of energy that extended along lines limited by the physiology of the human frame (a refined understanding of distance and timing), but also he was able to engage with that frame in itself, not just its emanations and extensions. He saw it as Macro and Micro, as large or small scale tensions and weaknesses and he was able to have a dialogue with it, and all of this was happening at a visceral level.
The computations normally associated with reasoning and calculation would have just gotten in the way – no, this was another thing entirely; this was the ‘other’ brain at work, body orientated, woven into the fibre of his being, much more spontaneous, coming out of a cultured and trained body. And there is the catch… it would be a great thing to have the ability to ‘see’ those lines, energies and vectors, but ‘seeing’ on its own has no meaningful advantage; it becomes a self-limiting intellectual exercise; an academic dead-end. No, the body (your body) has to be trained to be refined in movement, otherwise the necessary engagement/connection is not going to happen; or, it happens in your head first and your body is too late to respond! The key to unlocking this is there, it always has been there; but unfortunately too often it is hobbled by formalism, or that perennial obsession of just making shapes.
It’s a lifetime’s work, and, even with the best will in the world, probably unobtainable. But why let that put you off?
Re. Wado Kata performances on YouTube or forums, be they competition honed kata or personal kata movies. Comments are invited, but I really don’t understand what people want these comments to say?
Competition kata is… a performance, practiced to comply with a set of criteria so that one kata can be compared to another and clearly people look at examples of the kata online and match it off against their own personal expectations.
No kata is ‘perfect’, but if we notice flaws in the kata through the imperfect medium of video what kinds of flaws are we looking for?
Some people get all hung up on ‘a foot position there’ and ‘hand position elsewhere’ yet fail to see the bigger picture. I guess people will disagree with me here, but surely the bigger picture is the method of actually moving – and I don’t mean how fast or strong a technique is delivered; that would be a bonus – if the techniques are performed with the refined principles of Wado AND have celerity, energy and intent, yes that is probably going to be a damn good kata.
Surely we have come a long way from ‘harder, faster stronger’? Wado is a complex system – by that I mean ‘complex’ not complicated; there is a difference. One move, like Junzuki, can contain many complexities, while 36 kumite gata can become complicated – but not insurmountably so.
For me the curse of kata appraisal is what I call the ‘picture book approach’. In that some people judge the kata in a kind of ‘freeze frame’ of the end position of any individual move, taking that frozen image and judging it just by its shape. This method of judgement is really low on the evolutionary ladder. Since the 1960’s Wado has evolved significantly and students and instructors have access to a far greater level of understanding than they had fifty years ago, except of course for those areas where people have clearly opted for a policy of arrested development.
Then there is Observer Bias:
“Observer bias is the tendency to see what we expect to see, or what we want to see. When a researcher studies a certain group, they usually come to an experiment with prior knowledge and subjective feelings about the group being studied.”
People see what they want to see, because they are uncomfortable with anything that interrupts or contradicts their current world view – it’s human nature. Thus, when we feel a need to say whether this approach to kata is superior to that approach, maybe it’s just an expression of our own bias; we focus on those things that either comply with our world view, or don’t.
Judging by comments of forums regarding Wado kata, it also tends to bring about a worrying tendency towards tribalism. I fully understand this, and I am sure that at times I have also felt the knee-jerk inclination towards my own tribal instincts, but I try my best to keep these in check. However, as long as we recognise this for what it is, without the need to call it out, then it will hopefully wither on the vine and conversations will remain civilised and polite.
Then there comes the argument; is there such a thing as a bad kata? I would say; yes there is.
Some say that as long as they stay within a particular bandwidth that represents an acceptable understanding of Wado then that’s fine. But that’s just a fudge – exactly how wide is this bandwidth?
Is the bandwidth just about shapes? From my understanding Otsuka Sensei established some very sound guidelines and sent his best students out into the world with the responsibility to pass on these essential guidelines and although it may have been part of it, shape-making was not the main priority on the list.
A shout out to one of the nicest Dojos I have ever had the privilege to teach and train in.
Kenkokai Dojo in the Netherlands is situated 14 miles south of Amsterdam and 6 miles outside of Hilversum. It is the personal project and newly formed business of Martijn Schelen, who is an instructor both with Shikukai and the Dutch organisation the KBN.
When I first visited there in May of this year what struck me was the amount of care that had been taken to create the right feel. Martijn explained to me that he was particularly careful to utilise aspects of traditional Dojo design supported by ideas of Fusui, which is the Japanese version of Feng Shui, where the orientation of the Dojo is in harmony with directions and elements. To my mind this created a positive vibe that worked within the space. Inevitably the Kamidana was the main focus of the room, Martijn had designed this in a way that was personal to him and it remained tasteful and not overblown, as sometimes can be the case when people just try too hard. ‘Less is more’ was probably not a quote of Japanese origin, but it should have been.
The Dojo space is perfect in size for manageable classes. What was noticeable this time round was that I never had to raise my voice; the acoustics were ideal. The air circulated freely and sunlight was able to spill across the Dojo floor. Really, unless you were in some ancient revered location in Kyoto, you couldn’t get a more photogenic set-up (I hope the photos will prove my point for me).
This was the second time Martijn had invited me over for a course in this particular Dojo; I had been over before either on my own or assisting Sugasawa Sensei, but this was organised differently; numbers were limited to 20, which was ideal, as it meant I could work easily with everyone in the room and we could really get into things. What was really enjoyable was that it allowed information to flow in both directions; I learned so much from the lines of questioning; obviously people felt comfortable asking questions and exploring different possibilities. There were three sessions organised over the weekend and we were able to build upon the previous themes and look at Henka waza exploring many of the varied possibilities found within Wado (well, at least that was my intention). Another attribute that dawned on me over the weekend – I noticed lots of smiles…. it goes without saying that this has to be a positive thing in training.
The course was not confined to the Dutch; Wadoka had shown up from the Czech Republic, Belgium and the UK which gave a real international flavour.
Of course the weekend wasn’t all work and no play. Saturday evening out in Hilversum, perfect for good food and good company.
If anyone reading this finds themselves in this part of the world contact Martijn and drop in for training. It’s not just about the location and the Dojo, Martijn is genuinely one of the most knowledgeable Wado instructors you will ever come across and one of the nicest people in the world of Wado.
Monday, 16:00 – 17:00 children, 19:30 – 21:00 adults.
Wednesday, 16:00 – 17:00 children, 18:00 – 19:00 teenagers, 19:30 – 21:30 seniors.
Saturday, 8:30 – 10:00 karate, all groups.
Martijn also runs classes in, Do-In Yoga, Critical Alignment Yoga, Corestability and medical fitness
Days and times are Monday 16.00 – 21.00, Wednesday 16.00 – 21.30 and Saturday 8.30 – 11.00
Dojo address: Vogelkersberg 5E, 3755 BN Eemnes
Phone number +31641977773
Tiger Woods & Roger Federer.
As a follow on to my 10,000 hours post
in which I looked at the amount of time and effort needed to build a high level of expertise, I came across an article which set out an interesting addition to the debate; something I hadn’t really thought about.
The article was headed, ‘Generalise, don’t specialise: why focusing too narrowly is bad for us’ and was a condensed version of a larger work by David Epstein.
Epstein set up two very different examples by giving the back story of two of this century’s most stellar sportsmen; Tiger Woods and Roger Federer. Essentially this was the story of ‘push’ and ‘pull’.
Tiger Woods was famously hothoused by his ambitious father; while Roger Federer, as a youngster, was given the freedom to access all kinds of sports and generally ball-based activities.
Woods was an example of hyperspecialisation, he was ‘pushed’ while Federer was risking what’s sometimes categorised being a ‘late developer’ and frowned upon by the establishments in whose interests it is to keep this mythology alive – for, as the article shows, it is a myth that a single focus specialisation is the only way to achieve success. Hence Federer was ‘pulled’ by the opportunities and enjoyment of tennis.
Epstein was able to draw upon multiple examples where athletes bounced from one sport to another before crucially moving into their specialised field. Federer was able to draw upon a broad base of physical skills to enhance his approach to tennis; his mother was a tennis coach and she found herself having to resist the urge to check his unorthodox approach to specific techniques and problems found within a tennis match; he was liberated from ‘textbook tennis’ and as such was allowed to flourish. Federer’s mother was worried that her son was becoming too obsessed with tennis. I couldn’t imagine that Tiger’s father Earl would have thought such a thing about his son.
Specialisation has a number of negative aspects, Epstein said, “I came across more and more evidence that it takes time to develop personal and professional range – and that there are benefits to doing so. I discovered research showing that highly credentialed experts can become so narrow-minded that they actually get worse with experience, even while becoming more confident (a dangerous combination).”
Epstein’s conclusions were that although the generalised approach appears slower it has a greater shelf life than the specialising approach.
To give the other slant to this argument – very much drawing on the ‘mastery takes 10,000 hours of practice’ – read Matthew Syed’s book ‘Bounce’. Or read this neat summary by Paul Arnold, here.
As a postscript (and returning this back to being about martial arts) I wouldn’t be in a rush to go running around randomly ‘cross-training’ with other sports or other martial arts, particularly if you are at a point where you have clearly decided what your life’s focus will be.
I always think about a story of two men prospecting for gold. One just runs around digging lots of little shallow holes hoping to strike it lucky; the other does his research, locates his prime spot and invests time and money and digs one shaft really deep.
As I am a big fan of metaphors and also enjoy when the essence of one metaphor contradicts or reinforces another. On this theme, and to maybe complicate things, I would add one more; a quote from Thomas Merton.
“People may spend their whole lives climbing the ladder of success, only to find, once they reach the top, that the ladder is leaning against the wrong wall”.
*Recommended reading: ‘Range – why generalists triumph in a specialized world’, David Epstein.
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.
‘Never interrupt your opponent when he’s in the middle of making a mistake’, a quote attributed to Napoleon, in a way the ultimate ‘passive aggressive’.
Napoleon as the supreme strategist has much to teach us. Ideas can translate easily from large scale warfare to single combat; much like the way that Musashi Miyamoto and Sun Tzu did in their writings.
In a similar way Chinese philosophers spoke about the action of no-action, called ‘Wu-Wei’.
Doing nothing has ethical consequences as well; think if its effect in the world of law, “You may choose to say nothing but to do so may harm your defence….” says the police caution. Refusing to act when you should act is ethically wrong. Also think of the much-used quote, “For evil to triumph all it takes is for the good man to do nothing”.
I mentioned at the beginning about ‘passive aggressive’; I once worked with someone who when he observed a rival colleague (who he hated) about to commit a colossal screw up in front of the boss, instead of warning him off he stood by and watched it happen – ouch.
In fighting we learn to capitalise on an opponent’s mistakes; in tennis they are sometimes called ‘unforced errors’, but sometimes we manipulate the opponent into making mistakes, or we lure them into a trap they would struggle to get out of. Musashi in his Book of Five Rings wrote about forcing the opponent in to difficult positions, bad footings, light shining in their eyes, etc. all to gain advantage. In warfare, tactics are totally paramount; armies are manipulated into making bad decisions; the whole thing is about forcing errors.
I once witnessed Otsuka Hironori II training with another senior instructor during a break in a class. In free movement Master Otsuka easily lead the instructor into making errors, then capitalised on them, but then to keep the flow going, instead of allowing his opponent to fall on their face, one deft slap knocked him back on balance and he was able to reflexively launch another attack, only to be destabilised again, this went on for a while until Otsuka Sensei seemed to think enough was enough and finally (neatly and precisely) floored the instructor. What Otsuka Sensei was doing was cutting down his opponent’s options, which easily lead him in to trouble. Job done.
This is not about politics (though it may start out like that).
It used to be said that if a man is not a Socialist when he is seventeen then he has no heart, if he is still a Socialist when he is fifty he has no head. This does not mean that you are supposed to swerve from left to right as you mature, personally I don’t subscribe to the tribalism of ‘left’ and ‘right’ anymore, they are both two cheeks of the same backside.
Socialists abhor hierarchies, while at the same time feeling it is necessary to utilise them (contradiction?).
Humans by their very nature have a desire to set up hierarchies, even where they do not exist.
Imagine a man who could balance ping pong balls on his nose; would he be content to be the only person who could do that? I doubt it; instead he would present it as a challenge to other jugglers and balancers, who would, inevitably, be able to repeat the trick thus rendering his ‘achievement’ as mediocre. So he then manages to balance two balls on his nose, one on top of the other; seemingly impossible and sets himself up as King of the Ping Pong Ball Balancers! A hierarchy is created – out of nothing. I suppose a good question would be; would ping pong ball balancing put food on the table? There lies another discussion.
In all hierarchies there are winners and losers and people in between and there is supposed to be mobility; not like the old feudal pyramid, more like a ladder.
The people on top give you something to aspire to – unless you are hopelessly stuck on the bottom and then you either resign yourself to failure and give up, or you become a festering ball of resentment, which is not healthy.
These people on the very top are there for a reason. To briefly examine that, it might be worth making a quick reference to French and Raven’s six bases of power. This was formulated in 1959 by social psychologists John French and Bertram Raven.
- Base 1. Legitimate power (or inherited power) – the person in charge has the right to be there.
- Base 2. Reward – You are rewarded by letting that person assume the position.
- Base 3. Expert – That person is the most skilled, so they should be on top.
- Base 4. Referent – the person is seen as the most appealing option because of their worthiness.
- Base 5. Coercive – The fear of punishment keeps this person on top.
- Base 6. Informational – (added later and very apt to today) The person on top controls the information that people need to get stuff done.
Every boss I have ever met considers that ‘Base 3’ is why they are there, with a liberal dose of ‘Base 4’ of course.
Everything you have ever done and gained a feeling of positive achievement from existed within a hierarchy, and that of course includes martial arts training. If the hierarchy is working well you have confidence in the system because opportunities arise from engaging in it, you reap the rewards of your own efforts.
Ambitious people tend to form their own hierarchies and strive to become king of their own tiny little hill, and we see that in the martial arts all the time – everyone wants to King of the Ping Pong Ball Balancers.
Sigmund Freud, Carl Gustav Jung & Ueshiba Morihei.
Recently I have been reading a biography of Swiss Psychoanalyst Carl Gustav Jung and something just jumped off the page at me.
Jung suffered a prolonged mental breakdown between the years 1913 to 1918, but what happened to him during those years did not drag him down into an irrecoverable pit of despair and degeneration (as had happened with Nietzsche), he instead used his own condition to explore the workings of his mind, and in the process of doing so discovered significant and profound insight that he then wanted to share with the world, an unfolding of the mind. To me this sounded familiar.
In 1925 an energetic and obsessed Japanese martial artist called Ueshiba Morihei also underwent a significant change. In his culture it was described as an enlightenment; an extreme physical and psychological episode, during which certain ‘realities’ were revealed to him, motivating him to disseminate the message to all Mankind – the message was Aikido.
Henri Ellenberger wrote about such episodes in his 1970 book, ‘The Discovery of the Unconscious’, he described them as, ‘Creative illnesses’. Interestingly Sigmund Freud (Jung’s mentor) also underwent a similar breakdown and revelation. Amazingly, all three of these men experienced these episodes at the same time in their lives, between the ages of 38 and 43. To me this all adds up.
There is a common process here; all of these individuals had gone for a total emersion into their chosen disciplines; they had all stretched the boundaries further than anyone had ever gone before. In Japan this kind of process usually involved a retreat into the isolated wilds, which included meditation (introspection) and physical hardships.
If you look for it this pattern is all over the place; it’s a human phenomenon, part of what Jung was to call the ‘collective unconscious’.
Iconic American musicians of the early 20th century retreated to the ‘Woodshed’; Robert Johnson had his enlightenment at the crossroads at midnight when he ‘sold his soul to the Devil’.
The ultimate model of near breakdown and Enlightenment is the Buddha, but there have been many other figures from different traditions. I’m not so sure it all ended up in the right area, after all we only hear of the successes, never the failures. Or we hear of historical examples who have been adopted as successes, but whose lives, when looked at through modern lenses, may well tell another story – I am thinking of St Teresa of Avila as one prime example; I wonder what a Jungian or Freudian psychoanalyst would have made of her?
I have recently been reading Jordan B. Peterson’s ’12 Rules for Life’ and I have watched a few of his lectures online. Peterson is a professor of clinical psychology at the University of Toronto and has some quite interesting things to say. His views on Order and Chaos chimed with something that had been going through my head for a long time.
Way back when I was a university student I attended a lecture on ‘Apollo and Dionysus’ that got me thinking. As you may know Dionysus (Bacchus) was the god of wine, darkness and of wild hedonism and chaos, a real fun guy. While Apollo was the god of reason, order, light, a total bore; the ‘Captain America’ of superhero gods. The logic of this was creating models of duality; virtually the same as the Taoist Yin and Yang, which is a simple circular motif of two halves, one black, one white separated by a curving line.
For the purpose of explanation ‘Order’ and ‘Chaos’ are the most useful terms.
The realm of Order is everything we know; where rules are followed, structures are in place, it is comfort and to some degree also complacency (but more of that later). Whereas Chaos is unpredictability, it is the gaps between the laws that protect us; it is what happens when things break down, small scale and large scale, ultimately expressing complete anarchy.
I witnessed a minor version of chaos recently on a Tube train in London late at night. The majority of the passengers were abiding in the world of order, following social protocols, but a small noisy part of drunken people came into the carriage, not following the rules; nothing significant happened but to me they were like illogical, fuzzy minor condensed version of chaos, anything could have happened, the potential was there, just by the presence of chaos.
Peterson says that it is healthy to not just acknowledge chaos but also to engage with it. The complacency that comes with order ultimately would just result in you staying in your room. Progress comes from stepping out into the world and moving away from your comfort zone and putting yourself in more unpredictable positions (chaos).
Look at what we do in martial arts training.
In a very simplistic way we discipline ourselves through the most orderly, regimented environments imaginable, we convince ourselves we are training for chaos, and, in a way we are, but not necessarily in the way we think. Violence is an extreme embodiment of chaos and should not be taken lightly, but it is a complex issue full of wild variables. Just think of one of the worst scenarios; multiple attackers, unfamiliar environment, motivations unclear, limited light, all parties befuddled or fuelled by alcohol – it’s a mess. But this is an extreme.
Let’s go back into the Dojo; here are some examples of engaging with chaos that lead you towards more positive outcomes.
It starts out very simply, where you pressure-test your training in more manageable ways.
In a formal setting there is scope for tiptoeing into the chaos zone; e.g. if you work kihon gumite but the Torime doesn’t know what the second attack is; you could gamble, but it’s better to see if you can resolve the problem through your conditioned training.
Every time you take part in sparring; there are rules but essentially you are engaging with controlled chaos.
In my Dojo we have been working for a long time now on devising new ways of pressure-testing our reactions to attacks, creating opportunities to really work our conditioned responses, one method we use is called Ohyo Henka Dousa, a method of continual engagement with an attacker’s intent.
To go back to the Yin Yang symbol, Peterson says that the curving line between the two areas is a line that we should tiptoe along, occasionally deliberately allowing our foot to stray into the zone of chaos and very much acknowledging that it is part of our lives – something that can be used for good.
‘Waza o Nusumu’ is a phrase I’d heard and read about some time ago; essentially it means ‘stealing technique’. It relates to an old style aspect of direct transmission of knowledge from Sensei to student. We know that verbal transmission or just telling students how techniques and principles work is not an efficient method of passing high levels of skill and knowledge on to future generations. We also know there are other models; for example in old style Budo teachers passed information to their students by having them ‘feel’ their technique, but even that is a flawed method. How do we know if the student is really getting to the core of the technique, or is just mimicking the exterior feel of what they thought was going on?
Waza o Nusumu sounds subversive or even dishonest, but really the teacher is in cahoots with the student; he wants to present the technique to the student, perhaps in an oblique way, a hint here, a hint there, or even a quick demonstration to see if they have the ability to grasp it.
I am reminded of a Wado Sensei I know who wanted to explain Okuriashi foot movement to a junior student and so had a £5 note on the floor with a piece of cotton attached and told him if he could put his foot on it he could have it; every time the student tried to put his foot on it (with Okuriashi movement) the note was snatched away.
It also makes me think of Fagin in the musical ‘Oliver’, the scene where he encourages Oliver to steal the handkerchief dangling out of his pocket.
As mentioned earlier, all of this can fall apart if the student only grasps a part of the picture. It is entirely possible for the student to make the assumption that they’ve ‘got it’ when they haven’t, probably because they’ve projected an understanding on to it that is immature or underdeveloped; this is where the importance of ‘emptying your cup’ comes in.
Another side of this is that the student has really work at it to decode what they have ‘stolen’. There is significant value in this; partially because understanding with your head only is never enough, this is part of making the technique or principle your own. If you are to truly value it and ‘own’ it it has to come from your own sweat.
‘We only have two arms and two legs’ is one of my least favourite sayings in the martial arts. I have to say that as a convenient aphorism it probably works well for some martial artists, but it doesn’t work for me.
It’s far too simplistic; it suggests that a human being is little more than a cartoon mechanical man; Robbie the Robot or a Lego character.
I understand that for those who are looking for neatly packaged answers statements like this have a particular allure. I have also seen this used as a trump card when Internet discussions descend into, ‘my style is better than your style’, or, ‘after all, we are all doing the same thing’ (usually to bolster the agenda of those who think a ‘buffet’ approach leads to a superior system). ‘After all, we only have two arms and two legs’.
‘We only have two arms and two legs’ is a convenience.
Although we do know that human limbs have a set length and that joints only operate through very particular ranges of movement; we also know that the body has strong areas and weak areas and that being bipedal we don’t have the advantages that quadrupeds have in balance and mobility; but this is only the beginning of the story.
There are other areas which make the task of dealing with human physical intent (fighting) significantly more problematic.
Physically the human frame in motion has to be treated like a piece of multifaceted mobile engineering, (but not bound by mechanical rigidity); this is an organic structure with complex dependencies, levers and pulleys and boundless numbers of tiny calculations which take place in a fraction of a second. Miniscule compensations which ripple through the system like complicated relays; long strands of connectivity all working in harmony. To understand this and work with (or against) it is the challenge of the skilled martial artist.
This aspect of human physiology/kinesthetics is not new; it has been examined in many diverse fields, from Myofascial theory to Alexander Technique. The sedate calculated movements of the Tai Chi practitioners also engage with this idea.
Of course this is a two way thing; all of the above relates to both sides of human engagement; the so-called ‘aggressor’ and the ‘defender’ (depending which way you want to look at it). To know, recognise and explore these qualities inside yourself extends naturally to knowing how it operates inside another person.
Beyond this is the investment of energy involved in both sides of the process (attack/defend), how do you read or calculate the amounts of energy involved and get it right? And then there is ‘Intent’; the ‘Mind’ working like a general directing troops. This also leads into another important aspect, something that humans are very good at, particularly when compared to other members of the animal kingdom, and that is the ability to calculate cause and effect, how one calculated action sets off a chain of other reactions.
All of these are a long way from, ‘We all have two arms and two legs’.
Another winter is another winter course; but this wasn’t just ‘another’ winter course.
Each year the Shikukai winter course has been hosted by Shikukai Chelmsford and it just seems to get bigger and bigger, better and better. It could be said that the success of courses acts as a barometer for the health of an organisation; this is certainly true across all similar sporting/physical disciplines. Over the last twelve months Shikukai membership has continued to grow, in the UK and in Europe and it was noticeable this year that all bar perhaps a handful of students on the course were Shikukai members.
For the first time this year we decided to extend the training opportunities and actually kicked the course off (unofficially) on Thursday evening. As this was our normal club night and people had come a day or two earlier this was a great chance to gather at the regular venue and train and sweat together.
This year we had a larger contingent from Holland as well as students from the Czech Republic, Hungary, France and Norway. This worked really well for our continental students for two main reasons; firstly the closeness of an International airport to Chelmsford (London Stansted airport is only 30 minutes away) and so we were able to organise easy airport pick-ups for our guests. Secondly; we were in a position to offer accommodation for most of our guests which kept the overall costs down.
The first official training session was under Sugasawa Sensei direction, this was Friday night. It was a good indicator of how things were to go, in that the training space was only just big enough to comfortably hold the students. Part of Sensei’s theme was to encourage a bigger, more energised style of movement and he was able to show and explain how this should manifest itself in our movements. When the training was over we were close enough to walk to a traditional English pub and served excellent food and drink.
Saturday training at Danbury Leisure Centre was also very busy. Sensei directed the training but also split the groups between Shikukai’s most senior instructors to enable everyone to work on kata relevant to their syllabus. Three hours training flew by. Saturday evening involved a meal for nearly forty people at Sans Restaurant, Chelmsford and the entertainment went on until the early hours of the morning (for those who had the stamina).
Sunday saw another three hour session; this time after kihon practice the class was split again for pairs work with the seniors working on Kihon Gumite and Kumite Gata. Sensei took the Dan grading candidates aside for personalised instruction. After training the Dan grading panel was convened; congratulations to Kevin Evans of Swindon and Emma Hawkins of Chippenham for passing 1st Dan.
We were very conscious this year that people who took the time to travel and attend the course should get the maximum out of their training. For those who were able to train all the way from Thursday evening to Sunday afternoon this meant that they were able to clock up an amazing nine and a half hours of concentrated training.
Our thanks to everyone who attended and to Sugasawa Sensei for his inspirational teaching.
What information is your body giving you? Are you truly your own best critic?
When we are desperately trying to improve our technique we tend to rely on instruction and then practice augmented by helpful feedback, usually from our Sensei.
But perhaps there are other ways to gain even better quality feedback and perhaps ‘feedback’ is not as simple as it first appears.
If we were to just look at it from the area of kata performance; if you are fortunate enough to have mirrors in your training space (as we do at Shikukai Chelmsford) then reviewing your technique in a mirror can be really helpful. But there are some down sides. One is that I am certain when we use the mirror we do a lot of self-editing, we choose to see what we want to see; viewpoint angle etc.
The other down-side is that we externalise the kata, instead of internalising it. When referring to a mirror we are projecting ourselves and observing the projection; this creates a tiny but significant reality gap. It is possible that in reviewing the information we get from the mirror we get useful information about our external form (our ability to make shapes, or our speed – or lack of speed.) but we lose sight of our internal connections, such as our lines of tension, connectivity and relays. We shift our focus away from the inner feel of what we are doing at the expense of a particular kind of visual aesthetic.
You can test this for yourself: take a small section of a kata, perform the section once normally (observe yourself in a mirror if you like) then do the same section with your eyes closed. If you are in tune with your body you will find the difference quite shocking.
Another product of this ‘externalising’ in kata worth examining is how easy it is to rely on visual external cues to keep you on track throughout the performance; usually this is about orientation. I will give an example from Pinan Nidan: if I tell myself that near the beginning of the kata is a run of three Jodan Nagashi Uke and near the end a similar run of three techniques but this time Junzuki AND that on the first run of three I am always going towards the Kamidana, but on the second run of three I will be heading in the direction of the Dojo door, I come to rely almost entirely on these landmarks for orientation, thus I have gone too deeply into externalising my kata; it happens in a landscape instead of in my body. Where this can seriously mess you up is if you have to perform in a high pressure environment (e.g. contest, grading or demonstration) your familiar ‘landscape’ that you relied heavily upon has disappeared, only to be replaced by a very different, often much harsher landscape, one frequently inhabited by a much more critical audience. A partial antidote to this is to always try and face different directions in your home Dojo; but really this is just a sticking plaster.
Another quirky odd anomaly I have discovered when working in a Dojo with mirrors is that during sparring I sometimes find myself using the mirror to gain an almost split-screen stereoscopic view of what my opponent is up to, tiny visual clues coming from a different viewpoint, but it’s dangerous splitting your attention like that and on more than one occasion I have been caught out, so much so that I now try and stay with my back to the mirror when fighting.
Another visual feedback method is video. This can be helpful in kata and individual kihon. In kihon try filming two students side by side to compare their technical differences or similarities. If you have the set-up you could film techniques from above (flaws in Nagashizuki show up particularly well).
There are some subtle and profound issues surrounding this idea of ‘internalising’ ‘externalising’, some of it to do with the origin of movement and the direction (and state) of the mind, but short blog posts like this are perhaps not the place for exploring these issues – the real place for exploring them is in your body.
It’s very obvious that people always appreciate having the opportunity to offer their opinion; particularly when it is something they really care about. So with that in mind I decided to consult with our regular students at Shikukai Chelmsford through the medium of a questionnaire.
I must admit, I was curious as to how this can be done through new technology. So initially I not only set about designing my questions but also researching the available platforms.
I had heard about Survey Monkey and assumed that this was going to be the one to use, however, after signing up and learning about all the whistles and bells and putting my questions in to the template I hit a major hurdle at question 10…. Something that wasn’t clear from the outset; i.e. that this so-called ‘free’ service was only free if you didn’t go beyond 10 questions, after that they wanted £35 a month, (sneaky eh!). So, frustrated and ever so slightly miffed I had to abandon the smiley happy world of Survey Monkey.
More research lead me towards Google Forms, this was totally free and in lots of ways was even better than Survey Monkey.
The idea of a questionnaire has many advantages, particularly when it is anonymous (I made sure that this was the case as it would allow people to give candid and honest responses). Without wanting to use too much jargon I would also say that Dojo members are also stakeholders; it’s in everyone’s interest that all needs are being addressed; in a successful Dojo the whole is far greater than the sum of its parts.
I think we are very fortunate at Shikukai Chelmsford that the social make-up and personalities all mesh neatly together, largely because we have a common goal and it is in our interests to perpetuate that particular dynamic – although I must say that this is the same for Shikukai as an organisation across all Dojos. However it does not mean that we have everything right; so the best thing is to consult the members.
The range of questions went from organisational issues; times, number of sessions, costs, etc, to venue and facilities; then on to training content, and even looking at fairness and equality. The links to the questionnaires came through to members via email and through Facebook, which was very slick. I must say, the design template also looked incredibly neat and professional. The results came in steadily and were really helpful in getting a snapshot of where we currently are. The culmination of all this is that I will share the results with the students and this in itself will promote more dialogue and then work with them to address any issues.