Budo and Morality.

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Morality in Japanese Budo tends to be plagued with confusion and contradictions; not least of which is the concept of a warrior art used to promote peace. I am fairly sure that in this blogpost I am not going to be able untangle the knots; but perhaps I can add some new perspectives on this tricky issue.

I have to admit to wanting to write something on this theme for a long time but I have always swerved away from it; probably for the very same reason that many others seem to have avoided it.

I think that the main reason that people tend to duck discussing morality and Budo is the very same reason that people don’t feel comfortable discussing morality, full stop. Nobody is happy climbing on to anything that looks like a moral pedestal and have the spotlight shine upon them and risk looking like a hypocrite.

With me it is exactly the same, in that I don’t feel qualified or worthy enough to occupy that particular pulpit.

Introducing the subject of morality is a bit like the taboo around discussing politics and religion over the dinner table; two subjects guaranteed to spoil a good evening.

In the martial arts, I cannot think of any of the Sensei I have trained under who have been inclined to, or felt comfortable, climbing on to the moral soapbox. For the same reasons listed above.
Armenian mystic George Ivanovitch Gurdjieff (1866 – 1949) once said, “If you want to lose your Faith, make friends with a priest”. For me, that sums it up nicely.

However, I do believe that it is possible to tiptoe through that particular minefield and remain objective about morality in Budo.

In part, the reason for me writing this now is after recently viewing a series of on-line discussions with eminent Western traditional martial artists and, although their main theme was ‘Shu Ha Ri’, they often strayed into the thorny area of morality within Budo and the development of ‘moral character’. If you have six hours spare you can follow the link below.

It is said that in traditional Japanese Budo the Morality rules are literally woven into the fabric. I use as an example the traditional divided skirt, the Hakama. This garment has seven pleats, with each one said to represent the ’Virtues’ sought within Budo, these are the guiding moral principles. Some people say there are seven, others say five, but for convenience I will stick with the seven model. These seven are:

  1. Yuki – Courage.
  2. Jin – Humanity.
  3. Gi – Justice or Righteousness.
  4. Rei – Etiquette or Courtesy.
  5. Makoto – Sincerity or Honesty.
  6. Chugi – Loyalty.
  7. Meiyo – Honour.

These are described as ‘Virtues’ rather than as components of a moral code. The word Virtue is a better fit because in the west the concept of being moral tends to lead you in a slightly different direction than the Japanese model. Being ‘moral’ in the West has too much baggage, a hint of the fluffy bunny feeling about it. Either that or it is associated with po-faced condemnatory Victorianism.

Rather, the suggestion here is a person of ‘Virtue’ or with ‘Virtues’, or, alternatively, ‘Qualities’, but these must be positive qualities.

But there are a number of things within the traditional list of Budo virtues that don’t translate well. There are two main reasons for this.

Firstly, because the translations, like the Kanji, are multifaceted and have to fit into a Japanese cultural and linguistic framework.

Secondly; these martial arts virtues are the product of an Edo Period mindset, or even further back. Clearly the social structures and the mental landscapes of warriors in that particular place and at that particular time are far removed from the way we live today.

Even the translation of what would seem a fairly self-explanatory concept offers up some questions.

I will address one example, not directly mentioned in the above list, but certainly connected to it. (and this is a person reflection):

From my experience, nobody under fifty years of age ever seems to use the word ‘honour’ anymore, let alone adhere deliberately to the concept. ‘honour’ only sees the light of day in the most negative of circumstances, as an example, the concept of ‘honour killings’, how did that happen?

In much the same way as, in today’s social interactions, no man is ever referred to as being a ‘gentleman’. Similarly, across the genders. I cite as an example this observation: For many years I worked as a teacher in a Catholic girls school, and it always amused me when I saw young girls being chided by female teachers for ‘un-ladylike behaviour’, what does that even mean today? I suppose you could talk about the same behaviour as being ‘undignified’, but even that word has worn a little thin these days. (I refer you to the justifications given by St. Miley of Cyrus for the contentious ‘Wrecking Ball’ video, of which I have only heard about, of course.)

I am old enough to remember when two ‘gentlemen’ shook hands over a deal it was this symbolic act and their ‘honour’ that sealed it. It all seems to have disappeared from the world of commerce and is only seen on the sports field.

Another example from the modern lexicon is the word ‘respect’, which seems to have been warped and weaponised and is permissible to function as a one-way street. This is particularly noticeable in urban slang.

But to return to the above listed Japanese Virtues.

‘Jin’ as ‘Humanity, also has a very nuanced meaning in Japan.

Yes, it does refer to the ideals of a care and consideration of other humans beyond yourself, but also ‘Jin’ is a model of humanity perfected; we all aspire to be ‘Jin’, or at least we should be. From my observation the Japanese concept of humanity is similar to Nietzsche’s model in ‘Thus Spake Zarathustra’; of Man suspended on a tightrope caught between his animalistic nature and his God-like Divine potential. ‘Jin’ is that Divine Potential realised. It is Man perfectly positioned in the universe as the sole conduit between Heaven (the universe) and Earth. It is the triad of ‘Ten, Chi, Jin’.

For convenience sake, Morals, Virtues and Values can all be tied together into one bundle.

Regarding Values; there has been a relatively recent push towards looking for values shared across cultures; values for the whole of humanity. As we work towards an idealised global community this was considered a goal worth striving for. But it’s not as easy as it looks.

The dominance of Judeo-Christian culture and ideals over the last 1000 years has pretty much set the standards for what we understand as moral behaviour (and values) and has achieved a world-wide monopoly on what is acceptable and desirable. But we have to remember that Judeo-Christian culture is the new boy on the block.

Other cultures had been hammering out their moral codes for thousands of years before Judeo-Christian models appeared on the scene, and it is quite often at variance to what we would now deem acceptable. As an example; activities condoned in ancient Greece and Rome would cause shrieks of horror in modern Western society.

Further east, Chinese culture was blossoming when we in Europe were hitting each other over the head with sticks. Chuang Tzu in 200 BCE was wrestling with advanced philosophical problems of human consciousness (See, ‘The Butterfly Dream’) and the Han Chinese at the same period had advanced tax systems, hydraulics and machines with belt drives; while at the same time in Britain we were embroiled in Iron Age tribal brutality and cattle stealing, and then along came Christianity and everything was alright! (Sarcasm alert).

Morality still has an important role to play in contemporary martial arts, even though the world has moved on and the fabric of society has changed and continues to do so at a terrifying rate. The nature of martial arts study in the modern age inevitably involves people and wherever human interaction occurs we are better working towards common goals for the improvement of society. We are living examples of the whole being greater than the sum of its parts.

How about a campaign to restore the word ‘Honour’ and claim back the word ‘Respect’?

Respect to you all.

Tim Shaw

Shu Ha Ri Discussion.

Featured image: Author’s own collection.

Bad Apples.

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Book Review: ‘Humankind: A Hopeful History’.

I have to admit to spending an awful long time mulling over what it is with the human race that makes us such a toxic species, with our proclivity towards violence and seemingly unplumbed depths of out and out badness.

I remember being convinced that everyone one of us has the capacity for unspeakable savagery and that the veneer of civilisation is so very thin. Now my opinion has changed considerably; all down to one book, ‘Humankind: A Hopeful History’ by Dutch historian Rutger Bregman.

I had read Bregman’s previous book ‘Utopia For Realists: And How We Can Get There’ and was impressed. Bregman seems to be one of those people who are prepared to not accept everything at face value AND to think outside the box. In addition to that, he will call foul if he sees it, as he did with Tucker Carlson of Fox News, (Google it!). And shaming the Davos delegates; “Almost no one raises the real issue of tax avoidance…and of the rich not paying their fair share” . [Link]

Bregman is great at presenting the evidence and supplying concrete examples of how things have been done differently. But in this latest book he goes further.

Humans are hard-wired to see the worst in people and societies have further hard-wired themselves to expect the worst of the whole of humanity. Bregman explains how this has all been of use to us and how it’s been cynically exploited; from; ‘original sin’ to group culpability and the fear of the outsider. But the evidence suggests that if push came to shove we are also hard-wired towards compassion and amazing acts of cooperation and generosity. We are pretty awesome!

In his book Bregman deconstructs the premise of William Golding’s novel, ‘Lord of the Flies’, and proves that in a real situation the complete opposite would happen (and it did, in 1965, when a group of schoolboys were stranded on an island for fifteen months). Bregman says that our ‘superpower is cooperation’. He also examined the Stanford Prison Experiment of 1971 and called it out as baloney, the same with the Stanley Milgram ‘Electric Shock’ experiment of 1961. It looks to me like not only does a whole bunch of English Lit. commentaries on ‘Lord of the Flies’ have to be re-written but also lots of psychology text books!

We’re not completely off the hook though; the concept of ‘empathy’ takes a bashing, and additional bad news is that we can’t unweave the societies we constructed; but, perhaps, by reading Bregman’s book we can at least understand how our motivations work.

A chapter titled; ‘Homo Ludens’ (Man at play) really cheered me up, as it chimed with things that occurred to me gradually over years of working with children (the open-endedness of ‘play’ I mentioned in a previous blog post, here.)

It’s not that difficult to connect Bregman’s optimism to concepts found within Japanese Budo. Recently re-reading Otsuka Hironori’s book, particularly the section, ‘Analects of the Instructor’ it was obvious to me that master Otsuka’s underpinning philosophy was founded upon peace and the bringing of peoples together. In fact, if you deconstruct the Kanji for ‘Wa’, normally understood as ‘harmony’, and take it back to its basic pictographic level you would struggle to find a better example to sum up the spirit of the ‘super power’ of cooperation, with its allusion to the collaborative and civilising mechanisms found in agrarian societies. In Dave Lowry’s book, ‘Sword and Brush: The Spirit of the Martial Arts’, there is a description of ‘Wa’ from Japanese tea ceremony devotees, Harmony (‘Wa’) is, “the capacity to get along with others, to sublimate the self for a greater cohesion within the larger social nexus”. The image for ‘Wa’ is of a pliant healthy rice sprout positioned next to the symbol for a mouth; either representing ‘feeding’ or just civil discourse and communicating, or a combination of both.

To literally restore your faith in humanity, I would thoroughly recommend that you pick up this book and reflect on the wider implications of Bregman’s observations. It could not be more apt, particularly in the times we are living and with the vague possibility of a re-think of our values and systems in a post-Covid world.

Tim Shaw

What Master Otsuka Saw (Probably).

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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?

Tim Shaw

Know the depths of your own ignorance.

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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.

Tim Shaw


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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:

  1. Total focus (excluding all external thoughts and distractions).
  2. The sense of ‘self’ disappears but returns renewed and invigorated once the activity has concluded.
  3. Time has altered, or becomes irrelevant.
  4. The activities must have clear goals.
  5. A sense of control.
  6. Some immediate feedback.
  7. 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.”

Tim Shaw


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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.

Tim Shaw

*Photo credit, Pelham Books Ltd, ‘Karate-Do’, Tatsuo Suzuki 1967.


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Renraku Waza, Renzoku Waza, Renketsu Dosa, whatever we decide to call them Combination Techniques seem to feature on nearly every Wado syllabus.

In my early training I was as guilty as everyone else in treating combinations as a test of memory (as well as speed and power). But there are other ways to look at them. I would urge Wado practitioners to examine them more closely. Is there perhaps something inherent in their design that has more to give us?

At first sight as we advance through the grades the sets of combinations just seem to get more complex with more techniques strung together. Yes, they were physically demanding and you got a great workout and many of the strings of techniques programmed the body well for attacking combinations used within conventional free fighting. It was a good way of reviewing your available range of techniques, but it was impossible for it to be all-encompassing. Hand strikes seemed particularly limited. In the early UK syllabus created in the 1960’s and still used by many organisations, there were only three main strikes used in combinations, as well as only three kicks (albeit deployed to different levels) and there were no explicit blocking or covering techniques, they may have been there in some small way but they weren’t really highlighted. Admittedly, since then organisations have become more creative, either by adding more techniques or completely deconstructing combinations, with varying levels of success.

The lower level combinations give good foundations on how to utilise moving in a formalised fighting guard and how to operate the mechanics of particular movements while being in that guard. But if combinations have been designed well they add another vital component that is often overlooked – transition.

Combinations looked at as a test of ‘transition’ gives a whole new perspective. When you fight you are in transition all of the time; you can either do that well, or you can do it badly. When you do it well it allows for snap changes dictated by the ever fluid physical challenges in combat scenarios and puts you a great position to deliver the necessary payload. An image that comes to mind is of the great French tennis player Jean Rene Lacoste (1904 – 1996), it is no accident that the Crocodile is used as the Lacoste logo, Lacoste’s ability to ‘snap back’ from nowhere when returning the ball was the embodiment of the ferocity of the Crocodile’s movement. For the fighter this type of tenacity and flexibility is a terrific skill to aspire towards. Look within combinations; examine what positions you find yourself in, what techniques demand the most commitment in stance and posture? Where do you feel dangerously close to over-extension and then you find yourself having to move from one extreme to another?

Some combination strings seem to create relatively easy transitions from one attack to another; while these have some value I think they are red herrings; examples being ones where the hip extension from one technique automatically and comfortably flows from that technique to another. But these are not the ones I am referring to.

Within the combinations in the Shikukai Karate-Do International it is no accident that there are numerous examples of these transitional challenges. If instructors are devising their own teaching combinations I would heavily recommend looking at what transitional challenges you are including.

Tim Shaw

Going to the extreme.

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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?

Tim Shaw

Waza o Nusumu.

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‘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.

Image credit Columbia Pictures.

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.

Tim Shaw