"There are no advanced techniques, only advanced applications." - Shooting From Within, by J. Michael Plaxco, 1991.
The idea that there are incredible, magical techniques at the upper end of martial arts ability is a popular one. In Karate Kid, the inscrutable Mr. Miyagi says, "If done properly, no can defend." Somehow, we believe, there are techniques known by the experts that we are just unable to perform or to comprehend.
In fact, there are techniques that are more difficult than others, perhaps because they require more muscle, more flexibility, a better understand of balance, or some other specialized ability, and these techniques are often reserved for students with more time in practice. If we look carefully at these techniques, however, we realize that they are actually composed of simple building blocks, just as are the "basic" techniques.
By practicing the building blocks over and over, we make them reflexive. By practicing the technique from beginning to end, locating the certain building blocks or transitions between building blocks that keep us from being successful, we train ourselves to succeed a high percentage of the time. Finally, we develop a "feel" for the entire technique so that we can apply against a variety of opponents, in a variety of circumstances, able to subtly adjust what we do in order to succeed almost regardless of the opposition.
Usually, the things that keep us from prevailing have to do with our execution of the building blocks. Here's an example: in judo, one of the most common stumbling blocks for beginners and experts alike is the failure to bend the knees enough. Unless the student practices moving with the knees bent enough times to make the position second nature, a percentage of his or her attempts to throw will fail. Because bent knees are a building block for virtually every throw in judo, it is essential that all students practice moving with the knees bent until it becomes second nature.
All technique in the martial arts are either basic techniques or are composed of basic techniques. That's good news - it means that, regardless of your natural ability, if you are willing to put in the time and work required to master the basics, you can practice martial arts at a very high level.
Wednesday, April 7, 2010
Sunday, February 28, 2010
Martial Artists as Shapeshifters
In terms of the body, the martial arts are a collection of postural forms designed to express physical energy in an intelligent way. This expression of energy can be utilized for many practical purposes, such as striking a target, throwing an opponent, or evading an attack.
The martial forms themselves are nothing more than shapes, and these shapes can be regarded as tools. The ability to shape one's body into the appropriate tool at the appropriate time is the physical objective of the martial arts.
In order to accomplish this, it is important to possess both a geometrical understanding of the body, and a spacial understanding of the area the body can potentially occupy.
To understand the body geometrically, one should first be aware of the physical center point where the body's mass and balance naturally settles. This point is known as tantien in the Chinese arts, and hara in the Japanese arts. Awareness of this point is necessary because it is the origin of the shape the body assumes. The body itself can be envisioned as a vertical line that originates at the body's physical center. When standing at rest, this line runs up the spine through the headtop, and down the tailbone to the ground.
To understand the potential space the body can occupy, one should first envision a sphere whose radius originates at the body's origin, its physical center.
If circumstances demand occupation outside this sphere, then the origin of the sphere must be repositioned to accommodate. Now, the line that represents the body can bow or hinge to shape new tools within the sphere. However, to maintain structural integrity and unification, there are two requirements that must be maintained: The first is that one's shape must either move from its origin or around around its origin; the second is that every point on the line that represents the body must be contiguously connected to the origin. If either of these requirements falter, then the form suffers disorganization, and effectiveness of the body as a tool diminishes.
- By Daniel Holland, Instructor at JMAC, sandan iaido, nidan judo, nidan jujutsu
Tuesday, February 16, 2010
Upright Posture in the Martial Arts
An upright posture is important in the martial arts for four reasons, specifically:
1) it unifies the upper body with the lower body, so that the entire body has a single center of balance.
2) it places the upper body upon the lower body, so that there is a base from which to generate power
3) it defines a vertical axis around which the entire body can rotate strongly
4) it positions the skeleton and organs in natural alignment, promoting proper breathing healthy structure
In the Japanese Martial arts, the basic natural posture is called shizentai. The general requirements of shizentai are:
• the head is held erect and the chin is slightly tucked
• the shoulders are above the hips and pulled back and down
• the chest is relaxed and neither puffed forward or arched backward
• the hips are forward and the tailbone is not stuck out
• the knees are comfortably bent
• the feet are shoulder-width apart, and the toes point forward
• the soles are flat, and the weight of the body is supported above the toes (meaning that the heels can lift off the ground, the toes cannot)
Two variations of shizentai are known as migi shizentai, when the right foot is forward, and hidari shizentai, when the left foot is forward.
Parallels can be drawn from the upright standing postures to the upright kneeling postures, which are appropriate in occasions such as seated iaido forms and newaza in judo and jujutsu.
When kneeling, basic natural posture becomes seiza, or correct sitting. Migi shizentai becomes migi tatehiza, which is seiza with the right knee up, and hidari shizentai becomes hidari tatehiza, which is seiza with the left knee up.
The postural requirements of the kneeling forms are the same as the standing forms, with the exception that in the kneeling forms one or both legs are tucked beneath the hips.
- By Daniel Holland, Instructor at JMAC, sandan iaido, nidan judo, nidan jujutsu
Wednesday, January 21, 2009
Jujutsu - Ancient, Modern, Japanese, Brazilian
What is jujutsu? In the 21st Century, the term "jujutsu" - also sometimes spelled "jujitsu" or "jiu jitsu" has many meanings. The historical roots of the martial art you are studying can have a huge effect on exactly what you practice when you study jujutsu. It's fair to say that there are Japanese jujitsu systems - both ancient and modern - Brazilian jiu jitsu systems, and jujutsu systems that hail from other non-Japanese areas. For a general discussion about jujitsu that is pretty good, take a look at the Wikipedia for jujutsu.
Jujutsu is a Japanese word, so, as you might expect, the original martial art hailed from Japan. The word referred to many old hand-to-hand fighting systems, sometimes called "family" jujutsu systems, that were developed for use in battle when Samurai warriors came to grips with one another. The systems included strikes, throws, joint locks, and pins, and often many lethal techniques. The skills were passed on within a group, kept secret so as not to fall into the hands of enemy warriors. "Ancient jujutsu" or "koryu jujutsu" refers to these old systems.
Modern Japanese jujutsu usually refers to jujutsu systems that arose during or after the Meiji Restoration. They are derived from the older family systems and include many of the same techniques, but are usually more oriented toward physical fitness, self-defense, and character development, and less toward lethality. One of the most prominent modern jujutsu systems was founded by Sato Shizuya of the Kokusai Budoin. It's called Nihon Jujutsu ("Japanese jujutsu") to distinguish it from modern systems created outside of Japan. More information about Nihon Jujutsu can be found on the Nihon Jujutsu website. The founder's dojo is at the American Embassy Housing Compound in Tokyo, and you can visit the website by clicking here.
Brazilian Jujitsu refers to systems of grappling, also descended from Japanese jujutsu, that were synthesized in Brazil. The most famous system was founded by the Gracie family. These systems focused primarily on groundwork (grappling), including pins, immobilizations, chokes, and other submissions. In modern mixed martial arts, striking has been added to the practice, but originally these systems did not emphasize strikes. As a result of their intense focus on groundwork, the Brazilian systems have developed many very effective variations on the skills that had their origins in Japan.
You will also hear about systems called "American Jujitsu," or sometimes "American Goshin-jitsu." These systems can be composed of a variety of techniques, many times including the strikes from karate, savate, or boxing, the throws from judo, and the grappling skills and submissions from Japanese or Brazilian Jujitsu. Unfortunately, the founders of these systems have not always spent enough time learning their craft before creating their own art, but there are some that are exceptionally good, such as the Small Circle Jujitsu of Professor Wally Jay.
At the Japanese Martial Arts Center in Ann Arbor, we focus on Sato Sensei's Nihon Jujutsu. This system is an excellent method for developing physical fitness, self-defense skills, and an internal calmness. The structured, progressive curriculum allows students to focus on techniques that suit their abilities, gradually increasing both the number of skills they know and deepening their knowledge and ability with skills they have previously learned. Our sprung floor takes away much of the concern about falling, and the cooperative attitude of our students helps each person learn safely and quickly. If you are interested in learning one of the most highly regarded modern jujitsu ("Jujutsu") systems in the world, and you live anywhere near Ann Arbor, consider joining the Nihon Jujutsu program at the Japanese Martial Arts Center.
Jujutsu is a Japanese word, so, as you might expect, the original martial art hailed from Japan. The word referred to many old hand-to-hand fighting systems, sometimes called "family" jujutsu systems, that were developed for use in battle when Samurai warriors came to grips with one another. The systems included strikes, throws, joint locks, and pins, and often many lethal techniques. The skills were passed on within a group, kept secret so as not to fall into the hands of enemy warriors. "Ancient jujutsu" or "koryu jujutsu" refers to these old systems.
Modern Japanese jujutsu usually refers to jujutsu systems that arose during or after the Meiji Restoration. They are derived from the older family systems and include many of the same techniques, but are usually more oriented toward physical fitness, self-defense, and character development, and less toward lethality. One of the most prominent modern jujutsu systems was founded by Sato Shizuya of the Kokusai Budoin. It's called Nihon Jujutsu ("Japanese jujutsu") to distinguish it from modern systems created outside of Japan. More information about Nihon Jujutsu can be found on the Nihon Jujutsu website. The founder's dojo is at the American Embassy Housing Compound in Tokyo, and you can visit the website by clicking here.
Brazilian Jujitsu refers to systems of grappling, also descended from Japanese jujutsu, that were synthesized in Brazil. The most famous system was founded by the Gracie family. These systems focused primarily on groundwork (grappling), including pins, immobilizations, chokes, and other submissions. In modern mixed martial arts, striking has been added to the practice, but originally these systems did not emphasize strikes. As a result of their intense focus on groundwork, the Brazilian systems have developed many very effective variations on the skills that had their origins in Japan.
You will also hear about systems called "American Jujitsu," or sometimes "American Goshin-jitsu." These systems can be composed of a variety of techniques, many times including the strikes from karate, savate, or boxing, the throws from judo, and the grappling skills and submissions from Japanese or Brazilian Jujitsu. Unfortunately, the founders of these systems have not always spent enough time learning their craft before creating their own art, but there are some that are exceptionally good, such as the Small Circle Jujitsu of Professor Wally Jay.
At the Japanese Martial Arts Center in Ann Arbor, we focus on Sato Sensei's Nihon Jujutsu. This system is an excellent method for developing physical fitness, self-defense skills, and an internal calmness. The structured, progressive curriculum allows students to focus on techniques that suit their abilities, gradually increasing both the number of skills they know and deepening their knowledge and ability with skills they have previously learned. Our sprung floor takes away much of the concern about falling, and the cooperative attitude of our students helps each person learn safely and quickly. If you are interested in learning one of the most highly regarded modern jujitsu ("Jujutsu") systems in the world, and you live anywhere near Ann Arbor, consider joining the Nihon Jujutsu program at the Japanese Martial Arts Center.
Friday, January 9, 2009
Individuality
Out in the "real" world, we take great pains to express ourselves. We choose certain clothes, drive a certain make of car, and wear our hair just so. We choose who to spend time with and which shows to watch, and measure ourselves against the social group to which we aspire. In the dojo, however, the opposite is true. While practicing judo, karate, jujutsu, iaido, or kendo, we all wear essentially the same uniform, strive to perform our moves exactly the way Sensei does, and utter the same set expressions during class. Regardless of where we come from, we all aspire to the same goals and admire essentially the same role models.
An interesting thing happens in the dojo, however. Despite the fact that we strip away almost all trappings of individuality, the character of each student is not lost. In fact, the more a student throws himself into his training, more diligently trying to get the techniques exactly right and putting aside all thoughts of self, the more strongly his character shows through. After a lifetime of concentrated training, the elder sensei are not without character, but seem somehow to have more personality and individuality than ever. Along with this, they also have a quiet confidence that most of us would love to possess.
This magic is part of what makes traditional martial arts training so valuable. Stripping away the artificial badges of personality helps to reveal the real person. We express our character instead through words, gestures, and actions, sometimes in very subtle ways. For example, those of us who feel the need to win are more likely to turn a training session into a battle, while those who are content to learn may train more cooperatively. If we always turn a conversation toward ourselves, it may reveal a need for attention. If instead we focus our attention on the needs of others, it may indicate that we are comfortable with ourselves.
Selfless striving for an ideal, under the guidance of a conscientious instructor, has significant effects on the martial arts student when pursued over the long term. We learn over time to harmonize our selfishness (i.e., wanting to be "good" or to get a black belt), with the need for selflessness (training despite pain, fear, or boredom; helping to coach newer students). We also learn that real quality in technique requires consistent practice and concentration, and during those moments when we lose our "selves" (our image of who we should be) in practice, our true selves are evident. With time, we learn to be comfortable with our true selves, and move past the need to wear a self image that may satisfy other social requirements.
Acting from the position of one's true self is very powerful. Because all artificiality is set aside, one's decisions are more accurate, one's reasons for action are more sound, and one's actions are more efficient. One has a better chance for success and happiness when expressing one's true self, though how one defines those terms may change greatly between white belt and black belt.
An interesting thing happens in the dojo, however. Despite the fact that we strip away almost all trappings of individuality, the character of each student is not lost. In fact, the more a student throws himself into his training, more diligently trying to get the techniques exactly right and putting aside all thoughts of self, the more strongly his character shows through. After a lifetime of concentrated training, the elder sensei are not without character, but seem somehow to have more personality and individuality than ever. Along with this, they also have a quiet confidence that most of us would love to possess.
This magic is part of what makes traditional martial arts training so valuable. Stripping away the artificial badges of personality helps to reveal the real person. We express our character instead through words, gestures, and actions, sometimes in very subtle ways. For example, those of us who feel the need to win are more likely to turn a training session into a battle, while those who are content to learn may train more cooperatively. If we always turn a conversation toward ourselves, it may reveal a need for attention. If instead we focus our attention on the needs of others, it may indicate that we are comfortable with ourselves.
Selfless striving for an ideal, under the guidance of a conscientious instructor, has significant effects on the martial arts student when pursued over the long term. We learn over time to harmonize our selfishness (i.e., wanting to be "good" or to get a black belt), with the need for selflessness (training despite pain, fear, or boredom; helping to coach newer students). We also learn that real quality in technique requires consistent practice and concentration, and during those moments when we lose our "selves" (our image of who we should be) in practice, our true selves are evident. With time, we learn to be comfortable with our true selves, and move past the need to wear a self image that may satisfy other social requirements.
Acting from the position of one's true self is very powerful. Because all artificiality is set aside, one's decisions are more accurate, one's reasons for action are more sound, and one's actions are more efficient. One has a better chance for success and happiness when expressing one's true self, though how one defines those terms may change greatly between white belt and black belt.
Thursday, May 22, 2008
The Martial Arts Social Contract
Between the martial arts teachers at the Japanese Martial Arts Center in Ann Arbor and their students, there exists a social contract. The contract - mostly implied, sometimes written down - goes something like this:
As the teacher, I agree to give you, the student, the absolute best training opportunity I can give you, be it in judo, jujutsu, or iaido. I promise to offer you the complete martial art I know, including all its best aspects: physical techniques, theories of physical power, mental strategies, cultural aspects, and any spiritual benefits that are part of the art. I promise not to deceive you with martial arts mumbo-jumbo, and I promise not to try to falsely build up your self-esteem without providing any basis in real martial arts skill. I promise not to ask you to pay absurd dues rates, but will ask you to pay a fair rate in keeping with the expenses of the dojo and my need to earn a modest living. I won't give you a black belt unless you deserve it, but at the same time, I won't unnecessarily prolong your journey to black belt by making the standards impossible. I will try my best to help you develop yourself - mind, body, and spirit - so that you can excel in the dojo and in life.
As the student, you agree to attend classes as often as you can reasonably do so, putting forth all your effort, and practicing with energy and a positive attitude. You promise to consider the teachings I put forth, taking time outside of class to think about the relationship between my words and the techniques of your martial art. You promise to respectfully raise any issues you may have with your training, and give real consideration for my answers to your questions. You agree to practice safely to help prevent injury to yourself and other students. You agree to pay your dues on time, and agree not to take advantage of our policies to help you avoid paying a fair dues rate. You agree to work hard to learn your art, and to trust my decisions about when you are ready for promotions. You agree to commit yourself to the learning process, and to pass on the positive lessons you learn while at the Japanese Martial Arts Center.
Occasionally, a few students will come along who wish to learn what the teacher is teaching without honoring their side of the social contract. Such students may wish to learn to fight without taking part in the character development aspects of the martial art. They may train selfishly, failing to give due consideration to the needs of other students. They may try to trick the dues system by taking strategic leaves of absence, hoping to save a few dollars but still desiring all that the teacher has to offer.
We are happy to say that the vast majority of the students who have trained at the Japanese martial arts center are diligent, serious, generous, and sincere. They are quick to recognize that their teachers have given a huge portion of their time and treasure to try to master their martial arts, and are supportive in a variety of ways (offering to help with dojo events, helping newer students learn, paying their dues on time, and recommending the dojo to potential new students).
Generally, the more students adhere to the implied social contract in the martial arts, the less formal their written contract needs to be. Those who find their dojo implementing strict written policies may blame their dojo-mates who fail to honor the implied contract.
As the teacher, I agree to give you, the student, the absolute best training opportunity I can give you, be it in judo, jujutsu, or iaido. I promise to offer you the complete martial art I know, including all its best aspects: physical techniques, theories of physical power, mental strategies, cultural aspects, and any spiritual benefits that are part of the art. I promise not to deceive you with martial arts mumbo-jumbo, and I promise not to try to falsely build up your self-esteem without providing any basis in real martial arts skill. I promise not to ask you to pay absurd dues rates, but will ask you to pay a fair rate in keeping with the expenses of the dojo and my need to earn a modest living. I won't give you a black belt unless you deserve it, but at the same time, I won't unnecessarily prolong your journey to black belt by making the standards impossible. I will try my best to help you develop yourself - mind, body, and spirit - so that you can excel in the dojo and in life.
As the student, you agree to attend classes as often as you can reasonably do so, putting forth all your effort, and practicing with energy and a positive attitude. You promise to consider the teachings I put forth, taking time outside of class to think about the relationship between my words and the techniques of your martial art. You promise to respectfully raise any issues you may have with your training, and give real consideration for my answers to your questions. You agree to practice safely to help prevent injury to yourself and other students. You agree to pay your dues on time, and agree not to take advantage of our policies to help you avoid paying a fair dues rate. You agree to work hard to learn your art, and to trust my decisions about when you are ready for promotions. You agree to commit yourself to the learning process, and to pass on the positive lessons you learn while at the Japanese Martial Arts Center.
Occasionally, a few students will come along who wish to learn what the teacher is teaching without honoring their side of the social contract. Such students may wish to learn to fight without taking part in the character development aspects of the martial art. They may train selfishly, failing to give due consideration to the needs of other students. They may try to trick the dues system by taking strategic leaves of absence, hoping to save a few dollars but still desiring all that the teacher has to offer.
We are happy to say that the vast majority of the students who have trained at the Japanese martial arts center are diligent, serious, generous, and sincere. They are quick to recognize that their teachers have given a huge portion of their time and treasure to try to master their martial arts, and are supportive in a variety of ways (offering to help with dojo events, helping newer students learn, paying their dues on time, and recommending the dojo to potential new students).
Generally, the more students adhere to the implied social contract in the martial arts, the less formal their written contract needs to be. Those who find their dojo implementing strict written policies may blame their dojo-mates who fail to honor the implied contract.
Thursday, April 3, 2008
"Mastery" in the Martial Arts
What does it mean to "master" a martial art? In the Japanese martial arts, we are very reluctant to use the term "master." The term would imply that someone has completely understood the art and can perform its every technique perfectly. The reality is that even the very best practitioners are still working on perfecting their art. Perfection is an elusive goal, but one that keeps us training and trying to improve ourselves for a lifetime. What we can do, however, is move ourselves closer to perfection one small step at a time. Those who have been working at this for a very long time can seem almost magical in their abilities, but their "magic" can be explained by understanding that they have a tremendous ability to get the tiniest aspects of their techniques exactly right. Traditional Japanese martial arts are designed to influence the whole person, including the body, the mind, and the spirit. True mastery encompasses both dramatic and subtle changes in the practitioner in each of these areas.
Mastery Over the Body. Mastering the physical skills of a martial art means being able to perform its techniques with a high degree of proficiency. Historically, it meant being able to perform well enough to defeat an opponent in a life or death match. These days, it means understanding and being able to execute virtually all the checkpoints of a skill in an accurate manner, in the space of time and with the rhythm required to defeat an opponent. In individual arts, such as iaido, the opponent is imaginary. In competitive arts, such as karate or judo, the opponent may be real. However, we no longer fight to the death, so we substitute proficiency for deadliness.
One often forgotten concept in physical mastery is that one must not only be able to control one's own body, but must also learn how to respond to and control the body of his or her attacker. Even the most superb physical technique is useless if it is applied at the wrong distance, the wrong time, or with the attention focused in the wrong place. At a higher level, the martial artist must learn to control not only his body and that of his opponent, but must also take into account the terrain on which the interaction takes place (a concept that includes location, time, conditions, and preparation).
It is important to repeat that perfection is an elusive goal. Everyone comes to the dojo with a different set of innate abilities, so for some students physical mastery is relatively easy, while for most it is very difficult. Those past experts whom we recognize as "masters" were able to execute their skills in real time, accurately, maximizing the use of their own strength and quickness while finding the points of greatest weakness in their opponents. The awareness required to do this is profound, and usually requires years of concentrated effort to attain. Further, as you can see, mastery of the physical aspects of the art is closely tied to mastery of the mental aspects.
Mastery of the Mental Aspects. Mastery of the mental aspects of martial arts involves knowing how and why the techniques work, and constantly working to bring your physical skills into line with that knowledge. It also means reaching an understanding of how the mind works, and thinking in positive, productive ways. For example, it is widely accepted that positive attitude helps bring about positive results. In the martial arts, we learn thinking strategies that help us achieve our martial goals. We then learn, by extension, how to apply those strategies to life outside the dojo, which helps us to become more effective, stable human beings.
In real time, mental martial arts involves awareness. One must be aware of how one is responding to an opponent, aware of the opponent's own actions and reactions, and aware of the terrain. These challenging requirements are an important reason why real mastery requires so many years of training. It is virtually impossible to concentrate on all the varied aspects of any martial arts interaction, so vast repetition is required. If one is training with the proper frame of mind, each repetition helps to make one subtle aspect of a technique more efficient, and helps to make it more reflexive. Just as operating the pedals and steering wheel of an automobile becomes reflexive and unconscious after a few years of driving, the essential building blocks of technique (including awareness) become reflexive through repeated practice.
Mastery of the Spiritual Aspects. Putting aside any discussion of religious aspects, the character traits that we often include in "spiritual" martial arts include determination, patience, calmness, and balance. Determination comes from a realization of what one's life mission is, and gradually bringing all aspects of training into line with the mission. Patience is the realization that great things require great effort (not necessarily all at once, but in small increments over a long period of time), and learning to work at a pace that allows one to exert that effort in the appropriate amounts and at the appropriate time. Calmness comes from learning what one can control and what one cannot, focusing work on those things that can be controlled and learning to accept those things that cannot. Balance means coming to a point in one's life where one does not get too upset when things go wrong nor too elated when things go right.
Mastery Over the Body. Mastering the physical skills of a martial art means being able to perform its techniques with a high degree of proficiency. Historically, it meant being able to perform well enough to defeat an opponent in a life or death match. These days, it means understanding and being able to execute virtually all the checkpoints of a skill in an accurate manner, in the space of time and with the rhythm required to defeat an opponent. In individual arts, such as iaido, the opponent is imaginary. In competitive arts, such as karate or judo, the opponent may be real. However, we no longer fight to the death, so we substitute proficiency for deadliness.
One often forgotten concept in physical mastery is that one must not only be able to control one's own body, but must also learn how to respond to and control the body of his or her attacker. Even the most superb physical technique is useless if it is applied at the wrong distance, the wrong time, or with the attention focused in the wrong place. At a higher level, the martial artist must learn to control not only his body and that of his opponent, but must also take into account the terrain on which the interaction takes place (a concept that includes location, time, conditions, and preparation).
It is important to repeat that perfection is an elusive goal. Everyone comes to the dojo with a different set of innate abilities, so for some students physical mastery is relatively easy, while for most it is very difficult. Those past experts whom we recognize as "masters" were able to execute their skills in real time, accurately, maximizing the use of their own strength and quickness while finding the points of greatest weakness in their opponents. The awareness required to do this is profound, and usually requires years of concentrated effort to attain. Further, as you can see, mastery of the physical aspects of the art is closely tied to mastery of the mental aspects.
Mastery of the Mental Aspects. Mastery of the mental aspects of martial arts involves knowing how and why the techniques work, and constantly working to bring your physical skills into line with that knowledge. It also means reaching an understanding of how the mind works, and thinking in positive, productive ways. For example, it is widely accepted that positive attitude helps bring about positive results. In the martial arts, we learn thinking strategies that help us achieve our martial goals. We then learn, by extension, how to apply those strategies to life outside the dojo, which helps us to become more effective, stable human beings.
In real time, mental martial arts involves awareness. One must be aware of how one is responding to an opponent, aware of the opponent's own actions and reactions, and aware of the terrain. These challenging requirements are an important reason why real mastery requires so many years of training. It is virtually impossible to concentrate on all the varied aspects of any martial arts interaction, so vast repetition is required. If one is training with the proper frame of mind, each repetition helps to make one subtle aspect of a technique more efficient, and helps to make it more reflexive. Just as operating the pedals and steering wheel of an automobile becomes reflexive and unconscious after a few years of driving, the essential building blocks of technique (including awareness) become reflexive through repeated practice.
Mastery of the Spiritual Aspects. Putting aside any discussion of religious aspects, the character traits that we often include in "spiritual" martial arts include determination, patience, calmness, and balance. Determination comes from a realization of what one's life mission is, and gradually bringing all aspects of training into line with the mission. Patience is the realization that great things require great effort (not necessarily all at once, but in small increments over a long period of time), and learning to work at a pace that allows one to exert that effort in the appropriate amounts and at the appropriate time. Calmness comes from learning what one can control and what one cannot, focusing work on those things that can be controlled and learning to accept those things that cannot. Balance means coming to a point in one's life where one does not get too upset when things go wrong nor too elated when things go right.
JMAC would like to thank the many Ann Arbor businesses that support this blog,
both martial arts-related and others, including: Network Services Group,
Art of Japanese Swordsmanship, Shudokan Martial Arts Association,
Budo Mind and Body, Art of Judo, Iaido Dot Com, Lorandos and Associates,
Oxford Companies, Bluestone Realty Advisors, Portfolio Ann Arbor,
Invest Ann Arbor, and the Law Office of Nicklaus Suino.Wednesday, February 6, 2008
The Frog at the Bottom of the Well
The Frog. Sato Shizuya (Chief Director of Kokusai Budoin, IMAF) sometimes tells the story of the frog at the bottom of the well. The frog, it seems, thinks that the sky he sees is the entire universe. He has no idea that anything exists outside what he can see. The point of the story, of course, is that we must always guard against thinking we know everything. In martial arts, we must always recognize that there is more we can learn about a technique, more room to perfect our skills. While most martial artists recognize this in theory, it can sometimes be difficult to approach a skills we already "know" with the kind of open-mindedness and keen interest that is required.
I learned it, so I know it. Kids often demonstrate this approach to training. Show them a judo throw, a karate kata, or a waza from aikido - they practice it once - and then say, "what's next?" These are often the same kids who come back from a judo tournament and ask, "Sensei, why can't I throw anybody?" It's funny when it applies to kids - they are unable to perceive the relationship between dedicated hard work and success on the mat - but adult thinking can have some similar drawbacks.
I've got the checkpoints. Adults often seem to believe that an intellectual understanding of a technique is equivalent to the ability to perform it well. A student may have mastered the stated checkpoints of a wrist lock and takedown in jujutsu, be able to describe the entire technique, and even be able to correct others who make technical mistakes. Being able to perform a technique well, however, is a different matter. A good martial arts technique involves balance, timing, distancing, angles or circles, and many other factors. To be able to perform a technique well, demonstrating control over one's own body as well as that of the opponent, usually requires years of practice.
What's next? Another common hurdle faced by adult students, especially those who are accustomed to using their brains at work or at school, is that they start thinking of what comes next even before fully grasping the technique at hand. Show them a kote (wrist) strike in kendo, and before they've practiced it ten times, they are already asking about how to apply the principle to a strike to the do (chest protector). Needless to say, this approach does not lead to expertise in the kote strike.
Is that okay? Students who try a technique a few times will turn to the Sensei and ask, "Is that okay?" Our answer is usually, "Yes, and no." Yes, we're delighted that you are practicing the technique we've taught, and that you've remembered the basics. No, it's not good enough, unless you want to be mediocre. How much more refreshing (from a teacher's point of view), to have a student ask, "Sensei, can we practice this more?" The goal is excellence, and that's what we hope you'll strive for.
Getting really good at martial arts requires long term dedication, focused concentration, and a deep commitment to improvement. Koga Toshihiko, who arguably had the best seoi-nage (shoulder throw) the judo world has ever seen, was rumored to be trying to improve his skill long after he retired from competition. If you make the decision to be the best you can possibly be at a martial arts technique, and keep at it for as many years as your body can tolerate the movements, you will find that a whole world of benefits opens to you. A total lifetime commitment to excellence in martial arts training can help you become a more stable, healthier, happier person, and you can have a lot of fun along the way!
I learned it, so I know it. Kids often demonstrate this approach to training. Show them a judo throw, a karate kata, or a waza from aikido - they practice it once - and then say, "what's next?" These are often the same kids who come back from a judo tournament and ask, "Sensei, why can't I throw anybody?" It's funny when it applies to kids - they are unable to perceive the relationship between dedicated hard work and success on the mat - but adult thinking can have some similar drawbacks.
I've got the checkpoints. Adults often seem to believe that an intellectual understanding of a technique is equivalent to the ability to perform it well. A student may have mastered the stated checkpoints of a wrist lock and takedown in jujutsu, be able to describe the entire technique, and even be able to correct others who make technical mistakes. Being able to perform a technique well, however, is a different matter. A good martial arts technique involves balance, timing, distancing, angles or circles, and many other factors. To be able to perform a technique well, demonstrating control over one's own body as well as that of the opponent, usually requires years of practice.
What's next? Another common hurdle faced by adult students, especially those who are accustomed to using their brains at work or at school, is that they start thinking of what comes next even before fully grasping the technique at hand. Show them a kote (wrist) strike in kendo, and before they've practiced it ten times, they are already asking about how to apply the principle to a strike to the do (chest protector). Needless to say, this approach does not lead to expertise in the kote strike.
Is that okay? Students who try a technique a few times will turn to the Sensei and ask, "Is that okay?" Our answer is usually, "Yes, and no." Yes, we're delighted that you are practicing the technique we've taught, and that you've remembered the basics. No, it's not good enough, unless you want to be mediocre. How much more refreshing (from a teacher's point of view), to have a student ask, "Sensei, can we practice this more?" The goal is excellence, and that's what we hope you'll strive for.
Getting really good at martial arts requires long term dedication, focused concentration, and a deep commitment to improvement. Koga Toshihiko, who arguably had the best seoi-nage (shoulder throw) the judo world has ever seen, was rumored to be trying to improve his skill long after he retired from competition. If you make the decision to be the best you can possibly be at a martial arts technique, and keep at it for as many years as your body can tolerate the movements, you will find that a whole world of benefits opens to you. A total lifetime commitment to excellence in martial arts training can help you become a more stable, healthier, happier person, and you can have a lot of fun along the way!
Thursday, January 3, 2008
Beginner's Mind
"Empty Your Cup" is a martial arts aphorism that virtually every student has heard. It refers to the idea that students should put aside their own thoughts and opinions and diligently try to do exactly as their instructor asks them to do. Whether one studies aikido, karate, jujitsu, or kendo, the requirement is the same: diligently and enthusiastically perform the techniques of your martial art, over and over, trying to match all the checkpoints provided by your teacher. The idea is that you should adopt a beginner's attitude, rather than an expert's, even if you are very accomplished. If you do so, you will find that your understanding and ability improve at a remarkable pace. There are several hurdles to achieving beginner's mind, however.
Previous training in a martial art can impede your ability to perform the checkpoints of your new art. In fact, it's more than your mind that keeps you from doing your new art correctly; if you've studied another martial art, the chances are good that you learned things in a different way. The old movements are programmed into your nervous system, and can take time to unlearn. By staying relaxed, focusing on the relationship between the technique and the principle that makes it work, and trying to work slowly and systematically, you can dramatically decrease the time it takes to unlearn the old and learn the new.
Inner dialog is another impediment to effective learning. Most of us have a sort of continuous conversation with ourselves, in which we constantly analyze, compare, discriminate, and predict. In situations where intellectual analysis is required, this dialog can be beneficial. However, when learning a physical skill, the dialog can actually impair our ability to experience the techniques in all their fullness. Martial arts are physical skills, and if our complete attention is focused on the moment, we are much more likely to absorb the subtle aspects of the techniques. Learning to quiet the mind is essential on the way to becoming an advanced martial artist.
Ego is one of the biggest hurdles to learning new skills, especially for those who have studied other arts previously. It's common for martial arts students to strongly identify with the system they've studied, and when they are offered new ways to accomplish martial arts goals, those new ways can seem strange or threatening. It's normal to experience a defensive reaction when asked to try something different, but the accomplished practitioner will learn that the reaction need not be acted upon. Instead, one can recognize that the reaction is a product of "self," a body of reflexive thoughts and feelings that may not actually represent who we are, and move through it toward the desired technique. Recognizing that learning to do things in new ways does not threaten who we are is an enormous step in becoming accomplished martial artists.
Outside the dojo, the attributes of a good martial artist - confidence, open-mindedness, positive attitude, and awareness - are tools for success. In life, as in the dojo, we keep what we embrace, and lose what we reject. A human being with a big heart has room for many wonderful things!
Previous training in a martial art can impede your ability to perform the checkpoints of your new art. In fact, it's more than your mind that keeps you from doing your new art correctly; if you've studied another martial art, the chances are good that you learned things in a different way. The old movements are programmed into your nervous system, and can take time to unlearn. By staying relaxed, focusing on the relationship between the technique and the principle that makes it work, and trying to work slowly and systematically, you can dramatically decrease the time it takes to unlearn the old and learn the new.
Inner dialog is another impediment to effective learning. Most of us have a sort of continuous conversation with ourselves, in which we constantly analyze, compare, discriminate, and predict. In situations where intellectual analysis is required, this dialog can be beneficial. However, when learning a physical skill, the dialog can actually impair our ability to experience the techniques in all their fullness. Martial arts are physical skills, and if our complete attention is focused on the moment, we are much more likely to absorb the subtle aspects of the techniques. Learning to quiet the mind is essential on the way to becoming an advanced martial artist.
Ego is one of the biggest hurdles to learning new skills, especially for those who have studied other arts previously. It's common for martial arts students to strongly identify with the system they've studied, and when they are offered new ways to accomplish martial arts goals, those new ways can seem strange or threatening. It's normal to experience a defensive reaction when asked to try something different, but the accomplished practitioner will learn that the reaction need not be acted upon. Instead, one can recognize that the reaction is a product of "self," a body of reflexive thoughts and feelings that may not actually represent who we are, and move through it toward the desired technique. Recognizing that learning to do things in new ways does not threaten who we are is an enormous step in becoming accomplished martial artists.
Outside the dojo, the attributes of a good martial artist - confidence, open-mindedness, positive attitude, and awareness - are tools for success. In life, as in the dojo, we keep what we embrace, and lose what we reject. A human being with a big heart has room for many wonderful things!
Thursday, December 20, 2007
Iaido, Iaijutsu, Kendo, Kenjutsu, Battojutsu and Battodo
The Japanese martial arts that employ the sword take many forms. Some emphasize formal techniques, some emphasize sparring. All have valuable aspects that help practitioners develop strength, coordination, mental acuity, and a strong character. Included among the sword arts are iaido, iaijutsu, kendo, kenjutsu, battojutsu, and battodo.
Iaido is a word composed of three parts: ee, meaning "to exist"; ai, meaning "harmony" or "unification"; and do, meaning "path" or "way." It refers to the most widely practiced formal sword styles, usually made up primarily of solo forms, or "waza." Each form is a prearranged sequence of motions designed to simulate defense against an attack by a swordsperson. The major motions in iaido are the draw, cut, whipping the blood off the blade, and resheathing, but the hallmark of legitimate iaido is the fast, effective draw that not only gets the sword out of the scabbard, but also cuts the attacker. The two most widely practiced iaido styles are Muso Jikiden Eishin Ryu and Muso Shinden Ryu.
Iaijutsu refers to an older form of iaido that focuses more on the military or fighting aspect of swordplay. Like iaido, iaijutsu is taught primarily through the practice of forms, but in general the movements are closer to the historical movements of older sword styles, and not as close to the modern iaido standard motions. There are many styles of iaijutsu, including Hoki-Ryu, Tamiya-Ryu, and Mugai-Ryu. Generally, iaido and iaijutsu refer to arts that focus more on the instant of drawing than on wielding the sword after the draw.
Kendo refers to the relatively modern Japanese sport in which participants try to score points by striking one another with shinai (bamboo practice swords). The players wear padded armor, and can score with an unopposed strike to the other's head, wrist, abdomen, or throat. Kendo is very physical, but also contains deep philosophical roots.
Kenjutsu refers to many older sword styles. Many are niche arts practiced by a few teachers and students, closely guarded for centuries. Usually they consists of many different aspects, including formal techniques, practical techniques, and conditioning drills. Some include empty hand techniques or other weaponry. Shingyoto Ryu and Suio Ryu are two styles of kenjutsu, but there are many others. Unlike iaido and iaijutsu, kenjutsu usually focuses more on swordplay after the sword has been drawn.
Battojutsu and Battodo refer to arts that are very similar to iaijutsu and iaido. The word "batto" means "sword drawing" but, as a practical matter, most batto systems are more focused on swordplay after the sword is drawn than are most iai systems. Yagyu-Seigo Ryu and Kataichi Ryu are two forms of Battojutsu.
The Japanese Martial Arts Center offers classes in Muso Jikiden Eishin Ryu, which is probably the most widely practiced form of iaido worldwide. We also offer a kendo workshop in which our iaido students can learn fundamental kendo techniques, which helps build their understanding of distancing, timing, rhythm, and angles, to deepen their iaido practice.
Iaido is a word composed of three parts: ee, meaning "to exist"; ai, meaning "harmony" or "unification"; and do, meaning "path" or "way." It refers to the most widely practiced formal sword styles, usually made up primarily of solo forms, or "waza." Each form is a prearranged sequence of motions designed to simulate defense against an attack by a swordsperson. The major motions in iaido are the draw, cut, whipping the blood off the blade, and resheathing, but the hallmark of legitimate iaido is the fast, effective draw that not only gets the sword out of the scabbard, but also cuts the attacker. The two most widely practiced iaido styles are Muso Jikiden Eishin Ryu and Muso Shinden Ryu.
Iaijutsu refers to an older form of iaido that focuses more on the military or fighting aspect of swordplay. Like iaido, iaijutsu is taught primarily through the practice of forms, but in general the movements are closer to the historical movements of older sword styles, and not as close to the modern iaido standard motions. There are many styles of iaijutsu, including Hoki-Ryu, Tamiya-Ryu, and Mugai-Ryu. Generally, iaido and iaijutsu refer to arts that focus more on the instant of drawing than on wielding the sword after the draw.
Kendo refers to the relatively modern Japanese sport in which participants try to score points by striking one another with shinai (bamboo practice swords). The players wear padded armor, and can score with an unopposed strike to the other's head, wrist, abdomen, or throat. Kendo is very physical, but also contains deep philosophical roots.
Kenjutsu refers to many older sword styles. Many are niche arts practiced by a few teachers and students, closely guarded for centuries. Usually they consists of many different aspects, including formal techniques, practical techniques, and conditioning drills. Some include empty hand techniques or other weaponry. Shingyoto Ryu and Suio Ryu are two styles of kenjutsu, but there are many others. Unlike iaido and iaijutsu, kenjutsu usually focuses more on swordplay after the sword has been drawn.
Battojutsu and Battodo refer to arts that are very similar to iaijutsu and iaido. The word "batto" means "sword drawing" but, as a practical matter, most batto systems are more focused on swordplay after the sword is drawn than are most iai systems. Yagyu-Seigo Ryu and Kataichi Ryu are two forms of Battojutsu.
The Japanese Martial Arts Center offers classes in Muso Jikiden Eishin Ryu, which is probably the most widely practiced form of iaido worldwide. We also offer a kendo workshop in which our iaido students can learn fundamental kendo techniques, which helps build their understanding of distancing, timing, rhythm, and angles, to deepen their iaido practice.
Karate, Karate-Do, and Karate-Jutsu
We are often asked to explain the difference between the words Karate, Karate-Do (sometimes written "Karatedo") and Karate-Jutsu (or "Karatejutsu"). All these words refer to a closely related set of martial arts that focus primarily on strikes, kicks, and blocks. These martial arts have a common history that began in Okinawa (once the Ryukyu Kingdom, now a territory of Japan). Some are still primarily Okinawan in pedigree, but others have largely become Japanese, Korean, or even Western.
Karate is the most generic of the words listed above. It means "empty hand" in Japanese, and refers to the idea that many of the fighting techniques found in these arts are done without weapons. In the 20th Century, the word has come to mean any of several fighting or self-defense systems, including Shorin-Ryu, Shotokan, Kyokushinkai, and Goju-Ryu. In the West, many people use the term to refer to any art mainly composed of striking techniques, so you will often hear references to American Karate or Korean Karate (Tae Kwon Do).
Karate-Jutsu refers as much to a philosophical approach to Karate as it does to a discrete branch of the art. "Jutsu" means "art" or "craft," and, in a martial arts context, carries with it a connotation of fighting or war-making. Many who practice Karate-Jutsu focus more on the practical applications of karate as a fighting art than on its philosophical aspects. Others concentrate on competition or sparring. This form of karate is fairly rare in North America, though one of its foremost advocates is Sensei Gary Legacy, whose dojo is located in St. Thomas, Ontario.
Karate-Do refers to a way of practicing Karate that focuses on its virtues as a lifelong path of self-improvement. "Do" (pronounced "dough") means "way" or "path." In the martial arts context, it describes a codified system of physical and mental education that is designed to affect the whole person in a variety of ways. Through long-term severe practice, Karate-Do is meant to make its practitioners more physically fit, more mentally acute, and more spiritually balanced.
You will find the same emphasis on personal development in all the arts taught at the Japanese Martial Arts Center, including Judo (the way of adaptibility), Iaido (the way of the sword), and Jujutsu (the art of self-defense).
Karate is the most generic of the words listed above. It means "empty hand" in Japanese, and refers to the idea that many of the fighting techniques found in these arts are done without weapons. In the 20th Century, the word has come to mean any of several fighting or self-defense systems, including Shorin-Ryu, Shotokan, Kyokushinkai, and Goju-Ryu. In the West, many people use the term to refer to any art mainly composed of striking techniques, so you will often hear references to American Karate or Korean Karate (Tae Kwon Do).
Karate-Jutsu refers as much to a philosophical approach to Karate as it does to a discrete branch of the art. "Jutsu" means "art" or "craft," and, in a martial arts context, carries with it a connotation of fighting or war-making. Many who practice Karate-Jutsu focus more on the practical applications of karate as a fighting art than on its philosophical aspects. Others concentrate on competition or sparring. This form of karate is fairly rare in North America, though one of its foremost advocates is Sensei Gary Legacy, whose dojo is located in St. Thomas, Ontario.
Karate-Do refers to a way of practicing Karate that focuses on its virtues as a lifelong path of self-improvement. "Do" (pronounced "dough") means "way" or "path." In the martial arts context, it describes a codified system of physical and mental education that is designed to affect the whole person in a variety of ways. Through long-term severe practice, Karate-Do is meant to make its practitioners more physically fit, more mentally acute, and more spiritually balanced.
You will find the same emphasis on personal development in all the arts taught at the Japanese Martial Arts Center, including Judo (the way of adaptibility), Iaido (the way of the sword), and Jujutsu (the art of self-defense).
Wednesday, December 19, 2007
Aikido, Jujitsu, Judo, and Aiki-Jujutsu
Many students wonder what the difference is between aikido, jujitsu (jujutsu), judo, and aiki-jujutsu. The short answer is that all of them are "grappling" martial arts, i.e., they all deal with grabs, locks, and throws, but each emphasizes a slight different aspect of grappling. The long answer is much more complicated.
Jujutsu (also written jujitsu or jiu-jitsu) refers to Japanese hand to hand methods that existed hundreds of years ago. In samurai times, the techniques of jujutsu were used to grapple with an opponent (either with armor or without) after the warriors got too close together to use their weapons. There were many ancient family systems of jujutsu that included strikes, joint locks, throws, pins, and various armed techniques. Some systems have become extinct, but others are still practiced today, such as Hozoin Ryu, Kashima Shinden Jikishinkage Ryu, Kyoshin Meishi Ryu, and Ono Ha Itto Ryu. A well known modern descendant of Japanese jujutsu is Gracie Jujitsu, made famous in mixed martial arts fighting.
Aiki-Jujutsu refers to a form of jujutsu that emphasizes timing and strategic use of angles and circles to neutralize an attack, and control the attacker. Its movements are somewhat more circular than many of those found in the older jujutsu systems, but still include strikes, joint locks, throws, and pins. The man credited with establishing aiki-jujutsu was Takeda Sokaku, who lived from 1849 until 1943. He had a reputation as a fierce fighter, but continues to be one of the most important figures in early 20th Century martial arts development.
Aikido is a more modern offspring of jujutsu, created by a student of Takeda Sokaku named Ueshiba Morihei. Aikido emphasizes harmonizing with an opponent's attacking energy, using circular stepping and timing to apply the attacker's momentum in such a way as to overcome him or her. Aikido practitioners work hard to maintain a calm spirit and to cultivate a loving mindset. Current major schools of aikido include Aikikai, Hombu Aikido, and Yoshinkan Aikido.
Judo is a subset of jujutsu techniques selected and refined by Kano Jigoro. Originally developed as a form of physical education, judo has become one of the most popular sports in the world. In Judo, players grasp each other's uniforms and attempt to apply throws and takedowns. A full point throw wins a match. Judo concentrates on full body throws (in which the training partner falls on his back), and pins. It is one of the most physically demanding martial arts, and is very popular with children.
The Japanese Martial Arts Center in Ann Arbor, Michigan, offers instruction in Nihon Jujutsu (Japanese jujutsu) founded by Sato Shizuya, and Judo. Both are taught in a safe, systematic manner. Judo classes are available for children, as well.
Jujutsu (also written jujitsu or jiu-jitsu) refers to Japanese hand to hand methods that existed hundreds of years ago. In samurai times, the techniques of jujutsu were used to grapple with an opponent (either with armor or without) after the warriors got too close together to use their weapons. There were many ancient family systems of jujutsu that included strikes, joint locks, throws, pins, and various armed techniques. Some systems have become extinct, but others are still practiced today, such as Hozoin Ryu, Kashima Shinden Jikishinkage Ryu, Kyoshin Meishi Ryu, and Ono Ha Itto Ryu. A well known modern descendant of Japanese jujutsu is Gracie Jujitsu, made famous in mixed martial arts fighting.
Aiki-Jujutsu refers to a form of jujutsu that emphasizes timing and strategic use of angles and circles to neutralize an attack, and control the attacker. Its movements are somewhat more circular than many of those found in the older jujutsu systems, but still include strikes, joint locks, throws, and pins. The man credited with establishing aiki-jujutsu was Takeda Sokaku, who lived from 1849 until 1943. He had a reputation as a fierce fighter, but continues to be one of the most important figures in early 20th Century martial arts development.
Aikido is a more modern offspring of jujutsu, created by a student of Takeda Sokaku named Ueshiba Morihei. Aikido emphasizes harmonizing with an opponent's attacking energy, using circular stepping and timing to apply the attacker's momentum in such a way as to overcome him or her. Aikido practitioners work hard to maintain a calm spirit and to cultivate a loving mindset. Current major schools of aikido include Aikikai, Hombu Aikido, and Yoshinkan Aikido.
Judo is a subset of jujutsu techniques selected and refined by Kano Jigoro. Originally developed as a form of physical education, judo has become one of the most popular sports in the world. In Judo, players grasp each other's uniforms and attempt to apply throws and takedowns. A full point throw wins a match. Judo concentrates on full body throws (in which the training partner falls on his back), and pins. It is one of the most physically demanding martial arts, and is very popular with children.
The Japanese Martial Arts Center in Ann Arbor, Michigan, offers instruction in Nihon Jujutsu (Japanese jujutsu) founded by Sato Shizuya, and Judo. Both are taught in a safe, systematic manner. Judo classes are available for children, as well.
Thursday, December 6, 2007
Zen in the Martial Arts
Zen refers to Zen Buddhism, a system of thought that is widely misunderstood to be a religion. Instead, Zen, in its purest form is a systematic method for improving one's ability to perceive reality. The primary tool used by Zen practitioners is zazen, sitting. One attempts in zazen to quiet the mind - to decrease or stop the constant internal chatter most of us experience - in order to more directly experience ourselves and the universe.
Martial arts training can sometimes be useful for cultivating a zen-like mindset. By focusing fully on a martial arts technique or a sparring match, martial artists are often able to eliminate or reduce the constant mental chatter that most of us experience. Under very unique circumstances, this can lead to a clearer perception of reality. One commonly used example is that a still mind doesn't anticipate an attack (thereby risking an ineffective counter-technique), but simply reacts to the actual attack as it occurs.
Just as martial arts can promote the Zen mind, Zen can help martial artists. One who has successfully cultivated the Zen qualities of stillness and detachment can become a better warrior. As we stated above, a mind that directly perceives the intentions of an opponent and that doesn't pre-conceive a defense is more likely to prevail. At a higher level, Zen can help people clarify who is and is not an enemy, thereby reducing or eliminating the need for conflict. Martial arts and Zen practice share the goals of making their practitioners more positive, clearer thinking people.
Martial arts training can sometimes be useful for cultivating a zen-like mindset. By focusing fully on a martial arts technique or a sparring match, martial artists are often able to eliminate or reduce the constant mental chatter that most of us experience. Under very unique circumstances, this can lead to a clearer perception of reality. One commonly used example is that a still mind doesn't anticipate an attack (thereby risking an ineffective counter-technique), but simply reacts to the actual attack as it occurs.
Just as martial arts can promote the Zen mind, Zen can help martial artists. One who has successfully cultivated the Zen qualities of stillness and detachment can become a better warrior. As we stated above, a mind that directly perceives the intentions of an opponent and that doesn't pre-conceive a defense is more likely to prevail. At a higher level, Zen can help people clarify who is and is not an enemy, thereby reducing or eliminating the need for conflict. Martial arts and Zen practice share the goals of making their practitioners more positive, clearer thinking people.
Wednesday, October 31, 2007
Relations Between Martial Arts Schools
Those of us who grew up watching Bruce Lee and other actors in martial arts movies sometimes believe that dojos in the same town are always in conflict. In fact, Ann Arbor is a mecca for martial arts training, and the relationships between schools are usually quite cordial. When we interact with instructors and students from other schools, it is important to be respectful, open-minded, and helpful.
Respect: regardless of whether you happen to like the martial arts taught at another school, there are good people who have chosen to dedicate themselves to those arts. They may have different reasons for training, different physical needs, or find the school more convenient than the one you have have chosen. It is important to treat them with respect, since they may be very decent people who have simply made different choices than you have.
Open-Mindedness: there is always something more to learn in martial arts. The idea that martial arts mastery takes an entire lifetime is more than a cliche, it is a verifiable fact. As a result, there are many facets of martial arts, such as fine points of physical movement, character development, or quality teaching skills, that one can learn simply by paying attention to others who are devoted to martial arts excellence.
Helpfulness: it pays to be helpful. The martial arts community is a fairly small one, and nowhere is it more true that "what goes around comes around." Even if you are not a great competitor or master teacher, people will remember and respect you if you are helpful to them. One obvious situation in which this happens is when you tell a fellow student about a martial arts school that he or she might find enjoyable. It may not always be your own school, because that person might not be looking for the things offered by your school, but if you send a person to a dojo that they love, they will always be thankful for it.
Respect: regardless of whether you happen to like the martial arts taught at another school, there are good people who have chosen to dedicate themselves to those arts. They may have different reasons for training, different physical needs, or find the school more convenient than the one you have have chosen. It is important to treat them with respect, since they may be very decent people who have simply made different choices than you have.
Open-Mindedness: there is always something more to learn in martial arts. The idea that martial arts mastery takes an entire lifetime is more than a cliche, it is a verifiable fact. As a result, there are many facets of martial arts, such as fine points of physical movement, character development, or quality teaching skills, that one can learn simply by paying attention to others who are devoted to martial arts excellence.
Helpfulness: it pays to be helpful. The martial arts community is a fairly small one, and nowhere is it more true that "what goes around comes around." Even if you are not a great competitor or master teacher, people will remember and respect you if you are helpful to them. One obvious situation in which this happens is when you tell a fellow student about a martial arts school that he or she might find enjoyable. It may not always be your own school, because that person might not be looking for the things offered by your school, but if you send a person to a dojo that they love, they will always be thankful for it.
JMAC would like to thank the many Ann Arbor businesses that support this blog,
both martial arts-related and others, including: Network Services Group,
Art of Japanese Swordsmanship, Shudokan Martial Arts Association,
Budo Mind and Body, Art of Judo, Iaido Dot Com, Lorandos and Associates,
Oxford Companies, Bluestone Realty Advisors, Portfolio Ann Arbor,
Invest Ann Arbor, and the Law Office of Nicklaus Suino.
Saturday, October 27, 2007
Tradition in Practice
What does it mean to teach "traditional" martial arts? It can mean many things, some obvious and some not so obvious. A few of the major aspects of a traditional dojo include: a verifiable lineage in a recognized historical style, a respectful atmosphere, reasonable training fees, and observance of basic formalities.
Lineage: the instructor at a traditional dojo should be able to tell you the name of his or her teacher, and to explain the line of teachers from the recognized founder of the system. This information helps to show that what is being taught has legitimate historical roots and is likely to be respected internationally. Moreover, a teacher who respects and preserves his or her traditions is probably the type of person who will pass on positive character traits to students.
Respect: respect is the foundation of long-term development in the martial arts. Students must respect the instructor, recognizing the effort and sacrifices the teacher has made to earn his or her credentials. The teacher must respect the students, recognizing their positive qualities and helping them to become stronger, more successful people.
Reasonable Fees: a martial arts school must charge training fees in order to pay the rent and utility bills, and to compensate the teacher for his or her time teaching and keeping the school running. However, our experience has shown us that a sincere instructor usually charges reasonable fees. This may be because he or she loves the art and wishes to pass it on without regard to financial gain, or because he or she wants to avoid excluding those who can't afford high fees. Whatever the reason, it is important to recognize that high training fees alone are not an indication of quality.
Formalities: bowing, saying "hai!" and referring the instructor as "Sensei" are important aspects of tradition in the dojo. Besides adding a cultural flavor to practice, these formalities create the respectful atmosphere we discussed above. They validate the teaching hierarchy that is a natural part of learning the martial arts, and help to avoid causing offense - whether between student and teacher or between student and student. A humble student who is diligent about the formalities is one whose "cup is empty," meaning that he or she is open to learning and ready to work hard to master new skills.
Lineage: the instructor at a traditional dojo should be able to tell you the name of his or her teacher, and to explain the line of teachers from the recognized founder of the system. This information helps to show that what is being taught has legitimate historical roots and is likely to be respected internationally. Moreover, a teacher who respects and preserves his or her traditions is probably the type of person who will pass on positive character traits to students.
Respect: respect is the foundation of long-term development in the martial arts. Students must respect the instructor, recognizing the effort and sacrifices the teacher has made to earn his or her credentials. The teacher must respect the students, recognizing their positive qualities and helping them to become stronger, more successful people.
Reasonable Fees: a martial arts school must charge training fees in order to pay the rent and utility bills, and to compensate the teacher for his or her time teaching and keeping the school running. However, our experience has shown us that a sincere instructor usually charges reasonable fees. This may be because he or she loves the art and wishes to pass it on without regard to financial gain, or because he or she wants to avoid excluding those who can't afford high fees. Whatever the reason, it is important to recognize that high training fees alone are not an indication of quality.
Formalities: bowing, saying "hai!" and referring the instructor as "Sensei" are important aspects of tradition in the dojo. Besides adding a cultural flavor to practice, these formalities create the respectful atmosphere we discussed above. They validate the teaching hierarchy that is a natural part of learning the martial arts, and help to avoid causing offense - whether between student and teacher or between student and student. A humble student who is diligent about the formalities is one whose "cup is empty," meaning that he or she is open to learning and ready to work hard to master new skills.
JMAC would like to thank the many Ann Arbor businesses that support this blog,
both martial arts-related and others, including: Network Services Group,
Art of Japanese Swordsmanship, Shudokan Martial Arts Association,
Budo Mind and Body, Art of Judo, Iaido Dot Com, Lorandos and Associates,
Oxford Companies, Bluestone Realty Advisors, Portfolio Ann Arbor,
Invest Ann Arbor, and the Law Office of Nicklaus Suino.Monday, October 8, 2007
Power of the Positive
In our martial arts training lives, whether we study aikido, karate, kendo, or some other martial art, we must learn to use the power of the positive. This means that whenever there is a choice about how to act at the Japanese Martial Arts Center, we should choose the positive action: when teaching, when preparing to demonstrate or compete, and when communicating with others in the dojo.
Teaching: Studies of neuro-linguistic programming (NLP) have shown that the subconscious mind absorbs information however it is presented. Thus, if a teacher says "don't do it this way," the student may remember the error better than the correct method. However, if a teacher says "do it this way," and demonstrates the correct method, chances are good that the student will remember the proper way to do the technique, whether the technique is found in jujutsu (jujitsu), judo, or iaido.
This doesn't mean that a teacher should never point out student errors. It does suggest, however, that advice should be presented in positive terms whenever possible. This approach will help to maximize the student's exposure to correct examples, and make the whole experience of learning martial arts more enjoyable.
Preparing for Demonstrations or Tournaments: Adrenaline is one of the biggest obstacles to success in demonstrations, tournaments, or tests. Overcome by nerves, many of us begin to focus more on what not to do than on what we should do. Once the mind starts repeating "don't screw up, don't screw up," the most prominent mental image we end up with is one of screwing up.
A better approach is to mentally rehearse the performance, visualizing ourselves executing each technique correctly, and imagining the satisfied feeling we will have once the routine is completed. Having mentally rehearsed our performance successfully many times before actually stepping onto the mat, we are much more likely to do well.
Communicating with Others: Our dojo in Ann Arbor is a place of learning, not a place of perfection. Because we are learning the martial arts, we have to make ourselves vulnerable. Encouragement, therefore, is the order of the day. It is not necessary to speak falsely in order to encourage others, however. The truth is that every student who puts forth effort is worthy of praise, and an alert instructor or fellow student can always spot opportunities for praise.
"Kengaku" means "visual study" in Japanese. It has a two aspects: (1) to spot mistakes made by others in order to avoid them; and (2) to spot the areas where others excel, and to try to emulate them. The second aspect has unlimited potential to make us better!
Teaching: Studies of neuro-linguistic programming (NLP) have shown that the subconscious mind absorbs information however it is presented. Thus, if a teacher says "don't do it this way," the student may remember the error better than the correct method. However, if a teacher says "do it this way," and demonstrates the correct method, chances are good that the student will remember the proper way to do the technique, whether the technique is found in jujutsu (jujitsu), judo, or iaido.
This doesn't mean that a teacher should never point out student errors. It does suggest, however, that advice should be presented in positive terms whenever possible. This approach will help to maximize the student's exposure to correct examples, and make the whole experience of learning martial arts more enjoyable.
Preparing for Demonstrations or Tournaments: Adrenaline is one of the biggest obstacles to success in demonstrations, tournaments, or tests. Overcome by nerves, many of us begin to focus more on what not to do than on what we should do. Once the mind starts repeating "don't screw up, don't screw up," the most prominent mental image we end up with is one of screwing up.
A better approach is to mentally rehearse the performance, visualizing ourselves executing each technique correctly, and imagining the satisfied feeling we will have once the routine is completed. Having mentally rehearsed our performance successfully many times before actually stepping onto the mat, we are much more likely to do well.
Communicating with Others: Our dojo in Ann Arbor is a place of learning, not a place of perfection. Because we are learning the martial arts, we have to make ourselves vulnerable. Encouragement, therefore, is the order of the day. It is not necessary to speak falsely in order to encourage others, however. The truth is that every student who puts forth effort is worthy of praise, and an alert instructor or fellow student can always spot opportunities for praise.
"Kengaku" means "visual study" in Japanese. It has a two aspects: (1) to spot mistakes made by others in order to avoid them; and (2) to spot the areas where others excel, and to try to emulate them. The second aspect has unlimited potential to make us better!
JMAC would like to thank the many Ann Arbor businesses that support this blog,
both martial arts-related and others, including: Network Services Group,
Art of Japanese Swordsmanship, Shudokan Martial Arts Association,
Budo Mind and Body, Art of Judo, Iaido Dot Com, Lorandos and Associates,
Oxford Companies, Bluestone Realty Advisors, Portfolio Ann Arbor,
Invest Ann Arbor, and the Law Office of Nicklaus Suino.
Tuesday, September 18, 2007
Japanese Words You Should Know
At the Japanese Martial Arts Center (our "dojo"), we use many Japanese words and expressions. These help create the cultural atmosphere for serious training, and express some concepts that are important in training in iaido, judo, or jujtsu (jujitsu). Among the important Japanese terms you should know are: hai, rei, onegai shimasu, arigato gozaimasu, and sensei.
"Hai!" means "Yes!" or "I'll try!" when used in response to an instructor's advice. It is more energetic and polite than the English expressions "Okay," or "Yeah."
"Rei" means etiquette or bow. Although you usually only hear the term when asked to bow during the opening and closing ceremonies at each class, the entire experience of training at a traditional dojo should be one of courtesy and joy.
"Onegai shimasu" is used when we bow to one another, and is a request to cooperate in training. In some schools, the expression is shortened to "Osu!" and can be used to express one's enthusiasm for training.
"Arigato gozaimasu" is a polite way of saying thank you. We generally say it to the instructor at the end of the last bow when closing class. "Arigato" by itself is too casual for this setting. "Domo arigato gozaimasu" means thank you very much, and is also acceptable to use when addressing the instructor.
"Sensei" means teacher. Append it to the end of an instructor's last name, as in "Smith-Sensei." The suffix "-san" is appropriate between peers ("Smith-San"), but should not be used when addressing a teacher.
More explanations of these words can be found in the December 8, 2006, post entitled "Your First Day in the Dojo."
"Hai!" means "Yes!" or "I'll try!" when used in response to an instructor's advice. It is more energetic and polite than the English expressions "Okay," or "Yeah."
"Rei" means etiquette or bow. Although you usually only hear the term when asked to bow during the opening and closing ceremonies at each class, the entire experience of training at a traditional dojo should be one of courtesy and joy.
"Onegai shimasu" is used when we bow to one another, and is a request to cooperate in training. In some schools, the expression is shortened to "Osu!" and can be used to express one's enthusiasm for training.
"Arigato gozaimasu" is a polite way of saying thank you. We generally say it to the instructor at the end of the last bow when closing class. "Arigato" by itself is too casual for this setting. "Domo arigato gozaimasu" means thank you very much, and is also acceptable to use when addressing the instructor.
"Sensei" means teacher. Append it to the end of an instructor's last name, as in "Smith-Sensei." The suffix "-san" is appropriate between peers ("Smith-San"), but should not be used when addressing a teacher.
More explanations of these words can be found in the December 8, 2006, post entitled "Your First Day in the Dojo."
JMAC would like to thank the many Ann Arbor businesses that support this blog,
both martial arts-related and others, including: Network Services Group,
Art of Japanese Swordsmanship, Shudokan Martial Arts Association,
Budo Mind and Body, Art of Judo, Iaido Dot Com, Lorandos and Associates,
Oxford Companies, Bluestone Realty Advisors, Portfolio Ann Arbor,
Invest Ann Arbor, and the Law Office of Nicklaus Suino.
Friday, August 31, 2007
Scraping Off the Polish
When we get a new bokken (wooden sword) at the Japanese Martial Arts Center in Ann Arbor, we take time to scrape off the shiny finish applied by the manufacturer. Once the finish is completely removed, we immerse the bokken in linseed oil for 24 hours or more. The wood absorbs the oil, helping to make the bokken much more resistant to cracking. In a quality bokken, the natural finish is much more attractive than the shiny look of polyurethane. This process is not totally dissimilar to what happens to students at our dojo in Ann Arbor.
Out in society, we tend to put on clothes (and make-up, for some) that reflect the image we hope to project. For various reasons, this image is not always completely aligned with who we really are. Like a bokken with an artificial finish, we crack easily and reveal ourselves when subjected to stress.
Inside the dojo, every student in class wears virtually the same clothing. We then must distinguish ourselves by our words and actions. How we perform our techniques and interact with our training partners reveals our natural personalities, even if we try to project a more idealized image. In a kind or generous person, the personality is often simpler and more naturally compelling than the one we might meet in street clothing.
Martial arts technique can evolve in the same way. Students new to karate, aikido, or judo are often rigid and use much more strength and tension than they need. Subjected to the repeated "scraping" of rigorous practice, they gradually lose the shine of inexperience. Their inner strength develops, and they relax and find ways to use their skills efficiently. Their strong, natural interactions are much more attractive to a trained eye than the personality they may have worn like a coat of paint at the start of training.
From the outside in, our practice of physical technique makes us calmer, more centered, stronger, and more efficient.
From the inside out, our calm, centered, strong and efficient spirit generates a powerful and attractive appearance.
JMAC would like to thank the many Ann Arbor businesses that support this blog, both martial arts-related and others, including: Network Services Group, Art of Japanese Swordsmanship, Shudokan Martial Arts Association, Budo Mind and Body, Art of Judo, Iaido Dot Com, Lorandos and Associates, Oxford Companies, Bluestone Realty Advisors, Portfolio Ann Arbor, Invest Ann Arbor, the Law Office of Nicklaus Suino and the ITAMA Dojo.
Out in society, we tend to put on clothes (and make-up, for some) that reflect the image we hope to project. For various reasons, this image is not always completely aligned with who we really are. Like a bokken with an artificial finish, we crack easily and reveal ourselves when subjected to stress.
Inside the dojo, every student in class wears virtually the same clothing. We then must distinguish ourselves by our words and actions. How we perform our techniques and interact with our training partners reveals our natural personalities, even if we try to project a more idealized image. In a kind or generous person, the personality is often simpler and more naturally compelling than the one we might meet in street clothing.
Martial arts technique can evolve in the same way. Students new to karate, aikido, or judo are often rigid and use much more strength and tension than they need. Subjected to the repeated "scraping" of rigorous practice, they gradually lose the shine of inexperience. Their inner strength develops, and they relax and find ways to use their skills efficiently. Their strong, natural interactions are much more attractive to a trained eye than the personality they may have worn like a coat of paint at the start of training.
From the outside in, our practice of physical technique makes us calmer, more centered, stronger, and more efficient.
From the inside out, our calm, centered, strong and efficient spirit generates a powerful and attractive appearance.
JMAC would like to thank the many Ann Arbor businesses that support this blog, both martial arts-related and others, including: Network Services Group, Art of Japanese Swordsmanship, Shudokan Martial Arts Association, Budo Mind and Body, Art of Judo, Iaido Dot Com, Lorandos and Associates, Oxford Companies, Bluestone Realty Advisors, Portfolio Ann Arbor, Invest Ann Arbor, the Law Office of Nicklaus Suino and the ITAMA Dojo.
Sunday, May 20, 2007
Repetition
There's no getting around it, martial arts requires repetition. You have to practice your techniques over and over again to get good at them, whether you train in aikido, iaido, judo, jujutsu, karate, kendo, or kyudo. That's probably why, in the long run, the people who get to be best at martial arts are those who enjoy the practice for its own sake. Some of the benefits of repetition are: conditioning, learning, meditation, and spiritual forging.Conditioning: one of the obvious benefits of repetitive training is conditioning. By repeating physical techniques over and over, we strengthen our limbs, improve our cardiovascular systems, and cleanse our bodies by sweating.
Learning: by practicing over and over, we gradually come to understand how techniques work. This is true on a technical level - repeated practice allows us to think about our skills and refine them - but it is also true on an intuitive level - repetition allows us to develop a "feel" for how to move in certain techniques that helps with strength and efficiency.
Meditation: repetitive practice helps to calm the mind. This may be because the material we practice is limited, so our mind can relax, or it may be that there is some direct relationship between physical exercise and mental calmness. Whatever the case, experience has shown us that long-term, repetitive practice leads to greater calmness.
Spiritual Forging: dedicated practice over a long period of time has many benefits when it comes to making us stronger in spirit. Our weaknesses can be gradually overcome (if we practice with the right positive spirit, always trying to get a little better every day). Our strengths can be developed. Our intuition can become sharper. Our will to succeed can be honed.
Practice, practice, practice! Always enter the dojo with a feeling of pleasurable exhilaration. Strive to improve yourself in every training session, keep at it for years, and you will be delighted with the results!
The Japanese Martial Arts Center would like to thank the many Ann Arbor businesses that support this blog, both martial arts-related and others, including: Network Services Group, Art of Japanese Swordsmanship, Shudokan Martial Arts Association, Budo Mind and Body, Art of Judo, Iaido Dot Com, Lorandos and Associates, Oxford Companies, Bluestone Realty Advisors, Portfolio Ann Arbor, Invest Ann Arbor, the Law Office of Nicklaus Suino and the ITAMA Dojo.
Sunday, March 25, 2007
To Whom Much is Given
To whom much is given, much is expected. This is nowhere more true than in the traditional martial arts. Along with the great skills that we learn and the progressively more impressive belt colors, we also must accept more and more responsibility. Truly, a life in the martial arts is one of service: to the dojo, to one another, to the art, and to the community.
Service to the Dojo: a traditional dojo cannot exist without the enthusiastic support of its members. Members pay dues, of course, but beyond that, they ought to help out with special events, speak well about the dojo to their friends and acquaintances, and be helpful to the sensei and the other students.
Service to One Another: since we spend a great deal of time working on techniques that could potentially hurt one another, it is important to balance this with kindness and caring. While there's no need to be overly tender with other dojo members, it is nevertheless important to try to protect them from injury, help them learn, and, if they are in business, to send business their way. By looking out for one another, the entire dojo community thrives.
Service to the Art: traditional martial arts are fragile things, easily lost or corrupted. It is our duty (one that increases the longer we're involved), to try to pass on the spirit of our art in as close a form as possible to when we received it. We should speak well of our art, and encourage other decent people to practice it. We should guard it from people who might corrupt it or use it for pure commercial gain. Our connection with history is a unique element of our practice, and we must be vigilant about protecting it.
Service to the Community: we sometime say that martial artists should "own" the consequences of their actions. This helps us in learning techniques: if our skills don't work, we must admit that fact and practice until they do. It also helps us in getting along in the world: if your behavior upsets other people, then we must admit this and work to try to be a positive force in the world. In business, if we are not succeeding, as martial artists we don't blame the economy, the community, or other outside factors. Instead, we internalize by asking ourselves what we could do better to succeed. If we reflect on our roles in the community and improve our actions accordingly, we can make our environment a better place to live.
The Japanese Martial Arts Center would like to thank the many Ann Arbor businesses that support this blog, both martial arts-related and others, including: Network Services Group, Art of Japanese Swordsmanship, Shudokan Martial Arts Association, Budo Mind and Body, Art of Judo, Iaido Dot Com, Lorandos and Associates, Oxford Companies, Bluestone Realty Advisors, Portfolio Ann Arbor, Invest Ann Arbor, the Law Office of Nicklaus Suino and the ITAMA Dojo.
Service to the Dojo: a traditional dojo cannot exist without the enthusiastic support of its members. Members pay dues, of course, but beyond that, they ought to help out with special events, speak well about the dojo to their friends and acquaintances, and be helpful to the sensei and the other students.
Service to One Another: since we spend a great deal of time working on techniques that could potentially hurt one another, it is important to balance this with kindness and caring. While there's no need to be overly tender with other dojo members, it is nevertheless important to try to protect them from injury, help them learn, and, if they are in business, to send business their way. By looking out for one another, the entire dojo community thrives.
Service to the Art: traditional martial arts are fragile things, easily lost or corrupted. It is our duty (one that increases the longer we're involved), to try to pass on the spirit of our art in as close a form as possible to when we received it. We should speak well of our art, and encourage other decent people to practice it. We should guard it from people who might corrupt it or use it for pure commercial gain. Our connection with history is a unique element of our practice, and we must be vigilant about protecting it.
Service to the Community: we sometime say that martial artists should "own" the consequences of their actions. This helps us in learning techniques: if our skills don't work, we must admit that fact and practice until they do. It also helps us in getting along in the world: if your behavior upsets other people, then we must admit this and work to try to be a positive force in the world. In business, if we are not succeeding, as martial artists we don't blame the economy, the community, or other outside factors. Instead, we internalize by asking ourselves what we could do better to succeed. If we reflect on our roles in the community and improve our actions accordingly, we can make our environment a better place to live.
The Japanese Martial Arts Center would like to thank the many Ann Arbor businesses that support this blog, both martial arts-related and others, including: Network Services Group, Art of Japanese Swordsmanship, Shudokan Martial Arts Association, Budo Mind and Body, Art of Judo, Iaido Dot Com, Lorandos and Associates, Oxford Companies, Bluestone Realty Advisors, Portfolio Ann Arbor, Invest Ann Arbor, the Law Office of Nicklaus Suino and the ITAMA Dojo.
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