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A few years ago I found myself cooling my heels in the cardiac unit of a local hospital after a training session/workout. I was fairly young at the time (early forties), I did not smoke, drank only on rare social outings, as a lifelong vegetarian I had avoided the pitfalls of the American fast food dietary time bomb, and I led an active life. How I ended up in that hospital had a lot to do with my attitude toward health and training.

My family has a very rare, almost unique health condition, we develop rheumatic symptoms in reaction to a host of triggers, the most common one is cold. The cold does not have to be very severe either, just working in an air conditioned office can result in high fevers, swollen joints, uncontrolled shaking, lose of fine motor control, and all sorts of other nastiness. Other triggers include exercise, and trauma (think ude tanren, or even the joint locks of aikido).  Because our condition is so rare it is only now starting to get the kind of systemic investigation that allows our doctors and us to begin to understand the disease. Treatments are finally  being developed and we are gaining important information about how the disease works which helps us manage it.

I used to be ashamed of the welts that would raise over my skin as a reaction developed, I would go to great lengths to hide them. I felt weak willed when, in the course of a developing reaction I could no longer stand in a front stance because of the pain in my ankles and knees. I often felt humiliated when I would begin to shake and loose fine motor control during winter training. I would gut it out, feeling incredibly frustrated, and go home to collapse while my fever would shoot up, often to 103f for hours.

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Years ago I used to practice zazen with a local group fairly regularly. When I started I brought with me my conceits regarding the degree of personal discipline I had achieved through my karate training and my naive beliefs that I knew something about what I should be doing in a zendo. These beliefs were based on what I took (at the time) to be a thorough study of beat zen poetry and the work of D.T. Suzuki, Alan Watts, Thomas Merton, Philip Kapleau, and Shuryu Suzuki. I also brought with me a powerful need to make peace with survivor guilt associated with my brothers death, PTSD ( at the time not yet diagnosed), an achingly overwhelming religious impulse, and as much anger as I could hold in my chest. I am sure I came across as an arrogant, angry, narcissistic, and confused young man.

The teacher (Yoshida sensei) at the zendo met all of my preconceptions. He was educated, Japanese, wore cool looking robes, and seemed appropriately inscrutable. The hall we used for practicing zazen was austere with a small shrine in front, and it was filled with the woody smell of incense. When we sat we faced the outer walls. When we chanted, or when the teacher gave instruction, we faced the center of the room. Sometimes we walked slowly in circles circumambulating the room.  In hindsight all of this made the experience a perfect tableau onto which I could project my exotic fantasies of enlightenment and sophistication.

The Zen group was small in the late eighties and early nineties. Yoshida sensei was always patient and polite. The rituals were always conducted ceremoniously. The period of seated meditation would begin, people would continue to slowly filter in. Things eventually wrapped up with a discussion of some relevant text, perhaps the Shobogenzo by Dogen, the Tripitaka, or even the meaning of a lecture by Yoshida’s teacher Katagiri sensei. The talk would gradually become more informal, tea, and sometimes fruit or cookies would be served, and finally we would bow, clean up, and leave.

Eventually I would come to decide that the formal study of zen was not going to be how I spent my free time. Budo felt like the most effective framework I had found to wrestle with, sublimate, or even incorporate many of my devils. Karate, and budo generally, gradually came to take up more and more of my attention, and western philosophy and a more scholarly interest in religion slowly supplanted my passion for Buddhism.

I recently watched a video dedicated to the music and life of Leonard Cohen. I am an unabashed fan of his. In the video he reflects on the time he spent at the Mount Baldy monastery with Kyozan Joshu Sasaki Roshi.  He emphasized that the relationship with Sasaki was the most important element to him of his five years at Mount Baldy. This seems right to me. Although I was not a particularly close student of Yoshida’s his bearing, his maturity, and his patience made a strong impression on me. One thing stands out for me when I think back to those days: I remember bowing in as I entered late one frosty morning to find that he was alone in the room bowing towards the shrine. He was as serious as if the room was filled with students. When it was appropriate he motioned me towards a zafu. The seriousness with which he approached teaching even the most flawed and casual students demonstrated more caring than all of the vows “to save all sentient beings”.

Coming from a JKA style background, I was used to a sort of drill instructor model of what a teacher should be. On more than one occasion I witnessed senior Japanese teachers finish teaching their classes only to move quickly into a changing room reserved for their use alone. After changing they would disappear almost magically, avoiding further interaction with students. There was tremendous distance between the teachers and the students. The curriculum seemed long ago established and almost sacred. The duty of the teacher was simple, they would insist that students master the set of skills handed down from above. The duty of the student was to pay the club dues and to attempt to embody these skills as perfectly as possible. One knew exactly what skills one needed to demonstrate to advance in rank, and rank had a tremendous influence on one’s social status within the group. In order to be taken seriously it was important to demonstrate dedication to the task of advancing in rank. I have visited clubs where beginners were treated nearly with open disdain.

I have known Dave Lowry for at least twenty-five years. He has been extraordinarily generous with his time and patient with me personally and with my rag tag karate group. He has been an invaluable source of information and advice to me over the years. The most valuable advice he has given me was in the context of a conversation I had with him regarding an instructor (my senior) who had recently moved to the United States. I will not go into all of the specific issues except to say he was abusing his power and authority within the organization to which we both belonged. I regarded the abuse as quite serious. This made the political situation within the organization difficult. Dave cut right through to the heart of my concerns when he said “why would you ever want to train with someone who you would not want to have come over to your home for dinner with your family?” and the clincher “why would you suggest your students train with this man if you wouldn’t (have him over for dinner)?”.

Karate is, for most of us at least, an elected activity. We have other things we could be doing with our time. We have alternatives for self protection. I am not suggesting that we should practice karate casually, we should not, however remembering that this is an activity we elect to engage in can help us to focus on what aspects of our engagement with karate are most important. I have seen grown men, black belts with years of experience, reduced to tears due to the politics in karate. These were people deeply invested in their art and organization. The former (the art), generally is not the problem, it is the later that usually bites us in the ass. It seems to me that the point of an organization is to help foster and support the relationships that enable us to practice these arts. When the organization makes these relationships more difficult it has ceased to function properly.

People are complicated, organizations, being made up of people, are more so. It is natural that difficulties will arise. When the main thrust of an organization seems to be maintaining revenue and status rather than developing its members and facilitating the development of close bonds between practitioners of karate, it has lost its way. Sometimes this can be corrected, sometimes it can not.

After many years of being fed up with all large organizations, and keeping my own group fiercely independent, I met Harry Cook at the gasshuku and release party for his book “Shotokan Karate:  A Precise History” in Los Angeles California. I hate L.A. Harry rode with Joe Krass and myself to the beach for training. The drive took forever (at least an hour.) Joe and I got a chance to speak to Harry in depth for the first time. His take on karate was refreshing, honest, and unpretentious. Soon I would discover it was also very effective.

Harry did not try to recruit us to join his organization, the Seijinkai Karate-Do Association. He did not even mention it. He made such an impression on us that when TKRI began its largest project to date, the 2001 Budo Symposium, we invited him as a guest speaker. He was professional and very prepared to present to both the academics and the martial artists in attendance.

Over the next few years we invited Harry to join us at annual summer camps in Saint Louis Missouri and later in Ferrum Virginia. We always have several instructors at these events. Harry never fails to jump in and train right alongside the rest of us. He is always keen to try something new. He always has a smile, time for the newest student’s concerns, and an awful joke at the ready.

After several years of interacting with Harry it just seemed like my group and his were somehow cut from the same cloth. There are technical differences here and there, but these are discussed and sometimes we just agree to do things differently. This seems to be alright with him. I came to trust him, not just to have my best interests at heart, but more importantly I trust him to have my students’ best interests at heart. Eventually it just seemed silly not to join the Seijinkai. Being a part of the Seijinkai simply made what we were already doing easier.

I have had the benefit of working with several really great teachers/seniors (Harry Cook, Dave Lowry, and Elmar Schmeisser immediately come to mind) over the years. They all have at least two characteristics in common; first, I wouldn’t have any qualms about having them over for dinner with my family, and second they have not fostered dependence, in fact they expect and foster maturity and autonomy. So many teachers seem to want the validation that comes from keeping their students dependent.

When I find myself working with a new student I always think of Yoshida sensei being patient with the younger me. In spite of my arrogance I needed the time there in that room. I needed to be taken seriously. When I show up to teach a class and there is only one student I say to myself “meet the student, meet the student, meet the student”. Sometimes I am able to, sometimes not.

Just across this excellent post on Charles Goodin’s blog.

Enjoy!

Aside from being the title one of my favorite novels and Neil Young LP’s, on the beach is also one of my favorite places to train.

I’m down at Southern Shores, NC for a few days of vacation. And what vacation would be complete without a bit of transient karate training? It’s nice to have some time away from the demands of work and working on our house, but it’s also great to have a change of training conditions. Vacation doesn’t have to be just a break from home routines. It can also provide a break in training habits and an opportunity to re-evaluate them. And I must admit, training right in front of the ocean, close enough to get your feet wet, is a hell of a lot nicer than the concrete dojo walls. And It’s also a bonus that when I start to overheat, cool salt water relief is just steps away, a rare luxury in my book.

So far I’ve resisted taking the ubiquitous tacky pictures of myself doing roundhouse kicks in the waves, or a textbook reverse punch amongst the foaming surf in full gi. But I have managed to rediscover that moving in loose sand is harder than on just about any other surface. When you want to move fast, the sand slides out from under your feet and your toes dig in. When you maneuver onto one foot, as in Chinte kata, the surface shifts as your foot compensates for the change in balance. It’s pretty damn difficult to make some of the precise movements that a flat floor permits. The ground of my backyard dojo is uneven mountain terrain with rocks, roots and rolling ground, so moving off of a smooth floor is nothing new. But the beach is deceptively challenging.

Niseishi and Tensho kata in particular lend themselves to training in the waves. Niseishi just has a rolling feel to it in the opening movements that synchs right up with the sweep of the tide moving out with a wave, and then it crashes right back in seamlessly to the strike as it returns. Lately  I’ve been moving away from the JKA model and into an older Mabuni-derived version that Harry Cook showed me, and it feels much more intuitive for my body’s morphology and my interpretations of application. Particularly the sequence after the rising block/elbow, which is often shown as a kiba dachi with a side kick/knee lift; it makes more sense as a turn into cat stance with the shin raise to reverse punch.  Turning into the oncoming waves in the cat stance sequence presents a nice test. The sand shifts from under your feet and makes your weight shift in odd directions. Raising the forward leg for the shin block is then quite a challenge to do without wobbling off to one side. But after doing this slowly for several minutes in waist high water, it’s much better defined on the dry sand.

Tensho seems to be tailor made for training in the water. I don’t have anyone here to train applications with, so playing with the dynamics of the kata has been a way to re-examine some of my thoughts about application as related to performance. For example, I’ve noticed that some older practitioners, such as An’ichi Miagi, tend to have a smoothing, rippling motion to their hands in the sequence right before the two closing mawashi uke. Their hands seem to be scooping water up, and then smoothing it down and out across the surface. This feeling is immediately evident under resistance of the water. Moving the hands across the surface, palms just barely touching, provides a satisfying point of focus.

I wrapped up my training this morning with a few runs of the kata that were driven by the rhythm of the surf. The kata takes on a life of it’s own when breathing and movement are dictated by an external source, in this case being the movement of the water. Our group preaches that simple performance of kata without a knowledge of application is useless as far as the aims of traditional karate; but there are times when letting it move and breathe by itself can be just as rewarding. It acts as a sort of ‘reset’ button on habits and tendencies that might obscure other interpretations or overlooked nuances. I’m looking forward to seeing how these experiences will translate into training back at home with a partner to work with.

But for now, back to the beach…frosty Corona’s to follow…


"Try to see yourself as you truly are and try to adopt what is meritorious in the work of others. As a karateka you will of course often watch others practice. When you do and you see strong points in the performance of others, try to incorporate them into your own technique. At the same time, if the trainee you are watching seems to be doing less than his best ask yourself whether you too may not be failing to practice with diligence. Each of us has good qualities and bad; the wise man seeks to emulate the good he perceives in others and avoid the bad."
Funakoshi Gichin

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