tag:blogger.com,1999:blog-32422325242007271752024-03-05T04:43:29.770-08:00Aoi Koyamakan DojoBlue Hills House is a small private dojo in Boston, MA; we offer instruction in traditional Japanese combative, healing and cultural arts. <p>Visit the
<a href="http://www.bluehillsdojo.com">Dojo website</a></p>Aoi Koyamakan Dojohttp://www.blogger.com/profile/15776910460938132533noreply@blogger.comBlogger17125tag:blogger.com,1999:blog-3242232524200727175.post-90922326540715465532020-01-24T07:19:00.001-08:002020-01-24T07:19:23.555-08:00手動 療法 Shudo Ryoho (Manual Therapy)<!--[if gte mso 9]><xml>
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<br />
<div align="center" class="Standard" style="text-align: center;">
<span lang="JA" style="font-family: "Yu Gothic",sans-serif; font-size: 20.0pt;">手動 療法</span><span lang="DE" style="font-family: "Yu Gothic",sans-serif; font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span></span><span lang="DE" style="font-family: "Trebuchet MS",sans-serif; font-size: 16.0pt;">Shudo Ryoho </span></div>
<div align="center" class="Standard" style="text-align: center;">
<span style="font-size: small;"><span lang="DE" style="font-family: "Trebuchet MS", sans-serif;">(<i>Hand Change Heal
Law</i>- Manual Therapy)</span></span><span lang="DE"></span></div>
<div class="Standard">
<br /></div>
<div class="Standard">
<span lang="DE" style="font-family: "Trebuchet MS",sans-serif;">Many
of us were reared on the image of a warrior-sage, as adept at patching-up
injuries as causing them, employing archaic knowledge that bordered on the
arcane.<span style="mso-spacerun: yes;"> </span>For generations, one of the hoariest of old chestnuts has claimed that the path to becoming an exemplary
practitioner of combative arts <i>must</i> include studying medicine as well-
usually, some form of manual therapy.<span style="mso-spacerun: yes;">
</span>On the one hand, many people, myself included*, have experienced direct
benefits to their ‘martial‘ practice from the inclusion of healing; on the
other, the overall timbre of these discussions tend to hinge on just such
anecdotes- making for a far less compelling argument. What then are some (at least
slightly less) <i>subjective</i> reasons to study this stuff?<span style="mso-spacerun: yes;"> </span></span><span lang="DE"></span></div>
<div class="Standard">
<br /></div>
<div class="Standard">
<span style="font-family: "Trebuchet MS",sans-serif; mso-ansi-language: EN-US;">First, just to define terms, manual therapy comprises
things like massage, bone-setting, structural integration, etc., treatment
modalities which, when correctly applied, can prove beneficial for many types
of soft-tissue, fascial, and osseous problems.<span style="mso-spacerun: yes;">
</span>It is not uncommon for combative arts to contain some component(s) of
manual therapy as part of their transmission**.<span style="mso-spacerun: yes;">
</span>One major disclaimer:<span style="mso-spacerun: yes;"> </span>manual
therapy does many things well but it is not a cure-all (and should never
replace the advice of a medical professional.)</span></div>
<div class="Standard">
<br /></div>
<div class="Standard">
<span style="font-family: "Trebuchet MS",sans-serif; mso-ansi-language: EN-US;">Okay, so with that out of the way, the first element
of usefulness to training is a ‘no-brainer’- minor injury mitigation.<span style="mso-spacerun: yes;"> </span>Sore limbs, swollen joints, and the like can
be improved, often dramatically, on-site.<span style="mso-spacerun: yes;">
</span>Particularly after tough sessions (grappling or being thrown- <b>hard</b>-
for hours can take its toll, no matter how good your <i>ukemi</i> [receiving
body, minimizing risk through rolling, falling, softening, etc.] is, same for striking/being
struck, or, dealing with the vibrating shock of tool use*** for significant
amounts of time) taking 20 or 30 minutes to trade bodywork with a training-partner can mean the difference between a next day of misery and one of mild
discomfort****. </span><span lang="DE"></span></div>
<div class="Standard">
<br /></div>
<div class="Standard">
<span style="font-family: "Trebuchet MS",sans-serif; mso-ansi-language: EN-US;">Another advantage is learning how body-structures are aligned, move, and interact.<span style="mso-spacerun: yes;"> </span>Knowing the range of motion for a joint in the abstract is quite
different than having the practical experience of how far one can comfortably
go (as well as how other joints can affect base ranges, and, the signs of
moving to the end of/exceeding those ranges.)<span style="mso-spacerun: yes;">
</span>Also, working with bodies in a therapeutic setting can ameliorate some
of the discomfort that results from being at close grappling/striking distance
(where things can/do go most wrong, most easily).</span></div>
<div class="Standard">
<br /></div>
<div class="Standard">
<span style="font-family: "Trebuchet MS",sans-serif; mso-ansi-language: EN-US;">The next feature of manual therapy for combatives are
the diagnostic methods. While specifics vary from art to art and culture to
culture, in general, they tend to include some iterations of analysis:<span style="mso-spacerun: yes;"> </span>visually (gait, morphology, posture, etc.),
by asking questions (pointed or oblique), observing the sounds/smells of the
body, and, through touch.<span style="mso-spacerun: yes;"> </span>Individually,
these <i>yonshin (four assessments)</i> are great tools; in conjunction with
genuine ‘martial’ training, can lead to <i>Ninso</i> (<i>person</i> <i>reading</i>).<span style="mso-spacerun: yes;"> </span><i>Ninso</i> is sometimes thought of as a
high-level skill, rather akin to magic; of course, it’s not. It is simply
picking-up on mood and physical comportment to measure others through observation
(no hocus-pocus needed).<span style="mso-spacerun: yes;"> </span>This
perspective provided by the <i>yonshin</i> allows for (a subtle and eventually,
almost subconscious) study of carriage and movement that evolves naturally as
an outgrowth of the hands-on practice of bodywork, enhancing similar
development from combative arts.</span><span lang="DE"></span></div>
<div class="Standard">
<br /></div>
<div class="Standard">
<span style="font-family: "Trebuchet MS",sans-serif; mso-ansi-language: EN-US;">A few more traits to be gleaned by the person doing
the work:<span style="mso-spacerun: yes;"> </span>increased sensitivity (to body
structures and tension within our own bodies), integration of <i>kihon</i>
(fundamentals), breath-control, improving the efficiency of contact (employing less
overt strength/being better connected to one’s whole frame) through relaxation
of opposing muscle groups, changing ‘quality of touch’*****, working with
(rather than against) the other person, maintaining ideal <i>ma-ai</i>
(interval, relative distance) and angles to effectively, touch, transfer power,
etc. but what about for <i>uke</i> (the recipient)?<span style="mso-spacerun: yes;"> </span>Well, of course, getting bodywork regularly,
especially stuff designed to supplement training goes back to the first point
about limiting injuries, but there is a good deal more to it.<span style="mso-spacerun: yes;"> </span>As with any time one ‘receives’ a technique
or form, it is not an excuse to stop paying attention, in fact, it should be
very much the opposite.<span style="mso-spacerun: yes;"> </span>Being <i>uke</i>
for treatment is an opportunity to practice being ‘present’ in one’s entire
body- rather than ignoring (or narrowing focus to) the places that hurt.<span style="mso-spacerun: yes;"> </span>It allows us to provide invaluable
feedback to one’s partner, both verbally (more crucially) through contact, It
does bear mention that many of the list above can easily apply to <i>uke</i> as
well, especially breath control, selective/full relaxation, learning to share
space and resisting antagonism with a partner.</span><span lang="DE"></span></div>
<div class="Standard" style="tab-stops: 331.7pt;">
<span style="font-family: "Trebuchet MS",sans-serif; mso-ansi-language: EN-US;"><span style="mso-tab-count: 1;"> </span></span></div>
<div class="Standard">
<span style="font-family: "Trebuchet MS",sans-serif; mso-ansi-language: EN-US;">A final reason that might pique some interest could
equally serve as a deterrent- immersion in alternate ‘mental models’ of the
body.<span style="mso-spacerun: yes;"> </span>In the modern West, we have access
to all sorts of imaging data that perfectly shows each major body structure;
because of this, it is easy to dismiss pre-modern modes of thought across the
board without investigation.<span style="mso-spacerun: yes;"> </span>While not
suggesting, at all, that anyone discard modern medicine in favor of older
models, there are aspects of pain management and overall flexibility, whole
body/integrated power, and mobility that are demonstrably present in many of
these models.<span style="mso-spacerun: yes;"> </span>It can also be extremely
useful for those of us who practice traditional arts to gain a sense of the
context which previous generations viewed their physical structures and how
that may have informed body interaction.<span style="mso-spacerun: yes;">
</span>This context means that a bunch of words that might sound nonsensical or
‘woo’, like “fill the heart with qi/chi/ki” offers a very clear image (a spiral
expansion of the ulnar aspect of the arm) and suggests what ought not happen
(use of the bicep).</span></div>
<div class="Standard">
<br /></div>
<div class="Standard">
<span style="font-family: "Trebuchet MS",sans-serif; mso-ansi-language: EN-US;">It is not hyperbole to say that the list of benefits to
practice enumerated here is cursory.<span style="mso-spacerun: yes;">
</span>Despite boasting an embarrassment of potential upsides, for some, healing
arts will never hold appeal.<span style="mso-spacerun: yes;"> </span>This is
totally as it ought to be- <i>junin to iro</i> (ten people, ten colors-
everyone has a viewpoint), as the expression goes.<span style="mso-spacerun: yes;"> </span>The goal of this piece is not to sway but to
detail a few of the direct impacts that one can experience from undertaking
practice of this sort.<span style="mso-spacerun: yes;"> </span>And, as with any
other aspect of training, it is far richer when we can move beyond myth, fable
and anecdotes.</span><span lang="DE"></span></div>
<div class="Standard">
<br /></div>
<div class="Standard">
<span style="font-family: "Trebuchet MS",sans-serif; mso-ansi-language: EN-US;">Yours in aspiring to health,</span></div>
<div class="Standard">
<span style="font-family: "Trebuchet MS",sans-serif; mso-ansi-language: EN-US;">Jigme</span></div>
<div class="Standard">
<br /></div>
<div class="Standard">
<span style="font-family: "Trebuchet MS",sans-serif; mso-ansi-language: EN-US;">Jigme Chobang Daniels, instructor</span></div>
<div class="Standard">
<span style="font-family: "Trebuchet MS",sans-serif; mso-ansi-language: EN-US;">Aoi Koyamakan Dojo</span></div>
<div class="Standard">
<br /></div>
<div class="Standard">
<br /></div>
<div class="Standard">
<span lang="DE" style="font-family: "Trebuchet MS",sans-serif;">*In
my case, first by attending <i>Shiatsu</i> (<i>finger pressure</i>, Japanese
acupressure massage) school, then, through exposure to the <i>kenkojutsu</i> (<i>strength
ease tactics,</i> healing and measures to deal with emergencies) that is part
of the tradition to which I belong.</span><span lang="DE"></span></div>
<div class="Standard">
<br /></div>
<div class="Standard">
<span style="font-family: "Trebuchet MS",sans-serif; mso-ansi-language: EN-US;">**As seen in wrestling, fistic, and
fencing/stick-fighting systems in much of Eurasia (from the British Isles to
Mongolia), the Indian subcontinent, the Mediterranean, Africa, southern Pacific
Islands from Hawai’i to Fiji, North, South and Central Americas, etc.</span></div>
<div class="Standard">
<br /></div>
<div class="Standard">
<span lang="DE" style="font-family: "Trebuchet MS",sans-serif;">***This,
thankfully, ceases to be troublesome as one diminishes </span><span style="font-family: "Trebuchet MS",sans-serif; mso-ansi-language: EN-US;">reliance
on external musculature </span><span lang="DE" style="font-family: "Trebuchet MS",sans-serif;">and
develops </span><span style="font-family: "Trebuchet MS",sans-serif; mso-ansi-language: EN-US;">consistently useable structures (first through <i>kamae</i> [<i>postures</i>],
then through the <i>kihon</i> and <i>kata</i>).<span style="mso-spacerun: yes;">
</span>At early stages of training though, transitioning from ‘fairly light
contact’ (used to provide reaction to receptions and strikes/cuts) to ‘some
power’ can leave one feeling as though someone handed us a jackhammer that’s
already in motion... it is singularly awful.</span><span lang="DE"></span></div>
<div class="Standard">
<br /></div>
<div class="Standard">
<span style="font-family: "Trebuchet MS",sans-serif; mso-ansi-language: EN-US;">****And, as with any skill meant to function, if it
can’t or doesn’t, there’s a problem. </span></div>
<div class="Standard">
<br /></div>
<div class="Standard">
<span style="font-family: "Trebuchet MS",sans-serif; mso-ansi-language: EN-US;">*****Another (potentially) hippy-dippy sounding
descriptor.<span style="mso-spacerun: yes;"> </span>In this case, my main
shiatsu instructor, an older Japanese woman, told us early on that no matter
what we learn or know, how people feel when we touch them is as significant as
any technique or method we might try to apply.<span style="mso-spacerun: yes;">
</span>She was quite resolute about this, reminding us frequently; it has, of
course, proven helpful in seemingly unrelated contexts as well (with young or
non-verbal children, frightened animals, unruly/intoxicated adults, etc.).</span></div>
Aoi Koyamakan Dojohttp://www.blogger.com/profile/15776910460938132533noreply@blogger.com0tag:blogger.com,1999:blog-3242232524200727175.post-9134675413889275692019-12-20T08:49:00.003-08:002019-12-20T08:49:43.434-08:00自己啓発 Jiko Keihatsu (Self-development)
<div align="center" class="Standard" style="text-align: center;">
<span style="font-size: large;"><span lang="ZH-CN" style="font-family: "Yu Gothic",sans-serif;">自己啓</span><span lang="ZH-CN" style="font-family: "Yu Gothic",sans-serif; mso-bidi-font-family: "MS Mincho";">発</span><span style="font-family: "Trebuchet MS",sans-serif;"> Jiko Keihatsu (Self-Development)</span></span></div>
<div align="center" class="Standard" style="text-align: center;">
<br /></div>
<div align="right" class="Standard" style="text-align: right;">
<i><span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-spacerun: yes;">
</span>A teenaged student of an old-fashioned Jujutsu system, after reading
about Aikido sought clarification during his next class.</span></i></div>
<div align="right" class="Standard" style="text-align: right;">
<i><span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-spacerun: yes;"> </span>Student:</span></i></div>
<div align="right" class="Standard" style="text-align: right;">
<i><span style="font-family: "Trebuchet MS",sans-serif;">Sensei, what about
self-development in (the Jujutsu system that he was learning)?</span></i></div>
<div align="right" class="Standard" style="text-align: right;">
<i><span style="font-family: "Trebuchet MS",sans-serif;"><span style="mso-spacerun: yes;"> </span>(Japanese) Teacher: (without pause, in
English)</span></i></div>
<div align="right" class="Standard" style="text-align: right;">
<i><span style="font-family: "Trebuchet MS",sans-serif;">You kill him. <span style="mso-spacerun: yes;"> </span>So that you can live... and develop...</span></i></div>
<div align="right" class="Standard" style="text-align: right;">
<br /></div>
<div align="right" class="Standard" style="text-align: right;">
<br /></div>
<div class="Standard">
<span style="font-family: "Trebuchet MS",sans-serif;">That
teacher's (only partly) tongue-in-cheek response to his young student*'s
question changed the framework of the dialogue.<span style="mso-spacerun: yes;">
</span>That level of bluntness stands in stark contrast to all the noise made
about the (near-magical) properties imparted through participation in combative
arts from Asia (far fewer make these claims about western wrestling, fencing or
boxing, although a strong case should be made for them as well) the term
'self-development' remains ambiguous.<span style="mso-spacerun: yes;"> </span>Certainly,
one can observe physical changes from regular training (improved strength,
flexibility, endurance, etc.), but the implication seems to be that these
changes run deeper; that the alterations happen on a 'transpersonal' level.</span></div>
<div class="Standard">
<br /></div>
<div class="Standard">
<span style="font-family: "Trebuchet MS",sans-serif;">So, how
does it follow that learning to maim or kill by striking, grappling, or using
weapons more effectively makes us better humans?<span style="mso-spacerun: yes;"> </span>And, if it really did work as simply as that,
why are there so many creeps, weirdos and wannabes in the 'martial' arts world?</span></div>
<div class="Standard">
<br /></div>
<div class="Standard">
<span style="font-family: "Trebuchet MS",sans-serif;">Let’s
step away from that for a moment.<span style="mso-spacerun: yes;">
</span>Imagine, for a moment, being invited to eat at the home of someone who
posts amazing photographs of the food that they prepare, on their social
media.<span style="mso-spacerun: yes;"> </span>You anticipate the evening
knowing that, whatever else happens, you will be presented with carefully
prepared, well-seasoned, and properly cooked food.<span style="mso-spacerun: yes;"> </span>After you arrive, things take a turn.</span></div>
<div class="Standard">
<br /></div>
<div class="Standard">
<span style="font-family: "Trebuchet MS",sans-serif;">Though
the food on the table maintains the level of visual appeal, your host serves
gritty/sandy greens, dressings that lack any discernable flavor and proteins
that are either too dry and tough or unsafely undercooked.<span style="mso-spacerun: yes;"> </span>Even if the plating is beautiful, that’s not
enough to offset the lack of edibility.<span style="mso-spacerun: yes;">
</span>Okay, so that stinks, but at least you survive, (hopefully without food
poisoning.)<span style="mso-spacerun: yes;"> </span>As you prepare to leave, as
if in anticipation of negative feedback, your host tops off the assault on your
palate and stomach, with the justification, “I cook for self-development; it’s
not about whether or not it’s edible, it’s about how I feel while I’m making it
and how it looks on the plate.”<span style="mso-spacerun: yes;"> </span>Dollars
to doughnuts, you’d think that person is a loony and (maybe not so) politely
decline future invitations to dine at their home.</span></div>
<div class="Standard">
<br /></div>
<div class="Standard">
<span style="font-family: "Trebuchet MS",sans-serif;">Just
because a thing ‘looks’ alright from the outside doesn’t make it sound. It is
only through not just the ‘practice’ of cooking, but checking each ingredient
to ensure quality and probing the process (to determine what worked well, what
failed, if tasting happened at each step, etc.) <span style="mso-spacerun: yes;"> </span>It is much the same for any other art, craft,
or way.<span style="mso-spacerun: yes;"> </span>Each thing that we study has a(n
ideal) context in which it ought to operate well. If it can't or doesn't, there
are problems.</span></div>
<div class="Standard">
<br /></div>
<div class="Standard">
<span style="font-family: "Trebuchet MS",sans-serif;">Pursuits
that offer many facets (as do the <i>bugei</i>- ‘martial’ arts) are powerful tools.<span style="mso-spacerun: yes;"> </span>As practitioners, we experience regular exposure
to extremes of discomfort and fear; allowing us to not only see our innate
reactions to stressors but to reshape those responses to be more
beneficial.<span style="mso-spacerun: yes;"> </span>Using the example of cooking,
it is in this way that we take the ingredients (of body/mind) and through the application
of technique and heat (pressure) create change.<span style="mso-spacerun: yes;">
</span></span></div>
<div class="Standard">
<br /></div>
<div class="Standard">
<span style="font-family: "Trebuchet MS",sans-serif;">So, to go
back to the quote from the beginning, we who study combatives (historical or
modern), must each at some point make peace (pun intended) with the notion that
full expressions of violence are horrific.<span style="mso-spacerun: yes;">
</span>Through practice, <i>kihon</i> (basics) and <i>kata</i> (forms) become so
ingrained that we don’t have to give them much conscious thought, and therein
lies the danger.<span style="mso-spacerun: yes;"> </span>Possessing the skills
to maim or kill without empathy and an ethical framework creates monsters; moralizing,
absent capability to harm, is sophistry. <span style="mso-spacerun: yes;"> </span>Only when the extent of how bad things can get
(and how quickly they can get there) is a known quantity, does one possess a
real choice to pursue 'non-violent' resolution.<span style="mso-spacerun: yes;">
</span>Failing to acknowledge the possibilities of mayhem and death (for all
involved, especially when weapons are involved), keeps the stakes low and
encourages a kind of casual foolhardiness.<span style="mso-spacerun: yes;">
</span>Having a clear sense of our art(s) working in their contexts (by first
knowing what and where that is), all of the strategy, techniques and
conditioning in the world won't render better people, only ones with
unjustified confidence who, by dint of poor training, will crumble at the slightest whiff of an unscripted circumstance.<span style="mso-spacerun: yes;">
</span>And that’s not development, it’s a delusion.</span></div>
<div class="Standard">
<br /></div>
<div class="Standard">
<span style="font-family: "Trebuchet MS",sans-serif;">Happy
holidays and best wishes for the new year,</span></div>
<div class="Standard">
<span style="font-family: "Trebuchet MS",sans-serif;">Jigme</span></div>
<div class="Standard">
<br /></div>
<div class="Standard">
<span style="font-family: "Trebuchet MS",sans-serif;">Jigme
Chobang Daniels, instructor</span></div>
<div class="Standard">
<span style="font-family: "Trebuchet MS",sans-serif;">Aoi
Koyamakan Dojo</span></div>
<div class="Standard">
<br /></div>
<div class="Standard">
<br /></div>
<div class="Standard">
<span style="font-family: "Trebuchet MS",sans-serif;">*Full
disclosure, that student was my teacher whose instructor, an older Japanese
fellow, who was given to rather terse responses, particularly when responding
in English.</span></div>
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<br />Aoi Koyamakan Dojohttp://www.blogger.com/profile/15776910460938132533noreply@blogger.com0tag:blogger.com,1999:blog-3242232524200727175.post-2221392673092554932019-11-22T08:45:00.001-08:002019-11-22T08:45:33.483-08:00遠近 Enkin (Distance/Perspective)<!--[if gte mso 9]><xml>
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<br />
<div align="center" class="Standard" style="text-align: center;">
<span lang="ZH-CN" style="font-family: "Yu Gothic",sans-serif; font-size: 20.0pt;">遠近</span><span lang="ZH-CN" style="font-family: "Trebuchet MS",sans-serif; font-size: 20.0pt;"> </span><span style="font-family: "Trebuchet MS",sans-serif; font-size: 16.0pt;">Enkin (Far Near)
</span></div>
<div align="center" class="Standard" style="text-align: center;">
<i><span style="font-family: "Trebuchet MS",sans-serif; font-size: 16.0pt;">Distance/Perspective</span></i><i><span style="font-family: "Trebuchet MS",sans-serif;"></span></i></div>
<div class="Standard">
<br /></div>
<div class="Standard">
<span style="font-family: "Trebuchet MS",sans-serif;">Part 1 </span></div>
<div class="Standard">
<br /></div>
<div class="Standard">
<span style="font-family: "Trebuchet MS",sans-serif; font-size: 10.0pt;">(Chicago
Tribune, Monday, 4 January 2019)<span style="mso-bidi-font-weight: bold;"></span></span></div>
<div class="Standard">
<br /></div>
<div class="Standard">
<b><span style="font-family: "Trebuchet MS",sans-serif; font-size: 10.0pt;">Homeless
Artist, Former Gang Member, Found Dead </span></b></div>
<div class="Standard">
<br /></div>
<div class="Standard">
<i><span style="font-family: "Trebuchet MS",sans-serif; font-size: 10.0pt;">Born
in Marseilles, Illinois in June of 1958 and orphaned at age 9, Marshall
Marseilles, rose to prominence as a member of Chicago’s notorious Clear River Gang from age 13 until he joined the Army at 17, and then again after
discharge.<span style="mso-spacerun: yes;"> </span>Following his service, Mr.
Marseilles did not maintain a fixed address and appears to have spent much of
his time living nomadically.<span style="mso-spacerun: yes;"> </span>His body
was found at the camp near Bullfrog Lake/Palos Preserves where he'd made his
home for the last few years since retiring to semi-seclusion.<span style="mso-spacerun: yes;"> </span>He was 60.</span></i></div>
<div class="Standard">
<br /></div>
<div class="Standard">
<i><span style="font-family: "Trebuchet MS",sans-serif; font-size: 10.0pt;">Marseilles,
who took up writing and various art media later in life, received acclaim for
his autobiographical prose and essays on surviving violence while his sketches,
paintings and sculptures are prized by collectors.</span></i></div>
<div class="Standard">
<br /></div>
<div class="Standard">
<i><span style="font-family: "Trebuchet MS",sans-serif; font-size: 10.0pt;">Although
never prosecuted, Marseilles (by his own estimates) injured or killed more than
60 individuals in violent conflicts, starting at the age of 13 when he fatally
bludgeoned a man as part of a gang initiation.</span></i></div>
<div class="Standard">
<br /></div>
<div class="Standard">
<i><span style="font-family: "Trebuchet MS",sans-serif; font-size: 10.0pt;">Mr.
Marseilles’ two sons have scheduled a private memorial service and request that
donations are made to Veterans' causes in lieu of flowers.</span></i></div>
<div class="Standard" style="tab-stops: 2.5in;">
<br /></div>
<div class="Standard" style="tab-stops: 2.5in;">
<br /></div>
<div class="Standard" style="tab-stops: 2.5in;">
<span style="font-family: "Trebuchet MS",sans-serif; font-size: 10.0pt;">Does the (fictitious) obituary above
describe a person who suffered from untreated brain-chemistry issues (and
probably PTSD)?<span style="mso-spacerun: yes;"> </span>Was it someone who
managed to shape a role for himself in a culture of pervasive violence… or, maybe,
it’s the heartwarming story about the redemptive power of art?<span style="mso-spacerun: yes;"> </span>It is, to some degree, a combination of (and
far more complicated/nuanced than any single one) of these answers.<span style="mso-spacerun: yes;"> </span>Historically, you may recognize similarities
to the <i>Kensei</i> (sword saint), Miyamoto Musashi*, author of the Go Rin No
Sho (the Book of Five Rings/Spheres) and founder of Hyoho Niten Ichi Ryu, often
(wrongly) credited with <i>pioneering </i>ryoto (both swords) or nito (two
swords- wielding the long and short swords in tandem).</span></div>
<div class="Standard" style="tab-stops: 2.5in;">
<br /></div>
<div class="Standard" style="tab-stops: 2.5in;">
<span style="font-family: "Trebuchet MS",sans-serif; font-size: 10.0pt;">The obituary helps to illustrate the
(often extreme) dichotomy that most of us experience between how we see people,
based on their proximity to us (physically or temporally), and our perceived
differences or similarities to the person or group. <span style="mso-spacerun: yes;"> </span>It also points to how critically narratives
affect the way that we view historical figures- for example, who would you rather
find yourself seated next to on a crowded train or bus, a giant** homeless
veteran (with hygiene issues and a history of violence/mayhem/murder) or a wise
master of swordsmanship noted for his keen insight, tactical skill, and
physical prowess?<span style="mso-spacerun: yes;"> </span>It is complicated to
acknowledge that they are, at least potentially, the same person.<span style="mso-spacerun: yes;"> </span>Which brings up some questions about that
split in thinking:<span style="mso-spacerun: yes;"> </span></span></div>
<div class="Standard" style="tab-stops: 2.5in;">
<br /></div>
<div class="Standard" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: .5in; text-indent: -.25in;">
<span style="font-family: "Trebuchet MS",sans-serif; font-size: 10.0pt; mso-bidi-font-family: "Trebuchet MS"; mso-fareast-font-family: "Trebuchet MS";"><span style="mso-list: Ignore;">1)<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Trebuchet MS",sans-serif; font-size: 10.0pt;">Is
it fair to apply modern standards (of conduct, mental health, etc.) to people
from antiquity?</span></div>
<div class="Standard" style="tab-stops: 2.5in;">
<br /></div>
<div class="Standard" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: .5in; text-indent: -.25in;">
<span style="font-family: "Trebuchet MS",sans-serif; font-size: 10.0pt; mso-bidi-font-family: "Trebuchet MS"; mso-fareast-font-family: "Trebuchet MS";"><span style="mso-list: Ignore;">2)<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Trebuchet MS",sans-serif; font-size: 10.0pt;">Would
we accept the same level of 'eccentricities' seen in many historical figures in
modern ones?<span style="mso-spacerun: yes;"> </span>If so, what is a 'bridge
too far' and if not, why?</span></div>
<div class="Standard" style="tab-stops: 2.5in;">
<br /></div>
<div class="Standard" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: .5in; text-indent: -.25in;">
<span style="font-family: "Trebuchet MS",sans-serif; font-size: 10.0pt; mso-bidi-font-family: "Trebuchet MS"; mso-fareast-font-family: "Trebuchet MS";"><span style="mso-list: Ignore;">3)<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Trebuchet MS",sans-serif; font-size: 10.0pt;">Can
we find aspects of these figures admirable despite vehemently disagreeing with
them on certain, key, issues?</span></div>
<div class="Standard" style="tab-stops: 2.5in;">
<br /></div>
<div class="Standard" style="margin-left: 70.9pt; tab-stops: 2.5in;">
<span style="font-family: "Trebuchet MS",sans-serif; font-size: 10.0pt;">A. If so, does
it mean that we ought to disregard sections of their works that espouse beliefs
that don't align with our own (or those of our culture)?</span></div>
<div class="Standard" style="tab-stops: 2.5in;">
<br /></div>
<div class="Standard" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: .5in; text-indent: -.25in;">
<span style="font-family: "Trebuchet MS",sans-serif; font-size: 10.0pt; mso-bidi-font-family: "Trebuchet MS"; mso-fareast-font-family: "Trebuchet MS";"><span style="mso-list: Ignore;">4)<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="font-family: "Trebuchet MS",sans-serif; font-size: 10.0pt;">Finally,
and possibly most importantly, who is the arbiter in these matters- does it
fall within the orthodox structure of our art(s) or is it the duty of
individual practitioners, to decide for ourselves?</span></div>
<div class="Standard" style="tab-stops: 2.0in;">
<br /></div>
<div class="Standard" style="tab-stops: 2.0in;">
<span style="font-family: "Trebuchet MS",sans-serif; font-size: 10.0pt;">Investigating our arts (and their history) ought <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">not</i></b> to
be an exercise to find universal answers.<span style="mso-spacerun: yes;">
</span>Let’s instead use the process to discover what we <i>actually</i> think
about things (rather than parroting/regurgitating what we’ve heard or been told).<span style="mso-spacerun: yes;"> </span>This pairs with physical training to develop
a working epistemology, one capable of removing the separation of time and distance.<span style="mso-spacerun: yes;"> </span>Relying on myths that have persisted for
generations do us no favors and can dissuade future students from finding useful
tools to interact with the world as we find it.</span></div>
<div class="Standard" style="tab-stops: 2.0in;">
<span style="font-family: "Trebuchet MS",sans-serif; font-size: 10.0pt;"><br /></span></div>
<div class="Standard" style="tab-stops: 2.0in;">
<span style="font-family: "Trebuchet MS",sans-serif; font-size: 10.0pt;">Yours in seeking perspective,</span></div>
<div class="Standard" style="tab-stops: 2.0in;">
<span style="font-family: "Trebuchet MS",sans-serif; font-size: 10.0pt;">Jigme</span></div>
<div class="Standard" style="tab-stops: 2.0in;">
<br /></div>
<div class="Standard" style="tab-stops: 2.0in;">
<span style="font-family: "Trebuchet MS",sans-serif; font-size: 10.0pt;">Jigme Chobang Daniels, instructor</span></div>
<div class="Standard" style="tab-stops: 2.0in;">
<span style="font-family: "Trebuchet MS",sans-serif; font-size: 10.0pt;">Aoi Koyamakan Dojo </span></div>
<div class="Standard" style="tab-stops: 2.0in;">
<br /></div>
<div class="Standard" style="tab-stops: 2.0in;">
<br /></div>
<div class="Standard" style="tab-stops: 2.0in;">
<span style="font-family: "Trebuchet MS",sans-serif; font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></div>
<div class="Standard" style="tab-stops: 2.5in;">
<span style="font-family: "Trebuchet MS",sans-serif; font-size: 10.0pt;">* Please note:<span style="mso-spacerun: yes;"> </span>I draw these parallels not to diminish or
impugn his impact and legacy, but because of how widely known his biographical
details are, even among those who aren't terribly familiar with the period.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Trebuchet MS",sans-serif; font-size: 10.0pt; line-height: 107%;">** The historical Musashi is said to have stood over
6 shaku (6 feet/nearly 2 meters), far taller than average for the time; his hygiene
issues, if true, may have been due to eczema.</span></div>
Aoi Koyamakan Dojohttp://www.blogger.com/profile/15776910460938132533noreply@blogger.com0tag:blogger.com,1999:blog-3242232524200727175.post-52079551995192577632018-11-28T03:22:00.001-08:002018-11-28T03:22:02.747-08:00圧覚Akkaku (Sense of Pressure)
<br />
<div align="center" class="Standard" style="text-align: center;">
<span style="font-size: large;"><span class="text"><span lang="JA" style="font-family: "MS Gothic"; mso-bidi-font-family: "MS Gothic";">圧覚</span></span><span lang="DE" style="font-family: "Arial",sans-serif; mso-bidi-font-family: Tahoma;"> Akkaku (Sense of Pressure)</span></span><span lang="DE"></span></div>
<div align="center" class="Standard" style="text-align: center;">
<br /></div>
<div align="right" class="Standard" style="text-align: right;">
<i><span lang="DE" style="font-family: "Arial",sans-serif; mso-bidi-font-family: Tahoma;">Pressure- bearing down on me, bearing down on you...</span></i></div>
<div align="right" class="Standard" style="text-align: right;">
<b><i><span lang="DE" style="font-family: "Arial",sans-serif; mso-bidi-font-family: Tahoma;">Under Pressure</span></i></b></div>
<div align="right" class="Standard" style="text-align: right;">
<b><i><span lang="DE" style="font-family: "Arial",sans-serif; mso-bidi-font-family: Tahoma;">Queen/David Bowie</span></i></b></div>
<div align="right" class="Standard" style="text-align: right;">
<br /></div>
<div align="right" class="Standard" style="text-align: right;">
<span lang="DE" style="font-family: "Arial",sans-serif; mso-bidi-font-family: Tahoma;">Ichi Go Ichi E</span></div>
<div align="right" class="Standard" style="text-align: right;">
<span lang="DE" style="font-family: "Arial",sans-serif; mso-bidi-font-family: Tahoma;">One Meeting, One Chance</span></div>
<div align="right" class="Standard" style="text-align: right;">
<b style="mso-bidi-font-weight: normal;"><span lang="DE" style="font-family: "Arial",sans-serif; mso-bidi-font-family: Tahoma;">Japanese Proverb</span></b></div>
<div align="right" class="Standard" style="text-align: right;">
<br /></div>
<div align="right" class="Standard" style="text-align: right;">
<br /></div>
<div class="Standard">
<span lang="DE" style="font-family: "Arial",sans-serif; mso-bidi-font-family: Tahoma;">People are occasionally incredulous that not all combative methods hinge on 'sparring*,'<span style="mso-spacerun: yes;"> </span>(the assumption seems to be that this sole component is more critical than any other in creating useful skill-sets).<span style="mso-spacerun: yes;"> </span>As mentioned in previous entries, the primary means of transmission for many older-style Japanese arts (including the one that I study and practice) are <i>kata</i> (</span><span lang="JA" style="font-family: "Yu Gothic",sans-serif; font-size: 11.0pt;">形 </span><span lang="DE" style="font-family: "Arial",sans-serif; mso-bidi-font-family: Tahoma;">[two-person] forms) in which the senior takes the role of the<span style="mso-spacerun: yes;"> </span>Uke/Uchitachi/Uketachi (</span><span lang="JA" style="font-family: "Yu Gothic",sans-serif; font-size: 11.0pt;">受</span><span lang="DE" style="font-family: "Yu Gothic",sans-serif; font-size: 11.0pt;">/</span><span lang="JA" style="font-family: "Yu Gothic",sans-serif; font-size: 11.0pt;">打ち太刀</span><span lang="DE" style="font-family: "Yu Gothic",sans-serif; font-size: 11.0pt;">/</span><span lang="JA" style="font-family: "Yu Gothic",sans-serif; font-size: 11.0pt;">受け太刀</span><span lang="DE" style="font-family: "Arial",sans-serif; mso-bidi-font-family: Tahoma;">receiver/swinging sword/receiving sword), the 'loser'.<span style="mso-spacerun: yes;"> </span>As practice progresses, the speed, <i style="mso-bidi-font-style: normal;">maai</i> (</span><span lang="JA" style="font-family: "Yu Gothic",sans-serif; font-size: 11.0pt;">間合い</span><i style="mso-bidi-font-style: normal;"><span lang="DE" style="font-family: "Arial",sans-serif; mso-bidi-font-family: Tahoma;">interval meet</span></i><span lang="DE" style="font-family: "Arial",sans-serif; mso-bidi-font-family: Tahoma;">, the nexus of distancing and timing), contact strength, connection, etc. are all subject to change, sometimes radically.<span style="mso-spacerun: yes;"> </span><span style="mso-bidi-font-style: italic;">What often gets lost in written descriptions is just how unpredictable things can get within an individual form.</span></span><span lang="DE"></span></div>
<div class="Standard">
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<span lang="DE" style="font-family: "Arial",sans-serif; mso-bidi-font-family: Tahoma;">In learning any two-person form, both partners' are trained to initiate, receive and counter certain specific actions in certain orders- and for a while, this happens exactly as learned.<span style="mso-spacerun: yes;"> </span>However, once the junior can replicate the gross format, the senior begins making alterations.<span style="mso-spacerun: yes;"> </span>Before you know it, the senior partner can end up next to (or behind) you, while maintaining the format, forcing the junior to adapt and extend his/her awareness beyond his/her own space to include wherever <i>aite</i> <i>(</i></span><span lang="JA" style="font-family: "Yu Gothic",sans-serif; font-size: 11.0pt; mso-ascii-font-family: "Yu Gothic Medium"; mso-hansi-font-family: "Yu Gothic Medium";">合手</span><i><span lang="DE" style="font-family: "Arial",sans-serif; mso-bidi-font-family: Tahoma;">meeting</span></i><span lang="DE" style="font-family: "Arial",sans-serif; mso-bidi-font-family: Tahoma;"> <i>hand,</i> one's partner) is at that moment (keep in mind, this is all without losing focus on greater spatial awareness).<span style="mso-spacerun: yes;"> </span></span><span lang="DE"></span></div>
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<span lang="DE" style="font-family: "Arial",sans-serif; mso-bidi-font-family: Tahoma;">The cutting, grabbing, crushing or striking in these forms might seem (almost) symbolic a</span><span style="font-family: "Arial",sans-serif; mso-ansi-language: EN-US; mso-bidi-font-family: Tahoma;">t</span><span lang="DE" style="font-family: "Arial",sans-serif; mso-bidi-font-family: Tahoma;"> first; shortly, though the danger becomes clear. Maintaining the attention and concentration required to avoid being struck, cut, bound or immobilized is taxing, especially when it feels like no matter where or how much you move, that <i>aite</i> is uncomfortably close... or just <i style="mso-bidi-font-style: normal;">slightly</i> too far away for your cuts, thrusts, kicks, punches or grabs to land, while s/he always seems to be able to reach you with ease.<span style="mso-spacerun: yes;"> </span><i>Akkaku</i> (this <i style="mso-bidi-font-style: normal;">sense of pressure</i>) is a distinguishing feature of effective <i>kata</i> <i>keiko </i><span style="mso-bidi-font-style: italic;">(</span></span><span lang="JA" style="font-family: "Yu Gothic",sans-serif; font-size: 11.0pt;">形稽古</span><span lang="DE" style="font-family: "Yu Gothic",sans-serif; font-size: 11.0pt;">- </span><span lang="DE" style="font-family: "Trebuchet MS",sans-serif; font-size: 11.0pt; mso-fareast-font-family: "Yu Gothic";">form</span><span lang="DE" style="font-family: "Arial",sans-serif; mso-bidi-font-family: Tahoma;"> consider the old, or, practice) on both physical and psycho-emotional levels and keeps us working at or close to the edge of our skill** while reinforcing the maintenance of core body and tool-use mechanics.</span><span lang="DE"></span></div>
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<span lang="DE" style="font-family: "Arial",sans-serif; mso-bidi-font-family: Tahoma;">Among other things, <i>akkaku</i> prevents <i>kata</i> <i>keiko</i> from degenerating into merely tapping tools, striking the air near <i>aite</i> or grabbing/contacting in some namby-pamby way.<span style="mso-spacerun: yes;"> </span>It provides a sense of urgency while helping to shape appropriate responses, built on the framework of <i>kihon</i> (basics) and <i>gensoku</i> <i>(</i>principles<i>) </i>native to our arts**<i>.</i><span style="mso-spacerun: yes;"> </span>In sets with matched tools (sword to sword, spear to spear, 'unarmed,' etc.), we are presented <i>with what appear to be</i> symmetrical, force-on-force exchanges that make variations on <i>kihon.</i><span style="mso-spacerun: yes;"> </span>As we progress, those <i>kihon</i> become more robust and useful thanks to an understanding derived through the alterations found within one's <i>kata.</i><span style="mso-spacerun: yes;"> </span>Training with <i>akkaku</i> also gently reinforces for <i>shitachi</i> (</span><span lang="JA" style="font-family: "Yu Gothic",sans-serif; font-size: 11.0pt;">仕太刀</span><span lang="DE" style="font-family: "Arial",sans-serif; mso-bidi-font-family: Tahoma;">performing sword) or <i>tori</i> (</span><span lang="JA" style="font-family: "Yu Gothic",sans-serif; font-size: 11.0pt;">取り</span><span lang="DE" style="font-family: "Arial",sans-serif; mso-bidi-font-family: Tahoma;">the taker or 'winner' of a technique or form) that merely repeating the form ‘correctly' is no guarantee of a positive outcome.</span><span lang="DE"></span></div>
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<span lang="DE" style="font-family: "Arial",sans-serif; mso-bidi-font-family: Tahoma;">Through consistent <i>akkaku</i>, it becomes clear that doing kata exactly the same way every time, even if </span><span style="font-family: "Arial",sans-serif; mso-ansi-language: EN-US; mso-bidi-font-family: Tahoma;">it </span><span lang="DE" style="font-family: "Arial",sans-serif; mso-bidi-font-family: Tahoma;">appears 'technically right' is an empty exercise (and poor training, which a good aite will make obvious rather quickly).<span style="mso-spacerun: yes;"> </span>When done with proper intention (well designed) kata aren't fragile museum pieces to be treated preciously and put back on some shelf</span><span style="font-family: "Arial",sans-serif; mso-ansi-language: EN-US; mso-bidi-font-family: Tahoma;">,</span><span lang="DE" style="font-family: "Arial",sans-serif; mso-bidi-font-family: Tahoma;"> nor are they observed at a remove.<span style="mso-spacerun: yes;"> </span>Good kata are robust, meant to be inhabited, thoroughly dissected, digested and internalized***.<span style="mso-spacerun: yes;"> </span>By bringing participants into the present to share a completely unique expression of principles in a setting that varies slightly depending on each person's level of experience, power generation, friction, etc. This is an excellent example of the expression Ichi Go Ichi E, the idea that even in the familiar each iteration will be unique.</span><span lang="DE"></span></div>
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<span lang="DE" style="font-family: "Arial",sans-serif; mso-bidi-font-family: Tahoma;">Of course, there is 'free play' in Japanese arts; much of it quite hearty (up to and including inter-school challenges.)<span style="mso-spacerun: yes;"> </span>With that said, there is a direct benefit to working at the fullest extent of one's speed and power against someone capable of leading you to make the 'appropriate' (to strategy, level, etc.) tactical choices through kata.<span style="mso-spacerun: yes;"> </span>It is a means of transmission that alters the practice in progressively subtler ways, evoking some of the same psycho-physical responses as being in 'live fire' situations, with fewer of the bad habits and almost none of the feelings of invulnerability that 'winning' at sparring can induce.<span style="mso-spacerun: yes;"> </span>And, as if by some strange coincidence, it turns out that many of the skills from properly trained kata translate to 'free' exchanges rather nicely (almost, as if these silly old training method</span><span style="font-family: "Arial",sans-serif; mso-ansi-language: EN-US; mso-bidi-font-family: Tahoma;">s</span><span lang="DE" style="font-family: "Arial",sans-serif; mso-bidi-font-family: Tahoma;"> make provisions for real-world use...)</span><span lang="DE"></span></div>
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<span style="font-family: "Arial",sans-serif; mso-ansi-language: EN-US; mso-bidi-font-family: Tahoma;">Yours in appreciating pressure,</span></div>
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<span style="font-family: "Arial",sans-serif; mso-ansi-language: EN-US; mso-bidi-font-family: Tahoma;">Jigme</span></div>
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<span lang="DE" style="font-family: "Arial",sans-serif; mso-bidi-font-family: Tahoma;">*It is my contention that concentrating on sparring without a firm foundation in basics and body method can lead to bad habits, sloppiness, reliance on too few responses, and, can reinforce the assumption that force encounters <i>ought to be</i> symmetrical, a profoundly dangerous notion.<span style="mso-spacerun: yes;"> </span>Also of concern is becoming too used to the built-in accommodations required to not die in robust exchanges. In other words, working one-on-one, barehanded, on level ground might lead to an inability to adapt to additional opponents, a challenging environment, or tools being deployed.</span><span lang="DE"></span></div>
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<span lang="DE" style="font-family: "Arial",sans-serif; mso-bidi-font-family: Tahoma;">**Not safety though, that's dumb!<span style="mso-spacerun: yes;"> </span>Which is why it works best to train with someone seasoned enough to know where on the continuum between level-appropriate stress, adrenal response and 'likely to die'-level panic we, the juniors, ought to find ourselves at any given moment.<span style="mso-spacerun: yes;"> </span>Good <i>aite</i> are constantly pushing each other, not by trying to show the other person up, but through honest, connected and present interactions.</span><span lang="DE"></span></div>
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<span lang="DE" style="font-family: "Arial",sans-serif; mso-bidi-font-family: Tahoma;">*** This is one reason that it makes no sense to 'shop' for forms from other arts and ways- those worth their salt exist to reinforce skills specific to one art's transmission.<span style="mso-spacerun: yes;"> </span>Beyond the very real likelihood of misunderstanding the meaning of a form or its applications, it can lead to incongruities.<span style="mso-spacerun: yes;"> </span>The kind that can be difficult to overcome when it matters, e.g. under duress (the very most wrong time to discover that a skill only works intermittently or not at all outside of the laboratory conditions of class...)</span></div>
Aoi Koyamakan Dojohttp://www.blogger.com/profile/15776910460938132533noreply@blogger.com0tag:blogger.com,1999:blog-3242232524200727175.post-88372393747586480802018-11-20T02:47:00.001-08:002018-11-20T02:55:33.002-08:00称号 Shogo (Name Titles)<br />
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<span lang="ZH-CN" style="font-family: "kozuka gothic pro m" , sans-serif; font-size: 16.0pt;">称号</span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 16.0pt;"> Shogo- </span><span style="font-family: "trebuchet ms" , sans-serif;">Titles</span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: 11.0pt;">Please note:</span></i></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: 11.0pt;">This essay is a slightly modified version of one that appears in the recent update to the</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: 11.0pt;">Aoi Koyamakan Dojo Gakusei Benran </span><span lang="ZH-CN" style="font-family: "yu gothic" , sans-serif; font-size: 11.0pt;">学生便覧 </span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 11.0pt;">(student handbook)</span></div>
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<i><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">Displays of deference have, from time immemorial, served as a means to reduce the friction of interpersonal interaction.<span style="mso-spacerun: yes;"> </span>This was particularly critical in feudal societies, but examples carry through to our modern era; to imply through behavior or speech that one thinks oneself more important, experienced, skilled, etc. than the person with whom s/he is speaking, can, in itself, be perceived an insult.<span style="mso-spacerun: yes;"> </span>Here in America, introducing oneself using honorifics may not receive a second thought; in Japan, however, it is a faux pas that will lead listeners to assume that the speaker is, at best, too young (in practice), inexperienced (at relating to humans IRL), insecure, or mentally deficient to be taken seriously; at worst, it's a quick way to catch a beating.<span style="mso-spacerun: yes;"> </span>To that end, introducing oneself as "Nani-Nani Sensei (or worse yet, "Sensei Nani-Nani*") is a fairly easy error to avoid- just don't do it!<span style="mso-spacerun: yes;"> </span></span></i></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">Sensei. O Sensei.<span style="mso-spacerun: yes;"> </span>Waka Sensei.<span style="mso-spacerun: yes;"> </span>Renshi.<span style="mso-spacerun: yes;"> </span>Shihan.<span style="mso-spacerun: yes;"> </span>Hanshi.<span style="mso-spacerun: yes;"> </span>Sempai.<span style="mso-spacerun: yes;"> </span>Kohai.<span style="mso-spacerun: yes;"> </span>Iemoto.<span style="mso-spacerun: yes;"> </span>Soke.<span style="mso-spacerun: yes;"> </span>Japanese traditions are rife with titles, most of which suffer from severe misuse.<span style="mso-spacerun: yes;"> </span>What those words mean and how they are used matter, especially if you are expected to use them as forms of address.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">Very few Japanese words are as widely known and carry more portent (and baggage) for English speakers than, <i>'Sensei'.</i><span style="mso-spacerun: yes;"> </span>Most simply, it comprises two <i>kanji</i> (non-phonetic Chinese ideographs used in Japanese) </span><span lang="ZH-CN" style="font-family: "yu gothic" , sans-serif; font-size: 10.5pt;">先 </span><i><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">sen</span></i><i><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">,</span></i><span style="font-size: 10.5pt;"> and, </span><span lang="ZH-CN" style="font-family: "yu gothic" , sans-serif; font-size: 10.5pt;">生 </span><i><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">sei.</span></i><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;"> <i>Sen</i> means before and appears in many compounds, including <i>Sen no sen</i> </span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;"><span lang="ZH-CN" style="font-family: "yu gothic" , sans-serif; font-size: 11.0pt;">先の先 </span>(initiative of initiative- a timing concept) and <i>sente</i> </span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;"><span class="text">先手 </span>(before hand- an attack, attacker, forestalling or making the first move).<span style="mso-spacerun: yes;"> </span><i>Sen</i> carries an idea of leading, in part because the kanji represents a person (two legs on the bottom) coercing a cow (legs and horn on top)- implying that rather than contend directly with a physically stronger animal, the human compels the cow or bull along by the horn or nose.<span style="mso-spacerun: yes;"> </span>The notion at its essence is that the power of intellect, experience, and tools can overwhelm and control brute force.</span></div>
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<i><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">Sei</span></i><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;"> (or <i>Sho)</i> </span><span lang="ZH-CN" style="font-family: "yu gothic" , sans-serif; font-size: 11.0pt;">生</span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">is existence.<span style="mso-spacerun: yes;"> </span>Together, they make born or existing before... that's it.<span style="mso-spacerun: yes;"> </span>Someone whom you respect (without regard to the field of endeavor) or whose counsel you seek might be called, <i>"Sensei."</i><span style="mso-spacerun: yes;"> </span>On a film set, the director is, Sensei, in a kitchen, it is the chef.<span style="mso-spacerun: yes;"> </span>Dentists, researchers, lawyers, and school teachers can all be <i>Sensei.</i></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">Okay, you may be saying, but what about <i>O Sensei</i>- that's almost always translated as '<i>Great</i> <i>Teacher</i>,' so that's on the level, right?<span style="mso-spacerun: yes;"> </span>Well... no.<span style="mso-spacerun: yes;"> </span><i>O Sensei</i> (</span><span lang="JA" style="font-family: "yu gothic" , sans-serif; font-size: 10.5pt;">大先生</span><span lang="JA" style="font-family: "yu gothic" , sans-serif; font-size: 10.5pt;">/</span><span lang="JA" style="font-family: "yu gothic" , sans-serif; font-size: 10.5pt;">翁先生</span><span style="font-family: "yu gothic" , sans-serif; font-size: 10.5pt;">) </span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">doesn't imply awesomeness- it's a means of clarification.<span style="mso-spacerun: yes;"> </span>When folks of the same family name (usually father and son, but it can/has been otherwise) work in the same field, keeping straight which 'Jones <i>Sensei</i>' you mean can be a hassle.<span style="mso-spacerun: yes;"> </span>Add Waka </span><span lang="ZH-CN" style="font-family: "yu gothic" , sans-serif; font-size: 10.5pt;">若</span><span lang="ZH-CN" style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;"> </span><i><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">(young)</span></i><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;"> to <i>Sensei</i> and it's no longer in doubt that one is talking about the junior relative.<span style="mso-spacerun: yes;"> </span>Same with adding</span><span lang="JA" style="font-family: "yu gothic" , sans-serif; font-size: 10.5pt;">大</span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;"> (large) or </span><span lang="JA" style="font-family: "yu gothic" , sans-serif; font-size: 10.5pt;">翁</span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;"> (old) </span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">"O" to <i>Sensei</i>, you aren't saying, 'most beststest teacher evah,' you're simply being clear that you mean the elder 'Jones'.</span></div>
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<i><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">Sempai</span></i><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;"> </span><span lang="ZH-CN" style="font-family: "yu gothic" , sans-serif; font-size: 10.5pt;">先</span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">(before) </span><span lang="ZH-CN" style="font-family: "yu gothic" , sans-serif; font-size: 10.5pt;">輩</span><span style="font-family: "yu gothic" , sans-serif; font-size: 10.5pt;">(</span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">generation/companion) points to someone (or ones) senior to you, but, perhaps, not in quite as august a role as <i>sensei.</i><span style="mso-spacerun: yes;"> </span>It's been suggested that while the term <i>sempai</i> is clearly applicable to anyone with more experience, it is ideally used only for the person or people whose influence you feel strongly enough to want to follow around like a duckling trailing its mom.</span></div>
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<i><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">Kohai</span></i><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;"> </span><span lang="ZH-CN" style="font-family: "yu gothic" , sans-serif; font-size: 10.5pt;">後輩 </span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">(rear generation/companion) is also a relative term, but one that is <b>not</b> <b>ever</b> used as a form of address.<span style="mso-spacerun: yes;"> </span>To refer to younger students, diminutive honorifics are used (for boys, family name or occasionally, given name, followed by </span><span lang="ZH-CN" style="font-family: "yu gothic" , sans-serif; font-size: 10.5pt;">君</span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;"> [<i>kun];</i> for girls, family name, then </span><span lang="ZH-CN" style="font-family: "yu gothic" , sans-serif; font-size: 10.5pt;">ちゃん</span><span style="font-size: 10.5pt;"> [</span><i><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">chan],</span></i><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;"> as opposed to family name, </span><span lang="ZH-CN" style="font-family: "yu gothic" , sans-serif; font-size: 10.5pt;">さん</span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">[<i>san]).</i></span><br />
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<i><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">Shogo</span></i><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;"> are, in general, written 'titles' and not meant to be used as direct forms of address and doing so makes no more sense than using a full title in English, "thank you, Dr. Brown, Licensed General Family Practitioner..." That means that people addressing their teachers as "Shihan" or 'Hanshi*' are incorrectly applying <i>shogo;</i> '(name) Sensei' is what you call her/him (although one <i>could</i> use the <i>shogo</i> to talk <i>about</i> a teacher to another, it would, again, tend to be used as distinction from someone with a similar name).<span style="mso-spacerun: yes;"> </span>This is true no matter whether <i>Renshi</i> </span><span style="font-family: "trajan pro 3" , serif; font-size: 10.5pt;">(</span><span lang="ZH-CN" style="font-family: "yu gothic" , sans-serif; font-size: 10.5pt;">錬士</span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">- practice gentleman/expert)</span><span style="font-family: "trajan pro 3" , serif; font-size: 10.5pt;">,</span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;"> <i>Shihan</i> (</span><span lang="ZH-CN" style="font-family: "yu gothic" , sans-serif; font-size: 10.5pt;">師範</span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">- master paradigm) or <i>Hanshi</i> (</span><span lang="ZH-CN" style="font-family: "yu gothic" , sans-serif; font-size: 10.5pt;">範士</span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">- paradigm expert)- they may write <i>shogo</i> on meisho (</span><span lang="ZH-CN" style="font-family: "yu gothic" , sans-serif; font-size: 11.0pt;">明証</span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;"> -certificates), but they should not expect you to call them such because it's goofy.<span style="mso-spacerun: yes;"> </span>Despite their frequent misapplication, <i>shogo,</i> when used correctly, point to people who exemplify the teachings of a <i>Ryu </i>(</span><span lang="ZH-CN" style="font-family: "yu gothic" , sans-serif; font-size: 10.5pt;">流</span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">- flow, a school or style).<span style="mso-spacerun: yes;"> </span>In order to discuss lineage titles, just a bit about how <i>Ryu</i> are structured.</span></div>
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<i><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">Ryu</span></i><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;"> exist for many types of endeavors in Japan, from <i>Ikebana/Kado</i> </span><span class="text">生け花 </span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">[flower arranging] to Cha no Yu/Chado </span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;"><span class="text">茶の湯 </span>[tea ceremony] to etiquette, music, and theater.<span style="mso-spacerun: yes;"> </span>Every member of a <i>ryu</i> is expected to mold him/herself to his/her <i>ryu</i>, first, by adopting group dynamics and <i>reishiki</i> (</span><span lang="ZH-CN" style="font-family: "yu gothic" , sans-serif; font-size: 11.0pt;">例式</span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 11.0pt;">- </span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">formalities), then through the practice of <i>Kata</i> (</span><span lang="ZH-CN" style="font-family: "yu gothic" , sans-serif; font-size: 11.0pt;">形</span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">- forms).<span style="mso-spacerun: yes;"> </span>Initially rote and prescriptive, <i>kata</i> are designed to introduce clearly structured skills in certain orders to develop and integrate specific psycho-physical attributes.<span style="mso-spacerun: yes;"> </span>Eventually moving beyond emulation and repetition, the practitioner finds him/herself appropriately manifesting <i>gensoku </i>(principles) innate to his/her <i>ryu </i>as acquired through the practice of <i>kata</i> and deepened through <i>oyo</i> (application).<span style="mso-spacerun: yes;"> </span>It is in the transition from imitation of physical format to incorporation of the <i>gensoku</i> paired with immersion in the tradition that characterizes the oft-maligned (though, rather unsurprisingly, not often by those who are 'products' of) pedagogical methods of <i>ryu.</i></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">Many ryu**, use lineal transmission (usually within families and/or around a location significant to the tradition) to ensure an active connection between the founder, the earliest students of the method, and subsequent generations.<span style="mso-spacerun: yes;"> </span>Inheritors serve as a bridge between the (sometimes distant) past, present, and future with duties ranging from mooring the transmission symbolically (fulfilling ceremonial tasks without involvement in day-to-day operations) to much more hands-on.<span style="mso-spacerun: yes;"> </span>Direct oversight can include everything from selecting prospective members to actively teaching, depending on the <i>ryu</i>.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">The two most common titles for those charged with the oversight of a <i style="mso-bidi-font-style: normal;">Ryu</i> are <i>Soke</i> (</span><span lang="ZH-CN" style="font-family: "yu gothic" , sans-serif; font-size: 10.5pt;">宗家</span><span style="font-family: "yu gothic" , sans-serif; font-size: 10.5pt;">-</span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;"> sect house) or <i>Iemoto</i> (</span><span lang="ZH-CN" style="font-family: "yu gothic" , sans-serif; font-size: 10.5pt;">家元</span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">- family foundation), although in some traditions <i>Shihan</i> indicates generational responsibility (for others, Shihan are responsible for technical transmission) and similar to other official-sounding titles, these are frequently misused in the West.<span style="mso-spacerun: yes;"> </span>Implied by both is a willingness to carry their ryu's <i>gensoku</i> into the future with an odd combination of reverence, investment in their method's technical underpinnings and the fearlessness to encourage others to discover the 'truth' contained within the teachings.<span style="mso-spacerun: yes;"> </span>As with other <i>shogo,</i> it is unusual to hear them used as a direct form of address (although one does occasionally hear Japanese speakers refer to the inheritor of their art as 'Soke Sensei' if s/he actively teaches.)</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">Two final notes:<span style="mso-spacerun: yes;"> </span>when referring to one's own teacher to someone outside your group, it is déclassé to call him/her 'Sensei'; instead, standard politeness suggests that one to refer to him/her by family name (or whatever you use regularly) only.<span style="mso-spacerun: yes;"> </span>However, when referring to other people's teacher(s), it is normal to use <i>Sensei</i> (this may seem overly deferential, but again, reduces 'social friction'.)<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">So there you have it- a snapshot of <i>shogo</i> and their proper use.<span style="mso-spacerun: yes;"> </span>As with any component of training, the specifics may change depending on circumstance; in general, anyone teaching a Japanese-based art who wants you to call them by any title 'fancier' than <i>Sensei</i> on the <i>tatami</i> [</span><span class="StrongEmphasis"><span lang="JA" style="font-family: "yu gothic" , sans-serif; font-size: 11.0pt; font-weight: normal;">畳</span></span><span class="StrongEmphasis"><span lang="JA" style="font-family: "yu gothic" , sans-serif; font-size: 11.0pt;"> </span></span><span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">mat] demonstrates a lack of knowledge about (or indifference to) the culture, leading one to ask, 'what else might be odd?'</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">Best regards,</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">Jigme</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">Jigme Chobang Daniels, instructor</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">Aoi Koyamakan Dojo</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">* Just to reiterate, if you're gonna misuse these titles, at least do it in the correct order- titles after name!!!</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: 10.5pt;">**It must be said that there are some <i>ryu</i> without a centralized family or locale at all.<span style="mso-spacerun: yes;"> </span>Rather than some (potentially distant) authority, these <i>ryu</i> rely on Menkyo Kaiden (complete transmission), at which point teachers have total discretion to move the <i>ryu</i> forward as they see fit, e.g. Araki and Kiraku Ryu.<span style="mso-spacerun: yes;"> </span></span></div>
Aoi Koyamakan Dojohttp://www.blogger.com/profile/15776910460938132533noreply@blogger.com0tag:blogger.com,1999:blog-3242232524200727175.post-37092886915470630362018-11-06T17:34:00.001-08:002018-11-06T17:34:08.417-08:00誠 Makoto (Truth/Honesty)
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<span class="text"><span lang="JA" style="font-family: "MS Gothic"; mso-bidi-font-family: "MS Gothic";">誠 </span></span><span lang="DE" style="font-family: "Trebuchet MS",sans-serif;">Makoto (Truth/Honesty)</span></h2>
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<span lang="DE" style="font-family: "Trebuchet MS",sans-serif;">Very few of us are as good as we'd like to be at the things that we find important.<span style="mso-spacerun: yes;"> </span>There are two very distinct approaches to coping with this:<span style="mso-spacerun: yes;"> </span>1)<span style="mso-spacerun: yes;"> </span>Wait passively for long enough, spending time with someone we believe to be a good instructor, attending classes, doing the minimum to progress, believing all the while that skill will strike; like lightning.<span style="mso-spacerun: yes;"> </span>Magical, magical lightning.<span style="mso-spacerun: yes;"> </span>Or, 2) Work- struggle with failure and mixed success; to, through practice, slowly erode impediments and build-in means to understand and express the principles of our art(s)*.<span style="mso-spacerun: yes;"> </span>If one opts for the first, nothing more is required- good luck and Godspeed; for those who take the second, there are few traits that enrich the process as deeply as <i>Makoto.</i></span></div>
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<span lang="DE" style="font-family: "Trebuchet MS",sans-serif;">It would be easy to leave <i>Makoto</i> (often translated as 'honesty' or 'truth') open to interpretation, but in this is meant to address a specific type.<span style="mso-spacerun: yes;"> </span>It is <b><i>not</i></b> what we often think of, that is, being a 'pretty stand-up person who tries to do the right thing and sticks to his/her word.'<span style="mso-spacerun: yes;"> </span><i>Makoto</i> in training is only very rarely about what is said aloud; it is about actions and one's relationship to objective reality; the willingness to work from wherever we find ourselves and to train as we are without pretense**.<span style="mso-spacerun: yes;"> </span>Training in that way plunks us down <i>nakaima</i> </span><span class="text"><span lang="JA" style="font-family: "Yu Gothic",sans-serif;">中</span></span><span class="text"><span lang="JA" style="font-family: "Yu Gothic",sans-serif; mso-bidi-font-family: "MS Gothic";">今</span></span><span lang="DE" style="font-family: "Trebuchet MS",sans-serif;">(literally, '<i>in the middle of now,</i>' fully experiencing and inhabiting the present) and suggests, strongly, that we exist 'in the moment' rather than envisioning another present, longing for the past, or anticipating the future.</span></div>
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<span lang="DE" style="font-family: "Trebuchet MS",sans-serif;">Training with <i>makoto </i>makes feeling insulted by reality seem a bit silly (e.g. gravity isn't a referendum on whether you're a saint or a jerk; being off-spine, out of structure and/or balance are fixable***, but only if experienced honestly- the same is true for any making a good cut, strong strike, etc.).<span style="mso-spacerun: yes;"> </span>Through prolonged exposure, we find opportunities to be more aware (and to then act upon that information).<span style="mso-spacerun: yes;"> </span>We can actively foster <i>Makoto</i> by receiving feedback, with an eye to developing the capacity to feel for ourselves where we need to make adjustments.<span style="mso-spacerun: yes;"> </span>This presents us opportunities to pare away unhelpful and unnecessary habits with each repetition,<span style="mso-spacerun: yes;"> </span>aggregating over time into more physically robust and powerful practitioners.<span style="mso-spacerun: yes;"> </span>Beyond that though, <i>Makoto</i> in training offers insight into long-standing patterns of mind.<span style="mso-spacerun: yes;"> </span>By coming to grips, often in a visceral and unmistakable way, with how individual choices and reactions are a microcosm, we can start to look inward, not with anger, impatience or expectation, but with genuine curiosity.<span style="mso-spacerun: yes;"> </span></span></div>
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<span lang="DE" style="font-family: "Trebuchet MS",sans-serif;">Projecting who we think we are (or are trying to be) is personally dangerous in the early stages of training, both on and off 'the mat'.<span style="mso-spacerun: yes;"> </span>At no point does that benefit society nearly as much as perpetuating a willingness to experience and interact with the world honestly</span><span style="font-family: "Trebuchet MS",sans-serif; mso-ansi-language: EN-US;">.</span><span lang="DE" style="font-family: "Trebuchet MS",sans-serif;"></span></div>
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<span lang="DE" style="font-family: "Trebuchet MS",sans-serif;">Now, lest that start to sound inviting, it should be stated unequivocally that developing an honest practice can be unpleasant:<span style="mso-spacerun: yes;"> </span>boring, irritating, terrifying, and harsh, by turns (or sometimes, all at once</span><span style="font-family: "Trebuchet MS",sans-serif; mso-ansi-language: EN-US;">, and it a given that</span><span lang="DE" style="font-family: "Trebuchet MS",sans-serif;"> you </span><span style="font-family: "Trebuchet MS",sans-serif; mso-ansi-language: EN-US;">will </span><span lang="DE" style="font-family: "Trebuchet MS",sans-serif;">discover things that you don't want to</span><span style="font-family: "Trebuchet MS",sans-serif; mso-ansi-language: EN-US;">). </span><span lang="DE" style="font-family: "Trebuchet MS",sans-serif;">If the opening statement is true though, that very few of us are as good as we'd like to be, then <i>makoto</i> is one arrow in the quiver of improving.<span style="mso-spacerun: yes;"> </span>Not by magic, but through an active, mindful and rigorous application.<span style="mso-spacerun: yes;"> </span>Ultimately, you may even find <i>makoto </i>leaking into other parts of life- even when not wearing pajamas/shorts/sweatpants and punching, throwing or attacking people with sharp tools or blunt instruments.<span style="mso-spacerun: yes;"> </span>For those of us drawn to 'martial' culture, we just happen to do that one punch, breath, throw, kick or cut at a time.</span></div>
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<span lang="DE" style="font-family: "Trebuchet MS",sans-serif;">Yours in striving for <i>Makoto</i>,</span></div>
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<span lang="DE" style="font-family: "Trebuchet MS",sans-serif;">Jigme</span></div>
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<span lang="DE" style="font-family: "Trebuchet MS",sans-serif;">Jigme Chobang Daniels, instructor</span></div>
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<span lang="DE" style="font-family: "Trebuchet MS",sans-serif;">Aoi Koyamakan Dojo</span></div>
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<span lang="DE" style="font-family: "Trebuchet MS",sans-serif;">www.bluehillsdojo.org</span></div>
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<span lang="DE" style="font-family: "Trebuchet MS",sans-serif;">*One of these approaches is fruitful, the other is consistently unreliable...<span style="mso-spacerun: yes;"> </span>The chief issue with 'waiting' is that proficiency isn't binary (nor is it osmotic) even for those with 'talent.'<span style="mso-spacerun: yes;"> </span>Yes, it may be possible to make <i>some</i> progress initially, just receiving pointers and corrections from a mentor at early stages, but sustained growth doesn't happen without sustained effort.<span style="mso-spacerun: yes;"> </span>Taking agency as individual practitioners for our own development and, if inclined, the survival of the arts or ways that we practice is a necessary step (it's nobody's fault nor is it anyone's responsibility outside of ourselves).<span style="mso-spacerun: yes;"> </span>Pretending that it is, fundamentally lacks <i>makoto.</i></span></div>
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<span lang="DE" style="font-family: "Trebuchet MS",sans-serif;">**Pretenses include things like failing to accept mistakes and/or take responsibility for oneself and one's improvement.</span></div>
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<span lang="DE" style="font-family: "Trebuchet MS",sans-serif;">*** As you can imagine, the more minor or subtle the fu antei</span><span lang="DE" style="font-family: "Yu Gothic",sans-serif;"> </span><span class="text"><span lang="JA" style="font-family: "Yu Gothic",sans-serif;">不安</span></span><span class="text"><span lang="JA" style="font-family: "Yu Gothic",sans-serif; mso-bidi-font-family: "MS Mincho";">定</span></span><span lang="DE" style="font-family: "Trebuchet MS",sans-serif;">(instability), the more honed one's perception and instantaneous the fixes need to be, particularly when interacting with other bodies that might not be interested falling down or being struck without... coaxing.</span></div>
Aoi Koyamakan Dojohttp://www.blogger.com/profile/15776910460938132533noreply@blogger.com0tag:blogger.com,1999:blog-3242232524200727175.post-88051725866335351962016-12-10T06:10:00.003-08:002016-12-10T06:10:58.517-08:00Kurushi 苦しい ([Lame] Excuses)
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<span style="font-family: Arial, sans-serif;"><span style="font-size: medium;"><span style="font-style: normal;">Kurushi </span></span></span><span style="font-family: SimSun;"><span lang="zh-CN"><span style="font-size: medium;">苦しい </span></span></span><span style="font-family: Arial, sans-serif;"><span style="font-size: medium;"><span style="font-style: normal;">([Lame] Excuses)</span></span></span></div>
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<span style="font-family: Arial, sans-serif;"><i>There are many words and expressions for 'practice' in common usage. </i><span style="font-style: normal;">Renshu</span><i> </i></span><span style="font-family: Arial, sans-serif;"><i><span class="text">練習 </span> is a term derived from metallurgy, meaning to forge (strengthening, adding whatever characteristics are meant to be imparted while removing impurities) but has been used for centuries in reference to practice (initially, meditation).</i></span></div>
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<span style="font-family: Arial, sans-serif;"><span style="font-style: normal;">Keiko</span><i> </i></span><span style="font-family: Arial, sans-serif;"><i><span class="text">稽古 </span>is a slightly more holistic term a compound of two kanji (chinese characters) kei (consider, ponder or think [about]) and ko (old). </i><span style="font-style: normal;">Keiko</span><i> implies a marriage of practice and study with an eye toward appreciating the roles of previous generations reflected in our traditions. There are also far more specific turns-of-phrase for things like austere practice </i><span style="font-style: normal;">(Shugyo)</span><i> </i></span>
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<span style="font-family: Arial, sans-serif;">As you may have gathered from previous blog entries, the notion that consistent practice is integral to acquiring any worthwhile skill is a one that we hold near and dear. Creating (and maintaining) a meaningful <i>Nichijo no Renshu </i>(daily training) can be difficult; not everyone has the inclination or interest to do it, and even for those who do, there are no guarantees of Awesomeness, only proficiency (and even so, not quickly). Let's look at some of the most commonly heard excuses.</span></div>
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<span style="font-family: Arial, sans-serif;">Before we start in earnest, for the purposes of this essay, let's define practice as: a means to connect the observed (external) to the soma (comprising mind and body- the internal), creating cohesively consistent and usable 'assets', girded by the basics and principles of your art or way (which can then be used both internally and externally). One key component to 'practice' is repetition, but unlike training*, practice can't be done mindlessly (ultimately, good training can't either...); if training is about reinforcing core mechanics, practice is how you express those taijutsu (literally, body skills). </span>
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“<span style="font-family: Arial, sans-serif;"><b>It takes too long/I don't have the time”</b></span></div>
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<span style="font-family: Arial, sans-serif;">A period of focused, mindful, practice is of far more use than a much longer (but scattered) session. In truth, many arts' basics can be done in a relatively short period of time. Realistically at the beginning of an art, you can do everything you know in well under 20 minutes. With a greater volume of material comes a requirement that you select what you will devote your time/energy to during any individual session (FWIW, <i>Kihon </i>[fundamentals] should still factor in).</span></div>
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“<span style="font-family: Arial, sans-serif;"><b>I'm not in the right shape”</b></span></div>
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<span style="font-family: Arial, sans-serif;">And you plan to get into shape by doing... what now?</span></div>
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<span style="font-family: Arial, sans-serif;">When beginning in an art, you'll spend some time doing conditioning (even if you are in competitive athletic shape). Why? Because each system has unique requirements for things like balance, connection and flexibility that being 'in shape' will be good for, but miss the mark. After achieving a baseline, it is necessary to maintain or surpass that conditioning level, lest you come to an intellectual understanding with no means to physically manifest your art. Does that mean that you will be an olympic-level athlete? No, not unless you train to be, but for every art or way there are some specific things that make learning the method go more smoothly; conditioning is high on that list.</span></div>
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“<span style="font-family: Arial, sans-serif;"><b>I tried training but I didn't seem to be getting better”</b></span></div>
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<span style="font-family: Arial, sans-serif;">If you're at an early stage of training, it is likely that you won't <i>feel</i> the improvement; that doesn't mean that there isn't any though. Later, you will hit plateaus or even start backsliding- (often what seems to be regression a good sign in part because it heralds the transition from forcing things to work to actually making use of the appropriate basics).</span></div>
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<span style="font-family: Arial, sans-serif;">With that said, if your daily regimen is the same at year 5 or 8 as it was at year one, something may be hinky** By the time you've been around for a while, even if the amount of time that you spend practicing daily is the same as when you started, the focus will necessarily have shifted. Rather than taking days-off and bargaining, making the choice to engage in a <i>consistent</i> <span style="font-style: normal;">daily</span> <span style="font-style: normal;">practice</span> is of far greater use than skipping days and doing marathon 'make-up' sessions (if you can regularly find hour[s] in your day though [outside of livelihood, familial responsibilities and sleep/health maintenance] do that!) So maybe changing the concentration of your time may make a difference.</span></div>
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“<span style="font-family: Arial, sans-serif;"><b>I can't remember what we did”</b></span></div>
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<span style="font-family: Arial, sans-serif;">How good are your notes? If you aren't taking them, you're depriving yourself of a critical study tool. If you are but still get home and can't figure out what the heck you meant, you may need to find a better method. Some folks use pictures, descriptions, outlines or combinations of some or all; the idea is to find something that works for you (check with seniors, teachers and classmates, they might have helpful suggestions).</span></div>
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“<span style="font-family: Arial, sans-serif;"><b>I don't want to do it wrong”</b></span></div>
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<span style="font-family: Arial, sans-serif;">Okay, let's change contexts for a moment (just to fully appreciate what an insanely counterproductive notion this is)- imagine a child saying, “I'm not going to read (or practice reading) until I can read perfectly.” That makes zero sense. Here's the bad news- if you practice, you're gonna spend some time doing it wrong, but, there's good news too- if you've done the preliminary training, you can only do it 'wrong' for so long; at some point, principle, body method and theory meet*** to steer us in the right direction (sometimes, despite our brains' best efforts).</span></div>
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“<span style="font-family: Arial, sans-serif;"><b>I need to be better first”</b></span></div>
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<span style="font-family: Arial, sans-serif;">This is, in some ways, a continuation of the previous excuse. Improvement through practice assumes that you aren't starting from 'perfect'; the process of shedding unhelpful tendencies/habits while building-in more useful ones (liken that to creating a sculpture from a block of raw material) simply doesn't happen without practice (or to strain the allusion, carving). The sculpture gets better the more you carve to a point. Beyond that, it's no longer a matter of removing material but of polishing to bring-out the fine details. Even if the competence is obvious to you, that polish and 'finish' work allows the intricacies to express themselves.</span></div>
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<span style="font-family: Arial, sans-serif;">Now it's true, we're not blocks of wood, granite or marble. We're complex(ish) creatures with bodies that (usually) aren't ideal and are never (totally) free from discomfort. With that said, what daily training offers to those willing to participate is the process of working with those raw materials of body and mind (and to, through exertion, develop ourselves into something more today than we were yesterday. Not ideal, just better. </span>
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“<span style="font-family: Arial, sans-serif;"><b>I get enough from class, I don't need to work at home”</b></span></div>
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<span style="font-family: Arial, sans-serif;">Maybe that's true. However, if even a chance exists that we gain more through the process of practice and study itself than merely the acquisition of 'skill;' perhaps expending effort every day offers rewards beyond getting good at punching, kicking, throwing and using tools. Heck, one might <i>even</i> suggest that training is, itself, some kind of path...</span></div>
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<span style="font-family: Arial, sans-serif;">Yours in Renshu,</span></div>
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<span style="font-family: Arial, sans-serif;">Jigme</span></div>
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<span style="font-family: Arial, sans-serif;">Jigme Chobang Daniels, instructor</span></div>
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<span style="font-family: Arial, sans-serif;">Aoi Koyamakan Dojo </span>
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<span style="font-family: Arial, sans-serif;">*We are drawing a distinction here between training (conditioning and development work for strength, posture, alignment, etc., usually in service of integrating core structural and movement principles), and practice, which points to acquiring, understanding and refining those principles. To be reductionist, training (development and observation of your body, position, power uses, spinal and joint placement, etc.) is the scaffolding that allows you to do things that you're expected to; practice (observation of the external and bringing it into your sphere as developed through training) lets you build more complex structures, so as to do things that you want to.</span></div>
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<span style="font-family: Arial, sans-serif;">**At that point, have you been training in your art for 5 years, or, as people are fond of asking, “have you had the same year five times?”</span></div>
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<span style="font-family: Arial, sans-serif;">*** This is not to say that it is impossible to misunderstand or think about things incorrectly, only that with correct training the physical expression will out... eventually.</span></div>
Aoi Koyamakan Dojohttp://www.blogger.com/profile/15776910460938132533noreply@blogger.com0tag:blogger.com,1999:blog-3242232524200727175.post-45944166860103785082016-12-04T14:59:00.002-08:002016-12-04T14:59:35.474-08:00Benpo 便法 (Shortcuts)
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<span style="font-family: Arial, sans-serif;"><span style="font-size: large;">Benpo</span></span><span style="font-family: Lucida Sans Unicode;"><span style="font-size: large;">便法</span> </span><span style="font-family: Arial, sans-serif;">(Shortcuts)</span></div>
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<span style="font-family: Arial, sans-serif;">One very deliberate feature of the dojo website is that the links are fairly ecumenical. Since the intent of the site is to be informational, we've included a number of arts (many, that bear no connection with ours but that may prove of interest to readers) as well as to (Japanese and English) language resources and study materials. It is not uncommon to receive E-mail from people suggesting new links, some of which are great fits, others, less so. Several months ago we were contacted by someone from a "Cliff Notes"-type site suggesting it for inclusion. Our response was:</span></div>
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<span style="font-family: Arial, sans-serif;"><i>While recommendations are gratefully accepted, sites of the type that you suggest run counter to the ethos of traditional arts. </i></span>
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<span style="font-family: Arial, sans-serif;"><i>My concern is that inclusion of such a site might encourage, even tacitly, the impression that reliance on secondary sources in lieu of (rather than as a supplement to) personal research is acceptable. For us, us there simply is no substitute for exertion in both practice and study.Thank you for your suggestion.</i></span></div>
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<span style="font-family: Arial, sans-serif;">With that bit of correspondence sent we could get back to (continuing to ignore) long-neglected projects... but unfortunately, the seed was planted; so, what place do shortcuts have <span style="font-style: normal;"><span style="font-weight: normal;">in traditional arts and ways</span></span>?</span></div>
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<span style="font-family: Arial, sans-serif;"><span style="font-style: normal;">Translated</span> from Japanese, <i>benpo</i> presents a (Sanskrit-derived) term, meaning expedient method. Considering that its original use was tied closely to transmission of esoteric meditation practices, the implication is of being efficient while undergoing arduous training. Curiously though, despite the rather strong association with the (purportedly quicker) 'immutable path' it does not point to the skipping of steps or avoiding of hardship, both of which only seem like perks early on (it is often not obvious until too late the ways in which it manifests as a curses; There are a number of reasons for this, not least of which is that built-in to many arts are links between, seemingly, disparate bits of information*.) </span>
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<span style="font-family: Arial, sans-serif;">For most of us, training (and the surrounding/supporting activities) is not a full-time endeavor. No matter how genuine the desire to develop expertise, it is unreasonable to expect that anyone is going to go home from a long day of work and/or school, fulfill familial duties, do chores, and then spend time training, learning a new language and familiarizing him/herself with connected cultural practices. Modern life is complex and we are overbooked. Don't we need/deserve some kind of shortcuts to make practice easier or more fun?</span></div>
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<span style="font-family: Arial, sans-serif;">Well, unless your days begin with you or a member of your household having to fetch cooking and bathing water from a nearby well, stream or river, you grow and/or hunt for the bulk of your food, and routinely have to forego opportunities to read (or otherwise deepen your training experience with research) by remaining daylight (because your artificial light alternative is a fire of some sort, which you must create, then tend yourself) to dig a new privvy or build/repair some portion of your hovel, probably not. Most of us who live in the modern West already exist in far more physical comfort by default than did most (even the very wealthiest) humans in history... The convenience of having nearly unfettered access to life's necessities (and many luxuries, just consider how a series of developments lead to the relative ubiquity of the internet in our homes, allowing us to view the bulk of preserved knowledge, music, science, art, etc. on demand, while in skivvies; beyond the initial barriers of acquiring hardware and maintaining a connection the only hard limits are one's free time and level of curiosity) raises an expectation that everything should come so simply. It hasn't, doesn't and shouldn't (always).</span></div>
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<span style="font-family: Arial, sans-serif;">Despite the prevailing attitude that it is possible to hack anything and everything to achieve peak efficiency, sometimes the best hack is to just 'do the work'. Grit, determination, resiliency and other traits fostered through the process of earnestly trying (and failing often, though hopefully learning to avoid making the exact same mistakes in perpetuity), are nurtured this way.</span></div>
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<span style="font-family: Arial, sans-serif;">Proceeding along an art or way (particularly when traditional cultural trappings figure heavily) tends to shift one's perspective. Instead of chasing instant gratification, we come to appreciate that adopting and holding to a regular practice is to tread the same ground as previous generations, itself, a type of shortcut (by not having to constantly reinvent the wheel). So despite moments of wishful thinking, we find ourselves genuinely grateful for clear transmission from good teachers**, and see that this (coupled with rigorous personal practice) are all the shortcut we can use. By moving too far away from those unreasonable expectations, we risk cheating ourselves.</span></div>
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<span style="font-family: Arial, sans-serif;">Yours in the struggle,</span></div>
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<span style="font-family: Arial, sans-serif;">Jigme</span></div>
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<span style="font-family: Arial, sans-serif;">Jigme Chobang Daniels, instructor</span></div>
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<span style="font-family: Arial, sans-serif;">Aoi Koyamakan Dojo</span></div>
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<span style="font-family: Arial, sans-serif;">www.bluehillsdojo.org </span>
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<span style="font-family: Arial, sans-serif;">* A friend coined a great phrase, describing the population of her school (who range in age from 6 to late-teens, all with hearing-loss up to and including profound deafness, many of whom had not been exposed to a formal sign language before starting school) as inhabiting, "islands of knowledge." That is the case for us all- we each bring specialized bits of information and experience into our training. Guided exploration (with an instructor or senior) in conjunction with personal practice and study encourages those islands to connect, bridging them tenuously at first; those links become far more important and robust than one might guess.</span></div>
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<span style="font-family: Arial, sans-serif;">** Actually, if fortune provides, a good teacher can, by example and pedagogical method, alter one's practice radically with just a question, phrase or through observation and correction. To use the image of a garden, we are like loam; training in basics makes an ideal planting medium for seed (the principles contained in our arts). A skilled, attentive teacher, like a master gardener, knows through experience when to further condition the soil, when to water, to harvest, and when conditions are right for the next round of planting. S/he also knows how to pull weeds and even thin culms to strengthen the plants that are most beneficial. </span>
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Aoi Koyamakan Dojohttp://www.blogger.com/profile/15776910460938132533noreply@blogger.com0tag:blogger.com,1999:blog-3242232524200727175.post-19894704726997230362016-10-14T03:04:00.003-07:002016-10-14T03:04:49.292-07:00
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<span style="font-family: Arial, sans-serif; font-size: large;"><span style="font-size: x-large;">口伝</span> </span></div>
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<span style="font-family: Arial, sans-serif;"><i>Kuden</i> (verbal instructions) are important and universal enough to span centuries and cultures; every art, profession, and avocation has <span style="font-style: normal;">them. Unfortunately, though, these gems of simplicity tend to be ignored and forgotten </span>once they've done their jobs. If you are in a position to teach or mentor, you've no doubt already come to appreciate these nuggets of wisdom; if you aren't (yet), still don't be too quick to discard <i>kuden.</i> Like any true friend, it's not just that they are/were there for you when you needed them; the memory of them can provide strength and guidance when there's no one around*. </span>
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<span style="font-family: Arial, sans-serif;">To use a common modern example, take something as simple as 'look both ways before you cross the street,' a phrase so ubiquitous that it may be hard to remember the first time someone said it to you. Chances are that the introduction came from someone senior to us (a parent, guardian, older sibling or teacher); though it comprises words that we know, the phrase probably didn't mean very much because we lacked the practical experience of <i>why</i> people slow down when approaching an intersection. After a while, it sinks in that this idea is rooted in experience and that it isn't just some arbitrary suggestion, but a legitimate tool, and that looking out for one's safety is a shared responsibility (we can't expect that motorists and bicyclists will always be aware of pedestrians.) </span>
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<span style="font-family: Arial, sans-serif;">Once we're old enough to start traveling without supervision, there may be an occasional flash of memory of someone saying, "look both ways before you cross the street," but in large part, you don't have to think about it. That <i>kuden</i> has served its purpose and expands to controlling vehicles as well. So, if a phrase as simple as 'look both ways' can inform your decisions, not just as a pedestrian, but as a bicyclist and driver, what untold fount of magic powers are contained in the kuden of something older and/or more esoteric?</span></div>
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<span style="font-family: Arial, sans-serif;">Without going out on too much of a limb most are pretty mundane, detailing things like which "foot initiates a turn." The simplest aim is creating and maintaining consistency in (at first, exclusively) physical mechanics. Once those <i>kuden</i> have done their jobs, something interesting happens. Beyond the obvious detailing of foot placement, there are core alignments suggested (maintaining 'directional agreement' between toes and knees, which strongly implies how to position hips, center, trunk etc.). Somewhere in the process of manifesting these principles, <i>Kuden</i> become a part of how you inhabit and move through physical space. It is notable that a 'turn' of phrase so simple can help integrate a body method, especially one that proves key to everything from 'doing techniques', to power generation, use of weapons and even manual therapy/bodywork... not too bad for five words.**</span></div>
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<span style="font-family: Arial, sans-serif;">Yours in appreciation,</span></div>
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<span style="font-family: Arial, sans-serif;">Jigme</span></div>
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<span style="font-family: Arial, sans-serif;">Jigme Chobang Daniels, instructor</span></div>
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<span style="font-family: Arial, sans-serif;">Aoi Koyamakan Dojo</span></div>
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<span style="font-family: Arial, sans-serif;">www.bluehillsdojo.com </span>
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<span style="font-family: Arial, sans-serif;">*More than just convenient mnemonics, skillfully crafted <i>kuden</i> cue appropriate responses from us when there is no teacher or senior whence to solicit assistance.</span></div>
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<span style="font-family: Arial, sans-serif;">**Often, the original renderings (in Japanese) can interesting/telling in their own right.</span></div>
Aoi Koyamakan Dojohttp://www.blogger.com/profile/15776910460938132533noreply@blogger.com0tag:blogger.com,1999:blog-3242232524200727175.post-88340675267900727652016-03-26T03:12:00.000-07:002016-03-26T04:17:39.741-07:00Kata (Forms)<div align="CENTER" style="font-style: normal; margin-bottom: 0in;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">Kata
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<span style="font-family: "lucida sans unicode"; font-size: x-large;">形</span></div>
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<i><span style="font-size: x-small;"><span style="font-family: "verdana" , sans-serif;">Without changing the outward form, we must never do the same kata twice- this is a waste.</span></span></i></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><i>Note:
Following the Japanese standard, 's' will not be used to indicate
plurals.</i></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Can
you image the infomercial? “Check out this amazing tool that can
teach and hide 'secret' material at the same time! How much would
you expect to pay for this amazing, all purpose tool... $800? $200?
Well it can be yours now for the special introductory price of...”
The word “<i>Kata</i>” (kah-tah, not kadda), means 'form' and
they are one of the chief means of passing along information in
traditional Japanese culture. <i>Kata</i> often comprise a series of
postures and gestures that, when performed in sequence, transmit
principles of an art. Interestingly, modern research indicates that
assuming certain postures or positions do more than just change our
bodies- they can effect mood, behavior and even thought patterns. </span>
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<span style="font-family: "trebuchet ms" , sans-serif;">Training
in <i>Kata</i> (forms) despite their reputation, is more than rote
learning through slavish repetition. Good <i>kata</i> practice <i>must</i>
consist of pushing back, asking questions (of oneself and the
sequence) ultimately, pulling them apart to find potential beyond the
<i>bunkai</i> (discussion) and and <i>oyo</i> (applications). <i>Oyo</i>
also separates the <i>uchi/ura</i> (inside) from the <i>soto/omote</i>
(outside)- many <i>oyo</i> are not immediately obvious (even to
participants of a tradition, let alone to those watching a form from
the outside) and require explanation and demonstration by a senior or instructor. Receiving <i>oyo</i> is predicated on a certain amount of confidence in the character of a
student, that the lessons won't be misunderstood, <i>neko ni koban</i> (coins to a cat or as we say in English, casting pearls before swine) or misused. One way that this determination is made through observation of a
students' <i>Kihon</i> (fundamentals), which provide both
tools and technology to perceive and (eventually)
manifest the skills contained in <i>kata</i>.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">In
this context, <i>Kihon</i> exist as a means to inculcate a series of
consistent and dependable mechanics (things like turning,
transferring weight, correct grip and manipulation of tools, etc.)
that function without conscious thought. The more thorough one's
grasp of <i>kihon</i>, the more reliably they work, which in turn
means the more efficiently you can learn, practice and implement the
lessons of <i>kata</i>, particularly under pressure. </span>
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<span style="font-family: "trebuchet ms" , sans-serif;">Building
on the foundation of <i>Kihon</i>, students begin to learn <i>Kata</i>.
A key component to making the jump from the external imposition of
forms into a usable skill is built-in to sound practice:
progressive stress testing. What the heck does that mean? That
before 'sparring' as such*, 'unpredictability' is introduced while
completing forms with a more skilled <i>uketachi</i> (receiving
sword) or <i>uchitachi</i> (swinging sword) senior partner. Once
<i>shitachi</i> (performing sword, the junior) has learned the
overall series of movements, <i>uchitachi</i> begins to make
alterations, sometimes quite subtle, to the timing, distancing,
rhythm and applied force of a kata without changing the overall
sequence. It is the job of <i>uchitachi</i> to provide <i>shitachi</i>
with practice 'at the limit of his/her skill' without exceeding that
point (discouraging the junior by just beating the tar out of him/her
or moving faster than the junior can respond to properly**.) Having
to adapt to this pressure can evoke very real physical symptoms of
being in 'live fire' situations such as “fight or flight”,
“adrenal dump”, “hyper-vigilance” and other strong biological
responses but without incurring some of the poor habits that
free-play can bring. <i> Shitachi </i>is forced to be adaptive without
panicking or abandoning the sound mechanics imparted by <i>kihon</i>,
and always against a slightly stronger opponent than is comfortable.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Although
this happens under controlled circumstances (E. G. both <i>Uchitachi</i>
and <i>Shitachi</i> know the <i>general</i> shape that the engagement
is going to take) there is a plasticity required to reacting
appropriately as you come to embody the underlying principles. This
method is ingenious for the ways that it causes stress and provides
solutions to those stressors, leading <i>Shitachi</i> to make
(stylistically and situationally) appropriate choices lest he/she get
whacked, bumped or cut, sometimes severely. At the same time,
<i>Uchitachi</i> is being trained to tinker with the junior's<i>
</i>perception of timing, distance, connection, power and intent, all
while leading the engagement with sensitivity (changing the ways in
which one engages). </span>
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<span style="font-family: "trebuchet ms" , sans-serif;">This
holds true for <i>waza</i> (techniques) as well; unarmed kata, rather
than treating striking and grappling (or therapeutic bodywork for
that matter) as merely a technical repertoire, provides a
'<i>seiteigata,</i>' an idealized form of how principles can, or
perhaps ought to, be articulated together. If these <i>seiteigata</i>
are a vehicle for transmission, the <i>oyo</i> are something of a
map***... the course and speed of your journey depends, in part, on
the interplay between <i>Tori</i> the (taker or 'winner' of a
technique) and <i>Uke</i> (the receiver or 'loser').</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">In
the best case, <i>Uke (</i>again, the more experienced person)
moderates the level of feedback (ranging from almost leading at the
beginning, through level-appropriate resistance, to eventually,
actively countering) that forces <i>Tori</i> to stay aware of the
very real possibilities of unexpected changes. This
type of practice eliminates the 'Geez, I can't wait for it to be <i>my</i>
turn to actually do something other than just get beaten-on' feeling
that can permeate one's experience as <i>Uke</i>; It also keeps<i>
Tori </i>from<i> </i>developing a false sense of competence,
believing that 'winning because the script calls for it' is an
expression of skill. Being able to feel how minor changes from <i>Uke</i>
can majorly alter (or utterly wreck) the interaction is a gift. . .
even if it doesn't feel like one at times. </span>
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<span style="font-family: "trebuchet ms" , sans-serif;">So
where does the notion that <i>kata</i> training is solely the
mind-numbing practice of arbitrary sets before we get to the 'good
stuff' even arise? It may be that early Western students (of
traditional Japanese arts anyway; other cultural tradition's reasons
might be different) didn't, in large part, have language in common
with their teachers- it would have been simple to get someone to
follow along with exercises, forms and free-play without requiring
in-depth explanations. Some of it may also come down to fundamental
pedagogical concepts like Shu-Ha-Ri (essentially 'learn, embody,
transcend [a form or method]') carried over from pre-modern Japan.
Contrast that with Western models (outside of guild systems), in
which one spends significantly less time in emulation and more time
in 'application' or free-play (this is not to imply that good
teachers did/do not continue to engage their charges with some
pattern practice- to wit: Italian fencing schools in particular are
known to have featured some esoteric training through form; much of
that information has, unfortunately, been lost to time).</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Wherever
it derives though, bridging the conceptual gap between
“boring/repetitive” and “engaged/lively” can fundamentally
effect the ways in which one approaches forms. In return, those
forms deliver to us new ways of, at first moving and gradually
experiencing things by shifting perspectives. By fully
integrating a series of somatic responses, their </span><span style="font-family: "trebuchet ms" , sans-serif;">intended
meaning and </span><span style="font-family: "trebuchet ms" , sans-serif;">accompanying
mental/emotional components one comes to appreciate the brilliance and care that went into their formulation and transmission. Ultimately, well-designed <i>kata</i> offer far more than
proscribing where you put your hands and feet; they provide a
(meta)physical connection with our traditions themselves, linking us
directly with the experience of practitioners of the past and
present<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"> while charging us to hold the teachings in trust for the future.</span></span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Yours
in appreciation,</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Jigme
Chobang Daniels, Instructor</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Aoi
Koyamakan Dojo</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;">Reader's
note: you may notice that there is no mention made of solo forms
here. Sure, when many people hear the word '</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><i>kata</i></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;">'
the image that springs to mind is of a bunch of people, clad in white
keikogi, doing the same individual 'kuroddy' form in unison (either
unarmed or equipped with boating/farming equipment). Despite that
powerful image, the omission is purposeful- I am not familiar enough
with the teaching and practice of Karate no kata**** (training forms
of Karate) to offer any thoughts of use. As for Japanese arts,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><i>Tandoku</i></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;">
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><i>Renshu</i></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;">
(literally, solo or single [person] forging) do exist and serve
valuable roles in one's physical, biomechanical and proprioceptive
development. However, these methods cover a lot of ground-
everything from stretching/strengthening, tendon/fascia development
and alignment exercises to full-on solo forms with and without
weapons- these tend to be pretty specific to individual traditions
though. In the tradition to which I belong, we have some interesting
examples with a couple of tools that are designed to be done as both
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><i>Tandoku</i></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;">
and </span></span><span style="font-family: "trebuchet ms" , sans-serif;"><i>Sotai</i></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;">
(partnered) </span></span><span style="font-family: "trebuchet ms" , sans-serif;"><i>Renshu</i></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;">
and function well without alteration both ways (but, as is often the
case, really 'make sense' with another person providing 'pressure').</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">*
Which can, without sound <i>kihon</i>, degenerate quickly into
competition on the order of doing anything, including sacrificing
principle, good mechanics and strategy in order to win at a slightly
more dangerous version of tag. </span>
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<span style="font-family: "trebuchet ms" , sans-serif;">**
Displaying a gross distortions of transmission not beneficial for
either the senior (who is usually displaying ego) or junior.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">***These
<i>oyo</i> can, depending on the art, run the gamut from overt to
cryptic. </span>
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<span style="font-family: "trebuchet ms" , sans-serif;">****
An important linguistic note- <i>Karate no Kata</i> are the forms of
<i>Karate.</i> <i>Karatekata</i> means false, fake, made-up, etc.</span></div>
Aoi Koyamakan Dojohttp://www.blogger.com/profile/15776910460938132533noreply@blogger.com0tag:blogger.com,1999:blog-3242232524200727175.post-6299914850502553402016-02-15T17:00:00.001-08:002016-02-15T17:01:15.092-08:00Futsutsuka (Inexperienced or incompetent)<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;">Futsutsuka </span></span></div>
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><span style="font-size: small;">(Rude, inexperienced or incompetent)</span></span></span></div>
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<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">The Ballad of Doug Peters</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">Luke: Is the <i>Doug </i>side stronger?</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Yoda: No. Quicker, easier, more seductive it is.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">A (perhaps mis)quote from Star Wars Episode V: The Empire Strikes Back</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i></i></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>It needs to be said that I've never (within memory at least) trained with anyone named Doug Peters; the moniker was coined by my older son in response to an anecdote* so apologies to anyone that it may offend. While it is a male name and male pronouns are used, it is meant without gender; anyone who would escort you to the far reaches of sanity is Doug Peters. Finally, the name is a catch-all/composite of a number of people (including, unfortunately, me.)</i><br /><br />Doug Peters needs for you to understand some things. Sure, he may be a novice at your system, but his period of training, often with well-known teachers (seminars count, right?<span style="font-family: "arial" , "helvetica" , sans-serif;">**</span>), has been fruitful. He has a 'martial' CV as long as a leg and filled with accomplishments. Or, Doug Peters is super interested in your school- he'll call you to ask you the some handful of semi-esoteric questions, schedule a visit, not show-up, fall off the radar for a year or two, then reappear to repeat the process with the same questions that you've already answered. Or, he'll question the relevance of Kihon (fundamentals) for him because, while he works out at the gym every day, it's hard to find time or space to fit those in, and besides, he knows how to "do something like that anyway." Or the Doug Peters who doesn't train outside of class because he, "doesn't want to do it wrong" but never takes notes or integrates suggestions made in class by seniors and teachers.<br /><br />In every case, Doug Peters requires exceptions to the standards of your school, but that's okay- his situation is singular; he's not like everyone else... just ask him.<br /><br />A handful of things characterize the Doug Peters Experience <span style="font-size: xx-small;">TM</span>:</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />1) The want/need to have (possibly legitimate, if irrelevant) experience acknowledged as expertise- <span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">for example,</span> just because you <span style="font-family: "arial" , "helvetica" , sans-serif;">have real<span style="font-family: "arial" , "helvetica" , sans-serif;"> training in <span style="font-family: "arial" , "helvetica" , sans-serif;">karate doesn't mean that you should teach sword <span style="font-family: "arial" , "helvetica" , sans-serif;">without proper inst<span style="font-family: "arial" , "helvetica" , sans-serif;">ruction<span style="font-family: "arial" , "helvetica" , sans-serif;">, same for <span style="font-family: "arial" , "helvetica" , sans-serif;">taking a few misunderstood drills from Filipino arts, <span style="font-family: "arial" , "helvetica" , sans-serif;">and<span style="font-family: "arial" , "helvetica" , sans-serif;"> teaching stick and knife. . . that dog won't hun<span style="font-family: "arial" , "helvetica" , sans-serif;">t<span style="font-family: "arial" , "helvetica" , sans-serif;">.</span></span></span></span></span></span></span></span></span></span></span></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />2) The ability to quote chapter and verse on how other arts do things, but failing to make the effort to see things as new or allow them to exist outside of that filter... despite (theoretically) undertaking to learn a different method.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />3) Hearing in a way that twists answers to 'match' his preconceptions (which are often, just plain goofy.) This can lead to some clarifying questions that are so wacky and out of left-field that it's like he's in some other class .</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />4) Your problems are your problems, whereas his problems are . . . also your problems. This often comes with 'plug your ears and run'-levels of oversharing.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />5) His time is precious. Yours, not so much. He'll blow-off class and go off the reservation for weeks, then apologize with (nigh-unreadable) missives (overlong and rife spelling errors and missing punctuation) that require a Doug/English translator. Or, as bad, long, painful telephone conversations, usually right when you're in the middle of something else (like work.) Expect for things said to not match objective reality, as they have been through a mental 'fun<span style="font-family: "arial" , "helvetica" , sans-serif;">-</span>house mirror' (see item number 3.) Also, don't be surprised to find out that that 'sick relative' or 'work emergency' was actually just some sporting event or party for which he blew off class... he may even post photos on social media. . .</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />6) A deep abiding love of talking about how important 'the arts' are to him and how strong their influence, virtually no reflection of this in his conduct or affect; not surprisingly, very little actual time is spent working on or off 'the mat.'</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />7) A lack of sensitivity to the environment- this includes failing to pick up on cues or even overt instruction. Details matter<span style="font-family: "arial" , "helvetica" , sans-serif;">***</span>, but not to Doug Peters; except for the ones that he remembers from somewhere else, to which he will ardently cling .</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />8) Possibly most injurious to his own development and drag to those around him is a fundamental inability or refusal to participate or engage honestly****, he's easily offended with a strong negative reaction to critique, no matter how mild (see number 4.)<br /><br />In the early- to mid-1990's, two friends/training partners and I attended a school with a Doug Peters The three of us would get together regularly outside of class to work on material; the approach that we took stood in contrast to the formal classes at that school (we made contact, hard and often.) That Doug Peters spent almost a year talking about how much he'd love to join us. When he finally did, it took about 43 minutes into our three hours together before he suddenly remembered that he had to be . . . elsewhere<span style="font-family: "arial" , "helvetica" , sans-serif;">*****</span>. <br /><br />What did that Doug Peters take away from this? That it was a "cool experience" and that he'd, "let us know when his schedule opened up" enough to come back. The underlying message was that he liked his mat-time much more without being made to feel uncomfortable, let alone punched in the head, choked unconscious and/or joint-locked and thrown 8-ways from Sunday. He eventually quit the school<span style="font-family: "arial" , "helvetica" , sans-serif;">******</span>, and moved on to other endeavors, but he lost out in a big way that day, and not because of any skill that we had. What he missed was a chance to investigate his fear and bruised ego and work to get better with people who were willing to provide honest feedback. Unfortunately, many Doug Peters (Dougs Peters? Doug Peterses? How about just <span style="font-family: "arial" , "helvetica" , sans-serif;">Futsutsuka</span>mono<span style="font-family: "arial" , "helvetica" , sans-serif;"> </span>[rude people]) tend to be drawn to the trappings of accomplishment (things like belts, ranks, titles, etc.) but aren't compelled to undertake the arduous work of refining themselves. Those </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Futsutsukamono</span></span> want to hobnob with people who've put in the effort, (because . . . um, osmosis . . .) but they're only willing to wait for so long- at some point, being around skilled people often compels one to enter their world through practice... not good for the business of being a </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Futsutsukamono</span></span></span></i>. <br /><br />Acquiring skill, or even laying the groundwork to do so, rarely happens in a 'bolt from above' that many </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Futsutsukamono</span></span></span> </i>of the world cling to with a fervor. Embracing the struggle of incremental progress through consistent training and practice, lacks "magic." The results though are concrete and repeatable (of course, good training partners are worth their weight in gold and tossing in a bit of study never hurts, either.) The process of finding places where we are stuck and working at them can be slow; it certainly doesn't have a convenient "resting position." It is far easier and more seductive to keep things in the realm of the theoretical- the kingdom that </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Futsutsukamono</span></span></span> </i>can rule without annoying things (like objective indications of inadequacy) entering the equation.<br /><br />When confronted by the possibility that we aren't good, or worse yet, have been mistaken about a whole art or method's efficacy (and have wasted untold resources of time, effort and often, heaps of money), humans either accept and move on or seek creative ways to cope. The person who knows that he is, or used to be, awesome and/or from a school with "all the answers" is a tough nut to crack. Here's the thing though, those who never allow themselves to reach that point of discomfort (realizing how much more work there is to do) remove a chief impetus for growth, after all, why work hard if you are already perfect? Ironically, though, struggling to push beyond wanting to be recognized as "good" or needing to be praised for minimal effort, offers untold richness, texture, and detail which will always lie out of reach of those who opt to delude themselves. <br /><br />We are all, to some extent (unobservant of details, rude [sometimes without meaning to be], inconsiderate of others' time, lazy, boastful, untrustworthy, etc.) </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Futsutsukamono</span></span></span></i>. If training is to be transformative, can we spot those habits and curtail them in ourselves? Can we make alterations to our own patterns, and at least set better examples?<br /><br />So, every once in a while, just ask yourself, "Am I being <span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">F</span>ut<span style="font-family: "arial" , "helvetica" , sans-serif;">suts</span>uka</span>?" If the answer is no, excellent. If the answer is even remotely, "maybe," breathe deeply, relax, be present, forget your narrative (of who and what you think you are), allow for a outcomes outside of your expectations and expand your awareness to see what's actually happening- there's big beautiful world just waiting to be seen. <br /><br />Yours in the struggle,<br />Jigme<br /><br />Jigme Chobang Daniels, instructor<br />Aoi Koyamakan Dojo</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><!--DOCTY--> </span>*A fellow who trained at the dojo briefly asked (with a straight face) if when I say every class that everyone ought to practice basics every day, that included him. To add emphasis, he said, "So to be clear, are you saying that I, 'Doug Peters,' should be practicing kihon?" The name stuck and it's hard to imagine life without it now.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> **Hint: Nope, it usually doesn't.</span><br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">***E.G. The ways in which one wears clothing is important for some- tools have their 'homes' and dressing correctly for one's tradition puts those tools to hand in a way that are part and parcel of the art.</span><br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"> ****Looking at that list, it seems to hinge on two key issues. . . weird.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">*****That training session itself wasn't vicious, though in general we tended to abandon politeness to see if we could make that art work under pressure. Our goal was to offer each other training with an eye toward finding genuine physical competence under duress.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">******As did those training partners and I, though for different reasons. </span><br />
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<i><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: large;"> </span></span>Ayamachitewa aratamuruni habakaru koto nakare.</i></div>
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<i>If you make a mistake, don't hesitate to correct it.</i><br />
Japanese proverb <i><br /></i><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: large;"> </span>(Falsified History)</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Lies,
Damned Lies and Martial Arts History</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">It is
unfortunate that no literary wit in Japan took on the mythos of
knighthood with the ferocity and brilliance of Cervantes with Don
Quixote; the often hilarious skewering of delusional and self-serving
behavior and oceans of justification masquerading as chivalry (as it
never really existed) still resonates.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">By
contrast, Japanese men-at-arms have had the opposite in authors like
Nitobe (who did not train in combative arts and married an English
Quaker), author of Bushido (at best, an apologist tract, at worst
deliberate obfuscation of feudal-era history; it is not hard to
imagine that he would have found himself at a loss to explain Japan's
bloody past to those in his new social circle and so sought ways to
compare bushi to the similarly mythologized knights errant of
Europe), and Herrigal, author of Zen in the Art of Archery (a German
national who, despite living in Japan for some time, never attained
any level of proficiency in the language and was, by his own
teacher's accounting, 'confused' about what was being shown- any
implicit meaning, Herrigal seems to have ascribed to 'Zen' even when
that was not remotely the point); not to mention Ratti and
Westbrook's fantasy, Secrets of the Samurai, and untold other
material that helped to forge some fairly heavy misconceptions.
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<span style="font-family: "Trebuchet MS",sans-serif;">Due in to books of this
type, the party line (in English, at least) has for more than a
century been that the warrior caste (<i class="yiv6524406189" id="yiv6524406189yui_3_16_0_1_1443499365461_2562">bushi</i> or <i class="yiv6524406189" id="yiv6524406189yui_3_16_0_1_1443499365461_2564">samurai</i><span class="yiv6524406189" id="yiv6524406189yui_3_16_0_1_1443499365461_2566" style="font-style: normal;">)
were protectors of peasant farmers, exemplars of decency and
morality, holding honor above all things while adhering to the
ancient bushido (warrior way.) It is, as Capote said, “pretty to
think so” however, it's wrong; romantic, but wrong nevertheless.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span class="yiv6524406189" id="yiv6524406189yui_3_16_0_1_1443499365461_2574" style="font-style: normal;">While
there certainly were folks who distinguished themselves as paragons
of virtue, they were not the norm. In fact there was a 150+ year
period in which the easiest way to get ahead was to either kill your
boss outright or switch allegiances part-way through a battle and
pick-up the pieces after. Even the Tokugawa family (who ruled Japan
for over 200 years) did this to ascend to power*. </span></span>
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<div align="LEFT" class="yiv6524406189" id="yiv6524406189yui_3_16_0_1_1443499365461_2580" style="margin-bottom: 0in;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span class="yiv6524406189" id="yiv6524406189yui_3_16_0_1_1443499365461_2582" style="font-style: normal;">It
bears mention, of course, that it's not just the cultural stuff that
were hit with a veneer of untruth either. Applications (jumping,
spinning and flying kicks were used to unseat cavalry, oi tsuki from
karateka bored holes through armor, re-purposed farming implements
were the first line of defense against brigands, etc.) and
personalities (Ueshiba Morihei studied a number of arts that
contributed to Aikido's creation and he was called O Sensei due to
his excellence as an instructor) both received the treatment as well.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">So what?
Why does this matter, after all, they're just stories and if they
have inspired generations of students, who are we to mess with the
natural order? Where's the harm? It's simple- many of the stories
that we read and heard as a young people were of uncompromising
loyalty, fealty and honor; of invulnerable masters accomplishing
improbable feats. If part of a traditional transmission includes
passing on lore (providing cultural context) are we not doing our
juniors and students disservice by continuing to perpetuate fiction?
Perhaps it's time for us, as a community, to not take as gospel the
many stories (or even the meanings of forms) that we've inherited,
and to make research an important component of our training...
perhaps strongly encouraging our juniors to do the same. Yes, it's a
lot of work and in the short-term, we lose a single (but important)
component of tradition. What we gain though is better understanding
of not just the history of our arts but the context in which they
came to be (and with that, how and why they were designed to work as
they do.) Who knows, we may come across some great new stories...
and heck, maybe these un-embellished bits of history will be things
that we can proudly pass on- not as myths, but as true and important
parts of the living traditions that we devote so much time and effort
to practice, study, embody and teach.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">Yours in
the joyful spirit of research,</span></div>
<span style="font-family: "Trebuchet MS",sans-serif;">
</span>
<div align="LEFT" class="yiv6524406189" id="yiv6524406189yui_3_16_0_1_1443499365461_2596" style="font-style: normal; margin-bottom: 0in;">
<span style="font-family: "Trebuchet MS",sans-serif;">Jigme</span></div>
<span style="font-family: "Trebuchet MS",sans-serif;">
</span>
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<div align="LEFT" class="yiv6524406189" id="yiv6524406189yui_3_16_0_1_1443499365461_2602" style="font-style: normal; margin-bottom: 0in;">
<span style="font-family: "Trebuchet MS",sans-serif;">Jigme
Chobang Daniels, instructor</span></div>
<span style="font-family: "Trebuchet MS",sans-serif;">
</span>
<div align="LEFT" class="yiv6524406189" id="yiv6524406189yui_3_16_0_1_1443499365461_2604" style="font-style: normal; margin-bottom: 0in;">
<span style="font-family: "Trebuchet MS",sans-serif;">Aoi
Koyamakan Dojo</span></div>
<span style="font-family: "Trebuchet MS",sans-serif;">
</span>
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<span style="font-family: "Trebuchet MS",sans-serif;">*Tokugawa
Ieyasu (who established the dynasty) promised his terminally ill
mentor, Toyotomi Hideyoshi, that he would serve as one of five
regents to Toyotomi's son, Hideyori, ensuring the latter's succession
to the role of Shogun. Instead, following the death of Toyotomi in
1598 and his most loyal regent in 1599, Tokugawa reneged on his
promise, and continued to consolidate power; in 1600, victory at the
pivotal Battle of Sekigahara, heralded the last major hurdle to
uniting most of the Japan into a single nation, under single rule, as
begun some 40 years earlier by Oda Nobunaga and continued by
Toyotomi.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;">So
happy-endings all around, right? Except, what of the young son,
Hideyori? His castle was attacked by the Tokugawa government in two
famous campaigns (responses to claims that he'd been disloyal by
actively plotting an insurgency- charges that seem to have been
baseless) and was forced to commit seppuku (a form ritual suicide
'reserved for the bushi' that entailed disemboweling oneself with a
knife while 'attended' by a trusted swordsman to act as kaishaku
[second] whose job it was to remove the head [while leaving a flap of
skin to prevent the head from rolling away] after the requisite cut
had been made but before the principal could utter a cry or otherwise
dishonor himself) in 1615, just a few months shy of his twenty-second
birthday.</span></div>
Aoi Koyamakan Dojohttp://www.blogger.com/profile/15776910460938132533noreply@blogger.com0tag:blogger.com,1999:blog-3242232524200727175.post-73560715483210659792015-04-20T18:39:00.001-07:002015-04-20T19:06:52.976-07:00Hayatochiri<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: large;">Hayatochiri </span>(Coming to a [False] Conclusion) </span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;"><img alt="http://dict.regex.info/cgi-bin/j-e/S=48/FG=b/BG=w/jap/%c1%e1%a4%c8%a4%c1%a4%ea?TR" src="http://dict.regex.info/cgi-bin/j-e/S=48/FG=b/BG=w/jap/%c1%e1%a4%c8%a4%c1%a4%ea?TR" /></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<i><span style="font-family: "Trebuchet MS",sans-serif;">Quick disclaimer from the pitiful excuses department of the dojo- Happy 2015- things have been busy but I'll be making a greater effort to update this blog.</span></i><br />
<br />
<span style="font-family: "Trebuchet MS",sans-serif;">The human brain is a remarkable instrument, capable of astounding feats of calculation, memory, reason and piercing insight. It is, however, when combined with our limited sensory abilities (compared with most other species on earth) and propensity to rationalize, easily fooled, coerced or outright convinced into stupidity.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">In the context of learning almost any art or way, we as students find ourselves confronted with some bit of oral history that has been 'repeated enough to be true.' An easy conclusion to draw is that because one's seniors are, well, senior, that they <i>must </i>have some kind of special knowledge, borne from years of training...</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">This can encourage the repetition of dumb tropes (the <i>Bushi </i>[<i>Samurai</i>] were paragons of virtue and honor) dangerous myths (OUR Super-deadly-technique-X <span style="font-size: xx-small;">TM</span> will always work in every situation and against all comers) and just plain idiocy ('the reason for the zenkutsudachi [long front-stance posture adopted by some modern karate schools] is because when the samurai threw their spears...*' ) Beyond repeating factually incorrect things though, it's not uncommon to come to conclusions about our own experiences that we (genuinely) believe but objective listeners might find less convincing.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
<span style="font-family: "Trebuchet MS",sans-serif;">A particularly striking example of this was </span><span style="font-family: "Trebuchet MS",sans-serif;">overheard </span><span style="font-family: "Trebuchet MS",sans-serif;">when two retired law enforcement officers (and longtime practitioners of combative arts) were exchanging stories recently. One, a big, hearty fellow, related that during an arrest he found himself engaged in a three-plus-minute grappling session for his service weapon- the upshot of this for him was that his training provided him with superior stamina which allowed him to triumph. While it's easy to be glad that the 'bad guy' didn't succeed in wresting control of the pistol away from the officer, that conclusion seems... dubious. Yes, conditioning is essential in combatives. Beyond that though, it was luck- had the 'bad guy' been in better shape, that story could have ended <b>very </b>differently (and probably not told by the officer.)</span><br />
<br />
<span style="font-family: "Trebuchet MS",sans-serif;"><img alt="http://dict.regex.info/cgi-bin/j-e/FG=b/BG=w/jap/%cc%f5?TR" src="http://dict.regex.info/cgi-bin/j-e/FG=b/BG=w/jap/%cc%f5?TR" /> Wake (wah-khey- reaching a conclusion based on judgement and research) proves to be a better tool than Hayatochiri. A number of us present for that story had the same reaction, "I'd change the way I train." Just as with any stage of practice and study, there will be times when facts aren't comforting, but continuing to cling to impressions that we drew as younger people doesn't help and in fact, often serves to retard growth. That is especially true when looking at the 'technology' that underlies our art(s) of choice. No art does everything, but earnest training, learning what the strengths and weaknesses of what we do and honest appraisal about where we are in that continuum are hallmarks of a mature practice.</span><br />
<br />
<span style="font-family: "Trebuchet MS",sans-serif;"> </span><br />
<br />
<span style="font-family: "Trebuchet MS",sans-serif;">*Every... single... thing about that is not just wrong, but so utterly nonsensical that even just typing it elicited a cringe.</span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><br /></span>
Aoi Koyamakan Dojohttp://www.blogger.com/profile/15776910460938132533noreply@blogger.com0tag:blogger.com,1999:blog-3242232524200727175.post-19539721943471303882014-03-05T20:58:00.001-08:002014-03-06T10:53:21.739-08:00<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><i>Ni Otorazu</i></span> (It's No Different; It's Just The Same)</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif;"><img alt="http://dict.regex.info/cgi-bin/j-e/S=48/FG=b/BG=w/jap/%a4%cb%ce%f4%a4%e9%a4%ba?TR" class="decoded" src="http://dict.regex.info/cgi-bin/j-e/S=48/FG=b/BG=w/jap/%a4%cb%ce%f4%a4%e9%a4%ba?TR" /></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif;">A modern (and largely Western) idea is that, at core, "all arts are the same</span><span style="font-family: Arial,Helvetica,sans-serif;"></span><span style="font-family: Arial,Helvetica,sans-serif;">." I've heard people say,</span><span style="font-family: Arial,Helvetica,sans-serif;"> "put a <i>hakama </i>(culottes worn in many traditional Japanese arts) on 'x' (doing an art not from Japan), and it would look like 'y' art..." </span><span style="font-family: Arial,Helvetica,sans-serif;"> </span><span style="font-family: Arial,Helvetica,sans-serif;"></span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;">Before questioning that perspective, it must be said that the impulse behind it seems pure; the </span><span style="font-family: Arial,Helvetica,sans-serif;"></span><span style="font-family: Arial,Helvetica,sans-serif;"> (often impressively skilled) </span><span style="font-family: Arial,Helvetica,sans-serif;">folks </span><span style="font-family: Arial,Helvetica,sans-serif;"></span><span style="font-family: Arial,Helvetica,sans-serif;">who speak in those terms mean to be genuinely ecumenical. </span><span style="font-family: Arial,Helvetica,sans-serif;">And while it's true that there are only so many ways to move the human body (barring adaptive
mutation), t</span><span style="font-family: Arial,Helvetica,sans-serif;">hat </span><span style="font-family: Arial,Helvetica,sans-serif;">'inclusive*' </span><span style="font-family: Arial,Helvetica,sans-serif;">way of thinking, ultimately fails to account for the innate differences in </span><span style="font-family: Arial,Helvetica,sans-serif;">structure, </span><span style="font-family: Arial,Helvetica,sans-serif;">characteristics, objectives and approaches between arts, even within a single culture. As a fairly straightforward example- the following links to videos on <i>Kenjutsu </i>(sword tactics- the use of the two-handed Japanese saber.) Please see below:</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Arial,Helvetica,sans-serif;"><i>Komagawa-Kaishin Ryu Kenjutsu</i>- Kuroda Tetsuzan</span>, <span style="font-family: Arial,Helvetica,sans-serif;">Shihan</span></div>
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/sXsMSoXrNgo?feature=player_embedded' frameborder='0'></iframe><br />
<span style="font-family: Arial,Helvetica,sans-serif;"></span><br />
<br />
<br />
<div style="text-align: center;">
<span style="font-family: Arial,Helvetica,sans-serif;"><i>Tenshinsho-den Katori Shinto Ryu Kenjutsu</i>- Otake Risuke, Shihan (Emeritus)</span></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/SHwm62UuZ98?feature=player_embedded' frameborder='0'></iframe></div>
<br />
<br />
<div style="text-align: center;">
<span style="font-family: Arial,Helvetica,sans-serif;"><i>Yakumaru Jigen Ryu</i>, Togo Shigenori, Shihan</span></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/JfAaAdzmF7o?feature=player_embedded' frameborder='0'></iframe></div>
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif;">Umm... not that similar to each other**, sure, all have aspects of batto/iai (drawing), all feature two-person interactive forms, but they don't look, sound or feel like each other. And those are just three of hundreds of <i>Kenjutsu Ryu</i> that existed in Japan. Now imagine how the influence of different languages, customs, arms, armor, etc. would be an ocean away.</span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;">So why, you may be asking, are my knickers in a twist over this? Because it is really only in the deep practice of an art that we can begin to fully appreciate the peculiarities of tradition. To love it for its character and begin to 'know the mind' of the founder and previous generations- that the process of becoming accustomed to and absorbing the 'feeling' of a <i>Ryu </i>will never come from repetition of forms by rote, let alone by watching from the outside and saying what it looks like***. </span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;">As a younger person it was striking and it still comes up- if you've been around for long enough, you've probably worked with high-level practitioners at (in classes or at seminars.) The toughest thing to watch is when the subject of a session is something far outside the range
of that
senior's art and s/he wastes time by trying to relate this art
to things that s/he already knows. You see, rather than learning a
new skill in its own unique circumstance, people often opt to filter experiences through the prisms of tools
that may n</span><span style="font-family: Arial,Helvetica,sans-serif;">ot be well suited to what they are being shown****. I</span><span style="font-family: Arial,Helvetica,sans-serif;">n so doing, these practitioners deprive
themselves of moving beyond a surface-level understanding- that's not to say that they may not derive some benefit to their 'home' art, but they're missing-out on participating in a fully present way. If 'it's all the same', we only see the similarities, so there's no depths to plumb.</span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;">As a final word, a</span><span style="font-family: Arial,Helvetica,sans-serif;">lthough we</span><span style="font-family: Arial,Helvetica,sans-serif;"> humans all comprise the same elements in our bodies and share common ancestors,</span><span style="font-family: Arial,Helvetica,sans-serif;"> it's seeing and </span><span style="font-family: Arial,Helvetica,sans-serif;">celebrating </span><span style="font-family: Arial,Helvetica,sans-serif;">the differences, </span><span style="font-family: Arial,Helvetica,sans-serif;">often </span><span style="font-family: Arial,Helvetica,sans-serif;">small, </span><span style="font-family: Arial,Helvetica,sans-serif;"></span><span style="font-family: Arial,Helvetica,sans-serif;">periodically </span><span style="font-family: Arial,Helvetica,sans-serif;">vast, between individuals, languages and cultures that make learning about our species so interesting. To misquote Devo, "Dare to see Differences."</span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;">Yours in appreciation,</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">Jigme</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Jigme Chobang Daniels, Instructor</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">Aoi Koyamakan Dojo </span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">*Being 'inclusive' can result in being reductive though, so it's a bit of a tightrope to walk. </span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"> <span style="font-family: Arial,Helvetica,sans-serif;"> </span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial,Helvetica,sans-serif;">**To make matters more confusing, the last one (<i>Jigen Ryu</i>),
considered one of the fiercest dueling systems in the Edo period (1603 -
1867) is descended from the art in the clip above that (<i>Tenshinsho-den Katori Shinto Ryu</i>) which is, by contrast, rather gentlemanly.</span> </span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">***Outside
perspective, particularly of someone with more experience, can be
helpful; quantify what an art is or isn't based on
what you see? That's getting closer to hubris.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">****This is, of course, a very difficult thing to refrain from but the work of being an actual student (rather than an adept at something else) is part of the joy of learning.</span><br />
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<br />Aoi Koyamakan Dojohttp://www.blogger.com/profile/15776910460938132533noreply@blogger.com0tag:blogger.com,1999:blog-3242232524200727175.post-14032396992744623702014-02-22T04:38:00.001-08:002014-02-23T14:51:22.991-08:00<span style="font-family: Arial,Helvetica,sans-serif;"><i><span style="font-size: large;">Kaibogaku </span></i>(<i>Anatomy</i>)</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">1. Alignments</span><br />
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<i><span style="font-family: Arial,Helvetica,sans-serif;">This is the first of a series of posts that will touch on some simple tools to enhance basic movement.</span></i><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">For those of us who are interested in physical activity, from low to no-contact ones (like yoga and qigong) to regular-contact (boxing, grappling, etc.) we all benefit from the study of anatomy. At the beginning, having a gross idea of how muscles, bones and joints interact helps to create a mental model of the activity- as we progress, we overlay that (less abstract) mental model with direct experience of what does and doesn't 'work' for our bodies*- developing core mechanics and increasing </span><span style="font-family: Arial,Helvetica,sans-serif;">mechanical </span><span style="font-family: Arial,Helvetica,sans-serif;">efficiency. More than just improving technically, efficient movement means a reduced incidence of injuries and the capacity to train better and longer.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">If you are lucky enough to study an art that inculcates core mechanics (spinal alignments, proper breathing, power generation, modes of connection and so on) this will be a rehash. For other folks, here are some suggestions of key things to look for (and develop awareness of) in your own practice- while generic enough for everyone from yogi/yogini to jujutsuka.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Alignment Cues: </span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Keep knees 'stacked' over the toes</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">Keep elbows internally rotated (that is, down and spiraling toward your center, not up and out)</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">Keep the shoulders down </span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">Avoid hyper-extension in all joints</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">S</span><span style="font-family: Arial,Helvetica,sans-serif;">traight s</span><span style="font-family: Arial,Helvetica,sans-serif;">pine ** </span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Are those so simple that they're dumb? Yes, kind of, but even if you 'know' them, are you at 100%? Is your chaturanga (plank) controlled or is your butt up and are your elbows close to your sides or flared-out? Are you hyper-extending your elbow on punches? As you move, are you rolling over the insides of your feet with your knees pointed out? Do you complete sword cuts with raised shoulders?</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">As with any <i>kuden </i>(verbal transmission) the power of these cues is in </span><span style="font-family: Arial,Helvetica,sans-serif;">mindful </span><span style="font-family: Arial,Helvetica,sans-serif;"> practice- it is through repeated self-observation and correction that we can begin manifesting more naturally not just 'on the mat' but in the rest of life.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">* This stipulation is important- moving in mechanically sound ways often feels like a reduction in power... really, it is a reduction in the need to employ overt physical strength.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">**While there is a strong preference for tucking the hips (opening the mingmen) in most arts, the amount varies. When in doubt, consult your instructor. </span>Aoi Koyamakan Dojohttp://www.blogger.com/profile/15776910460938132533noreply@blogger.com0tag:blogger.com,1999:blog-3242232524200727175.post-85195366188696890542014-02-12T22:56:00.000-08:002014-02-12T22:56:51.478-08:00<span style="font-family: Arial,Helvetica,sans-serif;">In Brief: <i>Yotenhaku </i>(seizing the essence)</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><i></i></span><span style="font-family: Arial,Helvetica,sans-serif;"> A couple of evenings ago, I received a call from a telemarketer selling... something (he didn't make it through his pitch, so </span><span style="font-family: Arial,Helvetica,sans-serif;">what he was hawking</span><span style="font-family: Arial,Helvetica,sans-serif;"> will remain a mystery.) The call went something like this:</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Telemarketer: (Loads of background noise in the call center) Hello, is the the owner of *utter butchery of the dojo name*?</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Me: Er... yes, how may I help you?</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">T: Yes, I'm just calling to ask some questions, don't worry, this is <b>not </b>a sales call... how long have you been in business and do you have a website?</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">M: Since 1997, and yes we have a website...</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">T: So then you've been in business for a while- congratulations on that! And your main product or service is martial arts?</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">M: (Tentatively)... yes...</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">T: Are you linked via social media?</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">M: A bit. What is it exactly that you would like to know?</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">T: Are you ready to increase the number of customers?</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">M: No.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">T: (Pause) ...er...I'm asking- are you prepared to handle a major increase in your number of customers?</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">M: No.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">T: (Uncomfortable pause) ...I'm sorry, what I mean is, don't you want to reach more clients?</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">M: No, look, you have re-framed the question twice and you've gotten the same answer each time- this is not that kind of set-up. I don't sell anything and there's nothing to buy... I don't wish to be rude, but no, I don't want customers... at all.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">T: (Confused, but somewhat relieved that the nightmare call was ending) Alright then, G-d bless you in all things (followed by one of the quickest hang-ups in recorded history.)</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">It was that phone call, along with a </span><span style="font-family: Arial,Helvetica,sans-serif;">conversation with </span><span style="font-family: Arial,Helvetica,sans-serif;">my instructor and classmate a day earlier,
that helped to crystallize something that I'd felt but had never clearly
articulated until that moment: I don't want customers. I don't want
clients. Heck, I don't even want students. I want people striving to be practitioners my
equal (& better) who understand that they train as part of a continuum, polishing themselves while holding the teachings in trust for future generations as our teachers have for us.</span><span style="font-family: Arial,Helvetica,sans-serif;"> As those words leave my keyboard and appear on screen, it seems unlikely that there is a huge batch of market research on that demographic...</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Telemarketer-dude</span><span style="font-family: Arial,Helvetica,sans-serif;">, if you're out there and you read this: I'm sorry if I was </span><span style="font-family: Arial,Helvetica,sans-serif;">overly strident</span><span style="font-family: Arial,Helvetica,sans-serif;"> during that exchange but seriously, thank you!</span>Aoi Koyamakan Dojohttp://www.blogger.com/profile/15776910460938132533noreply@blogger.com1tag:blogger.com,1999:blog-3242232524200727175.post-15567997105908327242014-02-09T14:30:00.002-08:002014-02-12T23:02:41.893-08:00<span style="font-family: Arial,Helvetica,sans-serif;">First-off, welcome to our new blog! As of now this space will be used to answer
questions, announce special events and to (one hopes) spark dialogue
about what we do.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Today's topic: <b>Practice</b></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><i>"If I don't practice for a day, I know it. If I don't practice for two
days, my wife knows it. If I don't practice for three days, the world
knows it." </i></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">-<i>attributed to</i> Vladimir Horowitz, <i>pianist</i></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><i>“Practice doesn't make perfect. Practice reduces the imperfection.”
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<span style="font-family: Arial,Helvetica,sans-serif;"> -Toba Beta, <i>Author</i></span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Endeavoring to learn an art, craft or
way is inconvenient- it requires the sacrifice of time, money, comfort and energy. It can also be among the most rewarding pursuits imaginable. Key to 'mastering' complex skill-sets is establishing and maintaining regular practice (let's say <a href="http://www.newyorker.com/online/blogs/sportingscene/2013/08/psychology-ten-thousand-hour-rule-complexity.html" target="_blank">10,000 hours</a> as popularized by Malcolm Gladwell.) Now, contrast 10,000 hours (and just for reference, there are only 8760 in a calendar year) with the idea of instant gratification. We're accustomed to seeing
3-minute training montages in films that all but promise that we're all
only one pop song away from <b>True Mastery</b><span style="font-size: xx-small;">TM</span>.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">An example of this way of thinking was shown in an interaction between an American actor and a well-known chat-show host, televised years ago. The actor had just completed a period drama for which he had to learn some handling of a <i>katana </i>(Japanese two-handed saber) and this interview was to promote the new film. The set where this took place featured a number of <i>yoroi </i>(Japanese armor), and both host and actor wore <i>kakuobi </i>(hanging belts, the wide sashes used to suspend swords when not in armor) with katana thrust through. The actor was 'instructing' the host in <i>batto </i>(sword drawing), saying, "okay, now do this very slowly and carefully," then proceeded to draw his own at a reasonable speed. The host, impressed by how fast it seemed said, "I thought you said slowly!" The actor, responded in a satisfied way, "yes, but I've done this <b>hundreds of times</b>..." Right. Hundreds of repetitions as a daily training regimen? Great. From rookie to proficiency? Nope. </span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">The unfortunate fact is that adepts at any skill seem to ply their trade 'effortlessly.' What we
don't see is how much time is spent working on basics, doing research and failing in order to attain their level of proficiency. Why is that unfortunate? Because even if it
aligns with native propensity ("talent"), when these folks appear in our televisions (or on stage or wherever) we are seeing the effects of their choices to commit to the hard, unglamorous, 'invisible' work of regular practice. We don't necessarily appreciate what those choices mean for them as people; we don't see the struggle to get past plateaus in their ability or pushing past resistance to train ('I'll just take today off and work extra hard tomorrow'.) We see them flawlessly execute with speed and precision, but aren't privy to the months or years of painstakingly deliberate and slow repetition- in short, we enjoy the benefits of their training without sharing in the negatives or having a true sense of the process.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">An interesting exercise- choose anyone whom you admire- performer, artist, teacher, etc. and do a bit of research into how long it took for them to be as good as they are. These folks don't appear fully-formed, they go through extensive studying, training, practice, being fostered, mentored, and lots and lots of failing. Through failing honestly (with good examples of how to succeed) one starts to understand, at an almost cellular level, what shape one's own gifts will take- there is simply no shortcut for these steps. By having an appreciation for the methods by which others excel we begin
to see avenues for us to flourish, while understanding that it is never a quick and
painless process. </span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">So why'd I bring up the actor? Because he was able to convince at least the interviewer (and probably some of the audience as well) that the little bit of practice he'd done was enough, but he's cheating them and himself out of deeper expressions of practice. It's simple and cute to believe that his ability to do one thing quickly(ish) translates to being a real skill, but it isn't; it's a 'trick'. A real skill is robust, having been tested under a variety of circumstances, dismantled and reassembled, honed through adversity into something useable and polished into something beautiful; and even then, 'skill' isn't a destination. It's a moving target- the more you see and do, the more you find 'holes' in your own knowledge and experience, which inspires further research and training, which exposes more holes... it becomes a cycle.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Practice, especially of new material, can be engaging. The question is, what do you do when it's not exciting and 'sexy' anymore? Do you continue to struggle with it or do you move on to something easier/shinier? What you choose to do speaks to who you are (and who you aspire to be.) Those tough moments reveal surprising aspects of ourselves, sometimes pointing to deficiencies but often demonstrating far greater strength and fortitude than we expect of ourselves.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">If you all you want to do is impress the uninitiated, that can be done quickly; focus on the easy or fun parts of training, and you'll miss the greater benefits. To investigate practice thoroughly takes time; before inculcating anything, we have to encounter and remove extraneous and unhelpful habits, but for those efforts the 'payoff' is more than just the area of focus- we start to learn who we really are.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Working diligently to improve at foundational material isn't fun or exciting (it can be boring, filled with tedium and mental resistance) but it develops the alchemy of 'deep practice.' And it is in- and through- that alchemy that we experience a full range of emotional experiences, from deep despair to transcendent joy, exasperation to patience, terror to calm simplicity, anger to empathy (and with that, recognize the impermanence of those emotions.) In short, the process of deep practice connects us to our humanity and when everything is said and done, it is a gift that only you can give to yourself (and to the rest of the world.)</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Yours in the spirit of cheerful practice,</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">Jigme</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif;">Jigme Chobang Daniels, instructor</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">Aoi Koyamakan Dojo</span><br />
<br />Aoi Koyamakan Dojohttp://www.blogger.com/profile/15776910460938132533noreply@blogger.com0