Friday, November 22, 2019

遠近 Enkin (Distance/Perspective)


遠近 Enkin (Far Near)
Distance/Perspective

Part 1

(Chicago Tribune, Monday, 4 January 2019)

Homeless Artist, Former Gang Member, Found Dead

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.  Following his service, Mr. Marseilles did not maintain a fixed address and appears to have spent much of his time living nomadically.  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.  He was 60.

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.

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.

Mr. Marseilles’ two sons have scheduled a private memorial service and request that donations are made to Veterans' causes in lieu of flowers.


Does the (fictitious) obituary above describe a person who suffered from untreated brain-chemistry issues (and probably PTSD)?  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?  It is, to some degree, a combination of (and far more complicated/nuanced than any single one) of these answers.   Historically, you may recognize similarities to the Kensei (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 pioneering ryoto (both swords) or nito (two swords- wielding the long and short swords in tandem).

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.  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?  It is complicated to acknowledge that they are, at least potentially, the same person.  Which brings up some questions about that split in thinking:   

1)     Is it fair to apply modern standards (of conduct, mental health, etc.) to people from antiquity?

2)     Would we accept the same level of 'eccentricities' seen in many historical figures in modern ones?  If so, what is a 'bridge too far' and if not, why?

3)     Can we find aspects of these figures admirable despite vehemently disagreeing with them on certain, key, issues?

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)?

4)     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?

Investigating our arts (and their history) ought not to be an exercise to find universal answers.  Let’s instead use the process to discover what we actually think about things (rather than parroting/regurgitating what we’ve heard or been told).  This pairs with physical training to develop a working epistemology, one capable of removing the separation of time and distance.  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.

Yours in seeking perspective,
Jigme

Jigme Chobang Daniels, instructor
Aoi Koyamakan Dojo


    
* Please note:  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.

** 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.

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