Martial Arts Parables

Here are a few parables I have come across in my years of training; stories I love and try to take to heart. I only wrote one of these, the others are from various sites. I couldn't find any version of the last story, so I had to write it as it was related to me.

The Big Samurai And The Little Monk

A tough samurai once went to see a monk.
"Monk!" He shouted at the temple,"Teach me about heaven and hell!"
The monk looked up at the mighty warrior and replied mockingly,
"Teach you about heaven and hell? I couldn't teach you about anything. You're dumb. You're dirty. You're a disgrace, an embarrassment to the samurai class. Get out of my sight. I can't stand you."
The samurai got furious. He shook, red in the face, speechless with rage. He pulled out his sword, raised it above his head and prepared to slay the monk.
Looking straight into the samurai's eyes, the monk said quietly,
"That's hell."
The samurai froze, realizing the compassion of the monk who had risked his life to show him hell. He put down his sword and fell to his knees, filled with gratitude. The monk spoke softly,
"And that is heaven."
http://spiritual-minds.com/stories/zen.htm

 

The Master And His Three Sons

There was once a great master of kenjutsu (sword) renowned throughout Japan who, when visited by another great master, wished to demonstrate the teaching he had given his three sons.

The master winked at his guest and placed a heavy metal vase on the corner of the sliding doors, wedged it with a piece of bamboo and a small nail in such a way that the vase would fall on the head of the first one who came into the room when the door was opened.

While chatting and drinking tea, the master called his oldest son who came immediately. Before opening the door, he felt the presence of the vase and its position. He slid back the door, put his left hand through the gap to catch the vase and continued opening the door with his right hand. Then, clutching the vase to his chest, he entered the room, shutting the door behind him and replaced the vase; he came forward and greeted the two masters. 'This is my oldest son', said the host smiling, 'he has learnt my teaching well and one day he will undoubtedly be a master of kenjutsu.'

The second son was called and he entered without hesitating and only caught the vase at the last moment: it almost landed on his head. 'This is my second son', said the master, 'he still has a lot to learn but he is improving every day.'

Then the third son was called. Entering the room hurriedly, he was struck on the head by the vase. The blow was a heavy one but before the vase hit the tatami, he drew his sword and, in one quick action, cut the piece of metal in two. 'This is my youngest son, Jiro', said the old man, 'he is the baby of the family and he still has a long way to go.'
http://www.aikidoofashland.net/stories/master.htm

How Fast Can I Learn?

(This story is usually about Zen Buddhism, not Martial Arts, but I like this version more)

 

A martial arts student went to a teacher and declared he wanted to learn the system, that he was devoted and ready.

 

"How long would it take?" he asked, to which the teacher replied: “Ten years.”

 

The student, a bit impatient and unsatisfied with the answer said: But I want to master it faster than that, I will work every hard, practice ten or more hours a day if necessary. How long would it THEN take?

 

The teacher replied: “Twenty years.”

http://thoughtcatalog.com/claudia-azula-altucher/2013/04/8-zen-master-stories-that-illustrate-important-truths/

 

 

 

 

The Tea Master

Mistakenly bumped by him in a busy crowd, a samurai challenged an old man to a duel. This old man was actually a Tea Master who knew nothing of fighting, so he went to see Miyomoto Musashi who many had gone to for sword fighting lessons.

When he met Musashi, the Tea Master simply asked, “how do I die with honour?” Musashi was surprised, most people came to him to learn how to kill, “who are you?”, he asked.

“I am nobody”, he responded, “just a Tea Master”, said the man. “So, make me Tea”, replied Musashi.

The Tea Master, though only hours away from death made tea, and did it so single-mindedly that Musashi told him to leave because he could already die with honour.

Time for the duel arrived. The Samurai was already there and was frustrated, “so you finally decided to come, lets fight!” The Tea Master said nothing, but bowed. He placed his sword down and bowed again. Finally he lifted his sword above his head, and stayed there, unmoving.

Seeing his composure the Samurai began to shake. “Maybe I’ve chosen the wrong opponent,” he thought. As the sun reflected on the Tea Master's Sword he saw red. “Is that my blood?, am I already dead?” Finally the samarai dropped to the floor apologising, “I am so sorry Master, please forgive me”. The Tea Master said nothing, just collected up his belongings. The Samurai started running after him, “please take me as your student”, he begged. After much persistence the Tea Master agreed.

The Tea Master taught the samurai how to control his mind. The samurai knew how to fight but that was all.

http://www.changshapkido.net/the-tea-master/

 

 

One Who Trains For Battle

There were once two families that had been at war for years.

 

A son of this family trained everyday for hours. Day in and day out, week after week, month after month. Many years passed in this way as he prepared for that day he would fight- he became a master.

 

One day he was walking on the road in a forrest and came upon a member of the family that was his own's enemy. The two locked eyes and drew their swords. They stood this way for several minutes, in an even stare. However, the wind blew, and as one, they bowed to each other's skill.

 

They continued, walking past each other. And it was only then that the samurai realized he had trained for so many years so he would not have to kill.

Giving Ground

"Some Warriors look fierce, but are mild. Some seem timid, but are vicious. Look beyond appearances; position yourself for the advantage. -

Deng Ming-Dao

"The general who advances without coveting fame and retreats without fearing disgrace, whose only thought is to protect... ...is the jewel of the kingdom."
-Sun Tzu

There is no combat without movement, and he who stands still gets hit.

This is a simple fact when it comes to sparring or fighting. But a lot of people have the strange notion that to take a step back is the same thing as retreating- it isn't.

When you step back or to the side, leaving the position you originally were in, this does not mean you necessarily are giving up control of the space you left. If you win the fight because you took a step back, how can it be said you are retreating in the sense of 'losing'?

A particularly rememberable exchange I took part in was against someone who was vastly superior with their hand-techniques, while I held the edge when it came to kicking. I utilized kotai okuri-ashi; taking a step back essentially, and kicking as I did so. As he pursued me across the grounds, throwing strikes whenever I allowed him to come in range, I would kick and kick and kick. Eventually he gave up; he had been hit well over twenty times and hadn't been able to land a single punch.

If I had not given up ground by constantly backing up, and when I ran out of room to do so or under sufficient pressure, I would turn and go back the other way, until he could no longer fight. By having to chase me, he was taking one step forward each time toward losing. And that is ultimately all that matters when it comes to combat of any form- succeeding. And if you don't, to learn from it.

I believe there are cases where leaving a space and surrendering control can be advantageous. In a sense by doing so you are keeping control of the situation by allowing your opponent to take that space. It is not unlike chess or other strategies; losing a pawn or taking a step backward to take two or more steps forward. I call this strategic retreating. Others know it is tactical withdrawal.

Similarly, if the principle of 'losing' ground is that of leaving that which you were in control of, than the superior tactic of stepping diagonally past your opponent as your strike could be said to be a kind of retreat also. I disagree with this.

The only time you are actually 'retreating' is when you not only sacrifice control of the space, but also control of the combat taking place. And when you lose control of the fight chances radically increase of losing the combat situation.

Sometimes your opponent may hold a position where they cannot be damaged from; the most obvious example which comes to mind is when they hold the high ground. Forcing them to leave that superior position to continue to engage you creates vulnerabilities

In Baguazhang we circle walk around the opponent often when it does come to contact; how could this be called retreating if you never even take a space to control.

This idea of 'backing-up' is wrong is a silly notion which can lead to a lot of people taking blows they could have avoided, if they hadn't kept rooted like a tree.

It is not strength to stand there and get hit because of a notion you have to keep the ground to win the battle. Many armies in history have been utterly destroyed because they gave chase to an enemy who whittled them down. This is how the Hsiung-Nu often destroyed the armies of ancient China across numerous dynasty's; because all too often the army fought for the ground, instead of fighting to defeat the enemy.

As Sun-Tzu wrote in the last of his 36 stratagems;

"If it becomes obvious that your current course of action will lead to defeat, then retreat and regroup. When your side is losing, there are only three choices remaining: surrender, compromise, or escape. Surrender is complete defeat, compromise is half defeat, but escape is not defeat. As long as you are not defeated, you still have a chance. This is the most famous of the stratagems, immortalized in the form of a Chinese idiom: "Of the Thirty-Six Stratagems, fleeing is best" (三十六计，走为上计).

I put emphasis on the bolded section; if you retreat, backing up and still are fighting, you are not losing, especially if this is premeditated or deliberate. A strategy of sacrifice to win, given it does not consume you utterly, is always advantageous toward standing in the way and potentially being destroyed.


And besides, if you give your opponent the entire arena, and win regardless; isn't that space then yours anyway as the last still standing?

Palm Strike Vs. Punch

 

"Pain is the best instructor, but no one wants to go to his class."

-Hong Hi Choi

 

"In the beginners mind there are many possibilities, but in the expert's mind there are few."

 -Suzuki

Today I would like to talk about why one should use the palm, instead of knuckles.

Like many martial artists, when I began training, I first learned how to punch. However, in the years since, while I conditioned my knuckles to be able to punch concrete, inevitably I still wound up breaking five knuckles at various points in time.

Since then, having considered the fact that at best the fist is nothing more than a ball of joints, it occurs to me that hitting anything with the portion of our skeletal system where the bones meet, and thus are at their weakest, seems foolhardy.

It is true that certain styles employ more efficient ways to strike; Chung Do Kwan emphases the first two knuckles, Moo Duk Kwan Tae Kwon Do emphases the index finger knuckle, and Wing Chun the lower three knuckles, especially when lined up with the wrist and forearm.

However, in all the times I have seen someone break a cinderblock with a hand technique, not once have I seen someone utilize the fist. It has always been the palm.

And here is why I think it is more beneficial to strike with the palm; for one, there is more padding over the bone. When using the knuckles there is only a tiny amount of tissue compared to the meat which covers the palm. Because there is more padding, especially at the opponens pollicis and abductor pollicis brevi, the primary point of contact when using a palm technique, the bones themselves are protected from the force inflicted on the other.

When using a fist you risk not only the 27 bones which comprise it, but also the tendons. If executed sloppily as anyone can do, even experts, when exhausted- when using the palm one removes the risk factor to those multiple bones. The wrist must be stabilized to deliver either a punch or palm strike, but with the hand being turned and torqued when utilizing a punch properly, the risk of damage is much greater than the simple hinge involved with the wrist. There is no twisting, which means if the hand does collapse or becomes jammed, most of the tissue won't be damaged if things go wrong.





















However, there are numerous arguments against palm strikes and I would like to focus on diffusing those. It is claimed that because of the wider surface area, less damage can be dealt. That utilizing the palm means there is less distance and range one can use when strikes, as well as being slower. I would like to dispel these notions.

For one the surface area, at least in terms of hand strikes, is not necessarily a true concern. Most of the force from a blow is not generated from the positioning of the hand, but rather from the torso. Additionally, with practice one learns how to distribute force through their strikes in smaller and more concentrated area, no matter what part of the body is being used.

Because one is essentially striking with the tip of the forearm, the forearm is straight and thus channels the energy from the torso more efficiently than a punch could, where each twist of the shoulder, arm, and wrist can potentially reduce the energy transferred from the body. The palm utilizes a straight arm, meaning the kinetic force channeled through the body is not manipulated as much, hence why when using the strike, the energy generated from the heel pivot, knee bending and twist, and wrist torqueing is uninterrupted through the delivery of the arm.

On the argument concerning speed, I would say that because less distance is utilized, and thus one is closer, meaning that it also takes less time to reach the opponent in comparison. So it's a moot point- a punch may be delivered faster mechanically because it is spiraling through the air, but because it has more distance to travel, even if in just inches, it works out to be about the same time as the point of contact the palm would take, since less mechanics are at play in terms of the technique. Each torque will bleed off a small amount of speed. Additionally, a properly executed hand technique will utilize the whole body- so while it is good to have a fast deployment speed of the arm, what will actually ensure the success of the technique is how quickly one can move the entire body, reinforcing the strike. So the actual speed in terms of delivering a good technique rely more on foot speed than on the firing of the arm.

Additionally, if one wants to eliminate the problem of speed, when launching the strike, utilize a knife hand- this will cut down on wind resistance, and as long as one keeps the muscles untensed until the point of impact, it will vastly remove the barrier one has in terms of quickness. Just make sure you actually use your palm at the last instance.

 

"It takes 2 peices of wood to start a fire"

-Unknown

 

 

Why Avoid Blocking In Martial Arts

"Buddhas don't practice nonsense."
- Bodhidharma

 

 

 






"Day after day train your heart  out, Refining your technique: Use the One to strike the Many! That is the discipline of a warrior."

-Morihei Ueshiba

In almost all of the martial systems I have had experience with, blocking is emphasized in combat. There is one style I have had limited experience with, Xingyiquan, where there are 5 techniques and all, and it is all attack, even when space is given up such as in backing up.

In my opinion, one should not block. It is one thing to utilize a move that blocks and at the same time attacks, but another to block and merely receive the technique. Do not get me wrong; blocking has helped in the past, but nowhere near as much as evading.

My issue with blocking stems from an encounter I had with a Taijiquan master. With internal arts their techniques will do more than hit you externally such as a kick from Karate or Tae Kwon Do, and so on; they will transfer the striking power into your body, potentially affecting your organs with just a touch.

At a martial club I was a part of, we had a student who was very stiff. We always tried to work with him to get out of this habit; to build a fluidity to his movement and tense right before and during impact of any technique, but he insisted on staying stiff as a board in everything he did, stating he felt is gave him more power.

One day he crossed hands with this Taijiquan practitioner, and after about five seconds of exchange, the Taijiquan practitioner stopped, and asked if our stiff member had a back problem. He did, and had never told us, and suddenly his habit made a lot more sense. If through a simple touch an internal martial artist can read another, than they can also affect the member through that touch in ways that can, when destructive, be terrifying- daunting in the least.

For this reason I caution practitioners not to rely on blocking- you never know if by doing so your opponent has the techniques that can affect you internally, or if in the case of styles such as Hapkido, damage your nerves and deactivate or destroy them on contact. If in Kyokushin and Muai Thai, blocking can easily result in the blocker's arm or leg being destroyed; their crushing energy is so strong.

For this reason I emphasize that a practitioner instead of blocking, channel the technique. This allows one to redirect the attack, as well as retaining control over the exchange. In Aikido this is syncing up with your opponent as they strike, and then using their own power and energy against them. There are many ways to do this, but none result in injury from what I have observed.

When one is going to be hit, move out of the way and redirect their attack. It will achieve the same result as having blocked- essentially stopped the technique. If one trains in a system which emphasizes blocks, experiment and discover how those blocks can be turned into attacks, this way at the very least you can continue to be on the attack side while receiving blows. After all- he who only defends can never win the bout, and only when on the attack can we overcome our opponents.



Above are some pictures of Baguazhang stylized in the show the last airbender; whether a cartoon or picture, or not they emphasize the principle of blocking instead of turning. Baguazhang is wonderful at this concept, as is Taijiquan.




 

"You can prevent your opponent from defeating you through defense, but you cannot defeat him without taking the offensive."

-Sun Tzu

Meditation and Martial Arts Part 2

"Feelings come and go like clouds in a windy sky. Conscious breathing is my anchor.”

-Thich Nhat Hanh

 

"Yoga is the cessation of the movements of the mind. Then there is abiding in the Seer's own form.”

-Patanjali

 

 

Today I will be covering the second part of a series on meditation. This will focus on more advanced techniques one can use, and what can result because of them.
 

The first would be vipassana meditation- a valuable tool discovered 2,500 years by Gautama to see one's inner essence and true reality. The word itself means 'to see things as they are'. It is invaluable to noting the three marks of existence; suffering, impermanence and unsatisfaction. It is a practice which can be key to realizing 'no-self'.
 

It is a modern practice of Theravada and utilizes mindfulness of breathing, feelings, and actions to gain insight to the nature of true reality. There are four stages to the practice, of which this article focuses on the first; exploring the body and understanding that sensations exist and then cease to be.

The method to engage in this is rather specific; one is seated, usually cross-legged. The back is kept straight; this connects one between the earth and higher planes of existence. The hands form a circle held before the dantien, right hand over left palm, or vice versa. The thumbs touch, creating a circle; this is to assist in internal energy flow, creating a complete cycle with the ovoid circle.


 

www.Superbodysuperbrain.com

Many when first initiating the practice of vipassana find that they are overwhelmed by sensations all over the place, and find they cannot focus on a particular area. That is alright; merely take ten calming breaths and then begin the process again. All things worthwhile take time, and some can be faster than others. This is a practice which can definitely take time.
 

Begin with breathing, and do what is called a 'body-scan'. Begin with the head and work your way down to your arms, then mid-section and feet. With the more practice you have you will become able to focus more on specific locations, going from the arm to just the hand, and then just the finger, and then segments of the finger and so on.
 

Helpful is to imagine your mind as neutral; do not prioritize any sensation over any others- you are merely observing and recording what your body is telling you, which you could not otherwise note because of involvement and intrusion by the outside world and our interactions concerning it.
 

Thoughts may interrupt occasionally or even frequently; the more coffee I have had to drink either the day before or day of makes it occur more frequently. Tea seems to have the opposite effect, especially when it is caffeine free. Do not concern yourself overly with these thoughts as they occur- simply keep focusing on the area you are focusing on while 'scanning' it.
 

If you do not feel a sensation from a particular area you are scanning, do not worry. Sensations are always subtle, and sometimes so much so one cannot notice them without further practice.

Additionally, a lack of sensations may mean that your body and energy are in harmony. If you do not feel a sensation, focus on the area for a few minutes longer, and then shift your attention to the next part to be focused upon.
 

Do not jump from one part of the body to the other- you are in control of your mind and thus body, and some sensations from a particular area may distract you from noting what you are looking for.
For me, this is back pain, which can easily distract me from monitoring how my insides feel to decide how I will stretch that day, and what needs to be stretched. It is a simple fact- some sensations, like emotions, will overpower those others which are more subtle.
 

This practice is incredibly useful for a martial artist- it is a good way to note where your muscles have tightened, how injuries of the past are recovering, and monitoring your own physical and even mental well-being.
 

A by product I have noticed because of this practice is increased perception. For one, when practicing walking meditation in your day to day life you will develop a higher sensitivity to one's experiences and sensations during the day. When in a group meeting I know without having to look when another is looking at me, and when sparring, I have an increased perception of knowing the other's imiri, as well as what my own vulnerabilities are.

 

Favorite Quotes - Part 1

I am a bit of a fan of quotes- words are a lasting impression we leave long after we have left.
I have not seen a martial arts blog do this before, so I figured I'd give it a shot. Here is the first list, among many, of martial arts quotes which at one time or another have inspired me to put on the gloves, or step back into form.
 
 
“Peace comes from within. Do not seek it without.”
- Buddha
 
He who is taught only by himself has a fool for a master.
~ Ben Jonson
 
Never interrupt your enemy when he is making a mistake.
~ Napoleon Bonaparte
 
Don’t hit at all if it is honorably possible to avoid hitting; but never hit softly.
~ Theodore Roosevelt
 
You don't have to be great to start, but you have to start to be great.
-Unknown
 
“A jug fills drop by drop.”
- Buddha
 
I practice martial arts not to win over other people but to win over my heart.
-Tony Jaa
 
“Nothing is more harmful to the world than a martial art that is not effective in actual self-defense.”
 – Choki Motobu
 
“Spirit first, technique second.”
– Gichin Funakoshi
 
“Your work is to discover your work and then with all your heart to give yourself to it.”
- Buddha
 
 

May these guide your heart and your hand.
Namaste!

 

Black Belt Test

To me a black belt test is a point where one is passed to truly begin practicing martial arts. In modern martial arts it is essential, and marks a serious change in how one will both be treated, and treat what they practice.

The first purported use of black belts in a curriculum is attributed to Kanō Jigorō, the founder of Judo, implementing the first black belts in the 1880s.

It is the journey to the mountain, and black belt is where you begin to actually climb the mountain. What I record below is what I had to do when testing for my 1st dan in Chung Do Kwan Tae Kwon Do under Master Fazal Khan at Khan's Academy.

A well done black belt exam should perform the following;

The exam should have the practitioner perform every form learned in their style up until that point of the exam, to demonstrate adequate knowledge of the art being practiced.

One should be flexible- full splits, extended stretches for lengthy periods of time.

One should be able to do 200 jumping jacks and 200 push-ups throughout the duration of the exam.

It should have the practitioner run over a mile in a set amount of time, depending on the context of the person.

One should go over every strike that has been taught, every hand technique and every kick.

One should demonstrate at least 10 situations of self-defense situations taught, and 10 that they have created themselves.

The best method of testing fighting capability is thus; one fights a superior fighter for one minute, then for one minute two superior fighters, then for one minute three superior fighters, and then for one minute four superior fighters. This will demonstrate several concepts; indomitable will, endurance, appliance of techniques, and warrior spirit to survive an encounter. This should be applied to men and women, children and adults. Anyone who is seeking to obtain their black belt.

This was the fighting aspect of the exam as I listed it above, about 10 years ago when I was fifteen.

One should then, presumably exhausted, break a one inch piece of concrete. Avoid obtaining concrete slabs that are steel threaded. These are practically unbreakable because of the metal laced within. The last thing you want to do is go through all of the above and then break something at the very end.

Out of the eight black belt exams I have been subjected to across multiple systems, this format was the one which most left me with a sense I had truly earned my rank. Perhaps others could question whether or not I was a black belt, but afterward I never could.

That is what is important- knowing in your heart you are a black belt, and representing it. It took me nearly 11 years before I could realize this with certitude. And because of that attitude and self respect it allowed me, was able to radically improve my own arts as I continued along the martial path.

Roundhouse kicks.

“Use only that which works, and take it from any place you can find it.”

-Bruce Lee

 

“Preoccupied with a single leaf you won't see the tree.”

-Unknown

Today I'll be covering the various roundhouse-type kicks I have come across in my training in martial arts. It is also known as a 'power-angle kick', and 'swinging' kick.

Many martial artists have this kind of kick; a kick which comes at an angle other than straight horizontally, and utilizes the top of the foot, the shin, or the ball of the foot. Many distinguish the angled-kicks between roundhouse style and round-kick style, but I do not. The reason for this is that they operate on similar mechanics, and ultimately achieve the same result. The greatest difference between a roundhouse and a round-kick is that the former utilizes crushing and transference type energy distribution into the target; whereas round-kick's primarily utilize penetrating energy.

In WTF Tae Kwon Do the roundhouse kick is a staple of the art. It is called dollyŏ chagi. There are two ways to initiate it. Both kicks come from an extended 'chambering' of the leg; raising the knee vertically to about waist level or above. They do this so the opponent cannot discern what kick is going to be utilized. The kick is then executed at a primarily 45 degree angle utilizing the lower shin and instep of the heel to make impact. It is an extremely fast kick, and should be returned to either its chambering position or back to the ground as fast as it was initiated.

 

 

In Chung Do Kwan Tae Kwon Do, Shotokan and many other Japanese martial art's styles, this kick is first initiated by chambering the leg (like before the knee is raised to waist level and above) and once in position the supporting leg's foot is pivoted, and knee turned to a horizontal position. The kick is then launched and at a 90 degree angle impacts the target. The part of the foot utilized is the ball of the foot, but during practice for safety concerns of partners and the foot itself many use the instep of the foot. In Japanese this kick is often called Mawashi-geri.

In Muai Thai, this kick is often not referred to as a round house kick, but rather as an 'angle-kick'. In Muai Thai this kick is called 'Te-Tat'. The kick utilizes the shin for impact, and the low kicks target the opponent's knees and thighs. The medium level of the kick targets above the hip bone, targeting the ribs and organs. The high kicks impact the neck and head.

The kick's mechanics do differ from other traditional forms of the roundhouse. The hips are pivoted, turning into the kick to deliver more inertia and momentum. One raises onto the ball of the foot to enable more rotation of the foot. It is a kick which the entire body commits to, and because of this the kick does not allow one to snap it back to a returning position in most cases.

Each of these kicks allow for one to utilize different strategies in combating opponents. A TKD roundhouse is very useful against someone who keeps the midsection vulnerable, but if they are able to block the kick easily, then the Muai Thai roundhouse would be more applicable as it can easily go through their block with enough training. The penetrating style of roundhouse kick is very good against opponents who are more durable, allowing one to impact their inner organs moreso than the other variants of the kicks.

I do not think any one of these types of kicks are more superior to the others; only that in certain situations one may be more suitable for use than the others. Only a few of these pictures I've edited to make a little more clear than they were, and they were all yanked off of google.



Namaste.

"Practice 1,000 techniques 10,000 times each."

Telegraphing

In martial arts, every time you graduate, move to another level, you don't forget everything you've done. You build on it, but it's always there.

-Melody Beattie

 

Where there is only a choice between cowardice and violence, I would advise violence.
-Mohandas Gandhi

 

 

 

Telegraphing is common in fighting. It is the process of reading another and accurately predict what they will do, or giving physical queues to allow ourselves to be read. Concerning telegraphing, there are multiple levels, or what I like to call tiers. There are five I have come across thus far.
 
The most common way of reading a telegraph is finding where the other is looking. Body language is another which can be read; certain patterns of breathing or physical tensing of the body can indicate a strike is coming and even what kind of strike. Each of the tiers of telegraphing builds upon the preceding ones.
 
0 Tier- A sense of a strike or attack oncoming- This is as obvious as one aggressively approaching you or even cocking a fist back to hit you. This is the basic certainty of an attack coming.
 
1st Tier- An accurate prediction of where an attack is going to go- this is usually done by observing where their focus is on; if looking at the head, a strike will go there. If staring at the body, it will likely go thus. A way to avoid doing this is to stare into their eyes, widening one's vision at the same time. The most strategic way to do this is to look at their mouth or throat, allowing one to keep track of their foot movement.
 
2nd tier- This is where one sets their opponent up; guiding them to where to strike. Lowering the head or arms guarding the head can create an opening, and thus your opponent most of the time will strike at targets they perceive as available. Doing this deliberately, expecting the attack and then reacting to it accordingly is a kind of 'setting up' which by having a strategic foreknowledge allows one to have a position of supremacy and react or counter in the best way possible. Not adopting a specific pattern or sequence of moves or strikes can help limit a skilled opponent from reading you.
 
This is sort of like in chess where one exposes their pawn to be taken by a superior piece, and then taking that piece safely with another. It is the process of taking advantage of that foreknowledge of what the other will do.
 
3rd Tier- Third tier is perhaps the most complex of utilizing telegraphing. Like the others it combines the previous tiers.
 
I will start with an example; it is when one strikes, knowing their opponent's response and then countering it- striking again in a manner which forces them to respond how one wants. There are many ways to achieve this, but it is essentially inducing an opponent to use a move of your desire by setting up the actions and events to induce them into doing the attack you desire. It is absolute control of the situation, and if done skillfully the other will have no idea what they are doing is because you essentially subtly forced them to. How they are responding was specifically orchestrated with that objective in mind by you. If done skillfully, one can control the entire actions in the battle from start to finish.
 
4th Tier- Fourth tier is understanding telegraphing to its utmost. It is knowing how the result of the conflict will be before the match even starts. At its most sublime one can know every move to be made by or even before the introduction or bow. It requires an expert level of reading another; of seeing their 'irimi' before they even make it known by raising their hands and beginning combat. How they will move, how they carry themselves. It requires experience and knowledge; reading their clothing, their intent, weaknesses and even what style they will use without actually having to see the techniques of it. At its simplest level it grants the ability to with certitude know the outcome before it occurs, and using this innate ability to read another and accurately predict what will happen to make or change what one desires within the bout.
 
 
Learning how to read telegraphing will make all the difference in improving oneself in the fighting aspect of martial arts. It is reading their body language- not just knowing what they will do before they do it, but also taking advantage of that knowledge to know how to respond.

 

Meditation and Martial Arts Part 1

“Feelings come and go like clouds in a windy sky. Conscious breathing is my anchor.” 

-Thich Nhat Hanh

 

“That deep silence has a melody of its own, a sweetness unknown amid the harsh discords of the world's sounds.” 

-Paul Brunton

In this section I will begin a series of posts on Meditating. This part focuses on the simple mechanics to start meditating.

Meditating is beneficial to our health, and mental state of being. It allows for greater mental control, as well as being able to better enjoy life. One can take as little as five to fifteen minutes to do this daily, and will almost immediately begin to see positive results.

In the martial arts meditation is essential to developing awareness, allowing us benefits in combat, greater emotional control, thus allowing us to begin discarding the distractions such as anger or pain can cause, and increasing focus which is especially important in martial arts. Focus alone is something many people desire to develop, allowing one to concentrate on activities for longer durations of time. People such as myself with ADHD can very much benefit from this simple exercise.

So to begin, how can, and how does one begin to meditate?

There are multiple methods one can utilize, but I will focus only on those I was taught in martial arts and in yoga.

There are two general states of ming one should strive for in meditation. The first is single mindedness, where we focus on a sensation; our breathing, a sound, something seen or envisioned, a thought or emotion among many, many others.

The second state of mind is no minded-ness; if the human mind can be alikened to that of a cloudy sky, with thoughts being like clouds; constantly formed and shifting and moving, than this state is one of a clear sky. We become conscious, and we slip from time and space, and when we exit this state, it is difficult to tell where we have been and how much time has passed. This state is what can lead us to truly see our inner essence and being, and in part 3 I will elaborate on how to enter this state and how it can benefit us.

To begin meditation take a seat of comfort, or position taught by your meditative school of thought. This is generally a kind of seated position, such as legs crossed indian style or in the buttfly stretch position, to even the more complex lotus. The kneeling, such as in Christian prayer or seiza seated position, to lying down. Do what is comfortable for you; pain will be a distraction to the meditative process, unless you are using it as something to afix on or learn how to move past. I generally recommend that one be as comfortable as possible.

Keep your back as straight as possible for the duration. If you have back problems do not worry too much about this, but if slouched it becomes a problem where one gets too comfortable and then nod off. We are looking to meditate, not go to sleep after all.

Focus on your breathing; breathe first through your nose, then out through your mouth. Start with counts of two; 1- in, 2-out. Then to counts of 4. 1-Breathe in, 2- Breathe out, 3- Breathe in, 4- Breathe out. Your first breath should fill your abdommen, your focus on your dantien, your second inhalation should focus on filling your upper lungs. It is a process, and this will enable better focus.

When your mind becomes distracted it is ok. Do not be dissapointed, just restart the count again. The more you do this, the more you will find yourself not distracted over time and practice.

Attempt not to fidget, remaining as still as possible.

One can meditate with their eyes open or closed, though I have always found it easier to do with the eyes closed to reach better mental clarity. I have heard that sight accounts for up to 80% of what we observe, and thus, if we close our eyes, we greatly limit what can distract us.

Your hands should be placed over the dantien, or one on each knee. This is a position that should not wear out the arms, and their shape should be that of a circle. This will create a subtle thought in your consciousness and subconscious that you are connected with yourself.

Namaste.




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Dojo Service

"Cry in a dojo, laugh on the battlefield."

-Unknown

 

 

Dojo in Japanese means a training hall, particularly for martial arts. In Korean this is dojang, and in Chinese is wu kwan. In English I refer to such a space as a training hall. It seems the most appropriate to me.

The space we train in has a subtle, but great impact in how and what we train. General Hoi while in prison, confined to a small space, designed an entire style of Tae Kwon Do within his cell, and the forms reflect the limited amount of space he was able to use. The state of a dojo speaks volumes about the school; if it is messy, it conveys a feeling of lack of care, whereas a dojo where it is worn conveys a feeling of history. Perhaps neither can at times be directly controlled by the teacher, but ultimately its state reflects on the teacher and those who practice within it.

Because of this, a teacher must instill in their students a respect for the training space. It is the student's role to care for it, and their teacher must instill this duty within them.

It is a sacred space, and thus must be treated so. Clutter is perhaps the first among many conditions which must be kept control of. Unnecessary equipment should be disposed of- many martial art schools I have trained in have a training dummy in the shape of a person, yet it is rarely used. We call it Bob.

This is Bob

Sometimes Bob wears a belt; but in almost all cases save in one school Bob was never hit. While this adds a sense of humor, such as placing Bob over the men's changing room, it has no place within the actual space utilized for training. All equipment which is superfluous should be absent- and if once necessary equipment is no longer utilized, it should be stored or removed entirely. Removing clutter increases the amount of space within the room which can be utilized, and this is especially crucial in smaller sized schools. A clear room makes it easier to have a clear mind when practicing I have found.

The dojo itself should be kept as clean as possible. A dark red carpet should be used if any carpet is present, simply because if blood is spilled it will not show and damage the school's appearance. If there is wood it should be kept clean, swept often and given sheen as best possible. Damage to the walls should be repaired by the student who damaged them, and if they refuse, the teacher must correct this.

It is a custom I agree with for the newest students to be charged with the primary cleaning of the school, daily. If that is white belts on one day and then black belts the next, then the lowest ranking students, no matter how many years they have trained, to be the ones who clean. For one it instills humility, as well as responsibility. It makes one take an active place and hand in ensuring the training hall continues to exist.

Advanced students should also clean, coming before the school opens to do so, and before the beginner's clean it. When they test for another rank, they should scrub the school from top to bottom, shining every window, replacing anything which has become broken. This too will remind them to take care of where they are, a lifelong lesson many people need in this world.

If you damage the space you train in, with enough time it will become unusable. If you damage it, fix it.

One should always hand-clean, avoiding outside resources which may not know how to properly care for the facilities- after all, they are not the ones who utilize it regularly and thus know how to take care of it.

It should be swept, and then vacuumed. This will teach students to pay attention to detail.

The room should be scented- it is easier to train with a pleasant smell than the omnipresent odor of feet and sweat. And while I honestly find that smell to remind me of home, because the first school I trained in for over ten years carried that odor, it is kind of like the country boy smelling a stable and being reminded of the farm he was raised on. We are not farmers however, and should not have to train with any odor but ones which allow one to clear their mind and focus.

When cleaning, the student should take the time to speak with their teacher if they are present. This will allow a closer student/mentor relationship, one which is essential to truly walking the path. If a teacher, monitor your students to make sure they are cleaning, but use this time also to impart what wisdom you can.

Many a person developed strong character and personal development because of a sagacious talk with their favorite teacher while scrubbing a toilet. I know I did.

One should clean before the school opens, and place equipment where it belongs when it is time to close or after a practice session.

When repairing the entire school should get involved. Perhaps there is a rail which over time will become lose or detach from the wall. Perhaps damage is no one person's fault, and a specialist may be necessary. If this happens and you run a training hall, inquire among your students if any can repair it. If none can, only then should outside professionals be contacted. I firmly believe that the school should take care of itself as much as possible.

Finally, the decor of a training hall, also known as a studio, should draw its decoration from within as most art schools do. Appropriate photos of teachers and students should be present if this is agreeable, and the students themselves should generate the artwork available. Allow the culture of the country the art hails from, and the art of the country itself to be available. If in the United States and practice a Korean art, hang an American and Korean flag. If Israeli, or Chinese, Russian and so forth, hang the flags of those respective countries of the art's origin. Doing so will allow for a certain dignity and pride for the school and the respect it has for its location.

Allow your students to generate the art you will utilize there; I rock-stack and in any school I have run or operate, I either make a sculpture or request if I be allowed to. This will give your students a feeling that they actively have a role and significance for where they train. And in the end, the only thing that makes a school exist is its students and its teachers.

If a school has been commemorated by its community, such as in articles or awards, those should be made present, though not ostentatiously. A martial artist is humble, and so their training space should reflect that.

If students have won tournaments for the school and given their trophy to the school, allow this to be displayed, again, with a gentle humility and pride.

Where we train will define who we are, and as practitioners therein we must take care of our own, and our space. A training hall is a place of special meaning and in many aspects can be considered holy. Some of the best schools in martial arts began in temples or holy grounds, and such reserved sacred dignity we hold for our grounds should be treated so.

It is a place of formative nature for those who are raised or find themselves therein.

-Namaste.

 

"Anywhere I go, before I leave, I try to make a little better than before I came."





 

A Very Welcome Hello!

“Martial arts is not about fighting; it’s about building character.”

-Bo Bennett

I am happy to begin writing my first blog on this subject, and would like to thank you for taking the time to read it. That being said, let’s jump into the meat of what I intend this blog to be about.

It will focus on insights I have found through my experiences with the martial arts, and what I have been taught concerning it. I have spent 22 years practicing the arts, and have had the divine providence to be allowed to experience multiple different arts.

I began first with Tae Kwon Do for my first twelve years of practicing, learning five of its diverse styles, and then branching off into kendo, Shotokan, Okinawa-te karate, Muai Thai, Hapkido, Krav Maga, Aikido and Baguazhang. I received my first dan when I was 7 (though I would argue I did not deserve it then) and would receive many more as time went on in differing degrees of rank and style. I am currently at my highest rank a 3rd dan, and strongly believe I have earned that rank. That being said I am always happy to put on the white belt and start again, and by no means consider myself a belt collector. I believe as Bruce Lee taught to always be a student, and if ever a master, than one at having learned the humility necessary to learn other arts, as well as keep an open mind.

I have trained at Mcdojos, as well as schools that were quite the opposite. I began Kendo at the very first club in the D.C. area; I have seen masters retire, I have seen teachers pass away. I have run schools, been a head instructor and assistant instructor at the same time. I have taught in after school programs as a W-35 contractor making an actual living off the arts, and am currently pursuing an opportunity in Israel to teach with the non-profit organization Kids Kicking Cancer, which teaches martial arts to terminally ill cancer patients… for free.

I come from a strong Jewish background, but am myself a practicing Chan Buddhist, and Taoist. And these beliefs guide me quite strongly in my martial experience.

I love the arts, seeing them as a way for one to express themselves while improving themselves constantly. It is a spiritual journey, as well as a lifelong one. A martial artist in my eyes is one who does more than techniques and meditation; we turn living into an art itself.

But to kick this off, I will do so with a simple question; What is a martial artist?

In my eyes,

We are warriors and writers, builders, explorers, cooks and dancers. Life itself is our poetry.

We are those humble enough to remain open minded. We can be afraid, but have the strength to swallow that fear. We fight like fire, move like water, react as the wind. We keep form as though wood, with strength like metal, and think as the void. We express and are the Dao, now.

We are teachers and students, dilligent and steadfast, and do not shy from the hard work which must be done.

But we also each define ourself as a martial artist in our own mind’s eye. And no man’s view of what that consists of is less than any other.

It is a question you have to find an answer to, and simply responding a martial artist is one who practices martial arts is a simple tautology that only touches the depths of the deep as algae floating on an endless ocean does.

With that said, I hope anyone who reads this blog enjoys the experience. After all, we all are walking the same path; the difference is simply one may walk it differently than another, and through sharing, everyone has an opportunity to grow.

Namaste.

“If early you are on time. If on time you are late, and if you are late you are forgotten.”