LEARNING TO FORGET

 by Phillip Starr

*Partially excerpted from the book, MARTIAL MANEUVERS, by the author

If you tell an untrained person to defend himself and then commence to attack him, he’ll respond with no thought of techniques and principles; his only consideration is staying in ne piece and either fighting back or running away. But once he takes up the study of martial arts, his mind become obstructed by many other things…

• THE STAGE OF TECHNIQUE

Beginners concern themselves with the various aspects of technique; how the technique is performed, how to stand, how to move, how to fix the eyes, how to execute the forms, and so on. All practitioners must go through this phase but sadly, most never pass beyond it. There’s so much material that must be committed to memory and training must be regular and vigorous lest they forget it all when the chips are down.

The fact is that a great many instructors themselves have never progressed beyond this stage and as such, they’re incapable of taking anyone beyond it. Their minds are focused on what their bodies must do. All physical activities must start this way but it’s important to move beyond it. Like driving a car- when you first tried to use the brake, you probably almost put yourself and your instructor through the windshield, right? You were focused on exactly where to put your foot, how much pressure to apply and how fast to apply it…but now, you do it without even being consciously aware of it!

In actual combat, you must not allow your mind to become attached to the technique or any aspect of it. It must be practiced until you can do it without having to think about or even be aware, of it.

*THE STAGE OF PRINCIPLE

It is only after the most fundamental techniques have been practiced many, many times that this stage can be reached. Only a handful of students will make it this far. The various techniques, stances, and movements have become a natural part of them and they no longer have to think about them; they are naturally correct. Technique has become “no-technique.” Some students, after getting to this stage, believe that there is really”no technique.”

But there is a difference between “no technique” and “no-technique.” In the case of the former, there is really no technique at all. One has tossed away one’s training (probably because of a lack of thorough training in the previous stage). In the case of the latter, one has transcended technique and come to understand the underlying body movement principles. Correct technique appears as needed without conscious effort or even awareness.

• THE STAGE OF “NO-MIND”

Reaching this stage happens naturally and cannot be forced. In fact, it usually occurs when you have given up aspiring to reach it. This is why so few achieve it; if you TRY to get it, it will slip away and you end up with nothing. It’s like trying to grasp the moon you see reflected on the water. Your hand gets wet, but that’s all you have.

This stage has less to do with technique as it does with how you regard your opponent. If your previous training has been correct and thorough, you actions will not run contrary to it…so you can focus on your opponent rather than on yourself. You must not be swayed by thoughts of winning or losing, living or dying, or even effectively defending yourself. Otherwise, your mind cannot move freely and spontaneously because it is fixed (at least partially) on something!

Although many so-called “masters” like to think they’ve reached this stage, very few ever do. It is beyond technique and beyond principle. It is the stage of engaging the opponent without any thoughts about what you will or will not do. It is the stage of “no-mind.” The mind is without physical form and expresses itself through the body. If you have advanced knowledge of a general’s strategy (mind), you can easily defeat his troops (body), but only if you keep your intentions secret until the last moment.

*THE STAGE OF EMPTINESS

This stage (emptiness) allows your mind to be free of thoughts about an enemy and simply act like a mirror. You no longer concern yourself with the fact that there even IS an aggressor. When he approaches, you become one with him.

When you practice, your mind is more involved than your body. Your body will naturally move correctly, so you need not be concerned about it. Mind and body have become one and when your mind orders it, the body is already there. Most martial art practitioners don’t even know this stage exists. Mind, body, and energy have all become one – they are no longer separate. Everything is effortless and when an assailant tries to strike you, it is as if he is trying to hit his own shadow.

*THE BEGINNER’S MIND

This final stage is also known as “original” or “ordinary” mind. Technique has been forgotten and the mind returns to its original condition, before you began training. It sees and acts clearly. Everything is achieved naturally – without conscious effort. Knowing these stages is the first step toward mastery. You have to know where you’re going if you’re ever going to get there.

 

LEARN TO FIGHT? DEPENDS ON HOW YOU TRAIN…

I’ve heard it countless times…”Taiji is useless for real fighting.” No, that’s not true. Remember that taijiquan was originally a martial art, designed specifically for combat. But I would temper my response by saying, “Taiji, AS IT IS TAUGHT TODAY, is useless for fighting.” So are a lot of other styles of martial arts.

Some arts and styles have been turned into mere sports. Others, like taiji, are primarily practiced nowadays as a means of improving and maintaining health. They're pretty much useless in actual self-defense BECAUSE OF THE WAY THEY'RE PRACTICED AND TAUGHT. The fact is, if you want to learn how to fight – how to use your chosen martial discipline for actual combat – YOU HAVE TO TRAIN FOR IT.

There's a huge difference between formal 1-step routines, forms, and freestyle sparring and actual fighting. Such routines are intended to teach you how to apply the various techniques and body movements of your art, and promote the development of a sense of timing, They’re also used to help you refine and polish your techniques and movements, which are essential skills.

However, on the street, no one is going to step back several feet and adopt a classy fighting stance before they attack. This means that there's a huge difference between the distance(s) you use in sparring or 1-step and real hand-to-hand fighting. Punches and kicks won't be pulled short of contact and if you're hit, the aggressor isn't going to step back so you can get back on your feet!

This is not to say that 1-step and forms practice are useless. Not at all; they're critical for developing real skill IF YOU UNDERSTAND HOW THEY'RE INTENDED TO TRAIN YOU. Forms, for example, are TEMPLATES that are meant to teach you how to defend yourself. They are not simply a group of fixed postures that you seek to imitate in an actual fight! Combat is dynamic, not rigid. Use your forms as templates! If practiced correctly, they will teach about distance(s), timing...everything you need for developing real fighting skill. If practiced incorrectly, you're learning how to dance.

But simply practicing forms isn't enough. There are myriad training routines that must be incorporated into your practice; routines for developing real striking power (such as bag work and striking post training), timing, distancing, effective combinations, and so on. You have to TRAIN TO FIGHT! Two-person routines are extremely important; one-step routines that have the aggressor firing off realistic street attacks, including grabs and tackles, which are practiced at close range, from natural standing positions (not from some formal posture or fighting stance). You’ll quickly discover many differences between formal practice, sparring, and genuine “street tactics.” And you’ll have to make the necessary adjustments.

In short, if you want to learn how to fight, you must TRAIN FOR IT.

AIN'T THAT A KICK IN THE HEAD...?

 by Phillip Starr

      In the many years that I've been involved in martial arts, I've met several practitioners who honestly believed that jumping kicks and kicks to he head are effective techniques for self-defense.  So I thought I'd take a moment and put that argument to rest.

     First off, the head is the most mobile target on the human body.  That is, it responds faster to a threat (an attack) than any other part of the body.  This is because it houses the two most sensitive “organs” that we have...the eyes.  Have you ever been outside on a windy day and suddenly (and involuntarily) snapped your head around and shut one or both eyes...to prevent a grain of dust from getting into your eye?  If you live in the Midwest, I know you have!  That's a good example of just how quickly the head can move when a threat is perceived.

     Second...performing jumping or head-high kicks leaves you in an extremely vulnerable position.  This why flying side kicks, and kicks to the head are not featured in the traditional Okinawan (and hence, Japanese) or Chinese forms.  Ever.  Low kicks – made to the groin and even lower, are extremely effective and much safer to use.  Such kicks are often featured in the old traditional forms if you know where to look for them...

     Third, what bodily weapon is furthest from your foe's head?  If you guessed it's the feet, you win the banana!  So, WHY would you try to hit his head with the weapon that's furthest away?  Your hands are much closer!

     And then there's the problem of distance.  Regardless of what Hollywood would have us believe, fights in real life generally don't begin with the two antagonists squaring off in some kind of fighting stance.  At all.  The attack comes out of nowhere, with very little (if any) warning.  And it begins up close and personal.  My old friend, Master Seiyu Oyata (10^th dan, dec.)  would demonstrate; standing several feet away, he'd raise his fists in a fighting stance and say, “This for sport.  You have a good time.”  Then he'd walk up to his opponent such that he was almost close enough to kiss him and he'd say, “This self-defense.  No can run away or get (physically) ready.”  Point well made.

     So, is it a good idea to practice high kicks?  Yes- it helps maintain a fine degree of flexibility and that will actually be of great help in developing effective low-level kicks. In gong-fu there is a saying that my teacher often repeated; “You can kick effectively only to the level that you can hold your leg.” So, how high can you lift a front kick and hold it for, say, 20 seconds? How about a side thrust kick? However high it may be, THAT is the maximum height where you can land a kick with pinpoint precision and focus. Anything higher than that is relying very heavily on momentum, which isn't totally reliable and precise. An excellent way to strengthen and toughen the hips and muscles used in kicking is to do that 3 times with each leg (with 5 second rests in between). It also strengthens the lower back. Beginners should not try this; it's an advanced routine.

    

FAJIN. GOT IT?

 By Yang Shuangxing

In the Chinese martial arts – especially the internal art – we often hear the phrase “fajin” (發勁) Many assume that this refers to the emission of qi (vital energy), but that's an incorrect assumption. Fajin literally means “emit power/strength” and is sometimes referred to as Fali (發力). So, virtually every percussive martial art has its own particular form of fajin. For some, it's little more than sheer brute force; others require a lot of refinement.

In the internal martial arts of China which includes taijiquan, xingyiquan, and baguazhang), learning real fajin takes some considerable time and practice. It has nothing to do with the size of one's muscles, although the muscles are certainly involved. It is NOT akin to the “force” depicted in Star Wars movies. At all. There's no “magic.” In terms of biomechanics, fa jin is a matter of utilizing body alignment and coordination to form an extremely efficient kinematic chain. The body begins in a relaxed physical state, which is then quickly accelerated in a coordinated whole-body movement. The internal arts are all based on the ability to utilize fajin and without it, they become little more than bizarre forms of shaolin boxing or just flailing the arms around.

Imagine a wet, rolled-up towel or a whip with a small weight attached to the end. If you want to “crack the whip”, you can't just use any arm/shoulder movement; the correct movements must be just so and they have to be practiced repeatedly.

The motions of the arm and hand cause the end of the whip to snap out suddenly and it seemingly becomes “stiffened” as the energy/power is released. In reality, it doesn't really stiffen unless it hits something (meets a resistance). One of the most important features is the TIMING of this release of energy, both during and AFTER. This is all described and illustrated in my book, REFINING JIN.

GONG AND ROU

 by Phillip Starr

In Chinese martial arts, especially the neijia (internal styles of taijiquan, xingyiquan, and baguazhang), there are two words that must be fully understood and practiced correctly if one is to ever reach a high level of skill.

Gong (功) means, roughly, achievement, strength, power. It's the same character found in the term “gong-fu.” It DOES NOT infer the use of brute, muscular force. If a strike possesses proper “gong”, it may be said to be powerful, sharp, and strong.

The word Rou (柔) means “soft” but it does not imply a kind of “damp rag” softness. It is not flaccid; it is simply soft, not rigid. This is exactly the same word and character used in Judo, Jujitsu, Goju-ryu Karate, and so on.

Ancient classics tell us that when a strike is executed, the energy must be transmitted outward to express Gong. Until the strike impacts the target, the body and the striking limb must be in the condition of Rou; the body is relaxed and there is no excessive tension anywhere. At the instant of impact, energy is transmitted outward and Gong occurs. It is important that we ALLOW THE IMPACT TO CAUSE THE PHYSICAL CONDITION OF GONG. The instant after impact, the body and limb must become Rou again. This will occur naturally unless we consciously try to stiffen the body at impact or relax it immediately afterwards.

The best analogy is that of swinging a chain. A chain is soft; it can easily be folded up and carried in the hand. As it swings through the air, it remains soft...until it hits something. And it is the MOMENTARY RESISTANCE of the target that causes it to become an iron rod for a micro-second, after which it once again becomes soft. We would say that it is Rou until the instant of impact and the IMPACT CAUSES IT TO BECOME GONG...but only for a micro-second.

Rou is soft, like cotton. But it's also alive, like elastic. It is not flaccid at all, but it has no stiffness in it.

The key to using these two qualities efficiently lies largely in posture and structure/alignment, which involves much more than simply standing straight. Another element is using Gong and Rou at the appropriate times. When a technique is executed, the body must remain in the condition of Rou and the yi (and consequently, the qi) must be extended forward, to the target. Gong occurs naturally when impact is made, but only if the body's structure is correct.

YOU FIGHT EXACTLY AS YOU TRAIN!

 by Phillip Starr

The most renowned Japanese swordsman of all time, Musashi Miyamoto uttered those words and wrote them down for future generations, And even today, our modern combat instructors from Seals to basic infantry training drill sergeants and instructorss at police academies reiterate those very words; “You can only fight the same way you train.”

When beginners practice to defend themselves, their partners should not attack with much force; emphasis must be on correct technique, body shifting, and other fundamental concepts. When they reach the mid-levels, more power is poured into the attacks; I tell their partners to attack and do their best to just touch them or give them a bit of a thump. The counter-strikes must be performed correctly as well, with some measure of power and complete control.

However, advanced-level students (starting at the brown belt level), the attacker's instructions are to knock their partners down. And the counters must carry some measure of power without actually making contact. The attack becomes real...or as real as we can allow it. The counter-strike must be delivered with full destructive force and absolute control.

Errors that are often seen include:

• Failure to deliver the attack with speed and yi (intention). This usually occurs when the participants know each other; they are afraid they might actually strike their friend.

• Failure to direct the attack or counter-attack to a vital point.

• Catching and/or easing your partner to the ground when a takedown or throwing technique is applied. This is a very bad practice; it becomes a habit very quickly and that means that his is EXACTLY what you'll do in a real fight! Consider: Your partner has been trained to breakfall and he should be capable of taking the fall without injury...without your assistance!

Additionally, easing him to the ground negates your ability to strike him immediately following the throw. And in a real skirmish, that's what you MUST do.

Of course, there are many others. The point is that you must train exactly how you will fight, although you must ensure that your blows are well-controlled. Remember, you can only fight the same way that you train!

EVERYDAY – 365 OF THEM!

 By Phillip Starr

Here's a challenge for those who are determined to achieve higher levels of skill and knowledge about their chosen style of karate, taekwondo, or gong-fu...select a form that you already know, and practice it at least once every day. Every, Day. For a year. If you miss a day for any reason at all, you have to start over.

Think you can do it?

Remember, missing one practice for ANY reason – sickness, forgetfulness, injury, the kid's soccer game... - ANYTHING – sets you back to Day One. Still want to do it? Can you?

I suggest picking a fairly basic form that isn't too lengthy, and one that you can practice indoors (remember, you'll have to do it through the winter, too). You can do it fast, slow, medium speed...however you want. The important thing is to do it as best you can, every day.

With the passing of time through the year, you'll discover things about your form that you may not have even suspected. And you find small errors that you've been unconsciously making for a very long time.

I could go on and on about how this lengthy practice will benefit you, but I'll just leave it here. Let me know what you discover!