POLISH AND PERFECTION

 by Phillip Starr

In the world of martial arts there are a number of varieties from which aspiring students can choose. There are traditional martial arts, contemporary or “eclectic” martial arts, mixed martial arts, “realistic” martial arts (as opposed to the “fantasy” martial arts, I suppose), and so on. But I would argue that a number of these aren't really “arts” at all – at least not in the “martial arts” sense of the term – some aren't really “martial” per se, and the reasons for, and methods of, their practice differs considerably.

To begin with, the word “martial” as written in Chinese (and subsequently, Japanese) does not necessarily infer anything having to do with the military. 武 is the character for “bu” (“wu” in Chinese), which is translated as “martial.” Its radicals mean, “to stop the spear.” Although this can be easily inferred as a military action, it needn't be limited to that class. It can just as easily be thought of as a means of stopping violence or protecting oneself.

The objective of the traditional martial ways goes beyond merely learning how to best an opponent. They stress the importance of constantly polishing the techniques and forms with the ultimate goal being perfection of oneself. It is understood that this simply isn't possible in this lifetime but such a consideration doesn't dissuade practitioners from striving to reach that goal. They continue to practice throughout their lives, constantly polishing the art which has become the mirror in which they can see into their own hearts and know themselves.

Most contemporary and/or eclectic “martial arts” are directed at one thing; performance in front of an audience. There is no need for combat effectiveness, nor are they particularly interested in perfecting themselves and their spirits. The be-all, end-all of such activities lies primarily in aesthetic appeal.

“Martial” ways such as mixed martial arts often claim to be directed towards combat efficiency but I disagree. The objective of these methods is to win a match. They are, after all, sports... and the objective of participation in any sport is to win! And, as with all sports, there are rules that must be followed. They have no interest in perfection of technique; their goal lies solely in winning the game.

As for the “realistic martial arts”, their objective does not extend beyond defending oneself. Perfection of form or technique doesn't even enter the picture; practical combat effectiveness is all that matters. Once that has been achieved, the goal has been reached and the ride is over.

But for the traditional martial arts practitioner, the ride goes on for the remainder of his or her life. Sure, there will be ups and downs but the ride continues and although the drive to polish the “mirror” may wane from time to time, one always come back to it and starts polishing again. The seemingly simple reverse punch or front kick provide us with endless insights into our true selves.

PLASTIC SWORDS AND TOY GUNS

 by Phillip Starr

Remember when you were a kid and you used to engage in sword fights with plastic or rubber swords? Ever play at being a cowboy or a soldier and strut around with your toy gun as you fought for truth and justice? It was a lot of fun. And at the end of the day, we all went home for dinner. Is this what you're doing with your martial arts training? I sure hope not. Dinner is great but are you playing with toy weapons? Or are you building the real thing?

In another article, I wrote about generating enormous striking power through the proper application of certain laws of physics, which necessarily involves some specialized body mechanics and structural adjustments. It is entirely possible for a human to generate over a ton of striking force if the technique is correctly executed. This isn't something that can be achieved after a few weeks or even months of regular practice; it require a lot of training over time (the meaning of kung-fu ) but it can be done. With some moderate training, a first-grade black belt should be able to generate at least 200-300 lbs. of force (per square inch) if the technique is done properly.

But.

Is your (bodily) weapon capable of withstanding that kind of force? Are you swinging a plastic sword or one made of high-quality steel? You know perfectly well what'll happen if you whack a solid target with a plastic sword and the same thing will happen to your hand (or foot). Trust me on that.

Karate, taekwondo, and kung-fu depend on the use of various bodily weapons. In order for these weapons to be of any real use, they must be strengthened and tempered. Now, I m not suggesting that you consider developing massive callouses or anything like that; such things aren't really necessary. But the body's weapons absolutely MUST be tempered. After a lifetime of training, I have found that the best piece of equipment for this is the striking post, especially the Okinawan-styled post (which can also be found in some kung-fu styles and the original form of taekwondo). Hitting a heavy bag is nice, but it is of little use in tempering the body's weapons - and if you want to truly strengthen them, don t wear bag gloves. Ever.

Consider, what s the difference between getting hit with 5 lbs. of chicken feathers and 5 lbs. of lead? They have the same weight, yes? So, why does one shatter bones and the other cause you to swear off KFC for a month? The answer is DENSITY. The density of lead is considerably greater than feathers.

A properly built striking post that is used in the correct manner with good technique (this is asking a lot, I know) will, over time, increase the density of the bones in the hands (and feet, if you build a post that you can kick) and strengthen the joints involved. The bones become as hard as steel. Yes, the flesh will toughen to some degree but excessive callousing is unnecessary. A light tap with such a weapon can drop a man easily. It's akin to being caressed by a ballpeen hammer.

The joints absolutely MUST be strengthened to withstand the reaction force of your blows. A punch or kick is only as strong as it s weakest link, which is the joints. One weak spot can unravel most of your striking power.

If we're going to practice REAL martial arts instead of the fantasy version, we must build and learn to use REAL weapons. Let the children play with the plastic swords.

ON BECOMING A MARTIAL ARTS TEACHER

 by Phillip Starr

In many martial arts schools, the acquisition of the rank of shodan (first grade black belt) automatically launches the practitioner into the position of an instructor or assistant instructor. If he/she eventually desires to start his/her own school, he/she may do so. But the truth is that although someone may be able to perform well, he/she is not necessarily able to transmit knowledge to and guide others. Being a (martial arts) teacher carries with it enormous responsibility.

The teacher must know whereof he speaks; he must know the material he teaches very thoroughly, not just the “how” but also the “why.” At the same time, he must never feel that he knows or has mastered it all; he must strive to continue to polish what skills he has and continue to learn. He should strive endlessly to improve himself. It's a never-ending process. A passion.

He should teach because he wants to teach and he must never forget what it's like to be a beginner. Gentle but firm and patient, he must relate to each student on his/her level. He must push but not too hard, he must encourage, correct, and guide. And he must strive to teach his students how to learn, hoping that they may someday exceed his level. After all, if the students never go beyond the teachers, what happens to the art?

DO NOT WIN, DO NOT LOSE

 by Phillip Starr

In today's martial arts world, especially in the competition arena a lot of emphasis is placed on winning. The so-called “reality-based martial arts” do the same thing. However, in the traditional martial ways, teachers often admonish their students to “not lose.” This is a bit different from the concept of “winning” and is one of the differences between the traditional martial disciplines and the shallower contemporary versions.

Striving to win and focusing on not losing are two different animals. Let's examine them more closely... If winning is your focal point, there must be both a winner and a loser. Naturally, you don't want to lose, so you direct your polestar to winning. This is crucial in a contest; if you compete, you must naturally do your best to win. The only other option is to lose, and you didn't enter the event so that you could lose, right? But it is this very point that is a hindrance to those who wish to follow the traditional ways.

When you focus on winning, you're more likely to do things that you wouldn't ordinarily do. You may well do something very foolhardy in your effort to “win” and that can very easily end badly for you (but it may put your dentist's kids through college). Moreover, part of your attention is directed towards yourself rather than being directed at your opponent. This weakens your spirit and yi (intention). It causes at least a partial withdrawal of your qi (ki, in Japanese), which can result in defeat.

Bear in mind that there's fighting, and then there's FIGHTING. Fighting in a competition ring is one thing...but it's not real, of course. Even practice with classmates cannot compare to actual combat. The attacks may not not be clean, crisp movements and Mr. Murphy (of Murphy's Law fame) will be sitting in your back pocket. The surface that you're standing on will likely be less than ideal. The area around you may well be cramped, with plenty of objects hindering freedom of movement. Real fighting is messy on a good day. There are no referees, no coaches, and no such things as “points.” Survival is the only issue and when you engage your foe, you can feel and hear the hiss of his hot breath, smell the stink of his sweat, and feel his rage. Face it; you'll likely get a bit scuffed up yourself and you must be able to fight through the shock, the pain, and the blood.

The object here is to NOT LOSE. The most effective method is to walk or run away. Fight only if you must...when, for instance, you are not able to run or if you must defend your family (or even other people). Don't fight to save your pride; but if you must fight, you must not lose!

That means surviving. You won't try any of your point-winning techniques; you'll rely instead on what you believe will work to bring the conflict to an end, one way or another. All of your attention must necessarily be focused on your enemy. There's no such thing here as second-place.

THE MYSTERY OF QI

 by Phillip Starr

Okay, here we go...into the “forbidden” realm of that most elusive aspect of martial arts; the subject of QI! In traditional Chinese culture, qì or ch'i (pronounced “chee”, and known as ki in Japanese culture) is an active principle forming part of any living thing. Literally, qi translates as "breath, air, or gas”, and figuratively as "energy", or "life force". It is the central underlying principle in traditional Chinese medicine and martial arts. Clearly, there is an important connection between breath and qi. More about that later...

Qi used to be be written 氣 . This is a pictogram of boiling rice. The “simplified” method is 气 , wherein the character for “rice” has been removed, Another version of the simplified method is 気 .

But just what is qi, really? What do we know about it? Is it a real, tangible form of energy or is it just so much mystical mumbo-jumbo? Identical concepts can be found in many cultures; In India there is the concept of prana, in Japanese it is ki, pneuma in Greece, mana in Hawaiian culture, lung in Tibet, and ruakh in the Hebrew language and culture. Even Native American languages had words for it. Indeed, it would seem that all ancients civilizations had words for the same concept! So, the idea of a “life-force” is not peculiar to China or the Orient at all.

Nowadays, we refer to it by its Chinese or Japanese (or Korean) name, or we just call it “vital energy” or any one of a dozen different terms. It is a very real form of energy that has nothing to do with religion, psychology, or philosophy anymore than light or heat has to do with these things.

The real problem, of course, is that as yet, we are unable to measure this “thing” in any way. We simply don't know how. Many people argue that sinc it can't be seen or measured, it cannot exist. I call such people the “Flat Earth” people. In the grand scheme of things, it wasn't that long ago that our ancestors were utterly convinced that the earth was flat...because all of their “up to date” science said so. The TRUTH, of course, was that they had not yet developed any accurate equipment to find out. They just insisted that their “scientific equipment and methods” were more than adequate to justify their findings. It's the exact same argument that we hear from their more contemporary counterparts...if it can't be seen or measured by the kinds of instruments we now possess, it simply can't exist.

And the earth is flat.

It's time to admit the obvious; science has SOME answers but certainly not ALL of them. Science is not the immovable pillar of truth that we've always thought. Were that so, we'd never have had to change various scientically-proven “facts” so many times! I don't know about you, but much of the “hard science” I learned in high school has since been proven erroneous and replaced with newer, improved, enriched facts that are TRUE for sure...this time. Until they're disproven again. And real TRUTH is immovable. It is always true.

The fact that there are a great many flim-flam scam artists out there doesn't help things. They provide phony demonstrations to fool people into believing that they possess a high level of skill with the mysterious force known as qi. But that doesn't mean that the concept of qi is false. Not by a long shot.

So, what IS it? To be sure, no one knows for certain. But we can witness its presence by what it can do. In so far as martial arts is concerned, some people think of it as a “force” that can be magically applied to one's movements to make them more powerful. I call this the “star wars” approach. It's a cute idea but it isn't real.

Scientists who are investigating this subject have found that when an internal kung-fu stylist releases his power (fajin), they are able to detect a small electro-magnetic pulse (e.m.p.). Similarly, they have detected an increase in the electro-magnetic field around the body of a qigong practitioner when he/she is engaged in the practice of qigong exercises. But I don't believe that qi can be defined as electro-magnetism; rather, an increase in electro-magnetic activity is a by-product of it.

As I said earlier, there is a clear connection between the breath and qi; after all, “qi” means “breath” or “air”...but it is really more than that. In the Orient, it is believed that when we inhale, we take in more than just oxygen and a few other elements. We also absorb something very subtle. We inhale the life-force of the universe; qi. All living organisms do this. The mind (one's “will”) is used to direct the life-energy. The stronger the mind's ability to direct, the easier it is to do this. Thus, one of the main reasons for training the mind to focus on a single task.

LITTLE FINGERS AND TOES

  by Phillip Starr

The late, great, judo master, Gunji Koizumi, was once asked about the "secrets" of his art.  "Little fingers and toes," he replied with a smile.  No doubt, this left the journalist who had asked the question more than a little puzzled, but to me it is a fine example of Koizumi's genius and deep understanding of judo and, in fact, of all martial arts.

     Judo practice begins with both participants grasping each other's jackets and maneuvering for an advantageous position, trying to cause the opponent to lose his balance momentarily or just feeling when he inadvertently places himself in an unstable or vulnerable position. I must note that this so-called “vulnerable position” is not limited to the opponent's physical body, but also to his mind and spirit as well.

     There is often some maneuvering for the grip on the jacket itself and this sometimes subtle struggle for one's favored grip is more than just a gross placement of the hands and arms in preparation for a throw.  It is also a placement of the spirit.  The real technique of grasping the jacket is very subtle.

     Modern judo is, in my opinion, not what it used to be.  One of my most senior students has an extensive background in this fine art and often refers to the modern version as "brudo" or "brute-do."  Many contemporary judoists focus on the development of great strength and seek to overpower their opponents with brute force.  They seem to have forgotten that judo's founder, Dr. Jigaro Kano, was a very small man even by the Japanese standards of the time but his skill was truly extraordinary.  Master Koizumi had studied and mastered the art under Kano's instruction.

     Koizumi's reply is easily applicable to any martial art.  The "secrets" are simple but also very subtle and not readily understood by novices.  They are learned through constant training and study of the art.  It isn't enough to simply "go through the moves"; you have to study them in detail.  You must take time to sit, think, and consider. 

     Beginning students start by learning the gross, large movements.  Until these are mastered, they cannot hope to understand the subtleties of the art.  If their teacher has acquired a high level of skill with the more sophisticated aspects of the art students can aspire to learn them as well, although they won't even recognize them for some considerable time.  Rarely are these delicate and subtle aspects taught openly.  Students have to watch closely and they must have a good measure of experience and understanding themselves before they will be able to see these little "extra somethings."  Little fingers and toes.

     There are small, seemingly insignificant details that accompany the teacher's way of punching, striking, and kicking.  It isn't always seen in his striking hand or kicking foot.  Sometimes it's elsewhere.  Sometimes it has to do with angles but even that statement is a gross oversimplification.  In a sword-hand strike, the placement of the finger(s), the angle of the strike, the angle at the point of impact...all of these are things that the beginning student will not notice.  And even if he tries, he will not necessarily see it until he has mastered the basic strike himself.  But I want you to be aware that these little things exist so that you will recognize them when you’re ready.

    Forms lend even more complexity to the situation.  It is important for the student to do his best to imitate the teacher's movements exactly.  When the instructor stamps his foot rather than stepping down normally, there's a reason for it.  Sometimes his steps seems to "glide" and at other times they appear to be quick and lively or heavy. Watch for the tension in the legs as he moves.  The placement of the hand (which is precise even though it may not appear to be), the rhythm in certain segments of the form, the breathing pattern(s) and how they relate to the movement(s); there are many, many little things that you must look for if you aspire to discover the real art and master it.  Little fingers and toes.

LI AND QI

 by Phillip Starr

“Li” (力) means “strength” or “force” in Chinese and is one of the radicals used in the characters for “kung-fu” ( 功夫). I remember my teacher telling me not to apply too much li in my practice of xingyiquan but it confused me; was he saying that I shouldn't use muscular effort/strength? Was I supposed to remain relaxed?

This is a sticky issue with many people who practice a form of the neijia (the so-called “internal” arts of taijiquan, xingyiquan, and baguazhang) and in fact, any form of the martial ways. We are told not to use strength and/or to relax, which seems contrary to the delivery of powerful techniques, What are we to do?

Ancient writings (or “songs”, as they are often called) tell us that Yi (one's imagination, will, idea, mind), Li, and Qi go together. If your mind is directed towards a certain thing, your Qi naturally extends towards whatever your mind engages. But to effectively emit Qi, you must use your body. This is where it gets tricky...

To effectively emit Qi, one must use no more Li than absolutely necessary; excessive muscular tension cuts the flow of Qi to a trickle. For instance, when you push a door to open it you use only as much strength as you must; the amount of resistance offered by the door determines exactly how much force you must apply. It's the same with picking up a pencil or any other mundance, everyday object. To grab a pencil, you don't use all, or even most, of your (muscular) strength. If you did, you'd probably be unable to accomplish this simple task. This is why toddlers have difficulty in picking up things like pencils; they haven't yet learned not to “over-muscle”it; they use too much strength and have trouble picking up the item. You, on the other hand, can instantly feel exactly how much (minimal to a very small degree) strength is required and you can pick up a pencil almost effortlessly (I say “almost” because some use of muscular effort is, in fact, required).

And so it goes with everything...such as braking your car (remember when you were first learning to use the brakes and almost put your teacher through the windshield?), opening and closing doors, tying you shoes, and so on. And this same idea applies to martial arts as well.

Focus on making your technique as perfect as possible. Let impact (resistance) determine and CREATE the (minimal) amount of tension you require. Don't try to do it yourself; you'll only muck it up and “over-power” your technique. If you concentrate on the technique being as perfect as possible, power will come...naturally.