A SQUIRRELY APPROACH TO MARTIAL ARTS

 by Phillip Starr

Xunzi (aka. Hsun-tzu) was a Chinese Confucian philosopher who lived during the Warring States period and contributed to the Hundred Schools of Thought. A book known as the Xunzi is traditionally attributed to him. Known for his unique writing style, he typically compares humans to squirrels. “The squirrel can do five things”, he wrote. “it can climb a tree, swim, dig a hole, jump, and run. All these are within its capabilities, yet it does none well.” Actually, I'd argue that they do climb trees quite skillfully, but it’s true they they're not particularly skilled at much else.

It sounds as if the sage was giving advice to those who set out to follow the Martial Way or other related ways such as tea ceremony, calligraphy, and so on. We can compare what he said to the writing of C.W. Nicole's cult classic book, “Moving Zen”; Karate As A Way To Gentleness” (which I highly recommend) where he talks about his frustration when he initially took up the study of karate. He was already deeply engaged in practicing judo and soon found himself constantly exhausted and having trouble recovering from minor injuries. He was told that “A hunter who chases two rabbits will come home empty-handed.”

Now, some instructors like to use Nicole's words when their students inquire about adding to their understanding by taking up the study of another art. I think sometimes they're being sincere, but at other times they're worried about losing students who find that they prefer the training offered in another style. So, is it true that if we extend our training efforts in different directions, we'll miss our target? Will we become like the squirrel...fairly skilled in a number of endeavors but master of none?

One answer to his question might be found in the writings of Kanze Zeami, a 16^th century master of the ancient Noh theater of Japan, its first great figure, and the founder of a school of Noh drama that continues even today with one of his descendants serving as its headmaster. Except for extremely rare occasions, if you want to see Noh, you must go to Japan. Be glad that learning Noh didn't appeal to you; otherwise, you'd have to pack your bag and head across the pond!

Many Japanese martial artists were big fans on Noh, looking into its methods of movement, timing, and spacing – all things that were vital to their own practice. Zeami notes that aspiring Noh actors often faced the same dilemma; they'd strive to improve one aspect of their skill and end up being just mediocre in all of them. Zeami wrote, “As the result of persistent training, untutored style will develop into greater artistry, constantly improving until, before he knows it, the performer has reached a level of versatility and exactness. If his training is comprehensive and he expands his art in versatility and magnitude until he attains full competence, he will find himself at the level of the flower of truth.”

At first the many facets of Noh performance will seem dissimilar to the novice. The chanting and difficult movements don't seem to be interconnected, at least not in his mind. It's the same with the breakfalls of judo, the body shifting of aikido or kendo, and so on, They all seem like unrelated concepts. Zeami suggests that “persistant training” must be focused on the fundamentals, which will bring the student to a high level of competence. But it's not over.

Nicole noted that after acquiring “versatility and exactness” in his karate, he went on to take up iaido and later, jodo (using the 4 ft. stick against a sword). He was following Zeami's advice, expanding his skill “in versatility and magnitude.” Using lessons from one Way assist in acquiring an understanding of aspects of another. One noted author discovered that learning the etiquette of the tea ceremony taught him a trick for moving rapidly in the practice of aikido's “seated techniques.” A senior karateka found that the way of placing his hands on the floor during that tea ceremony made clear the position in which he had to keep his hands when he had to come off the ground in an advanced karate kata. And it was from a practitioner of Japanese dance that he learned to improve the stepping and turning motions used in another form.

Look to increase the depth and breadth of your martial skills by increasing the depth and breadth of your exploration into the culture and thinking of the land from which your art comes. You'll find that all of the art are interconnected and that all of them can be instrumental for attaining the “flower of truth.”