MARTIAL ARTS, MATH, AND LANGUAGE

by Phillip Starr

In chatting with one of my senior students, I mentioned that learning martial arts is much like learning mathematics or a foreign language. Let me explain...

To learn math...you begin with simple arithmetic:

1. You must first learn how to read, speak, and write the symbols for the numbers. Sound easy? Well, you learned how to do a long time ago. So just to be fair, try doing it in Chinese! This'll put you back to square one pretty quick. These simple symbols represent the most fundamental techniques...

2. Now you have to learn double-digit numbers; how to write and say them. These represent the introduction of other basics such as stances, which are used in conjunction with #1.

3. Alright – now for triple-digit numbers and beyond. This is trickier than you'd think and it is essential to your progress if you plan to move beyond #2; this could represent learning the most basic body actions (and breathing) that infuse your technique with some measure of power.

4. To go any further, you're going to have to be pretty good at #1 to #3. So now we'll introduce a new concept...ADDITION. Single digits only. What might this be? We might compare it to actually MOVING from one stance to another (aka., footwork).

5. Now for single digit SUBTRACTION, which is going to be a pretty new concept. This could be represented by learning to execute basic techniques and movements in simple combinations.

6. Now for double-digit addition. This takes some work conceptually. It's like a whole new world. We might compare this to the most basic form(s) of practice involving a partner...you'll learn how to apply the most basic techniques and movements in very basic ways.

   

At this stage, some students like to try to venture out on their own and find “new” applications or principles. They're guaranteed to fail, just as a five-year old who tries to move much past single-digit addition will fail.

1. Yep, next is double-digit subtraction! This could be learning new techniques and movements, how to execute combinations with the proper body actions, and so forth.

2. TRIPLE-digit addition! A new and confusing concept at first, but once you get the hang of it it's not too difficult. This could be the introduction of a basic form, including the proper form(s) of breathing, footwork, rhythm, and power that it uses.

3. Now, triple-digit subtraction! Here, we might introduce basic applications of the first basic form. BASIC applications!

2. Now for a whole new concept; DIVISION! It's confusing at first and you must have mastered the previous 9 steps. Here, we might introduce the BASIC form of freestyle sparring. It's critical that the student has a firm foundation through the previous 9 steps, or he'll be totally lost.

2. Then comes multiplication...learning to blend all that's been learned so far into the practice of BASIC sparring. Nothing fancy, just very basic material.

   

So, basic arithmetic comes to an end. But you're just getting started- Algebra/Geometry is next:

1. We start with ALGEBRA 1. This could well be compared to a more advanced form that may involve more complex combinations and forms of footwork.

2. GEOMETRY is next in line. Learning more advanced forms of footwork and body movement (for power)...and how to combine them in different ways. This is another risky point where students sometimes go off on their own, trying to mix principles/concepts. It's akin to trying to blend multiplication with Algebra 1 and Geometry. It isn't going to work. Everything must be learned in stages.

3. ALGEBRA II/TRIGONOMETRY...More advanced forms and how to break them down; learning to apply the principles learned thus far to these forms as well as previous forms...

4. PRE-CALCULUS: Now, perhaps the student learns the principles of coiling power and how to perform fajin (emitting power via coiling) in very basic ways. Although quite different from what has been learned in earlier training, the principles learned back in the basic training MUST be mastered.

5. CALCULUS: Could this be compared to emitting jin (power) in combinations?

6. CALCULUS 3: Learn very advanced principles that may seem to be in opposition to some of the basic principles learned earlier (such as weight shifting) and so on...

   

This is just a basic outline that can easily be adjusted, according to what martial art or style of martial art you practice. Because math is actually a language, this same outline can be compared to learning a foreign language; first, you learn how to read and pronounce a few words. You'll move on to writing them and learning basic phrases and sentences. From there, you must learn to HEAR and understand what is being said and respond appropriately.

Eventually, you must learn to speak (and write) paragraphs and acquire an understanding of the language's sentence structure. If you hope to become fluent, you'll pass through numerous stages until you eventually THINK in that language instead of trying to translate your thoughts from English into the appropriate words., which results in slow speech and stuttering. It can't be done quickly and there are no short-cuts.

Sometimes, a student will try to jump ahead, cut corners, or extrapolate (come up with hypotheses). This always leads to disaster. Always. Imagine getting to the stage of double-digit numbers work and trying to jump into division...! Or beginning to learn algebra and trying to move to the next stage after studying it for just a week! It doesn't work that way. Some try to apply relatively advanced concepts that they are only vaguely familiar with, to earlier stages...like hearing about a particular concept or principle used in Trigonometry to basic Multiplication!

It's essential that the student master each stage before going on to the next. Like building a structure, the upper-level bricks rely on the lower bricks to keep the whole thing from crumbling.

MADE A BOOBOO? DON’T STOP!

 By Phillip Starr

Ever been practicing a particular form and stop because you made a booboo? Maybe it's the same mistake you've made many times before, and you get so frustrated that you stop, shake your head, and start over? Well....DON'T!

We all know and agree that in an actual fight, we'll perform EXACTLY as we've trained, right? Of course! And therein lies the rub...

Many moons ago, one of my teachers insisted that we stop (the form) and begin again if we stumbled, lost our balance, or made any other glaring errors. “You lost your balance!”, he would say. “Your enemy has killed you! It is over. Begin again…” And so it went until the form could be performed without any booboos.

Many years later, I would learn that this method of training was badly flawed and could lead to serious, even deadly, consequences. It was during one of my early iaido classes. I was practicing the first basic kata, mae, for the hundredth time…and my nukitsuke (the first horizontal cut made after releasing the sword from the scabbard) was too low. Dammit! I made this error far too often!

I smirked and stopped, preparing to start over. “NO!”, my instructor bellowed. “You’re in the middle of a sword fight! If you stop, you’re dead!” I realized, of course, that he was right. He said that his teacher and his teacher’s teacher (who was the highest authority in the world on iaido at the time) had pounded this training concept into him. “If you make a mistake, KEEP GOING! Don’t get into the habit of stopping is you screw up…you don’t dare do that in a real fight!”

I realized how easily pausing when I made a mistake could become a habit; one that I really didn’t want. And it applied to all aspects of training, in any martial art. If you make a mistake or something doesn’t go as expected, KEEP GOING! You can go back and fix the problem later, at another time.

If you think about it, the same thing happens frequently in the practice of self-defense techniques and other aspects of training. It’s important that you DON’T STOP. In actual combat, Murphy’s Law is omnipresent – if anything can possibly go wrong, it will (and usually at the worst time). If you can’t adapt and keep going, you’re lost.

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.