April 10th, 2017 marks the anniversary of the passing of Sensei Paul Recchia. You may review his memorial here https://senseijohn.me/memorial-page/
Sensei Paul Recchia at age 60 years old. Circa 1975.
Please join me in performing a kata at sunset on this date in memory of Sensei Paul and all whom we have lost. The following Hatsu Bon Poem, together with the above training, are offered to his spirit.
May Sensei’s spirit find our training and poem worthy.
HATSU BON POEM Please don’t cry before my grave That’s not where I am Nor am I sleeping for eternity SEE!! I am already part of the breezes numbering a thousand I am part of the light that brightens this world Like a diamond glittering in the snow Like the sun that coaxes seeds to sprout And in the Fall I become the gentle rain that nurtures all. When you open the window in the morning I am the breeze That causes your hair to flutter; And at night, I am the star That watches over your sleep. So, please . . . don’t cry before my grave That’s not where I am. I am not dead. I have been born anew.
The last time Sensei Paul (in wheelchair) was at the Issho Dojo (January, 2000) with (L-R), Sensei Walter Byrne, Sensei Kim Szmitkowski, Sensei John Szmitkowski, Sensei Jimmy DiMicelli, Sensei Bobbie Gumowski. I will never forget that this was the first time in almost eighteen months that Sensei Paul, confined to his in home hospital bed, left the comfort of his home to honor all who were elevated that day in the black belt promotion ceremony.
Sincerity in sweat, you are not forgotten, Sensei.
Sensei John Szmitkowski
For information on my “no-risk”, kata seminars, please visit the seminar page using this convenient link https://senseijohn.me/seminar-kata/
My seminars are the ONLY seminars that allow you to pay at the conclusion, thus insuring your complete satisfaction! For a refreshing and innovative discourse on kata and bunkai, please feel free to visit Sensei John’s Kata Laboratory and “THINK * SWEAT * EXPERIMENT” using this convenient link: https://senseijohn.me/kata-lab/
Sensei John is now on Facebook, under – FLY FISHING DOJO, you are invited to send a Facebook friend request.
You may wish to view my other blogs – my fishing blog which includes my fishing journals and the interrelationship between martial arts protocol to fishing http://flyfishingdojo.com
and the Goshin-Do Karate blog at http://defeliceryu.com
“Many paths lead from the foot of the mountain, but at the peak we all gaze at the single bright moon.” (See endnote number 1)
Let us continue our examination of the three stages of the path up the mountain (https://senseijohn.me/2017/03/01/the-mountain-path-part-1-the-path-up/). Let’s look at the view from the top of the mountain. I characterize the view as the goal. It is why one would undertake the arduous trek up the mountain. It is the raison d’etre.
What then is the goal? Before attempting to define the goal, it is important to understand some of its fundamental elements. This analysis will apply to any goal. I submit the goal, or view at the top of the mountain is (must be):
Desirable;
Worthy of our effort;
Attainable – this is to say that only the effort to obtain the goal can be quantified. The goal itself can never be impossible. I wonder, though, if the goal can be temporally improbable (such as landing a man on the moon)?
Sustainable – once obtained, the resulting goal, or the memory of it, must remain with you,
Subject to a “condemnation” for failing – even if only subjective, there must be a form of castigation for not attaining the goal,
Best if the goal is subjectively imposed – “I want to” (e.g. go to college) than objectively imposed “You will” (e.g. go to college);
Standard to attain the goal my be subjective – (improve my mental well-being) or objective (I lost weight),
With these points in mind, what then is the goal? The specific goal is best determined by the person undertaking the path. To illustrate this point, lets look at the karate-do example of Ikkyu’s saying. When used to illustrtate the idea that regardless of the style of karate studied, the goal of study is the same, the only person who can answer “What is the goal?” is the student himself. Sensei can only provide guidance as to possible answers, to protect oneself, to develop a strong spirit, to have good physical health, and the like. As such, Ikkyu’s saying merely provides a visulaization for the student that allows him or herself to fill in the answer.
A corrolary to the above is that the goal may be temporary. Goals change over time. In the karate example, a student may start with the goal of learning self-defense. After time, this may transform to a goal of deeper spiritual and empotional understanding. Using the goal of a college degree, as a second example, we may see that the attainment of a degree is the goal until attained. Then, what becomes of the goal? It morphs into a new goal. Having a college degree may mean earning more money, for others it may mean starting a business, or even having a more fulfilling job.
Perhaps, the true nature of the goal is, in the end, to simply keep you on the path, constantly climbing the mountain. I think that once all our goals are attained, we simply would cease to be. To borrow a quote for a certain American motorcycle manufacturer, “Its not the destination but the journey.”
In the last part of this series, we’ll explore the path down the mountain, perhaps the most treacherous path of all. Until then, enjoy the view of the moon.
Respectfully submitted,
Sensei John Szmitkowski
ENDNOTES
1. Though not referenced as a source of the quote at the time, the quote seems to come from the Zen-master Ikkyū (1394-1481). It is; however, also found in other sources and contexts. Two examples are:
“There are many paths to the top of the mountain, but the view is always the same”, a Chinese proverb, and
“There are hundreds of paths up the mountain, all leading to the same place, so it doesn’t matter which path you take. The only person wasting time is the one who runs around the mountain, telling everyone that his or her path is wrong.” A Hindu proverb.
For information on my “no-risk”, kata seminars, please visit the seminar page using this convenient link https://senseijohn.me/seminar-kata/
My seminars are the ONLY seminars that allow you to pay at the conclusion, thus insuring your complete satisfaction!
For a refreshing and innovative discourse on kata and bunkai, please feel free to visit Sensei John’s Kata Laboratory and “THINK * SWEAT * EXPERIMENT” using this convenient link: https://senseijohn.me/kata-lab/
Sensei John is now on Facebook, under – FLY FISHING DOJO, you are invited to send a Facebook friend request.
You may wish to view my other blogs – my fishing blog which includes my fishing journals and the interrelationship between martial arts protocol to fishing http://flyfishingdojo.com
and the Goshin-Do Karate blog at http://defeliceryu.com
Welcome to the first OK (Online Kata) cyber group session of the New Year!
January 20th, 2017, Donald Trump will be sworn in as the forty-fifth President Of The United States Of America. For some it is a cause of concern warranting protest. For others, it is a cause of celebration. I submit we should all catch our breath and do neither. We should simply let the ceremony take place.
There is no motive to protest the swearing in. First is the election itself. The people of this country have spoken via the election process. That must be respected. As to any actions warranting protest or celebration, to date, all the President-elect has “accomplished” is hypothetical. True, a cabinet was appointed; however, many of the key positions require confirmation. Additionally, no policy has been set requiring a protest. Until such a time as a situation arises where action, non-action or policy demands protest, then conserve your energy. When an action calls for celebration, then do so. See Endnote # 1)
To symbolize our need to simply catch our breath during the inauguration and to conserve our energy (physical and mental), I offer this “Inauguration Day – That’s OK” (Online Kata) session. What better way to catch your breath than with Sanchin Kata?
Kanji (Japanese calligraphy) for “Sanchin” – Three Battles – or – Three Aspects of Life
Those unfamiliar with Sanchin can acquaint themselves with the kata by clicking this link to access free text and videos. https://senseijohn.me/sanchin-book/
Alternatively, those unfamiliar with Sanchin may perform another type of mediative endeavor, such as Zazen (seated mediation), Yoga, or simply contemplate the ceremony in a relaxed atmosphere.
Remember, the group dynamic is not fulfilled by all of us being geographically present, rather, it is fulfilled by each of us performing our kata within the online kata session parameters.
Session Parameters:
Date: January 20th 2017
Time: during the swearing-in ceremony
Location: a quiet location would do best
Salient Points: see above discussion.
The last requirement of this “. . . That’s OK” session is to remain in a positive physical, emotional and mental state throughout the day by way of the concept of “Zanshin” (the “remaining mind.”)
One final thought – – – –
Sanchin Kata in the snow, Hasbrouck Heights, NJ, Winter, 2012
Respectfully submitted,
Sensei John Szmitkowski
This week’s featured video: Sanchin Kata (Shobu (combat) version) with Vultures:
Endnotes:
1. It is true that both the Senate and the House have, as of this writing, without first having a replacement plan, have taken drastic initial steps with regards to the repeal of the Affordable Care Act; however, these actions are not actions of the President-elect. If you disagree with this attend a rally, as in the case of the nationwide #FirstStand rallies sponsored by Senator Bernie Sanders or vontact your State legislators in this regard. For purposes of this article, it is his actions or inactions that warrant Presidential-protest. The ball is in his court and time is running out, after he is sworn in, it is, as in popular jargon, “on him.”
For a refreshing and innovative discourse on kata and bunkai, please feel free to visit Sensei John’s Kata Laboratory and “THINK * SWEAT * EXPERIMENT” using this convenient link: https://senseijohn.me/kata-lab/
You may wish to view my other blogs – my fishing blog which includes my fishing journals and the interrelationship between martial arts protocol to fishing http://flyfishingdojo.com
and the Goshin-Do Karate blog at http://defeliceryu.com
So, you just finished a kata seminar with the latest karate-do Master. Long in advance of the seminar, you pre-registered and paid your $ 100 plus dollar fee. The Master showed those select few of you his or her previously undisclosed, “hidden” application of kata sequences. According to the Master, “You now know the final bunkai for the kata.”
Well, not true on several fronts.
First and foremost, the word “bunkai” does not mean the physical application of kata sequences. It means analysis. Analysis is an on-going process;
Second, what was shown to you was an application of a kata sequence. You learned. You did not analyze anything yourself. You merely mimicked someone else’s application;
Third, what you learned is merely a physical application of kata sequences. You have not investigated my remaining two aspects of kata (and by extension, kata bunkai). Namely, the spiritual aspect (the manner in which the kata affects your state-of-mind, emotional state and psyche and vice-versa) and the environmental aspect (the manner in which your surroundings affect the kata and vice-versa).
The second point self-explanatory and the third is answered by my entire 200 plus page Kata Lab project. So, lets look at the first point. To aid my answer, I would like to once again “invite” the eminent physicist Dr. Richard Feynman into my Kata Lab. (See Endnote # 1).
Dr. Feynman once observed:
An experiment that confirms your theory does not prove that it is right, only that it is simply not proved wrong. It can never be proved right. Because in the future there could be a wider range of experiments that proves your theory wrong.* So, we are never sure we are right. We can only ever be sure we are not wrong.
* (reference was made to Newton’s law of planetary motion which was accepted correct until 100 years later when the planet Mercury’s motion proved it wrong).
So, for your seminar fee, what exactly did you get in terms of bunkai (analysis of kata)? You received something (see point two) that is not only inconclusive (see point three), but also, temporary, momentary and subject to change. Dr. Feynman would say you were shown an application that, for now, is “not wrong”.
How is this so?
The application you were shown is based upon the Master’s understanding of the kata sequences. This understanding factors in his or her physical limitations and abilities. Your use of the application is affected by your own physical capabilities and skills (which differ from those of the Master). Based upon your own individual characteristics the Master’s application may be utterly useless to you. Unless, of course, you, “Just keep practicing, one day you’ll get it right.” Even if you are able to perform the application, as your physical health changes your ability to perform that application will change. Thus what you learned as, ahem, “bunkai” needs to be revisited. If you do not revisit the application and make necessary adjustments, including finding an entirely new application, you will reach a point of stagnation. “I could perform this application in my younger days, or when my knees weren’t so bad.” Such statements are ridiculous.
Kata is not meant to be stagnant. It is meant to be fluid. It changes according to the performer. An analogy is the “Clay in the mold” interpretation of kata. Kata is the mold which will form you, the clay. As each lump of clay is different and will change over time, the mold (kata) will affect each lump differently. As to bunkai (analysis of kata), I submit that Dr, Feynman’s observation be modified as follows.
A bunkai (analysis) that confirms your understanding (of kata) does not prove that it is right, only that it is simply not proved wrong. It can never be proved right. Because in the future there could be a wider range of bunkai that proves your understanding incomplete. So, we are never sure that our bunkai is right. We can only ever be sure we are not wrong. (Sensei John Szmitkowski modifying Dr. Richard Feynman).
Thus, there are no absolutes in kata bunkai (analysis). Any analysis is merely temporary. It is subject to the changing dynamics and needs of the individual practitioner. Your changing health, age and capabilities all affect your analysis. Your non-physical characteristics may have a more profound impact on your kata analysis. Your mental state, emotions and psyche play a major role in how you analyze your kata. (See Endnote # 2) Further, there is a greatly overlooked and often entirely missed factor that contributes to your analysis. This factor is the manner in which the environment affects your kata. The impact of terrain, weather, temperature and other such environmental factors cannot be discounted.
My “visit” with Dr. Feynman now concluded, it is time once again for me to “Think * Sweat * Experiment” with my kata. Maybe one day I’ll get it “right.”
2. Kata can and should be used to modify emotions link https://senseijohn.me/2013/10/06/kata-lab-221-kata-as-an-emotional-modifier/
and video:
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You may wish to view my other blogs – my fishing blog which includes my fishing journals and the interrelationship between martial arts protocol & ideology to fishing http://flyfishingdojo.com
and the Goshin-Do Karate blog at http://defeliceryu.com
Unlike the Reverse Sanchin Kata Lab where the movements of the kata were reversed and the breathing pattern remained the same, in this lab, the breathing patterns will be reversed and the movements remain the same. Why Seienchin and not Sanchin Kata for this lab? Simple, as you can see in the analysis below, there is a unique concept that applies to Seienchin Kata that makes it highly qualified for this type of experiment. Seienchin allows you to begin to understand how the physical movements of kata impart a mental aspect to kata.
Kanji for “Seienchin”, sumi-e ink on rice paper
Experimental analysis(Recommended Reader Experimentation):
Perform Seienchin Kata as you normally would;
Take a moment and reflect on the two interpretations of the kata, specifically paying attention to the manner in which they are enlivened by the movements of the kata;
Interpretation # 1: “Calm in the storm, storm in the calm”
Interpretation # 2: “Walk far to quell & conquer” (see endnote # 1)
Perform Seienchin but time reverse the slow and fast sequences. For example, the opening sequences which are normally, slow, deliberate and with dynamic tension, must now be performed fast and with kime (focus). Movements which are fast and with kime must now be performed slow, deliberate and with dynamic tension;
After your performance, deeply consider how the reversal impacted your earlier conclusions as to how the kata enlivened the two interpretations of the kanji.
To assist you with this Kata Lab, I have created the following video.
Conclusion:
This kata lab affects two of the three battles (aspects) of kata (See Endnote # 2). The two aspects are the physical and spiritual aspect.
Both components of the physical aspect (bodily movement & breathing) are affected. First, by reversing the method of performing the movements, hard movements soft and vice-versa, the component of bodily movement is affected. Second, by reversing the manner of breathing, this component is also affected.
The spiritual aspect is affected initially by reversing the symbology of the storm and the calm within the kata. Seienchin, performed in the traditional manner, begins with the calm (Sanchin kata-like opening sequences) and encounters the storm (hard and fast sequences). The kata continues by alternating between the calm and storm, ending with the calm.Reverse Seienchin makes the performer immediately encounter the storm, transcends to the calm and ends with the storm. This produces a shift in mental attitude. You should consider how this effect impacts martial fighting theory and life attitude theory of conflict resolution.
In addition, the concept to “To walk far to quell and conquer” is significantly affected. The result is to “Conquer and subsequently quell.” This has significant ideological connotations worthy of further study.
One final comment as to the third aspect of kata, the metaphysical aspect. Although not directly affected by this kata lab, the aspect is always present anytime a kata is performed.
Remember, the mandate of my Kata Laboratory – Think * Sweat * Experiment!
Cum superiorum privilegio veniaque (“With the privilege and permission of the superiors”)
Sensei John Szmitkowski
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ENDNOTES:
1. Naturally, the interpretation of a kata is systemic in nature. I am not suggesting you abandon your system’s interpretation of Seienchin Kata. I do ask that, for purposes of this Kata Lab, you initially consider the interpretation of Seienchin Kata of Goshin-Do Karate-Do (DeFelice-Ryu) and then apply your conclusions to the interpretation of your system of karate-do.
2. You may recall my definition of the three battles of Sancin Kata, which are present in every kata, as:
Physical Battle, the physical movements of the kata;
Spiritual Battle, the manner in which a kata affects your mental, physiological and emotional state;
Environmental Battle, the manner in which kata connects you with your external environment and how same affects you.
Sensei John is now on Facebook, under – FLY FISHING DOJO, you are invited to send a Facebook friend request.
You may wish to view my other blogs – this one dedicated to the interrelationship between martial arts protocol & ideology to fishing http://flyfishingdojo.com
There is a concept from the martial arts that is applicable to any relationship whereby one individual relies upon another individual for education, instruction or guidance. That martial arts concept is known as “Shu-Ha-Ri.” It applies to any student-teacher, mentor-protege or other similar relationship.
Shu-Ha-Ri has been analyzed ad infinitum from the standpoint of the student. I myself have often engaged in such analysis. Here is a convenient link to an article I had posted a few years ago https://senseijohn.me/2010/06/20/the-martial-arts-learning-process-of-shu-ha-ri/ One night, while teaching at the USA Goshin-Ryu Dojo of my late friend, Shihan Wayne Norlander, I realized that this historical analysis is limited to one-half of the dynamic of transmitting karate-do from one person to another. In so far as the teaching of karate-do implies an obligation to accurately transmit the karate of one’s Sensei, I propose that the common trend to analyze Shu, Ha, Ri form the standpoint of the student must be overcome (See Endnote # 1).
In this submission, I would like to set forth an alternate perspective from which to consider the concept of Shu-Ha-Ri; namely the perspective of the teacher, or Sensei, of karate-do, who was by definition once a student him or her self.
By way of introduction, a review of the popular discourse on Shu, Ha, Ri is appropriate. There are three stages of the martial learning process which are generally accepted and a fourth, more esoteric stage. The three generally accepted stages are the stages of “Shu”, “Ha“, “R1“.
Kanji for Shu-Ha-Ri
Each particular stage is described as follows.
SHU(pronounced “Shoe”) means to correctly copy all of the techniques of one’s instructors;
HA (pronounced “Ha”) means the liberty allowed to a student to develop his own way of executing techniques based upon the demands of his own physical stature and his own individual understanding of Karate;
RI (pronounced “Rhee”) means “transcendence” or “mastery”. It is when a student can perform all of the techniques automatically and becomes a teacher himself (See Endnote # 2).
A fourth, more esoteric, stage of the process of learning the martial arts has come to be identified. This stage is called the “Ku” (pronounced “Cue”) stage. Kuis the stage of emptiness. It means everything is gone and no trace is left behind. The student has reached the highest level and no one can trace his movements or capture his techniques.
I submit that the concept of Shu-Ha-Ri transcends the bounds of the student’s perspective and can (and should) be extended to include an analysis from the perspective of the teacher. A natural consequence of learning the martial arts, as set forth in the description of the Ri stage above, is that the student becomes a teacher him or herself. Once the student becomes a teacher himself, the analysis and application of Shu, Ha, Ri historically ceases. I proffer the following analysis of Shu, Ha, Ri as applied to the teacher who was once, naturally, a student himself.
SHU means to correctly copy the technique, kata, method and manner of one’s Sensei as one teaches one’s students. While the technique and kata of one’s Sensei are easily governed by stylistic dictates (see Endnote # 3), the method and manner of one’s Sensei are unique to the Sensei under whom a student (now teacher) originally learned his or her art. Each individual instructor of a style of karate-do, while teaching the technique and kata of the style, combines these physical dictates with the non-physical traits of the style (philosophy, ideology, spirituality, etc) as set forth by the style’s founder and progenitor. While so teaching the “style”, the Sensei imbues and infuses the teaching with his or her own unique character and personality traits. These character and personality traits generally may be of a positive nature, but, as dictated by the frailty of the human condition, may also include the instructor’s character flaws; even those that may considered less than admirable (See Endnote # 4). It is the “style” of karate, as imbued and interpreted by a Sensei that is transmitted to the student (who is now the teacher).
HA means the liberality to be allowed an instructor (by his original Sensei) to develop his own way of teaching. I submit this development is influenced by two key factors. The first key factor is the teacher’s unique individual physical and psychological traits. These factors would have been accentuated or modified as necessary during the teacher’s tenure as a student. IF the teacher’s Sensei was a Sensei of merit, then his Sensei would have discovered and been aware of these individual traits during the time period wherein the teacher was a student of the Sensei. During this time, Sensei would have nurtured the student’s meritorious traits and modified or corrected the student’s character flaws. Thus, Sensei would have guided his student, now a teacher, so that these individual traits do not offend the tenor and tone of Sensei’s style of karate-do. The second key component is highly variable. Surely, Sensei is aware that his student will encounter this factor but cannot predict the specific character of same. This second trait that the student, now teacher, will encounter are the physical capabilities and mental attributes of his individual students. The student turned teacher must be allowed the liberality to mold his instruction of karate-do on these two key factors. If this liberality is granted, the student-teacher, now Sensei, starts to represent the embodiment of the karate he learned from his Sensei.
RI means “transcendence.” Transcendence occurs when a Sensei becomes the living embodiment of the karate-do that he continues to practice and subsequently teach. This karate is no longer the karate that he learned from his Sensei; it is more than that. It is that learned karate as interpreted by the individual Sensei’s physical and spiritual traits AND as transformed by the mechanism of Sensei’s continued practice of karate-do and individual teaching methods and manner.
KU is the stage were the Sensei no longer affirmatively teaches. Rather, Sensei transmits karate-do by virtue of being an active Sensei. This is to say that Sensei has become his karate-do. Sensei has come to embody and represent his interpretation of karate-do in such a way that the students are capable of learning by Sensei’s example. This means that the student no longer learns by rote drilling, they learn by being in the presence of Sensei as Sensei lives in karate-do. This stage is the lifeblood extension of the observation of Shihan Peter Urban, Ju-dan, USA Goju-ryu, “A Karate man in training is in karate.” At this stage, “A Sensei who practices and teaches karate IS karate.” (See Endnote # 5).
I submit that understanding the various stages Shu, Ha, Ri from both the perspective of a student and a Sensei is necessary so as to fully understand the total dynamic within which the art of karate-do is transmitted from one person to another.
Respectfully submitted for your contemplation,
Sensei John Szmitkowski
For information on my “no-risk”, kata seminars, please visit the seminar page using this convenient link https://senseijohn.me/seminar-kata/
For a refreshing and innovative discourse on kata and bunkai, please feel free to visit Sensei John’s Kata Laboratory and “THINK * SWEAT * EXPERIMENT” using this convenient link: https://senseijohn.me/category/kata-laboratory/
ENDNOTES:
1. I use the word “implies” because there are those Sensei that are perhaps less than meritorious and simply teach without regard to a sense of duty or obligation to purely transmit the teachings of their Sensei.
2. The following symbolism has been ascribed to each stage. Such symbolism may assist you in further understanding the three stages of transmittal and learning.
SHU is symbolized by an egg. The first stage is hard, the form or shape of the technique must be mastered or protected, just like a mother protects her egg.
HA is symbolized by the breaking egg. The basic form is broken into its infinite applications. It means the fundamentals are now mastered and are applied in all situations.
RI is symbolized by the fully released chick that has matured and flies away from the nest. The student forgets all forms and masters the formless technique, leaving old ideas behind him. He has fully matured in his training.
3. This means simply that a student of Goshin-Do Karate will teach the technique and kata of the Goshin-Do Karate style. Similarly a student of Goju-ryu, Shorin-ryu, Isshin-ryu or any other style will teach the technique and kata of their particular style.
4.Since we are human, we are inevitably fallible. Thus, by human nature, a Sensei carries his personal flaws with him as he teaches karate. Such flaws may include, ego, jealousy, anger and the like. It is a direct consequence that the karate transmitted will be influenced by both the instructor’s positive and negative personality traits during the transmission process.
5. Urban, Peter, The Karate Dojo, (Charles E. Tuttle & Co., Tokyo, Japan 1967) p. 77.
You may wish to view my other blogs – my fishing blog which includes my fishing journals and the interrelationship between martial arts protocol & ideology to fishing http://flyfishingdojo.com
and the Goshin-Do Karate blog at http://defeliceryu.com
This Friday, April 10th, 2015 marks the anniversary of the passing of Sensei Paul Recchia. Please join me in performing a kata at sunset on this date in memory of Sensei Paul and all whom we have lost. The following Hatsu Bon Poem, together with the above training, are offered to his spirit.
May Sensei’s spirit find our training and poem worthy.
Sensei Paul, age 60
HATSU BON POEM
Please don’t cry before my grave That’s not where I am Nor am I sleeping for eternity SEE!! I am already part of the breezes numbering a thousand I am part of the light that brightens this world Like a diamond glittering in the snow Like the sun that coaxes seeds to sprout And in the Fall I become the gentle rain that nurtures all. When you open the window in the morning I am the breeze That causes your hair to flutter; And at night, I am the star That watches over your sleep. So, please . . . don’t cry before my grave That’s not where I am. I am not dead. I have been born anew.
The last time Sensei Paul (in wheelchair) was at the Issho Dojo (January, 2000) with (L-R), Sensei Walter Byrne, Sensei Kim Szmitkowski, Sensei John Szmitkowski, Sensei Jimmy DiMicelli, Sensei Bobbie Gumowski. I will never forget that this was the first time in almost eighteen months that Sensei Paul, confined to his in home hospital bed, left the comfort of his home to honor all who were elevated that day in the black belt promotion ceremony.
Sincerity in sweat, you are not forgotten, Sensei.
Even though I lived in Arizona for the past ten years, family and seasonal work in New Jersey meant one fact, the road trip. Though I do fly, I prefer to ride the highways and byways of the American road. I made at least two road trips a year; sometimes in my truck, sometimes on my Harley. Each and every trip I’ve had two items “packed” with me in my travel bag. The first is my dog-eared copy of Jack Kerouac’s On The Road. The second is my kata. I use kata to keep me alert and mitigate the effects of long distance travel. I’m not one to travel leisurely. I burn the miles like the fictional Dean Moriarty. The trip usually only takes me three and a half day. My personal best as far as quickest trip was in 2008 when I did it in three days; and that was on a Harley-Davidson Electra-glide, with my dog Chloe (a Min-pin)!
After ten years living in the “Valley Of The Sun”, I planned to relocate back to my home state of New Jersey. With final preparations and renting out the house in Arizona complete, it was finally time to make my last cross-country journey. In the past, I had previously documented my kata journey (See Endnote # 1 for applicable links). Since I first wrote of my kata on the road, I’ve become more video savvy. For this trip, I wanted to film my personal kata. So, on Monday, November 24th, 2014, with the camera and tripod on the front seat. I started the truck for the three and a half day, twenty-five hundred mile trip back to the Garden State. During the trip I performed my kata in truck stops, beautiful surroundings, while pumping gas, in cheap motels, and nice motels, in the early hours filmed by the headlights of my truck, and more.
What follows is my video series, “Sensei John’s On The Road With Kata.” Here is the introduction to the video series. I hope you enjoy the videos.
More importantly, I hope the videos inspire you to:
Perform your kata whenever and wherever you desire or need to perform them;
Use your kata to enhance your daily activities (See Endnote # 2 for my Virtues Of Kata article);
Understand kata from the mindset of Nenjuushin (“Everyday Mind”);
Adapt your kata to your specific needs at any moment in time;
And, maybe, just maybe, actually enjoy your kata experience.
With that, here is my video introduction to the On The Road series.
Day 1 (Monday): This video takes us from my home in San Tan Valley to Shamrock, Texas, over 750 miles. It includes four kata, including my final kata in the house (a modified Taikiyoku), ending with a rejuvenating variation of Sanchin Kata in my motel room after a long day on the road.
Day 2 (Tuesday): In this video, I travel from Texas, through Oklahoma, Arkansas and into Tennessee. It sounds like a far distance, but, its only 649 miles for the day. Thanks to construction and bumper-to-bumper traffic in five separate areas of Arkansas that was the extent of the day’s journey. Kata includes a hybrid of Suparunpei, Seienchin and Shobu-Sanchin Kata filmed by my trucks headlights, Ananku Kata and Fuku Kata in a scenic location.
Day 3 (Wednesday): This video takes place throughout Tennessee and north into Virginia. It contains two important videos filmed in motel rooms. These hotel room kata sessions led to the development of my Kata Deconstruction technique (here is a link to the article and video Link: https://senseijohn.me/2013/06/09/kata-lab-201-introduction-to-kata-deconstruction/ ) Every Wednesday since the passing of my deceased friend and colleague, Shihan Wayne Norlander, I perform a Kunchaba Kata in his honor. This day was no exception. There is a footage of this performance and Hatsu Bon poem contained on the video.
Day 4 (Thursday – Thanksgiving Day, 2014), I was eager to pound the miles and reach my destination in northern New Jersey. I knew I would not arrive in time for Thanksgiving dinner, but, I was hoping to be there for coffee and pumpkin pie. I filmed one kata in the most unusual setting and circumstances. I think it is the ONLY time in history that a kata has been filmed in this manner. This video will put to shame anyone who has ever said, “I don’t have time to practice a kata.” Watch and see.
That concludes my “On The Road With Kata” Thanksgiving, 2014 video series. To mark my relocating from Arizona, here is one of my most profound kata video experiences, Seienchin Kata filmed with a herd of wild horses at the Lower Salt River, Tonto National Forest.
In the next few weeks, I’ll settle down in New Jersey. After the Holidays, look for new and exciting things to come on this blog, including new and innovative Kata Labs.
In the meantime, my best to you all,
Sensei John Szmitkowski
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For your consideration, I submit one of the many oral myths from the Goshin-Do Karate Dojo. Enjoy.
One day a farmer’s donkey fell down into a well. The animal cried piteously for hours as the farmer tried to figure out what to do. Finally, he decided the animal was old, and the well needed to be covered up anyway; it just wasn’t worth it to retrieve the donkey. He invited all his neighbors to come over and help him. They all grabbed a shovel and began to shovel dirt into the well. At first, the donkey realized what was happening and cried horribly. Then, to everyone’s amazement he quieted down. A few shovel loads later, the farmer finally looked down the well. He was astonished at what he saw. With each shovel of dirt that hit his back, the donkey was doing something amazing. He would shake it off and take a step up. As the farmer’s neighbors continued to shovel dirt on top of the animal, he would shake it off and take a step up. Pretty soon, everyone was amazed as the donkey stepped up over the edge of the well and happily trotted off!
I hope you enjoyed one of the many martial tales I was privileged to have grown up with.
Sensei John Szmitkowski
For a refreshing and innovative discourse on kata and bunkai, please feel free to visit Sensei John’s Kata Laboratory and “THINK * SWEAT * EXPERIMENT” using this convenient link: https://senseijohn.me/category/kata-laboratory/
Sensei John is now on Facebook, under – FLY FISHING DOJO, you are invited to send a Facebook friend request.
From the verbal traditions of the Dojo, a martial myth,
There was once a monk who would carry a mirror where ever he went. A priest noticed this one day and thought to himself, “This monk must be so preoccupied with the way he looks that he has to carry that mirror all the time. He should not worry about the way he looks on the outside, it’s what’s inside that counts.”
So the priest went up to the monk and asked “Why do you always carry that mirror?” thinking for sure this would prove his guilt.
The monk pulled the mirror from his bag and pointed it at the priest. Then he said “I use it in times of trouble. I look into it and it shows me the source of my problems as well as the solution to my problems.”
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and the Goshin-Do Karate blog at http://defeliceryu.com
A time when many of us travel. Whether we journey to an exotic location for an extended stay, simply indulge ourselves in a long weekend, or take the refreshing day trip, a hallmark of summer is travel. In an effort to preserve our experiences, such travel usually involves the ritual of obtaining souvenirs of our journeys. Here is a simple way to collect a souvenir for no financial cost; the sole cost may be expressed in terms of a little sweat.
A Sanchin pontoon boat ride with Miko (R.I.P.), Lake George, NY circa 1999
Since I was first introduced to the concept at ten years old by Sensei Nock D’Antuono, I have always enjoyed performing kata outdoors in any location. I can unabashedly admit that I prefer to perform kata in the magnificence of Nature’s Dojo instead of the relative sterility of a traditional dojo. To be sure, the traditional dojo carries an aura and mystique for me, but, I carry such a dojo in my heart and prefer to exhibit it in nature.
For decades, I have collected kata souvenirs of my many travels. Much like looking through a photo album, I am able to revisit my travels by recalling them while performing my kata. Regardless of my present location, I can perform a kata and recall a memory of performing the kata at a different time and in a different place.
Tensho practice, Cape Cod, MA, Circa. 2001
To assist you in collecting your own kata souvenirs, I submit the
Summer Souvenir “. . . That’s OK” (Online Kata) Session
For my karate brethren, the “Kata Sommelier” has a recommendation for this session.
Remember, the group dynamic is not fulfilled by all of us being geographically present, rather, it is fulfilled by each of us performing our kata in the proscribed manner.
Session Parameters:
Date, time & location: all summer long during your travels; Salient Points:
wherever you travel perform Sanchin (or any other kata of your choice);
during your performance note the experience of your surroundings, what are the sights and smells? If barefoot, how does the ground feel (is it sandy, rocky, watery, etc). Pay attention to the weather conditions; was it hot, sunny, cold, rainy?
remember the time of day of your performance; sunrise, midday, sunset, etc;
take note of your experiences before and after the kata performance so that they will be associated with the kata;
if you are with someone, recall their presence during your kata;
if possible, to assist you, take a photo of a pose from your kata, or video record the performance;
remember that you interact with the environment during your kata performance, therefore, you leave a part of you in the environment. Thus, a part of you will always remain “on vacation” at that location.
Kata Sommelier: For my karate brethren, I would recommend any kata. Once and for all, take your kata practice out of the Dojo and into nature.
The last requirement of this “. . . That’s OK” session is to remain in a positive physical, emotional and mental state throughout the day by way of the concept of “Zanshin” (the “remaining mind.” For information on the Zanshin state-of-mind, please use this link: https://senseijohn.me/2014/02/23/zanshin-remaining-mind-shibumi-project/
Once again, you may wish to not only perform this “. . . That’s OK” session as scheduled, but may also revisit the session as a regular part of your kata practice.
Sanchin at the Lower Salt River, AZ
A Sanchin breaking from riding my H-D electra-glide, cotton fields, San Tan Valley, AZ 2011
In closing, I remain adding souvenirs to my collection,
Sensei John Szmitkowski
If you enjoy this “ . . . That’s OK” (Online Kata) session, you may wish to show your support by visiting Sensei’s store.
Sensei John is now on Facebook, under – FLY FISHING DOJO, you are invited to send a Facebook friend request.
You may wish to view my other blogs – my fishing blog which includes my fishing journals and the interrelationship between martial arts protocol & ideology to fishing http://flyfishingdojo.com
and the Goshin-Do Karate blog at http://defeliceryu.com
Background:
I thought it would be interesting to take you behind the scenes into the making of a Kata Lab. I have already written many of the lab “experiments,” my training is a continuing, daily process. Therefore all lab experiments can never truly be written; many remain unwritten and pending discovery.
Recently, I had an idea that led to a new addition to my Kata Lab syllabus. The working title is “Blink-Of-An-Eye Bunkai.” Here’s how this future Kata Lab submission developed. I’ll outline the general process and then provide the working example of how training Ananku Kata led to the development of the Blink-Of-An-Eye Kata Lab.
Sensei John’s Kata Laboratory Development Process:
Step One: Train!
Without exception all Kata Labs, in fact all posts on this blog, begin with kata training. It is utterly impossible to create a kata lab sitting idly at the computer. There must be daily, even hourly, kata training. I regularly take a ten to fifteen minute “kata-break” from my work routine.
I always have a clipboard loaded with blank paper and index cards, a voice recorder and sometimes, even my laptop handy.
As kata training is for the sake of training and not writing, I do not develop an idea during such sessions. Rather, I simply spontaneously record something that I may notice about a particular kata or an idea that may simply pop into my mind. These notations are either a few words or a sentence or two. After the session, I pin the index card to a large cork board for future development.
Working Example: I was performing the Goshin-Do Karate-Do (hereinafter “GDK-D”) Ananku Kata. A thought came to mind. I grabbed my clipboard, made a brief note on an index card and continued training. The thought pertained to the transitional stages that occur in the first four moves of Ananku Kata. These transitions from one kata move to the next contain brief, almost hidden, postures. These brief postures are worthy of bunkai (analysis). The movements are described in Endnote # 2 and # 3. There is also a video below.
Step Two: Think & Sweat:
Prior to a training session, I’ll look over my note cards. Some more than others tend to grab my attention. These notes stay at the forefront of my thoughts as I practice. If any ideas develop from the brief notes they are written down. Over time, I hope that the idea developed from one specific kata will ripen into a generalized concept that applies to any kata.
Working example: Intrigued by my notes on hidden postures in transitional moves, I practice my kata very slowly, paying particular attention to the transition from one kata movement to the next. An awareness as to postures that result from the combination of body shifting, hand and foot postures occur when moving from one kata movement to the next. These postures occur very briefly, in the blink-of-an-eye. They occur so quickly that they may not even be postures in the truest sense of the word. As they occur within the “blink-of-an-eye” practitioners are not even aware of their existence. No attention at all is paid to them. They are often ignored in in both kata and kata bunkai (analysis) in favor of the more overt or apparent kata movements.
Step Three: Experiment:
Now that I have developed a concept, I must determine how it relates to kata outside the GDK-D curriculum. If the concept does not apply to a broad based audience, it cannot become a Kata Lab topic.
I am fortunate to have been exposed to kata from styles of karate-do other than GDK-D, most notably Goju-Ryu and some Matsumura Shorin-ryu kata. In addition, I have learned fifteen kobu-do kata (Matayoshi-Ryu, Yamani-Ryu and Uefuichiku Kata). I use this kata base to test the concept developed with the GDK-D Kata.
It is at this stage that the overall kata laboratory starts to take shape. Through these extraneous kata (including the kobudo kata) I strive to find a procedure for anyone to analyze my concept using the kata of their particular style of karate-do.
Working example: I begin to slowly and methodically practice the kata outside of the GDK-D system. Again I pay particular attention to postures that occur when moving from one kata movement to the next. With this particular kata lab, kobudo kata with the bo were extremely helpful. I can only speculate that the length of the bo, which magnifies hand movements exponentially under normal circumstances, helped to intensify the effect of these hidden postures.
Step Four: Design a Practice Procedure For Others To Follow
I document the steps that any kata practitioner can use to analyze their own specific kata and still be able to understand the overall concept and subject of the Kata Lab. I also consider whether a video would be helpful to the reader. If so, production on the video begins.
Working example:
Here is the video I produced as a companion to the “Blink-Of-An-Eye Bunkai” Kata Lab.
Step Five: Administrative Matters Of Writing a Kata Lab
Now is the time to write up the Kata Lab itself. This process is similar to writing a monthly lesson plan for the Dojo where each class is designed to form a cohesive whole. The Kata Lab must be given a name which conveys the subject of the lab. Hopefully, the name of the lab will contain a catch-phrase that makes it easy to remember. Once the lab is written it must be fit within the overall kata lab syllabus. The numbering of the Kata Lab is determined from this step.
Working example: With continued practice and thought, I understood two things, first, practitioners concentrate bunkai (analysis) on the overt, apparent moves of the kata, not in the transitional postures and second, these postures occur so briefly (in the blink-of-an-eye) that they were hardly present at all. So, how to convince practitioners that movements that occur in the “blink-of-an-eye” are worthy of bunkai (analysis)? Simple. I’ll use a phrase that was embedded into my psyche throughout my training in the GDK-D style.
According to Shihan Thomas DeFelice, Ku-dan (9th degree black belt) Karate-Do No Hanshi, Goshin-Do Karate-Do,
“Life and death in the street occurs in the blink-of-an-eye.”
Thus, if the above was correct, it is logical and necessary that our bunkai (analysis) must extend to the kata movements that also occur in the blink of an eye. For, surely, if one’s own life depended upon such a brief interval, then one’s analytical attention must be drawn to it.
Step Five: Finished
If all is done correctly, a Kata Lab that a reader can practice themselves has developed and been uploaded to my blog. A reader can use the Kata Lab to assist his or her own kata experience. Better still, the reader may desire to use the Kata Lab as part of a class within their Dojo.
And that is how the forthcoming “Blink-Of-An-Eye” kata lab came to be. Look for it to be posted in a short time. Once posted, I will provide a link here.
Step Six: Oops, Not Quite Finished:
The last step is to extend, if possible, the Kata Lab into the remaining aspects of bunkai. You may recall that I submit that there are three aspects to kata and that bunkai (analysis) must extend to those aspects. The three aspects are the physical aspect (combat applications), the spiritual aspect (state-of-mind, emotional and psychological concepts) and metaphysical aspect (the performer’s connection with his natural environment).
Working example: The “Blink-Of-An-Eye” Kata Lab above is a physical Kata Lab. My next task is to extend the “Blink-Of-An-Eye concept to the spiritual and metaphysical aspects of kata. And, so, the entire process begins anew, again. And, again. And, again.
Please remember, the mandate of the kata laboratory is
Cum superiorum privilegio veniaque (With the privilege and permission of the superiors)
Sensei John Szmitkowski
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1. Dr, Frank N. Furter (The Rocky Horror Picture Show)
2. The first four overt movements of the GDK Ananku Kata are (facing North) in ready posture (you may also refer to the above video):
pivot West to a cat stance, raise hands to the challenge position;
pivot East to a cat stance, raise hands to the challenge position;
mawate 180 degrees facing West to a left front stance with a left open middle block followed by two punches to the solar plexus;
mawate 180 degrees facing East to a right front stance with a right open middle block followed by two punches to the solar plexus;
3. The brief, hidden postures that came to mind are (You may also again refer to the above video):
pivot West to a cat stance, raise hands to the challenge position;
First hidden posture: as you begin the next move, you rotate back to North with both open hands lowered as in hache-dache position, then you continue to
pivot East to a cat stance, raise hands to the challenge position;
Second hidden posture: as you prepare to pivot, you look over your left shoulder to West, transfer your weight from your left leg to your right leg, lower your left open hand and bring to your right open hand to semi-center line (to cover your left middle block) – equals: a left cat-stance-like posture with left hand low, right shoulder height*
mawate 180 degrees facing West to a left front stance with a left open middle block followed by two punches to the solar plexus;
Third hidden posture: as you prepare to pivot, you look over your right shoulder to East, transfer your weight from to your left leg, lower your right open hand and bring to your left open hand to semi-center line (to cover your left middle block) – equals: a right cat-stance-like posture with left hand low, right shoulder height*
mawate 180 degrees facing East to a right front stance with a right open middle block followed by two punches to the solar plexus;
* the exact stance that is inferred in the posture depends on how far the front foot is retracted in relation to the rear foot, full retraction with feet touching (an implied heisuko-dache, ready stance), partially back (an implied kokutsu-dache, back stance), no retractions (an implied rear-leaning stance).
Sensei John is now on Facebook, under – FLY FISHING DOJO, you are invited to send a Facebook friend request.
You may wish to view my other blogs – my fishing blog which includes my fishing journals and the interrelationship between martial arts protocol & ideology to fishing http://flyfishingdojo.com
and the Goshin-Do Karate blog at http://defeliceryu.com
One Inch.
One inch is not a large unit of measurement, but it can symbolize a great deal.
This “ . . . That’s OK” (Online Kata) group session will explore such symbolism.
Many of you have acquainted yourself with Sanchin Kata using my free resources. For those readers unfamiliar with Sanchin Kata, you can freely acquaint yourself with the kata and join in this group session using the following link: https://senseijohn.me/sanchin-book/
In the Sanchin Kata you take three steps forward and three steps backward. Thus, when you are finished with your Sanchin performance, you end at the exact point that you started. I call this phenomenon of starting and finishing a kata at the exact same location “positional coincidence.” Positional coincidence exists in all modern (approximately 1945 and thereafter) karate kata. Karate Sensei often attribute a philosophical concept to positional coincidence.
You are traveling through life. Your life’s journey is interrupted by a confrontation with an aggressor. You pause your journey to defend yourself (represented by the kata performance). You defeat the aggressor. Being victorious, you continue along your life’s path from the exact point of interruption. Symbolically, the confrontation had no effect upon you at all.
Let’s use this “. . . That’s OK” (Online Kata) session to explore and alter that philosophy.
I cannot emphasize enough that performing Sanchin Kata, at least once daily, will benefit you physically, emotionally and psychologically. So, why subscribe to the above philosophy attributed to positional coincidence? To do so simply symbolizes that you are living your life, you perform Sanchin Kata, and after doing so return to your life exactly as you lived before the performance of Sanchin Kata. Wrong! You are better physically, emotionally and psychologically for performing the Kata. So, why not symbolize that betterment? Intentionally violating positional coincidence by moving forward one inch provides that symbolism. My karate colleagues may find Endnote # 1 to be of interest on this point.
So, lets voluntarily adjust and “violate” the phenomenon of positional coincidence during this group “ . . . That’s OK” (Online Kata) session.
Only One Inch . . . That’s OK
As always, you can perform either the Sanchin Kata, my Shibumi Kata (Link: https://senseijohn.me/2013/12/05/shibumi-kata-the-movements/ ) or any karate kata. For my karate brethren, the “Kata Sommelier” has an interesting recommendation for this session.
Remember, the group dynamic is not fulfilled by all of us being geographically present, rather, it is fulfilled by each of us performing our kata in the proscribed manner.
Session Parameters: Date: Starting Monday April 7th, 2014; Time: Anytime Location: Any location; Salient Points:
Perform your Sanchin, Shibumi or Karate Kata as normal, and remain in position on the last move;
As you step forward from the last move to the ready posture, intentionally, shift forward at least an inch, so that you do not finish at the same point you started, but forward from that position;
Recognize that finishing forward from your starting position acknowledges that you are better off physically, emotionally and psychologically for performing the kata than not performing the kata;
Kata Sommelier: For my karate brethren, I would recommend any “flowing”, graceful kata. My favorite kata in this regard is the Seipai Kata. You may also enjoy Wansu Kata, Seisan Kata or similar kata during this session. But remember – violate the positional coincidence by moving forward at least one inch at the end.
The last requirement of this “. . . That’s OK” session is to remain in a positive physical, emotional and mental state throughout the day by way of the concept of “Zanshin” (the “remaining mind.” For information on the Zanshin state-of-mind, please use this LINK: https://senseijohn.me/2014/02/23/zanshin-remaining-mind-shibumi-project/
Once again, you may wish to not only perform this “. . . That’s OK” session as scheduled, but may also revisit the session as a regular part of your kata practice.
In closing I remain, inching forward in life through my kata,
Sensei John Szmitkowski
I found a few old photos that I thought readers may enjoy, the two below are from about 1973 from my purple belt promotion they feature several notable Yudansha as follows: 1) Sensei Dave Crum (as a brown belt) 2) Sensei Dave Church, 3) Sensei Nick D’Antuono, 4) myself receiving purple belt (age 12), 5) Sensei Tony Fabi, 6) Shihan Thomas DeFelice, 7) Sensei Paul Recchia, 8) Sensei James Kingston, 9) Sensei Steve Malmoud, 10) Sensei Jeff Tyne. I am blessed and honored to have personally known every black belt in the Goshin-Do Karate-Do style we call “DeFelice-Ryu.”
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ENDNOTE:
1. For my karate colleagues, it is about time to re-examine the dogmatic philosophy attributed to positional coincidence. We need to acknowledge the truth of a real life fight in the street – after the fight you do not return to your life exactly as you were before the fight. Initially, you are all the better for surviving the encounter; you survived to go-about your life, love and provide for your family. After the initial euphoria of survival wears off, you will always carry the gravity of having to defend yourself. Either way, you are never the same. I simply suggest, that on occasion (such as in this kata session) your kata practice should acknowledge that simple truth. Voluntarily avoiding positional coincidence as above is one way to do so.
NOW AVAILABLE – SANCHIN VIDEO SERIES designed specifically for the NON-MARTIAL ARTIST who desires to learn & unlock the secret treasure of Sanchin. Here is a convenient link a promotional video about the Sanchin DVD filmed on location at various scenic locations throughout Arizona.
LINK: http://www.youtube.com/watch?v=J-pC-tPUrYE
** If you experience any difficulty in purchasing online using the above links, please contact me via a “comment” on this blog & I will e-mail you instructions on how to purchase a Sanchin product using a check or money order ***
Sensei John is now on Facebook, under – FLY FISHING DOJO, you are invited to send a Facebook friend request.
You may wish to view my other blogs – my fishing blog which includes my fishing journals and the interrelationship between martial arts protocol & ideology to fishing http://flyfishingdojo.com
and the Goshin-Do Karate blog at http://defeliceryu.com
Welcome to the first submission in my new “Kata Vineyard” celebrating the beauty and joy of Kata.
******************************
The night sky.
As a child I looked up at the night sky and let my imagination run free. I wondered –
What is there beyond the stars and planets?
Is there intelligent life “out there”?
How far will astronauts travel during my life and what will they find?
What lies out there in the universe that we have not discovered?
Will Dracula or the Wolfman appear from the darkness? (This thought dissipated as I grew older)
The night sky was a remarkable catalyst for my imagination.
Now, each night shortly after sunset, I walk two miles to a local park to practice kata. With each step the Sun moves lower below the horizon. Soon, the first and brightest star appears. I glance upward welcoming this pinpoint of light that is the planet Venus. Under its watchful “gaze” I reach the park and walk onto the grass. Here in the Arizona desert, in an effort to “conserve” water, large grass fields like golf courses, parks and large lawns are watered at sunset. The grass is moist and somewhat slippery, like skating on green ice. The musky smell of moisture wraps itself around me. As a gentle breeze caresses my cheek, the sound of crickets and hunting bats melodically fills my ears, I look upward and find my favorite constellation. It is one that has intrigued humans since the dawn of time – the Orion constellation.
If I were standing still, my inner self would hear the beat of my heart (Thump – Thump / Thump – Thump / Thump – Thump).
But, I am not standing still. I move in a heartbeat-like(Thump – Thump) rhythmic pattern that I have known for decades – I somewhat involuntarily move to this beat
This pattern is that of the Taikiyoku series of kata. I perform the three formal Taikiyoku Kata (Sho-dan, Ni-dan and San-dan) as one kata; as I finish one, I omit the ending Hache-dache position, and tie in the last move to the the first move of the next Taikiyoku. Thus, the three become one and more.
A Mexican fruit bat lopes overhead as I finish the three formal Taikiyoku. As the bat lopes away, I proceed to the informal, self-created Taikiyoku born in my youth. I simply use the pattern of Taikiyoku and insert any block and counter combination. (Block – Counter) My uninhibited imagination is resurrected from my youth. (Block – Counter / Block – Counter) I semi-consciously wonder –
Who else on Earth is performing a similar dance under the stars? (Counter – Counter / Block – Counter) Is a being from one of the planets above looking down upon my Taikiyoku? What ancient, now forgotten God smiles down upon my efforts this night? (Block – Counter / Block – Counter)
Observations filter in from my senses to my mind. A Union Pacific freight train thunders in the distance, as my mind quiets. (Counter – Counter / Block – Counter) I have random thoughts – no rhyme or reason, just my imagination as I move under the pinholes of light that pierce the veil that is the night sky and my conscious mind. (Block – Counter)
Moving stealthily through the dark, the flow of Taikiyoku (Block-Counter / Block – Counter) resonates within my core. As the grass crunches underfoot, I find that my most inspired thoughts percolate to the forefront. (Block – Counter/ Counter – Counter)Many a realization about kata and bunkai brewed (or festered, as the case my be) during such performances of this kata. (Block – Counter / Block – Counter)
A faint yipping sound of a coyote (Yip – Yip / Yip – Yip) comes from the adjourning cotton field. (Yip – Yip) Unbeknownst to the coyote, my subconscious synchronizes my movements to his song. (Yip – Yip / Block – Counter / Yip – Yip / Counter – Counter)
As my left eye stings from a drop of sweat, (Block – Counter / Block – Counter) I acknowledge the passage of time since my youthful vigor.
To catch my breath, I slow my Taikiyoku and include the dynamic tension and breathing of Sanchin Kata. With a quick glance upward towards the Orion constellation, I inhale the cool, sweet night air, I exhale and slowly begin. (Block – Counter / Block – Counter) My body begins to slow and settle back into its normal flow of air and blood (Block – Counter) My senses grasp my surroundings and file away the memory of the night. (Counter – Counter) Like the worn, comfortable cotton sweatshirt I wear, my mind envelopes the memory within me (Block – Counter) I am one not only with myself (Block – Counter / Counter – Counter) but also with all that is around me (Block – Counter). Like the worn, frayed black obi tied around my waist, I am tied to all who walked under the night sky. A wanderer like those before me and those who will follow me! (Block – Counter) I am from the dust of these stars and I belong to this night! (Kiai!)
Kata practice is complete.
Before I walk home, I again look towards Orion and focus on Orion’s belt. Astrologers named these three stars Mintaka, Anilam and Alnitak. I think of them as the three formal Taikiyoku – Sho-dan, Ni-dan and San-dan. For just as the stars in Orion’s belt call forth the secrets of the night sky, these three kata can unlock secrets of our imagination and creativity.
Suddenly,
A shooting star streaks past the three stars of Orion’s belt!
A desert wren perched on a branch screeches in the night!
A dust-devil briefly dances at the edge of a field!
A coyote saunters by and sits! – watching or critiquing?
A realization!
Though I’m a bit tired, the night is too mysteriously beautiful to go home. I must remain part of it! Time for one more Taikiyoku. Let’s see what thoughts enter my mind as I –
“What a wonderful World” is insufficient. “What a wonderful Universe – Thanks Taikiyoku!”
In closing, I remain staring up at the night sky – blocking and countering in a rhythmic pattern known as “Taikiyoku”. Oh, and what thoughts percolated or festered in my mind this night? The next article on this blog, of course.
Sensei John Szmitkowski
(Technical Notes follow)
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As the impetus for my Kata Vineyard category is the exploration of the beauty, art aesthetics and enjoyment of kata, I did not want to “bog-down” in technicalities when posting in this category; however, there are a few notes I wish to submit.
Taikiyoku Kata Variations: Every Saturday morning, Sensei Nick D’Antuono would end the junior division class with repetitive performances of Taikiyoku. To keep the session from becoming boring, he would invite us to create our own kata, within the Taikiyoku pattern, using any combination of block and counter. I continued this practice when I became a Sensei; however, I introduced a caveat. The student would be required to engage in kumite using whatever block and counter combination the student selected for their version of Taikiyoku variation. This prevented from the student introducing flamboyant, martially-absurd combinations into the kata.
Cadence of Taikiyoku: In the sequence involving a block followed by three lunge punches, the usual cadence is to perform all four movements in one sequence. For two reasons I adapted the cadence by breaking it into two sequences of Block-Punch and Punch-Punch. The first reason is martial in purpose and was necessitated by one of my junior division students. The class was performing kumite. I instructed them to defend using the concepts of Taikiyoku. One student attacked the other with an amazingly slow roundhouse kick (mawashi-geri). The defending student waited for the semi-slow motion kick to get close enough to block (I could have had a cup of tea) blocked and countered. I asked why he waited to block the terribly slow kick. The student replied that he was using the block and counter taught in Taikiyoku. Thereafter I changed the cadence. and teach the “punch – punch” sequence as intercepting a slow attack (thus attacking the attacker). Thus, Taikiyoku mostly teaches block and counter (8 sequences) and introduces the concept of intercepting an attack (2 sequences). The second reason was to effect a rhythmic cadence of 1-2 / 1-2 / 1-2 throughout the entire kata. This fosters a state of moving mediation.
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Only in laziness can one achieve a state of contemplation which is a balancing of values, a weighing of oneself against the world and the world against itself. A busy man cannot find time for such balancing.
One could argue that laziness is a relaxation pregnant of activity, a sense of rest from which directed effort may arise, whereas most busy-ness is merely a kind of nervous tic. (See Endnote # 1)
a “lazy” summer day, Cape Cod, 2012
“But Sensei, I don’t have time to practice my kata at home – I’m too busy.”
How many times have we heard that excuse.
I’m no exception. As a young boy, I told my first Sensei, Sensei Nick D’Antuono, the same excuse many times. Being a good Sensei, he out-foxed me and subsequently devised an easy way for me to find time to practice kata. (For details, see Endnote # 2)
If the opposite of being too “busy” is “lazy”, then with a nod towards John Steinbeck’s quote above, I propose that Kata is a lazy man’s pursuit. For only in the lazy state can our kata be pregnant with activity, insight, imagination and intuition.
Given my affinity for kata, I am proud to be lazy. By this I mean that no matter how busy I may be, I always find time for my daily kata practice. One may argue that such daily practice is not productive – it does not add to my finances, does not elevate my social status, fails to adhere to the social norm of possessing a “constructive” purpose. It does; however, invigorate me physically and mentally, stimulate my understanding of my place in a larger realm of existence. If daily devotion to kata makes me lazy, then I am glad to be lazy.
If one is too busy to practice kata, then I can’t help but agree with Steinbeck’s assessment that “busy-ness is merely a kind of nervous tic.” Busy-ness is often represented by the pursuit of money, notoriety, popularity and the like. In the spectrum of life, such hedonistic, ego-centric pursuits are mere nervous tics. For my part, I’ll always find time to be “lazy” and explore my kata. Such exploration deposits into my spiritual, moral and ethical bank account an untold wealth.
After reflecting on the above, I have chosen to modify my admonition to those students, that do not practice kata regularly. Normally I would say, “Don’t be lazy, practice your kata.” It is time to re-interpret the entire concept. I now advocate the idea that one should, “Be lazy so that you can practice your kata.”
A video example of a lazy ride on my Harley, and of course, Sanchin Kata, in the cotton fields of San Tan Valley, Arizona – a promotional video for my Sanchin For Everyone DVD –
In closing, I remain contentedly lazy – – – practicing daily kata,
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ENDNOTES:
1. Steinbeck, John, The Log From The Sea Of Cortez (Penguin Books, New York, NY, 1995) p. 150-151.
2. I’ll share with you Sensei Nick’s little trick to practicing kata. When I was young, after homework was done, I enjoyed television time. That little black and white t.v. set with its seven channels could mesmerize – except during commercials (with no remote control to easily change channels). Sensei Nick knew this; he recognized I was busy watching t.v., so in an effort not to interfere with my busy-ness, he suggested that one kata be practiced every commercial. A simple solution – even when “busy” there is always time.
Sensei John is now on Facebook, under – FLY FISHING DOJO, you are invited to send a Facebook friend request.
You may enjoy the Goshin-Do Karate-Do blog using the following link: WWW.DeFeliceRyu.Com
You may wish to view my blog dedicated to the interrelationship between martial arts protocol & ideology to fly-fishing and fishing in general by clicking WWW.FlyFishingDojo.Com
For information on my “no-risk”, kata seminars, please visit the seminar page using this convenient link https://senseijohn.me/seminar-kata/
For a refreshing and innovative discourse on kata and bunkai, please feel free to visit Sensei John’s Kata Laboratory and “THINK * SWEAT * EXPERIMENT” using this convenient link: https://senseijohn.me/kata-lab/
my fishing blog which includes my fishing journals and the interrelationship between martial arts protocol to fishing http://flyfishingdojo.com
the Goshin-Do Karate blog at http://defeliceryu.com
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