Appreciation

From Moribito: Guardian of the Spirit

After a difficult lesson with a student or lingering on a plateau in development for a long time, it's easy to get caught up in frustration. I tend to forget one important fact: When I first started, I never thought that I would get this far! I was happy just to train.

I have been spending some time reflecting on what it is that I love and appreciate about the martial path.

• The fantastic teachers and mentors that have accepted me.
• The challenges that I have faced (and are currently facing).
• My colleagues who never cease to inspire me.
• My students and training partners who both amaze and challenge me.
• Having the honor and privilege to teach and mentor others.

Of course, I could go on noting each and every nuance that I appreciate (and I have in my own journal), but I'd like to share a simple exercise in a book a friend gifted me: The Power of Appreciation (Thanks Jermaine!).

"Take a sheet of paper and draw a vertical line down the middle. On the left side, list the inner qualities and traits you value about yourself. On the right side, write down why you are grateful for each of these qualities and traits."

Easy enough. Try some variations. It may change your perspective on things.

• The qualities of your martial art that you value.
• The qualities of a teacher, peer, and/or student that you value.
• The experiences and challenges you have already faced in your journey.
• Or any other aspect of your life that deserves some attention.

Overall, I felt a rejuvenated outlook in my path, and thought others might benefit from it too. Enjoy!

Translation

Dance of Bushido by Hisashi Otsuka

Several of my teachers, both here in the U.S. and abroad, have been extremely interested in the link between the martial arts of Indonesia and the arts of the Philippines, believing that they both shared a common Malay soul. Any time I would demonstrate these arts to a particular teacher, they would find common threads that differed mostly in linguistics, and had only subtle contrasts in execution. They seemed most interested in what commonalities were shared, excited like having met a long lost relative.

Their interest inspired my own search for the common essence between these arts that I love, and any other art that I was exposed to as well. It started me into a practice of Translating: Taking the techniques and concepts of one art and expressing it through different aspects, drills, movement, etc. of the other. Once I can find the commonalities, I feel a greater understanding of the core essentials of a given technique, and a deepening appreciation for the arts that I practice.

I'll give two simple examples of the concept of translating:

• Forms: In Pencak Silat there are short "forms" called jurus that illustrate upper body movements. To further my understanding between arts, I would perform these forms with Kali/Escrima weapontry and body mechanics: translating the lessons and mysteries of the form through a new filter. Trying to deepen the dialogue of understanding between the arts.
• Drills: Taking a pencak silat concept and applying it through a kali drill. At first this may seem a bit contrived and maybe even forced, but this is meant to further understanding and bridge gaps rather than to build or perfect speed, power or other attributes. You may find that a fresh perspective is inspiring and helps you get past physical and/or mental plateaus.

There are a few questions to consider in the process of translating. 

• What draws you to the arts you practice? What calls to you? What inspires you personally?
• What are the similarities and differences in origin, practice, and development? What has filtered the "Essence" that you are searching for: Religion, philosophy, topography, environment, occupation, social systems, historical enemies, weapontry, inspirations, etc... Know what your looking at objectively, and try not to romanticize it.
• What are the specific objectives of the technique/concept? What are the conduits that make it effective? Ie: Footwork, Angling, Body Mechanics, Tools

Remember that translating is your personal connection. It is an artistic expression, not necessarily fact. Each person may have there own findings. Your are essentially exploring all your current understandings of your specific arts.

Give yourself room for exploration, to have differing opinions, to make mistakes, to follow unmarked trails, to find deadends, to get to know yourself as a martial artist.

Good luck!

Video Evaluation

Tatang Ilustrisimo and Master Ricketts

Lately, I have been videotaping myself, my training partners and my students during, drills, exercises, and sparring, to serve as a guide to what is performed well, what is performed poorly, and what is completely missing. I thought that I would share my template for learning from video footage.
I prefer to watch short bursts of a maximum of 1 to 2 minute intervals, so I can isolate key moments, and avoid getting distracted. I'll watch these intervals over and over taking note of different focal points each time, and take notes on each observation.

1. Feet- I start from the ground up. Watching footwork, balance, foot placement: anything and everything that relates to the connection with the ground.
2. Core- Next, I re-watch the footage focusing entirely on the core (abdomen, hips, and lower back to be specific). How is the core utilized? How is balance and position in relation to the core? Etc...
3. Shoulders/Head- 3rd time around, I am focusing on head and shoulder motion and placement. Looking for tension, body pitch, overcompensation, and anything else noteworthy.
4. Eyes- Where is the gaze directed? What is the intent and emotional level (especially when striking, being struck, during feints)? What causes distractions and imbalances?
5. Hands/Weapons- After I have a good idea from the ground up, I start to observe the  application of fighting techniques including any striking, kicking, parrying and grappling movements. If weapons are involved, I may focus first on observing the live hand alone. Taking note of technical efficiencies or deficiencies. 
6. Overall- Finally I will take an overall perspective, putting all my prior observations into the context of the flow from start to finish.

After watching one person, I may repeat the process for their opponent(s). I have found this extremely helpful for an honest evaluation without getting caught up and distracted by what looks cool, amazing, interesting or downright foolish, that is the difference between learning and entertainment.

Mabuhay!

Solo-Training: Application

Homage to Musashi by Hisashi Otsuka

Application, as a concept, implies finding an outlet for your entire body of knowledge while solo-training. The best tool that I've found is a form of shadow-boxing. In Pencak Silat it is often referred to as kembungan: "Flowering" and in the Philippine arts it is sometimes called amara: "Love". Interesting how both terms have less then combative meanings. We can probably dive into the allegorical meanings behind both those words but for now lets focus on Amara.

Amara giving rise to an expression of love, total involvement and commitment. There are countless ways to focus your amara practice. I'll give you a few variations for your own practice.

1. Basic- Combine all your footwork, hand, foot, and weapon techniques fluidly and continuaously, as if you were fighting one opponent or multiple opponents. Start slow and increase speed being conscious of tension and sloppiness.
2. Spontaneous- Determine a combination, form, or technique that you will accentuate. Perform your amara and randomly explode into this preset combination. Going from slow (slower) to maximum capacity.
3. Obstacles- Perform in, through, around, and off obstacles. Utilize your environment.
4. Music Interpretation- Use music as a training aid to challenge your timing. Perform  amara within the beats of one instrument
• As a further challenge: allow one instrument to coincide with your upper body and another instrument for your lower body. Or even each limb to represent a different instrument. Very challenging! 
5. Animal Interpretation- In the form of Pencak Silat that I study there are several animal styles that have postures, mannerisms, and stylistic expressions that I found extremely useful in amara. Be hyper-vigilant of sloppiness.
6. Visualize Opponents- Visualizing opponents will slow you down a bit depending on the depth of your details. It's of importance to visualize an opponent for targeting, precision, but also to practice adapting to counters that an opponent may use. This will engage your mind a great deal and add a dimension of purpose and awareness to your movement.
7. Heavy Bag- Perform amara while moving around a heavy bag. Focusing your strikes and footwork on and around the heavy bag, wing chun dummy, or any other form of target.

Make your own interpretations. Experiment and find new ways to challenge yourself and grow. Good luck!

Solo Training: Technique

From Akira Kurosawa's "Seven Samurai"

The development of technical skills lies in mindful repetition and variation. Mindfulness is truly the key. Being acutely aware of the subtle nuances in each movement and gradually increasing the speed and power while you maintain that high level of awareness will drive your technical abilities to new heights.

Here are a few highlights of mindfulness:

• Breath: Master your breath.
• Tension: Unnecessary tensions is a sign of wasted effort and energy, and shows a lack of self-awareness. Strive for efficiency, which means find where you are creating your own hindrances.
• Balance: Start at your feet, analyze and adjust your balance up to your head.
• Precision: Fine tune your movements and where they are directed.

Here are a few variables to consider:

• Speed: Vary from agonizingly slow to your maximum speed (in regards to mindfulness-if you get sloppy then slow down!).
• Levels: From on the ground, crouched, standing, sitting, and anything in between. Know the limits of a technique: the strengths and weaknesses.
• Range: Practice a technique at close, middle and long range. What adjusts must be made for effectiveness and efficiency.
• Burst training: Randomly shift from slow to explosive execution of techniques.
• Targeting: Perform technique with no target, on a stationary target (ie..bag, dummy), with a moving target (swinging bag), with multiple targets. Practicing for specific goals: speed, coordination, power, etc.
• Reverse: Know a technique inside and out. Train it in reverse. What understanding does that give you?
• Environment: Change your scenery: different terrains, obstacles, night/day, crowded or cluttered surroundings, or any other challenges you can come up with.
• Blindfolded: Try any and all challenges while blindfolded. 

Find your own aspects of mindfulness that pertain to your practice and discovery variations that will you keep you inspired, motivated, and involved. Send some of your insights.

And one final word on the subject: Repetition!

Solo-Training: Attributes

Attribute development is the qualitative side of performance. Each martial art/style will identify and prioritize different attributes. I will speak in terms of the attributes my teachers have stressed in student development, and a few brief examples of how to approach these attributes in solo-training, but of course these may or may not relate to your own practice. Take what you can and discard the rest. Put your style and yourself under the microscope and pinpoint what attributes are truly necessary. Train smart!

Explosiveness: Rather than moving at 120mph, Explosiveness is defined as moving from 0 to 60. Honing your skill performance to go from a point of no movement to the completion of the technique.

1. Create a list of techniques and combinations to practice.
2. Perform from a relaxed state (either in a stance or not) first slowly, pausing and resetting after each repetition, then increasing the speed till you reach your maximum "clean" performance: where there is no unnecessary tension or sloppiness. When tension and sloppiness mount, back off the speed and practice at the "edge" of your current best.

Flow,  Rhythm and Off-Timing: These joint attributes complement each other in solo-practice. Flow is the ability to link combinations and series of movements without breaking continuity of motion by stopping or resetting.
Rhythm is your "personal timing": playing between speed changes. Off-timing is spontaneously altering of your own rhythm pattern from fast to slow to stop necessary for countering the opponent or destroying their sense of rhythm.

1. Create a list of techniques.
2. Practice linking the techniques and combinations without breaking a continuous flow.  going back and forth between techniques and combinations. Start slowly and build in speed toward the day's current best: taking into account tension and sloppiness. (Flow)
3. Practice this linking approach and change your speed randomly. Operate at 75% or less of maximum performance, learning doesn't occur when you are focus 100% on speed and power. (Rhythm)
4. Practice this linking with dramatic changes in speed and direction. Becoming erratic without being out of control. 75% or less again. (Off-timing)

Relaxation: This attribute has more to do with developing awareness of antagonistic muscle movement. They are a form of parasitic muscle limitations that hinder a move or series of moves. The idea here is to 1st become aware of where unnecessary tensions exists and then systematically relaxing the limiting contractions. Study the question: "Where is kinetic energy lost?"

• This is the antithesis of the previous exercise. Moving extremely slow while focusing intently on body mechanics. Building in speed and placing body and mind tensions under intense scrutiny. Whatever is extraneous, slow down and methodically remove.

Timing: This is the study of the timing relationship between you and your opponent.

• A difficult attribute to hone without a partner, but I will share a training aid from a Filipino martial art teacher. Hang a stick (29" to 36") at throat level through a hole at the center of the stick with a weight (25lbs) suspended a few inches from the floor. This set up will allow random movement from the stick without it swinging too far away. Begin by striking the stick and then practice parrying the random counter-swing, which will send the stick into another counter-swing. Wear safety glasses!
• To add another dimension I would also hang a block of wood above and below the stick: one at head level and one at heart level. Once the counter-swing is parried I would practice a counter strike to wooden blocks. Eye Protection!

Measure and Distance: The study of understanding range and controlling the distance in regards to your opponents.

• Using a heavy bag: work from a long range and close the distance utilizing your style's footwork into striking combinations and then back out to long range again. The goal being to gain a greater understanding of the reach of your tools and the necessary footwork and body mechanics.
• Using the hanging stick: Practice evading the counter-swings and striking the wood blocks with control of distancing footwork. Wear eye protection!

Sensitivity: This is the development of kinesthetic sense, body awareness and balance.

• For this exercise, step away from the combative aspects and learn about your sense of awareness. Go out into nature of the trails. Close your eyes and begin walking slowly. As you come into contact with any obstacle: flow around/under/over it. Trusting and developing your bodily senses. Move outside your normal parameters. Move forwards and backwards. Crawl. Angle your body. Learn freedom in your responses and release tension and robotic habits of movement.

Penetration: In short: striking power. Different targets and ranges will require changes in  body mechanics.

• At different ranges: practice striking a heavy bag. Study how you can develop more penetrating power behind your strikes and combinations. I would suggest practicing as close to the bag as possible and for ground fighting practice striking while lying on the ground with the heavy bag on top of you.

Core Awareness: Using the core region and muscles, as well as the dan tien, to be the source of power and movement.

• Start with isolating single movements and studying the relationship with your core in the performance.
• Work on using the core in combinations and series of movements.

Environmental Awareness: Training the expansion of awareness to encompass your surroundings.

• This is the study of your environment. 
• How can your normal environment be a hindrance to you? Practice moving around obstacles. Over different surfaces. In hallways, doorways, crowds, cars etc.
• How can the environment assist you? Practice using the environment as a shield, distraction or camouflage. Practice using the environment as a weapon or trap.

Adaptation: Adaptation is the ability to switch gears and recover from abrupt changes. It is an accumulation and linking of several traits together.

• Be creative! Think outside the box and do what others are not doing. This is where your art takes shape.

The Forge: Conditioning

                    Print by Ogata Gekkō 

"It is the pervading law of all things organic and inorganic,
Of all things physical and metaphysical,
Of all things human and all things super-human,
Of all true manifestations of the head,
Of the heart, of the soul,
That the life is recognizable in its expression,
That form ever follows function. This is the law"     -Louis Sullivan


When we look at our physical condition will need to be completely honest with ourselves. Does our current form allow us to achieve our goals? This lies within the realm of potentiality not limitations. Whatever our goals/dreams/vision/mission may be, we need to direct our physical conditioning so that our bodies are a well developed vessel that can achieve and accomplish whatever we set our minds to do.
I would like to liken the conditioning of the body to the forging of a sword.

Here are the basic steps of forging a sword:

1. Collecting the materials.
2. Refining the materials by taking out the impurities, dividing the materials into what will be best for the hard "jacket" steel, which will create the edge, and the more durable core steel, which will provide durability.
3. Forming the jacket, through heating, hammering and folding into itself, and adding any necessary carbon.
4. Forming the core, through heating, hammering and folding into itself, and adding any necessary carbon.
5. Combining the jacket and core, through extreme heat and hammering.
6. Shaping the blade form, through heating and elongating, filing, rough grinding and tempering.
7.  Refining the shape.
8. Polishing and sharpening.
9. Decorating and woodworking

Look here for a more indepth description of forging a Japanese Katana, or research forging on your own.

Here is one translation into forging our selves. Create your own meaning of how you proactively 'forge' yourself.

1. Educate yourself on diet, exercise,  and recovery in relevance to your body type, art/style/system, functional needs, resources, and goals. Gain knowledge: keep your self informed on proper form and technique, nutrition, modifications, anatomy, and routines.
2. Refine your data into a plan, and make a time table for removing the "impurities"that hinder you: diet, habits, acivities, etc. 
3. Divide conditioning into a process of strengthening yourself, and follow through with effort. I like to think of this as a yang/external form of development.
4. Creating durability through flexibility, adaptability, and freedom of movement, and follow through with awareness. To me, this represents a yin/internal form of development. 
5. Linking your efforts of strength and durability together. Find application of either simultaneous yang and yin, or a healthy flow between the two.
6. Assisting recovery, growth and change. I would consider this a de-conditioning phase: Massage, pranayama, active rest, meditation, yoga, Feldenkreis, the Alexander technique, qi gong, etc. Think outside of the box in finding a way to undo damage and promote development. This is a crucial step. The tempering and evening of yourself. Allowing a rebalancing after stressing the body, otherwise you are just beating and beating on yourself: eventually something will break. 
7. Rest and assist recovery some more. Like I said: This is a crucial step! More on this later.
8. Link all efforts into your personal goals: applying within your martial training.
9. Feel better about who you are and what you are capable of, and get ready to do it again.

My personal approach is to base a day, week or month of training within these steps, but do give some thought and effort into what this analogy of forging a sword can provide to your own development. Strive for excellence not mediocrity!

Good luck!

Solo-Training

Photo by Carlo Vicencio

Welcome back!

As a martial arts teacher, I have struggled at times to truly convey the importance of solo training. Group classes and private lessons give you the opportunity to learn new material, to test yourself and your skills with others, and serve to expand the breadth of your knowledge and understanding, but it is in your solo-training where you take an active role in shaping and cultivating yourself.

In the early years of studentship, the teachers and peers provide direction and challenges, but as you begin to develop a clear understanding of who you are, where you are going and what the martial arts means to you, you reach reach a point where you start to direct your practice. This is your chance to become more aware, to become your own coach and teacher, to study yourself, and to take on the conscious task of self-development of your physical abilities.

We can can breakdown solo-training into a few key categories:

1. Conditioning

2. Attributes

3. Technique

4. Application

How much time do you commit to planning, scheduling and goal setting in your solo-training?

Let's be honest. For a martial artist, you spend a tremendous amount of time and energy in learning your chosen style and working on yourself. Is that effort being maximized? Is your hope that "some day" you'll improve, or do you spend time actively planning, scheduling, setting and achieving goals, while studying your strengths and weaknesses?

Finding advice and direction from teachers, trainers, coaches and even fellow students is invaluable, but how you apply any guidance lies directly in your hands. Consider the categories above and how they may pertain to your art, and over the next few weeks or so we'll start examine each in further detail.

As always, I appreciate any thoughts or feedback. Good Luck!

Habits

Painting by Alexey Kachalov

So much of our daily life can be spent on "cruise control," from driving, eating, talking, watching t.v., and unfortunately, even training and exercise. Once we have learned the basics, we tend to act with little to no thought, eventually we may even be multi-tasking everything we do. This is great from a quantitative perspective, but what in life are you really experiencing? Is life nothing but a "to-do list?"

The thought that I would like to convey is to bring awareness into your life, to add quality and meaning to any and every action. This is often referred to as mindfulness.

Here is a 3-Step exercise to engage your awareness is to study your habitual behavior.

1. Observation

Observe your own behavior objectively, like a scientist to their subject of study, or a doctor to their patient. Keep a small notebook with you all day, and periodically write down any actions or reactions that are "auto-pilot," or performed without any conscious decision making.

It may involve routine behavior like:

• Morning rituals: hitting the snooze button, sequence of events from waking to leaving your home.
• Driving behavior: Music on or off and type of music, driving fast or slow, calm or rushed, posture, on the phone or texting.
• Work behaviors: Coffee, snacks, work/people avoidance, any other work routines.
• Eating Behaviors: Time of eating, Type of foods eaten, Manner of eating, any other meal time behaviors: phone, paper, computer, t.v., talking, etc.
• Exercise/Training behaviors: How do you prepare, how to you transition after activity, manner in which you are active: fast, slow, power/speed/technique oriented.
• Social behavior: How do you communicate with speech or body language, what creates tension in yourself and others, what relieves conflict.
• Any things else you may observe in your day.

2. Recapitulate

Go over your notes, and decide what behavior you will are willing and able to alter. You can start small and easy or really challenge yourself. Make some changes just to challenge yourself. Eat differently. Drive differently. Speak differently. Breath differently.

Create a plan to try out new responses. These may or may not be permanent changes, but the real purpose is to gain a new awareness of your actions and behaviors.

3. Implement

Begin the new day with your plan, and consciously direct your awareness. Reclaim your own autonomy through conscious decision making.

Observe how you feel and where the challenges are. You just may learn something about yourself.

Into the shadows...

The Shadow Self

"Everyone is a moon, and has a dark side which they never show." -Mark Twain

Psychiatrist Carl G. Jung defined the "shadow" as an unconscious complex containing the repressed, suppressed or disowned qualities of the conscious self, as well as unknown qualities and potentials both "good" and "bad." It is the parts of the self that remain hidden without conscious knowledge or expression, but this does not mean there is not unconscious expression. The dilemma of the shadow is when these unknown qualities begin to be unknowingly expressed.

We can see the affects of the shadow in any instance where our our thoughts, behaviors, and interaction become imbalanced, irrational, uncontrollable, self-defeating or harmful to others. It is the faces that we hide from the world and hide from ourselves. By facing the shadow aspects of the self, we are striving to see ourselves realistically and completely, to know all facets, potentials, and possibilities, and to achieve the freedom to direct our thoughts and decisions consciously. It is a mastery of Self.

"Who looks outside, dreams; who looks inside, awakes." -Carl Jung

In the study of Motivations, we established a Negative List, a more appropriate term would be a Shadow List. A list that requires deeper study to illuminate it. We will use this list to engage our shadow aspects.

Observe each Motivation on this list. Ask the following questions:

1. "Why have I deemed this a "negative" motivation?" Is it damaging to my self? Does this motivation serve only myself? Is it damaging to others? Is it at the expense of others?
2. "What does this motivational concept provide for me/What is the reward?" Does it create a sense worth, strength, power, protection, etc?
3. "Why is this "reward" absent from my life?" Am I unworthy? Unready? Unsure?

Understanding the shadow involves understanding what needs are not being met. What is missing a healthy expression in your life? This can provide a whole new list of goals and strategies to empower and enrich your life.

"We cannot change anything until we accept it. Condemnation does not liberate, it oppresses." -Carl Jung

It is never an easy task to put our "fears, flaws, regrets and inadequacies" under a microscope, but you don't grow by working on only your strengths; you need to develop your vulnerabilities as well.

Goals

Photograph by Chris Johns

Within the Motivation article, we established a list of Positive Motivations. We will use this list to identify and prioritize our goals.

1. Let's narrow down the list to find what is most significant to growth.

• Which motivations are similar in meaning/context/purpose?
• Which motivations are most important? Create a hierarchy of Positive Motivations.

2. Primary Goals

Addressing one Motivation at a time, identify what satisfies the motivation, whether it is a state of being or a specific achievement(s). This becomes our Primary Goal(s).

3. Delimitations

Any goal requires some kind of sacrifice: time, finance, dietary changes, social adjustments, past times etc. Take time to establish what may be contrary to your primary goals, and give serious consideration into compromising/altering/dismissing the factors that may hinder you.

4. Secondary goals

Secondary goals serve as stepping stones toward the Primary goal. Essentially, we need to understand what has to be done first, before a Primary goal is attained.

• What physical attributes/skills/conditioning need to be honed?
• What mental attributes/theories/knowledge need to be achieved?
• What aspects of the spirit/metaphysics need to be forged?

5. Strategy

Now that specific tools are necessary to develop, the next step is building a strategy/routine.

Here are some factors to consider:

• Establish daily/weekly/monthly/yearly time schedule- Be realistic. Your goals should enrich your life, not control it.
• Solo-training- This is your "bread and butter" for development. Be creative and use everything at your disposal.
• Partner training- Communicate your intentions so that you and your partner have a clear view of what is to be honed. This maximizes a session and everyone benefits.
• Research- Study goal specific material, as well as researching a variety of goal-setting/attaining sources.
• Teacher/Trainer/Coach- Get some experienced advice for addressing specific goals.
• Rest/Recuperation- Plan your recovery time to minimize injury and maximize energy.
• Time to unplug- Give your mind a break.
• Periodically recheck your motivations and goals, take note of any changes and adapt your strategy.

Good luck and enjoy the journey.

Motivation

The study of the martial arts is a lifelong task. It is a continual process of refinement and discovery. Over the years, your body and mind change, adapt, and mature, and as a result your martial practice evolves. When you inevitable plateaus in your practice, there is a perfect opportunity to check yourself, to re-evaluate your goals and approaches to training.

1. Begin this self-evaluation by first identifying your motivations. Motivation is a cause (thought, need, desire, ideal) that compels one to act. This is your "Why." Why are you training, today, in this moment? Over periods of time, your motivations will change. It is important to be critically honest with yourself. Are you training for self-defense, sport, physical exercise, combat, fun, health, as a stress-reliever, to feel superior to others, self-esteem, to attain a rank/position, to hurt others, to find yourself, etc. If there are specific experiences that are motivating factors , then identify them. Know thyself! Take the time to understand what all your motivations are, list them all: embarrassing or noble.

2. Divide your list into positive and negative categories. Positive being motivations that bring out behavior/habits that enrich your sense of self, character, purpose and relationship to the world. Negative being motivations that lessen/cloud your views of self worth, decision-making, and relationship with others.

(Another view, would be: Positive motivations bring growth to yourself and others, and Negative motivations bring rewards to yourself at the expense of others.)

3. Once you have identified the Positive list, you can establish your goals, which leads to strategy (Next segment.)

4. The Negative list serves as a window into your shadow self. The part of your personality that lies outside your desired or "accepted" view of self. These are the motivations that identify the unknown or unwanted that resides in each of us......

A thought to ponder

"One should be prepared to receive ninety-nine percent of an enemy's attack and stare death right in the face, in order to illuminate the Path." - Morihei Ueshiba

Fear

Photo by Abdul Kadir Audah

"Fear is the mind-killer. Fear is the little death that brings total obliteration. I will face my fear. I will permit it to pass over me and through me. And when it has gone past me I will turn to see fear's path. Where the fear has gone there will be nothing. Only I will remain."- excerpt from Dune by Frank Herbert

Fear can be defined as an emotional response to a perceived threat. Modern psychology believes the capacity to fear is an innate component of human nature, but what we fear and how we express fear is learned and habituated by repeated response. As martial artists or one who "walks a Warrior's Path," fear is our primary adversary. It is fear that causes the physiological responses of tension, tremors, "shaking legs," lose of coordination, etcetera. It is these responses that diminish skill, rational thought, strategy, endurance, strength and ability. How we deal with fear separates our skill, conditioning, and theoretical understanding from actual application. It is quite common for martial artists, athletes, or anyone who operates under pressure, to have all the skills and abilities to handle a situation, but perform poorly because fear has limited freedom in movement and access to their potentials. But just because this experience is common, does not means it is a normal response. It is not normal to perform at half your capacity when 100% is needed. In the animal kingdom, predators sense which animals are at their weakest, physically and mentally, and they realize they are easier prey. Can the same predator/prey relationship be present at times in human society?

This is where the martial artist concern initially lies. How to defend yourself. How to develop skills and condition the body for combative encounters. But if there is still self-doubt and detrimental physiological responses, then it is the mind that must be conditioned to face fear. Since fear responses are learned and habituated reactions, the key is to learn an alternative response to fear and habituate this new response. The answer is not in hardening one's self, but in softening.

If one is truly fearless, they are not exerting aggressiveness and dominance by trying to show a display of strength. In fact it is the opposite. If you are fearless, then you are relaxed and calm, carrying a sense of peace. This peace is a reflection of knowing that there is nothing you are not willing and able to face. Nothing gives you fear, therefore nothing is a threat. It is a state of receptivity. An openness without fear.

Here are three ideas that may help foster this openness and fearlessness.

Fear Visualization

• In this exercise, sit comfortably, close your eyes, and visualize a frightening scenario with you in the "first-person". It can be a fight, sparring match, or any situation that concerns you.(Like in any exercise start small and build confidence and momentum, if you are dealing with major traumas or intense phobias, a qualified therapist may be necessary for healing)
• Increase the intensity gradually in the visualization by building speed or imagined stimulus.
• As you notice your body tensing or your breathing shallows or accelerates, consciously relax the body and deepen the breath as you visualize yourself dealing with the imagined scenario.
• Add more challenges and adjust your physical state while you visualize the problem solving.
• Resolve the scene, as you maintain a relaxed and calm composure.
• Repeat occasionally, create a habit of controlling physiological responses to fear and pressure.

Physical Training

You fight how you train. If you train with emotion, anger, and aggressiveness with little to no awareness of physical changes in your body, then you are habituating the body responding purely with emotion. What happens when that emotion is fear or self-doubt?

Try rehearsing a sense of mindfulness, every moment that you train. Become aware of tension, and relax it. Become aware of shallow breathing, and deepen it. Become aware of sloppy technique and sharpen it. If you have to slow down to perform 100% of your ability, then slow done. increasing speed and power as you can maintain an aware and calm mind. Make excellence your habit. This is the recipe for long term development.

Receptive Meditation

• Sit or lie down comfortably.
• Begin full diaphragmatic breathing for a few minutes.
• Return to a normal breathe.
• Visualize your body being covered with light.
• As you inhale draw light into you body: skin, muscles, bones, organs.
• As you exhale expand light back into the universe, and allow the relaxation to deepen.
• Scan the body as you breath. Notice areas of tension and focus the breath of light into those areas. One area at a time. With each inhalation that region expands (not tenses) and each exhalation allows a deeper level of relaxation.
• As thought arise, allow them to pass as you navigate your awareness back to the breathing of light.
• When you finish allow some gentle movement to your hands, feet, and neck before you begin getting up and moving.

This exercise will allow you to gain a higher level of understanding to where you keep tension and when done with some consistency this will allow you greater freedom of movement, while improving your awareness to subtle mental and physiological changes. Remember, we are striving to create and habituate a new response. Repetition is the key.

Fear can become a great teacher, when you pay attention to the lesson.

Ancestry

Painting by Benyovszky István

Every nationality, ethnicity, and culture has had it's share of martial heroes. It can be an amazingly inspiring journey to uncover the martial traditions of your own heritage. To learn of strategies, innovations, and heroic warriors can open the door to "new" approaches in training, technique or inner development. Finding the fountainhead of your martial spirit can be quite enlightening about your own strengths, tendencies, and even your vulnerabilities.

Approach your research as if you were making an ethnography. Understand the martial traditions of your heritage from every angle.

• Know the land: topography, seasonal changes, resources.
• How did the environment affect the martial culture?
• Know the people: social structure/hierarchy, formation of community, diet, occupations
• How did the community affect the martial culture?
• Know the mindset: religion, philosophy, folklore, mythology, education
• How did the mindset of the times affect the martial culture?
• Know their neighbors: allies, enemies, trade, travel
• How did outside cultures affect the martial culture?
• Know the application: fighting styles, training/teaching approaches, techniques, weapons, strategies, army formation, famous warriors, victories and defeats
• What was/is the martial culture?
• What Noble Qualities were revered in the warrior traditions?

and finally, uncover...

• How can knowledge of your martial heritage help you develop?

Inspiring Music

Some amazing music featuring the PANart hang. I had to share it. Enjoy.

Affirmations

It is an incredible act of will to change your patterns of behavior, to consciously create new patterns that serve your ideals and goals. There is a comfort and ease in old habits, even if they are detrimental, and there is a tendency to cling to what is easiest and most familiar. Facing mental issues, changing old habits, and embodying your ideal self, your noble self requires an arsenal of skills, techniques and exercises.

Affirmations can be a potent tool, when striving to develop your character, embody noble qualities, or change habits or behavior. An affirmations is a repeated statement that affects your conscious and sub-conscious mind. It acts as a reminder of your intentions and also serves as a conscious and deliberate "reprogramming" of behavior patterns, a way of taking the reigns of your own mind. Here are a few tips that have brought me some success in developing and using affirmations.

• Identify your goals. Be specific with what you wish for yourself.
• Be positive. Avoid words like not, without, etc. You want to create a positive change, so speak in a positive, inspiring manner.
• Phrase your affirmation in the now. That is currently manifesting. This is not a change for the future; it is a change for this moment.
• Create a concise statement, that is easily remembered and repeated.
• Practice repeating your affirmation immediately upon waking and when falling asleep (Aloud or silently). These are the moments when your sub-conscious is most accessible.
• Periodically, remind yourself of this affirmation throughout the day.
• When the opportunity arises, act upon your affirmation. Bring it to life.
• Remain with one affirmation, until you are satisfied with the results. Be committed.
• If over time, you find a better way to phrase your intention, then adapt your affirmation.

As martial artists, we spend years in blood, sweat and painstaking effort honing skills and conditioning the body, does the mind require any less effort?

Self Study

Painting by Romio Shrestha

At times, it may seem if we go through life without really knowing ourselves. It is easy and quite common to live like a leaf in the wind. Blown from circumstance to circumstance without conscious awareness of our choices, influences, consequences, and potentials. Through conscientious self study, we may learn how and where to direct our own lives, and hopefully reach our highest potentials. Here is a simple meditative imagery exercise that may serve as a starting point towards self knowledge:

Self Imagery Exercise

Visualize your ideal self: yourself at your best in all capacities. Visualize this ideal self living and interacting with the world. Take time and fully immerse yourself into this self-study.

Observe:

• Physical attributes
• Posture/Mannerisms
• Walk/Movement
• Behavior/Attitude
• Dress/Lifestyle
• Thoughts/Priorities/Motivations
• Environment/Activities

What distinguishes your ideal self from who you are today? What aspect are you currently missing? What has your ideal self sacrificed or removed? In what ways are you like your ideal self? How are you of service to the world around you?

What qualities of character define your ideal self? Is there a Noble quality present? Are you living these qualities today? If not why? What holds you back?

If this is your ideal self, then identify how to become you at your best. Make a strategy and when necessary, revise that strategy. There is no growth without change.

Realizing Noble Qualities

Through research and contemplation, we can discover what Noble Qualities lay within us. By researching character traits of different spiritual/historical/martial individuals, traditions and philosophies, we can learn more about ourselves. Draw from a variety of sources, whether biographic, fictional, or mythological, and compile a list of these traits. Observe which of these traits has specific meaning to you. You may already act with this characteristic(s) or it may be an ideal you wish to embody. What is important is the discovery of how to inspire greatness from your self.

What areas in your life are Noble qualities present?

In what areas are they absent?

Create a strategy on how to incorporate a Noble Quality in your decision-making and interaction with others. Start small and easy, and build the momentum to address tough topics. If you falter, just begin again. Remember, this is about practicing, not perfecting.

Music and Meditation

Music can be an amazing training aid. By assisting the body and mind to relax and diverting attention from physical sensation, we can dive a little deeper into your own sub-conscious. Music can have a therapeutic quality and allow some freedom in accessing our creative energies. Here are a few exercises to link music, visualization, and meditative observation. Good luck.

Music Imagery

*Prepare body and mind for meditation: Stretching, yoga, breathing exercise, etc.

*Choose a song for the session: preferably instrumental or with lyrics in a language that you do not speak (So that you don not get caught up in singing along or allow your meditation to be dominated by the “thinking mind”). As you progress, you can link songs or create a playlist for specific topics/time spans.

*As music begins, imagine the setting that the music inspires (nature/city, day/night, temperature, scents, people/animals). Allow a detailed picture to be painted.

1. Observation

Allow you mind to wander as the music progresses. Remain unattached to the images, just allow thoughts and imagery to come and go in any direction. Your goal is just to observe and give your mind creative freedom. Let the music do the work for you. When the song ends, bring the visualization to a close, breath deeply and gently move your body to reawaken yourself to a conscious state of being.

Write or draw any impressions that you experienced, paying attention to emotional changes and patterns of thought.

*This exercise is an awakened form of non-lucid dreaming. It grants access to deeper recesses of the mind, allows the mind change brain wave patterns, and releases unexpressed creative energies. It is a therapeutic aid for the subconscious mind, and at times can be a study of the “shadow self”, those aspects of the personality that are hindered from having a healthy expression in daily life (The “shadow self” is neither good nor bad, it is just hidden, unknown, and possibly imbalanced).

2. Directed Observation

Begin by once again allowing the mind to wander as the music progresses. When you observe something that is of interest or importance, direct your attention on the object or situation. Focus on the smallest details as possible. If you lose focus, allow the mind to return to wandering until you consciously decide to focus on a new topic. When the song ends, bring the visualization to a close, breath deeply and gently move your body to reawaken yourself to a conscious state of being.

Write or draw any impression that you experienced, take note of the topics of your focus.

*This exercise is a practice in controlling focus and awareness. Training that mind to be conscious aware of the landscapes of the mind: dreams, shadow personality aspects, and creative attributes. Learn to consciously harness and direct your attention.

3. Focused Imagery

Develop a goal or intention prior to beginning this exercise. Choose a song that will tie in with this goal/intention. As the music begins, create your landscape and direct your visualization towards your goal. If your mind wanders, then gently guide your mind back to the task at hand. Express in detail all aspect that relate to your goal and allow other nuances to be expressed by the music and your subconscious.

Write or draw any impressions that you experience, take note of where, when, how and why your attention may have been diverted.

*This exercise is directing your subconscious, your imagination, and creative energies to achieve a specific goal. Piloting your awareness as you deem necessary.

*This exercise can be useful in skill development. Choose a technique or concept to be trained. Visualize yourself practicing in the first person, and be extremely descript. Imagine your breath, your body weight, the sensation of movement on your skin and through your muscles, pressure on your entire body through each step or contact of technique, and the interplay of balance with each move. Feel the interaction with your imagined environment. Give your mind every quality of reality, so that it does not know the difference. You are training your self to perform without fatigue, insecurity (fear/doubt), pain, or tension. You are reinforcing self-mastery and reaching towards undiscovered potential in your self.

Jalan Satria:Noble Qualities and the Martial Artist

Painting by Hisashi Otsuka

The study of martial arts involves the development of both external and internal qualities. The external components involve conditioning and training the body to attain the skill necessary to deal with conflict. The internal components are concerned with developing the mind and spirit to face conflict with unshakeable composure.

This composure in the Indonesian arts of Pencak Silat is referred to as Suci Hati, a “Serene Heart.” It is maintaining a sense of calm awareness in times of both peace and chaos. It implies absolute fearlessness, freedom from all fear: harm, failure, success, humiliation, loss, love, death, et cetera.

In the Malay/Indonesian language, the title of Satria has been used historically to identify one who embodies Suci Hati. Satria means “Knight,” and connotes one who, with both actions and intentions, serves the best interests of others without hesitation. One who acts with a Serene Heart. But what gives the warrior their strength to face insurmountable odds? What empowers the hero to act rather then hide? What grants the Satria their poise and confidence in the midst of chaos?

Warrior cultures have identified models of behavior that identify their greatest warriors: the medieval knights’ code of chivalry, the Bushido code of the Samurai, or the Xia warriors of China. These codes of behavior represent Noble Qualities that give strength and substance behind every action, great or small. It is these Noble Qualities that hones one’s mind and tempers the spirit, which opens one to Suci Hati.

In the martial arts, embracing a noble quality distinguishes the practitioner as one who walks the path, or even one who is the path. Physical strength, speed, and skill are byproducts of martial arts training, but the true purpose is to exercise a heightened state of being, and allow it to enfold into every facet of life.

What is a Noble Quality? This is the question each of us must answer for ourselves. A Noble Quality is a trait that defines high ideals, and is exemplified through one’s character, behavior, and presence. There are many examples in the values and virtues of historical and religious expressions, but we must find the right word(s) that give meaning and inspiration to us alone.

Jalan Satria , the “Road of the Knight,” is a concept that frames the character and behavioral ideologies of warriorship. Comparable to a “Way” or “Path” of the Warrior, Jalan Satria is the manner in which one consciously chooses to live their life, aware of their actions, their intentions, and the affect they have on the world around them.

It has been said that there is no “Way to become a Warrior,” there is only the “Way of the Warrior,” which means by walking the “Road of the Knight,” you are not learning to one day become a Knight/Warrior, you are, in practice, being the Knight/Warrior now, in this moment. Enjoy the journey, embrace a Noble Quality, act with purpose and do what you, as a martial artist, have been trained to do: Make a difference.

A Warrior’s Breath: Breathing and the Martial Arts

"With each step a pure breeze arises." Calligraphy by Hayashi Ekyo

The most basic necessity of life is the breath. We can continue to live for extended amounts of time without food, water, sleep or activity, but without air we cannot last for more than a few minutes. Yet, very little attention is directed towards how we breathe. In western culture, we tend to breath with only our upper lungs, chest out and belly in. Unfortunately, as this becomes a habit, we only use a small portion of our lungs capacity, and thus seriously reducing the efficiency of our breathing.

As martial artists, the development of the breath becomes our first priority. Ancient warriors from many cultures have concluded that the only thing that we can possibly master is ourselves, and the most basic activity that we perform is breathing, therefore to master the breath is the first and most important task of warriorship. For the martial artist, the breath is the key towards development in the physical, mental and metaphysical spheres of human potential. In the physical sense, regulating the breath keeps the body relaxed, oxygenated, and increases endurance. Mentally, the breath keeps you calm, alert and composed with the ability to consciously focus. Metaphysically, the breath allows us to direct and control the subtle movement of energy throughout our body.

In this article, we will explore two exercises to build awareness and heighten the quality of each breath.

The Diaphragmatic Breath

First, let us begin by becoming aware of our natural breath. Lie down comfortably and close your eyes. Relax the body and breath normally. Place one hand on your belly and one hand on your chest, and breath normally. Take notice of how you breathe, and where you breathe.

Now, begin to inhale and exhale through your nose. Breathing slowly and consciously. We will build the breath in three parts.

1. Spend a few breaths specifically drawing the breath into the lower lungs. The belly will rise as you inhale, and as you exhale the belly will soften and drop, gently contracting the abdominal muscles inward and upward with the naval drawing towards the spine.

2. Continue to expand your breath by filling the lower lungs first then filling the mid lung region, allowing your ribs to broaden and expand. Then reversing the process as you exhale by emptying first the mid lungs then emptying the lower diaphragm.

3. To perform a full diaphragmatic breath, inhale filling the lower lungs, then the mid lung and finally the upper lung. You may feel the ribs expand and even the collarbones may rise. As you exhale, empty first from the upper chest to the middle chest and finally the lower lungs.

Spend five minutes or more focusing on full diaphragmatic breathing. Having your hands placed on your body will help you to become aware of where you are directing your breath.

Breathe in a manner that is not forceful or uncomfortable. It may take several attempts to allow the body to relax enough to use the entire lung. The goal is build awareness and control while you explore your lungs capabilities and experience its capacities.

When you have finished with you session of diaphragmatic breathing, return to your natural breathe. Notice any changes in your body and mind.

“Jalan-jalan Macan”

A simple, yet highly effective, practice to link breath, mind and movement is the pencak silat practice of Jalan-jalan Macan, or the tiger/panther walk. The tiger/panther has been chosen as an example not for its ferocity and intimidation, but instead for the strength, grace, and ease in which it carries itself. There are many variations Jalan-jalan Macan as an exercise depending on which attribute or skill is being focused upon. This variation serves as a foundation to build upon.

Start by standing still.

Adjust your posture:

• Relaxed but aligned
• Feet hip distance apart
• 4 corners of the foot equally planted
• Align your hips over the feet and tuck your tailbone down
• Roll shoulders back and down back, aligning shoulders over hips
• Head in line with shoulders
• Adjust your composure: Be confident and mindful

1. Breathe naturally, calmly and evenly through nose. Allowing your body to be loose, relaxed, and receptive.

2. Visualize with every inhalation and exhalation, you are breathing, not only through your nose, but also with your entire body (Conscious Pore Breathing).

3. Now begin a slow, relaxed walk. Allow you hips, spine, shoulders and arms to move gracefully and be involved in your walk. As you walk, even your breath and steps, so that you take an equal amount of steps when you inhale, as you take when you exhale. Walk as fast or as slow as you like, while keeping your breath even and your visualization strong. If you loose either, just stop regroup and begin again.

Start with short walks, giving your full attention to linking breath, mind (visualization), and movement. Reinforce the notion that your entire body is involved in both inhalation and exhalation: the skin, eyes, bones and muscles. We want to consciously feed and nourish our whole being. If you have soreness or injury, focus your breathing through that area.

As this exercise is further explored, we will examine consciously drawing in qualities and consciously releasing qualities. As this becomes easy, start to apply the same principles in working, cooking, cleaning, shopping, sports/exercise, and the rest of life.

We are constantly bombarded with stimulus that programs our habits and behaviors though advertising, media, social interaction, familial upbringing, genetics, etc. Jalan-jalan Macan is a conscious act of defining your own self, making the most of each breath and movement. It is a step towards mastering the self.