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Journal Martial Arts Energies in Practice

A record of a users' progress or achievements in their particular practice.

HoldAll

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Sensen no sen (Pt. 1)

Point-fighting tactics guru Antonio Oliva Seba expressed it best: sensen no sen is "defending against the intention", NOT against an actual physical attack. In the third picture of the pie-fighting cartoon, 'intention' is symbolized by the attacker's dramatic wind-up for his pie throw which gives the whole game away here - in real fights, nobody will ever telegraph their intentions so blatantly. Sensen no sen is more than just a pre-emptive strike or "Offense is the best defence" attack; when accomplished with impeccable timing, its demoralising effects on your opponent are guaranteed to be overwhelming. Simply put, you anticipate your opponent's attack and counter even before it actually occurs.

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Sensen no sen is easiest to accomplish in the early matches of tournament elimination rounds where the no-hopers are weeded out at the hands (and feet) of superior competitors; the steep gradient in skill between fighter will help ensure that strong karatekas will be at leisure to shoot down weaker ones the instant they so much as twitch or even before, whenever they unmistakably (for experienced fighters, that is) psych themselves up for an attack which will most likely take the form of a desperate
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in order to save face before their sensei or any dojo mates watching. The net result of such a sensen no sen tactic is that inferior fighters will soon feel that any attack on their part is pointless because superior fighters seem to have the almost supernatural ability to second-guess their every move.

When fighting an opponent with equal skills, using sensen no sen successfully becomes much more difficult. I once watched a local karate tournament where two international-level competitors met in the final. I had trained with both of them in the same dojo for four years and being the strongest fighters there, they had often sparred together, so they knew each other's favourite techniques, feints, tactics, quirks, etc. inside out. It must have been a boring match for the few laypersons in the audience to watch but it was utterly captivating for us karatekas. Not a single punch or kick was thrown for the entire duration of the match; it was basically like a quick-draw duel were no one either drew or fired. It would have been uncanny to observe if there hadn't been a couple of feints, some attempted but then immediately aborted attacks even after the first half-step was taken, or their frequent repositioning according to their/our sensei's rule according to which you must never remain in a straight line with your opponent for more than five seconds. You never knew who was stalking whom, both were so evenly matched that every subtle move by either of them would be enough to elicit another subtle response in the other one that signalled back to the would-be attacker that his offensive would be doomed from the start. As there can be no draws in karate point-fighting matches, one of them was ultimately declared the winner on the totally arbitrary grounds that he had shown more initiative and fighting spirits in the eyes of the ref and corner judges; I don't even remember who had been victorious, it could have been either of them.

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Antonio Oliva Seba in action: all three modes of defending & countering can be theoretically employed in such a situation. In the video Antonio just shows the classic
go no sen response (first you block, then you counter); it's also conceivable that you might block that kick and counter simultaneously (sen no sen). If you're really good and able to spot all the signs of an impending front-leg roundhouse kick to your head (front shoulder slighty raised, weight discreetly shifting to back leg, etc.), you can use sensen no sen and thus disrupt a weaker opponent's attack with your counter-punch even before it is launched.

If your opponent is much stronger than you, you're in the same position as those elimination round no-hopers mentioned in the paragraph before last and might just as well pack it all in because you'll have no chance of winning whatsoever. Such a situation will rarely occur in MMA fights as all big promotions employ experienced matchmakers to ensure that both fighters have a good chance of triumphing, ensuring that audiences will get their money's worth and be able to enjoy a good violent tit for tat instead of a one-sided execution. In self-defence, your only hope here will be escaping, circumstances permitting, else you'll get beaten to a pulp, no two ways about it.

However, it gets really interesting when your opponent is only slighter stronger than you, or a champion on his or her off-day, and you might be able to pull off an upset. Your opponent will still be able to use sensen no sen but might not be able to always capitalize on it or press home his or her advantage for various reasons, such as injuries from previous fights or being distracted by serious private problems - it shouldn't happen to pros but sometimes it just does.

At other times, external circumstances may be to blame. When karate made its debut in the 2020 Tokyo Summer Olympics, point-fighting was limited to three weight classes only instead of the usual five. This limitation meant e.g. that a male -60 kg fighter was now forced to compete one weight class above, i.e. in the -67 kg category where he would be at a disadvantage against taller opponents with longer reach, while +67 kg women had to lose some of their natural fighting weight to make it into the highest possible Olympic +61 kg category, which of necessity spelled loss of muscle mass for them, possibly even some extreme fluid loss stunt employed a day before the weigh-ins, all of which will seriously impair a competitor's stamina and concentration.

Note that all these three modes of responding to an attack don't play a big role in boxing, muay thai, and MMA bouts where you can "Take two to give one", as the saying goes, meaning that you are prepared to absorb a couple of weaker punches (hello,
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!) and then hit back really hard in response. This isn't an option in karate point-fighting where the competitor who lands a technique first will be immediately awarded a point while the match is stopped, irrespective of how the situation might have developed in the aftermath. It's the reason why full-contact athletes call the karate point-fighting format 'playing tag', and I for one don't entirely disagree since it's roughly the basic principle.

Oh well… I think I will have to break down sensen no sen into its twin components: sensing the attack and reacting to the attack, which ideally should occur at the same time. Let me re-iterate that it isn't about casual pre-emptive strikes but rather an instinctive response that aims to nip an opponent's attack in the bud. Furthermore, I'd like to stress again that sensen no sen is in no way 'superior' to sen no sen and go no sen. Neither is it some super-secret ninja combat formula: in self-defence, for example, sensen no sen would mean attacking while the aggressor is still reaching inside his jacket, which may even land you in court at a later date if the guy was only groping for a tissue (or for his wallet with the police badge); sensen no sen can make the question "Who started it?" really difficult to answer.
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Oops, I made a typical blunder (I'm not good with numbers) concerning women's weight classes at the Tokyo Olympics: since the usual maximum weight category was ordinarily +68 kg as compared to a mere +61 kg at the Olympics, it meant that a woman, for example, weighing 64 kg (who would in the ordinary course of events fight in the -68 kg category and have to contend with fighters only slightly heavier than her) had two choices - either she could decide to brave opponents two heads taller and weighing in e.g. at 80 kg, or lose weight (and muscle, possibly also fluids) in order to fit in the -61 kg weight class. As a result, at least on former champion was out after her very first elimination round while nobodies with the right body weight triumphed.
 
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Sensen no Sen (Pt. 2) - Divining an Attack

Karate point-fighting competitors routinely cloak their offensive intentions by skipping back and forth, feinting, altering their stance by switching legs, repositioning and regrouping, and by feinting, keeping their cards very close to the chest at all times and maintain a 'whole-body poker face', so to speak. In many ways, it's a game of nerves where nothing much happens until suddenly everything will happen all at once, and the referee and the four corner judges will have a hard time telling who has scored first and who second (they've introduced a video replay system now but only for the semifinals and finals, I think).

As soon as a match starts, you'll enter a state of heightened awareness as soon as the gong sounds and the referee shouts "Hajime!" ("Fight!"). There's nothing mysterious about this special state, it's simply human nature taking over - no matter how scatterbrained you may be in ordinary daily life, you definitely won't think about tomorrow's grocery shopping list or the leaking kitchen sink, I promise you. You won't even have to concentrate hard consciously, it's your opponent who will ensure that your own focus will be pinpoint sharp (you may be scared shitless though 😉). This means that there will be a cloud of martial energy billowing around both competitors right from the start, and it's exactly this fierce
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(fighting spirit) energy that I've always sorely missed in all those humdrum self-defence classes I've watched or taken part because there just isn't that red-hot adrenaline juice erupting during partner exercises, what with all those carefully pre-arranged scenarios lacking that chaotic high-voltage energy of unscripted fighting.

Energy-wise, the real fun starts once you sense increasingly aggressive vibes coming from your opponent, heralding an impending attack. It's the stage Antonio Oliva Seba would call 'preparing the attack', getting all one's duck in a row, so to speak, the other competitor zeroing in on you. However, such moments may come and go without being exploited, especially in the first quarter of the fight which is usually spent on feeling out the karateka in front of you, which means that the martial energy will occasionally ramp up and then again subside. An actual attack could be symbolised by a sudden spike in energy when the two fighters will clash violently, only to separate and stalking each other again.

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Of course karate
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(point-fighting) isn't 'real fighting', just a safe way of competitive free sparring in line with the spirit of
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. Rules, protective gear, referees, precisely delineated, flat and padded fighting areas, etc. will always lead to distortions of traditional martial arts when compared genuinely deadly conflicts such as military combat. When compared to full-contact competitions, point-fighting is never very popular with audiences - the stands will be mostly empty during local tournaments, and there's usually not even an admission fee.

Like capoeira
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, martial arts energies in fights aren't exclusively yours alone to generate and control but will also depend on the energy contributed by the other fighter. Some opponents will bring out the best in you while others, especially weaker or annoyingly obstreperous ones, will make you involuntarily dial your combative energy down. At the Q&A part of a point-fighting tactics class I once attended, a girl asked what to do with a weaker opponent dragging her down - everybody knew what she meant, no one knew how to answer, not even the instructor. It seems that martial arts energy can also be susceptible to levelling out and that you'll have to make an effort to keep your momentum going.

This is an insight I hadn't expect at all but now I realise that there is in fact something of a mutuality between fighters and not simply a conflict where the one with the stronger ki will dominate the weaker one - it will in fact take two to tango, and the energy between both competitors will ebb and flow depending on their interaction. There have been fights for the ages in boxing and MMA that people still are still talking about after decades and which weren't a dramatic clash of opposing energies, but rather the synergistic product of two fighters both co-operating in building such a volcano of palpable power that the actual outcome of the fight was secondary in comparison, for example the legendary 'Rumble in the Jungle' between George Foreman and Muhammad Ali,
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, or
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in the UFC.

The audience has of course to be included in the energy equation too, as everybody who's ever attended a sporting event fully well knows. You'll have to be really mentally strong to perform at your peak when the whole arena is rooting for the other guy.

The least difficult to repel (or even exploit) attacks are those where your opponent's aggressive energy will slowly mount until you know unmistakably that something is bound to go down any moment. In such instances, sensen no sen or 'defending against an opponent's intention' becomes feasible because you will be able to sense exactly when your opponent will be going on the offensive. On an entirely mundane level, he or she will close in on you now, try to drive you into a mat corner (overstepping the mat border is penalised!) where there's little chance of evasion for you, exerting pressure all the while. Karate point-fighting champion Rafael Agheyev often allowed himself to be cornered, thus lulling his opponent into a false sense of superiority and only then attacking.

It's much more difficult when the energy level between the both of you stays more or less the same and an attack happens completely out of the blue because you have no time to mentally prepare for it. You will be again able to sense the offensive energy but only when it's almost too late; only your (hopefully) fast reflexes and experience can save you now. Anything can happen: you may be able to nullify the attack by taking evasive action, be overwhelmed but somehow able to weather the storm, or become an easy target. According to the old karate point-fighting scoring system, you were awarded a full point for a correct on-target technique that your opponent didn't even have time to block (and a half-point for ineffectively deflected techniques) which is very well what could happen here - your opponent may score without you even properly reacting. Tough luck.

There is another surprising parallel between karate and capoeira I had never thought of until now: You may create a common energy field, so to speak, but there are moments when one competitor's personal ki will subdue the other's. The difference is that in competitive fighting, there's this constant, thick aura of menace between the two fighters while capoeira is more underhand and where attacks can occur in the midst of joyful horsing around but which don't necessarily have to - just like in real life relations with some people, come to think of it.

I think I've taken the
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with its three modes of responding to an attack as far as they can go. Next, I'll probably look into Antonio Oliva Seba's concept of the 'silly moment' and try to figure out whether energy (as a metaphor?) is capable of leading me towards new insights.
 

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Zanshin

I thought I'd do a post about Antonio Oliva Seba's Silly Moment phenomenon but then I reconsidered - after all,
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is much closer related to zen and zazen meditation and a concept most lay persons won't even associate with fighting.

Most karatekas are only aware of the narrower, practical meaning of zanshin ('remaining mind') which implies staying alert and watching your opponent even after you've scored, or thought you did - the referee may be of a different opinion and let the fight continue instead of interrupting it and awarding you a point, and your opponent may exploit this momentary inattentiveness for a counter-attack; in boxing you may have your opponent on the ropes, think he's had enough, look briefly at the ref for confirmation and then get hit by the other guy who won't give up so easily after all. MMA fighters will always swarm on grounded opponents they'd just knocked out on the off-chance that the ref will let the fight continue regardless. I have this theory that the term originally comes from
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where it made good sense to keep watching the other guy even if he's now got an arrow protruding from his body because there's still a chance that he might somehow be able to shoot back; another prime example would be the
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from "The Seven Samurai" I've posted before where the winner maintained zanshin although he'd already cut his opponent down. In dojo sparring, it would be rude to hit your partner and then immediately turn round to take a sip from your water bottle, for example, thus showing a casual lack of respect for your opponent - it's just not done.

Zanshin in the wider sense is much more interesting. It ties in with the concept of
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(no-mind) which has become the main emphasis of my own spiritual practice now - how to maintain an empty mind in daily life? However, zanshin isn't the same as mushin. Zanshin is like switching to a higher gear, from calm serenity to alertness, ideally seamlessly and without being paralysed by fear or aggression. Before performing a kata, for example, you shift from every-day awareness to a heightened one, i.e. zanshin - you are relaxed but alert, then you explode without warning.

Speaking of katas: I think that the main reason why in karate you always must keep your upper body strictly erect at all times is because katas are symbolic fights against multiple opponents which you won't be able to spot if your torso is hunched over and your chin tucked in like a boxer's, thus resulting in tunnel vision, not 360° awareness. It's also a major weak point of karate because it makes ducking as e.g. in capoeira much harder and punches weaker compared to boxing due to the lack of torque produced by tilting and rotating shoulders. Every martial art has its own philosophy that makes sense within its own context but may not always be practical in actual fights.

Here's an example for the downside of keeping the head so proudly high in karate: I once helped out as a mat steward at an international tournament organised by a more traditionalist and orthodox karate federation where fist protectors weren't allowed. During a break, I got to talking with the tournament's doctor I knew, a trauma surgeon and very fine
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e sensei. He told me he had to give a fighter who had been hit in the larynx an emergency cortisone shot, otherwise his windpipe would have swollen shut. People have no idea… a stab with one or two fingers to the larynx is enough to end a fight, just like at 0:52 in this clip from an otherwise forgettable Sean Connery movie. Karatekas just don't tuck their chins in, and this can be one of the results.

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Again I have to bash various 'pure' self-defence systems here: zanshin appears to be completely absent from their practice. You really, really have to train those moves in a heightened state of awareness, even if it's only fear or naked aggression that sets your adrenaline pumping, and even if it's all just play-acting.

In a regular karate dojo nobody will explicity teach you zanshin, and that's one the things I love about karate. You acquire zanshin all by yourself, without being given any detailed philosophical explanations. During your first partner exercises you realise that tensing up in readiness is not helpful at all, that worries about the correct execution of techniques will only distract you, that brow-knitting concentration will only make you stiff and slow, etc. As a result, you'll slowly arrive at a state of zanshin without any verbal cues by your sensei or higher-ranking karatekas. In a way it's like zen: you may talk about it all day long but will never be able to explain it fully to a lay person, no matter how hard you try.

Apart from the kata solo performances, here's how you develop zanshin with the help of a partner:

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Kihon ippon kumite
or one-step sparring is the most basic partner exercise in shotokan karate. If you watch really closely, you can see each defender leaning slightly backwards before impeding attacks to make stepping back a bit easier. Mind you, these two have superb kime (fighting spirit) as well as excellent technique, it's just that such small details will betray your intention later at an advanced stage in point-fighting. If you are in a state of genuine zanshin, there'll be no rocking back and forth on your heels, and the whole exercise becomes a game of chicken - as the defender, you step back at the last moment while as the attacker, you charge forward as hard as you can, trying to land your punch on the defender's chin even if he or she know's what's coming. The object for the defender is to remain calm and block efficiently, while the attacker mustn't give away his or her intentions before stepping forward, for example by turning the front foot outwards to make launching from that low stance easier.

In his
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(three copies available on annas-archive.org :rolleyes:), author Glenn J. Morris describes a much more extreme example of zanshin on the occasion of his 5th degree black belt test:

The godan (fifth degree) test of Togakure Ryu Bujinkan Ninpo consists of the student kneeling in seiza with his or her eyes closed in meditation or terror, as the grandmaster, also in meditation, stands behind the student with a sword. When the grandmaster is ready he attempts to halve the student. It's the student's job to roll out of the way, avoiding the strike.

Granted, his sensei was only using a
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(bamboo sword), but a whack with that stick must be have been painful all the same… Mr. Morris describes he had three tries to pass the test. On the first one, he managed to roll away in time but his sensei scolded him that he thought too much. My guess is that he unconsciously used some form of extrasensory perception and sensed the blow coming, which was not what had been demanded of him - he hadn't emptied his mind completely as instructed. On the second try, he got clobbered with the bamboo sword but successfully evaded the blow on the third:

I dropped my consciousness to the hara, or gut. My intestines were rolling, my body began to shake. I shut off mental process and waited, and waited, and waited. Suddenly I was on the other side of the cleared space in the room with no memory of the roll, leap, or crawl that allowed me to pass the test!

Such is the power of zanshin but taken to quite another level for which in truth another Japanese term should exist… I'm somehow reminded of the admonition sometimes heard by Eastern spiritual teachers to ignore any supernatural powers (
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) their pupils may acquire as they progress along the Way due to their just being distractions but again, why would such a pragmatic martial art as ninjutsu look down on ESP and not use it if it gave them an edge? Perhaps this sensei held mushin (no-mind) and thus also zanshin in much a higher regard, no idea. Another possibility is that Ninja Master Morris was full of shit, of course. 😉
 

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That Elusive Silly Moment

When Antonio Oliva Seba first described the Silly Moment phenomenon (I'm sure one could coin a better expression, his English wasn't very sophisticated) at one of his point-fighting tactics workshops, we couldn't quite believe what we were hearing; it was as if he'd laid bare a black hole smack in the middle of our well-ordered karate universe. Silly Moments couldn't happen because they shouldn't happen, not according to our self-image of us as fearless warriors proudly maintaining
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(martial alertness) at all times. And yet they do happen. Antonio didn't really elaborate, just said that we should be on the lookout for them and exploit them for our attacks.

The epitome of the Silly Moment will always be the Gabriel Gonzaga vs. Mirko Cro Crop upset at UFC 70 for me:

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Gonzaga, a huge guy who didn't move very well and who came from a BJJ grappling background, had no business knocking out Cro Crop, a champion kickboxer and experienced martial artist, not with this single kick. In contrast to a straight front-snap kick, a roundhouse kick with the back leg is easy to spot because of the long arc it has to travel before finally landing, and it was exactly this
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; as a result, it shouldn't have come as such a complete surprise for him. One karate sensei I knew used to preach that we should never start a combination with a kick and always mask it behind one or two initial punches because kicks were way too obvious and took to long when compared to arm techniques. And yet there was this astounding Gonzaga vs. Cro Crop knockout, rare like a hole-in-one in golf. It must have been a glitch in the matrix or something like that.

To be clear, there have been spades of surprising
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in fights (think Tyson) but they usually come as a result of a previous exchange where one fighter just happens to have the last word, so to speak. Neither are Silly Moments the result of distractions like feints or ruses like Tanaka sensei's misdirection trick at 1:36 of
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. Like I said before, lack of focus is the least of your worries in a fight, not when you have somebody standing in front of you hell bent on imposing his or her will on you or, in full-contact bouts, on clobbering you silly. You might have trouble concentrating on your tactics or a specific game plan once passion takes over but that's the extent of it - after all, physical fighting will arouse all sorts of primal instincts that will simply prevent you from falling into an absent-minded reverie and on the contrary will sharpen your perception.

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This is a less blatant and obvious example of a Silly Moment. I once saw some karate point-fighting clips of Lyoto Machida where he used that same hip rotation twitch as a (not very convincing) feint. Once again his opponent seems fully focused and knew fully well what might be coming because Machida had knocked out another fighter with the self-same kick previously. Was he hoping to counter some punches and therefore wasn't expecting a kick?

Another reason why I posted this video was Machida's reaction to the KO. According to the very first precept of Gichin Funakoshi's
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:

Do not forget that Karate-do begins and ends with Rei.

Rei
is a pun and means both 'respect' and 'bowing' here, so like a good karateka he bowed to his downed opponent in an admirable show of sportsmanship. Subsequently, however, he
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facing his opponent instead of turning his back on him as is customary according to old-school karate etiquette, the reason being that watching one's opponent in his shameful defeat would make the unconscious Belfort lose even more face, while by turning his back on him, Machida would have thoughtfully shown proper respect for his fallen opponent. However, I think turning his back on the knocked-out Belfort wouldn't have gone down well with a Western audience that wasn't aware of this typically Japanese custom, so Machida was probably right to turn his face to Belfort after all.

Let's discount the Gonzaga KO in the first scene as an inexplicable fluke for now and concentrate on the Machida one instead. Wikipedia tells us that his father Yoshizo Machida is "the highly ranked head of the Brazilian branch of the Japan Karate Association (JKA)"; the traditionalist JKA regards itself as the Keeper of the Holy Grail of Pure Shotokan Karate and still favours the point-fighting style of the 1960ies and 1970ies where competitors always would stand tensely in front of each other in a straight line and then violently clashed but never ever repositioning or evading. As a result, this linear style of fighting must have come natural to Machida but was probably novel to Belfort - an opponent slowly inching into your range is just not how it's done in MMA. Belfort, who was more of an explosive fighter and a brawler, may have been a bit mesmerised by this grim incremental zeroing-in that he wasn't used to, so it probably wasn't a case of a Silly Moment after all.

Nevertheless, I do think that something occult is going on here which mundane psychology hasn't investigated yet and would probably regard as a mere fringe phenomenon anyway. From all have myself observed and experienced, Silly Moments never occur in capoeira - you may be bamboozled by your partner's tricks but never completely so caught unawares like Cro Cop in the first clip. The reason may lie in the rhythm which is steady in capoeira but chaotic in karate point-fighting and full-contact bouts. It seems to me that Silly Moments can only occur whenever there's a temporary lull or a marked slackening of pace brought about by one fighter, slightly disorienting his or her opponent who wasn't expecting such a change and failed to fully adjust to it in time. The difficulty lies in making your opponent fight you on your own terms, i.e. stand before you toe to toe in a straight line instead of playing the elusive bunny rabbit, patiently waiting for your opponent to come after you instead of chasing him or her. Your opponent would then become caught in your own spider's web, envelopped in your force field of personal energy, just like Vitor Belfort became trapped in Lyoto Machida's world of 1960ies karate point-fighting that he was completely unaccustomed to. I think it could work as a competition tactic and in street-fighting but not in self-defence where style isn't a consideration but where the bag of tricks is actually much larger, especially when there are objects at hand that could be used as a weapon. However, that's not really my area of expertise, so I'll just stop here.
 

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Probably just another rant

I think people make a real mistake when they look down on 'hard' martial arts with their overt aggression and high demands on athleticism, despising them as 'mundane', not 'spiritual' enough and unworthy of their study. It's a symptom of a general closed-mindedness on the part of esotericists that regards everyday life as something that must be escaped in favour of a very narrowly defined pastel-coloured lalaland where forced peace and serenity forever reigns, ideally in the comfort of one's home and definitely not in an environment of sweat, shouts, grunts, and clanging barbells where a moment of inattention can get you actually hurt. According to such a worldview, the 'art' in 'martial arts' is all fine and dandy as long as its sufficiently ancient, Asian, and has a rich and colourful history to boot while the 'martial' aspect is seen as problematic for aesthetic and ethical reasons. If you pride yourself on your ability to sense energies, you should be capable of sensing them in karate point-fighting tournament, in boxing and at MMA events as well, not just in taiji or qi gong because they're supposed to be more 'spiritual' and harmlessly peaceful.

I must confess I myself not entirely happy with neither the term 'martial arts'. 'Art' can imply practical know-how (as in the word 'artificer') but art can also be purely ornamental, abstract, or make no sense whatsoever, and that's not what a real martial art should be. For all the corrupting distortions sports may have inflicted on various martial arts, competition has always been a major incentive for practitioners to train harder and hone their skills to the max while non-competitive martial arts tend to be insular and restrict their adherents to a mere subpar level of achievement. After all, it's inspiring to have living, breathing champions in your martial art to look up to instead of some legendary founding father in the distant past.

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I for one wholeheartedly welcomed the advent of mixed martial arts (MMA). In the first UFC events, Royce Gracie opened my eyes about the
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ground-fighting style of grappling because back then I hadn't taken jiu-jitsu not very seriously. For a time wrestlers dominated in MMA, another martial art I knew as good as nothing about, and I really admired their strength and toughness. I'll never forget that old video from a low-level MMA event where a taekwondo practitioner fought a wrestler, convinced he could fell him with a single movie-style jump kick. The wrestler just ducked, plucked him out of the air, slammed him to the ground, and the fight was over. Thanks to MMA, direct comparisons between different martial arts were suddenly possible, and I rejoiced every time a fighter with a traditional Japanese martial arts background like Lyoto Machida (shotokan karate) or
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(judo) became champions.

MMA events may be a multi-million dollar business now but it has to be said that they bring out the best in fighters whose strength, stamina, and speed rivals world-class boxers or any other elite athletes - compare that to a complacent 'dojo warrior' practising some obscure style in a dingy basement room together with a handful of other incompetent dabblers two times a week under the tutelage of some self-styled sensei who claims that his martial art was superior to all others because the competitive ones had allegedly forsaken their heritage in favour of vulgar public spectacles. I've been to such backyard dojos and let me tell you, the atmosphere there is stifling and incestuous and anything but enlightening.

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The great
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who dominated international female kata competitions for years. However, one shouldn't forget that every weekend local karate tournaments are held all over the world where kids will stumble through their first kata performances and where teenagers gain their first point-fighting experience as rank but enthusiastic amateurs, events supported by dozens of volunteers writing lists, recording points and results, keeping time, and refereeing, all working together for the love of the sport and not for gain.

I see competitions on a local, regional, and international level as a way of keeping martial arts honest because they allow for a direct and public comparison between dojos. Even as a mere spectator, you will be able compare your skills with those of others, and it's the same at workshops or summer camps where you'll meet other practitioners who share the same passion, thus reinforcing your motivation to keep going and excel.

Such events of course require governing bodies which arrange them, and for all the petty politics that may go on behind the scenes of such organisations, they do guarantee uniform standards. If you plan on taking up a martial art, check if your dojo is affiliated with any national and international federations - it's a good indicator of whether its sensei is prepared to accept technical oversight and quality control; in many countries, for example, you can't even open your own karate dojo if you're not at least a second-degree black belt (awarded according to the national association's requirements) and hold a coaching diploma (= six-week course of theory and practice, also organised by the competent national association).

You want to know the secrets of ki and hara? They're all out there in the open. However, if you sniff at the science of biomechanics as 'too mundane' and prefer colourful charts showing various 'subtle energies' circulating around the body instead, you're barking up the wrong tree, in my opinion. Your hara is first and foremost the centre of your own body, its lynchpin and fulcrum, and what makes you think that a weak physical body can be home to a powerful hara brimming over with ki? No matter whether you're skinny or overweight, if your lower abdominal muscles (as well as your hip tensors/flexors) are atrophied from your sedentary lifestyle, you won't be able to coordinate your body movements well, for example when getting up from a seated position where it's essential to keep your upper body stable.

Ok, here endeth the lesson, all the modern world and its social media neighbour are continuously on your case to get more exercise anyway. I just want to say that what I don't like about certain modern occultists is their smug, elitist claims that they really know what goes on underneath the surface (doubtless while tapping the side of their collective noses) while in actuality not knowing their arses from their elbows. First sweat then ki is my maxim, and such NewAge space cadets had better not pooh-pooh the mundane and physical aspect of things.
 

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Trickery

What makes trickery so difficult is that it has to be used with spontaneous ingenuity and naturally as a surprising twist within straight-up fighting without betraying one's devious intentions beforehand. For the purposes of this post, I wouldn't classify downright cheating when planned and prepared in advance, e.g. doping or the loading of gloves in boxing, as trickery - what I mean here is trickery as an impromptu tactic and not as a consciously employed strategy with a long-term goal in mind. Competitors may be suspected of cheating even before a fight while trickery happens on the spur of the moment, as a result of thinking fast on your feet. It's a matter of definition of course but I'm trying to make a point here.

Feints: I wouldn't classify feinting as trickery, after all you be able to clearly see what your feinting opponents does, it's just him or her attempting to provoke a knee-jerk reaction that he or she can subsequently exploit, for example by faking a punch to the head and then scoring with a punch to the midsection.
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, the pioneer of Brazilian jiu jitsu in mixed martial arts, won his first UFC tournaments by throwing a rather weak jab and then 'going downstairs' instead, as commenters called it, toppling his opponents with a single or double-leg takedown. Everything above board, nothing up the gi sleeves of such fighters, so to speak.

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A clip from the mixed martial arts days of yore when fighters' outfits weren't so strictly regulated as they are now: as opposed to a karate
gi or uniform, the jacket of a judo gi has no ribbons on its side to hold it closed (they'd only be torn off during throws and grappling anyway), so Sakuraba very nearly succeeded in pulling it over Royce Gracie's head - a pity it didn't work, it would have been a neat trick.
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had a pro-wrestling background and therefore often found unorthodox solutions for intractable situations in his fights.

Trickery in capoeira
: capoeira has no rules as such, only customs, taboos, and conventions that are nowhere written down but nevertheless strictly enforced. As such, trickery isn't illegal but on the contrary part and parcel of the game. Much has been made of the zany deviousness of capoeiristas, but much of which laypersons are marvelling at are simply feints that can occur in other martial arts as well where they can be outright dangerous by contrast because they don't have to conform to the dictates of the rhythm of accompanying music - faking a kick and performing a sweep instead, for example, can also be seen in karate, it's no big deal. No, the type of trickery I mean here is something extracurricular and not directly related to playing on the capoeira circle.

During the games at my
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(literally "baptism" in Portuguese, an event where new capoeiristas receives their first cordas or cords, denoting rank), each of us newbies had to play with high-ranking capoeiristas in order to be properly initiated into the game. I quickly realised that you weren't 'baptised' properly and received your first corda unless you were at least taken down once - landing flat on one's ass is considered a big disgrace in capoeira where only your feet, hands, and head must touch the ground. I was used to those takedown attempts from karate, so I was always careful to keep a safe distance from the professor I was playing with who realised what I was doing and didn't even try. When the game was finished, I squatted in front of him like my comrades, proud to be presented with my first corda but instead of simply handing it to me, he suddenly slung it over my head and back and pulled my feet from underneath me - I had been taken down after all, and thus duly qualified for my first corda!

I've downloaded the Kumite (point-fighting) Competition Rules of the World Karate Federation (WKF) especially for this post to see how orderly karate and anarchic capoeira match up when it comes to standards of fairness. Art. 9.1.1. of the WKF Rules describes types of prohibited behaviour in karate point-fighting competitions which in capoeira would be allowed, can be sometimes acceptable depending on the situation, or worst of all, would be considered downright uncool. Prohibited behaviour according to Art. 9.1.1.9. includes: "Avoiding combat as a means of preventing the opponent having the opportunity to score." Well, I guess I was guilty of that misdemeanour on the occasion of my batizado when I refused to engage my professor for fear of being taken down… somebody who constantly runs away in a roda (capoeira circle of players) and never takes any risks is simply a bore which isn't 'illegal' of course but rather something you'll want to avoid if you don't want to be regarded as a spoilsport.

Art. 9.1.1.6. of the WKF Rules defines as a prohibited behaviour "Feigning, or exaggerating injury", which precisely describes the oldest trick in the capoeira book. Like all such tricks, however, it must be plausible within the context of a given situation and look convincing as well as natural. With the exception of takedowns or sweeps (and barring accidents), there's no contact in capoeira, so if you e.g. perform a front push kick / chapa / mae geri kekomi to the midsection of your partner and only ever so slightly touch him or her, it's customary for him or her to double over and start groaning pitifully. If you are so naive and green that you immediately rush over to him or her to apologise, you'll be met with a kick for your trouble, of that you can be dead certain, it's practically a law.

There is this story about
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, the founder of modern capoeira angola, according to which they once trained in a building otherwise used by weightlifters. After one of the weightlifters' public shows, there were still some of their heavy barbells lying around. One of the angoleros, a big hulking guy, simply picked up the heaviest one with one hand and carried it off the stage while the audience was still leaving, whereupon Mestre Pastinha scolded him: "You fool! Never show anyone how strong you are! You should have picked another three guys to help carry that barbell off with both hands, grunting and straining all the while!"

There is some etiquette to observe in capoeira trickery too. If you play with a mestre and the situation is just right, you can feign injury and then throw a kick at him - in this case he'll be proud of you and think that you're coming along nicely. However, if you squat down with him before a game, try to slap him playfully or fake a two-finger stab at his eyes (which - mostly - doesn't symbolise eye-gouging but rather means "Pay more attention!"), prepare for a good thrashing - not literally of course but expect to spend most of your game on your ass. He can do it to you, not the other way round, and all your attempts at trickery would look clumsy and contrived by comparison anyway; tricks in capoeira must be played with finesse and panache and consequently are much harder to pull off than any brute-force attacks.

Trickery in self-defence: I've pointed out in a previous posts that street fights do have rules and that they're not anything goes as is commonly assumed, that they're often about dominance within the social pecking order, and that any onlookers present may also intervene and attack you en masse should you resort to 'unmanly' or 'unfair' techniques such as groin kicks, biting, or hair-pulling. However, if it's about life and death, or if your aggressor has a weapon, all such niceties are off of course, and the only rules you might want to consider here is the self-defence legislation applicable in your country, esp. its definition of what constitutes excessive force as well as any discrimination martial artists traditionally might have to face who are commonly expected by judges to use only a moderate degree of violence without falling prey to blind fury.

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I'm not really convinced of the efficacy of the Russian martial art of
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with its power-through-muscle-relaxation philosophy but I do like some of the tricks of Vladimir Vasiliev's and how he uses available objects and space for his self-defence - in one of his old clips I'm unable to find anymore, he sort of flips his wallet right into a would-be muggers face and then attacks; some of his earlier videos even remind me of slapstick, and why not? Creativity tends to blossom in a fun atmosphere, and that's a good description what happens in a good capoeira roda after all.

Maybe the best fight trick I ever saw live was when I was in this village pub when suddenly an altercation broke out. One of the guys said calmly, "Why don't we take it outside?" The fuming other one agreed, so the calm guy went through the pub door first, very thoughtfully holding it open for the other guy who started to storm out right after him, only to slam said door literally in his face (he may have seen that trick on TV, no idea). I don't think that angry guy was seriously hurt but the fight stopped there and then without even a single punch being thrown. Nice.

The lesson here is perhaps that combat and fighting should be also seen from a wider perspective that encompasses a broader spectrum of human behaviour instead of the simplistic image of two action figures in a video game battling it out with grim determination. You don't have to be a second Artful Odysseus when you fight but you may find that it helps. 😉
 

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The Foundation: Physical Energy

I don't much like youtubers in general but Jesse Enkamp a.k.a. The Karate Nerd has made some good videos in the past, so I'll trust him on this topic, not least because his opinion matches mine - qi/ki is not a mysterious force that will confer superpowers but simply biophysical energy, nothing more. As a result of my own experiences and in line with my Journal posts so far, I concur with Jesse Encamp's claim that qi/ki is just the product of physics and biodynamics but would like to claim that it possesses an additional emotional component as well as a subtler aspect I can't quite put my finger on as yet.

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Haha, the Anderson Silva vs. Forrest Griffin KO once more!


As a result, I think I should ditch that entire qi/ki concept altogether, call a spade a spade and just use 'energy' instead from now on, just like the title of this Journal says. Apart from aikido, ki doesn't play a major role in Japanese martial arts, as far as a know. As I've mentioned before, I've never heard ki being discussed in karate, only the hara, and then merely as one's centre of gravity, not as the wellspring of some mysterious power. As explained by Jesse Encamp in the video, asking somebody if his or her ki was centred in Japanese isn't very much different from politely inquiring after somebody's health as a formal way of saying "How are you?" without the word 'health' having any numinous overtones. It's only Western spiritual voyeurism with its exoticised notions about the 'mysterious East' which makes NewAgers twist and distort a simple Japanese word (that is even used in everyday language) into some sort of mystic supernatural force.

As Jesse Encamp correctly mentioned, biomechanics are the foundation of all martial arts energy, and no martial arts energy can be generated without correct technique, period. Furthermore, there's also a direct relationship between physical fitness and martial arts energy - a good karate instructor should encourage beginners who are in general poor shape to take up running, weight-lifting or some other sort of athletic activity on the side in order to prepare them for the rigours of the karate dojo. This may sound like undue chicanery but will save them from some serious health problems down the line because all karate techniques require at least strong supporting and postural muscles to keep your torso stable and prevent painful spinal dislocations. The first kick you'll learn in karate, for example, is the front-snap kick (mae geri), and if your abdominal muscles (and thus your hara!) aren't strong enough, the kinetic energy resulting from forcefully extending and then retracting your leg will make your pelvis wobbly, unable to protect your insufficiently supported spine, and give you back ache for days. 'Hard' martial arts will place different physical demands on your body than e.g. taiji, and a modicum of basic fitness will keep you safe when you start out.

applsci-15-09726-g001.png

A powerful and precise kick requires a stable undercarriage, i.e. a strong hara

Here is an example of why I mean by 'correct technique': when performing a punch, the back of your hand (clenched into a fist) must be level with level with the back of your forearm, otherwise your wrist will buckle and even become sprained as soon as your fist impacts on a solid object; at the same time, you must be powerful enough to withstand the recoil energy from this impact, which in turn will require a rock-solid stance and a strong torso, otherwise your own body will act as a kind of shock absorber for all the return kinetic energy (see Newton's Second Law of Motion) which you originally intended to inflict on your opponent.

However, strength is only half the story - you, or rather your body, has to know when to relax. As Gichin Funakoshi in his
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said:

Never forget the rhythm of strength and weakness, tension and relaxation in your techniques.

A punch can only be fast (and thus powerful) if you tense up your muscles fully at the very last moment - and not before. Karate beginners will often tense up already halfway when extending their arms, and as a result their punches will look more like pushes. Add poor coordination into the mix, and you can easily observe how their bodies move as if operating at cross-purposes and constantly self-sabotaging their own efforts. The aim of karate basic training (
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) is creating optimum
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where all elements involved operate in concert to generate a maximum amount of energy.

Good technique and smooth biomechanics means that all interrelated parts of your body will work harmoniously together instead of hampering each other's movements. You can be sure that in martial arts that have been practiced for centuries (or in competitive fighting sports such as boxing and MMA), biomechanically incorrect techniques were weeded out long ago because they proved too ineffective. Martial artists are constantly on the lookout for anything that might give them an edge, so modifications in technique due to a more advantageous application of biomechanical principles are commonplace.

Once again I'd like to stress the importance of physical fitness and strength relative to your own body, not in comparison to your dojo mates. It's immaterial whether you're tall or short, male or female, or whether your abs are hidden under a layer of fat - that they are sufficiently strong is what counts, a sculpted body is not required. Kihon is about gaining mastery over your own body, not over others. Neither does raw muscular power play a role here because it's useless if your uncoordinated body is unable to exploit it and bring it to bear, if you lose balance when kicking, or when blocking punches incorrectly and getting hit despite your superior physical strength; odds are that your big muscles will be sore just the same as everybody else's after each class anyway because karate employs uses different kinetic chains than e.g. cycling or freeclimbing.

If you asked me what the most important muscle group for karate are, I would immediately answer: "Your supporting and postural muscles, of course!" followed by your legs to ensure a stable stance, and only then the your arm muscles - a huge bicep is no requirement and by no means a guarantee for a powerful punch. If you performed a
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(reverse punch) for example and your punch is slowed by shortened hip flexors which don't allow your pelvis (and thus your hara) to move freely, your great upper body strength will be of no great avail.

It's different in capoeira. In contrast to karate where the main challenge is strengthening and toughening the bracing structure behind the techniques (= stance and posture, the human 'chassis' so to speak), beginners in capoeira first have to learn to become loose, to let go, relax, trust in the rhythm of the music and let it move their bodies. Bearing in mind Gichin Funakoshi's quote, karate emphasises tension in the beginning while capoeira focusses more on relaxation but no matter the martial art, beginners will very likely have trouble with both.

Next, I'll discuss emotions because I think that biomechanics and physics alone are not the whole story as far as martial arts energies are concerned.
 

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Emotions in Martial Arts - The Motivation Myth

Generally speaking, it's my contention that all our decisions are either entirely based on emotions or at least closely intertwined with emotions. No exceptions. We may fool ourselves into believing that it's our intellect determining our conduct on strictly logical lines, but it's always a kind of logic we like, one that suits us, and that we prefer over others while other possible courses of action will look less attractive despite being equally reasonable.

What logical reasons motivate people to learn self-defence? If you lived in a dangerous area, martial arts schools should be on every corner, and if you lived in a safe one, hardly any of those schools should should exist. When us karateka shared a common training area (divided by a thick curtain) with other martial arts groups, I'd sometimes listen to the locker-room talk of the guys practicing something called Anti-Terror Combat in the other half of the sports hall basement who were full of hair-raising stories about what had happened to them on the streets or in a club this weekend, or what ugly things had once happened to friends of them, or how you never knew what sort of violence you were liable to encounter each and every day once you left the safety of your home until I started to ask myself if they were in fact living in the same city (which has an extremely low crime) as me. They might have adduced all kinds of entirely logical reasons (logical to them) for their interest in self-defence but in truth they clearly felt threatened and maybe even were secretly thrilled by the prospect of putting their skills to good use on the lawless streets of our quiet city. Their motives were completely different from mine, and so was my mentality and my emotional approach to martial arts.

It's not your intellect that makes you go to the dojo several times a week, month after month, year after year. I also believe it's a myth that motivation can be sustained by intellect alone; your intellect may tell you it's time to get more exercise and take out a gym membership but in all probability will be too weak to make you go there regularly unless you felt genuinely enthusiastic about it or at least guilty when staying at home instead of working out - motivation can be driven by unpleasant emotions too but never exclusively by reason and logic. This is also why I think that affirmations in general can only work if subconsciously by a sufficiently strong emotional charge and will utterly fail if they go against the grain of your feelings - your intellect won't stand a chance in such cases.

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If you're not a sucker for karate video clips like this one, you don't need to 'work on your motivation' - you'll just have to find different reasons to keep going, and they'll all be the result of some
emotion or other, NOT cool reasoning.

You'll probably spend your first few months at the dojo with being constantly embarrassed by the realisation that your body is clumsy, badly coordinated and not strong enough to accomplish all these simple physical tasks your instructor will ask from it; accordingly, the drop-out rates of typical beginners classes are huge. The people left are the kind of person who can't leave anything alone that puzzles and challenges them, who feel personally offended by something they don't understand and won't let it go until they discover what makes it tick; once again this is not a mindset a 'motivational coach' will able to inculcate in you if your emotions refuse to cooperate. Others (including me) will become even more dazzled by karate's enigmatic Asian mystique and eager to learn more as a result. No matter whether you're the stubbornly tenacious kind, the romantic type, or something in between, quitting won't even be option for you, and it's all down to your emotions.

Again, it's entirely different in capoeira. There were no special classes for beginners in our grupo, only two classes per week reserved for advanced students, so newbies would be typically completely overwhelmed in their first trial lesson; while the instructor or an advanced student would frequently take some time out to teach them the basics, they would usually be asked to play in the capoeira circle (roda) at the end of their first class already - and be never seen again if the whole experience proved to much for them. Others will become seduced by, and often even addicted to, the boisterous atmosphere and the passionate Brazilian music, and once again cool reason will take a backseat.

Speaking of atmosphere - here's where the energy metaphor really comes into its own because mere psychology is insufficient to describe the ambience of a full dojo or a capoeira circle. Without karatekas, a dojo feels dead, like a club in the harsh morning light after a wild party night but once people start to arrive and practice, it will come alive with an energy that's hard to describe (something between homely and intense?) but will carry you through all the hardship you may experience in the course a class, or in the case of capoeira, even intoxicate you and make you forget all your exhaustion and sore muscles, This is also the reason why it's so hard to practice alone at home - the energy generated by all those other karatekas and capoeristas around just isn't there. This stimulating, infectious group energy is also the reason why you'll feel immediately better after having to force yourself to come to the dojo due to a foul mood or lack of motivation. It's even more palpable in capoeira where you'll most likely feel relief and joy to be once again reunited with your tribe that has become your second family. The invigorating effect of group energy is often underestimated despite being such a major factor for developing martial arts excellence.

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Even more karate propaganda, this time closer to everyday life. 😉


However, if you decide to quit it will be again your emotions that will make that decision for you - you might feel uncomfortable with the dojo facilities, dislike your instructor and/or some people in your group, be discontent with the slow progress you're making, be tired of the bruises and minor injuries, all the little things that others who have become enchanted with their martial art concerned will hardly notice anymore. No shame or blame attaches in this case - there are other sports, other pastimes, other lifestyles that may be better suited to your mentality or the current state of your personal growth. It's not uncommon for people to return to the dojo after several years, and I know of at least one case where a guy came back to the dojo after 20 years of absence.

I think that the alleged iron discipline of martial artists is merely the result of their passion for their art and definitely NOT proof of the superiority of their virtuous minds overcoming nasty character flaws like laziness and inertia. Your intellect can force you to do something, but it is completely powerless when it comes to making you actually like it. Just picture in your mind's eye some food you absolutely hate; you may be 'mentally strong' enough to coerce yourself int eating it a couple of times but will be totally unable to enjoy it just because your oh-so-logical mind has told you to love it.

Emotions reign supreme in humans, and it's for this reason I'll discuss fighting spirit next.
 

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Emotions in Martial Arts - Fighting Spirit

How do you turn an average person into a karate fighter? In a typical shotokan beginners class, you'll learn one stepping punch, one stationary punch, one kick, one kata, but four different blocks - rising, descending, in-outwards and out-inwards (the famous "
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") - which taken together amounts to a tight protective pattern in front of your head and torso. At the same time, you'll be forced to look straight into an aggressor's visage and thus directly at the source of danger, quite in contrast to many people's natural reaction of turning their face away, closing their eyes desperately shut and curling up tight. Nobody will order you to be courageous in karate classes, it simply develops over time when practicing the same techniques alone and with a partner over and over again, and that entails keeping your upper body upright and your face bravely turned forward. It's your newly acquired ability to deflect any incoming blows that make you feel safe, not your growing power to dish out punches.

Another huge contribution to personal empowerment in the martial arts originates from increased fitness and strength, which is yet another reason why I don't trust fighting systems solely geared towards standard self-defence situations and where students hardly ever break any sweat when practicing; it's hardly what I'd call a good workout. Strength will give you confidence in yourself and improved fitness will make classes more enjoyable - getting your blood pumping is a big step towards building fighting spirit.

Laypersons may smile at all those crazy screams (
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) emanating from karate dojos but they fulfil an important role in acquiring fighting spirit, too. I have this theory that because both being loud and hitting other kids have been drummed out of us in childhood, breaking one taboo (being loud) makes the other one (hitting people) easier to override as well, so a kiai can actually have a disinhibiting effect, help liberate pent-up aggression and thus intensify your fighting spirit. After all, battle cries have been used to embolden warriors for millennia, so there must be some truth in this theory. You wouldn't believe how difficult kiais are for some students, you'll be lucky to get a half-stifled squeak out of them as an instructor. I think this is one of the instances where the energy metaphor comes in handy: after all, the word kiai contains ki, and I think one could easily argue that the free flow of one's energy is impeded when obstructed by emotional blockages, resulting in much too tense, slow and somehow incomplete techniques with a foreshortened range.

The next step could probably be called 'desensitisation'. Again over time, it won't such a big deal anymore if you see a fist coming rushing towards your face, or when somebody tries to kick you in the gut or head because by now you'll know how to handle such situations. At the same time, you may discover how good it actually feels to attack someone - in a safe environment, according to strict rituals and etiquette, with proper respect, in a controlled manner but nevertheless. As a defender, you can easily spot if an attacker is just going through the motions or if he or she is firmly determined to score, no matter what. Every attack as well as the subsequent counter must be accompanied by a kiai as if attempting to overwhelm your partner with your own martial energy. Free up your ki and SCREAM!! Unashamedly loud and proud, that's the karate way. 😉

Once you've mastered the basics and are ready for free unscripted sparring, you'll have overcome most of your inhibitions regarding violence and may actually develop a taste for fighting - not everybody does, some prefer kata over
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, but for born point-fighters, it will soon become the best thing since sliced bread. Dojo sparring, however, is not about scoring at any cost, more about trying out new things on ever changing opponents, about letting your partner having a go as well although you could easily dominate him or her, seeing which combinations of techniques work and which don't, honing your feints and discovering new ones… it's like having a chat instead of an argument like you would in point-fighting matches (or in the case of capoeira, it's like singing a duet).

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Unsu ('cloud hands'), for many the most beautiful and sophisticated shotokan kata.
Unsu means 'cloud hands', all very poetic, with two nice double 'wax-on, wax-offs' in the end after the jump near the end but nevertheless, the first three movements are circular blocks followed by one-finger stabs at the groin…

In my opinion,
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(forms) are very underrated as a way of building fighting spirit. As opposed to point-fights or full-contact bouts in the ring or in the octagon, you face an imagined worst-case scenario here: combat against multiple opponents. Again beginners have a tough time here, and who can blame them? Performing a kata alone as part of a class or grading exam is a bit like public speaking, and I'm sure it gives some of them nightmares. As time goes by, however, you learn to appreciate katas as a way of self-expression: "Here I stand, and now I going to show you what I'm made of!" (it helps if you're a bit of a showman :rolleyes:). When performing (or rather fighting) a kata, you can be as ruthless as you want to be, without any regard to rules of engagement or niceties like ethics or mercy, without holding anything back - it can be therapeutic, in a way.

In kata competitions, fighting spirit translates into charisma, and top karatekas have an almost tangible aura of power about them. I remember watching the kata finals of the national karate championship where the first competitor was a young man who bravely stomped through his
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, a typical shotokan brute-force kata; he must have known he didn't stand a chance when the other competitor, a former international champion made his entrance, strong angular feature, dark hair flecked with grey, imposing, magisterial, his whole appearance commanding respect even while approaching the mat and bowing to the referee and the judges. He performed
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('The Flight of the Swallow'), a flowing, fast, and elegant kata, and you couldn't help holding your breath, he simply oozed gravitas and dignity, and of course he won. The youngster had worked hard but the older former champion's kata looked effortless as well as brimming with intense fighting spirit.

The kind of fighting spirit that stands in fully developed form at the end of basic karate training is called
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in Japanese. As a result of all these exercises with ever changing partners (or in the case of katas, without any partner at all), kime is impersonal and somehow pure - you don't fight others in your dojo or on the point-fighting competition mat because you hate them or hold a grudge against them, you fight them because it's karate, period. Really good point-fighters develop an stone-cold fury that is frightening to behold as they dispatch their opponents with hitman-like efficiency, then courteously bowing to the referee after being awarded yet another point, and all of a sudden going into full psychopath mode again as soon as the ref shouts "Hajime!" ("Fight). This businesslike ferocity may not be so obvious to spectators but leaves quite an impression on the poor losers who had the misfortune to be paired with such monsters of martial energy, I can tell you that from personal experience.

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Karate fighting kime is wholly based on a karateka's strength, the optimum use of biomechanics as well as on years of practice experience. It requires a solid physical foundation, and if you've got it, you'll able to swamp your opponent with your martial energy, the expression of your fighting skills and spirt. It can't be faked for, as I mentioned in a previous post, fighting is like a truth drug which will bring out your genuine, deepest self and cut straight through any
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you may lamely attempt.

All in all, I think that Jesse Enkamp's assessment is incomplete - martial arts energy consists in fact mainly of physics and biomechanics but there's also kime, the karate fighting spirit, to boost your performance and excellence.
 

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Rant on, Rant off

“Plotinus, who was a philosopher during my life time, seemed to be ashamed of the body he was in. Because of this state, he could not endure to speak about his race or his parents. And he was so hostile to posing for a painter or sculptor that he used to say to his friend Amelios when he was asking him to have an image made of himself, “Isn’t enough that I have to bear the image which nature forced upon me without also having to give in to you and leave an image of this image, as if it were a work worthy of seeing?”
(
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)​

Occulture in general seems to suffer from somatophobia, the fear of the body, as if the mind should still be believed to hold absolute supremacy over one's mortal flesh (and as if such thinking still made sense in the 21st century). "The Universe is Mental", after all, so why should I leave my favourite couch and engage in some pointless drudgery instead, grunting and sweating together with a bunch of 'normies'? I loathe that diffident armchair occultist attitude of shrugging off everything from sexual ecstasy to kundalini and martial arts power as "just energy", without having any personal experience with these awesome powers whatsoever. These energies are NOT interchangeable and neutral, cannot be arbitrarily 'transmuted' into another one, cannot be 'harnessed' for any old purpose as soon as they start to flow out of the cosmic wall socket. No. Not all energies are created equal, least of all martial arts energy.

This has been a journey of discovery so far, not a declaration of my own long-established convictions. I started out with a diffuse desire to debunk some myths about the martial arts and portray karate and capoeira as realistically as I could. Currently it looks as if there were some hidden ingredients in their energies after all which have everything to do with human emotions that provide practitioners with an additional energy kick (pun super-intended! :rolleyes:) on top of their bodily strength, correct technique, physics, and biomechanics. I think you can't help getting emotional once your body heats up, what with all those feel-good hormones like serotonin, dopamine, and endorphins flooding your bloodstream. Your body is always there for you and shouldn't be considered as merely the dumb cousin of your mind.

Arendt introduces the term vita activa (active life) by distinguishing it from vita contemplativa (contemplative life). Ancient philosophers insisted upon the superiority of the vita contemplativa, for which the vita activa merely provided necessities.
(Wikipedia,
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)​

Hardcore vita contemplativa types don't know what they're missing. The means of entering heightened states of awareness are easily accessible to everyone, you simply have to move your body vigorously enough for a while, no isolation tanks or drugs required. What animates the human body? I think that much of our lifeforce comes down to the sensory input we receive, either through
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, i.e. from within ourselves, or from outside sources. What makes us feel alive? Stimuli and the way in which we react to them, and physical stimuli are probably the most, well, stimulating here.

"I have a body but I'm not my body" (
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). Yes, you are, and the same goes to an even greater extent for "I have feelings but I'm not my feelings". Baloney. Why still this separation? Why still drive a wedge between the body, the emotions, and the allegedly superior mind? I think it's about time that people who call themselves 'spiritual' finally came to recognise both the body and the emotions as potential wellsprings of wisdom coming with their own kind of intelligence and give them their due as equal partners of the mind, instead of regarding them as inconvenient obstacles to be overcome and subdued.

With this claim in mind, I can't help thinking that capoeira is no martial art for cold fish (although they may warm to it, given time 😉). Beginners often seem slightly embarrassed by all that unrestrained abandon they are witnessing in their first classes until they finally learn to let go - if karate is all about control, capoeira is about exuberance and exhilaration, and for some people this may take some getting used to. Some may become dismayed by the disconnect between their clumsy body and their precious intellect that understands all the instructions it is given perfectly well but is unable to force their poor bodies execute them physically, and I think that's also the point where the more top-heavy and nerdy types quit. Yes, the body may be a bit slow and stupid sometimes, but it can also be a source of joy.

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Another recipe for low-budget hedonism - all you and your partner need for playing
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are
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A Portuguese expression that Brazilian capoeristas sometimes use when describing their art is brincadeira which is something between a friendly teasing, having fun, mischievousness, romping around, or some good old-fashioned horseplay - physical humour, if you will. Capoeira was invented by slaves and later practiced by the underprivileged who had not much else except their own bodies. Its principal musical instrument, the berimbau (musical bow) is fashioned out of a wooden stick, a gourd resonator, a single steel string that usually comes from an old car tyre, a small woven rattle (caxixi) filled with the gourd's seeds, and that are all the ingredients you'll need for having a good time in a capoeira circle - homemade musical instruments and people playing, clapping and singing. Poor people have always made their own entertainment, and capoeira is a product this tradition. "Capoeira is about creating much out of little", as one instructor put it to me. When it comes down to it, what do you really own physically which you can't lose and what can never be taken away from you? Your body, as much as Plotinus may have hated this fact.

I think that at some point in martial arts practice, the emotions and the body take over while and the mind is sidelined for not being up to the task, and that's probably where an extra kind of additional martial energy emerges on top of the one explained by the physics and biomechanics - call it
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(fighting spirit), call it
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(positive vibrations), or plain old enthusiasm, a good example of matter over mind. It's an energy that makes you feel more alive and which I think can be transformative, in a much more reliable way than purely mental methods for expanding your consciousness or whatever your spiritual goals may be.
 

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Enter the Matrix

We're used to believing that everything depends on our conscious decisions and will get angry whenever things don't go according to our carefully laid plans. In martial arts, however, there comes a point where you have to say goodbye to the notion that your rational mind is the supreme command centre for your every move. When it comes to fighting, instinct and intuition will take over and do a vastly better job than your intellect; at the same time, you might start to realise that martial arts energy isn't something that's under the control of your precious brain.

As I've described in my previous posts, the foundation of all martial arts energy is the correct application of biomechanical principles which follow the purely rational rules and laws of physics, biology, anatomy, etc. What makes teaching karate so rewarding for instructors is that you're forced to explain its techniques logically, otherwise your students won't buy them and will be reluctant to perform them the way you want just because you're telling them so - they're not a bunch of unwilling conscripts before you who you can drill to exhaustion until you have their unconditional obedience but volunteers who have joined your dojo of their own free will. At this stage of your karate career, logic and reason reign supreme. For example, you'll have to justify all these low and demanding stances of shotokan karate (promotion of leg muscle development, better stability than higher stances, etc.) to your student and offer plausible explanations for details you haven't even thought about before, which in turn may give you new ideas for your own practice and help you understand your own martial art better.

Karate-basic-stances.jpg

How low can you go?

In what was more or less a schizopost, one Forum member asked: "I am looking for a way to become physically superior to any human being in terms of pure physical strength, develop insane fighting skills. [more semi-psychotic ranting] What spirit I can contact to gain such power?"

I sincerely doubt such an insane wish could be fulfilled by means of magic - many occultists would be happy with being able to turn over a
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over a couple of times through the power of their minds but a 500 pound barbell? And "…develop insane fighting skills." - what, get a demon to upload martial arts prowess directly into your brain just like Neo in "The Matrix"?

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What struck me about that movie scene though was how easily and readily Neo's body and mind integrated all those different fighting skills. Transferring knowledge straight into the brain has been the feverish dream of many a grimoire user for centuries, and college kids all over the world still wish there was such a magical alternative to cramming for exams. However, we're not talking about mere book knowledge here but about a gigantic biomechanical skillset that your physical body has to absorb in a flash, and even then you'd have only mastered the basic techniques (
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) and wouldn't know how to string punches and kicks together in meaningful sequences, know when to block and when to take evasive action instead, be able to spot openings, etc., all of which happens purely instinctively and not consciously. Oh well… after all, it was only a movie, and on top of that,
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, so I suppose anything's possible given the infinite parameters of fiction.

I have this theory that intuition and instinct take over once a karate point-fighting match begins and that the intellect's role is limited to paying attention to the referee's commands, the clock and the scoreboard because otherwise, it would be immediately overwhelmed by the constantly changing situations with all their challenges and opportunities. At the same time, you have to move away from the idea that you will be in total conscious control of your own behaviour on the mat and the fight's energies in general. It's even more apparent in capoeira where the sovereignty of your decision-making intellect is heavily curtailed by the rhythm of the music which you are forced to heed as well as by your partner's challenges in the shape of a kicks for which you have to come up with an ingenious responses and then present challenges of your own; most of the time it doesn't feel like you're playing a game but as if the game was playing you.

One time I was playing capoeira with my contra-mestre (who was of course much better and much more experienced than me) when I surprised both him and myself by suddenly throwing a roundhouse kick / mawashi geri jodan / martelo to his head which caught him completely unawares - it was as if he had been standing still (which just never ever happens in capoeira!), just waiting for me to score; it felt as if that kick had landed there all by itself, without my own volition. It was a perfectly controlled, beautiful roundhouse, with my arched instep ever so lightly touching the side of his head, for which I would have been awarded a full three points if this had been a karate match. Had he experienced a Silly Moment like Mirko Cro Cop in his fight against Gabriel Gonzaga? Once more I'd like to call this uncanny phenomenon a glitch in the matrix, it's as good as inexplicable in rational terms. Ok, but how had I been able to spot my contra-mestre's Silly Moment? Pure instinct, or rather a kind of martial arts sixth sense, a supernatural faculty spontaneously surfacing and then disappearing into the vast abyss of my unconscious or something?

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That stunning KO bears repeating, this time in better quality


Even after so many posts, I must confess I'm unable to decide whether martial arts energies are a metaphor or should be regarded as something supernatural (and whether that matters). In my next post, I'll try to think up a general theory for martial arts energy, always provided I'll manage to wrap my head around the topic philosophically. One thing I know even now though: martial arts energy can be exclusively generated by the body, NOT by our oh-so-powerful mind. I'll probably have to bash the ancient Greek philosophers, all the world religions as well as that theosophical rot concerning the distinction into 'gross and subtle energies' first and then attempt to create something new instead, so this may take some time.
Post automatically merged:

A long-ass exposition/explosion of the body-mind problem (what, yet another rant?)

To my mind, the
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isn't one. After all, we humans have existed for hundreds of thousands of years without being pained by this philosophico-functional distinction cooked up by intellectuals with too much time on their hands. In Western culture we have this notorious "The spirit is willing, but the flesh is weak" quote which has plagued thinkers ever since it was allegedly uttered. The subtext of this biblical dictum is of course that the body is somehow deficient, cumbersome, and stubbornly uncooperative, always ready to sabotage our sublime minds, a view that has been echoed by all major world religions and and still enjoys widespread currency today. And as with all dichotomies, it's dead easy to poke holes into it.

Historically, the body-mind distinction has been the subject of various idealist value judgements (body = animalistic, sinful, mind = noble, superior); the integrative approach denying the existence of the body-mind problem altogether (together with its pious exhortation to 'honour the body' which everybody seems to pay lip service to) is a relatively new thought. Our bodies grow tired, fat, old, sick, and frequently were never all that great to begin with, in sharp contrast to our clever minds and wondrous imagination which know no physical boundaries, whose flights of fancy can transport anywhere we want, and where immortality and omnipotence are effortlessly achievable in the blink of an eye.

Emotions are a case in point - where the hell should we put them, into the mind or into the body? One solution could be the introduction of a thired actor and adopting the traditional body-mind-soul triad instead that makes for much nicer diagrams, e.g. showing intersecting circles in primary colours (other favourites include triangles or pyramids). However, I'm not very comfortable with the vague and loaded concept of 'soul', so let's just call a spade a spade and use 'emotions' instead and also replace the equally vague term 'mind' with 'intellect' while we're at it. Speaking of diagrams and in keeping with my love for the chaotic obfuscation in occult discussions, I'd like to offer the following quote from Sanford L. Drob's "Symbols of the Kabbalah - Philosophical and Psychological Perspectives", p. 175:

Within kabbalistic thought there developed what was to become the generally accepted doctrine of the interpenetration of the Sefirot. In brief, this doctrine holds that each Sefirah contains within itself an element of each of the others, so that Chesed for example, is composed of the Chesed of Chesed (i.e., pure Chesed), the Gevurah of Chesed, the Tiferet of Chesed, the Netzach of Chesed, etc.

Interpenetration
, what a lovely concept… I like this quote because it explodes all these simplistic 2D glyphs (including the Hermetic Qabbalist Tree of Life, I might add) without forcing you to throw up your hands in despair and propose a monad instead to save yourself the embarrassment, declaring that all such distinctions were illusory anyway and that you meant to postulate some solemn holistic thingumajig all along. So let's just say the body, the intellect, and emotions interpenetrate each other like three of Schrödinger's cats chasing each others' tails and leave it at that.

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You can spot kata moves in MMA fights here and there but never as consistently (and spectacularly) as demonstrated by Michael Jai White in this movie clip.

Likewise, I've attacked such quotes as "I have a body but I'm not my body" and "I have feelings but I'm not my feelings" in a previous post, which raises the question of identity or selfhood, of "What makes me me?" I say the self is composed of your body, your intellect, and your emotions, and I'd regard answers such as "my soul" or "my mind" as ridiculously one-sided and insufficient.

Returning to the subject of this Journal, it's my contention that martial arts energies always arise from the interplay of the body and the emotions, with the intellect taking a backseat and being involved in the acquisition and honing of fighting skills only. At the same time, I think we should say goodbye to any kind of hierarchical model where e.g. the intellect constitutes the sole and undisputed authority which controls everything else. In reality, it may be the intellect that provides the initial impetus but will only be capable of doing so if supported by the cooperating body (e.g. skills stored as muscle memory) and the attendant emotions (e.g. fighting spirit) which will simultaneously and/or subsequently make their own contributions to the whole process too (or obstruct it, which is also possible). Accordingly, it's as good as pointless to ask who's in the driving seat since there is no driving seat in the first place; seen this way, fighting is a committee effort without any chairperson in control. Depending on the situation, one or two members of the body-intellect-emotions triad will be temporarily in the foreground but never in sole command. all the time I think the Kabbalistic interpenetration metaphor is apt - you never achieve something thanks 'pure will' or 'pure reason' alone, they will be always intermingled with emotions and/or the body - just try to think clearly when your body is hungry or desperately needs to go to the bathroom.

According to these theories, a maximum of martial arts energy can only be generated if the body, the intellect, and the emotions work together seamlessly but despite of this, I wouldn't describe such a state as a 'perfect harmony', as NewAgers are wont to do - the result is more like a turbocharger, with obsession and fanaticism never very far away. For example, it's not uncommon to see women quite late in their pregnancy still playing in the capoeira circle, like in this video:

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A long time ago, there was this squeaky teenager at our dojo who nevertheless took her karate very seriously. One time she broke her arm while snowboarding but continued to practice karate with us even with a plaster cast on (she later became an international junior point-fighting champion). In capoeira, some young women sometimes look like runway models for orthopaedic supplies, for example turning cartwheels on their forearms because their wrists were sprained and bandaged. Such a level of commitment cannot be achieved unless the body, the mind, and the emotions spur each other on, and I don't believe that genuine martial arts excellence and a maximum of martial arts energy can be achieved in any other way; it goes without saying that being an
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helps immensely. 😉

Let's end this post with a pertinent quote because this is how karatekas roll:

Karate means striving for perfection while calmly accepting that true perfection is unattainable.
 
Last edited:

HoldAll

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A long-ass exposition/explosion of the body-mind problem (what, yet another rant?)

To my mind, the
Please, Log in or Register to view URLs content!
isn't one. After all, we humans have existed for hundreds of thousands of years without being pained by this philosophico-functional distinction cooked up by intellectuals with too much time on their hands. In Western culture we have this notorious "The spirit is willing, but the flesh is weak" quote which has plagued thinkers ever since it was allegedly uttered. The subtext of this biblical dictum is of course that the body is somehow deficient, cumbersome, and stubbornly uncooperative, always ready to sabotage our sublime minds, a view that has been echoed by all major world religions and and still enjoys widespread currency today. And as with all dichotomies, it's dead easy to poke holes into it.

Historically, the body-mind distinction has been the subject of various idealist value judgements (body = animalistic, sinful, mind = noble, superior); the approach denying the existence of the body-mind problem altogether (together with a pious exhortation to 'honour the body' which everybody seems to pay lip service to) is a relatively new thought. Our bodies grow tired, fat, old, sick, and frequently were never all that great to begin with, in sharp contrast to our clever minds and wondrous imagination which know no physical boundaries, whose flights of fancy can transport us anywhere we want, and where immortality and omnipotence are effortlessly achievable in the blink of an eye.

Emotions are a case in point - where the hell should we put them, into the mind or into the body? One solution is the introduction of a third actor by adopting the common body-mind-soul triad instead that makes for much nicer diagrams, e.g. showing intersecting circles in primary colours (other favourites include triangles or pyramids). However, I'm not very comfortable with the vague, loaded concept of 'soul', so let's just call a spade a spade and use 'emotions' instead and also replace the equally vague term 'mind' with 'intellect' while we're at it. Speaking of diagrams as well as in keeping with my love for chaotic obfuscation in occult discussions, I'd like to offer the following quote from Sanford L. Drob's "Symbols of the Kabbalah - Philosophical and Psychological Perspectives", p. 175:

Within kabbalistic thought there developed what was to become the generally accepted doctrine of the interpenetration of the Sefirot. In brief, this doctrine holds that each Sefirah contains within itself an element of each of the others, so that Chesed for example, is composed of the Chesed of Chesed (i.e., pure Chesed), the Gevurah of Chesed, the Tiferet of Chesed, the Netzach of Chesed, etc.

Interpenetration
, what a lovely concept… I like this quote because it explodes all these simplistic 2D glyphs (including the Hermetic Qabbalist Tree of Life, I might add) without forcing you to throw up your hands in despair and propose a monad instead to save yourself the overall embarrassment, declaring that all such distinctions were illusory anyway and that you meant to postulate some holistic thingumajig all along. So let's just say the body, the intellect, and emotions interpenetrate each other like three of Schrödinger's cats chasing each others' tails and leave it at that.

Please, Log in or Register to view URLs content!

You can spot kata moves in MMA fights here and there but never as consistently (and spectacularly) as demonstrated by Michael Jai White in this movie clip
.

Likewise, I've attacked such quotes as "I have a body but I'm not my body" and "I have feelings but I'm not my feelings" in a previous post, which raises the question of identity or selfhood, of "What makes me me?" I say the self is composed of your body, your intellect, and your emotions, and I'd regard answers such as "my soul" or "my mind" as ridiculously one-sided and insufficient.

Returning to the subject matter of this Journal, it's my contention that martial arts energies arise from a complex interplay of the body and the emotions while the intellect takes a backseat and is only involved in the acquisition and honing of one's fighting skills. At the same time, I think we should also say goodbye to any kind of hierarchical model where e.g. the intellect reigns supreme as the sole and undisputed authority. In reality, it may be the intellect that provides the initial impetus for a technique but will only be capable of doing so if supported by the cooperating body (e.g. skills stored as muscle memory) and the attendant emotions (e.g. fighting spirit) which will simultaneously and/or subsequently make their own contributions to the whole process too (or obstruct it, which is also possible). Accordingly, it's as good as pointless to ask who's in the driving seat since there is no driving seat in the first place; seen this way, fighting is a committee effort without a chairperson in control. Depending on the situation, one or two members of the body-intellect-emotions triad may be temporarily in the foreground but never in sole command all the time. I think the Kabbalistic interpenetration metaphor is apt - you never achieve something thanks 'pure will' or 'pure reason' alone, they will be always co-mingled with emotions and/or the body - just try to think clearly when your body is hungry or desperately needs to go to the bathroom. :rolleyes:

According to these theories, a maximum of martial arts energy can only be generated if the body, the intellect, and the emotions work together seamlessly but despite of this perfection coouperaton, I wouldn't describe such a state as 'perfect harmony', as NewAgers are wont to do - the result is more like a turbocharger, with obsession and fanaticism never very far away. For example, it's not uncommon to see women quite late in their pregnancy still playing in the capoeira circle, like in this video:

Please, Log in or Register to view URLs content!


A long time ago, there was this squeaky teenager at our dojo who nevertheless took her karate very seriously. One day she broke her arm while snowboarding but continued to practice karate with us even with a plaster cast on (she later became an international junior point-fighting champion). In capoeira, some young women sometimes looked like runway models for orthopaedic supplies, for example turning cartwheels on their forearm because one of their wrists was sprained and bandaged. Such a level of commitment cannot be achieved unless the body, the mind, and the emotions spur each other on, and I don't believe that genuine martial arts excellence and a maximum of martial arts energy can be achieved in any other way; it goes without saying that being an
Please, Log in or Register to view URLs content!
helps immensely. ;)

Let's end this post with an inspirational quote because this is how karatekas roll: Karate means striving for perfection while calmly accepting that true perfection is unattainable.
 

HoldAll

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Kata energy

The simplest definition of '
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' is that it's a choreographed fight against multiple imaginary opponents, and you can read all about them in Wikipedia and watch them on youtube to form a rough opinion about them. Some shotokan katas have a fascinating history such as
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which is said to have been brought to Okinawa by a Chinese martial artist (who probably wouldn't recognise it in its modern form) in the mid-18th century while others like the five heian beginner katas were only created out of more advanced katas only in the early 1900s. My own opinion about katas is a bit idiosyncratic and somewhat heterodox, but anyway, here goes:

Katas are pieces of performance art. I don't mind when full-contact fighters will call them 'karate dances' - they're right, in a way, they are in fact fixed sequences of movements following a certain rhythm, but without emotional content katas are lifeless, just as in the case of dancing. I've never really felt like I was miming the story of an actual fight blow by blow while performing them, it was more about self-expression - "Here I stand, this is what I can do, and this is what my fighting spirit looks like!" For me, emotions make all the difference in kata practice. Performing a kata without passion means literally going through its motions; the result is not only dull to behold, e.g. at grading exams, but will also mean that no martial arts energies are ever generated by such a lackadaisical execution.

This brings me to another pet theory of mine, namely that 'energy' is insufficient when it comes to describing occult processes. As early as 1987,
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due to the following reasons:

a) Energy as such is "dumb": it needs information on what to do; this can be so-called laws of nature or direct commands.

b) Information does not have mass or energy. Thus, it is faster than light and not bound by the restrictions of the Einsteinian spacetime continuum. It can therefore be transmitted or tapped at all times and at all places. […]


Frater U.D.'s Information Model of Magic certainly was a step into the right direction, I would say, too bad it never caught on. In light of his suggestions and as a sort of compromise, I would say that if we wished to retain the term 'energy' in occult contexts at all, we should enhance it with the additional supposition that occult energy can also serve as an information carrier, similar to WiFi radio waves.

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In kata team competitions, three karatekas will first perform a kata and then offer their own analysis (
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) regarding the practical application of its movements. Kata competitors have become highly professional in the last decades, routinely performing katas from other styles in addition to their own (shito ryu with its approx. 60 fleet-footed and very aesthetic katas is a favourite), and kata experts competing in point-fighting as well have long become a thing of the past.

I would claim that every kata represents a certain archetype of combative mentality which a practitioner is free to invoke whenever performing it. Most shotokan katas are plodding and powerful in which you prevail by sheer brute force alone while some symbolise a more sophisticated and agile approach to fighting. The rhythmic ebb and flow of a kata's energies becomes even more apparent when you break it down into individual sequences - in some, you rush forward as if trying to take an enemy position by frontal assault, and there's in fact a kata called bassai dai, meaning 'to storm a fortress'; in other sequences, you become the fortress, digging in and refusing to budge, come hell or high water.

In this way, a kata can be seen as a distinctive information package containing a variety martial arts energies designed to kindle specific emotions in practitioners and to instil certain warrior traits in them, for example courage, ruthlessness, or decisiveness. It's yet another example for the interpenetration of the body-intellect-emotions triad I mentioned in my previous post: ideally, all three members of the triad act in concert, support each other, and mutually boost their power from within each other.

Hence when attempting to analyse the energies of martial arts in detail without augmenting the conventional concept of occult energy by a specific informational content, we are omitting a vital ingredient. This specific informational content is required to be able to include individual techniques, a practitioner's personality and emotions as well as a whole range of fighting styles, tactics, and situations, from offensive to defensive, from "
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" to "Now I have you!" to "Oh shiii… [lights out]" moments. Simply describing martial arts energies as "nothing but Mars/Geburah stuff" clearly won't suffice.

There. I've successfully uncovered the secret of martial arts energies in practice! You can all go home now. 😉
 

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I'm starting to wonder if there are martial arts energies involved in capoeira at all because there is hardly anything antagonistic about it - it's of course competitive but never antagonistic or brutal, even when one player is taken down or caught unawares by a fast kick. One day I was smoothly but ruthlessly taken down by a young women who I knew disliked me but it didn't feel aggressive, more like she wanted to take me down a peg as if to say "I'll show you now who's the better player, you pompous ass!"

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This is exactly how it happened only that my partner pulled really hard and swept my foot clean from under me just as I was doing a roundhouse kick. Perfect timing, I had to give her that.


I would even claim that the vast majority of capoeiristas don't see themselves as martial artists. Capoeira is basically a game skill and not a clearcut combat system, although it does have combative elements, and this is what makes it so special - its a dance/fight hybrid, like happily waltzing across the ballroom floor while all the time being prepared to dodge a right hook from your partner, if that makes sense (I'd say it doesn't). Nevertheless, my claim that it's precisely this ambiguity that places it on the wider martial arts periphery because in a way, it symbolises the vicissitudes of existence in underprivileged communities - on the surface, everybody's friendly and relaxed other until one day some dramatic betrayal occurs or open conflict or civil unrest erupt, and life gets really mean. In a capoeira game, animosities are resolved in a playful manner (see my mishap above!), and while I've heard of street games degenerating into outright brawls, I've never witnessed them actually live; there are some videos of
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(capoeira circles) turning violent on youtube but from what I've seen, those games simply turned into fist fights where no capoeira-specific techniques were used.

Another fact that speaks for the classification of capoeira as martial art are its techniques. Capoeira and karate share many kicks except for those that cannot be easily controlled such as in the case of the martelo rodado (in taekwondo called 'tornado kick') - once you're airborne, it's extremely hard to pull it:

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At one Saturday class of our grupo, a rather petite older lady played against a much more advanced and heavier young guy who suddenly jumped and performed a martelo rodado at her - she ducked but not quite in time and without sufficiently protecting her head. As we lived in the same general neighbourhood, I escorted her home after class because she felt still slightly dizzy, and we were all concerned she would collapse in the subway. The other player's foot had only grazed her head but it had been enough. I have never seen such accidents happen in karate where jump kicks aren used neither in dojo sparring nor point-fighting; I guess you can't get concussed in ballroom dancing either.

So what about martial arts energies? Put bluntly, capoeira and karate energies are completely incompatible. In capoeira, it took me years to abandon my karate scoring-at-all-costs mentality; when in a tight corner in the roda (and yes, you can be in a tight corner in a circle as well!), I'd sometimes revert to my usual karate kamae (fighting stance) whenever I was feeling outclassed and scared. One night after a class, our Brazilian contra-mestre even pulled me aside and coitized me for… he didn't know the right words, so instead he said, "boca de espera!" and mimed a hanging lower lip. I quickly realised what he wanted to tell me, i.e. that he disapproved of my stalling and waiting for an opportunity to pounce as is usual in karate instead of moving with the flow of the game. I later found out that what he had told me was a Portuguese pun, for boca de espera means 'waiting area' and boca 'mouth'; it seems to have a capoeira-specific meaning as well (@Taudefindi?). Capoeira and karate don't mix, period.

There were isolated occasions where I noticed a certain viciousness in certain visiting Brazilian contra-mestres (never in mestres though, probably because they didn't have anything to prove anymore) whose takedowns were rather rough on occasion but were always followed by a roguish smirk as is custom. In these split seconds, capoeira and karate could have been said to intersect: such takedowns have a similar energy as scoring sequences in karate point-fighting but afterwards the game will innocently continue as if nothing had happened (with the victimised player being all smiles while secretly plotting revenge, of course). In some way, capoeira could be called The Path of the Snake in the Grass, or 'musical ninjutsu' if it wasn't for the fun & hedonism element while karate energy is stark, austere, and strictly no-nonsense by comparison.

Another fact that speaks for the classification of capoeira as a martial art is a phenomenon I had hitherto only heard about: learning an additional martial will help you to understand your original one better, and I'd never experienced this effect first-hand had I taken up bowling or lacrosse instead. Capoeira's philosophy of evading kicks rather than blocking them would make much more sense in many karate situations contrary to what's actually taught there since you're taught to always stand firm no matter what. Paradoxical as it seems, hardly any martial arts energies can be felt in capoeira although I would argue that it can be in fact a martial art, only not in a straightforward sense as is the case in karate, BJJ, or kickboxing.

And yet, and yet… Stripped of its acrobatics and more showy elements, capoeira was and still is used in actual fights, and there've been numerous
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due to wheel kicks (
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), the most formidable kick ever, in my opinion: your opponent turns your back to you and crouches down, making him or her look harmless and vulnerable until you're suddenly poleaxed by a heel to your temple, which can be potentially lethal. This means that martial arts energies do exist in capoeira but only as a very deep groundswell which hardly ever comes to the surface - the rest of the time, it's fun and parties all around.
 

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A word about occult energies in general

Are occult energies real or just a metaphor? I would argue that in this context, 'energy' is nothing but a useful but at the same time generic term for supernatural forces behaving in ways no physical power ever could and that any predictions regarding such a behaviour which are based on natural phenomena can only be incorrect and misleading.

In Tibetan Buddhism, for example, the word for subtle energy is
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, literally 'breath' or 'wind', same as prana in Sanskrit. Does that mean that occult energies are unable to penetrate solid objects? Of course not. Do they flow like water then? A cute analogy but are occult energies subject to gravity now? In Lurianic kabbala, God's light poured down like a liquid into the vessels of the ur-sephiroth which subsequently broke, with the divine light/liquid scattering like sparks scattered among the qliphot - a mix of three different metaphors, a stellar literary achievement!

In the introduction of one of his books first published in the 1920ies,
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, the founder of the school of individual psychology, mocked the ideas of Sigmund Freud for conceiving of the human soul as some kind of steam engine where pressure would be first built up, then channelled through a complex system of valves and pipes, subsequently to be exploited to drive some sort gear shaft und thus generating kinetic energy; sometimes that psychological steam would leak, be too powerful or too weak, in which case the intervention of the engine driver embodied by a psychoanalyst would be required. To this day we call persons 'repressed', as if the only way of curing them of their neuroses would be depressurising their entire emotive system. :rolleyes:

Metaphors affect the way we think. As far as occult energy is concerned, we've had 'vibrations', 'rays' (aha, so occult energies can only propagate in a straight line, can't pass through lead, and will be obstructed by precipitation like e.g. laser beams by fog!), and some armchair occultists still solemnly invoke the Law of Conservation of Energy according to which energy can neither be created nor destroyed but only be transformed or transferred from one form to another, as if occult energy metaphysics was a matter of electrical engineering (ah, I forgot 'frequencies', still a favourite!). Then chaos magicians belatedly discovered quantum mechanics and it all went a little crazy, until everybody was well and truly fed up with all that physics jargon and went back to more traditional models.

Like I wrote in the beginning of this post, 'energy' is but a generic term. We could just as well make up our own word, as Edward Bulwer-Lytton did with his vril - which doesn't mean anything but at least doesn't come with all that pseudo-scientific baggage. I think we should accept that 'occult energy' is nothing more than a placeholder term for largely unknowable forces without parallel in the mundane world, and that any analogy employing natural phenomena (movements of gases or liquids, radiation, behaviour of subatomic particles, etc) can only be misleading.

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Shotokan karate isn't exactly renowned for its subtleties, you'll have to visit other styles for that, for example
shito-ryu which still retains many original techniques of Southern Chinese kungfu. I've posted beautiful hakutsuru ('White Crane') before: I learned this kata at a workshop class, sensing eerie avian vibes throughout and feeling a bit like a shaman turning into some huge bird, a truly extraordinary experience. And before I start waxing too poetically: our shito-ryu sensei told us that flapping the crane's wings forwards and backwards, for example, could be interpreted as raking one's fingers back and forth across an opponent's eyes. Ouch. Now guess which vulnerable body area those pecks with the crane's beak are aimed at…

When looking for free books to post in our Forum Library, I frequently came across subtitles like "Harness/unleash/unlock/tap into the power of…". Everybody secretly dreams of gaining power, even those who feel uneasy about the subject, so I suppose there must be a market for these tomes. Be that as it may, much of the discourse regarding occult energies seems to be informed by an excessive emphasis on their controllability and putative exploitability as if they had to be put to work in order to serve our personal selfish spiritual needs. Why isn't simply observing or experiencing them enough?

I think that attempting to describe martial arts energies by means of simplistic 2D diagrams showing various coloured auras or force fields complete with arrows, intersecting circles or whatever surrounding two fighters or capoeiristas would be hopelessly naive and can only be an obstacle to their sober investigation. In one of my previous posts, I briefly mentioned
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and how it could be used to expand the conventional occult energy concept. Thus in the case of martial arts, their energies could be said to be intelligent forces with their own independent informational content, and it would be a shame to consider them mere dumb fuel for powering spells or propellants for charging chaos magic sigils, or only see them as exotic marvels for spiritual voyeurs.

Moreover, I think it would be wrong to view martial arts energies as something completely divorced from consensus reality, and in this Journal I have repeatedly argued that no martial arts energies can ever by generated without the human body acting as a solid physical base and that they are the product of entirely mundane (for somatophobes: vulgar) athletic activities; gross and subtle energies interpenetrate each other here, and in the case of capoeira, are given an additional spin by the music, the singing and clapping of the other players in the roda. Neither do martial arts energies always have to be harmonious or balanced - after all, whenever two fighters compete, there'll be a dynamic disequilibrium in their clashing; many shotokan katas are asymmetric and seem biassed towards right-handers, with many katas featuring an odd (and not an even) number of steps into any direction.

What I've tried to present in this Journal so far is a more nuanced image of two martial arts about which the general public seems to be much better informed than many occultists, or at least that's what my impression is - when writing a post, I often felt as if I was arguing with a bunch of 1870ies theosophist or 1960ies-era spaced out hippies in my head but that might have been just me. Nobody's asking me if I was able to do the splits or how many boards I could chop into with my bare hands anymore but whenever the subject of martial arts comes up on an occult subreddit, a forum, or a blog, the amount of bullshit produced there will quickly hit the megaton range. Many occultniks pride themselves to know what really goes on underneath the surface of mundane reality - but in the case of martial arts, some are so utterly ignorant and gullible that it hurts.
 

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Martial Arts and Spirituality

When I hear the word “spirituality,” I tend to reach for a loaded wand.
(Peter J. Carroll, "Liber Kaos")

I've never ever had a karate sensei lecture me on ethics or spirituality. In no dojo I've ever been did I hear anybody sermonize along the lines of "Karate can be used for good or for ill, yada, yada", and I would have taken such moralizing claptrap as an invasion of my ethical privacy - what I hold to be right or wrong is my affair, thanks but no thanks for your priggish input. The same goes for spirituality. Sometime in the aughts, I chanced upon this 'Christian' karate site that got me so infuriated I couldn't think clearly for hours. Among other outlandish nonsense, they stressed that contrary to karate tradition, they never bowed to their partners (doubtless mentally adding "like the heathen Japanese who'll surely burn in hell!") because you should only bow before God - if you prefer shaking a dozen sweaty hands during partner practice instead, go right ahead. They also dispensed the
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l because emptying the mind means letting the demons in, a superstition that has been around at least since Medieval times.

I love the way karate is usually taught, without much bla-bla and where everybody's free to form their own opinions based on actual practice and personal experience and were faux-spiritual sermons are frowned upon. Let the students find their own path (provided they're looking for one in the first place), let them read books about the art, Japanese history, meditation or whatever, let them watch all the youtube clips they're able to stomach, it's their business and not anybody else's. No instructor ever advised me to maintain
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(empty mind) during partner exercises, I found out about it myself, tested the concept at the dojo in practice and found it beneficial without anybody shoving zen buddhism down my throat. So when I googled "martial arts" "spiritual development" today, I was prepared for the worst but pleasantly surprised instead to discover
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on the blog of a female-friendly aikido dojo titled "Are 'spiritually meaningful' martial arts better than combat arts?" which makes so much sense and so many good points I couldn't ever hope to top them:

Here are five reasons to be wary of a martial art that primarily badges itself as “spiritual”:

1. Spiritual development is often a long-term, disciplined process, which can be undermined by seeking the “spiritual” as an end in itself
2. Accepting and embracing your dark side is essential
3. A too-heavy focus on spirituality can mask and incubate a 'slave morality' (Nietzsche)
4. A too-strong focus on spirituality can create a hotbed for spiritual abuse
5. The elements that make a martial way 'spiritual' are not necessarily what we expect


So much wisdom for me to parse here… these are just the subtitles of this excellent article complete with many explanations, numerous examples as well as pertinent quotes, and I could probably spend a week writing out ten posts or more about them (and maybe I'll do just that), peppered with anecdotes, images, and youtube videos.

Argument No. 5 alone is pure gold and aptly describes most of what I'm trying to say in this Journal. I, too, would be very distrustful of any instructor declaring certain components of martial arts 'spiritual' at the expense of others 'vulgar' ones. You can't know what experience each of your students will require for his or her personal growth and development. In my case, it was mainly accepting defeat at the hands of a superior partner or opponent, and the perceived humiliation often almost drove me to tears in the beginning. Over time, however, I learned to acknowledge each scoring punch or kick by a fellow karateka with the customary "Oss!" (here meaning "Thanks for showing up a weak spot in my game, I'll try hard next time"), simply because everybody reacted that way, and not because some pompous ass of an instructor was constantly exhorting me to display decorous humility in defeat or some such baloney.

Many alleged virtues of the martial arts stem from basic group dynamics. If I were the instructor of an intermediate karate class, for example, and an advanced student started to bully a weaker one during partner exercises, I'd intervene in a flash, take the place of the weaker student and show the dumbass who's boss, not because of some lofty principles like respect or fairness but because such a behaviour would indirectly challenge my authority as an instructor, make the entire entire class jittery and thus largely unresponsive to my instructions, and destroy overall social cohesion within the group. No need to preach here, such a bully will either learn his lesson or quit altogether, and peace will be restored once more.

From what I've observed, the people who start learning karate tend to embrace values like perseverance, respect for others, faithfulness, integrity, or discipline even before entering the dojo for the very first time, and I think that they've chosen their martial art precisely because its ideals are congruent with their own right anyway. Seen from this perspective, karate is not such much transformative as validating and re-affirming pre-existing personal values - I won't deny that such personal transformations can occur but they will most likely be the result of several facilitating factors, with karate being only one of them.

All in all, I don't think the spiritual values of a martial art can be taught properly by means of words alone. Many of these values form an unspoken part of tradition or are codified in the official competition rules - try remonstrating with a referee about a decision, for example, and you'll be disqualified immediately; Confucianist precepts like 'filial piety' or 'respecting your elders and betters' don't come into it. One possible reason may be karate's zen spirit and its distrust of words - once you start jabbering about the Path, you've lost it already. Therefore, I'd claim that karate does in fact foster spiritual values but that it conveys them via actual practice and not preaching.
 

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What do you know, yet another rant!

Who gets to decide what's spiritual and what not? Instead of the original relating to deep feelings and beliefs, especially religious beliefs, the word 'spiritual' has been hijacked by NewAgers and come to mean 'compliant with our own naive and narrow-minded ideology'. The opposite of 'spiritual' is 'material' and not 'materialistic'. The NewAge movement does not have a monopoly on spirituality and does not get to decide what's spiritual and what not.

The question of whether a martial art is spiritually meaningful and thus allegedly more virtuous than others is only relevant for NewAge adherents, not for occulture and society in general which are not required to subscribe to the same value system in order to belong. If you take up
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, for example, you might feel the need the need to justify your decision to some of your friends who might be appalled at its violence but that's your personal affair - muay thai has been around since the 7th century and doesn't need any defenders (unless you're trying to win new students for your muay thai school or consider it your mission to improve the public image of the art). Taiji or aikido aren't inherently more spiritually meaningful than other martial arts due to their sophisticated philosophies - all of them train the body, and all generate martial arts energies with their unique 'taste' and feel. I think there's a martial art for everyone, and performing slow-mo katas in the park isn't any more 'virtuous' than rolling around on a mat sweating and panting with a partner while trying to sink in a triangle choke.

krav-maga-poster.jpg


In 1973, controversial Buddhist teacher Chögyam Trungpa coined the term '
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' to describe the mistake of turning the pursuit of spirituality into a narcisstic ego-building endeavour which has since become associated with consumerism and a vacuous sense of entitlement. When it comes to the issue of the putative spiritual meaningfulness of various martial arts, however, 'spiritual NewAge exclusivism' would describe the situation better in which yet another group claims moral superiority as well as the right to tell not only its adherents, but the whole world what to do and what not, same as hegemonizing organised religion.

What I hate about this judgemental closed-mindedness is that it attempts to rob people of the freedom to gather their own experiences within the entire gamut of martial arts and not just within a narrow segment of 'spiritually approved' ones; I would even claim that more violent martial arts, through their partner drills, foster spiritual values (for example considerateness, respect, courage under stress, fairness) to a much higher degree than less confrontational ones. If you call yourself a 'spiritual martial artist' and are unable to appreciate capoeira's exceptional civilizational achievement of having transformed street brutality and aggression into a musical game of skill, I feel sorry for you. All traditional martial arts have developed along similar lines - at first, they were created to be successful in battle or for self-defence purpses, only to evolve into ways of strenghtening the body and building character; to deny their viability as spiritual paths is dumb in the extreme, in my opinion.
 

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Getting exercised yet again

I don't know about you but I feel that without physical exercise, my thinking becomes stale and slow. The mental benefits of exercise have already been exhaustively investigated by modern psychology and sports science while occultism still seems ignores what should be glaringly obvious: vigorous physical exercise generates energy by the bucketload.

Every karate and every capoeira class always begins with a warm-up followed by stretching exercises which could be seen as another way of promoting the free flow of energy be loosening tensed-up muscles and thus allowing your joints a larger range of movement. Once the stretching portion of a class is over, you'll feel ready for anything, and over the years I've come to regard this invigorated state of body and mind as the 'real me', or at least how I want to feel for my entire life. Warm-up and stretching are followed by specific karate or capoeira exercises involving complex sequences of motions ordinarily not performed in the course daily life, a feature which sets martial arts karate and capoeira apart from sports like running, cycling, or swimming with the coordinative requirements of which your body is (hopefully) familiar with anyway - you're doing something special, in a word.

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I admit I've posted this video before but would like to post it here again because it's so well made and shows what a real capoeira class looks like.


For the purposes of this Journal, I think it's useless to distinguish between gross and subtle energies. What I don't like about the 'subtle energies' concept as described in many occult books is that the subtlety of those energies is never sufficiently explained, as if to say, "They're subtle because they're not gross, dummy!" or "They're invisible forces, what a stupid question!" Then diagrams would usually ensue showing all kinds of channels within the body through which ki/qi/prana/lung is said to stream, and woe to the poor student who unwittingly constricts or blocks their smooth flow while still not knowing what that fabulous subtle energies really are, probably due due to a lack of a basic understanding of hydraulic engineering. The disadvantage of imagining subtle energies as liquids are obvious - as liquids can't penetrate solid objects, they are dependent on cavities to move along which will presumably rupture in case of excessive pressure build-ups like in clogged pipes (and probably give you constipation or hives or whatever). Not very subtle phenomena but there you are.

For this reason, I'd like adopt the expanded Energy Model I described in previous posts instead where physical energies produced by the body's movements are also capable of carrying additional
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which admittedly could also be represented by the conventional term 'subtle energies' - however, without any limitations posed by any analogies (featuring liquids, gases, radiation, etc.) taken from the physical world.

Furthermore, I've argued for a rethinking of the relationship between the body, the intellect, and the emotions in which they aren't depicted by separate or
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but instead by three interpenetrating spheres occupying the same volume so that no exact delineation between the three is possible. Hence platitudes like 'holistic mind-body-spirit integration' are meaningless because all three are fused with one another anyway - it's part of the human condition, like it or not. Thus what activates the body will unfailingly activate the intellect and the emotions as well, which means that a karateka's or capoeirista's body doesn't simply generate 'dumb' kinetic energy but also information in the form of emotions (e.g. satisfaction with one's technique, fear of one's opponent) while engaging the intellect as well (e.g. remembering the exact sequence of a kata or the instructor's advice).

When practising together with a partner or playing in the roda (capoeira circle), the energies of the two persons (plus their informational content!) will communicate with each other. Capoeira instructors often liken games to conversations or Q&S sessions where one player asks a question e.g. in the form of a kick and the other answers by ducking and attempting a sweep. If capoeira games are like conversations, karate point-fighting matches or full-contact bouts could be said to be resemble arguments or even monologues, if a contest is extremely one-sided. In any event, the martial arts energies of the two players/fighters will interact with each other, with these energies being produced by two different body-intellect-emotion entities imbuing them with unique informational content.

karate-practice.jpg


A double pressing block (osao uke) from shotokan's enpi kata (
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) which always gives me goosebumps whenever I perform it. Is it because I'm balancing the energies of heaven and earth with this movement or something? No idea, it just feels great.

Come to think of it, 'informational content' sounds not much more precise than 'subtle energies' but I can at least theorize about what it's informed by: a martial artist's emotions, will, and personality. Subtle energies, on the other hand, are frequently conceived of as anonymous, uniform forces identical for each and every person. I'm seriously starting to question the concept of 'subtle energy' in general because it smacks of the same narrow-minded elitism as the word 'spiritual' (see my previous post) - are 'subtle energies' somehow nobler or better than mere 'gross energies'? I'm also beginning to suspect occultists of some sort of metaphysical voyeurism that forever seeks to discover what's supposedly going on behind the scenes - a punch is a punch is a punch, for crying out loud, NOT a projection of mysterious forces which are capable of flattening a muscle-bound giant of an attacker! I think occulture in general has an unhealthy, if not to say vulgar appetite for anything labelled 'hidden' or 'secret' (or 'forbidden', for that matter). What's more, I'm beginning to become convinced that this perverse fascination for martial arts qi/ki stems from a subconscious desire to effortlessly learn to control those subtle forces in order to be able to wreak physical havoc in actual fights without studdy all those yucky 'gross' techniques first unlike those shmucks down at the karate dojo in their white jammies.

I hope that my model can help to dispel such notions - no physical power generated by the body, no martial arts energies, it's as simple as that, sorry, dear wimpish LARPers, armchair occultists and NewAge space cadets.
 

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True Grit

Did you know that '
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' was a scientific term in psychology, being defined as "perseverance and passion for long-term goals"? Again, it's their emotions that keep people going and NOT their intellect, and any top-heavy attempts to kindle your motivation will be doomed to fail if your feelings refuse to play ball; I also believe that most of the obstacles people are likely to encounter in their martial arts career are related to their emotions. I've said it before and I'll say it again: there's no shame in quitting, and no excuses, justifications, or explanations are required. It's heartbreaking to see karate beginners bravely soldier on although their heart isn't in it anymore but who are too embarrassed to admit it. It's best to make a clean break with karate in such cases, whatever their intellect may tell them.

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Here's Jesse Enkamp, the self-styled Karate Twerp Nerd, and his adventures with kyokushin karate. :rolleyes:


Hands down, the most gruelling karate style is
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; their dropout rate must be astronomical. They're kind of off the mainstream as represented by the World Karate Federation (WKF) because they have their own competition rules that are incompatible with the regular karate point-fighting format. Though proudly proclaiming that theirs was 'the only true full-contact karate' because their kicks don't have to be pulled but can be executed with full force (their
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are pretty impressive), punches to the head are nevertheless completely banned which can be hardly considered realistic but which doesn't stop those guys from contemptuously calling regular karatekas 'air clobberers'. It takes all sorts…

However, one thing kyokushin karatekas have going for them is their toughness and athleticism. I only ever had one brush with their style once very long ago when I was talked into attending a kyokushin class in another country where hardly anybody spoke English. They started out with a warm-up consisting of basic techniques that was pretty intense but as I waited for the customary stretching part, it soon became clear that there was no chance for such such a breather and that practice would continue at the same frenetic pace, with hardly a break in between; I was really lucky that I was in pretty good shape at that time, otherwise I'd probably quit due to sheer exhaustion.

The last 30 minutes of that 1.5 hour class were devoted to sparring. Now dojo sparring isn't the same as competition fighting. You're sparring with your friends, with guys you've known for years or evend decades and with whom you want to remain friends with them while avoiding becoming the dojo pariah due to your rowdiness, so you'll soon get accustomed to taking things easy instead of going full throttle each and every class - it isn't about the next world championship, after all. However, if you're just a visitor to the dojo and everybody knows you won't be ever seen again, things can become get tricky very fast, and diplomacy and tact on your part will be required. It's their house, their rules, so if you show as much as a whiff of disrespect, things in sparring can get ugly pretty fast, especially bearing in mind that these kyokushin guys wouldn't have understood my apologies anyway because of the language barrier. I think they quickly realised was genuinely curious about their style which I had heard the craziest things about, so my sparring partners weren't mean or overly aggressive.

The high kicks of those guys weren't all that dangerous and I never had any
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to fend off like Jesse Enkamp, so no problem there, but what soon got to me were their
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which I wasn't used to and didn't know how to neutralise at that time; the next day I had real trouble walking, especially climbing stairs. I tried to kick back but nobody had explained to me that I was to strike with my shinbones instead of my feet, so I guess my own low kicks were pretty harmless. I soon felt like a ballerina among lumberjacks - no skipping back and forth during sparring for those guys, they'd simply keep on stomping doggedly towards me, continually kicking and punching, never retreating even after I had repeatedly 'scored' (according to point-fighting rules, that is) with punches to their midsection - which didn't stop them one bit, just as kyokushin matches aren't stopped after a scoring technique (unless it's a knockout, of course). If mainstream karate point-fighting is like foil-fencing, kyokushin is like hitting each other with giant wooden clubs.

Kyokushin competition bouts are battles of attrition, with each fighter trying to grind the other slowly down, and you'll need excellent cardio because all these punches to your midsection will add up and when you're hurt and fatigued, you won't even see your opponent's kicks coming due to exhaustion and get knocked out sooner or later. I've heard all these crazy stories about kyokushin classes where e.g. everybody would line up in front of one student and then proceed to punch him or her in the stomach ten times, one after the other. Getting hit or kicked in the stomach is no big deal for a karateka, you just clench your abdominal muscles really tight and exhale, but ten times in a row? A hundred times until it's the next poor guy's turn? And you don't even want to know what they do for bone conditioning, for example rolling glass bottles back and forth hard across their naked shins…

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The ultimate challenge in kyokushin karate is the
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where you fight 100 guys in a row for one-and-a-half to two minutes, an insane test of endurance and fighting spirit. One opponent after the other will chip away not only at your cardio but also at your body's very integrity until your reaction is slower than a drunk's and only mulish stubbornness and iron-hard determination will keep you going; I'd be surprised if that Judd Reid guy remembered his last 30 fights or so…

How are you supposed to stick with kyokushin karate as a beginner if you're not mentally tough already? I think you'll have to possess a very high degree of tenacity to begin with. If we accept that the intellect is powerless to engender true grit without sufficient emotional support, how can we alter our emotions then? Anybody seriously into self-improvement won't be satisfied with stock answers like "Either you have it or you don't!" or "Just hang in there, you'll make it some day!" Trying to solve this conundrum is one of the reasons why I became interested in magic in the first place but all I've found so far are the same old exhortations to be pull oneself together, cultivate discipline, steadfastly strive to overcome one's weaknesses, etc., and I can practically see Franz Bardon or Josephine McCarthy before me, shrugging off my concerns with a dismissive "Depends on how much you want it"; so if you decide on a sink-or-swim approach to get rid of your chronic lack of grit, better not choose kyokushin karate unless you're half in love with it already. 😉
 

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Ageing - Karate

Controversial author-guru Carlos Castaneda was a major part of my spiritual journey in younger years although I now regret wasting time on all his chaotic and impractical mysticism in which I lost myself for much too long. His conversations with his teacher Don Juan have been long debunked as fiction but there are still some memorable quotes that are precious to me to this day. Here's one from his book "The Teachings of Don Juan" where he describes the Four Enemies of the Man of Knowledge, the first ones being Fear, Clarity, and Power:

"The man will be, by then, at the end of his journey of learning, and almost without warning he will come upon the last of his enemies: old age! This enemy is the cruellest of all, the one he won’t be able to defeat completely, but only fight away. […]

If he gives in totally to his desire to lie down and forget, if he soothes himself in tiredness, he will have lost his last round, and his enemy will cut him down into a feeble old creature. His desire to retreat will overrule all his clarity, his power, and his knowledge. But if the man sloughs off his tiredness, and lives his fate through, he can then be called a man of knowledge, if only for the brief moment when he succeeds in fighting off his last, invincible enemy. That moment of clarity, power, and knowledge is enough."
(Carlos Castaneda, "
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Actor and director Clint Eastwood who has been interested in longevity even as a young man, mentioned in an interview he gave some time in his seventies before his daily run that it was unfair that the older you become, the more conscientiously you had to work out, when by rights your old age should be a time of rest. Here's why:

Age-related muscle loss, called
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is a natural part of aging. After age 30, you begin to lose as much as 3% to 5% per decade. Most men will lose about 30% of their muscle mass during their lifetimes. (
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The most common cause of sarcopenia is the natural aging process. You gradually begin losing muscle mass and strength sometime in your 30s or 40s. This process picks up between the ages of 65 and 80. Rates vary, but you may lose as much as 8% of your muscle mass each decade. (
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As muscles have a relatively high calorie requirement, atrophy means that your body will need less energy from your thirties onwards, and if you don't adjust your diet accordingly, you'll start putting on weight unless you become even more active than at a younger age - Clint was right. What's so perfidious for the ageing athlete is that recovery from strenuous workouts will take longer year by year, a fact everyone's aware of when one day noticing how much harder it is to cope with a hangover as you get older. Overtraining will start to become an issue now, so even when you work out religiously, there'll be certain limits that you won't be able to overcome anymore, and working out and practicing even more to battle your natural muscle loss can even have a deleterious effect unless you improve your body's capacity to recover by cutting out alcohol completely, optimizing your nutrition, avoiding stress and getting enough sleep.


Jamie Oliver, Okinawa, Longevity, and Karate. I personally know several karatekas in their mid-seventies who are still active.

The first thing to go in ageing karate competitors is speed. While kata competitors will usually manage to hold on a little longer, karate point-fighters typically end their careers in their early thirties because their reflexes just won't be the same anymore. To a certain extent, their experience will help them to recognise signs of impending attacks and anticipate their opponent's moves but point-fighting is all about lightning-fast action, and it will become harder and harder to keep up with younger fighters as the tournaments go by.

In highly technical and coordinatively demanding disciplines like karate and capoeira,
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is hard to avoid once you've reached a certain age and still have athletic ambitions. On the one hand, your body will scream for rest after only three hard evening classes in a row, on the other you'll be loath to stay at home on the fourth day because you might miss out on a new kata, new moves, or new songs tonight - there have been times where my muscles were constantly sore and when I moved through classes as if through a fog half of the time but contrary to reason still wanting more. I think it was the the excitement and the joy which carried me through - and the music of course (I sometimes joked that I preferred capoeira to karate because the Brazilians had the better music 😉). I'd never have the discipline to go running or cycling every day or do some similar kind of monotonous exercise on a regular basis; for me, it was always the prospect of fighting and playing with the others that proved so irresistible, the taste of martial arts energy, the indomitable spirit of karate, the joy of capoeira.

Like Don Juan said, ageing basically a losing battle, and everybody knows how it will end for each of us one day… but Clint Eastwood is 95 now, so he must have been doing something right.
 
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