We continue to explore Bushido's major principles, concepts, and values as articulated in the classic 1899 Japanese text, Bushido: The Soul of Japan, by Inazo Nitobe, and evaluate their applicability in today's modern world. Bushido: The Soul of Japan is one of the first major works on samurai ethics and Japanese culture. It is considered by some to be the first collective statement of what is commonly referred to as the Seven Virtues of Bushido.
Nitobe offers for consideration seven virtues of Bushido that attempt to illustrate the philosophical values of the samurai. However, it should be recognized that there are not, in truth, seven virtues of Bushido. This is only Nitobe's subjective articulation of samurai culture and it is little more than an artificial construct. Other academics like Nitobe or practitioners of Bushido could easily and perhaps in an equally comprehensively fashion offer four, ten, or even one-hundred virtues of Bushido. Furthermore, the seven virtues presented here are concentric. That is, each value overlaps with and is influenced by another. No single virtue of Bushido exists or can exist by itself. Remember, all systems, including Bushido, Aikido, or any other, are ultimately artificial. The holistic nature of any system of values is unlikely to be comprehensively articulated in written language. Some virtues transcend written word. Nonetheless, we will attempt to explore each thoroughly.
Benevolence or "Jin" - The Forgotten Samurai Virtue
"The bravest are the tenderest; the loving are the daring."
This next virtue of Bushido is what I consider "the forgotten virtue" because it is possibly one of the least likely virtues one might expect of a warrior. However, Chinese philosophers, Confucius and Mencius, thought Benevolence (or 'jin') to be the highest requirement of a ruler of men. Strange then that it should be a virtue so easily dismissed by most.
I imagine that Benevolence might have been one of Morihei Ueshiba's (The Founder of Aikido) favorite or most valued virtues of Bushido. The way in Aikido that we consistently practice restraint in the amount of force used, in my opinion, is one demonstration of Benevolence. For when we practice Aikido, although a powerful martial art, we do not practice in a manner that leads to serious injury of our partner or uke. Of course, we are prepared and willing to exercise less restraint should a real self-defense situation require such, but, by and large, we elect to utilize as little aggression as possible.
Benevolence is a word that isn't necessarily used by many in daily conversation. So perhaps we should define it. Merriam-Webster's dictionary defines benevolence as "the disposition to do good," or "an act of kindness." It is also defined as "charity motivated by sympathy, understanding and generosity." Nitobe succinctly defines Benevolence as "feeling distress for others." However, when one conjures up their classical, bellicose notion of a samurai, Benevolence may not be the first attribute to come to mind.
A samurai's demonstrating of Benevolence implied the exhibition of mercy, especially when the granting of mercy in a particular situation was not the instinctive impulse. Or, in other words, despite being granted the authority to kill right on the spot for an offense, it was a true samurai demonstrating Bushido who elected to forgive, ignore, let go, or otherwise grant mercy to that offense.
For example, I remember watching the 1980s television mini-series, Shogun, starring Richard Chamberlain, based on the book of the same title by James Clavell, where a very different portrayal of so-called Bushido was presented. In one of the opening scenes, a peasant was suddenly beheaded by a furious, passing samurai for not paying to him the proper respect. This, of course, was a perverted example of Bushido and, in fact, was not Bushido at all. According to Nitobe, a much more benevolent response by the samurai, in accordance with the virtues of Bushido, might have been to forgive the peasant, simply ignore him, or perhaps be satisfied by giving a stern, disapproving look. This fictitious warrior clearly lacked Benevolence and therefore lacked Bushido despite his designation as part of the samurai class. Nitobe argues that having the power and authority to kill, but instead demonstrating restraint, is much more in accordance with Bushido – and instilling a strong sense of Benevolence was one way to cultivate this behavior.
This example, although fictitious, points out the likely fact that not all samurai exhibited the virtues of Bushido, just as not all people, at all times, demonstrate their highest selves or best manners. Therefore, just because one may have been samurai does not necessarily mean they were a good person or that they were virtuous. Bushido was an ideal, and therefore, like most ideals, may have been the exception instead of the rule. I think far too many Westerners erroneously assume that all or most samurai lived up to this ideal of Bushido. I sincerely doubt it.
Of the seven virtues articulated by Nitobe, Benevolence is definitely the least sexy, the least alluring, and perhaps, as such, the least valued in a context of warriorship. However, after studying Bushido: The Soul of Japan, it seems to me that an appreciation for Benevolence may be the defining quality that differentiates a person who lives Bushido from a person who does not.
In his previous discussion on Courage, Nitobe details a profoundly respectful relationship between two feuding samurai and states, "when courage attains this (supreme) height, it becomes akin to benevolence." This assertion, to me, was more interesting than the virtue itself. After all, I don't know how one could object to or challenge, in and of itself, the value of Benevolence. However, the notion that Benevolence is "courage at its highest" is thought-provoking and implies that Courage is, in fact, a prerequisite to Benevolence. That is, one must have the Courage to feel distress for others before one can be benevolent. This was something I had not previous considered.
Furthermore, when people such as martial artists review or evaluate Bushido, this virtue of Benevolence, I believe, is often overlooked or merely given lip service. Rarely is such a virtue considered a powerful factor in guiding moral behavior among a ruling class like the samurai of past centuries or just average every day people of today.
In the West, we have a saying that "Absolute power corrupts absolutely." Apparently, as Nitobe hints, this was an issue among the samurai, as well. The virtue of Benevolence came about in an effort to bring civility, sophistication, and gentleness to a class of warriors who prided themselves on their brute force, but increasingly found such assets in adequate in the face of increasing societal and non-war related responsibilities. Benevolence, therefore, was introduced to Bushido to prevent a samurai from abusing his power and position in society, and to, in fact, remember his own place and exercise restraint accordingly. Benevolence supplies modesty and perspective to the importance of one’s position as it relates to the rest of society. It keeps a samurai "in check", so to speak.
Benevolence brought balance to the character of a samurai. If Rectitude was to be considered stern, upright, and masculine, then Benevolence was deliberately injected into Bushido to cultivate the gentle, pliant, and feminine qualities thought to be ideal in the samurai class. Benevolence softened the sharp edges and corners of Rectitude. This virtue, perhaps, keeps one from being perceived as overly neurotic or excessive in their observance of other virtues like Rectitude and lower expressions of Courage. Another way of expressing this concept could be: Benevolence is to yin as Rectitude is to yang. Together they create a healthy and dynamic equilibrium. Nitobe said, "Rectitude carried to excess hardens into stiffness; Benevolence indulged beyond measure sinks into weakness." Perhaps, this is something we should all keep in mind.
We can all benefit from this virtue by recognizing that one does not have to practice martial arts to demonstrate Bushido. Certainly anyone, functioning in any capacity or role, whether that be as a parent, spouse, employee, teacher, or whatever, innately possesses the power, skills, and awareness to demonstrate Benevolence or any other virtue associated with Bushido. We merely must decide to do so.
Nitobe quotes Frederick The Great that "Kings are the first servants of the state." I recognize this to analogously mean, in a martial arts context, that the Sensei are the first servants to the students – and not the other way around – as is the unfortunate case in far too many martial arts dojo in America and abroad. Some martial arts instructors confuse their role and responsibility, thinking that students are there to serve them! Nitobe clarifies the inverse.
How can we demonstrate Benevolence in our own Western lives today? Perhaps it is in how we treat our children when they misbehave, or how we respond to a co-worker, spouse or even an aging parent when they may occasionally lash out at us. I think, in short, one of the best ways to describe Benevolence can be concisely stated in a common aphorism: "Try to see it from the other person's perspective." Or, perhaps the more common, "Try walking in their shoes for a while." This ability to step outside of yourself and to think about how you might feel if you were experiencing some one else's plight, and you just may find within yourself that "feeling of distress" for others that Nitobe talks about here. Feeling distress for others or granting mercy for others doesn’t necessarily mean that you indulge someone’s inappropriate or unacceptable behavior, but perhaps only choose to modify your own response and not pass judgment too harshly on them.
As another example, poetry was deliberately introduced into a samurai's education for the distinct purpose of cultivating a gentler warrior class. "The cultivation of tender feelings breeds considerate regard for the suffering of others." Perhaps we can demonstrate this on the Aikido mat by choosing to be more patient when working with a newer student who is struggling with a basic technique.
So, is Benevolence an antiquated virtue of Bushido? Absolutely not. In fact, it may be more necessary today than ever, but is rather ironically, the most forgotten or ignored. Perhaps it is this way because Benevolence is not culturally unique to Bushido or to Japan, but should be a constant standard in all cultures. Perhaps the need for Benevolence in society is so ubiquitous that most of us fail to recognize its value and its lack.
Much as Courage is a prerequisite to Benevolence, Benevolence finds itself at the foundation for exploring the next virtue of Bushido: Politeness. See you next month.
Read Part One
Read Part Two
Read Part Three
Castle Rock AIKIDO is a martial arts school exclusively for adults. Come try a class for free by visiting www.CRaikido.com or calling 720-221-3665.
Tuesday, November 24, 2009
Thursday, November 5, 2009
Beyond Golden Clouds: Japanese Screens
Student Visits Japanese Art Exhibit in Chicago
In September, Castle Rock AIKIDO student, Sean Hannon, was stuck in Chicago during a layover and had just barely enough time to pop into The Art Institute of Chicago to visit their featured exhibit on decorative, Japanese Screens called: Beyond Golden Clouds.
It was a powerful exhibit with perhaps nearly one hundred different, folding Japanese screens called "byōbu" from as far back as the 15th century. Although photography was not permitted, the exhibit still left visitors with a profound appreciation for this long time, traditional artwork.
Like many Japanese arts and crafts, folding screens originated in China; prototypes dating back to the Han dynasty have been found. The term "byōbu" means figuratively "protection from wind", which suggests that the original purpose of byōbu was blocking drafts. Byōbu were introduced in Japan in the eighth century, when Japanese craftsmen started making their own byōbu, highly influenced by Chinese patterns.
Read more about the Golden Clouds exhibit HERE.
Also at the museum, unrelated to the Golden Clouds exhibit, was a more modest, but equally moving, Japanese art exhibit. In the Asian arts wing of the museum was a beautiful exhibit exclusively feating the works of Japanese woodblock print artist, Ito Shinsui (1898-1972). Shinsui was one of the great names of the shin hanga art movement, which revitalized the traditional wookblock style art after it began to decline with the advent of photography in the early 20th century. Shinsui is best known for his numerous, reflective portraits of Japanese women, but his seasonal landscape are equally captivating and were also featured in this exhibit.
The exhibit's summary sign stated that Frank Lloyd Wright was greatly inspired by the works of Shinsui. In fact, one of Shinsui's most famous pieces, Before the Mirror, (pictured above) is soon to be hung in our dojo lobby.
Learn more about Ito Shinsui HERE.
It was a powerful exhibit with perhaps nearly one hundred different, folding Japanese screens called "byōbu" from as far back as the 15th century. Although photography was not permitted, the exhibit still left visitors with a profound appreciation for this long time, traditional artwork.
Like many Japanese arts and crafts, folding screens originated in China; prototypes dating back to the Han dynasty have been found. The term "byōbu" means figuratively "protection from wind", which suggests that the original purpose of byōbu was blocking drafts. Byōbu were introduced in Japan in the eighth century, when Japanese craftsmen started making their own byōbu, highly influenced by Chinese patterns.
Read more about the Golden Clouds exhibit HERE.
Also at the museum, unrelated to the Golden Clouds exhibit, was a more modest, but equally moving, Japanese art exhibit. In the Asian arts wing of the museum was a beautiful exhibit exclusively feating the works of Japanese woodblock print artist, Ito Shinsui (1898-1972). Shinsui was one of the great names of the shin hanga art movement, which revitalized the traditional wookblock style art after it began to decline with the advent of photography in the early 20th century. Shinsui is best known for his numerous, reflective portraits of Japanese women, but his seasonal landscape are equally captivating and were also featured in this exhibit.
The exhibit's summary sign stated that Frank Lloyd Wright was greatly inspired by the works of Shinsui. In fact, one of Shinsui's most famous pieces, Before the Mirror, (pictured above) is soon to be hung in our dojo lobby.
Learn more about Ito Shinsui HERE.
Tuesday, November 3, 2009
Review of the Seven Virtues of Samurai Bushido text, part 3: Courage
Part Three: Courage - Doing the Hard Thing
We continue to explore Bushido's major principles, concepts, and values as articulated in the classic 1899 Japanese text, Bushido: The Soul of Japan, by Inazo Nitobe, and evaluate their applicability in today's modern world. Bushido: The Soul of Japan is one of the first major works on samurai ethics and Japanese culture. It is considered by some to be the first collective statement of what is commonly referred to as the Seven Virtues of Bushido.
Nitobe offers for consideration seven virtues of Bushido that attempt to illustrate the philosophical values of the samurai. However, it should be recognized that there are not, in truth, seven virtues of Bushido. This is only Nitobe's subjective articulation of samurai culture and it is little more than an artificial construct. Other academics like Nitobe or practitioners of Bushido could easily and perhaps in an equally comprehensively fashion offer four, ten, or even one-hundred virtues of Bushido. Furthermore, the seven virtues presented here are concentric. That is, each value overlaps with and is influenced by another. No single virtue of Bushido exists or can exist by itself. Remember, all systems, including Bushido, Aikido, or any other, are ultimately artificial. The holistic nature of any system of values is unlikely to be comprehensively articulated in written language. Some virtues transcend written word. Nonetheless, we will attempt to explore each thoroughly.
Courage or 'Yuu'
Nitobe begins his discussion of Courage by identifying courage as the element responsible for preserving 'giri,' a notion discussed in our previous article, as a legitimate virtue parallel to Rectitude. He says, "Giri might easily have been turned into a nest of cowardice, if Bushido had not a keen and correct sense of Courage."
Before defining the Courage associated with Bushido, Nitobe first summarizes a popular conception of courage as "the spirit of daring and bearing…" but notes that this is a quality of the soul "which appeals most easily to juvenile minds." He continues to say that "rushing into the jaws of death" is a frequently cited example of courage, but that "such rashness of conduct is unjustly applauded."
Clearly, Nitobe would not find value in the so-called "Courage" that Hollywood frequently attempts to illustrate in martial arts and other war-related movies of today. Nitobe then goes on to further distinguish between physical courage and moral courage and he implies that moral courage is far superior. For example, he quotes another figure from Japanese history, "To rush into the thick of battle and to be slain in it is easy enough, and the merest churl is equal to the task." The contemporary then continues with a contrasting remark, "…but it is true courage to live when it is right to live, and to die only when it is right to die." This quote is frequently butchered in Hollywood and in other examples of contemporary society leaving only the later portion relating to death. Rarely, if ever, is courage accurately defined as living when it is right to live. Hollywood is clearly much more interested in emphasizing the death notion of this virtue perhaps for dramatic/cinematic purposes.
Nitobe states that Courage was scarcely deemed virtuous in the values system of Bushido, unless that Courage was exercised in the cause of Righteousness. Again, Righteousness was discussed in the preceding article on Rectitude, but can be quickly defined as taking action in accordance with right reason and without guilt. Nitobe is assisted by both Plato and Confucius in defining Courage, but in short, summarizes Courage as "doing what is right." This, Nitobe would identify as moral courage. A modern day business author, Larry Winget, articulates a similar sentiment. He says that whenever you are faced with a choice between two actions, the right decision is always, and without fail, the harder of the two actions. Deciding to do the harder of those actions means to act with Courage and in a righteous fashion. Very few people today consistently chose to do the harder thing. Therefore, few people exhibit Courage.
Plato defines Courage as "the knowledge of things that a man should fear and that he should not fear." This implies that knowledge is an element of Courage and "the spiritual aspect of courage is evidenced by composure – calm presence of mind." Nitobe says, "a truly brave man is ever serene; he is never taken by surprise; nothing ruffles the equanimity of his spirit. In the heart of battle he remains cool." For example, on the Aikido mat, is one who can repeatedly, calmly and competently take full force break falls without sustaining injury exhibiting Courage? Or, does he/she merely have knowledge of how to take break falls effectively?
So, one must ask, when does one possess a calm presence of mind and tranquility? I would offer for consideration that preparation precedes tranquility, for when we know what to expect, it is far easier to remain calm. Wouldn't you agree? Have you ever seen someone on an airplane for the first time be nervous and upset? Why? It’s because they probably aren't prepared for the experience. Courage then, I would content, is a product of knowledge and preparation. When combined, knowledge and preparation create order and certainty. Order and certainty help one demonstrate Courage. This also means that Courage is formulaic and can be acquired. We are not necessarily born courageous.
Courage, one could also argue, may be a relative concept because one only appears courageous in front of others who lack order and certainty due to their of lack of knowledge and preparation. For example, infamous American scientist, Nikola Tesla, must have certainly appeared courageous to the masses as he would "fearlously" walk through giant arcs and bolts of man-made electricity in public demonstrations in New York, Chicago, and Colorado Springs. No doubt, these feats appeared to be "death-defying" in the early 20th century. Tesla certainly must have been perceived as a courageous individual. However, wasn’t Tesla’s "courage" really a product of his mastery of the force of lightning? This then raises the question, If one behaves calmly and with serenity of mind, and no one is around to witness it, is that man indeed courageous? Does the existence of courage require at least two parties: one exhibiting courage and the other lacking courage?
Either way, courage, as presented by Nitobe, is radically different than the courage commonly presented in Hollywood movies about samurai or war and battle. Of course, there are excellent examples where Hollywood accurately depicts courage. One recent example I might site would be "Flash of Genius" with Greg Kinear.
So, is Courage an antiquated virtue? That would depend on your definition of courage. If you define courage in a manner similar to its representation in Hollywood, then I would say "Yes" courage is, overwhelmingly, an antiquated value. However, if you define courage as moral courage, as Nitobe does, then I again would strongly answer in the negative. No. Courage is not an antiquated virtue of Bushido.
What can we take away from this discussion? How can we practice Bushido and demonstrate Courage in our lives right now and today? We can recognize that:
1. Courage isn't necessarily blindly attacking the enemy. True courage is to live when it is right to live;
2. Courage means doing what is right, which also means doing the hard thing; and
3. Courage is a product of knowledge and preparation, and it produces order and certainty, which allows one to demonstrate a calm presence of mind.
When courage is exhibited in its highest capacity, it becomes akin to Benevolence. This virtue we shall address later.
Read Part One
Read Part Two
We continue to explore Bushido's major principles, concepts, and values as articulated in the classic 1899 Japanese text, Bushido: The Soul of Japan, by Inazo Nitobe, and evaluate their applicability in today's modern world. Bushido: The Soul of Japan is one of the first major works on samurai ethics and Japanese culture. It is considered by some to be the first collective statement of what is commonly referred to as the Seven Virtues of Bushido.
Nitobe offers for consideration seven virtues of Bushido that attempt to illustrate the philosophical values of the samurai. However, it should be recognized that there are not, in truth, seven virtues of Bushido. This is only Nitobe's subjective articulation of samurai culture and it is little more than an artificial construct. Other academics like Nitobe or practitioners of Bushido could easily and perhaps in an equally comprehensively fashion offer four, ten, or even one-hundred virtues of Bushido. Furthermore, the seven virtues presented here are concentric. That is, each value overlaps with and is influenced by another. No single virtue of Bushido exists or can exist by itself. Remember, all systems, including Bushido, Aikido, or any other, are ultimately artificial. The holistic nature of any system of values is unlikely to be comprehensively articulated in written language. Some virtues transcend written word. Nonetheless, we will attempt to explore each thoroughly.
Courage or 'Yuu'
Nitobe begins his discussion of Courage by identifying courage as the element responsible for preserving 'giri,' a notion discussed in our previous article, as a legitimate virtue parallel to Rectitude. He says, "Giri might easily have been turned into a nest of cowardice, if Bushido had not a keen and correct sense of Courage."
Before defining the Courage associated with Bushido, Nitobe first summarizes a popular conception of courage as "the spirit of daring and bearing…" but notes that this is a quality of the soul "which appeals most easily to juvenile minds." He continues to say that "rushing into the jaws of death" is a frequently cited example of courage, but that "such rashness of conduct is unjustly applauded."
Clearly, Nitobe would not find value in the so-called "Courage" that Hollywood frequently attempts to illustrate in martial arts and other war-related movies of today. Nitobe then goes on to further distinguish between physical courage and moral courage and he implies that moral courage is far superior. For example, he quotes another figure from Japanese history, "To rush into the thick of battle and to be slain in it is easy enough, and the merest churl is equal to the task." The contemporary then continues with a contrasting remark, "…but it is true courage to live when it is right to live, and to die only when it is right to die." This quote is frequently butchered in Hollywood and in other examples of contemporary society leaving only the later portion relating to death. Rarely, if ever, is courage accurately defined as living when it is right to live. Hollywood is clearly much more interested in emphasizing the death notion of this virtue perhaps for dramatic/cinematic purposes.
Nitobe states that Courage was scarcely deemed virtuous in the values system of Bushido, unless that Courage was exercised in the cause of Righteousness. Again, Righteousness was discussed in the preceding article on Rectitude, but can be quickly defined as taking action in accordance with right reason and without guilt. Nitobe is assisted by both Plato and Confucius in defining Courage, but in short, summarizes Courage as "doing what is right." This, Nitobe would identify as moral courage. A modern day business author, Larry Winget, articulates a similar sentiment. He says that whenever you are faced with a choice between two actions, the right decision is always, and without fail, the harder of the two actions. Deciding to do the harder of those actions means to act with Courage and in a righteous fashion. Very few people today consistently chose to do the harder thing. Therefore, few people exhibit Courage.
Plato defines Courage as "the knowledge of things that a man should fear and that he should not fear." This implies that knowledge is an element of Courage and "the spiritual aspect of courage is evidenced by composure – calm presence of mind." Nitobe says, "a truly brave man is ever serene; he is never taken by surprise; nothing ruffles the equanimity of his spirit. In the heart of battle he remains cool." For example, on the Aikido mat, is one who can repeatedly, calmly and competently take full force break falls without sustaining injury exhibiting Courage? Or, does he/she merely have knowledge of how to take break falls effectively?
So, one must ask, when does one possess a calm presence of mind and tranquility? I would offer for consideration that preparation precedes tranquility, for when we know what to expect, it is far easier to remain calm. Wouldn't you agree? Have you ever seen someone on an airplane for the first time be nervous and upset? Why? It’s because they probably aren't prepared for the experience. Courage then, I would content, is a product of knowledge and preparation. When combined, knowledge and preparation create order and certainty. Order and certainty help one demonstrate Courage. This also means that Courage is formulaic and can be acquired. We are not necessarily born courageous.
Courage, one could also argue, may be a relative concept because one only appears courageous in front of others who lack order and certainty due to their of lack of knowledge and preparation. For example, infamous American scientist, Nikola Tesla, must have certainly appeared courageous to the masses as he would "fearlously" walk through giant arcs and bolts of man-made electricity in public demonstrations in New York, Chicago, and Colorado Springs. No doubt, these feats appeared to be "death-defying" in the early 20th century. Tesla certainly must have been perceived as a courageous individual. However, wasn’t Tesla’s "courage" really a product of his mastery of the force of lightning? This then raises the question, If one behaves calmly and with serenity of mind, and no one is around to witness it, is that man indeed courageous? Does the existence of courage require at least two parties: one exhibiting courage and the other lacking courage?
Either way, courage, as presented by Nitobe, is radically different than the courage commonly presented in Hollywood movies about samurai or war and battle. Of course, there are excellent examples where Hollywood accurately depicts courage. One recent example I might site would be "Flash of Genius" with Greg Kinear.
So, is Courage an antiquated virtue? That would depend on your definition of courage. If you define courage in a manner similar to its representation in Hollywood, then I would say "Yes" courage is, overwhelmingly, an antiquated value. However, if you define courage as moral courage, as Nitobe does, then I again would strongly answer in the negative. No. Courage is not an antiquated virtue of Bushido.
What can we take away from this discussion? How can we practice Bushido and demonstrate Courage in our lives right now and today? We can recognize that:
1. Courage isn't necessarily blindly attacking the enemy. True courage is to live when it is right to live;
2. Courage means doing what is right, which also means doing the hard thing; and
3. Courage is a product of knowledge and preparation, and it produces order and certainty, which allows one to demonstrate a calm presence of mind.
When courage is exhibited in its highest capacity, it becomes akin to Benevolence. This virtue we shall address later.
Read Part One
Read Part Two
Wednesday, October 28, 2009
From Iaijutsu to Iaido: The Evolution of a Killing Art to a Spiritual Discipline part 2
more on the development of iai, part 2...
In the hands of Hayashizaki Jinsuke's successors the Muso Shinden Ryu underwent both technical and philosophical changes to a degree that greatly reduced its original combat effectiveness. These changes are further evidence of the social forces working in the daily lives of Edo-period citizens. These forces were reshaping the role of the warrior in that society, and in fact were challenging his very special social position. With this, the Edo-period warrior was reduced to being a warrior in little more than name.
Two of the technical characteristics of the Muso Shinden Ryu method of sword-drawing indicate that its exponents introduced combatively inane mannerisms. The first of these characteristics shows that the Muso Shinden Ryu teachings included techniques of drawing the sword that were not suited to the battlefield. Seiza, a starting posture for many of the techniques of the ryu, was for the classical bushi of pre-Edo times, a position from which he rarely expected to draw his sword. From the point of view of attacking, seiza is a "dead" posture, as is tate-hiza, in which the swordsman sits on his left foot, which is tucked under his buttocks, and raises his right knee. The pre-Edo warrior much preferred iai-goshi, a low-crouching posture in which right knee was raised; this kept him off damp or soiled surfaces and afforded him instant mobility and great speed in drawing his sword to meet an emergency. But seiza is well-suited to an urban, peaceful way of life, and in the Edo period the warrior, as well as other citizens, frequently used that posture. Thus Hayashizaki Jinsuke’s original teachings led to the establishment of the zashiki (seated etiquette) sword-drawing technique, the produce of a peaceful age.
Related to the seiza posture is the second of the technical characteristics of the Muso Shinden Ryu that indicate that its teachings were primarily intended as a spiritual discipline rather than as an effectual combative form. All exponents of this ryu disregard the fact that even the Edo-period warriors, serving in peacetime, wore the daisho. When seated, the manner of wearing the sword in the Muso Shinden Ryu requires that the odachi (long sword) be positioned in the sash with the cutting edge upward, so that the tsuba, or handguard, is in front of the centerline of the body at the height of the navel; the normal manner of inserting the kodachi (short sword) in the same sash, also cutting edge upward, is thus made impossible. Even if it is considered that the odachi had been removed, as was required of warriors when entering or occupying certain structores, the Muso Shinden Ryu is curious, for it does not train the exponent in the use of his kodachi; in reality, even when the odachi was removed a warrior always retained his kodachi.
In the standing posture adopted by exponents of this ryu, again only the odachi is worn; this too does not conform to the warriors' custom of wearing the daisho. But even if this breach of custom is admitted, the position of the odachi, when the wearer assumes a standing posture, quickly leads to an unpardonable breach of etiquette. Because the wearer's scabbard (saya) just abruptly outward behind him as his left side it will inevitably cause saya-ate, the knocking of the scabbard against some person or object as the swordsman moves. Inadvertently committed saya-ate was a dangerous breach of etiquette and was to be scrupulously avoided. For when say-ate occurred, the warriors code of ethics regarded it as an insult answerable by recourse to the blade. Even before the sound of the saya-ate died away the offended man might draw his sword and cut down the offender from the rear. In the fully combative tactics of the Shinkage Ryu (Bishu yagyu) the technique called "saya-ate" was deliberate act that provided the swordsman with the calculated chance to be "insulted" and to cut down his "offender" with a swift and well-directed stroked of the sword.
These and still other technical weaknesses, from the point of view of combat appear in many of the ryu founded during the Edo period. They are in some measure due to the martial ineptitude of the Edo-period warriors, and also to the great influx of commoners who participated in sword-drawing techniques but knew nothing of the technical aspect of wearing and using the daisho. Thus, whatever the original sword-drawing techniques of Hayashizaki Jinsuke may have been, over the course of years the teachings of the Muso Shinden Ryu and many other ryu became truly only spiritual disciplines. The Muso Shinden Ryu summarizes this kind of discipline as "the attainment of a way through which to cultivate a tranquil mind that will serve the possessor under all circumstances." The Muso Shinden Ryu teaches one to have no enemy in mind when training and to discipline oneself daily so that a new level of mental acuity can be achieved. Spiritual training is first and foremost; this is followed by training for general improvement of the body. The teachings of this ryu are an exemplary classical budo discipline and serve to indicate clearly the differences that separate a -jutsu from a -do form.
CLICK HERE to re-read Part One
Published with permission of Iwakabe, Hideki Sensei
In the hands of Hayashizaki Jinsuke's successors the Muso Shinden Ryu underwent both technical and philosophical changes to a degree that greatly reduced its original combat effectiveness. These changes are further evidence of the social forces working in the daily lives of Edo-period citizens. These forces were reshaping the role of the warrior in that society, and in fact were challenging his very special social position. With this, the Edo-period warrior was reduced to being a warrior in little more than name.
Two of the technical characteristics of the Muso Shinden Ryu method of sword-drawing indicate that its exponents introduced combatively inane mannerisms. The first of these characteristics shows that the Muso Shinden Ryu teachings included techniques of drawing the sword that were not suited to the battlefield. Seiza, a starting posture for many of the techniques of the ryu, was for the classical bushi of pre-Edo times, a position from which he rarely expected to draw his sword. From the point of view of attacking, seiza is a "dead" posture, as is tate-hiza, in which the swordsman sits on his left foot, which is tucked under his buttocks, and raises his right knee. The pre-Edo warrior much preferred iai-goshi, a low-crouching posture in which right knee was raised; this kept him off damp or soiled surfaces and afforded him instant mobility and great speed in drawing his sword to meet an emergency. But seiza is well-suited to an urban, peaceful way of life, and in the Edo period the warrior, as well as other citizens, frequently used that posture. Thus Hayashizaki Jinsuke’s original teachings led to the establishment of the zashiki (seated etiquette) sword-drawing technique, the produce of a peaceful age.
Related to the seiza posture is the second of the technical characteristics of the Muso Shinden Ryu that indicate that its teachings were primarily intended as a spiritual discipline rather than as an effectual combative form. All exponents of this ryu disregard the fact that even the Edo-period warriors, serving in peacetime, wore the daisho. When seated, the manner of wearing the sword in the Muso Shinden Ryu requires that the odachi (long sword) be positioned in the sash with the cutting edge upward, so that the tsuba, or handguard, is in front of the centerline of the body at the height of the navel; the normal manner of inserting the kodachi (short sword) in the same sash, also cutting edge upward, is thus made impossible. Even if it is considered that the odachi had been removed, as was required of warriors when entering or occupying certain structores, the Muso Shinden Ryu is curious, for it does not train the exponent in the use of his kodachi; in reality, even when the odachi was removed a warrior always retained his kodachi.
In the standing posture adopted by exponents of this ryu, again only the odachi is worn; this too does not conform to the warriors' custom of wearing the daisho. But even if this breach of custom is admitted, the position of the odachi, when the wearer assumes a standing posture, quickly leads to an unpardonable breach of etiquette. Because the wearer's scabbard (saya) just abruptly outward behind him as his left side it will inevitably cause saya-ate, the knocking of the scabbard against some person or object as the swordsman moves. Inadvertently committed saya-ate was a dangerous breach of etiquette and was to be scrupulously avoided. For when say-ate occurred, the warriors code of ethics regarded it as an insult answerable by recourse to the blade. Even before the sound of the saya-ate died away the offended man might draw his sword and cut down the offender from the rear. In the fully combative tactics of the Shinkage Ryu (Bishu yagyu) the technique called "saya-ate" was deliberate act that provided the swordsman with the calculated chance to be "insulted" and to cut down his "offender" with a swift and well-directed stroked of the sword.
These and still other technical weaknesses, from the point of view of combat appear in many of the ryu founded during the Edo period. They are in some measure due to the martial ineptitude of the Edo-period warriors, and also to the great influx of commoners who participated in sword-drawing techniques but knew nothing of the technical aspect of wearing and using the daisho. Thus, whatever the original sword-drawing techniques of Hayashizaki Jinsuke may have been, over the course of years the teachings of the Muso Shinden Ryu and many other ryu became truly only spiritual disciplines. The Muso Shinden Ryu summarizes this kind of discipline as "the attainment of a way through which to cultivate a tranquil mind that will serve the possessor under all circumstances." The Muso Shinden Ryu teaches one to have no enemy in mind when training and to discipline oneself daily so that a new level of mental acuity can be achieved. Spiritual training is first and foremost; this is followed by training for general improvement of the body. The teachings of this ryu are an exemplary classical budo discipline and serve to indicate clearly the differences that separate a -jutsu from a -do form.
CLICK HERE to re-read Part One
Published with permission of Iwakabe, Hideki Sensei
Tuesday, October 27, 2009
Aikido Q & A with Harris Sensei
Q: Will I hold back an advanced student if we train together?
A: I have often observed in my many years of training, practicing, and teaching Aikido that many beginner or inexperienced Aikido students seem to be intimidated when training with a more advanced student. At seminars and large classes, I often see less experienced students (perhaps subconsciously) pairing themselves with other less experienced students, and conversely more advanced aikidoka pairing themselves with others of the same level. This is very unfortunate, as both beginners and more advanced students can learn from each other.
A less experienced student can learn much from experiencing first-hand how more advanced students move and perform a particular technique. A more advanced student with the proper attitude should have the desire to impart his or her Aikido knowledge and help less experienced students learn and become more proficient. Hopefully every seminar, class or practice of a particular technique is a learning experience for both partners in their role of Nage or Uke.
That being said however, it is true that many more advanced Aikido students (a.k.a. Aikidoka) prefer to practice with others of the same level - especially when practicing more advanced techniques - because then they can do it faster and more advanced method. It is also probably true that many less experienced students feel more comfortable practicing with others of the same level. However, sometimes two inexperienced students trying to understand the mechanics of a technique is like a "blind-man-leading-blind-man" situation. Neither understands clearly the mechanics of the situation without more instruction from the Sensei. A good Sensei will usually overcome this propensity to pair up with others of the same level by periodically asking students to change partners.
So, getting back to the question; a less experienced student should not feel they are holding back a more advanced student by asking them to practice with them. OSensei said, "Failure is the key to success; each mistake teaches us something." He also said, "Progress comes to those who train and train..." Beginner and advanced aikidoka training together is a win-win learning situation for both.
A: I have often observed in my many years of training, practicing, and teaching Aikido that many beginner or inexperienced Aikido students seem to be intimidated when training with a more advanced student. At seminars and large classes, I often see less experienced students (perhaps subconsciously) pairing themselves with other less experienced students, and conversely more advanced aikidoka pairing themselves with others of the same level. This is very unfortunate, as both beginners and more advanced students can learn from each other.
A less experienced student can learn much from experiencing first-hand how more advanced students move and perform a particular technique. A more advanced student with the proper attitude should have the desire to impart his or her Aikido knowledge and help less experienced students learn and become more proficient. Hopefully every seminar, class or practice of a particular technique is a learning experience for both partners in their role of Nage or Uke.
That being said however, it is true that many more advanced Aikido students (a.k.a. Aikidoka) prefer to practice with others of the same level - especially when practicing more advanced techniques - because then they can do it faster and more advanced method. It is also probably true that many less experienced students feel more comfortable practicing with others of the same level. However, sometimes two inexperienced students trying to understand the mechanics of a technique is like a "blind-man-leading-blind-man" situation. Neither understands clearly the mechanics of the situation without more instruction from the Sensei. A good Sensei will usually overcome this propensity to pair up with others of the same level by periodically asking students to change partners.
So, getting back to the question; a less experienced student should not feel they are holding back a more advanced student by asking them to practice with them. OSensei said, "Failure is the key to success; each mistake teaches us something." He also said, "Progress comes to those who train and train..." Beginner and advanced aikidoka training together is a win-win learning situation for both.
Monday, October 26, 2009
Book of Five Rings: Void Book, Part 6 of 6
Without a doubt, The Void Book is the most ambiguous, esoteric, and perhaps the most perplexing of the five books in The Book of 5 Rings. It is also the shortest of all the other books, perhaps because how does one endlessly elaborate on something called the void? Nonetheless, I'll give it a shot.
Knowing what Musashi calls "the void" provides contrast for knowing what "is." Without knowledge, acceptance and awareness of the void Musashi asserts that there is confusion. What "is" and the void (what "is not") produce clear contrast. Not acknowledging the void produces camouflage and ambiguity.
I summarize this book simply as: humility. I believe that it is important that we all be consciously competent of that which we do not know. That is, we should all be humbled by the fact that no matter how hard we train and no matter how much we learn there will always be a vast universe of things we do not know and do not understand. In light of this great ignorance, we will still need to be able to function in this collective sea of the unknown. Therefore, we, as Musashi suggests, should embrace the void, merge with the void, blend with the void, so as to successfully live within the void.
"The Void is where there is nothing or any form. Man cannot have knowledge of the Void because it is nothing. Since we have knowledge of what is, we therefore know what is not. That is the void."
After reading the opening paragraphs of the Void Book several times and trying to wrap my head around this concept, I kept hearing Vizzini from the movie, The Princess Bride in my mind say, "So, clearly I cannot choose the wine in front of me!"
In my opinion, the void is much like the sub-conscious mind. It is not located anywhere because the mind is intangible and we can't see or definitively say the subconscious exists because if we could then it wouldn't be sub-conscious, it would be conscious. But, we can theorize and deduce that the sub-conscious exists, and, therefore, it does exist, at least as far as a discussional device. Similarly, we know what "is not" through contrast and deduction. Acknowledging the void, by deducing its existence, allows us to make subjective decisions that otherwise cannot be made without some kind of arbitrary value. When we can tell what is from what is not, perhaps then we stand the best chance to know ourselves. For now we can, in our own estimation, "definitively" say who we are and who we are not; what we are and what we are not.
"Make sure you base your practice on a wide foundation, and learn a large number of martial arts. This way, you will understand the Void as the Way, and you will see the Way as the Void."
As we train and study a diversity of martial studies, we are constantly humbled and directed to the Void by acknowledging how much we still do not know. In this context, again, conscious ignorance, then, may, in fact, be the true Way. Perhaps another way of expressing this would be to say that at one time we may have been consciously ignorant. That is, we were fully aware of how much we did not know. Perhaps then, knowing the true Way, as Musashi articulates it, means that we become consciously, humbly ignorant, in that we are now aware and in awe of how much we do not know and smile at that fact because it means that we never have to experience boredom, we never are "finished" with our studies.
"The void is good. It contains no evil."
Musashi closes this book with the notion that the void is good and contains no evil. This, of course, is a common human condition: the reconciliation between the known and unknown. Most people fear the unknown and find certainty and safety in the known. But, of course, too much of the known can lead to boredom, which many people call a prison. Others choose to embrace the unknown as freedom and find comfort in the variety the unknown brings to life. I believe Musashi is asking us to reconsider our dependence on the known and to embrace the unknown – the void – as a source of freedom. The Void is freedom. The Void is good. The Way is good. From Musashi's perspective, the Way and the Void are two sides of the same coin. And, to know the Way and not to know the Void, is to not really know the Way at all.
Is your head spinning yet? Mine is. I've got to sit down now.
If you enjoyed these articles on The Book of Five Rings, then you'd probably also enjoy our new series on the classic Japanese text Bushido: The Soul of Japan.
Read Part One - Introduction to Book of 5 Rings
Read Part Two - The Earth Book
Read Part Three - The Water Book
Read Part Four - The Fire Book
Read Part Five - The Wind Book
Read Part Six - The Void Book
Ready to Try Aikido?
Knowing what Musashi calls "the void" provides contrast for knowing what "is." Without knowledge, acceptance and awareness of the void Musashi asserts that there is confusion. What "is" and the void (what "is not") produce clear contrast. Not acknowledging the void produces camouflage and ambiguity.
I summarize this book simply as: humility. I believe that it is important that we all be consciously competent of that which we do not know. That is, we should all be humbled by the fact that no matter how hard we train and no matter how much we learn there will always be a vast universe of things we do not know and do not understand. In light of this great ignorance, we will still need to be able to function in this collective sea of the unknown. Therefore, we, as Musashi suggests, should embrace the void, merge with the void, blend with the void, so as to successfully live within the void.
"The Void is where there is nothing or any form. Man cannot have knowledge of the Void because it is nothing. Since we have knowledge of what is, we therefore know what is not. That is the void."
After reading the opening paragraphs of the Void Book several times and trying to wrap my head around this concept, I kept hearing Vizzini from the movie, The Princess Bride in my mind say, "So, clearly I cannot choose the wine in front of me!"
In my opinion, the void is much like the sub-conscious mind. It is not located anywhere because the mind is intangible and we can't see or definitively say the subconscious exists because if we could then it wouldn't be sub-conscious, it would be conscious. But, we can theorize and deduce that the sub-conscious exists, and, therefore, it does exist, at least as far as a discussional device. Similarly, we know what "is not" through contrast and deduction. Acknowledging the void, by deducing its existence, allows us to make subjective decisions that otherwise cannot be made without some kind of arbitrary value. When we can tell what is from what is not, perhaps then we stand the best chance to know ourselves. For now we can, in our own estimation, "definitively" say who we are and who we are not; what we are and what we are not.
"Make sure you base your practice on a wide foundation, and learn a large number of martial arts. This way, you will understand the Void as the Way, and you will see the Way as the Void."
As we train and study a diversity of martial studies, we are constantly humbled and directed to the Void by acknowledging how much we still do not know. In this context, again, conscious ignorance, then, may, in fact, be the true Way. Perhaps another way of expressing this would be to say that at one time we may have been consciously ignorant. That is, we were fully aware of how much we did not know. Perhaps then, knowing the true Way, as Musashi articulates it, means that we become consciously, humbly ignorant, in that we are now aware and in awe of how much we do not know and smile at that fact because it means that we never have to experience boredom, we never are "finished" with our studies.
"The void is good. It contains no evil."
Musashi closes this book with the notion that the void is good and contains no evil. This, of course, is a common human condition: the reconciliation between the known and unknown. Most people fear the unknown and find certainty and safety in the known. But, of course, too much of the known can lead to boredom, which many people call a prison. Others choose to embrace the unknown as freedom and find comfort in the variety the unknown brings to life. I believe Musashi is asking us to reconsider our dependence on the known and to embrace the unknown – the void – as a source of freedom. The Void is freedom. The Void is good. The Way is good. From Musashi's perspective, the Way and the Void are two sides of the same coin. And, to know the Way and not to know the Void, is to not really know the Way at all.
Is your head spinning yet? Mine is. I've got to sit down now.
If you enjoyed these articles on The Book of Five Rings, then you'd probably also enjoy our new series on the classic Japanese text Bushido: The Soul of Japan.
Read Part One - Introduction to Book of 5 Rings
Read Part Two - The Earth Book
Read Part Three - The Water Book
Read Part Four - The Fire Book
Read Part Five - The Wind Book
Read Part Six - The Void Book
Ready to Try Aikido?
Tuesday, October 20, 2009
Japanese Kamon: A Family Crest
Japanese family crests, or Kamon, came into existence around the 12th century. Coincidentally, this was about the same time as the advent of European Coat of Arms. In Japanese, 'Ka' is one of several words connoting family and 'mon' is short for 'monshou' or crest. Japanese kamon have gone through significant evolution in terms of their use and social significance over the centuries. Initially, only members of the imperial family, lords, and samurai were permitted use of kamon. Between the 1300s and 1500s kamon began to take on a more military context and were used as battle insignia, again, much like the European Coat of Arms. However, by the time of the peaceful Edo period (1600-1868) use of kamon was widespread and evolved to civilian use.
Whereas European heraldry tended to be elaborate and utilize more violent and predatory animals such as lions and eagles, Japanese kamon were usually monochromatic and would commonly utilize less pretentious elements of nature such as flowers, plants, fish and insects. The choice of these kinds of symbols may perhaps suggest thought-provoking differences between Japanese and European cultures at the time.
Today there are more than 10,000 different kamon in use today in Japan based on about 350 basic patterns. Typically, use of a family kamon is passed from father to first-born son. Second and third-born sons would commonly modify the family emblem to one degree or another. Kamon were/are frequently displayed on the center of the back of a kimono garment, just below the nape of the neck. Kamon are also frequently displayed on lanterns outside of residences.
Whereas European heraldry tended to be elaborate and utilize more violent and predatory animals such as lions and eagles, Japanese kamon were usually monochromatic and would commonly utilize less pretentious elements of nature such as flowers, plants, fish and insects. The choice of these kinds of symbols may perhaps suggest thought-provoking differences between Japanese and European cultures at the time.
Today there are more than 10,000 different kamon in use today in Japan based on about 350 basic patterns. Typically, use of a family kamon is passed from father to first-born son. Second and third-born sons would commonly modify the family emblem to one degree or another. Kamon were/are frequently displayed on the center of the back of a kimono garment, just below the nape of the neck. Kamon are also frequently displayed on lanterns outside of residences.
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