Something remarkable happened in the world of Serrada today. There was a gathering of historic proportions, and everybody got along! Those who were there will testify to what transpired, and hopefully that energy will touch those who could not attend.
Friday, March 3, was the 15th anniversary of grandmaster Angel Cabales’ passing. To commemorate this Anthony Davis organized and hosted a seminar up in Sacramento by Darren Tibon and his organization, Angel’s Disciples, who put on an exciting demo followed by a short but excellent training session.
Through most of this event four of Angel’s old students were present: Darren Tibon, Jerry Preciado, Anthony Davis and myself. I hadn’t seen Jerry during the past 15 years and at first didn’t even recognize the muscular figure from the skinny kid I’d known. Also present were Angel’s widow Tess and Angel’s two youngest, Marigel and Gelmar, who are children no more.
If that had been the extent of things, it would have been a good event. I had a handful of students present, as did Anthony, and Darren had enough students to provide assistance to every pair of attendees training in the room. Elrik Jundis showed up from the Bay Area with several associates. He and I touched sticks years ago and it was great to see him again.
There were some folks missing, though, that we’d hoped to see, and so it was electrifying when during Anthony’s closing remarks in walked Carlito Bonjoc, Ronnie Saturno and Wade Williams! (An apology to any whose name I cannot recall, particularly this late at night!)
Then something completely unexpected happened. As we were finishing greetings with this group, in walked Vincent Cabales with a contingent that included his son and a number of guros who train with him. For a second there was a huge pause as the significance of his appearance sank in, but whatever tension existed dissipated almost instantly with the recognition of the historic perspective of what was taking place. As Vincent stated simply and eloquently, he was there to honor his father, and we in turn were all honored that he joined us in this event.
This was probably the most significant gathering of the Serrada clan since Angel passed away. The wake after his funeral and the tournament held in his honor shortly thereafter also brought a lot of people together, but back then there was a lot of tension in the air, uncertainty as to the directions the art and its various proponents would take. Time has passed and people have grown in their lives and careers, raising families and expanding the Serrada lineage through their diligence and hard work. The energy now was quite different, a coming together from volition rather than the confusion of necessity.
What was apparent to me, and I believe to all who were there, was that for all the alleged animosity that has existed between people, there is a love for Serrada, and for Angel, that transcends all the conflicts of personality. All I felt in that room was a genuine spirit of aloha, as people who hadn’t spoken directly in years broke the ice with warm greetings. There were so many people in that room with whom I haven’t trained in years, it is hard to even recall all of them, but there was a glow of recognition in familiar faces.
I sincerely hope that this proves to be a watershed in improved relationships between the various Serrada groups and associations. We truly share more in common than whatever differences have been perceived. I recall the words of Gilbert Tenio at Angel’s wake, where he talked about the arts as a way to survive adversity through unity. Though the old manongs didn’t always see eye to eye either, they knew that there were common interests that transcended their differences. I think such understanding is finally settling into the generation that has succeeded them; this is a blessing to us all.
Here is a belated link to some photos I just received from a student who was there.
Sunday, March 05, 2006
Monday, February 27, 2006
Quick Update on Sonny
I just heard a short while ago that Sonny was out of a coma and conscious, so I tried reaching him at the hospital in case he could answer the phone. I didn't get an answer but I did speak to the nursing station on his floor and they say he's doing well. Thanks for all those who are thinking of him. I'll keep posting his progress here.
Sunday, February 26, 2006
Khalid’s Seminar
This weekend Khalid Khan did a seminar in Oakland at Kenny Pitt’s school on Lakeshore Blvd., sponsored through the auspices of Professor James Hundon who teaches an innovative program there which combines Escrima with Wally Jay’s Small Circle Jujitsu and other arts.
In some ways this event reminded me of the White Tiger seminar Angel Cabales did in Oakland back in 1967. Both events were well attended by students from the school, lending an air of friendly camaraderie to the proceedings. Also reminiscent was attendance by some of the more senior instructors in this art, bringing together several generations of practitioners.
I was invited by Master Khan to assist in his class, and as it opened there were also half a dozen second generation instructors under Khalid. The treat for me was when early into the program two of our seniors from Stockton showed up.
Ronnie Saturno and Carlito Bonjoc are two of my role models in Serrada. I’ve known Carlito since my earliest training in this art back in 1985, and his skills and knowledge never cease to amaze me. Ronnie is someone I’ve had the privilege to meet far too infrequently, and his style and movement impressed me once again, reminding me how explosive and deadly this art can be. Both these men are articulate, intelligent teachers, and I got to feel like a beginner in the art once more as I let myself soak in what they have to offer.
What amazed me after I got home was realizing the cumulative experience there was of Angel’s students in that room today. Ronnie has at least 27 years in Serrada, Carlito about 25. I have 20 years myself with Khalid just a couple of years behind. All together we represented nearly 90 years of training in Serrada. Time spent like this matures the basic skills, nurturing each person through experience.
It was just as nice to see the younger generation of instructors starting to step up and show what they can do; Khalid’s top assistants have some nice skills. There is a lot of talent in this art, and it’s good to see it spreading. Today there was no politics, just the art itself, enjoyed for its own sake. I could feel Angel smiling in that room.
In some ways this event reminded me of the White Tiger seminar Angel Cabales did in Oakland back in 1967. Both events were well attended by students from the school, lending an air of friendly camaraderie to the proceedings. Also reminiscent was attendance by some of the more senior instructors in this art, bringing together several generations of practitioners.
I was invited by Master Khan to assist in his class, and as it opened there were also half a dozen second generation instructors under Khalid. The treat for me was when early into the program two of our seniors from Stockton showed up.
Ronnie Saturno and Carlito Bonjoc are two of my role models in Serrada. I’ve known Carlito since my earliest training in this art back in 1985, and his skills and knowledge never cease to amaze me. Ronnie is someone I’ve had the privilege to meet far too infrequently, and his style and movement impressed me once again, reminding me how explosive and deadly this art can be. Both these men are articulate, intelligent teachers, and I got to feel like a beginner in the art once more as I let myself soak in what they have to offer.
What amazed me after I got home was realizing the cumulative experience there was of Angel’s students in that room today. Ronnie has at least 27 years in Serrada, Carlito about 25. I have 20 years myself with Khalid just a couple of years behind. All together we represented nearly 90 years of training in Serrada. Time spent like this matures the basic skills, nurturing each person through experience.
It was just as nice to see the younger generation of instructors starting to step up and show what they can do; Khalid’s top assistants have some nice skills. There is a lot of talent in this art, and it’s good to see it spreading. Today there was no politics, just the art itself, enjoyed for its own sake. I could feel Angel smiling in that room.
Prayers for Sonny
Sonny Umpad has always been one of my favorite people in the martial arts. He’s always been generous with his knowledge, and as one of the most creative people I’ve ever known, he’s expanded the skill set for many of us with his innovative tactics. In particular his centerline roll for double sticks has had an impact, not just by combining concepts from Wing Chun and Escrima but expanding the effective elements within both arts by integrating FMA stick work with simple dynamics from Wing Chun’s punching.
This past Wednesday Sonny had a stroke. A student got him to the hospital, where doctors found a tumor in his brain. To save his life they performed surgery. He’s not out of the woods yet, with other complications still to be addressed, so right now he can use all the prayers and best wishes we can send him.
This past Wednesday Sonny had a stroke. A student got him to the hospital, where doctors found a tumor in his brain. To save his life they performed surgery. He’s not out of the woods yet, with other complications still to be addressed, so right now he can use all the prayers and best wishes we can send him.
Friday, February 17, 2006
Buddha and the Tiger
One day the Buddha was sitting under his favorite tree, teaching to those assembled as was his wont, when a tiger entered the park. People began fleeing.
One monk looked over at the person running alongside him and was astonished to see it was the Buddha himself. He asked "Why are you running like the rest of us, when you teach that reality is an illusion?"
Replied the Buddha "Sometimes you must treat a tiger as a tiger."
One monk looked over at the person running alongside him and was astonished to see it was the Buddha himself. He asked "Why are you running like the rest of us, when you teach that reality is an illusion?"
Replied the Buddha "Sometimes you must treat a tiger as a tiger."
Wednesday, February 15, 2006
Perception and Reality
So, back to Consciousness 101. Whoa! You thought this was supposed to be an Escrima blog! Y’know, how many ways to do an inside block with a high pass to the outside then a takedown with a pizza. Oops, make that pizzazz.
Yup. At some point I’ll be doing that writing, but if you look at lots of my previous posts, I think understanding our mental processes is the key to fine tuning our physical ones.
A tip of the hat here to Portascat’s blog, which talks about Dick Cheney’s shooting incident in relation to gun safety practices. Real world events demonstrate points about the mind/body connection, so it’s all the Veep’s fault that you’re reading this! ;)
******************************************************
When the Indian monk Ta Mo began incorporating physical movement into the Shaolin monastery, it was from understanding how the mind and body interact. Discipline in movement allows discipline in stillness, controlled motion the flip side of the non-movement of sitting in meditation. Integration means the inner and outer focus become melded into a single unified expression of one’s self. The conscious mind pays attention to the unconscious mind, together performing more effectively when not struggling for control.
Currently I’m reading “Animals In Translation” by Temple Grandin, a highly regarded professor and consultant on animal behavior. She’s also autistic, and her research into how autistic people see the world has led her to insights about how both people and animals perceive the world. Animals tend to live through their senses. They see, hear, smell. People create schemas, which are thoughts about how the world should be, and so we frequently operate through assumptions. These can be valuable shortcuts created through heuristic learning processes in which we build expectations based on previous experience.
A classic example of a schema is a pencil dropped 99 times will be expected to also fall to the floor when dropped the 100th time. However, there are flaws when we get trapped in seeing the big picture without identifying the details.
In her work Grandin refers to the book “Inattentional Blindness”, the premise of which is that people do not consciously see something unless they are actively paying attention to it. She cites a NASA study where commercial airline pilots were asked to practice routine landings on a simulator. At some point another jetliner is placed across the landing runway, and 25% of the pilots failed to see it! Untrained people of course saw the plane, but the professionals were flying on autopilot, so to speak, even though they were in manual control of the plane, in touch with the control tower, etc.
In the real world, this has consequences, which returns us to the news. Cheney is an experienced hunter, but perhaps he got too complacent about reviewing basic rules. He neglected to get a bird stamp, which in itself is a small discrepancy but perhaps symptomatic of those sort of breeches of consciousness that allow error to seep in. It’s worse if it was a deliberate act of omission because that could invite further relaxation of attentiveness and oversight.
As a kid I read (and reread many times) “Fate Is The Hunter” about early aviation. Plane crashes attributable to pilot error usually don’t just happen randomly. There are often a series of errors accumulating to a tipping point. Responsibility asks a lot of us; hence the title of the book. Entropy can be defined as an “inevitable and steady deterioration of a system.” It takes energy to overcome entropy, the opposite of complacency. As my old Kenpo teacher used to say, “Things always change and so there is no standing still. You are either moving forward or slipping back.”
W.B. Yeats expressed this well in The Second Coming with the lines “Things fall apart; the centre cannot hold; Mere anarchy is loosed upon the world.”
Martial arts are about mastering chaos. We control others from our own center. How can we shape an external reality except by ownership of what is inherently within our purview? If we do not control ourselves, then we are out of control, or within the control of another. Either way, it is not our best option.
As training expands our options, it deepens our perception into them. Simply put, we can see more. Too much information can cause paralysis – one attempts to make sense of an overwhelming amount of data. Heuristic learning organizes our material, but we need to constantly monitor data against the template of expectations. That way, at least we can see when there is a deviation, allowing us to kick into greater focus so that we can modify our response appropriately.
Like the saying says, “The difference between theory and practice is, in theory there is no difference.” Think about it.
I call Escrima “the art of making adjustments” because done well it flows relationally. Through sensitivity we can discern changes to basic patterns of movement, thereby adapting fresh responses. Going pattern to pattern is a lattice through which we weave, a template to engage our opponent, not rigid rules that constrain us.
An attack is a question: “Can you deal with this?” Our reaction is both an answer and a counter-question. Movement becomes dialog. Talking in clichés can be boring and repetitive, but when conversation flows, it can become illuminative, enlightening and entertaining. It is in the nature of unpredictability that we discover what is new, hence interesting. We can use common words (or movements) to create our expression.
So where do we find the balance between control and freedom, and how can it be possible for dialog, whether verbal or martial arts, to resolve this polarity? Like the old adage, one must know the rules to be able to break them. If you don’t know them, it is just anarchy. How can you take credit for doing what you don’t know? On the other hand, progress is rarely achieved without stepping into the unknown. Knowledge is just our base, what we’ve already covered and examined. It is the platform from which to jump into a sea of possibilities, and there to support us when we need to find our bearings again.
Examining this stuff is like layers of an onion, always something to peel off. It is not easy keeping the mind engaged on the bigger picture, which puts us in situations where things happen. When Cheney shot Whittington he didn’t see the forest for the trees, being so locked in on his sight picture that he lost track of the environment. Tunnel vision like this is also common under stress such as in a self-defense situation. In both cases it’s too much attention to the wrong thing, focus being placed on success in a single frame, forgetting the larger context.
Temple Grandin points out that it is our animal nature which perceives things as they are, directly through the senses. Use your mind to direct your actions well, but let the actions flow from that sense of awareness.
Sigh … and this was going to be a short post!
Yup. At some point I’ll be doing that writing, but if you look at lots of my previous posts, I think understanding our mental processes is the key to fine tuning our physical ones.
A tip of the hat here to Portascat’s blog, which talks about Dick Cheney’s shooting incident in relation to gun safety practices. Real world events demonstrate points about the mind/body connection, so it’s all the Veep’s fault that you’re reading this! ;)
******************************************************
When the Indian monk Ta Mo began incorporating physical movement into the Shaolin monastery, it was from understanding how the mind and body interact. Discipline in movement allows discipline in stillness, controlled motion the flip side of the non-movement of sitting in meditation. Integration means the inner and outer focus become melded into a single unified expression of one’s self. The conscious mind pays attention to the unconscious mind, together performing more effectively when not struggling for control.
Currently I’m reading “Animals In Translation” by Temple Grandin, a highly regarded professor and consultant on animal behavior. She’s also autistic, and her research into how autistic people see the world has led her to insights about how both people and animals perceive the world. Animals tend to live through their senses. They see, hear, smell. People create schemas, which are thoughts about how the world should be, and so we frequently operate through assumptions. These can be valuable shortcuts created through heuristic learning processes in which we build expectations based on previous experience.
A classic example of a schema is a pencil dropped 99 times will be expected to also fall to the floor when dropped the 100th time. However, there are flaws when we get trapped in seeing the big picture without identifying the details.
In her work Grandin refers to the book “Inattentional Blindness”, the premise of which is that people do not consciously see something unless they are actively paying attention to it. She cites a NASA study where commercial airline pilots were asked to practice routine landings on a simulator. At some point another jetliner is placed across the landing runway, and 25% of the pilots failed to see it! Untrained people of course saw the plane, but the professionals were flying on autopilot, so to speak, even though they were in manual control of the plane, in touch with the control tower, etc.
In the real world, this has consequences, which returns us to the news. Cheney is an experienced hunter, but perhaps he got too complacent about reviewing basic rules. He neglected to get a bird stamp, which in itself is a small discrepancy but perhaps symptomatic of those sort of breeches of consciousness that allow error to seep in. It’s worse if it was a deliberate act of omission because that could invite further relaxation of attentiveness and oversight.
As a kid I read (and reread many times) “Fate Is The Hunter” about early aviation. Plane crashes attributable to pilot error usually don’t just happen randomly. There are often a series of errors accumulating to a tipping point. Responsibility asks a lot of us; hence the title of the book. Entropy can be defined as an “inevitable and steady deterioration of a system.” It takes energy to overcome entropy, the opposite of complacency. As my old Kenpo teacher used to say, “Things always change and so there is no standing still. You are either moving forward or slipping back.”
W.B. Yeats expressed this well in The Second Coming with the lines “Things fall apart; the centre cannot hold; Mere anarchy is loosed upon the world.”
Martial arts are about mastering chaos. We control others from our own center. How can we shape an external reality except by ownership of what is inherently within our purview? If we do not control ourselves, then we are out of control, or within the control of another. Either way, it is not our best option.
As training expands our options, it deepens our perception into them. Simply put, we can see more. Too much information can cause paralysis – one attempts to make sense of an overwhelming amount of data. Heuristic learning organizes our material, but we need to constantly monitor data against the template of expectations. That way, at least we can see when there is a deviation, allowing us to kick into greater focus so that we can modify our response appropriately.
Like the saying says, “The difference between theory and practice is, in theory there is no difference.” Think about it.
I call Escrima “the art of making adjustments” because done well it flows relationally. Through sensitivity we can discern changes to basic patterns of movement, thereby adapting fresh responses. Going pattern to pattern is a lattice through which we weave, a template to engage our opponent, not rigid rules that constrain us.
An attack is a question: “Can you deal with this?” Our reaction is both an answer and a counter-question. Movement becomes dialog. Talking in clichés can be boring and repetitive, but when conversation flows, it can become illuminative, enlightening and entertaining. It is in the nature of unpredictability that we discover what is new, hence interesting. We can use common words (or movements) to create our expression.
So where do we find the balance between control and freedom, and how can it be possible for dialog, whether verbal or martial arts, to resolve this polarity? Like the old adage, one must know the rules to be able to break them. If you don’t know them, it is just anarchy. How can you take credit for doing what you don’t know? On the other hand, progress is rarely achieved without stepping into the unknown. Knowledge is just our base, what we’ve already covered and examined. It is the platform from which to jump into a sea of possibilities, and there to support us when we need to find our bearings again.
Examining this stuff is like layers of an onion, always something to peel off. It is not easy keeping the mind engaged on the bigger picture, which puts us in situations where things happen. When Cheney shot Whittington he didn’t see the forest for the trees, being so locked in on his sight picture that he lost track of the environment. Tunnel vision like this is also common under stress such as in a self-defense situation. In both cases it’s too much attention to the wrong thing, focus being placed on success in a single frame, forgetting the larger context.
Temple Grandin points out that it is our animal nature which perceives things as they are, directly through the senses. Use your mind to direct your actions well, but let the actions flow from that sense of awareness.
Sigh … and this was going to be a short post!
Monday, February 13, 2006
Mastering Mastery
I once read a quote by Aikido founder Morihei Ueshiba which said in essence that anyone who is reasonably competent can learn to wave their hands around in the air, but the true nature of the art was to be found in meditation.
I later read an interview by Kenpo grandmaster Ed Parker, in which he stated the main purpose of training was to learn to keep one’s hands out of each others’ way so they wouldn’t hit each other by accident; after all, that could be as injurious as being hit by an opponent. When then asked if he’d ever used his art for self-defense, he said that he’d experienced three attempted muggings in Los Angeles, and each time he’d simply hit the person before he could think, dropping them immediately. Each time his subsequent reaction was “Darn! I could have done something fancy!”
I’ve often quipped that for all my years in martial arts, the best examples of how they’ve saved my life have been knowing how to fall, or in one case crossing an icy parking lot while carrying skis, how not to fall by using a strong stance. Other times I’ve used awareness to avoid trouble, sensing something subliminally and only recognizing the nature of the danger after it had been avoided. I’ve had very few fights. Most of those have been coming to the aid of others, and the actual skirmishes (a word related in origins to Escrima) were very brief within the context of each incident.
Finally, I-Chuan practitioners were reputed to be devastating fighters, yet their main focus of training was standing in universal post.
So what is going on here? Why do we train endless hours in countless techniques? Certainly we gain skill in waving our hands in the air, learning not to hit ourselves, but then we’ve also trained alongside others who practice diligently and are technically competent but who are not particularly effective in using what they know.
It’s that inner game.
My two previous posts about dog incidents were to illustrate presence of mind under duress, which I believe are key attributes to cultivate through martial art training. Those incidents had nothing to do with the external art, but everything to do with the essence of being present and aware within the moment.
GM Anthony Davis once did an article back in the 80’s about mastering Escrima. Some folks took offense that he was claiming to be a master, when in fact he was still training under Angel Cabales in the 12 angles at that time. Anthony pointed out that he had never claimed in that piece to be a master of the art, but that “mastering” is a process of working towards mastery. At the time I thought his explanation a bit disingenuous, but in fact he hit the nail on the head.
Mastery can be defined as “possession of consummate skill” or as “full command of a subject of study.” Yes, there is also the meaning of “status of master or ruler,” which is based on social roles, but the first two definitions are based solely on competency within the individual. One can have status as a leader without having self-mastery, and so we are free to examine the actual process of inner development separate from issues of hierarchy.
Within Anthony Davis’ use of the term, we spend our whole lives mastering skills, something GM Angel Cabales exemplified. As skillful and accomplished as he was, he was continually refining his art and himself, a process that I believe one can see in the lineage of his students. Those who trained with him earlier have a robust aggressiveness, reflecting Angel’s energy at that time. Later students show a more refined approach to the art. This is not to say earlier trainees lack understanding or that later ones are not as strong, but rather that as students take on qualities from their teacher, this shows how Angel’s approach to teaching his art evolved over time from a more direct experiential method to one that became more analytic in attention to fine details.
I really saw this process of inner development the last time I worked out with Angel in 1991. I took a group of students to meet him; Angel was already very ill at this time. He sat in a chair, looking tired, but as we went through angles for him he became more and more animated, finally insisting we help him to his feet. He turned to one guy, a burly Filipino who was ex-military, with high skills in Kenpo and Wing Chun, and told the guy to punch him. Mack looked at me questioningly, and knowing Angel, I said “Do what he says.” Mack threw a punch and Angel did a takedown.
Now here was a guy (Angel) who could barely stand - we’d had to help him out is his chair – dropping a guy half his age and twice his size, using a technique I’d seen countless times in a way I’d never seen before. Generally in the past he would step into his opponent, ducking under their arm and pinning their centerline with his outstretched arm while trapping their knee with his. In doing this, he would often visibly adjust his own balance to catch their weight. This time he couldn’t move that much. He couldn’t make adjustments when merely standing was so difficult. Instead, he simply did the technique with perfect alignment, and with a light touch sent Mack crashing to the ground.
Angel proceeded to demonstrate this technique on each of us (six in all) and the power he manifested was undeniable. He reminded me that day of a candle whose flame may flare brighter just before going out. I knew in that moment that we were witnessing the culmination of his art. He had perfected it, and his life’s work was done. He died 22 days later.
If a legendary fighter and teacher can constantly investigate the nature of his art, continually refining it to ever-higher levels, that is the best example we can take for our own development within the art. It is not about rank, because that is a social construct. It is something awarded to us by others as a form of recognition, and it can be taken away or disputed, all part of the politics of the arts. On the other hand, our knowledge is something we own, a part of ourselves. It is in taking ownership of our own self that we become powerful. External mastery is only the shell, but it is up to us to embody the meaning.
I recently heard from a former student who called to discuss a rank he’d been awarded in another system. He didn’t feel he was ready for it. If he cannot feel it, then there is still work to be done. I pointed out that it is not a lack of knowledge that holds him back, because he’s trained a long time with competent teachers, but it is a lack of belief that keeps him from accepting his own competency.
I reminded him of something I was told long ago by John Wong, my late Tai Chi teacher. Some people don’t want to accept responsibility for their own growth, and so remain students forever. Sometimes they become dojo gypsies, traveling from school to school in search of that elusive missing “something.” This has nothing to do with technical ability, because sometimes these people can be very good, though it seems the longer they search for answers outside themselves, the less competent they become as self-doubt drives down their confidence.
The most common phrase in the Filipino martial arts (FMA) is “we have that too,” and really that can be extended to almost all the arts. There are only so many basic techniques, though many ways of expressing them. One can learn how to do an arm bar, for example, from many teachers, and each might add a flavor or nuance to the technique, but until you are able to do an arm bar that expresses who you are, you have not internalized the experience and made it your own.
That is mastery. Work on mastering it!
I later read an interview by Kenpo grandmaster Ed Parker, in which he stated the main purpose of training was to learn to keep one’s hands out of each others’ way so they wouldn’t hit each other by accident; after all, that could be as injurious as being hit by an opponent. When then asked if he’d ever used his art for self-defense, he said that he’d experienced three attempted muggings in Los Angeles, and each time he’d simply hit the person before he could think, dropping them immediately. Each time his subsequent reaction was “Darn! I could have done something fancy!”
I’ve often quipped that for all my years in martial arts, the best examples of how they’ve saved my life have been knowing how to fall, or in one case crossing an icy parking lot while carrying skis, how not to fall by using a strong stance. Other times I’ve used awareness to avoid trouble, sensing something subliminally and only recognizing the nature of the danger after it had been avoided. I’ve had very few fights. Most of those have been coming to the aid of others, and the actual skirmishes (a word related in origins to Escrima) were very brief within the context of each incident.
Finally, I-Chuan practitioners were reputed to be devastating fighters, yet their main focus of training was standing in universal post.
So what is going on here? Why do we train endless hours in countless techniques? Certainly we gain skill in waving our hands in the air, learning not to hit ourselves, but then we’ve also trained alongside others who practice diligently and are technically competent but who are not particularly effective in using what they know.
It’s that inner game.
My two previous posts about dog incidents were to illustrate presence of mind under duress, which I believe are key attributes to cultivate through martial art training. Those incidents had nothing to do with the external art, but everything to do with the essence of being present and aware within the moment.
GM Anthony Davis once did an article back in the 80’s about mastering Escrima. Some folks took offense that he was claiming to be a master, when in fact he was still training under Angel Cabales in the 12 angles at that time. Anthony pointed out that he had never claimed in that piece to be a master of the art, but that “mastering” is a process of working towards mastery. At the time I thought his explanation a bit disingenuous, but in fact he hit the nail on the head.
Mastery can be defined as “possession of consummate skill” or as “full command of a subject of study.” Yes, there is also the meaning of “status of master or ruler,” which is based on social roles, but the first two definitions are based solely on competency within the individual. One can have status as a leader without having self-mastery, and so we are free to examine the actual process of inner development separate from issues of hierarchy.
Within Anthony Davis’ use of the term, we spend our whole lives mastering skills, something GM Angel Cabales exemplified. As skillful and accomplished as he was, he was continually refining his art and himself, a process that I believe one can see in the lineage of his students. Those who trained with him earlier have a robust aggressiveness, reflecting Angel’s energy at that time. Later students show a more refined approach to the art. This is not to say earlier trainees lack understanding or that later ones are not as strong, but rather that as students take on qualities from their teacher, this shows how Angel’s approach to teaching his art evolved over time from a more direct experiential method to one that became more analytic in attention to fine details.
I really saw this process of inner development the last time I worked out with Angel in 1991. I took a group of students to meet him; Angel was already very ill at this time. He sat in a chair, looking tired, but as we went through angles for him he became more and more animated, finally insisting we help him to his feet. He turned to one guy, a burly Filipino who was ex-military, with high skills in Kenpo and Wing Chun, and told the guy to punch him. Mack looked at me questioningly, and knowing Angel, I said “Do what he says.” Mack threw a punch and Angel did a takedown.
Now here was a guy (Angel) who could barely stand - we’d had to help him out is his chair – dropping a guy half his age and twice his size, using a technique I’d seen countless times in a way I’d never seen before. Generally in the past he would step into his opponent, ducking under their arm and pinning their centerline with his outstretched arm while trapping their knee with his. In doing this, he would often visibly adjust his own balance to catch their weight. This time he couldn’t move that much. He couldn’t make adjustments when merely standing was so difficult. Instead, he simply did the technique with perfect alignment, and with a light touch sent Mack crashing to the ground.
Angel proceeded to demonstrate this technique on each of us (six in all) and the power he manifested was undeniable. He reminded me that day of a candle whose flame may flare brighter just before going out. I knew in that moment that we were witnessing the culmination of his art. He had perfected it, and his life’s work was done. He died 22 days later.
If a legendary fighter and teacher can constantly investigate the nature of his art, continually refining it to ever-higher levels, that is the best example we can take for our own development within the art. It is not about rank, because that is a social construct. It is something awarded to us by others as a form of recognition, and it can be taken away or disputed, all part of the politics of the arts. On the other hand, our knowledge is something we own, a part of ourselves. It is in taking ownership of our own self that we become powerful. External mastery is only the shell, but it is up to us to embody the meaning.
I recently heard from a former student who called to discuss a rank he’d been awarded in another system. He didn’t feel he was ready for it. If he cannot feel it, then there is still work to be done. I pointed out that it is not a lack of knowledge that holds him back, because he’s trained a long time with competent teachers, but it is a lack of belief that keeps him from accepting his own competency.
I reminded him of something I was told long ago by John Wong, my late Tai Chi teacher. Some people don’t want to accept responsibility for their own growth, and so remain students forever. Sometimes they become dojo gypsies, traveling from school to school in search of that elusive missing “something.” This has nothing to do with technical ability, because sometimes these people can be very good, though it seems the longer they search for answers outside themselves, the less competent they become as self-doubt drives down their confidence.
The most common phrase in the Filipino martial arts (FMA) is “we have that too,” and really that can be extended to almost all the arts. There are only so many basic techniques, though many ways of expressing them. One can learn how to do an arm bar, for example, from many teachers, and each might add a flavor or nuance to the technique, but until you are able to do an arm bar that expresses who you are, you have not internalized the experience and made it your own.
That is mastery. Work on mastering it!
Sunday, February 12, 2006
Presence
The last story of my dog’s near fatal moment brings back another experience from my past. This took place almost 25 years ago, but there are some parallels.
Back then I had two Alaskan Malamutes, big strong sled dogs from my sister’s kennels. Like now, I had one old dog and a young one. It’s a good thing to have an old dog help socialize a pup, both to being a dog and how to relate to us as humans. As much as we may try to be alpha and dominate the pack, dogs still recognize our innate difference. They may accept their place as subordinate to us, but we still speak different languages at a superficial level through different bodies and minds.
There's another precognition in this parallel, that I’ve recently caught myself calling my young dog by the name of the young one back then. I suppose it’s that I see a similar bright and independent spirit in their behaviors. My name-calling preceded the choking incident and I noted it as unusual when it happened. I’m only now seeing how a pattern in my life is repeating itself, and wondering how it might be that we relive even seemingly random accidental events because we manifest a need for learning through experience. Down the rabbit hole ….
Anyway, back then my dogs had regular collars for their tags, and choke chains for being on leash. I left the chains on because I didn’t see any reason to take them off. Wrong.
First I came home one day and my old Malamute was lying on the rear porch. When I called the dogs into the house, he struggled but didn’t get up. I started to freak out, ran to see what was wrong with him. It turns out the loop on the end of the chain had fallen into the gap between two of the boards of the deck and gotten stuck. The dog simply was being held down. It was an easy fix, but a warning these were not safe. I may have started removing the chains in between walks, but eventually I got lazy and forgot about it.
Some time thereafter, I had a stray young Husky stay with us briefly until we found the owner. She and my young male Malamute were good play companions and loved to wrestle. Well, one day they were wrestling in my living room, and fortunately I was present because my Malamute somehow slipped a paw through the choke chain of the Husky as she stood over him. When she turned her body around, however, the chain wrapped a loop around his paw. The Malamute screamed in pain and began fighting to get loose.
The Husky panicked and began trying to get away. When she couldn’t pull loose, she turned again, the same direction as before, tightening the loop even further. Plus, she was now starting to choke herself.
They began fighting ferociously.
I tried to control them to untangle the trap but they were too desperate so I simply grabbed both their heads and pinned them to the floor, just totally taking control of them. I couldn’t let go of one to loosen the chain because it would simply resume attacking the other. There I was, pinning the heads of two dogs weighing a cumulative 150 lbs, their bared teeth inches apart.
Fortunately I had a friend visiting that afternoon, and I yelled at her to get the bolt cutters from the shed in the back. Now here was a miracle in itself, because 1) she didn’t know the layout of my house; 2) the shed was hidden behind another building in the rear of the property; and 3) she didn’t even know what bolt cutters were.
She was back with them in about 30 seconds! Since I couldn’t let go, I told her what to do. Two seconds and the chain was cut. The best part was she didn’t even know how she had found the cutters or what she had done with them. It all felt to her as though she had been in a trance. In fact, both of us acted completely from a sense of “doing” in the moment, driven by necessity beyond hesitation.
Those two dogs never played together again. In fact, they had to be kept separate from that point forward until the Husky was reunited with her owners. My dog limped badly for a while, and it never really went away for the rest of his short life. Since then I’ve never left a chain on a dog when I wasn’t using it on leash.
As for premonitions, here’s a quick count:
There was the thought about chains being unsafe after the first incident. Though I noted it, it didn’t make enough impression to change my actions.
In the second incident, there was the thought of the rawhide being unsafe for my old dog, but somehow it wasn’t quite enough to change my actions.
In both cases the second incident not only reinforced the earlier perception but also accelerated the consequences to a dramatic level. Somewhere my unconscious mind caught the parallel and began trying to bring it forward to consciousness, such as calling my young dog by my previous one’s name.
The mind works symbolically, using representational models. Everything that arises is a product of consciousness at some level. We employ filters to make sense of our information stream, and we call that reality. The trick is to open our filters enough to make sense of data, whether from internal or external sources; it is all perception.
How well we recognize things is the consequence of sensitivity and awareness. Filters need to be selective enough to turn down the volume of data, else we become overwhelmed, but also permeable enough to allow through sufficient bandwidth to enable us to function effectively. At the threshold between unconscious and conscious is a filter we call intuition. Everyone has it, but not everyone knows how to separate the signal from the background noise, and so things get overlooked.
In these incidents I can see the messages popping through, not as a special psychic sense but as an innate awareness available to us all. My subconscious simply rolled combinations of data based on my own patterns of behavior and resources to come up with plausible future scenarios. Whether the picture already existed in my head and I perceived it or whether thinking it created the picture that I then enacted, but in each case warnings ignored portended outcomes that could have been avoided.
But then, I wouldn’t be able to share these things with you. Such is experience.
Back then I had two Alaskan Malamutes, big strong sled dogs from my sister’s kennels. Like now, I had one old dog and a young one. It’s a good thing to have an old dog help socialize a pup, both to being a dog and how to relate to us as humans. As much as we may try to be alpha and dominate the pack, dogs still recognize our innate difference. They may accept their place as subordinate to us, but we still speak different languages at a superficial level through different bodies and minds.
There's another precognition in this parallel, that I’ve recently caught myself calling my young dog by the name of the young one back then. I suppose it’s that I see a similar bright and independent spirit in their behaviors. My name-calling preceded the choking incident and I noted it as unusual when it happened. I’m only now seeing how a pattern in my life is repeating itself, and wondering how it might be that we relive even seemingly random accidental events because we manifest a need for learning through experience. Down the rabbit hole ….
Anyway, back then my dogs had regular collars for their tags, and choke chains for being on leash. I left the chains on because I didn’t see any reason to take them off. Wrong.
First I came home one day and my old Malamute was lying on the rear porch. When I called the dogs into the house, he struggled but didn’t get up. I started to freak out, ran to see what was wrong with him. It turns out the loop on the end of the chain had fallen into the gap between two of the boards of the deck and gotten stuck. The dog simply was being held down. It was an easy fix, but a warning these were not safe. I may have started removing the chains in between walks, but eventually I got lazy and forgot about it.
Some time thereafter, I had a stray young Husky stay with us briefly until we found the owner. She and my young male Malamute were good play companions and loved to wrestle. Well, one day they were wrestling in my living room, and fortunately I was present because my Malamute somehow slipped a paw through the choke chain of the Husky as she stood over him. When she turned her body around, however, the chain wrapped a loop around his paw. The Malamute screamed in pain and began fighting to get loose.
The Husky panicked and began trying to get away. When she couldn’t pull loose, she turned again, the same direction as before, tightening the loop even further. Plus, she was now starting to choke herself.
They began fighting ferociously.
I tried to control them to untangle the trap but they were too desperate so I simply grabbed both their heads and pinned them to the floor, just totally taking control of them. I couldn’t let go of one to loosen the chain because it would simply resume attacking the other. There I was, pinning the heads of two dogs weighing a cumulative 150 lbs, their bared teeth inches apart.
Fortunately I had a friend visiting that afternoon, and I yelled at her to get the bolt cutters from the shed in the back. Now here was a miracle in itself, because 1) she didn’t know the layout of my house; 2) the shed was hidden behind another building in the rear of the property; and 3) she didn’t even know what bolt cutters were.
She was back with them in about 30 seconds! Since I couldn’t let go, I told her what to do. Two seconds and the chain was cut. The best part was she didn’t even know how she had found the cutters or what she had done with them. It all felt to her as though she had been in a trance. In fact, both of us acted completely from a sense of “doing” in the moment, driven by necessity beyond hesitation.
Those two dogs never played together again. In fact, they had to be kept separate from that point forward until the Husky was reunited with her owners. My dog limped badly for a while, and it never really went away for the rest of his short life. Since then I’ve never left a chain on a dog when I wasn’t using it on leash.
As for premonitions, here’s a quick count:
There was the thought about chains being unsafe after the first incident. Though I noted it, it didn’t make enough impression to change my actions.
In the second incident, there was the thought of the rawhide being unsafe for my old dog, but somehow it wasn’t quite enough to change my actions.
In both cases the second incident not only reinforced the earlier perception but also accelerated the consequences to a dramatic level. Somewhere my unconscious mind caught the parallel and began trying to bring it forward to consciousness, such as calling my young dog by my previous one’s name.
The mind works symbolically, using representational models. Everything that arises is a product of consciousness at some level. We employ filters to make sense of our information stream, and we call that reality. The trick is to open our filters enough to make sense of data, whether from internal or external sources; it is all perception.
How well we recognize things is the consequence of sensitivity and awareness. Filters need to be selective enough to turn down the volume of data, else we become overwhelmed, but also permeable enough to allow through sufficient bandwidth to enable us to function effectively. At the threshold between unconscious and conscious is a filter we call intuition. Everyone has it, but not everyone knows how to separate the signal from the background noise, and so things get overlooked.
In these incidents I can see the messages popping through, not as a special psychic sense but as an innate awareness available to us all. My subconscious simply rolled combinations of data based on my own patterns of behavior and resources to come up with plausible future scenarios. Whether the picture already existed in my head and I perceived it or whether thinking it created the picture that I then enacted, but in each case warnings ignored portended outcomes that could have been avoided.
But then, I wouldn’t be able to share these things with you. Such is experience.
Wednesday, February 08, 2006
Tuning in to another premonition
Premonitions are quirky things. Often we miss them completely, then after something happens we think “Ya know …” Skeptics could chalk that up to coincidence, though I prefer Jung’s synchronicity which sees relationship in seemingly coincidental events. Other times, however, we actually feel a vague sense of something impending. While I’d prefer to get those sort of messages about dating fabulous women, my own experiences more commonly signal more mundane things, like death and dying. I had one of those this week, and it wasn’t much fun.
Saturday night I went to see some old friends play a gig at a small British-style pub in Kensington (California). These guys have been professional rockers for decades, and for fun they put together an occasional power trio called “The Hoo”, a tribute to the famous British band “The Who.” I’ve still got my old vinyl records, but this is as close as I’ve ever been to their live shows. It was loud, true to the original music, lots of fun. They started with really old stuff and worked their way up.
The next to last song they did was the hit “Behind Blue Eyes” which includes the line “and if I swallow anything evil, put your fingers down my throat.” Now I’d been grinning and singing along with lots of the music (hey, it’s “my generation”) but when they did that line, I got a really funny feeling. I started singing along with it and stopped, and yes, I noted it at the time.
Fast forward to Monday afternoon. An old friend called to take me to lunch. I put my dogs out in the back yard and I cut a large rawhide chewie in half to keep them occupied while I was gone. Now one of my dogs is young and loves to chew, so she’s good to work the thing for days. My other dog, however, is an old food hound (15 years, but still with her teeth) and I had a bit of an intuitive flashback to the song. I wasn’t sure about giving her a piece of rolled rawhide, though she’d been chomping on them for years, so I gave her a slightly smaller piece, something about the size of half my forearm.
When I got home the young dog came running to show off the progress she’d made on her chew toy. The older dog didn’t come and I got an uneasy feeling. I went in the yard, and she was ok, still chewing on the rawhide and so didn’t want to come. I thought of taking it from her at that point, but knowing her obsession with food, I figured I needed a bribe to get her to let it go.
I went in the house, and a minute later she came running in, but she was making a really ugly choking, gasping sound. I immediately realized she must have either tried swallowing too big a piece of the stuff, or inhaled it by accident coming up the stairs. I ran into the living room after her and saw her trying hard to cough up the obstruction. It took me about half a second to realize she wasn’t having any luck, and in fact things were quickly accelerating out of control as she was starting to foam at the mouth from the exertion.
I ran over and stuck my hand in her mouth to see if I could pull the rawhide out. I could touch it, but unfortunately it was well chewed, so it was soft and slimy, plus now it was getting coated with the foam and phlegm from her efforts to cough it up. I simply couldn’t get a grip. I ran to a toolbox and grabbed some hemostats, but those didn’t work either, and the rawhide seemed lodged further back in her throat now, where I couldn’t see it, even holding her jaw open. By now she was getting desperate and starting to thrash a bit, so I was now attempting to immobilize a 60 pound dog while holding open her jaws and reaching down her throat.
A couple of times I managed to get my hands out of the way just in time as she bit down, either in desperation or to try to swallow to clear the phlegm building up in her throat. She finally chomped down on my left thumb, at which point I grabbed a tennis ball and put in her teeth to save myself. It as about this point I realized I was bleeding from numerous cuts to both hands.
Up to this point was phase one, but now we entered phase two as she collapsed on her side. The sound of her desperate attempts to gasp air was horrible. I realized how badly things were going when her bowels let go; that was when I started to really fear I was going to lose her. The sounds of her breathing were getting weaker and the object seemed lodged even deeper. I tried Heimlich on her, but it didn’t work either. I tried the hemostats again, but I just couldn’t feel where I was going. At this point I actually had to reach deep into her throat and press the rawhide down on her tongue several times just to clear enough room for any air to get in at all. Her eyes started to glaze and her tongue became flaccid and started looking purple. She’d been struggling almost 10 minutes by then, and I realized I had only a minute or so left before she’d be dead.
Perhaps it was because her muscles were relaxing as she started checking out, but at this point I began massaging her throat, trying to push the rawhide up, and darned if it didn’t work. Suddenly I could see enough of it to grasp with my fingertips, and pinching with all my strength and a prayer, I pulled the slimy rawhide tube out!
The poor dog was so exhausted she just lay there. I cleaned up her mess and washed my bloody, slimed hands, then brought her some water. She couldn’t even drink at that point so I just wet my fingers and put some water on her lips. Finally she rolled over onto her belly and began drinking, which was the point where I began to hope she was ok.
The upshot is she was able to eat dinner that night, though she was too weak to get up stairs without being carried. Today she was up and about as though nothing had happened, managing a good walk. The scratches on my right hand are already healing nicely, but the lacerations on my left thumb are deeper and will take more time. I’m grateful I had the knowledge of how to control her jaws enough to even attempt the rescue, and that I had the fortitude to stay with it. There have been many occasions in my life where I had to dig down to persevere through a difficult time, and I credit martial arts to helping me stay focused. I also appreciate my teachers (especially John Wong, my Tai Chi teacher) for introducing me to the healing side of the arts. Without that, there is no balance, and at times like yesterday, there would be a tragic ending.
As for the rawhide, I’m throwing the rest of the package away.
Saturday night I went to see some old friends play a gig at a small British-style pub in Kensington (California). These guys have been professional rockers for decades, and for fun they put together an occasional power trio called “The Hoo”, a tribute to the famous British band “The Who.” I’ve still got my old vinyl records, but this is as close as I’ve ever been to their live shows. It was loud, true to the original music, lots of fun. They started with really old stuff and worked their way up.
The next to last song they did was the hit “Behind Blue Eyes” which includes the line “and if I swallow anything evil, put your fingers down my throat.” Now I’d been grinning and singing along with lots of the music (hey, it’s “my generation”) but when they did that line, I got a really funny feeling. I started singing along with it and stopped, and yes, I noted it at the time.
Fast forward to Monday afternoon. An old friend called to take me to lunch. I put my dogs out in the back yard and I cut a large rawhide chewie in half to keep them occupied while I was gone. Now one of my dogs is young and loves to chew, so she’s good to work the thing for days. My other dog, however, is an old food hound (15 years, but still with her teeth) and I had a bit of an intuitive flashback to the song. I wasn’t sure about giving her a piece of rolled rawhide, though she’d been chomping on them for years, so I gave her a slightly smaller piece, something about the size of half my forearm.
When I got home the young dog came running to show off the progress she’d made on her chew toy. The older dog didn’t come and I got an uneasy feeling. I went in the yard, and she was ok, still chewing on the rawhide and so didn’t want to come. I thought of taking it from her at that point, but knowing her obsession with food, I figured I needed a bribe to get her to let it go.
I went in the house, and a minute later she came running in, but she was making a really ugly choking, gasping sound. I immediately realized she must have either tried swallowing too big a piece of the stuff, or inhaled it by accident coming up the stairs. I ran into the living room after her and saw her trying hard to cough up the obstruction. It took me about half a second to realize she wasn’t having any luck, and in fact things were quickly accelerating out of control as she was starting to foam at the mouth from the exertion.
I ran over and stuck my hand in her mouth to see if I could pull the rawhide out. I could touch it, but unfortunately it was well chewed, so it was soft and slimy, plus now it was getting coated with the foam and phlegm from her efforts to cough it up. I simply couldn’t get a grip. I ran to a toolbox and grabbed some hemostats, but those didn’t work either, and the rawhide seemed lodged further back in her throat now, where I couldn’t see it, even holding her jaw open. By now she was getting desperate and starting to thrash a bit, so I was now attempting to immobilize a 60 pound dog while holding open her jaws and reaching down her throat.
A couple of times I managed to get my hands out of the way just in time as she bit down, either in desperation or to try to swallow to clear the phlegm building up in her throat. She finally chomped down on my left thumb, at which point I grabbed a tennis ball and put in her teeth to save myself. It as about this point I realized I was bleeding from numerous cuts to both hands.
Up to this point was phase one, but now we entered phase two as she collapsed on her side. The sound of her desperate attempts to gasp air was horrible. I realized how badly things were going when her bowels let go; that was when I started to really fear I was going to lose her. The sounds of her breathing were getting weaker and the object seemed lodged even deeper. I tried Heimlich on her, but it didn’t work either. I tried the hemostats again, but I just couldn’t feel where I was going. At this point I actually had to reach deep into her throat and press the rawhide down on her tongue several times just to clear enough room for any air to get in at all. Her eyes started to glaze and her tongue became flaccid and started looking purple. She’d been struggling almost 10 minutes by then, and I realized I had only a minute or so left before she’d be dead.
Perhaps it was because her muscles were relaxing as she started checking out, but at this point I began massaging her throat, trying to push the rawhide up, and darned if it didn’t work. Suddenly I could see enough of it to grasp with my fingertips, and pinching with all my strength and a prayer, I pulled the slimy rawhide tube out!
The poor dog was so exhausted she just lay there. I cleaned up her mess and washed my bloody, slimed hands, then brought her some water. She couldn’t even drink at that point so I just wet my fingers and put some water on her lips. Finally she rolled over onto her belly and began drinking, which was the point where I began to hope she was ok.
The upshot is she was able to eat dinner that night, though she was too weak to get up stairs without being carried. Today she was up and about as though nothing had happened, managing a good walk. The scratches on my right hand are already healing nicely, but the lacerations on my left thumb are deeper and will take more time. I’m grateful I had the knowledge of how to control her jaws enough to even attempt the rescue, and that I had the fortitude to stay with it. There have been many occasions in my life where I had to dig down to persevere through a difficult time, and I credit martial arts to helping me stay focused. I also appreciate my teachers (especially John Wong, my Tai Chi teacher) for introducing me to the healing side of the arts. Without that, there is no balance, and at times like yesterday, there would be a tragic ending.
As for the rawhide, I’m throwing the rest of the package away.
Friday, February 03, 2006
The Inner Game
People always have their own internalized reasons for anything they do, and this is as true of martial arts as anything else. There are some broad categories of interest in the arts, such as health, sports or self-defense that attract people to different styles, but there is usually an underlying theme of self-image. Whether someone wants to lose weight, win trophies or feel more secure, there is a desire for positive change and to take more control over one’s life.
Self-esteem is how we value ourselves. If it is low, we may seek out experiences that validate a negative self-image, perhaps resorting to self-sabotage or destructive behaviors. It is often difficult to identify these patterns in ourselves, even if we can see them in others. Self-reflection is important, taking the time to assess our own inner thoughts and feelings. There are various tools for this, including meditation, counseling, even dialog with trusted associates. Ultimately, though, change comes from within. No one can fix us except ourselves.
An example of a negative self-image cycle might be someone who gets into martial arts because they were bullied as a kid. Learning self-defense makes them feel stronger, but does it really change their way of looking at the world? Similarly, someone might become a tournament champion because it makes them feel better than other people, but if it is a way of compensating externally for an inner lack of self-worth, then all the trophies in the world ultimately won’t fill that void.
These are not uncommon scenarios, by the way. I’m sure that many of us (since I assume this is being read mostly by members of the martial art community) have encountered others who seem to be overcompensating. For instance, some fighters like to win by intimidation. Part of their strategy is to psyche out their opponent pre-emptively. Their vulnerability is if their opponent simply doesn’t respond to intimidation, or is simply better at that game. This turns the table, exposing their attitude as bravado, a band-aid for their psyche. Now they may be a great fighter and get away with this for a long time, but without inner growth, it is simply a dead-end, because they haven’t developed deeper inner resources to cope with adversity.
Another type of individual may be a hero-worshipper. Such a person may put their teacher on a pedestal and engage in excessive adulation. It’s one thing to admire someone for qualities they possess, and to model behaviors as a way to learn and integrate these qualities. If one gets stuck in a mode of feeling inferior or incapable of reaching such a state, then it is a negative behavior pattern.
Some teachers or schools feed on such energy, creating cults around personality or a mystique of being unique and special. Notice at the end of the first paragraph I spoke of taking control of one’s life. I believe that people approach martial arts with the goal of feeling free, free from whatever fear or oppression they perceive in their life. Martial arts hold out the premise of building strong individuals. If, however, a person falls under the sway of someone controlling, they subsume their original desires to the purposes of yet another manipulator. A grouping of people who are strong individuals is an association based on equality. Create a heirarchy based on feeding into the needs of those seeking truth and it is emotional vampirism. Cults and gangs are based on absorbing the individual into such channels; the group becomes strong by promising what the individual feels they cannot achieve on their own.
So how does one go about changing internal states? Some of it happens naturally through life experiences, but that can be random, and of course one can be stuck repeating the past. Training in a discipline such as martial arts should encourage positive values, strengthening determination, fortitude and goal-setting through positive achievement. One encounters obstacles and plateaus, but learns to persevere and overcome them.
In its broadest sense, martial arts are touted to give one greater self-esteem through accomplishment. This is often advertising aimed at parents for their kids, and in truth such benefits might be well received by a young and impressionable audience. Older individuals, however, usually have more fixed personalities, having had more life experience to set a pattern. This group might do well to look beyond just the training to understand and analyze areas where they could stand improvement.
I’m going to shift gears here now and point away from martial arts to another area, which are interpersonal relationships. You might have noticed an advertisement asking “Think You’ve Got Game?” with a picture of a pretty girl on the sidebar of this blog. A few months ago a book came out called “The Game” by Neil Strauss, a writer for Rolling Stone magazine. He went on assignment to cover the internet sub-culture of seducers and became one of the stars in that world. His book is a first-person exposé of that lifestyle, including some of the negative aspects of inflated egos and manipulation. He himself, however, becomes transformed in positive ways that should resonate with many men in our society. After reading this book, I began looking at online material by the gurus he mentioned in this field, to see what messages they have to offer.
While many in “the game” seem young and have adolescent attitudes towards sex and women, there is a deeper truth that some such as Neil seem to have found, which is discovering their own inner confidence and ability to create their own reality on a higher functioning level. Just as martial arts uses physical training to inculcate mental and even spiritual qualities, the ability to overcome interpersonal inhibitions ultimately resolves around changing inner patterns of negativity and self-doubt. I have that advertisement there because, quite frankly, I have met many martial artists who feel insecure or unfulfilled in important parts of their lives. The fact that some prominent teachers have gone to prison over the years for sexual abuse within their schools only highlights the ways in which their psychological development has not kept pace with other aspects of their lives. If their martial training has not created inner balance, then clearly other approaches need to be considered.
What these “seduction gurus” have done is researched many fields of psychological study, from NLP (neurolinguistic programming) to hypnotherapy to kinesthetics (body language) and more. One can study these things individually (as I have for years) and yet the information might remain abstract and intellectual. Since the goal of this community is to take action (meeting women) all of this has been fine-tuned to translating thought into action. Just as in martial arts, many of those who enter this realm are focused on the external results, resulting in what Neil Strauss referred to at one point as armies of clones mimicking behavior. Ultimately, though, if one pays attention to the message, it is about becoming real, being able to express oneself freely and without the inhibition of negative self-talk. Taken in that way, this is no different than the lessons I was learning in my graduate studies in transpersonal psychology, or the kind of social experimentations of gestalt therapy or in the liberation teachings of Rajneesh.
The “Mystery Method” is one of the best known schools of seduction, but a bit formulaic to my taste. Another proponent of the “inner game” is David DeAngelo, who teaches a playful “cocky and funny” attitude; there are others out there as well, with varying levels of sophistication and awareness. While some may be put off by the “seduction” label, the lessons these guys have applies not just to meeting women but to keeping relationships alive and vital, and also expands into other areas of life by providing inner tools for relating to people in general. I see the value in the information these guys provide as a synthesis that cuts directly to the application of theory. Sure their websites are written in the ubiquitous hype of internet marketing, but you can sign up for their free newsletters and get a good idea of the material right there. What you’ll learn is that money, looks, age, and even fame are unimportant. Though such things can be assets, confidence and positive belief in the inner self are ultimately the tools that help create the life we would choose for ourselves.
Just my $.02 …
Self-esteem is how we value ourselves. If it is low, we may seek out experiences that validate a negative self-image, perhaps resorting to self-sabotage or destructive behaviors. It is often difficult to identify these patterns in ourselves, even if we can see them in others. Self-reflection is important, taking the time to assess our own inner thoughts and feelings. There are various tools for this, including meditation, counseling, even dialog with trusted associates. Ultimately, though, change comes from within. No one can fix us except ourselves.
An example of a negative self-image cycle might be someone who gets into martial arts because they were bullied as a kid. Learning self-defense makes them feel stronger, but does it really change their way of looking at the world? Similarly, someone might become a tournament champion because it makes them feel better than other people, but if it is a way of compensating externally for an inner lack of self-worth, then all the trophies in the world ultimately won’t fill that void.
These are not uncommon scenarios, by the way. I’m sure that many of us (since I assume this is being read mostly by members of the martial art community) have encountered others who seem to be overcompensating. For instance, some fighters like to win by intimidation. Part of their strategy is to psyche out their opponent pre-emptively. Their vulnerability is if their opponent simply doesn’t respond to intimidation, or is simply better at that game. This turns the table, exposing their attitude as bravado, a band-aid for their psyche. Now they may be a great fighter and get away with this for a long time, but without inner growth, it is simply a dead-end, because they haven’t developed deeper inner resources to cope with adversity.
Another type of individual may be a hero-worshipper. Such a person may put their teacher on a pedestal and engage in excessive adulation. It’s one thing to admire someone for qualities they possess, and to model behaviors as a way to learn and integrate these qualities. If one gets stuck in a mode of feeling inferior or incapable of reaching such a state, then it is a negative behavior pattern.
Some teachers or schools feed on such energy, creating cults around personality or a mystique of being unique and special. Notice at the end of the first paragraph I spoke of taking control of one’s life. I believe that people approach martial arts with the goal of feeling free, free from whatever fear or oppression they perceive in their life. Martial arts hold out the premise of building strong individuals. If, however, a person falls under the sway of someone controlling, they subsume their original desires to the purposes of yet another manipulator. A grouping of people who are strong individuals is an association based on equality. Create a heirarchy based on feeding into the needs of those seeking truth and it is emotional vampirism. Cults and gangs are based on absorbing the individual into such channels; the group becomes strong by promising what the individual feels they cannot achieve on their own.
So how does one go about changing internal states? Some of it happens naturally through life experiences, but that can be random, and of course one can be stuck repeating the past. Training in a discipline such as martial arts should encourage positive values, strengthening determination, fortitude and goal-setting through positive achievement. One encounters obstacles and plateaus, but learns to persevere and overcome them.
In its broadest sense, martial arts are touted to give one greater self-esteem through accomplishment. This is often advertising aimed at parents for their kids, and in truth such benefits might be well received by a young and impressionable audience. Older individuals, however, usually have more fixed personalities, having had more life experience to set a pattern. This group might do well to look beyond just the training to understand and analyze areas where they could stand improvement.
I’m going to shift gears here now and point away from martial arts to another area, which are interpersonal relationships. You might have noticed an advertisement asking “Think You’ve Got Game?” with a picture of a pretty girl on the sidebar of this blog. A few months ago a book came out called “The Game” by Neil Strauss, a writer for Rolling Stone magazine. He went on assignment to cover the internet sub-culture of seducers and became one of the stars in that world. His book is a first-person exposé of that lifestyle, including some of the negative aspects of inflated egos and manipulation. He himself, however, becomes transformed in positive ways that should resonate with many men in our society. After reading this book, I began looking at online material by the gurus he mentioned in this field, to see what messages they have to offer.
While many in “the game” seem young and have adolescent attitudes towards sex and women, there is a deeper truth that some such as Neil seem to have found, which is discovering their own inner confidence and ability to create their own reality on a higher functioning level. Just as martial arts uses physical training to inculcate mental and even spiritual qualities, the ability to overcome interpersonal inhibitions ultimately resolves around changing inner patterns of negativity and self-doubt. I have that advertisement there because, quite frankly, I have met many martial artists who feel insecure or unfulfilled in important parts of their lives. The fact that some prominent teachers have gone to prison over the years for sexual abuse within their schools only highlights the ways in which their psychological development has not kept pace with other aspects of their lives. If their martial training has not created inner balance, then clearly other approaches need to be considered.
What these “seduction gurus” have done is researched many fields of psychological study, from NLP (neurolinguistic programming) to hypnotherapy to kinesthetics (body language) and more. One can study these things individually (as I have for years) and yet the information might remain abstract and intellectual. Since the goal of this community is to take action (meeting women) all of this has been fine-tuned to translating thought into action. Just as in martial arts, many of those who enter this realm are focused on the external results, resulting in what Neil Strauss referred to at one point as armies of clones mimicking behavior. Ultimately, though, if one pays attention to the message, it is about becoming real, being able to express oneself freely and without the inhibition of negative self-talk. Taken in that way, this is no different than the lessons I was learning in my graduate studies in transpersonal psychology, or the kind of social experimentations of gestalt therapy or in the liberation teachings of Rajneesh.
The “Mystery Method” is one of the best known schools of seduction, but a bit formulaic to my taste. Another proponent of the “inner game” is David DeAngelo, who teaches a playful “cocky and funny” attitude; there are others out there as well, with varying levels of sophistication and awareness. While some may be put off by the “seduction” label, the lessons these guys have applies not just to meeting women but to keeping relationships alive and vital, and also expands into other areas of life by providing inner tools for relating to people in general. I see the value in the information these guys provide as a synthesis that cuts directly to the application of theory. Sure their websites are written in the ubiquitous hype of internet marketing, but you can sign up for their free newsletters and get a good idea of the material right there. What you’ll learn is that money, looks, age, and even fame are unimportant. Though such things can be assets, confidence and positive belief in the inner self are ultimately the tools that help create the life we would choose for ourselves.
Just my $.02 …
Tuesday, January 31, 2006
High blocks: Cross and Umbrella
In Serrada we do our high blocks differently than many other styles. Our weapon is generally 18-24 inches, shorter than the typical 28” escrima stick but similar to many bolos, machetes, krisses, etc. The length we choose should be proportionate to the reach from our armpit to our wrist, allowing the weapon to be concealed under an arm. This shorter length also brings the balance point closer to the hand so the weapon has a natural feeling of balance, not tip-heavy. This allows us to more easily control the angle of the weapon. With a long stick, for instance, rising blocks such as the umbrella or cross block are often done with the hand leading the motion and the tip of the weapon pointed downwards in a classic “wing” position. In Serrada, however, we keep the tip of the weapon up.
Sticks give us two things, extension and leverage. By raising the tip we project our weapon in front of the motion to get to our point of contact faster. For example, if we have to raise our hand all the way to the top of our head to protect it, that may mean moving it 2 feet or further. However, if our weapon is angled upwards, we might only have to move 18 inches. Reducing the distance we have to travel in effect makes us 25% faster!
The generic FMA logo of a triangle inside a circle is an actual physical map to help analyze structure of movement. In this case, visualize the upward angle of the triangle as the angle of the stick.
Another way to figure this out is to hold the stick so it touches your shoulder and your head. This is the critical line, because what is below the stick is protected by it, whereas anything above it is an open target.
A common mistake is to bring the hands up in front of the face then opening them up too early. I call this a “windshield wiper” because it sweeps the stick across the face, rather than framing the head. It won’t be effective against a powerful blow and even if it does deflect it could result in dragging the opponent’s weapon across your face.
In every technique I emphasize three aspects – weapon, check hand, body angle/positioning. One of our tricks is to let the opponent come in, thereby making him commit to his attack. We move our body so the intended target is not where he is aiming, but we bring our defense to that point to make our interception. The opponent feels contact where he expects it, but it isn’t what he had hoped to hit. Thus against a high strike we slightly lower our center. By moving out of the target zone we decrease the odds of getting hit, at the same time allowing us to move our hands an even shorter distance to cover up against the attack. This increases our apparent speed yet again, though in fact we are not moving any faster. It just seems that way because the distances and angles are tighter.
One tip, particularly on an umbrella, is to listen to the impact. If the sticks chatter, the tip was down, resulting in multiple taps. If the sound is clear and crisp, the tip was up, driving through the opponent’s strike. A cross block is quieter, since it’s a “trap door,” allowing the opponent to fall through his intended point of contact. Advanced players may not seem to raise their hands as much in the cross block, but that’s because, as Angel Cabales used to say, they know how to make shortcuts work. First, however, it’s important to learn the safest and most secure way to use these techniques; getting hit is a mistake!
For the umbrella, it is imperative to drive upward into the attack, clearing the head. Our footwork generates force through the papeet, a quick drop with the lead foot to ground us and create an upward shock wave at the moment of impact.
Notice in the following photos how I play "peek-a-boo" under my hands. Note the triangular structure of the arms and stick, and that I'm not leaving my head exposed to the incoming angle (slight variation between the two below on that basis). Also notice that my knees are bent, lowering my center for stability and moving the target zone. Though my weight is shifted forward, my hips are balanced.
Finally, check how my front foot is aligned on my opponent's centerline, utilizing the male triangle. The rear foot is aligned with the line of force of the incoming blow, a difference you can see between angle #1 and angle #2. The last two photos show how similarly I set up for both the cross and umbrella on angle #2, though I do tend to squeeze my thighs a bit tighter together on the latter to make the counter more explosive.
- Jeff
Against angle #1
Against angle #2
Another view of the cross block vs. angle #2
This was from an umbrella against angle #2
Sticks give us two things, extension and leverage. By raising the tip we project our weapon in front of the motion to get to our point of contact faster. For example, if we have to raise our hand all the way to the top of our head to protect it, that may mean moving it 2 feet or further. However, if our weapon is angled upwards, we might only have to move 18 inches. Reducing the distance we have to travel in effect makes us 25% faster!
The generic FMA logo of a triangle inside a circle is an actual physical map to help analyze structure of movement. In this case, visualize the upward angle of the triangle as the angle of the stick.
Another way to figure this out is to hold the stick so it touches your shoulder and your head. This is the critical line, because what is below the stick is protected by it, whereas anything above it is an open target.
A common mistake is to bring the hands up in front of the face then opening them up too early. I call this a “windshield wiper” because it sweeps the stick across the face, rather than framing the head. It won’t be effective against a powerful blow and even if it does deflect it could result in dragging the opponent’s weapon across your face.
In every technique I emphasize three aspects – weapon, check hand, body angle/positioning. One of our tricks is to let the opponent come in, thereby making him commit to his attack. We move our body so the intended target is not where he is aiming, but we bring our defense to that point to make our interception. The opponent feels contact where he expects it, but it isn’t what he had hoped to hit. Thus against a high strike we slightly lower our center. By moving out of the target zone we decrease the odds of getting hit, at the same time allowing us to move our hands an even shorter distance to cover up against the attack. This increases our apparent speed yet again, though in fact we are not moving any faster. It just seems that way because the distances and angles are tighter.
One tip, particularly on an umbrella, is to listen to the impact. If the sticks chatter, the tip was down, resulting in multiple taps. If the sound is clear and crisp, the tip was up, driving through the opponent’s strike. A cross block is quieter, since it’s a “trap door,” allowing the opponent to fall through his intended point of contact. Advanced players may not seem to raise their hands as much in the cross block, but that’s because, as Angel Cabales used to say, they know how to make shortcuts work. First, however, it’s important to learn the safest and most secure way to use these techniques; getting hit is a mistake!
For the umbrella, it is imperative to drive upward into the attack, clearing the head. Our footwork generates force through the papeet, a quick drop with the lead foot to ground us and create an upward shock wave at the moment of impact.
Notice in the following photos how I play "peek-a-boo" under my hands. Note the triangular structure of the arms and stick, and that I'm not leaving my head exposed to the incoming angle (slight variation between the two below on that basis). Also notice that my knees are bent, lowering my center for stability and moving the target zone. Though my weight is shifted forward, my hips are balanced.
Finally, check how my front foot is aligned on my opponent's centerline, utilizing the male triangle. The rear foot is aligned with the line of force of the incoming blow, a difference you can see between angle #1 and angle #2. The last two photos show how similarly I set up for both the cross and umbrella on angle #2, though I do tend to squeeze my thighs a bit tighter together on the latter to make the counter more explosive.
- Jeff
Against angle #1
Against angle #2
Another view of the cross block vs. angle #2
This was from an umbrella against angle #2
Tuesday, January 24, 2006
Ong Bak movie clip
If you haven't seen Tony Jaa in action, here is a clip of his break-out movie "Ong Bak" which features traditional Muay Thai (not the ring version). Warning - even with high-speed internet, this is a long download.
This scene shows him fighting two opponents (sequentially) after returning to the bar where he first briefly displayed his talents. It's too bad the third fight is cut off in the middle because things get REALLY crazy, but maybe that'll be incentive to rent the film. This is the English language dub, which has a different soundtrack. I think I liked it in Thai better because I got to make up my own dialog!
This scene shows him fighting two opponents (sequentially) after returning to the bar where he first briefly displayed his talents. It's too bad the third fight is cut off in the middle because things get REALLY crazy, but maybe that'll be incentive to rent the film. This is the English language dub, which has a different soundtrack. I think I liked it in Thai better because I got to make up my own dialog!
Tuesday, January 17, 2006
FMA Digest - Serrada Special Edition
The January 2006 edition of the online publication FMA Digest is a special on Serrada, including an interview with GM Vincent Cabales and others, plus a couple of good articles by Guro Dennis Servaes. In the legacy of earlier specialty publications like "The Eskrima Review," the FMA Digest is a great community resource, providing great in-depth coverage to these arts. Each issue tends to focus on a particular style or aspect of the art. If you are not a subscriber, I suggest you go to the link above to see what this is about.
Monday, January 16, 2006
Stick Control / Modulating Power
One of the things I consider to be an important step in the progress of learning a weapon is development of control. By this I mean not only hitting an intended target or generating power, but also the subtle control that allows one to flow responsively and modulate power according to the requirements of the moment.
The great Japanese swordsman Miyamoto Musashi was also a renowned painter and calligrapher, his work hanging in national museums in Japan. He once said (paraphrasing) that the sword gave a bold stroke to his pen, but the pen gave him control of the tip of his sword. I read this nearly 30 years ago, and the comment has resonated with me to this day.
One place I insist on control is in class. My first rule, and a primary rule of my teacher Angel Cabales, was safety in training. If you hurt people unnecessarily, they won’t continue training with you. They lose time to injury, and you lose the benefit of a training partner.
Lack of control is not necessarily a hard hit. People often have no perception of the result of a stick’s impact anyway. Repetitive hits to the same target “hamburgerize” that point, each strike compounding the effect of previous ones. Even light taps can have this effect. Years ago I realized that if I were to teach on a daily basis, I had to take care to preserve myself. Small injuries don’t heal if you continue doing the same things without a break.
In Serrada, we have a standard follow-up pattern to our basic techniques, most commonly used on the inside (between the opponent’s hands) against a right-handed attack. Using a weapon in our own right, we strike under the wrist, then spin and hit to the top of the wrist. Even if this is done without much power, the effect of getting hit to the same spot over and over by students, day after day, gets old.
Back when I taught Kenpo, we would tell the class to spar “half speed, half power.” We could leave to go to the front of the dojo to take care of business and still monitor the class by ear. If we started to hear louder footfalls, we could yell back “HALF speed, HALF power!” It was a simple formula; the harder one goes, the stronger the step, the louder the sound.
The same thing applies with the stick. I learned to gauge the power of movement and of hits by various sounds. Let’s start with the hit. If I can hear the hit, my partner can feel it. If my stick makes a tap sound on his arm, it’s an impact. It might be light, but if in the course of a class the same spot on the bone gets hit a few hundred times, it can be annoying. Pretty soon you can get annoyed guys taking more serious whacks at each other.
There’s a demo I do to get my point across. I will do the under-over hit combination with power, which can be registered by the “whoosh” that the stick makes in motion. Sticks only make this sound when moving fast. I can do this and yet at the point of contact, my stick will only kiss the person’s arm with the lightest touch, barely making a sound. I then ask the person to hold out their stick and I do the same thing. There is a whoosh followed by a light tap. I then (usually) warn them to get a good grip then repeat this, only this time I don’t modulate my power; I let it go. Most often their stick will fly out of their hand, or they will hold on but feel the shock all the way up their arm. I’ll look at them and ask if that would hurt if it were their wrist. The point is made.
When I practice, I want to develop consistent movement. A light strike is not done differently from a powerful one except for my intention at the point of impact. Otherwise the mechanics are the same. This gives me the ability to dial my power up or down the scale as desired in a split second decision. It’s a simple trick which everyone can and should know how to do.
When a light touch is appropriate, I simply relax my grip a few inches before impact. I let my hand soften. I’m not so much putting on the brakes (mechanically holding back the movement) as I am letting the energy bleed off before impact. If I want to hit with power, on the other hand, I just tighten my grip (particularly the ring and little fingers) to focus through the point of impact. In either case, my stick will follow the same arc of motion and will “whoosh” with the same intensity of power. The only difference is how I execute choice.
Back to Musashi: During my first year of serious Escrima training I recalled his comment about the sword and brush, so I began doing a simple exercise. This was to walk around my house with a stick and simply touch things: doorknobs, dishes, light switches, windows (save that for last!) My idea was to develop control, building spatial awareness of my stick and sensitivity to the sense of touch coming through it.
Another exercise I did was florettas (little flowers), circling a doorknob as closely as possible with the tip of my stick, without touching it.
There is great benefit to learning this kind of control. Effective martial arts require many skills, and some of those found in stick fighting include quickness, responsiveness, sticking ability (including sticky stick), accuracy and power, to name a few. If one only has off and on, the range of control is very limited.
Here’s an analogy. Imagine if you have a powerful car that can do 175 miles per hour. You still have to park it in the garage or drive through traffic without hitting anything. Using your weapon is the same. You have to guide it with accuracy, adjusting speed, power and direction with as much experience as you can command, so don’t overlook subtlety in your repertoire of training skills.
The great Japanese swordsman Miyamoto Musashi was also a renowned painter and calligrapher, his work hanging in national museums in Japan. He once said (paraphrasing) that the sword gave a bold stroke to his pen, but the pen gave him control of the tip of his sword. I read this nearly 30 years ago, and the comment has resonated with me to this day.
One place I insist on control is in class. My first rule, and a primary rule of my teacher Angel Cabales, was safety in training. If you hurt people unnecessarily, they won’t continue training with you. They lose time to injury, and you lose the benefit of a training partner.
Lack of control is not necessarily a hard hit. People often have no perception of the result of a stick’s impact anyway. Repetitive hits to the same target “hamburgerize” that point, each strike compounding the effect of previous ones. Even light taps can have this effect. Years ago I realized that if I were to teach on a daily basis, I had to take care to preserve myself. Small injuries don’t heal if you continue doing the same things without a break.
In Serrada, we have a standard follow-up pattern to our basic techniques, most commonly used on the inside (between the opponent’s hands) against a right-handed attack. Using a weapon in our own right, we strike under the wrist, then spin and hit to the top of the wrist. Even if this is done without much power, the effect of getting hit to the same spot over and over by students, day after day, gets old.
Back when I taught Kenpo, we would tell the class to spar “half speed, half power.” We could leave to go to the front of the dojo to take care of business and still monitor the class by ear. If we started to hear louder footfalls, we could yell back “HALF speed, HALF power!” It was a simple formula; the harder one goes, the stronger the step, the louder the sound.
The same thing applies with the stick. I learned to gauge the power of movement and of hits by various sounds. Let’s start with the hit. If I can hear the hit, my partner can feel it. If my stick makes a tap sound on his arm, it’s an impact. It might be light, but if in the course of a class the same spot on the bone gets hit a few hundred times, it can be annoying. Pretty soon you can get annoyed guys taking more serious whacks at each other.
There’s a demo I do to get my point across. I will do the under-over hit combination with power, which can be registered by the “whoosh” that the stick makes in motion. Sticks only make this sound when moving fast. I can do this and yet at the point of contact, my stick will only kiss the person’s arm with the lightest touch, barely making a sound. I then ask the person to hold out their stick and I do the same thing. There is a whoosh followed by a light tap. I then (usually) warn them to get a good grip then repeat this, only this time I don’t modulate my power; I let it go. Most often their stick will fly out of their hand, or they will hold on but feel the shock all the way up their arm. I’ll look at them and ask if that would hurt if it were their wrist. The point is made.
When I practice, I want to develop consistent movement. A light strike is not done differently from a powerful one except for my intention at the point of impact. Otherwise the mechanics are the same. This gives me the ability to dial my power up or down the scale as desired in a split second decision. It’s a simple trick which everyone can and should know how to do.
When a light touch is appropriate, I simply relax my grip a few inches before impact. I let my hand soften. I’m not so much putting on the brakes (mechanically holding back the movement) as I am letting the energy bleed off before impact. If I want to hit with power, on the other hand, I just tighten my grip (particularly the ring and little fingers) to focus through the point of impact. In either case, my stick will follow the same arc of motion and will “whoosh” with the same intensity of power. The only difference is how I execute choice.
Back to Musashi: During my first year of serious Escrima training I recalled his comment about the sword and brush, so I began doing a simple exercise. This was to walk around my house with a stick and simply touch things: doorknobs, dishes, light switches, windows (save that for last!) My idea was to develop control, building spatial awareness of my stick and sensitivity to the sense of touch coming through it.
Another exercise I did was florettas (little flowers), circling a doorknob as closely as possible with the tip of my stick, without touching it.
There is great benefit to learning this kind of control. Effective martial arts require many skills, and some of those found in stick fighting include quickness, responsiveness, sticking ability (including sticky stick), accuracy and power, to name a few. If one only has off and on, the range of control is very limited.
Here’s an analogy. Imagine if you have a powerful car that can do 175 miles per hour. You still have to park it in the garage or drive through traffic without hitting anything. Using your weapon is the same. You have to guide it with accuracy, adjusting speed, power and direction with as much experience as you can command, so don’t overlook subtlety in your repertoire of training skills.
Thursday, January 12, 2006
Linear vs. intuitive teaching progressions
It must be a product of New Year’s resolutions, but I’ve been fielding a lot of questions lately from both students and prospective students about the teaching progression in the art of Serrada. What I have to say is just from my own experience and preferences based on 20 years teaching this art. What other instructors do may or may not be similar.
It’s a valid question for people to ask, wanting to see where they are heading, but it has more than one possible valid answer. Like any road it can forge straight ahead, or it can twist and turn through scenic detours. Indeed, one should expect changes along the way, and as in any journey, the destination (should it truly even exist) is but one point along the path.
My short answer is “of course there is a steady progression.” We have the 12 angles of attack and the defenses for each angle. As one progresses, however, the trunk of the tree begins to have branches. Within the 12 angles we have the basic angles, which I consider 1-5, that form the core of the system. From those angles we can subdivide even further: outside or inside, left or right, high or low, cut or thrust. Single stick, empty handed, espada y daga, knife, double sticks, disarms, takedowns etc., all stem from the same core probabilities.
Every nuance can be studied in depth, whole subsystems to understand and master within the greater whole. This is why even an apparently simple art like Escrima can be so rich and complex. The art is in making simple what seems complex, by revealing the consistent underlying structure.
I can list the basics I teach, in sequence for each angle. It’s essentially the order in which I learned them, and I keep that progression mostly so I know what I’ve covered with whom, and to recall what I myself have practiced lately (or not). It makes it easier also for my students to know the knowledge base (regardless of skill) of those with whom they’re practicing.
Students who attend a large commercial school may find themselves restricted to very specific formats, aimed at keeping classes of students on track for belt promotions. Everyone works only on what they need for that goal; orange belts don’t get to learn purple belt material. A lot of people have been in those schools, and if they come to something like the Filipino arts later, they might have certain expectations of how things are done.
Private teachers or schools may have more flexible lesson plans, allowing what arises in class to be the basis of instruction for that session. For instance, I may walk into class thinking I want to work on outside blocks, but once we’re into the material, I can’t say in advance if we’re going to go into disarms, passes, a combination of the two, or something completely different which might arise.
Sometimes mistakes are the most interesting avenues to explore. I often call Escrima “the art of making adjustments.” One must acknowledge everything that happens, adapting to the changing environment. If mistakes occur, it’s better to know how to recover and respond than to train oneself to always stop and try again. The real world doesn’t allow such luxury, whether fighting, driving a car or riding a bike.
There is a stage of wanting to learn everything, followed by a stage of learning to feel everything you've learned. You know it is there, but it has to be realized in the body, not just recognized in one’s head. Then after you feel with your body, you learn to feel with your feelings, knowing what is happening before there is physical confirmation.
By teaching intuitively to follow the energy of each encounter, I try to get students past the cognitive stage and into these body-centered states of being. By learning to pay attention to the body, we come closer to perfecting our movement by sharpening our self-awareness. Mind/body growth is symbiotic.
For those who really want to know, my basic progression emphasizes the first 5 angles. Make them strong and the advanced angles will be learned quickly. If you know “this” then you will understand how “that” is different. Without retention, growth isn’t progressive.
Angle one is the foundation of the whole system and rightfully so, as it is the angle of attack most commonly encountered. It should constantly be improving, not just stagnating as “old stuff” in order to learn newer material. Angle 2 already starts lock-and-block with my “matrix of 16” progression. Angles 3 and 4 teach low passing attacks and are the foundation for angle #5. Joint locks and disarms may come up anywhere, but are certainly a formal part of the curriculum by the end of angle #4.
Angles 6 and 7 are thrusts to similar target areas as angles 1 and 2, but thrusts require modifications of timing. Angle 8 is like a high 4, and 9 is like an upwardly diagonal 4 from a very low position. 10 is a jab/cross combination, essentially angles 7 and 6. 11 is an upward angle 3 from a very low position, forming an upward slashing figure-8 with angle 9. 12 is a simultaneous 6/7 thrust combination, or perhaps a front two-handed choke.
All of these higher angles are based on materials learned in the first four, so one can see why the basics are so important. They provide the general roadmap to get from one point to another. Eventually you start to see between the angles, or how angles are themselves deceptions. It’s possible to throw a strike from what looks to be the setup position for something completely different. As Angel often said, “When it comes to for-real, forget about the name of a technique or number of the angle; just react.” At that point it’s like a game of high-speed chess, thinking strategically while countering intuitively; things happen spontaneously and you can only watch in amazement at what has just happened by your hand.
PS: If you read this far and haven't yet signed the guestbook or left a comment here, please do so! I like to know who's reading this stuff. - JF
It’s a valid question for people to ask, wanting to see where they are heading, but it has more than one possible valid answer. Like any road it can forge straight ahead, or it can twist and turn through scenic detours. Indeed, one should expect changes along the way, and as in any journey, the destination (should it truly even exist) is but one point along the path.
My short answer is “of course there is a steady progression.” We have the 12 angles of attack and the defenses for each angle. As one progresses, however, the trunk of the tree begins to have branches. Within the 12 angles we have the basic angles, which I consider 1-5, that form the core of the system. From those angles we can subdivide even further: outside or inside, left or right, high or low, cut or thrust. Single stick, empty handed, espada y daga, knife, double sticks, disarms, takedowns etc., all stem from the same core probabilities.
Every nuance can be studied in depth, whole subsystems to understand and master within the greater whole. This is why even an apparently simple art like Escrima can be so rich and complex. The art is in making simple what seems complex, by revealing the consistent underlying structure.
I can list the basics I teach, in sequence for each angle. It’s essentially the order in which I learned them, and I keep that progression mostly so I know what I’ve covered with whom, and to recall what I myself have practiced lately (or not). It makes it easier also for my students to know the knowledge base (regardless of skill) of those with whom they’re practicing.
Students who attend a large commercial school may find themselves restricted to very specific formats, aimed at keeping classes of students on track for belt promotions. Everyone works only on what they need for that goal; orange belts don’t get to learn purple belt material. A lot of people have been in those schools, and if they come to something like the Filipino arts later, they might have certain expectations of how things are done.
Private teachers or schools may have more flexible lesson plans, allowing what arises in class to be the basis of instruction for that session. For instance, I may walk into class thinking I want to work on outside blocks, but once we’re into the material, I can’t say in advance if we’re going to go into disarms, passes, a combination of the two, or something completely different which might arise.
Sometimes mistakes are the most interesting avenues to explore. I often call Escrima “the art of making adjustments.” One must acknowledge everything that happens, adapting to the changing environment. If mistakes occur, it’s better to know how to recover and respond than to train oneself to always stop and try again. The real world doesn’t allow such luxury, whether fighting, driving a car or riding a bike.
There is a stage of wanting to learn everything, followed by a stage of learning to feel everything you've learned. You know it is there, but it has to be realized in the body, not just recognized in one’s head. Then after you feel with your body, you learn to feel with your feelings, knowing what is happening before there is physical confirmation.
By teaching intuitively to follow the energy of each encounter, I try to get students past the cognitive stage and into these body-centered states of being. By learning to pay attention to the body, we come closer to perfecting our movement by sharpening our self-awareness. Mind/body growth is symbiotic.
For those who really want to know, my basic progression emphasizes the first 5 angles. Make them strong and the advanced angles will be learned quickly. If you know “this” then you will understand how “that” is different. Without retention, growth isn’t progressive.
Angle one is the foundation of the whole system and rightfully so, as it is the angle of attack most commonly encountered. It should constantly be improving, not just stagnating as “old stuff” in order to learn newer material. Angle 2 already starts lock-and-block with my “matrix of 16” progression. Angles 3 and 4 teach low passing attacks and are the foundation for angle #5. Joint locks and disarms may come up anywhere, but are certainly a formal part of the curriculum by the end of angle #4.
Angles 6 and 7 are thrusts to similar target areas as angles 1 and 2, but thrusts require modifications of timing. Angle 8 is like a high 4, and 9 is like an upwardly diagonal 4 from a very low position. 10 is a jab/cross combination, essentially angles 7 and 6. 11 is an upward angle 3 from a very low position, forming an upward slashing figure-8 with angle 9. 12 is a simultaneous 6/7 thrust combination, or perhaps a front two-handed choke.
All of these higher angles are based on materials learned in the first four, so one can see why the basics are so important. They provide the general roadmap to get from one point to another. Eventually you start to see between the angles, or how angles are themselves deceptions. It’s possible to throw a strike from what looks to be the setup position for something completely different. As Angel often said, “When it comes to for-real, forget about the name of a technique or number of the angle; just react.” At that point it’s like a game of high-speed chess, thinking strategically while countering intuitively; things happen spontaneously and you can only watch in amazement at what has just happened by your hand.
PS: If you read this far and haven't yet signed the guestbook or left a comment here, please do so! I like to know who's reading this stuff. - JF
Tuesday, January 03, 2006
Commitment to Training
When someone starts training in an art, they are often not sure of what it is they seek. The overt reasons, such as desire for physical safety or to get in shape, are often expressions of deeper underlying issues. Too often students quit when their superficial needs are met, allowing them to return to the previous patterns of their lives, or the challenge to go through real inner development proves too daunting.
Like all instructors in martial arts, I have experienced the coming and goings of students. I have experienced the pain of watching someone begin to grow into their potential, only to lose them at just the point where their training should really start to get interesting, to themselves, other students, and to myself as a growing martial artist. As teachers we pour ourselves into our students, often struggling to find ways to help them see what is transparent to us.
Martial arts training is a commitment to oneself, a process that is ever unfolding.
I just read the 2005 year-end greeting of Patrick Augé sensei of Yoseikan Budo Aikido, which addresses these issues better and more completely than what I can add. The following two paragraphs are an exerpt from the whole article, which I strongly urge everyone to read.
"when a student reaches the next level, he not only encourages those under him who see the possibility for them to improve, but he also contributes to the development of those above him who helped him get there. When a student abandons the school, he hurts everyone. He hurts those who helped him; they ask themselves, "What did I do wrong?"And he hurts those who are delayed in their progress because of a partner who is missing and won't share what he learned. The higher the rank and/or the more attention one has received, the greater the damage he causes by abandoning his practice."
"The same thing applies to absenteeism. When we miss classes or drop out, we often think only of our own conditions and convenience. But do we think that other students' practice might get affected due to our stalling the group upon our return to the dojo? When a student needs assistance, other students will help as part of their training if they know that that student is responsible and doesn't take that help for granted. That is why we ask students to notify their teachers of their absences and make up missed classes. Notifying one's teacher should never be regarded as a ritual or an obligation: it must be done with the mind of training oneself in acknowledging one's intentions; it's the first step toward assuming responsibility for oneself. However, dealing with all kinds of people is part of the study for teachers and students alike. It teaches us that motivation results from sustained concentration. Concentration is the ability to maintain one's attention on one object only, to the exclusion of anything that is irrelevant. Concentration is not inborn. It has to be cultivated."
Like all instructors in martial arts, I have experienced the coming and goings of students. I have experienced the pain of watching someone begin to grow into their potential, only to lose them at just the point where their training should really start to get interesting, to themselves, other students, and to myself as a growing martial artist. As teachers we pour ourselves into our students, often struggling to find ways to help them see what is transparent to us.
Martial arts training is a commitment to oneself, a process that is ever unfolding.
I just read the 2005 year-end greeting of Patrick Augé sensei of Yoseikan Budo Aikido, which addresses these issues better and more completely than what I can add. The following two paragraphs are an exerpt from the whole article, which I strongly urge everyone to read.
"when a student reaches the next level, he not only encourages those under him who see the possibility for them to improve, but he also contributes to the development of those above him who helped him get there. When a student abandons the school, he hurts everyone. He hurts those who helped him; they ask themselves, "What did I do wrong?"And he hurts those who are delayed in their progress because of a partner who is missing and won't share what he learned. The higher the rank and/or the more attention one has received, the greater the damage he causes by abandoning his practice."
"The same thing applies to absenteeism. When we miss classes or drop out, we often think only of our own conditions and convenience. But do we think that other students' practice might get affected due to our stalling the group upon our return to the dojo? When a student needs assistance, other students will help as part of their training if they know that that student is responsible and doesn't take that help for granted. That is why we ask students to notify their teachers of their absences and make up missed classes. Notifying one's teacher should never be regarded as a ritual or an obligation: it must be done with the mind of training oneself in acknowledging one's intentions; it's the first step toward assuming responsibility for oneself. However, dealing with all kinds of people is part of the study for teachers and students alike. It teaches us that motivation results from sustained concentration. Concentration is the ability to maintain one's attention on one object only, to the exclusion of anything that is irrelevant. Concentration is not inborn. It has to be cultivated."
Friday, December 30, 2005
KEEPING CHILDREN SAFE IN AND AROUND VEHICLES
15 HELPFUL TIPS FOR KEEPING CHILDREN SAFE IN AND AROUND VEHICLES
This is from a newsletter sent today by an old associate, Janette Fennell of Kids and Cars, an advocacy organization she founded after she and her husband were imprisoned in the trunk of their car in a widely publicized incident years ago. She has lobbied tirelessly and successfully about vehicle safety issues that seem to fall through the cracks. For the past couple of years she has tracked deaths of children in non-collision vehicle incidents, particularly drive-over incidents in driveways. Here, then, is her basic list of safety tips to help protect kids around cars. These are worth knowing and sharing with friends and family members.
1. Walk around and behind a vehicle prior to moving it.
2. Know where your kids are. Make children move away from your vehicle to a place where they are in full view before moving the car and know that another adult is properly supervising children before moving your vehicle.
3. Teach your children to never stand behind vehicles, even if the car is parked. And teach children that “parked” vehicles might move. Let them know that they can see the vehicle; but the driver might not be able to see them.
4. Teach your children to never play in, around or behind a vehicle; enforce this rule by keeping toys and sport equipment out of the garage and driveway.
5. Consider installing cross view mirrors, audible collision detectors, rear view video camera and/or some type of back up detection device.
6. Measure the size of your blind zone (area) behind the vehicle(s) you drive. A 5-foot-1-inch driver in a pickup truck can have a rear blind zone of approximately 8 feet wide by 50 feet long. A driver’s blind zone in a large SUV is up to 40 feet long and 7 feet wide - the approximate size of a kindergarten class.
7. Be aware that steep inclines and large SUVs, vans and trucks add to the difficulty of seeing behind a vehicle.
8. Hold children’s hands when leaving the vehicle.
9. Homeowners should trim landscaping around the driveway to ensure they can see the sidewalk, street and pedestrians clearly when backing out of their driveway. Pedestrians also need to be able to see a vehicle pulling out of the driveway.
10. Never leave children alone in or around cars; not even for a minute.
11. Keep vehicles locked at all times; even in the garage or driveway and always set your parking brake.
12. Keys and/or remote openers should never be left within reach of children.
13. Make sure all child passengers have left the car after it is parked.
14. Be especially careful about keeping children safe in and around cars during busy times, schedule changes and periods of crisis or holidays.
15. Teach children that riding in a car is no safer than a carnival ride - sticking their hands, heads or any body part outside of the window is dangerous.
This is from a newsletter sent today by an old associate, Janette Fennell of Kids and Cars, an advocacy organization she founded after she and her husband were imprisoned in the trunk of their car in a widely publicized incident years ago. She has lobbied tirelessly and successfully about vehicle safety issues that seem to fall through the cracks. For the past couple of years she has tracked deaths of children in non-collision vehicle incidents, particularly drive-over incidents in driveways. Here, then, is her basic list of safety tips to help protect kids around cars. These are worth knowing and sharing with friends and family members.
1. Walk around and behind a vehicle prior to moving it.
2. Know where your kids are. Make children move away from your vehicle to a place where they are in full view before moving the car and know that another adult is properly supervising children before moving your vehicle.
3. Teach your children to never stand behind vehicles, even if the car is parked. And teach children that “parked” vehicles might move. Let them know that they can see the vehicle; but the driver might not be able to see them.
4. Teach your children to never play in, around or behind a vehicle; enforce this rule by keeping toys and sport equipment out of the garage and driveway.
5. Consider installing cross view mirrors, audible collision detectors, rear view video camera and/or some type of back up detection device.
6. Measure the size of your blind zone (area) behind the vehicle(s) you drive. A 5-foot-1-inch driver in a pickup truck can have a rear blind zone of approximately 8 feet wide by 50 feet long. A driver’s blind zone in a large SUV is up to 40 feet long and 7 feet wide - the approximate size of a kindergarten class.
7. Be aware that steep inclines and large SUVs, vans and trucks add to the difficulty of seeing behind a vehicle.
8. Hold children’s hands when leaving the vehicle.
9. Homeowners should trim landscaping around the driveway to ensure they can see the sidewalk, street and pedestrians clearly when backing out of their driveway. Pedestrians also need to be able to see a vehicle pulling out of the driveway.
10. Never leave children alone in or around cars; not even for a minute.
11. Keep vehicles locked at all times; even in the garage or driveway and always set your parking brake.
12. Keys and/or remote openers should never be left within reach of children.
13. Make sure all child passengers have left the car after it is parked.
14. Be especially careful about keeping children safe in and around cars during busy times, schedule changes and periods of crisis or holidays.
15. Teach children that riding in a car is no safer than a carnival ride - sticking their hands, heads or any body part outside of the window is dangerous.
Friday, December 23, 2005
Every Touch Counts
Many people go for joint locks or disarms with a preconception of what move they want to make. It’s good to have a clear goal, but sometimes that mindset means they overlook many possibilities along the way.
Another problem I see is people giving up on a technique when it is 99% complete, thinking it is a failure and looking for another option without seeing the opportunity to secure what they already have. The trick is to follow your opponent’s move until there is no more slack to take up.
A goal I have for my students (and myself) is to be able to respond naturally and intuitively using all our senses, so that we lose the notion of trying to “do a technique” but rather allow our opponent to lead us to whatever technique organically presents itself through his own direction. Bruce Lee talked of having “no technique as technique” and this was his point. If you preconceive what you want to do, it means trying to force that onto whatever is really happening, whether or not it is appropriate to the circumstance. It might fit, but could require more force than absolutely necessary. Work smarter, not harder.
An exercise I’ve been practicing lately is making every touch the opening for something to happen. For example, against a right-handed strike (such as angle #1) people often do a double block (left inward/right outward combination) while moving outside to their left, using their right hand to establish control for a lock or disarm. That’s fine, but how many realize what could have been done from the first contact of the left hand as well? It could grab and reverse with a high outward twist or parry inward to snake down and around into a lock.
Each hand has different moves available, so it’s good to develop aptitude with as many of those options as possible. To this end, take a single attack and practice all the ways each hand can set up joint locks. Some locks are single-handed; some bring both into play. However you set up your opening, you should recognize familiar positions along the way. Eventually all attacks begin to look similar, because once you touch, you are going to go left or right with it using either hand, and that becomes completely intuitive.
One way we practice this is continuous flowing disarms with our eyes closed. You feel a movement, you control with whatever touch is available, you finish. Your counterstrike is the entry for your partner to reverse the disarm on you. We never just hand a weapon back to our partner; we offer him opportunity to do a move.
I call Escrima “the art of making adjustments,” so if something doesn’t work, just move on to the next opportunity. This might sound like a contradiction, but really it is about being unattached to the particular outcome of any specific action. Wristlocks can transition into arm locks or finger controls; arm locks can flow into wristlocks or body locks. Wherever you are, you should know how to flow through whatever changes occur naturally until you are able to lead your opponent into a position from which he cannot easily escape.
At the rodeo, cowboys on bucking horses or bulls don’t direct the powerful animal beneath them; they just try to ride whichever way it moves. Practice with this in mind and see what you might learn.
Another problem I see is people giving up on a technique when it is 99% complete, thinking it is a failure and looking for another option without seeing the opportunity to secure what they already have. The trick is to follow your opponent’s move until there is no more slack to take up.
A goal I have for my students (and myself) is to be able to respond naturally and intuitively using all our senses, so that we lose the notion of trying to “do a technique” but rather allow our opponent to lead us to whatever technique organically presents itself through his own direction. Bruce Lee talked of having “no technique as technique” and this was his point. If you preconceive what you want to do, it means trying to force that onto whatever is really happening, whether or not it is appropriate to the circumstance. It might fit, but could require more force than absolutely necessary. Work smarter, not harder.
An exercise I’ve been practicing lately is making every touch the opening for something to happen. For example, against a right-handed strike (such as angle #1) people often do a double block (left inward/right outward combination) while moving outside to their left, using their right hand to establish control for a lock or disarm. That’s fine, but how many realize what could have been done from the first contact of the left hand as well? It could grab and reverse with a high outward twist or parry inward to snake down and around into a lock.
Each hand has different moves available, so it’s good to develop aptitude with as many of those options as possible. To this end, take a single attack and practice all the ways each hand can set up joint locks. Some locks are single-handed; some bring both into play. However you set up your opening, you should recognize familiar positions along the way. Eventually all attacks begin to look similar, because once you touch, you are going to go left or right with it using either hand, and that becomes completely intuitive.
One way we practice this is continuous flowing disarms with our eyes closed. You feel a movement, you control with whatever touch is available, you finish. Your counterstrike is the entry for your partner to reverse the disarm on you. We never just hand a weapon back to our partner; we offer him opportunity to do a move.
I call Escrima “the art of making adjustments,” so if something doesn’t work, just move on to the next opportunity. This might sound like a contradiction, but really it is about being unattached to the particular outcome of any specific action. Wristlocks can transition into arm locks or finger controls; arm locks can flow into wristlocks or body locks. Wherever you are, you should know how to flow through whatever changes occur naturally until you are able to lead your opponent into a position from which he cannot easily escape.
At the rodeo, cowboys on bucking horses or bulls don’t direct the powerful animal beneath them; they just try to ride whichever way it moves. Practice with this in mind and see what you might learn.
Longitudinal Joint Lock Exercise
I just came up with an exercise to demonstrate a subtlety in applying certain joint locks, in particular a wing lock. The wing lock is a variation on a figure-4 (particularly evident when both arms are used to secure the hold) except whereas the figure-4 bends the opponent's arm back over his shoulder, in the wing lock the opponent's arm is bent up behind his back. It's called a wing lock because it resembles folding a chicken wing so it stays in place during cooking.
First, the setup for the lock:
The way to execute this lock is using the opposing arm to control the opponent. In other words, use your left arm to control his right, or your right arm to control his left; a mirror approach. Most people do this wrong, reaching across the centerline to grab right with right or left with left. This is both ineffective and leaves the lead side of the body exposed to counters. Thus if you enter from a forward position (face to face), simply slide your closest hand between the opponent's arm and body.
Once you enter, the focus of the wing lock is on the elbow. A common mistake is to slide the hand up the arm, putting pressure on the shoulder. This loses leverage and makes it easier for the opponent to resist and counter. As your hand slides under the opponent's arm, you should concentrate on feeling the crease of the inner elbow with your thumb. You can practice this right now by bending your right arm slightly and then sliding the back of your left hand up the inside of your right forearm.
If you lift slightly as you snake your thumb around the elbow towards the tricep tendon nerve (the slight hollow spot an inch or two above the elbow) you will feel the control. Keep focused in this area rather than reaching with your fingers towards the shoulder. You should also notice as you do this that your left elbow will be lifting the right hand. This is good, because it secures the hold. On an opponent, that allows your upper arm to press his hand towards his spine; this is where the pressure is applied to his shoulder while securing his centerline.
One can simply snake the elbow with the thumb, lifting the opponent's arm to get it to bend, and then press the hand to the spine with your upper arm. That works in an expedient manner. However, Angel Cabales sometimes demonstrated a subtle yet powerful twist of his forearm during this maneuver, using the length of his forearm as a worm gear to force the rotation of the opponent's arm. This is what my new exercise is designed to demonstrate.
Grasp the back of your right wrist with your left hand. Next hook your right hand over the back of the left wrist, a typical joint maneuver to counter the grab. Now if you just press down with the blade of your right hand, there is little effect. If you press while extending your fingers downward, there is a slight increase in pressure, but still not a lot. However, if you point your fingers forward and reach to touch your left bicep while turning the palm downward (pronate) you should notice how the rotation of your right forearm powerfully (and painfully) applies pressure to your left wrist while requiring relatively little force.
This longitudinal torque is probably familiar to many jujitsu-ists, particularly small circle adepts. A Wing Chun person might recognize this as tan sao/bong sau, using a bit of forward grinding or extension as though blocking low rather than an elbow lift for a higher defense.
There are other applications for this forearm torque, most notably for a snaking lock against an opponent's kick. Again the left vs. right (and vice versa) applies, snaking from inside the leg, going under and around. The twist/extension rotates the opponent's leg, which turns his body. As with the wing lock above, this allows you to get to his backside, a position affording you the advantage.
Developing a feel for this technique has several benefits. First, in the wing lock it can allow you to gain control using only one arm, keeping your other hand free. Second, it develops your sticky-hand energy, which increases your awareness and ability to respond to an opponent by touch.
Just remember when working with training partners that joint locks can cause injury. Go slowly enough that your partner can tap out in time, and when the locks are practiced on your, do not resist with force, as that will encourage your partner to begin wrenching harder on you in response. The key to learning locks is communication and observation. When applying locks to the arms, you'll see your control when your partner's shoulder moves. It can be subtle, but once you've taken up the slack you have all the control you'll need.
First, the setup for the lock:
The way to execute this lock is using the opposing arm to control the opponent. In other words, use your left arm to control his right, or your right arm to control his left; a mirror approach. Most people do this wrong, reaching across the centerline to grab right with right or left with left. This is both ineffective and leaves the lead side of the body exposed to counters. Thus if you enter from a forward position (face to face), simply slide your closest hand between the opponent's arm and body.
Once you enter, the focus of the wing lock is on the elbow. A common mistake is to slide the hand up the arm, putting pressure on the shoulder. This loses leverage and makes it easier for the opponent to resist and counter. As your hand slides under the opponent's arm, you should concentrate on feeling the crease of the inner elbow with your thumb. You can practice this right now by bending your right arm slightly and then sliding the back of your left hand up the inside of your right forearm.
If you lift slightly as you snake your thumb around the elbow towards the tricep tendon nerve (the slight hollow spot an inch or two above the elbow) you will feel the control. Keep focused in this area rather than reaching with your fingers towards the shoulder. You should also notice as you do this that your left elbow will be lifting the right hand. This is good, because it secures the hold. On an opponent, that allows your upper arm to press his hand towards his spine; this is where the pressure is applied to his shoulder while securing his centerline.
One can simply snake the elbow with the thumb, lifting the opponent's arm to get it to bend, and then press the hand to the spine with your upper arm. That works in an expedient manner. However, Angel Cabales sometimes demonstrated a subtle yet powerful twist of his forearm during this maneuver, using the length of his forearm as a worm gear to force the rotation of the opponent's arm. This is what my new exercise is designed to demonstrate.
Grasp the back of your right wrist with your left hand. Next hook your right hand over the back of the left wrist, a typical joint maneuver to counter the grab. Now if you just press down with the blade of your right hand, there is little effect. If you press while extending your fingers downward, there is a slight increase in pressure, but still not a lot. However, if you point your fingers forward and reach to touch your left bicep while turning the palm downward (pronate) you should notice how the rotation of your right forearm powerfully (and painfully) applies pressure to your left wrist while requiring relatively little force.
This longitudinal torque is probably familiar to many jujitsu-ists, particularly small circle adepts. A Wing Chun person might recognize this as tan sao/bong sau, using a bit of forward grinding or extension as though blocking low rather than an elbow lift for a higher defense.
There are other applications for this forearm torque, most notably for a snaking lock against an opponent's kick. Again the left vs. right (and vice versa) applies, snaking from inside the leg, going under and around. The twist/extension rotates the opponent's leg, which turns his body. As with the wing lock above, this allows you to get to his backside, a position affording you the advantage.
Developing a feel for this technique has several benefits. First, in the wing lock it can allow you to gain control using only one arm, keeping your other hand free. Second, it develops your sticky-hand energy, which increases your awareness and ability to respond to an opponent by touch.
Just remember when working with training partners that joint locks can cause injury. Go slowly enough that your partner can tap out in time, and when the locks are practiced on your, do not resist with force, as that will encourage your partner to begin wrenching harder on you in response. The key to learning locks is communication and observation. When applying locks to the arms, you'll see your control when your partner's shoulder moves. It can be subtle, but once you've taken up the slack you have all the control you'll need.
Thursday, November 03, 2005
Scientists Say Everyone Can Read Minds
Angel Cabales used to say that getting good at Escrima was like learning to read minds. I always attributed this in part to reading subtle signals through experience. In Tai Chi Chuan, there is a saying that "when the opponent moves fast, you move fast; when he moves slow, you move slow." That also relates to another which says "Wait until your opponent moves, then move first!" My interpretation was that one learns to match and mirror the movement and position of the opponent, which then allows one to either push ahead of the timing or drop in behind it. Either way, you first have to have the tempo and rhythm before you can work off of it.
Now, however, there may be more, which is that the body actually receives signals that synchronize with another. Entrainment is a $50 word for the process of synchronizing through matching energetic frequencies. The article I've reprinted below from Livescience.com identifies a biological process within the brain that seems to quantify this phenomenon within the realm of hard science. Great times we're living in!
- Jeff
Scientists Say Everyone Can Read Minds
By Ker Than
Special to LiveScience
posted: 27 April 2005
07:01 am ET
Empathy allows us to feel the emotions of others, to identify and understand their feelings and motives and see things from their perspective. How we generate empathy remains a subject of intense debate in cognitive science.
Some scientists now believe they may have finally discovered its root. We're all essentially mind readers, they say.
The idea has been slow to gain acceptance, but evidence is mounting.
Mirror neurons
In 1996, three neuroscientists were probing the brain of a macaque monkey when they stumbled across a curious cluster of cells in the premotor cortex, an area of the brain responsible for planning movements. The cluster of cells fired not only when the monkey performed an action, but likewise when the monkey saw the same action performed by someone else. The cells responded the same way whether the monkey reached out to grasp a peanut, or merely watched in envy as another monkey or a human did.
Because the cells reflected the actions that the monkey observed in others, the neuroscientists named them "mirror neurons."
Later experiments confirmed the existence of mirror neurons in humans and revealed another surprise. In addition to mirroring actions, the cells reflected sensations and emotions.
"Mirror neurons suggest that we pretend to be in another person's mental shoes," says Marco Iacoboni, a neuroscientist at the University of California, Los Angeles School of Medicine. "In fact, with mirror neurons we do not have to pretend, we practically are in another person's mind."
Since their discovery, mirror neurons have been implicated in a broad range of phenomena, including certain mental disorders. Mirror neurons may help cognitive scientists explain how children develop a theory of mind (ToM), which is a child's understanding that others have minds similar to their own. Doing so may help shed light on autism, in which this type of understanding is often missing.
Theory theory
Over the years, cognitive scientists have come up with a number of theories to explain how ToM develops. The "theory theory" and "simulation theory" are currently two of the most popular.
Theory theory describes children as budding social scientists. The idea is that children collect evidence -- in the form of gestures and expressions -- and use their everyday understanding of people to develop theories that explain and predict the mental state of people they come in contact with.
Vittorio Gallese, a neuroscientist at the University of Parma in Italy and one of original discovers of mirror neurons, has another name for this theory: he calls it the "Vulcan Approach," in honor of the Star Trek protagonist Spock, who belonged to an alien race called the Vulcans who suppressed their emotions in favor of logic. Spock was often unable to understand the emotions that underlie human behavior.
Gallese himself prefers simulation theory over this Vulcan approach.
Natural mind readers
Simulation theory states that we are natural mind readers. We place ourselves in another person’s "mental shoes," and use our own mind as a model for theirs.
Gallese contends that when we interact with someone, we do more than just observe the other person’s behavior. He believes we create internal representations of their actions, sensations and emotions within ourselves, as if we are the ones that are moving, sensing and feeling.
Many scientists believe that mirror neurons embody the predictions of simulation theory. "We share with others not only the way they normally act or subjectively experience emotions and sensations, but also the neural circuits enabling those same actions, emotions and sensations: the mirror neuron systems," Gallese told LiveScience.
Gallese points out, however, that the two theories are not mutually exclusive. If the mirror neuron system is defective or damaged, and our ability to empathize is lost, the observe-and-guess method of theory theory may be the only option left. Some scientists suspect this is what happens in autistic people, whose mental disorder prevents them from understanding the intentions and motives of others.
Tests underway
The idea is that the mirror neuron systems of autistic individuals are somehow impaired or deficient, and that the resulting "mind-blindness" prevents them from simulating the experiences of others. For autistic individuals, experience is more observed than lived, and the emotional undercurrents that govern so much of our human behavior are inaccessible. They guess the mental states of others through explicit theorizing, but the end result is a list -- mechanical and impersonal -- of actions, gestures and expressions void of motive, intent, or emotion.
Several labs are now testing the hypothesis that autistic individuals have a mirror neuron deficit and cannot simulate the mental states of others.
One recent experiment by Hugo Theoret and colleagues at the University of Montreal showed that mirror neurons normally active during the observation of hand movements in non-autistic individuals are silent in those who have autism.
"You either simulate with mirror neurons, or the mental states of others are completely precluded to you," said Iacoboni.
Now, however, there may be more, which is that the body actually receives signals that synchronize with another. Entrainment is a $50 word for the process of synchronizing through matching energetic frequencies. The article I've reprinted below from Livescience.com identifies a biological process within the brain that seems to quantify this phenomenon within the realm of hard science. Great times we're living in!
- Jeff
Scientists Say Everyone Can Read Minds
By Ker Than
Special to LiveScience
posted: 27 April 2005
07:01 am ET
Empathy allows us to feel the emotions of others, to identify and understand their feelings and motives and see things from their perspective. How we generate empathy remains a subject of intense debate in cognitive science.
Some scientists now believe they may have finally discovered its root. We're all essentially mind readers, they say.
The idea has been slow to gain acceptance, but evidence is mounting.
Mirror neurons
In 1996, three neuroscientists were probing the brain of a macaque monkey when they stumbled across a curious cluster of cells in the premotor cortex, an area of the brain responsible for planning movements. The cluster of cells fired not only when the monkey performed an action, but likewise when the monkey saw the same action performed by someone else. The cells responded the same way whether the monkey reached out to grasp a peanut, or merely watched in envy as another monkey or a human did.
Because the cells reflected the actions that the monkey observed in others, the neuroscientists named them "mirror neurons."
Later experiments confirmed the existence of mirror neurons in humans and revealed another surprise. In addition to mirroring actions, the cells reflected sensations and emotions.
"Mirror neurons suggest that we pretend to be in another person's mental shoes," says Marco Iacoboni, a neuroscientist at the University of California, Los Angeles School of Medicine. "In fact, with mirror neurons we do not have to pretend, we practically are in another person's mind."
Since their discovery, mirror neurons have been implicated in a broad range of phenomena, including certain mental disorders. Mirror neurons may help cognitive scientists explain how children develop a theory of mind (ToM), which is a child's understanding that others have minds similar to their own. Doing so may help shed light on autism, in which this type of understanding is often missing.
Theory theory
Over the years, cognitive scientists have come up with a number of theories to explain how ToM develops. The "theory theory" and "simulation theory" are currently two of the most popular.
Theory theory describes children as budding social scientists. The idea is that children collect evidence -- in the form of gestures and expressions -- and use their everyday understanding of people to develop theories that explain and predict the mental state of people they come in contact with.
Vittorio Gallese, a neuroscientist at the University of Parma in Italy and one of original discovers of mirror neurons, has another name for this theory: he calls it the "Vulcan Approach," in honor of the Star Trek protagonist Spock, who belonged to an alien race called the Vulcans who suppressed their emotions in favor of logic. Spock was often unable to understand the emotions that underlie human behavior.
Gallese himself prefers simulation theory over this Vulcan approach.
Natural mind readers
Simulation theory states that we are natural mind readers. We place ourselves in another person’s "mental shoes," and use our own mind as a model for theirs.
Gallese contends that when we interact with someone, we do more than just observe the other person’s behavior. He believes we create internal representations of their actions, sensations and emotions within ourselves, as if we are the ones that are moving, sensing and feeling.
Many scientists believe that mirror neurons embody the predictions of simulation theory. "We share with others not only the way they normally act or subjectively experience emotions and sensations, but also the neural circuits enabling those same actions, emotions and sensations: the mirror neuron systems," Gallese told LiveScience.
Gallese points out, however, that the two theories are not mutually exclusive. If the mirror neuron system is defective or damaged, and our ability to empathize is lost, the observe-and-guess method of theory theory may be the only option left. Some scientists suspect this is what happens in autistic people, whose mental disorder prevents them from understanding the intentions and motives of others.
Tests underway
The idea is that the mirror neuron systems of autistic individuals are somehow impaired or deficient, and that the resulting "mind-blindness" prevents them from simulating the experiences of others. For autistic individuals, experience is more observed than lived, and the emotional undercurrents that govern so much of our human behavior are inaccessible. They guess the mental states of others through explicit theorizing, but the end result is a list -- mechanical and impersonal -- of actions, gestures and expressions void of motive, intent, or emotion.
Several labs are now testing the hypothesis that autistic individuals have a mirror neuron deficit and cannot simulate the mental states of others.
One recent experiment by Hugo Theoret and colleagues at the University of Montreal showed that mirror neurons normally active during the observation of hand movements in non-autistic individuals are silent in those who have autism.
"You either simulate with mirror neurons, or the mental states of others are completely precluded to you," said Iacoboni.
Tuesday, November 01, 2005
Yoga vs. Martial Arts
In the 1970's and 80's martial arts were riding high, largely on the coattails of Bruce Lee's popularity. Since then there has been a lot of change within the M.A. community, but little growth in general popularity. On the other hand, yoga has built steadily on foundations laid in the 80's and 90's and now has an unprecedented reputation. Part of this is its appeal to women, as opposed to the heavy testosterone atmosphere of the dojo.
Another reason is the organizational skills behind yoga, which resemble in some ways the early growth of Japanese and particularly Korean arts. Bikram, Ashtanga and Iyengar are known for their individual styles, though each is basically a form of Hatha. Just yesterday I heard a good example of yoga's explosive growth from a student of Deepak Chopra. Apparently only two years ago he began certifying teachers in his personal method at his academy in southern California, and today there are over 700 teachers worldwide. Classes can be found not only in major metropolitan areas but in resorts as well, so people can keep up with their practice while vacationing in Puerto Vallarta, or become exposed to the art there and then continue when they get home.
Contrast this with the FMA, which have been called "the next big thing" in martial arts since the mid-1980's. While FMA has undoubtedly spread, it has never achieved any sort of widespread recognition on its own merits. Furthermore, the historic secrecy of these arts, combined with the desire to closely control the information, has kept most schools small and local. Serrada is a good example. While Deepak Chopra has developed 700 teachers in 2 years, how many teachers have several generations of Serrada practitioners produced in the last 20?
Don't think Chopra has made it easy. Students train 10-12 hours a day in his program, split between several hours of yoga practice, studying anatomy and Ayurvedic medicine, and beginning with 2 one-hour sessions of meditation daily, build up to four hours per day. This is a highly focused and disciplined approach, yet people clamor to get in.
Certainly it helps that he's a best selling author, and as a doctor has strong credentials. As an ethnic Indian he has the feel of authenticity to draw in those seeking wisdom from the East. On the other hand, he also made a commitment to building an organization to spread his message that is generally lacking in martial arts, or where there is the will to do so, other factors such as lack of business acumen or excessive ego hinder such development.
Martial arts are not lacking in similar potential. The popularity of Tai Chi for health shows it crosses that bridge, and many Aikidoists are drawn to their art for the spiritual orientation associated there. What is lacking is the broader commitment to creating a holistic lifestyle, one that calms the mind and heals the body, along with the singular benefit of providing potential life-saving skills. There are few martial arts program that demand - and receive - the widespread dedication of these yoga organizations. Their secular yoga classes are full, as are the more spiritual ashrams. In contrast, how many martial art teachers are struggling to pay rent, running classes with only a handful of students? Sure, there are martial arts camps and seminars, but are there waiting lists to get in? Where is the buzz?!!
Taekwondo is a notable exception, and that style is famous for the support of a national government for its international organizations. Similar to yoga, there is both an infrastructure for steady growth, and a focus on building inner discipline and character in students. If there is draw for Westerners in Eastern wisdom, it is perhaps found there, in developing those qualities no longer demanded by the institutions of our culture. Our schools don't teach it, families don't demand it. The void many people feel within themselves is filled with pop culture and junk food, until they have enough and seek alternative paths to nourish mind and body.
The challenge for martial arts is to become relevant to people's needs, not just a fad or a bandage for insecurities. Perhaps if there has been a failure of leadership in this community, it reflects the deeper martial culture's distrust of others. While yoga focuses on unity, martial arts is more often about overcoming adversity. Certainly the knowledge and skills to bring forth a similar message are an integral part of the art, but it is elusive and hidden at higher levels of understanding and skill. Beginners rely on strength to oppose others; it takes time and experience to learn to blend one's energy with that of others to achieve results, and then introspection to see how this applies to other areas besides physical combat.
Perhaps if the arts were able to show the soft hidden within the hard sooner, more people would be drawn in, perceiving the balance they desire. Instructors need to know not just the mechanics of their style, but how to talk about the inner game. It has often been said that a master knows not just how to destroy, but how to heal. Many people have wounds which cannot be seen on the outside. When martial arts can show a path for healing within, there is less need to rely on the brute strength of destruction towards the world. This is the meaning of the traditional kung-fu salute, the fist within the palm of the open other hand; sword within the sheath, power tempered by knowledge. The most important knowledge is not how to conquer others, but how to conquer oneself. The world is a mirror, and when we find inner peace, we also see less conflict on the outside. The less fear with have within, the more options we find available for dealing with the stress of living.
Another reason is the organizational skills behind yoga, which resemble in some ways the early growth of Japanese and particularly Korean arts. Bikram, Ashtanga and Iyengar are known for their individual styles, though each is basically a form of Hatha. Just yesterday I heard a good example of yoga's explosive growth from a student of Deepak Chopra. Apparently only two years ago he began certifying teachers in his personal method at his academy in southern California, and today there are over 700 teachers worldwide. Classes can be found not only in major metropolitan areas but in resorts as well, so people can keep up with their practice while vacationing in Puerto Vallarta, or become exposed to the art there and then continue when they get home.
Contrast this with the FMA, which have been called "the next big thing" in martial arts since the mid-1980's. While FMA has undoubtedly spread, it has never achieved any sort of widespread recognition on its own merits. Furthermore, the historic secrecy of these arts, combined with the desire to closely control the information, has kept most schools small and local. Serrada is a good example. While Deepak Chopra has developed 700 teachers in 2 years, how many teachers have several generations of Serrada practitioners produced in the last 20?
Don't think Chopra has made it easy. Students train 10-12 hours a day in his program, split between several hours of yoga practice, studying anatomy and Ayurvedic medicine, and beginning with 2 one-hour sessions of meditation daily, build up to four hours per day. This is a highly focused and disciplined approach, yet people clamor to get in.
Certainly it helps that he's a best selling author, and as a doctor has strong credentials. As an ethnic Indian he has the feel of authenticity to draw in those seeking wisdom from the East. On the other hand, he also made a commitment to building an organization to spread his message that is generally lacking in martial arts, or where there is the will to do so, other factors such as lack of business acumen or excessive ego hinder such development.
Martial arts are not lacking in similar potential. The popularity of Tai Chi for health shows it crosses that bridge, and many Aikidoists are drawn to their art for the spiritual orientation associated there. What is lacking is the broader commitment to creating a holistic lifestyle, one that calms the mind and heals the body, along with the singular benefit of providing potential life-saving skills. There are few martial arts program that demand - and receive - the widespread dedication of these yoga organizations. Their secular yoga classes are full, as are the more spiritual ashrams. In contrast, how many martial art teachers are struggling to pay rent, running classes with only a handful of students? Sure, there are martial arts camps and seminars, but are there waiting lists to get in? Where is the buzz?!!
Taekwondo is a notable exception, and that style is famous for the support of a national government for its international organizations. Similar to yoga, there is both an infrastructure for steady growth, and a focus on building inner discipline and character in students. If there is draw for Westerners in Eastern wisdom, it is perhaps found there, in developing those qualities no longer demanded by the institutions of our culture. Our schools don't teach it, families don't demand it. The void many people feel within themselves is filled with pop culture and junk food, until they have enough and seek alternative paths to nourish mind and body.
The challenge for martial arts is to become relevant to people's needs, not just a fad or a bandage for insecurities. Perhaps if there has been a failure of leadership in this community, it reflects the deeper martial culture's distrust of others. While yoga focuses on unity, martial arts is more often about overcoming adversity. Certainly the knowledge and skills to bring forth a similar message are an integral part of the art, but it is elusive and hidden at higher levels of understanding and skill. Beginners rely on strength to oppose others; it takes time and experience to learn to blend one's energy with that of others to achieve results, and then introspection to see how this applies to other areas besides physical combat.
Perhaps if the arts were able to show the soft hidden within the hard sooner, more people would be drawn in, perceiving the balance they desire. Instructors need to know not just the mechanics of their style, but how to talk about the inner game. It has often been said that a master knows not just how to destroy, but how to heal. Many people have wounds which cannot be seen on the outside. When martial arts can show a path for healing within, there is less need to rely on the brute strength of destruction towards the world. This is the meaning of the traditional kung-fu salute, the fist within the palm of the open other hand; sword within the sheath, power tempered by knowledge. The most important knowledge is not how to conquer others, but how to conquer oneself. The world is a mirror, and when we find inner peace, we also see less conflict on the outside. The less fear with have within, the more options we find available for dealing with the stress of living.
Tuesday, October 25, 2005
Updated contact info
I recently switched from Comcast to SBC so I could get DSL. To get the best rate, I had to also change my phone number from a business line to residential. Comcast only forwards the new number for 30 days unless a fee is paid, in which case they will do it for an additional 30 days.
I paid the fee. It took them nearly a week to get the message up and running, and at the end of 30 days they promptly discontinued it. Forget trying to get them to respond to a repair ticket; it's useless.
Hey Comcast, if any of you reads this, maybe you can think about your customer service!
Anyway, during this past week I've had several people email me (or in the case of local businesses, just tell me when I walked in) that they couldn't reach me and there was no new number given, so here it is: (510) 222-0332
I paid the fee. It took them nearly a week to get the message up and running, and at the end of 30 days they promptly discontinued it. Forget trying to get them to respond to a repair ticket; it's useless.
Hey Comcast, if any of you reads this, maybe you can think about your customer service!
Anyway, during this past week I've had several people email me (or in the case of local businesses, just tell me when I walked in) that they couldn't reach me and there was no new number given, so here it is: (510) 222-0332
The Tao of Kinetic Energy and Cabales Serrada
This piece was written by Sifu Michael Trimble,
"Kali-San Soo Ranch" Ashland, Oregon,
and posted here with his permission.
**************************************************
Kinetic energy is the energy of motion, like Cabales Serrada. Think
about it. Every dynamic body possesses Kinetic energy. Power, by definition,is the rate of doing work per unit time. For practical and applicable purposes of Cabales Serrada, we can interchange power and kinetic energy as far as the end results of our actions. Both involve work (Force) against another physical body, with or without a weapon, in the form of collision or impact.
Mathematically, Kinetic energy is expressed as KE=1/2 mv2. Varying mass or velocity increases KE in different proportions:
KE=1/2(16) (2) 2 = (8) (4) = 32 (Increasing mass)
KE=1/2(2) (16) 2 = (1) (256) = 256 (Increasing velocity)
As illustrated, when mass is doubled, KE (power)doubles
proportionately. This KE is delivered in the form of heat dissipated
and absorbed by the receiving body.
When velocity doubles, power delivered quadruples. Every time
velocity doubles, kinetic energy increases by one power of ten,
making velocity and power a logarithmic proportion. In short,
doubled mass doubles power. Doubled velocity quardruples power. Energy absorbed at impact is four (4) times greater with doubled velocity, even with constant mass. Speed, over mass,is power.
**************************************************
Here is the full math, for those inclined to crunch the numbers, as forwarded and updated by Sifu Trimble:
Mathematically, Kinetic energy is expressed as KE=1/2 mv2
Increasing Mass:
KE=1/2 mv2
=1/2(2) (2)2
=(1) (4)=4
KE=1/2(4) (2)2
= (2) (4)
=8
KE=1/2(8) (2)2
=(4) (4)
=16
KE=1/2(16) (2)2
=(8) (4)
=32
Increasing Velocity:
KE=1/2(m) (v)2
=1/2 (2) (2)2
=(1) (4)=4
KE=1/2(2) (4)2
=(1) (16)=16
=16
KE=1/2(2) (8)2
=(1) (64)
=64
KE=1/2(2) (16)2
=(1) (256)
=256
As illustrated, when mass is doubled, KE (power) doubles proportionately. This KE is delivered in the form of heat dissipated and absorbed by the receiving body.
Sifu Michael Trimble
"Kali-San Soo Ranch" Ashland, Oregon,
and posted here with his permission.
**************************************************
Kinetic energy is the energy of motion, like Cabales Serrada. Think
about it. Every dynamic body possesses Kinetic energy. Power, by definition,is the rate of doing work per unit time. For practical and applicable purposes of Cabales Serrada, we can interchange power and kinetic energy as far as the end results of our actions. Both involve work (Force) against another physical body, with or without a weapon, in the form of collision or impact.
Mathematically, Kinetic energy is expressed as KE=1/2 mv2. Varying mass or velocity increases KE in different proportions:
KE=1/2(16) (2) 2 = (8) (4) = 32 (Increasing mass)
KE=1/2(2) (16) 2 = (1) (256) = 256 (Increasing velocity)
As illustrated, when mass is doubled, KE (power)doubles
proportionately. This KE is delivered in the form of heat dissipated
and absorbed by the receiving body.
When velocity doubles, power delivered quadruples. Every time
velocity doubles, kinetic energy increases by one power of ten,
making velocity and power a logarithmic proportion. In short,
doubled mass doubles power. Doubled velocity quardruples power. Energy absorbed at impact is four (4) times greater with doubled velocity, even with constant mass. Speed, over mass,is power.
**************************************************
Here is the full math, for those inclined to crunch the numbers, as forwarded and updated by Sifu Trimble:
Mathematically, Kinetic energy is expressed as KE=1/2 mv2
Increasing Mass:
KE=1/2 mv2
=1/2(2) (2)2
=(1) (4)=4
KE=1/2(4) (2)2
= (2) (4)
=8
KE=1/2(8) (2)2
=(4) (4)
=16
KE=1/2(16) (2)2
=(8) (4)
=32
Increasing Velocity:
KE=1/2(m) (v)2
=1/2 (2) (2)2
=(1) (4)=4
KE=1/2(2) (4)2
=(1) (16)=16
=16
KE=1/2(2) (8)2
=(1) (64)
=64
KE=1/2(2) (16)2
=(1) (256)
=256
As illustrated, when mass is doubled, KE (power) doubles proportionately. This KE is delivered in the form of heat dissipated and absorbed by the receiving body.
Sifu Michael Trimble
Friday, October 14, 2005
Body alignment
A colleague of mine, Khalid Khan, recently wrote how many people run with poor postural alignment, and how they should pay more attention to this. On the surface, he is correct, and to the extent that people notice bad habits they should do what they can to correct them.
On the other hand, most people have no idea if, or how much, their body is out of alignment. We tend to compensate unconsciously for imbalances that occur for any of a variety of reasons, including accidents, internal disorders, congenital conditions, poor postural habits and adaptation to incorrect ergonomics at work, etc. As someone who has undergone chiropractic care after minor auto accidents, it's amazing to me how hard the body fights to regain that sense of equilibrium adapted to misalignment, rather than simply re-establishing conformity to proper realignment.
I agree it is often obvious when watching runners that they have alignment problems, but this is not simply a matter of willful disregard of proper form. For instance, someone with a bad back may feel less pain working around the area of injury, resulting in a lower shoulder, rotated hip, etc. Attempting to straighten up will feel unnatural. Eventually this person may wind up with a sore knee, but that is a symptom, not a cause.
Another consideration is shoes. Poorly designed or mis-fitting shoes can cause problems all on their own. Smart runners will take the time and spend the money for the shoe that best fits their foot, but that can be both time consuming and expensive, especially nowadays.
Even the best runners have idiosyncrasies in their movement, and trying to correct that does not necessarily improve their running. I ran competitively for 5 years (best personal times: 2:00 half mile, 4:24 mile, 9:45 two mile) and I got to see the postures of a lot of faster runners. Some things can be corrected, such as learning more efficient arm swing and focusing the gaze to minimize head movement. None of these, however, have much effect on basic underlying postural alignment.
Furthermore, attempts to completely balance the body have been known to have negative impacts on competitive athletes. One example was the unexpected impact of rolfing on professional ballet dancers in the 1960's, which ended some promising careers. Even a top athlete like Bruce Lee had one leg that was shorter than the other. We learn to use the body we have, and changing its structure can erase muscle memory and cause proprioceptive conflicts that inhibit best performance.
One problem distance runners have is their leg muscles get tight which shortens them. Stretching helps, but most people don't do more than basic loosening up, and over time they adaptively lose range of motion. This in turn moves stress up the line to affect other body parts, such tight legs impinging on the back. Many people don't know how to stretch correctly anyway. Stretching cold muscles can cause injury, and how many runners understand the value of warming down properly, or are able to even take time to do so if they are running on lunch break or elsewhere in a busy schedule?
So, with all these considerations, how does one simply stop running poorly? A professional athlete may have a support team of a chiropractor, trainer, massage therapist, nutritionist. They may use video of their movement to identify correctable problems. None of these are readily available to most individuals, for whom activities such as running, martial arts or dance are an adjunct to a lifestyle, not a goal unto itself.
On the other hand, most people have no idea if, or how much, their body is out of alignment. We tend to compensate unconsciously for imbalances that occur for any of a variety of reasons, including accidents, internal disorders, congenital conditions, poor postural habits and adaptation to incorrect ergonomics at work, etc. As someone who has undergone chiropractic care after minor auto accidents, it's amazing to me how hard the body fights to regain that sense of equilibrium adapted to misalignment, rather than simply re-establishing conformity to proper realignment.
I agree it is often obvious when watching runners that they have alignment problems, but this is not simply a matter of willful disregard of proper form. For instance, someone with a bad back may feel less pain working around the area of injury, resulting in a lower shoulder, rotated hip, etc. Attempting to straighten up will feel unnatural. Eventually this person may wind up with a sore knee, but that is a symptom, not a cause.
Another consideration is shoes. Poorly designed or mis-fitting shoes can cause problems all on their own. Smart runners will take the time and spend the money for the shoe that best fits their foot, but that can be both time consuming and expensive, especially nowadays.
Even the best runners have idiosyncrasies in their movement, and trying to correct that does not necessarily improve their running. I ran competitively for 5 years (best personal times: 2:00 half mile, 4:24 mile, 9:45 two mile) and I got to see the postures of a lot of faster runners. Some things can be corrected, such as learning more efficient arm swing and focusing the gaze to minimize head movement. None of these, however, have much effect on basic underlying postural alignment.
Furthermore, attempts to completely balance the body have been known to have negative impacts on competitive athletes. One example was the unexpected impact of rolfing on professional ballet dancers in the 1960's, which ended some promising careers. Even a top athlete like Bruce Lee had one leg that was shorter than the other. We learn to use the body we have, and changing its structure can erase muscle memory and cause proprioceptive conflicts that inhibit best performance.
One problem distance runners have is their leg muscles get tight which shortens them. Stretching helps, but most people don't do more than basic loosening up, and over time they adaptively lose range of motion. This in turn moves stress up the line to affect other body parts, such tight legs impinging on the back. Many people don't know how to stretch correctly anyway. Stretching cold muscles can cause injury, and how many runners understand the value of warming down properly, or are able to even take time to do so if they are running on lunch break or elsewhere in a busy schedule?
So, with all these considerations, how does one simply stop running poorly? A professional athlete may have a support team of a chiropractor, trainer, massage therapist, nutritionist. They may use video of their movement to identify correctable problems. None of these are readily available to most individuals, for whom activities such as running, martial arts or dance are an adjunct to a lifestyle, not a goal unto itself.
Thursday, October 13, 2005
Larry Wright: Street Drumming to the Max!
Larry Wright online video
Larry Wright is an incredibly electrifying drummer, a force of nature. He is a bucket drummer who makes a good living playing in the subways in NYC. At age 2 he was already hitting things; at 5 he discovered his instrument, learning to get more sound out of a bucket than most drummers with a full kit. He was discovered in 1990 at age 15 by two filmmakers, and their 30 minute documentary about him aired on PBS. I was blown away when I saw it back then. He would compare and demonstrate variations from Santeria to Yoruba sacred drumming, as if channeled through jazz legend Lenny White. Since then he's appeared in commercials (Ford, etc) and movies (the opening of The Believers, for example) and in Alicia Key's "Karma" video. This kid is so hot, legendary drummer Gene Krupa went to meet him.
Watch his sticks; identify the fulcrum point, then think of the short strokes of Serrada.
Notice they don't come back too far, moving from vertical to horizontal with great precision.
See how relaxed his wrists are.
Same for his shoulders. Notice his upper arms hang naturally.
His concentration is complete. He has full control of speed, power, tempo and rythm.
How would you move to these rhythms?
Larry Wright is an incredibly electrifying drummer, a force of nature. He is a bucket drummer who makes a good living playing in the subways in NYC. At age 2 he was already hitting things; at 5 he discovered his instrument, learning to get more sound out of a bucket than most drummers with a full kit. He was discovered in 1990 at age 15 by two filmmakers, and their 30 minute documentary about him aired on PBS. I was blown away when I saw it back then. He would compare and demonstrate variations from Santeria to Yoruba sacred drumming, as if channeled through jazz legend Lenny White. Since then he's appeared in commercials (Ford, etc) and movies (the opening of The Believers, for example) and in Alicia Key's "Karma" video. This kid is so hot, legendary drummer Gene Krupa went to meet him.
Watch his sticks; identify the fulcrum point, then think of the short strokes of Serrada.
Notice they don't come back too far, moving from vertical to horizontal with great precision.
See how relaxed his wrists are.
Same for his shoulders. Notice his upper arms hang naturally.
His concentration is complete. He has full control of speed, power, tempo and rythm.
How would you move to these rhythms?
Subscribe to:
Posts (Atom)