The question came to mind this afternoon, "Have we benefited from the Zen Koan given us as a silk certificate by Tatsuo-san of Isshinryu?" Have we benefited in our practice and teachings from his gift of the gokui?
Although I cannot answer this for the entirety of the western practices of Isshinryu I can provide my limited answer as to my perceptions within my limited exposure and experiences - no, nope, not even close.
I have tried to find as many answers from as many Isshinryu practitioners as to the meaning they have for the kenpo gokui as provided in kanji and English that Tatsuo-san provided his early graduates on Okinawa at the honbu dojo.
I think we as westerners missed the boat entirely and it has sailed for distant shores leaving western understanding and belief of this system along side a understanding of the Okinawan culture and beliefs as Tatsuo-san lived out in the cold. We have barely scratched the surface and as long as it remains commercialized and sport oriented it may never reach beyond those limitations.
Then again, what the f&^% do I know right?
Kiko - Japanese Qigong, sorta ...
The characters/ideograms mean "breathing exercise; breath control; spirit cultivation; chi kung; qigong." The first character means, "spirit; mind; air; atmosphere; mood," the second character means, "achievement; merits; success; honor; credit."
Kiko is the Japanese term used fundamentally representative of the Chinese Qigong. This term in Japanese martial arts is the art of developing "ki." There are some differences between the Chinese concept of "qi" to the Japanese concept of "ki."
In Japanese cultural beliefs, ki is an energy that permeates all things in the universe to include such things as organic life, stones, wind, rain, the sea, the mountains, etc. Ki is also thought of as an extension to primitive animist thinking.
To answer a question about the practice of the art of kiko one should delve deeper into the concept of "ki." Ki is felt though the focus on the body, it is felt by the body and the mind needs training to focus on ki by means of the body. One must develop the ability to consciously be attentive to the sensations of ki that is to become one with your surroundings through the dissipation/removal of the sensations of your own existence which is felt when focused on sensations within and around the body.
Ki is that which is heard through bodily sensations by perceptions of our environment and how we are living within that environment. It is a matter of the sensations, impressions and perceptions that are somewhat mystical, strange, vague, and intangible by western thoughts. It is a level of insight that human's, especially westerners, have repressed in modern times.
It is the sharpening of our senses, i.e. touch, sight, hearing, smell, which played a role in survival in ancient times now repressed by modern progress.
Another concept of kiko, breath control. Life is ki, ki is of the breathe. The breathing we do contributes to ki and to our energy levels. Ki, breath control, kiko all are the same yet different for they promote things like health, well-being, calm, serenity and effectiveness in waza. The breath control in martial arts is the interweaving of breathe, breathe control, with muscles, tendons, ligaments, internal organs and external myriad things.
We have heard often how we practice "muscle & breathe control." Seldom has the training addressed directly the art of breathing with control. Kiko is the martial concept and symbolism by ideograms that teach about the spectrum of breath control. The two words are inadequate to explain the depth and breadth of the importance of utilizing the art of kiko or in this instance, breathe control.
Kiko is spirit where spirit is boosted by ki, breathe control or muscle and breathe control. All of these and many things are the essence of kiko and by its energies in "ki."
Proper breathing control methods cleanse our minds of distractions and result in release of positive chemicals to counter act negative chemicals and emotions alleviating the mind so it can assume a mind of no-mind, present moment mind.
Kiko, ki, breathing systems all cultivate a mind-body of a warrior with zanshin, mushin, etc. that epitomizes the master of the martial arts. Only by this method of kiko can one achieve a where perceptions are not deceived by the senses as influenced by the monkey brain and the adrenaline dump caused by emotions, chemicals, etc.
Ki, kiko, is to achieve equilibrium within so that it can be achieved without and brings about harmony and serenity - a state of enlightenment. To master ki is to master kiko and reach the level of "furen shuten," where our bodies and mind become symbiotic with ki to the highest level possible in life. This is the point in which a master of kiko, ki and marital arts controls ki instinctually and naturally.
It should be stated that kiko is an effort to reestablish our human condition where the qualities, perceptions, sensitivities and other mental/physical faculties are returned from being lost due to the course of civilization's development in the industrial and now internet ages. It is a method by which kiko gives us access to the primitive instincts/qualities that we need in survival and interconnectedness of all things in the universe.
Kiko helps the westerner understand how mere words reduce the depth and breadth one can perceive from images (ideograms), sounds, and movements which when coupled with words increases their depth beyond the words themselves.
Kiko is the Japanese term used fundamentally representative of the Chinese Qigong. This term in Japanese martial arts is the art of developing "ki." There are some differences between the Chinese concept of "qi" to the Japanese concept of "ki."
In Japanese cultural beliefs, ki is an energy that permeates all things in the universe to include such things as organic life, stones, wind, rain, the sea, the mountains, etc. Ki is also thought of as an extension to primitive animist thinking.
To answer a question about the practice of the art of kiko one should delve deeper into the concept of "ki." Ki is felt though the focus on the body, it is felt by the body and the mind needs training to focus on ki by means of the body. One must develop the ability to consciously be attentive to the sensations of ki that is to become one with your surroundings through the dissipation/removal of the sensations of your own existence which is felt when focused on sensations within and around the body.
Ki is that which is heard through bodily sensations by perceptions of our environment and how we are living within that environment. It is a matter of the sensations, impressions and perceptions that are somewhat mystical, strange, vague, and intangible by western thoughts. It is a level of insight that human's, especially westerners, have repressed in modern times.
It is the sharpening of our senses, i.e. touch, sight, hearing, smell, which played a role in survival in ancient times now repressed by modern progress.
Another concept of kiko, breath control. Life is ki, ki is of the breathe. The breathing we do contributes to ki and to our energy levels. Ki, breath control, kiko all are the same yet different for they promote things like health, well-being, calm, serenity and effectiveness in waza. The breath control in martial arts is the interweaving of breathe, breathe control, with muscles, tendons, ligaments, internal organs and external myriad things.
We have heard often how we practice "muscle & breathe control." Seldom has the training addressed directly the art of breathing with control. Kiko is the martial concept and symbolism by ideograms that teach about the spectrum of breath control. The two words are inadequate to explain the depth and breadth of the importance of utilizing the art of kiko or in this instance, breathe control.
Kiko is spirit where spirit is boosted by ki, breathe control or muscle and breathe control. All of these and many things are the essence of kiko and by its energies in "ki."
Proper breathing control methods cleanse our minds of distractions and result in release of positive chemicals to counter act negative chemicals and emotions alleviating the mind so it can assume a mind of no-mind, present moment mind.
Kiko, ki, breathing systems all cultivate a mind-body of a warrior with zanshin, mushin, etc. that epitomizes the master of the martial arts. Only by this method of kiko can one achieve a where perceptions are not deceived by the senses as influenced by the monkey brain and the adrenaline dump caused by emotions, chemicals, etc.
Ki, kiko, is to achieve equilibrium within so that it can be achieved without and brings about harmony and serenity - a state of enlightenment. To master ki is to master kiko and reach the level of "furen shuten," where our bodies and mind become symbiotic with ki to the highest level possible in life. This is the point in which a master of kiko, ki and marital arts controls ki instinctually and naturally.
It should be stated that kiko is an effort to reestablish our human condition where the qualities, perceptions, sensitivities and other mental/physical faculties are returned from being lost due to the course of civilization's development in the industrial and now internet ages. It is a method by which kiko gives us access to the primitive instincts/qualities that we need in survival and interconnectedness of all things in the universe.
Kiko helps the westerner understand how mere words reduce the depth and breadth one can perceive from images (ideograms), sounds, and movements which when coupled with words increases their depth beyond the words themselves.
Why Posts have Lessened
You may be wondering why the sudden drop off of postings here at this blog. I have felt that teaching comes in many forms. You have to discover, know and understand those forms to reach the greatest number of interested like-minded people if you wish to influence their thinking and discovery of martial arts.
I have written a lot on teaching/instructing/mentoring martial arts, i.e. being a good Sensei, like sense modes, i.e. sight, hearing and touch, but also needed to find methods that are written as well to reach more via a blog or book or what ever means that would "strike a cord" on the receiving end.
A new method came to me not long ago so I have focused a lot of effort on this "form" or "method" of conveying thoughts, idea's and other knowledge of my views, experience and knowledge of martial arts in all its forms, the terms/phrases blog site.
If what I am doing here can be viewed as another path to follow that strikes a cord and makes the reader interested and thinking then it works - as I hope it does.
So, if you find my lack of posting here as such please do me the honor of going to the "Martial Art Terminology/Phrases" blog and take a look. I would be interested in thoughts and idea's on the form and function of this method.
I have written a lot on teaching/instructing/mentoring martial arts, i.e. being a good Sensei, like sense modes, i.e. sight, hearing and touch, but also needed to find methods that are written as well to reach more via a blog or book or what ever means that would "strike a cord" on the receiving end.
A new method came to me not long ago so I have focused a lot of effort on this "form" or "method" of conveying thoughts, idea's and other knowledge of my views, experience and knowledge of martial arts in all its forms, the terms/phrases blog site.
If what I am doing here can be viewed as another path to follow that strikes a cord and makes the reader interested and thinking then it works - as I hope it does.
So, if you find my lack of posting here as such please do me the honor of going to the "Martial Art Terminology/Phrases" blog and take a look. I would be interested in thoughts and idea's on the form and function of this method.
Ancient Pathways
This new martial term means "ancient pathway." The below picture first viewed on the Cook Dings Kitchen blog written and posted by Rick inspired me toward the symbolism I detected within the photo. I will try to convey all or some of those symbolic meanings I perceive within this korai michi photo.
It is representative of the yin-yang concept as seen by the stones along this ancient pathway. The stones themselves are yang while the space between the stones in the yin. It reminds me of the garden pathways leading to the ancient tea ceremony where each stone is representative of some action to be taken by the follower of the path. It direction and placement often causes pauses and positions that best display the garden itself and the garden displays represent some symbolic or natural view of the larger nature around us in this world.
The raised stones and the void between are meant to symbolize that one must not stray from the path chosen. The path itself that lays under one's feet as they travel the korai michi provide lessons to learn along the way, they provide a means to step in correct ways, and it helps the follower of korai michi to determine by the placement, shape, and void between how to approach, step onto and then set kamae before immediately stepping past it and on to the next lesson. Any fault in the step or kamae will cause instability and often a fall like a great weight to another stone giving unexpected lessons before, during and after the loss of balance and weight falling.
The long grass waving on each side of the path are similar to the rough seas that are both yin-yang where the turbulence of the air moving the grass is yang and the underlying roots that grasp the earth are yang but the flexibility of the grass that bends to the will of the winds is yin. The winds flowing like a cool breeze barely ruffling the grass is yin while great gusts that bend the grass almost to the earth are yang. This represents the yin-yang of life's encounters from moment to moment where the will of the wind is indeterminable until experienced in the present moment and speaks to the korai michi follower the chaos of each moment and its ability to teach us about the unknown of each next moment.
The rough setting of the stones along the entire korai michi symbolize the practice of martial systems in that each determines a new lesson on stance, direction, body positioning, technique applications, type of technique, body alignment, principle applications, etc. Each is unique and requires applying something unique and different as determined by the step, the stone, the space or void between the stone, the stability of the stone when weight is applied, balance and equilibrium - to name but a few.
The fact that the stone korai michi was built by human's upon the earth under the heavens above through effort, diligence and discipline symbolizes that a martial artists must apply effort, diligence and discipline toward building a martial path to follow. It is a rocky road we follow requiring focus and determination to build, follow and leave behind for others.
The change or transition displayed by the darkness entering under the moons glow from the light provided by the sun or the sun setting its light below the horizon allowing the glow of the moon for night to enlighten the korai michi, the path of martial systems, so we may see, hear, and feel our efforts and results as we walk the korai michi along the martial systems path, road or way.
The lone staff is symbolic that one must discard things that are used to support the martial artists so they must stand alone, walk the path alone and unaided to achieve mastery of their system, style or branch/art. Its placement at the first of the path is symbolic that all who first step upon the rocky path of martial systems must adhere to the basics but soon must allow the steps taken to become balanced and unaided by the basics so that one can travel the remaining path with assurance, dependability and determination.
The symbolism of the korai michi bending around the earth gives credence to the fact that the path is symbolically entering into a void or the unseen, the unexpected and the unknown. It also symbolizes that no matter how far we travel on the korai michi we can never know what lies ahead and reminds us that we must remain open-minded to possibilities. It reminds us that no matter how much we learn along the path that nothing is set, everything is open to change and that we must remain flexible to self-reflect to self-transmutation according to each new stone encountered.
The korai michi also reminds me of the Shinto Shrines. The shrines are built within any environment but the environment of the shrine proper remains in a natural state as the korai michi here is resident within nature by the grasses growing out of the earth's soil under the natural heavens or skies above it. The korai michi, like the shinto shrine, is constructed from natural materials and does not obstruct the natural surroundings of the settings within it resides. It is utter simplicity like the Shinto Shrines. It contains not man made materials, all materials are found naturally occurring on the earth. It holds true to the Shinto concept of simplicity in materials and construction. No nails or other materials are used to combine the stones, each stone fits snugly to the next, a part of Shinto naturalness. As can be seen it also holds true to Shintoism that also drives the martial arts.
The stone path gives us the impression that it emerges from within the earth naturally pushing aside the grasses to make way for the path of human's. It also speaks to the ken-po goku-i as the stones represent heaven, earth, sun, moon, hard and soft, balance, direction changes to reach, step on and pass stones of various unique shapes, sizes and instabilities, opportunity, and the need to see the path, to hear the path and to feel the path beneath our feet up into the body-mind.
It remains open to clear view and acoustic vibrations while giving a feel for the roughness of the stone, the varying stones and the void or spaces between the stone. Symbolic of the very essence of life and the practice of any art discipline including martial arts.
The stars of the heavens are alluded to and known to exist regardless of the night/day sky be it open and lit or closed in darkness with only the glow of the moon directly or indirectly shining from the heavens as indicated in this photo.
It is symbolic of how we work diligently to walk the true path so that the enlightening light of the sun can shine through guiding us to mastery. It is stone so it has a hard permanence that symbolizes how one should view and practice martial arts for life.
Although inadequate, this post attempts to convey the importance of the path and the importance of symbolism as a means to open our eyes, ears and allow us to feel, both tactually and spiritually, the path or the way or the korai michi of martial systems.
Yin-Yang Stasis in Martial Arts
In judging applications to be yin or yang, we are never doing so absolutely. Depending on what we are comparing, we can say about the same thing that it is either yin or yang. Dualistic Monism, a principle contained within as a theory of dynamic relativity. It is rather the continuously vacillating of yin and yang as the moment dictates and the application or technique is applied.
All techniques have both yin and yang context, traits and influences but one is not completely and utterly without the other. There are remnants of one or the other to some degree with one or the other dominating at any one given moment. The changes made in applications is based upon changes in the quality, quantity, or structure of said application or techniques of their respective yin and yang elements.
Considering these factors becomes important when learning and applying a technique or techniques or variations of said techniques depends greatly as to the stage or level of shu-ha-ri of the practitioner of said martial system(s).
Only through the study and understanding of the ancients and ancient classics that influenced the creation and inheritance of the systems down to the present can achieve this type of understanding. This understanding influences to a higher level the learning, applying and understanding of techniques, etc.
The entire ken-po goku-i is a window that allows a practitioner to achieve sight, sound and feel for the martial system practiced and it also is the only method to open the various gates, nyumonsha, leading toward mastery.
All techniques have both yin and yang context, traits and influences but one is not completely and utterly without the other. There are remnants of one or the other to some degree with one or the other dominating at any one given moment. The changes made in applications is based upon changes in the quality, quantity, or structure of said application or techniques of their respective yin and yang elements.
Considering these factors becomes important when learning and applying a technique or techniques or variations of said techniques depends greatly as to the stage or level of shu-ha-ri of the practitioner of said martial system(s).
Only through the study and understanding of the ancients and ancient classics that influenced the creation and inheritance of the systems down to the present can achieve this type of understanding. This understanding influences to a higher level the learning, applying and understanding of techniques, etc.
The entire ken-po goku-i is a window that allows a practitioner to achieve sight, sound and feel for the martial system practiced and it also is the only method to open the various gates, nyumonsha, leading toward mastery.
Sun and Moon
The sun and moon at their apex symbolize old yang which is to be steady in movement. The new moon and the midnight such symbolize the old yin which is to be steady in receptivity and reflection. The change from sunlight to the darkness illuminated by the reflection of the sun by the moon symbolize young yang. The sun gives light and energy, the moon receives the light and the energy of the sun. Darkness of night changing to day is young yang.
Old Yang: the full moon and the sun at its apex, noon. Symbolizes movement and illumination. (7 chakras)
Old Yin: the new moon and the midnight such, the polar star. Symbolizes receptivity and reflection. (8 directions)
Young Yang: the change from darkness to light. Symbolizes individuality. (7)
Young Yin: the change from light to darkness. Symbolizes receptivity. (8)
Old Yang: the full moon and the sun at its apex, noon. Symbolizes movement and illumination. (7 chakras)
Old Yin: the new moon and the midnight such, the polar star. Symbolizes receptivity and reflection. (8 directions)
Young Yang: the change from darkness to light. Symbolizes individuality. (7)
Young Yin: the change from light to darkness. Symbolizes receptivity. (8)