When I was writing this series of columns, I knew I was putting forward a pretty comprehensive explanation of pressure point theory. But, since the column only appeared every other month, I figured no one would realize that I was giving away the store. Now, I am putting them all on my blog – one stop shopping. Mmmm, brilliant. Well, I have never been accused of being a good businessman (or any kind of business man, for that matter). Fortunately, it won't be long until they have all made their way into the "older posts" section, the dusty attic of blogging, and they will be forgotten again. In the meantime, they are yours for the reading.

Thanks for reading,

now, go train.

Chris Thomas

Ickworth House run

A pleasant post Christmas run around the National Trust's Ickworth House in Suffolk with EP.

3.5 miles on googlemaps but if felt like 5 or 6! Lots of mud and I was carrying a few too many mince pies...

View Ickworth run in a larger map

Me striking a Brucie pose and EP (comically) pointing out the round house on the map. Phew. We're not lost...

The Samurai

In Our Time this morning, as ever hosted by Melvyn Bragg, explored the history and 'myth' of the samurai throughout Japanese history. This is a 45 minute radio show in a discussion format with analysis from experts in this field: Gregory Irvine author of The Japanese Sword, Nicola Liscutin of the Japan Research Centre (SOAS), Angus Lockyer lecturer at SOAS.

This was a good, broad history of the samurai from early settlement and warring tribes in Japan through to the Second World War with some emphasis on the samurai's chief weapon, the sword. The talk also covered the symbolism of the sword within the Japanese culture as well as its effectiveness as a fighting weapon and how it adapted with the changing methods of warfare.

Download the podcast here or here.

An unusual kung fu application

Things got rowdy at my son's sixth birthday party.  Young boys, balloon swords, and way too much sugar!  But it wasn't until the birthday cake came out that I resorted to kung fu:

More conventionally executed as a double-strike to the lower part of an assailant's rib-cage, this hand formation proved effective when shielding birthday candles from the wind.

Happy birthday, Jake!

Presentation Day, December 2009

Yesterday afternoon was the Australian Federation of Instructors 2009 Presentation Day.  There was a BBQ, black belt kata displays, "Santa Sensei" Kris Kringle, a raffle, awarding of grading certificates, and Kancho's class.

The trun-out from Monash Caulfield was pleasining:

Left to right: Anthony, Lizzie, Robin, Damian, 

yours truly, Lejoe, Lisa, Ashley

Holding their new certificates are:

• Lizzie: purple I, jiu-jitsu
• Damian: purple I & II, jiu-jitsu
• Lejoe: purple I judo; purple II & yellow I, jiu-jitsu
• Ashley: purple I & II judo; purple II, jiu-jitsu

Congratulations to all, and also to Steve (purple I, jiu-jitsu) in absentia.  Thanks to Anthony, Lisa, and Robin for coming along anyway, even though they didn't grade (this time).

Disappointingly, club kata presentations were bumped because of a tight schedule.  However, we should be very well practiced for next year!

There were numerous black-belt promotions across the organization.  Of particular note, Sharen Cummings, who started training a year after me, but left to work in America for eight years, received her Shodan Ho (provisional first degree black belt) in judo.

Monash mafia:

Left to Right: Sensei Tony, Sempai Sharen, me, Sempai Tim

Also, Sempai Tim Wilkin received his Shodan Ho in judo, and I received my Nidan (2nd degree black belt) in judo.

Well done to us, and to everyone else in the Federation who successfully graded this time, and to everyone for a great year!

Do black belts have to start their own class?

Karate instructor Michele asked Do black belts have to teach? on her blog and lively discussion ensued.  I suspect that those who like teaching gravitated to the affirmative camp, while those who do not tended to the negative.

All I'd add to that discussion is that in our organization -- The Australian Jiu-jitsu, Judo, and Chinese Boxing Federation of Instructors -- I don't think you can make it to black belt without an affinity for teaching.  As the name indicates, there's a lot of teaching in our system, and by developing everyone into teachers as well as martial artists there's a lot more hands-on instruction available than if teacher status is reserved for a select few.

Anyway, there's another dimension I'd like to explore.  The next step after doing some occasional class teaching -- typically stepping in occasionally for the full-time instructor -- is to start your own regular class.  In our organization this means that either you inherit and existing class or start a new club.

While this is something I recommend, you wouldn't want to rush into it.  I've just completed year 5 with my own club, and even only running one class a week (a two hour class, though!), it's a lot of work: Class planning, answering enquiries, record-keeping and collecting dues, maintaining equipment, liaising with the venue owners, submitting grading recommendations, advertising, scrutinizing candidate students.  There's a lot to do, and there's work and family life too, but once some simple systems are in place, most of that stuff becomes quite routine.  Blogging, by the way, should be strictly optional.

Oh, and there's teaching, too.  That's the fun bit!

It never rains, but it pours.  After four years of running my class on a Monday night I switched in 2009 to Wednesday and suddenly I went from a handful of students -- typically 3 to 6 per class, sometimes less -- to more typical class sizes of 8 to 12, peaking at about 14.

There's a lot less hands-on instruction by me on each and every student now.  The students who remain from earlier times sometimes say they miss that, but there's now more energy and camaraderie on our now crowded mat.  And next year should be that much better, with a core group who train week-in week-out solidifying.

Next step may be to increase the mat area!

* * *

Teaching someone else's class or running a short course is a bit like doing some baby-sitting as an uncle or aunt: hard-work, hopefully fun, but you get to give them back.  Starting your own class and/or club is more like parenthood; it's something you need to be ready for, and it's definitely not for everyone.

I highly recommend putting in a few years as an assistant to someone else first.

Information on knife defence

Post-training pub talk led to a conversation about knife attacks last night. This is still, in my mind, a hot topic in the martial arts world extending the age old conundrum of, "Is my style effective in a real situation?" into a whole new and different area. Knife crime is a possibility in this country where gun ownership is tightly controlled but there is much debate about what the stats actually mean. The government and the police force try and portray a safer society but who knows what the real statistics are? This article talks about how we can't say whether knife crime is coming down but CS dug out this interesting snippet from a book called 'This Will Kill You' which clearly states that in the UK "stabbing is the most common form of murder". So that's pretty clear. There is a debate, of course, about how likely you are to end up in a stabbing scenario (most murders are perpetrated by people known to the victim) but this highlights that an awareness of knife defence may be beneficial.

If you do want to practice knife defence then here are some facts, as stated in the aforementioned book:

- Repeated stabbings will kill likely lead to death (er..yeah). The point being that maybe one stab may not be enough to kill an attacker may be after a repeated onslaught.

- Slicing of veins and arteries will result in heavy blood loss

- Defensive wounds occur on the hands and arms due to weapon fixation

- Long blades are often used in a downward stabbing motion to chest and neck area (although are at their deadliest when thrust from the elbow.)

- Usual cause of death: organ failure, loss of blood, shock.

This Will Kill You: A Guide to the Way in Which We Go by Newquist and Maloof

pp189-192

Superficial teaching, Real teaching, and Inspired teaching

Superficial teaching can sound good, but it's really by the numbers.  In The Anatomy of Change (page 121) Aikido teacher Richard Strozzi-Heckler writes:

Learning to ski last winter, I took a lesson from an accomplished skier and certified instructor.   He initially amazed me, as his instructions were very similar to the ones I use with my students.  He spoke of the importance of relaxation, going with the contours of the slopes, and trusting my body to feel weight, balance, and flexibility.  His images were creative and useful.  I  was inspired and immediately put to use what he was telling me.  But after a point, I got stuck.  The instructor came over, reeled off the terrific aphorisms, and I again tried to put them to use.  But there was no use.  Something was missing.

I realized that he wasn't making contact with me. He wasn't seeing me and what I needed to learn in order to move ahead. His wonderful information lacked a connecting bridge to the more essential part of me. ... Perhaps if he had tuned in, he might have brought forth the suffestion to turn my hip a little this way, or lean slightly that way, or even work with the energy of my emerging frustration.

Real teaching means more than passing on good information -- take it or leave it.  It also involves the contact that Heckler complains was missing from his skiing lesson, including observation and trouble-shooting, and establishing and maintaining a positive learning environment.

Much of the time I demonstrate with commentary, thereby passing on good information in visual, auditory and kinaesthetic (for my uke) forms, thereby catering to a variety of learning styles.  This is still superficial, but given good curriculum and personal technique, this transmission of "good information" is the foundation of effective instruction.

Next, I let the students get to work in pairs and try to leave them alone while they figure out the technique (or refine it) by themselves.  Part of good teaching is getting outta da way and giving the students space to figure stuff out for themselves.

Occasionally I'll intervene, or answer a question.  This is where the observation comes in,.  The student  starts to describe the problem.  "Show me your throw", I say.  I want to  see it in its totality, not hear what they think the problem is.  "Again", I say, so that I can get more data.  Sometimes I'll have them throw a different uke, perhaps with a different type of body.  If I can't identify the source yet I'll have them throw me, so that I can better feel what's going on.  Then I try to give one (sometimes two) succinct instructions, and apply the technique to the person so that they can feel how I do it, and/or to their partner so that they can see it.  I may also imitate what I want them to change.  With more advanced students, I might explain the cause of the problem and ask them to work out the solution.  In my book this is where much of the real teaching happens.

If I see that a problem is widespread, I'll make a particular point for the whole class.  If the problem is affecting every (or nearly every)  student in the class, it's time for me to have a good hard look at the likely source of the problem.  This usually involves a mirror, real or metaphorical.

Inspired teaching, by contrast goes above and beyond.  Sometimes it's when a new activity, or instruction clicks for a whole bunch of students at once.  On an individual basis, it can happen when the problems of the student seem intractable, the way to help uncertain, the likelihood of success low, all attempts at correction thus far have met with abject failure, and yet in a flash of insight the teacher realizes that there's something else that might just work.

Here is Brian's story about his experience tutoring Ali, a boy who was making no progress while attempting to learn mathematics, either at school and under the uber-systematic, yet non-directive Kumon method:

[T]here was one boy for whom Kumon did not seem to be working its magic. Ali was the boy's name, and he seemed to be in such serious trouble that Kumon seemed beside the point. When he did sums they were all over the place. Answers were totally wrong, and figures written the wrong way round. He could hold a pencil and write, but what he wrote was crazy. We seriously doubted if there was anything we could do, and we were ready to give up right there. He would make repeated mistakes, both of calculation and in the way he wrote numbers, and we even started to believe that he might be "dyslexic", or even brain damaged. Also, Ali seemed to be an extremely arrogant little boy. He had a way of lowering his eyelids and raising his head that made him look as if he thought the world to be populated entirely by fools.

At which point I got very, very lucky. I said, let me have a try with him. I decided to do some teaching.

I separated the task he faced into a succession of tiny steps and got him to do each step right before proceeding to the next. You start by writing your name there. No, there. What's your name? Ali. Good. Can you spell that? Good. Please write Ali there. Good. Now: what does this say? I point at a two. Two. Good. And what does that say? I point at a one. One. Good. What about that? I point at the plus in between the two and the one. No? That says plus. That means you are adding two to one. What does this say? Don't know? That says equals. That means what does two and one come to. What's it the same as? What is two plus one, two and one, two added to one? So. What's two and one? Don't know? It's three. Do you know how to write three? You do. Good. Please write three there, which is where the answer is supposed to go. Excellent.

And so on. I never made him guess more than once, and I was unfailingly polite. I always said please before asking him to do anything, and I never raised my voice. I never, that is to say, confused Ali being ignorant with Ali being stupid. I did nothing that would be unfamiliar to an averagely capable aerobics instructor working with a arthritic old-age pensioner, but for some reason this sort of thing, when needed by a child, is not always supplied, even in something as widely known as simple arithmetic.

Aside from not knowing the answers, Ali's biggest problem was writing the numbers the correct way around. He would routinely write mirror reflections of them instead. Not all the time, just rather a lot. (This was what had prompted the dyslexia diagnosis.)

When Ali did this - getting, say, the answer right but writing it mirrored - I would say well done, you got the answer right. The answer is five, and that's what you wrote. Well done. However, you wrote the five the wrong way round. Please rub out the five you did, and rewrite it the correct way round. Good.

As I say, you aren't supposed to do this in Kumon. If all the children were to get twenty minutes of solid attention, the way I was attending to Ali, the place would have stopped being the learning factory for everyboy and everygirl that it's supposed to be and would have reverted to being a few tutors helping a few rich kids. But I didn't care.

And the reason that I didn't care was that it worked. After about three sessions along these lines, Ali reached his personal plateau of arithmetical excellence (a few sums wrong but almost all of them right), just like any other Kumon kid.

So there you have it, a real-life an example of inspired, outside-the-box teaching.  You can read more in Brian's post.

We should all strive to do real teaching all the time, and aim to rise to an inspired level as often as insight allows.  It's worth it.

Sorry, everybody, Christmas is especially hectic in my business. Here is another edition of my old "To the Point Column." Remember to click on the image to read it and print it out for your files. And, when your done, go train.

Chris Thomas

An amazing transformation

I can't imagine watching this and not being inspired:

The only comparison that matters

Via Patrick Parker:

The truth is that there is nothing noble in being superior to somebody else. The only real nobility is in being superior to your former self. -- Whitney Young

Aim to improve.  Draw inspiration -- not envy -- from the achievements of others.

Martial arts monkeys attack!

A monkey trainer was attacked by his own students in what can only be described as vicious martial arts monkey mayhem! In order to make money street performer Lo Wung trained up a troupe of small monkeys to perform martial arts tricks in Eastern China.

Something sinister was happening in this imprisoned monkeys' brains though and this day they'd had enough. It all came to a head when one of the little chaps had had enough and leapt at Mr Wung with a flying kick. the other monkeys soon joined in bopping him in the eye and pushing him to the ground.

One spectator to this said, "It was better than a Bruce Lee film-they were leaping and jumping all over the place!"

A chastened and humiliated Mr Wung punished the monkeys by tying their hands behind their backs and forcing them to kneel on the ground.

Mr Wung is now being investigated for animal cruelty.

As you sow, Mr Wung, so shall you reap!

Ref: The Sun plus photos. (where did you think this story came from!?)

9news

Second dan presentation

It's always a pleasure to attend friend's belt presentations.

Oli Moran, 2nd dan. 16th December, 2009.

The Use of Weapons

After a few repeats of kesa giri I made it my learning point to look at losing the tension in my hands and arms. I needed to make the cut flow naturally and fluidly. I was minded that the fencing tutors told us to hold the foil handle like it were a small bird: too tight and we'd crush it, too lightly and it'd fly away. For the next ten or so repetitions of kesa giri I just concentrated on that and loosing my shoulders which led to some improvement but still not the lightness of touch I wanted or expected. The sword and I were two different processes and I was starting to experience a certain level of discomfort and unease. Relaxation of the grip and arms eluded me so I eased off, stood there and waited. It was cold but I took the time to breathe and waited for the draw to begin which it did. I drew and cut and re-sheathed in one (fairly) smooth line.

And then I waited.

Another draw with less tension- without focusing on the problem areas I was allowing the sword to follow its path more 'naturally' and inhibiting it less in it's flow. De-focusing or working on the core element of relaxation helped me connect better with the nature of the sword and of the cuts.

Following from this I took up the bo to continue training with this relaxed attitude which had worked just fine with the sword. I have a beautiful, traditional red oak bo staff which, while not being heavy as such, is substantial enough to lead to tight forearms after a while of training. I was looking for this lightness that I had found in the iai practice. It followed on nicely while executing simple low blocks, turns and strikes. Not grasping at the technique helped me flow and integrate better with the movement rather than fighting against it with my mind.

Self-defence Kata (December 2009)

For the last couple of classes I have been working with my class to create an original kata for part of the kata display on Presentation Day, later this month.

Last year we invented an original kata, The Kata of Possibility.  It proved to be a very rewarding experience, an opportunity for the class to work together as a group to show some of what they have learned to an appreciative audience.

We've still got one more class to finalize and polish up our new kata, especially the formalities, but after last night we have the outline.

Part I: Defences against Grabs

Attack 1a: Double lapel grab (with optional knee to groin)

Some defences: Side wrist throw, 2nd hip throw, 2nd leg throw (knee variation)

Attack 1b: Single lapel grab and punch to the face

Some defences: Double-strike turning throw, 1st leg throw, elbow roll submission, 2nd hip throw (after crossing uke up)

Attack 1c: Front hair grab

Defence: Retreating wrist-lock

Part II: Defences against Chokes

Attack 2a: 4th strangle from behind

Some defences: 1st shoulder throw, 1st leg throw (when dragged backwards)

Attack 2b: Front choke with straight arms

Some defences: 3rd hip throw, 3rd leg throw (when pushed backwards), "Cap'n Kirk" escape

Attack 2c: Headlock while walking forward

Defence: Sutemi between legs, transitioning into first immobilization

Part III: Defences against Strikes

Attack 3a: Right hand jab from southpaw stance
Some defences: 1st leg throw, 1st shoulder throw

Attack 3b: Haymaker

Some defences: 2nd hip thow, 1st shoulder throw, nurse's grip gooseneck

Attack 3c: Wild rush / push to chest

Defence: Drop to hands and knees (side-on)

Typically, I started with some more ambitious ideas for this kata, but over a few "workshop" sessions we've arrived at something suitable for the present group, and largely put together from their suggestions and experiments.

For each of the first two attacks in every category each pair demonstrates a different technique, one after the other, but for the final attack in the category all pairs employ the same defence, simultaneously.

In future years, I intend to work with my class on some of the traditional judo kata.  This year Sempai Tim from Monash Clayton and I will present Katame-no-kata, the kata of groundwork, and other black-belts will also be presenting traditional kata.

Thanks to my models -- Brenton (orange) and Le Joe (purple) -- for the quick photo shoot!

Wish I'd brought me sword

It doesn't happen often but this morning I've finished my house chores in good time, have little design work to do and find myself at a loose end. Being faced with this moment to myself I decided to make the most of it and drove to Anglesey Abbey for a cup of good coffee and to read a book or two. It's a very foggy day and makes the grounds look really atmospheric-wish I'd brought my sword. I'd love to practice some iai in this freezing fog in beautiful surroundings. Not sure though. It might spook the silver haired visitors to the Abbey grounds!

I find having time for oneself is very important. I *love* being with my family but sometimes I just need a bit of air and time to be with my thoughts. Or even better with no thoughts at all! There's a great chapter in the super little book about zen by Joe Hyams called Zen in the Martial Arts about a fencing master who would have 'do nothing' days. On those days he would not make appointments, reply to calls or even listen to the radio. A good time for him to be comfortable being himself and being with himself. Yesterday on the radio there was an interesting debate about whether 'me time' as an institution or whether really it should be woven into our lives seamlessly so that when we do have calmer moments we can reflect deeply at that point and not need for longer periods of being completely withdrawn from everyone around us. After all we (mostly) live in an increasingly crowded society so getting that 'away' time when you can find absolute solitude is pretty difficult.

I suppose that's why I wish I'd brought my sword! Nothing better than meditation through iai on a cold foggy morning. I did satisfy my longing for meditation by walking through the wooded area concentrating on my footsteps one after the other, breathing with each step. This is pretty useful stuff as when done enough you can learn to slow down, calm yourself and meditate anywhere.

Book review: The Way of the Warrior

This is a hardback, colourful almanac of descriptions of the world's martial arts but is it any good?

There are many entries in the book, which is encyclopaedic in its format, and it does give a good, broad look at the martial arts around the world. I'm sure that some esoteric arts might not be covered but to me it looks pretty comprehensive. The entries I have knowledge about seem fairly accurate but don't stray from the 'party line' and therefore have no analysis. This isn't surprising from such a broad look at the martial arts. What does lift this book is the photo documentaries sprinkled throughout which give more insight into the human aspect of living martial arts, examining how people today, all around the world, dedicate themselves to their art. As a human documentary this is interesting and helps to convey the idea that to some people the martial arts is a unifying force, despite its basic premise of conflict.

Chris Crudelli is mentioned on the cover as the author but apart from a couple of little editorial snippets where he adds that he has trained in this style or that, I can't see what else he really adds. Perhaps he was responsible for the photo journals.

Buy it or not? Good clean, fun book, lots of descriptions about many martial arts around the world but no in depth analysis or critical appraisal. Have this on your shelf as an encyclopaedia of martial arts (especially as Borders is now closing down and has some pretty good offers on!), or just use Wikipedia for free.

Man wrestles gun from assailant outside Manchester pub

Interesting clip. Not my choice of music.

The accompanying news article says the big guy came out to see what was going on and check on his wife. I am somewhat amazed that he walked, seemingly coolly, towards the gun toter. Staying cool may have played in his favour and he certainly used a minimum of movement, possibly as he thought he didn't want to spook the gunman, possibly out of ignorance or that he felt that the other guy didn't *really* want to use the gun. In any case this is pretty ballsy.

What I'm interested in here is the use of weapons; how people use them and why. Surely brandishing a weapon is partly to have a psychological effect on others, showing that you literally hold power, much like fasces were used in ancient Rome. But what likelihood is there that a brandisher of weapons will turn into a shooter? Is the act of brandishing a weapon completely different from having a weapon with intent to use?

Geoff Thompson in 'Dead or Alive' (p.174 ) "a stabber rarely shows and a shower rarely stabs".

Having said that he doesn't recommend taking these people on in the first place! Don't be there is his first line of self defence.

'Big guy' in the video seemed to have intent as he strode out to meet the gunman, so was this a foolhardy act?

The Higher Goals of Judo

This southern Summer, beginning 24 January 2010,  I will be teaching a four-session course, The higher goals of Judo, open to all members of our Federation.  This subject matter will not seem surprising to regular readers of this blog:

The Higher Goals of Judo: Course Aims

1. Definition and history: To introduce participants to the higher goals of Judo practice, beyond self-defence and competitive skills, and to their historical basis
   
2. Dojo / real life connection: To inspire participants to seek to apply what they learn in the dojo in the rest of their lives, and, conversely, to use the opportunities afforded by martial arts training to deliberately further their personal and social development
3. Practice: To provide a venue in which participants can identify and explore areas ripe for their own personal and social development, in a practical fashion

But wait, there's much more!
Several other Federation instructors will also be presenting four week courses on a variety of aspects of the martial arts.  Other short courses include:

• Sensei Stephen Cochrane: Combinations & Counters in Judo (starts December 8)
  
• Sensei Peter Howell: Weapons of Mass Destruction (starts December 11)
• Sempai Owen Dransfield: Dedicated Experience in the Art of Judo (starts January 9)
  
• Sensei Colin Bachelard: Jiu-jitsu Application of Technique to Survive (starts January 12)
• Shihan Chris Bailey: The Strategy of Weapons and the Empty Hand (starts February 7)

All recommended: these courses are a great opportunity to examine and train in some in-depth material with a variety of instructors and training partners.

I always look forward to summer training as a chance to learn something different; so I get a break from regular training, without having a break from training!

Beckham as warrior

I'm far from a fan of football but enjoyed Beckham's take on the prospect of the upcoming World Cup in South Africa and playing some of the best teams in the world. I'm guessing he was asked something like, "So, which team do you fear in the tournament?".

Check out his reply.

Last days fencing and ki ken tai

The fencing course culminates with a competition with the rest of the club. This includes fun atmosphere and prize giving so I was fairly relaxed about going along, despite not having actually fought anyone for real!

It was quite a liberating experience for me as when I have been to martial art competitions I'm always a little anxious about technique, remembering stuff, wanting to do well and not let myself down. These all buzz around my head so calming them is a process which takes up energy. Last night at the fencing tournament however I didn't mind at all! Everyone sees you are a learner due to the blue plastron beginners wear and I had nothing to prove. I went along to see how sword combat would be and to maybe get a few points on other fencers, which I did.

One thing to remark was how tired I was after each bout. I'm sure this was because I didn't really know about the correct and most efficient way to fence, but also maybe because I was lunging too much. I think more astute and experienced fencers don't need to lunge and this takes up a lot of energy. Also I was probably chasing the hit a little too much- I couldn't rely on sitting back, parrying and riposting as my technique wasn't developed enough.

My fights ended against M, a tall left-handed fencer who was very able and who thrashed me soundly with me scoring only one point on him. Afterwards in the pub he told me he'd been working on his footwork a lot which improved his fencing. He found that this could free up his mind to work on the 'point' work and bringing these two together, he said, really improved his game: foot and point working in unison. I couldn't help chipping in to add that ki ken tai (breath/spirit or shout, sword and body) was a similar concept in kendo and other striking arts. Bringing together the spirit of the attack (the raw will of the attack) with the body movement and footwork together with the strike of the weapon (be it sword or fist) gives a unity and firmness to the offence. Ki is sometimes considered as the shout or kiai and in some martial arts if the kiai is not present the point is not scored.

This concept is important on a physical level as it improves the structure of the given attack but also on a philosophical level makes the strike more complete. Movement within a traditional martial art is considered more correct if these three elements are present. This is particularly pertinent within kata or hyung practice when intent, focus and body movement are essential.

All in the mind

The second half of this BBC radio 4 programme looks at mindfulness in everyday life, taking the presenter through some simple steps to achieve a more relaxed and concentrated lifestyle.

http://www.bbc.co.uk/programmes/b00p2hny#synopsis

Here is another of my columns. Remember, if you click on the image you can easily read the article, or download it to your computer (on my computer, it's a drag and drop). CT

2nd Kyu Grading Shorinji Kempo

Grading was a little nerve wracking as sensei Jee graded a group of 11 kenshi- this meant extreme scrutiny by him with nowhere to hide. Of course this is the right attitude but when you're nervous that's all you want to do-hide!

I was pretty well genned up on everything so felt comfortable but did some pretty poor ukemi which shook my nerves further!

After the grading we slotted into the main seminar which concentrated on the 'mother technique' that is to say: gyaku gote.

The Three Levels of Judo

From Mind Over Muscle: Writings from the founder of Judo, pp94-5:

The Three Levels of Judo
We have now established judo's three aspects -- training for defense against attack, cultivation of the mind and body, and putting one's energy to use. We have also affirmed judo's highest goal as self-perfection for the betterment of society. For the sake of convenience, let us place the foundation -- training for defense against attack -- at the bottom and call it lower level judo. Let us call training and cultivation, which are by-products of training for defense against attack, middle-level judo. The study of how to put one's energy to use in society comes last, so let us call it upper level-judo.

When we divide judo into these three levels, we can see that it must not be limited to training for fighting in the dojo, and even if you train your body and cultivate your mind, if you do not go a level higher, you truly cannot benefit society. No matter how great a person you are, if you die without achieving anything, as the proverb says: "Unused treasure is a wasted treasure." It can be said that you perfected yourself, but it cannot be said that you contributed to society. I urge all practitioners of judo to recognize that it consists of these three levels and to undergo their training without undue emphasis of one aspect over another. -- Jigoro Kano, founder of Judo

Since the passing of the founder of Judo in 1938 can it be said that mainstream judo has truly honored Kano's aims? I think that it's fair to say that modern "Olympic" judo prioritizes victory in sporting contest as its main goal.

Now: With this in mind, which judo would you rather study? Modern "Olympic" judo, or Kano's classical judo?

Pushing your boundaries

Gregg Mozgala is an inspirational artist. In March 2008 the 31-year old actor performed multiple roles in a well-reviewed production of Romeo and Juliet, working around his significant cerebral palsy.

The company, formerly known as Theater by the Blind, mixes able-bodied actors and actors with disabilities. Mr. Mozgala, who has cerebral palsy, in particular shatters the myth that actors with mobility problems make for static productions, throwing himself around the stage with abandon.

In his latest project Gregg has teamed up with choreographer Tamar Rogoff in an original dance piece, Diagnosis of a Faun. Please read the New York Times article about the project, and be sure to view the embedded video.

Gregg Mozgala in a dance rehearsal

After reading and seeing the video snippet -- and for those in New York, getting along to a performance -- I trust that many people will be inspired.

Sparring

When I started studying martial arts twenty years ago, I was training in Goya Ra Ru (now Tetsudo). This is a pseudo Tibetan, very modern martial art. I say pseudo Tibetan as all the stances, blocks and kicks seem incredibly similar to traditional karate styles and to me the 'Tibetan' tag is an attempt to seem different or aloof. Having said that this artform ignited in me a lifelong passion and drive for the martial arts as a wave of improving body and mind-back then it was touted as the "thinking person's martial art". Take that or not it, I found its approach to free fighting or sparring quite enlightened.

There was, and probably still is, three levels of sparring: compromised, competitive and combat. These are fairly self explanatory and as a beginner the compromised version of sparring in a stress free environment; slowed down and collaborative helps to boost esteem and skill in stringing together techniques. Both participants understand that this is a training exercise with nor pressure to 'score'. I still enjoy this form of sparring as a training exercise much like I enjoy one step and three step sparring. These contrived varieties of conflict help beginner's and experts alike. More experienced practitioners can really feel comfortable looking for striking points and target areas and feeling the flow of different opponents.

There are times and places for more intense and rapid combat but tonight at Shorinji Kempo we were encouraged by TO to really flow through the randori and it felt good. Stress free and gave me a chance to feel more what Kempo is about. Conversely I recall training in Grenoble when I was a student in France with the local University Shotokan club. While they were a nice bunch of people I never felt part of the club. I recall that their kumite or randori consisted of lining up against each other and upon 'Hajime' crap was kicked out of me. You could, of course, tell me to shut up, suck it up and take it but what I found very frustrating was that the brown belt I was sparring with would pull up half way, stop and realign. I didn't understand and he explained that he scored a point so we start again. I was a beginner so really didn't get a chance to score any points! All I got was a load of frustration, sadly. There is a way of thinking that you train in a hard way and the students have to go through a long tortuous journey of getting kicked in but eventually....they get it. They train and train and get pounded but sooner or later 'ils pigent'.

I prefer the slower but more thoughtful approach.

Fist Foot Way

Anyone seen this martial arts film? Looks like it's funny.

Maybe a bit close to the bone in some of the aspects, but funny!

With respect to swords

I have enjoyed my fencing beginner's course with Cambridge Sword but something I find amazing, shocking and at the same time fascinating is the complete disregard for the weapon as an object of beauty, of spirit and as something to be respected.

At the start of the lesson we collect our equipment from the main 'Salle' and transport it over to the smaller one. This entails bringing a bunch of foils which are more often than not unceremoniously dumped on the floor and sometimes kicked into a corner! I understand that in fencing this is simply seen as another piece of equipment but having trained in iaido where the blade should be shown respect it shocks me a little.

The katana or indeed the iaito can be something of beauty and article to be loved in some way. Respect must be shown not only for spiritual reasons but for practical reasons: it's a weapon and deadly! Cleaning, caring and ensuring safety is paramount. The idea of using the sword sensibly is referred to as Satsu jin ken, katsu jin ken or life giving sword, life taking sword. A sword irresponsibly wielded can lead to death and destruction whereas a sword user with good intentions can use his or her sword to 'give' life.

Counter riposte

The counter riposte in fencing refers to a continuation of an attack after the first riposte has been parried. The first attack has been defended and the attacker presses on his or her attack.

This made me think of something we worked on in boxing a week ago and that is to continue the attack even when your opponent is attacking. In other words parry and attack (in this case punch) a the same time. This tactic can of course yield great results but often in our kata work and one step techniques we can overlook this by assuming: block, punch, block, punch in sequence. If we don't understand the forms we can step through them in quite a linear fashion. The boxing counter punch is almost simultaneous.

This isn't to say that traditional Asian striking arts don't advocate this quick counter riposte, it's just something we need to bear in mind.

Some karateka often churn out the old chestnut, "Ah yes but any block can also be an attack". This is certainly true but I think there's more to it than simply banging in a block hard and claiming that the force would have hurt your opponent's arm/leg. This is too simplistic. Of course bunkai or the attitude of seeing and practising applications within kata is now more and more popular and we can use this within our visualisations during training. It's in these applications that we can unlock many of the more sophisticated block ripostes. for example see the following video outlining one of the very first moves many karateka make from Pyung Ahn Cho Dan (peinan or heian shodan). Here the actors show first the moves as they exist within the hyung then the interpretation. Here you will see a fierce multiple counter riposte sequence.

My fencing teacher made a point which might clarify the issue here. We were happily trying out the riposte and counter riposte over and over again with application and quiet dedication and thought we were doing a good job of it. When he came over he said that it was ok but we needed to spend less time on the blade when blocking. Parry and counter were quickly executed almost like one flowing technique.

It's easy to think of the blocks and counters within hyung to be linear and sequential. No matter how quickly you execute them they still seem like a block and punch combination whereas we should be mindful of the idea of a counter riposte without spending so much time "on the blade".

You don't have to be great all the time

In her fabulous book, Writing Down the Bones, author Natalie Goldberg introduces a Zen-inspired practice of writing, whereby one sits and writes for an allotted time, say five or fifteen minutes without stopping, without correcting, always keeping the pen moving. This is not writing for publication, but rather writing as spiritual practice, more akin to meditation, therapy and martial arts practice than writing for an audience.

Here's my favorite anecdote from a book packed with wonderful vignettes:

Artistic Stability

I have a pile of spiral notebooks about five feet high that begin around 1977, my early years of writing in Taos, New Mexico. I want to throw them out -- who can bear to look at the junk of our own minds that comes out in writing practice? I have a friend in New Mexico who makes solar houses out of beer cans and old tires. I think I will try to build one out of discarded spiral notebooks. A friend who lives upstairs says, "Don't get rid of them." I tell her she can have them if she wants.

I pile them on her stairs leading up to her apartment and leave for Norfolk, Nebraska, for four days to do a writing workshop. When I return she looks at me oddly, plunks herself down in the old pink chair in my bedroom: "I've been reading your notebooks all weekend. They are so intimate; so scared, insecure for pages, then suddenly they are not you -- just raw energy and wild mind. And now here you are -- Natalie -- in the flesh, just a person. It feels so funny." ...

She said it was empowering to read my notebooks because she realized that I really did write "shit," sometimes for whole notebooks. Often I tell my students, "Listen, I write and still write terrible self-pitying stuff for page after page." They don't believe me. Reading my notebooks is living proof of that. My upstairs neighbor said, "If you could write the junk you did then and write the stuff you do now, I realize I can do anything. There's so much power in the mind. I feel like who knows what I can do!" She said the main thing she saw in the notebooks -- whole notebooks of complaints, boring description, and flagrant anger -- was an absolute trust in the process. "I saw that you kept on writing even when you wrote 'I must be nuts to do this.'"

When you see someone do something amazing, it's a mistake to attribute it to mere talent. You just don't see the hard work.

Starting Right

The following is the first lesson of the Animator's Survival Kit given by Oscar-winning animator Richard Williams. This is a two-minute video about a principle that Williams holds dear and which is often spoken about in martial arts: focus. It's possible that this also touches on no-mind, also called mushin, although Williams doesn't explicitly explore this. He puts forward the idea that we must focus on the task in hand and avoid unnecessary distraction: this is one interpretation of 'kime'. Body and mind focused directly on the sole purpose of executing the task at hand. A decisive technique with full focus of body and mind. Seems like animators use this technique too...

Check out Sue's blog here for a comprehensive look at kime.

Meditation 'eases heart disease'

"Heart disease patients who practise Transcendental Meditation have reduced death rates, US researchers have said."

http://news.bbc.co.uk/1/hi/health/8363302.stm

Olympics 2012 'Fighting Chance'

UK sport is drumming up interest for their 2012 teams. This video is for the Tae Kwon Do team. Does this mean there isn't a decent UK team yet? Haven't UK sport got any good links with the TKD organisations and federations? It does seem like this campaign is opening up the entry to all martial artists: open to people with, "Current success at national level or above in a kicking orientated combat sport". Or in other words, Sportification of martial arts.

20 mile cycle ride and 3 mile run

Absolutely whacked now...


View Guided bus route to Fenstanton in a larger map

Here is the third column from the set.

Thanks for reading,

Now, go train!

Chris Thomas

Grading in martial arts

The aim of grading is not to acquire a new coloured belt but to improve and hone one’s technique and skills. The grading and acquisition of a new belt is a milestone in the continual process.

Female exemplars in Taijiquan

More from Turning Silk: A Diary of Chen Taiji Practice, by Kinthissa:

Apart from Chen XiaoWang's* magnificent XinJia** renditions, I have seen only one other person whose XinJia has impressed me. This was a woman, Japanese, one of the six, all teachers, who came to Sydney in 1997. She was of a narrow and light build. Her delicacy had a lithe power, it brought out quite a different quality in XinJia's character. I find wildness suits women. Female practitioners have a paucity of exemplars to be inspired by. Master Chen said that the woman was gold medal material, only her responsibilities in running an organization did not allow her enough training time. When I have asked him if the training for women is different from men's, his reply has been, "No, it is the same." When I enquired after women in his family who had reached a high level in TaijiQuan (as one hears almost exclusively of men), he said that some had excelled in their early years, but then they had married, etcetera.

* Chen XiaoWang is Kinthissa's famous teacher. An impressive video of Chen XiaoWang in action.

** XinJia ("new frame") is a more modern form of Chen style taijiquan, compared to the LaoJia ("old frame"). In her book Kinthissa writes interestingly and in detail about her experiences studying both frames.

The road to wisdom

From Turning Silk: A Diary of Chen Taiji Practice, by Kinthissa:

Practise mindfully, with ease in the heart. Practise because it is doing one good, not because it will make one a master. To become a master, or mistress, of TaijiQuan is a very long aim. Practising without expecting the day to arrive soon will be the most sensible way. Remember the road to wisdom: "Err and err and err again -- but less and less and less."

The quote within the quote is from a grook of Piet Hein:

The road to wisdom? Well, it's plain
And simple to express:
Err
and err
and err again,
but less
and less
and less.

To the Point

I am sometimes asked, "How come you aren't a regular columnist for Black Belt or some other magazine?" The answer is that I have to be asked, and the magazine has to survive. From this you might correctly guess that for about two seconds I wrote a regular column. This was back in '02-'03. The column was an every other month piece which appeared in Martial Arts and Combat Sport under the title "George Dillman's To the Point, with Chris Thomas." I wrote 9 columns, but MACS went out of business before they were all published (6 were published). Anyway, I thought you might enjoy them, so I will post them on the blog. Here are the first two.

Enjoy, then

Go Train!

Chris Thomas

Theme of the month November 2009: Fun and games

It's a busy time of year. Qualification contest, gradings and kata competition are all coming soon. So let's lighten things up with some fun and games.

In the last month I've taken my young son to a few kids' judo classes, and I've been stealing ideas for my regular class. Naturally, adults like a bit of fun too. Here are some of the activities and games that I've either tried, or plan to try soon:

• Dive rolls over increasing numbers of class mates (arranged like sardines)
• Rolls using big gym balls
• How many throws can you do in thirty second seconds (racing back and forward between two ukes)

More generally, this month I'd like to leaven competition and grading preparation by bringing a bit of playfulness and game elements to our training. For example, with qualification judo contest coming up, I'd like to try some mock bouts in which points are awarded to pairs of participants for the most breakfalls, to encourage an attacking (and safe) approach to judo competition.

How about you? What are some fun activities that both kids and grown-ups look forward to in your classes?

Tiredness and training

I'm tired out today. It doesn't help that one of my children had a nightmare and I tended to her at about 2am. But I can't blame her, poor thing! The reason I'm physically tired is that I've had training sessions, non-stop for the past couple of days. Shorinji Kempo on Monday night, boxing for an hour and a half on Tuesday morning then Tang Soo Do on Tuesday evening.

I feel a bit run down but I like the tightness of the muscles and the feeling of having worked at something.

Shorinji Kempo gave me insight into the way I learn a martial art. The philosophy discussion was based on this and as a Zen art has some fairly regimented attitudes towards learning. What I found on Monday was humility works quite well at learning. Being there, present for training and willing to soak up knowledge goes a long way. It's sometimes very easy to become over-confident about one's own abilities if one is never challenged! You can potentially get an over inflated estimation of your own abilities. Of course confidence is a good thing and I believe martial arts training delivers this in bagfuls: not the confidence to beat someone up or defend yourself (which is achieved) but the confidence of knowing yourself, your limitations and your ability to train within a process or system.

Boxing was fun. I was completely tired out after it and all the younger scamps looked like they could have trained for another hour! Interestingly the teacher told us that the best way to box is to not get hit. Sounds like a no-brainer but there were a couple of big guys there trading slugs at each other and I think this was meant for their benefit. We looked at turning the body sideways to minimise the target area, laying back, parrying and countering rapidly. I was amazed at how these similar elements crop up in more traditional martial arts. I shouldn't be I suppose because fundamentally there can be only a limited number of strategies to striking another person in 'sparring'. Very good practice of laying or leaning back, out of range and then returning with counters. Very tiring!

Tang Soo Do started off quite up tempo as well with light sparring straight off to warm us up! I realised quickly that my body was tired and I wasn't recovering as quickly as I would like! When this happens I try to focus on core technique, slowing it down if I have to but maintaining good posture. It's easy to shoot out tired limbs to make the technique *look* ok but it's another do the technique well under stress. This was what I was trying to do but very often I ended up gasping...and sweating! Later I had the pleasure of working with a young woman for her hyung. This was made a pleasure as she was reacting very well to my coaching to the extent I saw a great difference between starting and finishing the session! We mostly looked at engaging the whole body from foot through hip rotation and ending up at the arms. It's a difficult thing for beginners to grasp but she did a great job! Younger practitioners tend to fling their arms and legs out without engaging their whole body and this, in some ways, is normal: they haven't seen or been shown the intricacy of the body mechanics involved. I find, however, that once the whole body is being used to generate power it becomes an entirely better experience! And you get more feedback from your body when you do this. Otherwise you just end up flapping your arms about...!

These guys seem to be trying REALLY hard to engage their entire bodies...

(oldie but goody!)

Demonic Martial Arts

There are pastors who study martial arts, but not many who have studied for decades. So, I am among a rare few. (I am happy to say that I belong to that same small group of long-time martial arts practitioners/clergy as Black Belt Hall of Fame member Leo Fong. Rev. Fong is a retired clergy member of the same denomination of which I am a not-yet-retired clergy member.) This is why I am often approached with questions about Christianity and martial arts – usually, the phrase "how do you reconcile..." is used.

Generally, the questioners fall into one of two groups. One group of questioners , having been challenged in their practice by folks with a liberal or Quaker bias, wonders about reconciling martial arts practice with teachings of non-violence. The answer is simple, You can't. If Jesus taught pacifism – the absolute requirement that one never act violently toward another human being – then it is impossible to be a martial artist and be a Christian. Even the mere practice of martial arts (without any intention to actually use the skills learned) would be the cultivation of a violent heart.

But, I am a martial artist of 40 years. Clearly, I am no pacifist. I do not think that Jesus taught pacifism (as an absolute approach to life). And I do believe that sometimes an act of violence is a loving act. For example, if I were to come upon a woman being raped, I would intervene with violence because I would be acting in a loving way toward her. And I would also be acting in a loving way toward the rapist (the person upon whom I would be inflicting the violence) in as much as I am stopping him from committing a heinous sin. Likewise, if someone attacks me, and I defend myself, I am acting lovingly toward myself, and, by thwarting my attacker, I am acting lovingly toward him.

Having said that, I make three cautions. First, to accept a slap and not retaliate is the only sure way to topple an empire. Second, violence is overrated. It usually is the lazy-politicians solution to a problem, and the bully's sure proof of inner weakness. Every true martial artist knows that restraint is far more effective than blows. Third, the only valid use of violence is to stop the violent actions of the violent.

The second group of questioners, having been challenged in their practice by folks with a conservative or fundamentalist bias, wonders about martial arts practice being incompatible with Christian teaching because the martial arts are somehow demonic. To this I would make the simple observation that the measure of true evil is the harm it causes. By this measure there truly is a demonic martial art. It is an art that allows one to kill many people with virtually no effort, no discipline, no training, no practice. It allows great harm to be inflicted on others without ever having to learn control, restraint, or the simple truth of what it feels like to be on the receiving end.

Karate, aikido, tai chi chuan, taekwondo, and the rest do not even come close to fitting this definition. How can we tell? Simple: have you EVER heard of an outcast high schooler killing a dozen classmates with his karate skills? Have you ever heard of a broken-hearted lover killing coeds from atop a clock-tower using his ninja shuriken? Have you ever heard of a disgruntled employee "going postal" with his nunchaku?

You never have, and you never will. But, that disgruntled employee can walk into a gun-shop today, and be killing co-workers tomorrow. Now, I am not anti-gun. But, considering what we know to be true in this country (something like 15,000 gun-deaths per year, and how many "karate killings"? – 0?) it is just nonsense for anyone to hassle a hard working martial artist with accusations that somehow studying a martial art is in anyway akin to worshipping the devil.

Thanks for reading.

Now, go train!

Chris Thomas