Sunday, September 03, 2017
I was off in the woods a few weeks ago, swatting at black
flies and being careful to avoid the poison ivy and the long blades of
grass that reached out over the trail, affording ticks an ideal jumping off
place from which to latch onto unwary travelers. It was hot--95 degrees F. (35
degrees C.), but the heat index had it at 103 degrees F. Even the birds seemed
to be silenced by the heat. Most of the time, all I could hear was the quiet
plodding of my own feet as I walked along a trail covered in the remains of
last fall's leaves. This was certainly not the "road less travelled."
I was following in the footsteps of countless numbers of other hikers who had
passed this way. Sometimes I could see the evidence: an upturned rock or the
imprint of a boot heel that had sunk unexpectedly in the mud. The trail was
wide enough that I could probably have followed it at night, which made me
think of that quote by Miyagi Chojun sensei. Not that Miyagi sensei had said it
in any of his own writings, but it appears in Memories of My Sensei, Chojun Miyagi, where Miyagi supposedly tells Nakaima
that “Studying karate nowadays is like walking in the dark without
a lantern.” Of course, nowadays we have battery-powered headlamps,
though I doubt if it makes much difference in our understanding of karate.
And
yet the trail is wide enough. We would be hard pressed to lose sight of the
path--so many karate-ka have walked this way before. What gives me pause, however, are the contradictions in
the metaphor: generations of karate-ka practicing diligently, trudging
along this well-worn path in the dark.
I
was watching a video the other day. It was originally posted a year ago, but,
after taking a seminar, someone had reposted it on Facebook. It had to do with
the bunkai to the last technique in Suparinpei, the last kata of
Goju-ryu and, at least in some symbolic way, the ultimate technique of the
system. And, to many, I suppose, it must seem so esoterically
enigmatic.
This was a short video but it was by a very well-known karate researcher--a
teacher who has written many books on the history of Okinawan karate, and so
must have carried with it some weight of legitimacy, some knowledge of
"Okinawan karate secrets."
The starting position had the
teacher with his back to the attacker, who had grabbed him by the shoulders
with both hands. From there, he showed the response of the defender, which
began with a slight shifting rotation of the body to the right which, the
teacher said, would provoke a stiff right arm response from the attacker. At
this point, he lunges forward and, looking back at the attacker, does "the
distraction," a slapping technique with the back of the left hand aimed at
the attacker's groin. At the same time, he head butts the attacker and then
slides his head between the attacker's arms--who, in the meantime, has not
altered his position or grip on the defender's shoulders--and, with his head
now coming up on the outside of the attacker's arms, he brings his left forearm
down "hard" on the "brachioradialis" before the opponent
even "thinks about a choke." Next he attacks with a right nukite
into the opponent's throat. At the same time, he wraps his left arm around the
attacker's right arm at the elbow, as his right arm grabs hold of the
attacker's lapel. Then, dropping down into horse stance, he tightens the
restrictions on the opponent's right arm/shoulder and, with the right wrist,
the attacker's neck, until the attacker submits.
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|
Entry
technique. |
So
what's wrong with that? It works in the dojo. And it's wonderfully imaginative.
But does it look like kata? I mean, doesn't kata face south and then turn to
the north? Does it take too long? It certainly takes too long to describe. Is
it realistic? That is, why would you ever think of sliding your head between
the attacker's arms? Does this sort of bobbing movement occur in the
performance of the kata? Why doesn't the attacker move or alter his
position? Does it require the attacker, an unpredictable component of the
equation, to conform too readily to the defender's expectations; that is, does
the attacker have to behave too predictably? Does it fail to take into
account the entry and controlling techniques that precede these movements in
kata? Or is this just one possible explanation for these techniques in
Suparinpei? And if it's just one of many possible explanations for these
techniques, is that simply a confirmation that we are indeed still stumbling
along the road "in the dark without a lantern?"
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|
Controlling technique. |
Or is it more likely that this
ending sequence to Suparinpei borrows both from Seisan and Sanseiru, and that
the explanation of the techniques, the analysis or bunkai, simply shows
a variation of how the same techniques are applied in each of those other kata?
The entry techniques are shown over and over again in the three complete
bunkai sequences of Seisan kata: a sweeping, semi-circular right arm
block, while stepping 90 degrees off-line into a left-foot-forward front
stance, followed by a left straight-arm palm strike to the side of the face. We
see the same entry technique here in Suparinpei. The straight-arm "nukite"
in Suparinpei is akin to the straight punch at the end of Seisan kata. Then the
turn into what is called here the "dog posture," the last posture of
Suparinpei, in horse stance with arms bent and both wrists up and fingers
pointing down, shows a variation of the same position at the end of Sanseiru,
though the stepping is a little different.
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|
Finishing technique. |
In one sense at least, I wonder about the realism of techniques that look as if
they would only work in the dojo with a compliant partner, the fanciful
creations of individuals whose interpretations don't seem to be grounded in
sound martial principles. Such inventions--because we are all supposedly "walking in the dark without a lantern"--confuse
legitimacy with creativity; we look at these interpretations with a mixture of
confusion and awe, and think, "Gee, I never thought of that."
But are all creative interpretations equally valid? Is that the point
of kata, to foster creativity? I am certainly not trying to denigrate any of
these instructors, nor disparage their interpretations, if that's what kata is.
But it seems to me that even if we consider it "art," we don't have
license to interpret it any way we want. The idea, it seems to me, is not to
impose meaning on what seems to be random and arbitrary, but to discover what
the artist--in this case the creator of a kata--is trying to communicate.
Even theory in science, for example, is not simply invention; it's based on an
understanding of the underlying principles. Have we forgotten what we learned
of the scientific method in middle school? We seem
to be living in an age where science has been shouldered aside, where
skepticism seems to be leveled at scientific inquiry and tabloid journalism has
become the norm. Perhaps that's part of the problem. Who are we
following on this proverbial path through the woods? Or is everyone simply
striking out on their own? Seems as though there
should be some sign posts along the way--the martial principles that all too
often seem to be ignored. Is this why we are all still stumbling along without
lanterns to light the way?
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