The Physical and Internal Movements of Bushido; The Moving and Grounding of Energy Submitted by Thomas Pristow IMAF No. 40241 Ranking: 5th Dan Zenbudoryu Jujutsu 4th Dan Aikido • 3rd Dan Nihon Jujutsu 1st Dan Iaido • !st Dan Judo • 1st Dan Kobudo Application for the Title of Renshi, Aikido Division ______________________________________ Introduction Martial Art techniques are generally taught through the physical realm as the primary, or in most cases, the only significant process used. When a student first enters the dojo (a place to train in the Martial Way), the main goal is to teach that student physical movements as they’re associated with the art being learned. Although attention to this detail is very important, it often becomes the central and only focus of training. This has been traditionally true in the West. Viewing the training methods of Western Martial Artist I have seen many that fall into this category. The intentions of these Budoka are clear, but their teaching infrastructure has been built on loose ground. A fundamental tenet in Martial Arts centers on the ability to transcend the gross motor-skills of the actual technique and be able to generalize the concept to day-to-day life. For example: Being able to redirect the energy or stop the attack of someone that is taking a punch at you is certainly a skill set that is important to have. Being able to redirect a verbal ‘attack’ is, however, a higher skill function. The sensitivity and balance needed for the first task is rudimentary and something that can be learned without any integration of the spirit and ego. The second skill set requires the ability to develop insight into your own behavior and the capacity to adjust and evolve over time. Insight and awareness of self is essential to achieve these higher-level skills. To find the ground path of energy the Martial Artist goes back to the basics. Not basics of technique, but basics of breathing and walking; How does the Martial Artist physically present to the world? Presenting to the world is not an aspect of ego, but one of relaxed awareness. How one carries the body is an indicator of the depth of sensitivity to the ground path: Head position, shoulders, gait, the swinging of the arms and breathing. The skill set lies in the integration of these two concepts into not only redirection of physical conflict and aggression but in the redirection of any form of energy vibrations in our day-to-day life. Finding the Ground Path Understanding the Ground Path begins with learning the nature of energy and how to feel and move it. One of the foremost contemporary practitioners of moving energy is Mike Sigman. In an interview1, Ian Young asks Mr. Sigman to explain “Internal Strength”: “[Internal Strength] has to be shown. Originally, I did Judo and Karate extensively and met all kinds of people; then I ran into a Japanese guy who did Aikido. While he was showing me some things, I realized he was using a very unusual form of strength: my definition always hinges on people who can manifest that kind of strength. And that's sort of validated by the fact that other people - not everyone - but somebody who is reasonably intelligent and has some physical skills will say "Wow: that feels odd": so they know it too. When you meet somebody who doesn't have a vestige of that, I don't care how many forms he knows, techniques and applications that he does, if he's not able to manifest that, he doesn't use Internal Strength. In my getting support for that over the years, there have been a number of Chinese who are recognized as being really good who have recognized it the same way as I do. They sit there and just like me they watch somebody - at a certain level, you don't need to really touch somebody, just watch them move - and the question is always in their mind: "does he have this form of strength or not." To understand the concept of internal strength is one thing, to be able to feel and perform it, both on and off the practice floor, is where the training takes place. Building Blocks for Grounding Breathe Control A person, when engaged in a Martial or sports activity tends to carry their energy in the upper body, specifically the shoulders and chest area. When new students come to the dojo and begin push-hand or other energy moving exercises you can feel their energy moving upward. Muscles contract, respiration increases, pupils dilate –all external indicators show that the student is not at-ease and relaxed. Even if the outer physical movements appear calm, overwhelmingly, the students will continue to hold their breath and their primary muscle groups will tighten whenever they engage in partner work. The goal is to move the energy of the student to the hara (the center of the body, about two inches above the navel). The way to begin lowering that energy to the hara is by first recognizing where the energy goes throughout your body during activities or rest. Once the awareness and sensitivity to the energy pathways of your body is foremost in your mind, the skill set of redirecting the energy to your hara can begin. Most people tend to breathe through their mouth, a very inefficient way to move air into the lungs. Additionally, mouth breathing takes away the major function of nose breathing and that is the capacity to filter microorganisms that can make one sick. “It should not be necessary to state to the student that the proper method of breathing is to take the breath through the nostrils, but alas! The ignorance among civilized people regarding this simple matter is astounding. We find people in all walks of life habitually breathing through their mouths, and allowing their children to follow their horrible example. Many of the disease to which civilized man is subject are undoubtedly caused by this common habit of mouth breathing. Children permitted to breathe in this manner grow up with impaired vitality and weakened constitutions …”2 But breathing through the nose is but the first step into fully integrating breath control into your day-to-day life. It is essential in understanding the movement of energy to begin by looking at how we breathe. The Yogis classify respiration into four general methods3 High Breathing is also known as Clavicle Breathing or Collarbone Breathing. Breathing in this way elevates the ribs and raised the collarbone and shoulders, at the same time drawing in the abdomen and pushing its contents up against the diaphragm, which in turn is raised. High Breathing is probably the worst form of breathing known to man and requires the greatest amount of energy with the least return in performance. Mid Breathing is also known as Rib Breathing or Intercostal Breathing, and while slightly better than High Breathing, is far inferior to either Low Breathing or Yogi Complete Breath. In Mid Breathing the diaphragm is pushed upward, and the abdomen draws in. The ribs are raised slightly and the chest is partially expanded. Low Breathing is far better than either of the two preceding forms. It is also known as Abdominal Breathing, Deep Breathing, and Diaphragmatic Breathing. In Low Breathing, the lungs are given freer play than in the methods described above. Here the diaphragm is filled with air, but as seen in the Yogi Complete Breath, the diaphragm is not fully expanded. Yogi Complete Breath includes all the good points of High, Mid and Low breath. It brings into play the entire respiratory apparatus, every part of the lungs, every air cell and respiratory muscle. The respiratory system of the body responds positively to this method and the maximum amount of benefit is derived from the minimal expenditure of energy, which is opposite of High Breath. The muscles around the ribs, the diaphragm, and the intercostals muscles all work in harmony with the deepening of each breathe. The Yogi Complete Breath In all internal practices, correct breathing is of paramount importance. It ensures that the body receives an adequate supply of oxygen and sufficient ventilation of carbon dioxide created during respiration. This creates an internal body environment that is suitable for training the mind that takes up much of the oxygen in the body. Deep breathing also massages the internal organs, ensuring that there is a smooth flow of blood and lymph through them, thus aiding in the creation of essence [Jing]. Breath itself is intricately tied to the exertion of strength. The body exhales when exerting strength, bringing into play the musculature in the torso in its exertion, allowing the full body to be used.5 Stand or sit erect breathing through the nostrils. Inhale steadily, first filling the lower part of the lungs, which is accomplished by bringing into play the diaphragm, which descending exerts a gentle pressure on the abdominal organs, pushing forward the front walls of the abdomen. Then fill the middle part of the lungs, pushing out the lower ribs, breastbone and chest. Then fill the higher portions of the lungs, pushing out the upper chest4. This may first appear as three distinct movements. However, the inhalation is continuous, the entire chest cavity from the lower diaphragm to the highest point of the chest is being expanded with a uniform movement. Avoid a jerky series of inhalations and strive to attain a steady, flowing breath movement. Hold the breath for a few seconds. Exhale slowly, holding the chest in a firm position. Standing (posture) is a fundamental practice in both internal and external martial arts [and is an excellent way to build up the pre-requisite skills for grounding.] Standing allows the practitioner to adjust his body so that the centre of mass and hence the weight of the body is efficiently transferred to the ground. This forms the root and therefore the base for techniques to begin from. It allows the body to relax and find its most efficient structure. This adjustment occurs within the body and is not always visible externally. How our breathing is managed is directly related to our ability and capacity to move and redirect energy. As our body relaxes and finds the most efficient structure our muscles are no longer tense and the stress on our body is reduced. The combinations of deep breathing patterns and standing posture are the beginning steps for integration with the physical aspects of Martial training. Stillness is conducive to relaxation and the removal of tension to allow musculature to work in a coordinated fashion. It also allows the mind to be still and to train with a relaxed focus without mental distractions. The relaxed body with an efficient structure also frees the mind from bodily discomfort that can interfere with its efficient functioning. Breathing is trained to be smooth, efficient and with increased capacity through a relaxed body rather than one in physical tension which can constrict the torso, decreasing capacity and costing more in terms of energy consumption and increase muscular fatigue. This relaxed breathing is carried on into the [moving postures of Jujutsu, Aikido and, in fact, all Martial Arts]. A relaxed body without tension is also conducive to good circulation as there is no tension to restrict blood flow.6 (Emphasis is authors) Ki (気) Once there is a basic understanding of the concept, and the breathing process is practiced, ki (energy) exercises can be started to further develop learning the internal movement of energy. Ki (Japanese) and Chi (Chinese) is a concept of Asian philosophy, often defined as ‘air’ or ‘breath’ and, by extension, ‘life force’ or just ‘energy’ that is part of everything that exists. Regarding the Martial Way, the overall effectiveness of ki is directly related to posture (whether moving or stationary), breathing techniques and mental focus. (Posture) Developing the correct posture is extremely important, not only when learning general Martial techniques, but also when generalizing the physical technique of the mat into day-to-day life. Posture is more than proper alignment of the bones. Posture is presence: how the shoulders are ‘carried’, the tilt of the head, the ability to move from the ground and not carry energy high into the shoulders or chest. This should not be confused with being arrogant or overly ego-orientated. Posture is the ability to carry one’s self in a manner that reflects awareness, peacefulness, and sensitivity toward the environment. (Breath) As described above, correct breathing patterns greatly influence the student’s ability to achieve full potential regardless of task. Martial orientated or not, breath composition is the foundation for the body to act and transition from one activity to another. This also includes transitioning and sorting out our thoughts. For example, as we think of what our next project or activity is, our body will reflect the perceived ability we have to being successful at that task. The more we think we will struggle the more likely our breath patterns will become more constrained and our respirations increase. Our breathing can be shallower which causes our muscles and arteries to constrict reducing the flow of blood and oxygen. Conversely, when we think the task ahead of us is positive and attainable, the more likely our breath patterns will be relaxed, less stressful with our respirations regular and deep. (Mental Focus) The mind in a state of relaxed awareness (zanshin 残) and having a ‘mind of no mind’ (mushin 無): In other words, a mind not cluttered with distracting thoughts or ego-centric emotions, is a posture that is attainable to not only Martial Artists, but to all. By learning how to regulate the breath, the capacity for mushin deepens. The Martial Artist skill set becomes more complex when incorporating the ability for mushin with application of physical technique. Focus denotes a point where all the body's potential, both physical and mental, is directed to the task to be accomplished by the resultant force. By breaking down the aspects of ki and regular and consistent practice, the Martial Artist starts understanding the precepts of moving energy. Ki is the layer of understanding that practitioners place upon the actual physiological activity relating to the movement of the various types of energy within the body. By using focus, relaxation, and posture, practitioners create a link between their mind, and that of their body, through various training methods -in order to become more sensitive to the internal processes of moving energy. Chinese [and Japanese] Martial Arts have a distinct training pattern that focuses on both internal and external development. “For strength to be properly generated, it needs to have a base to provide the resistance to form a base for it to push against. The emphasis on pile standing in many martial arts is to build up this base by lowering the centre of gravity of the body to enhance stability and the efficient transfer of force from the centre of gravity to the ground. This means that the centre of gravity should first be identified by the practitioner and isolated so that it can be distinguished clearly. The stress is on strong support with the minimum of effort utilizing the efficient structure. Lowering the ki to the Dan Tien which roughly corresponds to the body's centre of mass helps achieve this.”7 Listed below are a series of ki exercise that are to be used in conjunction with breath control.8 These ki movements can be done in seiza (kneeling) or standing. Regardless of body position, the focus of the practitioner is on breath, movement, and the awareness of energy moving throughout the body as the exercise takes place. This can be felt in the form of parts of the body becoming hot or cold. The practitioner can also experience sensations that feel like electricity moving through the body. 1. Sankyo 2. Nikyo 3. Shaking hands 4. Shomen uchi undo (move hips forward –using them to throw your arms up into the air) 5. Zengo undo (just like #4 but in two directions) 6. Happo undo (just like #4 but in eight directions) 7. Tenkan 8. Udefuri endo 9. Ushiro ukemi (sitting) 10.Ushiro ukemi (standing) 11.Kokyo Ho (Heaven and Earth) Summary Learning a style of Martial Arts is essentially like learning a foreign language. The reference points we have when we begin to study the Arts are minimal. Our ability to recognize patterns and connect them with our knowledge base is limited. Only practice over time overcomes these deficits that then allows us to experience degrees of competency. Overlay this learning activity with instruction on proper breathing, walking and projection of self, along with different exercises that enrich the ki experience and the learning curve grows steeper. The concept of Bushido is not just the essence of fighting, but as Yamamoto Tsunetomo states in his famous work “Hagakure” “In one’s life, there are levels in the pursuit of study. In the lowest level, a person studies but nothing comes of it, and he feels that both he and others are unskilled. At this point he is worthless. In the middle level he is still useless but is aware of his own insufficiencies and can also see the insufficiencies of others. In a higher level he has pride concerning his own ability, rejoices in praise from others, and laments the lack of ability in his fellows. This man has worth. In the highest level a man has the look of knowing nothing. These are the levels in general. But there is one transcending level, and that is the most excellent of all. This person is aware of the endlessness of entering deeply into a certain Way and never thinks of himself as having finished. He truly knows his own insufficiencies and never in his whole life thinks that he has succeeded. He has no thoughts of pride but with self-abasement knows the Way to the end. It is said that Master Yagyu once remarked, ‘I do not know the way to defeat others, but the way to defeat myself’. Throughout your life advance daily, become more skillful than yesterday, more skillful than today. This is never ending.” The transcending level attained passes through the deepening understanding and sensitivity to breath control, internal awareness of our own energy patterns, and the mastery of physical techniques that can redirect violence and conflict. The degree of success we have will be the capacity we are able to master, or at least understand, the parts that make up the whole. The practice is the integration of all levels of these skills. Any one of these skill sets by themselves is appropriate and worthy. Just learning how to breathe correctly can take a lifetime of study. Pushing through the boundaries of mediocrity and striving to attain the concept of ‘the more I know the more that I know that I know nothing, is the quest. ____________________________ Bibliography 1Ian Young interview with Mike Sigman, Copyright © Ian A Young 1996; All Rights Reserved. www.iay.org.uk/internal-strength/related/interview.htm 2Yogi Ramacharaka, “Science of Breath”, © 1904, Yogi Publications Society, Chicago, USA p27. ISBN 0-911662-00-6. 3Ibid. pp 33-42. 4Ibid. pp.40-41 5“Tek, Peter Lim Tian; “On Internal Strength And Internal/External Martial Arts”, http://www.itcca.it/peterlim/index.htm 6 Ibid. 7 Ibid. 8 Copyright 1997 Aikido Kokikai of Rochester, http://bodymindandmodem.com/Main/main.html

The Physical and Internal Movements of Bushido;

The Moving and Grounding of Energy

Submitted by Thomas Pristow

IMAF No. 40241

Ranking: 5th Dan Zenbudoryu Jujutsu

4th Dan Aikido • 3rd Dan Nihon Jujutsu

1st Dan Iaido • !st Dan Judo • 1st Dan Kobudo

Application for the Title of Renshi, Aikido Division

______________________________________

Introduction

Martial Art techniques are generally taught through the physical realm as the primary, or in most cases, the only significant process used. When a student first enters the dojo (a place to train in the Martial Way), the main goal is to teach that student physical movements as they’re associated with the art being learned. Although attention to this detail is very important, it often becomes the central and only focus of training. This has been traditionally true in the West.

Viewing the training methods of Western Martial Artist I have seen many that fall into this category. The intentions of these Budoka are clear, but their teaching infrastructure has been built on loose ground.

A fundamental tenet in Martial Arts centers on the ability to transcend the gross motor-skills of the actual technique and be able to generalize the concept to day-to-day life. For example: Being able to redirect the energy or stop the attack of someone that is taking a punch at you is certainly a skill set that is important to have. Being able to redirect a verbal ‘attack’ is, however, a higher skill function. The sensitivity and balance needed for the first task is rudimentary and something that can be learned without any integration of the spirit and ego. The second skill set requires the ability to develop insight into your own behavior and the capacity to adjust and evolve over time. Insight and awareness of self is essential to achieve these higher-level skills.

To find the ground path of energy the Martial Artist goes back to the basics. Not basics of technique, but basics of breathing and walking; How does the Martial Artist physically present to the world? Presenting to the world is not an aspect of ego, but one of relaxed awareness. How one carries the body is an indicator of the depth of sensitivity to the ground path: Head position, shoulders, gait, the swinging of the arms and breathing. The skill set lies in the integration of these two concepts into not only redirection of physical conflict and aggression but in the redirection of any form of energy vibrations in our day-to-day life.

Finding the Ground Path

Understanding the Ground Path begins with learning the nature of energy and how to feel and move it. One of the foremost contemporary practitioners of moving energy is Mike Sigman. In an interview1, Ian Young asks Mr. Sigman to explain “Internal Strength”:

“[Internal Strength] has to be shown. Originally, I did Judo and Karate extensively and met all kinds of people; then I ran into a Japanese guy who did Aikido. While he was showing me some things, I realized he was using a very unusual form of strength: my definition always hinges on people who can manifest that kind of strength.

And that's sort of validated by the fact that other people - not everyone - but somebody who is reasonably intelligent and has some physical skills will say "Wow: that feels odd": so they know it too. When you meet somebody who doesn't have a vestige of that, I don't care how many forms he knows, techniques and applications that he does, if he's not able to manifest that, he doesn't use Internal Strength. In my getting support for that over the years, there have been a number of Chinese who are recognized as being really good who have recognized it the same way as I do. They sit there and just like me they watch somebody - at a certain level, you don't need to really touch somebody, just watch them move - and the question is always in their mind: "does he have this form of strength or not." To understand the concept of internal strength is one thing, to be able to feel and perform it, both on and off the practice floor, is where the training takes place.

Building Blocks for Grounding

Breathe Control

A person, when engaged in a Martial or sports activity tends to carry their energy in the upper body, specifically the shoulders and chest area. When new students come to the dojo and begin push-hand or other energy moving exercises you can feel their energy moving upward. Muscles contract, respiration increases, pupils dilate –all external indicators show that the student is not at-ease and relaxed. Even if the outer physical movements appear calm, overwhelmingly, the students will continue to hold their breath and their primary muscle groups will tighten whenever they engage in partner work. The goal is to move the energy of the student to the hara (the center of the body, about two inches above the navel). The way to begin lowering that energy to the hara is by first recognizing where the energy goes throughout your body during activities or rest. Once the awareness and sensitivity to the energy pathways of your body is foremost in your mind, the skill set of redirecting the energy to your hara can begin.

Most people tend to breathe through their mouth, a very inefficient way to move air into the lungs. Additionally, mouth breathing takes away the major function of nose breathing and that is the capacity to filter microorganisms that can make one sick.

“It should not be necessary to state to the student that the proper method of breathing is to take the breath through the nostrils, but alas! The ignorance among civilized people regarding this simple matter is astounding. We find people in all walks of life habitually breathing through their mouths, and allowing their children to follow their horrible example.

Many of the disease to which civilized man is subject are undoubtedly caused by this common habit of mouth breathing. Children permitted to breathe in this manner grow up with impaired vitality and weakened constitutions …”2

But breathing through the nose is but the first step into fully integrating breath control into your day-to-day life. It is essential in understanding the movement of energy to begin by looking at how we breathe.

The Yogis classify respiration into four general methods3

High Breathing is also known as Clavicle Breathing or Collarbone Breathing. Breathing in this way elevates the ribs and raised the collarbone and shoulders, at the same time drawing in the abdomen and pushing its contents up against the diaphragm, which in turn is raised. High Breathing is probably the worst form of breathing known to man and requires the greatest amount of energy with the least return in performance.

Mid Breathing is also known as Rib Breathing or Intercostal Breathing, and while slightly better than High Breathing, is far inferior to either Low Breathing or Yogi Complete Breath. In Mid Breathing the diaphragm is pushed upward, and the abdomen draws in. The ribs are raised slightly and the chest is partially expanded.

Low Breathing is far better than either of the two preceding forms. It is also known as Abdominal Breathing, Deep Breathing, and Diaphragmatic Breathing. In Low Breathing, the lungs are given freer play than in the methods described above. Here the diaphragm is filled with air, but as seen in the Yogi Complete Breath, the diaphragm is not fully expanded.

Yogi Complete Breath includes all the good points of High, Mid and Low breath. It brings into play the entire respiratory apparatus, every part of the lungs, every air cell and respiratory muscle. The respiratory system of the body responds positively to this method and the maximum amount of benefit is derived from the minimal expenditure of energy, which is opposite of High Breath. The muscles around the ribs, the diaphragm, and the intercostals muscles all work in harmony with the deepening of each breathe.

The Yogi Complete Breath

In all internal practices, correct breathing is of paramount importance. It ensures that the body receives an adequate supply of oxygen and sufficient ventilation of carbon dioxide created during respiration. This creates an internal body environment that is suitable for training the mind that takes up much of the oxygen in the body. Deep breathing also massages the internal organs, ensuring that there is a smooth flow of blood and lymph through them, thus aiding in the creation of essence [Jing]. Breath itself is intricately tied to the exertion of strength. The body exhales when exerting strength, bringing into play the musculature in the torso in its exertion, allowing the full body to be used.5

Stand or sit erect breathing through the nostrils. Inhale steadily, first filling the lower part of the lungs, which is accomplished by bringing into play the diaphragm, which descending exerts a gentle pressure on the abdominal organs, pushing forward the front walls of the abdomen. Then fill the middle part of the lungs, pushing out the lower ribs, breastbone and chest. Then fill the higher portions of the lungs, pushing out the upper chest4.

This may first appear as three distinct movements. However, the inhalation is continuous, the entire chest cavity from the lower diaphragm to the highest point of the chest is being expanded with a uniform movement. Avoid a jerky series of inhalations and strive to attain a steady, flowing breath movement.

Hold the breath for a few seconds.

Exhale slowly, holding the chest in a firm position.

Standing (posture) is a fundamental practice in both internal and external martial arts [and is an excellent way to build up the pre-requisite skills for grounding.] Standing allows the practitioner to adjust his body so that the centre of mass and hence the weight of the body is efficiently transferred to the ground. This forms the root and therefore the base for techniques to begin from. It allows the body to relax and find its most efficient structure. This adjustment occurs within the body and is not always visible externally. How our breathing is managed is directly related to our ability and capacity to move and redirect energy. As our body relaxes and finds the most efficient structure our muscles are no longer tense and the stress on our body is reduced. The combinations of deep breathing patterns and standing posture are the beginning steps for integration with the physical aspects of Martial training.

Stillness is conducive to relaxation and the removal of tension to allow musculature to work in a coordinated fashion. It also allows the mind to be still and to train with a relaxed focus without mental distractions. The relaxed body with an efficient structure also frees the mind from bodily discomfort that can interfere with its efficient functioning. Breathing is trained to be smooth, efficient and with increased capacity through a relaxed body rather than one in physical tension which can constrict the torso, decreasing capacity and costing more in terms of energy consumption and increase muscular fatigue. This relaxed breathing is carried on into the [moving postures of Jujutsu, Aikido and, in fact, all Martial Arts]. A relaxed body without tension is also conducive to good circulation as there is no tension to restrict blood flow.6 (Emphasis is authors)

Ki (気)

Once there is a basic understanding of the concept, and the breathing process is practiced, ki (energy) exercises can be started to further develop learning the internal movement of energy.

Ki (Japanese) and Chi (Chinese) is a concept of Asian philosophy, often defined as ‘air’ or ‘breath’ and, by extension, ‘life force’ or just ‘energy’ that is part of everything that exists. Regarding the Martial Way, the overall effectiveness of ki is directly related to posture (whether moving or stationary), breathing techniques and mental focus.

(Posture) Developing the correct posture is extremely important, not only when learning general Martial techniques, but also when generalizing the physical technique of the mat into day-to-day life. Posture is more than proper alignment of the bones. Posture is presence: how the shoulders are ‘carried’, the tilt of the head, the ability to move from the ground and not carry energy high into the shoulders or chest. This should not be confused with being arrogant or overly ego-orientated. Posture is the ability to carry one’s self in a manner that reflects awareness, peacefulness, and sensitivity toward the environment.

(Breath) As described above, correct breathing patterns greatly influence the student’s ability to achieve full potential regardless of task. Martial orientated or not, breath composition is the foundation for the body to act and transition from one activity to another. This also includes transitioning and sorting out our thoughts. For example, as we think of what our next project or activity is, our body will reflect the perceived ability we have to being successful at that task. The more we think we will struggle the more likely our breath patterns will become more constrained and our respirations increase. Our breathing can be shallower which causes our muscles and arteries to constrict reducing the flow of blood and oxygen. Conversely, when we think the task ahead of us is positive and attainable, the more likely our breath patterns will be relaxed, less stressful with our respirations regular and deep.

(Mental Focus) The mind in a state of relaxed awareness (zanshin 残) and having a ‘mind of no mind’ (mushin 無): In other words, a mind not cluttered with distracting thoughts or ego-centric emotions, is a posture that is attainable to not only Martial Artists, but to all. By learning how to regulate the breath, the capacity for mushin deepens. The Martial Artist skill set becomes more complex when incorporating the ability for mushin with application of physical technique. Focus denotes a point where all the body's potential, both physical and mental, is directed to the task to be accomplished by the resultant force.

By breaking down the aspects of ki and regular and consistent practice, the Martial Artist starts understanding the precepts of moving energy. Ki is the layer of understanding that practitioners place upon the actual physiological activity relating to the movement of the various types of energy within the body. By using focus, relaxation, and posture, practitioners create a link between their mind, and that of their body, through various training methods -in order to become more sensitive to the internal processes of moving energy.

Chinese [and Japanese] Martial Arts have a distinct training pattern that focuses on both internal and external development. “For strength to be properly generated, it needs to have a base to provide the resistance to form a base for it to push against. The emphasis on pile standing in many martial arts is to build up this base by lowering the centre of gravity of the body to enhance stability and the efficient transfer of force from the centre of gravity to the ground. This means that the centre of gravity should first be identified by the practitioner and isolated so that it can be distinguished clearly. The stress is on strong support with the minimum of effort utilizing the efficient structure. Lowering the ki to the Dan Tien which roughly corresponds to the body's centre of mass helps achieve this.”7

Listed below are a series of ki exercise that are to be used in conjunction with breath control.8 These ki movements can be done in seiza (kneeling) or standing. Regardless of body position, the focus of the practitioner is on breath, movement, and the awareness of energy moving throughout the body as the exercise takes place. This can be felt in the form of parts of the body becoming hot or cold. The practitioner can also experience sensations that feel like electricity moving through the body.

1.Sankyo

2.Nikyo

3.Shaking hands

4.Shomen uchi undo (move hips forward –using them to throw your arms up into the air)

5.Zengo undo (just like #4 but in two directions)

6.Happo undo (just like #4 but in eight directions)

7.Tenkan

8.Udefuri endo

9.Ushiro ukemi (sitting)

10.Ushiro ukemi (standing)

11.Kokyo Ho (Heaven and Earth)

Summary

Learning a style of Martial Arts is essentially like learning a foreign language. The reference points we have when we begin to study the Arts are minimal. Our ability to recognize patterns and connect them with our knowledge base is limited. Only practice over time overcomes these deficits that then allows us to experience degrees of competency.

Overlay this learning activity with instruction on proper breathing, walking and projection of self, along with different exercises that enrich the ki experience and the learning curve grows steeper.

The concept of Bushido is not just the essence of fighting, but as Yamamoto Tsunetomo states in his famous work “Hagakure”

“In one’s life, there are levels in the pursuit of study. In the lowest level, a person studies but nothing comes of it, and he feels that both he and others are unskilled. At this point he is worthless. In the middle level he is still useless but is aware of his own insufficiencies and can also see the insufficiencies of others. In a higher level he has pride concerning his own ability, rejoices in praise from others, and laments the lack of ability in his fellows. This man has worth. In the highest level a man has the look of knowing nothing.

These are the levels in general. But there is one transcending level, and that is the most excellent of all. This person is aware of the endlessness of entering deeply into a certain Way and never thinks of himself as having finished. He truly knows his own insufficiencies and never in his whole life thinks that he has succeeded. He has no thoughts of pride but with self-abasement knows the Way to the end. It is said that Master Yagyu once remarked, ‘I do not know the way to defeat others, but the way to defeat myself’.

Throughout your life advance daily, become more skillful than yesterday, more skillful than today. This is never ending.”

The transcending level attained passes through the deepening understanding and sensitivity to breath control, internal awareness of our own energy patterns, and the mastery of physical techniques that can redirect violence and conflict. The degree of success we have will be the capacity we are able to master, or at least understand, the parts that make up the whole. The practice is the integration of all levels of these skills. Any one of these skill sets by themselves is appropriate and worthy. Just learning how to breathe correctly can take a lifetime of study.

Pushing through the boundaries of mediocrity and striving to attain the concept of ‘the more I know the more that I know that I know nothing, is the quest.

____________________________

Bibliography

3Ibid. pp 33-42.

4Ibid. pp.40-41

5“Tek, Peter Lim Tian; “On Internal Strength And Internal/External Martial Arts”, http://www.itcca.it/peterlim/index.htm

6 Ibid.

7 Ibid.

Please direct all inquires, questions, and comments to Thomas Pristow.