Dead fish kata

[Bill Glasheen]

Most of us have heard the expression that describes Uechi ryu "Glare in the eyes with fast hands." The calligraphy reside on page xv in George Mattson's Uechiryu Karatedo. But for many, the karate fuel tank is only half full. What is a martial artist without attitude? What is a fighter without the tiger's spirit? As Van would say,

<BLOCKQUOTE><font size="1" face="Verdana, Arial">quote

...dead fish kata...

The expletives have been left out to keep this rated for general audiences.

On another thread, I was musing the connection between music and martial ability. The common theme was the ability (or lack thereof) to be spontaneous or to improvise. Rich Castanet read it, and passed an article to me. In it I found a fairly fascinating passage. <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote

The brain seems to be a sponge for music and, like a sponge in water, is changed by it. The brain's left and right hemispheres are connected by a big trunk line called the corpus callosum, When they compared the corpus callosum in 30 nonmusicians with the corpus callosum in 30 professional string and piano players, researchers led by Dr. Gottfried Schlaug of Beth Israel Deaconess Medical Center in Boston found striking differences. The front part of this thick cable of neurons is larger in musicians, especially if they began their training before the age of 7. The front of the corpus callosum connects the two sides of the prefrontal cortex, the site of planning and foresight. It also connects the two sides of the premotor cortex, where actions are mapped out before they're executed. "These connections are critical for coordinating fast, bi-manual movements" such as those a pianist's hands execute in an allegro movement, says Schlaug. The neural highway connection the right and left brain may explain something else, too. The right brain is linked to emotion, the left to cognition. The greatest musicians, of course, are not only masters of technique but also adept at infusing their playing with emotion. Perhaps this is why.

Newsweek, pg. 51-52, July 24, 2000.

If this is true, then what would that say about karate stylists? Is the ideal sought in master pianists similar to that sought in martial art masters? Is this anatomical feature - and the physiology that goes with it - suggestive of the problem we see in some that don't seem to be able to put fire in the belly? What would change this? Like language, is age a critical factor in learning this skill?

So much to ponder...

- Bill

[Gary Santaniello]

Bill,

Could it be more simple, in that many people just plain do not put everything into "whatever" they do ?

I observe some of my co-workers. Many "never" pick up the pace regardless of how much work needs to get done.

At the gym i often see some "leisurely"
working with weights or on machines. Lacking intensity and/or drive. Never breathing hard or breaking a sweat.

There is a fast majority of people who will not exceed their efforts in anything they do.

Of course some may be offended by the implications. However, those who know they are not among that generalization will feel some pride that they are not.

Then there are those who don't know what we are even talking about !

It is always a small percentage of people who will push themselves and stand out. For those who have been around awhile, there is average, poor and then that 3 to 5 % who really stand out.



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Gary S.

[RACastanet]

Bill: There is another mental connection regarding music. During WW2 when the US military was trying desparately to crack the Japanese Navy's code, they recruited staff from the US Navy band (a junior officer reasoned correctly that musicians might have a knack for recognizing patterns). And guess what? They cracked the uncrackable code. As a result the US Fleet, though greatly outnumbered, caught the Imperial Navy by surprise near Midway Island and ended the Japanese domination in the Pacific.

An interesting aside... The Imperial Navy never even considered that we could have broken their code and kept right on using it. This eventually led to the death of Admiral Yamamoto, the architect of Pearl Harbor. He was on a tour of Japanese island defenses and his plans were radiod ahead. Four P38 fighters were waiting and shot down his plane per his own scheduling.

Rich

[LenTesta]

When performing a kata in front of a panel of judges at a tournament or a promotional board, you have many different perspectives of the movements that the panel is looking for. Some look for balance, speed and power. Some look for smooth transition, balance and spirit. Some want all of these. Some get confused when you try to break the normal routine that has been demonstrated by many of the candidates/competetors that have previously performed.

During my last dan promotional, I performed the Sanseiryu Kata and when I had finished the second shoken strike, I held the closed gate position for about 3 whole seconds, before exploding as fast I could into the next movement. After the promotional, while talking to some of my peers on the board, I was accused of "forgetting" the next move because I paused so long. Only Van Sensei knew that I was pausing for a dramatic effect because he saw the glare in my eyes. If I had forgot the next movement I might have subconsiously made some sort of facial expression while I was contemplating the next movement.

Some do not understand or will tolerate a deviation of the kata for performance sake.
Yes kata should teach fighting movements, but it should also teach transition from a standstill to 100% speed and visa versa, and from hard to soft.

Too many times I see kata performed as if a metronome was timing the sequences. Use some imagination in your katas. Every kata you do should be unique from every other kata you ever did.

Do not ever be compared to a dead fishrolling back and forth on the beachfront.

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Len Testa

[Phils]

I think the problem stems from a basic misunderstanding of intensity. Most see ‘The Glare’ as a kind of exuberant energy in motion or restraint of some inner rage. My understanding of it differs in that it is more like ‘mindfulness’ with purpose or calm focus with clarity. It does not take an enlarged cranium to achieve and is not dependent on age, but does require great discipline. It is more a question of developing inner peace and self confidence or put differently, of having the few synapses one does possess, firing in unison!

[Brian Barry]

never mind

[LenTesta]

How to make an individual feel passion in kata?

Simple, very simple.

I tell them...If you really want to do something good, with spirit, you will.

I tell my junior students (who lack motivational spirit sometimes) to look at the way they do chores. Do they do their chores with spirit? (I act as a slouching individual carrying out the garbage). Of course not. They do not want to do chores. Then I tell them, "When you perform a kata, is that also a chore?" (I then perform the movements as if it was.) Of course they say no. Then I say. "Do you really want to do the kata or is it just another chore?"

Usually after this analogy, their next performance is better.


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Len Testa

[Phils]

It is certainly good to be enthusiastic and have a good workout. However, I am suggesting that 'the glare with fast hands' is a high-level skill and very elusive if the emphasis during performance is always on 'spirit', the student will have difficulty progressing. Since to get there demands perfect posture, movement, and attention to detail, an emphasis on enthusiasm without good form will inhibit progress. The order, body, mind and spirit is not a mistake. It might be good to view dead fish without perspiration as a preferred quality in some cases.

[This message has been edited by Phils (edited August 02, 2000).]

[Bill Glasheen]

I'm enjoying all these various perspectives. When you look at it, the problem can seem at once both simple and yet complex. I'm really interested in pushing this thread in a particular direction.

I have noted "clusters" of ability with respect to the spirit or passion in a workout. You instructors out there...have you ever taught whole families? Have you noted patterns in peoples' learning skills and endpoint abilities that are "familial"? (Editor's note - where are the M.D.s in our audience when you need them to explain the subtleties of that?) As an example, I have one dojo with the same teacher (me) and two different families. Both of them are technically very good and quite athletic. But one of them understands the tiger, and the other reek of fish. With this "other" family, I have actually gone up to the kids, growled in their faces, shaken them, and shouted at them to get excited. And what do I get? Dead fish. Somebody please open the windows.

You scientists of the mind out there (Paul et al)... Remember the days when people were told that it was "all in their mind?" That they needed to snap out of it, or that it was somehow their fault? And then one day somebody discovers an SSRI or other neurotransmitter affector and Poof!!!, no more problem. If someone walks into the dojo with one leg shorter than the other, we make accommodations. But if a group of individuals just doesn't get it when it comes to infusing spirit, I sense that your average instructor would be quick to put the blame on the student rather than step back and question whether or not there is an opportunity for the teacher(s).

Yes, I understand what it is to have spirit. I have been accused of having too much of it in the weight room (I'm a screamer... ). I have injuries on my body that date back to my "kamikaze" days. The spirit is inside me when I need it. How can that be infused in the vast majority of students, other than just yelling at them to get off their butts and sweat? How can you make an individual feel passion in a kata, or a piece of music that they play? How do you integrate the movement with the personality?

- Bill

[BILLY B]

Bill-Sensei,

Some of the things you mention such as familial "clusters" are a bit beyond me, so I won't go there. Excuse me.

How do we get folks to be more intense? I have certainly pondered this before. Heres what I came up with.

"You may think you have a choice about intensity... You don't! When you are locked in mortal combat with a crazed violent predetor (this is where I would growl, and start to show my own intensity) You WILL be excited! (Many thanks to Van Canna's forum for teaching me that!!) If you want to do your katas with no intensity, thats fine. As long as you remember, you are NOT practicing karate or fighting. You are dancing. (and you're not dancing very well either! ) Karate without intensity is simply not karate, and if you practice without intensity you should be ashamed of yourself!"


ps: I would give this speach to the class in general, not pointing specific folks out, or looking directly at the "dead fishes". That way it forces folks to be introspective without insulting or embarassing them. Everyone has opportunity to benefit, and nobody gets hurt.

One other good method is when you notice one of your karateka has a really intense attitude on a particular night. Ask him/her to demonstrate a movement. Explain to the class that you admire his intensity, thats what we all need to shoot for! That will help the dead fish see where they need to "swim" for, yet you avoid telling them they ******....



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"There ain't no graduation from this kind of education"

[Phils]

I think there some confusion about intensity and emotion. If you are talking about folks that can't decide whether to think about their kata or the ball game while they're doing their kata, then I'm with you 100%. That isn't the glazed eyes with fast hands though either.

The intensity I am talking about looks 'calm' (sung is the Chinese expression), it is compact, quiet (peaceful) and spare in motion as opposed to flamboyant, energetic and what I've heard referred to as 'windy'.

My example is in Tai Chi but it exists in Uechi as well. There is a specific fast form in Tai Chi which, when done by someone who (let's say is really intense) looks deceptively slow, their demeanor is almost ethereal. However, if you try to match speed with this person, you can't do it. You suddenly realize they are moving so fast, you can't keep up..... not even close, even skipping movements won't work. If you don't believe me, try to keep up with George sometime!

It is spirit with economy of motion, the antithesis of emotion, it lays the movement bare and is quite overpowering. That is what I believe the expression originates from.

[Bill Glasheen]

Billy B

Sorry...I must be spending too much time at work here. <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote

familial 1. Of or pertaining to a family. 2. Passed on in a family; hereditary.

The American Heritage Dictionary

When I teach whole families, I note patterns of ability. For instance I note that all the kids in one family immediately can do a sokusen, whereas all the kids in another may have problems with it from day one. That doesn't mean I don't have expectations for all of them; it just means that I may have to put a little extra effort with the members of the second family to help them on this detail. To the extent that this is an inherited trait, by that definition you would call it familial.

Most things in life have a nature and nurture component. My sense is that the ability to infuse intensity and emotion into physical tasks may have a nature (genetic) component. To the extent that this is true, then the piece I posted above might explain this. In other words - whether by heredity or by environmental influences - this "skill" may be defined by real anatomic features in the brain that express themselves physiologically.

It's up to me to add the nurture part to modify and develop what people bring to the dojo. And I believe that we create fundamental (anatomic) changes in our students when we do this. Already there have been fascinating studies done that show that behavioral modification causes real changes in brain function that can be measured with PET scans or by other more invasive techniques (on lab rats or fluffy the lab cat...). It isn't really that far-fetched a notion. We know that when humans do curls, their biceps get bigger. When karate students do knuckle pushups, their knuckles get bigger. This is just the same concept, only applied to psychology and the brain.

I find this fascinating. It would be even more fascinating if we were able to take knowledge like this and improve how we teach our students. However I sense that most are shrugging their shoulders.

- Bill

[Phils]

BillB: Re your question as to how you get people there, my approach would be measured; to insure the movement and posture are correct before any mention of mind or spirit.

At minimum, it allows the student the freedom to explore this territory without preconcieved notions or expectations and without fear.

As you say, one has to be careful about laying on an admonition (like 'lack of intensity') since, per above, it means different things to different people. Also, without clarity of expression, criticism can only inhibit progress and bury pure movement under layers of extraneous (albeit well-meaning) thought.

Agree?