Samadhi in Action

Samadhi can be achieved through various means : Meditation - Dhyana in Sanskrit, Chan in Chines, Zen in Japanese, Son in Korean - is one of them.

Samadhi can also be achieved through action. Asian disciplines such as Budo (all martial Arts); Shodo - the art of Calligraphy; Chado - the Art of Serving Tea... are ways to achieve Samadhi through action.

The term DO (at the end of Budo, Judo, Shodo, ... etc actually means "Way". Budo is the Way of Martial Arts, Shodo the way of the Brush, Kyudo the way of the bow... This means that these disciplines : Martial Arts, Calligraphy, Archery are used as a way to realize Samadhi.

These ways were not developed exclusively by Asian cultures.Individuals and groups in the Christian and Muslim words have practised various ways to reach Samadhi. And it is also very probable that other cultures also developed them. However Asian people and among them the Japanese more particularly, have developed them in a more particular and systematic way than other cultures have.

This video of Mioko Shida is a perfect example of a non traditional Samadhi at work...

Enjoy.

Bodhidharma's "Outline of Practice"

For various reasons, I have a personal affection for Bodhidharma: he left his country to come teach in another one, and he founded Shaolin Kung Fu and designed the Chi Gong Yi Jin Jing and Xi Sui Jing exercises.

We know little things about him. He is very much a legendary figure. But aren't legends and myth often based on reality (Which reality ?). 

Let us say that sometimes around 475 AD, an Indian Buddhist Master came from India to China to teach the Dhyana school of Buddhism. 

Bodhidharma left us a few short texts  - they are likely transcriptions of his teachings as it is doubtful that he could write Chinese. Today I would like to share with you the most known of these texts, entitled "Outline of Practice" 

It is the text of a translation by Red Pine. If you are interested in the other texts, I suggest you purchase the book The Zen teachings of Bodhidharma

 

Outline of Practice

‘Many roads lead to the Way, but basically there are only two: reason and practice. 

To enter by reason means to realize the essence through instruction and to believe all living things share the same true nature, which isn’t apparent because it’s shrouded by sensation and delusion. Those who turn from delusion back to reality, who meditate on walls, the absence of self and other, the oneness of mortal and sage, and who remain unmoved even by sutras are completely in accord and unspoken agreement with reason. Without moving, without effort, they enter, we say, by reason’.

To enter by practise refers to four all-inclusive practices: suffering injustice, adapting to conditions, seeking nothing, and practising the Dharma.’

‘First, suffering injustice. When those who search for a path encounter adversity, they should think to themselves ‘In countless ages gone by I’ve turned from the essential to the trivial and wandered through all manner of existences, often angry without cause and guilty of numberless transgressions. Now, though I do no wrong, I’m punished by my past. Neither gods nor men can foresee when an evil deed will bear it’s fruit. I accept it with an open heart and without complaint of injustice’. The sutra says ‘When you meet with adversity don’t be upset, because it makes sense’. With such understanding you’re in harmony with reason. And by suffering injustice you enter the path.’

‘Second, adapting to conditions. As mortals we’re ruled by conditions not by ourselves. All the suffering and joy we experience depend on conditions. If we should be blessed by some great reward, such as fame or fortune, it’s the fruit of a seed planted by us in the past. When conditions change, it ends. Why delight in its existence? But while success and failure depend on conditions, the mind neither waxes nor wanes. Those who remain unmoved by the wind of joy silently follow the path.’

‘Third, seeking nothing. People of this world are deluded. They’re always longing for something - always, in a word, seeking. But the wise wake up. They choose reason over custom. They fix their minds on the sublime and let their bodies change with the seasons. All phenomena are empty. They contain nothing worth desiring. ‘Calamity forever alternates with Prosperity’. To dwell in the three realms is to dwell in a burning house. To have a body is to suffer. Does anyone with a body know peace? Those who understand this detach themselves from all that exists and stop imaging or seeking anything. The sutra says ‘To seek is to suffer. To seek nothing is bliss’. When you seek nothing, you’re on the path.’

‘Fourth, practising the Dharma. The Dharma is the truth that all natures are pure. By this truth, all appearances are empty. Defilement and attachment, subject and object don’t exist. The sutra says ‘ The Dharma includes no being because it’s free from the impurity of being, and the Dharma includes no self because it’s free from the impurity of self’. Those wise enough to believe and understand these truth are bound to practise according to the Dharma. And since that which is real includes nothing that is worth begrudging, they give their body, life, and property in charity, without regret, without the vanity of the giver, gift, or recipient, and without bias or attachment. And to eliminate impurity they teach others, but without being attached to form. Thus, through their own practise they’re able to help others and glorify the Way of Enlightenment. And as with charity, they also practise the other virtues to eliminate delusion, they practise nothing at all. This is what’s meant by practising the Dharma.’

Please read and consider carefully. And if you don't agree try to figure out why some guy travelled thousands of miles from India to China 1500 years ago to teach this.

With the help of other masters, we will later try to get more insight in this important text.

It sometimes takes a punch in the nose...

How many times have I told beginners in Karate to keep their hands up when sparring - and their hands go down. Always, it never fails.

And the one day they get popped on the nose - sometimes it breaks it, sometimes it bleeds - they remember and all of a sudden their hands stay up. Some of them even tell me I was right...  Well guess what ?

By the way, the same thing happened to me a long time ago. Since then I have consistently kept my hands up...

"When you are ready, the teacher will show up".

Actually, the teacher might have shown up earlier, but you did not pay attention. It is the same with teachings. You may have been told how to do it, maybe times and times, but until you really needed to learn, you just did not listen. 

Last June I had the honor to demonstrate Tameshigiri in front of Soke Katsuoh Yamamoto and a vast crowd assembled to celebrate the 50th anniversary of his founding Yoshukai Karate. 

I had planned to demonstrate Rokudan Giri - a classical 6 cuts exercise. 

1. Left to right Diagonal downward cut
2. Right to left Diagonal downward cut
3. Right to left Diagonal downward cut
4. Left to right Diagonal upward cut
5. Right to left Diagonal downward cut
6. Left to right Diagonal upward cut

I was cutting through a roll made of two tatami mats

It all went well for the first three cuts, then on the fourth one, the target got airborne and fell from the stand. Only 2 layers of straw had not been cut.

I stopped there as if this was exactly what I intended to do, and everybody - but me - was satisfied and impressed with my demonstration !

Two weeks later as I discussed the event with Patty Heath Sensei my instructor from the Big Green Drum Dojo in Pensacola, she asked me if I had lined my back hip with the target. I told her I had not, for nobody had ever told me to do so. To which she suggested that probably it had been told to me, but I had not remembered it. And very likely this is what happened. 

The next morning, I installed a double mat on the stand, aligned my back hip on the target, and performed a nice and clean rokudan giri ! 

I was so pleased and impressed that I cut a second target, with the same success !

Morals of this story :

• If you want to cut, line up your back hip with your target...
• Always listen to Sensei.
• If you are the Sensei, sometimes it may be better to let a student struggle with a problem before you tell him how to solve it.

Train hard

Chambering the Sword

In a lot of our Katachi waza, Uchidachi pushes Shidachi backwards then cuts.

To be able to push your opponent, your kissaki needs to be in the center. When you push him you shuffle your front foot to enter into his space - your kissaki aimed at his face or chest. You keep pressing by taking a full step ahead with your back foot while raising your sword. When your opponent steps back, you cut him.

It is important to cut him WHILE he is stepping back - while his backing foot is still in the air. If your cut comes when his foot has already landed, it is too late. He could - and should - cut you.

If you chamber your sword behind your head, you give your opponent the opportunity to cut while it is behind you. You created an opportunity for you when you forced him backward, and you just lost it by chambering behind your head. Not very bright, you deserve to die !

Of course if both of you chamber behind your head, this does not apply, maybe you both deserve to die !

I suppose this is why in Itto Ryu we are told not to chamber our sword past our head, and why in Kendo the Men cut keeps the sword moving forward.

 

Practice this : Start at one end of the dojo and push your partner - ask him to cut you if he can - if you chamber behind your head, he should seize the opportunity. If you only chamber above your head, he should have no opening. 

BTW, this also works in Karate. It is very difficult to launch a successful move while retreating. Unless you are baiting the opponent - but this is a different story !

Kenjutsu, Iajututsu, Kendo & Iaido

When I taught a Kenjutsu class at our Yoshukai Summer camp 4 students out of 15 showed up without any kind of sword...

Turns out a most students had no clue what Kenjutsu is about.

Let us try to clarify what Kendo, Kenjutsu, Iaido and Iaijutsu are.

Iaijutsu : Basically, Iaijutsu is about drawing your sword and cutting your opponent in one move. This is the intent. Ideally, your opponent is out on your draw (nukitsuke). As it is unlikely that he is fully dead, but more than likely wounded, you put an end to his misery with an additional move. It is also possible that you missed him on your first draw, or that this first draw was a purely defensive move needed to evade his attack. In that case, you proceed to other moves in order to get rid of your opponent. 

In a way Iaijutsu is more about duelling and street fighting.

The student of Iaijutsu generally performs moves by himself. It is somehow similar to Karate kata. It is important to supplement this training by actual practice with a partner, but at the beginning it is not necessary. 

Generally Iaijutsu is practiced with a Iaito : a blunt sword that allows safe practice by numerous students in a dojo.

Kenjutsu : In Kenjutsu you draw your sword and use it. This is more about battlefield combat.

The student of Kenjutsu immediately starts training with a partner.

Kenjutsu is usually practiced with a wooden boken. 

Iaido and Kendo are similar to Iaijutsu and Kenjutsu in their technical aspects. The techniques of Iaido are the techniques of Iaijutsu. The spirit of their practice is different. Whoever practices Jutsu is seeking technical mastery of the Art. Whoever studies Do is seeking self improvement through practice. However, this is not clear cut. The practice of Iaijutsu or Kenjutsu can also be a spiritual journey, and some senseless idiots practice Kendo.

	Kenjutsu / Kendo	Iaijutsu / Iaido
Practice	With partner	Solo
Type of fighting	Battle field	Street fighting
Training weapon	Wooden Boken / Bamboo Shinai	Blunt Iaito

Sometimes the term Batto-do or Batto-Jutsu is used to regroup the 2 disciplines under the same term.

There would be much more to say on this subject, but the point is simplicity. I apologize for the approximations. 

The next time you come to a Kenjutsu class, please bring a boken

The Chinese Cemetery of Nolettes

On June 1st, 2013, I visited the Chinese Cemetery of Nolettes on the Somme River. 849 Chinese men who died during World War I or right after it are buried in this beautiful place. 

 

Their simple gravestones are engraved with Chinese as well as English characters.

Most of these men who died so far from home where probably Buddhist and it is unlikely that any Buddhist words were ever spoken on their behalf. 

I lit some incense I had brought with me, and I sat in Zazen under the main cypress tree during the time it took for one stick to burn. 

After that I walked each row of gravestones reciting the heart sutra for them. 

Then I bowed and left. 

 

Here is the story of men buried there almost totally forgotten for over 80 years...

In 1916, France and Britain started to recruit Chinese labourers to fill the manpower shortage caused by World War I. Approximately 140,000 Chinese workers - about 100,000 with the Brits and 40,000 with the French - served on the Western Front during and right after the War.

At the end of the war about 5,000 to 10,000 of them stayed in France and formed the original nucleus of the Chinese community in Paris.

Mainly aged between 20 and 35, these men did not take part to actual combat. They were supporting the frontline troops, unloading ships, building dugouts, repairing roads and railways, digging trenches and filling sandbags. Some worked in armaments factories, others in shipyards. However, when the war ended some were used for mine clearance, or to recover the bodies of soldiers and fill in miles of trenches.

According to the records around 2,000 of them died during the war, most from the 1918-1919 Spanish Flu pandemic, and some as a direct result of enemy action or of wounds received in the course of their duties.

Those who died, classified as war casualties, were buried in several French and Belgian graveyards in the North of France. The largest number of graves is located at the Chinese Cemetery of Noyelles sur Mer close to the Somme river's estuary, where 849 men are buried.

The contribution of these men went forgotten for decades until military ceremonies resumed in 2002.

Sculpture and Karate

Sculpture and Karate teaching both are about creation. When you make a statue, you actually create its form out of matter; when you teach karate, you create a form in a student's mind.

Let us say you have 2 different materials : Clay, and Steel bits and pieces, and you want to create the statue of a standing man.

The Clay Statue : you first take a big chunk of clay and shape it to the general shape of a guy - about as tall and wide as you envision it. Then, little by little, you adjust. You start shaping its torso, head and limbs. Once your piece looks like a crude humanoid silhouette, you get into more details : arms, shoulders, wrists, ankles... Later you get to even minuter details : eyes, nose, fingers, ears and toes, etc... From the beginning, you actually shape the statue by mostly removing unwanted material. This is a global and synthetic way to proceed.

The Steel statue : If you work with steel parts, you are going to cut, bend and weld them. So chances are that you will first create perfect feet and perfect calves, then weld the calves onto the feet. After that you might create perfect legs, and weld them on top of the calves, etc, etc, until you weld the perfect hat on top of the perfect head. This is a very detail oriented and analytical way to work.

Both ways have their plus and minus.

With the clay, you have from the beginning a certain idea of where you are going and you maintain it. There is a certain continuity of goal in your work, but it is going to take a long time before the whole thing looks good : for quite a while your statue might be seen as a gorilla as much as a man.

With steel, there will not be any clear indication of what you are actually building until enough things are put together, but from the very beginning, each individual little parts you build will look good - and you may get quicker a satisfying sense of achievement. The difficulty may come if the individual parts you have built do not perfectly fit one with the other.

Please note one important part : You need to adapt the way you work to the material. You could in theory shape perfect bits and pieces out of clay and glue them together, but you hardly could weld a great amount of steel pieces together and remove parts of them to shape a human form.

Back to Karate.

Different students learn differently. Some love to learn details before they learn the big picture - that is the way to proceed with steel. Some students do better learning the big picture before getting into details - that's the synthetic way better suited to clay.

Instructors too have their preferences.

An analytical type of instructor will spend a great amount of time teaching each individual move in great details, so that the student has to learn the first move of a fighting combination and be able to execute it perfectly before he is allowed to learn the second move.

A synthetic type of instructor will first teach a whole kata without worrying too much about the counts. Only once the student can demonstrate something that sorts of looks like the kata does the instructor begin to clean up each move.

Plus and minus of each way.

The synthetic method may be easier to memorize for Western students. It is more like a dance or a gymnastic routine - it is possible to tune it up so that the final execution of the kata "looks" better faster, which may give the student satisfaction and make him want to progress further.

The analytical method is probably harder for more students - it requires more patience. In the case of learning a whole kata, it will take a much longer time than the global way, and the result may not always look better than the kata learned the synthetic way.

On a strictly actual fighting and self defense standpoint, it is likely that the analytical method will give better results (providing the instructor knows what he is doing). The accurate performance of a few individual move is more important than the ability to demonstrate a beautiful looking kata including a number of moves which the student does not understand.

Why bother with Kata ?

Kata are a tool to help student memorize self defense moves by putting them together within a routine. The past masters took the pain to create and transmit them. They used both synthetic and analytical ways.

We should teach as they did. We should make sure we transmit kata as they were taught to us - synthesis - and make sure each individual move makes sense in an actual fighting context - analysis.

Also lets keep in mind the sculpture analogy : some students nature are clay, some are steel.

Some pure steel type of people are absolutely not able to learn kata - which does not mean they cannot do good karate and be excellent fighters. It would be a mistake to try bother them too much with kata.

Some older or younger people cannot do proper basic moves but can perform beautiful and elegant kata. Their actual self defense ability might be close to zero. However, if they stick around long enough, they will get better and one day be able to actually realize what they are doing, from that day on, you should be able to teach them actual applications of the kata.

Instructors should be able to tune up their teaching to each type of student. No matter what your personal teaching preference is, in order to really transmit karate, you should be able to teach both ways.

And THIS...

is valid for all teachings.