ある流派を習うということは，その流派の形（型）を練ることを意味する。師の教えに従って，伝わる流派の形をできるだけ忠実に我が物とすることを目指す。もちろん，師から弟子へ伝承される中で，各人の身体的特徴という誤差の蓄積が，流派の形を変えていくことはある。しかし，他の流派との差異があるからこそ，その流派が起こったとすれば，その開祖が示すその流派の形には，他の流派とは明らかに異なる独特の動作，あるいは，説明原理がある。この独自性を保つことが流派を習う，ということである。
一方で，流派を超えたエッセンスはある。例えば空手で言えば，空手の諸流派に通じる空手的身体，あるいは空手的動作法というものがある。これがその術を空手たらしめている。このエッセンスを適切に理解し，我が物とすることを目指すことが，空手という術を習う，ということである。ここには比較的誤差は少ない。なぜならこれこそが，空手という術の極意だからである。伝承者によって表現する言葉や説明の仕方は異なるかもしれないけれども，武術としての空手特有の動作（身体操作）というものがあり，これを探究し修行するのが空手家である。
これとはまた別の次元で，形を離れる，ということがある。流派を習う，空手という術を習う，ということとはまた別のレベルで，自己の身体感覚にのみ従って動く。これは一つの瞑想である。ここには正解はない。各人各様の動きがあり，個人ごとに大きな誤差（個人差）がある。自身の身体の声を傾聴し，それに従ってただ動く。形にこだわず，形を忘れ，ただ動く。それは自然な身体のエナジーの流れに身を任せるかのごとくである。こうして形という枠組みから放たれ，あるがままに在ることをありありと感じつつ身体を練る。こうした瞑想的稽古もまた，武術修行の味わいの一つである。
Learning a school of a martial art means practicing the school's katas. Martial artists aim to acquire the school's katas passed down for generations, as faithfully as they can, in accordance with their teacher's lessons. Of course, during the passing down from teachers to students, there is a possibility that accumulation of the deviations as the physical characteristics of each person may gradually modify the school's katas. However, if the school rises since it has differences from the other schools, the katas that the founder of the school showed includes the original movements and the theory to explain the movements, which are clearly different from the ones of the other schools. Maintaining this originality means learning the school.
On the other hand, there are essences underlying schools. For instance, as for karate, there is the karate-styled body or the body manipulation characteristic of karate, which is common to all schools of karate. This makes the art karate. Willing to correctly understand and master this essence is learning the art of karate. Here are comparatively few deviations. It is because this is just a secret of the art of karate. Though the words to express it and the way to explain it depend on each successor, it is sure that there are the moves (body manipulations) specific to karate as martial arts, which are sought and learned by karateka.
Apart from this, another dimension on practice of martial arts is to be free from katas. In that case, separately from learning the school's art or the art of karate, practitioners move according to their own body sensations only. This is one kind of meditations. There is no correct answer here. Each person has his/her own movements, and there are large differences between individuals (that is, individual differences). They listen to their own body's voice, and just move according to it. They do not stick to katas, but forget them and just move. It is like they let themselves go with the natural flow of their body's energy. In this way, they would be free from the framework of kata, and cultivate their own body with feeling it as it is. Such meditative practice is also one of the joys of martial arts practice.
October 08, 2015
August 19, 2015
Re-action and Co-action 反応と和応
自然な反応とは何か。それは反射なのか，反応なのか。あるいは，学習された反応と自然な反応とは異なるのか。異なるとすればどう異なるのか。
我々は，熱いものに触れたとき，とっさに手を引っ込める。これは「反射」である。非意識的，非意図的，自動的動作である。熱いと意識して，意図して手を動かしていては間に合わず，火傷をしてしまう。あるいは武術の心得のない者が，接近する物体や他者の攻撃をとっさに手で払って避けるとする。これらはいずれも反射，すなわち，学習されたものではない生得的な動作である。
一方，例えば武術の心得のある者が敵と対しているとき，相手の突きが来ることを意識的に察知し，意図してそれを素早く受けるとする。ここではこれを狭い意味での「反応」とする。稽古によって学習された，意識的，意図的，統制的動作である。突きが来たと意識して，意図して手を動かし，なんとか間に合って受けることができるとする。結果的には問題ない。
一方，例えば武術の心得のある者が敵と対しているとき，相手の突きが来ることを意識的に察知し，意図してそれを素早く受けるとする。ここではこれを狭い意味での「反応」とする。稽古によって学習された，意識的，意図的，統制的動作である。突きが来たと意識して，意図して手を動かし，なんとか間に合って受けることができるとする。結果的には問題ない。
しかし，仮に相手の突きが極めて速い場合だとか，あるいは不意に突かれた場合だとかに，そうして意識的に察知して意図的に動かしていては間に合わない。問題である。そこで武術家が，非意識的非意図的自動的ににその突きを見事に裁いたとすれば，それは，反射のようでもあり（学習された）反応ともいえる。つまり，学習に基づいた＜自然な反応＞，ということになる。ただ，この場合，どこまでが反射でどこからが（学習された）反応かは，区別できない。両者を分離することは不可能である。武術家は，日々の弛まぬ稽古により，こうした＜自然な反応＞を体得することを目指している。
なお，これは瞬間的な動作についてであるが，一方で，ある程度の時間的な幅のある中での連続した動作の場合はどうだろう。例えば，まるで反射のように，非意図的自動的にあらゆる動作が繰り出され続けるような状態があるとする。それがいわゆる「フロー」だとすれば，そこには意識，つまり，アウェアネスはない。あっという間に時が経ち，はっと気がついたら終わっている。
一方，「マインドフルネス」な状態とは，まるで反射のように自然に動作するけれども，その状態にありありと気がついている，つまりクリアに意識的である。ただ，アウェアしているからといって，意図的統制的ではない。コントロールをしようと意図して動作しているわけではない。あくまで身体のままに動作する。意識はしているけれども，意図せず自動的である。
フローはおそらく，クリアに意識的になると維持できない。フローを続けたければ，気がついてはいけない。その流れの中にことごとくどっぷりと身を任せ，流され，その陶酔感，恍惚感に浸る。マインドフルネスも同じように流れに身を任せるけれども，そのことにははっきりと気づいている。つまり，覚めた自動性，意識的非意図性である。そこに陶酔感，恍惚感はない。
ただいずれの場合でも，このように流れとともに自然にある，という意味では，その動作（action）は，re-actionではなくて，co-actionといえよう。何かに対して「反」するのではなく，何かと「和」する。それが極意である。
What is natural reaction? Is that a reflex or a reaction? Or, is there a difference between learned reaction and natural reaction? If so, what differences they have?
When we humans touch something extremely hot, we quickly pull our hand back from it. This is a "reflex," which is an unconscious, unintentional, and automatic action. If you get conscious of how hot it is and then intend to move your hand, it would be too late to get scalded. Or, here is another case that a person, who has no experience of practicing martial arts, could brush away an approaching material or an opponent's attack by hands in an unconscious and quick manner. These are all reflexes, that is, unlearned innate actions.
On the other hand, for example, here is another case that, when a person, who has experience of practicing martial arts, encounter an enemy, he/she could consciously see the enemy's punch approaching to him/her and intentionally block it in a quick way. Here, this is defined as a "reaction" in a narrow sense. It is a conscious, intentional, and controlled action, which is learned through the practice. He or she can block the attack just in time, after becoming conscious of the enemy's coming punch and moving his or her hands intentionally. Just as a result, this is non-problematic.
But, if the enemy's punch is extremely rapid or unexpectedly approaching, such conscious knowing and intentional moving doesn't work in time. This is problematic. In this case, if a martial artist beautifully escape the punch in an unconscious, unintentional, automatic way, the action can be said to seem like a (learned) reaction as well as a reflex. That is to say, it is a "natural reaction" based on learning. However, in this case, we can not see where the reflex ends and the (learned) reaction begins. It is impossible to separate both completely. Martial artists aim to learn these "natural reactions" through everyday consistent practice.
This understanding is about a momentary action, on the other hand, how about sequential actions during a certain amount of time width? For example, imagine that there is a state in which a martial artist continues to make every action, like a reflex, in an unintentional and automatic manner. If it was a so-called "flow," there would be no consciousness, or awareness there. In that case, the time passes in an blink of an eye, and the incident ends before he/she knows.
On the other hand, a "mindful" state means that he/she makes actions naturally as if each of them was a reflex, while he/she is vividly aware of the state, or clearly conscious of it. However, just because he/she is aware does not means that he/she make actions in an intentional or regulative way. It is not that he/she moves in an effort of controlling his/her actions. He/she consistently moves as his/her body moves. He/she is aware, though, not intentional but automatic.
Probably the flow (experience or state) might not be maintained with clear consciousness. If you want to remain being in the flow, do not be aware of it. You need to fall into the stream deeply and entirely, be flowed, and immerse yourself in the feeling of euphoria or ecstasy. On the other hand, in a state of mindfulness, you also allow yourself to the current stream, but you are clearly aware of it. Thus, the state is said awakened automaticity, or conscious unintentionality. There is no feeling of euphoria or ecstasy.
However, in any case, being naturally with the stream like this means the action can be said to be not "re-action" but "co-action." It is not against something, but along with it. That's the secret.
What is natural reaction? Is that a reflex or a reaction? Or, is there a difference between learned reaction and natural reaction? If so, what differences they have?
When we humans touch something extremely hot, we quickly pull our hand back from it. This is a "reflex," which is an unconscious, unintentional, and automatic action. If you get conscious of how hot it is and then intend to move your hand, it would be too late to get scalded. Or, here is another case that a person, who has no experience of practicing martial arts, could brush away an approaching material or an opponent's attack by hands in an unconscious and quick manner. These are all reflexes, that is, unlearned innate actions.
On the other hand, for example, here is another case that, when a person, who has experience of practicing martial arts, encounter an enemy, he/she could consciously see the enemy's punch approaching to him/her and intentionally block it in a quick way. Here, this is defined as a "reaction" in a narrow sense. It is a conscious, intentional, and controlled action, which is learned through the practice. He or she can block the attack just in time, after becoming conscious of the enemy's coming punch and moving his or her hands intentionally. Just as a result, this is non-problematic.
But, if the enemy's punch is extremely rapid or unexpectedly approaching, such conscious knowing and intentional moving doesn't work in time. This is problematic. In this case, if a martial artist beautifully escape the punch in an unconscious, unintentional, automatic way, the action can be said to seem like a (learned) reaction as well as a reflex. That is to say, it is a "natural reaction" based on learning. However, in this case, we can not see where the reflex ends and the (learned) reaction begins. It is impossible to separate both completely. Martial artists aim to learn these "natural reactions" through everyday consistent practice.
This understanding is about a momentary action, on the other hand, how about sequential actions during a certain amount of time width? For example, imagine that there is a state in which a martial artist continues to make every action, like a reflex, in an unintentional and automatic manner. If it was a so-called "flow," there would be no consciousness, or awareness there. In that case, the time passes in an blink of an eye, and the incident ends before he/she knows.
On the other hand, a "mindful" state means that he/she makes actions naturally as if each of them was a reflex, while he/she is vividly aware of the state, or clearly conscious of it. However, just because he/she is aware does not means that he/she make actions in an intentional or regulative way. It is not that he/she moves in an effort of controlling his/her actions. He/she consistently moves as his/her body moves. He/she is aware, though, not intentional but automatic.
Probably the flow (experience or state) might not be maintained with clear consciousness. If you want to remain being in the flow, do not be aware of it. You need to fall into the stream deeply and entirely, be flowed, and immerse yourself in the feeling of euphoria or ecstasy. On the other hand, in a state of mindfulness, you also allow yourself to the current stream, but you are clearly aware of it. Thus, the state is said awakened automaticity, or conscious unintentionality. There is no feeling of euphoria or ecstasy.
However, in any case, being naturally with the stream like this means the action can be said to be not "re-action" but "co-action." It is not against something, but along with it. That's the secret.
July 11, 2015
The Function of Gi 道着の機能
武術・武道の稽古ではなぜ道着を着るのか。その運動そのものへの機能性という意味では，昨今のジャージやシャツ，パンツなどの方が，その吸湿性や速乾性は高く，数段快適なはずである。軽くて肌触りも良い。道着スタイルははむしろ夏場は暑くて動きにくく，冬場は寒くてかじかむ。まったく非機能的である。
ではなぜ武術・武道稽古では，非機能的な道着を着るのか。それは，そうした身体上の機能性よりも，精神上の機能性を求めているからである。普段着あるいは部屋着に近いジャージやシャツ・パンツ姿ではなく，和装の上下衣を着て帯を締めるのは，これから日本伝統の武術の稽古を始めるという，心理的な「スイッチ」の役割を果たしている。それはまた，＜武術＞稽古であるとともに＜武道＞稽古であるとすれば，これから真摯に禅の修行を始めることの，自己へ向けた合図となる。
サッカーや野球やバスケットボールなどの各種スポーツにも，特定のユニフォームはある。競技とはルールに基づいて公平に勝敗を決めることなので，試合中は互いに，ユニフォームも平等に規程内のものを着用すべきである。また，練習中であっても，現代では各ユニフォームも運動的な機能性は極めて高く設計されているので，その競技に特化した高機能の運動着が追求されている。もちろん，各スポーツのユニフォームを着用するということは，これからそのスポーツを始めるという，精神的な切り替え機能も含まれているだろう。しかし一方で，そもそも高い機能性を備えた衣服を着て運動するという非常に合理的な理由から，彼らは彼らの特定のユニフォームを着用している。
一方で，武術・武道はどうだろうか。弓を放ったり剣を抜いたりするのに，袴は必要なのか。合気道では，上級者（有段者）になって初めて袴を着用するけれども，果たして運動上の機能性という点で何か意味があるのだろうか。おそらく，運動的な機能として，あえて着用する必要性や意味はないはずである。着用することで技の質が向上するとは，到底思えない。
武の術が日本古来より伝わるものであり，その古の術を習う上で古の恰好をして稽古をする。これは一つの文化的活動である。つまり，武術を稽古するということは，伝統文化を継承しているということである。文化とは，ある種の形式である。道着は，かつて古の時代にはその形式が最先端の運動機能性を持った装いであったことの名残である。
つまり，道着を着るということは，これから古より伝わる文化（形式）に基づいて，武の稽古を始める，ひいては禅の修行を始めるということを合図する，心理的なスイッチの役割を果たしている，ということである。現代からすれば運動機能的に見て合理的でない恰好である道着を着用するのは，だから，こうした心理的な切り替えを求めてのことである。そうでなければ，何らかの演出上のパフォーマンスか，単なるサムライマニアのコスプレだろう。
なお，厳密には，空手はかつて「手」の時代，沖縄において普段着で稽古されていた。今のスタイルは，近代に入って講道館柔道のスタイルを模倣したものである。したがって，空手の稽古では本来，道着の着用は必要ない。沖縄発祥の空手が，日本古来より伝わる伝統文化としての武道の一つとして位置付けられるために，柔道スタイルの和装としての道着姿を定着させていったという歴史的背景は否めない。ただ空手の持つ武道性，つまり禅の修行としての本質を考えた場合，道着着用の精神的な機能性は，空手とごく自然に馴染む相性の良さがあることもまた否めない。
Why do we wear dogi (gi) during the practice of martial arts or martial way? In terms of the functionality just for exercise itself, resent sports-wears like a sweat suit, a shirt, and pants, are superior on moisture-absorption and quick-drying property, and then might be more comfortable than gi. They are light and having soft feeling to the skin. Rather, gi style is hot and hindering the movements by sweat in summer, while it is shivery and paralyzing the movements with cold in winter. It is really nonfunctional.
Why do we wear this nonfunctional gi during the practice of martial arts or martial way? It is because we require that qi has the function of mental aspect rather than physical one. The reason for that we don't wear a sweat suit, a shirt and pants for everyday clothes or house dresses, but wear a jacket and pants of Japanese dress and fasten the jacket with an obi is that it plays a role of psychological "switch" that means from now we will start to practice traditional Japanese martial arts. If the practice is of "martial WAY" as well as "martial ARTS," wearing gi is a signal for ourselves that from now we will start to practice Zen honestly.
Various kinds of sports such as football, baseball, basketball, and the like have their own specific uniform. Competitions is to determine the winner or the loser fairly based on the rule, and then each players equally in the game should wear the uniform that is decided within the rule. Also, even during practice, high-functional sportswear specific for the sport is pursued, because today the uniform for each sport is designed extremely highly in terms of the function of physical activity. Of course, the fact that people wear the uniform specific for each sport might include the psychological function of switching, which means that from then they will start the sport. Simultaneously, they wear an uniform specific for the sport they play, fundamentally by the very rational reason that they work out with high-function sportswear.
On the other hand, what about martial arts or martial way? Do they have to wear hakama, which is a Japanese formal pleated and divided skirt, in order to shot a yumi (bow) or draw a sword? In Aikido, practitioners wear hakama after they become an expert (dan holder), though, does it have any meaning in terms of the functionality for physical exercises? Probably, hakama must be unnecessary or meaningless to take the trouble to wear, from the viewpoint of physical function. We can never think of wearing it as improving the quality of martial techniques.
The arts of martialness has been passed down from ancient times in Japan, and then people wear ancient-styled clothes in order to learn the ancient arts. This is one of cultural activities. In other words, practicing martial arts means passing down or inheriting a traditional culture. Culture is a kind of form. Gi is a vestige, which was a form of wear having a cutting-edge function for activities in previous times.
In sum, wearing gi means that it plays a role of psychological switch, which signs that, from now, we will start martial practice and therefore Zen practice along a culture (form) that has been passed down since old times. The reason why we wear gi, which is an irrational cloth in terms of physical functionality at the present day, therefore, is that we seek for this psychological switching. Otherwise, wearing gi would be something like a stage-managed performance, or merely cosplaying of a sumurai freak.
However, strictly speaking, karate in Okinawa was practiced with wearing everyday clothes at the time that it was called "te (ti, tiy)." The present gi style was borrowed from the Kodokan Judo style in modern times. Therefore, fundamentally, it is not necessary to wear gi in the practice of karate. We can not deny the historical background that karatekas in Meiji and Taisho eras established the gi style along Judo style as Japanese clothes, in order to place karate, which had originated in Okinawa, as one of the Japanese martial arts as traditional culture that was passed down from ancient times. But, considering that karate has a characteristic of martial way, that is, an essence of its zen practice, we can not also deny that the mental functionality of wearing gi has an extremely natural match with karate.
ではなぜ武術・武道稽古では，非機能的な道着を着るのか。それは，そうした身体上の機能性よりも，精神上の機能性を求めているからである。普段着あるいは部屋着に近いジャージやシャツ・パンツ姿ではなく，和装の上下衣を着て帯を締めるのは，これから日本伝統の武術の稽古を始めるという，心理的な「スイッチ」の役割を果たしている。それはまた，＜武術＞稽古であるとともに＜武道＞稽古であるとすれば，これから真摯に禅の修行を始めることの，自己へ向けた合図となる。
サッカーや野球やバスケットボールなどの各種スポーツにも，特定のユニフォームはある。競技とはルールに基づいて公平に勝敗を決めることなので，試合中は互いに，ユニフォームも平等に規程内のものを着用すべきである。また，練習中であっても，現代では各ユニフォームも運動的な機能性は極めて高く設計されているので，その競技に特化した高機能の運動着が追求されている。もちろん，各スポーツのユニフォームを着用するということは，これからそのスポーツを始めるという，精神的な切り替え機能も含まれているだろう。しかし一方で，そもそも高い機能性を備えた衣服を着て運動するという非常に合理的な理由から，彼らは彼らの特定のユニフォームを着用している。
一方で，武術・武道はどうだろうか。弓を放ったり剣を抜いたりするのに，袴は必要なのか。合気道では，上級者（有段者）になって初めて袴を着用するけれども，果たして運動上の機能性という点で何か意味があるのだろうか。おそらく，運動的な機能として，あえて着用する必要性や意味はないはずである。着用することで技の質が向上するとは，到底思えない。
武の術が日本古来より伝わるものであり，その古の術を習う上で古の恰好をして稽古をする。これは一つの文化的活動である。つまり，武術を稽古するということは，伝統文化を継承しているということである。文化とは，ある種の形式である。道着は，かつて古の時代にはその形式が最先端の運動機能性を持った装いであったことの名残である。
つまり，道着を着るということは，これから古より伝わる文化（形式）に基づいて，武の稽古を始める，ひいては禅の修行を始めるということを合図する，心理的なスイッチの役割を果たしている，ということである。現代からすれば運動機能的に見て合理的でない恰好である道着を着用するのは，だから，こうした心理的な切り替えを求めてのことである。そうでなければ，何らかの演出上のパフォーマンスか，単なるサムライマニアのコスプレだろう。
なお，厳密には，空手はかつて「手」の時代，沖縄において普段着で稽古されていた。今のスタイルは，近代に入って講道館柔道のスタイルを模倣したものである。したがって，空手の稽古では本来，道着の着用は必要ない。沖縄発祥の空手が，日本古来より伝わる伝統文化としての武道の一つとして位置付けられるために，柔道スタイルの和装としての道着姿を定着させていったという歴史的背景は否めない。ただ空手の持つ武道性，つまり禅の修行としての本質を考えた場合，道着着用の精神的な機能性は，空手とごく自然に馴染む相性の良さがあることもまた否めない。
Why do we wear dogi (gi) during the practice of martial arts or martial way? In terms of the functionality just for exercise itself, resent sports-wears like a sweat suit, a shirt, and pants, are superior on moisture-absorption and quick-drying property, and then might be more comfortable than gi. They are light and having soft feeling to the skin. Rather, gi style is hot and hindering the movements by sweat in summer, while it is shivery and paralyzing the movements with cold in winter. It is really nonfunctional.
Why do we wear this nonfunctional gi during the practice of martial arts or martial way? It is because we require that qi has the function of mental aspect rather than physical one. The reason for that we don't wear a sweat suit, a shirt and pants for everyday clothes or house dresses, but wear a jacket and pants of Japanese dress and fasten the jacket with an obi is that it plays a role of psychological "switch" that means from now we will start to practice traditional Japanese martial arts. If the practice is of "martial WAY" as well as "martial ARTS," wearing gi is a signal for ourselves that from now we will start to practice Zen honestly.
Various kinds of sports such as football, baseball, basketball, and the like have their own specific uniform. Competitions is to determine the winner or the loser fairly based on the rule, and then each players equally in the game should wear the uniform that is decided within the rule. Also, even during practice, high-functional sportswear specific for the sport is pursued, because today the uniform for each sport is designed extremely highly in terms of the function of physical activity. Of course, the fact that people wear the uniform specific for each sport might include the psychological function of switching, which means that from then they will start the sport. Simultaneously, they wear an uniform specific for the sport they play, fundamentally by the very rational reason that they work out with high-function sportswear.
On the other hand, what about martial arts or martial way? Do they have to wear hakama, which is a Japanese formal pleated and divided skirt, in order to shot a yumi (bow) or draw a sword? In Aikido, practitioners wear hakama after they become an expert (dan holder), though, does it have any meaning in terms of the functionality for physical exercises? Probably, hakama must be unnecessary or meaningless to take the trouble to wear, from the viewpoint of physical function. We can never think of wearing it as improving the quality of martial techniques.
The arts of martialness has been passed down from ancient times in Japan, and then people wear ancient-styled clothes in order to learn the ancient arts. This is one of cultural activities. In other words, practicing martial arts means passing down or inheriting a traditional culture. Culture is a kind of form. Gi is a vestige, which was a form of wear having a cutting-edge function for activities in previous times.
In sum, wearing gi means that it plays a role of psychological switch, which signs that, from now, we will start martial practice and therefore Zen practice along a culture (form) that has been passed down since old times. The reason why we wear gi, which is an irrational cloth in terms of physical functionality at the present day, therefore, is that we seek for this psychological switching. Otherwise, wearing gi would be something like a stage-managed performance, or merely cosplaying of a sumurai freak.
However, strictly speaking, karate in Okinawa was practiced with wearing everyday clothes at the time that it was called "te (ti, tiy)." The present gi style was borrowed from the Kodokan Judo style in modern times. Therefore, fundamentally, it is not necessary to wear gi in the practice of karate. We can not deny the historical background that karatekas in Meiji and Taisho eras established the gi style along Judo style as Japanese clothes, in order to place karate, which had originated in Okinawa, as one of the Japanese martial arts as traditional culture that was passed down from ancient times. But, considering that karate has a characteristic of martial way, that is, an essence of its zen practice, we can not also deny that the mental functionality of wearing gi has an extremely natural match with karate.
June 15, 2015
Practice in a Group 集団での稽古
本来空手は，師と弟子とで一対一で指導教授されていたと言われるが，現在，多くの道場では集団でかけ声に合わせて動作を練習している。動作の仕方や順序を多くの人間が同時に習うことを考えれば，こうした集団での一斉練習は効率が良い。しかしそれは初級者から中級者までならばそれなりに意味があるかもしれないが，すでに動作の仕方や順序が分かっている上級者には全く意味はない。
上級者となれば，学習した動作をどれだけ精緻に仕上げていけるかが当人にとっての課題である。それは集団での一斉稽古では，一向になしえない。つまり，上級者にとって集団稽古は，本質的な稽古にはなりえない。必要なのは，一人で身体を練るか，あるいは師と一対一で指導教授されるか，である。
特に形には，技のつながりと緩急，すなわち，流れがある。メリハリをつけることだけが重要ではない。ときにメリハリを付け，ときにメリハリを付けずに，という具合に，様々な流れで稽古を繰り返すことで見えてくる術の本質がある。一方，集団での稽古では，かけ声をかけたり，数を数えたりして区切りながら動作するが，そうして流れを区割りにするのは，形の本質を無視した稽古方法といえる。せいぜいが動作の仕方や順序の確認としての意味はあると考えたいが，上級者にとっては集団でのそうした稽古はむしろ弊害の方が大きいであろう。空手の形を，かけ声や数で区切るという発想自体が，根本的に間違っている。
したがって，形は，まず動作の仕方と順序を習い，覚えたら後は，自分一人か師と一対一で練る必要がある。それは，師に習った伝統の動作と自身の身体的な感性との調整と融合の上に成り立つ，創造的な表現である。つまり，あくまで創造的な「個」であり，画一的な「集団」で一律に鍛えられるものではない。ましてや，競技として一律の基準で客観的に評価できるものでもないことは，火を見るより明らかである。
Though it is said that karate is basically supervised between a teacher (master) and a student, people in most of dojos at present are practicing the movements in a group along the encouraging shouts. Considering that many people learn the way and order of the movements at the same time, this kind of simultaneous group practice is efficient. However, it may be somehow worth for beginners or intermediate level practitioners, though, it has no meaning for advanced people, who already understand the way and order of the movements.
For advanced ones, how well they can polish the movements they have learned is their business. They will never attain the aim by group practice. This means, group practice cannot be an essential practice of karate for advanced persons. What they have to do is to cultivate their body by themselves, or to be supervised by their teacher on a one-on-one basis.
Especially, katas has the relationships of each technique and the change in speed of the sequence, that is, the flow. The important thing is not only to make the movements sharp. There are essences of the arts emerging by repeating katas according to the various flows such as sometimes making the movements sharp and at other times not. On the other hand, in the group practice, they intermittently move on katas with shouting and counting, but such dividing the flow is said to be an approach ignoring the essences of katas. We hope that the group practice will be meaningful at least for checking the way and order of the movements, though, such practice in a group may have a bad effect on experts rather than a good one. The idea itself to divide katas of karate by shouts and counts is fundamentally wrong.
Therefore, kata must be cultivated by oneself or with a teacher on a one-on-one basis, after the way and sequence of the kata's movement is learned and memorized. That is a creative expression that is based on the adjustment and confusion between the traditional movements learned from teachers and the physical sensibility of one's own. In other word, essentially, kata is conducted by a creative "individual," not be able to be equally developed by an uniform "group." Not to mention, it is as clear as day that kata is not able to be evaluated objectively by a uniform standard as a competition.
上級者となれば，学習した動作をどれだけ精緻に仕上げていけるかが当人にとっての課題である。それは集団での一斉稽古では，一向になしえない。つまり，上級者にとって集団稽古は，本質的な稽古にはなりえない。必要なのは，一人で身体を練るか，あるいは師と一対一で指導教授されるか，である。
特に形には，技のつながりと緩急，すなわち，流れがある。メリハリをつけることだけが重要ではない。ときにメリハリを付け，ときにメリハリを付けずに，という具合に，様々な流れで稽古を繰り返すことで見えてくる術の本質がある。一方，集団での稽古では，かけ声をかけたり，数を数えたりして区切りながら動作するが，そうして流れを区割りにするのは，形の本質を無視した稽古方法といえる。せいぜいが動作の仕方や順序の確認としての意味はあると考えたいが，上級者にとっては集団でのそうした稽古はむしろ弊害の方が大きいであろう。空手の形を，かけ声や数で区切るという発想自体が，根本的に間違っている。
したがって，形は，まず動作の仕方と順序を習い，覚えたら後は，自分一人か師と一対一で練る必要がある。それは，師に習った伝統の動作と自身の身体的な感性との調整と融合の上に成り立つ，創造的な表現である。つまり，あくまで創造的な「個」であり，画一的な「集団」で一律に鍛えられるものではない。ましてや，競技として一律の基準で客観的に評価できるものでもないことは，火を見るより明らかである。
Though it is said that karate is basically supervised between a teacher (master) and a student, people in most of dojos at present are practicing the movements in a group along the encouraging shouts. Considering that many people learn the way and order of the movements at the same time, this kind of simultaneous group practice is efficient. However, it may be somehow worth for beginners or intermediate level practitioners, though, it has no meaning for advanced people, who already understand the way and order of the movements.
For advanced ones, how well they can polish the movements they have learned is their business. They will never attain the aim by group practice. This means, group practice cannot be an essential practice of karate for advanced persons. What they have to do is to cultivate their body by themselves, or to be supervised by their teacher on a one-on-one basis.
Especially, katas has the relationships of each technique and the change in speed of the sequence, that is, the flow. The important thing is not only to make the movements sharp. There are essences of the arts emerging by repeating katas according to the various flows such as sometimes making the movements sharp and at other times not. On the other hand, in the group practice, they intermittently move on katas with shouting and counting, but such dividing the flow is said to be an approach ignoring the essences of katas. We hope that the group practice will be meaningful at least for checking the way and order of the movements, though, such practice in a group may have a bad effect on experts rather than a good one. The idea itself to divide katas of karate by shouts and counts is fundamentally wrong.
Therefore, kata must be cultivated by oneself or with a teacher on a one-on-one basis, after the way and sequence of the kata's movement is learned and memorized. That is a creative expression that is based on the adjustment and confusion between the traditional movements learned from teachers and the physical sensibility of one's own. In other word, essentially, kata is conducted by a creative "individual," not be able to be equally developed by an uniform "group." Not to mention, it is as clear as day that kata is not able to be evaluated objectively by a uniform standard as a competition.
May 14, 2015
External Martial Arts and Internal Martial Arts 外家拳と内家拳
空手は外家拳である。主には，あるいは，始めには，筋力と瞬発力を用い，パワーとスピードでもって敵を制するような術を身につけることを目的とする。つまり，剛の拳である。剛の拳は，鍛えるべきところが外面的であるために，目に見えるために分かりやすい。そのために，まずは武術として分かりやすい外家拳から入る，という人は多い。
空手と称する各種流派の中でその最たるところが，極真である。極真は「パワー空手」と自称するほど自覚的にパワーとスピードを求める。まるでボディービルダーと見紛うばかりの極真家を見かけることがある。つまり，究極の剛の拳を目指す。これはこれで，目標が非常に明確であり，その端的さシンプルさが，率直なまでに，格闘における強さを証明している。極真あるいはその系統であるフルコンタクト空手諸派は，ストリートファイトには滅法強いであろう。
速く突く，強く突く，速く蹴る，強く蹴る，高く蹴る，という目標は，外面的に誰から見ても一目瞭然であり，分かりやすい。だから，まずは外家拳あるいは剛の拳というのに取り組む，というアプローチは自然である。
しかし，武術の「術」としての本質は，そうした筋的な強さstrengthや力powerだとか，あるいは瞬発的なスピードspeedや反射reflexではない。むしろ，自己と他者のエナジーをどう導くか，というところにある。つまり，energyとdirectionである。それが術であり，その術を習い，養うところに，本来の主眼と醍醐味がある。
そのことを最初から求めているのが，太極拳や合気系武術のような，内家拳，あるいは柔の拳である。太極拳や合気系武術の術理のポイントは，エナジーをどう導くか，というところにある。
もちろん，究極的には，武術に外も内もない。外家拳から入った武術家も，正しく歩んでいれば，いずれ内（柔）へと至る。逆も然りであり，内家拳から入った武術家も，外（剛）の重要性に気づく。そして最後には同じところに行き着くはずである。内と外，剛と柔を兼ね備え，統一され，融合され，全体として「一」となるところに，武術の理想的姿がある。それはまさに陰と陽が混ざり合い，やがて一となる，陰陽は一に存在する，というのと同じである。
Karate is an external martial art. Mainly or firstly, the purpose of the practice is to learn such arts as controlling enemies with power and speed by using muscular strength and instantaneous force. That is a hard martial art. The hard arts is easy to understand because the parts that should be practiced are external and visible. Then, there are a lot of people, who first begin to practice any external martial art because it is understandable in terms of martial arts.
The most external among various schools of so called "karate" is Kyokushin. Practitioners of Kyokushin are consciously aiming at power and speed as they call their own style "power karate". Sometimes we can see a Kyokushin-ka (Kyokushin karate practitioner), who looks as if he were a body-builder or something. That is, they aims at an ultimate hard martial art. This aim itself is very clear, and it is so simple and straightforward that it can directly prove that Kyokushin is superior than other schools in a combative scene. Kyokushin or various "full-contact karate" schools deriving from it can get the upper hand in street fighting.
Such aims as punching quickly and strongly, or kicking quickly, strongly, and highly are externally clear for anyone at a glance, and then understandable. Then, it is natural for people to adopt an approach in which at first they begin to learn external martial arts or hard martial arts.
However, the essence of martial arts as it is "arts" is not such as muscular strength and power, nor instantaneous speed and reflex. Rather, the essence is found at how we can direct the energy of ourselves and others. So that means the essence is energy and direction. That is arts, and it is learning and cultivating the arts that is the essential focus and joy of martial arts.
It is internal martial arts or soft martial arts such as Tai Chi or aiki-originated martial arts that aim at the essence from the beginning. The point of the theories that Tai Chi or aiki-originated martial arts have is in how the energy is directed.
Of course, ultimately, martial arts is neither external nor internal. If even people, who had begun to practice external martial arts, progressed in a right way, they would eventually come to the internal (soft). The reverse is also true. Martial artists, who began to practice internal arts, would notice the importance of the external (hard). And then, all of them are supposed to arrive at the same place at the end. There is an ideal of martial arts existing at the state where the artists have both the internal and external, or the hard and soft, which are unified, integrated, and become a whole "one". That is the same as the state yin and yang merge together, and then become one, that is, yin and yang exist as one.
空手と称する各種流派の中でその最たるところが，極真である。極真は「パワー空手」と自称するほど自覚的にパワーとスピードを求める。まるでボディービルダーと見紛うばかりの極真家を見かけることがある。つまり，究極の剛の拳を目指す。これはこれで，目標が非常に明確であり，その端的さシンプルさが，率直なまでに，格闘における強さを証明している。極真あるいはその系統であるフルコンタクト空手諸派は，ストリートファイトには滅法強いであろう。
速く突く，強く突く，速く蹴る，強く蹴る，高く蹴る，という目標は，外面的に誰から見ても一目瞭然であり，分かりやすい。だから，まずは外家拳あるいは剛の拳というのに取り組む，というアプローチは自然である。
しかし，武術の「術」としての本質は，そうした筋的な強さstrengthや力powerだとか，あるいは瞬発的なスピードspeedや反射reflexではない。むしろ，自己と他者のエナジーをどう導くか，というところにある。つまり，energyとdirectionである。それが術であり，その術を習い，養うところに，本来の主眼と醍醐味がある。
そのことを最初から求めているのが，太極拳や合気系武術のような，内家拳，あるいは柔の拳である。太極拳や合気系武術の術理のポイントは，エナジーをどう導くか，というところにある。
もちろん，究極的には，武術に外も内もない。外家拳から入った武術家も，正しく歩んでいれば，いずれ内（柔）へと至る。逆も然りであり，内家拳から入った武術家も，外（剛）の重要性に気づく。そして最後には同じところに行き着くはずである。内と外，剛と柔を兼ね備え，統一され，融合され，全体として「一」となるところに，武術の理想的姿がある。それはまさに陰と陽が混ざり合い，やがて一となる，陰陽は一に存在する，というのと同じである。
Karate is an external martial art. Mainly or firstly, the purpose of the practice is to learn such arts as controlling enemies with power and speed by using muscular strength and instantaneous force. That is a hard martial art. The hard arts is easy to understand because the parts that should be practiced are external and visible. Then, there are a lot of people, who first begin to practice any external martial art because it is understandable in terms of martial arts.
The most external among various schools of so called "karate" is Kyokushin. Practitioners of Kyokushin are consciously aiming at power and speed as they call their own style "power karate". Sometimes we can see a Kyokushin-ka (Kyokushin karate practitioner), who looks as if he were a body-builder or something. That is, they aims at an ultimate hard martial art. This aim itself is very clear, and it is so simple and straightforward that it can directly prove that Kyokushin is superior than other schools in a combative scene. Kyokushin or various "full-contact karate" schools deriving from it can get the upper hand in street fighting.
Such aims as punching quickly and strongly, or kicking quickly, strongly, and highly are externally clear for anyone at a glance, and then understandable. Then, it is natural for people to adopt an approach in which at first they begin to learn external martial arts or hard martial arts.
However, the essence of martial arts as it is "arts" is not such as muscular strength and power, nor instantaneous speed and reflex. Rather, the essence is found at how we can direct the energy of ourselves and others. So that means the essence is energy and direction. That is arts, and it is learning and cultivating the arts that is the essential focus and joy of martial arts.
It is internal martial arts or soft martial arts such as Tai Chi or aiki-originated martial arts that aim at the essence from the beginning. The point of the theories that Tai Chi or aiki-originated martial arts have is in how the energy is directed.
Of course, ultimately, martial arts is neither external nor internal. If even people, who had begun to practice external martial arts, progressed in a right way, they would eventually come to the internal (soft). The reverse is also true. Martial artists, who began to practice internal arts, would notice the importance of the external (hard). And then, all of them are supposed to arrive at the same place at the end. There is an ideal of martial arts existing at the state where the artists have both the internal and external, or the hard and soft, which are unified, integrated, and become a whole "one". That is the same as the state yin and yang merge together, and then become one, that is, yin and yang exist as one.
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