武道とスポーツとは，全く異質であることはすでに自明である。その最も大きな違いは，競技性を持っているか否かであり，裏を返せば，禅的な要素があるか否かということである（詳細は，拙著『空手と禅』を参照）。これに加えて，補足的にその違いを明らかにする視点として，身体操作がある。もう少し具体的に言えば，身体を操作する意義（意味）である。この観点から武道とスポーツを考えると，両者の違いがまた浮き彫りになる。
スポーツは，ゲーム（競技試合）に勝つために，身体操作を工夫する。スポーツ選手は，どうすれば得点できるか，どうすれば相手に勝つことができるかを求めて，自己の身体操作を研究する。つまり，身体は競技で勝つための道具であり，手段である。その道具であり手段である身体をいかに巧みに操作するか，がスポーツ選手の主眼である。巧みかどうかは，ゲームに勝てるかどうかで判断される。
一方，武道は，身体操作を工夫し研究すること，それそのものが活動の本質である。その先に目標はない。もちろん，武の術だから，いかに相手を効率的に制圧するか，という基準はある。しかし，それはあくまで術としての基準であって，決して目標ではない。ここを間違えてはいけない。なぜなら，例え武の術として身体操作を極めたとしても，その術を実際に試す可能性は，現代社会においてほぼゼロだからである。したがって，その身体操作の工夫・研究の先には，一切何もない。言い換えれば，その身体操作の工夫・研究そのものが，武道稽古という営みの本質ということになる。つまり，武道では，身体操作という活動そのものが，活動として自己完結（自足，自己充足）している。
分かりやすく例えれば，仮に海に行って魚を釣る，という行為を思い浮かべてもらいたい。海釣りである。このとき，生きるために，あるいは生活のために魚を釣るのであれば，そこでの釣るという行為は道具的である。一方，釣ることそのものを（楽しみにして）目的として魚を釣るのであれば，そこでの釣るという行為は自己完結的である。前者をインストゥルメンタルな行為，後者をコンサマトリーな行為という。
つまり，身体操作という観点からすれば，仮に身体操作の中身は同じだとしても，スポーツにおける身体操作はインストゥルメンタルであり，一方，武道における身体操作はコンサマトリーだといういうことである。この違いは極めて大きい。両者はしたがって，活動の本質からして，全く異質なのである。このことを間違えてはいけない。
It has already been clear that Budo (martial ways) and sports are quite different from each other. The most different point between them is whether it has an aspect of competitiveness or not, to put it on the other way around, whether it has an element of Zen or not (See my book "Karate and Zen"). In addition to this, one of the supplemental viewpoints for highlighting the difference between Budo and sports is body manipulation. More specifically, it is the meaning (or significance) of manipulating our body. Examining Budo and sports from this point of view, the difference between the two will be further highlighted.
In sports, people cultivate their body manipulation in order to win the game (competitive match). Sports athletes explore their body manipulation for seeking how they can get scores and beat their opponents. In other words, their body is an instrument or measure for the win at competitions. How skillfully they can manipulate their body as the instrument or measure is the principle object of them as sports players. Whether their manipulation is skillful or not is measured by whether they can win the game or not.
On the other hand, in Budo, cultivating and exploring their body manipulation itself is the essence of their activity. There is not any objective over it. Of course, because of martial arts, there is a standard of how they overwhelm their opponents. But, it is just a standard of arts, not an objective at all. You should not mistake this point. It is because, even if you master your body manipulation as martial arts, the possibility that you test the arts for real is nearly zero in modern society. Thus, there is nothing beyond improving and studying the body manipulation. In other words, these improving and studying the body manipulation itself is the real nature that the work of Budo practice has. Therefore, in Budo, the activity of body manipulation itself is considered as self-contained or self-sufficient.
For an easy-to-understand example, imagine the act that you go to the sea and fish. It is sea fishing. At that time, if you fish for survival or for a living, the act of fishing there is like a tool for an aim. On the other hand, if you fish for the purpose of fishing itself, which is a joy for you, the act of fishing there is an aim itself. The former is an instrumental act, while the latter is a consummatory act.
To sum up, in terms of body manipulation, even if sports and Budo has the same ways to manipulate body, it is instrumental in sports, while consummatory in Budo. This difference is significantly big. Both, therefore, are extremely different from each other, in terms of at least the essence of activity. You should not mistake this.
January 15, 2015
December 11, 2014
Kata and Real Fighting 形と実戦
普段の稽古は形をひたすら練る。つまり，形に沿って，ある一定の身体操作を延々と練り続ける。一方で，不幸にも現実的に闘わなければならない場面に遭遇してしまった場合，当然ながら，形など無視して自由に自然に動作することが求められる。現実は形通りではないから，形通りに動いてそのまま通用するはずがない。
この観点から，では普段の稽古も現実場面を想定して自由に自然に動く稽古をしよう，という発想が生まれる。これは一見正しいように思える。間違いではないけれども，これも一つの想定であるから，広い意味で，形の一種といえば形の一種である。なぜなら，仮に何でもありの組手（乱取り）を徹底的に稽古したとしても，現実場面は決してその通りではないからである。組手（乱取り）で経験した場面と同じ場面を，現実で経験することは決してない。つまり，いくら”実戦的な”稽古を求めたとしても，それは永遠に現実の予行演習にはなりえない。まずそもそも，礼をして，相対して，構えて，用意始めで相手が向かってくる，という状況事態が，極めて非現実的である。
自由組手（乱取り）が全く無駄かと言えばそうではない。個々人の武術的な感性を磨く上では有効な稽古に違いない。ただ，これがあまりに先鋭化していくと，この自由組手（乱取り）そのものが目的となる。すると，そこでの勝ち負けにこだわるようになり，ではルールを決めよう，審判を立てようということになり，やがてスポーツと化していく。自由組手（乱取り）は，自由で自然な武術的感性を磨くための単なる稽古手段の一つであり，目的などでは決してない。ここを間違えてはいけない。
自由組手（乱取り）で磨く感性とは，徹底的に形で練り込んだ身体的感性である。したがって，そもそもにおいて形を練り込んでいない者が自由組手（乱取り）を熱心にしたところで，それは全く武術の稽古ではない。何の感性を磨いているのか分からない。武術の稽古とは，だから結局，まずは形をひたすら練ることなのである。そこに尽きる。そして現実は，形通りでもないし，もちろん，自由組手（乱取り）通りでもない。だから実戦では，それを一切忘れて，身体のままに自由に自然に動くしかないし，そのようにしか動けない。ただそれだけである。
In daily martial arts training, we just simply practice katas. This means, we forever continue to polish certain manipulations of the body in accordance with katas. On the other hand, unfortunately, when we encounter the scene that we actually need to fight with others, as a matter of course, we should be required to move freely and naturally in defiance of katas. The real world does not work in the way of katas, and so it is impossible that moving along katas itself is not functional.
From this point of view, some people can come up with the idea that, even on the mats, they try to practice moving freely and naturally on the assumption of certain real scenes. This is seemingly correct. However, it is not incorrect but one of the assumptions. So, in a broad sense, this "free" sparring is considered as one of katas. It's because, even if you thoroughly practice free sparring (kumite or randori) permitted with any attack, the real situations would never be like that. There is no possibility that you will experience just the same scene as you experience in free sparring. In other word, even if you seek a practice for "real fighting", it could never be a rehearsal for the real world. To begin with, the situation, in which you and your opponent bow to each other, stand face-to-face, get ready to fight, and rush forward when you hear "go", is extremely unrealistic.
It is not that free sparring is entirely unworthy. It must be an effective training for developing each individual's sensitivity of martial arts. But, when this training become intensified and centered on your whole practice, the free sparring itself will be finally the aim of your practice. Then, you usually will become concerned with victory or defeat. If so, then you will attempt to judge it by the rule and have referees, and in the end, the free sparring will be changing into a sport. Free sparring is just one of training methods to develop a free and natural sensitivity of martial arts, not a purpose at all. Do not make a mistake about this point.
The sensitivity that we cultivate during free sparring is the one of our body that we have entirely polished by practicing katas. Thus, basically, even if individuals who have not polished their katas are enthusiastically practicing free sparring, the work is never the one of martial arts. In that case, we can not identify what kind of sensitivity they are cultivating. Then, after all, the practice of martial arts is primarily to cultivate katas entirely. That's all. And the real world is neither as katas, of course, nor as free sparring. Then, what we can do in a real fight is only to forget all of them and move freely and naturally at our body's pleasure; we can only move like that. That's it.
この観点から，では普段の稽古も現実場面を想定して自由に自然に動く稽古をしよう，という発想が生まれる。これは一見正しいように思える。間違いではないけれども，これも一つの想定であるから，広い意味で，形の一種といえば形の一種である。なぜなら，仮に何でもありの組手（乱取り）を徹底的に稽古したとしても，現実場面は決してその通りではないからである。組手（乱取り）で経験した場面と同じ場面を，現実で経験することは決してない。つまり，いくら”実戦的な”稽古を求めたとしても，それは永遠に現実の予行演習にはなりえない。まずそもそも，礼をして，相対して，構えて，用意始めで相手が向かってくる，という状況事態が，極めて非現実的である。
自由組手（乱取り）が全く無駄かと言えばそうではない。個々人の武術的な感性を磨く上では有効な稽古に違いない。ただ，これがあまりに先鋭化していくと，この自由組手（乱取り）そのものが目的となる。すると，そこでの勝ち負けにこだわるようになり，ではルールを決めよう，審判を立てようということになり，やがてスポーツと化していく。自由組手（乱取り）は，自由で自然な武術的感性を磨くための単なる稽古手段の一つであり，目的などでは決してない。ここを間違えてはいけない。
自由組手（乱取り）で磨く感性とは，徹底的に形で練り込んだ身体的感性である。したがって，そもそもにおいて形を練り込んでいない者が自由組手（乱取り）を熱心にしたところで，それは全く武術の稽古ではない。何の感性を磨いているのか分からない。武術の稽古とは，だから結局，まずは形をひたすら練ることなのである。そこに尽きる。そして現実は，形通りでもないし，もちろん，自由組手（乱取り）通りでもない。だから実戦では，それを一切忘れて，身体のままに自由に自然に動くしかないし，そのようにしか動けない。ただそれだけである。
In daily martial arts training, we just simply practice katas. This means, we forever continue to polish certain manipulations of the body in accordance with katas. On the other hand, unfortunately, when we encounter the scene that we actually need to fight with others, as a matter of course, we should be required to move freely and naturally in defiance of katas. The real world does not work in the way of katas, and so it is impossible that moving along katas itself is not functional.
From this point of view, some people can come up with the idea that, even on the mats, they try to practice moving freely and naturally on the assumption of certain real scenes. This is seemingly correct. However, it is not incorrect but one of the assumptions. So, in a broad sense, this "free" sparring is considered as one of katas. It's because, even if you thoroughly practice free sparring (kumite or randori) permitted with any attack, the real situations would never be like that. There is no possibility that you will experience just the same scene as you experience in free sparring. In other word, even if you seek a practice for "real fighting", it could never be a rehearsal for the real world. To begin with, the situation, in which you and your opponent bow to each other, stand face-to-face, get ready to fight, and rush forward when you hear "go", is extremely unrealistic.
It is not that free sparring is entirely unworthy. It must be an effective training for developing each individual's sensitivity of martial arts. But, when this training become intensified and centered on your whole practice, the free sparring itself will be finally the aim of your practice. Then, you usually will become concerned with victory or defeat. If so, then you will attempt to judge it by the rule and have referees, and in the end, the free sparring will be changing into a sport. Free sparring is just one of training methods to develop a free and natural sensitivity of martial arts, not a purpose at all. Do not make a mistake about this point.
The sensitivity that we cultivate during free sparring is the one of our body that we have entirely polished by practicing katas. Thus, basically, even if individuals who have not polished their katas are enthusiastically practicing free sparring, the work is never the one of martial arts. In that case, we can not identify what kind of sensitivity they are cultivating. Then, after all, the practice of martial arts is primarily to cultivate katas entirely. That's all. And the real world is neither as katas, of course, nor as free sparring. Then, what we can do in a real fight is only to forget all of them and move freely and naturally at our body's pleasure; we can only move like that. That's it.
December 06, 2014
Inside and Outside of the Body 身体の内と外
身体を厳密に内と外に分ける必要はないかもしれない。しかし，筋肉を練ることと気を練るという，やや趣の異なる作業があることは間違いない。筋肉を練るとは身体の外を練ることであり，気を練るとは身体の内を練ることである。武術的にはこの両者を練って，絡めて，調和して，身体全体として統合していくことが最も望ましい。
It might be unnecessary to strictly classify the body into inside and outside. But, It is sure that there must be two things to do in martial arts training, which are different from each other: developing muscles and developing qi. Developing muscles is developing the outside of the body, while developing qi is developing the inside of the body. It is to be most desired that martial artists develop both sides, weave them together, harmonize them, and integrate them into the whole body.
It might be unnecessary to strictly classify the body into inside and outside. But, It is sure that there must be two things to do in martial arts training, which are different from each other: developing muscles and developing qi. Developing muscles is developing the outside of the body, while developing qi is developing the inside of the body. It is to be most desired that martial artists develop both sides, weave them together, harmonize them, and integrate them into the whole body.
November 15, 2014
Quickly Moving and Slowly Moving 速く動く，ゆっくり動く
形は，動きの流れに沿ってあるスピード（勢い，ペース）やリズム（テンポ）で動くことが伝承されている。習い始めは，まず動きの順番（流れ）を覚えることが求められる。一通り覚えたら次はその形特有のスピードとリズムを動きに合わせて覚える。ここまでが入門段階だろう。
有段者あるいは上級者は次の段階に進む。同じ形の同じ動作でも，スピードやリズムを変えて動いてみる。すると，伝統的に伝わっているスピードとリズムで練った場合と明らかに身体感覚が異なる。例えば，同じ動作でも，ゆっくり動いた方が，内的な身体感覚を練りやすい。速く動くとごまかしが効くけれど，ゆっくり動くとごまかしが効かない。また，ゆっくり動いた方が意識を身体各所に向けやすい。
武道の稽古としては，だから，様々なスピードとリズムで形を練るのが良い。あえてスピードを速める，あるいは，緩める。あえてリズムを崩す，あるいは，変化させる。そうすることで指先から足先までの身体各所の微細な感覚を詳細に感じ取ることできる。スピードとリズムの違いによる感覚の違いを味わう。そうすることで，身体への気づきがより促される。
武術的にも，速く動くこととゆっくり動くことの両方で稽古をした方が良いだろう。一人稽古で形を練るばかりでなく，二人稽古で技を合わせる場合にも同様である。そうすることで，身体操作の幅が広がる。身体操作の幅が広がれば，敵への対応の幅も広がるだろう。
As for katas of martial arts, it is passed down that we should move along a specific series of actions with a certain speed (momentum or pace) and rhythm (or tempo). When we start learning martial arts, we are required first to memorize the order (sequence) of movements. Once you memorize all the order, then we need to learn it with a speed and rhythm specific to the kata. Until this stage may be the introduction.
Dan-holding or advanced-level practitioners progress to the next stage. If you held a black-belt, when you practice the same movements in the same kata, you should try to move with a different speed and rhythm. Then, you will find a clearly different physical sensation from when you practice with a traditional speed and rhythm. For example, you can cultivate your inner physical sensation more easily by moving slowly than quickly, even when you perform the same actions. You can hide something vague and unclear in the movements if you move quickly, but can not do that if slowly. In addition, you can direct attention to each part of your body more easily when you move slowly.
Therefore, if you want more advanced practice of Budo, you should polish your katas with various kinds of speed and rhythm. You should do intend to quicken or slow down. You should do intend to break or change the rhythm. It allows you to feel the fine sensations of every parts of the body in detail, from fingertips to toes. You can taste the differences in sense made by the different speed and rhythm. It helps you to be more aware of your body.
In terms of martial arts training, you should practice moving both quickly and slowly. You should do that not only when you polish katas by yourself, but also when you practice techniques with a partner. Then, it enables you to broaden the extent of your body manipulation. The broader the extent of your body manipulation is, the broader the extent of interaction with enemies would be.
有段者あるいは上級者は次の段階に進む。同じ形の同じ動作でも，スピードやリズムを変えて動いてみる。すると，伝統的に伝わっているスピードとリズムで練った場合と明らかに身体感覚が異なる。例えば，同じ動作でも，ゆっくり動いた方が，内的な身体感覚を練りやすい。速く動くとごまかしが効くけれど，ゆっくり動くとごまかしが効かない。また，ゆっくり動いた方が意識を身体各所に向けやすい。
武道の稽古としては，だから，様々なスピードとリズムで形を練るのが良い。あえてスピードを速める，あるいは，緩める。あえてリズムを崩す，あるいは，変化させる。そうすることで指先から足先までの身体各所の微細な感覚を詳細に感じ取ることできる。スピードとリズムの違いによる感覚の違いを味わう。そうすることで，身体への気づきがより促される。
武術的にも，速く動くこととゆっくり動くことの両方で稽古をした方が良いだろう。一人稽古で形を練るばかりでなく，二人稽古で技を合わせる場合にも同様である。そうすることで，身体操作の幅が広がる。身体操作の幅が広がれば，敵への対応の幅も広がるだろう。
As for katas of martial arts, it is passed down that we should move along a specific series of actions with a certain speed (momentum or pace) and rhythm (or tempo). When we start learning martial arts, we are required first to memorize the order (sequence) of movements. Once you memorize all the order, then we need to learn it with a speed and rhythm specific to the kata. Until this stage may be the introduction.
Dan-holding or advanced-level practitioners progress to the next stage. If you held a black-belt, when you practice the same movements in the same kata, you should try to move with a different speed and rhythm. Then, you will find a clearly different physical sensation from when you practice with a traditional speed and rhythm. For example, you can cultivate your inner physical sensation more easily by moving slowly than quickly, even when you perform the same actions. You can hide something vague and unclear in the movements if you move quickly, but can not do that if slowly. In addition, you can direct attention to each part of your body more easily when you move slowly.
Therefore, if you want more advanced practice of Budo, you should polish your katas with various kinds of speed and rhythm. You should do intend to quicken or slow down. You should do intend to break or change the rhythm. It allows you to feel the fine sensations of every parts of the body in detail, from fingertips to toes. You can taste the differences in sense made by the different speed and rhythm. It helps you to be more aware of your body.
In terms of martial arts training, you should practice moving both quickly and slowly. You should do that not only when you polish katas by yourself, but also when you practice techniques with a partner. Then, it enables you to broaden the extent of your body manipulation. The broader the extent of your body manipulation is, the broader the extent of interaction with enemies would be.
October 27, 2014
Coordination or Covariance of Body Parts 身体の連動性・共変性
手を動かしたときに，我々の身体の他の部位，例えば腰や足はどうなるだろうか。具体的には，例えば，手で突いたときに，足は一体どうなっているだろうか。どういう反応や変化が起きていると感じるだろうか。武道の稽古では，そのように，ある箇所の動きに連動・共変する別の箇所の動きにも同時並列的に意識を向けることが重要である。
別の言い方をすれば，手を動かそうと思って動かしたときに，腰や足はどう動きたがるか，動かざるを得ないか，ということである。これは視点を変えると，手を動かすという目的を達成するためには，いかに腰や足を動かすか，ということが大切だという意味である。つまり，結果的に，手を動かすという問題は，腰や足を動かすという問題に置換される。
今，手を動かす，と表現したけれども，これを「突く」と言い換えると，「突く」という問題は手をいかに動かすかという問題ではなく，足腰をいかに動かすかという問題と同値になる。「突く」ときにはつい，我々は手や腕に意識が集まりがちだが，つまり，我々はつい「手で（腕で）突」きがちであるが，実はそうではない。むしろ，そのとき全身の身体の各部分がどう連動・共変しているかに豊かに意識を向けることが大切なのである。
武術は，手や腕を使うことが多い。空手がもともと「手」と言われていたように，戦闘場面において攻防に用いられる優先的な部位は，明らかに手や腕であろう。そのようにして，手や腕で突いたり受けたり掛けたりするということは，本当のところ，腰や足で突いたり受けたり掛けたりするのだ，という発想あるいは視点の転換こそが必須である。
When we move our hands, how do the other parts of our body move, for example, our waist and hips or our feet? Concretely, for example, when we punch by our hand, how really are my feet? What kinds of reaction or change can we feel are created? As for the practice of Budo, in this way, it is important to be simultaneously aware of even the movement of other parts that coordinates or covaries with the one of a certain part.
In other words, what should be stated here is how our waist, hips, and feet will want or have to move when we intentionally move our hands. From another perspective, this means that how to move our waist, hips, and feet is important for achieving the purpose of moving our hands. Thus, as a result, the matter of moving hands is replaced by the one about moving waist, hips, and feet.
Here, we stated that we move our hands, but if we restate from it into that we "punch," the matter of "punching" is not the one of how we move our hands, but just identically how we move our waist, hips, and feet. When we launch a "punch," we unintentionally tend to focus on our hands and arms, which means that we tend to "punch by the hands (arms)", but this is not true. Rather, it is important to pay rich attention to how all parts of our whole body are coordinating or covarying with each other, when we "punch."
Generally in martial arts, hands and arms are often used. For example, like karate which had been originally called "te (hand)," the part of body that can be used preferentially for offense and defense in the case of fighting may be clearly hands and arms. In this way, it is necessary to shift the way of thinking or the viewpoint, which means that punching, blocking, or hooking by hands and arms is actually just punching, blocking, or hooking by waist, hips and feet.
別の言い方をすれば，手を動かそうと思って動かしたときに，腰や足はどう動きたがるか，動かざるを得ないか，ということである。これは視点を変えると，手を動かすという目的を達成するためには，いかに腰や足を動かすか，ということが大切だという意味である。つまり，結果的に，手を動かすという問題は，腰や足を動かすという問題に置換される。
今，手を動かす，と表現したけれども，これを「突く」と言い換えると，「突く」という問題は手をいかに動かすかという問題ではなく，足腰をいかに動かすかという問題と同値になる。「突く」ときにはつい，我々は手や腕に意識が集まりがちだが，つまり，我々はつい「手で（腕で）突」きがちであるが，実はそうではない。むしろ，そのとき全身の身体の各部分がどう連動・共変しているかに豊かに意識を向けることが大切なのである。
武術は，手や腕を使うことが多い。空手がもともと「手」と言われていたように，戦闘場面において攻防に用いられる優先的な部位は，明らかに手や腕であろう。そのようにして，手や腕で突いたり受けたり掛けたりするということは，本当のところ，腰や足で突いたり受けたり掛けたりするのだ，という発想あるいは視点の転換こそが必須である。
When we move our hands, how do the other parts of our body move, for example, our waist and hips or our feet? Concretely, for example, when we punch by our hand, how really are my feet? What kinds of reaction or change can we feel are created? As for the practice of Budo, in this way, it is important to be simultaneously aware of even the movement of other parts that coordinates or covaries with the one of a certain part.
In other words, what should be stated here is how our waist, hips, and feet will want or have to move when we intentionally move our hands. From another perspective, this means that how to move our waist, hips, and feet is important for achieving the purpose of moving our hands. Thus, as a result, the matter of moving hands is replaced by the one about moving waist, hips, and feet.
Here, we stated that we move our hands, but if we restate from it into that we "punch," the matter of "punching" is not the one of how we move our hands, but just identically how we move our waist, hips, and feet. When we launch a "punch," we unintentionally tend to focus on our hands and arms, which means that we tend to "punch by the hands (arms)", but this is not true. Rather, it is important to pay rich attention to how all parts of our whole body are coordinating or covarying with each other, when we "punch."
Generally in martial arts, hands and arms are often used. For example, like karate which had been originally called "te (hand)," the part of body that can be used preferentially for offense and defense in the case of fighting may be clearly hands and arms. In this way, it is necessary to shift the way of thinking or the viewpoint, which means that punching, blocking, or hooking by hands and arms is actually just punching, blocking, or hooking by waist, hips and feet.
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