Martial Arts Morality:
By: Mahesh S. Kamat

Some people hold the notion that morality is merely restricted to restraining themselves from stealing, lying, cheating and other negative acts. For the authentic martial artist such simple restraints are not enough. The morality of a genuine martial artist is a “total way of acting and thinking”. Morality as a condition of life is lived every second in thoughts, words and deeds. Morality of mind is as important as morality of action.

Morality of action is composed of five important traits: humility, respect, righteousness, trust and loyalty. Morality of mind is also composed of five important traits and they are: will, endurance, perseverance, patience and bravery.

Mr. Xu Kai, the president of the Chinese Wushu Association (China Sports 10/91) says: that, under the influence of traditional ethics wushu has developed a philosophy of it’s own on the issue of morality, as may be seen from many watchwords such as “Wushu mirrors morality”, “A wushu master is first valued for his moral character, and not for his physical power”; and “morality goes before pugilism”. Instead of being discarded, the moral principles under lying these sayings should be observed and developed by wushu  people of times.

Mr. Xu Kai further points out that: One who sets great store by the moral code of wushu is fully aware that it’s true aim is not to beat or harm others, but to improve his health, to be able to defend himself, and to become a noble character. It has nothing to do the evilpractice of fighting in the streets, bullying and hooliganism. On the contrary, a real wushu master knows how to behave himself; and to handle human relations among individuals and in the community.

 

That is why the authentic martial arts communities advocate reverence for the master, care for the disciple, respect for the training partner or opponent, brotherhood among different branches and schools, and friendship through competition. It is worth particularly mentioning that morality is not confined to training, teaching, and competition, but extended to one’s conduct, personality and way of life. In ancient China, each school had it’s own strict behest laid down in conformity with the social ethics at the time, such as the “Ten Commandments” of the Shaolin school and the White Crane Boxing of Yongchun school.

Sun Lutang (1861-1933), founder of the Sun-style of Tai Chi Chuan, often told his pupils that a wushu master must have not only two “virtuous hands”, but also a “virtuous tongue”, which means that he must always be modest and never speak evil of others behind their back. Only by setting up a high moral standard in his relations with fellow beings and acting accordingly can one reach perfection in the mastery of martial arts.

“If a man is a ship, then his will is the rudder”.

Intrinsic Concepts in the

Classical Okinawan Karate

 

By: Anthony R. DiFilippo

 

The roots of Asian society lie in the careful attention given to reflective thought on the needs of all society and in the conscious development of effort as a process of spiritual awakening or enlightenment (kaigan) for everyone, working in relationship and harmony (wa). This is embedded in the East and is particularly visible in Japanese culture.

 Traditionally, the teaching of classical Okinawan karate also integrated the principles of kaigan and wa and was imparted through close one-to-one care, attention and guidance given to a student by a master teacher. This was central to the teaching tradition of the old karate masters and formed the core of the karate Program.

 

Master Teacher Defined

 As with many words, common use of the term teacher has steadily robbed it of any depth of meaning. It pays to examine it more closely, and in particular to go beyond the term teacher and understand what lies hidden in the further term master teacher. The simple definition of a teacher is that he (or she) instructs another in one or several subject matters. A teacher has achieved fluent control of their area of expertise and they have established an effortless relationship with the materials, processes and outputs of their chosen field and are able to communicate this to others. A master teacher is something more. A true master teacher has progressed beyond this to a deep understanding of humanity itself so that he/she is able to see what needs to be nurtured and at the same time deeply understands and can guide the learner through the process of struggle, learning and growth that yields maturity. He can grow future teachers and indeed future master teachers. The result of a teacher's work is output. The result of a master teacher's work is people.

 

Whereas a shogakusha, beginning learner of classical Okinawan karate sees the art as a practical means of self-defense and as a method to condition the body, a master teacher understands that classical karate is a path of life and philosophy that both teacher and learner pursues in the search for enlightenment. In Japanese this is referred to as michi.

 

The master teacher strives at his art, for it to always carry the light. He strives at himself, for his virtue to be capable of the task. His teaching is a calling.

 

Master teachers carry this practical philosophy in two ways. Firstly there is a dimension of sacrifice evident in their teaching, sacredness both in process and product (Latin: sacrificio - to make sacred) so that it definitively carries life's meaning. Then there is evident in themselves a powerful ascetic self-control. They work a long way beyond being self-centered. (Latin: virtus - strength. Virtue - to have the clarity of soul, the strength of soul, to hold to what is right and not let go.)

 
 

 

Essence of Classical Okinawan Karate

 Classical karate is an art that embodies physical practice, theory, and ethics (moral philosophy and spiritual foundation). In the initial stages, most classical or traditional  karate instruction concerns itself with physical practice and theory, with ethics being revealed in time, under the careful guidance of a master teacher.

 

Physical Practice and Theory

 The physical practice and theory involves learning and integrating a broad range of fundamental physical skills as well as the underlying physiological and psychological principles upon which the self-protection arts rest.

 
The physical practice and theory of classical Okinawan karate encompasses a core curriculum designed to ensure that the learner achieves the highest level of skill for its intended utilitarian purposes i.e. the simple yet effectively brutal self-defense, while at the same time nurturing the active direction of attention to the philosophical and spiritual aspect of the art.

 
While the immediate output of physical practice and theory is effort, it always has internal as well as external results. Dedicated training requires internal effort, developing the self-control necessary to master a skill for instance, which results in the internal competence to be able to apply that skill. In all growth processes the internal stages occur unseen - below ground - and a master teacher will nurture that process, feeding the roots. What flowers comes later are of its own accord, i.e. the internal always precedes the external, and patience is essential because time is the true judge.

 
While physical practice and theory provides for technical competency, it should not be seen as an end in itself. The core mission of physical practice and theory is to provide a conduit in which human growth occurs and where the meaning of all things is seen in the context of the whole and thus each thing is done for its intrinsic value, a process in which both the master teacher and learner express themselves, listen, absorb, respond, and find themselves incrementally enlightened through their relationship.

 

"One of the most significant features we find in the practice of archery, and in fact of all the arts as they are studied in Japan and probably also in other Far Eastern countries, is that they are not intended for utilitarian purposes only or for purely aesthetic enjoyments, but are meant to train the mind; indeed, to bring it into contact with the ultimate reality. Archery is, therefore, not practiced solely for hitting the target; the swordsman does not wield the sword just for the sake of outdoing his opponent; the dancer does not dance just to perform certain rhythmical movements of the body. The mind has first to be attuned to the unconscious.

 
If one really wishes to be master of an art, technical knowledge of it is not enough. One has to transcend technique so that the art becomes an 'artless art' growing out of the Unconscious." Herrigel Zen in the Art of Archery

 

 

Moral Philosophy and Spiritual Foundation

 In modern times, far too commonly, there is no explicit discussion of the philosophical and spiritual foundation alive in karate practices, leaving the learner inarticulate about the effect this has on ones life. There is much to be gained by the conscious prompting of discussion in this area in view of the fact that karate's origins dealt not only with conflicts restricted to situations resulting in physical aggression but sought to confront internalized conflicts so that the learner could strive to overcome their fears, doubts, and inhibitions.

 

What was true in the beginning is still true today, i.e. that the development of the inner self develops personal humility, respect and tolerance for all things of the universe and it is through this austere training that the learner is able to avoid life's obstacles and overcome insurmountable odds in order to live happily and without conflict. This is the true pursuit of classical Okinawan karate study. The roots of this practical philosophy lie in the Japanese concept of Shugyo, the dynamic interplay of patience and humility.

 

Stages of Development

 In classical Okinawan karate learners go through three phases of development. This development is a protracted endeavor which many people never achieve, and which master teachers would say repeat and never end. The processes of growth are slow and the phases of development have to be nurtured over time. The three phases of development are known in Japanese culture as Shu Ha Ri.

 

While starting from Confucian roots teaching in Japan has been substantially shaped by Zen practice. In particular the teaching of classical Okinawan karate is structured through the shu ha ri cycle of minute attention to detail, the development of complete technical fluency and then an alert responsiveness to circumstances very analogous to Zen learning emphasizing the closeness and subtlety of the master/student relationship and its longevity, through repeating cycles of action and reflection over time, in a three-fold learning process.

 

Shu ha ri as a learning process which goes from superficial to profound to superficial, so that there is first a external understanding based upon learning rules by rote; the second stage involves expanding the learning to various applications and situations, in order to deepen; and the final stage is superficial again, as one reaches the ultimate phase all attachments are severed and one is completely emancipated. This emancipation, however, leads one back to the beginning and the foundations of his education. The final phase brings one back to the first steps of learning the rules, but now the rules can be understood from a perspective of freedom, in that they are applied not through unquestioning replication but through an understanding of their inherent wisdom.

 

In this context, the responsibility carried by the master teacher for formative guidance - for care and respect for the person being guided - and the responsibility of the student to try to give life to the guidance of the master teacher - a reciprocal caring and respect - is tangible. But so is the Japanese view of life as a learning process of growth towards aware maturity, in which activities are always worked at for their spiritual content.

 

Précis

 The heightened empathy, seeking out the root causes of things, and realizing its potential for good, is at the heart of classical Okinawan karate. These building blocks are central to the teaching of classical Okinawan karate. Sensitivity to the detail of circumstance has to be combined with the observations of others captured from their experience and passed on as advice. Out of the struggle of this combination process comes enlightenment. In all this the experience is primary, as much of what the master teacher is passing on can only be passed on in context. Competence cannot be developed in abstract. It cannot be taught in a handing over information in a classroom sense, because it is not abstract information. It is a set of dynamic skills, alert sensitivity and well-honed responses to circumstances that has to be developed in guided practice.

 

This provides a framework for the master teacher to impart and teach classical Okinawan karate. Specifically, it highlights the real responsibility of the master teacher as an archetype and catalyst, not simply as a custodian of information.

 
The following quote captures the spirit of teaching classical Okinawan karate very effectively:-

 
It is as though the master had said to him, "I can tell you there is something you need to know, and with my help you may be able to learn it. But I cannot tell you what it is in a way you can now understand. I can only arrange for you to have the right sorts of experience for yourself. You must be willing, therefore, to have these experiences. Then you will be able to make an informed choice about whether you wish to continue. If you are unwilling to step into this new experience without knowing ahead of time what it will be like, I cannot help you. You must trust me."

Author unknown

 

About The Author:

Anthony R. DiFilippo is the owner and director of the Ryukyu Kodokan Dojo/Silk Road Enterprise . He has been a student of the martial arts for over thirty years and holds Yudansha grades in Okinawan Shorin Ryu karate and Koryu Uchinadi Kenpo Jutsu and is the Africa Shibucho for the International Ryukyu Karate Research Society and Africa Region Style Head for Koryu Uchinadi Kenpo Jutsu, under the auspices of Hanshi Patrick McCarthy.

Zen in the Martial Arts
By: Mahesh  S. Kamat

 

Zen in the Martial Arts  

   Martial arts and Zen have a long interwoven history. The most recent changes occurred during the Edo period of Japan (1607-1867). During this period, Japan essentially closed its doors to the outside. Its only contacts to the outside world were indirectly through Okinawa to China, and with the Dutch, who were allowed to enter the port of Nagasaki for limited trade. Foreigners were not allowed to be seen in public. This interval of peace was equivalent to the European Renaissance and followed many years of military struggle and political upheaval. At this point in time, warriors were left without a significant military reason for their existence, and turned inward in self-examination. This resulted in many jutsu ("skills" or "arts") becoming elevated to do forms by their use in facilitating the self-improvement or enlightenment of their practitioners. Zen had much to offer this process, as it long been involved in exploring internal states. Many of today's "external" Japanese martial arts derived from "hard" bujutsu such as judo, kendo, karate-do and Aikido, stress the internal development of the individual as well as the physical, and in many ways are unsuited to their original purpose of warfare. The mainland Chinese martial arts forms have also evolved, in that they also may be divided into "hard, external" vs. "soft, internal" forms. The following describes some of the internal states experienced by martial artists.

Mittsu no kokoro
"The three minds" of karate - these are zenshin ("preparatory mind"), tsushin ("concentrating mind") and zanshin ("remaining mind"). There are additional states which are described or alluded to in various Zen and budo texts.

Zenshin

"Preparatory mind" - this refers to the concept of shin-gi-tai (mind, technique, body), where the body is physically conditioned through exercise and diet, technical strength is gained in the art's techniques by constant practice, and mental strength and confidence are developed.

Tsushin
"Concentrating mind" - this refers to the concept of ten-chi-jin (atmosphere or spiritual aspects, territory or environmental forces, human forces, technique or strategy), where awareness of the immediate surroundings and environment, including the interactions between people and their environment is developed.

Zanshin (kan-ken futatsu no koto or tsuki no kokoro)
Literally "remaining mind/heart" or "reflecting heart or mind", also, "mind like the moon." A state of complete, balanced, continuous and relaxed readiness, awareness and alertness, where you are "present in the moment." Even after a martial arts technique has been completed, you should remain in a balanced and aware state, maintaining correct posture and balance as well as maintaining surveillance over your surroundings at all times. This is often described as "perceiving with both the eyes and the intuitive mind." Zanshin thus connotes "following through" in a technique, as well as preservation of your awareness (remaining on guard) so that you are prepared to respond strategically to what is going on around you, whether to renewed attacks by the same opponent, or for an attack from another direction by a new attacker. The same mindset is preserved at all phases of technique application, whether beginning, continuing or completing a technique.

Zanshin also relates to your awareness of your position within your environment, and to the world around you. You notice the people around you (their body language, expression, voices) because you need to be prepared to interact with them socially, politically, economically and spiritually.

Teishin
"Stopping mind", "confused mind", - when there is an object of thought in the mind, discrimination and thoughts arise, and you are unable to perceive or act without bias.

Shoshin or Nyunan shin
"Soft hearted", "beginner's mind", "spirit of the beginner" - the willingness or ability to receive knowledge, by training with a mind that is free from unfounded bias. In one sense, no attack is ever the same, so that no application of technique is ever the same. Locking in a pre-set pattern of response results in a corresponding loss of adaptability and may deprive you of the opportunity to learn new principles of movement. The underlying principles upon which the technique is based must be understood before you can judge "right" or "wrong" technique.

Mushin or munen mushin
Literally, "no mind", "an empty or clear mind" - a mind not fixed on anything and open to everything, that allows freedom and flexibility to react and adapt to a given situation spontaneously and without conscious thought. Although spontaneity is a feature of mushin, it is not straightforwardly identical with it. It might be said that when in a state of mushin, you are free to use concepts and distinctions without being used by them.

Heijoshin
"Abiding peace of mind", "ordinary mind" - state of spiritual calm during combat, akin to the state of mind when performing ordinary tasks. Cognitive equanimity. One goal of training in martial arts is the cultivation of a mind which is able to meet various types of adversity without becoming perturbed. A mind which is not easily flustered is a mind which will facilitate effective response to physical or psychological threats.

Fudoshin (fudo no seishin or mizu no kokoro)
"Immovable mind", "immovable spirit" or "mind like water", a state in which you are not moved or influenced by external forces; a state of mental equanimity or imperturbability, even when facing an emergency or an adversary. The mind, in this state, is calm and undistracted (metaphorically, therefore, "immovable"). The calm mind, like still water, accurately reflects all that comes before it.
Fudomyo is a Buddhist guardian deity who carries a sword in one hand (to destroy enemies of the Buddhist doctrine), and a rope in the other (to rescue sentient beings from the pit of delusion, or from Buddhist hell-states). He therefore embodies the two-fold Buddhist ideal of wisdom (the sword) and compassion (the rope). To cultivate fudo shin is thus to cultivate a mind which can accommodate itself to changing circumstances without compromise of principles.

 

Kalarippayattu
By: Mahesh S. Kamat

Kalarippayattu is the only form of the most ancient traditional systems of physical, culture, self-defence and martial techniques still in existence. It is believed to have had its origin in Kerala, the tiny state situated South West of India.

It was believed that the ‘Nayakanmar’ were given the charge of Kalaris. These Nayakanmar gradually came to be called the ‘Nayars’, in some regions, special titles like ‘Kurup’, ‘Nambiar’, ‘Panikar’ etc. The ‘Nayar’ who had charge of a particular Kalari or group of Kalaris for the training and upbringing of warriors was called the ‘Gurukkal’ (meaning teacher or instructor) of the Kalari or Kalaris. Kalaris were established in all the ancestral homes of those Nayars to impart training in the methods of welfare.

In Sanskrit language, the word ‘Khaloorika’ denotes a place where weapon training is practiced. It is believed that it was from the Sanskrit term ‘Khaloorika’, that the word ‘Kalari’ came into use in Malayalam for similar institutions imparting training in martial arts. Such institutions were there throughout the country where similar training was imparted. In each region, they are known by different names according to the differences, in the regional languages as ‘Akhad’, ‘Garadi’ etc. All these terms are believed to have originated from the Sanskrit term ‘Khaloorika’ as in the case of the ‘Kalari’. The system of physical and weapon training imparted within the Kalari came to be called ‘Kalarippayattu'.

 

There are two forms of Kalari, one Vatakkan ‘Northern’ and another one Tekkan ‘Southern’. In Vatakkan, three types viz Arappukkai, Pillattaanni and Vatteel tirippu were the most important and they had wide publicity. It is believed that Sage Agastya was the Guru of Tekkan form of Kalari. The Tekkan type was more important than Vadakkan. But the use of different kinds of weapons and the beauty of performance made the Vadakkan Kalari become famous.

 

Kalaris were primarily of two types, the first being smaller known as ‘CheruKalari’ (cheru means small) or KuzhiKalari (kuzhi means the portions formed by caving in the earth) and the second one known as ‘AnkaKalari’ (Ankam means fight). It is called KuzhiKalari because the floor of the Kalari is built at a level lower than the surrounding land by removing soil to achieve the necessary depth. CheruKalari or KuzhiKalari was built for the purpose of impailing physical and weapon training. It was in this Kalari that systematic training in scientific exercises in Kalarippayattu was imparted. Remnants of such ancient ‘Kalaris’ are seen at some places in Kerala even now and the similarity in size and shape they bear to each other is ample proof for the existence of this type of Kalaris throughout the region from very ancient days

 

‘AnkaKalari’ was a Kalari constructed temporarily for the purpose of fighting duels to decide any quarrel between the local rulers or for a cause of revenge for some reason or other. This Kalari would be constructed in such a place as to enable all persons in the locality to arrive and witness the duel conveniently. ‘Ankathattu’ meaning a platform for fighting duels also used to be constructed for the purpose and it belonged to the same class as ‘AnkaKalari’. The platform would be constructed four to six feet above the ground level engaging famous carpenters for the work. Before the date fixed for the duel, the Ankakathattu would be handed over to the fighters after elaborate rituals.

 

Construction of the Kalari

While constructing the traditional ‘KuzhiKalari’, the building has to be so constructed as to face the east. The entrance should be at the east side. The length should be east west. The Kalari floor is first prepared by digging the ground up to 4 ft. depth and removing the inside soil

Certain conventions have been observed from time immemorial while selecting the site for the construction of the Kalari. The most acceptable location for this purpose is the south-west portion of the land. In old days, Kalari used to be constructed in the land in which there were aristocratic houses. The ‘Ankachekavanmar’ (those who dedicated their lives to fighting duels on behalf of the local ruler) belonged to the aristocracy and had their Kalaris established in the same compound. The inside of the Kalari thus constructed will measure 42 ft. by length (east-west), 21 ft. by width (north-south). The floor of the Kalari should be leveled properly so that there will be no undulations or projections hampering the ease of movements while practicing

 

Conventional Kalari Deities

A person trained in Kalarippayattu was supposed to risk even his life for causes considered noble during the old days. Qualities like courage and confidence embodied in an austere sense of discipline was instilled along with the training. For this purpose, an arc-shaped seven stepped platform is constructed in the south-west corner inside the Kalari. This is called the ‘Poothara’. Those who practice Kalarippayattu, first worship these deities irrespective of their religion, caste or creed. The Poothara can be said to be the sanctum-sanctorum of the Kalari. An arc is drawn on the Kalari floor with the corner, where walls on the southern and western sides join as the centre of the arc. This will be in the shape of the arc, seven steps are constructed. The seventh step is used as the platform on which the idol made in the stone and having the shape of lotus-bud is installed. The idol above the seventh step is the abode of the presiding deity of the Kalari (Kalari Paradevata or Goddess of Kalari

 

Next to the ‘Poothara’ on the western end of the Kalari is the abode of Lord Ganapathi (who is fabled to be the god who clears all obstacles in the path of any endeavor. This is the Ganapathi Peedham or the Ganapathi Thara (the seat of Lord Ganapathi). The space between the Poothara and the Ganapathi Thara is dedicated to the ‘Naga God’ (Snake God). There is no platform for this. To a little north of the Ganapathi Thara, two small square platforms with four supporting feet for each made in wood are placed. These are called Guru Peedhams. The first one is dedicated to the four traditions and 21 Gurus and the second one to the Gurukkal, the chief instructor of the Kalari. In addition to the above, each corner is dedicated to gods or goddesses of war and weapons

 

After completion of constructions of the Kalari building, worship is offered for all the above deities by a priest. The Gurukkal conducts floral worship at the Poothara and all other places dedicated to each deity before resuming his duties. Similarly, the students (trainees) also have to bow down to and worship all the Kalari deities before they start practicing. They also have to bow down and touch the feet of the Gurukkal in reverence before starting each course of training and before and after the training on any particular day

 

The trainees, after entering the Kalari placing their right foot inside first and paying homage to the Kalari and Kalari deities, smear the body with oil (usually gingelly oil) and start practicing in right earnest. This practice is always started from the eastern end of the Kalari. The positions of the Guru is at the western end. This convention regarding the positions of the Guru and the disciple is to be followed throughout the training in the Kalari

 

While practicing the various exercises for physical control, the trainee has to move from one end of the Kalari to the other and back length-wise. For any movement the trainee has to stand first at the eastern end facing the west and then move to the western end doing the exercises. When he reaches the western end, he will turn back facing the east and repeat the exercises necessary, till he reaches the eastern end. There again, he will turn back facing the west. In this way, the exercises will go on over and over again

 

After the training for the day is over, the students leave the Kalari first, the Guru being the last person to do so. In old days, the Guru, before leaving the Kalari after the students, used to perform certain rituals and lock the door of the Kalari after coming out. It was the convention that no one should enter the Kalari after the Guru left, and only on the next day, after the Guru opened the door and entered the Kalari would the trainees get inside. The flowers offered in worship of the deities on the previous day would be picked up and after lighting the lamps worship done afresh with offer of fresh flowers. This is observed as a daily ritual even today in Kalaris

 

Apart from the physical abilities qualities like concentration, confidence, bravery and fearlessness are achieved by the rigorous training in Kalarippayattu. Boys and girls from the age of seven onwards were enrolled in the Kalari and underwent years of training and continued regular practice even after they were trained

As given to the Kathakali artists, a special type of massage is given to the Kalari trainees. For this special kind of massage medicated oil is used. This massage is done by the Guru who employs his feet. While on the face and other parts, massaging is done only by the hands. This type of massaging is special to Kalaris and it enables the trainee to attain an ease of movement. The sense of discipline is instilled in the minds of the trainees by virtue of the practice of this system. The trainee obeys the commands of the Guru not only inside the Kalari, but also even outside it. The Guru is also responsible for creating and cultivating virtues among his disciples and shall himself be a model of nobility and virtue worthy of emulation by the disciples

 

In short, Kalarippayattu is a unique and magnificent art of physical culture and self-defense

 

Methods of fighting with the weapons like Dhanus (bow and arrow), Sword, Spear, Churika (a different type of sword), Dagger, Urumi (a kind of flexible sword), Mace etc were practiced in the Kalaris

 

Chuvadukal and Vadivukal

(Certain Poses and forms to be mastered)

 

The basic skill in the training of Kalarippayattu is the practice to achieve certain poses known as Chuvadukal. Basically, the Chuvadukal are divided into two. They are Aakkachuvadu and Neekkachuvadu. Taking a firm pose by firmly positioning the feet on the ground is called Aakkachuvadu. The positioning for a leap or for a careful move so as to avoid an onslaught or for making a sudden move backward etc. is called Neekkkachuvadu. These two types of Chuvadu are again classified into four. (1) Vatta kaal chuvadu (2) Neetta kaal chuvadu (3) Kone kaal chuvadu and (4) Otta kaal chuvadu. All these four Chuvadukal are thoroughly practiced first as they have generally to be used in all the exercises in Kalarippayattu, both in ‘Mey Payattu’ and in the ‘Payattu’ using weapons

 

Vadivukal

In order to get more force and effectiveness in action, the body is to be positioned in a suitable manner. In Kalarippayattu, accepting the Chuvadukal as the basis, different forms are adopted for the above purpose. They are known as Vadivukal. There are eight different types of positions. These positions are adopted in order to achieve greater force and effectiveness in attacking. Mastery in different Vadivukal helps to increase the effectiveness of these moves for attacks or defence and is, therefore, fundamental to achieving mastery in Kalarippayattu

 

Mey Payattu

The word Mey Payattu means ‘body exercise’. This word has such regional variations as the terms Meyyirakkam, Meyyothukkam, Meyvazhakkam, Meyyadakkam etc. Before starting practice in the Meypayattu the trainee has to get himself acquainted with certain basic exercises for the legs and very difficult movements utilizing all parts of the body and also in various types of leaps and jumps. Applications of the various Chuvadukal, Vadivukal, leg exercises, leaps, bounds and other exercises are blended in a systematically graded series of movements in Mey payattu

 

 

The Katcha

In former days, for training in Kalarippayattu, the trainees used to wear a particular dress or clothing called the ‘Katcha’. The Katcha is a long strip of cloth. There is a method for wearing the Katcha. Wearing the Katcha during practice session provides tautness to the hips and the abdomen and enhances the agility of movements and leaps

Besides the above, there are many important details of the human physiology, which a Kalarippayattu trainee ought to know. There are certain vital points in the human body, where a hit or a blow received or a wound sustained may cause disability or even death. These vital points are called the ‘Marmas’. Devoted and faithful disciples are taught about the positions of those vital points

 

All this knowledge of physiology is required for a Kalari trainee, because Kalari training is so comprehensive that it will not be complete if the unique system of treatment for various accidental illnesses like, bone-fracture, dislocation of joints, sprains and treatment for rheumatism, paralysis, low back pain, spondilities and various nervous disorders is not mastered

 

Kalaripayattu practitioners are more than martial artists. They are also reputed to be excellent masseurs and bone doctors. In fact, Kalaripayattu is a recognized branch of Ayurveda, or Indian naturopathy. Historically, there is no doubt that ancient rajahs relied not only on the Kalaripayattu practitioners martial skills, but also on their abilities as healers and setters of bones. Note for instance how a rope is skillfully used to direct and control the exact amount of pressure applied by a Kalaripayattu practitioner to a patient's body

 

The Discussion:

I was studying the Keishinkan style of karate under an instructor who was not only excellent at his job but was also quite knowledgeable about karate history.

 That evening’s training session was over and our sensei had us sit down on the dojo floor gathered for an open, question and answer session. We had these type of sessions form time to time. Technical issues as well as kata applications were discussed at various occations. Today however I raised my hand and asked about federations – or lack of them.

“Why are we not part of a federation?”

“All karate is one”, was the instructor’s reply. I raised my eyebrow. “Karate is one, Federations are many”, he added.

Another student entered the conversation with the sensei’s nod of permission, and addressed me “You see federation, every style seems to think that it has  the one and only the  best of styles”.

“But we have a style too”, I protested. We both looked at sensei who, usually very informative was very quiet.

After a pause he said, “Styles are often combinations of other styles”, he told us, “Korean Hopkido is for instance is a combinaiton of Tae kwon do kicking and ‘Dai to ryu aiki jutsu’. Wado ryu is combinaiton of Shotokan and Shinto yoshin jujutsu. The founder of Wado Ryu style of karate was a jujutsu expert, he learnt Gichin Funakoshi ‘s karate style and later, went on to combine those two styles and form the Wado Ryu style of karate. Then the Shito-ryu style is a  combination of Shorin-ryu and Goju-ryu styles of karate. You may ask what right did the founder Mabuni have to combine them and form another style? Mabuni was a brillient man who studied the kata and the techniques of both the styles and learnt to appreciate the beauty and wisdom of both the styles and then to make people appreciate the knowledge in both these styles formed his organisation called Shito ryu”.

Sensei was suggesting that in the evolution of karate styles, it is impossible to keep the styles apart, but likewise it is impossible to unify them by political action. We do not need myriad federations all vainly trying to unify styles, but separate styles each respecting the other.

The dojo of ninteenth century Okinawa meager, workouts were hard and stylistic pride was high, but few really important masters were militarily strick about collaborating with others styles or other teachers. There was rivalry but no bitterness. For instance, one of Gichin Funakoshi ‘s prime teachers was the great Yasutsune “Ankoh” Itosu of Shuri city, the leader of he Shorin lineage in the late ninteenth century and early twentieth centuries. Shorin’s major “rival” was the Shorei linage whose great master was Kanryo Higaonna, based a few kilometers away in Naha city.

“Itosu”, sensei told us, “was one of the greatest masters in the history of karate. A vast majority of the offshoot Okinawan and Japanese can trace their lineage  in whole, or in part, to Itosu. Anko Itosu respected all karate, but despite his adjustments of Shorin karate to make it more suitable for the Okinawan school system, he taught only Shorin. Yet we know that his student Funakoshi (Gichin Funakoshi was the man who first introduced karate to Japan in 1922 on the request of the emperor of Japan) came to Japan with both Shorin and Shorei kata. How could this be”?

“Well” sensei said “Fuanakoshi also had another teacher named Ankoh Azato who was a close friend of his other teacher Itosu (both of them by a coincednce shared the same first name “Ankoh”). Azato taught him the Shorei kata. So here we  see a healthy sharing and mixing of two major styles”.

“Who can tell us about the Shorei linage”? said the sensei. We all were silent.

Sensei explained, “Shorei; it is theorised; is named after a small, little known temple in China. Called Naha-te (the hand of Naha City), Shorei developed into Okinawan Goju ryu karate. Goju’s founder was the great Chojun Miyagi. His teacher was Kanryo Higaonna.

Itosu the leader of Shorin and Higaonna the leader of Shorei not only had the utmost respect for each other but, also  were the closest of friends. They both passed away in 1915 never having engaged in even the most friendly of rivalries. In fact Higaonna once sent his best student Chojun Miyagi, to Itosu for further training.  Chojun Miyagi infact formed the kata called “Gekisai” after his interaction with  Itosu. As a matter of fact both master Itosu and master Higaonna unjealously instructed Kenwa mabuni who went on to found Shito ryu style of karate. He even named his style Shito ryu as a mark of respect for his two teachers. The “shi” of shoto is the Chinese reading of “Ito” and the “to” is a varient of “Higa” from Higaonna.

“What about all the devided styles, of karate. Is’nt there more division than unity?”, I asked.

“This is true”, sensei said, “but divisions are not always from a fallin-out between master and student. Often they took place because a master founded a school and the style he taught came to be called by his school’s name. There may have been disagreements between schools as to teaching methods, but disrespect? Only rarely. Every sensei had a right to interpret the old karate his own way, which  means that no true sensei would claim that another was not teaching the ‘right’ interpretation.”

Sensei calmly called a senior student and walked to the middle of the floor. Ordered the student to punch him on the chest. The student delivered a picture perfect punch. At the last second before contact, sensei stepped back and blocked the punch with an outer forearm block. Then he again asked the student to punch him in the chest. As the student punched, sensei let the punch slip by him as he angled outside it with a cat stance, simultaneously performing a open palm block, soft in nature as compared to the earlier outer forearm block.

He bowed and walked back towards the group of us and asked, “which of this was not karate”.

All were certainly karate but were’nt they different styles?

“Is Shorin style one or many?” asked a student.

“Many” answered the sensei, “After Itosu, Shorin or “young forest” (Shaolin also means young forest) karate divided into three similar styles which are also pronounced “shorin” but the characters of which mean “pine forest”. Chosin Chibana founded the Kobayashi Ryu Shorin. “Kobayashi” is another name of saying “young forest”. In his school’s name, Chibana ws maintainig his link with the mother system, thus his was the young forest school of the pine forest style. Hohan Sekon and Eizu Shimabuku joined forces to found another pine forest school,    “Sukunai hayashi”, which also means young forest. Finally, Shoshin Nagamine founded the “Matsubayashi Ryu” version of Shorin. “Matsu” means pine and “bayashi” or “hayashi” means forest, so Nagamine‘s was the pine forest school of the pine forest style.

“Matsu” also pays allegiance to Kosaku Matsumora of Tomari Village from whom the Matsubayashi School descended (a man not to be confused with Sokon “Bushi” Matsumura of Shuri). The relationship of the styles is strong not just because they are all Shorin, but also because Kosaku Matsumora leaned his karate from a student of Sokon Matsumora.”

“But what about the punch defenses you just saw? What styles did each represent?” Non of us could answer. “Which forest did they come from? The pine forest? the young forest?” Or were they Shotokan, Budokan, or Keishinkan? You see most styles are cousins or at least good friends. We have far more things to link us both in history and technique than we have to separate us.” All styles are one sensei had said.

Sensei said “Uechi Ryu is a relatively new style and has not intermixed with other styles. In fact, Master Kanbun Uechi dates (1877-1948) span the lives of Naha’s two great masters, Kanryo Higaonna (1845-1915) and Chojun Miyagi (1887- 1953). But master Uechi, although he was born in Naha and developed his style there, never had interchanges with either master. Yet his style is nevertheless related to Goju Karate. Uechi’s roots are in the Chinese style of “Pangainoon”, which means “half hard half soft”, this is also what goju means. Uechi uses sanchin as its basic kata and prime stances. As does Goju. Both styles originally came from the same Chinese province. So you see despite any minor differences we are still related.”

This time without thinking I asked, “Sensei, with all this being true, why should there be styles at all? Why not just teach karate without a naming a style?”

Sensei said, “When you went to college, what was your major subject”?

“Economics” I replied.

“Why, then did you not study ‘Knowledge’, without naming the style?” he asked.

I asked, " why do Associations and  Federations "recognize  different style and do not give recognision to others?" 
Sensei smiled and replied," associations and federations are organizations  made up of people. The words "recognized" and "recognisition" are politized.  I some people do not get along with others or if they are not willing to pay them money then those people are "not recognized".

For example, I see you your are playing the game of cricket. I recognize that what actions you are performing  are called the game of cricket. But since you are not a member of the state cricket association and maybe I do not like you, So I tag you as "unrecognized".

This has nothing to do with what you are practicing or your actions of movement, but only to do with a mambership and the will of the governing people of that association.
It is all about people not getting along. So many new associations are formed by people who break away from other associations.