Category Archives: Intuition

The Link

I studied Aikido this afternoon with a friend. He is a new to it, and has lots of questions. As we train, I realize that I do not have explicit knowledge of the answers to the questions he is asking. I have been led to them by years of practice and experimentation. Movements in martial arts are those movements that were originally left behind by those that survived wars. They come to us from the deep past, and are largely passed down from person to person. They are not really mine – I only channel them.

I can hold these techniques and movements for awhile, but only while I am alive. They are mainly for me to pass on. I am a vessel for these thoughts. I am the river to gather streams of thoughts and channel them to the great sea of infinite time and space.

I am not the first to think these thoughts, nor shall I be the last.

It is the Lunar New Year, and the Taiwanese believe the ancestors are close. They burn offerings of ghost money to comfort them, they set firecrackers to scare away the restless souls that still wander the earth. I am not afraid of ghosts, in fact I think it would be nice for me to meet the ancestors, and learn how better to use what I have been given.

We are all given a finite time in this world, though we don’t know how long. Today we are just a little closer to the end.

The knowledge of the ancestors comes to me in sensations, some learned, like en-trained reflexes in martial arts. These originated in battle, and have been preserved, refined, and transmitted from person to person in an unbroken chain. Some ancestral knowledge is instinctual – I crave bananas when I am low on potassium, for instance. I know this because in between the time I took my last blood test and saw the results, I ate a lot of bananas. They looked good on the fruit stand, so I bought a lot. When the results came, they showed me that I had been low on potassium. This instinctual knowledge has been passed down to us from organism to organism in an unbroken chain, reaching back through deep time. We are just the latest link.

A prayer to the ancestors while they are close: show us the Way, protect us as you would protect your Legacy, let us channel you in work and in play, remind us that life has just one source, and that we are all children of the common beginning. May all restless souls find a listening ear, and be able to rest in peace.

生活する上で最も楽な生き方は真実を感じ取って、それを表現する。

周りの人の本音、物事の真相を感じ取りながら、自分と相手に誠実。

Winging It

When traveling, I have been in the habit of simply showing up to a dojo, introducing myself, and asking the teacher if I may practice. This has always worked well for me. I started doing this when, in Japan, I got turned down by a dojo in Matsuyama, Japan, when I called ahead and asked if I could practice.

I figure, if I get turned down, I at least get to see who is turning me down.

I have actually never had a problem come up by just showing up. I show up before class starts with my uniform in my bag, say a friendly hello to the teacher, smile, ask to train, talk about how much I love Aikido and how I’d love to practice with him and his students, and I’m in!

This week, I’m in Vancouver for meetings. For yesterday’s practice, against my usual policy, I gave advance notice, emailing the teacher beforehand to say that I was coming. He remembered me, and gave me permission.

Practice started with one of the senior students because Sensei was late. Sensei entered as we were doing breakfall drills. We nodded at each other from across the room, I bowed toward him, and continued with the drills. After sensei finished changing and stretching, he took over from the senior student.

Practice was great. There were some elements that I experience, but had not yet incorporated into my training. However, I could sense a certain edge to Sensei that I hadn’t sensed before, like he had his guard up a little more. My instinct tells me that this guardedness was due to my relying on my email and his memory of me, and not introducing myself at the beginning of class.

So much for the importance of advance notice. This tells me that a face-to-face introduction is the main thing, and email is an extra. Speaking with him after class, it was clear that while he did remember me, he didn’t really – he was asking me questions he’s asked before. This also makes it clear that the point of going to practice is not to talk… because the body remembers movements, but the mind doesn’t remember conversations!

Speaking of words not mattering, I was out dancing Wednesday last week. There was a free class, and people stayed after to dance. There were some women looking hopeful at the edge of the dance floor. I watched as a few men asked tentatively “Would you like to dance?” Let’s think about this. She got dressed up. She came early to participate in the dance class. She stayed after class. She is standing at the edge of the dance floor. OF COURSE SHE WANTS TO DANCE. In fact, the look on the women’s faces had an incredulous “why are you even asking?” expression that they were trying to hide.

So, I made this my approach: look around. Make eye contact. Approach directly from the front with a relaxed smile. Raise eyebrows and gesture to the dance floor. We’re in! NO WORDS NEEDED. With women I’d already danced with, I could take drinks out of their hands, set them on the counter with a smile, and they would let themselves be led to the dance floor. They didn’t feel this was rude; they liked it. They were just waiting for someone to ask them to dance.

I’ve been giving thought recently to the layered nature of social interactions. There are verbal and non-verbal layers. Humans are educated to think the verbal layer matters, but it doesn’t matter as much as the non-verbal layer. What’s more, the verbal layer often doesn’t matter in terms of content. Monkeys groom each other. Dogs play and snuggle. Talking is the human means to the same end. Thank goodness for Aikido and dance. They make for non-verbal conversations.

Kreativverlust der Identität

Ich lese noch einmal wieder die Jason Bourne Spionageromane, von Robert Ludlum, in denen ein Mann sein Gedächtnis verloren hat, der trotzdem hat alle die Geschicklichkeite eines Geheimagents. Ein zentrales Thema ist die Natur seiner Identität. Es gibt eine Identität als Attentäter, die er geschaffen hat, und auch als Geheimagent, die er war, der Schöpfer der Identität des Attentäters. Die zwei Identitäten entstehen sich allmälich, während er seine Vergangenheit untersucht, und überleben versucht, angesichts derer die ihn tod wollen. Bei der Amnesia und seelische Belastung gibt es kaum eine Linie zwischen den ursprünglichen und erstellten Egos. Um zu überleben, mußte er die Identität, die er geschaffen hatte, übernehmen, und sonst noch neue Rolle spielen.

Ich weiß schon daß es Bereiche gibt, in deren ich kämpfe, weil meine Gewohnheiten und Reaktionen sind im Gegensatz zu der Kultur der Taiwan. Diese Bereiche umfassen Strategien, die ich in meinem vorherigen Leben in Japan und den Vereinigten Staaten gerlernt habe. Viele Strategien laufen aber nicht hier. In Taiwan unterscheiden sich die Arbeitsweise. Zum Beispiel denkt man nicht besser, weniger, sicherer, klassischer, sondern billiger, mehr, schneller, neuer. Was früher für mich um etwas zu erreichen genug war, ist hier nicht mehr genug. Was früher jedoch notwendig war, ist hier nicht mehr notwendig. Hier zählt man Aufmerksamkeit auf andere Dinge. Ich muß nicht nur einfach eine neue Arbeitsweise lernen, sondern eine ganz neue Reihe von emotionalen Reaktionen verinnerlichen, neue Instinkte entwickeln. Ich muß eine neue Indentität übernehmen.

Deshalb habe ich wohl von unterbewußte Wissen vorige Woche die Bourne Spionageromane wieder aufgenommen. Beim Kreativverlust und Lernen wird die Linie zwischen dem Selbst und dem erstellten Ego verwischen, sogar verschwinden. Es wird eine Zeit kommen, wenn der Selbst ist weg, aber der neue
Ego noch nicht klar. Darauf habe ich angst. Darüber hat Jason Bourne auch abgemüht.

Ich muß ein Chamäleon sein: er wird alles und ist immer noch selbst.

Hearing the Music

Once, I was dancing salsa with someone who suddenly stopped mid-song.

“Are you dancing with the rock-step on one or on two?”
“On one, generally, but I’m not too concerned about it.”
We danced for a little more, and then she stopped again, and said “One.”

Generally, I dance with the rock-step on one because that’s where the clave falls, and not stepping there feels odd. However, certain moves or certain songs or phrases have a strong syncopation, making stepping on two feel more natural. On-one and on-two are merely teaching constructs that don’t exist in real life. In real life, you follow the music and do what feels natural. The pedagogical construct is not the reality.

One of my friends introduced me to a Kizomba teacher whom I have fallen in love with (as a student) and unprompted from me she mentioned this very aspect of some schools – that some schools teach people to count in their heads, thinking about the form, but not really hearing the music.

One reason I love Aikido is that the objective reality of right or wrong can be imposed on someone when they are resisting flow. When they are not hearing the music, so to speak. Once at Honbu Dojo I was feeling contrary, and kept resisting my partner’s technique.
“You’re resisting.” he laughed.
“Do you want me not to resist?” I asked.
“No, it’s okay. It’ll just be more painful for you! Hahaha!”
What followed was one of the most satisfying practices I have ever had. His technique was either so clean that resistance was futile, or so adaptable that he utilized my resistance.

In Aikido people of all levels can practice together because we practice forms, but yet we can also achieve flow and response, much like dance.

Another time, I went to a new dojo and practiced with another black belt. The technique was nikyo from two-handed grab. My entry was imperfect, and left my partner an opening. My partner resisted, and although I could muscle through, I decided not to. Then, my partner made a smug “hah!” sound. If she had been a white belt, I would have left it at that.

But she was a black belt.

I reversed the force that I had been applying to do the nikyo lock, blended into the direction of her resistance, executing a kotaegaeshi throw. This happened in an instant. No sooner had she laughed than she was falling, and no sooner had she made a face of terror mid-fall that and she was on her back looking up. Her face turned from terror, to confusion, to anger.

We went again. I was still trying to see just how little force I can use. Because my entry was still imperfect, she was again able to resist the nikyo. I blended into kotegaeshi again, but she anticipated this. I reverted back into a nikyo lock and pinned her to the ground. All of this without force, but with speed. Faster, in fact, because I was using her own resistance.

We went again. Same nikyo, to kotegaeshi, to nikyo as before, only this time she expected the return to nikyo, and resisted. I blended with her force again and transitioned to kokyunage. Again, she was on her back.

We stood and faced each other again. She blinked in rapid succession. Her eyes are wild, looking at the ground, at my left shoulder, my right shoulder, at the ground, my hands. I took a step back and sat seiza to wait for her to calm down.

It’s not that I don’t like advice. It’s that I hate nitpicking about forms. Nitpicking that stops action and flow. The pedagogical construct is not the reality.

Once I took Japanese in college, and skipped two semesters after studying intensely over spring break. My Japanese teacher told me I should be more humble and that I was still making mistakes. She advised against skipping two semesters. I decided to skip anyway, then skipped another four semesters when I got back to school after half a year of study in Japan, then got a sales job in Japan. My range of expression and mobility would have been severely constrained if I had preoccupied with grammar mistakes.

What matters is whether you’re stepping or dancing.

乾脆做做看

我喜歡去幾復数的大學練合氣道。大學生體力比一般社會人好,但是有可能是最近熱了些,因為常會有人說「要休息一下」或者「要欱一點水」。

我都從頭到尾盡量不休息,不欱水。有人問我「對身体不好吧。」
「不會啊,身体會更壯。我練習後會補水的。」
我們組先在狩獵時,獵物也不會等著讓我們補水。在街上打架時,對手也不會讓我們補水。我們祖先一定是在又缺卡路里,又缺水的狀態能做出激烈運動。如Nassim Nicholas Taleb 說的,這種刺激我們不只可以忍住,而可能是不可缼的。要不然,我們的身体會衰弱。有幾會,不如做做看,找一找自己身体的限界。

最喜歡的練法是少說技法,乾脆動一動,用動作去找答案。不管對方的練習成度,只要動一動,我也可以學一些東西。但是有很多人會希望我用說的教他。那樣我還照樣動作解釋再加幾句「這樣破勢,這樣摔。」那樣教的話,大部分的人會不知不覺地動作出來,而會很感動他們能夠突然做比剛才更好。

但是有些人,特別是「好學生」就算動作已做得出,還會要我解釋。這就證明語言和動作不一樣。用語言解釋有時反而有害。我常遇到學生因為我或別人解釋反而做得比剛才差。說一句手的他就忘了腳。說一句腳的就忘了手等等。在練習中是輸流做四次技法。有人會做完個技法後愣在那裏問「那我手是應該怎樣?」「你才剛做出來了!用身体學。如果通過說話可以憧的話,我們在家裏看合氣道書就行了!大概的動作要先做個幾百幾千次才可以講更詳細的。」我那樣一面和他練,一面勸他,他似乎有點怕我,說要休息去欱水去了。

好學生不感動得比想得快,但是頭腦永遠趕不上身体的動作。還不如先做後想。可是成積好的好學生是將承擔我們的社會㖿!希望他們可以通過合氣道學會用自己的眼睛看東西。我想要好好修理他一下可是他一定會要去欱水的吧。

感謝這種人是少数的。最好玩的是我和一個對手在練習當中相互模倣,偷技法,適量試一試反擊。那樣會變得如玩的一樣快樂。會玩的人是最聰明的。找答案,多靠玩的,少靠想的。

Simple Answers

Numbers: Met with 15 family members (immediate and extended). Got 2 people at the grocery store in downtown Vancouver to remember me (why grocery store, and not a bar? haha!) Met 5 factory engineers I currently work with. Ate lunch with 10 other engineers. Flew 5 flight legs, having now 2 more to go till I get back to Taiwan. Trained 3 hours of Aikido with 5 beefy and 2 skinny North Americans at a Vancouver dojo.

Invigorated by interacting with new people and living with family again, I have reflected and compiled this list of things learned or remembered. Maybe I’ll write in more detail about some of these.

Answers I give to other people when simplicity is easy for me:
Usually, the answer stems from relying on an internal resource, like health or creativity, rather than an external resource.

When I am packing lightly.
Q: What if it gets cold outside?
A: Walk faster to create more heat.

When deciding where to park a car.
Q: What if we park and it is far from where we want to go and we have to walk?
A: Aren’t we here to take a walk?
Q: What if the kids get tired?
A: I guess we’ll have to walk back to the car.

When deciding whether to eat to preempt hunger.
Q: What if you get hungry later?
A: I don’t feel like eating now, maybe later.
Q: What if you get so hungry that you eat fast and overeat?
A: I’ll chew carefully so as not eat too fast.

When deciding whether to pack a dinner.
Q: What if you get hungry when you get to the hotel at night?
A: I’ll have some tea and go to sleep.

When deciding whether to move to Japan from the states.
Q: What if you have trouble communicating with people?
A: I like Japan. I will be friendly and do my best.

When deciding whether to move to Taiwan.
Q: What if you can’t get used to it?
A: I guess I’ll have to leave.

When deciding whether to go on sabbatical.
Q: What if you can’t find as good a job?
A: I will leave with gratitude and respect and burn no bridges in case I need to come back, but there are other things I want to do now.

When trying to find a job after graduation.
Q: What if you are unemployed for too long and become unemployable?
A: Seriously? I just graduated.

When trying to find a job after sabbatical.
Q: What if you are unemployed for too long and become unemployable?
A: Seriously? I just had a bunch of unique experiences from my sabbatical.
Q: What if you run out of money?
A: I have money saved, plus as part of my martial arts training, I’m doing construction work. I am actually getting paid to train.

When deciding whether to pack something.
Q: Do I need this?
A: If I am having to ask this question, the answer is probably no.

When being asked about my martial arts skill level.
Q: What if someone pulled a gun on you and asked you for money?
A: I’d give him my money.

The voice of consumerism.
Q: Should I buy this toy?
A: No. It wouldn’t help her to grow. Give her a toy that improves her thinking skills, or let her learn to improvise something.

Questions that make me hesitate, and answers that I wish would come faster.
Usually they stem from a fear of failure.

When I need to ask permission.
Q: What if he says no?
A: So what? Ask.

When I need help.
Q: What if he will not help me?
A: So what? Ask in a friendly way.

When I fear rejection.
Q: What if she doesn’t say yes?
A: She won’t say yes if I wait.

When I am afraid of fear.
Q: What if I mess up because I am afraid?
A: So what? Learn the triggers and learn to relax.

When deciding whether to start.
Q: What if I don’t have enough time to finish?
A: Time is going to pass anyway. Do as much as I comfortably can.

When my opinion differs from others.
Q: What if I offend with my opinion?
A: What do I care what other people think?

When I am deciding where to sit in the office cafeteria and I don’t see anybody I know
Q: What if I am intruding?
A: If they wanted privacy, they wouldn’t be sitting here.

When I am debating whether to invite myself along with some people.
Q: What if I am intruding?
A: Nothing ventured, nothing gained.
Q: What if they say no?
A: So what?

When about to go into a situation or interaction that requires improvisation.
Q: What if I am unprepared?
A: The wrong preparation, plus over-thinking, could blunt my instincts. Do it now. Pay attention. Relax. Smile. Improvise.

Resources I am confident of:

  1. Health and strength
  2. Discipline
  3. Creativity
  4. Simplicity and improvisation as opposed to complexity and preparedness.

Resources I am less confident of:

  1. Being a jerk. I care too much about coming across as nice, but I should allow myself to be a jerk. Both “nice” and “jerk” imply inappropriate reaction to the situation at hand. Instead of losing a nice-guy attribute, I should think of it as gaining a jerk attribute and expanding my range of expression.
  2. Improvisation skills in a conversational setting. I should treat small talk like dancing or aikido and go for flow rather than precision. This does not mean not paying attention. Mistakes and bumps are made almost unnoticeable by timely redirection, and this is a cooperative effort.

Both these skills/resources require calibration as outlined in this article (分かるように調整する). Unless I make mistakes, I will not develop the right calibration. Mistakes should be interesting instead of something to be avoided. Interesting is a good word because interesting things can be looked at in a relaxed and insightful way.

Five principles for action: Do it now. Pay attention. Relax. Smile. Improvise.