Category Archives: Learning

質疑並玩耍的心態

這陣與同學透過練習及討論之些心得。
一, 和一位學長練時要不怕地表達出動作。如上班時需在上司前表達意見,甚至被駡時也要把該說的說出。我們不只在練身体,亦在練一個心態。
一, 我們可以質疑技法。特別在自由稽古中,覺得有空間必開,逃開, 阻擋時,我們可以這么做。但,要以玩耍的心態,不得比勝負。如此我們自然會避開死板的練習,將練習化而為活動的探索
一,不要讓對方受傷。自已也要當心不要硬撐著對方的壓力而自已受傷。則,衡量對方的容量。再說,不能比勝負,做不出來就算了。逃不開對方的技法,也算了。
一,最重要是兩人有沒有運動到。日人曰練武時要先「作身」。在討論細節之前,學生須有基礎的体能才可以了解。
一,開祖盛平大先生曰「目で分からんことは言葉で言ふても分からん。」釋是「眼睛看憧的,用說的也聽不𢤦。」
一,我與弟妹練時要謙虛。我亦未明皆答,惟練得久些已。皆學長姐與學弟妹練時必亦然。
一,教和練不同。學長姐教學弟妹,容易。與學弟妹練,較難。先輩要學如何和後輩練。怎么做得呢?我曾有本部道館的學長說「白帯にも稽古をさせなければ行けない」意為也要未昇段的

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On Recreating Knowledge

@ Brian H: Yeah – the important thing is to approach with fresh eyes. The importance of questioning things is not to question them for questioning’s sake, but to try to figure things it for yourself. Like Richard Feynman would work on physics problems. He would try to work through a problem himself. If he go stuck, he would open the literature, peek a little ahead, then close the book and continue on his own. This meant he spent a lot of time recreating things that others had done, but allowed him to develop a keen intuition, and sometimes he would come up with a simpler or more intuitive solution.

He wasn’t really so iconoclastic as he was using existing solutions as reference. This is how we train martial arts – in the same way as how Nobel laureates understand their material.

The more we pay attention to norms and standards, the further we get from this sort of organic learning.

This sort of thing should be fun. Not a chore, but recreational.

To Learn

I finished listening to James Gleick’s biography on Richard Feynman. In Feynman’s office, there was a blackboard on which was written a few personal mottos:

“What I cannot create, I do not understand.”
“Know how to solve every problem that has been solved.”

On the board nearby, under the heading “To Learn,” a running list of topics.

He died before he could get to them.

We can’t do everything we want, but maybe if we’re lucky we can do everything that’s important.

伝承

火曜日の夜、大学の卒業生に招待されて体育館へ合気道の稽古をしに行った。その学生が先月卒業したばかりで、公務員試験を受け、結果を待っている。その結果で抽選の優先が決まり、台北に残れるかに繋がる。台北に残って、いろいろと武道を体験して稽古したいとのこと。その相手とも、この二年間で稽古をして、同じクラスに出るときにそっちから、「稽古をお願いします」と積極的にきて後稽古を積んできたので、自分の教え子とも思える。

夏は大学が休みに入り、学生クラブがこの間解散で、稽古不足の私。社会人のクラブに行ってもいいけど、良くあるのは話が多い相手と組んでしまい、運動量が足りない。一度、ある道場で「あなたはそうやった運動的な合気道が好きですね」と批判気味に言われた。そうだよ。

大学生だと体力がよくて、まじめで、いい稽古になるから、好き。

こうして、一ヶ月ほど稽古をしていなくて、体育館で生徒と久々にすることができて、嬉しかった。一時間ほどほとんど無言で動いていたら、残りの三十分で道場の端で座った中学生らしい男の子に「ほい、稽古しよう」と誘った。三人で掛かり稽古そして取り受けAB, BA, AC, CA, CB, BC と組んでやった。これも、ほとんど無言。話さないのは相手への敬意。相手を動かせて、自分で気づかせる為に。こうすると技は私から教えるものではなく、私が相手に技に気づかせる為の物となる。師弟関係を敢えて設けない。こうしてお互いの稽古のためになる。

それで稽古の中で印象に残ったのは、中学生に入身投げの後ろ受けのやり方を指導して、相手が少し上手くなって、動きを速くて大きくしたら、相手が受けて、立ち上がって笑った。それまでにはその中学生が皆に無視されて座ってみていた。増して先週にその学生もある先輩と組んで技のやり方はああでもないこうでもないとむやみに指摘された。やっぱり、流れる方が楽しいだろう。

既に仕事で頭と言葉で考える事が多い。合気道は体で考える。その技がでる瞬間で悉くそれまでに組んだ相手の動きが具現する。そして、その動きが相手に伝わり、その人の目録に入る。過去、現在、未来を結びつく瞬間。

その大学生が他所へ行っても、技を持って行く。その中学生が楽しさを覚えて稽古し続けるかも。こうして、少しけれども合気道が広がり、未来へ伝わっていく。

Correcting Duck Feet

Since I was a kid, I’ve had outward-turned feet – duck feet. Years of Aikido and dance have helped me to improve my posture, but it’s never gone away. I’ve been experimenting this week with a method that I developed.

When going to bed, get a web-belt, place feet shoulder-width apart, and secure the belt just above the knees. Sleep on your back with feet pointed up. Normally, the feet would be relaxed and splayed out, but with the feet unable to splay out this way,  other parts of the body have to accommodate. Outward rotation of the legs is controlled by contraction of the Sartorius muscle, and the inability to relax it completely can cause duck feet.

Satorius Muscle

from kenhub.com

 

Improper alignment of the legs will cause tension in other parts of the body, because you are no longer balanced on your skeletal structure, but having to use muscle to stand and move. I noticed tension in my shoulders, upper and lower back. The idea is to relax these during sleep and allow them to stretch.

I have also noticed when I sleep  with the web belt affixed this way that I have a tendency to flex my getanden (下丹田) when I shift during the night.

 

getanden

from hkgalden.com

The getanden is the muscle between the navel and the pubic bone. Flexing this muscle is important when doing certain martial arts movements, as it promotes a relaxed upper body, good breathing, and good posture.

So, I conclude that if the Sartorius cannot be fully relaxed, the legs will turn outward. Simply turning them in will pull on the Sartorius and cause anterior pelvic tilt, meaning that your butt will stick out, resulting in more curvature of the lower back (lumbar lordosis ) as you try to compensate. Everything is above continues to build on top of that, so there will be tension in the shoulders and neck.

Gently constraining the legs with the web belt puts the lower body in the right alignment. The Sartorius will be gently stretched as everything else tries to find alignment. Flexing the getanden will then use the extra stretch in the Sartorius to bring the pelvis into vertical alignment, correcting excessive lower-back curvature. This brings the spine into alignment, and the shoulder muscles can relax. I can feel my Trapezius relaxed – I must have been pulling my shoulders up and forward.

買物では狭く、書店では広く

私は多くの人と本屋さんと百貨店の楽しみ方が違うということが分かった。百貨店では歩き回って、セールがあるのか、いいものないかと思いながら歩いてみることが楽しいと思わい。大抵、特定的に何かを買うのだ。

スーパーでもこの買い方だ。

本屋さんでは却って特定科目を見るのではなく、あらゆる分野の本を取り上げてみる。この前、語学、伝記、歴史、建築、哲学、ロマンス、科学、音楽、作文、古典を全部取り上げてみた。

これが自分の中では買い物だけではなく、多くのことに渡ってパターンかされている。私は案外常に新しい見方とやり方を試している。北米に帰るたびに、自分とは逆のパターンの人と再会して、どれほど会っていない間に自分が変わって、相手が同じ道に進んでいるのがわかる。その時に、相手が経験している問題に少し開く道を案内するが、相手のために歩くことができない。

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.