The Practicality of “Scrolls”

The Practicality of “Scrolls”

Our classes study has began to focus on the principles learned from Oyata and exampled in the scrolls given to him by his instructor's. Those scrolls example various principles and practices that are intended to be used by Oyata's students in their study of defensive applications. They example the various positions and technique principles that allow those motions to most effectively function.

Many of the motions/concepts illustrated on the scrolls provide reminders of those principles that Oyata taught. The most common misconception, is that the scrolls illustrate “techniques”. There are no (actual) techniques shown upon them. They illustrate images that suggest methods of a technique's application, or (more accurately) suggest reminders of a technique's application. The scrolls do not illustrate (complete) technique's. If one had received no (additional) instruction (beyond having viewed the scrolls) that individual would be “lost” as to what was being illustrated.

I equate the provided scrolls to a “dictionary”. Unless one knows how to combine, and use the words in that dictionary, they will remain unable to write a “best selling novel”. There is more to writing a novel, than (simply) being able to correctly“spell” words. In our situation, we have to use the (taught) instructed motions to effectively accomplish a defensive method using those principles that are illustrated on those scrolls, and were taught to us by Oyata.

Although the scrolls do not (IMO) provide any “new” ideas/techniques or principles, they do provide a reference as to what was originally considered to be the fundamental principles that the system Oyata learned/taught was based upon.

I've seen various examples of (other systems) “scroll's” that illustrate various technique's, and frankly I'm completely uninterested in them. Learning new, or different technique's means (very) little to me. When one is familiar with the underlying principles behind those motions, one is then able to apply (or create) a response to any situation that confronts an individual.

When I view examples of (supposedly) “new” technique's/application, I consider how many of the included motions are (already) being “commonly” utilized. There is rarely anything “new” being done. It is simply (another) variation of technique application. I don't consider those applications as being “bad”, or even wrong, but I do consider if there were a simpler manner of accomplishing the same or an equivalent result (in the given situation).

More often than not, what I am seeing is the individual circumventing the (to myself) obvious (and more simplistic) defensive response. “Complicated” does not equate to “better” (or more effective). Complexity is only relevant, to the level of practice that one has performed with the instructed motions. Oyata taught that “basic” motions (done correctly) are what a student will utilize. It is only when the student fails to perform those motions correctly, that they will be forced to include additional motions (and therefor whether those motions will be considered to be “basic” or “complicated”).

The only “new” motions that can “Wow” us, are those that are so simplistic, that we're amazed that we haven't (already) figured them out on our own. Those are few and far between, and frankly have (more often) already been experienced during our time studying with Oyata.

Nowhere within the scrolls (that were provided by Oyata) is (physical) “Power” being emphasized (through striking harder or being stronger) in regards to the effectiveness of technique application. It (should be obvious) that the exploitation of an aggressor's (natural) weaknesses is able to be accomplished (by anyone) without being bigger/stronger than that aggressor. That shouldn't imply that “Power” serves no purpose, or isn't a factor to be considered. Only that what level of power that is available (by the student), should be utilized in the most effective manner available.

The majority of students, “study” under the premise that the amount of “power” that they are able to generate, equates to their ability to perform the instructed applications. Does it really matter how hard I strike you in the throat? Whether using a single finger, or a fist, a response will be created. The motions that follow that action will determine if that strike was “effective” (or not).

The fact that you are able to achieve a “result” (that you can use) from striking someone in the chest/torso, does not mean that anyone else can. That makes it a (somewhat) effective technique for yourself, but it (hardly) equates to being a “technique” that should be taught to a larger group of students (who most likely can't make it be an effective application). The effectiveness of a technique will always be situationally subjective. This fact illustrates the need of “basic” technique applications. Those technique's that fall into that basic category, should be applicable by any/all students. By using the principles of the instructed art, the student should understand what is required to create an “effective” application. If/when it relies on an individual factor (to achieve that effect) to be effective, it's efficiency becomes questionable.

Many instructor's/student's focus their study on “kata” bunkai. Oyata taught us to study “technique” Bunkai. Simply being “aware” of an application, does not make it an effective application. One should be able to explain, and vary every aspect of a technique's motion and the ability's that make it effective (or even applicable) for use. Kata motion can be recognized as a reference of/for “known” technique's or motions, or as a research basis for different application's. In either case, the student needs to research how those motions can/can't work within those situations.

The scrolls that we were provided with, only provide the “outlines” for correct/effective motion. Those scrolls leave the “application” (of those principles) up to the reader to establish. This is what Oyata was focusing upon during his final years. The (various) exercises that he developed were intended to illustrate those principles to us. It wasn't (only) the physical motions within those exercises that were important, but the principle(s) that were being illustrated by the actions that were being utilized within those motions.

The instructed exercises provide the student with the means to practice those motions (whether they are aware of the referenced “scroll's” or not). Being aware of those scrolls means nothing (they are only another reference for what Oyata taught). As stated previously, if you aren't aware of how/what Oyata was teaching, they provide no (actual) benefit to the practitioner.

Taika utilized specific traditional kata, in addition to the Pinan kata. The pinan kata were assembled for the instruction of younger students within the Okinawan school system. They were intended to familiarize those students with motions that were (at the time) considered to be too complicated for “younger” students (who only had a limited exposure to those motions).

The Pinan kata were being widely taught/recognized so Oyata included them within his curriculum. He modified specific portions of their motions (to correspond with how those motions are performed within the traditional kata). IMO, the greater “use” of the Pinan kata, is in regards to the “footwork/motion” examples provided within their practice.

Oyata's use of the “traditional” kata, was limited to the (3) Naihanchi kata, Seisan Kata, Passai kata, Kusanku kata and Niseishi kata. The versions of these were the “oldest” versions that he was able to verify. These often didn't include the (various) “additions” that numerous system's have included (by various instructor's). He believed that the version he learned/utilized (often) implied those “extra” motions, but they should be included by the individual (rather than mandating that every student utilize those motions in a specific manner). This would motivate the individual student to develop their own version (individually) for themselves. He felt that every student has individual (physical) differences, and that every student will in turn perform specific applications in an (their own) individual manner,

Weapons practice is an integral piece of Oyata Te practice. Taika didn't include that practice for the direct “use” of those weapon's. The student's practice of weapon's kata, was to illustrate “unarmed” practice (application of the “open-hand” technique's). Every motion done within a weapon's kata can be translated directly to an “unarmed” application and/or principle.

Those principles include “Force Efficiency”, “Light-foot”, “Windmill”, “Bicycle” and “Ka han shin – Ja han shim”. These are all illustrated within each of the practiced defensive actions and kata (whether with a weapon or not).

Oyata's art was not “flashy”, nor was it quickly learned. It requires an extensive amount of practice to understand (much less correctly perform). With that being said, it wasn't that it was “difficult”, only that it took time to learn how to perform it correctly.

Shuji & Defensive Training

 

  

The practice of Oriental brush calligraphy is a study of minutia. The Japanese form of this art includes more detailed variations than the majority of similarly taught art forms. The simplest “example” or “mnemonic” utilized consists of (as few as) 5 strokes, to the more detailed curriculum's having as many as 30+ strokes to be learned. The most common of these is the character/kanji for “Ie” or “Towa”. This kanji contains (the basic forms of/for) each of the most basic strokes used in Oriental brush calligraphy. This kanji is similarly utilized by student's of “Kendo” (as those same brush “strokes” represent the basic sword strokes that are typically practiced).

The course that we provide is done for the student's of the Oyata Te school (Ryushinkan/Kenshukai). Though being the “flagship/headquarters” for that organization, affiliated schools may not include that requirement or even offer the option within their individual curriculum's. Even within our school, student's are only required to learn the most fundamental aspects of this art's study/practice. Student's (often) inquire as to “why” the practice is included (as it is not readily recognized as relating to the study of “Life Protection”). The practice of brush calligraphy has numerous beneficial aspects to it, having a “working familiarity with the use of the brush and the produced strokes provide (additional) forms of “reference” for the student's study/practice (as well as for the instructor's reference).

An (often) unrecognized benefit is the “breathing” aspect (which is done similarly to it's use/practice within the martial arts). The correlation of breathing with brush calligraphy, and as seen within the practice of “Oyata Te”, is done with similar emphasis. As any student should recognize, breathing should be done in the most efficient manner. The student should inhale through the nose, and exhale through the throat. This is taught similarly in other “arts/practices” as well (IE. “yoga”, “aerobics”, “weight-lifting”, etc.). One of the simplest analogy's, is to have the student imagine inhaling a “rope”. That “rope” is (first) visualized as being inhaled through the nose, that rope is then allowed to “coil” in the (lower) abdominal area, and then exhaled through (the back of) the throat/mouth. Although Oyata did not do so, many art's teach to include a “vocalization” (of some sort) during the exhale. This is typically referred to as a “Kiai” (spirit yell). It was explained that the vocalization was included so the student could more readily exhale completely. Once the concept was understood (and being done correctly), it was expected to be done silently (as audibly doing so during a confrontation, would inform an opponent as to when would be most advantageous time to strike the individual).

Though commonly “ignored” by many defensive systems (and/or students), “breathing” is an (obviously) important aspect of efficiently performing a defensive art. Typically, when someone is performing some action (whether obviously physical, or finely delicate), they will be inclined to “hold their breath” when they desire a precise result (or wish to only “focus” upon that action). This is basically counter productive to that (physical) intent. Muscles within the body (fundamentally) relax when you inhale, and flex when you exhale. Knowing this, one's ability to control their exhalation allows them to more efficiently control (any) physical action being attempted. This includes both gross and fine motor (muscle) action.

Obviously, the practice of a defensive art consists of a large amount of gross motor skills, but there are numerous fine motor skills that are included within those actions as well.

Ka-han-shin/Jo-han-shin is typically recognized as relating to front/back, high/low and left/right, but it also relates to force and control application (hard/soft, fast/slow). This is seen in how the student is taught to utilize their breathing as well.

Oyata taught that everything that one does, should (in some way) be related to their defensive study. Brush calligraphy and painting were some of the ways that the old masters could review aspects of their respective arts when not partaking in it's instructed practice. Breathing, being an obviously important aspect, could be practiced while partaking in those arts as well. It additionally refined the fine motor skills more obviously than the motions typically performed during a defensive art's training session.

Learning to breathe (correctly) is something that (paradoxically) many (if not most) students struggle with. Student's typically receive some degree of “basic” explanation for how it should be performed, but become confused as to how to actually implement it. Some schools utilize a “meditation” period within their classes. Though typically emphasized as a mental (calming) exercise, any meditative practice will (or should) include the instruction for breathing during that practice (and is done in the manner previously explained). Our school doesn't include any manner of “meditative” practice, but we do offer brush calligraphy practice (which can provide similar results).

Within the practice of brush calligraphy, student's are taught to inhale (just) prior to beginning to brush. As the brush contacts the paper, the student begins to exhale. That exhalation is controlled to coincide with the flow of ink from the brush and with the brush's contact (with the paper). The exhalation of “air” (like the ink flow, from the brush) will begin when that contact is made. When the brush is raised (from the paper), the ink stops flowing, and the student will again inhale. As the student progresses in their study, the timing of their breathing will modify. At first, a breath is expelled with each stroke. As they progress in their study, a (single) breath will be used to complete a entire character/kanji, and eventually several kanji.

This is how breath is (similarly) utilized with the student's performance of their technique application. It will modify (improve in efficiency) as the student progresses in their study. New students will typically be seen to be “out of breath” after less than a full minute of kata or “sparring” practice. This is a result of incorrectly breathing (as can be seen during participation in many similar “sporting” events). People seem to recognize that they need to “take a breath” (“inhale”, to take in Oxygen), but fail (forget?) to exhale. Repeatedly inhaling, without (completely) exhaling will produce similar (debilitating) results (hyperventilation). For that reason, an “aerobics” instructor will (repeatedly) tell their students to “exhale” (while performing their routines). You will inhale, doing so rarely needs to be reinforced. This (calligraphy) instruction simply coordinates that exhalation to be done in conjunction with the performed motions (similarly to one's use of the instructed defensive actions).

As implied previously, brush calligraphy practice makes that breathing (method) more obvious (to the student). If you find yourself “winded” after performing a kata, then you're breathing incorrectly. As observed within the practice of calligraphy, breathing (style/timing?) will vary throughout the performance of a kata (just as the speed of performing the motions will). “Metronome-like” practice, will instill a “false” familiarity with how those motions need to be performed.

Brush calligraphy practice can provide the medium to practice one's control of their breathing. Though obviously important within defensive training, the use of the brush provides instant “feed-back” if/when it isn't being done correctly. We (regularly) receive critique of our use of “fine” motor skill motion (within technique/Tuite application). The detractor's “claim” is that it can't be achieved during an actual confrontation. That claim would only be valid, if those motions were never trained/refined. If you only practice “gross-motor” skills, then that's what you will (only) be skilled at. Fine-motor skills must be practiced (if you intend to utilize them). Brush calligraphy practice can provide that medium of practice.

Within Oyata's book, he references a “lesson” (from his instructor's) that involved a technique's motions being akin to a particular kanji (the motions were performed like the strokes of the kanji). In the Orient, kanji were considered to be “gift's from the Gods” (and therefor had a “divine” respect). Being skilled at brushing the kanji, therefor implied a kinship to the God's. Though hardly providing “divinity”, an achievement of skill with brushing calligraphy was (obviously) a respected ability.

Beyond the physical shape of the strokes, the manner for how to reproduce those strokes are regularly used to illustrate (individual) technique application and motion (the “profile” dot being a simple illustration of Oyata's “neck strike” for example). “Ichi” illustrates the execution/motions for a “middle punch” (including the “milking” action). Those examples are only recognized if the student is familiar with how those strokes are produced. Beyond making it easier for the instructor (to explain those motions), it provides the student with additional (motion) references for their own study.

As seen within (all of) Oyata's instruction, “individual” motions will include the entire body. When practicing brush calligraphy, the (brush's) motion is not being done with the arm, it is achieved by motioning at the waist. The wrist and forearm are “in-line” with the shoulder (as seen within a “punch”), and the entire torso motions (to move the brush as needed). The use of proper exhalation with those motions, makes the inclusion of the torso's motion more obvious/relevant for the student.

I often relate bunkai to the different styles of brushing kanji. Kaisho, being the standard (instructed) “norm”, and recognized by everyone (with minimal training). Gyosho is the more experienced version and illustrates more of the individual's own “style”. Sosho is (typically) only understood by long-time student's of that style, and is more difficult to understand. The majority of what I see being provided (on the internet) as “bunkai” examples, typically amount to being basic (what I would regard to be “Kaisho”) applications (at least in regards to how we teach “Oyata Te” to our students). From what we've heard from our “new” student's (who have studied elsewhere previously), our curriculum is (vastly) different from what they have become accustom to. Whether that is “good” or “bad”, you would have to ask them (we haven't received any complaints,...so far).

We recognize that our teaching style/curriculum is different from what/how other “Oyata” based systems are commonly being provided. We've found it to work well (at least for us and our student's) but we're sure there are other instructional methodology's that work similarly.