Sunday, March 27, 2011
Saturday, March 26, 2011
Mr.Jinx
To protect teeth we usually use mouth guards, but they need to go in early in the routine or else you loose momentum and flow in the training, in order to take a time-out, to fit them.
I told Slippers "This is dangerous and I may hit your teeth".
Slippers replies " Don't say that you will jinx it".
I was surprised at that reply, as Slippers is part of the Enlightenment moment and subscribes to science and reason and all things the Renaissance, too, brings in.
Yesterday when reading my sports psychology book on 'concentration', I came across a related idea, that may link up with this idea.
Apparently research called 'ironic processes in sport' has shown that trying NOT to perform X, actually incites the chances of move X actually occurring. The reason for this is, when you say or are told 'don't do X', your brain can conjure up the idea of X - that it knows how to do, as it is in the detail of the command. (Source Weinberg and Gould 2007,p.380).
This means that a jinx can be based on probability then, in this context.
Does this tally with anyones experiences in their activities ?
I know when I am making notes in my book and I start over-thinking how to write my idea, (e.g. in a limited space at the bottom of the page I need to squeeze in a sentence), more than likely the sentence is messed up and I have to cross out and re-write the sentence and there is even less space now than before.
According to the chapter I read, this is possibly because an automated process, (writing), when elevated to a conscious level, labours the brain and chances for errors increase. The chapter mentioned, this is how an aspect of gamesmanship can work: complement your opponent on his technique "great follow through" - which is automated ... and you provoke the move to become propelled, instead, by the conscious part of the brain and over-control the move. (This may also take away the brains capacity for performing or analyzing other tasks).
When learning a move you want to be consciously controlling your body but when reviving the move in performance in competition, for example, conscious thinking is not optimum. The brain needs to be looking and analyzing other variables such as external context - where are others stood - what will be the best person to pass to, etc. The narrow focus of move performance is a distraction, or rather, a miss-matched attention style to what is needed.
Saturday, February 26, 2011
Why else jurus, forms and Kata are good for you
Beyond mood, jurus and forms could be of benefit is related to the link between exercise and mental health.
Here is an extract taken from a report: Physical Activity and Mental Health: the role of physical activity in promoting mental wellbeing and preventing mental health problems - An Evidence Briefing May 2008, (Whitelaw et al. 2008).
"The notion of there being a range of possible explanatory mechanisms that explain the nature of the association between physical activity and mental health was introduced in outline earlier. In more detail, these are:
•
biochemical & physiological: improved mental health is linked to increased core body temperature; increases in endorphins; changes in the serotonergic systems and effects on neurotransmitters;
•
improvements in fitness and weight loss: improved mental wellbeing is associated with the feeling that the body is fitter or more ‘toned’;
•
‘mastery’: effects are linked to increases in self worth and personal control that come with the mastering of new physical activity tasks;
•
‘distraction’: positive outcomes are associated with the tendency for physical activity to take us away from stressful parts of our lives;
•
social interaction and sense of belonging: mental wellbeing benefits can arise from the collective experience of being active as a group38;
•
social and cultural value: physical activity is largely seen as socially and culturally ‘virtuous’ and therefore has the potential in itself to increase self-esteem"
(Source: Whitelaw et al, 2008,section 3.6.1).
Here is an extract taken from a report: Physical Activity and Mental Health: the role of physical activity in promoting mental wellbeing and preventing mental health problems - An Evidence Briefing May 2008, (Whitelaw et al. 2008).
"The notion of there being a range of possible explanatory mechanisms that explain the nature of the association between physical activity and mental health was introduced in outline earlier. In more detail, these are:
•
biochemical & physiological: improved mental health is linked to increased core body temperature; increases in endorphins; changes in the serotonergic systems and effects on neurotransmitters;
•
improvements in fitness and weight loss: improved mental wellbeing is associated with the feeling that the body is fitter or more ‘toned’;
•
‘mastery’: effects are linked to increases in self worth and personal control that come with the mastering of new physical activity tasks;
•
‘distraction’: positive outcomes are associated with the tendency for physical activity to take us away from stressful parts of our lives;
•
social interaction and sense of belonging: mental wellbeing benefits can arise from the collective experience of being active as a group38;
•
social and cultural value: physical activity is largely seen as socially and culturally ‘virtuous’ and therefore has the potential in itself to increase self-esteem"
(Source: Whitelaw et al, 2008,section 3.6.1).
Thursday, February 24, 2011
Forms and jurus are good for your mood
Generally when I train solo, I feel better for it.
A reason for this is a change in mood state. This link between exercise and mood has been noted in the sports psychology and exercise literature and I wanted to share one or two points I came across.
A reason for this is a change in mood state. This link between exercise and mood has been noted in the sports psychology and exercise literature and I wanted to share one or two points I came across.
- Rhythmic abdominal breathing: Both aerobic and anaerobic can be useful here. (Previously only the former was seen, as beneficial). This means thinks like Tai Chi swimming and yoga count here ! The particular juru, that I use, emphasises breaking in for some moves and out for other moves. This may explain why I feel better in my solo training. The rhythmic effect of the breathing is at play. (NB not much in the Wing Chun literature emphasises breathing patterns during the forms. One notable exception if Randy Williams' work - he does place emphasis on this in his videos, I recall).
- Rhythmic and repetitive movements. This is tied to the above as well. It is obvious forms and jurus rely on this. My book says this frees the mind to focus on more important issues - but I am not totally sure I do this in forms. Although, going for a 'walk in the rain', is often an activity cited when inverters have eureka moments. The rain clears the air from dust and maybe purer oxygen gets to the brain ? (Same in the shower ?).
- Closed and predicable activities : where the environment is controllable (in the exercise activity) distractions can be ruled out and you have control over your circumstances. You can pace yourself. The jurus are contained activities and no novelty enters into this. 116 movements too on the dummy - same thing. No novelty involved in that cycle of rhythmic repetition.
Monday, January 10, 2011
Sticking to things
Gain muscle, lose weight, run faster, pass that grading, start that philosophy or sports fitness course etc. These are all worthy goals but will people stick to the regime of work to achieve these ends ?
This post is about adhesion and sticking to your path of activity. I am doing a sport psychology unit and this diagram comes from one of the models of adhesion we looked at. It really caught my eye, (I will say later, why). To achieve the new goal we have to behave in a new way.
"Figure 8.3 shows how an individual goes through a cyclical series of stages when they change a behaviour. They may start off having had no thought or desire to change their behaviour (precontemplation), but then something may cause them to think about changing their behaviour (contemplation), which will lead to a period of preparation followed by action, which, if sustained, will in turn lead to maintenance. However, the individual may not sustain their changed behaviour, which will lead to the termination of that behaviour".
Rea,S. (2010) 'Adherence and group dynamics' in E233 Sport and exercise psychology: a case study approach, (2010). The Open University.
I can map this model onto my own 'journey' in martial arts, (and other activities that involved behavioural investments).
So precontemplation is when I did no martial arts but way well have been aware of Karate from playing computer games and films. Contemplation is when you start toying with the idea of doing the art but it is in the 'things to do / nice things to want to do list'. Here I saw someone at church who new Wing Chun give me a demo. He was Chinease and I was under the assumption this was a magic power he had, as his sticking hands and blocks were of good quality and he showed me the theory that underlies what he was doing. (Theory is the blue prints to any activity - get your hands on that to make your life easy - from academia to chess etc.).
'Preparation' for doing some martial arts came from buying books and borrowing library books. I wrote the British Kung Fu association for a local group. (note the singular here this was the 80s and there was not that much available that was not Shotokan). Note too, this is actual activity that is compatible with my goal. I am doing something not just mental. This is 'work'. But it cannot stop here.
Action. Doing it. I took JKD lessons. I could not believe I had actually rung up someone and had the courage to do this. I remember when I had committed myself to the first lesson thinking 'what have I done now'. But I did it and had more lessons and did another martial art when I left home. I was stretching and drilling in private. Etc. This was maintenance work. BUT after a few years things stopped. no training partners or classes even. This was a relapse.
Then the cycle began again from 2002 onwards .... where I think it would be a good idea .... and we are back to contemplation again.
This shows us how adhesion is not linear but like the tide, comes in and out.It is cyclical.
The processing of getting and using the wooden dummy is very similar. The contemplation stage lasted about 9 months. I have not relapsed in my use of the dummy. I have never stopped for a long passage of time, just weather affects me sometimes.
The model is useful as if you can plot yourself / others on the cycle then you can find interventions that will modify their behaviour relative to where they are. So if you want to provoke contemplation for a weight loss regime you may want posters of tubby people versus a slim person, (often the same person), laying about. This plants a seed in their mind, 'what if'. Someone who needs help with maintenance would need a different form of intervention - maybe a study buddy, or training partner, as a poster would not be of value there.
Friday, January 07, 2011
What have the Red Baron, 'Mick' Mannock & Georges Guynemer all got in common ?
BUT that is not what I am focusing on, for their common ground. Rather, they all died as they broke basic rules. Target fixation & flying in a straight-line too low to the ground:
"...Richthofen's behaviour after his injury was noted as consistent with brain-injured patients, and such an injury could account for his perceived lack of judgment on his final flight: flying too low over enemy territory and suffering target fixation.[48]
There is also the possibility that Richthofen was suffering from cumulative combat stress, which made him fail to observe some of his usual precautions. It is noteworthy that one of the leading British air aces, Major Edward "Mick" Mannock, was killed by ground fire on 26 July 1918 while crossing the lines at low level, an action he had always cautioned his younger pilots against. One of the most popular of the French air aces, Georges Guynemer, went missing on 11 September 1917, probably while attacking a two-seater without realizing several Fokkers were escorting it.[49][50]"
(Source: Wikipedia http://en.wikipedia.org/wiki/Manfred_von_Richthofen : accessed Jan 2011).
My point is ... if even these elite pilots get into trouble and break laws of 'the basics' then we will. It must be a question of probability that is the question here. Basic rules and skills, therefore, will probably be forgotten on some occasions no matter how expert you are.
(The Barons article is interesting. I accessed the Lancet to read the paper they mention. He had taken a bullet to the head the year before but still carried on. The sense of duty even when brain damaged increased his chances of being killed. He should not have been up in that plane at all. All of them should have been retired and passed on their skills not burned out like this).
I chose pilots as an example, as I know the 'OODA loop' is being used from fighter pilot tactics as a way to think in self-defence. That is an ideal method to employ - but does not mean it can be implemented every time. The knowledge of that would increase your chances, and chances involve probability. In other words luck can be involved in foiling that scheme or just bad judgement in it's deployment.
Tuesday, October 05, 2010
What does it mean to participate in martial arts ?
This is a very short review of an academic paper published in Journal of Sport Behavior; Mar'98, Vol. 21 Issue 1.
It is called 'Phenomenological meanings of martial arts participation.' by Rice and Columbus.
This means the focus of the paper is to understand what martial arts participation and practice means to the participants themselves. The researchers asked participants :
"Please describe in writing your experience of an everyday life situation in which you realized that training in a martial art is, or would be, a worthwhile activity." Also "Participants were further asked to make their descriptions as detailed as possible so that someone else could understand exactly what was experienced before, during, and after the event".
The study was small scale but had 10 male and 7 female martial art practitioners from a variety of arts including Tai Chi and Karate.The results were analyzed for patterns and 4 themes emerged:
Criminal Victimization, Growth and Discovery, Task Performance, and Life Transition.
[Criminal Victimization]
The first category involves the issue of protection. Participants either
experienced threats or 'near misses' and a 'what if' scenario emerged.
This prompted motivation to practice martial arts as it gives a plan of
action of participants. The fear experienced had created a sense of 'vulnerability and powerlessness". Victimization was described in scenarios where people felt' always' scared' for example - even if it was just a perception, such as fear of dark streets.
[Growth and Discovery]
This dimension differs from that above. The category above on victimization is about others who seek to cause harm with confrontations with them. Here this category is about confronting themselves and self-improvement through private challenges. The above category is physical, where this category on growth and discovery is mental, arguably, becuase of the improved 'awareness' mentally. There is however a body dimension where people became more linked to their own physical presence. The teacher and the class are important 'others' in meeting this need of learners. The class are seen as like-minded participants who share the same goal and the sense of co-operation between them was beneficial.
[Life Transition ]
This category I found interested personally. I can see the above 2 fitting in with peoples needs and wants list from a martial art practice and it is what is actively sought after. Here, in this category turmoil in life events causes an change on us: divorce, moving college, financial debts. Life beats us up ! Here martial arts are a way of seeking control and purpose in the overall life-course we are going though. A way of managing crisis.
[Task Performance ]
While reading this paper, I can see Karate Kid I's story fitting these dimensions (above) - (for what that is worth): New school / crisis in life / victimization and growth via Mr. Miyagi. Bruce Lee's scenario is not much different, if we believe the biography that is presented about him and his journey to Jeet Kune Do.
I don't know if this category, here, meets this 'popular culture' type of insight, I note. Maybe it does and I am not thinking enough - tell me in the comments! Here the motivation is intrinsic. It is solving goals - this could be grading, badges or belts. To achieve these needs mastering skills and overcoming uncertainties and worries associated with this from anxiety.
[Overall]
The big pattern throughout these categories is a 'compensatory' or
'emancipatory' theme. Martial arts practice makes up for something missing or deficient, in the former. Or, it allows a new freedom from self or environmental constraints. Therefore it is a lack vs a gain scenario. This, I find very succinct and insightful way of looking for the 'big idea' in these peoples accounts. So a compensatory use of martial arts is to obtain skills to defend oneself and counterbalance weakness such as being in debt via a lack of discipline even. The emancipation can be seen in overcoming mental obstacles in learning a new skill or finding a new way of looking at the world. On this latter point, and this is something you do not see covered in a psychology journal maybe, is that emancipation is sought in many arts where colonial rule is experienced. If you look at Capoera or Silat, these histories support stories of what the art mean to a collective of disadvantaged ethnic groups.
It is called 'Phenomenological meanings of martial arts participation.' by Rice and Columbus.
This means the focus of the paper is to understand what martial arts participation and practice means to the participants themselves. The researchers asked participants :
"Please describe in writing your experience of an everyday life situation in which you realized that training in a martial art is, or would be, a worthwhile activity." Also "Participants were further asked to make their descriptions as detailed as possible so that someone else could understand exactly what was experienced before, during, and after the event".
The study was small scale but had 10 male and 7 female martial art practitioners from a variety of arts including Tai Chi and Karate.The results were analyzed for patterns and 4 themes emerged:
Criminal Victimization, Growth and Discovery, Task Performance, and Life Transition.
[Criminal Victimization]
The first category involves the issue of protection. Participants either
experienced threats or 'near misses' and a 'what if' scenario emerged.
This prompted motivation to practice martial arts as it gives a plan of
action of participants. The fear experienced had created a sense of 'vulnerability and powerlessness". Victimization was described in scenarios where people felt' always' scared' for example - even if it was just a perception, such as fear of dark streets.
[Growth and Discovery]
This dimension differs from that above. The category above on victimization is about others who seek to cause harm with confrontations with them. Here this category is about confronting themselves and self-improvement through private challenges. The above category is physical, where this category on growth and discovery is mental, arguably, becuase of the improved 'awareness' mentally. There is however a body dimension where people became more linked to their own physical presence. The teacher and the class are important 'others' in meeting this need of learners. The class are seen as like-minded participants who share the same goal and the sense of co-operation between them was beneficial.
[Life Transition ]
This category I found interested personally. I can see the above 2 fitting in with peoples needs and wants list from a martial art practice and it is what is actively sought after. Here, in this category turmoil in life events causes an change on us: divorce, moving college, financial debts. Life beats us up ! Here martial arts are a way of seeking control and purpose in the overall life-course we are going though. A way of managing crisis.
[Task Performance ]
While reading this paper, I can see Karate Kid I's story fitting these dimensions (above) - (for what that is worth): New school / crisis in life / victimization and growth via Mr. Miyagi. Bruce Lee's scenario is not much different, if we believe the biography that is presented about him and his journey to Jeet Kune Do.
I don't know if this category, here, meets this 'popular culture' type of insight, I note. Maybe it does and I am not thinking enough - tell me in the comments! Here the motivation is intrinsic. It is solving goals - this could be grading, badges or belts. To achieve these needs mastering skills and overcoming uncertainties and worries associated with this from anxiety.
[Overall]
The big pattern throughout these categories is a 'compensatory' or
'emancipatory' theme. Martial arts practice makes up for something missing or deficient, in the former. Or, it allows a new freedom from self or environmental constraints. Therefore it is a lack vs a gain scenario. This, I find very succinct and insightful way of looking for the 'big idea' in these peoples accounts. So a compensatory use of martial arts is to obtain skills to defend oneself and counterbalance weakness such as being in debt via a lack of discipline even. The emancipation can be seen in overcoming mental obstacles in learning a new skill or finding a new way of looking at the world. On this latter point, and this is something you do not see covered in a psychology journal maybe, is that emancipation is sought in many arts where colonial rule is experienced. If you look at Capoera or Silat, these histories support stories of what the art mean to a collective of disadvantaged ethnic groups.
Thursday, September 30, 2010
Irony
A few years ago when returning from the West Country I was on the train from Reading and started to read a biography on Bruce Lee. It was written by Bruce Thomas, a bass guitarist for Elvis Costello and The Attractions.
Thomas writes in the book favorably of this teacher, Derek Jones, who taught him Wing Chun. What I find ironic is Thomas does not credit Elivs Costello himself for his stance ! I must confess, if you google images of Costello, you will see him in this stance quite often. THIS IS NOT DUE TO CHANCE.
Friday, September 03, 2010
Saturday, August 21, 2010
Authority
Below is a dialogue from a comedy called Blackadder (1983), it is set in the Middle-Ages.
[In meeting room, Harry is holding a council with various lords]. Harry: My Lords of the Council, we face today the gravest crisis this country has known since the Roman invasion. All: Hear hear! (an officer enters, carrying a helmet) Harry: Therefore, I propose-- Officer: Your Highness, the King has stirred and calls for you. Harry: Ah. (swallows nervously) Very well. (removes his hat; stands) Gentlemen, I must leave you. (takes the helmet from Officer and draws his sword, preparing to meet the deranged King) Prince Edmund is in charge! (Percy begins to bang on the table in approval, but all the lords mutter "Oh shame..." so he stops. Harry and Officer leave. Baldrick brings Harry's notes to Edmund.) Edmund: Er, yes, right. Gentlemen, right... (reads from Harry's notes) As you know, today we face the gravest crisis this country has known since the Roman invasion. (They all make sounds of protest: "Nonsense!"; "Rubbish!"; etc.) Lord 1: What about the Viking invasion? Lord 2: ...and the Norman invasion? Angus: ...and the Swiss invasion? Edmund: Er, well, the greatest crisis for some time. Lord 2: And we all know why! Edmund: Why? Angus: Because the King is possessed! Edmund: What?! Lord 2: True! True! The land is full of omens of bewitchment. Only last week in Cornwall, a man with four heads was seen taking tea on the beach; and two women in Windsor claimed to have been raped by a fish! Lord 1: I, too, have heard such tales. In (Harrigate?),
it rained phlegm; and they do say that, in Edinburgh, the graves did open and the ghosts of our ancestors rose up and competed in athletic sports! Percy: ...and a friend of mine had this awful pimple on the inside of his nose!!! Edmund: Percy, shut up, for God's sake. (There are mutters of "Witchcraft!") Angus: ...and a farmer in (Rye?) heard a cow reciting Geoffrey Chaucer; and a young woman in Shropshire saw Geoffrey Chaucer in a field, mooing and suckling a young heifer! Edmund: Gentlemen, gentlemen, surely we aren't the sort of people who believe in this sort of thing. I mean, next you'll be telling me is that washing your hair in bat's droppings stops you going bald. Lord 2: But it's true! I couldn't find enough bats, and look what happened! (removes his hat to show his baldness)
I put this script in here (which can be seen on youtube, if you search about), as it shows the issue of authority really well.
Authority is where you can get people to behave in a certain way – even if they like it or not – and you don’t have to resort to force to get them to do that, as your right to do so is recognized and not contested.
In this example Edmund Blackadder has no authority – or rather it is not recognised, but his elder Brother's authority was. See how the group of Lords start to question the very same statement made, once Edmund takes over.
In martial art teaching the search for authoritative knowledge is a big battle. Who can we belive, what knowledge counts as ‘true’ or not is a big source of anguish for many. Some use tradition and brand names of teachers to derive the legitimacy of knowledge claims.
I remember when I did JKD. The teacher put me in charge of a newcomer to do hook-kicks. They the kicking shield and started the demonstration. When it was their turn to go, I started to ‘correct’ them, in the style of what our school did. The newcomer said ‘oh, no – this way is much better’ – and proceeded to do what they wanted to do.
I wondered what to do. They weren’t really listening to what I had said – or been shown myself as 'correct'. So I called over a trainee instructor, and thought if the newcomer does not believe me, then they will believe him. But then what happens is yet another way to ‘hook-kick’ is shown. And the newcomer adopts that way, as they recognised the authority of that insight over mine. THEN, the teacher comes over and says ‘ why are you not doing this kick the way I showed it, and was I [me] not doing as we were told’.
I was really annoyed at this, as this was in fornt of everyone. I tried to explain, but the teacher said I am in charge and it is down to me. I looked a the newcomer and wanted to slap him ! And I wanted to slap the trainee instructor for just hiding away there – as we had reverted to his method.
My point is, authority as a basis for learning and basing belief upon needs questioning all the time. Sometimes the boundaries of authority are like a parental figure an they need to be there to like a walled garden to stop people believing what they want to believe and do what they like. Sometimes authority does have to be questioned, (bats dropping for baldness ?). The grappling movement has been good at this, for provoking a rethink to approaches in traditional martial arts that do not question their premises and training methods.
My example was from a more micro-social example. If ‘I’ said I had seen a cow reciting Geoffrey Chaucer, no one would believe me. If the Bruce Lee had said that – I bet some would believe, due to his authority !
Thursday, July 22, 2010
Book Review Wing Chun Kung Fu: The Wooden Dummy. Rawcliffe.
Of books that are on the wooden dummy, this is 'up there', with Randy Williams' work. That means if you are interested in the 4th form of Wing Chun, you should own this book.
This book talks about the authors acquisition of knowledge about the dummy, his source of knowledge and examples of sketches and notes he made from his interaction with Ip Chun, (Yip Man's son). Insights gleaned for instance relate to the meaning of some moves, such as the upward slapping hands - tok sau - movement that separates the sections. The book reveals this could have been just a re-calibration move to make sure the arms are in place, before the next section.
What is more important, however, is the books delivery of the form. It achieves this well by it's attention to detail in the written comments. The sections are broken down and verbally explained well. I am focusing on the words - not the pictures alone - which are detailed and in colour, as well. The written description tells you where your force should be going and which direction. This is really vital and pictures alone could not deliver this information. No YouTube video can deliver that, either.
The book uses bullet points well to zero-in on core ideas and mistakes and this draws the readers attention well to the essentials. 2 novel aspects in this book, (which Rawcliffe also uses in his other book on Wing Chun), is to have 2 sections written by a physician, offering physiological insights into what the moves mean for the body, and how the body adapts itself. And, there is a section on learning and how drilling works - using the types of learning styles, (kinesthetic, visual, auditory etc.). This is novel - relative to other books - but again Rawcliffe does this too, in his other book, as he gets a teacher involved to write that section - good.
Problems with a book are the constraints of publishing - space. The pictures and the descriptions are not always on the same page and you will have to flip over, to co-ordinate them. Also the Chinese terms may not be the same terms you know / use for the shapes you have at your club / school, (remember to translate is interpretive). Yo umay have to put your own mental translation in. Finally, if there was space for foot-patterns then this book would be the best book ! Because Wing Chun is a positional art, in that you need optimal angles to maximize forces and achieve the claims this art makes for it's effectiveness. To do this, then, you need to know you are stood in the right space, the right angle etc.etc. Foot patterns would help here.
Finally, now in an internet age, the 116 moves are no longer a secret. You can use this book in conjunction with online video too, to see moving interpretations of this form. Some practitioners are hard, some are softer in their use of energy on the dummy - even within the same lineage. In fact, that is one area that needs to be noted. Interpretation. The dummy form has been interpreted and modified in Wing Chun_s < Plural intended. A comparison of these interpretations would be very useful.
Friday, July 09, 2010
Arts in Martial Arts II : Performance.
One extra aspect worth mentioning about the 'arts' in the Martial Arts, is the issue of performance. This does have an aesthetic aspect, that means, what you look like will be judged by an 'appreciative community'. That is there is a value or 'beauty' that is given to your moves, that others assess. This could be a brutal effective aesthetic, it does not have to be flowery and pretty and dainty - that is no the point. My point is that there is a social basis to judgment.
If you look at youtube posts, watch how comments ... and stars are given to judge the performances of people doing their moves. The formal arts have this too. There is a culture of critique and judgment of fine art or performance based art - such as ballet. Sports have this aspect of performance in too, this is where demarcation of sports / arts blurs. Look at ice-skating for this. But even talk about football games are judged for their quality of performance and 'entertainment' values enter into this, as well.
Modern 'combatives' is a genre of martial arts that is not exempt from this if we focus on performance and its social basis. It is by default judged on criteria by 'experts' and this is no different from other 'arts' (both broad an narrow meanings given to that).
So what ~?
This is useful in knowing why we do what we do, when 'doing martial arts'. Where is motivation and what powers it. There is a performance aspect to this that feeds into our behavior, if you like it or not. We use it to judge ourselves and our identity - how we see ourselves. But is also a resource, involved in how others see us. And this affects our status, too. We are motivated to improve our performances in training.
I am arguing that in conjunction to functionality there is also performance, too in here, that some may want to deny but it is in here. Don't confuse aesthetic and performance with kata and finesse. See performance as valued activity that is judged subjectively by others. The boundaries of the performance is policed by a community too. Go watch on forums how opinion forms to verify if this or that move is effective / valued ; or if this or that performer is doing it right. This social activity could easily be confused to these 'X' Factor type programs. Ok - one is entertainment driven and the other is self-defence but the root is performance. It is social in its basis. You meet the criteria of positive feedback from these appreciative communities and that buzz and self-worth increases just the same whatever domain you are in.
If you look at youtube posts, watch how comments ... and stars are given to judge the performances of people doing their moves. The formal arts have this too. There is a culture of critique and judgment of fine art or performance based art - such as ballet. Sports have this aspect of performance in too, this is where demarcation of sports / arts blurs. Look at ice-skating for this. But even talk about football games are judged for their quality of performance and 'entertainment' values enter into this, as well.
Modern 'combatives' is a genre of martial arts that is not exempt from this if we focus on performance and its social basis. It is by default judged on criteria by 'experts' and this is no different from other 'arts' (both broad an narrow meanings given to that).
So what ~?
This is useful in knowing why we do what we do, when 'doing martial arts'. Where is motivation and what powers it. There is a performance aspect to this that feeds into our behavior, if you like it or not. We use it to judge ourselves and our identity - how we see ourselves. But is also a resource, involved in how others see us. And this affects our status, too. We are motivated to improve our performances in training.
I am arguing that in conjunction to functionality there is also performance, too in here, that some may want to deny but it is in here. Don't confuse aesthetic and performance with kata and finesse. See performance as valued activity that is judged subjectively by others. The boundaries of the performance is policed by a community too. Go watch on forums how opinion forms to verify if this or that move is effective / valued ; or if this or that performer is doing it right. This social activity could easily be confused to these 'X' Factor type programs. Ok - one is entertainment driven and the other is self-defence but the root is performance. It is social in its basis. You meet the criteria of positive feedback from these appreciative communities and that buzz and self-worth increases just the same whatever domain you are in.
Friday, April 30, 2010
It really IS a beautiful spring time !!!!
Ah ha ! I was training today in the spring-like weather and realised what this is all about !
Have many tulips in the garden now and the colours are really vivid. All I need is a cherry blossom tree next to me and doing the 108 movments etc. etc. [OK.. I will stop this as it is getting a bit sickly].
Thursday, April 01, 2010
What do you see - what are you able to see
This is my favorite illusion as the 2 images are so opposite. You love one image, and hate the other. BUT they are the same thing.
This is the same effect looking and seeing forms & jurus have on me. When you look at the strange shapes in a form they look
- silly
- exotic
- mystical ...
Then you make a breakthrough and you 'see' what you have been looking at. This is one way the illusion metaphore works. But this isn't the point of this blog entry.
The other aspect is interpretation of the martial arts by practitioners. One aspect of the 'arts' and I am thinking about high art - picasso and such like. See how that needs interpretation for some works. This is the 'art' side I am thinking of for the martial. I am thinking that half the work involved is not in following physical patterns and mimicking them but interpreting them.
In this next picture by Duchamp a work of art is created out of a urinal. He calls it 'the fountaine'. He is being cheeky but the point is interpretation gives this meaning.
"The creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act."
My point is watching experts do their moves is not enough. You have to be active in its interpretation to give and extract meanings out of the martial art shapes. I watched and re-watched forms DVDs and struggled with their interpretation ... and like the pictures above, sometimes you get a snap and you seeeeeeeeeeeeee the idea hidden away in there. Sometimes you don't and you aren't taken in by 'la fountaine' like avant-guarde luvvies.
Sometimes the forms need a leap of faith to interpret and
you need much effort like this picture .... 'Nude descending a staircase'. This picture and its type (as above), only makes meaning in relation to a theory. Once you have base ideas in place the picture has value and meaning. Otherwise it's- silly
- exotic
- mystical
This is why the same thing looks different to 2 different martial art practitioners. Culture also serves to affect what we see. it may not be possible for some practitioners from other traditions to see what you see. They don't share the theory that lets you see.
Here is Duchamps self-portrat. He gave up art for chess. The art side of that is in the interpretation of shapes on squares. He was on the same track if you ask me.
Here is Duchamps self-portrat. He gave up art for chess. The art side of that is in the interpretation of shapes on squares. He was on the same track if you ask me. Wednesday, March 24, 2010
Tai Chi Pole Work - their dummy variant ?
This is a great demonstration of 'wooden' apparatus. This way of using the pole means he gets balance into his feedback from the pole. The way he does his push hands is like chi sau (a bit) and there is value there, as there is some resistance from gravity.
The way he recovers the pole once it has hit the floor is very good. Well worth looking at how he does that / inverts the pole / throws the pole and mimics headlock [?] / partial sweeps or leg trap. Foot work is intricate as he turns his back in a judo throw like way. His arm shapes are like tan to bong transitions.
You 'could' do this on the main pole of the wooden dummy for wing chun, if your design is a plug into base type. Take out the arms, but that would be one heavy pole. If your structure is correct your tan to bongs would work, but the throws on that, plus recovery from the ground would be like a sandbag drill.
I wonder ....
Thursday, March 11, 2010
Snow Stops Play
I went on the dummy for the first time for ages maybe since November last year. The snow had kept me off, as the ground was too mushy. The picture is proof. (I went to pak sau the dummy and palm the body of the dummy expecting the snow to fly off. Errr ... no ... nothing happened. What an anti-climax).
So it's March and I get going on the dummy and what do I do ? Punch a bit, then put the arms on and see what I can remember of the 108 moves. I can do the 1st part seamlessly, then the second part has this funny kick in it, while your arms are also blocking too, (Peng Nam, now not Yip man). My head thinks 'I have modified this and don't need to do it, like this', but also my heart says 'no' this is the real and authentic move. You must stay true'. I compromise and do the kick separate from the arm moves.
This got me thinking that to keep the whole form going in my memory and replay it and maintain it over time, is quite a tax. Is it worth it? I think Bruce Lee's idea of splitting up the form into segments and using the parts you want from it in various orders is better. It is a 'drill/form' then. Also put in elbows for punches in that form, knees for kicks, punches for palms and palms for punches is more likely to arouse the brain than just recall alone, as you are being creative. Doing the whole form in the first place does introduce you to the variety of moves that are out there, however and an honest attempt at them, is beneficial.
The ideas I was using on there intending for sparring went out of my head the next day too. Something I would like to do is to use the dummy in a social context. I.e. have more than one practitioner around. This could be to act as another set of eyes, to see my footing. It could be to offer up new ideas to drill with, it could even be to represent a 2 on 1 situation !? All I have been doing is solo dummy training, with the rare video seen by someone else for feedback. I have never compared notes with someone on the dummy, who is also a practitioner too, and argued through merits of using it this or that way. Have yet to use a wall mounted dummy either - but have used on mounted in a trellis that is supported. It can be chased left and right.
Can't think of direct dummy applications for ground work in guard or mount that are sensible. Maybe you could lye the dummy on the ground and aim for token arm bars ?! You could not have that dummy on you in guard ! (could you ? NO - stop it. Way too heavy).
Friday, January 01, 2010
Going against orthodoxy or tradition ?
If you go against the 'done way', 'tradition' or the 'orthodox' then expect to be confronted by someone like this man in this picture:
Return of the Body Snatchers remade around 1978 is one of my favorite films. The idea that others are not as they seem, or just not 'aware', or others cannot see what you see is quite provocative. The film is almost an allegory.
I had a conversation the other day, with learned colleague who recalled a situation where he advised someone to punch with gloves to avoid a pain in their arm. Person with pain-in-arm related advice to Sensei. Sensei didn't agree. So no change in the scenario and .... pain got worse.
This is a martial arts application. It could apply to differences in 'the Yip-Man' 108 which is a sacred form for some people.
It could apply to your company or society, whatever. It can actually benefit you to be not part of a crowd and to step out or change company to get a new perspective. A new set of analogies. A new set of phrases to think with - whatever. This poor chap, above, in the film did at least try but he succumbed.
(Actually this picture was animated and had the man shaking his finger at you, like in the film, but its 'been lost in translation').
Return of the Body Snatchers remade around 1978 is one of my favorite films. The idea that others are not as they seem, or just not 'aware', or others cannot see what you see is quite provocative. The film is almost an allegory.I had a conversation the other day, with learned colleague who recalled a situation where he advised someone to punch with gloves to avoid a pain in their arm. Person with pain-in-arm related advice to Sensei. Sensei didn't agree. So no change in the scenario and .... pain got worse.
This is a martial arts application. It could apply to differences in 'the Yip-Man' 108 which is a sacred form for some people.
It could apply to your company or society, whatever. It can actually benefit you to be not part of a crowd and to step out or change company to get a new perspective. A new set of analogies. A new set of phrases to think with - whatever. This poor chap, above, in the film did at least try but he succumbed.
(Actually this picture was animated and had the man shaking his finger at you, like in the film, but its 'been lost in translation').
Saturday, December 26, 2009
Watch this practitioner - what snappy form!
Wow, watch this practitioner doing the 108. Doesn't matter if you approve of Wing Chun or not. You can't fail to see this practitioners short range 'fa ging' power being snapped out. This is the 'snake style' ,I feel, coming out in her expression of Wing Chun. Those side-kicks she does come out of no where and are really angled nicely. Lovely dummy too - can't fail to want to own that piano black object.
When she does combination of strikes she doesn't pause between them to admire her handy work. she blasts them out, as If they were musical notes they would be triplets, (one beat sliced into 3). You can learn from her, whatever discipline your into, as she has good form.
Someone one the youtube web site said watching her is like a view of what Beautiful Springtime must have looked like ! IN the comments she replies she has been doing this 40 years ! OMG - she looks 20.
Sunday, November 08, 2009
Some Videos I Made Earlier
Here are some vids on the dummy. They have the pegs taken out of the base to make the dummy move about and absorb energy. They are a drill on the dummy, involving backfist and a trap; boxing slips, and short and long range palms. I corrected one palm set, and tried it a new way. The videos had to be fixed from portrait angle, from phone, using software. Otherwise you would have to turn your head 90 degrees. I chose that angle as it allows for capture of body and dummy length. I am fond of portrait angles, but know of someone who is vehemently opposed to this camera angle and prefers landscape. This is an aesthetic rift that has emerged.
Tuesday, October 13, 2009
Baz Luhrmann - Everybody's Free (To Wear Sunscreen)
This is a top song. Listen to it more than once. Listen to it once a month.
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