ASHI-SABAKI

Ashi-sabaki generically means foot work but for us it denotes a very specific relationship.  The solo form of practice will be similar to ikkyo.  Standing shizentai as a universal posture, lower the center and zone out with the fingers in the up position, elbow pointed toward your own hip.  Drive the fingers forward with the hip and up as you shift your weight toward the front leg.  Then as you turn your hip into the thrust the back leg slides forward 45 degrees to cover your groin and simultaneously strike uke.

As a basic foot work pattern, ashi-sabaki and ikkyo’s foot work will look very similar.  The handwork (tae-sabaki) is opposite.  Ikkyo starts R-R / L-L and fingers down (ai hanmi).  Ashi-sabaki starts R-L / L-R and fingers up (gyaku hanmi).

The tanren / kihon exercise is designed to give both uke and nage the chance to develop a very solid core: as much as it appears that the arms are primary in this energy transfer, the focus should be on the abdominals and hip.  Properly loaded with uke’s weight, nage’s drive through uke will require a good hip engagement.  And because uke’s arm will be above nage’s, nage must connect the arm to the hip bone to have a chance to prevail.

To visualize the encounter weaponized it.  Nage thrusts with a dagger – uke intercepts with the lead hand.  Nage turns edge out to cut uke’s flexor tendons.  Uke raises to evade.  Nage continues a contoured line to the heart through the arm-pit (top of ribs).  Uke’s correct response is predicated entirely on a weaponized encounter.  Otherwise the exercise becomes empty choreography: do this because my teacher told me to do so.  Wake up!

From the ashi-sabaki entry the flow sequence in its ki-hon presentation leads to an ikkyo (arm bar) but with uke’s hand already in a bent grab so the flow to a nikkyo pin is an easy continuation as well.  Depending on uke’s inclination to escape/reverse – the next step would be an elbow bar (rokyu/hijikime) or kaiten nage.

The presentation of the ashi-sabaki relationship is next presented from yokomen – an oblique high-line attack (angles 1, 2).  Nage intercepts and immediately drops the vertical plane only to then rise and strike to uke’s face.  This is a kimusubi exercise primarily: nage has to capture uke in one beat and then drop while maintaining connectivity.  By rising immediately nage captures uke’s inclination to counter the pressure and uses it as a rebounding energy to move the line to a different vector.

Where ikkyo emphasizes the edge, ashi-sabaki emphasizes the point.

From the capturing exercise we can use the same lead arm intercept to flow under the yokomen – a slip to the outside line, but the same tai sabaki.  This position favors irimi nage.  But the hand sequence is now four-beats.  (1) intercept uke’s strike to re-direct and slip under (2) second hand captures uke’s strike hand once nage is on the outside line (3) nage’s intercepting hand now takes uke’s neck (4) close the connection to throw irimi-nage.  This is hubud-lubud.

 

PRESERVING INFORMATION

Continuous and correct training is the most efficient way to learn, but we will always need a way to reference past material and transmit information to future generations.

This morning my son was watching an episode of Batman “Artifacts set in the future after the Batman has died. A group of scientists search the Batcave for clues to defeat Mr Freeze. A good archeology story, the scientists mis-interpret some of the artifacts and cannot access the data from the old mainframe because it wasn’t designed to store information that long. There is the challenge of both the durability of the media and the form of the message. The Batman solved for the media by using titanium plaques engraved with binary code to teach the future how to program a new computer. We have other examples: Voyager anyone? Nuclear waste: consider the problem of warning the future about the dangers of nuclear waste >here< and >here< and >Long Communication< for example.

A quality book is one of the more durable ways to store information, evidenced by European codex, Egyptian papyrus, and Asian scrolls.

Pankration__amphora_BM_VaseB610.jpg
Fired clay also proves perdurable

Hence my recommendation to start your own physical library of books because the internet simply hasn’t the proven durability. Print material is not the best way to show flow, so interpretation will be a challenge. As visible on the amphora – pictures are effective at showing discrete moments in time. Like in kata, the challenge is that the moment of greatest importance are usually the actions taken in the space/time between points. The linkages that connect, the flow patterns that effect the technique are the dynamic portions where ‘the action happens.’ Those are difficult to convey.

Aikido and the Dynamic Sphere does a good job at portraying the lines of motion and application of force to effect the throw. The fact that the images are line drawings and not photographs improves its efficacy (high contrast and minimal visual clutter). In addition to your primary art, I would also suggest that by building a library with material from other arts that you will begin to find similarities among them. Look carefully at those similar techniques – there is a reason for similarities! Marc Tedeschi  gives glimpses of universal connections in his series The Art of …” Very well produced works – high quality photos, good explanations, very clear design sensibility – you deserve to own them all. While it has not been updated in some time (and I would not necessarily recommend owning everything listed) my Biblography may be useful to generate suggested further reading/collecting.

Video is undeniably the best media to capture dynamic action but I remain skeptical that video will prove as durable through time (celluloid, Betamax, VHS, DVD, Blu-Ray …).  I have already had to pay to transfer some VHS to DVD and perhaps posting information on the internet will allow for easy translations, but my recommendation is to grab as much information as possible and store it in the most perdurable manner you can.

The Long Now

Harvard Law recently addressed this very question >here<

ARTIFACTS OF TRAINING

I have used the phrase ‘artifacts of training’ sporadically to refer to conditioned responses that result from improper training assumptions and methods. One of the most notable is the ‘sensei effect.’

The sensei effect works on both teacher and student – the student ‘over-reacts’ to the instructor’s input (making any given technique look more effective) and this only further reinforces the perceived divide between them in skill. It is a psychological barrier at best and at worst it can lead to delusions.

Numerous ‘habits’ can betray a student – where they learned by their mannerisms. Do they raise a tepid hand to stop an atemi without moving the target – trusting that the symbolic block will be respected? Are students cutting through the target or reflexively stopping short? Do ukes anticipate the technique and start to move into position prior to being moved? I see all these artifacts of training and worry because they impede development.

A recent meditation by James Keating illustrated more subtle artifacts of training – including the simple act of wearing a gi.[1]

The current vogue in self-defense training is ‘reality based training’ which usually has a ‘force on force’ component. I agree entirely. It is impossible to argue with the training theory that the closer the encounter is to reality that it will provide invaluable experience. The only challenge with reality based training is the map and territory problem.[2]

I do not have a solution.  Artifacts of training, I suspect, are inevitable. The phrase for me usually implies a ‘bad habit’ but all training instills a conditioned response. Our goal is to be continuously aware – honestly aware – to discern which habits are correct responses and which are false. Which are bad habits and which are good. And never forget that correct and good = life whereas false and bad = death.

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[1] wearing a gi:

The Fireside Chat w/ JAK

In my own (personal) world it has always been about the end goal. That for me was true “performance”. The ability to actually do advanced things as if they were easy. High performance – never miss application and creation within the midst of the battle frenzy. That was the plan anyway. A calm within, a storm outside. Early on in the fight game I had an experience that altered my perceptions about uniforms, training gear, functionality and reality. It was after training in Karate for some time that I had a real fight. Kid shit really, a minor dust-up if you will. But in street clothes the entire encounter seemed so out of place and out of control. I had unwittingly became belt & uniform dependent. In the dojo your rank spoke for itself. Your uniform (gi) made training easier and the heavy canvas popped as you moved. It was a neat thing. The realization that I encountered was that I felt so damn “weak” without the “right attire and the right location” of the dojo. It was a noticeable loss of psychological confidence. Not high performance. It needed fix’in pronto! So I set to it.

After that small enlightenment I began to work & train more in my regular clothes. Experimenting constantly and learning my path as I went along. At some point I accomplished my task and became forever free of any dependencies of gear, weapons, environment or apparel. I was comfortable with being me. It became more of a game about me than ever before after that – a refinement of self. For after all it is ME (you) that empowers the clothing, the weapons, the place and the moment; not vice-versa. The more accoutrements one deals with the weaker you become. To learn the path of simplicity and find divine guidance in battle one must develop the eternal self. Only by this means can the hidden YOU be released into realization. It starts with small things day in and day out. It eventually leads to all things. Believe in yourself!

Today in these “selfie” saturated times we see that uniforms of every kind are now the gateway drug to the ridiculous, embarrassing shit that adults seem to crave anymore. In times past martial arts wore a uniform, it was accepted. On Halloween some costumes were uniform-like, that also was accepted as normal. Today, it has became more about looking cool. Cosplay, video games, movies, reenactors and fantasy buffs all play dress-up to some degree. I am not against cool clothes or uniforms. But too much of a good thing can become tasteless and childish. We’ve hit that point of abnormality some time ago. Playing at survival has overtaken training for real survival! One glance through the internet and you will see what I mean.

 At one point in time learning sword or pistol was about survival. Now it is about dress up, playing and posing. Advertisements abound for gadgets, gear, guro’s and games. 100% questionable commercial combat content. Period. No gain, just material reward in place of real personal gain. A con. Give up depending upon external things to aid in your quest for martial ability. Know the secret to achieving your goal is found within yourself. The gifts the creator has blessed you with can thus be understood and embraced. Martial arts are the whetstone, you are the blade. They are meant to sharpen you up to face the challenges life throws at you. They were never meant to a dead-end or trap. But through cult-like ideals it is easy to have it happen to you. The best martial arts require little more from you than your sincere “being-ness”!

Whether I use a sword or pistol, fight with empty hand or blade. It will be in real time, a setting that will reflect reality as it is. When I think like this, when I train like this I become stronger on several levels. My actual combat root in this violent world is stronger because I train in this mode all of the time. My technique and skills are unfazed by the lack of dojo setting or complimentary cult clothing . If I do choose to wear a uniform my energy is quite powerful unlike the other dojo-ites who see the uniform as a type of martial cosplay to make learning the art “fun”. Seek high performance from yourself, why train for anything else? Dodge the tee-shirts, the man-dummies, the colorful clan costumes, ring trunks and samurai hatchimaki’s. Just be you as best you can be. Irregardless of your clothing or lack of it your job is to kickass and that is what you’d better do when the SHTF. Less is best, more is poor. Train yourself austerely, for your own good. It’s a tough planet ya know! All of the many martial ways eventually lead to the same mountain, some get you there quicker and others take a bit longer. Just do your best and I’ll see you sometime at the foot of the great mountain! We’ll climb it together and talk of many things

[2] The Map / Territory problem is well illustrated by Borges and Lewis Carrol. Borges succinctly and Lewis Carrol in a longer meditation, outlined the problem of maps, scale, and representations.  The problem was more formally described by Alfred Korzybski – but the conclusion is that to accurately represent a territory the scale needs be greater than 1:1. For a martial artist that would require experiencing combat as ‘training.’  Augmented reality training is the logical next step and is in development – VIPE. But it is impossible to train for every scenario and therefore we will never remove the fog of war. The uncertainty and unpredictability of every encounter requires that success is always achieved through adapt, improvise and overcome.