PAIN AS A TEACHER

I learned of Abraham Wald from Jordan Ellenberg’s How Not To be Wrong.[1] It is a story well worth reading because it provides a poignant reminder of the power of thinking critically. During WW2, Wald was part of the Statistical Research Group working through real-time problems to make strategic decisions. Among the questions posed to the group was where to add armor on airplanes to improve their survivability. The data set provided showed the damage was not uniformly distributed – there were more bullet holes in the fuselage but not as many in the engines. Wald made the key observation, put the armor where the holes were not as frequent: the engines. His insight was that the returning planes showed which types of damage they can survive, therefore the missing planes must have sustained damage to the critical areas; where the bullets did not hit on the returning planes. The engines. Obvious once someone points it out.

A widely reproduced visualization of recorded wartime damage to US bombers. Martin Grandjean (vector), McGeddon (picture), Cameron Moll (concept), CC BY-SA 4.0.

This story reminded me of a great post by Mark HatmakerVia Negativa – the power of learning from the negative. In that post, Mark quotes Njal’s Saga “Let another’s wounds be your warning.” You should read Mark’s posts since he takes that lesson down a different path, but let us focus on the mundanely obvious:

The first rule of combat is don’t get hit. [2]

Chiba sensei in one of his more imprudent moments was trying to impart this lesson by repeatedly striking a student shomenuchi. Collapsing through the student’s attempt to block, Chiba hit the student with the admonishment “Do you understand?” Only to break through again and again. The point he was trying to drill home was don’t try to block or ‘receive,’ the prime directive is to not be in the way of the strike. Obvious once someone points it out. And a lesson I learned through the wounds another suffered.

Positive reinforcement is better than criticism – or so I have been told. Positive and safe environments are certainly better for student retention and therefore good business, but I wonder if a safe environment is the most conducive one to learn combative arts.

Read about any celebrated martial artist and their experience was inevitably traumatic. Training in the past was always more brutal, more difficult, more challenging than it is today. Read broadly enough and it all sounds the same: “When I was a kid we walked to school backwards in the snow with no shoes…” But there is a profound truth in the hyperbole of these stories: deep learning will be painful. Acute pain used to lock in a lesson.

I recall reading somewhere that often among non-literate people of Medieval Europe an important contract would be witnessed by a young member of the community who was then subject to severe pain to cement the memory. That person would then be a longitudinal recording device of the agreement. Although I cannot find corroborating research, it does comport with my own experience that in the martial arts context, some of the more enduring and important lessons I ever learned were because I was either emotionally or physically damaged in learning them.

Early in my career during one of Mulligan sensei’s classes, I kept asking him clarifying questions. I was looking for positive feedback, that is: I wanted him to explain how to do the technique. Finally tired of my pestering, Mulligan sensei turned suddenly, came over to me, had my uke sit down, and he proceeded to throw me vigorously and continuously for several minutes. He then bowed curtly and walked away without saying a word more. Although I was well conditioned and inured to normal training trauma, there was a psychological sharpness to the lesson. The harsh crisp throws, the silent pounding forcing me to learn for myself. “Do you understand?”

It is far easier to forget the “this is how to perform this action” lectures than those actions that dislocated my shoulder. We can learn much through the negative. Don’t do that ever again can readily start to inform your body on how to perform the action correctly.

Fear as performance enhancement.

Watching my older son is instructional for me. He loathes informal pick-up games with neighborhood friends and only thrives in tournament. Why? There is nothing at stake when playing with friends. He needs the competition, for something to be at ‘stake’ for it to be a real or worth playing. More tragically, some who experience combat need that continued threat to feel alive: watch The Hurt Locker again (or for the older readers The Deer Hunter). The thrill of gambling, the need for something to be at risk to make the event meaningful or memorable. It is only the spectrum of risk that makes us healthy or not – but the simple fact remains: we must risk to feel a genuine reward.

Our failures can become our greatest sources of pride when we return battered but alive and wiser for it. Later to recount the tale sitting at a table sharing stories over drinks among the comfortable companionship of friends: esprit de corps. These stories can be used to create hierarchy (who suffered the most at the hands of the noblest adversary) but listen carefully and one should learn how to avoid ever being wounded in the first instance.

Humans have a strong aversion to loss. And perhaps that is part of the key to negative lessons. Perhaps we have to lose to learn deeply.[3] By paying attention to the stories of the survivors we can (should) learn from their example. Learn from the wounds of another. And just as critically do not fear those wounds you may sustain in your training. Use them as deep learning experiences, learn how to avoid making those same mistakes.

Experience is something you get, shortly after you need it!

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It is easy to reduce everything to trite aphorisms. Pain is temporary, quitting permanent, etc. Do not avoid the depth of the stories. Odin sacrificed an eye for received wisdom.[4] Pain is the great teacher if you survive the lessons. The shaman learns to see beyond through scourging and depriving the body. Pain and suffering create art. The trials and temptations Christ suffered in the desert. And as Guatama Buddha concludes – pain is inevitable but suffering is not. Pain transformed becomes wisdom. Fixate on pain and all you have is suffering.

odin-eye
Odin one-eye

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[1] Ellenberg’s talk at the Royal Institute Royal Institute. Excerpt from his book.

[2] Don’t get hit. Scars are visible evidence of surviving combat. Among upper class German and Austrian academic fencers in the 1800s proudly bore scars from Mensurschläger (or simply Schläger, “hitter”) bouts. Schlager matches used specially developed swords, confined movement and the primary target was the head – with the goal of a wound. These honor scars were visible proof of bravery, but Ed Parker quipped that all a scar did was prove you got hit.

[3] Economics and evolutionary psychology: Kahneman and Tversky. Overview articles >here< and >here<

[4] Loss of an eye. To ‘turn a blind eye’ is attributed to the story of Lord Nelson. Hear it from Paul Harvey >here< where then Vice Admiral Horatio Nelson purposefully ignored the order to retreat during the Battle of Copenhagen (1801).

KIAI

Kiai (気合)

I have mused openly in the past about the disappearance of the kiai from Aikido.  O’Sensei was reported to have a very powerful kiai that could be heard from miles away. Traditional arts continue to employ kiai, so why the downplay in Aikido?

O Sensei kiai and kotodama video

Kiai is ‘simply a shout,’ the forceful inner and outer projection of kokyu (controlled breathing), but it has applications, physical and mental, and spiritual. Kiai is generated by using fukushiki kokyu, deep abdominal breathing, and ki ryoku indicates the level of the practitioner’s coordination of body and mind. It is a perfectly concentrated burst of energy, only part of which is audible. It is, therefore, very easy to find mystical nonsense regarding kiai (video and narrative) that extol kiai as if it were an end unto itself. Nevertheless, for an American pragmatist, kiai can remain a critical aspect of training.

Traditionally, kiai is uttered when performing an attacking move.

O’Sensei in the “Secret Teachings of Budo”

#33     Master the voice that shouts “Yah” / See through to reality / Remain unmoved by the enemy ploys

This is tradition codifying sound physiology and psychology.

Physiology first: striking power is maximized through fluid motion combined with tension at the proper moment. Fluid because it will increase speed and tension because your fist/sword must convey the force effectively. Look to that sweet science of modern boxing. Note the timed short sharp exhales on the strikes. Power is amplified when breathing out. Simply try punching a heavy bag on an inhale cycle. Then try again with an exhale. Nothing mystical, just an acknowledgement of human physiology. It is an important skill – just like controlled breathing when taking that long-range rifle shot.  So the kiai at the moment of maximum exertion reflects the kill stroke in the kata – a denotation: “this is when it happened.” This is exemplified in modern kendo which requires a good kiai for scoring.

Traditionally, this use of kiai is chu kiai, also called kakegoe or a kiai at the moment of impact, is deployed during the attack. Physiologically, the body is tensed against impact (exhalation). The kiai tightens the lower abdomen, diaphragm and intercostal muscles. The actual moment of focus is called kime and the attack at this time is called kimete, or deciding blow. The sound associated with chu kiai is ‘Sa!’ The culmination of many traditional forms conclude with a go kiai. This kiai is given after a technique to signify the intention of continuing combat if necessary, as well as continued intimidation of an opponent. The sound associated with go kiai is ‘To!’

But for me it isn’t the proper spirit that is primary, rather good physiology and logic: you must breathe out during strikes and throws and during movement. Try another simple experiment: try moving laterally quickly while breathing out, easier to do breathing in. In class with the sword I remind people, breath in while raising the weapon, out while striking. Punch the same way.

As an observation, even a well condition athlete who is new to training a martial art can easily find himself ‘winded’ during class. Why? It isn’t lack of cardio conditioning. It is that the pattern of breathing is wrong. Under stress people hold their breath or fail to breathe. One needs learn how to breathe properly to remain relaxed and also prevent oxygen deprivation. Therefore, incorporate kiai as a reminder to breathe properly. (And by showing exactly when to strike and breathe out, it forces the next cycle of breathing in.)

And what about the psychological impact? No matter how muddle-headed marketing wants to portray it, these are combative motions we train. As such, we need to recognize that combat is traumatic and scary. If you do not agree I submit you are either (1) a psychopath or (2) deluding yourself.

Therefore, the primal reason for kiai is a battle cry. A rebel yell. A galvanizing tool to simultaneously invoke uncertainty or fear in your enemy and instill moral courage in yourself and comrades. The initial kiai, is the sho kiai. Sho kiai is given before an attack to startle the opponent and to bolster one’s courage. The sound associated with sho kiai is ‘Ei!’

So what to make of those stories of the mystical power attributed to the shout of any given martial artist in the past?[1] I believe them insofar as I too have been out-psyched by teachers. Some of it is an artifact of training (in this context, the well-documented phenomena that humans attribute more perceived power to those in a position of hierarchical authority), but some of it is genuine recognition that this other person has more force of will. The Importance of Winning is real. A kiai is a simple vocalization of will. And sound has a powerful impact on us as humans. Think of the power of music.  There is a great deal of literature out there on the reasons – go back and read Pythagoras to delve the mystery if you like, but suffice to say that sound can be weaponized. Have you paid attention to what happened in the US embassy in Cuba?

To continue with heretical thoughts: so why no kiai in modern Aikido? Marketing. The older instructors still used kiai, but the generation taught by Kisshomaru Ueshiba less so. Much like shedding kotodama and the more esoteric aspects of O’Sensei’s training, I think it was done to make Aikido more accessible to a wider audience: layer in old-school misogi training, add a dash of Oomoto religion and the attendance rate drops and your cult status rises. Frankly I think it was a shrewd business decision to help expand Aikido’s appeal to an international (and largely non-Japanese) audience.

There are sound reasons to incorporate kiai into training. But blind tradition is not among them.

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[1] Of course I go back to the Ancient Greeks for inspiration and provenance: Diomedes in the Illiad was know to have a powerful war cry and both the Hellenes and Akkadians entered battle shouting “Alala” (Ἀλαλά “battle-” or “war-cry”) which is reported to mimic the sound of an owl, but also refers to the goddess Alala who is the battle-cry personified and is the daughter of Polemos – a minor god of war. In The Western Way of War, Hanson describes the sounds of battle, the limitations imposed by the Corinthian helmet on hearing and makes only a brief mention of the war-cries that he transcribes as elelelen (1989:149).

As a research suggestion, it seems that Western tradition might be at a higher pitch – be far shriller – than the Eastern traditions. If the ancient Greeks sounded like owls, and if Confederate soldiers yelped like coyote – it appears the eastern kiai is a low resonance, lower frequency shout. The high-lung vs low belly sourcing of sound?

A discussion with Master James Keating on this topic:

“Kiai that goes high note (bird sounds, screechs) cause the opponent to lighten, to rise, float even. Done close, right in the ear perhaps. Kiai that go low, bass growl w/ gesture low, cause enemy to sink, become heavy, induce fear (Infra-sound, tigers growl, vibrate). Face on – Don Angier knew a lot of this stuff. He knew my teacher David Harris, and Bernie Lau as well.

In silat, in some healing cults and animal training magicians = a shared trait – the breath is used as would a ki-ai. I mean like blowing out a candle or blowing a kiss to someone. Quiet. / IE: Air – a puff of air. Oddly enuff this is rarely spoken about. But it works well, beyond just some asshole blowing their breath in yer face, when seen metaphysically it is magic in a pure form. The breath – goes right in them, they feel it. It carries your mental command(s). Air, sometimes from a powerful blow which is deliberately held back a little and just the wind (force wave) hits the enemy in the face – so different it catches one off guard. They stop, daze-up and re-consider. An act of power, without power it’s just air and shall do nothing, personal power is a must in this game – the force behind the flow, the flow within the force.”

Further reflections from Master Keating:

The Voice is a martial power unto itself. To use the voice in training has always been a big piece of many martial arts. From cadence count to kiai-jitsu it is an element of training that not many approach in today’s MMA dominated world. Kiai is no longer used as much as it once was. Kiai not only serves as a ‘spirit shout‘ but as a form of breathing as well. This type of breathing can be done in a variety of ways. Kiai can be of a hissing nature, a sharp bark, a high pitched whistle, a low animal growl. 

Some kiai cause a drop in the arterial blood pressure. Others can make a man go physically weak for a few moments in time. Of course we all know that a sudden noise can startle. But kiai can go beyond that mere effect. A kiai can help tighten muscles and deaden the force of a blow. Threat and faking can be produced from the kiai (spirit shout) as well. This is a sound based illusion, a seemingly real attack, but only sound. Physical attack first, retreat and use the voice as a fake, then attack with physical force and kiai together. A one, a-two, a-three type of setup. Force, confusion, illusion, sound and threat. Get’em now mate! Kiai is valuable when used right. When used poorly or over-used, it becomes cheesy and beginner-ish. Kiai controls pain too. Why do you think they teach women to breathe in certain ways during the birthing process? Pain control is why. Muscle control and concentration too. Stamina!

Weak kiai is also worthless, half hearted grunts & oinks simply won’t cut it. It invites a beating – learn to hiss and roar, breath fire and shit burning coals. Kiai gives many men courage. Breathing in the correct manner during actual combat sounds demonic to the untrained ear and mind. Chilling & threatening. And yes, if some loud noise surprises you or if someone uses a kiai against you, be sure that you immediately kiai (scream) back – fast and strong. Counter the effects of their shout by mirroring them, scream back even louder than their shout! Back at ya dude!  Voice and kiai can become a sonic attack. Do some actual damage. This requires years of training the voice. Start slowly, you can fuck your voice up by over doing it. Slow and easy, build your voice power. It was said that the Aikido Master Tohei Sensei practiced his kiai in the mornings. Just as he would practice any technique. Intonation, kiai, mantra and chant – all equal breath & voice power. Some out there will point out that real Tai Chi doesn’t use any spirit shouts, just silent breathing. Ok, but then explain Tai Chi’s “hen and ha” sounds – yes, important elements many tai chi players today leave out. But why? What about each organ having a sound, tonification is the idea. Sound – vibration. Vibration is just about everything that exists!

There are some universal breathing forms out there. Iron thread set, san chin, tensho, go cho kuen, yogas praniyama and more. I’ll say again, voice and breath are partners. Some think that Sanchin kata is a form which only certain types of Okinawan karate use. But, Kung fu also uses the Sanchin form. Here is an interesting comparison between Kung Fu, Karate and its variations. I have done Sanchin & Go Cho-Kuen since I was a boy. White Crane as well. So these sets and the breathing they teach are my friends. I could go on and on about how they develop you. How they change your physical body – similar to the I-chin-ching muscle change classic. 

Here are some further insights you may find helpful. Then again, some will not, they will mock this stuff as the fools they are. So be it then, no offense taken. 

KATADORI MENUCHI

Kata dori menuchi must start with a proper grab >review< to set the logic of the encounter. Uke initiates the action by grabbing the nage’s lead shoulder (because it is closest) and performs an overhead strike (shomen uchi) with the back hand.

Although nage’s shoulder is grasped, the arm remains free to move. Watch Yamada sensei >here< as a good reminder on immediate responses (starts at 0:55), but for pedagogical simplicity, we explored only the direct intercept where nage receives uke’s strike by raising the grabbed arm so that the encounter is a RvR encounter.

The timing and sequence of actions is important. As a training exercise simply being able to remain stable and balanced as uke grabs the shoulder and draws nage forward and down is an invaluable lesson. Nage must be well-connected to the ground and have a tight hara to resist the grab attack. Next as the overhead strike is delivered, nage must intercept the arm by shooting in. There are three basic times for nage’s response. In superior time, nage strikes uke as soon as uke grasps the shoulder – this forces uke to block nage’s strike. In proper time (the kihon presentation), nage will anticipate the strike and be able to execute ikkyo omote. With inferior time, nage is responding to uke’s descending strike and must turn ura to escape the hit.

Starting with tanren geiko to develop proper grounding, uke starts with the grab and both players match the strikes to ensure good dynamic tension. Uke should be applying two vectors of force – a downward descending draw on the shoulder and then a constant vertical force toward nage’s head. To resist those forces, nage’s raised arm needs replicate a sword (the unbendable arm concept). This locks the players into dynamic tension. From that state of tension both players are engaging good kokyu.

By starting from a point of tension, both players can start to feel how and where the axis of the encounter is created. Nage will have to adjust his arm to keep tension without allowing uke to dominate and collapse the structure. Both players will have to use shinkokyu movements, shifting their centers slightly forward and back and rotationally through their hips to keep good dynamic tension. Each equally is responsible to better develop each other’s center (hara).

After establishing a good base contact, the first exercise. Nage will need to shift forward to destabilize uke (take their center) creating a rebounding energy when uke then comes forward again. At that moment, nage turns his hips in place and drops to one knee

kata menuchi 3.jpg
Kata dori menuchi kokyu nage

while keeping the arc of his arm to throw uke forward.

Kokyunage is foundational because it forces a constant dynamic tension throughout the entire encounter. Should uke release tension, nage should immediately strike either throat or groin (bunkai). Should nage release tension, uke will strike men (the head) because that was always uke’s intent.

kata menuchi 1.jpg
Shomen or atemi – same problem to solve

The in-place hip rotation forces nage to learn to avoid the strike with a tight arc of movement. This use of the hips will allow for more subtle responses in ikkyo.

Katadori menuchi ikkyo is the progression. With kokyunage, nage learns to receive the pressure of uke’s attack. With ikkyo, nage must control the encounter. The subtle rotation of the hips can lead uke forward (receiving), or shinkokyu entry can shift uke back (dominate), or nage can soften his knees (breaking plane), or all simultaneously to disrupt uke’s attack. These refinements of response can only be learned through time on the mat. For ikkyo, nage should receive uke’s strike with the flat of the blade (the back of the forearm) and only after nage disrupts uke’s balance should nage return uke’s cut with the shyuto (edge out). The combination of a horizontal dissipation/return with the hips plus the camming action on the arm creates the power of ikkyo.

The ‘ura‘ variants are nothing more than a continuity of motion created by uke’s superior pressure or speed. Nage must absorb the energy by moving with the strike to avoid being hit.

From katadori menuchi ikkyo ura, we flowed to iriminage. In terms of levels of training, the kihon presentation should show large arcs of motion. In and up to receive the initial strike, rotate and down precipitously to draw the response, up again as uke recovers, then nage rolls over the arm to reverse the direction. As nage develops sensitivity and control, the arcs become smaller and less perceptible – with only enough changes in pressure to elicit a response from uke which dictates the responses to lead to the conclusion of the throw.

But all these distinctions are necessary fictions of pedagogy. Each lexical marker (ikkyo, ura, irmi, etc.) is trying to provide a framework to better understand a logic chain. The ultimate goal is to respond ‘appropriately’ which means dictating the encounter from the start.