| The roots of Asian society lie in the careful attention | | | | first to be attuned to the unconscious. |
| given to reflective thought on the needs of all | | | | If one really wishes to be master of an art, technical |
| society and in the conscious development of effort | | | | knowledge of it is not enough. One has to transcend |
| as a process of spiritual awakening or enlightenment | | | | technique so that the art becomes an 'artless art' |
| (kaigan) for everyone, working in relationship and | | | | growing out of the Unconscious." Herrigel Zen in the |
| harmony (wa). This is embedded in the East and is | | | | Art of Archery |
| particularly visible in Japanese culture. | | | | Moral Philosophy and Spiritual Foundation |
| Traditionally, the teaching of classical Okinawan | | | | In modern times, far too commonly, there is no |
| karate also integrated the principles of kaigan and wa | | | | explicit discussion of the philosophical and spiritual |
| and was imparted through close one-to-one care, | | | | foundation alive in karate practices, leaving the |
| attention and guidance given to a student by a | | | | learner inarticulate about the effect this has on ones |
| master teacher. This was central to the teaching | | | | life. There is much to be gained by the conscious |
| tradition of the old karate masters and formed the | | | | prompting of discussion in this area in view of the |
| core of the karate Program. | | | | fact that karate's origins dealt not only with conflicts |
| Master Teacher Defined | | | | restricted to situations resulting in physical aggression |
| As with many words, common use of the term | | | | but sought to confront internalized conflicts so that |
| teacher has steadily robbed it of any depth of | | | | the learner could strive to overcome their fears, |
| meaning. It pays to examine it more closely, and in | | | | doubts, and inhibitions. |
| particular to go beyond the term teacher and | | | | What was true in the beginning is still true today, i.e. |
| understand what lies hidden in the further term | | | | that the development of the inner self develops |
| master teacher. The simple definition of a teacher is | | | | personal humility, respect and tolerance for all things |
| that he (or she) instructs another in one or several | | | | of the universe and it is through this austere training |
| subject matters. A teacher has achieved fluent | | | | that the learner is able to avoid life's obstacles and |
| control of their area of expertise and they have | | | | overcome insurmountable odds in order to live happily |
| established an effortless relationship with the | | | | and without conflict. This is the true pursuit of |
| materials, processes and outputs of their chosen field | | | | classical Okinawan karate study. The roots of this |
| and are able to communicate this to others. A | | | | practical philosophy lie in the Japanese concept of |
| master teacher is something more. A true master | | | | Shugyo, the dynamic interplay of patience and |
| teacher has progressed beyond this to a deep | | | | humility. |
| understanding of humanity itself so that he/she is | | | | Stages of Development |
| able to see what needs to be nurtured and at the | | | | In classical Okinawan karate learners go through |
| same time deeply understands and can guide the | | | | three phases of development. This development is a |
| learner through the process of struggle, learning and | | | | protracted endeavor which many people never |
| growth that yields maturity. He can grow future | | | | achieve, and which master teachers would say |
| teachers and indeed future master teachers. The | | | | repeat and never end. The processes of growth are |
| result of a teacher's work is output. The result of a | | | | slow and the phases of development have to be |
| master teacher's work is people. | | | | nurtured over time. The three phases of |
| Whereas a shogakusha, beginning learner of classical | | | | development are known in Japanese culture as Shu |
| Okinawan karate sees the art as a practical means | | | | Ha Ri. |
| of self-defense and as a method to condition the | | | | While starting from Confucian roots teaching in Japan |
| body, a master teacher understands that classical | | | | has been substantially shaped by Zen practice. In |
| karate is a path of life and philosophy that both | | | | particular the teaching of classical Okinawan karate is |
| teacher and learner pursues in the search for | | | | structured through the shu ha ri cycle of minute |
| enlightenment. In Japanese this is referred to as michi. | | | | attention to detail, the development of complete |
| The master teacher strives at his art, for it to | | | | technical fluency and then an alert responsiveness to |
| always carry the light. He strives at himself, for his | | | | circumstances very analogous to Zen learning |
| virtue to be capable of the task. His teaching is a | | | | emphasizing the closeness and subtlety of the |
| calling. | | | | master/student relationship and its longevity, through |
| Master teachers carry this practical philosophy in two | | | | repeating cycles of action and reflection over time, in |
| ways. Firstly there is a dimension of sacrifice evident | | | | a three-fold learning process. |
| in their teaching, sacredness both in process and | | | | Shu ha ri as a learning process which goes from |
| product (Latin: sacrificio - to make sacred) so that it | | | | superficial to profound to superficial, so that there is |
| definitively carries life's meaning. Then there is evident | | | | first a external understanding based upon learning |
| in themselves a powerful ascetic self-control. They | | | | rules by rote; the second stage involves expanding |
| work a long way beyond being self-centered. (Latin: | | | | the learning to various applications and situations, in |
| virtus - strength. Virtue - to have the clarity of soul, | | | | order to deepen; and the final stage is superficial |
| the strength of soul, to hold to what is right and not | | | | again, as one reaches the ultimate phase all |
| let go.) | | | | attachments are severed and one is completely |
| Essence of Classical Okinawan Karate | | | | emancipated. This emancipation, however, leads one |
| Classical karate is an art that embodies physical | | | | back to the beginning and the foundations of his |
| practice, theory, and ethics (moral philosophy and | | | | education. The final phase brings one back to the |
| spiritual foundation). In the initial stages, most classical | | | | first steps of learning the rules, but now the rules can |
| karate instruction concerns itself with physical | | | | be understood from a perspective of freedom, in |
| practice and theory, with ethics being revealed in | | | | that they are applied not through unquestioning |
| time, under the careful guidance of a master teacher. | | | | replication but through an understanding of their |
| Physical Practice and Theory | | | | inherent wisdom. |
| The physical practice and theory involves learning and | | | | In this context, the responsibility carried by the |
| integrating a broad range of fundamental physical | | | | master teacher for formative guidance - for care and |
| skills as well as the underlying physiological and | | | | respect for the person being guided - and the |
| psychological principles upon which the self-protection | | | | responsibility of the student to try to give life to the |
| arts rest. | | | | guidance of the master teacher - a reciprocal caring |
| The physical practice and theory of classical | | | | and respect - is tangible. But so is the Japanese view |
| Okinawan karate encompasses a core curriculum | | | | of life as a learning process of growth towards |
| designed to ensure that the learner achieves the | | | | aware maturity, in which activities are always worked |
| highest level of skill for its intended utilitarian purposes | | | | at for their spiritual content. |
| i.e. the simple yet effectively brutal self-defense, | | | | Précis |
| while at the same time nurturing the active direction | | | | The heightened empathy, seeking out the root |
| of attention to the philosophical and spiritual aspect | | | | causes of things, and realizing its potential for good, is |
| of the art. | | | | at the heart of classical Okinawan karate. These |
| While the immediate output of physical practice and | | | | building blocks are central to the teaching of classical |
| theory is effort, it always has internal as well as | | | | Okinawan karate. Sensitivity to the detail of |
| external results. Dedicated training requires internal | | | | circumstance has to be combined with the |
| effort, developing the self-control necessary to | | | | observations of others captured from their |
| master a skill for instance, which results in the internal | | | | experience and passed on as advice. Out of the |
| competence to be able to apply that skill. In all | | | | struggle of this combination process comes |
| growth processes the internal stages occur unseen - | | | | enlightenment. In all this the experience is primary, as |
| below ground - and a master teacher will nurture that | | | | much of what the master teacher is passing on can |
| process, feeding the roots. What flowers comes later | | | | only be passed on in context. Competence cannot be |
| are of its own accord, i.e. the internal always | | | | developed in abstract. It cannot be taught in a |
| precedes the external, and patience is essential | | | | handing over information in a classroom sense, |
| because time is the true judge. | | | | because it is not abstract information. It is a set of |
| While physical practice and theory provides for | | | | dynamic skills, alert sensitivity and well-honed |
| technical competency, it should not be seen as an | | | | responses to circumstances that has to be |
| end in itself. The core mission of physical practice and | | | | developed in guided practice. |
| theory is to provide a conduit in which human growth | | | | This provides a framework for the master teacher |
| occurs and where the meaning of all things is seen in | | | | to impart and teach classical Okinawan karate. |
| the context of the whole and thus each thing is done | | | | Specifically, it highlights the real responsibility of the |
| for its intrinsic value, a process in which both the | | | | master teacher as an archetype and catalyst, not |
| master teacher and learner express themselves, | | | | simply as a custodian of information. |
| listen, absorb, respond, and find themselves | | | | The following quote captures the spirit of teaching |
| incrementally enlightened through their relationship. | | | | classical Okinawan karate very effectively:- |
| "One of the most significant features we find in the | | | | It is as though the master had said to him, "I can tell |
| practice of archery, and in fact of all the arts as they | | | | you there is something you need to know, and with |
| are studied in Japan and probably also in other Far | | | | my help you may be able to learn it. But I cannot tell |
| Eastern countries, is that they are not intended for | | | | you what it is in a way you can now understand. I |
| utilitarian purposes only or for purely aesthetic | | | | can only arrange for you to have the right sorts of |
| enjoyments, but are meant to train the mind; indeed, | | | | experience for yourself. You must be willing, |
| to bring it into contact with the ultimate reality. | | | | therefore, to have these experiences. Then you will |
| Archery is, therefore, not practiced solely for hitting | | | | be able to make an informed choice about whether |
| the target; the swordsman does not wield the sword | | | | you wish to continue. If you are unwilling to step into |
| just for the sake of outdoing his opponent; the | | | | this new experience without knowing ahead of time |
| dancer does not dance just to perform certain | | | | what it will be like, I cannot help you. You must trust |
| rhythmical movements of the body. The mind has | | | | me. |