Description
Violence is too often portrayed as a heroic cultural ideal, one that accepts fighting as an honorable solution to conflict. This attitude has allowed human beings to justify solving the problems of relationship by aggressive, combative means. Karate, as a martial art, is meant to be practiced as an art, as a way to end conflict by nonviolent means, not just by having the confidence not to fight, but, more important, to end conflict at its source within the human mind. This paradoxical intent becomes clear when one begins to understand oneself, which the art of karate gives the student the opportunity to do. In understanding oneself, the student comes into direct contact with the origin of conflict, the foundation of violence. This confrontation with oneself is the essence of the art, the primary reason why serious people study karate. Karate: The Art of Empty Self is not a manual on self-defense. Nor is this work a philosophical or intellectual interpretation of the martial arts. Instead, this book clearly addresses, as no martial arts book has done before, the underlying intent of karate and the martial arts. In simple, straightforward language, it inquires into the roots of conflict.… (more)
Library's review
This book is for anyone seriously interested in understanding themselves. One doesn't have to practice the physical aspect of the art of karate to benefit from this book. The art of karate is simply a context for bringing attention to that which we call our selves. This context creates a framework
Violence is too often portrayed as an heroic cultural ideal, and that accepts fighting as an honorable solution to conflict. This attitude has allowed human beings to justify solving the of relationship by aggressive, combative means.
Karate as a martial art, is meant to be practiced as an art, as a way to end conflict by nonviolent means, not just by having the confidence not to fight, but, more importantly, to end conflict at its source within the human mind. This paradoxical intent becomes clear when one begins to understand oneself, which the art of karate gives the student the opportunity to do. In understanding oneself, the student comes into direct contact with the origin of conflict, the foundation of violence. This confrontation with oneself is the essence of the art, the primary reason why serious people study karate.
This publication is not a manual on self-defense. Nor is this work a philosophical or intellectual interpretation of the martial arts. Instead, this book clearly addresses, as no martial arts book has done before, the underlying intent of karate and the martial arts. In simple, straightforward language, it inquires into the roots of conflict.
-from the preface
Whenever you cross swords with an enemy you must not think of cutting him either strongly or wealkly, just think of cutting and killing him. Be intent solely upon killing the enemy. -Miyamoto Musashi,
To subdue the enemy without fighting is the hignest skill.-Gichin Funakoshi
There is a fundamental and dangerously different perspective contained in the above quotes; they are two contrasting ways of delaing with conflict; they are also the basis of two radically different approaches to the Martial Arts. One approach lays the foundation for violence and increased aggression under the guise of self-improvement, while the other nurtures self-understanding and intelligence.
The marial arts have been portrayed as deadly systems of self-defense techniques. We read of Musashi, the 'Sword Saint,' who at the early age of 13 killed a person, and went on killing over 60 people before his 30th birthday just to prove that he was invincible. We read other bizarre tales of incredible feats of prowess and strength by martial arts 'Masters,' such as the story of a well-known karate teacher who killed bulls with his bare hands to prove how strong his mehtod was. Many people want that power, that energy that seems to emanate from one who knows these fighting arts.
There is a great sense of powerlessness today. People are seeking more and more ways to get power, and the martial arts, especially karate, appeals to many. With its emphasis on aggressive fighing skills, and the fascination of mysterious knowledge from the East, it has become increasingly popular. And there are many martial arts magazines, schools and instructors who exploit this desire for power and for the arcane.
It seem to me that the traditional marial arts, the violent, military, egotistic, popularized, romantic view, is a devastatingly perverted misapplication of what in essence is a way of life devoted to developing sensitivity and understanding. Whereas many tradional martial arts are concernecd primarlly with lethal self-defense techniques, conquering and 'killing the enemy,
and proving one's self through competition, the art of karate is concerned with understanding violence, 'subduing the enemy without fighting,' thereby creating the means of going beyond conflict.
The word budo is a key word in the martial arts. It means literally, 'the way to stop the sword. It also means 'the way to stop conflict.' The word karate has come to mean 'empty handed,' to defend oneself without the use of weapons. Its deeper and more significant meaning from a Taoist and Zen Buddhist perspective means 'empty self,' with the emphasis on kara or 'empty,' Budo and the art of karate as a way to empty self are very similar. The similarity lies in the words conflict and self. In karate, as in most martial arts practiced world wide, the self, the ego, the 'me' has been glorified, and becomes powerful, dominating, undefeatable, invincible. Traditional karate uses fighting skills to develop this invincibility, thus creating a steely veneer, a calloused spirit of invulnerability. Lip service is occasionally paid to 'spirituality,' but actually most practices are really ways to fill one's self up, to inflate and toughen the ego under the guise of self-transcendence. Self-improvement is thus seen as self-enhancement, that is, self-centeredness, focusing inwardly on an image of self that is the root of conflict.
In the art of karate we find something radically different. although one may not see a difference on the surface, it is there. The main similarity of traditional karate to the art of karate is in technique. Both train vigorously in self-defense skills. Both derive confidence form these skills. But this where the similarity stops and the radical divergence begins. Where traditional karate begins and ends with techniques, the art of karate has just begun. The confidence gained in traditional karate comes from developing techniques. The confidence gained in the art of karate also comes form techniques , but it goes far beyond these skills; its intent is to develop an atmosphere of trust, of understanding. Without this much deeper and more comprehensive aspect of genuine self-enquiry, learning only self-defense skills causes one's practice or understanding to become unbalanced, destructive. Within the context of authentic self-understanding, self-defense skills may have a place, but if one's mistaken goal is to empower the dissociated self, the ego, then one is simply reinforcing fear, which compounds the problem of aggression and violence form isolated self-centered activity.
The art of karate is not a strategy, 'skilled management in getting the better of an adversary,' as the word is commonly understood in many traditional forms of the martial arts; nor is it a 'skillful means of attaining an end.' That way is the way of fear, of a cunning mind that is mischievous and detrimental. It is the seed of exploitative 'cutthroat' competition; it pits person against person in a struggle for dominance. The art of karate is 'non-strategy'-neither a way to get the better of anyone, nor a means to any end that the contrivance of self can create. It is rather a vehicle through which one can understand or have continuous insight into the causes of the breakdown of relationship, thereby bringing about simultaneously a sense of order, harmony and unity.
The intent of the art of karate is to give one the opportunity to discover who one is. The intent of the art of karate is to act as a mirror so that one can readily and non-judgmentally come into direct relationship with what is usually hidden and resisted. By creating a confident and trusting environment, it allows students to become aware of their pent-up aggressions, tensions and conflicts. Allowing everything that was hidden or resisted to be observed is the central most important aspect in the process of 'emptying self'; that is the heart of the art of karate. Where the traditional martial approach in karate fosters flexibility, suppleness and sensitivity. It allows one to be vulnerable-and, paradoxically, this is a great strength. Real power comes from being open, questioning, being susceptible to oneself and others. Only a false sense of power can come from feigning the image of confidence, the image of strength.
Contents
Introduction: The paradox
Foreword
Show More
by which one can readily explore the self in action.Violence is too often portrayed as an heroic cultural ideal, and that accepts fighting as an honorable solution to conflict. This attitude has allowed human beings to justify solving the of relationship by aggressive, combative means.
Karate as a martial art, is meant to be practiced as an art, as a way to end conflict by nonviolent means, not just by having the confidence not to fight, but, more importantly, to end conflict at its source within the human mind. This paradoxical intent becomes clear when one begins to understand oneself, which the art of karate gives the student the opportunity to do. In understanding oneself, the student comes into direct contact with the origin of conflict, the foundation of violence. This confrontation with oneself is the essence of the art, the primary reason why serious people study karate.
This publication is not a manual on self-defense. Nor is this work a philosophical or intellectual interpretation of the martial arts. Instead, this book clearly addresses, as no martial arts book has done before, the underlying intent of karate and the martial arts. In simple, straightforward language, it inquires into the roots of conflict.
-from the preface
Whenever you cross swords with an enemy you must not think of cutting him either strongly or wealkly, just think of cutting and killing him. Be intent solely upon killing the enemy. -Miyamoto Musashi,
To subdue the enemy without fighting is the hignest skill.-Gichin Funakoshi
There is a fundamental and dangerously different perspective contained in the above quotes; they are two contrasting ways of delaing with conflict; they are also the basis of two radically different approaches to the Martial Arts. One approach lays the foundation for violence and increased aggression under the guise of self-improvement, while the other nurtures self-understanding and intelligence.
The marial arts have been portrayed as deadly systems of self-defense techniques. We read of Musashi, the 'Sword Saint,' who at the early age of 13 killed a person, and went on killing over 60 people before his 30th birthday just to prove that he was invincible. We read other bizarre tales of incredible feats of prowess and strength by martial arts 'Masters,' such as the story of a well-known karate teacher who killed bulls with his bare hands to prove how strong his mehtod was. Many people want that power, that energy that seems to emanate from one who knows these fighting arts.
There is a great sense of powerlessness today. People are seeking more and more ways to get power, and the martial arts, especially karate, appeals to many. With its emphasis on aggressive fighing skills, and the fascination of mysterious knowledge from the East, it has become increasingly popular. And there are many martial arts magazines, schools and instructors who exploit this desire for power and for the arcane.
It seem to me that the traditional marial arts, the violent, military, egotistic, popularized, romantic view, is a devastatingly perverted misapplication of what in essence is a way of life devoted to developing sensitivity and understanding. Whereas many tradional martial arts are concernecd primarlly with lethal self-defense techniques, conquering and 'killing the enemy,
and proving one's self through competition, the art of karate is concerned with understanding violence, 'subduing the enemy without fighting,' thereby creating the means of going beyond conflict.
The word budo is a key word in the martial arts. It means literally, 'the way to stop the sword. It also means 'the way to stop conflict.' The word karate has come to mean 'empty handed,' to defend oneself without the use of weapons. Its deeper and more significant meaning from a Taoist and Zen Buddhist perspective means 'empty self,' with the emphasis on kara or 'empty,' Budo and the art of karate as a way to empty self are very similar. The similarity lies in the words conflict and self. In karate, as in most martial arts practiced world wide, the self, the ego, the 'me' has been glorified, and becomes powerful, dominating, undefeatable, invincible. Traditional karate uses fighting skills to develop this invincibility, thus creating a steely veneer, a calloused spirit of invulnerability. Lip service is occasionally paid to 'spirituality,' but actually most practices are really ways to fill one's self up, to inflate and toughen the ego under the guise of self-transcendence. Self-improvement is thus seen as self-enhancement, that is, self-centeredness, focusing inwardly on an image of self that is the root of conflict.
In the art of karate we find something radically different. although one may not see a difference on the surface, it is there. The main similarity of traditional karate to the art of karate is in technique. Both train vigorously in self-defense skills. Both derive confidence form these skills. But this where the similarity stops and the radical divergence begins. Where traditional karate begins and ends with techniques, the art of karate has just begun. The confidence gained in traditional karate comes from developing techniques. The confidence gained in the art of karate also comes form techniques , but it goes far beyond these skills; its intent is to develop an atmosphere of trust, of understanding. Without this much deeper and more comprehensive aspect of genuine self-enquiry, learning only self-defense skills causes one's practice or understanding to become unbalanced, destructive. Within the context of authentic self-understanding, self-defense skills may have a place, but if one's mistaken goal is to empower the dissociated self, the ego, then one is simply reinforcing fear, which compounds the problem of aggression and violence form isolated self-centered activity.
The art of karate is not a strategy, 'skilled management in getting the better of an adversary,' as the word is commonly understood in many traditional forms of the martial arts; nor is it a 'skillful means of attaining an end.' That way is the way of fear, of a cunning mind that is mischievous and detrimental. It is the seed of exploitative 'cutthroat' competition; it pits person against person in a struggle for dominance. The art of karate is 'non-strategy'-neither a way to get the better of anyone, nor a means to any end that the contrivance of self can create. It is rather a vehicle through which one can understand or have continuous insight into the causes of the breakdown of relationship, thereby bringing about simultaneously a sense of order, harmony and unity.
The intent of the art of karate is to give one the opportunity to discover who one is. The intent of the art of karate is to act as a mirror so that one can readily and non-judgmentally come into direct relationship with what is usually hidden and resisted. By creating a confident and trusting environment, it allows students to become aware of their pent-up aggressions, tensions and conflicts. Allowing everything that was hidden or resisted to be observed is the central most important aspect in the process of 'emptying self'; that is the heart of the art of karate. Where the traditional martial approach in karate fosters flexibility, suppleness and sensitivity. It allows one to be vulnerable-and, paradoxically, this is a great strength. Real power comes from being open, questioning, being susceptible to oneself and others. Only a false sense of power can come from feigning the image of confidence, the image of strength.
Contents
Introduction: The paradox
Foreword
Show Less
ISBN
942941047
Publication
Martial Arts for Peace Association Middlebury, Vermont