Zen in Kata
So I wrote my first essay. I'm shocked at how well this came out; it expresses a concept I've never really thought much about, and has opened my eyes to a lot more about karate than I've ever thought it would. I hope you enjoy reading it as much as I've enjoyed writing it.
Zen Concepts in Kata Kankū-dai
By Matt Hanlon
Kankū-dai, or 'view the sky', begins with a simple technique that lives up to the name of the kata; one places their hands slightly below their navel with arms outstretched, with the tips of the thumb and index fingers from either hand touching. This triangle that is formed then comes up to head-height, pauses, then goes up further with the eyes and head following it, before the triangle breaks and the rest of the kata continues. This, ostensibly, has the simple meaning of explaining the name of the kata, for one does indeed look to the sky when this move is practised. This kata is the 'master kata' of the Shōtōkan karate style; with many moves taken from the seven previous kata of the Shōtōkan syllabus, it has deep traditional meaning for practitioners of the Shōtōkan style and serves as a benchmark for their understanding and skill in their art.
This, however, has an additional representation that can potentially be derived from such a simple technique. The concepts of Zen as applied to the martial arts revolve around three major concepts which ultimately form the highest state of Zen consciousness: mushin, or no-mind, the state in which true calm is achieved; where the practitioner thinks with total clarity, fixed on nothing and open to everything, and reacting to a given situation with freedom and flexibility without conscious thought. To induce the state of mushin, there are three mental states which form its basis: zenshin, the preparatory mind, tsushin the concentrating mind, and zanshin, the remaining mind. Each of the three rest stops represents one of the key concepts of each of the mental states, like the three points of a triangle - the same shape that the hands form while moving through the three positions. Mushin can easily be described as a triangle with a triangle at each of its points; three concepts together making a greater concept, and then those greater concept forming the ultimate goal.
While, originally, Gichin Funakoshi-- the founder of the Shōtōkan karate style-- had to reinforce a do, or 'spiritual way' as part of karate when he brought it to mainland Japan, the spiritual aspects that were originally championed such as Zen have gone largely ignored in the modern-day martial arts. A study of these aspects reveal that it is important to keep them in mind in order to form a a more thorough knowledge of kata and the martial arts in general, but also to form a philosophical understanding of not just the 'how' a kata is performed, but also the 'why', with deeper meanings and roots than bunkai (applications of technique) typically show.
The three rest stops of the hand come with their own meanings and representations, as well. The first positioning of the hand is the lowest, slightly below the navel. In Japanese traditions, this is known as the 'hara', or simply belly. It has strong roots in martial arts tradition as not only being the body's physical centre of gravity, but also the source of all vital spiritual energy, or 'ki'. The second positioning is in front of the face, where a forward-looking practitioner will stare directly through the triangle; this encompasses a wider view of the world around them, taking in all form about them, representing a physical world. Finally, the rest point above the head represents not only a continual flow of energy and the acceptance of the greater mind into the world, but also a look to become as the divine beings with mental, physical and spiritual harmony.
Zenshin is the first triangle. It is the 'preparatory mind', meaning that which the martial artist must do as part of everyday life in order to enjoy a balanced lifestyle and improve themselves as martial artists - thus, preparation for life. This is the triangle of 'shin-gi-tai', or 'mind-spirit-body'. The lower positioning is that of gi, or the spirit. As the hara is the core of spiritual energy, this meaning is easy to derive; simply that the hara must be utilised effectively. The second point is the representation of tai, or body; not only must the body be prepared through fitness and nutrition in order to remain healthy, but conditioning training in order to prepare the body for the rigors of martial arts be followed, as well. Finally, the high point is representative of shin, or the mind. The martial artist must train with the correct mindset, a willingness to learn, a respect for their sensei and fellow students, and act with both humility and dignity.
Tsushin, or the 'concentrating mind', forms the second concept. The triangle of 'ten-chi-jin', or 'heaven-earth-human', represents the forces that the martial artist must understand and interact with as part of their strategy in combat and situational awareness. With the hands pointed low, the first position is indicative of chi, or the earth; this shows an understanding of territory and environment, demonstrating the area in which the martial artist must move about effectively, such as making use of terrain. With the hands in front of the eyes, taking in the people about them, the second rest point is the point of jin, or human forces. Interactions with humans and their environs are represented in this point, such as those the practitioner will encounter during their performance of the kata. Finally, the high point, staring at the skies - or, otherwise written in Japanese, the heavens - is written as ten, the kanji representative of heaven. This connotes atmospheric, or weather conditions, as well as spiritual aspects; this point was far more reinforced when spiritual aspects, such as the meaning behind locations of clashes, was more crucial to battle. It does, however, also mean that aspects of belief and spiritual superiority play a key role in this triangle.
Zanshin is the final concept that is practised as part of mushin, and translates to 'remaining mind' - it is also described as 'perceiving with both the eyes and intuitive mind'. In most martial arts, this is understood as the basis of remaining alert throughout the execution of technique. Keeping balance and awareness throughout technique allows the practitioner to respond appropriately. It also encompasses awareness of position in the environment and the world around them, so that they are able to interact with people on various levels, such as socially, spiritually and politically. Each of the positions is representative of the three stages of zanshin in order. First lies the point of 'before' technique, where the martial artist must be ready to strike, forming their choice of target and understanding the mindset necessary to commit their attack. Secondly is the mid-point of 'during'; the acceptance of consequence of their technique, and the alertness required to adapt their attack to the situation as it evolves around them. Finally, the high point of 'after', in which the practitioner must be prepared to follow through, whether it is responding to an attack from another assailant, committing a second technique to the same target, or handling a renewed attack from the same attacker.
Together, zenshin, tsushin and zanshin form the concept of mushin. With total concentration of one's position in the world, without mental blocks in the way to prevent a full alertness and awareness, and with appropriate preparatory mentality, the martial artist may attain the state of no-mind in which they are completely prepared, focused and aware and can handle the situation as it develops without any mind-blocks to hinder their progress. As mushin is formed of the three mentalities below it, it is thus appropriate that the shape of a triangle is passed through the three points, which then is representative of each of the individual notions that form the mind-concepts behind them. Kankū-dai, therefore, demonstrates a full preparation as its master-stroke of the master kata, ensuring a martial artist is fully prepared for the challenges of their art and their life.
While most people do not consider the spiritual aspect of any kata, perhaps a further study into the concepts promoted by early martial arts is required to form a deeper perception of their art. It is through the aspiration to acquire mushin that one improves dramatically at their art, living by the principles which form the pinnacle of do. It is oft said that kata concealed secrets in order to hide true meanings from those who would misuse karate-do; this, perhaps, is one of them, leading an open mind to a deeper understanding of Zen concepts to achieve the proper mindset of martial arts.
Zen Concepts in Kata Kankū-dai
By Matt Hanlon
Kankū-dai, or 'view the sky', begins with a simple technique that lives up to the name of the kata; one places their hands slightly below their navel with arms outstretched, with the tips of the thumb and index fingers from either hand touching. This triangle that is formed then comes up to head-height, pauses, then goes up further with the eyes and head following it, before the triangle breaks and the rest of the kata continues. This, ostensibly, has the simple meaning of explaining the name of the kata, for one does indeed look to the sky when this move is practised. This kata is the 'master kata' of the Shōtōkan karate style; with many moves taken from the seven previous kata of the Shōtōkan syllabus, it has deep traditional meaning for practitioners of the Shōtōkan style and serves as a benchmark for their understanding and skill in their art.
This, however, has an additional representation that can potentially be derived from such a simple technique. The concepts of Zen as applied to the martial arts revolve around three major concepts which ultimately form the highest state of Zen consciousness: mushin, or no-mind, the state in which true calm is achieved; where the practitioner thinks with total clarity, fixed on nothing and open to everything, and reacting to a given situation with freedom and flexibility without conscious thought. To induce the state of mushin, there are three mental states which form its basis: zenshin, the preparatory mind, tsushin the concentrating mind, and zanshin, the remaining mind. Each of the three rest stops represents one of the key concepts of each of the mental states, like the three points of a triangle - the same shape that the hands form while moving through the three positions. Mushin can easily be described as a triangle with a triangle at each of its points; three concepts together making a greater concept, and then those greater concept forming the ultimate goal.
While, originally, Gichin Funakoshi-- the founder of the Shōtōkan karate style-- had to reinforce a do, or 'spiritual way' as part of karate when he brought it to mainland Japan, the spiritual aspects that were originally championed such as Zen have gone largely ignored in the modern-day martial arts. A study of these aspects reveal that it is important to keep them in mind in order to form a a more thorough knowledge of kata and the martial arts in general, but also to form a philosophical understanding of not just the 'how' a kata is performed, but also the 'why', with deeper meanings and roots than bunkai (applications of technique) typically show.
The three rest stops of the hand come with their own meanings and representations, as well. The first positioning of the hand is the lowest, slightly below the navel. In Japanese traditions, this is known as the 'hara', or simply belly. It has strong roots in martial arts tradition as not only being the body's physical centre of gravity, but also the source of all vital spiritual energy, or 'ki'. The second positioning is in front of the face, where a forward-looking practitioner will stare directly through the triangle; this encompasses a wider view of the world around them, taking in all form about them, representing a physical world. Finally, the rest point above the head represents not only a continual flow of energy and the acceptance of the greater mind into the world, but also a look to become as the divine beings with mental, physical and spiritual harmony.
Zenshin is the first triangle. It is the 'preparatory mind', meaning that which the martial artist must do as part of everyday life in order to enjoy a balanced lifestyle and improve themselves as martial artists - thus, preparation for life. This is the triangle of 'shin-gi-tai', or 'mind-spirit-body'. The lower positioning is that of gi, or the spirit. As the hara is the core of spiritual energy, this meaning is easy to derive; simply that the hara must be utilised effectively. The second point is the representation of tai, or body; not only must the body be prepared through fitness and nutrition in order to remain healthy, but conditioning training in order to prepare the body for the rigors of martial arts be followed, as well. Finally, the high point is representative of shin, or the mind. The martial artist must train with the correct mindset, a willingness to learn, a respect for their sensei and fellow students, and act with both humility and dignity.
Tsushin, or the 'concentrating mind', forms the second concept. The triangle of 'ten-chi-jin', or 'heaven-earth-human', represents the forces that the martial artist must understand and interact with as part of their strategy in combat and situational awareness. With the hands pointed low, the first position is indicative of chi, or the earth; this shows an understanding of territory and environment, demonstrating the area in which the martial artist must move about effectively, such as making use of terrain. With the hands in front of the eyes, taking in the people about them, the second rest point is the point of jin, or human forces. Interactions with humans and their environs are represented in this point, such as those the practitioner will encounter during their performance of the kata. Finally, the high point, staring at the skies - or, otherwise written in Japanese, the heavens - is written as ten, the kanji representative of heaven. This connotes atmospheric, or weather conditions, as well as spiritual aspects; this point was far more reinforced when spiritual aspects, such as the meaning behind locations of clashes, was more crucial to battle. It does, however, also mean that aspects of belief and spiritual superiority play a key role in this triangle.
Zanshin is the final concept that is practised as part of mushin, and translates to 'remaining mind' - it is also described as 'perceiving with both the eyes and intuitive mind'. In most martial arts, this is understood as the basis of remaining alert throughout the execution of technique. Keeping balance and awareness throughout technique allows the practitioner to respond appropriately. It also encompasses awareness of position in the environment and the world around them, so that they are able to interact with people on various levels, such as socially, spiritually and politically. Each of the positions is representative of the three stages of zanshin in order. First lies the point of 'before' technique, where the martial artist must be ready to strike, forming their choice of target and understanding the mindset necessary to commit their attack. Secondly is the mid-point of 'during'; the acceptance of consequence of their technique, and the alertness required to adapt their attack to the situation as it evolves around them. Finally, the high point of 'after', in which the practitioner must be prepared to follow through, whether it is responding to an attack from another assailant, committing a second technique to the same target, or handling a renewed attack from the same attacker.
Together, zenshin, tsushin and zanshin form the concept of mushin. With total concentration of one's position in the world, without mental blocks in the way to prevent a full alertness and awareness, and with appropriate preparatory mentality, the martial artist may attain the state of no-mind in which they are completely prepared, focused and aware and can handle the situation as it develops without any mind-blocks to hinder their progress. As mushin is formed of the three mentalities below it, it is thus appropriate that the shape of a triangle is passed through the three points, which then is representative of each of the individual notions that form the mind-concepts behind them. Kankū-dai, therefore, demonstrates a full preparation as its master-stroke of the master kata, ensuring a martial artist is fully prepared for the challenges of their art and their life.
While most people do not consider the spiritual aspect of any kata, perhaps a further study into the concepts promoted by early martial arts is required to form a deeper perception of their art. It is through the aspiration to acquire mushin that one improves dramatically at their art, living by the principles which form the pinnacle of do. It is oft said that kata concealed secrets in order to hide true meanings from those who would misuse karate-do; this, perhaps, is one of them, leading an open mind to a deeper understanding of Zen concepts to achieve the proper mindset of martial arts.