Budo Isn't About Technique

Budo is about traveling a path.  It’s not about being stuck in one place.  The road is always there, time is always moving and the world is always changing, even when we are still.  Budo is about maintaining balance and integrity (physical, mental and emotional) whether we are in movement or stillness, and having a calm, imperturbable center whatever is happening around us and however we are moving.

The world is dynamic, so attempts to remain perfectly still are doomed, rather like trying to stand perfectly still on a sailboat in a storm.  You can be stable, quiet and calm, but these must be within a dynamic world where you are constantly making adjustments, and sometimes your overall and ongoing stability is only maintained through large, dynamic movements on your part.

Budo is not static. A lot of people seem to think that great budo has already achieved perfection in some previous age. Whether it’s classical judo, or Ueshiba’s aikido, a great koryu like Takenouchi Ryu or Yagyu Shinkage Ryu, or one of the famous iai styles like Muso Jikiden Eishin Ryu or Muso Shinden Ryu, people craft an image of a budo that was perfect when the founder or great teacher lived, and that they are trying to recreate the perfection that is contained in the kata and teachings.

I’ve run into aikido practitioners who look back on Ueshiba or Shioda or Tomiki as having achieved budo perfection. For many years of my judo practice I felt that way about Mifune’s judo.  Among koryu budo people, the idea that the founder of their ryuha was the paragon of ideal budo is common.  The thought that there was one, perfect budo that we are trying to emulate or recreate is an attractive one.

It’s also a trap. Budo is a way, a path. In Japanese, the styles are called “ryu” 流. It comes from the word 流れる meaning “to flow, to stream, to run (as a river)”. The road we travel is always changing. Every step we take along the way takes us to a different place. Rivers and streams flow through space and time and are even more dynamic, transforming the world as they move through it.  Even if Ueshiba or Shioda or Tomiki or Mifune or Yagyu or Hayashizaki achieved budo perfection, it was perfect for that point in time and space.

Budo isn’t a technique or even a collection of techniques.  It’s a Way. As we travel the path, as the world moves through the ages, budo has to adapt to new times and places in which it is practiced.  What was great budo in one situation may be completely unsuited to another. The thing about any great budoka is that their budo is always fresh.  They don’t try to force the same response, the same solution, onto different situations. They apply the principles of their budo afresh to each situation.

Budo can only ever be perfect for the moment it’s expressed in. What made the great founders and teachers of budo truly great was not only their ability to manifest budo that perfectly suited the situations they found themselves in.  What made them great was that they could also pass along a way to learn the same principles that they applied.

Budo is something that is practiced without end. It’s a path that doesn’t stop. If we’re doing it right, we’re not really learning techniques. We’re learning the fundamental principles that make the myriad techniques work.  Great budoka reach up and find a way to manifest those principles in training, in conflict, and in life. The greatest figure out a way for others to learn to manifest those principles.

The ideal is that anyone can reach up and touch perfect budo. With practice, I’m convinced we can. That thing about budo being a path and a stream is important though. I think I may have touched perfect budo a few times over the decades I’ve been training. These are times when I somehow manage to perfectly express the principles of budo that I study and practice spontaneously in life.

It happens and then it’s past. It never lasts. For a moment you manage to express your budo perfectly. It’s not a continuous condition though. We reach that peak moment, and it passes. As we get better, so does the chance that we will touch that perfect budo. For judoka, the first time we come close to perfect judo is that day we’re standing there, staring down at some poor uke as we demand “Why did you jump! Don’t jump for me! I want to earn my throws!” The poor uke looks up at us and says something along the lines of “Jump? You buried me with that throw. There was no way I was stopping it!”  When we did that throw, the universe aligned in our favor. The timing and kuzushi were perfect. Uke had no choice and no chance to do anything but fly, and because the timing and kuzushi were perfect, it felt like we didn’t do anything. For a moment we touched perfect judo.

Unfortunately, those moments don’t last. As soon as the moment happens it’s over. Uke stands up, randori continues and uke feels like a boulder every time we try a technique. Nothing seems to work. Touching perfection is momentary, but those moments are wonderful and inspire everything else we do. Once we’ve touched perfection we want it again. Then we try to force it, and the more we try to force the further away perfection becomes.

Those moments of perfection feel incredible, but they are moments. We’re not perfect. We can’t maintain a state of perfection. Any time we touch perfection it’s wonderful and incredible and momentary. It doesn’t last. It can’t.

It is perfect in that instant, under those precise conditions. We express the principles of our art in a way that suits that moment. If we try to cling to it, whatever it was we were doing will cease to be appropriate as the moment passes and the situation changes. The goal of training is to become better and better at expressing the principles of what we study in a way that suits the moment.

The journey of life never ceases. Every step is new. The real lessons in budo are not static techniques, but the principles that animate the techniques. It’s ironic that the main way we learn budo is through repetition of prescribed exercises when the goal is to be able to spontaneously express the principles in any situation.

We practice a limited set of techniques and kata that are like the finger pointing at the moon in the story from Chuang Tzu. The finger points to the moon, but if you remain fixed upon the finger you’ll never see the moon. The techniques and kata are the finger pointing to the fundamental principles. If you cling tightly to exactly the way a past teacher did the kata, you’ll never get to the principles beyond the kata. If you insist there there is only one way to do a technique, you’ll miss the million other ways and situations that technique can be used to express the principle.  I have books of judo technique in which the entire book examines just one technique, but looks for as many ways to express that technique as possible. Each technique is animated by underlying principles. Our job is to figure out what the principles are and learn to apply them.

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If we only study the technique, it becomes a matter of chance that we will pick a technique that is perfectly appropriate for the moment. If we follow the direction of the techniques we study, we begin to understand principles, and when we follow the principles, the technique will develop naturally out of the action of the principles. No two techniques will ever be exactly the same when they flow from the principles, but they will be appropriate to the moment. It’s like the judoka in randori who does a beautiful throw, then comes off the mat and asks the spectators “What technique did I do?” The judoka was working with the flow of energy from her partner and worked something that smoothly flowed with that energy. Working with their partner’s energy and letting the principles guide her, she ends up with a technique based on the principle.

That’s the ideal. It doesn’t happen as often as any of us would like. If we cling to techniques it will never happen. Go into a situation with the intent to do a particular technique and you have to force the moment to fit the technique. Go in with principles of movement, balance and flow, and the moment will guide you to the appropriate technique.

The more we practice, the more we internalize the principles, the easier it is to touch perfection. We can never hold on to it, but we can learn to get out of our own way and let perfect budo happen more and more often. We progress along the Way one step at a time. We learn to breath and to walk. Then we start learning some techniques. It’s only when we begin to understand what animates the techniques and makes them effective that we get close enough to touch perfection from time to time.

Perfect budo is a constantly moving target though. What worked yesterday won’t work at all tomorrow. Each step along the Way takes us to a different place. Each morning we awake and the world has changed a little. We can’t force the world to stay still any more than we can force the sun to stop in the sky. If we cling to things as they were our budo cannot advance.

Each day we have to find new ways to apply the lessons of the Way that we learn from studying the kata. The better we get at it, the easier it is to adapt to the whirling of the world around us. A novice sailor leaps and tumbles and is thrown around the deck of the boat by the gyrations of the waves. A seasoned sailor calmly walks the same deck, adjusting to each shift and jump of the boat calmly and smoothly. A master can sit calmly meditating on the deck while the ship pitches wildly, adjusting with muscle changes so small no can see them. The master is calm when the seas are calm, and when the seas seem to be enraged.

The world keeps changing, but the principles don’t. Budo gives us a Way to continually adapt. Classical iaido ryuha would be worthless relics if their techniques were what they are really teaching. No one has carried swords like that in 150 years. The principles that classical ryuha teach haven’t changed though, and learning to express those principles in life is what gives classical ryuha their value.

Photo Copyright 2013 Peter Boylan

We don’t study techniques and kata in order to learn techniques and kata. We study techniques and kata to learn the principles that animate them. The conditions under which a judoka can do uchimata are limited. The conditions under which they can apply the principles of kuzushi, timing and movement that they learn from studying uchimata are endless.

When teachers talk about forgetting technique, this what they are getting at. The Way is infinite and no one can learn a separate technique for every set of conditions. Each place along the way, every new morning, presents new conditions. We have to learn to see beyond the techniques we study to the principles. Then we can apply the principles in ways that work with the conditions we have rather than try to find conditions that suit the technique we want to do.

Through great effort you might be able to hold your place in the world still and unchanging, but that won’t help. The world will continue changing around you. Even to stay still takes continuous adjustment, just like the master meditating on the deck of the ship. Walk the path. Learn the techniques. Transcend the techniques and learn the principles. Apply the principles and let the principles create new techniques to suit moment.

Am I Really Practicing Budo?

We go to the dojo regularly.  We practice hard.  We listen and try to follow sensei’s direction when she says “Cut with your hips” or “More extension” or the all-purpose direction “Relax.” We do these things.  We learn to do o soto gari or nikyo or kiri oroshi or whatever the technique is. Are we really practicing budo though?  Is budo what the samurai did in Japan? If that’s the core of what budo is, how is it possible for us to do budo now, in the 21st century?

Of course, if budo is what the samurai did in ancient Japan, then the next question is, which samurai in which period of Japanese history? The samurai of the 14th century were quite different from those of the late 16th century, who differed tremendously from those of the 17th century, and who might not have recognized all of the attitudes and behaviors of the samurai in the 19th century.

In the 14th century, samurai armies were often paid in loot. As for budo, the first of the ways, cha no yu or sado (tea ceremony, the way of tea) was just beginning to form.  Such a thing as “budo” wouldn’t be envisioned for several hundred years. The idea of forming bugei ryuha wouldn’t become common for another 200 years.

Katori Shinto Ryu only stakes its founding in the 15th century, while Kashima Shinryu and Kashima Shinto Ryu both date to the 16th century, as does Muso Jikiden Eishin Ryu. In that era the term “budo” hadn’t been coined yet, in part because the idea of discrete Ways, michi, 道 was still being formed in the teaching and practice of tea ceremony. What people did when training in these early ryuha was bugei 武芸. That second character is the same as in geisha 芸者 and means an artistic skill, technique, or performance.

It’s only in the 17th century, with the establishment of peace throughout the Japanese islands by the Tokugawa shogunate, that we begin to see a flourishing of discrete bugei ryuha.  Prior to this soldiers would be training together in armies moving and fighting all across the country.  Skills were constantly practiced, applied and evaluated in battle. After the the Pax Tokugawa was established in 1604, the armies were disbanded and skills were no longer used and tested.

With peace, there came time to codify and systematize teachings. People saw a genuine need for bugei schools where samurai could train in skills that were no longer applied on a regular basis. Over time, being able to show certification of training became important for samurai to earn promotions and to gain increases in their stipend.

Iaido schools flourished in the peaceful world of Tokugawa Japan

As the Tokugawa peace continued, townspeople who couldn’t wear the two swords of the samurai began to train in various bugei, and jujutsu systems flourished. With an emphasis on unarmed techniques and a variety of weapons besides the sword, these styles were well suited to the interests and legal limitations of merchants, craftspeople and wealthy farmers as well as samurai.

Over centuries the weapons changed as well. The famous samurai sword was originally little more than a backup sidearm for when the mounted archer ran out of arrows. The skills a samurai practiced were known as kyubajutu　弓馬術, “bow horse skills” since the primary role of the samurai was as a mounted archer. The sword might only be drawn when the battle was finished to collect the heads of defeated opponents for presentation to the winning lord so the samurai could get his reward.

Over time, pikemen armed with yari grew in importance on the battlefield and tactics for countering the speed and power of the mounted archers developed. Then in 1543 Portuguese merchants sold matchlock rifles to a Japanese lord and within 20 years these weapons that could be used by anyone with minimal training had transformed the battlefield. 65 years after they entered Japan, Tokugawa Ieyasu used firearms to decisively take control of the country and bring the age of warfare to an end in Japan.

Under the reign of the Tokugawas, firearms were secured for the sole use of the Tokugawa and regional daimyo forces. Following in the path of Toyotomi Hideyoshi, only members of the samurai class could carry swords. The samurai for the most part ceased to be soldiers and warriors as they transformed into the bureaucratic class responsible for running the country.

As government officials in a peaceful nation, members of the samurai class practiced swordsmanship. Without battles to test themselves in, challenge matches with bamboo weapons proliferated and styles such as Itto Ryu, whose tactics and techniques were well suited to this sort of dueling, grew in popularity along with the matches. Non-samurai also began studying and styles emphasizing unarmed skills such as Tenjin Shinyo Ryu flourished in the 18th and 19th centuries.

Following the end of the Tokugawa Shogunate in 1868, the reopening of Japan to the world and the abolishment of the samurai class, the martial practices changed along with the world. Competitive displays flourished as the old martial skills lost their role in society. These competitive displays mixed with new ideas about sports from western culture and the modern arts of judo and kendo emerged. Instead of being used in battle, or being a part of a class and role expectation, the arts became educational and recreational activities.

Kano Jigoro 1860 - 1938

Kano Jigoro lead the way by molding his Kodokan Judo into a system that could be incorporated into the physical education curriculum of the new government’s national education system in Japan and by instituting a clear tournament system. Leading swordsmen in Japan soon followed Kano’s example and did the same, taking elements from numerous forms of kenjutsu and creating a standardized system for national use that was incorporated into the public education system in Japan.

In the 21st century, all of these are called budo.  Are they all budo though? Is the modern study of judo and kendo the same budo, the same spirit, that the samurai in the 15th and 16th centuries learned in Katori Shinto Ryu, Kashima Shinryu and Muso Jikiden Eishin Ryu? Of all the experiences of budo through the centuries, which one is the true budo?  The guys who fought for loot and collected heads for reward? Perhaps the true budo was practiced by the samurai of the Tokugawa era, who might go their whole life without needing to use their martial skills. Or is it only the modern budo, with the influence of Kano Jigoro in judo and the great kendo teachers like Nakayama Hakudo in the 20th century that is true budo? Is it only budo if you’re using it professionally as the samurai did? Do you have to be a soldier, guard, or law enforcement officer to truly do budo?

Nakayama Hakudo 1873-1958

A mistake we often make when encountering something from a different culture is to force it into a pre-existing category from our own culture. We try to draw the same lines between things that we are used to. There are many people who maintain that any art or way that seeks to promote individual development cannot be a true martial art. I’ve also encountered people who maintain what they do is superior because exponents explicitly talk about peace and harmony while bending joints and tossing people around the room.

One of the most difficult things to wrap my head around when I first moved to Japan was that things do not have to be clearly differentiated black or white. People there are generally not Buddhist or Shinto. They are Buddhist and Shinto who might well get married in a Christian ceremony, exchange chocolate on Valentine’s Day and check the calendar for auspicious and unlucky days from Taoism.

It is not Japanese culture that draws sharp lines between things. There is no need to call one the budo of one era “the true budo” (though you do run into people in Japan who claim that things in modern Japan have deteriorated and degenerated badly and need to be infused with the spirit of some previous age. Mishima committed suicide while making just that claim).  Ways are paths, roads, and roads can go long distances through wildly different terrain, all while changing from concrete to asphalt to gravel to dirt and back again.  It’s all still the same road.

If we stop trying to fit things into the discrete categories that our culture tries to fit everything into, and adopt a lesson from the home culture of budo, it might be easier to see that we are all on the same road. It’s a lesson that never tires of slapping me in the face from different angles. The beginner who just walked in the door is on the same road as the 90 year old master who’s been training for 80 years.  They are on very different stretches of road, but it’s the same road none the less.

The same idea applies to the people who have practiced budo in all those different eras.  They were on the path, practicing the Way. They weren’t where we are. They were on other sections of that road. The bits that are “relevant” keep changing. Armored warfare with bows, arrows, spears and swords dominated the fight for centuries. Firearms transformed things and made armor obsolete. Technology moved forward and somehow armor is back.

The immediately applicable bits and the historical scenery change, but the fundamental lessons that form the foundation of the budo Way never seem to. I’ve written about what I consider fundamental to budo. Whatever else it does, budo has to teach how to move with good structure, an understanding of the effective ranges of movement, how to use time, and it has to be concerned with making practitioners not just better fighters, but better people.  If it’s doing those 4 things, it’s probably budo.

Those 4 essentials haven’t changed   since some samurai in ancient Japan first started putting together a budo curriculum. It doesn’t matter what you’re doing, those essentials have to be there. Whether it is unarmed jujutsu, kenjutsu, kyudo or modern firearms, you have to understand structure, spacing and timing to be effective, and those ancient samurai teachers recognized that bullies and jerks need to be grown into decent human beings if they are also going to be entrusted with martial skills. If those items are the basis of everything else going on in your training, then what you’re doing will still be budo, whichever century you’re in.

Tradition Is Tending The Flame. It's Not Worshiping The Ashes

I’ve been thinking lately about how pointless the study of koryu budo would be if we were just preserving the way people trained 200 or 300 or 400 or 500 years ago.  We would all be maintaining museum pieces good for nothing more than taking out and displaying for people along with other artifacts.  While dwelling on this, I ran across this quote from Gustav Mahler, a 19th century conductor and composer.

"Tradition is tending the flame, it's not worshipping the ashes"

This quite nicely  encapsulates my feelings about studying koryu budo.  Many classical arts, not just koryu budo, can wither and die under the pressure from those who want to maintain them in an unchanging form.  Mahler, although now remembered as a great composer, was known primarily as a orchestra conductor during his lifetime.  As a both a conductor and a composer, Mahler ran into people who resisted change and innovation in both the creation of new music, and in the interpretation of classical works. Anything outside what had been done before risked  resistance and criticism as a departure from tradition.

For many, there was only the classical way to perform Bach and other revered composers. The traditional way of performing music, and the established rules for writing new music were difficult to escape.  

This sort of adherence to past precedence is all too common in both koryu and gendai budo. It’s

easy to become so focused on what has come before that we forget to use the past as a platform from which to approach the future. Yes, the great ones of the past were great. This is true whether we are talking about music or art or budo. 

Blindly worshipping what the great individuals achieved though is to forget that they were innovators themselves. They took the traditions they received, and didn’t just accept it as the way things must be done.. Those great geniuses took what they had and moved a step forward.

They avoided the trap of focussing so much on the way things have been that they forgot about the present and the future.  In something like budo, this is a particularly easy trap to fall into. Especially with arts that have storied histories, it’s easy get lost in that rich history and forget to turn and face the future. Too much time spent on an art’s past slowly dries it out and robs it of the vitality of a living art.

The past is the foundation of the future. If all you do is focus on the past, eventually there will be no future.  Spend much time at all moving in budo circles and you will encounter people who want their art to be done exactly the same as the founder of the art did a hundred, two hundred or even five hundred years ago.  This seems as likely and as interesting and worthwhile as trying to do every performance of Swan Lake exactly as it was performed at it’s debut.

These people who imagine that is what studying an art with a long tradition is all about miss the essence of living traditions. These are people who worship those ashes Mahler is referring to. It’s as if no one since the founder of the art has had any insight or new understanding.  All that is left in their minds are the burned up and dried out ashes of what the founder was doing.

Uchi always does the attack in exactly one, and shite always responds in a precisely identical manner. The form and technique become about replicating exactly what someone is supposed to have done decades or centuries ago. In an effort to preserve things just as they saw them, these preservationists drain the life from what they are doing and leave it desiccated and empty of real value. Nothing more than those ashes Mahler refers to.

This can be seen when people start to value something simply because it is old.  There are ancient styles of music and dance in Japan such as Dengaku that have been preserved for 700 years and more. When they were young, this music and dance was a sensation and is said to have caused near riots in major cities. Now the only reason for performing what remains of these once lively and popular arts is that they are old.  There is no life left in them. The people who have preserved these arts have preserved even less than a flower dried and pressed in a book.  There may be be some bits left among the ashes, but there is nothing left that can even inspire the mind to imagine what the dance was like originally.  The only value remaining to it is that it’s old.

This is a danger for all budo, whether koryu art or gendai.  It’s relatively easy to see how the kata of ancient koryu bugei ryuha can be venerated and preserved to death. In an effort to do things exactly as their teacher did something, students can stop treating the kata as living lessons and start treating them as fossils, unchanging and dead. Sadly, if you attend some of the big koryu demonstrations in Japan, it is all too likely that you will see some groups that have succumbed to this temptation. 

What might surprise people is that there are aspects of judo, kendo, aikido and karate that can fall into this trap. Even in modern organizations it’s all too common to see people elevating their idea of how a revered teacher did something, rather than seeking the principle and spirit of the practice. The shape of how even the greatest teachers do things will change and evolve over the course of their lives. Choosing one snapshot out of a teacher’s career and deciding that is only valid way of doing things is ridiculous. Which moment do you choose?  How do you know that iteration of the technique or kata was the greatest and is universally  applicable to every person and possible use?

I see this danger in some of the kata in judo.  Judo is somewhat saved because you always have a partner, so at least the surface point of the form is obvious. I’ve heard about karate kata though where people have learned all the motions, but not the bunkai. They don’t really know what the purpose of particular motions are anymore. Already within some lines, less than a lifetime since it was brought from Okinawa, the art has begun to dry out and die.

This sort of thing is more likely to happen with solo exercises such as karate or iai kata, but it’s possible with any system.  Even in paired kata, if both people are simple copying motions without learning and understanding the depth and reasons for the motions, then that too will dry out, burn up and die.

Tending the flame of a budo system, a ryuha, takes effort and thought. Like the Taoist parable of the finger and the moon, the kata and techniques that we practice are the finger. They point us at the principles and fundamental concepts that the founders and those who came after them discovered and developed.

When I study judo, I study all the parts of it, techniques, randori and kata.  Each part informs the other, and keeps them alive.  I know too many people in the judo world for whom the kata have already become museum pieces because they only learn enough to go through the motions without understanding the principles embodied there.  If we truly want to respect the genius of the founders and brilliant teachers who created these arts and passed them on to us, we have to do more.

Those who tend the flame of their art work at pulling the principles out of the forms and then feeding the forms with their understanding of the principles. I’m working on Ju No Kata in judo right now. This is a kata that is very susceptible to being nothing more than a burned out shell. There are no big throws or huge techniques. As I work at it though, I discover things about kuzushi that I feed back into my practice of the kata.  Each time I do it, the kata becomes more alive. Where at first my practice was just about “Uke pushes here and tori turns there, grabs uke’s arm and lifts.” Now my practice looks very much the same as before but it’s about uke pushing and tori creating instability destroying uke’s base with very subtle, almost unnoticeable movements and connections.

The insights that come for figuring out kuzushi in Ju No Kata then feed the flames of understanding and application when I practice individual techniques or do randori.  This exploration transforms what looks from the outside to be a boring, bland set of simple movements into a fascinating exploration of fundamental principle.

The more I understand those principles, the more they come alive outside the dojo and in areas other than randori.  There are all sorts of places and ways to apply lessons about kuzushi, timing, power generation, power dissipation and all the other principles and lessons that an art can teach.

Don’t focus on the outward form leached of all meaning and depth. Look for what the form is supposed to contain and bring that to life.  Don’t fall into the trap of worshiping the ashes of your founders teachings. Use your heart and mind to add fuel to fire their genius.


Special thanks to Deborah Klens-Bigman for the information on dengaku.