The Other Side of the Martial Arts
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By Salvatore Canzonieri, New Jersey
For many people, the martial arts are not just a means of
self-defense but a philosophy (philosophy means "love of
knowledge") to live by. The martial arts are a way of life for
them. They seek to apply what they learn in the practice of their
arts to all facets of their daily life. For this type of martial
artist, a balance is sought between the physical and the spiritual
aspects of their arts. In this way, they can perhaps get to the
real, inner essence of their studies and practices. The martial
arts are a means to achieve their full potential as a human being,
so as to become a complete person who is in harmony and
understanding with the world.
The martial arts can give a person many benefits, such as self
defense, physical health, mental health, inner peace, strength and
power, patience, focus, among others. But, true mastery for one who
seeks to use martial arts from insight and enlightenment involves
also the practice and study of not just forms (kata) and fighting
(sparring) but other forms of knowledge such as philosophy,
science, spirituality, art, literature, poetry, dance, and music.
The same dedication, discipline, and coordination of the mind and
body needed for practicing the martial arts are also valid for all
these types of knowledge. The value of knowledge is that it
sharpens oneþs awareness and broadens one's perceptions. One's
boundaries are extended as one becomes whom one wants to be.
It is easy for others to view the martial artist as a warrior
only, but what of the other aspects of a warrior's life? As David
Carradine points out in his book, The Spirit of Shaolin (as he does
in his portrayal of Kwai Chang Caine): 'The great warriors were and
are all poets, philosophers, musicians, and artists. Alexander the
Great, Richard the Lion-Hearted, William the Conqueror, Peter the
Great, Charlemagene, Sun Gy, and King Arthur, to name a few, were
all artists, musicians, and mystics, as well as conquerors.'
In ancient times, a martial art practitioner had to also show
mastery of other arts to prove that he was indeed a true master. In
Japan, the Samurai had to be proficient, besides in the ways of the
sword and fist, but also in calligraphy, flower arranging,
landscaping, gardening, poetry in the form of hai-ku, playing an
instrument, and in origami (the art of folding paper into animal
shape). In China, martial artists had to also show their
proficiency in weaving, calligraphy, sculpting, painting, music and
math.
The concept behind using other types of arts and knowledge in
training for the martial arts is simple. To master the martial
arts, one must be patient and one must understand the idea of
process (that is, methodology). Likewise, in performing the process
necessary to create a brush stroke, compose a song or poem, or play
an instrument, there has to be a settling of the mind in order to
perform well. The mind has to learn to focus and become calm and
balanced in order to do things correctly without being too self
conscious.
An artist blends in with movement, in order to control that
movement. The mind and body unite as one when an artist executes a
movement unselfconsciously. This blending in with movement is true
for all artists to be great, whether martial or not. Thus, a
parallel can be seen between the focus or relaxed alertness needed
to execute a painting, poem, or song, and that needed to execute
flawless martial art movements. Both entail, in order to be
effective, the application of Ki or Qi, which can be described as
the mental and spiritual power that is summoned through
concentration and breathing to accomplish physical feats. The
energy thus created differs from the normally ssociated with the
muscular system alone because it involves the energy created with
the internal mind as well as external processes.
In order to focus, certain centers of the mind have to be
maintained, using other art forms and knowledge helps to reinforce
the ability to focus. The centers of the mind that allow a martial
artists to focus and maintain a relaxed alertness when executing a
process are further cultivated, strengthened, and developed. When
the martial artist learns to feel at home with this state of mind
(to have relaxed alertness) at all times, even higher levels of
awareness and effectiveness can be reached, thereby greatly
improving one's art.
Thus, a martial artist was an artist in all senses of the
word. Playing a musical instrument was especially considered an
important way to be well rounded and balanced in approach (In fact,
there is even a form of fighting based on using the flute as a
means of self defense). Music allows one to create structure out of
noise; to make form and substance out of the breath with harmony
and melody. The thought was that if one could understand how to
create music one could understand how to use the body with harmony
as well (especially in the practice of forms and technique). In the
Tao of Jeet Kune Do, Bruce Lee explains: 'An artist's expression is
his soul made apparent, his schooling, as well as his 'cool' being
exhibited. Behind every motion, the music of his soul is made
visible. Otherwise, his motion is empty and empty motion is like an
empty word -- no meaning.'
Being myself a writer, graphic artist, researcher, and
musician (guitarist for Electric Frankenstein and The Thing) as
well as a student of the martial arts (Shaolin Kung-Fu and other CMA), I was surprised to find that in the three places
I attend classes, a good portion of the students were also
musicians. In fact, musicians outnumbered any single other
profession, which led me to write this article. I wanted to explore
the connection music has with the martial arts. So, I interviewed
some of todayþs more well known musicians who also study the
martial arts and also some instructors to get their views on the
subject.
Many famous musicians have been practitioners of the martial
arts. Much has been written about Elvis Presley's black belt in
Karate, and his later studying of Kenpo under Ed Parker. Elvis did
much to introduce Karate to his public. He even insisted on using
Karate in almost every film he made. Karate was as much an
obsession to him as music was. He is possibly one of the most
famous celebrities to have achieved the rank of black belt. Elvis
picked his friends by basis of their interest in Karate. He even
affixed Ed Parker's Kenpo emblem to his guitars.
Elvis first studied Karate in a limited way in his stint in
the US Army, in Germany, receiving a brown belt from an unknown
oriental instructor. He received a black belt from Hank Slemanky,
a Chito Ryu stylist stationed with him at Fort Chaffee, Arkansas.
In 1960, he attended a demonstration Parker was giving. Elvis had
been originally introduced to a rigid, traditional style, but he
liked the more fluid movements of Parker's innovative Kenpo style.
Elvis felt that Karate was the answer to his years of inactivity
and studied Karate with determination, with various instructors. In
1961, he received lessons from Parker on the set of Blue Hawaii and
they did not meet again until 1968, during a Karate tournament.
Elvis started officially studying with Parker in late 1969, from
then on he trained constantly.
The training he received from Parker greatly influenced Elvis'
state performance. In 1969, Elvis combined Karate techniques into
his stage act. He mixed Karate moves with the suggestive body
rhythms that were already his trademark, making for an innovative
stage show of his skills. In his book, Inside Elvis, the late Ed
Parker writes about Elvis' application of ki or qi. Said Parker, "Elvis' karate training taught him to master body movements and
synchronize them with his thoughts. His mind, breath, and strength
were totally synchronized."
At the end of each of his concerts, Elvis would drop into a
wide forward bow stance, placing his right arm bove his head with
his right arm parallel to the ground, and his left arm positioned
in an 'L' pattern at chest level. During the years of 1970 to 1977,
he also explored the nonphysical aspects of Karate. By the time of
his death, Elvis had almost twenty years of experience in the
martial arts.
The late jazz drummer, Buddy Rich, was another well known
musician who practiced Karate. Buddy had studied Goju Ryu for over
ten years under Sensei Aaron Banks. Buddy took Karate because he
needed a release for his aggression. Being a drummer, he needed an
outlet for the intensity he constantly felt, on and off stage. In
an interview he did in 1979 (World Karate Magazine Spring 1979)
Buddy stated that his speed on the drums had actually increased due
to Karate training. 'I wanted to take out my hostility somewhere,
but not on people. For me, Karate is the answer.' Despite serious
back problems and several heart attacks, Buddy continued studying
Karate until his death.
Even members of the Bay City Rollers studied Karate (Alan
Longmuir and Stuart Wood, and tour manager Jake Dungan), taking
lessons from Tak Kubota. They originally took Karate lessons out of
boredom and to escape the constant presence of their teenage fans.
Their bodyguards all were black belts and convinced them to take up
the art. They wanted to be able to take care of themselves off
tour, when their bodyguards were not around. But, the Rollers'
members studied Karate not only for the self defense aspect, but
for the art, since they also enjoyed Japanese poetry and
architecture. Karate helped them ignore the music business for a
change of pace and relax, while still maintaining their physical
health. Karate allowed them to handle a life with lots of nightlife
and little sleep. Said Roller Alan, "If youþve got a healthy body,
you've got a healthy mind."
Other martial art practitioners (of various styles besides
Karate including Kung-Fu, Arnis, and Kick-Boxing) have been Grace
Slick, Stevie Nicks, Grace Jones, David Lee Roth, Engelbert
Humperdink, country great Randy Travis, Glenn Danzig of the Misfits / Samhain / Danzig
band, Lou Reed, Loudan Wainwright III, among many others.
That's it for this issue! Click here to read article #7
Sal Canzonieri - http://www.bgtent.com/CMAQigongSchool/index.html
salcanzonieri@att.net