It’s easy to pontificate about the complexities of being a Sensei. After all, they have the ability to shape lives for better or worse. Teaching can be a daunting task once you start taking it seriously.
Less discussed is the role parents play in the development of young martial artists. The decision making of parents can drastically alter the length, quality, and value of a student’s training.
Over the years I’ve gotten to interact with parents of all variety; their priorities in the dojo have been just as varied. Some parents consider martial art training a convenient alternative to day care. After all, in martial arts the child gets physical activity and regimented social interaction. These parents will generally use the dojo as a drop off point while they attend to matters elsewhere.
On the opposite end of the spectrum are parents who watch attentively every class. In fact, some find it difficult not to interact with their child if they see any misbehavior or waning focus. These parents essentially have one foot on the training floor.
Mixed in between those two stereotypes is every gradation you can think of.
For this article, let’s focus on parents who play an active role in the martial development of their children and explore some of the heftiest hurdles they’ll encounter while participating in their youngster’s unique journey.
The Motivation Rollercoaster
It’s astounding watching students as they fluctuate between utter infatuation with martial arts and abject horror at the prospect of training.
This is true of artists of all ages and experience levels, but never is it more palpable than with children.
A parent’s job is easy when the child is enthusiastic. It doesn’t take much work to get them packed into the car and off to the dojo. However, when that enthusiasm drifts, training day can turn into an epic slew of whining, pouting, and negotiations.
The trouble doesn’t end at the dojo door either. Once the child is out on the floor their techniques and stances tend to have the precision of a wet noodle. Every drill becomes a chore and making faces in the mirror becomes a much more attractive alternative to paying attention.
The parent, seeing this, is left to wonder if the Sensei is noticing the behavior or losing patience. They then have to decide if it’s right to chime in and try to whip their child back into place.
The parent also has to wonder if they are driving their child too hard. What if school, activities, and training are just too much?
Managing the motivation rollercoaster can be daunting. As a Sensei the mission is clear – continue teaching the student for as long as the parent brings him/her, or until they are old enough to decide for themselves. For the parent, knowing when to push through resistance and when to give in is a psychological puzzle, the solution of which requires further discussion.
The Setback Conundrum
What is one of the biggest complaints about traditional training in the modern world?
The proliferation of rank.
Nowadays a black belt is something easily attained by any neighborhood 12 year old. If you pay enough and show up enough, you’re good to go.
The modern day psychology of reward-at-all-costs has created an interesting paradigm in the world of martial arts. Many schools have integrated inflated rank systems, filled with a myriad of stripes, belt colors, trophies, and patches. The purpose of which is to provide a steady stream of external rewards in order to keep students satisfied.
Of course, the fees associated with such programs also helps the profitability of the school, but that’s not our concern here.
Let’s assume for a moment that the majority of the general populace accepts the idea of steady-stream-rewards.
In contrast, let’s analyze one of the most powerful tools of an old school dojo: failure.
In many old martial circles you’ll hear the phrase “Nana korobi, ya oki”, which means “Seven falls, eight getting up”. The phrase is used to indicate a broad sense of resilience throughout life, but is acutely demonstrated in martial arts training. Not only are you literally thrown down in martial arts, but you also experience roadblock after roadblock as you attempt to improve your body, mind, and spirit.
One of the most top secret aspects of being a Sensei is intentionally setting up challenges for students to overcome. A good Sensei doesn’t want to spoon feed everything to students; instead they want to encourage effort in the right direction.
This is one of the fundamental crossroads where Eastern and Western cultures tend to clash. Eastern aloofness and Western directness can react in a destructive way, ultimately causing a student to grow agitated and quit, or they can result in a powerful combination of external knowledge with internal inquiry.
So…how do parents fit into all this? They need to be able to watch their children fail and encourage them to get back up and try again.
Certain pressures will tempt a parent not to engage in this practice. The first pressure is from the child him/herself. Failure never tastes good, and the child will want to quit repeatedly. It can be a tough slog to get them to push through. The second kind of pressure is societal and ego based. Some parents refuse to see any fault in what their child is doing, even if a Sensei does. Furthermore, if an egotistical parent sees other children progressing faster than their own they will have the tendency to accuse the Sensei of favoritism, poor teaching, or other kinds of incompetence. At that point, they can allow their child to quit without any sense of guilt or fault.
Navigating these subtle psychological factors can be challenging.
Recognizing Bad Teaching
Let’s make things more complicated. As mentioned above, a parent needs to be careful not to fall prey to their own ego and the emotional swings of their child. This includes not projecting fault onto a Sensei if success isn’t immediate.
But what happens when a Sensei actually IS at fault? Believe it or not (but believe it), there are a ton of shoddy Sensei out there.
Sometimes instructors have to be tough on students. As stated earlier, putting up intentional roadblocks can help students overcome their own perceived limitations and teach them qualities of resilience, determination, and self confidence (that all too buzzed word in martial arts circles).
But a lot of Sensei aren’t so altruistic in their motivations. Many are guided by how much money a parent has given, how many sponsored events they’ve attended, and other even more nefarious factors.
Sometimes it’s easy for perceptive parents to pick up on the difference between a tough teacher and a bad one. Let’s take a look at some common red flags bad teachers may exhibit:
- Militaristic dominance over students, including insults, injury, and abusive regimentation.
- Touching and feeling of an uncomfortable variety or in a manner that clearly isn’t related to technique.
- Explicit favoritism, providing perks to students that are above and beyond the norm of their rank.
- Probing comments about a student or parents relationship life, physical appearance, or dating life outside the dojo.
- Excessive grouping of students into pay tiers, sometimes through the addition of many special “clubs”.
Unfortunately, bad behavior often manifests itself in more sublte ways. Teachers with unscrupulous motives tend to be good at hiding it, and only after months or years of analysis will a parent catch on to the true motives of the teacher.
There’s no easy solution to this problem. Parents simply need to keep involved and keep their eyes and ears open. Most of all, they need to be honest with themselves where the problem might lie.
Most instructors hate to admit it, but some students simply aren’t cut out for long-term training. Martial arts can be arduous, thankless, and boring. Not everyone was born to fall in love with them.
As mentioned above, one of the core responsibilities of a parent is to help their child push through those times of low motivation and setback. Sometimes this can equate to literally/figuratively dragging the child to the dojo.
How then is a parent to know when it’s time to let go?
As you might have guessed, there is no easy answer. Sensei, of course, will recommend you push through any and all obstacles because they know the lofty value of long-term training. They want your child to have a life enhanced by the arts (or they want your money – remember, there are bad teachers too).
Parents, on the other hand, need to help balance all aspects of the child’s life. Kids are samplers by nature; they tend to enjoy an activity for awhile, get bored, and move on. Of course, pushing through that sampling tendency is what turns a good young student into a great mature student. But what if it isn’t sampling, and the child would be much better off elsewhere?
Of course, you can split time between martial arts and other endeavors, but then you run the risk of overwhelming an already tight schedule.
The best overarching advice I can give in this regard involves “the spark”. Development in the arts is unique for every single person that engages in practice. If a parent is observant, they might see certain shifts or sparks in a child’s development. Unexpected moments of intensity, focus, self defense skill, good behavior, courtesy, etc etc. If a parent sees these things and believes that the arts are turning their child into a better person, pushing through resistance might be appropriate. If they are not seeing any positive gains, or even negative tendencies of bullying, disobedience, disrespect, etc., it may be time to move on.
Grazing the Surface
Being a dojo parent can involve complex psychology (I’ve seen it). It can be just as complicated for the young student (I’ve lived that).
Sometimes parents can be creative with solutions, such as joining the class themselves. If they are on the floor, it’s easier for them to ‘lead by example’, and of course the child recognizes that since a parent is nearby behavior is a requisite of class. But ultimately, nothing external will be a permanent solution. The parent and Sensei can guide and inspire, but they can’t decide what’s in the heart of the student.
The problems and solutions I’ve offered here are just a hint at the broader picture. If you are a Sensei, parent, or student, the more you learn about long term success in the martial arts the better equipped you’ll be to deal with twists, turns, and roadblocks along “the way”.
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Very few martial artists have had more cultural impact than Bob Anderson…especially considering most people have never heard of him.
When you reflect on the best sword fighting scenes in cinema history, you might cite some of the following movies:
- The Lord of the Rings Trilogy
- Mask of Zorro
- Pirates of the Caribbean: Curse of the Black Pearl
- The Princess Bride
- Star Wars Episode V: The Empire Strikes Back
- Star Wars Episode VI: Return of the Jedi
- The Three Musketeers
Imagine one man with the depth of knowledge and passion for excellence needed to bring combat to life on all of those movies. Bob Anderson was the man behind the swords.
Image Courtesy of ScienceFiction.com
Life and Times
“Born in Gosport, Hampshire, Anderson followed his father into the Royal Marines in his early 20s. In September 1942, he was one of the survivors when HMS Coventry was badly damaged in the eastern Mediterranean by German dive-bombers. After the second world war, Anderson, who had taken up fencing at a very young age, taught the sport as an instructor for the services. He won competitions with all four weapons – foil, sabre, épée and bayonet – and represented Britain at the Olympics in Helsinki in 1952. It was while waiting to compete there that he was asked to go to Pinewood Studios to work with Flynn on The Master of Ballantrae. ” – The Guardian
Bob Anderson was a man who managed to turn his expertise into a fruitful career. After working with Errol Flynn, Anderson’s star rose as he moved from movie to movie. He became known as a tough perfectionist working behind the scenes, but his effort repeatedly showed on film. Anderson even made appearances as he doubled for various actors.
Years of Olympic experience and stage presence made Anderson the elite sword coach in Hollywood all throughout his life.
Here’s more on Anderson as a coach and swordsman:
The Birth of the Lightsaber Duel
Although lightsabers played an important role in Star Wars Episode IV: A New Hope, they truly came alive in the duels of the second two movies in the original trilogy. The lightsaber appeared to be a unique mixture of fencing sword crossed with medieval broadsword. The results were stunning and game changing.
The individual under the mask of Darth Vader, David Prowse, was allegedly not up to the task of bringing the duels to life. It was Anderson who stepped in, at the age of 60, and fought Mark Hamill on screen.
The portrayal of sword work in movies has never been the same.
A Lasting Career
Despite his advanced age, Anderson continued to be active on movie sets, demanding excellence from actors such as Viggo Mortensen of Lord of the Rings. In fact, he was working on the upcoming movie The Hobbit, which is set to be released toward the end of 2012.
Sadly, he won’t be able to finish that particular project, but there is no doubt his mark will be left on the movie when it hits the silver screen.
The Lives of Many
The amount of lives Anderson has touched can hardly be overstated. The Princess Bride is my personal favorite movie. I recall growing up with it and every time I watched the sword duel between Wesley and Inigo I was stunned into silent study. The intrigue, banter, and athletics were perfectly executed. The moves were so fluid and astounding that I couldn’t imagine two better swordsmen in the whole world.
It’s satisfying to know that the man behind the choreography was indeed one of the best, and will always be remembered for his lasting efforts.
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If you stay in the martial arts long enough you’ll find someone who doesn’t like you (I know, I’m a total buzz kill).
It’s true, though. Martial arts affect people in a very profound, fundamental way. Because of that, divergent viewpoints on martial matters can take drastic turns for the worse…quickly.
This isn’t a new phenomenon; I imagine a lot of readers have experienced it. In fact, this kind of conflict goes back about as far as karate was recorded. One of the earliest examples is Sokon Bushi Matsumura referring to Palace Hand (Motobu Udundi) as light and formless, a rather incomplete art.
But the feud I’d like to mention today is perhaps one of the most famous – that between Funakoshi Gichin and Motobu Choki. Both are men of great fame and reputation, but in most ways they were diametric opposites.
Two Men of Different Methods
Funakoshi Gichin is the founder of what is now called Shotokan Karatedo. He is commonly referred to as the father of Japanese Karate, and rightly so. No one did more to bring karate to the forefront in Japan, and Funakoshi’s efforts to get karate recognized by the Japanese Butokukai were immensely impressive.
Interestingly, among his peers and teachers, Funakoshi was never considered a dominant fighter or technician. He gained his reputation as a gentleman of elegant thought; a man of philosophy, linguistic skill, political acumen, and of course karate talent. As for forms and technique…Funakoshi showed his wisdom there too by associating heavily with one of the great savants in modern history – Mabuni Kenwa. Kenwa’s retention of kata was staggering, and many top tier instructors poured knowledge into him like a basin, hoping that he could help pass along their dying arts.
Mabuni, like Funakoshi, was a refined man. Perhaps that is why they got along so well. But standing on the other side of the aisle, gruff and distant and displeased, was a man known for fearsome fighting prowess. This man was Motobu Choki, Motobu Saru the Monkey, and he would prove to be the yang to Funakoshi’s ever present yin.
Two Men of Different Means
The development of these two men was as different as their personalities. From a class standpoint, Motobu was of higher dignity than Funakoshi. Funakoshi’s family possessed some minor status, but Motobu was from one of the grandest lines on Okinawa. It was his family that retained and passed along Ti, the Palace Hand (now known as Motobu Udundi).
Despite this class difference, the growth of the two men would prove quite opposite from what you’d expect. Motobu Choki, being the third born son, had no right to his families prestigious art. He developed a resentment toward that fact, and often attempted to sneak peeks at his older brother’s training. In time Motobu retained techniques and tested them in rougher parts of Naha, whereupon he would engage in fights as frequently as possible. Soon his ego, prowess, and reputation as a ruffian grew.
At first very few teachers would take him as a true student. It took many years of slowly piecing together experience before Motobu Choki began training in earnest underneath instructors like Matsumora Kosaku (Tomari Te), Ankoh Itosu, and Tokumini Peichin. Throughout his growth and maturation, Motobu was always regarded as a fearsome fighter.
On the opposite side was Funakoshi. Funakoshi, while not possessing the remarkable class distinction as possessed by Motobu, was a bright and likable child who befriended the son of Azato Ankoh. Azato was a man of some prestige, both from a karate and governmental standpoint, and he took a liking to young Gichin. From then on, Funakoshi’s experience under quality instructor’s like Azato, Itosu Ankoh, and Higaonna Kanryo would help him develop into a fine karateka.
While pursuing his martial arts career, Funakoshi also improved his education and schooling, ultimately becoming a teacher himself. Like his instructor Ankoh Itosu, Funakoshi was in favor of Japanese reforms and quickly became a go-to resource for the Japanese on this still rather mysterious art of karate.
Two Men of Divergent Viewpoints
The differences between Funakoshi and Motobu weren’t just theoretical; they encountered and disliked one another. Motobu considered Funakoshi to be rather soft and superficial in his understanding karate. He observed the changes Funakoshi was making and decried them as moving away from the true core of Okinawan karate that he had seen from the Motobu line and his other instructors.
Funakoshi, on the other hand, looked upon Motobu with disdain due to his constant rough behavior and lack of social grace. Funakoshi did not believe Motobu was a proper representative of karate.
There were a few alleged meetings between Motobu and Funakoshi, one in which Motobu dared Funakoshi to attempt techniques on him. At every turn Motobu would simply throw Funakoshi down and foil his efforts. This of course could be folklore. One thing that certainly did happen was a boxing match between Motobu and a European Boxer (exact country of origin debated). Motobu apparently knocked the big, bruising boxer unconscious even after the man had defeated all comers prior to Motobu. When the event was reported, Funakoshi’s picture was used in Motobu’s place as the karate man of prestige.
You might imagine how that went over with Motobu.
All of these factors and many more contributed to the ongoing feud between two of the top karateka of their time.
In and of itself, this is a very interesting study. But there is another layer. Two men of high importance to the development of Japanese karate not only knew about this feud, but studied under both men anyway.
The Brave Konishi Yasuhiro and Bold Ohtsuka Hironori
In Japanese karate circles, these names are well known. Konishi would go on to develop Shindo Jinen Ryu, and Ohtsuka would head Wado Ryu.
Both of these men spent significant time studying under Funakoshi and helped the spread of karate in Japan. Interestingly, they also facilitated and supported Motobu Choki as he spread his own brand of karate knowledge.
By most accounts, it is stated that Konishi and Ohtsuka wished to take their basics, forms, and physical fitness as developed by Funakoshi and augment them with the feared fighting prowess of Motobu. Motobu had also become one of the most famous practitioners of Naihanchi kata (long considered a cornerstone of Okinawa karate) and was a highly sought after resource for understanding the deeper aspects of that particular system.
We needn’t stretch our imaginations to realize what Funakoshi and Motobu must have thought about the others influence on these two young men. Yet, the culture of martial sharing on Okinawa was strong. The act of Konishi and Ohtsuka seeking out instructors highly skilled in particular areas was not unusual. In fact, you might say it stuck to tradition.
Of course, when put through a Japanese lens these actions were almost unthinkable. The Ryu/ha of Japanese Koryu arts were highly secretive and exclusive, a habit born from centuries of in-fighting and rigid class identification. The idea of going to another instructor was not smiled upon, especially if one of the headmasters happened to hate the other.
Nevertheless, this is what happened with Konishi and Ohtsuka and they both became highly skilled and refined practitioners.
A Hint of Things to Come
These two masters, Funakoshi and Motobu, were not members of each other’s fan club. Yet we see instances of old Okinawan culture poking through – that of sharing and cross training despite frictional differences. At the same time we see the beginnings of Japanese influence as each branch of karate became named, labeled, and sectionalized. Konishi and Ohtsuka lived at an interesting time where their desire to improve their learning began to rub against the trend of modern karate.
This conflict of interest exists today as we see the very same kind of feuds develop and the same impulse to label and confine each style. Perhaps we can use the experiences of these karate greats to better inform our overall perspective on the martial arts.
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