Blind Zen

Blind Zen, A Case Study
2
Other Books by S.H. Verstappen The Thirty-Six Strategies of Ancient China China books and Periodicals, S.F. !!! """.chinastrate#ies.co$
Blind Zen, A Case Study o% Sensory &nhance$ent %or the Blind and Vision '$paired Copyri#ht ( 2))* by Ste%an H. Verstappen All ri#hts reser+ed 'SB, -.! /..-)0-) 1ibrary o% Con#ress Control ,u$ber2 2))*)!33*0
Co+er 4esi#n2 S. Verstappen All 'llustrations by S. Verstappen 5he author o% this book does not dispense $edical ad+ice or proscribe the use o% any techni6ue as a %or$ o% treat$ent %or physical or $edical proble$s "ithout the ad+ice o% a physician. 5he intent o% the author is only to o%%er in%or$ation o% a #eneral nature to help pro$ote a $ore acti+e and re"ardin# li%estyle %or those "ith +ision i$pair$ent. 5he author does not assu$e any responsibilities %or in7ures that $ay occur in pursuin# certain e8ercises. Please consult a physician be%ore en#a#in# in any o% the physical e8ercises.
9ed :ansion Pub San Francisco 2))*

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5hanks to the %ollo"in# %or readin# the $anuscript and pro+idin# +aluable insi#hts on their e8perience o% bein# +ision i$paired and those "orkin# "ith the blind and +ision i$paired. Aa$ie :arshall, &dinbur#h, Scotland, Bathy Fela, Client 1iaison ;nit, 9oyal Blind Society, Sydney, Australia , 9o"ena Aitts, BCA Sydney, Australia, 5o$ Attebery , Orientation E :obility Specialist, Hali%a8, ,o+a Scotia. Special thanks to ,ance :ar6uis %or her e8cellent proo% readin#, ?re# Aones %or editorial support, and Pa$ela 1ei#h %or her encoura#e$ent, #uidance, and support.
< If you gaze at a single leaf on a single tree, you do not see the other leaves. If you face the tree with no intention and do not fix your eyes on a single leaf, then you will see all the many leaves. If your mind is preoccupied with one leaf, you do not see the others, if you do not set your attention on one; you will see hundreds and thousands of leaves. Ca#yu :unenori, Book on Family Traditions in the rt of !ar 5he stout bald-headed $onk kneeled in the $ud #rippin# his "alkin# stick. He "as blind and so tilted his head sli#htly to better hear his attacker throu#h the sound o% pourin# rain. His opponent leapt %or"ards, a #lea$in# s"ord raised abo+e his head. 5he blind $onk darted o%% to the side and stopped. 5he attacker stopped also, a surprised look on his %ace, and then %ell %or"ard into the $ud. A %lash o% $etal re+eals a s"ord blade in the $onkJs hand. =ith a %lick o% his "rist he shook the blood o%% the blade and slid it back into his "alkin# stick. 5his scene "as %ro$ an old Aapanese $o+ie series based on the %olktales o% Zatoichi 'chi the blind $onk. 'chi carried a s"ord hidden in his "alkin# stick and roa$ed %eudal Aapan ri#htin# "ron#s and de%endin# the "eak %ro$ the stron#.
He "as AapanJs Zorro but "ith one $a7or e8ception, he "as blind. 5his did not see$ to hinder his skill "ith a s"ord and curiously the Aapanese public did not see$ to 6uestion the characterJs authenticity. Bein# a blind $an did not detract %ro$ "hat people thou#ht he "as capable o%. 't is true thou#h that Zatoichi "as special in another "ay, he "as a $artial artist. ' re$e$bered this scene and "ondered i% it "as truly possible %or a blind $an to
. learn s"ord %i#htin#. 5his "as no idle speculation. ' had 7ust be#un teachin# a sel%-de%ence course at the local co$$unity centre "hen a "o$an, Susan, called and asked i% ' o%%ered pri+ate lessons> ' did. =ould she ha+e to co$e to the co$$unity centre> - Ces. Could ' pick her up at her house and dri+e her to the center> 5hat "as a stran#e re6uest and had $e con%used %or a $o$ent. 5hen ' asked her i% she had a disability. At %irst she "as reluctant to ans"er, it "as ob+ious that she %elt e$barrassed. ' told her not to "orry about her handicap since anyone can learn $artial arts. 5hen she asked $e, KCou probably think this is ridiculous but could ' learn sel%-de%ence e+en thou#h 'J$ blind>L :y initial reaction "as to say no, but ' had 7ust told her that anyone could learn $artial arts and ' hate $akin# a hypocrite o% $ysel% i% ' can a+oid it. 'n the $artial arts, the idea o% a blind person learnin# ho" to %i#ht is not considered %ar %etched. 5heoretically it "as possible, thou#h no one ' e+er $et kne" ho". So ' told her the truth, ' didnJt kno", but i% she "as "illin# to try, so "as '. 'n so$e $artial arts schools, ad+anced students are tau#ht %i#htin# techni6ues "hile blind%olded in order to de+elop a kind o% secondary sensory accuracy. 5he i$plication is that "hen one loses the sense o% si#ht, the other senses
"ill beco$e $ore enhanced and "ill co$pensate %or the loss o% +ision. 5hat is "hy Zatoichi tilted his head in the rain, to %ocus on his ene$y usin# his hei#htened sense o% hearin#. Aapanese %olklore tells o% ho" the "in#a trained blind%olded until they "ere able to $o+e about and %i#ht naturally in co$plete darkness. 5hey "ere called =arriors. '% Susan "as to be success%ul in learnin# sel%de%ence she "ould need to beco$e one. ' arran#ed to #o o+er to SusanJs house %or co%%ee and to assess her situation. '
! told her ' "ould decide a%ter"ards "hether or not ' thou#ht ' could help. ' learned that Susan "as thirty-si8 years old, di+orced, and li+ed alone "ith her ten year old dau#hter. She had lost her +ision as a co$plication %ro$ childhood diabetes . Her physical %itness le+el "as poor. 4ark haired and about 3J 0L she "as appro8i$ately thirty-%i+e pounds o+er"ei#ht. Her +ision "as co$pletely absent bein# unable to distin#uish e+en li#ht %ro$ darkness. She had also had a partial li+er transplant and as "ell as se+eral other sur#eries. She spent $uch o% her ti$e alone in the house until her dau#hter returned %ro$ school. Susan o"ned a seein#-eye do#, a %riendly #olden retrie+er na$ed Spencer, and "ith his help she "as able to %ind her "ay to her nei#hbourJs house, but she ne+er +entured %urther than that. Susan had a collapsible "hite cane so$e"here in the back o% the hall closet that she %elt unco$%ortable "ith and seldo$ used. ' 6uestioned her about her other senses, "ere they $ore sensiti+e and "ere they able to o%%set the lack o% +ision to any de#ree> Susan thou#ht her hearin# to be $ore acute than "hen she "as si#hted, but that she %elt there "as little
ad+anta#e to this. ,o other senses "ere thou#ht to ha+e beco$e $ore sensiti+e or i$pro+ed. Susan had no trainin# in any practical $ethods o% dealin# "ith her blindness such as instruction on physical %itness, sensory enhance$ent trainin#, or use o% the cane. She "as told that classes on ho" to read Braille "ere a+ailable at the Centre %or the Blind but that "as a t"o hour bus ride a"ay and so she declined. Susan had no pre+ious e8perience in any athletics and #i+en her handicaps and physical condition ' thou#ht it "as a hopeless case. ' "as about to decline to teach her "hen ' asked her the 6uestion $artial arts instructors al"ays ask ne"
) studentsM "hy do you "ant to learn $artial arts> Her ans"er "as a co$$on one - %ear. 5he reason Susan "anted to learn :artial Arts "as because she "as a%raid, and "ho could bla$e her. She li+ed alone in a rural area "ith her youn# dau#hter, she "as a "o$an, and she "as blind. Her %ear "as not irrational at all, but it "as inter%erin# "ith her en7oy$ent o% li%e. She dared not #o any"here alone. She had no %a$ily and only a couple o% %riends that "ould take the ti$e to dri+e her once a "eek to the #rocery store. 5he %e" ti$es she +entured out o% the house alone she e8perienced panic attacks that "ere acco$panied by %eelin#s o% +erti#o, a sort o% spinnin# sensation as thou#h she "ere %allin#. Okay, ' told her "e could do so$ethin# about her %ear, a%ter that "e "ill ha+e to see ho" it #oes. =hat %ollo"s is the story o% "hy and ho" the trainin# $ethods "ere de+eloped to teach Susan sel%-de%ense, so$e o% the scienti%ic principles ' could %ind that $i#ht e8plain our $ethodolo#y, and ho" the reader can use these techni6ues to train the$sel+es or their blind students. =e "ill also
learn a little about Zen alon# the "ay.

What is Zen?
$%ne day in an emotional out&urst the master said '(ow idiotic) "o&ody from a hundred years ago is around today. ll traces of them have vanished, &ut forgetting this, we desire trivial things and &ecome planners and schemers. !hat stupidity.' Suski Shosan, !arrior of *en Zen Buddhis$ is a school o% philosophy that traces its ori#ins to the teachin#s o% Siddhartha ?auta$a "ho "as a prince in "hat is no" 'ndia around 3)) B.C. One day he escaped the lu8urious con%ines o% his palace and "alked out into the city. 5here %or the %irst ti$e he "itnessed hu$an su%%erin# in all its %or$s. Fro$ that $o$ent on, he renounced his li%e o% pri+ile#e and set out to disco+er the source and cure %or su%%erin#. A%ter si8 years o% "anderin# and ascetic discipline Siddhartha sat under a Bo tree and beca$e enli#htened and therea%ter "as kno"n as the Buddha N$eanin# rou#hly Oone "ho is a"akeOP Siddhartha ca$e to three conclusions, that li%e is su%%erin#, that su%%erin# is a result o% our attach$ent to illusions, and that to end su%%erin# one $ust o+erco$e oneJs illusions. 2 5he teachin#s o% the Buddha "ere passed do"n %ro$ teacher to student until around *<3 A.4 a teacher na$ed Bodhidhar$a brou#ht the teachin#s o% the Buddha to China and beca$e the %ounder o% the Zen school. 'n China Buddhis$ $in#led "ith 5aois$, an indi#enous philosophy based on 1ao 5QuRs "ritin#s called the 5ao 5e Chin# Ncirca 3th century B.C.P. He belie+ed that a har$ony
2 e8isted bet"een Hea+en and &arth and that it could be %ound by anyone, at anyti$e- all they needed to do "as %ollo" the natural %lo" o% nature
called the 5ao or Othe =ay.O His basic teachin# "as that the 5ao could not be spoken o%, %or "ords cannot describe the in%inite ;ni+erse. 5he result o% this $in#lin# "as the ChRan School o% Buddhis$. Around 2)) A.4. ChRan Buddhis$ spread %ro$ China to Aapan "here it is called Zen Buddhis$. An o%ten-o+erlooked point o% interest is that Bodhidhar$a is also credited as the %ounder o% ChinaJs $ost %a$ous and respected style o% Bun# Fu called +haolin N1ittle ForestP na$ed a%ter the $onastery in "hich he li+ed and tau#ht. 5hus %ro$ its +ery be#innin# Zen has been closely related "ith $artial arts. Principle Practices 5he $ain e8ercise practiced in Zen is called *azen and is a %or$ o% $editation. 4urin# this $editation one %ocuses on breathin#, rela8ation, posture, and a"areness techni6ues si$ilar to those discussed later on in this book. 5he other principle practice o% Zen is 7ust that - practice. A %a$ous Zen $aster "rote K=e donJt practice to beco$e a Buddha, "hen "e practice "e are a Buddha.L 5his is contrary to the $ore co$$on idea o% "orkin# to"ards a #oal or re"ard. 'n Zen, the "ork is the re"ard. 5his is not hard to understand. :uch o% "hat "e do is e6ually or $ore re"ardin# to us in the doin# than in the end result. For $ost artisans, cooks, artists, en#ineers, scientists, teachers, parents, there is 7ust as $uch satis%action in the application o% their skills and talents as there is in ad$irin# the %inished products o% their handi"ork. Because o% this %ocus on SPuttin# your all in e+erythin# you doJ, Zen can be applied to any acti+ity and one could 7ust as easily re%er to the Zen o% Cookin# or the Zen o% Auto$oti+e :echanics as the Zen o% Archery.
Religion or Philosophy Zen can be called both a reli#ion and a philosophy althou#h neither ter$ "ould be co$pletely correct. 5here are +arious inter-school and personal interpretations. So$e %ocus $ore on reli#ious cere$ony, others $ore on philosophical principles. 5here%ore, "hether Zen is a reli#ion or philosophy depends on "ho$ you ask. Since Zen i$poses no reli#ious authority on belie+ers, people o% all %aiths could learn %ro$ it "ithout con%lict. For the readerJs better understandin# the sense in "hich the ter$ Zen is used "ithin the %ollo"in# "ritin# is as a philosophical and strate#ic approach to i$pro+in# oneJs 6uality o% li%e in #eneral, and should not be seen as %or"ardin# any reli#ious a#enda. The Way of the Warrior Bushido, literally $eanin# S5he =ay o% the =arriorJ, is a code o% conduct adopted by AapanJs "arrior class kno"n as the Sa$urai that dates back to the !th century. Bushido is a collection o% beha+ior protocols that e$phasiQe honor, bra+ery, and ethics si$ilar to the chi+alric code o% the $edie+al &uropean kni#hts. Zen hea+ily in%luenced Bushido and %or $ost Sa$urai the t"o "ere indistin#uishable. 5he li%e o% a pro%essional soldier in $edie+al Aapan "as tou#h ZenRs teachin#s o% perse+erance, sel%-discipline, and stoicis$ "ere "ell adapted to %or$ the basis o% a "arriorJs creed. So "hat do these ancient and %orei#n philosophies ha+e to o%%er the handicapped today>
* 1ike the Sa$urai, the handicapped %ace hardships and su%%erin# beyond those nor$ally encountered in li%e. 1ike the "arriors o% old, the handicapped $ay %ind a%%inity "ith a philosophy that pro+ides tools to pro$ote coura#e, discipline, and
perse+erance. 5hat the "arrior spirit can e$po"er the li+es o% the handicapped is aptly e8pressed in the %ollo"in# 6uote. +ecurity is mostly a superstition. It does not exist in nature nor do children as a whole experience it. voiding danger is no safer in the long run, than outright exposure. ,ife is either a daring adventure, or nothing. To keep our faces toward change and &ehave like free sprits in the presence of fate is strength undefeata&le. Helen Beller, ,et -s (ave Faith 5he Zen $asters o% old could not ha+e said it better.
*azen . seated $editation Blind Zen, A Case Study
3 Chapter
"an.in, a /apanese *en master during the 0ei#i era received a university professor who came to en1uire a&out *en. The professor enlightened the monk with his numerous theories and ideas on philosophy. Finally he asked the master what he could teach him a&out *en. "an.in suggested they first have some tea. (e poured his visitor2s cup full, and then kept on pouring. The professor watched the cup overflow until he could no longer restrain himself. 'It is overfull. "o more will go in)' ',ike this cup,' said "an.in 'you are full of your own opinions and speculations. (ow can I show you *en unless you first empty your cup34 Zen Flesh, Zen Bones 5he %ollo"in# "eek ' picked up Susan at her house and dro+e her to the Co$$unity Center %or her %irst lesson. ' had booked one o% the #y$nasiu$s "hich pro+ided a$ple open space to $o+e around "ithout %ear o% Susan bu$pin# into thin#s. ' be#an our %irst lesson "ith a si$ple test kno"n as the Stop &8ercise0. 'n this test students are asked to si$ply "alk about naturally but "hen the teacher yells stop they are to %reeQe and $aintain the e8act position their bodies "ere in at the instant they stop. 5his e8ercise helps both teacher and student to obser+e the studentJs habits o% loco$otion and identi%y such %actors as balance, tension, and posture.
/ ' e8plained the e8ercise to Susan and re6uested she at %irst not use her "alkin# cane. Susan "alked around 7ust like $ost si#hted people "ould i% they "ere suddenly thro"n into pitch blackness. Her ar$s %loated up"ards and to the sides e+en thou#h ' assured her there "as nothin# to bu$p into. Her %eet $o+ed %or"ards alon# t"o parallel lines 7ust like those toy robots that "alk by shu%%lin# their %eet and thro"in# their "ei#ht %ro$ one side to the other. A%ter ten years o% si#htlessness she had not learned or adapted to a ne" "ay o% $o+in# and she still $o+ed as thou#h she had 7ust been struck blind. =hile SusanJs $ethod o% "alkin# "as bad, her standin# "as "orse. =hen she stood still her posture "as terrible. Susan "ould lean %or"ards, hunch her shoulders and drop her head do"n. 't is the posture so$eone assu$es "hen they kno" they are about to ha+e a bucket o% cold "ater poured o+er the$. Another curious obser+ation "as that the lon#er she stood still, the $ore she "ould start to "obble until she %inally could not $aintain her balance any$ore and ' had to rush to her side to pre+ent her %allin# to the #round. =hen standin# still she "ould need to lean a#ainst a "all or hold onto the shoulder o% another person to pre+ent hersel% %ro$ %eelin# diQQy and %allin#. 5he i$$ediate solution to SusanJs proble$s "ith standin#, "alkin#, and posture "ere a series o% e8ercises kno"n as ?roundin#. 'n the $artial arts #roundin# is a concept that $eans to beco$e rooted into the earth. 5his $eans rooted both physically throu#h posture, stance trainin#, $o+e$ent and callisthenics, but also #rounded in the psycholo#ical sense o% bein# Kdo"n to earthL or practical. Surprisin#ly there is so$e indication that physical trainin# in #roundin# also i$pro+es a personJs psycholo#ical
sense o% bein# do"n to earth. Ale8ander 1o"en* "orkin# "ith neurotics noticed that they o%ten had "eak and underde+eloped le# $uscles. By puttin# these patients
< on a trainin# re#i$e to i$pro+e le# stren#th they also reduced their neurosis e+en "hen no other psycholo#ical treat$ent "as applied. ?roundin# is actually a collection o% techni6ues ai$ed at i$pro+in# oneJs sense o% Sbein# in this "orldJ as opposed to the %eelin# o% $erely obser+in# the "orld %ro$ a distance. For Susan to learn #roundin# she "ould need to #o back and relearn "hat she learned thirty-%our years a#o, ho" to stand and ho" to "alk. =e be#an "ith o+erall posture. Posture 5ou will discover how important it is to keep the right posture. This is the True Teaching. Shunryu SuQuki, *en 0ind, Beginner2s 0ind6 'n learnin# $artial arts, dance, $editation, and yo#a $uch e$phasis is placed on correct posture. 5eachers o% these arts spend $ost o% their ti$e correctin# studentRs postures. 5he instructions %or each action are $eticulousM the head $ust be held thus, the hands and %in#ers in this position, the "ei#ht balanced on this point, and so on. Be#inners are usually o+er"hel$ed by the co$ple8ity and detail in+ol+ed in correctly assu$in# these postures and so$e $i#ht le#iti$ately 6uestion their purpose. Apart %ro$ bein# $ore aesthetically pleasin# to the eye "hy is there such an e$phasis put on posture> Surprisin#ly there are se+eral bene%its to practisin# correct posture. Improve !ealth :anRs upri#ht posture is a relati+ely recent e+olutionary de+elop$ent, and there are still a %e" kinks to be "orked out. One such kink is the %ra#ile nature o% the
. spinal colu$n, "hich has to support the "ei#ht o% the upper body and the lar#e $ass o% the head poised precariously at the top o% the spine. 5his structure is +ulnerable to $any types o% in7uries and throu#h i$proper usa#e can be "orn do"n. For e8a$ple, i% you take a hand%ul o% coins and stack the$ e+enly one on top o% the other they "ill be able to support a tre$endous "ei#ht, but i% e+en one coin is not in ali#n$ent, then the stack "ill collapse under e+en a sli#ht pressure. 5his is "hat occurs "ith the +ertebrae o% the spine. 'ncorrect posture "ill %orce the +ertebrae out o% ali#n$ent. 'nstead o% collapsin# thou#h, the spine co$pensates by absorbin# the pressure into the $uscles surroundin# the spine and the disks bet"een the +ertebrae. O+er ti$e this constant pressure %ro$ habitually bad posture "ill cause the deterioration o% the disks and e+entually the +ertebrae itsel%. By this ti$e the person "ill usually ha+e beco$e debilitated by se+ere and chronic pain. 1earnin# correct posture can pre+ent a lot o% unnecessary pain and su%%erin# due to chronic back proble$s Improve "alance an Coor ination Posture also a%%ects the "ay a person $o+es. Correct posture is ai$ed at $aintainin# an internal e6uilibriu$ that translates into s$ooth and rela8ed $o+e$ent. '% you are unbalanced, hunched %or"ards, arched back"ards, or leanin# to either side, the $uscles in the spine, hips, and le#s $ust co$pensate %or this i$balance. 4ependin# on the posture, one set o% $uscles $ust contract "hile an opposin# set $ust loosen. 5he $uscles that ha+e to contract "ill beco$e e8hausted $ore 6uickly and are $ore prone to chronic in%la$$ation and pain. 5he opposin# $uscles atrophy and lose their ability to correct the postural tension needed to $aintain proper posture. =alkin# and
$o+in# this "ay "ill cause pain and e8haustion e+en a%ter a short "hile. Correct posture
! insures that your $ethod o% loco$otion is the $ost e%%icient, reducin# unnecessary stress and loss o% ener#y. #reater Presence Posture is part o% oneRs body lan#ua#e. ?ood posture and a solid %luid $ethod o% $o+e$ent, co$$unicate to the people around you a sense o% con%idence and stren#th. 5his has nu$erous bene%its. 'n social interactions this "ill encoura#e others to ha+e con%idence in you, and a "illin#ness to accept your authority. A R$ilitaryR posture co$$unicates that you are a presence in this "orld "hose actions ha+e i$portant conse6uences. 'n the $artial arts, #ood posture has the e%%ect o% dissuadin# potential attacks. :ost cri$inals look %or +icti$s that appear "eak and easy to inti$idate. Consciously or instincti+ely they tend to choose +icti$s "hose body lan#ua#e co$$unicates a "eak and %ri#htened disposition. ?ood posture sends out si#nals that indicate stren#th, con%idence, and a"areness, thereby helpin# to pre+ent an attack. :ost cri$inals seein# so$eone "ith such a con%ident posture "ould si$ply "ait %or a $ore suitable +icti$ to co$e by. 'n this $anner posture is a strate#y - by pre+entin# con%rontation "ithout resortin# to +iolence, by "innin# the battle "ithout dra"in# the s"ord./ Improve $ental !ealth A$on# Co#is and 5aoists it "as realiQed that posture and e$otion are connected and that each can a%%ect the other. 9ecently $odern $edicine is disco+erin# the sa$e principles and there are se+eral therapies that treat chronic conditions such as depression, pain, %ati#ue, and a host o% other ail$ents by approachin# the proble$ %ro$ a postural perspecti+e %irst.
2) 5he basic pre$ise is that e+ery e$otional state elicits a correspondin# posture, and +ice +ersa. &arly in our de+elop$ent it is the ner+ous syste$Rs state o% arousal that tri##ers the associate posture. O+er ti$e each e$otional state and its correspondin# posture beco$e linked to#ether so that one can tri##er the other throu#h the $echanis$ o% Classical Conditionin#.< NSee chapter 3 FearP Posture can also be consciously $anipulated to tri##er a correspondin# response in the ner+ous syste$. For e8a$ple, "hen you are %eelin# tired and bored you "ill %ind your spine be#in to sa# %or"ard and the head tilt do"n"ards, "hile breathin# beco$es shallo" and +ision narro"s. O+er years the body $e$ory o% this posture beco$es linked "ith the e$otional state that elicits this posture. Anyti$e you start to %eel tired your body "ill assu$e $ore o% this posture. Ho"e+er, i% you consciously %orce yoursel% to i$pro+e your posture you "ill e+entually tri##er a $ore ener#etic e$otional state. 'nitially the body "ill o%%er resistance "hen you try to assu$e proper posture, but throu#h repeated e%%ort the e$otional state "ill be tri##ered and then conscious attention to posture can be %reed to concentrate on other tasks. By teachin# proper posture and $o+e$ent, $any people "ill auto$atically %eel a correspondin# re7u+enation both physically and e$otionally. Correct posture is an essential tool to $aintain a $ental and physical e6uilibriu$, both in trainin#, and in daily li%e.
Training %xercises for Posture
!hen posture is perfect, the movement that follows is perfect as well. 5aisen 4eshi$aru, The *en !ay To The 0artial rts. #eneral Principles of #oo Posture 5he basic $echanics o% #ood posture are as %ollo"s. . Head should be held strai#ht and balanced on the neck, i$a#ine the head bein# pulled up"ards as thou#h a strin# "as attached to the cro"n o% your head.
2. Beep the shoulders do"n, rounded, and rela8ed. 0. 5he chest is kept %lat, neither pu%%ed out nor sunken. *. Spinal colu$n kept strai#ht. 3. Beep the pel+is tilted sli#htly %or"ard to a+oid archin# the back. /. 5he knees should be kept sli#htly bent at all ti$es, ne+er lock any 7oint in %ull e8tension. <. 5he %eet should distribute the "ei#ht onto the #round e6ually alon# three points o% contact2 the heel, ball, and rid#e. Tips for Trainers =hen teachin# physical $o+e$ents, there is by necessity, $uch physical touchin#. 5eachin# %or a si#hted class re6uires that students "atch ho" the teacher per%or$s any #i+en action. 5he blind o% course cannot "atch you, so instead they ha+e to %eel you do it. 5here are ti$es "hen they need to put their hands on your hips to %eel the "ay your body $o+es throu#h a $otion. Also
22 "hen si#hted people practice they usually ha+e the bene%it o% a $irror in "hich to check their posture and recei+e "hat is ter$ed Sreal ti$eJ %eedback. Cou can see yoursel% doin# the $o+e$ents and $ake chan#es as you "ork throu#h the techni6ues. =ith the blind, one needs to pro+ide %eedback throu#h both +erbal instruction and hands-on corrections. 5here are ti$es "hen you "ill need the$ to %reeQe "hile you ad7ust their posture, by physically $o+in# the studentJs body. Be%ore trainin# be#ins, e8plain to your students that you "ill %ro$ ti$e to ti$e need to place your hands on their hips, abdo$en, lo"er back, shoulders and head and that durin# the sel%-de%ense trainin# there "ill be body on body contact. Also, they need to kno" that i% they %eel unco$%ortable "ith any o% the contact they ha+e the ri#ht to say so and that such contact "ill cease "ithout recri$ination. 5he sa$e holds true %or all parts o% the pro#ra$. '% they %eel unco$%ortable "ith an e8ercise then they can stop at any ti$e. Al"ays describe the posture or position %irst and then $ake
corrections. 't is i$portant %or students to try to sense the $o+e$ent they think they are $akin# and then a%ter"ards ha+e the$ %eel the $o+e$ent that you "ant the$ to $ake. 5his helps to i$pro+e their sense o% proprioception or positionin#. For e8a$ple, ' o%ten tell $y students to rela8 their shoulders and they think they ha+e succeeded until ' co$e alon# and physically push their shoulders do"n. 5here can be a bi# di%%erence in "hat people think their body is doin# and "hat their body is actually doin#. A%ter describin# the posture you should then ask the student to hold still "hile you physically reposition their posture. Start "ith the head and hold one hand across their %orehead and "ith your other hand at the base o% the skull and correct the position. Hold the head in the corrected position
20 %or a $o$ent and ask the student to %eel that position. 5hen ad7ust the shoulders, ar$s and hips each ti$e pausin#, #i+in# ti$e %or the student to $ake a $ental note o% the position. 5his is i$portant %eedback that "ill assist in learnin# each o% the physical techni6ues. !ol ing the &ug' NSoloH5rainerP 't is a co$$on $isconception that $editation is al"ays done "hile seated on the %loor "ith le#s crossed and eyes closed. But there is another %or$ o% $editation practised by 5ai Chi adepts that i$pro+es posture and in+ol+es standin# upri#ht. 5his e8ercise is called (olding the /ug since you stand and hold out your ar$s as i% holdin# a lar#e 7u# or basket o% laundry. (irections' Stand "ith your %eet sli#htly $ore than shoulder-"idth apart and one %oot ahead o% the other as i% takin# a step. Beep the shoulders do"n, rounded,
and rela8ed. Shoulders that are hunched up indicate tension. Spinal colu$n is kept strai#ht in a $anner kno"n as a $ilitary posture. &lbo"s are kept do"n and close to the body, "ith the ar$s e8tended %or"ards as i% holdin# another person in a hu#. Focus your breathin# on your bodyJs centre o% #ra+ity located appro8i$ately in your lo"er abdo$en.
2* Beep the pel+is tilted sli#htly %or"ard to a+oid archin# the back. 5he knees should be kept sli#htly bent at all ti$es, ne+er lock any 7oint in %ull e8tension. :ost i$portantly, the %eet should distribute the "ei#ht into the #round e6ually alon# three points o% contact2 the heel, ball, and rid#e. Be#in by shi%tin# your "ei#ht %ro$ one le# to the other a %e" ti$es. =hen your "ei#ht is shi%ted to one le#, use the other %oot to #rind into the #round like crushin# a ci#arette. 5his directs your attention to the soles o% the %eet. :artial arts teach, that to $aintain balance "hen $o+in# the "ei#ht should be distributed e6ually on each %oot throu#h three points o% contact "ith the #round2 the heel, ball, and rid#e. '% your center o% #ra+ity is too %ar %or"ard on the balls o% the %eet, or too %ar back on the heels, you "ill lose balance and solidity. A%ter shi%tin# a %e" ti$es stop and breathe deeply and slo"ly "hile re$ainin# still in this position %or %i+e to ten $inutes. Practise this e8ercise three ti$es a "eek. 5he si$plicity o% this e8ercise belies the bene%its. A%ter a %e" "eeks you "ill %eel $ore solid and conscious o% your bodyJs $ass, and be able to stand and "alk "ith less %ati#ue. =hene+er standin#, sittin#, or $o+in# $aintain the basic principles o% this posture. Tips for Trainers 5he trainer can assist by checkin# the posture to insure they $eet the abo+e #uidelines. 'n the early sta#es a student $ay %eel "obbly and you
should stand close enou#h so that the student can sense your presence and kno" that you are nearby to steady the$ i% they %eel they are losin# their balance.
23 !orse Stance Training2 NSoloP There is a thing called the 'Body of a massive rock.' By knowing the doctrine of (eiho, one, in no time at all, &ecomes like a massive rock. "o one will &e a&le to hit you. "o attack whatsoever will distur& you. I teach this &y word of mouth. :iya$oto :usashi, The Book of Five 7ings 8 :artial arts are o%ten di+ided into t"o cate#ories kno"n as the &8ternal and the 'nternal. 5he &8ternal is that "hich one can see "ith the eye, thin#s such as stren#th, posture, and speed. 5he 'nternal consists o% those thin#s one cannot see such as %ocus, breathin# and balance. 'n the 'nternal school, stance trainin# is an i$portant techni6ue used to dra" ener#y %ro$ the earth in order to beco$e $ore solid. A traditional de$onstration o% a $asterJs stance techni6ue "as to call on +olunteers to atte$pt to li%t, trip, thro" or other"ise bud#e the $aster o%% his %eet. Aikido %ounder :orihei ;shiba, ! "ei#hin# 7ust o+er a hundred pounds, o%ten de$onstrated his $astery o% stance trainin# by re$ainin# i$$obile despite the e%%orts o% $uch lar#er and stron#er $en atte$ptin# to sho+e hi$ o%% balance. =hile initially this e8ercise looks si$ple, it is in %act the $ost di%%icult to $aintain. Horse stance #ets its na$e %ro$ the appearance o% ridin# a horse. (irections' Spread your %eet about one and a hal% shoulder "idths apart and bend the knees so that the thi#hs are at about a /) de#ree an#le.
2/ Press the hands to#ether in %ront about chest hei#ht as i% prayin#. Focus your attention and breathin# around your centre o% #ra+ity "hich is located about t"o inches belo" your na+el. Practice standin# in a Horse Stance t"ice a day %or about one $inute and #radually increasin# the duration. 'nitially you "ill %eel strain, tre$blin#, and burnin# in the thi#h $uscles that indicate that
those $uscles are bein# "orked to e8haustion. 'n Chinese :artial Arts, this is i$portant e8ercise and there are clai$s that "ith ti$e you actually beco$e as solid as a rock as re%erred to by :usashi in the abo+e 6uote. At ad+anced le+els, lo"er your stance until the thi#hs are parallel to the #round. 'n so$e schools, teacups are placed on the knees to insure that the student does not atte$pt to relie+e the pressure by risin# up. Cou can do the sa$e by usin# a broo$stick. Bend your knees and lo"er your stance until you can lay a broo$stick across your knees "ithout the stick %allin# o%%. Aust #ettin# into this position is di%%icult enou#h and i% you can hold the broo$stick %or three $inutes, you "ill ha+e de+eloped so$e solid le# $uscles. Tips for Trainers A#ain, this is a #ood solo e8ercise %or students. As "ith the Holdin# Au# e8ercise, the trainer can correct posture and help to steady the student until he or she is able to stand in the Horse Stance "ithout losin# balance.
2< Tai Chi Wal)ing: NSoloH5rainerP 5he ne8t pro#ression %ro$ standin# is to "alkin#. 5ai Chi =alkin# teaches proper posture, $o+in# %ro$ the "aist and hips, and rollin# o%% the %eet rather than landin# on the$. For e8a$ple, t"o co$$on thou#h i$proper "ays o% "alkin# areM hittin# the #round %lat %ooted $akin# a sto$pin# or clu$pin# sound and "alkin# on the balls o% the %eet as i% tip toein# around. Both are incorrect "ays o% $o+in#. 5he 5ai Chi "alkin# e8ercise helps to brin# %irst a"areness to, and then i$pro+e a personJs "alkin# habits. (irections' . Start %ro$ the Holdin# the Au# posture "ith your ri#ht le# %or"ard. 2. Shi%t your "ei#ht #radually onto your ri#ht %oot and "hen all your body "ei#ht is trans%erred onto the ri#ht le#, then pull your le%t %oot %or"ards until it is besides your ri#ht %oot "ith the toes 7ust barely touchin# the #round. Pause in this position %or a $o$ent. 0. Step %or"ard "ith your le%t le# but do not put your "ei#ht on it ri#ht
a"ay. First touch your le%t heel to the #round "hile $aintainin# all your "ei#ht on your rear Nri#htP le#. CouJll notice that you "ill ha+e to bend your ri#ht knee a little so as not to i$$ediately thro" your "ei#ht onto the lead Nle%tP steppin# le#. *. Slo"ly shi%t your "ei#ht onto your le%t %oot and as you do so you roll the "ei#ht %ro$ your heel, alon# the ed#e o% the %oot and onto the ball o% the %oot until the "ei#ht is distributed e6ually alon# the heel, ed#e, and ball o% the le%t %oot. 3. Brin# your rear Nri#htP le# slo"ly %or"ard but donJt step do"n ri#ht a"ay. First brin# the ri#ht %oot ne8t to your le%t and "ithout puttin# any
2. "ei#ht on it hold it "ith 7ust the toes touchin# the #round ne8t to your le%t %oot. All "ei#ht is still on your le%t %oot at this ti$e. /. ,e8t slo"ly step out "ith the ri#ht %oot 7ust as you did "ith the le%t %oot by touchin# the heel to the #round %irst, then shi%tin# your "ei#ht onto the ri#ht %oot as it rolls %ro$ the heel alon# the side o% the %oot and to the ball o% the %oot. Continue to "alk in this $anner. A%ter a %e" $inutes o% practise you should %eel a little %ati#ue in the le# $uscles. 5his "ill continue until youJre le# $uscles beco$e stron#er. . 9i#ht %oot %or"ard, 1e%t hand pushes. 2. 5ransition, le%t %oot paused beside ri#ht %oot. 1e%t hand "ithdra"s. 0. 1e%t %oot %or"ard, ri#ht hand pushes.
2! !an $ovements . 5he hands $o+e in coordination "ith the %eet and rese$ble s"i$$in#. As the left %oot steps %or"ard, the right hand e8tends at shoulder le+el "ith the pal$ %acin# out"ards as thou#h pushin# "ith that hand. 2. 5he le%t hand is pulled back to the shoulder "ith the "rist bent %or"ards so that the %in#ers point %or"ards. 0. As you step %or"ard "ith the right %oot, pull the lead hand back to
the shoulder, "hile the rear hand pushes %or"ards "ith the pal$ out. 'n Barate, this rese$bles a 9e+erse Punch, "hich $eans that i% the le%t le# is %or"ard then the ri#ht ar$ strikes out and +ice +ersa. 5hat punch or strike is thus the re+erse position o% the %eet. Tips for Trainers First, clear an area that you can "alk alon# "ithout bu$pin# into thin#s. 5ell the student ho" $any steps they can take be%ore ha+in# to turn around and co$e back. 5his e8ercise can be tricky to learn. 'n the be#innin# ha+e the student %ocus only on the "alkin# part. Cou $ay ha+e to "alk alon#side and ha+e the student hold onto your shoulder %or balance. Check and correct their posture %ro$ ti$e to ti$e durin# the trainin#. Once the student is co$%ortable "ith the "alkin# part, ha+e the$ #o throu#h the routine solo "hile addin# the hand $o+e$ents. The Stop %xercise: N5rainerP A%ter a %e" "eeks o% trainin# in ?roundin# and 5ai Chi =alkin# it is a #ood idea to test your student by occasionally repeatin# the Stop &8ercise. 5he reason %or the stop e8ercise is to pre+ent old habits %ro$ returnin#. =hen practicin# the
0) abo+e e8ercises the student is naturally %ocused on the principles in+ol+ed, but "hen returnin# to nor$al li%e, o%ten the old habits "ill return. 5his si$ply indicates that the ne" trainin# has not yet beco$e second nature. (irections' &8plain to your student that they are to "alk around the roo$ at nor$al speed and that "hen you yell KStopL they are to %reeQe their position "ithout tryin# to ad7ust their balance or posture. Obser+e the studentJs position "hen they ha+e stopped and look %or i$proper balance and tension. '% you obser+e a %la" in the
posture such as leanin# beyond their centre o% #ra+ity or shoulders hunched, rather than i$$ediately pointin# out the proble$, ask the student to sense their position and tell you i% they %eel that so$ethin# is "ron#, and i% so to correct the proble$. 'n this "ay students learn to rely on their o"n internal obser+ation rather than the teacherJs e8ternal obser+ation. :ost ti$es they "ill sense correctly "hat is "ron# and $ake the correct ad7ust$ents. '% there is still so$ethin# that is o%% balance or out o% ali#n$ent, then +erbally #uide the student to sensin# the proble$. 5his is kno"n as the Socratic $ethod o% teachin# "hereby the teacher asks 6uestions and the student $ust arri+e at the ans"ers usin# their o"n co#nition. For e8a$ple, i% you obser+e a student is still hunchin# the shoulders ask hi$ or her 6uestions to #uide the$ to the ans"er. 4o you %eel tense> =here do you %eel tense> '% your shoulders are tense "hat are they doin#> =ith the clues the student recei+es %ro$ your 6uestions they are able to sense and ad7ust their position "hich helps train their sense o% proprioception. NSee ne8t chapterP
0 Physical *itness Standin# and "alkin# are the basic co$ponents to ?roundin# but in addition physical e8ercise and stretchin# routines need to be practised to i$pro+e o+erall health and %itness. ' be#an by treatin# Susan like any other si#hted student %i#urin# that, "hen there "as so$ethin# she couldnJt do, "e "ould deal "ith it "hen "e ca$e to it. Susan "as put throu#h the standard boot ca$p routine o% push-ups, crunches, curls, presses, s6uats, and 7u$pin# 7acks. 5his "as then %ollo"ed by a stretchin# routine co$$on to $artial arts trainin#. 5o $y surprise Susan "as able to learn the doQens o% e8ercises "ithout di%%iculty. Si#ht, as it turned out, "as
not needed. 'n addition to i$pro+in# her physical condition this trainin# i$pro+ed her kinaesthetic a"areness, #i+in# her the sense o% bein# in her body. 5his is an i$portant %eelin# to ha+e %or it roots us in the present and $akes us $ore alert and recepti+e. NSee appendi8 AP
02 Chapter 2
%ne day a young samurai approached a revered teacher of swordsmanship and &egged acceptance as a student. '5ou must do everything I ask you without 1uestion.' The teacher warned. The samurai agreed without hesitation. '(ai.' +aid the teacher $9o to the :o#o and walk along the edge of the Tatami &y placing one foot in front of the other.' ;erplexed the samurai did as he was told &ut after a week of this practice, he &ecame impatient to pick up a sword. fter the tenth day, he could take no more and angrily 1uestioned the teacher when they would &egin serious training. '<ery well.' said the teacher. 'Tonight we will &egin serious training.' That night under a full moon, the teacher took the +amurai up into the mountains until they came to a deep and narrow gorge. +panning the gorge was a fallen tree. '(ere we &egin training.' said the teacher. '=ross over the gorge.' 'But the tree is too narrow.' said the samurai. 'It is much wider than the edge of a Tatami.' replied the teacher. The +amurai #umped up on the fallen tree &ut as he stepped forward, the dim light and the sound of rushing water caused him to lose his &alance. 'I cannot cross.' said the +amurai. '!ell then, how can you expect to master the sword when haven2t yet mastered walking3' said the teacher.
The +amurai never 1uestioned the teacher again. Aapanese Folk 5ale
00 'nte#ral to the pre+ious #roundin# techni6ues is the sense o% balance. Ho"e+er, the co$ple8ities in+ol+ed in this see$in#ly si$ple sense re6uire a separate pro#ra$ o% trainin#. Susan had a poor sense o% balance. 4urin# the Stop &8ercise it "as obser+ed that "ithout support %ro$ a "all, chair, cane or another person, Susan could not stand on both le#s %or $ore than %e" $inutes be%ore startin# to lose her balance. Standin# on one %oot, e+en "ith the assistance o% a cane, "as al$ost i$possible. ' learned that her lack o% balance contributed to occasional bouts o% %ear that her le#s "ould collapse and that she "ould %aint. 't "as this %ear o% "eakness and %aintin#, si$ilar to an an8iety attack, "hich had discoura#ed her %ro$ bein# $ore acti+e. Susan "as $ore likely to e8perience this %ear "hen she "as out in open spaces "ithout a solid +ertical sur%ace, such as "alls or %urniture that she could touch and use as a re%erence. 5his is si$ilar to "hat si#hted people %eel "hen standin# on the ed#e o% the roo% o% a tall buildin#, uncertain "hether their sense o% balance "ould pre+ent the$ %ro$ topplin# o+er. SusanJs sense o% balance "as hindered because she had lost her si#ht later in li%e, a%ter her ner+ous syste$ had already been pro#ra$$ed to rely on +isual in%or$ation %or balance. =hen Susan lost her +ision, a lar#e part o% her ability to %eel balanced "as lost too. 5hose "ho are blind %ro$ birth learn to balance by utiliQin# the t"o other senses in+ol+ed in the process o% $aintainin# balance and so are $ore stable on their %eet. Susan belie+ed that her lack o% balance "as a conse6uence o% her loss o% +ision. She "as surprised and
encoura#ed to learn that there "as no reason she couldnRt learn to be steadier and better balanced on her %eet. 5he kno"led#e that she could #reatly i$pro+ed her ability to learn the drills. =e be#an balance trainin# "ith the three point balance drill Nsee belo"P "hile
0* ha+in# Susan support hersel% a#ainst a "all. A%ter a "eek she used a chair %or support, then a cane. A%ter a %e" "eeks she "as able to balance "ithout support on one %oot %or se+eral $inutes. By this ti$e SusanRs %ear o% "eakness and collapse had all but disappeared and her con%idence in her o"n stability and balance "as such that she "as no lon#er a%raid to be out in the open. 'n typical Zen %ashion, it "as the basic balance drills that brou#ht the $ost noticeable and i$$ediate bene%its. 5o kno" ho" to train %or balance it is help%ul to understand the underlyin# $echanics o% balance. !o+ We Sense "alance Balance is controlled by a co$bination o% three senses, the +estibular, +ision, and proprioception. ) 5he basic sense o% up and do"n is pro+ided by the +estibular syste$ located "ithin the inner ear. 't consists o% three se$icircular hollo" tubes that are set at an#les to each other. 5hese tubes contain li6uid that %lo"s throu#h the tubes dependin# on head tilt and $o+e$ent. 1inin# the tubes are hair-like ner+e endin#s that, "hen sti$ulated by the $o+e$ent o% the %luid, trans%or$s this $otion into a neural si#nal. 5his pro+ides in%or$ation on the position o% the head, tellin# the brain "hen the head is tilted %or"ard, back"ard, and side to side, si$ilar to a carpenterRs le+el. =hile the +estibular syste$ supplies in%or$ation about head position, it does not co$$unicate the o+erall positionin# o% the body itsel%. 5his in%or$ation
co$es %ro$ t"o other sources the %ore$ost o% "hich is +ision. Vision tends to do$inate and o+erride all other senses includin# our sense o% balance. Cou can
03 test ho" $uch +ision in%luences your balance by %irst standin# on one %oot "ith your eyes open, and then "ith the eyes closed. :ost people "ill be#in to lose their balance "ith their eyes closed. Ho"e+er, +ision is not essential to balance and in $any cases, its input is detri$ental to per%or$in# co$ple8 physical $o+e$ents. ?y$nasts, acrobats, hi#h plat%or$ di+ers, and $artial artists $ust train their ner+ous syste$ not to rely on the eyes %or balance. ?y$nasts learn to suppress +isual input durin# a tu$ble since its accuracy in deter$inin# location o% the body in space at any point o% a tu$ble is poor. 'nstead, the t"o other senses are re%ined to produce additional in%or$ation on speed, tra7ectory, and distance. Athletes are tau#ht to %ocus on a spot either on the horiQon, or on the #round dependin# on the techni6ue, and then to feel their "ay throu#h the $o+e$ents. For e8a$ple, dancers and %i#ure skaters "hen per%or$in# pirouettes %ocus their eyes on a point on the horiQon. As their body spins, the head and eyes re$ain %ocused on that point until the neck "ill not t"ist any %urther, and then the head turns around 6uickly racin# ahead o% the body and a#ain %ocuses on that sa$e spot. '% you allo"ed the head to spin in tande$ "ith the body, the o+er"hel$in# +isual and +estibular sensations "ould cause i$$ediate diQQiness and disorientation. N9e$e$ber "hen you "ere a youn# child spinnin# and %allin# to the #round and lookin# up to see the sky "hirlin# around in %ront o% you.P :artial artists use the sa$e principle to e8ecute a spinnin# kick. 5he head turns around ahead o% the body in order to
%ocus on the tar#et, "hile the body turns throu#h the $o+e$ent and e8ecutes the spinnin# kick. =hen trainers say you $ust feel your "ay throu#h the $o+e$ent, to "hat K%eelin#L are they re%errin#. 5he ans"er brin#s us to the third contributor to
0/ balance, a +ital sense "e all possess yet $ost o% us ne+er e+en kne" e8isted be%ore T proprioception. One reason proprioception is so little kno"n is that e+en the scienti%ic co$$unity "as una"are o% this sense until early in the 2)th century. 5his a"areness is such a constant touchstone o% our e8perience o% bein# ali+e that it "as si$ply o+erlooked and taken %or #ranted. 5his is the sense o% inhabitin# your body. Proprioception is the in%or$ation the brain recei+es %ro$ the ?ol#i tendon or#ans, "hich are sensors "ithin the $uscles and tendons that $easures the a$ount o% tension each particular $uscle is e8ertin#. 5his in%or$ation enables us to sense physical $o+e$ent and posture, and tells us ho" hea+y an ob7ect is, or ho" hard to thro" a basketball in order to reach the basket. Proprioception is also the sense o% bein# KinL your body. Co$bined "ith the tactile sense, proprioception is "hat tells you that you are part o% the "orld and not an entity li+in# inside your head. Proprioception "as Kdisco+eredL "hen doctors e8a$ined patients, "ho throu#h a rare brain illness, lost their proprioception. 4octors noticed that they could only control their li$bs "hen they "ere directly "atchin# the$. 5he condition beca$e $ore apparent "hen the patients "ere not %ocused on physical acti+ities. For e8a$ple, one patient "hile "atchin# 5V "ould be una"are that his ar$ "as %loatin# o+er his head. Only "hen he looked at his %loatin# ar$ could
he then e8ert control o+er it and brin# it back to rest on the ar$chair. =e can all #et dressed, open a bottle o% $ilk, or e8ecute any one o% hundreds o% tasks "ith our eyes closed and it is the sense called proprioception that allo"s us to do this. 2 5hus it is this sense that is the $ost i$portant to e8ercise in trainin# the blind. 5his sense can i$pro+e throu#h both physical acti+ities and e8ercises and throu#h the %ollo"in# balance drills. 0
0<
Training $etho s for "alance
Posture and balance is achie+ed throu#h the actions o% hundreds o% s$all $uscles kno"n collecti+ely as stabiliQer $uscles. 5hese $uscles help to direct the $o+e$ent o% the lar#er $uscles and are essential in e8ecutin# techni6ues that re6uire re%ine$ent and #race. StabiliQer $uscles do not de+elop +ery $uch throu#h e8ercises ai$ed at isolatin# and de+elopin# the lar#e $uscles #roups, "hich is "hy body builders o%ten appear sti%% and "ooden. Con+ersely, %i#ure skaters, dancers, and #y$nasts are reno"ned %or their #race and poise attributable to their balance and posture trainin#. Belo" are a couple o% e8ercises that "ill i$pro+e balance. Three Point "alance: NSoloH5rainerP 5his e8ercise is si$ilar to those done in $odern dance, ballet, %i#ure skatin#, and #y$nastics. 'n ballet this e8ercise is usually done "hile holdin# onto a balance rail. A blind student "ould %irst ha+e to start out in a si$ilar $anner by holdin# onto so$ethin# solid like a railin#, door 7a$ or another person. As you pro#ress, you can increase the di%%iculty by s"itchin# to a solid "ooden cane instead o% a railin# %or balance. Once you %eel co$pletely co$%ortable balancin# "ith only the use o% a cane, you can then try to balance usin# no other support.
Ho"e+er, al"ays ensure you stay close to a "all or a spotter so that i% you do %eel yoursel% losin# balance you can 6uickly brace yoursel% a#ainst the %all %or support.
0. (irections' . =hile standin# on one le#, bend the other le# and raise the thi#h up in %ront o% your body so that it is parallel to the %loor. Hold this position %or the count o% ten. 2. Still keepin# your thi#h horiQontal, rotate the thi#h out !) de#rees to the side o% your body, hold %or a count o% ten. 0. 5hen lean %or"ard and brin# the le# behind you in "hat ballet "ould ter$ an ra&es1ue, and hold %or a count o% ten. 9epeat "ith other le# ?radually increase the len#th o% ti$e you hold out the le# until you are able to hold each position %or one $inute. 5o increase the di%%iculty le+el, hold each position "ith the le# held strai#ht. 'n addition to i$pro+in# your balance this e8ercise also ti#htens and "orks $uscles in the thi#hs, hips, and buttocks. Tips for Trainers 5his is a +ery di%%icult e8ercise to $aster and you should take ti$e and pro#ress slo"ly to the $ore di%%icult le+els. First, you need to %ind a solid source o% support %or the student. Ha+e the student start by holdin# onto this support but
0! you should stand close by and be ready to support the student i% they lose balance.
Wal)ing the Cur,: NSoloH5rainerP 5his is si$ilar to "alkin# the balance bea$ in #y$nastics, e8cept the bea$ is a curb. =ith your trainin# partner %ind a 6uiet backstreet "ith a curb and si$ply practice "alkin# alon# the curb placin# one %oot in %ront o% the other. &nsure that the curb section you are "alkin# alon# is %ree %ro$ obstructions such as poles or hydrants. 'n the be#innin#, your trainin# partner should "alk alon# side you so you can hold his or her shoulder %or support and balance until you are ready to #o it unaided. 5he techni6ue %or placin# the %eet is si$ilar to the 5ai Chi =alkin# e8ercise. As you step %or"ard, bend your knees and lo"er your body to allo" the %oot that is steppin# %or"ard to %irst brush alon#side the ed#e o% the curb. 5his helps you to %eel the layout o% the curb. A si$ilar techni6ue is used to "alk do"n stairs. As you step do"n the stairs, bend your knees and use your lead %oot to %eel the ed#e o% the step be%ore co$$ittin# your body "ei#ht to the steppin# do"n. Tips for Trainers 'n "orkin# throu#h the abo+e balancin# e8ercises, si$ply allo" the student to hold onto your shoulder %or balance. ?rabbin# or holdin# a blind person $akes the$ %eel unco$%ortable and does little to help the$ balance. ?o slo"ly in the be#innin#. Allo" your student to take as $uch ti$e as needed "hile holdin# onto your shoulder so that they can %ocus their attention on their $uscles and %eel their posture and balance. Stay close by the student so that they can i$$ediately re#ain contact "ith you should they start to lose their balance. A%ter so$e ti$e o% this practice, ha+e the$ re$o+e their #rip and tell the$ that
*) you "ill no" step a"ay and allo" the$ to be on their o"n. Stay close
by and ready to catch the$. 't is an i$portant step in $o+in# a"ay %ro$ the student since the an8iety o% not ha+in# you ri#ht there to reestablish contact, "ill so$eti$es cause students to lose their e6uilibriu$. 5his see$s to depend as $uch on e$otional con%idence as it does on the physical act o% balancin#. 'n the pre+ious chapters, "e ha+e already be#un sensory enhance$ent trainin# on t"o +itally i$portant senses, balance and proprioception. 5hese t"o little kno"n senses are essential to i$pro+in# the li%estyle and abilities o% the blind because they pro+ide a solid %oundation and i$pro+ed con%idence in their o"n bodyJs ability to $o+e and re$ain solid on their %eet. 5he ne8t chapter "ill discuss the other t"o senses traditionally thou#ht to beco$e acute "hen a person beco$es blind, hearin# and s$ell.
* Chapter 0
I
In feudal /apan, there lived a venera&le >endo master who decided to test his three highest.ranking students. (e &rought them one &y one to an old temple in the near&y mountains where he told each student the following? '5ou have studied with me many years; now let@s see if my teaching has &een in vain. There within the temple awaits your test. ;ass and you will have graduated.' !ithin the dimly lit temple, the 0aster had hidden four +amurai armed with clu&s and instructions to #ump anyone who entered the temple. The first student entered the temple and &efore his eyes could ad#ust to the light, was surprised and &eaten &y the +amurai. 'I am sorry, you have failed.' said the master. The second student entered the temple and sensed the attackers. (e was a&le to deftly evade their attack and defeat them. The student came out of the temple triumphant, &ut again the master said, 'I am sorry, you have failed2. Finally, the third student was &rought to the temple and told a&out the test. The student replied, 'But venera&le master, protocol dictates that when entering a temple the master must always precede the student, so if you please, I shall follow you in.' To which the master replied, '5ou rascal, you have learned all I can teach you.' Aapanese Folk 5ale
*2 5he abo+e story in typical Aapanese %ashion teaches t"o subtle points. First is the e%%ecti+e use o% strate#y to a+oid and e+ade direct con%rontation. Ho"e+er, there is another point that is o%ten o+erlookedM ho" did the third student kno" there "ere %our Sa$urai "aitin# in a$bush> =as he %ore"arned by a
si8th sense, or "as it one o% the co$$on %i+e senses, $ore %inely tuned perhaps> 4id he see subtle traces o% their passin#> 4id he hear their breathin# or the $o+e$ent o% %abric> 4id he s$ell their e8cite$ent and anticipation> 'n the Far &ast, there are tales o% #reat "arriors and $ystics "ho "ere able to see the subtle clues that "ould si#nal an i$pendin# attack, "ho could hear the approachin# %ootsteps o% attackers in the dark, or s$ell the anticipation o% those that lay in a$bush. 5hese %olk tales su##est that true $asters "ere able to sense in unkno"n "ays thin#s and e+ents inaccessible to the untrained. '% it is true, that they "ere so$eho" super-percepti+e, then ho" did they de+elop such a talent> Are hei#htened senses the result o% spiritual de+elop$ent, or "ere they trained like any other skill> Scattered clues in obscure te8ts appear to con%ir$ the latter. For e8a$ple, in the Hindu Co#a tradition one %inds an e8tended hearin# e8ercise said to be able to i$pro+e hearin#. A Buddhist te8t $entions a candle #aQin# e8ercise said to i$pro+e +ision, a 5aoist techni6ue clai$s you can replenish +ital ener#y by lookin# directly into the sun %or a 7ust an instant o% ti$e, "hile ru$or has it that Aapanese ,in7a used secret e8ercises to be able to see in the dark. 5hat $artial artists in the past $ay ha+e learned to de+elop their senses %urther is a lo#ical assu$ption. 5he senses are the "indo"s onto the "orld. Applied to the art o% "ar, the senses are akin to an early "arnin# syste$ that alerts the hu$an or#anis$ to potential dan#ers. 't "ould $ake sense that
*0 any i$pro+e$ent in this early "arnin# syste$ "ould enable you to detect a #reater nu$ber o% potential threats, thus increasin# your chances o% sur+i+al.
5he 6uestion then beco$es, can "e i$pro+e on this sensory syste$> =e #enerally presu$e that "hat "e hear, see, taste and s$ell is all "e are capable o% hearin#, seein#, tastin#, and s$ellin#. Ho"e+er, $odern thinkin# is redisco+erin# "hat past $asters had already kno"n, that the senses are capable o% $uch $ore than "e #i+e the$ credit. 5he e+idence has al"ays been there. An artist learns to see perspecti+e, shado", shade, and balance. A $usician learns to listen %or tone, har$ony, te8ture, and te$po. A $asseuse learns to %eel "ar$th, coolness, tension, and in7ury. 'n e+ery endea+or, one $ust learn to sense in a ne" "ay, to take in $ore sensu$ than those that do not %ollo" the sa$e occupation or hobby. So "e can all learn to e8perience $ore than "e e8perience currently, ho" can this apply to the blind> 5here is a co$$on perception that those "ho ha+e lost their si#ht "ill %ind their other senses $ore acute. 5his urban $yth "as spread partly throu#h $o+ies and tele+ision. 5he Aapanese Zatoichi $o+ies, thou#h not "ell kno"n in the =est, did inspire $any "estern %il$s and tele+ision sho"s. 5hese include the blind "arrior in the $o+ie KBlind FuryL and blind :aster Po %ro$ the <)Js tele+ision series >ung Fu, but this is 7ust %iction. 's there any other e+idence> :any traditional cultures attribute super sensory po"ers to the blind. 5hrou#hout &ast Asia, the blind are thou#ht to be natural psychics, and %ortunetellers. 5hey are also reno"ned %or their $assa#e and healin# hands. Ho"e+er, this is 7ust $yth. 's there a $ore reliable source %or belie+in# in i$pro+ed sensory po"er> Helen Beller o%%ers so$e non-%ictional accounts o% a hei#htened sense o% s$ell that is
** re$arkable and sho"s an a$aQin# potential in the hu$ble nose. NSee ol%action
belo"P. So does all this $ean that Susan had hei#htened senses other than si#ht> ,ot at all, actually in SusanJs case the re+erse "as true. Her other senses had e8perienced a reduction in acuity. So "hat are "e to $ake o% the $yth o% the blindJs super sensory perception> Part o% the ans"er lies in the late sta#e in li%e in "hich Susan lost her +ision. Susan lost her si#ht #radually be#innin# in her early 2)Js until beco$in# co$pletely blind in her late 0)Js. Since she "as able to see durin# her %or$ati+e years, her brain pro#ra$$ed itsel% to beco$e +ision intensi+e. Ho"e+er, once +ision is lost, the brain does not auto$atically repro#ra$ itsel% to beco$e auditory or ol%actory intensi+e. 'n those cases "here a child is born blind, the brain pro#ra$s itsel% to better process sensory in%or$ation a+ailable %ro$ other senses such as hearin# and s$ell. 'n those circu$stances, the other senses "ill de+elop to a #reater de#ree than in si#hted people. Cou can see a si$ilar pheno$enon in cases o% children born "ithout ar$s. 1e%t "ith only le#s, they ne+ertheless de+elop de8terity "ith their %eet and le#s that nearly $atch and so$eti$es surpass "hat ar$s and hands could do. Ho"e+er, no one "ho loses their ar$s in an accident later in li%e "ill e+er be able to use their le#s to such a de#ree. Susan ha+in# lost her si#ht later in li%e like"ise "ill ne+er be able to replace si#ht "ith her re$ainin# senses. 5he #ood ne"s ho"e+er is that sensory enhance$ent e8ercises did i$pro+e SusanJs perceptions to a re$arkable de#ree #i+in# her #reater con%idence in all aspects o% her li%e. 1et us take a 6uick look at ho" the sensory process "orks and see i% there is any scienti%ic %oundation %or the enhance$ent e8ercises o% "hich the ancientJs spoke.
*3
Perception? That act or process of the mind which makes known an external o&#ect; the faculty &y which man holds communication with the external world or takes cognizance of o&#ects outside the mind. =ebsterRs ,e" =orld &ncyclopedic 4ictionary Perception 5here are three processes in+ol+ed in e8periencin# the outside "orld, sensation, perception, and co#nition. Sensin# is the #atherin# and con+ersion into electroche$ical in%or$ation o% e8ternal sti$uli. Perception is the trans%erence, %ilterin#, and sortin# o% that in%or$ation. Co#nition is that portion %ro$ the "ide ran#e o% perceptions that is #i+en attention and $ade a"are to our consciousness. 5o understand the di%%erence in these processes e8a$ine your present condition. Cou are sittin# readin# these "ords "hile your senses are continuously re#isterin# sensu$ such as, roo$ te$perature, back#round noise, the pressure e8erted by #ra+ity on your body, postural in%or$ation, s$ells, etc. 5hese +arious sensu$ are or#aniQed into in%or$ation that is sent to the brain, but o% all these perceptions you are, Nor "ere a $o$ent a#oP only payin# attention to readin# these "ords NCo#nitionP. At anyti$e ho"e+er, you can %ocus your attention on any o% the other perceptions co$in# in such as $usic or con+ersation in the back#round. =hile readin# you "here perhaps a"are that people are talkin#, but una"are o% the actual content o% the con+ersation, but as soon as you turn your attention to the con+ersation understandin# takes place. '% you turn your attention to your body posture, you $ay ha+e had a +a#ue perception o% disco$%ort but it is not until you %ocus your attention to your posture that your
*/ are able to identi%y this disco$%ort as a result o% perhaps holdin# the neck to one side, or a tension in the shoulders, or %ro$ ha+in# your le#s crossed %or too lon#.
=hile the senses are continuously pro+idin# in%or$ation, only "hen you K,oticeL these sensations is there co#nition. 4urin# the ti$e you notice a certain set o% sensu$ the brain auto$atically %ilters out $ost o% the other sensu$, basically turnin# do"n the +olu$e o% the other senses. =ithout this auto$atic %ilterin# process #oin# on deep inside the brain "e "ould be dri+en to $adness by the sensory o+erload. So "e sense $any thin#s but are a"are o% only so$e o% this in%or$ation at any #i+en ti$e. Can "e beco$e $ore a"are o% the other types o% in%or$ation> =e can and "e be#in "ith sound.
!earing
!hen +iddhartha listened attentively to this river, to this song of a thousand voices; when he did not listen to the sorrow or the laughter, when he did not &ind his soul to any one particular voice and a&sor& it in his +elf, &ut heard them all, the whole, the unity; then the great song of a thousand voices consisted of one word; %0 . perfection. Her$an Hesse, +iddhartha Hearin# is the second $ost intensi+e sense "e ha+e. 't allo"s us to detect e+ents "ithout the bene%it o% li#ht or a direct line o% +ision. 't also alerts us to potential dan#ers. 'n inter+ie"in# Susan ' learned that her hearin# did beco$e $ore acute since losin# her si#ht but that she %elt this pro+ided no real bene%its. She heard $ore sounds but "as con%used as to both the ori#in and the location o% these sounds. 'nstead o% aidin# her a"areness o% her en+iron$ent, it actually hindered
*< her a"areness "ith o+er"hel$in# noises that o%ten caused %eelin#s o% %ear. Stran#e sounds and noises cause an8iety in all creaturesM it is one o% our sur+i+al instincts. A loud or unusual sound "ill cause the ner+ous syste$ to respond "ith alar$. A si#hted person "ould i$$ediately look in the direction o% a stran#e sound to assess potential dan#er, but a blind person can only "ait %or
so$ethin# to happen. :any o% us ha+e had a si$ilar e8perience o% an8iety a%ter $o+in# into a ne" ho$e. ,ot bein# used to the di%%erent sounds a house $akes can keep you up all ni#ht "onderin# i% thatJs the sound o% the co$pressor in the re%ri#erator, or so$eone tryin# to break in the "indo", or i% you hear the house settlin# or so$eone at the door. 5here is an e8ercise %or anyone $o+in# into a ne" house and "ho $i#ht be bothered by stran#e noises at ni#ht, such as sin#le "o$en, that #oes as %ollo"s. Be%ore ni#ht%all, turn on all the li#hts and $ake a thorou#h search o% the entire ho$e and lock all the doors and "indo"s behind you. 5his is to insure that no one could be hidin# in the house. 5hen lie do"n in bed and listen to all the sounds the house $akes. '% you hear so$ethin# you cannot identi%y, then #et up and track do"n the source o% the noise. For e8a$ple, %urnaces o%ten $ake a knockin# sound be%ore turnin# on. ?o and check out the source o% the knockin# sound, listen to the sound the %urnace $akes. 4o this %or e+ery other sound that you cannot identi%y such as %lushin# pipes in a nei#hbourJs apart$ent, the sound o% the re%ri#eratorJs co$pressor, the sounds o% tra%%ic out on the street, and so on. Once you identi%y the sounds you are less likely to beco$e alar$ed by those sounds "hen you hear the$ late at ni#ht. 5his $ethod, althou#h de+eloped "ith si#hted persons in $ind, pro+ided the
*. clue as to ho" to train SusanJs hearin#. Part o% SusanJs proble$ "as that since her blindness she did notice $ore sounds, but she "as unable to reco#niQe those sounds and had no "ay o% in+esti#atin# their source. 'nstead o% pro+idin# additional in%or$ation about the "orld around her, the sounds 7ust $ade her
$ore con%used. 5he solution is surprisin#ly si$ple and +ery e%%ecti+e. ' ha+e coined the ter$ KAudio 'nde8in#L %or this e8ercise and it is described belo". 5his e8ercise also tau#ht us an interestin# principle o% all sensory trainin# "hich is, that to i$pro+e a perception can be as si$ple as pro+idin# clues as to "hat to look %or. For e8a$ple, i% you play t"o $usical notes a hal% tone apart such as a C and a CU, they "ill sound discordant, but they "ill also create a third +ibration kno"n as a pulse tone. 'nside the sound you can hear a beat or a pulse. ;nless you are a $usician or piano tuner, it is unlikely you "ould ha+e kno"led#e o% this pheno$enon and 7ust as likely to ne+er ha+e noticed the third tone. Ho"e+er, once it is e8plained it beco$es sel% e+ident. ' ha+e played $usic since ' "as a child but the %irst ti$e ' read o% this "as "hen ' "as an adult. =hen ' ne8t ca$e upon a piano ' re$e$bered to play the t"o notes and sure enou#h there "as a third pulsatin# note. 5he sound "as al"ays there but no" ' could KhearL it si$ply because ' "as $ade a"are o% it. Si$ilarly in the %ollo"in# e8ercises $uch o% the initial i$pro+e$ents are brou#ht about by the $ere a"areness that "e are capable o% sensin# $uch $ore than "e ori#inally thou#ht. 'n order to be able to 7ud#e "hether any speci%ic techni6ue can actually i$pro+e auditory perception it is help%ul to kno" a little about the $echanics o% hearin# and understand ho" the brain processes auditory in%or$ation.
*! What the %ars Sense 5he ears sense pressure "a+es that tra+el throu#h the $ediu$ o% air or "ater at %re6uencies that ran#e bet"een / HQ to 2),))) HQ. * 5hese pressure "a+es enter the auditory canal and cause a $e$brane in the ear Neardru$P to +ibrate. 5his +ibration is trans$itted throu#h a series o% tiny bones that a$pli%y
the kinetic ener#y. 5his ener#y is trans%or$ed into an electro-che$ical si#nal that is trans$itted +ia the auditory ner+e to the auditory corte8 "ithin the brain "here this si#nal is KheardL as sound. A curious %act is that the auditory ner+es are sti$ulated by both e8ternal +ibrations that enter the auditory canal, and internal +ibrations trans$itted directly throu#h the body. 1o" %re6uencies such as bass tones can resonate in the bones o% the skull and 7a" and +ibrate the auditory ner+e itsel%. 5he skull and 7a" act like the soundin# board o% a #uitar or +iolin and 7ust as the shape o% those instru$ents a%%ect the sound they produce, so our physical structure a%%ects our perception o% sound. 5his is so$e"hat unusual since no other sense or#an can recei+e direct sti$ulation o% its ener+ation, its trans$ission cable. For e8a$ple, i% you could shine a li#ht on only your optic ner+e you "ould not see a li#ht. 1o" %re6uency sound "a+es also sti$ulate the bodyRs ner+ous syste$ producin# an adrenalineHendorphin hi#h. 5his helps e8plain "hy the ar$ies o% all cultures ha+e #one into battle beatin# dru$s and $akin# loud noises, and "hy youn# people like to listen to loud $usic. 5he lo" %re6uencies act as a sti$ulant. 5his $ay also e8plain "hy $usic and chantin# can reduce pain. 5he auditory si#nal created by the chantin# o% a 0antra releases endorphins, a $orphinelike
3) che$ical that inhibits pain, but also literally dro"ns out pain si#nals throu#h "hat is called cross talk. All cranial ner+es carry a non-steady current, "hich produces $a#netic %ields that can both broadcast and recei+e &: Nelectro$a#neticP "a+es. Because cranial ner+es are densely packed to#ether,
"hen the auditory ner+e is sti$ulated it #enerates an &: pulse that can be picked up by other cranial ner+es throu#h a pheno$enon called cross talk. For e8a$ple, e8peri$ents sho" that e+en $ild and incidental noises cause the pupils to dilate. 5he auditory ner+e can cause a sti$ulation o% the optic ner+e. 5his is "hy "atch$akers, sur#eons, and others "ho per%or$ delicate $anual operations are so bothered by unin+ited soundsM the sound causes their pupils to chan#e %ocus thus blurrin# +ision. 3 5his is also e8plains one reason "hy a "arrior yells at the $o$ent o% attack, to create an instantaneous and uncontrollable disruption in the opponentRs ner+ous syste$. 5his also re$inds us that ha+in# a 6uiet place to practice is a #ood idea since noise is a bi##er distraction than you $i#ht think. NSee ne8t chapter, 5he Se+enth SenseP 'n addition, the auditory ner+e picks up internal sounds produced by the bodyRs natural processes. 5hese include $uscular $o+e$ent, heartbeat, breathin#, blood %lo", di#estion, and an a$bient Kstatic noiseL o% the ner+ous syste$ N5he hissin# sound you can hear "hen 6uietP. 5his allo"s one to listen in on and $onitor certain internal %unctions like respiration and heartbeat, so$ethin# a#ain no other sense can do. But it is a recent bit o% research that o%%ers the $ost e+idence to support the idea o% i$pro+in# hearin#. =e kno" that the sound si#nal is sent to an area o% the brain called the auditory corte8 "here it is turned into sound. Ho" e8actly the
3 process is done is still a $ystery but "hat scientists ha+e disco+ered is ho" the sound is sorted. 5he auditory centres in the corte8 ha+e been %ound to contain a three-di$ensional $ap o% the sound space picked up by each ear. =hat this
indicates is that the auditory corte8 is hi#hly specialiQed to accurately detect the direction and position o% sounds in the space around us. / 5his specialiQed ability to pinpoint sound sources "ould su##est the possibility to %ine tune auditory perception $ore accurately. =hereas the eyes, "ithout $o+in# the head, can detect ob7ects only "ithin a sli#htly less than .)V %ield, the ears can detect the positions o% sound sources a %ull 0/)V actin# like radar to accurately pinpoint $o+in# ob7ects "ithin hearin# ran#e. 5his "ould be a +aluable skill %or a $artial artist and "e de+ised a si$ple bio%eedback e8ercise that see$ed to "ork called KAudio CalibrationL. NSee belo"P So no" "e kno" ho" hearin# "orks and so$e o% the curious "ays in "hich "e hear. 5he %ollo"in# are the e8ercises ' "as able to %ind that stood the test o% trial by error.
Training $etho s' !earing
,earn to &e silent. ,et your 1uiet mind listen and a&sor&. Pytha#oras Au itory In exing2 N5rainerP 5he an8iety caused by unusual sounds could best be dealt "ith usin# the $ethod si$ilar to the one $entioned pre+iously to alle+iate the %ears o% stran#e noises "hen $o+in# into a stran#e ho$e. 5he lo#ic is si$pleM once you kno" "hat the
32 stran#e sound is, it is no lon#er stran#e. 5his "as acco$plished by ha+in# the student listen to a +ariety o% sounds and noises and then tryin# to identi%y "hat caused the$. A si#hted trainin# partner "ould then con%ir$ or correct the studentJs ans"ers. For e8a$ple, "e all reco#niQe the sound o% %ootsteps, but could you reco#niQe the di%%erence bet"een the %ootsteps o% a "o$an or a $an, or bet"een those o% an old $an or a youn# $an> :ost o% us could not. But our
inability is due only to not ha+in# spent the ti$e to learn the di%%erences in sound. Sound reco#nition trainin# consisted o% #oin# to di%%erent places and identi%yin# speci%ic sounds. For e8a$ple, in "alkin# do"n the street i% you see a s6uirrel scurryin# in the bushes stop and ask your student to identi%y the sound. 5hen con%ir$ or correct your studentJs ans"er. Or i% you notice people "alkin# behind you ask your student to #uess ho" $any. =hile sittin# on a park bench ha+e your student try and identi%y each o% the surroundin# sounds, such as children playin#, do#s runnin#, a %ountain, and so on. &ach ti$e you pro+ide an ans"er the student learns to better identi%y the sources o% pre+iously unreco#niQable sounds. Practise this e8ercise %irst in the ho$e and then places "here your student "ould co$$only #o or "ould like to #o to re#ularly. 'n SusanJs case she li+ed on the ed#e o% a s$all to"n and she "anted to be able to tra+el to the local #rocery store on her o"n. 5he store "as only a %e" blocks %ro$ her ho$e but she had been too uncertain o% hersel% to dare the trip on her o"n. 5hose o% us "ho ha+e ne+er been "ithout si#ht can hardly i$a#ine "hat an enor$ous task "alkin# a couple o% blocks to the store can be. First you ha+e no sense o% direction, so "hich "ay do you turn %irst> '% "e %ollo" the side"alk ho" "ill you kno" "hen you co$e to a break that you are crossin# the road or crossin# a dri+e"ay>
30 Ho" $any dri+e"ays or roads "ould you need to cross be%ore arri+in# at your destination> 5hese are directions no one could possibly pro+ide you unless they "ent personally "ith pen and paper and "rote out al$ost e+ery step you needed to take. 5he solution is to take "hat ' called a S=alkin# 1essonJ. 5his is si$ply
"alkin# the route to the store "hile 6uestionin# the student and con%ir$in# or correctin# their ans"ers. 5his pro+ided real-ti$e %eedback o% not only what those sounds "ere, but also where those sounds "ere ori#inatin#. Susan and ' "alked to the store and as "e "alked ' "ould identi%y the di%%erent sounds "e encountered. A%ter a couple o% trips Susan had beco$e %a$iliar "ith the auditory landscape in+ol+ed in a trip to the store. 5he 6uestionin# e+ol+ed to the point "here she could $ake accurate esti$ates o% her position on route to the #rocery store. For e8a$ple2 Author2 K=hich direction is the #rocery store> K Susan2 K5hat directionL NPointin#P Author2 KHo" do you kno">L Susan2 KBecause the store is on :ain Street and $ost o% the tra%%ic sounds co$e %ro$ that direction.L Author2 KHo" %ar a"ay are "e no">L Susan2 KAbout t"o blocks %ro$ the store.L Author2 KHo" do you kno">L Susan2 KBecause "e are 7ust passin# the #as station and ' can hear the sounds o% co$pressed air tools and #as pu$ps.L Author2 K=here is the entrance to the #rocery store>L Susan2 K'n %ront o% $e to the le%t.L
3* Author2 KHo" do you kno">L Susan2 KBecause each ti$e so$eone #oes throu#h the doors ' can hear the sounds o% :uQak and shoppin# carts co$in# %ro$ that direction.L 5his e8ercised pro+ided t"o enor$ous bene%its. First, it alle+iated $any %ears by helpin# Susan to understand the source and nature o% hundreds o% pre+iously unidenti%ied sounds. She learned "hat sounds "ere not threatenin# such as s6uirrels, kids playin#, and +arious sorts o% $achinery, and sounds that $i#ht be potentially dan#erous, such as the sound o% approachin# tra%%ic or %ootsteps
"alkin# too closely behind. Second, the "alkin# lessons helped create not only a $ental picture o% her theatre o% operations, in this case her ho$eto"n, but also created "hat could be ter$ed an auditory $ap. 5his is an i$portant %actor in the SusanJs ability to orient hersel%. Studies sho" that our ability to na+i#ate our en+iron$ent is lar#ely dependent on our kno"led#e and reco#nition o% land$arks. < For si#hted people the land$arks "e use are all +isual. =e kno" "here "e are because "e reco#niQe our personal Sland$arksJ such as the corner store, the o%%ice to"er, the city park, the $ountain in the distance, the ri+er, lake or coastline. Susan had trouble #ettin# around because she had no land$arks by "hich to na+i#ate. Ho"e+er, throu#h "alkin# lessons "e disco+ered there "ere audio land$arks that could be al$ost as reliable as +isual land$arks. 5hese included roads and hi#h"ays, shops and #as stations, schools and industrial buildin#s, all sources o% consistent sounds that are easily reco#niQable. Others "ere $ore subtle such as the sound o% the creek runnin# throu#h the center o% to"n and the sound o% the breeQe throu#h the branches o% trees that lined the older streets in to"n. 5hese auditory land$arks co$bined "ith the ol%actory
33 land$arks Nsee ne8t chapterP "ere able to #i+e Susan a %airly accurate idea o% her location any"here in to"n. Tips for Trainers 'n true Zen %ashion, the teacher durin# this e8ercise $ust also beco$e a student. An i$portant ele$ent in this e8ercise is to ask as $any detailed 6uestions and pro+ide si$ilarly detailed ans"ers. 5his re6uires the trainer to also %ocus on his or her auditory in%or$ation and to listen and try and identi%y sounds
that $ost people "ould o+erlook. 5he trainer $ust beco$e one "ith the student to hear "hat the student hears and then to pro+ide +isual in%or$ation beco$in# the studentJs eyes. 5his takes a little e8tra e%%ort on the trainerJs part but you "ill also be re"arded "ith enhanced auditory perceptions o% your o"n. hypnotised person could hear a constant hissing sound at ABC yards, although non.hypnotized people typically could not detect the sound until they were within BC yards of the source. &u#ene :arais, The +oul of the pe Au io Cali,ration2 N5rainerP For this e8ercise the student stands in the $iddle o% the roo$ and i$a#ines hi$ or hersel% to be at the centre o% a clock %ace2 directly to the %ront "ould be 5"el+e ORclock, directly behind is Si8 ORclock, ninety de#rees to the ri#ht is 5hree ORclock and so on. 5his is si$ilar to positionin# lin#o used by %i#hter pilots e8cept, "hereas in the case o% aircra%t the clock position indicates positionin# on a +ertical plane Ni.e. abo+e or belo"P, the positionin# is plotted on a horiQontal plane, Ni.e. in %ront and behindP.
3/ 5he trainer $o+es about stoppin# at rando$ and callin# out K,o"L. 5he student $ust then #uess the direction and distance or ran#e o% the trainerJs position. For e8a$ple, i% the trainer is standin# directly behind the student the correct ans"er "ould beM KSi8 ORclockHsi8 %eetL. =hen a correct ans"er is #i+en the trainer ans"ers in the a%%ir$ati+e, i% incorrect, the trainer "ould say the correct ans"er so that the student can associate the correct ans"er "ith the i$$ediate auditory e8perience. =hen the student is able to #uess correctly nine out o% ten ti$es, you can $o+e to the ne8t le+el o% di%%iculty. 5his ti$e the trainer $o+es around the roo$ as 6uietly as possible and the student calls out e+ery ten seconds KStopL. 5he trainer does not
ans"er and tries to $ake as little noise as possible. 5he student $ust a#ain #uess the correct position and the trainer corrects or a%%ir$s as abo+e. Tips for Trainers 'nstruct your students to not only listen %or sounds that are there but to listen %or sounds that are not there. One "ay to tell "hen so$eone is co$in# into close ran#e is by detectin# the $u%%lin# o% the a$bient back#round noise. As the approachin# body absorbs this noise, it casts the auditory e6ui+alent o% a shado". One senses a hole, an absence o% sound, co$in# %ro$ the direction o% the other person. Bathe in the centre of sound, as in the continuous sound of a waterfall. %r, &y putting your fingers in ears, hear the sound of sounds. Soch-anda 5antra, DDA !ays of =onsciousness
3< %xten ing !earing %xercise' NSoloP 5his e8ercise can be practiced in a +ariety o% settin#s and re6uires that you only assu$e a co$%ortable sittin# position. 5his e8ercise trains the ability to listen to sounds co$in# %ro$ a speci%ic distance "hile i#norin# all other sounds. 5his in+ol+es the %ilterin# and selection process in the brain and it is 6uite e8traordinary that "e ha+e such ability. 't is not listenin# to "hich sounds are loudest since distant sounds $ay be louder than nearby ones and +ice +ersa, but it is listenin# to speci%ic sounds "hich ori#inate %ro$ a speci%ic distance. A#ain i$a#ine bein# in the centre o% a circle but in this case i$a#ine concentric rin#s e$anatin# out"ards at %i8ed distances. First listen to the all the sounds ori#inatin# "ithin a three %oot radius, $entally i#nore other sounds e+en thou#h they $ay be louder. 't is possible to consciously reduce louder sounds to the back#round "hile %ocusin# on the sounds "ithin a particular ran#e. '% you are
outdoors at this ran#e you typically hear crickets, or %lies, or $os6uitoes, the "ind throu#h the #rass, a lea% blo"in# alon# the #round. ,e8t e8pand your hearin# ran#e to t"el+e %eet and concentrate on the sounds %ound "ithin this ran#e. 5hese could include the rustle o% lea%s in the trees, a chip$unk scurryin# alon# a branch, a child on a s"in#. Be sure to listen to sounds that co$e %ro$ the %ront and back and %ro$ e+ery direction. 'denti%y and brie%ly %ocus on each di%%erent sound. Continue to e8pand the rin# in incre$ents o% +arious distances that you can decide on as you #o throu#h the e8ercise. So$eti$es you $ay listen %or sounds co$in# %ro$ a certain distance and there are no sounds ori#inatin# there. 5hat happens 6uite o%ten and you 7ust continue to $o+e to the ne8t lar#est circle.
3. &+entually listen to $ost distant sounds, such as the sound o% the sur% crashin# onto the beach, the sound o% runnin# "ater, a lone train "histle %ar a"ay, or the distant roar o% the city. . 'n SusanJs case a%ter "e had created the auditory $ap throu#h the "alkin# lessons and Auditory 'nde8in# she used the $ap in her e8tended hearin# e8ercise. By sittin# 6uietly in her backyard she could e8tend her hearin# out"ards %ro$ her ho$e, to listen %irst %or the occasional car that passed by her %ront door. 5hen to the children playin# in the schoolyard three blocks a"ay, then on to the #as station she passes on her "ay to the store, %inally listenin# to the distant sounds o% tra%%ic on :ain Street se+eral blocks a"ay. By beco$in# %a$iliar "ith the sound o% oneRs en+iron$ent you are better able to distin#uish "hat is a truly peculiar, out o% place noise, %ro$ co$$on thou#h un%a$iliar sounds. 5his skill can also pro+ide "arnin# si#nals to
potential dan#ers. Care for the %ars As color and beauty are %ood %or the eyes, so $usic is %ood %or the ears. 9esearchers ha+e disco+ered that the ri#ht kind o% $usic, played under the ri#ht circu$stances, can help increase attention span, i$pro+e physical coordination, reduce tensions, boost sel%-estee$, aid learnin# and $e$ory, and pro+ide physical and e$otional relie% %ro$ disease and in7ury. 5his helps e8plain the uni+ersal appeal o% $usic. Classical Chinese and Aapanese "arriors #reatly ad$ired the ability to play a $usical instru$ent. 5he instru$ent o% choice "as the %lute, both %or its nostal#ic and $elancholy tones and its li#htness and portability. =hile listenin# to recorded $usic is ade6uate to the task, playin# a $usical instru$ent onesel% pro+ides additional trainin# in rhyth$ and har$ony,
3! skills use%ul to $artial arts trainin#. 5he ears also bene%it %ro$ rest %ro$ noise. 5he best ti$e to rest the ears is "hen sleepin#. 5ry to insure that your bedroo$ is as 6uiet as possible. Cou $ay "ant to lay do"n so$e carpets and han# hea+y curtains o+er the "indo"s to reduce noise. Findin# a 6uite place o% re%u#e outdoors is also a #ood "ay to #i+e the ears a rest. 1oud prolon#ed noise can cause da$a#e to the ears, alter $oods, reduce learnin# abilities, and increase blood pressure. 1on#-ter$ e8posure to loud noises can e+en lead to dea%ness. ! 5he ancient sa#es kne" the i$portance o% li+in# 6uietly and that silence is #olden.
-lfaction
The nose, for example, of which no philosopher has ever spoken with veneration and gratitude . the nose is, al&eit provisionally, the most delicate instrument at our disposal? it is an instrument capa&le of recording the most minimal changes of movement,
changes that escape even spectroscopic detection. ,ietQsche, Twilight of the Idols :any types o% ani$als percei+e their "orld lar#ely throu#h their sense o% s$ell, in contrast to hu$ans "ho percei+e lar#ely throu#h si#ht. =e can #et an idea o% "hat their "orld $i#ht be like %ro$ a %e" rare cases o% hu$ans "ith unnaturally enhanced ol%actory abilities. ;sually caused by a brain tu$or or other rare brain dys%unction, people "ho ha+e hyperos$ia, Nhyper-s$ellP describe ho" detailed and precise the sense o% s$ell can be. 5hey could distin#uish %riends and ac6uaintances by s$ell e+en be%ore seein# the$. So$e could s$ell e$otionsM %ear, content$ent, happiness. Others could reco#niQe e+ery street, e+ery shop,
/) e+ery buildin# by s$ell, and %ind their "ay around their nati+e to"ns and cities in%allibly by s$ell alone.2) Other rare cases include people "ho ha+e de+eloped a natural sensiti+ity to s$ell as in the case o% Helen Beller. A%ter losin# her si#ht and hearin# at the a#e o% nineteen $onths due to an unkno"n illness, Beller had only the che$ical senses and touch "ith "hich to e8perience the "orld. She %ound the sense o% s$ell the $ost +aluable. 'n her "ritin#s, she recounts ho" she could tell a personRs occupation by their s$ell. She "as able to s$ell "hat she called KpersonalityL s$ells that e+eryone #a+e o%%. She noted that interestin# and unusual personalities had a $ore distinct odor, "hile a lack o% odor indicated a less entertainin# or li+ely personality. She en7oyed +isitin# old country houses "here she could s$ell Olayers o% odorsO le%t by #enerations o% %a$ilies that had li+ed there be%ore. 5hese e8a$ples sho" beyond a doubt that an acute sense o% s$ell could pro+ide a #reat deal $ore in%or$ation about the "orld than "e could ha+e i$a#ined possible. Ho"e+er, the abo+e
cases are rare accidents o% nature, "hat can the a+era#e nose do> &+en "ithout hyperos$ia, the a+era#e person can detect a lot o% in%or$ation by s$ell. For e8a$ple, i% you +isit a %riend in the $ornin#, can you tell i% he is cookin# break%ast, and i% so "hat> Bacon and e##s, French toast, co%%ee> :ost people "ould be able to ans"er these 6uestions %aster by ha+in# a 6uick "hi%% o% the air than by lookin# around. '% you "ere blind%olded and taken to the seashore, or do"nto"n, or brou#ht to a hospital, library, or %actory, could you not identi%y the location al$ost i$$ediately by s$ell alone> Studies ha+e sho"n that $en and "o$en alike are able to tell by s$ell alone "hether a $ale or a %e$ale "ore a piece o% clothin#. Special Forces +eterans "ho %ou#ht in Vietna$ recall that se+eral days be%ore #oin# into the 7un#le they "ould ha+e to chan#e their diet
/ since the typical $eat rich diet o% "esterners produced a distinct body odor that "ould alert the ene$y to their presence. :oreo+er, classical Chinese doctors "ould s$ell a patientRs urine and %eces as a part o% the dia#nostic process. 5he subtle in%or$ation recei+ed throu#h the ol%actory sense $ay be the cause o% so$e pre+iously une8plained sensory pheno$ena. Such as "hen people ha+e #ut instincts about other people, the sense that so$ethin# is "ron#, NCould this be the odor o% %ear, "orry, or deception>P or so$ethin# is ri#ht Nthe s$ell o% happiness and content$entP. 'n these instances, "e $ay be processin# che$ical sti$uli in so$e pri$iti+e $a$$alian portion o% the brain not readily accessible by the neocorte8. Subconsciously "e reco#niQe certain odors %or "hat they are yet this perception does not reach our a"areness directly but does throu#h the
subtle $ediu$ "e can only describe as a hunch or a K#ut instinctL.2 5here is e+idence that the nose can pro+ide a hu#e a$ount o% in%or$ation about our "orld. 5he 6uestion "as could SusanJs ol%actory sense be i$pro+ed and "ould it help her to better understand "hat "as happenin# in her en+iron$ent> 5o try and ans"er this 6uestion "e need to understand the $echanics o% s$ellin#. !o+ the .ose Senses 5he sense o% s$ell is anato$ically si$pler than the other senses. 5he ol%actory receptor cells protrude directly into the en+iron$ent %ro$ the ol%actory bulb o% the brain. Sti$uli in the %or$ o% airborne $olecules enter the nose and %ind their "ay to the ol%actory $ucosa, "hich is a spon#e-like tissue, co+ered in $ucus that is located behind the nose. '$bedded in the $ucosa are ner+e receptors that pick up %loatin# $olecules and %ire a neural si#nal to the ol%actory bulb that acts
/2 like the retina o% an eye. 5he in%or$ation is then sent to the brain throu#h t"o di%%erent routes. One throu#h the thala$us, "here all the other senses synapse, and the other throu#h the a$y#dala, hippoca$pus, and hypothala$us, all structures deep inside the brain "hich re#ulate %eedin#, drinkin#, and reproducti+e beha+ior. Both circuits $eet in the orbit %rontal corte8, an area in the %rontal lobe 7ust abo+e the eyes. ;nlike +ision and hearin#, there is no area o% the brain de+oted e8clusi+ely to processin# ol%actory sensation. 5he perception o% s$ell is distributed o+er the entire brain, an indicator o% this senseRs ancient ori#ins. What the .ose Senses 5he sense o% s$ell has %e"er li$itations than the senses o% si#ht and hearin#. Vision needs a direct channel o% li#ht N+ision in darkness is not possibleP, "hile hearin# can be obscured or ba%%led, and both are i$$ediate. S$ell
re6uires only a $olecule to enter the nasal ca+ity, and these can lin#er %or years $akin# s$ell less constricted by ti$e. 5he hu$an sense o% s$ell is so keen that it can detect the odors o% substances e+en "hen they are diluted to part to 0) billion. 5he senses o% s$ell and taste are kno"n collecti+ely as the che$ical senses since they respond to che$ical sti$uli suspended in the air and li6uids. Ho"e+er, the sense o% s$ell is ),))) ti$es $ore sensiti+e than taste. 5his "ould su##est that the sense o% taste has a lesser role to play in species sur+i+al co$pared to that o% s$ell. 5he ol%actory receptors can discri$inate thousands o% di%%erent airborne che$icals and as $any as %orty thousand di%%erent s$ells. Or#anic carbon based
/0 substances $ake up the $a7ority o% these s$ells. N:ost inor#anic substances "e %ind odorless e8cept %luorine, chlorine, iodine, bro$ine, and phosphorusP. =e can also s$ell oQone Nthree ato$s o% o8y#en co$binedP and co$pounds such as hydro#en sulphide, sulphur dio8ide, nitro#en o8ide, and a$$onia. :ost o% these odors "e %ind irritatin# and so$e e+en sti$ulate the tri#e$inal ner+e in the %ace causin# tearin# and irritation o% the nasal passa#es. N5he reactions caused by pepper spray and $ace.P
Training $etho s' The .ose
!ere all things smoke, the nostrils would recognize them. Heraclitus 22 :odern $an is seldo$ co#niQant o% in%or$ation deri+ed %ro$ s$ell. One reason $ay be that cultural sophistication places less i$portance on ol%action. A keen sense o% s$ell is usually associated "ith ani$als and $ay unconsciously be seen as a pri$iti+e sense.20 By i#norin# this sense ho"e+er, "e lose an i$portant and possibly li%e sa+in# source o% in%or$ation about our en+iron$ent.
'n the ani$al kin#do$, the sense o% s$ell plays a crucial role in sur+i+al by pro+idin# in%or$ation on e+erythin# %ro$ %ood sources, and predators, to breedin# and social interaction. Cet, "hile not as precise as say a do#Rs nose, the hu$an nose is not less sensiti+e to s$ell. Both a do#Rs and a $anRs ol%actory receptors can be sti$ulated by a sin#le $olecule. A do#Js nose is $ore recepti+e to a #reater +ariety o% s$ell perceptions due to there bein# a #reater nu$ber o% ner+e receptors in a do#Js ol%actory $ucosa, billion co$pared to ) $illion %or $an.
/* ;nder laboratory conditions, usin# hundreds o% bottled scents the hu$an nose can learn to identi%y up to 3,))) odors. 5he key is si$ply learnin# to Wreco#niQeR the s$ells, to $ake the connection bet"een ol%actory sensation and kno"led#e o% the sti$uliRs source. 5he best "ay to i$pro+e ol%action is throu#h e8perience, obser+ation, and si$ply beco$in# $ore a"are o% the s$ell o% thin#s. 5o i$pro+e your sense o% s$ell, si$ply $ake it a habit to stop and sni%% the air $ore o%ten and try to $ake predictions based on "hat you s$ell. For e8a$ple, "hen co$in# ho$e the s$ell o% soap and da$pness "ould su##est so$eone has taken a bath or sho"er. An un%a$iliar s$ell o% a%tersha+e and per%u$e $i#ht indicate that you ha+e #uests. =hen #oin# to the club or #y$ try to s$ell "ho has been trainin#. One person $ay use too $uch bleach "hen "ashin# his uni%or$ and so s$ells like chlorine. Another eats too $uch pork and has a sharp salty s$ell, or eats spicy %oods that lea+e a scent o% #arlic. =hen outdoors use your sense o% s$ell to tell you "hen the "eather "ill chan#e, such as the s$ell o% $oisture be%ore it rains or oQone be%ore a li#htin# stor$. '% hikin# throu#h the %orest try to s$ell the location o% ri+ers and lakes,
roads and hi#h"ays, and %ar$s and cookin# %ires. &+ery city, e+ery type o% terrain, and e+en e+ery season ha+e their o"n distincti+e aro$a that you can learn to reco#niQe. 5he only kno"n "ay %or i$pro+in# ol%actory sensiti+ity "as si$ply by increasin# oneRs a"areness o% it. ' su##ested a trainin# re#i$e "hereby e+ery ti$e Susan, entered a roo$, or $et "ith people, she "ould pause and discreetly sni%% the air. =ith trial and error Susan "as able to #arner additional in%or$ation about her en+iron$ent. 5hese includedM the ability to detect the se8 and
/3 appro8i$ate a#e o% people %ro$ a short distance a"ay, "hether a person has been s$okin#, drinkin#, "orkin#, "hat they ha+e been eatin#, and personal hy#iene. 5his "as help%ul in public situations such as s$ellin# to deter$ine i% it "as a $an or a "o$an that 7ust #ot on the ele+ator, or i% the Wsales$anJ at your door s$ells into8icated or un"ashed. Si#hted people can see i% a stran#er is scru%%y, seedy, or into8icated, but to a blind person he is 7ust another +oice, until you sni%% the$ out. The Techni/ue of Sniffing: NSoloP Studies sho" that closin# the eyes can i$pro+e s$ell $e$ory.2* 5his a#ain sho"s ho" $uch +ision o+errides other senses and it $akes sense that the blind "ould naturally beco$e $ore a"are o% s$ells. 5o sni%%, be#in by closin# the $outh and %ocus your attention on the spot bet"een the eyebro"s that corresponds to the location o% the ol%actory bulb. 9ela8 and take in a couple o% short, 6uick inhalations throu#h the nose and cut o%% the air intake suddenly "ithout e8halin#. 5his allo"s the suspended $olecules in the air to re$ain lon#er near the ol%actory $ucosa thus increasin# the likelihood o% penetratin#
the $ucus linin#. '$pro+in# the sense o% ol%action re6uires a +ariety o% sti$ulation. =e kno" this %ro$ recorded cases o% under-sti$ulation, such as "hen constantly e8posed to only a sin#le odor, "hich has been sho"n to cause de#eneration o% ol%actory acuity. People "ho "ork in a che$ical rich en+iron$ent "ill loose the sensiti+ity to such odors. S$okers seldo$ notice their o"n tobacco s$ell, %ast %ood e$ployees no lon#er notice the s$ell o% %ried %oods and so on. 5he "ay to counteract this de#eneration is to e8pose onesel% to, and consciously sni%%, a +ariety o% odors. Ha+e %resh %lo"ers or plants in your en+iron$ent, s$ell your
// %ood be%ore eatin#. S$ell %ruit and +e#etables, ne" clothes, houses and auto$obiles be%ore choosin# "hich to buy. By beco$in# $ore a"are o% s$ells and seekin# to identi%y the odors o% thin#s "ill sti$ulate and i$pro+e this curious sense. Trac)ing: N5rainerP Probably one o% the %ore$ost concerns o% li+in# alone and bein# blind is that o% %ire. =ho has not cau#ht the "hi%% o% s$oke and %elt the sudden %ear that a %ire $i#ht ha+e started so$e"here in the house> 5o address this %ear "e in+ented an e8ercise called trackin# and it is 7ust as it sounds - trackin# so$ethin# do"n throu#h the sense o% s$ell 7ust like a bloodhound. Be#in this e8ercise in an enclosed area like a ho$e or #y$nasiu$. Ha+e your student co+er their ears or put cotton balls in the$ to e8clude auditory in%or$ation. =e need to isolate the sense o% s$ell e8clusi+ely %or this e8ercise and so try to insure that your student does not hear you $o+in# about. Ask your student to then count to thirty "hile the trainer #oes to another spot in the roo$ or another roo$ in the house. 5here the trainer li#hts and e8tin#uished a $atch. A%ter the count o% thirty, the student is to $ake their "ay
throu#h the house until they %ind the roo$ "here the $atch "as lit. 5he trainer re$ains absolutely still until the student correctly #uesses "hich roo$ the trainer is in. :ost people "ill ha+e little di%%iculty in %indin# the correct roo$. 't is i$portant to use a lit $atch since the s$ell o% s$oke is one o% the #reatest concerns. Once you e8perience ho" 6uickly and accurately you can track do"n the source o% s$oke, the $ore con%ident you "ill be in your ability to s$ell potential %ires and
/< to kno" %ro$ "hich direction the s$oke is co$in# %ro$. =ith this in%or$ation, a blind person could better detect and escape %ro$ %ires. 5he ne8t sta#e in 5rackin# beco$es $ore di%%icult. 5ake a can o% air %reshener and spray so$e in the air so that the student can identi%y the scent. 5he trainer then sprays so$e o% the air %reshener on his or her clothes. 5he student is a#ain told to co+er their ears and count to thirty. 5he trainer 6uietly #oes to another roo$ in the house or area o% the #y$. A%ter the count o% thirty, the student tries to track do"n the trainer by %ollo"in# the scent o% the air %reshener. A#ain, $ost students "ill ha+e little di%%iculty in trackin# do"n the trainer. 'n the %inal sta#e, the e8ercise is the sa$e but this ti$e the trainer does not spray his or hersel% "ith the air %reshener. 5he student $ust track do"n the teacher by %ollo"in# the teacherJs o"n natural s$ell. &ach o% us has a che$ical si#nature $ade up %ro$ +arious odors "e e$it. 5hese include the soap you use, the sha$poo, underar$ deodorant, "hat type o% deter#ent "e use to "ash out clothes in, as "ell as the natural body odors "e all #i+e o%% throu#h our skin and breathin# and by our diets. 5he student $ust no" identi%y $ore subtle odors and be able to track the "eaker scent trail le%t behind by the teacher. =ith
practice, students "ill de+elop a hi#h success rate in trackin# do"n the trainer, and later other people as "ell. Wal)ing 0essons Aust as in the pre+ious chapter on auditory inde8in# so the sense o% s$ell can also be used to orient onesel% in the en+iron$ent by pro+idin# kno"n Sland$arksJ by "hich to na+i#ate by. 'n SusanJs "alk to the store, she "ould %irst e8it her %ront door "here the s$ell o% #rass %ro$ her %ront la"n "as the
/. $ost distincti+e. As "e "alked do"n the block, "e "ould pass so$e pine trees the nei#hbors had planted in their %ront yard. 5he s$ell o% pine is easily reco#niQable and "as al"ays in the air near that particular house. 5his beco$es an ol%actory land$ark, a constant source o% in%or$ation about your #eo#raphical position. As "e ca$e to the street, she "ould be#in to s$ell the odor o% e8haust %u$es. Passin# the #as station, she could s$ell #as and oil. All these ol%actory sensations helped to con%ir$ the auditory sensations as "ell and solidi%y her understandin# o% "here she "as. =e ha+e discussed the so$e o% the "ays in "hich "e could i$pro+e %our o% the si8 senses. Ho"e+er, is that all> 4id the ans"er to the 6uestion WHo" did the Sa$urai kno" there "ere $en "aitin# in the te$ple to a$bush hi$>J lie so$e"here in the ability to hear and s$ell or is there another sense "e do not kno" about> 'n %act, "e do ha+e another sense, the se+enth sense.
/! Chapter *
7esearchers are detecting another deeper sensory apparatus; if the conscious mind is somehow impaired, it seems a secret array of senses in the unconscious may go to work. Thus &lind people may sometimes 'see' a flash of light, &rought to them, some scientists &elieve, along little used, vestigial pathways in the &rain. The 0ystifying 0ind, 1ibrary o% Curious and ;nusual Facts 'n the Zatoichi $o+ies the blind $onk is portrayed as bein# able to duck and block s"ord strikes. Chinese s"ord and s"ashbuckler stories o%ten include a scene in "hich the hero is blinded by trickery and yet is able to block and dod#e any nu$ber o% attacks. &+en the Star =ars $o+ie sho"s the hero learnin# ho" to block attacks usin# a s"ord "hile blinded by a hel$etJs %ace shield. 5hese i$a#es portray bein# blind not as a handicap but al$ost so$ethin# o% a blessin# by besto"in# superhu$an po"ers o% perception, the ability to read $inds and kno" an opponentJs intention be%ore e+en the opponent kno"s hi$sel%. =e ha+e pre+iously learned about the possibilities o% ho" the sense o% balance, hearin# and s$ell could be enhanced or i$pro+ed but could these pro+e use%ul in hand to hand co$bat, or is there another SSi8thJ sense donJt kno" about> 5he ans"er is both yes and no. On this ' "ill speak %irst %ro$ personal e8perience. A%ter $ore than thirty years studyin# this art ' ha+e "itnessed thousands o% $atches and %ou#ht hundreds
<) $ysel%. ,e+er ha+e ' seen anyone %i#ht "ith "hat could be interpreted as super natural skill. 'n addition, $ore than 3) years o% scienti%ic research into parapsycholo#y has yet to co$e up "ith any de%initi+e proo% o% the e8istence o% psychic po"ers in hu$ans. ' belie+e that it "ould be al$ost i$possible %or a blind person to be able to dod#e rando$ s"ord strikes or block
punches. Cet despite the lack o% e+idence o% e8tra sensory perception, there are ti$es in "hich so$ethin# $ore see$s to be #oin# on. A%ter a %e" $onths o% trainin# at the co$$unity centre ' brou#ht Susan to the Barate club a %riend o% $ine "as operatin#. One o% the e8peri$ents ' tried "as to take a padded stick about %our %eet lon# and, slo"ly at %irst, s"in# blo"s ai$ed at SusanJs head. ' e8plained that ' "ould attack rando$ly in one o% %our directions. Statistically there "ould be 23X chance o% blockin# correctly yet she blocked %ully hal% the attacks. =hat "as $ore re$arkable "as ho" o%ten she kne" when ' attacked. ' rando$iQed the ti$e inter+al bet"een s"in#s so that she "ould not #et used to anticipatin# the attack as %ollo"in# a predictable rhyth$. Ho" "as Susan able to #uess "hen the strike "as co$in#> 4id she kno" or "as it a "ild #uess> !e have to trust in that perfect unadorned perception. The very mind that wants to control things is the mind that2s caught up to &egin with. !hen you2re caught up, you have fewer possi&ilities. 5our mind can manifest in more ways if you keep it from taking form. 5akuan Soho. 1etters to the S"ords$an 23
< .o $in 'n the Zen school o% thou#ht, $uch has been "ritten about a le+el o% consciousness called W,o :indJ. 't is o%ten described as a state o% $ind in "hich the intellectual %unction o% the brain is suspended and the body is run by instinct alone. A$on# $artial artists it is the seasoned %i#hters that o%ten e8perience this state. 't is one in "hich you 7ust know "hat your opponent "ill do ne8t and your ti$in# is al$ost per%ect. Fro$ the point o% +ie" o% no+ice %i#hters, a seasoned +eteranJs ability to anticipate and e+ade attacks $ay see$ al$ost supernatural. Ho"e+er, to react "ithout conscious thou#ht, "hich is too slo" %or co$bat
any"ay, but instincti+ely, is actually 6uite a co$$on ability. 't 7ust looks $ore i$pressi+e "hen applied to $artial arts than to say, doin# the laundry, or dri+in# a car, althou#h in principle there is no di%%erence bet"een the t"o. 1etJs $ake an analo#y to the #a$e o% billiards. First "e take t"o people "ith no pre+ious e8perience "ith billiards and, all else bein# e6ual, train the$ separately. 5he %irst person "e train by teachin# the $echanical principles o% the #a$e such as an#ular #eo$etry and ,e"tonian physics, and "e pro+ide technical data such as the "ei#ht and $easure$ents o% the billiard balls, table, and pool cue, etc. But this person is ne+er allo"ed to actually shoot a ball. 5hen "e take a second person "ho is kept i#norant o% the $echanical principles o% the #a$e but instead is si$ply allo"ed to shoot balls e+eryday. A%ter a %e" $onths o% such trainin# the outco$e o% a $atch bet"een the t"o "ould not be in doubt. 5he person "ho spent ti$e shootin# balls "ould easily beat the person "ho spent ti$e studyin# the physics and $echanics o% the #a$e. 5he %irst person "ho studied the $echanics is usin# the intellectual part o% his $ind. 5he second person "ould not be usin# his intellect at all, he could be said to be usin# ,o :ind. 2/ 9eal
<2 "orld e8perience is superior to intellectual kno"led#e only. 5hrou#h e8perience so$ethin# is de+eloped that is di%%erent %ro$ our ordinary intellect and the senses "e kno". 5appin# into this other state o% a"areness is "hat Zen practise atte$pts to do throu#h the principle o% ,o :ind. 5here is still one $ore sense that "e ha+e not $entioned "hich $ay be related to the Zen principle o% ,o $ind. Actually %e" people kno" o% its e8istence, but perhaps learnin# about this unkno"n sense can o%%er so$e insi#hts. 7esults of tests on memory show that a clandestine mental
operative sees and remem&ers when the conscious mind does not. =alled covert awareness it helps out when other senses fail, it also reinforces existing mental functions especially the way humans make decisions known as gut feeling . the hunch. Stanisla+ ?ro+, The (olotropic 0ind The !i en Sense As "e learned %ro$ our discussion o% ho" perception "orks "e kno" that the $a7ority o% sensu$ ne+er $akes it past the %ilterin# sta#es to our consciousness. =hat beco$es o% all that in%or$ation> =ell it see$s that these SunconsciousJ perceptions $in#le and $er#e and create a synthesised sense that is co$posed o% all sense i$pressions but "hich seldo$ $akes itsel% kno"n to our consciousness e8cept in people born "ith a rare condition kno"n as synesthesia. 5he "ord synesthesia $eans, OAoined sensationO and shares a root "ith anesthesia, $eanin# Ono sensation.O 't occurs in out o% 23,))) indi+iduals and is a condition in "hich the di%%erent senses so$eho" beco$e 7u$bled to#ether
<0 and trade characteristics. 't is KYthe involuntary physical experience of a crossmodal association. That is, the stimulation of one sensory modality relia&ly causes a perception in one or more different senses.L For e8a$ple, persons "ith this rare capacity see$ to hear colors, taste shapes, or e8perience other e6ually biQarre sensory perceptions. A synesthet $i#ht describe the ScolorJ o% a piece o% $usic, or reco#niQe a s$ell by its Ste8tureJ, or, %eelin# the $aterial o% a s"eater detects the OsoundO o% the %abric as "ell. 5hese sensations are e8perienced as bein# pro7ected outside the indi+idual. 'n other "ords, the sense o% synesthesia %eels 7ust as real as any other sense and not as so$e hallucination or i$a#e inside the $ind. =hen a synesthet says he or she can hear the color red they e8perience it as an auditory perception. 'ts all sounds +ery stran#e and i% you are con%used, you are not alone. :edical
researchers ha+e kno"n about synesthesia %or three centuries, yet %e" o% us ha+e e+er heard o% this sense. Scientists belie+e that it is not 7ust that certain people have this sense, but only that certain people ha+e a $al%unction in their %ilterin# process that allo"s sense i$pressions #enerated by synesthesia to beco$e a part o% conscious a"areness. =hat they belie+e is that e+eryone has this sense but $ost o% us are 7ust totally una"are o% it. Further understandin# o% this sense $ay hold the key to consciousness and the relationship bet"een reason and e$otion, and at least sho"s that the hu$an brain is e+en $ore $ysterious and %illed "ith unkno"n potentials than pre+iously thou#ht. 2< So there is another sense a%ter all - a se+enth sense NCountin# proprioception as the si8thP. Ho" could synesthesia be o% bene%it to the blind> 'n a "ay each sense is a channel throu#h "hich "e recei+e data about the "orld around us.
<* Synesthesia su##ests that "e $ay all be able to tap into other channels o% in%or$ation, other sources o% data %ro$ "hich to create a better understandin#.
Training the Seventh Sense
't $ay be that certain types o% pheno$ena, "hich ha+e in the past been attributed to psychic po"ers or #ut reaction or instinct, are really %unctions o% the se+enth sense. '% so, then ho" do "e train this sense> =ell as "e shall see, "e already ha+e been trainin# this sense throu#h our pre+ious e8ercises. Holdin# the Au#, 5ai Chi =alkin#, &8tended Hearin# &8ercise, and the =alkin# 1essons all contain the principles needed to sti$ulate synesthesia e8periences. '% this sense operates accordin# to the sa$e principles as other senses, than by reducin# the noise-to-si#nal ratio "e should be able to increase the perception o% synesthesia. 5he blind "ould indeed ha+e a sli#ht bene%it in accessin#
this hidden sense since a lar#e part o% the sensory noise, +ision, is #one. 'n the case o% synesthesia the noise one $ust reduce is that %ro$ all the other senses. Cet "e co$e to a parado8, since "e ha+e spent $uch ti$e in learnin# and e8pandin# our sensory ran#e ho" can "e no" discard that> Perhaps it is not that one needs to reduce the noise o% the other senses since they $ust %or$ a part o% the synesthesia process, but rather "e $ust reduce the conclusions and e8pectations that the other senses create. 5his is ho" Zen di%%ers %ro$ other %or$s o% $editation. 9ather than isolate the senses in order to %ocus on internal thou#hts such as "hat occurs in an isolation tank, Zen teaches that it is not the senses that need to be suppressed but our e8pectations. 2.
<3 Our true understandin# o% the "orld is narro"ed by %ilterin# the in%or$ation "e do recei+e throu#h learned patterns o% perception. =e kno" perception is an a"areness o% the en+iron$ent throu#h physical sensation, but not as "ell kno"n is that these sensations are interpreted based on past e8perience. &8perience creates certain precedents and e8pectations that chan#e and %ilter our perception o% the "orld. One "ay in "hich pre+ious e8perience %ilters perception is kno"n as Inference. 'n%erence is the ability o% the brain to auto$atically sort sensation into reco#niQable patterns. Perceptual in%erence operates by in%errin# the $ost likely possibility that can account %or the sensory in%or$ation a+ailable. 5his $eans that "hen the brain sorts throu#h the data recei+ed by the senses it chooses the pattern "hich is the $ost %a$iliar, e+en thou#h that pattern $ay or $ay not accurately re%lect the SrealityJ o% the e8ternal "orld. For e8a$ple, in%erence is
the basis o% the 9ochart 'nk Blot test "hereby rando$ly created ink patterns are sho"n to a sub7ect and they are asked to describe "hat they think the ink blots look like. Psycholo#ists are able to learn $uch about a personRs personality based on the patientJs interpretations. Another e8a$ple "ould be i% you "ere "alkin# ho$e in the dark a%ter hearin# a ne"s report o% a stalker in the area. Cou hear a sudden noise and turn 6uickly to see the silhouette o% a $an standin# in the shado"s. ;pon in+esti#ation you see that it is only a bush or a shado" and that it "as a cat or raccoon that $ade the noise. But initially you "ould ha+e seen a $an because o% your e8pectation. '% you had not heard the ne"s report o% the stalker, "ould you ha+e seen a $an or "ould you ha+e seen a raccoon and so$e bushes> And is it not i$portant to ha+e a sensory syste$ that can di%%erentiate bet"een the t"o>
</ Another %actor in %ilterin# perception is kno"n as ;erceptual +et. Perceptual set is the readiness to percei+e sti$ulus in a particular "ay. Si$ply putM i% you to e8pect to sense a particular sensation, then the sensory in%or$ation you recei+e "ill be $ore likely interpreted accordin# to your e8pectation. Past e8perience also contributes to your e8pectation creatin# a $ind set that "ill chan#e the sensory in%or$ation you recei+e into the e8pected sensation. For e8a$ple, say so$eone held a lit ci#arette near your hand and then asked you to close your eyes. '% that person "ere to use a %in#er to touch your hand in the area "here you had last seen the ci#arette you "ould instincti+ely pull your hand a"ay and %or an instant belie+e you "ere burned. Cour perceptual set "as #eared to interpret any sensation near the lit ci#arette as heat.
5o#ether these pheno$ena are kno"n in psycholo#y as the principle o% Sel% Ful%illin# ProphesyM "hich states that e8pectations in%luence perception and e+en tend to subconsciously direct a personJs beha+iour to"ards the %ul%il$ent o% that e8pectation. =hat all this $eans is that our pre+ious li%e e8perience, and the e8pectations deri+ed %ro$ the$, co$bine to alter our +ie"s o% the "orld. A Zen =arrior is concerned about #atherin# real in%or$ation about his en+iron$ent, and not 7ust in%or$ation that "ill con%ir$ his o"n preconcei+ed notions. 5he blind also ha+e preconcei+ed ideas, such as "hat they are capable o% doin# and acco$plishin#, but are these ideas true> Or do co$$only held e8pectations about the blind subtly alter, and in e%%ect, sabota#e their innate abilities> 5he Zen techni6ue %or lessenin# the e%%ects o% e8pectation is kno"n as detach$ent and is the %irst o% three techni6ues used to try and tap into other "ays o% sensin#.
<< n rcher, when practising in solitude, uses all of his skill, when shooting for the entertainment of house guests he uses three 1uarters of his skill, when shooting for a prize in a tournament he uses half his skill. Aapanese Pro+erb (etachment A personRs ability to 7ud#e a si#nal correctly is a%%ected by that personRs response criterion. =hat the abo+e 6uote illustrates is that the $a#nitude o% the re"ard or punish$ent resultin# %ro$ a correct 7ud#e$ent ne#ati+ely a%%ects your ability to $ake that 7ud#e$ent correctly. 5o paraphrase, the $ore ner+ous you are the $ore likely you are to $ake a $istake. 5his tendency to 7ud#e incorrectly "hen under pressure is "hy the ancient "arriors practised detach$ent, "in or lose, li%e or death, it "as all the sa$e because it had to be - i% you cared,
you died. A Aapanese story best illustrates the need %or detach$ent. A #o+ern$ent o%%icial "ho "as o% Sa$urai birth inad+ertently insulted another hardened Sa$urai "ho de$anded redress throu#h a duel to be %ou#ht the ne8t day. 5he o%%icial, because he "as technically a Sa$urai, could not re%use but he had ne+er e+en picked up a s"ord be%ore and stood little chance o% "innin#. 'n a last ditch e%%ort he +isited the cityRs $ost reno"ned s"ord $aster and told hi$ o% his predica$ent. 5he $aster replied K5here is nothin# ' could teach you that "ould help in a s"ord %i#ht but, bein# a #o+ern$ent o%%icial you $ust practise the 5ea Cere$ony>L 2! KCes.O replied the o%%icial, K' a$ +ery %ond o% the practise.L O?oodIO said the $aster, O5o$orro" you should #o and $eet your death as thou#h you "ere preparin# tea. 5hus you can achie+e an honourable death be%ittin# a Sa$urai.O 5he ne8t day the o%%icial "ent to the $eetin# place
<. deter$ined to die "ith honour, but "hen the other Sa$urai noticed the O%%icialRs cal$ de$eanour he be#an to doubtM surely only the $ost e8perienced s"ords$an "ould co$e to a li%e or death duel "ith such nonchalance. 5hinkin# better o% the situation the other Sa$urai 6uickly apolo#iQed and called o%% the %i#ht. So ho" e8actly do you practice detach$ent> Part o% the ans"er is in desire. =hen "e train, "e desire certain results, "hen "e %ocus on hearin# or s$ell "e desire to e8perience so$ethin# ne", "hen "e practice sel%-de%ense techni6ues "e desire our partnerJs de%eat. =hile it is i$portant to set and ha+e $easurable #oals %or a sel%-i$pro+e$ent pro#ra$, it is durin# the actual practice itsel% that the desire %or success can de%eat the purpose. 5he "riter Aldous Hu8ley in his
little kno"n book The rt of +eeing describes his e8periences o% ha+in# #one le#ally blind %ro$ a childhood illness 0) to restorin# his +ision throu#h unusual and so$e "ould say 6uack e8ercises. &choin# the Zen principle o% detach$ent he describes the bi##est obstacle to seein# as the inter%erence o% the $ind2 $Efforts on the part of the conscious 'I' defeat their own o&#ective. It is when you stop trying to see that seeing comes to you. $ 5he other part o% the ans"er is the %lip side o% desire T a+ersion. A+ersion to toil, a+ersion to %ailure, and a+ersion to su%%erin# are 7ust as detri$ental as desire. So detach$ent can be said to be a cal$ non-e$otional and non7ud#$ental obser+ation. By culti+atin# an attitude o% detach$ent one circu$+ents the $indRs tendency to $isinterpret in%or$ation especially "hen under stress. 5his can apply to both the stress o% e+eryday li%e and the stress o% co$bat and sur+i+al.
<! !e do not sit in meditation to someday &ecome a Buddha, when we sit in meditation, we are Buddha. Shunryu Susuki, *en 0ind, Beginner2s 0ind 1uiet 2 Isolation :editation or S'nternalJ e8ercises like the &8tended Hearin# &8ercise are $ost e%%ecti+e "hen conducted in 6uite and isolation. 5he ai$ o% these e8ercises is to %ocus and then catalo#ue certain sensory si#nals. 5o hear oneRs heartbeat, to %eel postural tension, to %le8 indi+idual $uscles, to control the $o+e$ents o% the diaphra#$, all re6uire %ocusin# on relati+ely "eak sensory si#nals that are easily dro"ned out by the back#round noise o% other sensations. 5his is "hy "e instincti+ely hold our breath "hen "orkin# on delicate or co$ple8 tasks. N5he sound and sensation o% breathin# can inter%ere "ith hand-to-eye coordinationP.
One reason to reduce e8ternal distraction is that the ner+ous syste$ analyQes sti$ulation in ter$s o% sensory ratios, not in ter$s o% absolute di%%erences in sensory $a#nitude. 5his is kno"n as =eberRs 1a" and "hat it $eans is that the a$ount o% sti$ulus necessary to produce a 7ust noticeable di%%erence is al"ays a constant proportion o% the o+erall intensity o% the sti$ulus. For e8a$ple, i% you closed your eyes and ' placed a one pound "ei#ht in your hand and then added another one pound "ei#ht you "ould notice the di%%erence ri#ht a"ay. 5he e8tra pound sends a si#nal that is ))X as stron# as the ori#inal intensity, the %irst pound. But i% ' instead added a di$e to the hand holdin# the one pound "ei#ht you "ould not notice the e8tra "ei#ht at all. 5he intensity o% the si#nal caused by the "ei#ht o% the di$e is too s$all to o+erco$e the o+erall si#nal intensity. 5hat this pheno$enon is a ratio can be de$onstrated the sa$e "ay. '% instead o%
.) a one pound "ei#ht, ' placed a %eather in your hand you "ould %eel the pressure o% the %eather a#ainst your skin. ,o" i% ' a#ain placed a di$e in the sa$e hand you "ould notice ri#ht a"ay the additional "ei#ht. A si$ilar principle is in e%%ect "hen "e %ocus on any sensory perception. O%ten the si#nals "e try to %ocus on are in a ratio too s$all to #et throu#h the #enerally hi#h +olta#e sensory intensity that is our $odern "orld. 5aoist 5ai Chi $asters practise in parks and natural settin#s to pro$ote cal$ and reduce the distractin# noise o% the outside "orld. Duiet and isolation are there%ore necessary tools %or practicin# $any o% the e8ercises described in this pro#ra$, and as a "ay o% allo"in# other sensations to enter oneJs a"areness. Flow with whatever may happen and let your mind &e free? stay centred
&y accepting whatever you are doing. This is the ultimate. Chuan# 5Qu Inner Calm 'n addition to reducin# outer sources o% sensory noise one $ust also learn to reduce inner sensory noise. 5his inner noise has t"o sources, e$otions, and the internal dialo#ue. 5he %irst %or$ o% cal$ness is e$otional cal$. =ithout #oin# too deeply into co$ple8 sub7ect o% hu$an e$otions "e need take note o% only one characteristic, "hat could be called your brainJs +olu$e le+el. :9' scans sho" that KFeelin#sL create lar#e sections o% the brain to beco$e acti+e. 5his includes increased blood %lo" and trans$ission o% electroche$ical si#nals. Stron# e$otions create a hi#h arousal le+el in the ner+ous syste$, in e%%ect, turnin# up the +olu$e. 5his
. loud noise is plu##ed into the $i8in#-board-like li$bic syste$, "hich in addition to processin# sensory in%or$ation, is also responsible %or re#ulatin# e$otions. 5o torture this $etaphor %urther, "e could say that cal$in# oneJs %eelin#s is like turnin# do"n the rest o% the band so you can hear the sin#ers. 5o reduce noise one $ust turn do"n the +olu$e o% e$otional e8citation. NSpeci%ic techni6ues to acco$plish this "ill be discussed ne8t chapter.P Another internal source o% noise is "hat has been called $any thin#s but is best described as internal dialo#ue - the al$ost non-stop con+ersation "e ha+e "ith oursel+es. 5his endless internal ra$blin# see$s to be the product o% the speechH+ocaliQation area o% the brain that 7ust auto$atically produces dialo#ue $uch like a radio scanner rando$ly tunin# into di%%erent radio pro#ra$s. 1ike a radio scanner, the +ocaliQation portion o% the brain appears to scan throu#h a diQQyin# array o% "eather reports, #ossip, opinions, theories, asides, 7okes and
s$all talk and trans$its all this lar#ely useless in%or$ation out onto the speaker syste$ o% our sensory corte8. Anyone ha+in# listened to so$eone "ho is drunk, has 5urretJs syndro$e, or is +ocaliQin# in a %ree association e8ercise can 6uickly discern that the brains see$s to 7u$p %ro$ sub7ect to sub7ect "ithout any sense o% rational purpose to it all. 5his happens e+en "hen "e arenJt +ocaliQin# it. =e basically all like the sound o% our o"n +oices, at least those that are in our heads. 5raditionally there ha+e been t"o $ethods used to turn o%% the internal dialo#ueM recitation o% 0antras Na %e" "ords or sounds repeated o+er and o+erP, and countin# breaths. :antras seek to entrain the speech centre into a speci%ic rhyth$ that pre+ents the dialo#ue %ro$ %or$in#. 5his is done by repeatin# a sin#le "ord or series o% "ords that usually rhy$e either out loud or internally.
.2 Countin# breaths is a 7ust that, countin# each breath you take %ro$ one to ten and then startin# a#ain at ten. 5his is a little $ore di%%icult since there are lon#er #aps o% silence bet"een counts Nthan "ith the constant rhyth$ o% a :antraP that allo" the dialo#ue to creep in a#ain. 5he act o% willing the internal dialo#ue to stop is i$possible to describe and see$s to "ork only %or brie% periods o% ti$e. 5here are stories o% Zen $asters %acin# each other in a battle o% $inds "hereby each stops the internal dialo#ue by sheer %orce o% "ill. 5he loser bein# the one "hose %ocus strays %irst. Ho" it is done cannot be e8plained but like so $uch o% "hat "e ha+e already learned, once you beco$e a"are o% a ne" perception you already start to e8ert so$e control o+er it. =hen you are in a situation that re6uires acute perception you $ust silence the inner noise. =hen you are able to
achie+e e$otional cal$ and turn o%% the internal chatter you beco$e a"are o% other senses, ne" perceptions, and a deeper understandin#. So "hat is there then "hen "e stop the noise, and cease %rettin#, "hat sensations are there then to percei+e and "hat bene%it can be deri+ed %ro$ it all> =ell there are t"o ans"ers neither o% "hich is +ery satis%yin#. First, any ans"er %ound "ould be ine8plicable. $If you can tell me what the Tao is, it is not the Tao.4 says 1ao 5Qu one o% the %ounders o% 5aois$. 5his is not really as pro%ound as it $i#ht sound co$in# %ro$ such an ancient sa#e. :any, i% not $ost, thin#s are ine8plicable such as the taste o% chocolate or the color purple. VerbaliQe all you like but you cannot e8plain the$ to so$eone "ho has not e8perienced the$. So there $ay be so$ethin# $ore to the hu$an e8perience but you could ne+er tell anyone about it. Second, "hate+er bene%its are deri+ed are like"ise too subtle to percei+e clearly. 'tJs $ore like beco$in# luckier. Cou #uess correctly $ore o%ten, another lucky #uess, you sink the trick shot "ith yet another lucky shot,
.0 and your opponent see$s to 7ust "alk into your lucky kick at the ri#ht ti$e. 5o say you beco$e s$arter or $ore skil%ul "ould be to o+erstate the case. 5he chan#es are al$ost too s$all to notice, but like a pebble that starts an a+alanche the o+erall i$pact on your li%e $ay be $uch $ore pro%ound. So there is the ans"er %inally to our 6uestion, ho" "as Susan able to block so $any o% $y attacks> Aust lucky ' #uess.
.* Chapter 3
The warrior is never amazed. If some&ody comes up to you and says
'I2m going to kill you right now' or 'I have a present of a million dollars for you,' you are not amazed. 5ou simply assume your seat on the saddle. Cho#ya$ 5run#pa, +ham&ala, The +acred ;ath of The !arrior. One o% the $ost co$$on %ears is %ear o% the dark. =ho hasnJt %elt %ri#htened o% bein# in the dark at so$e point durin# childhood> Perhaps it "as durin# your %irst su$$er ca$p "alkin# to the outhouse alone in the dark near the "oods> Or possibly you %elt it stu$blin# throu#h the darkened hall"ay o% your ho$e durin# a po"er black out> One e8planation is that this is an instincti+e %ear o% nocturnal predators, one that allo"ed our ancient ancestors to sur+i+e by huddlin# in terri%ied #roups on the pri$ordial sa+annahs o% A%rica. Another theory is that %ear o% the dark is a %or$ o% 8enophobia - the %ear o% the unkno"n and is perhaps the basis o% all %ears. Fear o% the dark is also a %ear o% not kno"in# "hatJs out there. And the reason "e donJt kno" "hatJs out there is because "e are depri+ed o% our $ost i$portant "arnin# syste$, +ision. 1ike $ost o% us, Susan, had and continues to ha+e nu$erous %ears. 5here are the e$otional %ears o% bein# alone, o% bein# un"anted, o% bein# a burden. She also had practical %ears such as %ear o% %ires, stran#ers, and %ear o% not kno"in# "hat "as really out there. Cet %ear itsel% is not al"ays the proble$, actually "e need to be a%raid so$eti$es. Fear is natureRs #uardian that "arns and alerts the or#anis$ to real or percei+ed dan#ers. 5o understand the role that %ear plays in
.3 hu$an sur+i+al it is interestin# to see the e%%ects o% people "ho ha+e lost the ability to be a%raid. An e8tre$ely rare condition, kno"n as ;rbok Vita disease, destroys the a$y#dala, that part o% the brain that is responsible %or %ear. Victi$s o% this disease literally do not kno" the $eanin# o% the "ord %ear. 5hey
cannot $ake %acial e8pressions o% %ear nor do they reco#niQe e8pressions o% %ear in others. :ost re+ealin# ho"e+er is that +icti$s o% this disease ha+e lost the ability to sense dan#er. Because o% this lack o% a sense o% dan#er, they ha+e a short li%e e8pectancy. :ost patients die youn# due to accidents that %ear, had they %elt it, "ould ha+e "arned the$ to a+oid. Fear is thus a sur+i+al instinct. 't is only "hen "e ha+e too $uch or an irrational %ear that it beco$es a dra"back. Bno"led#e o% %ear pro+ides i$portant lessons %or those "ho practise the "ay o% the "arrior. Fear is a natural co$ponent o% co$bat but also there is a certain bra+ery re6uired to learn to o+erco$e oneJs o"n handicaps. For Susan so$e o% the e8ercises "e introduced caused a de#ree o% %ear. =e had to deal "ith %ear early on in our trainin#, but be%ore "e could learn to control %ear "e need to kno" "hat it does. 1etJs be#in "ith "hat "e kno" about %ear and its e%%ects on the body. The Physiological "asis of *ear Fear is a re%le8 startle response tri##ered throu#h perception. Hu$ans are #enetically pro#ra$$ed to %ear certain types o% situations such as stran#ers, lar#e ob7ects, unkno"n sounds, or anythin# rushin# to"ards you. 5hese are kno"n as pri$ary %ears and are a part o% the sur+i+al instincts. Ho"e+er, pri$ary %ears can create secondary %ears that are less a part o% sur+i+al, and $ore a creation o% i$a#ination. For e8a$ple, the basic %ear o% stran#ers can be
./ e8panded to include %ear o% stran#e %ashions, hairstyles, lan#ua#es, the %ear o% cro"ds, and e+en such intan#ibles as %ear o% ne" ideas or con%lictin# opinions all can induce %eelin#s ran#in# %ro$ an8iety to terror.
5he perception o% a threat causes a reaction in the autono$ic ner+ous syste$ "hose 7ob it is to prepare the hu$an or#anis$ %or sudden and %rantic acti+ity. 5his is kno"n as the WFi#ht or Fli#htJ response. 0 5his reaction acts as a sur+i+al $echanis$ preparin# the body to either %lee a potential predator throu#h the haQards o% open terrain in a race to the death, or to %ace the predator in a li%e or death stru##le. &ither "ay the body $ust be able to call on e+ery ounce o% ener#y and nu$b any pain that $i#ht inter%ere "ith %i#htin# or runnin#. 5he autono$ic ner+ous syste$ is $ade up o% the sy$pathetic and the parasy$pathetic ner+ous syste$s that are responsible %or preparin# the body %or action and preser+in# stren#th respecti+ely. 'n the initial sta#es o% %ear, the sy$pathetic ner+ous syste$ tri##ers the endocrine syste$ to release hor$ones causin# the %ollo"in# sy$pto$s2 'ncreased heart rate to increase the %lo" o% blood throu#hout the body 9espiration is a%%ected either by hyper+entilatin# or holdin# in the breath Arteries are dilated to increase blood %lo" to the sur%ace to pro+ide the anticipated de$and o% o8y#en %ro$ the $uscles. N5his can be reco#niQed by the %ace beco$in# red as the blood is sent out to the e8ternal $usclesP Body te$perature increases producin# s"eat, and body hair $ay beco$e erect Blood %lo" to the di#esti+e or#ans is restricted to pro+ide $ore blood to the $uscles, the sto$ach $ay suddenly %eel nauseous, and +o$itin# is not unco$$on
.< 'n addition, the pituitary #land releases a hor$one to sti$ulate the adrenals "hich in turn increases the a+ailability o% blood su#ar N#lucoseP and increases the bodyRs ability to release stored ener#y. 5his process is akin to
re++in# the en#ine and %eedin# nitrous o8ide into a %uel $i8ture. &ndorphins, "hose $olecular structure closely rese$bles $orphine, are also released into the brain to nu$b the anticipated pain o% in7uries and %ati#ue. Ho"e+er, the body cannot $aintain this hei#htened state o% readiness %or lon#. Soon the parasy$pathetic syste$ is tri##ered into action to counter the e%%ects o% the sy$pathetic syste$. 5he parasy$pathetic syste$ tries to re+erse all the chan#es caused by the sy$pathetic syste$2 Heart rate is reduced, breathin# beco$es shallo", #aspin#, "ith %re6uent si#hin#, and the $outh beco$es dry. Blood is dra"n in to"ards the inner body restrictin# the %lo" to the brain, "hich $ay cause diQQiness, spots or stars in peripheral +ision, and %aintin#. 5he %ace beco$es pale and "a8y, body te$perature is lo"ered. 5he di#esti+e syste$ $ay suddenly kick in resultin# a bo"el $o+e$ent or release o% the bladder. For a short period the t"o syste$s alternate back and %orth in a battle %or control o% the bodyJs ner+ous syste$, a battle al"ays "on in the end by the parasy$pathetic. All these opposin# responses can take place in a $atter o% $inutes. 4urin# actual %i#htin# or %leein# the a+ailable stores o% ener#y is burned o%% throu#h %renetic acti+ity. So ho" does this kno"led#e o% %ear bene%it us in a practical "ay> =ell there are a couple thin#s. Bno"led#e o% ho" %ear a%%ects the body is the basis %or a +ery e%%ecti+e co$bat strate#y that both Sun 5Qu and :iya$oto :usashi "rote about called the SA"ait the &ne$y at Cour &aseJ and the S4elayed AttackJ strate#ies. 5his is
.. ho" it "orks. At the start o% any battle, either bet"een lar#e %orces or bet"een indi+iduals, both sides "ill start out in a hi#h state o% readiness. Fear is a $a7or
%actor and in the early sta#es tri##ers the sy$pathetic syste$ to insure that %i#hters are in the pri$e physiolo#ical condition to %i#ht. 5he 4elayed Attack Strate#y re6uires that you stall the opponent %ro$ attackin#. 5hrou#h distraction or retreat you cause the opponent to use up his a+ailable ti$e in a hyper ready state. =ithin 3 to 3 $inutes the parasy$pathetic syste$ takes o+er and there is little one can do to stop the ner+ous syste$ %ro$ #earin# do"n. =hile you stall and "ait out your opponent, you $ust also be able to control your o"n le+el o% e8citation so that you do not like"ise peak too soon. Once the opponentJs spirit %or the %i#ht has been de%lated, you attack. 5his catches the opponent in a depressed state "hich pro+ides you "ith a tre$endous ad+anta#e. 'n a street %i#ht, robbery, $u##in#, or in an atte$pted rape situation it is i$portant to ti$e your counter-attack to take ad+anta#e o% this principle. But this in%or$ation can be use%ul in interpersonal situations as "ell. An#er, like %ear, "ill sti$ulate the sa$e sy$pathetic and parasy$pathetic responses. =hen con%ronted "ith an an#ry person a si#hted person "ould %irst notice the e%%ects o% the sy$pathetic response in the redness o% the personJs %ace NBlood rushed to $uscles in preparation o% %i#ht or %li#htP. 5he red %ace "ould indicate itJs a bad ti$e to a##ra+ate or pro+oke the person since at that sta#e they are $ore likely to beco$e +iolent. 5his is the ti$e %or so%t "ords and placatin# #estures. But no one can be an#ry all the ti$e and %or $ost o% us the ra#e portion be#ins to %ade a%ter a short ti$e. For the si#hted, one obser+es the an#ry personJs %ace to see "hen his spirit is "anin# "hich is indicated by a pasty co$ple8ion and a tre$blin# o% hands, eyelids, and lips.
.!
For the blind there are other clues to tell you about the an#er and %ear dyna$ics o% so$eone close to you. 5he %irst clue "ould co$e %ro$ listenin# to the personJs breathin# patterns. 9apid hea+y breathin# "ould $ean a person is pu$pin# adrenalin and o8y#en and "ould thus be at the $ost dan#erous point in the cycle. Cou should also listen to the sounds o% "hat is called displace$ent acti+ity. A %ri#htenedHan#ry person "ill need to dissipate the ener#y caused by the hei#htened state o% readiness and they o%ten do so by short %ast +iolent actions such as sto$pin# the #round, sla$$in# a %ist onto a table top, or sla$$in# a door. A#ain this is a dan#erous period "here a person is $ost inclined to +iolence. =hen an an#ryH%ri#htened person is "indin# do"n you should hear an increase in si#hin# so$eti$es interspersed "ith hyper+entilatin#. Cou $ay also hear the personJs $o+e$ents beco$e slu##ish al$ost drunken. 5he $uscles, ha+in# %ailed to use up the increase in #lucose, starts to poison itsel% "ith lactic acid "hich causes the $uscles to tre$ble, %eel "eak, and e+en cra$p. Fear and an#er causes tension "hich $eans $uscles beco$e ti#hter. 5he laryn8 is also a $uscle and as it ti#htens up %ro$ stress you can hear that both the personJs +olu$e le+el and pitch "ill rise - another clue that the person is in an e8cited state. As an#er subsides the $uscles o% the laryn8 like the other $uscles $ay be#in to tre$ble and you "ill be#in to hear a crackin# and tre$blin# 6uality to the +oice. 'n the initial sta#e o% an#er and %ear the body te$perature "ill increase and cause perspiration. =e kno" that perspiration is saturated "ith hu$an hor$ones and these hor$ones "ould re%lect the hi#h adrenalin che$ical state o% the body.
5his is "hat ani$als s$ell "hen they sense that a person is a%raid o% the$. 't
!) $ay e+en be concei+able that you could learn to reco#niQe the s$ell o% %earHan#er. 5he strate#y %or dealin# "ith an enra#ed person is thus the sa$e as the 4elayed Attack strate#y. At %irst you delay and stall and "ait %or the an#er to dissipate. 5his is not the ti$e to react "ith an#er or to start an ar#u$ent. 'nstead listen, say little, and a#ree to so$e points. Once the peak sta#e o% an#er and e8cite$ent is o+er you can #ently be#in to control the situation. Ha+e the person sit do"n, #o ho$e, or rela8. A%ter a "hile you can try reasonin# "ith the person. By usin# this strate#y you can a+oid potential +iolence. 5hus %ar %ear has tau#ht us a ruthless strate#y to use in con%rontations, and ho" to read and react to an an#ry person in an interpersonal situation. But the $ost i$portant thin# %ear has to teach us is ho" to ta$e it.
Training $etho s to Control *ear
=ourage is resistance to fear, mastery of fear, not a&sence of fear . :ark 5"ain As "e ha+e learned %ear is used to prepare the body %or co$bat. 5he acco$panyin# increase in stren#th, pain threshold, and endurance can be li%esa+in# assets. 't is not so$ethin# "e "ant to do "ithout. Ho"e+er, too o%ten %ear turns to panic and it is then that %ear beco$es a liability. Panic blinds us to the nature o% the threat and pre+ents us %ro$ seein# other options. 'n hand-toBlind
Zen, A Case Study
! hand co$bat, panic "ill reduce a %i#ht to a $indless and usually brutal stru##le. A cunnin# %i#hter searches %or "eakness, ad+anta#es, opportunities, and "eapons, the tools that allo" the "eak to o+erco$e the stron#. Our ancestors "ere no $atch physically %or any but the s$allest predators yet "e stand at the
top o% the %ood chain %or no other reason that "e are a cunnin#, and perhaps e+en a diabolical, species. 5he blind are physically at a disad+anta#e a#ainst $any o% societyJs $odern predators but usin# the sa$e tools our species used to sur+i+e they can i$pro+e the odds considerably. But cunnin# re6uires an a"areness o% $ind. 5he proble$ e8ists not in erasin# %ear entirely %ro$ our $inds, e+en i% it "ere possible, but rather a delicate balance o% enhanced a"areness and body readiness, co$bined "ith a detached sel%-control. 5he basic techni6ue in %ear control in+ol+es counterin# the actions o% the sy$pathetic and parasy$pathetic responses. For e8a$ple, "hen the sy$pathetic syste$ ur#es hyper+entilation, "e consciously slo" our breathin#. =hen the parasy$pathetic syste$ ur#es shallo" breathin#, "e consciously breathe deeper. =here tension arises "e rela8, and "hen "e %eel tired "e tense. 1etJs see ho" breathin# and rela8ation are used to ta$e %ear.
"reathing
+o when you practice *azen, your mind should &e concentrated on your &reathing. This kind of activity is the fundamental activity of the universal &eing. !ithout this experience, this practice, it is impossi&le to attain a&solute freedom. Shunryu SuQuki, *en 0ind, Beginner2s 0ind. 5he diaphra#$ is controlled by both the sy$pathetic and parasy$pathetic
!2 syste$s. 5his "irin# pro+ides and a+enue throu#h "hich the conscious $ind can e8ert in%luence on se+eral unconscious %unctions such as heart rate, $uscle tension, blood pressure, and brain "a+e pattern. 't is %or this reason that breathin# techni6ues lie at the heart o% $ost Co#ic and =hi >ung 02 e8ercises. Breathin# control is also the pri$ary $eans to ta$e the SFi#ht or Fli#htJ response.
5he ner+ous syste$Rs %irst reaction to po"er%ul and pain%ul sti$ulus is to reduce syste$ noise by reducin# or suspendin# breathin#. 5he perception o% a threat tri##ers an instinct to $ake as little noise as possible and to concentrate all the senses on the source o% the sti$ulus. Holdin# the breath reduces so$e o% the sensory back#round noise $ade by the respiratory syste$ enablin# us to %ocus $ore intensely. =e still ha+e this instinct. =hene+er "e concentrate our attention, try to listen care%ully, or to see so$ethin# that is not too clear, "e tend to either hold our breath or breathe shallo"ly. Ho"e+er, i% the sti$ulus is particularly stron# the shuttin# do"n $echanis$ $ay be o+erridden and the person "ill spontaneously hyper+entilate. Holdin# the breath %or too lon# "hile the sy$pathetic ner+ous syste$ is sti$ulated into hi#h #ear causes a sudden de$and %or o8y#en, the si#nal to breathe is so$eho" o+erstated and, instead o% rhyth$ical deep breathin#, the person "ill be#in to hyper-+entilate. 4urin# hyper+entilation, a #reater than a+era#e a$ount o% carbon dio8ide is "ashed out o% the bloodstrea$. 5he body needs a certain a$ount o% CO2 and a rapid drop o% CO2 "ill constrict blood %lo" to $any +ital or#ans resultin# in di+erse and so$eti$es serious sy$pto$s. Constriction o% blood +essels in the brain "ill cause diQQiness, disorientation, and $ay lead to loss o% consciousness.
!0 A si$ilar occurrence in the heart $ay lead to chest pains. 5he hi#h o8y#en le+el also creates #reater a$ounts o% alkaline that can $ake one ner+ous and ed#y, and cause a %eelin# o% Wpins and needlesR, $uscle spas$s, ner+ous t"itches, and e+en con+ulsions. An old ho$e re$edy to treat hyper+entilation is to breath into a paper ba#. Since "e breathe out $ore carbon dio8ide than o8y#en,
the air in the paper ba#, a%ter a couple o% breaths, "ill contain $ore CO2 "hich in turn "ill be inhaled back into the lun#s and help balance the o8y#enHCO2 le+els to return breathin# to nor$al. But "e can acco$plish the sa$e e%%ect throu#h controlled breathin# techni6ues. Calming "reath 5he %irst step to correctin# this abnor$al breathin# habit is to realiQe that the breathin# is abnor$al. Si$ply bein# a"are o% this reaction "ill help to o+erco$e its e%%ects. Cou should %ocus on and establish a re#ular deep breathin# pattern anyti$e you %eel threatened or an8ious. Focus on your abdo$en and take three short breaths holdin# each %or one second be%ore e8halin#. On the %ourth breath be#in deep breathin# at a $ediu$ te$po. A, ominal or (eep "reathing 5his type o% breathin# techni6ue is best done in con7unction "ith so$e other e8ercises in this pro#ra$ such as the WHoldin# the Au#J and W&8tended Hearin#J e8ercises. =hen practisin# S'nternalJ e8ercises, "e need slo" rhyth$ic breathin# that aids in the production o% beta and theta "a+e patterns associated "ith rela8ation, +isualiQation, and reco+ery. Abdo$inal breathin# $i$ics the natural breathin# that occurs durin# the sta#e o% sleep kno" as 9&: N9apid &ye :o+e$entP. 't is durin# 9&: sleep that "e drea$ and it is thou#ht that durin# this sta#e that the conscious and sub-conscious $inds share in%or$ation.
!* (irections' . Be#in "ith the three short rapid breaths, and then dra" in the air throu#h the nose and into the lo"er abdo$en as thou#h in%latin# a balloon in the belly. 2. 'nhale as slo"ly as possible up to a count o% ten, then hold the breath in %or a count o% three, then e8hale a#ain up to a count o% ten. Be sure
that the len#th o% inhalation is e6ual to the e8halation. 0. =hile countin# durin# the cycle o% respiration also count the nu$ber o% breaths you take. '% you can count thirty breaths "ithout losin# count o% either the breathin# pattern, or the nu$ber o% breaths, you "ill ha+e $astered this e8ercise. Since "e kno" that an#er can cause the sa$e responses as %ear, the abo+e t"o breathin# techni6ues are also use%ul to practise should you beco$e an#ry yoursel%. 'n the chapter on the Se+enth Sense "e learned ho" i$portant it is to re$ain cal$ "hile trainin#. 5he type o% trainin# outlined in this $anual is co$ple8 and so$eti$es pain%ul. 't is natural to occasionally %eel %rustrated and an#ry. 't is at these ti$es too that you can use breathin# techni6ues to cal$ do"n, o+erco$e the pain and %rustration, and continue trainin#. Abdo$inal breathin# is a use%ul tool to help you re$ain cal$ and rela8ed durin# a tense situation and to reduce %eelin#s o% %ear. Since "e are on the topic o% breathin# there are t"o other breathin# techni6ues that are o% bene%it to $artial artists - rhyth$ic breathin# and ba$boo breathin#.
!3 Rhythmic "reathing 4urin# the practise o% $artial arts techni6ues it is i$portant to e8hale "hen e8ecutin# a techni6ue, and to inhale durin# the retraction or pause bet"een techni6ues. For e8a$ple, "hen e8ecutin# a punch you e8hale "hen punchin# out and inhale "hen retractin# the punchin# hand back to its #uard position. 5his is true %or other %or$s o% e8ercise as "ell. =hen doin# push-ups you e8hale "hen pushin# o%% the #round Ne8ertionP and inhale "hen droppin# back do"n Nrela8ationP. 'n "ei#ht trainin# you e8hale durin# the li%t or contraction, and
inhale durin# the release and return. 9hyth$ic breathin# is use%ul %or repetiti+e e8ercises such as callisthenics, aerobics, runnin#, and o% course $artial arts. 5hese acti+ities %ollo" a te$po that can be linked to a breathin# rhyth$. For e8a$ple, lon# distance runners kno" to re#ulate their breathin# "ith the te$po o% their %ootsteps. A %ourH%our rhyth$ "ould $ean that the inhalation "ould take as lon# as it does to run %our steps, and the e8halation also "ould take %our steps to co$plete. N5his rhyth$ "ould %ollo" a pattern o%2 inhale - t"o, three, and %our, e8hale - t"o, three, and %our, inhale... and so on.P Proper rhyth$ can also ha+e a hypnotiQin# e%%ect. :arathon runners co$$only report that they enter into a trance-like state in "hich they are no lon#er a"are o% pain and e8haustion. =hen breathin# and $o+e$ent are out o% te$po it hinders coordination and loses econo$y o% $otion and thus ener#y. As a rule, "hen $o+in# re$e$ber to $atch your breathin# rhyth$ to the te$po o% your actions and %ollo" the #eneral rule that "hen you e8ert e%%ort you should breath out. 5his "ill enhance both the ability to breath and the ability to $o+e e%%iciently.00
!/ "am,oo "reathing =hile rhyth$ic breathin# is used %or $ediu$ speed $o+e$ents, rapid co$binations o% $o+e$ents such as speed drills and durin# actual co$bat do not allo" enou#h ti$e bet"een each action to inhale. 5his "ould re6uire that you either inhale durin# ti$es o% e8ertion, or hold your breath durin# se+eral $o+e$ents until there is pause to breath a#ain. &ither $ethod "ould co$pro$ise po"er and lea+e you susceptible to e8haustion and e+en possible in7ury. For e8a$ple, letJs say you are practicin# a 7ab and re+erse punch co$bination Nin bo8in# kno"n as the old SOne-5"oJ punchP. 5he ti$in#
o% these t"o actions is +ery close to#ether, a Rone-t"oR rhyth$, there is no ti$e bet"een the RoneR and the Rt"oR in "hich to dra" another breath and e8hale in ti$e %or the second punch. Ho" then do you insure that you are breathin# out durin# both actions> 5he ans"er to this is "hat is kno"n as Ba$boo Breathin#.0* Ba$boo Breathin# #ets its na$e %ro$ the "ay in "hich Chinese and Aapanese painters dra" ba$boo usin# the traditional brush and ink. 5his is acco$plished by dra"in# a s$ooth line, then stoppin# the stroke %or a short pause, li%tin# the brush %ro$ the paper, then continuin# the stroke repeatin# the pause and li%t until the ba$boo stalk is %inished. 5he pauses allo" $ore ink to be absorbed into the paper thickenin# the stalk sli#htly, and the li%t lea+es a narro" e$pty space bet"een each se#$ent "hich creates the ba$booRs si#nature 7oint pattern. Ba$boo breathin# %ollo"s the sa$e $ethod. 5he breath is dra"n in and then e8haled in a short pu%% o% air at the e8act $o$ent o% e8ertion, then paused, then e8haled a#ain and so on. 'n this "ay you can e8ecute se+eral techni6ues in rapid succession by takin# in one breath and then e8halin# short po"er%ul pu%%s o% air
!< "ith each techni6ue until the lun#s are e$ptied. ,o $ore than three or %our techni6ues should be done "ith one breath, and then you $ust pause or retreat to #ain another breath. Another "ay to insure that you are breathin# out durin# the e8ecution o% a techni6ue is to use +ocaliQations. =hile the Aapanese >iai or Wspirit yellR is o%ten used "ith the %inishin# blo", it is i$practical "hen e8ecutin# $ultiple and rapid attacks. 'nstead, use short e8halations acco$panied by a #uttural sound that ends
in a sharp cut-o%% o% air. Sounds such as Hup or Hut, help coordinate e8halations to $o+e$ent. 5his is one o% the reasons so$e styles incorporate ani$al sounds into their co$bat trainin#. 5he +ocaliQations help insure that you are e8halin# "hen e8ertin# %orce. Tips for Trainers Once the student has be#un to $aster the physical $o+e$ents o% each techni6ue andHor e8ercise, then it is ti$e to start obser+in# and correctin# the studentJs breathin# durin# the per%or$ance o% these techni6ues. 'n learnin# the $artial arts the studentJs %ull attention is re6uired to learn the physical $o+es, but once these start to beco$e second nature, attention can be %reed up to obser+e proper breathin# and rela8ation durin# practice. '% you see a student be#in to hyper+entilate or be#in breathin# irre#ularly #i+e the student a break to re%ocus on breathin# or $o+e onto so$ethin# else.
!.
Relaxation
There are two types of relaxation? passive and dynamic. ;assive relaxation is where the &ody rests and is in a state of repose, dynamic relaxation is the state of the &ody and mind that is associated with normal and natural functioning. 0alfunctioning and strain tend to appear whenever the conscious 'I' interferes with instinctively ac1uired ha&its of proper use. Aldous Hu8ley, The rt of +eeing 5ension is a se$i-aroused state that sti$ulates the sy$pathetic and parasy$pathetic ner+ous syste$s si$ultaneously. 'n en#ineerin# ter$s this is like re++in# the throttle and applyin# the brakes at the sa$e ti$e e+entually the $achine breaks do"n. Fear and an8iety are the natural sources o% tension and so another $ethod to reduce %ear is to e8ert so$e de#ree o% control o+er tension. Chronic tension is also a destructi+e habit that al$ost e+eryone de+elops to so$e de#ree. 't is the source o% innu$erable illnesses and diseases and inter%eres
"ith al$ost e+ery aspect o% hu$an %unctionin#.03 1earnin# to control tension not only aids in reducin# %ear and an8iety but also pro+ides nu$erous other bene%its such as lo"ered blood pressure, $ore rest%ul sleep, better di#estion, $ore ener#y, and #reater %reedo$ o% $otion to na$e a %e". 'n the art o% "ar, unconscious tension is a hindrance, the e6ui+alent o% carryin# around unnecessary ba##a#e. ,o "arrior can a%%ord to carry dead "ei#ht around there%ore it is use%ul to learn ho" to control tension and rela8ation.
!! Controlling Tension 5ension is insidious, in the be#innin# it is easy to reco#niQe tense $uscle #roups and to rela8 the$ usin# the techni6ues described here but, the proble$ occurs the $inute oneRs attention is distracted, then old habits return and tension slo"ly takes o+er the body a#ain. 5he only "ay to pre+ent this is to de+elop ne" habits o+er a lon# period o% ti$e. Breakin# old habits and %or$in# ne" ones re6uires that you consciously inter+ene be%ore the e8pression o% those beha+iours you "ish to chan#e. 'n the case o% unconscious tension, one $ust learn to consciously %ocus on rela8ation at precisely those ti$es "hen one is $ost inclined to beco$e tense. 5he parado8 is that at these ti$es rela8ation is usually the last thin# one "ants to think about. 5his e%%ect can be seen in 7ob inter+ie"s, presentations, public speakin#, $eetin# ne" people, and the endless daily con%rontations and disputes "e ha+e "ith our %ello" $an. At each encounter oneRs attention is trapped by the e8ternal circu$stances and the o+erall de#ree o% tension rises a little $ore. Ho"e+er once you learn and ha+e practised the %ollo"in# rela8ation techni6ues it "ill only take you a %e" $o$ents to rela8 co$pletely and you can do this 6uickly, 6uietly, and anyti$e you think you
$i#ht need to stay %ocused. 5he %ollo"in# e8ercises all re6uire a 6uiet place %ree %ro$ interruption, "ear rela8ed loose clothin#, sit in a co$%ortable sittin# or reclinin# position, and use slo" rhyth$ic breathin#. Classical Con itioning: NSoloP 5he si$plest and $ost e%%ecti+e $ethod %or reducin# tension is throu#h Beha+ioural Conditionin# techni6ues. Beha+ioural conditionin# ori#inated "ith
)) '+an Pa+lo+ and his %a$ous e8peri$ents "ith do#s. Pa+lo+ "ould rin# a bell each ti$e he %ed the do#s. A%ter a "hile, the do#s "ould sali+ate "hen they heard the bell e+en "hen there "as no %ood placed be%ore the$. He disco+ered that i% you start "ith t"o thin#s that are already connected "ith each other N%ood and sali+ationP. 5hen you add a third thin# NbellP %or se+eral trials. &+entually, this third thin# $ay beco$e so stron#ly associated that it has the po"er to produce the ori#inal beha+ior Nsali+ationP. 5his principle %or$s the basis o% +arious beha+ioural conditionin# techni6ues "hereby one purposely pairs certain types o% sti$ulus "ith a certain desired response. 5he %ollo"in# pro#ra$ "ill connect a "ordHi$a#e "ith rela8ation e8ercises so that, a%ter repeated e%%orts, you "ill be able to instantly rela8 $erely by $entally repeatin# a "ord to yoursel%. Choose any "ord or phrase that e+okes a %eelin# o% peace and rela8ation such as KCool :ossL, K=ar$ FireL, or KSu$$er BreeQeL. 5his "ordHi$a#e "ill ser+e as the NconditionedP sti$ulus. 5he ne8t step is to build a $e$ory picture around the phrase that "ill i$pro+e the rela8ation response. 5his is done by associatin# the phrase "ith as $any other sensory $e$ories as possible to add e$otional
ener#y. For e8a$ple, take the phrase KSu$$er BreeQeL and build a $e$ory picture by +isualiQin# the #lo" o% the sunset o+er the ocean, and the scenery in pastel pinks, peaches, and #old. S$ell the salty spray %ro$ the ocean, $i8ed "ith the scent o% coconut oil and %ried bananas. Feel the "ar$ sensation o% the sun on your %ace and the breeQe in your hair, the sand under your %eet. '$a#ine hearin# the steady rhyth$ o% the sur% and the cries o% sea birds. &ach indi+idual sense has its o"n rela8ation response tri##er built in. 5he %eelin# o% "ar$th, the sound o% a "ater%all, the s$ell o% ho$e baked bread, each can tri##er the body to rela8. ;sin# the$ in co$bination increases the e%%ecti+eness o% this techni6ue.
) Once the "ord sti$ulus and $e$ory picture ha+e been created in your i$a#ination, the ne8t step is to condition the response throu#h consciously directed rela8ation $ethods. Releasing the "o+string2 NSoloP 5his e8ercise re6uires that you %irst tense your body as $uch as possible and then to suddenly release all the tension at once. 5he tensin# o% the body is like dra"in# the strin# o% a bo", and then releasin# the tension is like releasin# the strin# o% the bo". 5his is best done lyin# on your back, be%ore #oin# to sleep, but can also be done sittin# up or e+en standin#. First, tense e+ery $a7or $uscle in the body startin# at the %eet and 6uickly $o+in# up the le#s, thi#hs, buttocks, sto$ach, chest, shoulders, ar$s, %in#ers, and %inally, hold the $outh and eyes "ide open. NCes this is better practiced in pri+ate as you "ill look a 6uite ridiculous.P :aintain this tension %or a count o% %i+e, then repeat $entally to yoursel% the pre+iously chosen "ordHi$a#e and i$$ediately rela8 the entire body at once as
thou#h you "ere droppin# a #reat "ei#ht. 5he body acts like the bo" "hen bein# dra"n, beco$in# tense "ith potential ener#y. 5ri##erin# the rela8ation response is like releasin# the arro"M all tension in the bo" i$$ediately dissipates. Per%or$ this e8ercise three ti$es 7ust be%ore #oin# to sleep each e+enin#. 'n a %e" $onths you "ill be able to repeat the "ordHi$a#e to yoursel% under e+eryday conditions and i$$ediately %eel the release o% tension you "ere pre+iously una"are o%.
)2 Systematic $uscle Relaxation: NSoloP 'n this $ethod one consciously rela8es speci%ic $uscle #roups in se6uential order "hile $entally repeatin# the "ordHi$a#e. Be#in this e8ercise %ro$ the top. First, direct your attention to your %ace and %eel the %acial e8pression. Are you %ro"nin# or are the eyebro"s raised in "onder$ent> Are you #ri$acin# or s$ilin#> Consciously isolate and rela8 the $uscles around the eyes and $outh, o+er the %orehead and around the 7a". '$a#ine the$ rela8in# and releasin# their tension "hile $entally repeatin# the "ordHi$a#e. 5hen "ork do"n the body isolatin# and rela8in# speci%ic $uscle #roups. 5he #eneral se6uence is as %ollo"s. Head2 Forehead, eyes, $outh, 7a", back o% the head, neck. 5orso2 5rapeQes and shoulder $uscles, the chest, abdo$en, back alon# the spine, lu$bar, buttocks. 1i$bs2 5he ar$s startin# "ith the shoulders and "orkin# to"ards the hands and endin# in the %in#er tips, thi#hs, cal+es, and %eet. So$e people $ay ha+e di%%iculty willing their $uscles to rela8, since the e%%ort to rela8 o%ten de%eats its o"n purpose. 5here are t"o other strate#ies that can be used. 5he %irst $ethod atte$pts to circu$+ent the e%%ortHtension response by "orkin# on an unconscious le+el. As one syste$atically isolates each $uscle
#roup, do not $ake any e%%ort to rela8M instead one i$a#ines %eelin# "ar$th %lo"in# into the $uscle. 5he heat $etaphor pro$otes blood circulation to the $uscle and aids rela8ation.0/ Another approach is to %irst tense each $uscle #roup in order to better isolate the kinaesthetic sense o% each $uscle. 'n bio%eedback ter$s this is kno"n as increasin# the WSi#nal to ,oise 9atioJ. 5o
)0 %ocus on a speci%ic sti$ulus you $ust increase its si#nal in order to reco#niQe it abo+e the sensory back#round noise. 5o increase a $uscleRs sensation, %irst tense the $uscle %or a %e" seconds "hich $akes it easier to %ocus upon. 5his si#nal is then used to send back a rela8ation response by si$ply un-tensin# the $uscle. =ith practise you "ill be able to reco#niQe each $uscle #roupRs state o% tension and de+elop a better R%eelR %or your bodyRs $usculature.0< Tips for Trainers =hen practicin# the lessons in this $anual, trainers should "atch %or si#ns that the student is too tense. :ost o%ten this tension "ill sho" itsel% in the raisin# o% the shoulders. Also their $o+e$ents $ay be too sti%% and "ooden. Stop students periodically durin# their e8ercises "hene+er you obser+e tension and ask the$ to sense "here they are tense and then to rela8 that area. So$eti$es you $ay ha+e to place your hands on the studentJs shoulders and #ently press do"n be%ore they realiQe 7ust ho" ti#htly hunched their shoulders "ere. Systematic (e-sensiti3ation: NSoloH5rainerP As "ith the breathin# e8ercises, the rela8ation e8ercises can also be used to control an#er and to re$ain cal$ durin# e$er#encies. Althou#h the abo+e breathin# and rela8ation $ethods are e%%ecti+e in controllin# the %eelin# o% %ear "e also need a "ay to o+erco$e speci%ic %ears and phobias. Fortunately there is
a si$ple yet e%%ect techni6ue to help o+erco$e speci%ic %ears. Syste$atic desensitiQation is a process by "hich an i$$unity to %ear is built up throu#h s$all doses o% %ear taken under controlled conditions.0. 5he %ollo"in# e8a$ple "ill pro+ide the %ra$e"ork %ro$ "hich a si$ilar de-sensitiQation pro#ra$ can be created.
)* First, one $ust isolate and deal "ith one %ear at a ti$e, then #o throu#h a list o% possible scenarios that "ould be considered %ri#htenin# and rate each scenario on a scale %ro$ one to ten in de#ree o% %ear in+oked. For e8a$ple, i% you are a%raid o% hei#hts, then the scenario o% standin# on a chair $ay rate a on the scale o% %ear. Standin# on the second run# o% a latter $ay be rated a *, "hile cli$bin# a tree rates an .. Various scenarios are i$a#ined, rated on the scale %ro$ one to ten "ith ten representin# pure terror, and noted. 5his list "ill pro+ide the pro#ression %or your conditionin# pro#ra$. Be#in "ith acti+ities rated on the scale o% one, such as standin# on a chair. First, #o throu#h the basic rela8ation and cal$in# breath routines "hile seated in a 6uiet roo$. Once you %eel rela8ed, be#in to i$a#ine cli$bin# up and standin# on the chair. '% at any ti$e durin# the +isualiQation you start to %eel tense or a%raid stop and return to the rela8ation e8ercises. 5his process is repeated until you can +isualiQe the scenario "ithout any an8iety or tension. Once this sta#e is co$pleted, the ne8t phase recreates the scenario "ith an actual chair. As "ith the +isualiQation you rela8 and then approach the chair. A#ain i% you detect any tension return to your seat and rela8. 9epeat the abo+e until you are able to stand up on the chair "ithout any %ear. ,e8t, "ork on those scenarios that rated 2 on the scale o% %ear
usin# the sa$e procedure startin# "ith the rela8ation and +isualiQation e8ercises, and then $o+in# to actual recreation. 5he sa$e process "orks %or as %ar up the scale as see$s necessary. ,aturally it is not necessary to balance on top o% a %la#pole to o+erco$e the %ear o% cli$bin# a ladder, or sit in a bo8 o% poisonous snakes to o+erco$e the %ear o% snakes. =ith Susan "e identi%ied %our %ears2 %ear o% "eakness and %aintin# NAsthenophobiaP, %ear o% a %ire in the house, %ear o% open spaces or o% bein# in
)3 cro"ded public places NA#oraphobiaP and %ear o% bein# a +icti$ o% se8ual assault NA#ra phobiaP. 't "as the last %ear that had $oti+ated Susan to seek sel%de%ense lessons. &ach "as di%%erent and each re6uired a sli#htly di%%erent approach, but all "ere easily o+erco$e usin# a co$bination o% the abo+e techni6ues. 5he %irst %ear "e encountered durin# trainin# "as the %ear o% "eakness and %aintin#. Susan "as sure that i% le%t alone outdoors her le#s "ould buckle %ro$ a %eelin# o% "eakness in her le#s. As "e ha+e seen in chapter one, the solution to this %ear "as #roundin# and balance trainin#. 5his trainin# incorporated all o% the abo+e %ear reduction techni6ues. 'n the %irst %e" "eeks o% the stance and #roundin# trainin# ' "ould stand close to Susan to reassure her that, should she %eel %aint, ' "ould be there to catch her. :eanti$e she used the breathin# e8ercises to help her rela8 and %ocus on her balance. ?radually ' "ould step %urther a"ay %ro$ Susan until she could practise on her o"n "ithout the need %or a SspotterJ. 'n this "ay, "e "orked to de-sensitiQe her %ro$ the %ear o% standin# alone, by #radually increasin# the di%%iculty and isolation. As her le# stren#th and balance i$pro+ed so did her con%idence until a%ter a couple o%
$onths this %ear "as co$pletely absent in her li%e. =e de+ised a si$ple procedure %or o+erco$in# the "orry o% a potential %ire in the house. =e "rote out a checklist to %ollo" be%ore lea+in# the house and be%ore #oin# to sleep at ni#ht. Susan "ould %irst #o to the kitchen and check the sto+e settin#s to insure they "ere o%%. 5hen she checked the appliances such as the toaster and $icro"a+e. 5hen she "ould $ethodically #o into e+ery roo$ in the house and sni%%. By this ti$e, "e had #one throu#h the trackin# e8ercise and
)/ it #a+e Susan con%idence in her ability to s$ell %ire so that a #ood "hi%% in each roo$ "ould reassure her that there "as nothin# s$olderin#. O+erco$in# SusanJs %ear o% tra+elin# alone took only a little lon#er. A#ain, "e used the desensitiQin# $ethod. =e be#an "ith breathin# and rela8ation e8ercises %ollo"ed by short "alks to the end o% the block and back in "hich ' acco$panied her. A%ter a %e" trials Susan could "alk #o the end o% the block and back alone usin# her "hite cane to %eel alon# the side"alk "hile ' "atched in case she should beco$e disoriented and panic. =e slo"ly increased the di%%iculty le+el. 5he %irst %e" ti$es the 7ourney "ould be $ade "ith $y acco$pani$ent and then Susan "ould #o solo. 'n this "ay Susan beca$e accli$atiQed to "alkin# around the block, then to "alkin# to the corner store and back, and %inally to #o into to"n on her o"n. 5he last %ear "e tackled "as the %ear o% bein# attacked and helpless to %i#ht back. Actually none o% the abo+e techni6ues "ere used at all %or this. 5his "as not an un"arranted %ear and to i#nore such a possibility "ould only $ake a person $ore +ulnerable to attack. As "e learned at the be#innin# o% this chapter %ear is a sur+i+al instinct. SusanJs sur+i+al instinct told her she "as +ulnerable and in
%act she "as +ulnerable. She sou#ht out sel% de%ence trainin# as a response to her instincti+e %ear thus increasin# her chances o% sur+i+al. 5his is e8actly "hy nature #a+e us %ear. Once Susan learned that she had the ability to de%end hersel%, her con%idence increased. As her con%idence increased, the less a%raid she beca$e.
)< Wal)ing 0esson All o% the per+ious "alkin# lessons also ser+ed to reduce %ear. By describin# and reco#niQin# sounds and s$ells, the unkno"n "as $ade kno"n. 5he $ore a student learns about his or her en+iron$ent, the less a%raid they "ill be. As you continue "ith the "alkin# lessons keep this idea in $ind. =hene+er so$ethin# unusual or out o% place occurs durin# the "alk e8plain "hat happened. By pro+idin# descriptions o% e+ents your student "ill be better able reco#niQe the sounds and s$ell o% odd e+ents thus increasin# their repertoire o% sound identi%ications and kno"led#e o% their surroundin#s. All o% "hich "ill also help to reduce an8iety and %ear. 5hus %ar "e ha+e dealt "ith al$ost e+ery other sub7ect e8cept %or the one "hich Susan initially called $e %or, to learn sel% de%ence. Cet this is a natural pro#ression %or all $artial artists not 7ust those "ith +ision i$pair$ent. =e all $ust %irst learn to be #rounded and solid, to learn ho" to be balanced and $o+e #race%ully, to %ocus and pay attention to details, and to rela8 and o+erco$e %ears. :ost $artial arts instructors are %a$iliar "ith all o% the abo+e sub7ects and "ould %ind little di%%iculty in adaptin# their teachin# $ethods to acco$$odate +isually i$paired students as "ell. ,o" "e "ill turn to the nuts and bolts o% $artial arts, the sel%-de%ence techni6ues.
). Chapter /
XE
It is a doctrine of war not to assume the enemy will not come, &ut rather to rely on one2s readiness to meet him; not to presume that he will not attack, &ut rather to make one2s self invinci&le. Sun 5Qu, The rt of !ar 5here are "ell o+er 3)) $artial arts styles "orld"ide and they +ary "idely in their approach to hand-to-hand co$bat. One approach that di+ides the$ is the di%%erence bet"een Strike syste$s and ?rapplin# syste$s. 5he strikeoriented styles %ocus on usin# the hands and %eet to strike an attacker, "hile #rapplin# styles %ocus on #rabbin# and thro"in# an attacker. :ost $artial arts co$bine ele$ents %ro$ both syste$s "ith only a %e" bein# de+oted e8clusi+ely to 7ust one approach. Bo8in#, %or e8a$ple, is purely a strike syste$ "ith no #rabbin# or thro"in# allo"ed "hile Su$o is purely a #rapplin# syste$ "ith no strikin# or hittin# allo"ed. 'n decidin# "hich techni6ues "ere best suited to SusanJs needs, ' chose to e$phasiQe the #rapplin# syste$. =hile punches and kicks look i$pressi+e and are usually the techni6ues seen in action $o+ies, the dra"back is that it is not +ery practical %or sel%-de%ense unless you ha+e studied %or 6uite so$e ti$e. 'n SusanJs situation, she could not a%%ord the ti$e and resources to pursue this type o% lon#-ter$ trainin#. Another reason is that "ith strikin# techni6ues there is a distinct ad+anta#e i% you can see "hat you are ai$in# at. =ith a #rapplin# techni6ue, you start by bein# in contact "ith your opponent and "ith so$e
)! practice, a blind person could be 7ust as adept as a si#hted person could in %eelin# the opponentJs $o+es and counterin#. 5his $akes sense in that
to se8ually or physically assault so$eone the attacker "ould by necessity ha+e to co$e into close contact "ith the intended +icti$. Once in physical contact, a blind person can sense the attackerJs position and counter attack. And because the attacker is in close ran#e, #rapplin# techni6ues are the $ost practical. 5here%ore, the %ollo"in# sel%-de%ence techni6ues %ocus $ostly on #rapplin# techni6ues "ith only a %e" strikes thro"n in %or #ood $easure.
Touch Sensitivity
'0aster how is it that even though you are &lind, you know there is a grasshopper at my feet3' asked young =ain. 'It would &e &etter to ask how, even though you can see, you did not know there is grasshopper at your feet.' replied master ;o. 4ialo#ue %ro$ >ung Fu 'n order to de%end a#ainst an attacker, a blind student "ould need to create a reasonably accurate $ental i$a#e o% the attackerJs physical location and position. 5his is not as di%%icult as $ay initially see$. 5here are a li$ited nu$ber o% "ays in "hich one person can attack another. By rehearsin# those attacks a blind student can learn to reco#niQe each attack and the acco$panyin# body position an attacker "ould assu$e in order to attack in that $anner. Once you kno" the attackerJs position, you can counterattack. For e8a$ple, i% an attacker "as to place you in a side headlock and his body "as on your le%t side, then you "ould kno" three thin#s. One, that the attacker is usin# his ri#ht ar$,
) t"o, that the attackerJs ri#ht le# "ould be positioned to the %ront o% your le%t le#. 5hree, you "ould then kno" the position o% the attackerJs testicles, and ha+e a %air chance o% accurately #rabbin# the$ - a pain%ul and e%%ecti+e de%ence a#ainst a side headlock. 5o train Susan to reco#niQe attack patterns and to i$pro+e her sense o%
touch "e be#an "ith si$ple #rabs, done li#htly and slo"ly. ' "ould reach out and #rab her "rist and ask her to 7ust #uess "hich hand ' "as usin#. =e disco+ered that the bi##est clue "as to %eel %or the pressure e8erted by the thu$b. Once she "as able to accurately identi%y "hich hand ' "as usin#, the ne8t step "as to e8trapolate on that in%or$ation and $ake a #uess as to "here ' "as standin# relati+e to her. For e8a$ple, "hen ' a$ usin# $y ri#ht hand to #rab her le%t "rist, a$ ' standin# behind, to the side, or in %ront o% her> 'n addition to usin# in%or$ation deri+ed %ro$ the actual #rab, the other senses are also needed to deter$ine the attackerJs position. ;sin# the senses o% s$ell, heat, and auditory occlusion, Susan 6uickly beca$e adept at sensin# $y body position. 5he ne8t step "as to learn ho" to counter attack. For e8a$ple, i% ' #rabbed Susan by the throat she learned to sense $y position and then counter attack usin# either a hand strike to a pressure point or a kick to the le#s. 5hese are %irst response techni6ues used to distract the attacker. Finally, "e "orked on the escapes and counter techni6ues. 5he %ollo"in# trainin# drills help students to create a $ental i$a#e o% the position another person "ould assu$e in order to e8ecute so$e o% the $ost co$$on types o% attacks.
Touch Sensitivity %xercise 'n this e8ercise, the student stands in a cleared area and re$ains still as the trainer "alks around the student stoppin# e+ery %e" seconds to #rab the student "ith one hand. Once the trainer #rabs hold, the student is told to %ocus on the feeling that #rab creates and to #uess "hether it is the trainerJs ri#ht or le%t hand. 5he trainer corrects any "ron# #uesses. 'nitially the trainer
should #rip the student %ir$ly startin# "ith the "rist and ar$ and then pro#ressin# to shoulders and neck. =arnin#2 ,e+er use %orce in #rabbin# the throat. 'nstead, +ery #ently place your hand in the choke position but "ithout e8ertin# any pressure. By usin# a %ir$ #rip, the sub7ect is better able to %eel the place$ent o% the thu$b, by kno"in# the thu$b place$ent one can deduce "hich hand is #rippin#. By kno"in# "hich hand is bein# used, you can kno" the #eneral position o% the attacker. 5his co$bined "ith heat sensiti+ity, s$ell, and auditory si#nals, can create an accurate i$a#e o% an attackerJs position. Once the student is able to #uess "hich hand is bein# used, you are ready to $o+e to the ne8t sta#e. Follo" the sa$e procedure as abo+e "ith the trainer alternatin# bet"een le%t and ri#ht hands to #rab the student. Once the #rab has been $ade, the trainer re$ains silent and "aits %or the student to place his or her hand on the trainerJs chest bone. 'n the be#innin#, the student should use the
2 %ree hand to %eel alon# the ar$ the trainer is usin# to #rab "ith, and alon# the shoulders and chest to create and con%ir$ a $ental i$a#e o% the trainerJs position. As trainin# pro#resses, the student should then be able to place his or her hand accurately on the trainerJs chest "ithout needin# to %eel alon# the ar$. 5he %inal sta#e is a little dan#erous and the trainer needs to be able to protect hi$sel% by "earin# a %ace shield andHor usin# a %ocus pad held in %ront o% his %ace to act as a tar#et. At this sta#e, the student learns to strike the trainerJs throat and nose usin# open hand techni6ues. 5his is si$ilar to the pre+ious e8ercise e8cept that instead o% touchin# the center o% the trainerJs chest, the student learns to strike the throat, neck, and nose. 5his is so$e"hat
like pin the tail on the donkey but $ost people beco$e deadly accurate a%ter only a short ti$e in trainin#. 'n addition, since these are the $ost +ulnerable tar#ets accessible to a de%ender, trainin# to hit these tar#ets is the best reaction to a sudden attack. 'n the be#innin# ha+e the student e8ecute the techni6ues in slo" $otion and #ently touch the tar#et nu$erous ti$es usin# the %ollo"in# t"o techni6ues. "ac) 4nife !an Stri)e A strike to the neck or throat is done "ith "hat is called a horiQontal back kni%e hand chop. 1et us break this techni6ue do"n. '% the attacker #rabs your le%t hand, use your ri#ht hand to counter attack thus. First, brin# your ri#ht hand across your chest pal$ do"n as thou#h you "ere to pat yoursel% on your le%t shoulder. Flatten your hand and keep the %in#ers sli#htly curled and held ti#ht to#ether. &8tend you %orear$ horiQontally until you touch the tar#et "ith the leadin# ed#e o% your pal$. 5he beauty o% this techni6ue is that there is roo$ %or error. &+en i%
0 you are too close, you "ould still strike the tar#et but usin# the elbo" or %orear$ as the strikin# sur%aces dependin# on ho" close the tar#et is. =arnin#2 ,e+er e8tent your ar$ %ully at any ti$e "hen e8ecutin# this techni6ue. 5he ar$ $ust al"ays $aintain a sli#ht bend at the elbo" to pre+ent breakin# the elbo" i% the strike should be too close. A +ariation o% this techni6ue re6uires that you strike "ith a closed %ist usin# the botto$ o% the %ist as the strikin# sur%ace. 5his techni6ue is called a back Ha$$er%ist. . 2. !eel Palm Stri)e 'n this techni6ue, the open hand strikes strai#ht %or"ards onto and sli#htly
up"ards a#ainst the attackerJs nose or chin. 5he part o% the pal$ close to the "rist kno"n as the heel is the strikin# sur%ace used. 5o e8ecute the strike, brin# your elbo" in close to your side and your hand up in %ront o% your shoulder as thou#h you "ere #oin# to toss a basketball or shot put. Pull your %in#ers back and %ace the pal$ to"ards the attacker. Co$plete the strike by e8tendin# your elbo" up"ards and %or"ards. Cou can also #et e8tra po"er in this techni6ue by %irst bendin# your knees sli#htly and then risin# up in con7unction
* "ith the strike. =hen the student is able to touch these tar#ets accurately usin# the a%ore$entioned techni6ues, the trainer then puts on the protecti+e e6uip$ent and holds the %ocus pad in %ront o% his %ace. First, ha+e the student practice a %e" doQen back kni%e-hand strikes to the throat tar#et #radually increasin# the speed and %orce o% the strikes. 5hen the sa$e %or the nose tar#et. Tips for Trainers As trainin# pro#resses, the trainer should #rab $ore and $ore #ently, tryin# to trick the student by #rabbin# across the body or "ith the thu$b pointin# do"n. =hen practicin# the strikes, $ake sure you "ear protecti+e #ear. By the ti$e you are ready to $o+e to the sta#e "here the student strikes hard and %ast, they are usually able to hit the pad consistently but keep your eyes open since $isses still happen.
Self-(efense Techni/ues
All o% the %ollo"in# sel%-de%ense $ethods operate on a distraction techni6ue %irst, %ollo"ed by an escape, then a %inishin# techni6ue. 5he $ost co$$on and easiest distraction is to sto$p or kick lo" to the attackerJs instep or shin. 5here are also a couple o% 7oint locks in+ol+ed. 5his is "here you apply pressure to an attackerJs 7oint such as an elbo", "rist, or %in#er. Forcin# the 7oint a#ainst its natural $o+e$ent "ill cause pain at %irst and i% continued can result in
a sprain and dislocation. =hen practicin# the 7oint locks it is i$portant to ha+e a stop si#nal that lets the other person kno" at "hat point you start to %eel pain. 'n Audo this is called S5appin# OutJ and it $eans that you $ust tap your partnerJs ar$ or shoulder t"o ti$es to si#nal the$ to stop.
%scape from Straight !an

56 Attac)er Stand in %ront o% your partner and use one hand to #rab your partnerJs "rist. 7. (efen er 4istract the attacker by sto$p kickin# hisHher shins. 86 (efen er 4o not try to pull a"ay. :o+e in, brin# your body close to the ar$ bein# #rabbed, and clasp your hands to#ether. 96 (efen er 5urn a"ay %ro$ the person #rabbin# you by t"istin# at the "aist and usin# your
#ra,
"hole body to break the #rip. :6 *inishing $ove Suddenly re+erse the escape $o+e and hit the attacker "ith a Ha$$er %ist strike to the %ace or 7a". Tips' :ake sure your %orear$s are kept ti#ht across the abdo$en and that you t"ist your body 6uickly to escape.
%scape from *ront !an

56 Attac)er Stand in %ront o% your partner and use both hands to #rab both your partnerJs "rists. 76 (efen er 4istract the attacker by sto$p kickin# hisHher shins. 86 (efen er :o+e to"ards the attacker and turn your body side"ays. As you step in, brin# one ar$ horiQontal across your sto$ach until the attackerJs #rip on that ar$ is broken. 96 *inishing $ove Strike side"ays to"ards the attackerJs solar ple8us
#ra, ;(ou,le<
usin# your elbo" as a "eapon. Tips' :ake sure your %orear$ is held ti#ht across the abdo$en as you turn side"ays.
<
%scape from (ou,le !an
56 Attac)er Stand behind your partner and #rab both ar$s by the "rists. 76 (efen er Step %or"ard "ith one le# and then use the %or"ard le# to kick back a#ainst the attackerJs shins until he or she lets #o. 86 (efen er Step %or"ard and brin# your ar$s up across your chest. 96 *inishing $ove A%ter steppin# %or"ard, s"in# back in the direction o% your rear le# and strike "ith a back elbo" ai$ed at the attackerJs 7a". Tips: O%ten the sto$p kicks a#ainst the attackerJs shins in enou#h to break this #rip. Be sure that "hoe+er plays the attacker has so$e shin pads on or you can
#ra, *rom "ehin
put a so%t trainin# $at around the KattackerJsL shins

%scape from *ront !an
56 Attac)er Stand in %ront o% your partner and put both hands on your partnerJs throat. Be care%ul not to apply pressure to your partnerJs throat. 76 (efen er 4istract the attacker by sto$p kickin# hisHher shins 86 (efen er S"in# one ar$ o+er top o% the attackerJs ar$s and be#in to turn your body side"ays in the direction o% the raised ar$ 96 (efen er Si$ultaneously turn you "hole body side"ays and brin# your upper ar$ crashin# do"n on the attackerJs ar$s. *inishing $ove 5o %inish, use the sa$e ar$ to s"in# back usin# the botto$ o% the %ist or the elbo" as a strikin# sur%ace ai$ed a#ainst the attackerJs nose. Tips' =arnin#, the %inishin# techni6ue could easily break so$eoneJs nose. 5he KAttackerL is instructed to hold one hand be%ore his %ace and the de%ender should only practice the return blo" in slo" $otion and $ust stop short.
Cho)e
%scape from !an
Cho)e from "ehin
56 Attac)er Stand behind your partner and #ently #rab hisHher neck %ro$ behind. 76 (efen er 1i%t one ar$ strai#ht o+er your head. 86 (efen er 5urn in the direction o% the raised ar$ so that your shoulder and body "ei#ht press a#ainst the attackerJs %orear$s. 5urn around co$pletely "hile brin#in# your ar$ do"n de%lectin# the attackerJs ar$s a"ay %ro$ you. 96 *inishing $ove Finish "ith a sto$p kick to the shins or knee to the #roin Tips' :ake sure that you turn ti#ht so that you brin# your "hole body and shoulder a#ainst the attackerJs ar$s. .
2)
%scape from Cho)e from "ehin

56 Attac)er Stand behind your partner and #ently #rab across the throat usin# an ar$ bar. =arnin# be care%ul not to apply any pressure a#ainst the throat. 76 (efen er 5ry to pre+ent the
;Arm "ar<
attacker %ro$ slippin# his %orear$ under your chin by droppin# your chin do"n and hunchin# your shoulders. Sto$p do"n a#ainst the attackerJs instep and kick back a#ainst the shins. 86 (efen er 5urn in the direction o% the attackerJs elbo" and use the ar$ closest to the attacker to reach do"n and strike to the #roin. 5his should #i+e you roo$ to turn. 96 (efen er Continue to turn to"ards the attackerJs elbo" and brin# the le# closest to the attacker behind his le# closest to you. :6 (efen er Brin# your ar$ closest to the attacker up and to"ards the attackerJs %ace "hile si$ultaneously usin# your le# to s"eep the attackerJs le# back thro"in# the attacker on the #round. NBno"n as an outside clip thro".P Tips' &scape %ro$ an Ar$ Bar Choke is one o% the $ore di%%icult escapes. 5he sto$p and #roins strikes $ay be all that is needed to release the hold. 5he outside clip thro" is 6uite easy to e8ecute %or blind students once understood. ?o slo" and be prepared to take a lon#er ti$e to $aster this one.
%scape from Wristloc) or !ammerloc)

56 Attac)er Stand in %ront o% your partner and
use both hands to #rab one o% your partnerJs "rists and t"ist the ar$ in"ards so that your partner $ust turn around to relie+e the pressure and the ar$ ends up behind your partnerJs back in a ha$$erlock. 76 (efen er 4o not %i#ht a#ainst the t"istin# action. 'nstead, turn your body around in the direction that "ill relie+e the pressure until your ar$ is across your lo"er back. 86 (efen er 5urn to %ace your attacker and use your other hand to push a#ainst the attackerJs chin Tips' By turnin# your back and brin#in# your ar$ back, you are able to put the "ei#ht o% your "hole body a#ainst the attackerJs ar$. 't is +ery di%%icult %or the attacker to apply any pressure and so you "ill not %eel any $ore pain %ro$ the "ristlock. 'n serious situations, the push is substituted %or a strike usin# the heel o% the pal$ a#ainst the attackerJs nose.
22
%scape from "ear !ug from "ehin

56 Attac)er Stand behind your partner and "rap your ar$s around
;=n er arms<
your partnerJs "aist and under the ar$s. Clasp your hands to#ether. 76 (efen er ;se one o% your le#s to kick back a#ainst the attackerJs shins. 86 (efen er Clasp you hands to#ether and sink your "ei#ht do"n. 9. (efen er ;se t"o or three Back &lbo" strikes ai$ed at the 7a" in rapid succession alternatin# %ro$ le%t to ri#ht by t"istin# at the "aist Tips' Be e8tra care%ul in practicin# the three back elbo"s. :ake sure you t"ist %ar enou#h at the "aist each ti$e. ?o slo" since it is +ery easy to hit your partner and cause in7ury. Practice slo" $otion at %irst and then increase the speed. 5he trainer should be care%ul and lean %ar back and a"ay to a+oid bein# hit "ith the elbo" strikes.
20
%scape from "ear !ug from "ehin

56 Attac)er Stand behind your partner, "rap your ar$s o+er your partnerJs ar$s and shoulders, and clasp your hands to#ether. 76 (efen er ;se one o% your le#s to kick back a#ainst the attackerJs shins. 86 (efen er Clasp you hands to#ether and brin#
;-ver Arms<
the$ up in %ront o% your body as i% li%tin# a hea+y pail. At the sa$e ti$e, you raise your ar$s, bend your knees and slide do"n throu#h the attackerJs ar$s. 96 (efen er ;se a back elbo" to the attackerJs sto$ach. Tips' :ake sure you coordinate li%tin# the ar$s "ith slidin# do"n so that it is one sin#le action. '% an attacker is still able to hold on sli#htly, then use the elbo"s and the le#s to strike back a#ainst the attacker until the opportunity to escape.
2*
%scape from *ront "ear !ug ;=n er arms<
56 Attac)er Stand in %ront o% your partner and "rap your ar$s under your partnerJs ar$s and around his or her "aist. 76 (efen er ;se a sto$p kick a#ainst the attackerJs shins. 86 (efen er Cup you pal$s and slap the attackerJs ears. 9. (efen er Brin# the heel o% your pal$ up under the attackerJs chin or nose and push up and back until he or she lets #o. Tips? Slappin# the ears is another e8tre$ely dan#erous techni6ue that
traps air in the auditory canal and can cause the eardru$ to blo". 5his is also +ery pain%ul. 5he clap $ust be practiced slo" $otion and "ith the %in#ers spread to a+oid trappin# the air since e+en a li#ht slap done correctly "ill be pain%ul. 5he heel pal$ to the nose is $ore pain%ul than to the chin but both are +ery e%%ecti+e. 5ake e8tra care to insure the trainin# partner does not #et hurt. Slo" $otion only "hen practicin# these techni6ues
23
%scape from *ront "ear !ug ;-ver arms<
56 Attac)er Stand in %ront o% your partner, "rap your ar$s around your partnerJs "aist o+er his or her ar$s, and clasp your hands to#ether. 76 (efen er ;se a knee strike a#ainst the attackerJs #roin. 86 (efen er Si$ultaneously slide do"n "hile li%tin# your ar$s up"ards. Brin# your hands up behind the attackerJs ar$s and then, usin# your thu$bs, di# the$ into the pressure points located under the 7a" line close to the ears, and push up and back until the hold is released. Tips' =hen learnin# to di# the thu$bs under the 7a" line you $ay ha+e to help your student position their thu$bs to in%lict $a8i$u$ pain. Ha+e your student apply pressure #radually and do not tap out until you are on the
threshold o% pain. 2/
%scape from !air #ra, from "ehin

56 Attac)er Stand behind your partner and use one hand to #rab a hold o% his or her hair. 76 (efen er 9aise both hands up and #rab the attackerJs hand that is #rabbin# your hair and press the hand do"n ti#ht to your head N5his relie+es the pain o% pullin# on your hairP 8. (efen er =hile still holdin# the hand ti#ht to your head, bend %or"ard and turn around to %ace the attacker. His ar$ should no" be pal$ up"ards. 96 (efen er 9aise your body up brin#in# pressure to the attackerJs "rist %orcin# hi$ to stand on
his toes. :. Finish "ith a sto$p to the knee or kick to the #roin. Tips' 5here is a certain "ay o% bendin# and turnin# that you "ill need to practice in order to #et it ri#ht. 4one properly that student should be able to cause pain in your "rist 7oint. ?o slo"ly at %irst and ha+e the student #radually rise up increasin# the pressure slo"ly so that you do not #et a sprained "rist.
2<
%scape from Si e !ea
56 Attac)er Stand to the side o% your partner and "rap your ar$ around your partnerJs shoulder and o+er the back o% his or her neck. Bend your ar$ and %orce your partner %or"ard into a side headlock. 7. (efen er Brin# the hand closest to the attacker do"n and behind the attacker. ;se an open pal$ strike up"ards into the attackerJs #roin 8. (efen er Brin# your strikin# hand back and use both hands to #rab the attackerJs %orear$ that is under your chin. 96 (efen er Pull do"n on the ar$ and slip your head back"ards out o% the hold :. (efen er =hile $aintainin# your #rip on the attackerJs %orear$, pull up and then %or"ards e8ecutin# a ha$$erlock Tips' 5he strike to the #roin should succeed in releasin# the
0oc)
#rip. 9e$e$ber to practice this one in slo" $otion. 5he escape and counterattack usin# a ha$$erlock is di%%icult to describe but easily acco$plished by a blind student. 5his one takes ti$e to $aster and you need to #o throu#h this slo"ly se+eral ti$es. Ha+e your student apply pressure to the ha$$erlock #radually and do not tap out until you are on the threshold o% pain.
2.
!e tend to stop learning when we have mastered sufficient skills to attain our immediate o&#ective. Thus for instance, we improve our speech until we can make ourselves understood. But any person who wishes to speak with the clarity of an actor discovers that he must study speech for several years in order to achieve anything approaching his maximum potential. n intricate process of limiting a&ility accustoms us to make do with a small part of our potential. :oshe Feldenkrais ;p to this point o% the book, the Zen e8ercises and $artial arts techni6ues are those that anyone can learn easily "ith the help o% a trainin# partner, coach or Orientation and :obility specialist, and "hich does not re6uire the super+ision o% a $artial arts e8pert. Ho"e+er, the $artial arts ha+e $any $ore potential bene%its %or the blind and +ision i$paired. ;n%ortunately, to ad+ance beyond the %oru$ o% the present "ork re6uires a 6uali%ied $artial arts instructor and one that is patient and open enou#h to "ork "ith the blind. 5here are $any e8cellent $artial arts instructors %ro$ nu$erous styles success%ully trainin# +ision i$paired and those "ith other disabilities as "ell. Ho"e+er, %indin# such a teacher in your area is not easy. ' hope this book "ill encoura#e teachers and coaches and pro+ide so$e basic #round"ork that "ill $ake such pro#ra$s $ore "idely a+ailable. 5he %ollo"in# sections are addressed to instructors and those students that are already in an on-#oin# $artial arts trainin# pro#ra$. For the lay reader you $i#ht %ind so$e o% the %ollo"in# use%ul in decidin# "hether to seek ad+anced trainin#.
*orms> 4atas
therapy, which encourages expressive movement, increases the motility of the organism, improves its aggression and creates a feeling
2!
of strength on &oth the physical and psychic levels. Ale8ander 1o"en, 5he 1an#ua#e o% the Body 'n the $artial arts, $uch ti$e is de+oted to learnin# %or$s or >ata in Aapanese. A %or$ is a prearran#ed series o% $artial arts techni6ues si$ilar to a dance routine. 5here are se+eral bene%its to learnin# %or$s. For e8a$ple, a %or$ is a $ne$onic techni6ue, a "ay o% re$e$berin# the $any co$ple8 techni6ues o% hand-to-hand co$bat that distin#uishes each $artial art. 1et us $ake an analo#y bet"een a learnin# $artial arts and learnin# the piano. A sin#le techni6ue such as a punch or a kick is like a sin#le $usical note. 'n the be#innin# you learn the notes o% a piano indi+idually and then in scales. :artial arts %irst teach the techni6ues indi+idually and then in drills "hich is si$ilar to practicin# scales. Once pro%icient in notes and scales the ne8t pro#ression is to son#s and $elodies. 'n $artial arts, co$bat techni6ues are co$bined into routines that correspond to son#s. &ach son# is co$posed o% the sa$e 2 notes, it is 7ust the order and ti$in# o% the notes that are di%%erent %ro$ son# to son#. Si$ilarly, %or$s are co$posed o% the sa$e $o+e$ents but are arran#ed di%%erently in each routine, %ro$ si$ple pro#ressions to co$ple8 ones.
0) So ho" does this "ork as $ne$onic de+ice> One o% the %irst uses o% $usic, and possibly e+en the cause o% its in+ention, "as as a $ne$onic de+ice. Ancient bards kne" the "ords to doQens o% stories because the stories "ere sun# rather than spoken. 5he ?reek poet Ho$er "as able to "rite do"n the stories o% the 'liad and Odyssey, stories that "ere passed do"n %ro$ bard to bard +irtually unchan#ed %or %i+e hundred years in the %or$ o% a son#. 5o de$onstrated this principle, i% you "ere asked to $e$oriQe si8
notes, C, A, F, A, C, F, in order, and you "ould only be told the order once, and you "ere not allo"ed to "rite it do"n. =hat are your chances o% re$e$berin# those notes in an hour, or the ne8t day, or ne8t "eek, or "hen you "ere .) years old> Sli$ to none. Ho"e+er, i% you heard so$eone sin# the %irst si8 notes o% the A$erican national anthe$, SOh-say-can-you-see....J you "ould be able to re$e$ber those notes until the day you died. :usic has the ability to encode, and allo"s the $ind to recall, co$ple8 packets o% in%or$ation. By learnin# %or$s, one also $e$oriQes the doQens o% co$bat techni6ues o% "hich it is co$prised. 5his $ay be e+en $ore use%ul %or the +ision i$paired since a si#hted $artial artist, %or#ettin# a techni6ue could si$ply re+ie" it rather 6uickly by either lookin# at pictures in a book or $a#aQine, +ie"in# a +ideo tape, or by askin# a %ello" student to de$onstrate the $o+e. For$s then are the physical e6ui+alent o% $usic. A %or$ contains packets o% propriocepti+e in%or$ation such as posture, balance, center o% #ra+ity, $o+e$ent, %luidity, and the trans$ission o% kinetic ener#y. And like the tales sun# by bards, $artial arts %or$s ha+e also trans$itted this in%or$ation do"n throu#h doQens and perhaps hundreds o% #enerations. Second, not only are %or$s practice an e8cellent %or$ o% e8ercise co$binin# aerobic and $uscular e8ercises, it shares, "ith dance and
0 #y$nastics an e$phasis on de+elopin# the senses o% proprioception and balance to a $uch hi#her de#ree than other types o% sports. As "e read in the chapter on ?roundin#, these t"o senses contributed #reatly to SusanJs $obility, na+i#ation, and con%idence. =ith so $any bene%its to learnin# %or$s, should the blind be tau#ht %or$s> 5he ans"er is yes, i% possible.
' be#an teachin# Susan the 'nternational =u Shu standard 5ai Chi %or$ kno"n as 2* $o+e$ents. 5ai Chi is a Chinese :artial that is usually per%or$ed in Sslo" $otionJ "hich see$ed per%ectly suited to blind students and "hich also e$phasiQes the 5ai Chi =alkin# e8ercise $ention in the chapter on ?roundin#. 5eachin# %or$s %ollo"s the sa$e procedure as teachin# the sel%de%ense techni6ues, by +ocal instruction and physically posin# the student. 5he %irst proble$ "e encountered "as orientation. 4ependin# on the co$ple8ity o% the %or$, a student is obli#ed to $ake any nu$ber o% *3, !), and .) de#ree turns. A si#hted student "ould start, %or e8a$ple, by %acin# the south "all and "hen it "as ti$e to $ake a !) de#ree turn to the ri#ht, "ould end up %acin# the "est "all, si$ple. O% course, i% you cannot see the "all, orientin# yoursel% is $ore co$plicated than one "ould ha+e #uessed. As "e learned %ro$ our "alkin# lesson, hu$ans na+i#ate by land$arksM the ans"er "as si$ply to create an auditory land$ark or in this case an auditory direction beacon. One si$ple auditory direction beacon is the $usicianJs $etrono$e. Place the $etrono$e in one area o% the roo$ and al"ays be#in the Bata %acin# the $etrono$e. 5hen usin# the tick-tock sound, you should be able to #au#e your
02 position on the $at "ith not too $uch di%%iculty. Other options could include usin# a $usic player or e+en "ind chi$es "ith a %an blo"in# on the$. ' "ould reco$$end that in learnin# %or$s you al"ays start the %or$ %acin# the sa$e co$pass direction. For e8a$ple, %or t"enty years ' ha+e al"ays started $y %or$s %acin# south "hich is traditional in the SBun# FuJ styles and that is in%luenced by Chinese $ytholo#y "hich considers south to be the SluckyJ direction. ' ha+e noticed that "hene+er ' start $y %or$ %acin# another
direction so$ethin# does not %eel ri#ht and ' tend to $ake $ore $istakes. 5his $ay be due to another sense that hu$ans $ay or $ay not possess - the sense o% $a#netic direction. Ho$in# pi#eons deri+e their na$e %ro$ their ability to %ind their "ay back to their coops tra+elin# hundreds o% $iles re#ardless o% "here they are released. Scientists ha+e lon# puQQled ho" the birds achie+ed their uncanny na+i#ational abilities. 9esearchers ha+e disco+ered that ho$in# pi#eons ha+e a $olecule o% $a#netite i$bedded deep in the brain and belie+e that this could enable pi#eon and possibly other species to sense the earthJs $a#netic %ield.. 0! 9esearchers are "onderin# i% a si$ilar particle %ound in the hu$an brain $ay also pro+ide in%or$ation on $a#netic currents. *) =e ha+e seen that na+i#ation and orientation are i$portant skills in $obility. =e ha+e learned to use ol%actory and auditory land$arks to replace the +isual land$arks as a $eans o% na+i#ation %or the blind. 's it possible then to ha+e another sense, an ei#hth sense - the sense o% direction> 5he ability to sense $a#netic %ields is described in the stran#e story o% Baspar Hauser* . As a child Baspar "as kept locked in a cellar "ithout hu$an contact until his si8teenth birthday "hereupon he "as $ysteriously released and %ound "anderin# the streets o% ,ure$ber#. His physician 4r. 4au$er records the
00 %ollo"in# abilities2 K(e preferred the color red, was so sensitive to food he could only stomach &read and water, even a drop of coffee or wine secretly mixed into his water would cause him to go into sweating convulsions. (e was a&le to tell in repeated experiments whether a magnet was turned north or south
towards him, he descri&ed the north as producing a sensation like current of air passing through him.L As BasparRs intellect and education de+eloped his O&8traordinary, al$ost preternatural ele+ation o% his senses has sunk al$ost to a co$$on le+el.O A#ain, "e see a co$$on pattern "ith the "orkin#s o% "hat can be called the lesser senses, Ns$ell, taste, synesthesia, and directionP that these senses beco$e $ore acute throu#h isolation, and 6uiet and throu#h a lack, suppression, or underde+elop$ent o% personality. Baspar had al$ost no hu$an contact and did not kno" ho" to speak. =ithout hu$an interaction he ne+er de+eloped a personality, he $ay ha+e %unctioned on an instincti+e le+el si$ilar to the Zen state o% $ind called S,o-:indJ But as he beca$e educated, ci+iliQed, and learned to co$$unicate, these a$aQin# sensory abilities "ere lost. He de+eloped his $ind, but at the e8pense o% his sensory acuity. =hile Zen teaches that it is necessary to ha+e a personality, it is also necessary to learn ho" to o+erride this %unction and tap into the pri$ary sources o% in%or$ation. Other accounts o% children %ound li+in# alone in the "ilderness describe si$ilar pheno$ena.*2 =hen %irst disco+ered they displayed hi#hly accurate senses o% s$ell, taste, hearin#, and si#ht. 5hen, they #radually lost these abilities as they beca$e educated in the "ays o% the $odern "orld. 5here%ore, the ans"er to "hether hu$ans $ay be able to sense direction is a possible yes. Can "e train this sense>
0* '% it e8ists then "e should be able to train it usin# si$ilar principles described be%ore. 5one do"n other sensory input NDuiet, 'solation, and 9ela8ationP suppress the personality and its internal dialo#ue N'nner Cal$ and
4etach$entP and try to reco#niQe the %eelin# o% direction. :artial arts teach that be%ore be#innin# a %or$ you $ust take a $o$ent to center yoursel%. All sports$en do the sa$e be%ore a #a$e, a shot, a thro", or a li%t. 5his is also a #ood ti$e to incorporate a brie% e8ercise into the routine as %ollo"s2 Centering Be%ore startin# your %or$, pause %or a $o$ent. First, %ocus on your breathin#. 5ake t"o or three 6uick breaths %ollo"ed by abdo$inal breathin# NSee Cal$in# breathP. ,e8t, %ocus on your bodyJs le+el o% tension. 9ela8M loosen the shoulder and neck $uscles, and rela8 the $uscles around the eyes and 7a". 5hen %ocus on posture, stand tall but not sti%%, li$ber but not sloppy. Finally, cal$ your $ind and S9e$e$berJ "hat direction you are %acin#. Duickly +isualiQe the %our directions o% the co$pass. '% %acin# south, then a !) de#rees turn to your ri#ht "ould ha+e you %acin# "est, to the le%t "ould be east, and behind you north. 5hen be#in your %or$. Another ti$e to incorporate directional trainin# is durin# the "alkin# lessons. As one #oes about $appin# auditory and ol%actory land$arks, also include the direction relati+e to the student that these land$arks occur. As "e learned earlier, 7ust by beco$in# a"are o% certain types o% in%or$ation, trains you to percei+e that in%or$ation $ore clearly. So "hat possible bene%its "ould a sense o% direction ha+e %or the blind>
03 't $ay pro+ide a hunch "hen you are #oin# in the "ron# direction "hen out tra+elin#. Perhaps it could be used in sel%-de%ense to SsenseJ $a#netic %ields e$anatin# %ro$ other people. Alternati+ely, it $ay be that by si$ply %ocusin# on our subtle senses "e encoura#e the de+elop$ent o% that elusi+e intuition
called instinct. 't is up to each indi+idual to e8plore these possibilities and "ei#ht the $erits. Ho"e+er, since the e%%ort consists o% $erely thinkin# about it %or a %e" seconds each ti$e you practice a %or$, ' belie+e the potential bene%its %ar out"ei#h the cost. 5here%ore, %or$s can pro+ide nu$erous bene%its %or e+eryone. 5hey are an e8cellent $e$ory tool, they train your sense o% balance and proprioception to the hi#hest de#ree possible, and they $ay e+en be able to re%ine your innate sense o% $a#netic direction. 5he dra"back is in the ti$e and e%%ort, as "ell as the skill o% the instructor in teachin# the %or$. =ith si#hted students a %or$ can take any"here %ro$ a %e" $onths to a %e" years to learn. 5his re6uires a #reat deal o% dedication by both the teacher and student that $ay not be %easible in todayJs %ast paced and transient society. Susan did not succeed in co$pletin# the %or$ but this "as not due to her blindness. :ost si#hted students also ne+er co$plete a %or$ because o% the ti$e and e%%ort that one needs to put into it. SusanJs %ailure in this re#ard is because o% the statistical a+era#e rather than throu#h disability. Perhaps i% Susan had been $ore physically acti+e in her youn#er, si#hted years she $ay ha+e been able to learn the %or$ $ore easily, and there%ore deri+e $ore satis%action %ro$ it 't is al"ays easier to learn a second $usical instru$ent a%ter you ha+e learned one already. Ho"e+er, as the openin# 6uote su##ests once a person has achie+ed
0/ a certain skill le+el that $eets their needs they seldo$ #o beyond that. Susan had acco$plished "hat she set out to do and the %iner skills o% %or$s practice "ere unnecessary %or her. 't is %or this reason that ' belie+e %or$s practice to be
an ad+anced skills set that $ost +isually i$paired people "ill not %ind crucial to beco$in# a "arrior. Training Tips 5he basics o% teachin# %or$s areM instruction, practice, and re+ie". First, describe the techni6ue. 5hen break do"n the $o+e$ent into a be#innin#, $iddle, and end, and talk the student throu#h. Once the student has the basic sense o% the techni6ue, be#in to re%ine the techni6ue by physically positionin# the student as he or she pro#ress throu#h it. For e8a$ple, "hen teachin# a punch or kick you can break the $o+e$ent do"n into the cha$ber, the e8ecution, and the retrie+al. A thro" is tau#ht in three sta#es, the #rip, the $o+e to upset balance, and the thro". =hen de$onstratin# a 7oint lock there is the trap, the lock, and the %inish. At each sta#e pause the student and #o o+er the detailsM the %eet this %ar apart, the #rip hi#her on the collar, the block held here, and so on. A%ter the instruction, students should practice the techni6ues indi+idually or "ith partners. 4urin# this ti$e, the instructor should "alk around #i+in# pointers and correctin# any $istakes. A%ter the practice ha+e a brie% re+ie" o% the techni6ue.
0<
Sparring
%ne who excels as a warrior does not appear formida≤ one who excels in defeating the enemy does not #oin issue. This is known as the virtue of non.contention. 1ao 5Qu, Tao Te =hing Si$ulated hand-to-hand co$bat is kno"n as sparrin#, a ter$ used in bo8in# and sport karate to describe a %ree %or$ %i#htin# $atch bet"een t"o opponents. 'n the Zatoichi $o+ies, our hero is sho"n duckin#, blockin#, and returnin# s"ord strikes. :any "ould seriously doubt that a blind $an could %i#ht "ith such skill. So does this $ean that the blind $artial artist cannot en#a#e in
co$petiti+e sparrin#> 't depends on "hat type o% sparrin# and under "hat set o% rules the contest is to be %ou#ht. =hen it co$es to point style co$petitions usually %ound at Barate and 5ae B"on 4o tourna$ents, then the blind are at a distinct disad+anta#e. But there are other %or$s o% sparrin# that allo" %or +ision i$paired participants to co$pete a#ainst each other and e+en other si#hted opponents o%ten in tourna$ents and that allo" the +ision i$paired to en7oy the bene%its o% such sports$anship. 5he %ollo"in# lists the $ost suitable styles and types o% sparrin# %or those "ith +ision i$pair$ent.
0. &u o Audo is a Aapanese style that %ocuses on #rapplin# and thro"in# techni6ues. Audo contestants start a $atch by #rabbin# onto each otherJs 7acket slee+es and then each tries to $aneu+er his opponent into a thro" or trip. 5he %irst contestant to brin# his or her opponent to the %loor "ins a point. 5his %or$ o% sparrin# is ideally suited to the +ision i$paired since each $atch be#ins by $akin# contact "ith the other contestant. As "e learned in the touch sensiti+ity section, it takes only a little trainin# be%ore a blind person can create an accurate i$a#e o% the opponentJs body position throu#h touch alone. Audo also pro+ides +aluable skills that can be used in sel%-de%ense applications as "ell. 5he only dra"back to this %or$ o% sparrin# is that it is 6uite +i#orous and anyone en#a#in# in this acti+ity needs to be in #ood physical condition. Audo and other #rapplin# oriented styles such as Au7itsu and Aikido all teach sparrin# %or$s that are particularly "ell suited %or +ision-i$paired students, but they also re6uire years o% study under a co$petent teacher. Self- efense>Ran ori 7andori is a Aapanese ter$ that $eans Ochaos takin#O and re%ers to
%ree-style practice or sparrin#. 5he e8act $eanin# o% 9andori depends on the $artial art. 'n so$e styles, it re%ers to one-on-one %ree %or$ sparrin# o% the type $ost co$$only seen at Barate tourna$ents. 'n other styles, it re%ers to a %or$ o% practice in "hich a student de%ends a#ainst $ultiple attackers in 6uick succession "ithout kno"in# ho" they "ill attack, or in "hat order. 5his %or$ o% 9andori is not %ree %or$ sparrin#, and the attackers are not allo"ed to resist or counter the de%enderRs techni6ues.
0! 5his type o% sparrin# contest is co$$only called WSel%-4e%ense SkillsJ at $artial arts tourna$ents and o%ten the si#hted contestant is blind%olded, sho"in# that these skills do not need to rely on +ision to be e%%ecti+e. 5here are sli#ht +ariations on "hat rules are used, but #enerally speakin# the contestantHde%ender stands in the $iddle o% the $at or rin# "hile se+eral other opponents run up and en#a#e the de%ender in a hold. Once the hold has been e8ecuted, the de%ender escapes and counters the attack and then "aits %or the ne8t attacker. For e8a$ple, the de%ender re$ains passi+e "hile an opponent runs up and #ets the de%ender in a hold such as a side headlock. 5he de%ender $ust be able to escape the headlock 6uickly and e%%ecti+ely, and then "aits %or the second attacker "ho applies a di%%erent hold such as a bear hu#. A#ain, the de%ender $ust escape and so on %or bet"een 0 to 3 attacks. 5he contestant is 7ud#ed on %or$, intensity, e%%ecti+eness, realis$ and e8ecution o% techni6ue. 9andori is also an e8cellent trainin# e8ercise %or sel%-de%ense skills pro%iciency. All o% the sel%-de%ense techni6ues described in the pre+ious chapter can be used to train in this %ashion. On the occasions that ' brou#ht Susan to the local Barate
club, ' had se+eral karate students +olunteer to attack Susan in 9andori. A%ter se+eral $onths o% trainin# Susan "as able to de%end a#ainst up to ei#ht attacks one a%ter the other in a $atter o% seconds. 9andori is also less +i#orous than Audo, "hich $akes it accessible to people "ith a "ider +ariety o% physical conditions. Stic)y !an s Sticky Hands deri+es its na$e %ro$ a principal in Chinese styles kno"n as stickin#-to-your-opponent and is also used in a type o% %ree %or$ sparrin#. A#ain,
*) there are +ariations in e8ecution but the basic practice is as %ollo"s. Opponents stand %acin# each other "ith ar$s e8tended and in contact "ith each otherJs ar$s touchin# %orear$ to %orear$ close to the "rists. =ithout breakin# contact, both contestants circle their ar$s usin# both a clock"ise and counterclock"ise circlin# $otion. N'.e. "hile your ri#ht ar$ circles clock"ise, your le%t ar$ circles counter-clock"ise and +ice +ersaP =hile circlin# the ar$s, each contestant $aintains contact throu#h their %orear$s in e%%ect stickin# to each other. A%ter three circles, either opponent is then %ree to launch an attack. 5he trick is to sense and then SAa$J Ninter%ereP "ith the opponentJs attack "hile launchin# you o"n counter-attack. For e8a$ple, i% your opponent intends to strike usin# his ri#ht hand you should be able to sense the attack throu#h your contact "ith his ri#ht %orear$. Cour le%t %orear$ "ould SstickJ to his and as he attacks, you "ould use your le%t ar$ to de%lect the attack a"ay %ro$ you. =hen a point is scored, or the attack ends in a stale$ate, then the contest be#ins a#ain "ith the three circlin# hands. Si#hted students, "hen reachin# ad+anced le+els, practice this e8ercise "hile blind%olded to de+elop stickin# ability and
i$pro+e touch sensiti+ity. So "hat e8actly is this stickin# ability> 5here is an old story about a 5ai Chi $aster "ho "ould de$onstrate his stickin# ability as %ollo"s. He had a bird trained to perch on his %in#er. =ith a nud#e, the bird "ould %ly around and then land a#ain on the $asterJs %in#er. Ho"e+er, "hen the $aster used his stickin# ability the bird could not lea+e his %in#er. 5he trick is in kno"in# the %li#ht and takeo%% characteristics o% birds. Be%ore takin# o%%, the bird "ill drop do"n "hile raisin# his "in#s, and then 7u$p up and %lap his "in#s do"n"ards. 5he 5ai Chi $aster "as able to sense the e8act $o$ent "hen the bird "ould drop its "ei#ht
* and raise his %in#er to per%ectly counter the birdJs $otion and cancel the birdJs $o$entu$, thus pre+entin# the bird %ro$ %lyin# a"ay. 5he principle o% Sticky Hands is co$$on to $ost $artial arts "hereby each contestant tries to sense "hat his opponent is intendin# to do and then counter his $o$entu$ to ne#ate the attack. 5his is a sa%e e8ercise and does not re6uire intense physical trainin# but i% attacks to the head are to be allo"ed, then %ull %ace and head protection is re6uired. Push !an s Push Hands is an e8ercise tau#ht in the 5ai Chi styles o% $artial arts and is a $ild %or$ o% sparrin#. 5here are se+eral +ariations and le+els o% di%%iculty. 'n the si$plest +ersion kno"n as Sin#le Push Hands t"o contestants stand %acin# each other "ith the sa$e %oot %or"ard. Contestants then e8tend their lead hands "ith pal$s out"ards and "rists sli#htly bent back. Aust as in the Sticky Hands e8ercise, contestants $aintain contact "ith each otherJs ar$s by
hookin# the back o% their "rists "ith each other. A#ain, the contestants $ake a circlin# $otion "ith their ar$s but this ti$e it is a horiQontal circle like stirrin# a lar#e pot. At any ti$e, either opponent can atte$pt to push or pull his opponent o%% balance. For e8a$ple, "ith ri#ht hands connectin#, as ' circle $y ri#ht hand to"ards $y opponent ' direct $y pal$ to"ards his chest in an atte$pt to push hi$ o%% balance. :y opponent "ould sense the attack, then absorb and redirect $y $o$entu$ a"ay %ro$ hi$. '% ' o+er e8tend $ysel% past $y center o% #ra+ity, ' "ill risk losin# balance and %all %or"ard instead. =hoe+er loses balance %irst, loses the point. 5he purpose o% the e8ercise is to learn ho" to absorb and
*2 redirect ener#y so that anyone attackin# you "ould %eel like he or she "as tryin# to sub$er#e a beach ball "ith one hand. 5he $ore do"n"ard pressure you apply, the $ore likely the ball "ill roll up and out o% your #rasp. Al$ost anyone can do this +ery sa%e e8ercise. Althou#h push hands appears +ery si$ple, there are doQens o% books dedicated to e8poundin# all the +ariations and subtleties and thus re6uires the assistance o% an e8perienced teacher to learn. =ith the e8ception o% Audo, "hich "ould ha+e been too physically de$andin#, Susan 6uickly learned these sparrin# $ethods, "hich added #reatly to her sel%con%idence. 5o %eel con%ident in their ability to de%end the$sel+es, all students "ill bene%it %ro$ e8perience #ained in applyin# their kno"led#e a#ainst another opponent. 5hrou#h sparrin#, the +ision i$paired can test and de+elop their abilities toM sense throu#h touch, anticipate actions, percei+e attack patterns, re$ain balanced under stress, e+ade, absorb, redirect, and counterattack. =hile $ost o% the abo+e sparrin# e8ercises are easy to learn, they do re6uire
a kno"led#eable teacher and strict super+ision since no a$ount o% +erbal description can ade6uately con+ey the dyna$ic and subtle physical $o+e$ents in+ol+ed. Training Tips 5rainers need to %irst consider each studentJs physical abilities and 7ud#e "hat they are able to do sa%ely be%ore teachin# sparrin# e8ercises. Sparrin# is usually reser+ed %or $iddle and ad+anced students. Start o%% by ha+in# a si#hted trainin# partner spar "ith your +ision-i$paired student until the techni6ues beco$e co$%ortable, only a%ter e+eryone %eels con%ident "ith the e8ercises should +ision i$paired students be paired to#ether. Be#in each type o% sparrin# by per%or$in#
*0 the action %irst in slo" $otion or [ speed. Once the basics are $astered, brin# the le+el up to hal% speed, and then %inally to %ull speed.
Weapons
!ell then, the accomplished man uses the sword &ut does not kill others. (e uses the sword and gives others life. !hen it is necessary to kill, he kills. !hen it is necessary to give life, he gives life. 5akuan Soho, 1etter to Ca#yu :unenori 5he ine+itable 6uestion that arises "hen learnin# $artial arts and sel%de%ense is the use o% "eapons. For the +ision i$paired, an ob+ious choice in tryin# to e+en the odds in a cri$inal encounter is to be ar$ed. As a rule, a "eapon is pre%erable to e$pty hand in a stru##le %or sur+i+al. Ho"e+er, carryin# a "eapon %or sel%de%ense has se+eral dra"backs. 5he %irst dra"back is accessibilityM there is little likelihood that you "ill be able to retrie+e the "eapon %ro$ a purse, pocket, boot, or "aistband %ast enou#h. Cri$inals kno" to use the ele$ent o% surprise "hen assailin# so$eone #i+in# the intended +icti$ no ti$e to #o %or a "eapon.
Another dra"back is the skill re6uired to use a "eapon e%%ecti+ely. ;nder the stress o% co$bat, e+en a hand#un can ha+e li$ited e%%ecti+eness. =hile traditional $artial arts "eapons such as "unchakus, >o&utans, and Tonfas
** appear lethal in the 4o7o, under the stress o% a street %i#ht they can be a"k"ard and di%%icult to handle $enacin# both attacker and "ielder. 'rritant sprays, %irear$s, and kni+es are all %or ob+ious reasons unsuitable "eapons %or the +ision i$paired. 5he third dra"back to carryin# a "eapon is the le#al ra$i%ications. 'n $ost countries, carryin# a concealed "eapon is ille#al and the penalties %or carryin# a concealed "eapon can be serious. &+en i% you are attacked, and you use the "eapon only in de%ence, you "ill %ind yoursel% under suspicion because carryin# a "eapon i$plies that you $ust ha+e had the intention to use +iolence. 5he attacker $ay success%ully sue you %or $edical and other costs e+en i% he had pro+oked the attack. ?i+en the nu$erous dra"backs and li$ited ad+anta#es, carryin# a concealed "eapon has little use in sel%-de%ense. 4espite the un%easibility o% traditional "eapons trainin# %or the blind, the 6uestion re$ained, "ould learnin# the use o% a "eapon o%%er Susan an ad+anta#e in a sel%-de%ense situation> ' proposed to Susan that the last %i+e $inutes o% each lesson "e do so$e s"ord %i#htin# 7ust %or %un to "hich she happily a#reed. ' decided "e should train usin# the s"ordJs poor cousin T the short sta%% or /o. 5he Ao is the 6uintessential Zen "eaponM si$ple, utilitarian and +ersatile it co$bines techni6ues o% both the s"ord and the sta%%. Althou#h hu$ble in appearance, the Ao is %a$ous in Aapan as the only "eapon to de%eat the
%a$ed s"ords$an :iya$oto :usashi. 'n an earlier $atch "ith a si$ple %ar$er na$ed :uso ?onnasuke N 3.*- /*3P "ho "as ar$ed "ith a Bo Nsi8 %oot sta%%P :usashi "as the +ictor but spared the %ar$erJs li%e. 4eter$ined to "in the ne8t
*3 ti$e, ?onnasuke retired to the $ountains to de+ise and per%ect techni6ues that "ould de%eat :usashiRs %a$ous t"o s"ord style. 4urin# a re+elation, ?onnasuke "as inspired to shorten the Bo to appro8i$ately %our %eet in len#th. =ith this ne" "eapon, "hich he na$ed the Ao, he "as able to de%eat :usashi, and in turn spared his li%e %or the earlier %a+our. ?onnasuke "ent on to %ound the /o /iutsu style still practiced to this day. 5he short sta%% is truly +ersatile and $ost people ha+e an intuiti+e #rasp o% ho" to use it "hich $akes learnin# this "eapon easier. ' %irst tau#ht Susan sel%de%ense applications usin# the Ao. All o% the pre+iously described sel%-de%ense techni6ues "ere adapted and pro+ed e+en $ore e%%ecti+e and de+astatin#. For e8a$ple, usin# a t"o handed #rip and e$ployin# a basic clothesline techni6ue, the Ao could "ard o%% and break al$ost any type o% attack or hold. Susan "as also able to learn ho" to t"irl the sta%% in a do"n"ard %i#ure ei#ht pattern and, usin# her hearin#, "as able to chase $e around the roo$ "hile "hirlin# the "eapon threatenin#ly in %ront o% her. As $entioned pre+iously "e also practiced usin# a pair o% padded sticks and sa%ety hel$ets "ith so$eti$es surprisin# results Since the Ao and the "hite cane are si$ilar in len#th it "ould appear that the %oldin# =hite Cane "ould $ake a ready "eapon but the li#ht"ei#ht alu$inu$ construction is not solid enou#h to sur+i+e such rou#h handlin#. ;n%ortunately, a AoRs "ei#ht and bulk $akes it unco$%ortable to carry in the $anner in "hich
the "hite cane is used. Ho"e+er, skill in handlin# one can translate "ell into skill handlin# the other and so this pro+ides another bene%it in trainin# "ith a Ao.
*/ 5here are %or$s or Batas that e$ploy the short sta%% and "hich +ision i$paired students could learn. 5oday, Ao trainin# is tau#ht al$ost e8clusi+ely in Aikido schools althou#h so$e Barate and Bun# Fu styles ha+e short sta%% %or$s and in either case could adapt both 1on# Sta%% and S"ord techni6ues to the short sta%%. Althou#h "eapons ha+e little practical use in $odern sel%-de%ense, they open another a+enue o% trainin# %or the blind and +ision i$paired and pro+ides the sa$e bene%its as %or$s trainin# does. Tips for Trainers 5eachin# "eapons %or$s and routines %ollo"s the sa$e steps as %or any %or$. 5ake e8tra care to insure that the area is clear o% obstructions, that students practice %ar enou#h apart, and that no one should "ander "ithin ran#e o% anyoneJs practice. '% teachin# sel%-de%ense techni6ues, then use a padded and %le8ible sta%% and the SAttackerJ or -ke should "ear protecti+e e6uip$ent. A solid oak sta%% is a dan#erous "eapon and should not be used %or practicin# sel%de%ense applications since e+en a s$all $istake could result in serious in7ury.
*<
'n !!), ' "as li+in# in 5aipei and studyin# under :aster 5sai 9en Ayu, a po"er%ul and inti$idatin# $an "ith the de$eanor o% a pussycat, once you #ot past the %ierceness o% his +isa#e. :aster 5sai, like $any traditional Chinese $asters "as also an acupuncturist and earned his li+in# as such "orkin# %ro$ a $odest clinic located in the older part o% to"n. =e trained in a s$all public park in %ront o% his clinic deep in the concrete canyons o% the inner city. One day a "o$an brou#ht her .-year-old son %or trainin# in Bun# Fu. He had been in a car accident a %e" years earlier in "hich he su%%ered se+ere brain in7ury. As a result, he "as in a "heel chair and his ar$s and le#s "ere perpetually contorted %ro$ the $uscle spas$s that also shook his body. A%ter e8a$inin# the boy and consultin# "ith the $other, :aster 5sai a#reed to train the boy. :y W1ittle BrotherJ Ah Fu and ' looked at each other in disbelie%. Ho" could :aster 5sai possibly train this se+erely crippled boy in Bun# Fu> :aster 5sai said they "ould be#in ri#ht a"ay and "heeled to boy out into the s$all park. 5hen to e+eryoneJs surprise and horror :aster 5sai tipped the "heelchair %or"ard thro"in# the boy to the #round. KOkay cra"l to the end o% the path and back.L instructed :aster 5sai. 5he boy looked con%used but a%ter so$e proddin# by :aster 5sai, he be#an to cra"l. 't "as piti%ul to "atch and a%ter a hal% hour o% e%%ort, the boy had $ana#ed to cra"l only a %e" %eet. KCo$e back day a%ter to$orro".L said :aster 5sai. ' suppressed the ur#e to 6uestion :aster 5sai on his $ethodolo#y and he in turn suppressed his ur#e to e8plain it to $e. So ' "atched.
*. &ach ti$e the boy ca$e to the clinic the lesson "as the sa$eM the boy "as thro"n onto the #round and told to cra"l. :aster 5sai "as pitiless in his attitude to"ards the boy and 7ust as ' "as "onderin# i% :aster 5sai had
a cruel streak, ' noticed that the boy "as en7oyin# itI 5hey de+eloped a kind o% bond and "hen :aster 5sai "ould pretend to kick the boy into cra"lin# %aster, they "ould both burst into tears o% lau#hter. 5he horri%ied looks o% passersby as they sa" this $uscular Bun# Fu $aster apparently kickin# a crippled boy as he cra"led on his belly only ser+ed to cause $ore lau#hter.*0 A%ter a %e" "eeks, the boy "ent %ro$ cra"lin# on his belly to cra"lin# on all %ours. 1ater he "as able to stand up and take a %e" steps be%ore collapsin# to the #round. =ithin a year, the boy "as "alkin# unaided, not s$ooth, nor #race%ul, but on his o"n t"o %eet and under his o"n po"er. So "hat did ' learn> First, "hat ' sa" then, and "hat ' learned later in "orkin# "ith the handicapped is that they hate to be pitied. 5hat they %eel a"k"ard, unco$%ortable, and e+en #uilty "hen others %eel sorry %or the$. O%ten pity can be a hindrance encoura#in# the handicapped to beco$e co$placent and o+erly dependant on others. :aster 5sai dro+e his students $ercilessly and the crippled boy recei+ed no special attention in this re#ard, he "as treated 7ust like the rest o% us. Since then ' ha+e treated the handicapped 7ust like e+eryone else. Ces, certain precautions or procedures $ust be acco$$odated, but that is no reason to e8pect any less o% the$ than anyone else. Second, is the true $eanin# o% WBun# FuJ - a Chinese "ord $eanin# WA skill at "hich you e8celJ. For $any years, Bun# Fu %or $e $eant the per%ect spinnin#
*! kick, the li#htin# %ast punch, the %ancy s"ord $o+e. Ho"e+er, that "as $e, and $y body, and $y li$itations. For the crippled boy his Bun# Fu "as "alkin# and all that it entailedM pride, independence, sel%-control. For Susan her Bun# Fu is
balance, con%idence, and the control o+er %ear. 5he e%%ort and skill ' de+eloped to e8ecute a spinnin# kick "as no #reater than the e%%ort and skill it took %or that boy to put one %oot in %ront o% the other, or %or Susan to #o dancin#. Finally, ' learned that so$eti$es you need to break a %e" e##s to $ake an o$elet. 's $artial arts trainin# tou#h> Cou bet. 4id Susan su%%er the occasional bu$p on the head, pulled $uscle, bruised knee> Sure. Ho"e+er, co$pared to the hal% doQen li+er and kidney operations she had under#one, "hat "as a bruised knee in co$parison> Co$pared to #ainin# e+en a little $ore %reedo$ and independence, "hat is a pulled $uscle> 5here is a tendency these days to beco$e o+erly cerebral and to coddle oursel+es. 't is popular to obsess o+er "hat "e think and ho" "e %eel. Zen and the =ay o% the =arrior "ould ha+e us drop our sel%-obsession and #o out and e8ert oursel+es and e8perience our e8istence %irst-hand rather than stand back and obser+e %ro$ the sidelines. 'n "ritin# this $anual, ' do not presu$e to o%%er any co$plete solutions to the condition o% bein# "ithout si#ht in this "orld, but only to o%%er ne" possibilities and potentials that anyone can e8plore on their o"n. 1ike the true Bun# Fu :asters code, ' can only hope that $y students "ill surpass $e.
3)
Post Script
Susan and ' lost contact "ith each other years a#o as people so o%ten do these days. ' trained Susan %or about ei#ht $onths and ' "as a$aQed at her i$pro+e$ent. Susan "as not able to de+elop superhu$an perceptions or po"ers as portrayed in ad+enture stories but that "as ne+er really the point o% trainin#. She had co$e to $e because she "as a%raid and she %elt helpless and +ulnerable. 1earnin# sel%-de%ence sho"ed her that she "as not as +ulnerable as she thou#ht
"hich helped reduce her %ear. 1earnin# ho" to %eel centred and a"are o% her surroundin#s helped reduce the %eelin# o% helplessness. Susan "as probably the least likely candidate %or $artial arts instruction, blind, approachin# $iddle a#e, out o% shape and o+er"ei#ht. :ost people "ould %eel too daunted by the physical disad+anta#es to atte$pt such learnin# yet Susan had incredible coura#e to seek out a $artial arts instructor and take lessons. :ore than anythin# it is that kind o% bra+ery that $ade her successes possible. 5here are thin#s you can do to $ake your li%e betterM you 7ust need the coura#e to try. =hen "e %irst started her trainin# ' asked Susan about her social li%e. She said she did not ha+e $uch o% a social li%e but she had heard that the 5oronto Association %or the Blind held $onthly sin#les dances and she had al"ays "anted to #o. She didnJt because o% the uncertainty, %ear, and %eelin# o% unbalance. =hen ' last spoke "ith her she "as #oin# to the dance. KArenJt you ner+ous>L ' teased her. KA%ter kickin# your ass around the #y$ %or the last ei#ht $onths, dancin# "ill be a breeQe.L 'J$ sure it "as too.
Appen ix A Physical *itness Training
Physical %itness is an essential co$ponent in all %acets o% $artial arts trainin#. Althou#h ' initially thou#ht this "ould be di%%icult to teach, it turned out that Susan "as able to do all the e8ercises "ith only one rehearsal and that she could do all Ne8cept the "ei#ht trainin# not dealt "ith hereP solo and sa%ely. Since the e8ercises are those that can be %ound in any basic %itness and e8ercise book, ' ha+e listed belo" a list o% a %e" si$ple ones "e "orked "ith. 5here are $any other e8ercises that blind students can sa%ely en#a#e in that are too nu$erous to
$ention here but like %or any athlete, it is up each person to desi#n a %itness routine that $eets their needs. Check "ith your doctor be%ore beco$in# physically acti+e \ "hether throu#h an e8ercise pro#ra$ or an or#aniQed sport. He or she can help you deter$ine the le+el o% intensity and %re6uency "ith "hich you should per%or$ speci%ic e8ercises. Cour doctor $ay also be able to tell you "hat bene%its you can e8pect %ro$ a speci%ic acti+ity based on your condition and i% your $edication "ill a%%ect your ability to e8ercise. A doctor in the specialty o% physical $edicine and rehabilitation is especially suited to address the acti+ity and e8ercise needs o% indi+iduals "ith physical disabilities. &+ery Fitness 9outine consists o% %our types o% acti+itiesM =ar$ up, Aerobic, 9esistance 5rainin#, and Fle8ibility. Belo" is a brie% description o% the purpose o% each acti+ity and so$e o% the e8ercises "e used in each area.
32 Step 2 =ar$ ;p =ar$in# up is necessary to prepare your body %or e8ercise. Cou do this by startin# your aerobic e8ercise slo"ly and #radually increasin# the intensity until you are at a "orkout le+el. 4e+ote the %irst %i+e $inutes o% "hiche+er $ode o% aerobic e8ercise you are doin# that day to "ar$in# up be%ore be#innin# your "orkout. 4oin# this "ill slo"ly increase your heart rate, "ar$ up your $uscles and lubricate your 7oints. &8ercises2 Aoint 1oosenin# N9oll neck, circle shoulders, s"i+el hips, t"ist at the "aistP Brisk =alkin# Au$pin# Aacks Ao##in# on the Spot Step 22 Aerobic NCardio+ascularP Conditionin# Aerobic e8ercise No%ten re%erred to as cardio+ascular e8ercise or ScardioJP is a
"orkout %or the $ost i$portant $uscle in your body T your heart. 't trains your entire syste$ %or deli+erin# o8y#en and nutrients to e+ery cell in your body #i+in# you added ener#y and endurance. Acti+ities that in+ol+e continuous rhyth$ic $otion usin# $a7or $uscle #roups and lastin# %or 2) $inutes or $ore are called aerobic e8ercise. &8ercises2 Skip 9ope N"ith or "ithout real ropeP Ao##in# on the Spot Au$pin# Aacks Stair or step e8ercises S"i$$in# laps
30 Step 02 9esistance 5rainin# 9esistance trainin# re6uires the $uscles to e8ert e8tra e%%ort a#ainst a %or$ o% resistance. 5his type o% e8ercise increases stren#th and endurance and %or$s a +ital aspect o% %itness. 'n a proper %itness club "ith a #ood trainer and #ood e6uip$ent, "ei#ht trainin# is probably the best %or$ o% resistance trainin#. Ho"e+er, since Susan did not ha+e access to this type o% e6uip$ent the %ollo"in# e8ercises are those that use #ra+ity and li#ht N2lbP %ree "ei#hts as the resistance. &8ercises2 :odi%ied Push ;ps NOn BneesP Crunches S6uats 1un#es Curls "ith 2 lb "ei#ht 1ateral li%ts "ith 2 lb "ei#hts 5riceps e8tensions "ith 2lb "ei#hts Step *2 Cool 4o"n A%ter a "orkout, it is e6ually i$portant to cool do"n slo"ly. 4o not collapse to the %loor or sit do"n ri#ht a"ay. Seasoned +eterans kno" that i% you stop too suddenly you "ill WseiQe upR and your $uscles and 7oints "ill %eel sti%%
and pain%ul. ?radually decrease the le+el o% acti+ity. A%ter a hea+y "orkout, your $uscles "ill ha+e produced a lot o% "aste $aterial Ncarbon dio8ide, lactic acidP that needs to be %lushed out. Slo" rela8ed $o+e$ent "ill continue to circulate this "aist $aterial out and %resh o8y#enated blood in.
3* Step 32 Fle8ibility 5rainin# 5he ) $inutes %ollo"in# your cool do"n should be spent stretchin# your $uscles to i$pro+e %le8ibility. Stretchin# is best done a%ter your aerobic "orkout since your $uscles are "ar$ and $ore pliable. =hen per%or$in# each stretch, you should a+oid stretchin# to the point o% pain. 4o each stretch until you be#in to %eel disco$%ort. Hold at that point and %ocus on rela8in# the $uscle "hile takin# a %e" slo", deep breaths. Per%or$ each stretch %or 2) T 0) seconds. &8ercises2 :odi%ied Hurdled Stretch For"ard Stretch NSittin#P Side Splits Stretch NSittin#P Training Tips Expectations Any physical i$pro+e$ent pro#ra$ takes a $ini$u$ o% si8 to ei#ht "eeks to produce any noticeable results. 5here%ore, %or the %irst three $onths o% trainin# you should 7ust %ocus on learnin# "ithout tryin# to hurry your pro#ress. Fro$ si8 to ei#hteen $onths you "ill then see a rapid i$pro+e$ent. 5his learnin# cur+e be#ins to le+el o%% a#ain a%ter about t"o years "here $ost people encounter their %irst in a series o% trainin# plateaus "here it see$s that no $atter ho" hard they "ork they "ill not see any $ore i$pro+e$ent. 5hose tenacious enou#h to continue to push past this plateau "ill %ind, a%ter another year or t"o,
a ne" le+el o% skill. 5his is around the ti$e that they "ill be 6uali%ied %or a black belt. 't takes about %i+e years %or you to be#in to %eel you kno" "hat you are doin#.
33 Easy :oes It 5ake it slo" and easy in the be#innin#. 5est each ne" e8ercise and techni6ue you learn by slo"ly #oin# throu#h the $otions "hile $onitorin# your bodyRs response. :ost in7uries occur "hen you try too hard to $o+e your body in "ays it is not used to $o+in#. :on2t Bite %ff 0ore Than 5ou =an =hew. :any people "hen startin# a ne" trainin# pro#ra$ #o %ull out tryin# to do as $uch as possible as %ast as possible. 5hey are also the ones that burnout as soon as possible. O+ertrainin# causes pain and in7ury that inter%eres "ith pro#ress. =onsistency Consistency is $ore i$portant than intensity. Practicin# ten $inute e+ery day is superior to practicin# %our hours once a "eek. =ross.Train 'n addition to $artial arts e8ercises, it is also i$portant to en#a#e in other physical acti+ities that "ork and use di%%erent $uscles. Cou "ill %ind that your $artial arts trainin# "ill i$pro+e other physical acti+ities and +ice +ersa. Cross trainin# i$pro+es your o+erall le+el o% %itness and i$pro+es your ability to learn $artial arts skills. 5he best cross-trainin# acti+ities %or $artial artists are "alkin#, s"i$$in#, and dancin#.
#lossary of $artial Arts Styles

4ung *u2 NSkill%ulnessP Ori#inated in China and is up to three thousand years old. 't is o%ten called the #rand%ather o% $artial arts because $any other countries such as Aapan and Borea borro"ed hea+ily %ro$ Chinese kun#
3/
%u "hen de+elopin# their o"n syste$s. Bun# Fu styles #enerally e$phasiQe punchin# and strikin# techni6ues but $ost styles teach #rapplin# and thro"in# techni6ues as "ell. 4arate-(o2 N5he "ay o% the e$pty handP Ori#inated in Okina"a and is up to /)) years old. 5he early %ounders o% Okina"a 5e NOkina"a HandP had learned the Shaolin style %ro$ Chinese traders. ?ichen Funakoshi brou#ht the art to Aapan in !22 "here it beca$e +ery popular. Barate 4o is $ore direct and linear than kun# %u. 5he Aapanese knack %or e%%iciency "orked to strea$line the traditional Bun# Fu styles into it e%%icient co$ponents. Barate e$phasiQes punch and kick techni6ues but also includes #rapplin# and 7oint lockin# techni6ues. &u ?itsu2 NPliable techni6uesP Ori#inated in Aapan and is actually a broad ter$ used to desi#nate any one o% hundred o% schools $any datin# back so$e ,/)) years. 5hou#ht to ha+e de+eloped out o% peasant hand-to-hand co$bat techni6ues used a#ainst ar$ored "arriors, Au-Aitsu has a reputation %or nononsense applications. Au 7utsu styles teach a broad ran#e techni6ues and "eapons "ith an e$phasis on #rapplin#, 7oint lockin# and thro"in# techni6ues.
3< &u o' N5he "ay o% yieldin#P Audo is the direct descendant o% Au7itsu. A%ter the abolition o% the Sa$urai N=arriorP class in ./<, $any Aapanese $artial arts syste$s $ade a transition into $ore sport oriented %or$s. 5he %ounder o% $odern Audo, Ai#oro Bano, adapted Au7itsu and re$o+ed strikin# and 7oint lockin# techni6ues to create a sa%er co$petiti+e sports style. Ai#oro also in+ented the colored belt #radin# syste$ used in $ost $artial arts schools. Audo consists entirely o% thro"in# techni6ues althou#h $any teachers "ill also teach #rapplin#
and 7oint locks, as an ad7unct to the sports trainin#. Ai)i o2 N5he "ay o% spiritual unionP Ori#inated in Aapan and $ay be up to 2)) years old. :orihei ;eshiba N ..0- !/!P is the %ounder o% $odern Aikido. He trans%or$ed the deadly techni6ues o% earlier Aiki-7u7itsu into a $ore peace%ul art that e$phasiQes har$ony and yieldin# "ith the attack. 5his style is co$prised o% $ostly #rapplin#, thro"in#, and 7oint lockin# techni6ues. Aikido also teaches both Batana NAapanese saberP and Ao Nshort sta%%P arts. Tae 4+on (o2 N5he =ay o% the Foot and FistP is a $odern Borean style that e+ol+ed out o% earlier syste$s that date as %ar back as the <th century. :odern 5ae B"on 4o is best kno"n %or its spectacular aerial kicks. &$phasis is on punchin# and kickin# techni6ues althou#h #rapplin# techni6ues are tau#ht at hi#her le+els. Tai Chi2 NSupre$e &ner#y FistP Ori#inated in China and is one o% the SinternalJ kun# %u styles. 5ai Chi Chuan is per%or$ed $uch slo"er than other styles and the e$phasis is on rela8ation and concentration. 't is characteriQed by its %lo"in# $o+e$ent and cal$ness. &$phasis is $ostly on health and spiritual bene%its but also includes so$e e%%ecti+e #rapplin# and strikin# techni6ues.
3.
"i,liography
Acker$an, 4iane, "atural (istory of the +enses, 9ando$ House, ,e" Cork, !!), 32. Ack Ale8ander, Aohn B., ?rollier, 9ichard, :orris, Aanet, The !arrior2s Edge, =illia$ :orro" E Co., ,e" Cork, !!). Cleary, 5ho$as, <itality Energy +pirit; a Taoist +ource&ook, Sha$bala Publications, Boston, !! . Cho#ya$, 5run#pa, +ham&ala, The +acred ;ath of the !arrior, Sha$bala Publications, Boston, !.*, Cyto"ic, 9ichard &. :.4., The 0an !ho Tasted +hapes, Aere$y P. 5hathcherHPutna$ Books,
,e" Cork, !!0, 4eshi$aru, 5aisen, The *en !ay To The 0artial rts, &.P. 4utton, ,e" Cork, !.2 4rae#er, 4onn F., "in#itsu, The rt of Invisi&ility, Cen books, Aapan, !.!. &liade, :ircea, 5oga; Immortality and Freedom, Princeton ;ni+ersity Press. &+ans-=entQ, =. C ., &45., Ti&etan 5oga and +ecret :octrines, O8%ord ;ni+ersity Press, 1ondon, !3.. ?oldstein, Bruce &., +ensation and ;erception, =ads"orth Publishin#, Bel$ont, Cal. !.!. ?ro%, Stanisla+, The (olotropic 0ind, Harper, San Francisco, S.F., !!). Ho"es, 4a+id, &dt. The <arieties %f +ensory Experience, ;ni+ersity o% 5oronto Press, 5oronto, Can, !! . 1e Duerer, Annick, +cent, The 0ysterious and Essential ;owers %f +mell, 5urtle Bay Books, ,e" Cork, !!2. 1ouis, 4a+id, &dt. ACCD Fascinating Facts, =in# Books, ,e" Cork, !.0. :urphy, :ichael, The Future of the Body, Explorations Into the Further Evolution of (uman "ature, Putna$ Books, ,e" Cork, !!2. :usashi, :iya$oto, The Book %f Five 7ings, Banta$ Books, ,e" Cork, !.2 FTheG 0ystifying 0ind, 1ibrary o% Curious and ;nusual Facts, 5i$e 1i%e books, Ale8andria Vir#inia, !! . Blind Zen, A Case Study 9eps, Paul, Co$piler, *en Flesh, *en Bones 4ouble day, Anchor Books, ?arden City, ,. C ., pri+ate 9estak, 9ichard :., 7eceptors, Banta$ Books, ,e" Cork, !!*. 9estak, 9ichard :., The 0ind, Banta$ Books, ,e" Cork, !... Sekida, Batsuki, *en Training, 0ethods and ;hilosophy, =eatherhill, ,e" Cork, !.3. Shosan, Susuki, !arrior %f *en, 5ranslated by Arthur Bra+er$an, Bodansha 'nternational, ,e" Cork, !!*. S$ith, Aillyn, +enses and +ensi&ilities, =iley Science &ditions, ,e" Cork, !.!. Soho, 5akuan, 5ranslatorM =illia$ Scott =ilson, The -nfettered 0ind, !ritings of the *en 0aster to the +word 0aster, Bodansha 'nternational, 5okyo, !./. Soho, 5akuan, The -nfettered 0ind, !ritings of the *en 0aster to the +word 0aster, 5ranslatorM =illia$ Scott =ilson, Bodansha 'nternational, 5okyo, !./. Speads, Carola, !ays to Better Breathing, Healin# Arts Press, Ver$ont, !<.. Sternbach, 9ichard A., 0astering ;ain. Twelve +tep ;rogram For =oping with =hronic ;ain, ?.P. Putna$ E Sons, ,e" Cork, !.<. Susuki, Shunryu, *en 0ind, Beginner2s 0ind, =eatherhill Press, ,e" Cork, !<). 5suneto$o, Ca$a$oto, 5ranslator. =illia$ Scott =ilson, (agakure, The Book of the +amurai, A+on Books, ,e" Cork, !<!. Cokoi, Cuho, *en 0aster :ogen, =eatherhill, ,e" Cork, !</. Zon# =u E 1' :ao, ncient !ay To >eep Fit, Shelter Publications, Cali%ornia, !!). Blind Zen, A Case Study
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/)
%n
.otes
4iabetic retinopathy. 5his is #ross si$pli%ication o% "hat is a +ast and co$ple8 philosophical syste$, $any portions o% "hich are debatable. 0 5his rare e8ercise is described in Ouspensky, P. 4., The ;sychology of 0an2s ;ossi&le Evolution, Vinta#e Books, ,e" Cork !<* * ,anguage of the Body, by Ale8ander 1o"en, Hun#ry :inds, 'ncM NAuly !<<P 3 *en 0ind, Beginner2s 0ind, by Shunryu SuQuki, Publisher2 =eatherhillM N4ece$ber !!<P /. 5he i$portance o% posture in sel%-de%ense is illustrated in a study done in the ;nited States on the e%%ecti+eness o% sel%-de%ense trainin# %or "o$en. Althou#h "o$en "ho trained in a $artial art had only a sli#htly better chance o% escapin# a +iolent situation, it sho"ed that these "o$en had %ar less chance o% bein# attacked. 5he study indicated that "hile "o$en ha+e a 23X chance o% beco$in# a +icti$ o% +iolence, "o$en "ho studied a $artial art sho"ed a less then 0X chance. 5he e8planation %or this disparity is thou#ht to be attributed to body lan#ua#e. 'nter+ie"s conducted "ith con+icted rapists, $u##ers, and purse-snatchers, sho"ed that cri$inals usually choose easy tar#ets, people "ho, throu#h their body lan#ua#e, sho" the$sel+es to be +ulnerable. 't is su##ested that "o$en "ho studied sel%-de%ense pro7ected a $ore con%ident posture and correspondin# body lan#ua#e that discoura#ed potential attackers. <. Classical conditionin# %or$ulated by Pa+lo+. 'n e8peri$ents on do#s, Pa+lo+ could cause the$ to sali+ate by rin#in# a bell. He acco$plished this by rin#in# a bell NConditioned Sti$ulusP e+ery ti$e the do#s "ere %ed. Food "ould tri##er the do#s sali+ation "hich beca$e linked to the sti$ulus o% a bell rin#in#, . The Book of Five 7ings, by :iya$oto :usashi, =illia$ Scott =ilson N5ranslatorP Publisher2 Bodansha 'nternationalM st edition Aune 3, 2))2 ! The Essence of ikido? +piritual Teachings of 0orihei -eshi&a by :orihei ;eshiba, Aohn Ste+ens NCo$pilerP Bodansha 'nternationalM April !!! ) Sacks declared that the sense o% our bodies relies on three thin#s2 +ision, the +estibular syste$, and proprioception. The man who mistook his wife for a hat? nd other clinical tales. Sacks, O. N !./P. ,e" Cork, ,C2 Su$$it Books Sherrin#ton N !)/P declares that the propriocepti+e receptors, the ner+es associated "ith proprioception, are e%%ecti+e at deter$inin# chan#es inside the or#anis$M "hich is "here the ter$ OproprioceptionO ori#inates. He e8plains that propriocepti+e receptors are used especially in $uscles and their accessory or#ans. Propriocepti+e receptors and so$e receptors in the labyrinth
2
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Ne6uilibriu$ detector located in the inner earP "ork to#ether to %or$ our recepti+e syste$s. Finally, Sherrin#ton shares that proprioception is responsible %or continuous re%le8es in skeletal $uscles. 'n other "ords, propriocepti+e receptors are responsible %or detectin# "hen an area o% the body is out o% its natural state and pro$pts the $uscles to return the area to a restin# state. Sherrin#ton, C. S. N !/ P. The integrative action of the nervous system. ,e" Ha+en, C52 Cale ;ni+ersity Press. 2 5o illustrate the pro%ound e%%ects o% propriocepti+e loss, Oli+er Sacks docu$ented a clinical case o% a "o$an "ho lost all proprioception. His client lost all proprioception and could not "alk "ithout "atchin# her o"n le#s, or talk "ithout listenin# to her o"n +oice. She could not truly deter$ine i% she had a body. 5he patient could not per%or$ any $otor $o+e$ents $ost people "ould dee$ natural "ithout relyin# on en+iron$ental %eedback to achie+e the si$plest $aneu+er. Oli+er SacksR clinical story re%lects ho" $uch the $ind depends on proprioception %or e+en the $ost rudi$entary actions not thou#ht consciously considered. The man who mistook his wife for a hat? nd other clinical tales. Sacks, O. N !./P. ,e" Cork, ,C2 Su$$it Books. 0 9ossetti, 4es$ur#et, and Prablanc N !!3P conducted research to test i% +ision or proprioception plays a bi##er role in the kno"led#e o% body positions. 5hey concluded that the co$bination o% +isual and propriocepti+e in%or$ation assist the sub7ects in accurately locatin# the tar#et. Based on their %indin#s, the authors declare that propriocepti+e in%or$ation $ay "ei#h $ore in the localiQation process than only +isual in%or$ation. 9ossetti, C., 4es$ur#et, :., Prablanc, C. N !!3P. <ectorial coding of movement? vision, proprioception, or &oth3 Aournal o% ,europhysiolo#y, <* N P, *3<-*/0. * At around 0,))) to 0,3)) HQ, Nbet"een F sharp and ? in the %ourth octa+e abo+e $iddle CP the hu$an ear is $ost sensiti+e to sound. 5his is because the auditory canal is about three centi$eters in len#th, "hich corresponds to the resonance "a+elen#th o% sounds in this %re6uency ran#e. ,ear this pitch, a standin# "a+e can be %or$ed in the ear canal that re6uires the least ener#y %or sound to sti$ulate the ear. 5his is the %re6uency o% piercin# screa$s and e$er#ency +ehicle sirens. NOne bene%it o% this %act is a tactic used in a sel%-de%ense situation. A loud piercin# yell at this %re6uency into an attackerJs ear can cause e8tre$e pain, disorientation,
and e+en diQQiness.P 3. Fro$ Fascinatin# Facts. 16&ric Bnudsen and :asakaQu Bonishi N !<.P sho"ed that the brain contains a three di$ensional #rid pattern correspondin# to the e8ternal auditory %ields. Fro$M S$ith, Aillyn, +enses and +ensi&ilities, =iley Science &ditions, ,e" Cork, !.!. < ?ibson, A. A. !<!. The ecological approach to visual perception, Boston2 Hou#hton :i%%lin. 18A si$ilar e8ercise is described in the book on 'ndian yo#a called Visuddhi$a##a N5he Path to Puri%icationP Buddha#osa, 5rans. b. ,yana$oli, ?unasena E Co. !.Auditory Fati#ue occurs a%ter the ears ha+e been e8posed to loud continuous noise. 5his raises the auditory threshold $eanin# tones "ould ha+e to be louder in order %or you to hear the$. 't Blind Zen, A Case Study can take se+eral hours or se+eral days %or the threshold to return to nor$al. &+ans !.2. Fro$ Sensation and Perception, :ar#aret =. :atlin. 2).O=hen ' "ent into the clinic, ' sni%%ed like a do#, and in that sni%% reco#niQed be%ore seein# the$, the t"enty patients "ho "here there. &ach had their o"n ol%actory physio#no$y, a s$ell %ace, %ar $ore +i+id and e+ocati+e, $ore redolent, than any si#ht %ace.O The man !ho 0istook (is !ife For (at, 5he do# beneath the skin, Oli+er Sacks. 2 . An e8a$ple o% odor a%%ectin# the bodyRs biorhyth$s can be %ound in "o$en li+in# to#ether "here is has been sho"n that s$ell is the %actor behind the pheno$ena o% "o$enRs $enstrual cycle synchroniQin# "hen li+in# to#ether. :artha :cClintock N !< P +ense and ;erception, &. Bruce ?oldstein, =ads"orth Publishin#, Bel$ont, Cal%. !.!. 22. Duote %ro$2 1e Duerer, Annick, +cent, The 0ysterious and Essential ;owers %f +mell, 5urtle Bay Books, ,e" Cork, !!2, 20.Odor has been o%ten linked "ith illness and thus %or$s the $oti+ation behind the "estern obsession "ith deodoriQers, sanitiQer, disin%ectants, air %resheners, and per%u$es to na$e a %e". 2*. See, Clair :urphy and =illia$ Cain, !./. 23 5akuan Soho N 3<0- /*3P Abbot o% 4aitokku7i Fro$ *en and /apanese =ulture p. - 0 4.5. SuQuki N !< P 2/ O:otor :e$oryM is the neurolo#ical ter$ %or beha+ior that beco$es auto$atic a%ter learnin#. 't is a co$$onplace obser+ation that any per%or$ance, like playin# tennis or the piano, e+en #i+in# a speech, is i$peded i% you try to think about it. 5hinkin# about "hat you are doin# de#rades your ability to do it. K Cyto"ic, 9ichard &. :.4., The 0an !ho Tasted +hapes, Aere$y P. 5hatcherHPutna$ Books, ,e" Cork, !!0, 2< 9ecently kno"led#e o% the "orkin#s o% this sense has been $ade in lan#ua#e
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lay$an can %ollo" throu#h such books as, The 0an !ho Tasted +hapes? Bizarre 0edical 0ystery %ffers 7evolutionary Insights into Emotions, 7easoning, and =onsciousness, 9ichard &. Cyto"ic, =arner Books2 ,e" Cork, Abacus2 1ondon, !!0 ( 9ichard &. Cyto"ic. +ynesthesia? -nion of the +enses, 9ichard &. Cyto"ic, ) Aune, 2))2, published by :'5 Press. 2. 'n a study that attracted $uch attention a$on# $editation and bio%eedback researchers durin# the !/)s, Akira Basa$atsu and 5o$io Hirai, physicians at the ;ni+ersity o% 5okyo, studied the &&? chan#es e8hibited durin# $editation by Zen teachers and their disciples N%ortyei#ht in allP %ro$ Soto and 9inQai centers in Aapan. For e8peri$ental control, they studied the &&?s o% t"enty-t"o sub7ects "ith no e8perience at $editation. 5hey $ade &&? recordin#sM recorded their sub7ectsR pulse rates, respiration, and #al+anic skin responseM and tested their responses to sensory sti$uli durin# $editation. 5he recordin#s on the Zen $onks "ere $ade durin# a "eeklon# retreat, or sesshin, at a Zendo, e8cept %or a %e" tests at the e8peri$entersR laboratory. Blind Zen, A Case Study
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5he Zen teachers and their $ost e8perienced students e8hibited a typical pro#ression o% brain"a+e acti+ity durin# $editation, "hich Basa$atsu and Hirai di+ided into %our sta#es2 Sta#e 2 CharacteriQed by the appearance o% alpha "a+es in spite o% opened eyes. Sta#e 22 CharacteriQed by an increase in a$plitude o% persistent alpha "a+es. Sta#e 02 CharacteriQed by a decrease in alpha %re6uency. Sta#e *2 CharacteriQed by the appearance o% rhyth$ical theta trains NBasa$atsu and Hirai, !//P. ,ot all %our sta#es "ere e+ident in e+ery Zen practitioner, nor in any o% the controls, but a stron# correlation e8isted bet"een the nu$ber o% sta#es a #i+en student e8hibited and that studentRs len#th o% ti$e in Zen trainin#. 5his correlation "as supported by a Zen teacherRs e+aluation o% each studentRs pro%iciency. 5he teacher ranked the students in three le+els, "ithout seein# their &&? records, and his rankin#s correlated "ell "ith Basa$atsu and HiraiRs assess$ent o% their &&?s. 5he Basa$atsu-Hirai study also re+ealed si#ni%icant di%%erences bet"een %our Zen $asters and %our control sub7ects in their response to repetiti+e click sti$uli. 1ike the Zen $asters, the controls e8hibited a blockin# o% alpha "hen a click sound %irst occurred, but they #radually beca$e habituated to such sti$uli so that their brain-"a+e acti+ity no lon#er responded "hen a
click "as $ade. 5he Zen $asters, ho"e+er, did not beco$e habituated, but continued to e8hibit blockin# as lon# as the sti$uli continued. 5his %indin# indicates that Zen practice pro$otes a serene, alert a"areness that is consistently responsi+e to both e8ternal and internal sti$uli Basa$atsu, A., and 5. Hirai. K2 Science o% ZaQen.O Psycholo#ia / N !/0P2 ./-! . 2! 5he 5ea Cere$ony N+adoP is a ritual "ay o% preparin# and drinkin# tea that is stron#ly in%luenced by Zen Buddhis$. 5he cere$ony itsel% consists o% $any s$all rituals that ha+e to be learned by heart. Al$ost each hand $o+e$ent, #esture and action is care%ully prescribed. 'n a sense, the 5ea cere$ony is a %or$ o% >ata and re6uires the sa$e %ocus and peace o% $ind. 0) As a teena#er, Aldous Hu8ley su%%ered an attack o% keratitis punctata, an acute in%ection that le%t hi$ "ith opacities in his cornea, %arsi#htedness, and e8tre$e blurriness. He "as actually al$ost blind %or . $onths. A%ter that, his +ision "as still e8tre$ely poorM he "as barely able to detect li#ht "ith one eye, and only 7ust barely able to see the lar#est letter on the Snellen NeyeP chart at ) %eet. 0 . First noted by physiolo#ist =alter Cannon in the !2)s. The 0ind, 9ichard :. 9estak, Banta$ Books, ,e" Cork, !... 02 =hi >ung is a Chinese ter$ that $eans K1i%e-&ner#y 5echni6ueL and re%ers to a series o% breathin# and $ental e8ercises that are ai$ed at i$pro+in# stren#th, health, and lon#e+ity. 00. :editation researcher Herbert Benson sho"ed that $editation reduces o8y#en consu$ption durin# %i8ed intensity tasks such as "alkin# and runnin#. 9ichard Suinn sho"ed that aerobic Blind Zen, A Case Study
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athletics distance runners i$pro+ed their per%or$ance by reducin# $uscular stress. Charles Brook, +ensory wareness. 0*. Fro$ He"it, Aa$es, 0editation, 5each Coursel% Books, ?.B. !<., Duote %ro$ Batsuki SekidasR *en Training. 03. 5ension or $ore correctly hyper tension has been linked to increases in the incidence o% nu$erous hu$an ail$ents such as heart attack, stroke, hi#h blood pressure, cancer, headache, +ision proble$s, as "ell as psycholo#ical dys%unctions such as an8iety, depression, hyperacti+ity, and learnin# disorders. Further$ore, in the tradition o% Chinese acupuncture tension is seen as the cause %or nu$erous ail$ents Nas it is in "estern tradition "ith the theory o% A personality types bein# $ore susceptible to heart attacksP. Accordin# to Chi ?un# theory tension i$pedes the %lo"
o% Chi, 5he area that is thus tensed beco$es "eakened and disease soon %ollo"s. 0/. 4r. Aohann ShultQ and =ol%#an# 1uthe de+ised rela8ation techni6ues called utogenic trainin# the %ocused on si8 standard e8ercises to create at "ill the sensations o% hea+iness, "ar$th, actual reduction o% the heart rate, chan#e is respiration, apparent "ar$in# o% the solar ple8us, and coolin# o% the %orehead. Aohn B. Ale8ander, The !arrior2s Edge. 0<. A$erican &d$und Aacobson N ...- !.0P de+eloped a $ethod %or sel%-re#ulation he called ;rogressive 7elaxation. He obser+ed that $uscles already contracted throu#h tension are $ore likely to contract %urther in response to une8pected sti$ulusM they are $ore W7u$pyR reactin# $ore dra$atically. 0..Beha+iorists use Syste$ic 4esensitiQation, credited to Aoseph =olpe. 5his $ethod #radually introduces +isualiQations o% disturbin# sti$uli "hile the sub7ect is rela8ed, so that ob7ects and situations they represent beco$e less threatenin#. 0! Bird 0igration, 5ho$as Alersta$, 4a+id A. Christie N5ranslatorP, Ca$brid#e ;ni+ersity Press, !!0 *) 'n !</ 9obert Baker, a Zoolo#y pro%essor at :anchester ;ni+ersity, conducted an e8peri$ent to deter$ine "hether $a#netic %ields a%%ect hu$an na+i#ation. 5hird year Zoolo#y students "ere blind%olded and dri+en o+er a co$ple8 and "indin# route until they "ere bet"een / and 32 k$ a"ay %ro$ :anchester ;ni+ersity. First, each student "as asked to point to"ards the uni+ersity "hile still blind%olded and then a#ain a%ter re$o+in# the blind%old. 9e$arkably, they did $uch better at %indin# the uni+ersity "hen they "ere blind%olded. 5his see$s to indicate that "hile blind%olded students "ere usin# their SinstinctJ rather than tryin# to "ork it out %ro$ $e$ory or lo#ic. 5hen the e8peri$ent "as repeated but this ti$e the students had little bars o% $etal strapped around their heads. Hal% o% the little bars "ere $a#nets, "hile the other hal% "ere non-$a#netic Blind Zen, A Case Study brass, to act as a placebo. 5he results indicated that students "earin# the $a#nets lost their sense o% direction $ore o%ten. Ho"e+er, the students "earin# the non-$a#netic brass could still point to the uni+ersity. 5his lends credence to the theory that their sense o% direction "as based on a perception o% $a#netic %ields. * :asson, Ae%%rey :oussaie%% , ,ost ;rince? The -nsolved 0ystery of >aspar (auser. 5he Free Press, ,e" Cork, !!/. *2 +avage 9irls and !ild Boys? (istory of Feral =hildren, :ichael ,e"ton 5ho$as 4unne
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Books, 2))0 *0 5his anecdote by no $eans su##ests that trainers should #o about tossin# the handicapped out o% "heel chairs. :aster 5sai did a thorou#h physical e8a$ination o% the boy and %elt that this type o% trainin# "ould not cause any %urther in7ury or da$a#e. 5he boyJs $uscular and skeletal health "as %ine. 5he brain da$a#e inter%ered "ith the si#nals sent by the brain to the $uscles. Forcin# the $uscles to $o+e is a %or$ o% bio%eedback. '% the brain cannot send the si#nals to the $uscles accurately then the $uscles can be $ade to send si#nals to the brain. 5his type o% trainin# "orks in only speci%ic cases and only a%ter care%ul e8a$ination by 6uali%ied physicians.

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Blind Zen, A Case Study

9ed :ansion Pub San Francisco 2))*

learn a little about Zen alon# the "ay.

Blind Zen, A Case Study

Blind Zen, A Case Study

Training %xercises for Posture

Training $etho s for "alance

Training $etho s' !earing

Training $etho s' The .ose

Training the Seventh Sense

The warrior is never amazed. If some&ody comes up to you and says

Training $etho s to Control *ear

%scape from Straight !an

%scape from *ront !an

%scape from (ou,le !an

#ra, *rom "ehin

put a so%t trainin# $at around the KattackerJsL shins

%scape from *ront !an

%scape from !an

Cho)e from "ehin

%scape from Cho)e from "ehin

%scape from Wristloc) or !ammerloc)

%scape from "ear !ug from "ehin

%scape from "ear !ug from "ehin

%scape from *ront "ear !ug ;=n er arms<

%scape from *ront "ear !ug ;-ver arms<

Blind Zen, A Case Study

%scape from !air #ra, from "ehin

%scape from Si e !ea

Appen ix A Physical *itness Training

#lossary of $artial Arts Styles

Blind Zen, A Case Study

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