Rick Beal kyudo

Sadamenoza - The establishment position

Sadamenoza is the establishing position during a sha-rei or ceremonial shooting.

This is where the archers re-establish all their connections.

As always we are talking about the non-separation of internal - external aspects.

Of course we maintain this non-separaration every moment of everyday.

But just as our budo practice is a chance to really experience being this way, this is especially true of points in our  practice like sadamenoza. Points like this are designed to remind us, designed to do this with us naturally.

These points also give time for the establishment of the ebb and flow we consider natural. Movements to and from these positions are paced by the pause of the position.

We have spoken of Kamae before. Positions that set us in time - place and imply this moving to and from. Sadamenoza is exactly of this same nature.

At Sadamenoza we bow. Often a nice deep bow, and least sesshu-rei, the bow where the hand comes to the knee (and if not wearing a glove our wrist would bend, hence the hand bent bow...) and our spine is at 45 degrees to the floor, but we can even use a deeper fukai (deep) bow in formal instances.

As in the other posts on 'rei', there is something in the act of bowing that has an effect on us as people, and our 'do' practices are filled with kamae like this, and our designed to include this influence.

All we have to do is allow for it...

Temple Records

Temple records in Japan abound. Everything is recorded. In regards to Buddhism and the Warrior arts there are many writings and correlations.

We know of the Sohei, armies of warrior monks who used weapons though they were monks. We know of the Yamabushi, individual and warrior monks in non-affiliated temple groups, who used weapons both to protect themselves and also as methods to train in The Way.

We also know that many warriors upon retirement shaved their head, some simply because this was the safest and acceptable way to retire, and others sincerely to become monks, and perhaps some with the intent to repent in some way for their violent lives. In many cases they continued to use their warrior weapons as tools on The Way, much like the Yamabushi do.

The relationship between Zen and the Warrior Class of Japan is well known. Just like with the retirement situation of Warriors into Buddhism the relationship varied according the predilection of the Warrior's intent. Most received some basic initiation ceremony and a Buddhist name, but not evereyone studied Zen or Buddhism in any way, they simply supported temples or teacher so that they could support the Warrior's clan spiritually; but most used their priests as advisers and teachers; many studied Buddhism intellectually, but most took up Zen because of it's embodiment of the practice not because of it's intellectual and philosophical attributes. A great number of prominent Warriors took up Zen practice including Classical Interviews with the teacher to truly travel the Buddhist Path.

The priest of these Warrior students used every means possible to help them obtain the teaching. This included the creation of whole new methods and revival of others too. This was not the first time the warrior's weapons were used as a means of teaching, but it was possibly the most extensive. Zen is practice in daily life, and these weapons were the daily life of their warrior disciples.

Quality vs Quantity

Quality vs Quantity

They sometimes say that kyudo is all a matter of how many arrows we shoot.

I attended a few seminars with Takeshi Shibata Hachidan Hanshi. On one of these we were out to dinner with the 'heads' of kyudo in America, and Shibata Hanshi was giving us a lecture. He said (my translation so give it some room), 'something is wrong'. You guys seem sincere in your practice, and your students look pretty good, but something is wrong.' It seemed a rhetorical question or perhaps we were just embarrassed into silence... but our silence begged for more and he added, 'you guys can't shoot'.

Takeshi Shibata Sensei
Photo compliments of Rosemarie Read of Panama Kyudo Kai

Now Shibata Hanshi is one of the best shooters in Japan; for example on another seminar he was showing us how the body expands during hikiwake and especially to produce the hanare; he wasn't really concentrating on the target, but all of the 20 (or so) arrows he shot hit the target. (he wasn't even wearing a glove, just a little gauze on his right thumb).

He then sent us all off to try and emulate this expansion. As we all walked away I turned and asked, 'Sensei, how did you do that?' 'Do what?' he responded. 'You hit the target every time!' I said. 'Oh' He replied, 'I teach high school students; if I can't do that, they won't listen to me'.

I thought that was the end of the great lesson, when he said, 'I tell you what, I'm going to shoot one more and put it in the right corner'. Of course, I believed he meant the right corner of the target; but you know what, he put it in the right corner of the bulls eye! Still I thought he meant the right corner of the target, until he said, 'this one in the left corner', and it flew right into the left lower corner of the bulls eye; this one I'll put in middle', and he did... right smack dead center between the other two.

Now back to dinner... Sensei continued, 'You seem sincere in your practice, but something is wrong'. He seemed to wait for an answer this time, for us to explain why 'we can't shoot'.... 'why we can't hit the target'. 'Well', someone responded, 'You're right Sensei, we are sincere, and we teach the best we can, and shoot the best we can, I guess we don't know what we're doing wrong?' And with this we asked for his help. 'Well...' he asked, 'how many arrows do you shoot everyday?' 'Oh, everyday' we said, 'well, you know we have families and jobs during the week, and even on weekends we're usually teaching we don't always get a chance to shoot much ourselves...' and he cut us off. 'Ah, well there's the problem then.'

At this point someone was brave enough to ask, 'Sensei, how do you do it?'

'Oh' He said, 'in the morning I go to the dojo and shoot 100 arrows, I hit those 100. Then if students show up, I teach them. If not, then I shoot 100 more.'

That's 100 to 200 arrows a day! No wonder he can shoot so well. But there are a couple more lessons in there. He doesn't say he hits the first 100 to boast; it tells us that he doesn't waste them, he shoots them with care, he's not just 'chucking' them down there without giving each one it's due attention.

Also the main lesson for those of us at the dinner was 'before the student's arrive he shot 100'... and everyday he practiced. From that day on I try to shoot everyday, certainly I practice everyday even if it's sit, stand, bow & tote renshu in a hotel room. One of my students who heard this story began shooting 100 arrows a day too, and he got pretty good too.

Satoshi Sagino Shihan of Muyoshingetsu-ryu

On the other side of this coin is Sagino Shihan of our Muyoshingetsu school. Who told us to put everything we have into one shot. 'Shoot everyday' he said, 'shoot one arrow, and put your whole-self into that arrow... exhaust yourself completely'. We have a student who hearing this now takes 3 hours to shoot that one arrow every day. Cleaning and preparing his backyard space... cleaning and preparing his equipment and clothes... meditation... and beautiful taihai and hassetsu to release that one arrow...folding his kimono and hakama neatly... and putting everything away. And you know, he's really good too. My eyes once asked him about this practice, and he said, 'you know... when you only shoot one arrow... and it takes 3 hours of your day... you never waste that arrow'.

In the middle was Onuma Sensei, who on one visit to Los Angeles told us, 'Shoot 10 arrows every day. With 10 arrows you can really focus, many more and it's difficult. So shoot 10 arrows everyday without fail'.

Hideharu Onuma Sensei.
Photo from the book 'Kyudo - The Essence and Practice of Japanese Archery'
By Hideharu Onuma with Dan and jackie DeProspero

Since both quality and quantity obviously count, I think each of these approaches has merit. Each can have a place in our practice throughout the year. If I were to choose, I think I would choose quality over quantity; so the one arrow would be the best practice; but the guy who shoots 100 may beat you in the tournament; so maybe that's the best practice; but do we really have time in our busy lives for 100 or 200 arrows a day, can we really give each of those the quality our practice demands? If so, 100 is a great practice. Maybe the 10 a day is the best balance? I like balance and middle road, so my practice for many years followed this 10 a day. Today sometimes I shoot one arrow with all I've got; at least once a year, and sometimes coming up to it, we have our 108 arrows shoot; mostly with my hitori geiko (solitary practice) I shoot hitote (a handful, or in kyudo we define this as 2).

quality vs. quantity. both count. Again if I were to choose, I would probably choose quality. But they are not really separate; shoot as many quality arrows as you have time, energy, and attention to give them.

However many arrows you decide to shoot each day is up to you. But please practice everyday. And put your wholeself into that entire practice. Put your wholeself into your entire life... every moment of every day. The rest of our lives depends on it.

Thank you,

Zen and Arts

Though I know that most martial artists know really nothing of Zen; I also know that most Zen practitioners know really nothing of the martial arts. Or do they?

Actually though it has been rare that the two intertwine directly, they have mixed and merged throughout their entire history.

Zen began with the warrior prince become buddha, then in China was promoted by the warrior prince became founder of Chan, and merged with the warrior class of Japan and their Shinto Rituals as Zen when it arrived there, The Zen influence on Japan is well known and accepted.

For me, my Zen heritage is quite clear on it's support on the intertwinement of Zen and the Martial Arts. Also my Martial Arts teachers, and Geido (Japanese Artistic Arts) teachers both embraced their Zen roots. So for me, at least, there is no question.

I guess this is all I need then. For me and my teachers, for me and my arts, our 'do' is Zen in motion.

Everyone else will have to decide for themselves.

Other noted Sensei of the past who included Zen/Buddhism in their Budo.
Sudamune Ogasawara.
Hojo Toriyori was a great supporter of Zen, and Hojo Tokumune was a strong practitioner of Zen.
Kamiizumi Ise No Kami
Yagyu Munetoshi
Yagyu Munenori
Ibaraki Sensai
Yamaoka Tessu (19th c.)
Yamada Mûmon 山田 無文
Umeji Kenran
Awa Kenzo
Anazawa
Suhara Koun

The 'Dō' 道 arts of Japan and 'Zen' 禅

Zen 禅 is a form of Buddhism that arrived in Japan from India as Dhana via China as Channa. The Japanese version of this is Zenna or Zen.

Dhana is a form of Buddhist meditation, absorption meditation to be precise. It is said by the Zen Masters that this is the meditation Shakyamuni Butsu (The founder of Buddhism) experienced to awaken to the true nature of reality.

As Dhana traveled through China it absorbed much of the Chinese thought, especially the principles and language of Taoism. It is this mixture that became Chinese Channa or Chan.

The same happened in Japan with the Descendants of Dogen Zenji (the founder Soto Zen in Japan), when they mixed and merged the Chan with the existing teachings of Japanese thought. It is this combination that we now know of as Zen.

The 'Dō' 道 of Japan is the Japanese pronunciation of Chinese Tao 道.
The dō existed in Japan along with Confucianism and Buddhism in Japan since the 6th Century AD. But these Taoist aspects played a minor role until Zen came to Japan. The dō arts of Japan reflect this influence of  Zen on the arts.

This is most easily seen as the role Zen played in reviving the sacred portions of arts like Calligraphy, Flower arrangement, Tea Ceremony and the other arts the aristocracy were playing with. The Zen monks interacted very strongly with the Warrior Class of Japan as well; and influenced their understanding of the world greatly.

Especially after peace time during the Tokogawa Shogunate...

Dosa - The Way of Movement

Dousa (動作) = Movement, the way you move or how you move,

動 = to move, to act, 

作 = to make, to work, production, same character as sahou (作法) = manner

We have spoken of Kamae and Inzo in previous posts, but I'll give a brief review and a few more details here.

Inzo being the Seal of the Kamae. The Inzo begins with the finger nails and toe nails to include the position of hands and feet as the point between our tanden and the universe around us. The Inzo seals the intent of the Kamae, so the Kamae is really important, as is it's seal.

Kamae is the Stance / Position / or Pose that implies both the moving in and moving out; but is primarily the position of our tanden in the universe. The position of our Tanden, of course, sets the position of our whole-self. When we discuss Kamae, we are usually talking about the body position, but since there is really no separation between... we are also speaking of: Where we are, How we stand; the positions we hold from our core principles and beliefs.

The third foundation of this triad is Dosa. The Dosa is the moving in and out of Kamae. How we move in the world. How we live our daily life... every moment of every day.

Of course all three of these rely on the secret 5.

1. Kokyu = Breathing

2. Yurumeru = Letting go / to relax

3. Tanden = Our Center

4. Hone = Bone

5. Hari = Stretching

The Dosa / Movement always begin and end with Rei (Manners / Etiquette / the physical bow). And Rei always begins and ends with Tanden (our Core). Moving with the Breath (Kokyu), Blood (Chi), and Bone (Hone) create a beautiful Dosa.

Being mindful of our position in the world and moving from our center without force, without pushing or pulling. By being in a beautiful pose for others to see and emulate, by showing movement of challenged ease, presents the Dosa of the Japanese Do arts.

Kamae - Position / Base / Stance

The teaching lies within each of us, and all of us.

Kamae 構え - Our presence, our position in the world, can often have a profound affect. We must be aware of how we stand.

In 'Do' arts we have 'Kamae'. Kamae is used to mean a stance. It is the base from which we move. It implies both position and movement. In kyudo every 'stop and no stop' posture as we pause to transition, this can be said to be Kamae. As we train please keep our Kamae in mind. Our positions and stances that we take in life are very important. Kokoro no Kamae is extremely important. Please give attention to these stances between the movements.

Every Kamae is accompanied by an inzo or seal. The Kamae includes the whole posture (wholeself, both body and mind/heart and more) the inzo is this as well, but concentrated on the extremities especially the hands, fingers and even the finger nails; the position of the inzo seals an intent that his naturally held within the shape and directions of the hands. These seals once formed have put into place the power of the Kamae and set the direction of this power.

The effect on the world of one individual being quiet and still is quite profound; the geometric increase of this, with each added individual is one of the greatest gifts we can give. Our profound presence is a fantastic present, in this present moment; This place in the universe effects directly the root of all suffering, of our ignorance, and the very root of our existence. Not just for the individual but for everyone and everything. It is of the greatest importance.

If we then interact in our daily lives from this place of profound connection! Imagine! Vision! Action! Daily activity of stillness and action... stillness in action... action in stillness... for there is no separation.

Kihontai - Basic Movements

In most kyu-dojo, I believe that after safety and information on the clothes and equipment most of us are taught the Kinhontai (basic movements) such as how to sit, stand, and bow.

My first period of training with sitting, bowing, standing, and walking was longer than most, since I'm such a slow learner. But I think I never, until now, really understood just how important this training is. At the time this seemed like just good training. This was the best time to learn these basics so that later we would be ready to shoot.

I continued to do this practice on an almost daily schedule. Than a few years ago as my knees deteriorated I let the movement of sitting and standing slip off my daily routine. Of course, I still did everything else, but this movement felt like it was hurting my ability to move more than helping it; so I let it go.

Then late last year I lamented that I couldn't stand and sit as well as I used to (imagine that if I don't train it, I can't do it, duh). But still, you'd think that after 30 years of training, I would be great at this. My knees have felt better lately (could be from the break of doing the practice, but I think not. I believe it's that I increased my walking around the block, tai chi, and yoga practices). In any case, I renewed my practice of standing and sitting back into my daily training.

The result has been a much deeper understanding of kihontai than I've ever experienced before. This practice is so much more important than I ever imagined, on so many levels of interaction; I don't even know where to begin discussing it.

Of course, we know that the tai hai or body movements we make to approach the target are just as important as the hassetsu or 8 stages of shooting we use to shoot the arrow. These two balance eachother and show eachother to us even clearer with their contrast. They also begin to interact with eachother, so one enhances the other.

I remember a Zen Priest from one of our performances saw me helping set up everything and asked, "So you do kyudo with him?" nodding to Kosaka Sensei. I answered "yes". He said, "So what's more important: the tai hai, the approach you do to the target, or the hassetsu of shooting the arrow". I answered, "Cleaning the dojo, before and after class". He responded that I was very well trained.

Cleaning the dojo, taking care of our equipment and clothes, and all of our practices are designed to heighten our awareness. Awareness of every detail that we can experience. So too with the Kihontai and Tai Hai, isn't it?

As my awareness of these basics increases, I discover that the movement of standing sitting walking and bowing is not what I thought. I always thought that the shooting movements were expanding and many of these other movemnet were contracting ones; but it turns out they are extending too. I noted that as I lowered to the ground my muscles were lengthening not contracting! I don't know if this is the way I've always done it, or if now that's what's happening to me from all the practice; because I was never aware enough of what I was doing to know. But it is obvious that this is the best way of sitting down and standing up.

It has also become clear that the development of the kahanshin (Lower half of the body) is the best way to support the johanshin (upper half of the body), especially as it receives the pressure of the bow.

As we all know, the act of bowing brings about a feeling of humility, another wonderful realization to feel this deeply as I do this daily practice. It has kept me open in body, mind, and attitude so that this year's training has brought about more realizations than any of my previous years. Perhaps all the years are stacked on top of eachother, but it feels more like they are just lining up. Our alignment as we do these basic movements is just as key, as the alignment we use when the bow opens us. The Ikasu (enlivenment) of ourselves as we breath fully and completely is just as important here as anywhere in our lives; it makes everything happen.

The rest of the realizations that are coming to me... I just don't know how to put it into words. Perhaps it's better if I don't. I do recommend a daily practice to anyone and everyone of sitting... bowing... standing... walking. Please experience it for yourself with awareness, it's a wonderful practice. A practice beyond the words to describe, if we're open to it and allow it to transform or lives.

Thank you,
jyozen