Kyudo, for me, is based on the teachings handed down to me by my teacher. There are several principles in the teachings that effect me in a particularly strong way.
One of these principles is change. This change is shown in our training as we adapt the movement of shooting; we are both moving and standing still at once... growing up inside while we expand the with the bow until the arrow flies; I love this.
Another is the principle of the asymmetrical balance. The idea that everything counts, but not equally. It works on a 70/30 rule of ratio's that seems to apply to so many things in my life that it amazes me. Then with the 'change' principle applied the ratio changes from moment to moment making life fresh and challenging all the time. There is also a natural ratio of 60/40 that without our interference appears in many aspects of kyudo; The bow for instance is asymmetrical with 60% to the heavens and 40% to the earth, this natural ratio seems to be appearing more and more in my life.
Of course all this is discovered from the quiet meditative mind we develop.
As we meditate we recognize our mortality. Then, although we embrace change, and our inevitable death, we use this recognition as motivation to live life to the fullest... every moment of every day... laughing and smiling.
What a wonderful life we develop when we stand quietly and learn from the japanese bow and arrow...
Wednesday, March 10, 2010
Monday, January 11, 2010
In shazendo there are 10,000 targets;
we must hit them all.
yet be attached to none.
First find the tanden
The center of the universe.
Reach to the target you can see
the one everyone wants to hit.
Find the invisible target
that lies behind you
where one would be if you just turned around and looked.
If you can hit the tanden, it's all you need
If you can hit the visible one, many will envy you.
If you can hit these two, many will me in awe.
To hit all three, you are on your way.
Only a few will hit all three.
Only one out of 10,000 can find all 10,000 targets.
But really rare are those of us who,
once we have them all,
are willing to let them go.
It only takes an instant,
it's actually a wonderful experience.
and very easy to do.
Will you do it?
Will you do it now?
we must hit them all.
yet be attached to none.
First find the tanden
The center of the universe.
Reach to the target you can see
the one everyone wants to hit.
Find the invisible target
that lies behind you
where one would be if you just turned around and looked.
If you can hit the tanden, it's all you need
If you can hit the visible one, many will envy you.
If you can hit these two, many will me in awe.
To hit all three, you are on your way.
Only a few will hit all three.
Only one out of 10,000 can find all 10,000 targets.
But really rare are those of us who,
once we have them all,
are willing to let them go.
It only takes an instant,
it's actually a wonderful experience.
and very easy to do.
Will you do it?
Will you do it now?
Wednesday, December 30, 2009
Teaching
When Kosaka Sensei said, 'Rick carries my legacy,' he actually said Rick, and others, carries my legacy. Since this was the first time I'd heard him utter such a statement, I wondered who the 'others' were. I'm fairly certain though that the 'others' refers to Nobuyo Okuda and Robert Williams.
When I first started to help Kosaka Sensei teach the classes, Nobuyo and Robert were among my first two. Robert was extremely talented and seemed like an enlightened Guru to me already, I even wondered why he came, did he really need this training?
Nobuyo too, was already a tea teacher. Nobuyo wanted to live here in the U.S. so she gave up the Iemoto (inheritor) position of her families practice in favor of her sister.
I think that to have me start teaching with these two was almost a joke among the 'real' Sensei.
They asked me to teach Nobuyo how to 'walk'. This was our basic instruction in walking, sitting, kneeling, and bowing that was my main practice when I started with the Los Angeles Kyudo Kai. I was so pleased and proud that they asked me to teach someone. I walked up (with my nose in the air) and said, 'follow me' and had her copy my movements as I had copied the Sensei who taught me. But as I watched Nobuyo-san from the corner of my eye, I quickly realized that she was already better than I was. I lead her through the movements a few time and said, 'ok, she knows it.. now what do you want me to do?' I think they sent me to make tea.
After I was 'stamped' Nobuyo-san began to call me Sensei (even though we had agreed years before that there was only one Sensei in our school, and that was Kosaka Sensei); but I insisted on calling her Sempai (senior) too. So although the Sensei' teased me by having me try and teach those already beyond me, we now tease eachother with such phrases as Sensei and Sempai too.
When I first started to help Kosaka Sensei teach the classes, Nobuyo and Robert were among my first two. Robert was extremely talented and seemed like an enlightened Guru to me already, I even wondered why he came, did he really need this training?
Nobuyo too, was already a tea teacher. Nobuyo wanted to live here in the U.S. so she gave up the Iemoto (inheritor) position of her families practice in favor of her sister.
I think that to have me start teaching with these two was almost a joke among the 'real' Sensei.
They asked me to teach Nobuyo how to 'walk'. This was our basic instruction in walking, sitting, kneeling, and bowing that was my main practice when I started with the Los Angeles Kyudo Kai. I was so pleased and proud that they asked me to teach someone. I walked up (with my nose in the air) and said, 'follow me' and had her copy my movements as I had copied the Sensei who taught me. But as I watched Nobuyo-san from the corner of my eye, I quickly realized that she was already better than I was. I lead her through the movements a few time and said, 'ok, she knows it.. now what do you want me to do?' I think they sent me to make tea.
After I was 'stamped' Nobuyo-san began to call me Sensei (even though we had agreed years before that there was only one Sensei in our school, and that was Kosaka Sensei); but I insisted on calling her Sempai (senior) too. So although the Sensei' teased me by having me try and teach those already beyond me, we now tease eachother with such phrases as Sensei and Sempai too.
Tuesday, December 29, 2009
Quote from Shakyamuni
"No one saves us but ourselves. No one can and no one may. We ourselves must walk the path" Shakyamuni Butsu
Saturday, December 26, 2009
Be a lamp unto yourself
In our school we are taught 'jiriki'. Jiriki is self power.
Kosaka Sensei once told me that he would like to pass his realization on to us. But that there is a problem. Once he tells me of his experience, it is 5 steps away from the Truth. 'Why is that?' was the question on my face. He answered, 'When I want to say it, I have to formulate the experience into thoughts and then into words...then you hear those words and interpret them your own way...and create your own understanding of my experience. So, we are 5 steps away from my experience; we have no idea how far away from yours.'
Shakyamuni Buddha told his followers, just before his death (when asked who would be their teacher once he was gone).
"Be lamps unto yourselves.
Be refuges unto yourselves.
Take yourself no external refuge.
Hold fast to the truth as a lamp.
Hold fast to the truth as a refuge.
Look not for a refuge in anyone besides yourselves.
And those, Ananda, who either now or after I am dead,
Shall be a lamp unto themselves,
Shall betake themselves as no external refuge,
But holding fast to the truth as their lamp,
Holding fast to the truth as their refuge,
Shall not look for refuge to anyone else besides themselves,
It is they who shall reach to the very topmost height;
But they must be anxious to learn."
(Quoted in Joseph Goldstein, The Experience of Insight)
Kosaka Sensei once told me that he would like to pass his realization on to us. But that there is a problem. Once he tells me of his experience, it is 5 steps away from the Truth. 'Why is that?' was the question on my face. He answered, 'When I want to say it, I have to formulate the experience into thoughts and then into words...then you hear those words and interpret them your own way...and create your own understanding of my experience. So, we are 5 steps away from my experience; we have no idea how far away from yours.'
Shakyamuni Buddha told his followers, just before his death (when asked who would be their teacher once he was gone).
"Be lamps unto yourselves.
Be refuges unto yourselves.
Take yourself no external refuge.
Hold fast to the truth as a lamp.
Hold fast to the truth as a refuge.
Look not for a refuge in anyone besides yourselves.
And those, Ananda, who either now or after I am dead,
Shall be a lamp unto themselves,
Shall betake themselves as no external refuge,
But holding fast to the truth as their lamp,
Holding fast to the truth as their refuge,
Shall not look for refuge to anyone else besides themselves,
It is they who shall reach to the very topmost height;
But they must be anxious to learn."
(Quoted in Joseph Goldstein, The Experience of Insight)
Monday, December 21, 2009
Borrowed from Dan & Jackie DeProspero
With permission from DeProspero Sensei I have posted a portion of his website and book about Zen and Kyudo that I thought was so well said, I couldn't improve on it.
"Much has been written about the philosophical connections of kyudo. Perhaps most known is the book Zen in the Art of Archery by Eugen Herrigel. In his book Mr. Herrigel sets forth his experiences with kyudo in the 1930's. It was a beautifully written account that has been translated into many languages, giving people worldwide their first glimpse of the art. Unfortunately, the book was very one-sided in its description of kyudo as a Zen art and is responsible for a lot of the current misconception surrounding the practice of kyudo as a religious activity.
While kyudo is not a religion it has been influenced by two schools of Eastern philosophy: The previously mentioned Zen, a form of Buddhism imported from China, and Shintoism, the indigenous faith of Japan. Of the two, the influence of Shintoism is much older. Ritualistic use of the bow and arrows have been a part of Shintoism for over two thousand years. Much of the kyudo ceremony, the attire worn by the archers, and the ritual respect shown for the equipment and shooting place are derived from ancient Shinto practice.
The influence of Zen, on the other hand, is more recent, dating back to the Kamakura Period (1185-1333) when the warrior archers adopted Zen as their preferred method of moral training. Zen's influence on kyudo became even greater in the seventeenth and eighteenth centuries when Japan, as a whole, experienced a period of civil peace. During that time the practice of kyudo took on a definite philosophical leaning. This is the period when sayings like "one shot, one life" and "shooting should be like flowing water" were associated with the teaching of kyudo. Because of its long and varied past, modern Japanese archery will exhibit a wide variety of influences. Today, at any given kyudojo (practice hall), one can find people practicing ancient kyujutsu, ceremonial court games, rituals with religious connections, and contests of skill. The key to understanding kyudo is to keep an open mind and realize that any style of kyudo you see or practice is but a small part of a greater whole, and that each style has its own history and philosophical underpinnings which make them all equally interesting and important."
by Dan and Jackie DeProspero, co-authors with their teacher, Hideharu Onuma Hanshi, of the books Kyudo: The Essence and Practice of Japanese Archery and Illuminated Spirit: Conversations with a Kyudo Master
http://www.kyudo.com.html—Revised April 15, 2007
Copyright © 1998 Dan and Jackie DeProspero
"Much has been written about the philosophical connections of kyudo. Perhaps most known is the book Zen in the Art of Archery by Eugen Herrigel. In his book Mr. Herrigel sets forth his experiences with kyudo in the 1930's. It was a beautifully written account that has been translated into many languages, giving people worldwide their first glimpse of the art. Unfortunately, the book was very one-sided in its description of kyudo as a Zen art and is responsible for a lot of the current misconception surrounding the practice of kyudo as a religious activity.
While kyudo is not a religion it has been influenced by two schools of Eastern philosophy: The previously mentioned Zen, a form of Buddhism imported from China, and Shintoism, the indigenous faith of Japan. Of the two, the influence of Shintoism is much older. Ritualistic use of the bow and arrows have been a part of Shintoism for over two thousand years. Much of the kyudo ceremony, the attire worn by the archers, and the ritual respect shown for the equipment and shooting place are derived from ancient Shinto practice.
The influence of Zen, on the other hand, is more recent, dating back to the Kamakura Period (1185-1333) when the warrior archers adopted Zen as their preferred method of moral training. Zen's influence on kyudo became even greater in the seventeenth and eighteenth centuries when Japan, as a whole, experienced a period of civil peace. During that time the practice of kyudo took on a definite philosophical leaning. This is the period when sayings like "one shot, one life" and "shooting should be like flowing water" were associated with the teaching of kyudo. Because of its long and varied past, modern Japanese archery will exhibit a wide variety of influences. Today, at any given kyudojo (practice hall), one can find people practicing ancient kyujutsu, ceremonial court games, rituals with religious connections, and contests of skill. The key to understanding kyudo is to keep an open mind and realize that any style of kyudo you see or practice is but a small part of a greater whole, and that each style has its own history and philosophical underpinnings which make them all equally interesting and important."
by Dan and Jackie DeProspero, co-authors with their teacher, Hideharu Onuma Hanshi, of the books Kyudo: The Essence and Practice of Japanese Archery and Illuminated Spirit: Conversations with a Kyudo Master
http://www.kyudo.com.html—Revised April 15, 2007
Copyright © 1998 Dan and Jackie DeProspero
Sunday, December 13, 2009
History of Archery in Japan
History of Archery in Japan:
In the Prehistoric Period (7000 B.C.E. – C.E. 330), archeological evidence of a hunter/gatherer group called the Jomon suggested that they frequently utilized the bow and arrow, probably primarily as a hunting tool.
Since the beginning of the study of archery in Japan, there has always been a spiritual aspect attributed to the use of the bow and arrow: either to scare away evil spirits or purify space. These spiritual elements of archery are preserved today in kyudo through traditional ritual movements and practices.
During the latter part of this period, the legendary first emperor of Japan, Emperor Jimmu, ascended to the throne. He is often depicted with a bow, as a symbol of authority. Many of the bows pictured during this time were already long and asymmetrical.
In the Ancient Period (330–1192), Japanese culture was strongly influenced by China. The Japanese adopted the ceremonial archery of the Chinese aristocracy, and it was considered a measure of a noble to be skilled in archery. With the rise of the professional samurai, the end of the ancient period saw the beginning of the kyudo ryus (martial-arts archery schools). This also marked the start of standardization of instruction in archery.
During the Feudal Period (1192–1603), toward the end of the 12th century, the Ogasawara Ryu standardized yabusame (archery on horseback). Civil wars during the 15th and 16th centuries created a great demand for capable warriors, and this period saw a great development of all martial arts, including archery. Heki Danjo Masatugu, an archer who according to some sources lived in the mid-to-late 1400s, codified his own method of archery and formed what came to be known as the Heki Ryu. Danjo's teachings still influence some of the non-Kyudo-Federation-regulated styles that are practiced today.
In the mid-16th century, the Portuguese introduced the musket to Japan. The musket eclipsed the bow and arrow as the most effective long distance weapon, and resulted in a significant diminution in the bow's use.
The Transitional Period (1603–1912) was a period of peace in Japan This was the time during which the great archery competitions were held in the temple of Sanjusangendo in Kyoto. The temple is 120 meters long, and this competition measured how many arrows could be shot within a 24-hour period that could travel the full length of the temple and strike the target at the temple's opposite end. (Ancient arrows from these competitions can still be seen in some of the temple's structural members.) The current modern record is held by Wasa Daihachiro with 8,133 hits out of 13,053 arrows shot; this feat required the archer to shoot an average of one arrow every six seconds over the entire twenty-four-hour period. During this time, the martial art of kyujitsu arose (kyujitsu differs from kyudo in that kyujitsu refers to technique of shooting, whereas kyudo is a method of using the bow to discover a path of harmony and balance).
By the end of the 17th century, ceremonial archery was becoming popular outside of the warrior class. Towards the turn of the 20th century, Honda Toshizane, who was at that time the instructor of kyudo at the Tokyo Imperial University, combined what he considered to be the best of all the existing styles (as he knew them), melded the ceremonial and warrior archery forms, and created the Honda Ryu, which eventually became the basis of modern kyudo.
In the Modem Era (1912 to the present), attempts at greater standardization occurred under the auspices of such organizations as the Zen Nihon Kyudo Renmei, and there are now more than one-half-million kyudo practitioners world-wide.
In the Prehistoric Period (7000 B.C.E. – C.E. 330), archeological evidence of a hunter/gatherer group called the Jomon suggested that they frequently utilized the bow and arrow, probably primarily as a hunting tool.
Since the beginning of the study of archery in Japan, there has always been a spiritual aspect attributed to the use of the bow and arrow: either to scare away evil spirits or purify space. These spiritual elements of archery are preserved today in kyudo through traditional ritual movements and practices.
During the latter part of this period, the legendary first emperor of Japan, Emperor Jimmu, ascended to the throne. He is often depicted with a bow, as a symbol of authority. Many of the bows pictured during this time were already long and asymmetrical.
In the Ancient Period (330–1192), Japanese culture was strongly influenced by China. The Japanese adopted the ceremonial archery of the Chinese aristocracy, and it was considered a measure of a noble to be skilled in archery. With the rise of the professional samurai, the end of the ancient period saw the beginning of the kyudo ryus (martial-arts archery schools). This also marked the start of standardization of instruction in archery.
During the Feudal Period (1192–1603), toward the end of the 12th century, the Ogasawara Ryu standardized yabusame (archery on horseback). Civil wars during the 15th and 16th centuries created a great demand for capable warriors, and this period saw a great development of all martial arts, including archery. Heki Danjo Masatugu, an archer who according to some sources lived in the mid-to-late 1400s, codified his own method of archery and formed what came to be known as the Heki Ryu. Danjo's teachings still influence some of the non-Kyudo-Federation-regulated styles that are practiced today.
In the mid-16th century, the Portuguese introduced the musket to Japan. The musket eclipsed the bow and arrow as the most effective long distance weapon, and resulted in a significant diminution in the bow's use.
The Transitional Period (1603–1912) was a period of peace in Japan This was the time during which the great archery competitions were held in the temple of Sanjusangendo in Kyoto. The temple is 120 meters long, and this competition measured how many arrows could be shot within a 24-hour period that could travel the full length of the temple and strike the target at the temple's opposite end. (Ancient arrows from these competitions can still be seen in some of the temple's structural members.) The current modern record is held by Wasa Daihachiro with 8,133 hits out of 13,053 arrows shot; this feat required the archer to shoot an average of one arrow every six seconds over the entire twenty-four-hour period. During this time, the martial art of kyujitsu arose (kyujitsu differs from kyudo in that kyujitsu refers to technique of shooting, whereas kyudo is a method of using the bow to discover a path of harmony and balance).
By the end of the 17th century, ceremonial archery was becoming popular outside of the warrior class. Towards the turn of the 20th century, Honda Toshizane, who was at that time the instructor of kyudo at the Tokyo Imperial University, combined what he considered to be the best of all the existing styles (as he knew them), melded the ceremonial and warrior archery forms, and created the Honda Ryu, which eventually became the basis of modern kyudo.
In the Modem Era (1912 to the present), attempts at greater standardization occurred under the auspices of such organizations as the Zen Nihon Kyudo Renmei, and there are now more than one-half-million kyudo practitioners world-wide.
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