How They Create and Affect Communities
What if there was a way to describe martial arts, which would have put them in a whole new light? In this article, I am to present to you such a novel perspective, which may change the manner in which you think about various styles and systems, irrespective of the tradition in question.
We are all familiar with the standard notions by which martial arts are categorized, of course. There are national titles: ‘Brazilian’, ‘Japanese’, ‘Chinese’, etc. There are orientational descriptions: ‘Traditional’, ‘Competitive’, and even ‘Community-based’. There are timelines: ‘Ancient’, ‘Traditional’, ‘Modern’, ‘New’. There are technical definitions: ‘Internal’, ‘External’, ‘Hard’, ‘Soft’. All experienced martial artists know as much. Yet here is a more interesting way to think about our beloved practices, which I shall present to to you momentarily. First, however, a brief introductory note is due.
In the beginning of the 20th Century, was published a very controversial book. It is titled: ‘The Decline of the West’. The brilliant mind behind ‘The Decline of the West’, Oswald Spengler, was not a martial artist. But, we can learn a few good things from him and his work. Chiefly as it relates to our subject here – Oswald Spengler suggested, that every civilization to have ever existed, could be described by just one key word. Yes, indeed. Not a book. Not a chapter. Not a paragraph. Not a sentence. A single word may suffice, to encapsulate the essence, purpose and goals of an entire civilization. Quite a statement, is it not?… I shall leave it to interested readers, to go on an explore how Spengler made this fascinating and, in my opinion, accurate argument. As to this article before you, I am here to propose something similar. In line with Spengler’s idea, what if it was possible, to define an entire martial art, or perhaps even several, by utilizing a single word, to denote an encompassing concept? I shall begin with examples which are more obvious, and then move into ones which you have likely not considered before.
Chess
The easiest concept to begin with, is that of ‘Chess’. This one is convenient, as various traditions are already referring to what they practice as Chess. But it should be pointed out, that only Brazilian Jujutsu, and perhaps a handful of similar grappling styles, would bear that sort of descriptor appropriately.
The characteristics of a regular game of Chess are as follows: there are only two players, it is played slowly, there is ample time for strategy and tactical planning, the players plan several moves in advance, seasoned players know all of the possibilities in theory, there are strict rules which cannot be overridden, the play is upon squares and rectangles, and practical, trained intelligence along cultivated skills, tends to take precedent over emotions, intimidation or raw natural ability.
All of the above are great illustrations of Brazilian Jujutsu and similar styles, when they are played at their best. Yet not as much for other martial arts. Other styles are often too rapid in movement, do not provide sufficient time to strategize and tactically plan, are not as rule-based, not necessarily played on squares and rectangles, may give an advantage to raw natural ability to a degree, may be played by more than two peopel, etc.
Another aspect to this theme of Chess, is that of community. BJJ has arguably structured its ranks, nationally and internationally, in a similar way to that of the Chess communities worldwide. Furthermore, that the structure and nature of the game, in both examples, has led to the development of much professional literature – written, auditory and filmed, which preserves and promotes such communities, their practices and their beliefs.
Speed Chess
The main difference between Chess and Speed Chess is the rapidity of action. Speed Chess is faster, and more chaotic. Still, it retains the overall structure of Chess, and especially the concept of working via action-reaction, with each movement being both offensive and defensive at the same time, and attempting to set up a trap.
Two arts which can be described via this modality of Speed Chess are Wing Chun and Escrima (including Kali and Arnis). Coincidentally, these arts are known for their trapping skills.
Admittedly, this analogy between Speed Chess and Wing Chun and Escrima, is not as strong as that of Chess with BJJ. However, it is still a valid and coherent descriptor.
Although Wing Chun and Escrima have a large array of possibilities at their disposal, and are comparatively less rule-bound, they are still ‘Chess-thinking arts’. The concept is typically that of using a few basic movement approaches to solve the greatest array of possible problematic scenarios. The opponent may be attacked head-on, but is often lured into attacking, instead. Speed and aggression are used to overwhelm, but the pathways of motion are dictated in advance, based on what are considered the most efficient patterns to achieving martial superiority. As is the case with the transition from Chess to Speed Chess, because of the increase in velocity, the strategic element is deemphasized, while the intuitive-reactive aspect is more greatly relied-upon.
Granted, all three of the arts mentioned thus far – BJJ, Wing Chun and Escrima, may at times be played more like Chess, and other times, more akin to Speed Chess; all depending on the circumstances. The themes are meant to allow us to grasp their essence, and not to cover all possible scenarios in which they might be used.
Similarly to BJJ, the art of Wing Chun has been able to develop national and international communities, dedicated to its traditions and theme. Curiously however, the Wing Chun communities feature a political scene which is often among the nastiest in recorded martial arts history. That is not to say the most Wing Chun practitioners are akin to despicable parliament members, but nonetheless, there is no shortage of such characters, unfortunately. I can be argued, that one of the reasons for this, has to do with the theme of ‘Speed Chess’. The Wing Chun players are often hassling and conning, with their movements and techniques, similar to sly and experienced Speed Chess players in public parks. The art encourages practitioners to be quick, deceitful, elusive and aggressive. Some people, especially men, have come to embody this spirit too excessively within their private lives, beyond the physical practice. This bears consequences and ramifications, socially and politically.
Skirmish or Duel
Unlike Chess or Speed Chess, a Skirmish or a Duel, is a wilder encounter. It often still features rules, but it is more likely to involve emotions, tends to be less structured, and includes exchanges of blows often simultaneous, and less frequently in turns. The place and the time are agreed upon in advance, but the opponents may originate from very different backgrounds. Chess is meant to played by gentlemen, but the Skirmish or Duel may also be played simply for money, ego or fame, and that is commonly the case, too. Or, to put in other words – that some gentlemen skirmish or duel, is more of a coincidence, than the nature of the altercation, amongst most who partake in it.
Granted, all martial arts worthy of their name, have some measure of ‘skirmishing’ and ‘dueling’ intertwined into their curriculum. But there are certain arts which, to their core, embody such concepts more so than others.
The arts we may associate with Skirmishes and Duels most distinctly are Western Fencing, Western Boxing and MMA. Uniquely, these arts are designed and designated specifically and strictly to train, prepare and involve all of their practitioners in skirmishes and duels.
Nowadays, some schools of Historical European Martial Arts (HEMA), also play similarly to MMA. Thus, they may be described as ‘Skirmishing and Dueling Styles’, too.
Muay Thai is a curious example in that regard. It can, like the others, be placed into the same category, especially in Western Countries. However Muay Thai, as taught authentically, also features a strong traditional flavour, which is conveyed via rituals – in training, before fighting and following fights. Thus, we may refer to Muay Thai as a ‘Ritualistic Skirmish Art’. Another way to define it, would be that Muay Thai is a Skirmish-driven art, which infuses the local culture of its nation of inception, into the combative heritage. Practically, it means that Muay Thai, as taught in Thailand, strives to add a spiritual, perhaps even a religious facet, to its already extant skirmish-oriented personality.
The purpose of a skirmish or duel is to produce a victor. This is why in the abovementioned arts, the combative result of a draw, is usually frowned-upon. Further, it is difficult for such arts to build healthy and long-lasting communities. Their theme and structure lend themselves to a Darwinian pattern: ‘survival of the fittest’. Only the few most exceptional specimen of each generation are remembered. The rest are forgotten, often lost to history; and even of the victors, what is typically mentioned and enshrined as the generations pass, are words of praise for their combative prowess and skill, with little about their personality or non-combative achievements. Exceptions exist, but are few.
Animal
In China, animal-imitation styles are common. In such a case, the animal itself is the martial theme. Perhaps the most common animals featured are the Tiger, Crane, Snake, Leopard, Dragon, Monkey and Praying Mantis.
The ignorant Westerner often mistakes this imitation of animals to be a form of jest; a type of childish theatrical act. For in Modern Western Culture, the imitation of animals is something which usually, only the children partake in. But this view of the matter is both uninformed and condescending. Animal imitation is, in fact, an important aspect of cultural folklore, and a shamanic act.
The majority of humans up to the 21st Century CE, have engaged in either agriculture or some type of animal husbandry. For the human species, the animals were then not only provisions of food, but also a source of spiritual power. Since time immemorial, humans have recognized that the imitation of animals can bring from within the depth of the soul, various types of powers and intentions which a person finds difficult, if not impossible, to invoke under ordinary circumstances. In other words, the animals have become for people, an object of fixation, which has enabled the exploration of what is possible, in terms of both movement and consciousness. This is a form of Shamanism. However, it should be pointed out, that Shamanism can often be energetic and spiritual, without being religious. Meaning, that it is actually quite unusual and rare, at least in our time, for the animals to be worshipped, or to symbolize specific deities. Rather, animal-mimicry is Shamanism in the sense that a person utilizes a force of nature, to empower himself, and manifest extraordinary qualities.
The question of combative efficiency, which is important to martial arts in general, is tertiary at best for most animal-mimicry styles. Instead, the Shamanic aspect, as well as the preservation of folklore ideas, tales and traditions about the animals in question, are considered most important. That being said, some of the lineages involved, especially those from oldschool non-modern Shaolin, feature incredible martial skills and techniques. For such styles, the animal is used to ‘awaken’ the martial potential within the practitioner.
Due to the inherent detachment of the average person from Nature in Modern Western Culture, many martial artists of our generation, mock the animal-mimicry styles. These arts look ridiculous to them. But in tandem with that disrespect, one may observe that the names and qualities of animals feature heavily in the world of sports martial arts, nonetheless. Fighters are famously nicknamed after various animals, and techniques are also frequently allotted animal names and descriptions. Indeed, the animals are liked and admired universally by humans beings, including martial artists. It might be solely due to an innate anti-Shamanic bias in our Western Judeau-Christian Culture, that we have not yet seen complete animal-mimicry styles being created in the Occident. Yet must be reemphasized that, when the religious elements are absent – and such is usually the case, the animal-mimicry styles do not stand in contrast with the beliefs of either Judaism, Christianity or Islam.
Please note, that here I write of traditional and combative-oriented animal-mimicry arts. There are also a myriad of operatic and melodramatic styles, belonging with Modern Wushu, which are a form of dance, more so than being martial arts per-se.
Jungle
There are arts which may or may not feature specific animal-mimicry, but whose essential quality of movement, is ‘wilder’; not in the sense of being savage, chaotic or barbaric, but in having the flow of a human who dwells in a jungle setting. Two martial arts which stand out in that regard, are the Indian Kalaripayattu, and the Indonesian Penchak Silat. Granted, these are broad umbrella terms, and not all of their sub-styles would be in agreement with this theme. But the majority would, as far as I could tell.
The Jungle Theme presents with a heritage of humans who have literally lived closer to jungles, or even within them. While the Animal-Mimicry Theme features the conceptual movement principles, strategies and tactics of animals, the Jungle Theme demonstrates to the utmost, the actual energy of the environment in which they live. Such nuances are difficult to describe, but become apparent once viewed with your eyes. Thankfully, we live in an era with much video documentation available, to help readers elucidate for themselves, what it is that I mean.
Civilized modern people are very distanced from our ancestral jungle heritage. Perhaps this is why, both Kalaripayattu and Silat, have had a more difficult time, obtaining a large following over the past few decades, as compared with other arts. Few are those wishing to ‘regress into their ancestral authenticity’, as much as many of these arts’ sub-styles often require.
Integration
This martial theme is characteristic of Aikido. It follows the question – How Do I Integrate? Me into Myself, Myself with Another, Myself into my Community, and my Community in the World at large. Aikido is secretly and often subconsciously obsessed with these questions and that theme, usually in a good way. The name of the art itself denotes this. Aikido 合気道 may literally be translated as: ‘The Way of Harmonized Ki (Qi)’. Thereby, expressing the notion that the harmonizing of energetic relationships – Integration – is the main purpose and goal of the art.
This question and theme – Integration, and How Do I Integrate?, are about Self-development. They are not about martial utility at all. Sometimes, martial utility is one of the primary instruments by which the theme and questions are promoted in Aikido. Other times, there is only virtue-signaling at the idea of martial utility.
People who like to criticize Aikido regarding the notion of martial utility, often miss the point in that regard. The majority of Aikidoka are not strongly inclined to pursue the question of martial utility, even if they say that they do. They are not interested as much, because their art was conceived around other themes and questions to begin with. Such truths about Aikido, I explore in great depth in my upcoming book, ‘Martial Arts Politics Explained’ (due to be released later in 2024). But suffice to say, that it matters not that the founder of Aikido, “was once a fighter”. What matters is that this man, the late Morihei Ueshiba Sensei, chose as a mature adult, who was also deeply religious, to convey a curriculum with the theme of Integration. Once Ueshiba has adopted the Integration Theme, all else has become secondary.
That Aikido revolves around Integration, has tremendously assisted its spread across the world. Integration is a much better theme for the purpose of community-building, than, say, that of ‘Skirmish’, ‘Duel’, ‘Animal’ or ‘Jungle’. Indeed, Aikido communities are much more ‘integrated’, than what might be observed in many other schools and organizations.
However, some people come into Aikido in the hopes that it would be something else. Since many Aikido Senseis market their instruction to the general crowed of those interested in martial arts, they might emphasize the self-defense or even combative aspects of what they teach, presenting these to newcomers as part of the ‘core identity’ of this art. Such newcomers are often later disappointed to find out, that they may have projected onto Aikido, a theme which misrepresented what they were actually practicing. This problem pervades in other martial arts as well. Because the language of ‘martial themes’ does not even exist in the common vernacular, such confused individuals find it difficult to explain, even to themselves, why they feel an internal conflict with their practice. Sometimes, they might leave their dojo after years or even decades, angry or upset, moving on to a more combative style, or abandoning the martial arts altogether. All due to the fact, that the theme they had in mind, was not the theme of the art, organization or school.
Grace
In the broader scope of culture, the Grace Theme is typically associated with dance. In the martial arts, it is characteristic primarily of Modern Wushu. This very beautiful yet entirely fabricated genetic mutation of Modern Wushu, is the love-child of the Chinese Communist Party, and various teachers whom it either employed or coerced to create it. When writing of Modern Wushu, I am referring to a collective of various movement-forms (taulu), performed as athletic dances, scored by points in competitions, and disingenuously presented as “Chinese Martial Arts”. For all intents and purposes, they are ‘martial dances’.
Although Modern Wushu is difficult to define as a martial art, it does bring forth an interesting point to debate. The element and theme of Grace – in movement, not in religion, is a human need. Grace embodies perfection, symmetry and beauty – all means of bringing a human closer to the divine. Even those who watch others perform, find pleasure in seeing Grace exercised among fellow men and women; for Grace calms the Spirit, in knowing that the human species is capable of something which is exceptional and magnificent.
Modern Wushu, although it elevates Grace to a pedestal, is by no means the only martial expression of it. As a theme, to a degree, Grace exists in all of the martial arts. It is usually considered to be a mere by-product of martial excellence. But some martial arts, such as Aikido, Bagua Zhang and Taiji Quan, also actively pursue it for the sake of it. This is often envied, by those who lack grace themselves. Such envious people are like the angst-filled teen, who is driven to scratch the exterior a shiny car, because he feels ugly, and that object represents beauty. Much as this is the case, there are many martial artists who would mock styles with graceful movements, because they are envious of not having the means to generate that sort of allure in their own practice. Thus, they criticize and bicker with the harshest of language. Whether they are correct in their analysis is less important, relative to the observation of why they choose to behave in that manner.
Flow
This is a theme alluded to by all martial arts, but genuinely pursued to the utmost only by a handful. The arts most distinguished for holding it as nearly sacred, are Bagua Zhang and Taiji Quan; of which, there are many sub-styles and lineages.
The theme of Flow, is the idea of being in perpetual motion, like water. Bagua Zhang expresses this more similarly to a rushing and gushing river, while Taiji Quan is more akin to strong ocean currents; though both can, on occasion, demonstrate a duality of such qualities.
Flow is a tricky thing. Flow means constant change, and people abhor change. Let us consider this concept of Change, brought about by Flow, through the lens of the Five Phases: Wood, Fire, Earth, Metal and Water. Flow and Change are most closely associated with Water. Although we could all express Wood, Fire, Earth, Metal or Water in our thoughts and actions, Humans are nonetheless ‘Earth Animals’. Most of us like and enjoy qualities of Earth in our lives: abundance, homeliness, stability and predictability. In the long-term, the majority of us would also not be healthy, without such earthy qualities. Water is an element which disperse Earth, shakes it, and moves it around. All humans thrive on the balance between those two attributes of Water and Earth – Change and Stability. Change to grow and adapt with the circumstances, and stability to be able to thrive based on consistency and solid foundations.
Bagua Zhang and Taiji Quan ask people to embrace Change and Flow – to be more like Water. Most people cannot do this. They there either reject such martial arts altogether, or practice them in an ‘earthy’ way – stable and predictable, without a deep understand of the theme of Flow, and the Change associated with it.
Making things even more difficult is the fact that Flow and Change have no agenda. Water has no agenda. Water carries the memory of what it passes through. Therefore, martial arts which involve the theme of Flow – which are associated with Water, require exceptional and meticulous guidance from the Shifu. Yet ironically and paradoxically, those who excel at such martial arts, so readily embody the theme of Flow, that they commonly lose the desire to direct, coerce or even educate their students in a meaningful way. Rather, they would rather allow people to ‘flow into their own paths, over time’. Also, these types of teachers often have such a ‘watery character’ to begin with, which is why they are attracted to such martial arts.
Dignity & Reverence
Here we see the theme most prominently associated with Okinawan and Japanese Karate, especially the latter. To appear dignified and to revere the style, the transmission and the ancestors, is the most major theme pertaining to these martial arts.
Dignity is about behaviour, habits, bearing, disposition, countenance and body language. A white suit. A clean suit. A clean dojo. A tidy and neat dojo. A bow. How about many bows? Bow also, to the place itself. A bow, even when no one is around. Pay your respects. Clean yourself. Clean your technique. Tie the belt, but only in a specific way. Fold the belt with the suit, as neatly and tidily as you clean the premises. Make a solemn face. Declare your intentions by speaking the name of a kata as if addressing ‘His Majesty’. Make few sounds, but utter them strongly and assuredly enough so they are well-heard. Know your place. Tell others their place. Celebrate hierarchy and cherish bureaucracy. Have the tempo and rhythm of a multi-geared, well-oiled machine. Know how to take pauses in a performance, to make an impression.
But God forbid, never change the kata! At worse, consider minor changes, after a few decades of practice. After all, kata are from the ancestors. Who can stand, to the might and right of the ancestors? Few can. Not you. At least not now.
Are these not all, so very characteristic of most schools of traditional Karate? Indeed, they are.
To an extent, such attributes and theme, are also characteristic of many other styles of Traditional Japanese Martial Arts, including Aikido. That is, because Japanese Culture as a whole, has such inclinations. But Traditional Karate tends to feature them most prominently, and place the greatest emphasis upon such matters. It is because being a Karateka, is often about gaining such qualities exactly: of Dignity and Reverence.
Dignity is about Self-Esteem and Self-Confidence. Reverence, albeit often targeting other people, is nonetheless also about Self-Respect. When you have dignity, you value yourself, and stand secure in your position in life and within a community. When you have reverence, this helps you feel that you are doing the right thing. All martial arts, are supposed to help one improve their self-esteem, self-confidence and self-respect. What makes Traditional Karate different, is using the theme of Dignity & Reverence as a ‘main selling point’ for the promotion of those positive attributes, and placing that theme at the forefront.
The Limitations of Themes
In full sincerity, it should be admitted that the majority of themes explored in this article, exist in most martial arts, at least to a minor degree. Still, there is much value in having drawn-out such generalizations. Because it is equally correct to state, that despite of this, a given style of martial arts will always feature a single theme, which is over-arching, and far stronger in its manifestation and agenda, compared with the others.
We should also take into consideration, that not every martial theme can be contained and explained with the vocabulary available to us in the English language. Some martial themes require words and terms which have yet to be invented. Thus, this budding concept in ‘Martial Sociology’, is still limited in our time.
Themes First, Tools Second
The common martial artist believes, that styles exist for a technical purpose; that martial arts are first and foremost intended to solve combative problems. However, the truth of the matter is, that whenever tradition and culture come into play, what dominates the curriculum and the expression is the Theme.
Yes, I am here to make the controversial claim, that thematic concepts such as ‘Chess’, ‘Skirmish’, ‘Integration’, ‘Flow’, etc, have more power and influence over martial arts and their associated communities, than the techniques themselves. In this context we should also remember, that nowadays even martial sports such as Western Boxing, MMA and Fencing, have strong traditional elements to them, and are therefore also subject to the effects of themes.
Consider this, for example – the majority of BJJ practitioners who compete, would not do so in a non-sanctioned, no-holds-barred, no-rules sort of setting; most Bagua Zhang practitioners, would tend to practice with other practitioners of the Chinese Internal Arts, for a greater portion of their training time; the greater bulk of Aikidoka, would be spending much of their training hours with other practitioners of their style or similar. Why is that, what typically happens?
The childish and common answer, insinuated by the American jock-mindset is: “because they are cowards”. For those who have much to prove, judge everyone else by their willingness, or lack thereof, to put everything on the line. But the truth of things is entirely different. The reason that ‘birds of a feather flock together’ in the martial arts, is that the martial arts exist to be an expression of their unique theme. Such themes are archetypal representations of human needs and desires. They are things which people adore, admire and find pleasure in pursuing. They provide practitioners with a sense of joy and purpose.
As I have written in several of my books, all human beings covet three things in this life: Happiness, Meaning and Continuity. But each of us would rather arrive at those three things – happiness, meaning and continuity, via a different path. The Martial Themes explored herein, are human social archetypes. By attaching oneself to a thematic archetype of one’s choice, the martial artist can use it as a guiding beacon, for garnering success and achieving individuation. This is why the martial arts usually strive to preserve their associated themes – because they have much value, to people and communities alike. To recognize a theme, is to know what an art is about. To understand a theme, is to know the destiny of one’s practice.
Shifu Jonathan Bluestein is a foremost teacher and author of the traditional Chinese martial arts. He published a number of best-selling books on the martial arts, including: Research of Martial Arts and The Martial Arts Teacher. He is also the head of Blue Jade Martial Arts International. Search these names to learn more!
All rights of this article are reserved to Jonathan Bluestein © 2023. No part of this article may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission, in writing, from Jonathan Bluestein.
