All posts by sensei.orlando@yahoo.com

Orlando Sanchez is a martial artist, father and novelist. On this blog he discusses writing, being a martial artist and the adventures of parenting. The underlying philosophy of this blog is being a warrior creative, welcome.

Pulling tight the skein of your writing

I just finished(this past week) the first draft of Blur. It is now in the editing process and being transcribed to a digital format, since I write longhand in something approximating Cyrillic crossed with Japanese. Then the much anticipated but often dreaded rewrite. Im looking at an early to mid May release and I was thinking of the process. A book has one overreaching thread which quickly becomes several threads. These threads then branch off in tangents which are related to the main thread but follow their own course. As a writer you must be able to follow the skein of your story. Pulling tight where the pace needs adjusting, cutting a thread where or when it becomes unneeded. The longer the story the greater the possibility of more threads. I keep them straight ( a very loose term) by staying immersed in the story. How do you keep them straight?

writers write
Orlando

Fighting – Sparring and Combat

I took a brief break from blogging to catch up on my reading and writing. I am in the middle of rereading Scaling Force by Miller and Kane. This was part of series for me that started with  The Little Black Book of Violence, by Lawrence Kane and Kris Wilder. Followed by The gift of Fear, by Gavin de Becker and culminated by Scaling Force. I recommend getting all of the above and studying them, repeatedly.

Why reread these books and books like them?
First a little background: I was born and raised in the streets of the South Bronx in NYC. In the process of my growing, despite having a very strong parental influence I knew what it was to join and be in gangs. In my life I faced pipes, clubs, bottles, knives and the barrel of a gun several times. I know what it is to be in a fight one on one, the chaos of two armed mobs fighting and being in a situation when you are outnumbered. I don’t share this as a badge of honor, it was and is a stupid path to pursue, grounded in a false sense of pride and ego that usually sends you to an early grave. I share it because it gives me insight into what the differences are between sparring and combat. I wont go into the military aspects of combat, because I have never been in the military (although I have family who have served with distinction) and so I cant give that perspective. I want to approach this from the perspective of street violence. Which is what we are most likely to encounter.

In our school we have the poster you see above hanging on one of our walls. In fact I have seen the same wall chart of striking points in several schools. Its so pervasive that it has become part of the scenery, no one really asks about it and its just accepted as part of the decor. If you stop a moment and take time to examine the wall chart  you will see that the points it shows can be quite devastating if struck with force. The points are not often taught in a regular class even though most of them are contained in the kata in most styles of the striking arts.

 This is the case with sparring and fighting. Most schools teaching fighting are actually teaching sparring, there  is protective gear and points and places on the body that are off-limits. All of this is good and has its place. I like to send students home intact without visits to the hospital or broken and dislocated parts. The danger lies when this is all that is taught, or is taught as combat. At some point the student must be taken to the other side of fighting, which is combat. There are no rules in combat. No one is going to wait while you don gear and get yourself mentally ready. No one is going to step in and break you up if it gets too rough. There are no rounds and  no points. When you are in this context survival is the goal.

This is not to discount the legality of this type of encounter. There are and can be severe legal penalties for causing damage and breaking a person when that level of force was not required. Which is why awareness is paramount. The concept of scaling force is also indispensable to meeting violence with the appropriate  response. I always tell my students- if you have to get physical, you weren’t paying attention and your defense failed. The legal ramifications are so involved that a book would be required to do the subject justice, see the above titles for a good start.

So how do we reconcile these concepts of sparring and combat? Sparring is a tool to introduce concepts and principles. It is a safe, controlled environment that allows for mistakes. It is a laboratory of sorts, where you can explore and ask and try out techniques. The stakes, if there are any are low.

Combat / Fighting is almost the exact opposite of sparring. It is not safe or controlled. It is chaotic, fast, sloppy and messy. It sends your body through a hormone cocktail that you will not be able to control. Mistakes usually result in serious bodily harm or death-the stakes are high, sometimes the highest.

If you find yourself in a school or self defense class that does not make this distinction, do your research ask questions of the instructor and find out the strategies and tactics of the style you are currently engaged in and how it would deal with violence in an uncontrolled situation.

I recently had to revise the way one of my students was sparring. The method she was learning was a formal sparring method, which she was struggling with. When that was changed to a no rules type of fighting, this works on the street method, her ability and understanding shifted and improved considerably.

Both have their place in training and your life, just remember to know the  difference between the two.

strong spirit-strong mind-strong body,
Sensei Orlando

Let it simmer

Blur, my second book is almost done. At this point the end is in sight, on the horizon. Then comes the editing and handing off to my beta readers and then after all that is done and I get all the feedback- nothing. I let it simmer. I don’t go back to the book until I actually start to forget parts of it. Why do I do this?  It gives me fresh eyes. It lets me approach the book as a reader not as the writer, which I have discovered has notoriously acute tunnel vision when it comes to my own writing.

I really suggest this as part of the writing process. The best way to let the book simmer is to get on the next book right away. Immerse yourself in your next project while the finished one is simmering. Then when you go back and rewrite and tweak and adjust and tighten the story, guess what is happening to the current project you are working on? It is simmering. So the cycle never ends.

This is what works for me. What works for you?

writers write
Orlando

The Purpose of Rank

This blog is a continuation of the previous one about respect, if you haven’t read that one, please do, it will give you insight into this one.

In our school we promote slowly. Its not because we don’t like to promote, but rather because we as a school believe in focusing on foundations and not rushing to a rank. After all what would you be rushing to? There is no “end” to rush to. To give you an idea of how slowly we promote-I have currently held my rank since 1999. It never entered my mind to consider my next rank (OK, it has entered it once or twice) but never to actively pursue it. Its not my place to award myself rank, just like I didn’t award myself the rank I now have. So after much thinking I started wondering what was the purpose of rank?

The system of ranking isn’t very old compared to martial arts. The first shodans Shiro Saigo and Tsunejiro Tomita were recognized in 1883 by Kano. Even then there weren’t obi or belts. The actual belts didn’t arrive until much later. The first delineation was made in 1886 when Kano had his seniors(yudansha) wear black obi over their kimonos. In 1907 Kano introduced the judogi and the obi we see today, yet even then there were only black belts and white belts. The first karateka awarded  the shodan rank by Funakoshi were Tokuda, Otsuka, Akiba, Shimizu, Hirose, Gima, and Kasuya on April 10th 1924.

The hierarchy of belts was established to represent a progression of learning with a syllabus and a corresponding grade indicating an individual’s level of proficiency. Achieving shodan is like graduating from high school or university- It indicates that you have achieved a fundamental level of skill, learned the basic techniques and can execute them in a functional way. It means you are now prepared to pursue your art on a more serious and advanced level.

So rank at its inception was just a means to indicate how much you knew and that at a certain level you should be able to execute certain techniques. It can also mean that I have been on the path longer than you have, but remember that can be deceptive since not everyone  progresses at the same rate.

So if that is all rank is for, a shorthand for instructors to determine the level of skill of the students, when did it become a situation of being a black belt is better than being  brown belt  or any other rank?

 I think the moment ego enters into the equation, that is when the comparisons start to occur. This is a danger that every school and student must be wary of. The moment I begin to believe that I am better than another student simply by the fact of my rank, I have stopped growing and learning. I become a danger to myself and my fellow students as arrogance becomes part of my practice.

Another point worth mentioning is- Is my rank static? If I decide to  neglect my practice of  the material that is required of my rank, to the degree that I no longer can execute the techniques required of me with proficiency, should I still be considered the rank I am? That is a topic for another post.

So the belt, sash, rope you are wearing -while you have worked for it, sweat for it and in some cases bled for it, remember its just a piece of material that keeps your uniform closed. Its not the rank that makes the person, but rather the person that makes the rank.

strong spirit-strong mind-strong body

Sensei Orlando

Making it to the finish line

So I’m on the last few chapters of Blur, my next book. I know when a book is about to end because that’s when the procrastination urge hits overdrive. I also make it a point to carry the the unfinished book with me wherever I go. It gives me no excuses to put off writing, no easy outs. For me this is the most challenging part of writing-finishing the book.

Starting is easy, its a new adventure full of possibility. The middle is where the action is, things are happening  its all very exciting. The end? Well have to bring resolution to all that action and oh let me check my email. Wait must bring closure to that scene and  oh so many other non writing things to do!! You get the idea, I’m sure. Bottom line-here is how I did it on my previous book. You get yourself in a chair and just do it. Here you have to be uncompromising, first with yourself and with pretty much everyone else. This comes first. This gets done. Be unwavering. Do not capitulate. Get it done.

How do you make it to the finish line?

See you on the other side.

writers write
Orlando

Is respect automatic?

Feeling deep admiration for someone or something, elicited by their abilities, qualities or achievements. That is the definition of respect. The submission or courteous yielding to the opinion,wishes or judgement of another is deference. This is the attitude expected in most dojos. My question is should it be automatic?

Within the context of your chosen path should you automatically respect those who have come before you or should you scrutinize who they are, not only as martial artists but as people? If I have more stripes on my belt does that mean that I should expect deference from those who may not have as many stripes?  It is, I admit a complex situation and yet also simple. It is complex because there are several variables at play. It is simple because at its essence it comes down to- respect must be earned, in and outside of the dojo.

Granted, in each dojo there are rules of etiquette that should be followed, rules that were established to promote order  and to keep us present to the fact that we are embarking upon the study of an art that can and is dangerous. I am not advocating disregarding these norms of etiquette. However it has been my experience that within the higher ranks the respect and deference seems to flow one way. The seniors may expect this behavior towards them, but it is rarely demonstrated by the seniors towards their juniors. I recently witnessed this behavior in action.

 A shodan was having a conversation with a fourth degree instructor when another fourth degree student interrupted the conversation stating that he needed to discuss something of import with said fourth degree. This incident made me think, how would have that fourth degree reacted if the roles were reversed?  If the two fourth degrees were in conversation and the first degree needed to speak with one of them would an interruption be tolerated?  My other thought was, that by stating that he needed to discuss something  important he was implying that whatever was being discussed currently was not as important as what he had to say.

Now this may or may not have been true, but the act denotes a certain level of arrogance. Where is the respect? Does a first degree merit less respect than a fourth degree? Does a white belt deserve less respect than a black belt? When we realize that ranks and stripes are all artificial ( a statement which I’m sure will throw many high level sensei, shihan, kyoshi and hanshis into an uproar) and that what matters is the person wearing the belt, not the belt itself, then we will be able to relate to each other as fellow students along the way.

When seniors treat juniors with respect regardless of rank, then arrogance cannot have a foothold in the dojo or their life. This is when respect becomes mutual, deference natural and humility a way of life.

Inspiration

As I finish my second book, Blur and begin on my third, The Ascendants, I have been asked where do I get my inspiration? I look at my bookshelves and at my kindle and some of the authors there are very prolific,( I have an entire shelf occupied by Terry Pratchett for example) while others not so much. So it got me thinking, where do I get my inspiration?
 I have always been of the mind that as a story teller we don’t create new stories, ( is there even such a thing? ) but  that we are the stenographers of space and creative essence. What is commonplace to most, to a storyteller ( insert writer , painter, screenwriter, dancer or any other creative expression) is layered with meaning. We take the commonplace and ask what if? Why do we do this? I couldn’t really tell you. Its just the way we are hardwired.

So I get my inspiration from everywhere. From the mundane to the mystical its all ripe for the plucking. The fact that there are so many new books released every day only lends credence to this idea of mine, that we are all tapped into a creative space, but our individuality gives it a unique voice. I believe everyone has access to this, it’s just that so few answer its call.

Where do you get your inspiration?

writers write
Orlando

A return to basics

January is our month of Kagami Baraki. For those unfamiliar with the concept it comes from the Japanese tradition of celebrating weddings, opening days or any event worthy of being celebrated. In a dojo it is usually the start of a new year and it is marked by a day of intense training where everyone comes together to train and sweat together. Our school is slightly different in that we celebrate the entire month of January as our month of Kagami Biraki. Everyone knows the classes are harder, more intense and are comprised of mostly basics-lots and lots of basics.

When I first received my shodan ( first degree) I figured this was it. Now I would finally learn the secret techniques, now all the black belt knowledge would be unveiled, imparting upon me a kind of super human ability to execute my techniques! I walked into my first black belt class full of expectation, I was  ready. Imagine my surprise when the next two hours of training was spent doing basic punches, kicks, and blocks. We even went back and did our first white belt kata over and over. Surely this was a fluke maybe it was just a way to get  the new black belts used to the idea of a black belt class? Next class was more of the same and the class after that and so on. This is not to say that I did not learn advanced techniques, I did.  However  those advanced techniques were usually made up of basic techniques executed in a different way or several basic techniques joined to make one advance technique.

And so our emphasis this month is a return to the basics. We always stress our foundations but this month especially so. In returning to our foundations we can learn several things. We can see how far we have progressed and how far we still have to go. We can deepen our understanding of the art we have chosen to study by looking at its foundation and deconstructing techniques and kata. We can learn the functionality of what we do, why does it work and how. All this comes from going back to the basics. I also learned one other thing, that the higher the rank the more time you spend with basics, its quite the circle that is indicative of the arts we study. You train long and hard, invest many years, tears, blood and sweat-so you can be perpetual beginner.

As an aside, the photo is a picture of Morio Higaonna’s hands. Anyone who trains for any length of time runs into his name and his influence on goju-ryu. Look him up.

strong spirit-strong mind-strong body

Sensei Orlando