What we did on Sunday 18 March
2012
Group 1: (our member with cerebral palsy) Standing
with an erect posture, ‘stacking’ the spinal column, analogy with balancing
children’s bricks, one on another to the point where it is no longer possible
to maintain balance. Tilting the inferior aspect of the hip girdle forwards,
not allowing the knees to collapse (maintaining straight but not locked
legs). Step forwards trying to maintain
balance throughout. Immediately the step has been taken, re-establishing
perfect balance and poise if they have been compromised.
Group 2: Practise
of kata repertoire.
Subsequent discussion of teaching methodology.
Avoidance of fixed values and frameworks of reference,
or rather having a framework of reference that defines what Shinseido is, and
that has therefore, a level of flexibility.
How to reconcile frameworks of reference for beginners with the urgent
need to move them on to a system with no fixed points of reference and onto a
continuum cum non-dualistic mindset.
Acknowledging the likely very pragmatic nature of the 19th
Century Okinawans as a seafaring nation.
Taking into account the member’s reasons for training on balance with
the reasons why Shinseido exists. Analysing
how physical movements within Shinseido represent physical metaphors for a
mental process. Thus the importance of
the ‘kinesiological’ tornado hand process.
Movements that demand independence of the two halves of the brain in
relation to a continuum realisation of all movement. How this can be good for beginners and bad
at the same time. Careful balance and
introduction of these principles gradually depending upon the ability of the
student to adopt the new mindset. Taking
the student out of his or her comfort zone in a way that is not debilitating or
destructive but rather empowering.
Recognising the difficulty levels of hands working in unison, following,
contrary motion and then through complex lassijous curves spontaneously without
thought. Recognising the very real and significant responsibility of being a Shinseido teacher in respect of looking at an individual and using our skill and knowledge to help him or her move towards a mutually agreed goal that falls within the confines of that which defines Shinseido and also meets the perceived and real needs of the student.
Looking at ways of loosening the tight framework of a kata. Being comfortable with departing from the line of embusen when realising our practical self-defensive visualisations and with maintaining it when working the kata as a process of kinetic no mind (mushin) meditation. In practical terms, the importance of movements matched to good, accurate visualisations over ‘mandatory form’. The process of ‘shuhari’ learning kata according to prescribed form but eventually making the kata your own, an expression of your true and absolute self and not some attempt to reflect the nature of another person.
Looking at ways of loosening the tight framework of a kata. Being comfortable with departing from the line of embusen when realising our practical self-defensive visualisations and with maintaining it when working the kata as a process of kinetic no mind (mushin) meditation. In practical terms, the importance of movements matched to good, accurate visualisations over ‘mandatory form’. The process of ‘shuhari’ learning kata according to prescribed form but eventually making the kata your own, an expression of your true and absolute self and not some attempt to reflect the nature of another person.
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