the cattail sways with a unique rhythm, but - now - is still
in the dim temple, candlelight flickers, and bronze moves
dried plants bobble in an autumn breeze with erratic shakes
a dragonfly alights on a boulder, zipping to stillness
My rating: 4 of 5 stars
When I picked up this book, I did so with the hope that it would be to striking as Jiichi Watanabe’s excellent book “The Secrets of Judo” [now sold as “The Art and Science of Judo”] is to grappling. That didn’t turn out to be the case. If Watanabe’s book has a fifty / fifty split between science and judo, Swanson’s book is about 80 percent Karate manual and 20 percent science. It’s a fine book about karate techniques, but if you want to understand biomechanics and how to optimize your movement, I think you can do better (particularly, if you would like insights that apply beyond Okinawan Karate.)
The book had two failings, keeping it from living up to its potential. First, it didn’t use graphics as well as it could have to help the reader visualize what is being said, or to point out the subtleties under discussion. Second, it generally presents the science at a shallow level. I’d been pleased to see that there was a chapter on breath, because I think that’s one of the most important and under-discussed factors in any system of movement (martial or otherwise.) However, I was disappointed to see that there wasn’t much to it besides some philosophizing about ki-ai.
There were a few valuable tid-bits here and there, points about which the book adds to one’s scientific / bodily understanding. The best example of this is probably the discussion of Intra-Abdominal Pressure (IAP,) which is where the book most shines with respect to offering some food for thought.
If you study Okinawan Karate and are looking for discussions about the difference between how various schools perform techniques, this may be the book for you. However, if you’re expecting some science in a book entitled “Karate Science,” I suspect you can do better.
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My rating: 5 of 5 stars
This book presents a pop science accounting of some of the more interesting scientific literature on the benefits of moving one’s body – be it through dance, martial arts, walking, or otherwise. That being active is an important element of maintaining a healthy mind and body will come as no surprise. Still, there are a number of specific points this book makes that may come as a surprise to many, such as that those who do an hour of intense exercise a day but otherwise live desk warrior lives may not be as well off as they think.
As the topic (and the scientific literature from which the book draws) is huge, the author focuses specifically on the mental benefits of physical movement, both attitudinal / psychological benefits and cognitive benefits such as improved creative thinking or memory. I found the book’s organization to be beneficial, and – in particular – believe it was a smart move to include chapters on breath and rest – topics that are integral to a life of movement, but which might not spring to mind. Particularly, the chapter on breath discusses findings on synchronization of breath and movement more than does many books on breath or movement, as well as offering extensive discussion of the benefits of 3 and 6 breath per minute (bpm) breathing.
There are a lot of books out there on this subject – though usually they focus either on exercise or on a particular approach to movement. Those who read extensively on the topic may not find much that is new in this book. However, I think “Move” holds its own, and also distinguishes itself in some of its fine points of emphasis. Certainly, if one is looking for a book to introduce someone to the benefits of movement, this is a prudent choice.
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a swallowtail lands; crashed into by another, it doesn't flinch; ten feet away, I lean in and it flutters away
even the branches of a brawny Kapok Tree sway in the wind
There are many downsides to being introverted, but one upside (at least in being a kinesthetic-oriented introvert) is that I can get out of my head and in touch with my body quickly and efficiently when I’m in motion. It can be a blissful state when the inner yakking pipes down and my awareness becomes attuned to sensation.
I would differentiate three types of movement that have very different effects on my state of consciousness. First, there are highly repetitive acts of movement such as running. Now, I do run because it’s great exercise, but it doesn’t tend to put me in the state of mind I’m talking about. Your results may vary. I know many people find “runner’s highs” or achieve a quieting of the mind when running. For me, running tends to produce a daydream-centric state of mind. I sometimes counter this by focusing my awareness on my breath, stride, or sensations, but — left to its own inertia — my mind goes into daydream mode.
Second, there are fixed sequence series of movements — preferably with a flow. The best example that I can think of — and which I currently practice — is taiji. I’ve been practicing Yang Style Taiji for a few years now, and find it’s conducive to this state of mind. However, the point that differentiates this type of movement from the next is that it takes some time to get to that point. One has to ingrain the sequence of movements into one’s body, then coordinate the breath, and then correct minute mistakes in the movement. It’s worth it, but it’s not an instant ride to altered consciousness. While you’re getting the fundamental movements down, the conscious mind is necessarily quite active and it’s hard to tune into the movement and the sensations.
Third, this is what I would call free movement. Some people think of it as a kind of dance, but not one with a fixed choreography, which would fit more in the second category. Free movement is just letting your body move (usually to music) with awareness to the body, but without conscious direction. While the feel created is much like that of the second type of movement, mentally it bears more resemblance to free writing, which I discussed last month. That is, one is trying not to direct the body consciously, but rather let the movement come about (perhaps mediated by the music.) Rather than trying to consciously direct the movement, the conscious mind is used to direct and maintain awareness of sensations. Sometimes, I keep my awareness on the soles of my feet, feeling how various movements — subtly or unsubtly — change the distribution of weight on the feet.
In doing this, I find that sensitivity to sensations — external and internal — dials up. While I’m focusing on internal sensation. I often notice tactile sensations that would usually not register. There’s also a more visceral experience of the effect of music, which is another subject in its own right. The blissful effect of music seems to be amplified by the body in motion.
In thinking about the difference between the second and third types of movement experience, I was reminded of the argument that a ritual is an essential element of plumbing the depths of the mind. As the argument goes, there’s something about inggraining a sequence of actions into one’s muscle memory and continually performing them that tunes one into something vaster than the self.
I’m still planning to do two more posts in this series, although I’m bouncing around alternative subjects for November and December, those joining this experience in progress and curious about previous posts can find them:
January – Psilocybin Mushroom
February – Sensory Deprivation / Float Tank
March – 30 Days of Meditation
April – Hypnosis
May – EGG Feedback
June – Breathwork
July – Lucid Dreaming
August – Sleep Deprivation
September – Free-writing / Poetry
This book is designed to help athletes (and those who train athletes) increase mobility. The authors draw heavily upon yoga and martial arts drills (especially judo and jujutsu groundwork drills) in addition to the usual suspects of modern fitness – i.e. calisthenics, kettlebell, etc. It’s a visual book. The text is highly distributed toward the first half of the book. The heart of the book is pictures and descriptive captions of the exercises and practices described. This isn’t a complaint. I think there is sufficient discussion of the topics addressed and that said discussion was clear.
The book is organized into four parts, and — within each part — by anatomical region. The four parts are: Pain, Breathing, Movement, and Mobility. The section on pain offers many self-massage techniques, often using foam rollers or balls to counteract myofascial pain. I was particularly impressed to see an entire section devoted to breathing, and that it not only explored exercises to free up the diaphragm and intercostals (rib muscles) but also discussed issues such as the role of stress on breath. As mentioned the parts on movement and mobility are heavily oriented toward conveying exercise sequences graphically, and the chapters were oriented by parts of the body.
With a book that is so graphically-oriented, it’s important to mention that the photography, anatomical drawings, and diagrams are well done. The photos make it easy to see what is happening. It seemed to me that they used the right number of photographs to convey the movements involved, and they augmented these with arrows and lines to show direction of movement and alignments. It was usually quite clear what the movement was even before reading the captions. The photos are of varied sizes and orientations as needed to convey the exercise at hand. The anatomical drawings are clearly labeled.
I will say there were three exercises that I found troubling, but I gave the authors the benefit of the doubt as the book seems to be directed toward athletes. I don’t think these are things that will give most athletically-built people too much trouble especially when practice in moderation. However, as anyone may pick up such a book, I would be cautious of these three activities – especially if you haven’t been training in a while or are new. First, doing loaded lunges (i.e. barbells across the shoulders) with one’s knee way out forward of the toes. As the point of the book is mobility, I don’t have a problem with doing floor exercises on a knee this way, but that’s a lot of pressure to load onto connective tissue. Second, doing cobra (Bhujanga, or what they call “Sphinx”) with straightened arms and thighs resting on the floor. That almost always creates a sharp kink in the back with one spinal process prying into another. One can do Up-Dog (Urdhva Mukta Svanasana) with thighs off the ground or Cobra (Bhujanga) with your navel on the ground, but you shouldn’t confuse the two. Finally, they mention doing a roll up into shoulder stand. Unless you are extremely experienced, this is a bad idea because with the chin tucked into the chest there is very little room for error. Work up into shoulder stand slowly and easily. I will point out that this is what I noticed as a yoga teacher, individuals with other experience may see other issues, but I have some experience with the jujutsu drills and didn’t notice anything problematic.
That said, I thought this book was well done. The organization, explanations, and graphics were excellent and it will be a helpful resource for athletes working on mobility issues.