Yoko Ando (Forsythe company)On Budo
(By Akira, HINO / Translated By Dai, YOSHIDA)
Beauty! Without a doubt, beauty is the essence of Dance.
Yet, the sense of beauty is uncertain and vague for it varies among audience with their own experiences.
Then, is art, including dance, in a state of anarchy?
No, certainly many would disagree to this question, but why?
Art, especially dance, is a media of expression, expressing feelings, inorganic movements, phantasm, and so on.
Pulchritude, Formal Beauty, Motion, there are many senses of beauty in play.
They are all related to such things as the motion of dancers, choreographed movements, the relationship between motions and space given on the state, etc.
Energy and momentum of world class athletes when striving for their maximum performance, shares the essence of beauty in play.
And so do Movements of Budo Master Hino-sensei.
I do not nor need not to know his strength in marshal arts for I am a dancer.
But his movements are that of dance, per se.
He smoothly moves without any indication and throws around students.
All of this happens without conflicts of forces resulting from the struggle or reaction for students can not react to Hino-sensei's moves at all.
Observers wonder why students fell, and yet Hino-sensei's moves remain beautiful and natural.
One notes sharp focus of Hino-sensei's gIshikih. (Ishiki can be described using such words as conscious, mind, sixth-sense and so on.
Hino-sensei will explain what he means in the workshop.)
No matter how many students he deals with at once, his gIshikih sharply and stably remain focused.
Students fall as Hino-sensei switches his gIshikih at the moment of gSetsuna.h (Before the move, gIshikih acts. Just before this moment is gSetsuna.h Again Hino-sensei will explain what he means in the workshop.)
The pattern of his moves remains fixed, but students fall again and again.
At the scene, observers can not do anything but to laugh; Hino-sensei certainly knows how to amuse them.
Hino-sensei's moves naturally appeal and fit to both dancers and Budo-masters, as a dancer, I envy his perception and perspective that bring about his moves.
Hino-sensei is keenly aware of gIshiki,h physical awareness of the body, the state of recognition of own moves, and weight and balance of body, and predicts natural and inevitable flow of moves.
At this occasion, his perspective gives precise advices to dancers.
By participating in Hino Budo workshop, one obvious fact arose to my mind; Hino-sensei has a total and perfect control all over his body.
He senses and uses every inch of his body at his gIshikih both at the levels of both consciousness and sub-consciousness.
Students fall because of the force with direct impact on body and its balance.
As the result of movements of hands and legs, the balance is lost. Direct impact on body, is a distinctive characteristic of Budo from dance.
From ga point to a lineh, and then to gown body to out side world,h the consistency of body movements give an impression that it is only natural sequence.
Only Budo could result in this use of body for, unlike dance in which audience only observe from the distance, Budo requires direct impact on others.
In comparison to dance, Budo has more physical presence of a person; the person with highly sophisticated sense of beauty, gIshiki,h feelings, will, and body movements resulting from the sense of beauty.
Dancers could easily fall into the trap of expressing own assumptions, remaining to the physical exercise, failing to reach the level of dance.
In this trap, dancers seek higher jumps, more turns, and eventually to the acrobatic extreme.
For Budo deals with others directly, I witnessed it requires much more sophisticated body control.
Thought it may look simple practice of punches and kicks, Budo has far more depth to it. Hino-sensei expresses importance of gKankaku,h (in a broad sense, it is gfeelingh or gsense.h Hino-sensei will explain what he means in the workshop.) Having keen sense of body and ability to image own body with the cycle of gStimulus -> Perception -> Recognitionh consist of the foundation of Hino Budo.
Ability to visualize gthe line of forceh on own body by every inch, needless to say, does not come about instantaneously.
Without clarity of this gline of force,h no one will fall. Budo practice shows the result in a clear-cut way.
Visualization of gthe line of forceh can also be training for gIshiki.h gIshikih is vague, but when the cycle of gStimulus -> Perception -> Recognitionh results in gthe deformation of the weight and balance of others,h force of gIshikih becomes a bit more obvious and comprehensive.
Training itself is crafted with careful calculations with puzzles.
gThe sense of body,h takes dance to next level where gthe line of bodyh and its' vector are visible. One can only achieve such dance only with the keen and sharp sense and objective perspective on own body.
As a dancer aiming for the beauty, I train for keenly focused gIshikih with the attention to gthe line of force.h
It can easily be seen among top athletes when they focus their gIshikih to achieve the highest state of performance. Every stage is the gworld cuph for dancers; their focus of gIshikih should be expressed and felt by audience as audience dream in dance.
Hino-sensei will puzzle us, thus amuse us, thought out the training for non of students can predict moves. Reflecting historical and cultural depth of Budo, it goes beyond physical level to meta-physical level. Dance, without such depth and sophistication, can not serve the role of media for expression.
I still have much to learn from Hino-sensei.