Practice

Most everyone has heard "practice makes perfect".  If only it were that simple!  Some more accurate quotes:

1. Practice makes permanent.
2. They say 'practice makes perfect.' Of course, it doesn't. For the vast majority of golfers it merely consolidates imperfection. -- Henry Longhurst
3. Practice does not make perfect. Only perfect practice makes perfect. -- Vince Lombardi
   

Through repetition we burn movements into our brains and bodies, making them easier to repeat (for good or bad).  It is difficult to unlearn one way of doing things and replace or augment it with a better way; but unlearning is an unavoidable part of learning, and worth getting good at.  If we practice to do one thing, we'll need to practice further to undo it or evolve it into something else.  In practicing a new way, I discover how deeply ingrained the old way was -- habits are hard to change!  So:

1. Practice as if you are the worst, perform as if you are the best.
2. When you are not practicing, remember, someone somewhere is practicing, and when you meet him he will win -- Ed Macauley
3. It's not necessarily the amount of time you spend at practice that counts; it's what you put into the practice. -- Eric Lindros

Finally, practice can be profound:

1. Practice means to perform, over and over again in the face of all obstacles, some act of vision, of faith, of desire. Practice is a means of inviting the perfection desired. -- Martha Graham
2. We learn by practice. Whether it means to learn to dance by practicing dancing or to learn to live by practicing living, the principles are the same. -- Martha Graham (again)

Now go (and get really good at) practice!

10 favorite sayings of Confucius

From the numerous sayings attributed to the ancient Chinese sage, Confucius:

1. "Our greatest glory is not in never falling, but in rising every time we fall."

2. "It does not matter how slowly you go so long as you do not stop."

3. "The cautious seldom err."

4. "A person who has committed a mistake and doesn't correct it, is committing another mistake."

5. "Hold faithfulness and sincerity as first principles."

6. "By nature, people are nearly alike; by practice, they get to be wide apart."

7. "I hear and I forget. I see and I remember. I do and I understand."

8. "Respect yourself and others will respect you."

9. "Every truth has four corners: as a teacher I give you one corner, and it is for you to find the other three."

10. "Wherever you go, go with all your heart."

And here's a selection of Confucius jokes like the ones we used to tell in high school.

An amazing transformation

I can't imagine watching this and not being inspired:

The only comparison that matters

Via Patrick Parker:

The truth is that there is nothing noble in being superior to somebody else. The only real nobility is in being superior to your former self. -- Whitney Young

Aim to improve.  Draw inspiration -- not envy -- from the achievements of others.

Pushing your boundaries

Gregg Mozgala is an inspirational artist. In March 2008 the 31-year old actor performed multiple roles in a well-reviewed production of Romeo and Juliet, working around his significant cerebral palsy.

The company, formerly known as Theater by the Blind, mixes able-bodied actors and actors with disabilities. Mr. Mozgala, who has cerebral palsy, in particular shatters the myth that actors with mobility problems make for static productions, throwing himself around the stage with abandon.

In his latest project Gregg has teamed up with choreographer Tamar Rogoff in an original dance piece, Diagnosis of a Faun. Please read the New York Times article about the project, and be sure to view the embedded video.

Gregg Mozgala in a dance rehearsal

After reading and seeing the video snippet -- and for those in New York, getting along to a performance -- I trust that many people will be inspired.

You don't have to be great all the time

In her fabulous book, Writing Down the Bones, author Natalie Goldberg introduces a Zen-inspired practice of writing, whereby one sits and writes for an allotted time, say five or fifteen minutes without stopping, without correcting, always keeping the pen moving. This is not writing for publication, but rather writing as spiritual practice, more akin to meditation, therapy and martial arts practice than writing for an audience.

Here's my favorite anecdote from a book packed with wonderful vignettes:

Artistic Stability

I have a pile of spiral notebooks about five feet high that begin around 1977, my early years of writing in Taos, New Mexico. I want to throw them out -- who can bear to look at the junk of our own minds that comes out in writing practice? I have a friend in New Mexico who makes solar houses out of beer cans and old tires. I think I will try to build one out of discarded spiral notebooks. A friend who lives upstairs says, "Don't get rid of them." I tell her she can have them if she wants.

I pile them on her stairs leading up to her apartment and leave for Norfolk, Nebraska, for four days to do a writing workshop. When I return she looks at me oddly, plunks herself down in the old pink chair in my bedroom: "I've been reading your notebooks all weekend. They are so intimate; so scared, insecure for pages, then suddenly they are not you -- just raw energy and wild mind. And now here you are -- Natalie -- in the flesh, just a person. It feels so funny." ...

She said it was empowering to read my notebooks because she realized that I really did write "shit," sometimes for whole notebooks. Often I tell my students, "Listen, I write and still write terrible self-pitying stuff for page after page." They don't believe me. Reading my notebooks is living proof of that. My upstairs neighbor said, "If you could write the junk you did then and write the stuff you do now, I realize I can do anything. There's so much power in the mind. I feel like who knows what I can do!" She said the main thing she saw in the notebooks -- whole notebooks of complaints, boring description, and flagrant anger -- was an absolute trust in the process. "I saw that you kept on writing even when you wrote 'I must be nuts to do this.'"

When you see someone do something amazing, it's a mistake to attribute it to mere talent. You just don't see the hard work.

Female exemplars in Taijiquan

More from Turning Silk: A Diary of Chen Taiji Practice, by Kinthissa:

Apart from Chen XiaoWang's* magnificent XinJia** renditions, I have seen only one other person whose XinJia has impressed me. This was a woman, Japanese, one of the six, all teachers, who came to Sydney in 1997. She was of a narrow and light build. Her delicacy had a lithe power, it brought out quite a different quality in XinJia's character. I find wildness suits women. Female practitioners have a paucity of exemplars to be inspired by. Master Chen said that the woman was gold medal material, only her responsibilities in running an organization did not allow her enough training time. When I have asked him if the training for women is different from men's, his reply has been, "No, it is the same." When I enquired after women in his family who had reached a high level in TaijiQuan (as one hears almost exclusively of men), he said that some had excelled in their early years, but then they had married, etcetera.

* Chen XiaoWang is Kinthissa's famous teacher. An impressive video of Chen XiaoWang in action.

** XinJia ("new frame") is a more modern form of Chen style taijiquan, compared to the LaoJia ("old frame"). In her book Kinthissa writes interestingly and in detail about her experiences studying both frames.

Be Strong, Be Gentle, Be Beautiful

My fellow blogger Kick Ass Sue asks: Should women train differently from men in martial arts? based "on the premise that traditional fighting arts were developed by men for men to fight other men and are thus best suited for the male physique".

I'm not so sure about the premise. Men, who as a broad generalization start out strong and top-heavy, have the option of developing their strengths while they are young, but this is a short-cut to nowhere. As we age, if this strength, speed, and even flexibility are the basis of our ability, the young guys will soon overtake us. The natural strengths of women -- low center of gravity, strong legs and core, superior grace and rhythm -- on the other hand, are a more sound and long-lasting basis out of which to build a martial artist.

On another point, though, in this day and age it is true that there are more senior male martial artists than females, and therefore fewer role models for aspiring female martial artists to look up to. In Sue's post she mentions the legendary founder of Wing Chun, Shaolin nun Ng Mui. But what about living female role models?

The amazing Keiko Fukuda springs to mind. Her grandfather was the first significant Jiu-jitsu teacher of Judo founder Jigoro Kano. In turn Kano taught Judo to Fukuda in the Kodokan's women's division. As a 5th dan, at the 1964 Olympics she demonstrated the advanced Judo two-person kata Ju No Kata, which she also wrote the book on.

At time of writing she still teaches judo 3 times a week at age 96, is the highest ranked female-judoka ever (9th dan). Fukuda's life is the subject of the film, Mrs Judo: Be strong, be gentle, be beautiful.

Here's the blurb:

Her destiny was set two generations before her birth, during the final days of the samurai era. In 1934, at 21 years of age, Keiko Fukuda embarked on a long journey with judo as her vehicle. This path meant giving up marriage, family, and her Japanese citizenship. She has endured war, discrimination, and crossed oceans, to become the highest ranking woman in judo history. She is the last living link to judo’s original history. Today at 96, she still teaches judo three times a week, and through her gentle soul she exudes wisdom and inspiration to all who come in contact with her. “Be Strong, Be Gentle, Be Beautiful,” is an hour‐long documentary film about K it eiko Fukuda’s inspirational journey.

I'm looking forward to seeing it.

[Edited May 2016: Keiko Fukuda was promoted to 10th dan in 2012 and continued to teach Judo until shortly before her death in 2013, aged 99.]

Beyond technique

When the amazing violinist and teacher Maxim Vengerov gives a masterclass he takes it for granted that his student is technically adept and instead works with him (or her) on bringing a sense of story to the music:

When Vengerov plays it's so much more than sweet-sounding notes played in the correct sequence and time.

Make no mistake: Both teacher and student have devoted an incredible amount of time and effort to the development of technique, but there is a playfulness, a sense of adventure, and a wonderful emotional engagement that Vengerov brings to his art.