Principles of War: How They Relate to the Martial Arts

The “Principles of War” are taught in some form by all Western armies. The American version that I learned as a West Point cadet consists of the following elements:

Mass
Objective
Offensive
Surprise
Economy of Force
Maneuver
Unity of Command
Security
Simplicity

I still remember the principles by the acronym “MOOSEMUSS” taught to cadets as a memory aide.

The Principles of War are used at West Point in the analysis of the major battles and campaigns of history. With the “Treads of Continuity” they provide a flexible structure for understanding how a battle in 253 B.C. is related to one in 1992.

Technologies change the means of shooting, moving, and communicating but people and principles remain constant.

I suggest that the Principles of War are also useful in analyzing martial arts at the individual level and for developing doctrines that optimize the skills and capabilities of the martial artist.

To that end, I will review the “Principles” and apply them to myself in an effort to develop a personal martial arts doctrine.

Link to the Martial Arts Training Report: The Principles of War

Karate-Do: My Way of Life – Humility

Gichin Funakoshi’s spirit of humility comes through in his autobiography, “Karate-Do: My Way of Life”.

After receiving permission and encouragement from his two karate teachers in Okinawa, Master Funakoshi determined to bring Karate-Do to Tokyo. Of that immediate period he wrote:

“I moved into the Meisei Juku, a dormitory for students from Okinawa … where I was permitted to use the lecture hall … as my temporary dojo… However, money was a critical problem.

“To pay for the tiny room where I slept, I took on all sorts of odd jobs at the dormitory: watchman, caretaker, gardener, even room sweeper. … I had very few students, so of course the fees I was paid were not enough to make ends meet. … It was a difficult life, but when I think back about it after all these years, I realize it was also a good one.”

Gichin Funakoshi was on a mission to popularize Karate-Do in mainland Japan, starting in Tokyo. He was not too proud to pull weeds and sweep floors to pay his way while he started teaching karate in a borrowed room.

“… one day a newspaper reporter appeared at the dormitory. As he approached, I happened to be sweeping the garden path, and he obviously took me for a servant.

“’Where can I find Mr Funakoshi, the karate teacher?’ he inquired.

“’One moment, sir,’ I replied and scurried away. I … changed into my formal kimono, and then descended to the entranceway where the reporter was waiting. ‘How do you do?’ I said. ‘I’m Funakoshi.’ I shall never forget the expression of astonishment on the reporter’s face when he realized that the gardener and the karate teacher were one and the same!”

Even as his school gained recognition Funakoshi the man was humble but he honored his Karate-Do by meeting the reporter in his formal clothes.

“… I was called upon by one of the upper servants from the house of Baron Yasuo Matsudaira, … a family of importance, …

“ ‘I have come,’ said the servant, ‘to thank the elderly man in the dormitory who sweeps the ground in front of our gate every morning. My master sends this small token of gratitude.’ With that, he handed me a box of sweets.”

Funakoshi had no reason to sweep in front of the neighbor’s gate. He wasn’t being paid to sweep there and they had no idea who he was. But while he was sweeping he simply made a good job of it.

“One day, … a sharp-tongued little devil called me karasu-uri (snake gourd), and then the rest of the boys took up the chorus. …I could not understand why I was being likened to a snake gourd until that evening, when I looked in the mirror and burst out laughing as I saw the resemblance. Although I do not drink alcohol, my complexion is quite ruddy, and my skin is also extremely smooth, I could understand how in that little boy’s mind, I looked like a melon that becomes bright orange when ripe.

“So to my students I was the karate expert, but to the Matsudaira household I was just an elderly sweeper, while to the gang of children who played in the garden I was a snake gourd. I found all this greatly diverting…”

Karate-Do was Funakoshi’s life. His wife remained in Okinawa, the children called him names, and the neighbor’s thought he was just another manual laborer – though a good one. And Funakoshi found it diverting. As long as he had students to teach his beloved Karate-Do he was fulfilled.

“Even today I live in a rented house, and what is more I insist upon an upstairs room. …I believe climbing stairs is excellent training for leg muscles.

“… the moment I rise I roll up my quilt and tuck it away in the cupboard.

“Upon rising, I brush off any dust that may have settled upon the portrait of Emperor Meiji … or upon that of Takamori Saigo… This done I sweep my room, practice some kata, wash my hands and face, and then eat my simple breakfast.”

I will remember Gichin Funakoshi’s example of humility and his dedication to his purpose; though I don’t care to emulate his great humility, I do admire it.

Link to the Special Report: "Karate-Do: My Way of Life - What All Martial Artists Can Learn From Gichin Funakoshi"

Karate-Do: My Way of Life – Gratitude

In his autobiography, “Karate-Do: My Way of Life”, Gichin Funakoshi exhibits two endearing qualities – gratitude and humility - universally recognized virtues that are especially connected to the martial arts. His spirit of gratitude is expressed throughout his book.

Gichin Funakoshi had two primary teachers on Okinawa, Master Itosu and Master Azato; of them he wrote,

“I have always been conscious of the compliment paid me by these two masters. In return I performed a rite … I burned incense at the Buddhist alter of each instructor and pledged myself never to make use of my trained body for any illicit purpose.”

“Now that I look back I realize that I and my children, the two generations of us, have all benefited enormously from the teachings of these two masters. Where shall I find words to express my gratitude?”

Master Funakoshi arguably surpassed his teachers in accomplishment, if not in karate skills. Yet, he seems very sincere in expressing his gratitude to his teachers.

In his early days of teaching karate in Tokyo, Master Funakoshi often just scraped by financially. Occasionally, he was reduced to using the services of a local pawn shop.

“I was ashamed even to show the two objects to the clerk in the pawn shop, for both were old and worn… After a few moments the clerk reappeared and handed me an astonishingly large sum of money.

“I was mystified until I learned later that the clerk’s younger brother was one of my karate students. Indeed, now that I think upon those years, I recall a number of kind benefactors … and to all of them I feel an abiding sense of gratitude.”

Eventually, Karate-Do became popular in Japan and his financial stress was relieved except during the general distress resulting from Japan’s defeat in World War II. But even after his fortunes were restored his gratitude never wavered.

“… the numbers of my former students run into the tens of thousands. So frequently I do not know what to call them, and am forced to fall back on that standard phrase, ‘How tall you have grown!

“But whether I remember them clearly or not, I am always happy to receive visits from my former students, and I am most grateful to them for helping to popularize Karate-Do.”

Gichin Funakoshi is an exemplary martial artist. And his example of gratitude is worthy of emulation.

Link to the Special Report: "Karate-Do: My Way of Life - What All Martial Artists Can Learn From Gichin Funakoshi"

Karate-Do: My Way of Life – Rules

In his autobiography, “Karate-Do: My Way of Life”, Gichin Funakoshi lists six rules – he actually lists them as 1, 2, 4, 5, & 6 skipping over the number 3. My reading of rule 2, however, reveals a natural division where, in my opinion, rule number three starts - but is simply not labeled. Perhaps it was a printing error, or, perhaps I’m completely wrong.

Nevertheless, I’ll show you what I think is rule number 3. Just understand that the label isn’t in the text.

Rule #1
“You must be deadly serious in training.”
Synopsis: Mentally visualize a realistic opponent and practice as if you’re in combat.

Rule #2.
“Train with both heart and soul without worrying about theory.”
Synopsis: Mastering kata takes a long time and much practice; “a thousand times” as the saying goes.

Rule #3.
True practice is not done with words but with the entire body.”
Synopsis: Training is a physical thing not merely mental. Another phrase commonly heard in American martial arts schools is “muscle memory”. The notion is that when you have repeated a motion enough times (a thousand?) your body “remembers” how to do it; you don’t need to think about it. That is a necessary condition in hand to hand combat because the little time available for thought must be allocated to strategy and tactics – not how to perform a technique.

Rule #4.
“Avoid self-conceit and dogmatism.”
Synopsis: Bragging is a sign of immaturity regardless of skill level. It brings dishonor to the braggart, to his dojo, to his art, and to the entire martial arts community.

Rule #5.
“Try to see yourself as you really are and try to adopt what is meritorious in the work of others.”
Synopsis: Watch other practitioners. Learn from what they do well and from their mistakes.

Rule #6.
“Abide by the rules of ethics in your daily life, weather in public or private.”
Synopsis: Perfecting your martial art is done with the help of others; instructors, fellow students, and eventually the students you teach. We’re all fellow travelers in the martial arts way and we all, regardless of rank or skill, deserve respect.

Master Funakoshi taught these rules and lived by them. He also sometimes fell short. And so, when – not if, but when – you fall short of them too, you can forgive yourself for your failure and recommit to following them – until the next time you fall short. This cycle will repeat for as long as you live. Master Funakoshi’s last example of his own falling short of these ideals occurred when he was 80 years old.

Link to the Special Report: "Karate-Do: My Way of Life - What All Martial Artists Can Learn From Gichin Funakoshi"

Karate-Do: My Way of Life – Visualization

“You must be deadly serious in training. When I say that, I do not mean that you should be reasonably diligent or moderately in earnest. I mean that your opponent must always be present in your mind, whether you sit or stand or walk or raise your arms…

“You may train for a long, long time, but if you merely move your hands and feet and jump up and down like a puppet, learning karate is not very different from learning to dance.”
Gichin Funakoshi

I’ve learned many forms (kata in Japanese, poomse in Korean) during my years in the martial arts. Most of the forms are lost to me now. It takes them only a few months to fade; a year to completely vanish as useful exercises.

I practice my Neko Ryu forms every week; rotating them with other drills. It’s my intent to keep these forms always. I think forms are quickly forgotten because people fail to visualize a realistic opponent in every phase of the form.

My early training in Tae Kwan Do and Tang Soo Do was a mixture of forms, drills and sparring. There’s no problem visualizing the opponent when sparring against a live person. He stands before you. In sparring, the problem is maintaining good technique in the midst of competitive stress.

Visualization in drills is a mixed bag. Some drills use a live partner, others use a striking bag or target, and others use no tangible resistance. The last group makes it easy to “merely move your hands and feet and jump up and down like a puppet”.

Judo kata are performed with a live partner. Not surprisingly, I remember them better than the Tae Kwan Do and Tang Soo Do poomse.

“… the best way to understand Karate-Do is not only to practice the kata but also to gain an appreciation of the meaning inherent in each of the various kata.”
Gichin Funakoshi

All of my martial arts instructors explained the meaning of the movements of each form as they taught it. But none of them emphasized visualizing an opponent during the execution of the form. And, in truth, they didn’t emphasize the “meaning inherent” in each movement. Usually, their explanations responded to student questions. They were intended to provide enough “inherent meaning” to end the questioning not to truly communicate the form.

This was true of even my best instructors. Partially, this comes from the knowledge that repetition is the heart of learning a physical skill – especially a martial art. There’s a common saying in the martial arts that it takes a thousand repetitions to master a form.

I arrived at visualization in a roundabout way. After reading about visualization techniques used to enhance the performance of college and Olympic athletes, I looked for and found other visualization references. I made the connection to my martial arts and incorporated into each phase of every kata visualizing an opponent attacking me in a specific way.

Visualization trains my mind to recognize an attack and to respond automatically with an appropriately drilled defense-counterattack sequence. It also sharpens my techniques during the kata because each technique must reasonably succeed in my imagination. If there is no visualized opponent, there is no standard for measuring the technique’s effectiveness. Therein lays sloppiness.

Reading Funakoshi’s words, quoted from “Karate-Do: My Way of Life” at the beginning of this post, filled me with satisfaction and disappointment. I was filled with satisfaction, because I uncovered Funakoshi’s connection between visualization and kata independently; disappointment because this teaching wasn’t faithfully passed down the years through my lines of instructors. In all the years I’ve trained in the martial arts none of my instructors taught visualization as an integral part of kata or solo drill – I had to rediscover it for myself.

Link to the Special Report: "Karate-Do: My Way of Life - What All Martial Artists Can Learn From Gichin Funakoshi"

Karate-Do: My Way of Life – Empty Hand

Karate was originally written using the Chinese characters for “China” (literally “Tang dynasty” which came to mean “China”) and “hand”. Gichin Funakoshi writes in his autobiography that the “China hand” version was used most often when he studied karate in Okinawa. Occasionally, however, karate was written using the Chinese character for “empty”; both characters are pronounced “kara”.

After Master Funakoshi began teaching karate in Tokyo he was an active advocate for using the “empty hand” version of kara-te. Funakoshi’s opinion was that “empty hand” better described the martial art in a number of ways.

First, “China hand” was inappropriate because, over many decades, Okinawan Karate-Do evolved away from Chinese Kempo. The differences are enough that, watching a sparring match between a Karate-ka and a Kempo practitioner, a casual observer would easily see that the combatants trained in different martial arts.

Second, although Karate-Do teaches the use of certain old Okinawan farm implements as weapons, Karate-Do is primarily about unarmed combat with “empty hands”.

Third, Funakoshi insists that karate students, “… aim not only toward perfecting their chosen art but also toward emptying heart and mind of all earthly desire and vanity.”

Fourth, there is yet another Chinese character pronounced “kara”. This third “kara” means “void” and is commonly found in Buddhist writings in phrases such as “matter is void”. Funakoshi writes, “Believing with the Buddhists that it is emptiness, the void, that lies at the heart of all matter and indeed of all creation, I have steadfastly persisted in the use of that particular character in my naming of the martial art to which I have given my life.”

And so, “China hand” karate became “empty hand” karate. By the time World War II ended and Americans began to study Karate-Do the “empty hand” version was widely accepted - except perhaps in Korea.

The first martial art I studied was Tang Soo Do, a Korean style of karate. “Tang Soo Do translates as “the way of the China hand” whereas “Karate-Do” written using the Chinese character for “China” translates as “the way of the China hand”. Many Tang Soo Do “pumse” (forms or “kata” in Japanese) share the same names as forms mentioned by Funakoshi, i.e. Pinan, Naifanchi, Chinto, & Bassai. This, of course, leads one to conclude that the two styles share a common Okinawan origin, despite the 2,000 year history claimed for Tang Soo Do.

Link to the Special Report: "Karate-Do: My Way of Life - What All Martial Artists Can Learn From Gichin Funakoshi"

Karate-Do: My Way of Life - What All Martial Artists Can Learn From Gichin Funakoshi

Gichin Funakoshi was the Okinawan Karate Master largely responsible for popularizing karate throughout mainland Japan. In his autobiography, "Karate-Do: My Way of Life", Master Funakoshi shares with us not only his life story, but insights into his understanding of the martial arts. In this series I've attempted to summarize and compartmentalize those things I've personally learned from reading his book. I recommend that you too read the original.

Links to Other Posts in the Special Report: Karate-Do: My Way of Life - What All Martial Artists Can Learn From Gichin Funakoshi:

Karate-Do: My Way of Life - By Gichin Funakoshi
Karate-Do: My Way of Life - Origins of Karate
Karate-Do: My Way of Life - Empty Hand
Karate-Do: My Way of Life - Visualization
Karate-Do: My Way of Life - Rules
Karate-Do: My Way of Life - Gratitude
Karate-Do: My Way of Life - Humility

Karate-Do: My Way of Life – Origins of Karate

There are many stories and myths describing the origins of martial arts including Okinawan karate. It’s a testament to the character of Gichin Funakoshi (1868 to 1957) that he doesn’t perpetuate any of the myths.


Master Funakoshi begins his discussion of the origins of Okinawan karate with these words,

“Inasmuch as there is virtually no written material on the early history, we do not know who invented and developed it, nor even, for that matter, where it originated and evolved. Its earliest history may only be inferred from ancient legends that have been handed down to us by word of mouth, and they, like most legends, tend to be imaginative and probably inaccurate.”

Funakoshi conjectures that karate was introduced through trade contacts with China. As late as the 1920’s the characters used to represent kara-te in Japanese were the characters for “China” (pronounced “kara”) and the character for “hand” (pronounced “te”). In later years people began to use the Japanese character meaning “empty” (also pronounced “kara”). Funakoshi witnessed this transition in his lifetime. He notes that for many years both versions of the word, “China hand” and “empty hand” were used; sometimes by the same people.

Another certainty about the origins of Okinawan karate is that the people were ordered disarmed by their government. Apparently, this order was first issued by the local Okinawan government before the island was incorporated into the Empire of Japan. So karate developed as the people’s primary method of self-defense.

Later the Japanese government outlawed the teaching of karate and the art moved underground – being taught discretely, mostly at night. Again, Gichin Funakoshi experienced this first hand. Teaching Karate was still illegal when Funakoshi started training as a child. The proscription was lifted when he was a young man.

It seems that although karate was illegal in Okinawa for many decades, it was a commonly ignored law; kind of like speed limit laws – many people violated the law and even the authorities turned a blind eye to the practice of karate as long as the training was not blatant.

In any event, by the time Gichin Funakoshi was a young man the law was revoked. Karate was practiced openly and demonstrations were soon organized for Japanese Naval officers.

Master Funakoshi tells us what he knows about the origins of karate and he tells us what he conjectures about it. He is, being a man of integrity, also careful to tell us the difference between what he knows and what he conjectures.

Link to the Special Report: "Karate-Do: My Way of Life - What All Martial Artists Can Learn From Gichin Funakoshi"

Karate-Do: My Way of Life – by Gichin Funakoshi

Gichin Funakoshi is the founder of Shotokan Karate, although he would be disappointed to hear that. He opposed the notion of different styles of karate preferring one unified - but open to change - Karate-Do.



“Karate-Do: My Way of Life” is Gichin Funakoshi’s (1868 to 1957) autobiography written in the last years of his life.

Studying karate, raising a family, and making a living as a school teacher dominated the first half, the Okinawa half, of Master Funakoshi’s life.

Then, he found his purpose – to introduce and popularize karate throughout Japan. He moved to Tokyo, where he struggled for many years; keeping faith with his purpose. Finally, he succeeded in establishing Karate-Do as an accepted part of Japan’s martial arts tradition

In his autobiography, Gichin Funakoshi narrates a number of his formative events illustrating the spirit of karate-do as he understands it. He uses the narrations to instruct the reader in these principles.

Subsequent posts will present Master Funakoshi’s narratives and their verbal illustrations of the spirit of Karate-Do.

Link to the Special Report: "Karate-Do: My Way of Life - What All Martial Artists Can Learn From Gichin Funakoshi"

A Different Christmas Poem

A Different Christmas Poem

The embers glowed softly, and in their dim light,
I gazed round the room and I cherished the sight.
My wife was asleep, her head on my chest,
My daughter beside me, angelic in rest.

Outside the snow fell, a blanket of white,
Transforming the yard to a winter delight.
The sparkling lights in the tree I believe,
Completed the magic that was Christmas Eve.

My eyelids were heavy, my breathing was deep,
Secure and surrounded by love I would sleep.
In perfect contentment, or so it would seem,
So I slumbered, perhaps I started to dream.

The sound wasn't loud, and it wasn't too near,
But I opened my eyes when it tickled my ear..
Perhaps just a cough, I didn't quite know,
Then the sure sound of footsteps outside in the snow.

My soul gave a tremble, I struggled to hear,
And I crept to the door just to see who was near.
Standing out in the cold and the dark of the night,
A lone figure stood, his face weary and tight.

A soldier, I puzzled, some twenty years old,
Perhaps a Marine, huddled here in the cold.
Alone in the dark, he looked up and smiled,
Standing watch over me, and my wife and my child.

"What are you doing?" I asked without fear,
"Come in this moment, it's freezing out here!
Put down your pack, brush the snow from your sleeve,
You should be at home on a cold Christmas Eve!"

For barely a moment I saw his eyes shift,
Away from the cold and the snow blown in drifts..
To the window that danced with a warm fire's light
Then he sighed and he said "Its really all right,
I'm out here by choice. I'm here every night."

"It's my duty to stand at the front of the line,
That separates you from the darkest of times.
No one had to ask or beg or implore me,
I'm proud to stand here like my fathers before me.

My Gramps died at ' Pearl on a day in December,
"Then he sighed, "That's a Christmas 'Gram always remembers."
My dad stood his watch in the jungles of ' Nam ',
And now it is my turn and so, here I am.

I've not seen my own son in more than a while,
But my wife sends me pictures, he's sure got her smile.
Then he bent and he carefully pulled from his bag,
The red, white, and blue... an American flag.

I can live through the cold and the being alone,
Away from my family, my house and my home.
I can stand at my post through the rain and the sleet,
I can sleep in a foxhole with little to eat.

I can carry the weight of killing another,
Or lay down my life with my sister and brother..
Who stand at the front against any and all,
To ensure for all time that this flag will not fall.."

"So go back inside," he said, "harbor no fright,
Your family is waiting and I'll be all right."
"But isn't there something I can do, at the least,
"Give you money," I asked, "or prepare you a feast?

It seems all too little for all that you've done,
For being away from your wife and your son."
Then his eye welled a tear that held no regret,
"Just tell us you love us, and never forget.

To fight for our rights back at home while we're gone,
To stand your own watch, no matter how long.
For when we come home, either standing or dead,
To know you remember we fought and we bled.

Is payment enough, and with that we will trust,
That we mattered to you as you mattered to us."
******************************

LCDR Jeff Giles, SC, USN
30th Naval Construction Regiment
OIC, Logistics Cell One
Al Taqqadum, Iraq