What is Zanshin?, by Chuck Clark
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Translated literally, zanshin means "left over or remaining
heart / spirit". Some give it a loose definition of "combative
awareness" or words of similar meaning.
Modern sportsmen often talk about "putting on their game
face" to intimidate their opponent(s). Some budo practitioners
think zanshin is a similar thing and stare or glare at their
opponent before and after a technique is finished. This is not
true. Making faces at your opponent is something that can be
used as a "suki" or opening by a skillful person. Many gendai
(modern) budo practices seem to not emphasize zanshin. I
have seen lots of judo and aikido dojo where people show no
understanding or concern for combative ma-ai (engagement
distance) and turn their backs on their "partner"as they are
getting up from ukemi thinking the technique is over now. Just
what is zanshin and how do we get it?
Zanshin is a quality that is made up of several other basic
ingredients that are necessary for proper budo practice. Let's
take a look at what these fundamental elements are.
- Shisei (posture);
- Metsuke (eye control);
- Ma-ai (engagement distance);
- Kiai (focused energy);
- and Ki musubi (connection)
When we first begin practice, these elements are what we
are concentrating on and need to conciously monitor all of
the time. We always begin to imitate our seniors' zanshin by
keeping good posture, watching and keeping eye contact with
our partner and making sure our distance is correct. Usually
our posture is too stiff and we add a somewhat "menacing"
look on our face to discourage any further attempts to attack
us. Of course we always overdo it and our "zanshin" takes on
an exaggerated dramatic air that is very noticeable to others.
But, even with these faults, it begins to work. Uke feels like
they have no chance to attack us again.
At this point some new aspects of zanshin must enter into the
picture.
- Kime (decisive focus);
- Riai (essence of the technique);
- and Kanken (intuition/awareness)
We must have kiai that is more focused. We must have an
understanding of the riai or how the technique really works.
Along with the essence of the technique, target, distance,
and timing with the hasuji (cutting line or power line of the
structure), make up this idea of riai. Kanken is developing and
becoming stronger.
After substantial practice and feedback from our seniors, we
begin to relax and our posture/movement is better. We look
like we're "rooted into the mat and yet move easily. Our face
is calm with no intent showing and our eyes are looking at the
uke and beyond but not able to be "captured." Our energy is
focused and relaxed... seemingly capable of anything. The uke
sees no openings (suki) in our posture and attention. We're
beginning to develop real zanshin. We are showing zanshin
at other times in our practice now ... not just after we finish
a technique. It feels really bad, even dangerous, to take our
eyes off of uke too soon. We have an awareness that was not
there before. We are showing zanshin during practice most of
the time. We have a calmness that is there even during strong,
intense action. It is often said that there is a quality of stillness
in action and action in stillness.
After some years of quality practice under a competent
instructor and a good peer group to train with, our zanshin also
becomes filled with other qualities. These qualities are subtle
and difficult to describe. It's easy to see in others but difficult
to detect when we begin to show them. In fact, most of us "try"
to develop these qualities of Fudoshin (immovable mind) and
Muga mushin (no thought of self or actions) too hard and even
take on mannerisms that we have associated with our teachers
or seniors that we perceive to have these qualities way before
we actually begin to have a hint of the real thing. Patience,
practice, continuing contact with those who demonstrate these
qualities in their lives, and time are the only tools that will
give us what we want. At some point, we must even give up
wanting these things and just practice. Great Faith tempered
with Great Doubt.
(Thanks to Aaron Clark and Keith Slatoff for the pictures.)
© 2004 by C. Clark, All Rights Reserved
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