What is kuden, the oral transmission? It represents an extra bit of teaching, something not given to everyone. It figures highly in iaido, though it is no longer so secretive as in the past. You can even find a book which collects many kuden teachings, now available for anyone to read. And it is even translated into English.
We sometimes practice variations in the established technique called kae-waza 変え技 in iaido. To me it is a great chance to explore and add options to the regular syllabus. Simple as the changes / additions are, many of the students cannot seem to grasp them and we endlessly review the same stuff. Hence group practice is slow, not advancing much at all.
Once in a while I can catch my teacher whipping out a slight variation on a higher level okuden 奥伝 form. Of course I will copy it on the spot, glance to him for comment. The best I can get is the tiniest of occasional, grudging nods. More often, I am left wondering whether I should be copying it, doing it in front of others.
Once I asked him about one such variation. He had done it in front of many people but no one seemed to notice. I practiced it on the spot (and did not get a nod). I asked him about it and his reaction surprised me. That’s not kae-waza! That’s kuden 口伝! (oral transmission, usually somewhat secretive)
I think I had made a mistake of asking too directly (and in front of other people), and had unintentionally put him on the spot. Hence his reticence / anger.
In the Chinese arts the same feeling comes up, though it may be more about haphazard transmission than guarding secrets (though that secrecy would have been much more important and guarded in the past).
Working on my notes for the Chen Style sword (jian) form, I realized I had encountered the same thing, just without the terminology of Japanese style koryu bujutsu.
I was running through the Chen taiji jian sword form. My teacher walked over and said “Haven’t I ever shown you this?” Then he proceeded to demonstrate a crazy new variation which I have never seen him show anywhere in the past ten years.
That was it. I have never seen it from him again. I make a point of adding that motion whenever I practice. When I have the chance, I try it out in front of him, seeking encouragement or at least reaction.
No nods of approval yet. But neither any smacks on the back of the head. Yet.
(notes for a better and more well-organized piece to come in the future)
No comments:
Post a Comment