Jo-Ha-Kyu
(by Tom Alteen, M.B.A., B.Voc.Ed., D.I.T., Aikido Sandan,July 15, 2021)
The quote above is from a Japanese samurai who lived to old age and is regarded by many as the greatest Japanese swordsman who ever lived. He was also what we would call today, “a Renaissance man.”
When Greg Whitt, Drum For Change, suggested I write an article regarding the parallels between the percussive and martial arts, I responded with, “Funny, I think about it all the time.” So, there is the first parallel, whatever your endeavour, those who are serious and passionate think about their respective arts all the time and incorporate them into their everyday lives.
While dabbling in other martial arts along the way, most of my experiences have been with the Japanese martial arts of Aikido (a modern defencive art) and Iaido (the art of drawing the sword). Such being the case, the discussion to follow will largely focus on the parallels between the Japanese martial arts and the percussive arts.
To begin, I believe the discipline and dedication required to master a percussion instrument are generally the same required to learn a martial art.
Centre: Practicing Iaido at The Rock Kendo and Iaido Club. The Kendo practitioners in the background are Nyomae Alloway on the left and Wilson Humphries Sempai on the right (photography by Violetta Alloway)
Bottom: With Fudoshin Aikikai Self Defence Program for Women Graduates (photographer unknown)
Drumming has always been a two-edged sword being sometimes intertwined with military endeavours. I believe it is not a coincidence that the ancient Greek and Roman god “Apollo” was, among other things, the god of music and archery. Historically, percussion instruments were used to celebrate after successful military campaigns (The First Book of Samuel, 18:6) and used to keep troops in time, intimidate the enemy, and to relay communications (Sun Tzu, chap. 7, 23 – 26).
The title for this article, “Jo-Ha-Kyu,” can roughly be translated from Japanese as, “slow, medium, fast.” It is a Japanese swordsmanship phrase that reminds us when to slowdown and speed up. This is parallel to “tempo” in the percussive arts.
Etiquette (“reiho” in the Japanese martial arts) is valued in civilized societies. For drum circle etiquette, please see, for example, Hull (2011).
Before the phrase “staying in the moment” became very popular, the Japanese martial arts long embraced the concept of “mushin,” or “no mind.” On the surface that sounds like something everyone could easily master, right? Not so, for me it has been a 36-year journey and I expect I will have to continue to work on mushin to my grave. As explained by the Zen Buddhist Monk Takuan Soho (during Miyamoto Musashi’s time), “The mind should be nowhere in particular” (Hyams, p. 53). While it is a very complex Eastern philosophical concept, it is simplified somewhat by using percussion instruments and the martial arts as mediums towards mental clarity.
I remember one of my early drum teachers, the late Denny Solo, telling me to always practice the basics. So, I regularly review the International Drum Rudiments to this day. Similarly, Yoshimitsu Yamada Shihan (Master Teacher) with the United States Aikido Federation took the teachers aside at a local seminar and reminded us to focus on the fundamentals (kihon) with our students.
I selected the name “Musubi Drum Circles” for my business because the Aikido term “musubi,” (meaning to “tie” or “knot”) really describes well my attempt to harmoniously connect people in the community using recreational drumming as the forum. I love drum circles and the martial arts because more emphasis is placed on the community—“dojo” (Japanese), “dojang” (Korean), and “kwoon” (Chinese)—than the individual (Hyams, p. 12). I remember being lightly tapped on the head with Arthur Hull’s hat when I was taken away with a rhythm and started playing loudly. It reminded me of the Japanese saying (unknown source) that, “The nail that stands up gets hammered down.”
Percussionists and martial artists use accents; martial artists use “kiai” (yelling on attack), “fumikomi” (foot stomping), and “atemi” (strikes) to distract the opponent.
As percussionists, we love messing around with dynamics (playing loudly and softly). In fact, I have heard it said that dynamics is the most important element of music. We must always ask ourselves what is appropriate for our audience and the piece of music. Similarly in Aikido and Iaido the first thought is to win without fighting, to preserve life, and, if necessary, to maim rather than kill. If the attacker persists, then one has to dial up the intensity of the defence. So, martial artists, like percussionists, must always assess the appropriate volume.
Percussionists will sometimes crescendo during a piece and similarly swordsmen perform a finishing cut or “kiriotoshi,” an Aikidoka (an Aikido practitioner) will immobilize or project the attacker, and a boxer will go for the knockout.
Some percussionists have “stage presence,” whatever that is. It is difficult to describe but we all know it when we see it. Japanese martial artists use “seme” and “tame,” extending one’s life force or “ki” outward or inward, respectively.
Martial artists change techniques in order to prevail. In Aikido the term for chaining techniques is “henkawaza.” As percussionists, we use calls and bridges to change the groove to make it more interesting. Both arts share these variations.
Sometimes percussionists like to improvise, or jam, if you will. The martial arts equivalent might be reversing techniques (“kaeshiwaza”), freestyles (“randori”), and sparing.
Percussionists use practice implements such as weighted drum sticks with practice pads, and electronic drums; Aikidoka and Iaidoka (an Iaido practitioner) use wooden weapons, and Kendoka (a Kendo practitioner) use weighted “shinai,” i.e. bamboo swords (Wilson Humphries, personal communication, May 2021).
Capoeira (a Brazilian form of combat) practitioners and some boxers like to “dance” as do some of the participants at our rhythm events. During performances it is not uncommon for percussionists to move to their own rhythms and to partner with dancers for shows.
Performance and attire are important in the percussive and martial arts—to know is to do and we ought to dress appropriately for the occasion. An Iaidoka will wear a well kept black uniform (“gi” top and “hakama” pants) and will maintain a decorum during a demonstration (“embu”), not unlike the percussionist in a symphony orchestra wearing a black tie and tux.
Use of body mechanics is shared in the percussive arts and the martial arts. For example, keeping the elbows close to the body and the hands in front of the centre (“hara”) is common to drumming and the martial arts to reduce fatigue, to lessen the potential for personal injury, and to increase power. The wrist whipping motion of the Moeller drumstick method is not dissimilar to the way the Japanese swordsman cuts with the sword.
The Japanese term “Sensei,” loosely meaning teacher, actually means “one who is born before,” (Hyams, p. 13) not in the chronological sense but simply one who is a more experienced practitioner who acts like a torch in the darkness to illuminate the correct path. (In the Chinese martial arts a teacher is referred to as “Sifu.”) We all have our “sempai” or seniors. In the percussive arts there are teachers, elders, and mentors who guide us. So typically every practitioner in both arts has a guide(s).
My current martial arts teachers are shown in the pictures that follow.
Top Right: Wayne Pinsent Iaido Sempai, The Rock Kendo and Iaido Club (photography by Wayne Pinsent)
Bottom Left: Dojo President Tony Cumby practicing with Mike Clair Aikido Sensei, Fudoshin Aikikai (photography by Colette Phillips)
Bottom Centre: With Colleen Hogan Aikido Sensei, East End Aikido (photography by Colette Phillips)
Bottom Right: Wilson Humphries Iaido Sempai, The Rock Kendo and Iaido Club (photography by Violetta Alloway)
In closing, I aspire to unite my mind, body, and spirit through the percussive and martial arts. In Japanese swordsmanship there is the phrase “ki-ken-tai-icchi,” i.e. “mind, sword, and body acting as one.” For me, the percussive and martial arts are lifelong journeys of self-discovery, learning, and improvement.
"By being ‘all that you can be’ as a facilitator, you are being real with both
yourself and your [drum] circle.”
—Arthur Hull (2006, p. 220)
References
Hull, A. (2006). Drum circle facilitation, building community through rhythm. (2006). Santa Cruz, CA: Village Music Circles.
Hull, A. (2011). The unwritten rules of drum circle etiquette. DRUM!
Hyams, J. (1979). Zen in the martial arts. New York: St. Martin’s Press.
Musashi, M. (1645). The book of five rings. As contained in Nihon Services Corporation. (1982). The book of five rings, the real art of Japanese mangement. Toronto, ON: Bantam Books, p. 23.
The Catholic Bible. (2012, Red Letter Edition). Seedbox Press.
Tzu, S. The art of war. (circa 500 BC). Translation and commentary by Giles, L. (2014). China: Canterbury Classics. (This is the oldest military treatise in the world.)