In large parts of India, among Hindus, touching the feet of elders and teachers or bowing down to them, is a common practice. It is an extension of bowing down before the Gods and Divinities. When I say bowing down, it is not the Japanese bow, or one seen in a historical European context.
We do what is called a “Shāstānga namaskāra” or “Dheerga Danda namaskāra”. Men do a full prostration in front of Divinities. Women sit on their knees touch their foreheads to the floor in front of the Gods. The same is done in the presence of our Gurus, some teachers and elders in the family, community or society based on the situation.
Two depictions of the “Dheerga Danda Namaskaara”. Image credits – (L) “Mahabharata 23 – The Twelfth Year”, published by Amar Chitra Katha, (R) “Mahabharata 20 – Arjuna’s Quest for Weapons”, published by Amar Chitra Katha
Touching the feet is not something generally performed with the Gods. This is done mostly with humans we revere. In this case, one bows down and touches either the feet or the ground in front of the feet. This is an abbreviation of the prostration described earlier, performed in the interest of space and time. A further simplified version is just bowing down and touching the knees of the person*.
Irrespective of the exact nature of the “bow”, the act denotes showing respect to the Gods or to the person before whom the same is performed. It is not exactly an act of deference or subservience, it is purely one of respect, and maybe bhakti (loosely translated as “devotion”). It could be an act of deference, but that was not, as far as I know, the original intent and is not the intent in most parts of modern India today.
The key point of the “bow” is to touch or be in front of the feet of the individual(s) towards whom respect is being shown. The Feet are, in this sense, the most important aspect. This extends to the point where we consider the ground that is trod by the feet of great people and Gods as sacred ground.
It was common practice, perhaps it still is, for elders who accompany younger folk to any temple, to tell them to look at the feet of the idol of the deity. This is a constant reminder and is passed on from generation to generation. In Kannada, it is called, “Paada nodu”. In Hindi it would be, “Pair dekho”. It literally translates to “look (nodu/dekho) at the feet (paada/pair)”. In this vein, touching the feet is “Paada muttu” in Kannada and “Pair chuo” in Hindi. “Muttu” and “Chuo” translate as “touch”.
So, the focus of Bhakti and the act of showing respect always involves THE FEET.
The other field where the focus on the feet is vitally important is the Bujinkan system of martial arts; I daresay this is the case with all martial arts.
Among the first things that a student learns on starting in the Bujinkan is “Kamae”. “Kamae” could be considered “posture”, of the physical body. It could also refer to “attitude”, which is the “posture of the mind”, which in turn refers to displays or the exuding of non-physical aggression, confidence, fear and the like. For the purposes of this article, I am referring to the physical posture.
Two depictions of Kamae (physical posture). Sketches by Vishnu Mohan.
Kamae, when seen by an onlooker, predominantly shows the posture of the hands and the legs as a whole. But the kamae as experienced by the budoka (practitioner of budo), has greater focus on the core and the feet. The core because it holds the upper and lower halves of the body together. And the feet because it ensures balance and determines potential movements the body can perform, from said kamae. I will focus only on the key aspects regarding the feet in this article.
One of the key things that I have learnt from my teacher, mentors and seniors in the Bujinkan is that the weight should be towards the front half of the feet, i.e. towards the ball of the feet and the toes. The weight of the body should NOT be on the heels in any kamae. This holds true even for the most basic of the kamae, Shizen no Kamae, which can be translated as “Natural posture”. For those not in the know, this kamae just involves standing naturally in a relaxed posture.
Two more depictions of Kamae (physical posture), one with a weapon. Sketches by Vishnu Mohan.
The distribution of the body weight on the feet is absolutely crucial in the Bujinkan! To reiterate, it must be on the front half of the feet. This is vital because, making any movement from any given kamae, is faster with the weight on the ball and toes of the feet. Triggering any movement if one had loaded one’s heels is definitely slower. This is because the body is a lot more stable and rooted if one is standing on one’s heels. This in turn means that the inertia that needs to be overcome to initiate a movement is greater if one is on the heels.
When I say the “time taken to initiate a movement”, it is not too much, it could be a fraction of a second. But this time difference makes a definite difference during training and most certainly in a conflict situation that involves real harm. It could be termed “a split-second difference which makes all the difference”. This difference need not be distinctly visible to an onlooker, but any practitioner of the martial arts, certainly a practitioner of the Bujinkan, experiences this time and time again, perhaps in every class.
The distribution of the weight on the feet brings us full circle, back to the feet in Hindu culture. Specifically, to the depiction of the feet in sculpture produced by Hindu culture.
Lord Varaha saving Bhoodevi – carving in Cave 3 in Badami, Karntaka, India. The image on the right is a close up of the feet in the image on the left. Observe that the weight is either on the front half of the feet or on the side of the feet. Photograph by the author.
Consider any architectural or sculptural marvel from Indian history. It could the temple in Madurai, the sculptures in Mahabalipuram, the carvings on the magnificent temples at Halebeedu, Hampi or Badami, the marvels at Ellora or the historical monuments around Sanchi and Vidisha, or the many many others I have not mentioned here. All of them depict stories from Hindu culture. These include stories from the Mahabharata and Ramayana and the deeds of Lord Vishnu, Lord Shiva and Devi Durga. Many sculptures and bas reliefs depicting these stories show the human form in martial action. This includes the use of weapons and unarmed combat. Apart from the stories themselves, almost all temples have guardians carved on either side of the entrance to the Garbha Griha (literally “home or abode of the womb”), or sanctum sanctorum. These guardians always bear weapons.
The image on the left shows Lord Shiva destroying the Asura Andhaka (Aihole, Karnataka, India). Observe that the body is leaning forward and hence the weight will be on the front half of the feet. The image on the right from Pattadakal, Karnataka, India, shows a “Dwaarapalaka” (Guardian at the door). Observe that the individual is leaning on the weapon (mace/gada) and the weight is either on the front or the side of the foot. The weight of the body is not on the heels in either image.Photographs by the author.
Now consider the depiction of the feet in the sculptures showing martial action. Almost all of them show the body weight on the front half of the feet, irrespective of the kamae or posture depicted in the sculpture. This also extends to the posture of the guardians at the doorway to the Garbha Griha. Individuals might be shown leaning on the weapon they wield but are never depicted with the weight on the heels.
I am sharing multiple images with this article, that show the posture of the feet from a few different temples. One of them even shows the crimping of the little toe when the foot is lifted as if in a potential axe kick!
The image on the left, from Cave 3 in Badami, Karnataka, India, shows the Trivikrama form of Lord Vamana. Observe that he is standing on one leg. The image on the right is a close up of the left foot in the image on the right. Observe the crimping of the last 2 toes, as the weight is distributed to the front and side of the foot. Photograph by the author.
It is well known that temples in India have historically been more than just places of worship. They have been cultural centres, malls, schools/training centres, banks and treasuries, apart from just places of worship. The carvings on the temple walls were intended as teachings and storytelling features, sometimes both. Everything from tales from history and ethics to practices of intimacy were carved on temple walls. This was, according to some, because a lot of this knowledge was not taught directly.
Temples were thus a means to learn what was not yet in books and was not taught specifically as a subject in schools. So, considering this intent, in my opinion, what is carved in the temples are depicting what is, in all likelihood, the correct way one is supposed to load one’s feet. Therefore, the depictions of feet of warriors, even if they are deities, is showing how the weight distributions on the feet works, in marital arts in India.
The image on the left, from the Ravanaphadi Cave in Aihole, Karnataka, India, depicts the Mahishaasuramardhini. The image on the right is a closeup of the left foot of Devi Durga. Observe that weight is clearly on the side and front of the foot. Photograph by the author.
This continuum of importance of the feet and more importantly, the weight distribution on the feet is awesome indeed, at least to me. If one is a Hindu, it will be well known that feet are important to Bhakti and if one is a budoka practicing the Bujinkan the importance of weight distribution on the feet would be a key learning. The two come together in the depiction of the feet in sculpture seen in Hindu temples. Perhaps the best place for a budoka to appreciate the kamae of the feet is in a sculpture in a Hindu architectural marvel and being a Hindu, it is impossible to miss the kamae of the feet, for the feet is what one is culturally conditioned to observe. An absolute win-win combination. 😊
Notes:
* When a person touches the feet of another, the person whose feet is touched, almost always offers āshirwāda, which can loosely be translated as blessings. So, there is a responsibility placed on the person receiving the respect. It is not just to foster an air of superiority. A person being shown respect must have the humility to know that āshirwāda is due, even if not expected.
The above image summarizes the 5 methods of conflict management described further in the article, with examples
In this article I am suggesting that conflict management in human life, be it in the martial arts or at work, in different industries or in personal relationships, follows similar patterns. Hence, experience at work or in relationships or in the martial arts can bleed into one another. The experience in any is likely to be beneficial in the others.
One of the first things that a student of the Bujinkan learns is the “Uke Nagashi”. Uke Nagashi can be roughly translated as “receive the opponent in flow”. In practical terms, it means “how to respond to an attacker”. In generic terms that might be used in multiple martial art systems, “Uke Nagashi” could be called “ways to defend or block or parry”.
There are two ways in which Uke Nagashi are classified, for ease of learning by beginners. Over years of practice, the importance of Uke Nagashi does not diminish, it takes on a more central role, but is not top of mind in regular practice. One of the ways of classifying the Uke Nagashi is beautiful and simple, for it is alphabetic. Five Uke Nagashi are defined. These are,
A – Absorb
B – Block
C – Counter
D – Deflect
E – Evade
A reasonable description of the above 5 methods of Uke Nagashi are seen below.
“Absorb” generally means ceding space. It means allowing an attack, either unarmed or with a handheld weapon (non firearm) to reach its intended extent but surviving the attack by out of the space where the attack lands or ends.
“Block” refers to holding ground. It means that an attack, again unarmed or with a weapon, is stopped when it reaches its intended target, and fails to inflict the intended harm.
“Counter” usually means moving into the space (occupy space) that is likely used by the opponent/attacker. The individual receiving the attack likely moves forward to occupy space to deny the attacker the needed space to carryout the attack in the first place. The attacker could be forced to withhold or mitigate the attack to avoid any harm to herself or himself.
“Deflect” is a variant of “block”. The individual receiving the attack positions herself or himself such that the attack, despite landing, fails to cause the intended damage or is turned away from the intended target.
“Evade” could be considered a combination of any or all of the above 4 methods. It could simply mean, “not being in the space where the attack is likely to land”.
The above could be a hard to visualize, so an example to visualize the five Uke Nagashi could be the following. Imagine an attack with a sword.
Stepping back beyond the maximum reach of the cut or thrust would be an “absorb” uke nagashi.
If one has a shield or is wearing armour, receiving the attack on either of these without changing ones position would be a “block” uke nagashi.
If one has a sword and stops the attack by threatening the attacker with a counterattack (😊), that is a “counter” uke nagashi.
If one has a shield and repositions oneself such that the sword attack glances off the shield, maybe because of its convex curvature, that is a “deflect” uke nagashi.
A combination of any or all of the above would be an “evade” uke nagashi.
The above are a perspective through the prism of the martial arts. I posit that the same methods of response to various conflict situations are what we use on a day-to-day basis at work. I further suggest that these five methods of responding are used at all levels of organizations, not just the entry levels or middle management or the higher echelons of leadership.
To elucidate this point, I share the following examples. Consider a scenario where a client disagrees on any aspect of doing business. The 5 five methods of responding to this would be something like those mentioned below.
“Absorb” response – One either says that they will see what can be done to accommodate the client’s requirement or apologize if there seems to be a lacuna of some sort in one’s actions. Here a supplier has acceded to a client’s position and has bought time so see how the requirement can be met.
“Block” response – One can tell the client that the supplier does not agree with the stated position, and it will have to be looked at in greater detail. Here, the position of the client is not accepted, and further negotiation/discussion can take place. The client’s position is also stopped where it was and further expansion on the same is checked.
“Counter” response – One tells a client that the supplier disagrees with the client’s position and the reason for the disagreement is something to do with client actions in the recent past. Here, the client is not only thwarted from confirming a position in a discussion but is potentially pushed on the defensive to explain a stance previously taken.
“Deflect” response – A representative of a supplier can tell a client that they will set up a separate call to discuss the issue at hand or say that one will have to discuss the issue with someone else to get details of what has transpired. Here, in setting up a call, one has deflected the issue in time, to later date or bought a few hours to respond. In saying someone else needs to be contacted, the deflection is in space, where a different person has to be brought into the fray. This of course could buy time as well. The client’s position is not acceded to or disagreed with, it is “put on hold”.
“Evade” response – Like in previous examples, evasion is a combination of a few or all of the previous 4 methods of response. So, one could say that the supplier disagrees but will set up a call to discuss further. This would be a combination of “counter” and “deflect”. Or the response could be that they are sorry for the disagreement and will discuss further on a call. This is a combination of “absorb” and deflect”. There could also be a case where the specific person the client has a disagreement with goes on “leave”. This is a “deflect in time” and a “block” as the client position has been put on hold for the time being without acceding to their position.
I have considered a scenario which involves a business interaction. The manner of responses would apply to personal relationships as well. Consider any disagreement with a spouse, a parent, sibling, child or friend. All these disagreements are conflicts of varying scales with the consequences ranging from financial ones to reputational ones to just considerations of ego. The responses in all of the disagreements/conflicts can be classified into one of the five defined earlier in this article.
So, if the “5 methods” of responding or uke nagashi are applicable in just about any conflict, either physical or not and be it in business or in personal life, this cannot be something new. It is not an invention of mine. It is just an observation of an application in the Bujinkan system of martial arts to life beyond the dojo. The “A B C D E” seem to have always been applied by humans.
So, if the ways of responding are not new discoveries and something that we humans have always been doing, why am I writing this post? The answer is as follows.
Generally, even if an idea is well known, if we externalize it, by writing it down or making a video or picture of the same, it is easier to remember. Also, if we can rely on an external medium and not just memory to remember an idea, it is easier to express and evolve the idea from its base. This also frees up our memory without any worry of losing ideas due to focus on other pieces of knowledge.
There are also stressful times when we lose track of what we already know and an external reminder of what we could apply based on existing knowledge and experience in such a situation tends to be helpful. Consider it as having access to one’s notes or a textbook, or a manual or support webpage or just a search engine, if not AI LLMs. 😊
To take an example from popular fantasy, consider the Harry Potter series. Professor Dumbledore uses a “Pensieve”, a magical device which he uses to look at his own memories from an external perspective, that helps him with new realizations. This aspect also has a parallel in the Bujinkan. One of our mentors, Daishihan Darren Horvath, once said that to be able to improve as a martial artist, one should be able to look at one’s own movement from an external perspective.
That brings us full circle. Perhaps being able to look at our actions in life, at work and in personal relationships, should be able to help us achieve better movement and flow during practice in the dojo. The A, B, C, D and E of responses seem pervasive, likely due to their facilitation of preserving one’s life, or position or opinion at work and in life outside the dojo.
This post is a series of observations in hindsight. It is an identification of a set of coincidences that seem important to me personally. There is no great significance to the observations but for the experience of having them.
This article will be my 65th post. This number is what brought about the observations that are documented below. Not specifically the number sixty five, but the numbers in the “sixties” in general. My posts are about the intersection I see between Hindu culture and the martial arts, specifically the Bujinkan system of martial arts. So, here are the series of thoughts I have had, as of now.
In India, the 60th birthday of an individual is considered very special. It is called “Shashtyabdha Poorthi” or “Shashti Poorthi”. “Poorthi” means “completion”. “Shashti” is “sixty”. “Shashtyabdha” means “cycle of 60 years”. Both terms refer to the completion of sixty years of life. The significance of the 60 year cycle comes from astronomy.
Shashtyabdha Poorthi – written in Kannada (left) and in Devanagari (right) script
The cycle of 60 years refers to the time taken by three important celestial bodies, according to Hindu tradition, to cycle through the sky from and to the constellation Mesha (Aries). When Surya (Sun), Chandra (Moon) and Guru (Jupiter) are in the constellation Mesha (Aries), it is considered the year zero. The three celestial bodies move across the night sky to cycle through the 12 zodiacal constellations multiple times before all of them are in Mesha at the same time again. Since the three bodies move across the night sky at different rates of time, they do not meet in Mesha often. It takes 60 years for Surya, Chandra and Guru to meet in Mesha once they start their cycle and move away from each other.
This is the reason the 60 year cycle is considered very important. Hence, when a person turns sixty, a pooja or homa is performed at home. If nothing else a visit to the temple is almost always guaranteed when an individual turns 60. Also, in the Hindu calendar (panchānga), a year is called a “Samvatsara”. There are 60 samvatsaras, each with a specific name. There are 60 samvatsaras because they are designed to coincide with the alignment of the Sun, the Moon and Jupiter in Aries.
The Bujinkan is a system of martial arts with its origin in Japan. And interestingly, the 60 year cycle is of importance for the Japanese as well! The 60th birthday of an individual is considered important even in Japan. From what I know, this is called “Kanreki” in Japanese. The word means “return of the calendar” according to Google. So, what is “Shastyabdha Poorthi” in India is “Kanreki” in Japan.
Kanji for “Kanreki”
The Japanese follow the Chinese zodiac. This zodiac has twelve animals and five elements. The five elements are Earth, Water, Fire, Wood and Metal. Every twelve year cycle is associated with an element. So, one twelve year cycle has one year for each animal and is associated with one element. For example, this year is the “Year of the Wood Snake”, wood being the element and snake being the zodiacal animal. So, a multiplication of 5 and 12 gives 60, 5*12 = 60.
Thus when a person turns 60, he or she would have lived through all the 60 years as a combination of the animals and each of the five elements. And hence, they have “returned in the calendar” to the year which is a combination of the animal and element at the time of their birth. Thus, a full cycle is complete and is a cause for celebration. The measurement of the cycle is different, but interestingly, both the Indian and Japanese (and of course Chinese) methods lead to a sacred time span of 60 years!
Even in the Western way of thinking, the 60th anniversary of an institution or an event, is considered the “Diamond Jubilee”. An individual is supposed to have entered one’s “Golden Years” when he or she turns sixty or perhaps 65 by some points of view. This seems tied to the fact that one is retiring from a regular job and has more time for leisure. It therefore seems that in many parts of the world, a sixty year cycle is considered important, if not sacred.
But can the importance of the number 60 have a reference to the martial arts? Specifically the Bujinkan system of martial arts? It seems possible, as I elucidate below.
The link with the Bijinkan is not specifically to the number 60, but more to the numbers in the sixties. This is something like the definition of the “golden years of one’s life”. Also, this absolutely is me cherry picking data to suit an idea. It could also be a case of Frequency Bias or the wonderfully named “Baader-Meinhof Effect”*. Either way, I am writing this because I enjoyed doing so and it makes sense to me. This is not an attempt to connect things for anyone else.
The core of the Bujinkan consists of the Ten, Chi and Jin Ryaku no Maki and the Buki Waza. The Buki Waza refers to training with weapons of varying lengths. “Buki” is “weapon” and “waza” is “technique”, literally, “techniques with weapons”. The Ten, Chi and Jin Ryaku no Maki (Ten Chi Jin for short) consists of training unarmed combat and in some ways is a precursor to training with weapons, for one needs to learn body movement before adding a weapon into the mix.
My mentor Arnaud Cousergue once referred to the Ten Ryaku no Maki as the “ryaku” of the Bujinkan. He also referred to the Chi Ryaku no Maki as the “waza” and the Jin Ryku no Maki as the “kata” of the Bujinkan system respectively. “Ryaku” is “principle”, “waza” is technique” and “kata” is “form”. So, a student of the Bujinkan learns the principles and techniques of the Bujinkan, followed by the forms. The forms are designed to be able to apply the principles and techniques in various combinations. These are carried on to training with weapons, with modifications where applicable.
Now for the numbers.
The Buki Waza consists of 67 forms across 9 weapons. This is exclusive of the kamae (postures) and kotsu (key points).
In the Ten Ryaku no Maki, 60 kyusho are listed. Kyusho are weak points or “pressure” points on the human body.
In the Ten Ryaku no Maki, apart from the kyusho there are61 points (or ryaku), apart from the variants for some of these.
In the Chi Ryaku no Maki, there are 67 waza including the variants of some. If one disregards the variants, there are 57 waza.
In the Jin Ryaku no Maki, there are 59 kata including the variants of a few, which is just short of 60.
The above chart has the entire Ten Chi Jin and Buki Waza syllabus. It is a chart created by our mentor Arnaud Cousergue. I have only shown the headings for reference and hidden the actual forms and techniques, for they have to be learnt in a dojo. Also, I do not own the rights to the above chart.
As can be seen, pretty much each segment of what a student of the Bujinkan learns as part of the basics consists of roughly 60 forms/techniques/concepts. The Ten Chi Jin and Buki Waza are key learnings every practitioner has to imbibe before earning the black belt or before being considered a real student of the system.
Since we are looking at similarities between and Japan and India, there is one point that must be mentioned. And this one involves a number in the sixties as well. In ancient India, a cultured or learned individual was expected to be skilled at 64 kalas**. A kala is an art or in this case, a skill. These 64 include, singing, dancing, conversation, flower arrangement and a host of others. These are separate from the 14 vidyas, or “forms of knowledge”, which include the 4 vedas, 4 upavedas (subsidiary vedas) and 6 shāstras (branches of knowledge)***. The 64 kalas/art forms are discussed in the famous ancient Indian text, the “Kāmasutra” (yes, it has information beyond just the “positions”).
A folio of the “Kamasutra” written in Devanagari script. Image credit – Wikipedia
Now, before concluding, I would like to descend further into the rabbit hole of numbers. 😛
In the Bujinkan, there are 10 kyu levels, or more correctly, 9+1 kyu levels. Kyu levels are like standards or grades in schools, like 1st standard, 2nd grade and the like. They are levels or stages a student passes through before achieving a black belt or “shodan” level, which is a 1st dan or 1st degree black belt. After earning a black belt, there are 15 levels, which are called Dan ranks. So, before a black belt, there are kyu ranks and after a black belt, there are dan ranks.
When a student begins her or his budo journey in the Bujinkan, she or he is considered a “mu kyu”. “Mu” is “empty”. So a “mu kyu” is someone who does not have a kyu or any rank at all. This is the first level. When a student with a “mu kyu” passes the first test, she or he earns the “9th kyu”. This is the first of the numbered ranks. Over the course of training, the kyu levels reduce in descending order. So, when a student with a “1st kyu” earns the next rank, he or she becomes a “1st dan black belt” or a “shodan”.
A male student wears a green belt before earning the black belt (while holding the kyu ranks). Female students wear a red belt before the black belt is earned.
In the Bujinkan, there is a concept of the “Goho Sanshin no Kata”. Here, the word “goho” refers to “five ways”. These five ways correspond to the five elements. Here though, the five elements are, Earth, Water, Fire, Wind and Space (wood and metal are not a part of this set of five). These elements are the same as those seen in Hindu culture. In Hindu culture the five elements are called “Pancha Bhoota”. “Pancha” is five and “bhoota” is element. The five elements in many Indian languages are called, “Prithvi (Earth), “Jala (Water)”, “Agni (Fire)”, “Vāyu (Wind)” and “ākāsha (Space/Sky)”.
The forms related to the Goho are trained over and over all through one’s life as a practitioner of the Bujinkan. The learning from the training of these 5 forms is applied in armed and unarmed combat in various ways. The Goho is pretty much a foundational aspect of the Bujinkan. Hatsumi Sensei, the previous Soke or Grandmaster of the Bujinkan system, had once said that there is a sixth element beyond the five we train regularly. This is something I have heard from my teacher Shiva and other mentors.
A representation of the Godai (the five elements). Artwork by Adarsh Jadhav.
Hatsumi Sensei had said that the 6th element is “Consciousness”. The Japanese term he used to refer to “consciousness” was “Shiki”. This could also be referred to as “being aware” or “being mindful”. From what I have learnt and experienced of this concept of Shiki, this is supposed to be something that one can experience when the experience with the other 5 elements are imbibed with many years of training.
Hatsumi Sensei is also supposed to have remarked upon this idea of “Shiki” in reference to the famous book “Go Rin no Sho” authored by Miyamoto Musashi, the master swordsman who lived during the 16th and 17th centuries in Japan. “Go Rin no Sho” means “The Book of Five Rings”. It is quite a popular book even in modern times in corporate circles where it supposedly teaches strategies to overcome challenges.
The five rings in the title of the book refer to the five elements that we mentioned a little earlier in this book. Sensei supposedly said that he has moved beyond the five elements referred to by Musashi, and into the sixth one, that is Shiki or consciousness. This was supposedly mentioned as a further evolution from the past and an improvement as well. He also mentioned that he was teaching this to his students and that they should imbibe Shiki as well.
Thus, there are 6 elements, the five which are analogous to the Pancha Bhoota in Hindu culture and Shiki, which is a layer on top of the five. I cannot help but think of the old cartoon series “Captain Planet” here. In the series, there were five parts to the eponymous superhero, 4 elements (earth, water, fire, wind) and “heart” (because it is what unites the other 4 elements or something like that, I cannot recall). In real world martial arts training though, Shiki enables the effective application of Chi, Sui, Ka, Fu and Ku (Earth, Water, Fire, Wind and Space).
So, there are 10 kyu levels and 6 elements. There are several other concepts and sets of concepts with different numbers in the Bujinkan. But why did I look at the two sets that had 10 and 6 respectively. Simply because this article is about 60 and the sixties. Six time ten is sixty, 6*10 = 60. 😀
Notes:
* Baader-Meinhof effect – A phenomenon where one seems to encounter a word or concept often after coming to know of its existence.
Today, 19th Feb, is Chattrapati Shivaji Maharaj Jayanti or the birth anniversary of Shivaji Maharaj. Shivaji Maharaj, who lived between 1630 and 1680, was the founder of the Maratha Empire (later Confederacy) that grew to be the most powerful political and military entity in India in the 18th century. He is also an extremely influential historical and cultural icon in modern India.
Portrait of Shivaji Maharaj. Image credit – Wikipedia
Shivaji Maharaj is an icon because of his military, political and social achievements. There are several books, series and movies featuring his life. His life is filled with several instances of derring-do, each of which, if not known history, would seem like the imagination of a great script writer. Shivaji and many of his military leaders were involved in acts of military heroism and greatness that are remembered to this day. Listening to the stories of their escapades is a hair raising, goose-bump inducing experience to this day, simply because these were audacious and carried out against overwhelming odds. Some of these would perhaps be called “Special Forces” operations if they had occurred in contemporary times.
Listed below are some of the incredible victories of Shivaji Maharaj and his military leaders in the second half of the 17th century. These are the ones that are top of mind for me, not a comprehensive listing.
The Battle of Pratapgarh, Nov 1659 – Shivaji Maharaj killed Afzal Khan with his Bagh Nakh during this conflict.
The Battle of Pavankhind (Ghodkhind) July 1660 – Maratha General Baji Prabhu Deshpande with 300 troops held back a Bijapur army many times its own size in a narrow pass allowing Shivaji Maharaj to escape.
Battle of Surat, Jan 1664 – Shivaji Maharaj led a daring night attack against much larger Mughal forces led by Shaista Khan.
Escape from Agra, Aug 1666 – Shivaji Maharaj and his son Sambhaji were political prisoners in Agra. They escaped through stealth, without a military action.
Battle of Singhagad (Kondhana)*, Feb 1670 – Maratha General Tanhaji Malusare and his troops scaled the walls of the Kondhana fort to defeat Mughal forces in a surprise attack.
Capture of Panhala fort, 1673 – Maratha commander Kondaji Farzand is supposed to have captured the fortress of Panhala with just 60 men, defeating a garrison of 2500 men (I am not aware if this is confirmed history of if folklore is mixed with history).
Battle of Umrani, 1674– Maratha General Prataprao Gujar led Maratha troops to victory against the army of the Bijapur Sultanate. There is a story relating to this battle where 7 Maratha warriors attacked the enemy camp, losing their lives in the process, but leading to an eventual Maratha victory.
Southern conquest – Shivaji Maharaj embarked on a conquest of many parts of Southern India between 1674 and 1680. This was in the direction opposite to that of their primary threat, the Mughal Empire under Aurangzeb! This military action later allowed the Marathas to survive the 26 year long Mughal-Maratha war.
Bahirji Naik – He was supposed to the spy master for Shivaji Maharaj, who was instrumental is several successful military campaigns. I am not aware of the full details of his specific role in the many military actions of the then fledgling Maratha Kingdom (it became an Empire later).
Maratha navy – The Marathas built a coastal navy which for many decades was a match for the Siddis of Janjira and all the European navies operating off the Indian coast at that time.
Consider the first battle mentioned above, the Battle of Pratapgarh. This occurred in late 1659 between the army of the Adil Shashi Sultanate of Bijapur and the Maratha Army. The Adil Shashi army was led by Afzal Khan and the Marathas were led by Shivaji. Afzal Khan was supposed to have been a giant of a man, standing somewhere between 6’6” and 7’ tall, and suitably large as well. Shivaji was supposed to have been about 5’6”.
This is a representation of the size disparity that was likely between Afzal Khan and Shivaji Maharaj!
The Marathas could not win in a pitched field battle and Afzal Khan’s troops could not face the Marathas in the hills and jungles. So, there was a siege of sorts of the Pratapgarh fort. A parley was arranged to allow for negotiation and perhaps a surrender of the Marathas without bloodshed. Afzal Khan and Shivaji were supposed to meet without any weapons and one bodyguard each to parley.
They are supposed to have met in a tent. Afzal Khan had a dagger hidden in the robes of his garments. Shivaji Maharaj did not trust Afzal Khan and hence wore chain mail armour under his garment. Shivaji also wore a Bagh Nakh (sometimes called the Wagh Nakh). This is a small weapon that resembles the claws of a tiger and is worn on the palm. “Wagh” or “Bagh” means “tiger” and “Nakh” means “claws”. The weapon is worn through rings on the fore and little fingers. The weapon is not visible and stays hidden in the hand. An opponent in front only sees two finger rings at first glance. Images of the bagh nakh and how it was carried are seen below.
A representation of a “bagh nakh” / “wagh nakh”
When they met in the tent to parley, Afzal Khan is supposed to have invited Shivaji for an embrace as he was the son of his friend. Afzal Khan knew Shivaji’s father who was also in the service of the Bijapur Sultanate. When the two embraced, Afzal Khan is supposed to have used his massive size and strength to try and crush the much smaller Shivaji. When this failed due to the chain mail, the large man drew his dagger and attempted to stab his opponent to death. This also failed as the dagger did not penetrate the mail shirt.
In defence against this attack, Shivaji used the bagh nakh against Afzal Khan. He managed to disembowel and kill the gigantic enemy General. With their General dead, the Bijapur army was routed by the Maratha forces. With this victory, the “Bagh Nakh” has achieved eternal fame in Indian military history.
A representation of how a bagh nakh is worn
The bagh nakh is memorable to such an extent that it is today used as the nickname of the 21st Batallion of the Special Para. This is one of Special Forces units of India. The unit is referred to as the “wagh nakhs”, “Tiger’s Claws”!
Considering my blog is about the intersection between Hindu culture, Indian history and the martial arts, here is the link between the use of the bagh nakh mentioned above and the martial arts. As my readers may know, I am a practitioner of the Bujinkan system of martial arts. The Bujinkan is a martial art of Japanese origin.
In the Bujinkan system, there is a close quarters weapon that is used, called “Shuko”. The shuko is no different from the bagh nakh. It was used historically as a tool to aid in climbing trees or scaling walls. The shuko was worn on the arms of the user and could double up as a weapon in a pinch. There is a version of the shuko that is worn on the legs, which also helps in climbing. An image of the training version of the shuko is seen below.
A representation of training version of a Shuko
The shuko can be used in grappling against an opponent wearing armour, by using the hooks or claws as points of leverage against the armour. They can also be used against unarmoured opponents to get past clothing and cause flesh wounds. In extreme situations, they can be used as protection for the palms when blocking a strike by a staff or even a sword. They are not guaranteed to protect the hand, but might improve the chances of reducing injuries. This potential use of the shuko as a weapon, shows that it is nothing but a Japanese version of the bagh nakh. Both versions of the same weapon seem to have come in handy in a really tight spot!
Another training version of the Shuko, with spikes instead of hooks
The equivalence between the bagh nakh and the shuko is the main purpose of this article, as elucidated above. But beyond this, I can see similarities in the military ways of the Marathas and the original teachings of the Bujinkan. One of the aspects taught in the Bujinkan system is “Ninpo Taijutsu”, also called “Ninjutsu”. There are 18 parts of study related to Ninjutsu, some of which include unconventional warfare.
Dr. Kacem Zoughari, a long time senior practitioner of the Bujinkan, has written a book about the history and origins of Ninjutsu, called “The Ninja, The Secret History of Ninjutsu: Ancient Shadow Warriors of Japan”. A link to this book is seen in the notes below. In this book, he gives many examples of how Shinobi were used in medieval times. A lot of these examples would seem like examples of sabotage and infiltration activities today.
The use of surprise raids and actions, using fire or darkness to allow small units to gain an advantage over larger forces are examples one sees in the book. This is pretty much the same thing that the Marathas employed against their more numerous opponents, who also had access to greater resources. The Marathas are always known for guerrilla warfare in the Indian mind. So, in the early stages of the formation of the Maratha Empire, their military actions were very similar to how the Shinobi operated in a roughly contemporaneous period in Japan.
I am not suggesting that either the Shinobi or the Marathas had any role in the evolution of the tactics and methods of the other. It is, in my opinion, a case of convergent evolution when faced by similar situations. But what this does reveal is that we in India have perhaps not done enough to popularize the actual combat methods of the Marathas.
The Marathas and Shivaji Maharaj are likely more popular in India than the Ninja are in Japan. But the study of the actual martial arts of historic Japan are definitely more prevalent when compared to those in India (including those of the Marathas). Yes, Mardani Khela, the martial art of the Marathas is still very popular in Maharashtra and other parts of India – but more as a performance and demonstration art. I am not sure if there are manuals of Maratha techniques that have been compiled and the same can be practiced today.
A bagh nakh integrated with a bichua (scorpion) knife
Perhaps seeing links with traditional martial arts in other countries will bring India to document her own traditional fighting arts, as more than dance, gymnastics and other performances. If traditional fighting arts can be documented elsewhere, the same can be done here, and the process might reveal a lot, like its application in other walks of life. This is perhaps as much a pranaam to Chattrapati Shivaji Maharaj as is preserving his memory and legacy of patriotism and valour.
Notes –
The Ninja, The Secret History of Ninjutsu: Ancient Shadow Warriors of Japan – Dr. Kacem Zoughari
* A link to an older post of mine, where I discuss the attack on the fortress of Kondhana and other such forts.
Learning from oral transmission and experiences in the training spaces
The purpose of this series of posts is multi-fold. Firstly, it is a resource I can share with people who are not practitioners of the martial arts. For most of us, a majority of the people we interact with do not practice any form of martial art. Sharing ideas and practices about martial arts might require some “first principles” like definitions, overarching themes and ideas and objectives of the art form. Hopefully this series will be that resource.
Secondly, it is an opportunity for me to look back at my own thoughts about the Bujinkan. The thoughts are a document I can refer in the future to see if I my thinking has changed or evolved.
Lastly, practitioners of the Bujinkan who are relatively new to the system and long-time practitioners who might need a look back at aspects from earlier years could use this as a starting point for further discovery. There are several practitioners and Sensei of the Bujinkan with a lot more experience compared to me, who share content about the art form and the system. I strongly recommend that everyone consume the content from those sources. This series is possibly an index to search further in those sources.
So, this series in not a deep dive, it is more like a primer of my thoughts with scope for expansion in each aspect. Most importantly, whatever knowledge can be gleaned from this series is a conversation starter or direction pointer at best; it does not in any way replace actual training in a dojo with fellow budoka and a teacher who can help one progress.
In the first post of this series, I had given an introduction to this series and defined some basic concepts that would be revisited during subsequent posts. In the second post, I had looked in greater detail at the “Ten Chi and Jin”, which is considered the “basics” of the Bujinkan. In the third post, I discussed in brief the 5 styles of fighting and the 9 schools that make up the Bujinkan system of martial arts. In the fourth post I discussed the use of weapons as a part of training in the Bujinkan and martial arts in general, which in my opinion is the most important aspect of the martial arts. In this part, I will discuss how learning occurs in the Bujinkan and perhaps in most martial arts around the world. This is last of the aspects I had referred to as the “physical aspects” of the Bujinkan. These are seen in the screenshot below. The topic highlighted is the focus of this article.
This post refers to the actual training, learning, experience, expression and realization that happens in the space where martial arts training occurs. The space of training can be called dojo, akhada, kalari, garadi mane, gym or by any other name depending on the part of the world one is training in. The finer points of the various concepts, forms, weapons and their use, and the nuances of the movement and its flow; all of these can only ever be assimilated when one actually trains physically with a teacher and fellow practitioners (hopefully both senior and junior in martial experience).
It is because of the experiential nature and perpetual flow of learning that it is impossible to document it all. It is documented at a personal level and in most cases, perhaps never. Most individuals just use the martial arts to generate wisdom and lead a good life, and never bother to document their learning and journey. This aspect will be expanded upon later in this post.
A representation of experiential learning. Credit for the images – Left & Centre – “Mahabharata 5 – Enter Drona”, published by Amar Chitra Katha, Right – “Mahabharata 16 – Pandavas conquer the World”, published by Amar Chitra Katha
The words spoken by the teacher and fellow practitioners and experiences shared while training form the oral transmission part of the training. Each person hears everything differently and develops a system of movement that works for her or him individually. This works over years of training because the objective is learning and not teaching.
A representation of learning with a teacher. Credit for the images – “Mahabharata 5 – Enter Drona”, published by Amar Chitra Katha
Again, because there are as many variations of learning as there are people, it is impossible to document in any media. To give an analogy from Hindu culture, it is said that there are 300 versions of the Ramayana. But since every person who consumes any version experiences some part of the epic differently from every other person who consumes the same, a new personalized version is created for that person. So, there are in reality, as many versions of the Ramayana as there are people who experience the same in any media. And this changes every time there is another experience depending on the media of experience or the situation of the person, in terms of age and physical, intellectual, emotional and spiritual states. So, there literally are infinite versions of the Ramayana. This same is true of actual martial arts training.
This nature of learning is why most of the training is called “Kuden”, in the Bujinkan system. The “ku” in kuden is refers to empty space and “den” comes from the word “densho”. Densho refers to the scroll or book of teachings which is more like a syllabus. So, kuden means learning that is not contained in or cannot be obtained from a written document. In the modern world, densho can extend to videos or any other media available through social media and digital technology. Thus, literally everything that is learnt ONLY from experience can be classified under kuden.
A representation of learning by practice. Sketch by Vishnu Mohan.
Another analogy here from Hindu tradition is the difference between Shruthi and Smriti. Shruti refers to that which is heard and hence is analogous to the kuden mentioned above. Smriti refers to that which is documented (in the past it was books). Many a time, Shruthi could be some knowledge created due to a wonderful revelation that has occurred in a moment of great inspiration. This adds to one’s own and also to the learning of others. Of course, the inspiration in that special moment itself could be due to earlier experiences, learning, wisdom, or exposure to some Shruthi or Smriti. Also, over time, some Shruthi could become Smriti, if it becomes commonplace and can be documented to the advantage of many practitioners. This is when a densho gets created to supplement or replace kuden. Even this article could be considered a personal Smriti of years of Shruthi on my part.
A representation of “Shruthi”, or learning from the spoken word in the presence of a teacher. Image credit – “Mahabharata 1 – Veda Vyasa”, published by Amar Chitra Katha
Going by this analogy and the defined concept, all the other 4 parts before this one, where I discuss my understanding of the Bujinkan, where I have discussed the physical aspect of martial arts training, are a broad documentation that can be used to “learn about” the Bujinkan and maybe about martial arts in general. But the information there cannot be used to “learn” either the Bujinkan or the any other martial art. It is information about the martial art form, but not a guide to learning the martial art.
A representation of “Densho” or “Smriti”, a manual a student can use for practice. Sketch by Vishnu Mohan.
An aside here – I am adding a bit of personal opinion. I think learning happens through the skin, by means of osmosis while training in the dojo or an equivalent space. Many a time one is confused in the mind and hence learning is not active. Seeing and hearing lead to a semblance of imitation, but not learning. Also, I have never heard of anyone learn through smell and taste. Therefore based on what I have experienced and seen, learning seems to be through the skin, and passive. Maybe someone can share more details based on their knowledge & experience.
Considering that the martial arts lend themselves to learning through personal experience and not all of it is documented, an important concept takes shape. The one of the “martial journey” or “Shugyo” as it is referred to in Japanese. Over the years of training any martial art, one likely trains with multiple teachers and their respective students. These teachers contribute one’s experience and realizations through their own expressions of the art forms. These teachers might be from different countries, cultures and backgrounds, all of which adds to the learnings.
Then there is the exposure to knowledge from other media that is available today, like YouTube, books, and any other media. There are also online workshops and conferences that while not great for starting one’s martial journey, are great tools to share knowledge. All of this leads to one’s growth as a martial artist. Due to the long time this takes and perhaps the journey across many geographies, it is a journey in a very real sense. This journey is where one finds expressions of kuden by different individuals. Also, every time one finds a new set of documented experiences of kuden from a martial artist one has not trained with before, that is a new station in one’s martial journey as well.
One last point about the martial journey is that it is not necessarily a linear one. It helps one buttress one’s existing learning and add layers to one’s own experience. It also, more importantly, allows one to remember concepts that have been forgotten, basics that have not been revisited and practices that have been discontinued to one’s detriment. In this sense, it is a reminder and hence a circular journey to reconnect with basics or roots and make them stronger.
Word of caution – All of the above is my personal experience from class. It could be different from those of others, and I could be wrong in some of my perceptions. For details of specific concepts, techniques and forms, I recommend people train and experience the art form on their own. Barring that, there are several books and videos by the Soke (Hatsumi Sensei) himself, and then there is content in various media by people who have trained from around the time I was born or even before that. So, there is a lot of experience to immerse oneself in.
This is the last post that delves into physical aspects of the Bujinkan. The next series of 5 posts will deal with the non-physical aspects of the Bujinkan. These are seen in the screenshot seen below. I will start this series of posts in late March or April ’25.
Today, 29th January, 2025, is the Chinese New Year. This year is the “Year of the Snake”. More specifically, it is the “Year of the Wood Snake”, “wood” being the element associated with the animal of the zodiac this year. Due to historical cultural connections between China & Japan, we use the zodiac animal associated with the year as inspiration for training, every now and then, in the Bujinkan (which is of Japanese origin). This is not a norm, but something that is not uncommon either. Snakes are animals that have a strong presence in Hindu culture. So, me being a Hindu, a Budoka, and someone who has a deep respect for snakes, inspired me to write this article.
Everyone knows of the main aspects that are considered advantages in the martial arts. These generally are strength, speed and agility. Skill and experience can offset some of these. But weapons mitigate the advantage physical prowess provides. This includes both offensive and defensive weapons. In my previous post, from last week, I had discussed the importance of weapons in the martial arts*. This seems like a nice follow-up. One advantage that weapons additionally provide is reach, or how far away an attack can be carried out. Modern weapons of course also have “range” which is how large an area can be affected (of course, “range” can also be used interchangeably with “reach”, when it comes to modern weapons).
While training the Bujinkan system of martial arts, one story that everyone learns is that of Ishikawa Goemon. Ishikawa Goemon is a legendary character from the Sengoku Jidai (warring states period) of Japan, which is the second half of the 16th century. Ishikawa Goemon is a shinobi from Iga who tries to assassinate either Oda Nobunaga or Hideyoshi Toyotomi, using poison. I have been told that there are stories which describe him as trying to assassinate one or the other, though neither of them are supposedly strictly historical. In both stories, the attempted assassination fails. Goemon is supposed to have been executed along with his family according to some tales while some supposedly say that he escaped.
Chains that guide rain water into a harvesting area – something like Goemon used to guide poison into his quarry’s mouth?
Despite the failure of the attempt, the means he used in the assassination is fascinating! He gained access to the bed chamber of his target and hid in the rafters overhead. When the quarry was asleep, he let poison drip into the mouth of the sleeping individual over a thin rope. Think of this as the chains used to guide water into a harvesting tank below. The poison only made the target sick but was insufficient to kill the person. This legend was used in a sequence in the James Bond movie “You Live Only Twice” starring Sean Connery.
Another story related to “Ninja” using poison is something I saw in the old Discovery Channel series “Ancient Warriors”. This series showed how various groups of historical warriors fought and lived. This series ran between 1994 and 1995. One episode of this series focused on the Ninja and was titled, “The Ninja: Warrior of the Night”! This series has not aged well. The “facts” shown in the series are questioned and not considered entirely accurate.
In this episode about the “Ninja” a situation is narrated where the ninja assassinate a warlord by sprinkling poison powder on flowers in his garden. The ninjas observe that the warlord takes a stroll in his garden every morning smelling the flowers. They use this behaviour of his to kill him. Even in the episode, the name of the warlord is not mentioned, nor is any context given for the assassination. So, I am not sure if this is historical, and if it is just a story, I would request anyone else who might have heard the same, of its antecedents. Who is being referred to in the story and in what quasi-historical situation? I am attaching a link to a video of this episode in the notes below**.
Irrespective of the provenance of the second story, the two stories mentioned above show that the use of poison is certainly attributed to Shinobi. And this links the Shinobi/Ninja to snakes. Many creatures on our planet have developed “Venom” as a survival strategy. These include molluscs (e.g. snails), arthropods (e.g. scorpions), insects (e.g. wasps), amphibians (e.g. frogs) and reptiles (snakes and lizards). But snakes are undoubtedly “top of mind” when it comes to creatures that use chemical weaponry, namely venom (many a time referred to as “poison’).
An old photo of a Saw Scaled Viper
A small tangent here. Venom is poisonous. I have heard a beautiful explanation regarding when the terms venom and poison should be used. I will repeat the same here. If a snake bites a person and the person dies, the snake is VENOMOUS. If a person bites a snake and the person dies, the snake is POISONOUS. In contrast, if a snake bites a person and the snake dies, the person is POISONOUS. If a person bites a snake and the snake dies, the person is VENOMOUS.
This is why there exist frogs referred to as “Arrow Poison Frogs”. These frogs secrete a venom from their skin. So, if any animal bites these frogs or tries to eat them, the frog is POISONOUS and hence they learn to not consider the frog food. Similarly, there are “poisonous” mushrooms, which if eaten, can kill the individuals who eat them. Now, we go back to the main article.
One of the things that a practitioner of the Bujinkan system learns in the first few months of training is the “Hi Ken Juroppo”. This refers to the 16 ways of striking/hitting an opponent, without weapons. This includes the use of the fists, fingers, elbows, knees, feet etc. Apart from this, a concept called “Shizen Ken” is taught. Shizen Ken can be translated as “natural weapons”. This generally refers to nails, teeth and spit in humans. In other words, one can scratch or bite or spit at opponents. These are not trained as a part of “striking” an opponent as these are considered to be more “natural” or something we do due to our evolutionary past.
When it comes to animals, shizen ken would be horns, claws, fangs, tongues (think chameleons), beaks, and of course, VENOM. Obviously, when we consider weapons, we need to consider defensive weaponry as well, the examples mentioned earlier being exclusively offensive in nature.
Defensive weapons in animals include armours (carapace, cuticle, shell ec) in the case of crocodiles, tortoises and crabs, secretions (like the ink used by squids and octopi and the stink raised by skunks), spikes in porcupines and of course the wide range of camouflage that exists in nature. Beyond these, we can include the warning mechanisms used by animals under shizen ken. This includes the warning sounds used by various animals and the bright display colours that poisonous animals like frogs and caterpillars sport.
If we consider protection developed by various creatures against the heat, cold and the natural elements, this list of “natural weaponry” deployed by life on earth increases manifold! Of course, the development of weaponry is not limited to the animal kingdom. Weapons, mainly defensive ones are seen even in the plant kingdom, like thorns, resins, hard shells and of course poison.
Considering just snakes, they have developed a natural weapon that gives them a huge advantage in the battle for survival. Venomous snakes are distributed all across the world, but not all snakes are venomous. Venom is one of the weapons that snakes have evolved apart from size, speed, camouflage, agility and flexibility, which are seen in many species of snakes, sometimes in conjunction with venom.
An old photo of a young Common Krait. I could be mistaken here, this could be a Wolf Snake, which looks very similar to a Common Krait.
One factor about weapons is that they nullify the advantage proffered by size and strength. This is true in all species. This means that venomous snakes can afford to evolutionarily be smaller in comparison to many other snakes. This also means that they can be ambush hunters and minimize the risk they face from prey, struggling or otherwise. Of course, nature being nature, not all venomous snakes are small. Some rattlers and bushmasters in the Americas grow pretty large. Gaboon Vipers in Africa are large as well, and then there is the King Cobra, which is a very big snake by all standards, by length if not weight and girth. But most venomous snakes can be small or medium sized. In India, the Saw Scaled Viper, the Common Krait and many of the Pit Vipers tend to be on the smaller side according to common parlance. Cobras and Russel’s Vipers are medium sized snakes.
A majestic King Cobra
I have seen on some nature documentaries, the afore mentioned African Gaboon Vipers described as “docile”. This is in relation to its behaviour vis-à-vis humans. Of course, every snake has a different temperament and this is only a general characterization that I have heard. I am not even sure if this observation is correct. But assuming what I have seen is correct, I make the following observation. The Gaboon Viper has very large fangs to deliver venom, the largest of any extant snake. It can deliver a large dose of venom in a single bite. So, if I anthropomorphize the Gaboon Viper, it is so certain of its natural abilities and of course weapons, it has no need for any aggression. It knows its opponents will stay away due to fear or evolutionary knowledge of its weapons. Thus, it can AFFORD to be docile!
The Gaboon Viper also has a fantastic camouflage pattern that resembles the leaf litter on a forest floor. Lastly, it is an ambush hunter. Now consider the following traits. The Gaboon Viper can inject sufficient venom to kill its prey in a single bite – it is therefore armed with lethal weapons. Due to its camouflage, its quarry cannot see it coming. Being an ambush hunter, it can lie in wait for long durations. Consider these traits together – it is literally an Ishikawa Goemon from another species! Of course, there are several other snakes that have the same combination of traits and I am just using this as an example.
A Gaboon Viper amidst leaf litter. Image credit – “1000 Wonders of Nature”, published by Reader’s Digest
In India, in the stories from Hindu culture, there are entities called the “Nagas”. Nagas are depicted as part human and part snake in many representations. They are also depicted exactly as snakes in others. I have heard some people distinguish between Nagas and snakes. Snakes are also referred to as “sarpa” in many Indian languages. Some people suggest that Nagas are different from “sarpa” or snakes since they have traits that far exceed those of snakes, traits that far exceed those of humans as well. But the Nagas are definitely linked to snakes and in modern Indian culture, the difference is hardly ever considered. Nagas are also prevalent is South-East Asian culture.
A representation of a Naga as depicted in South East Asia
The Nagas, based on my knowledge have three traits that most Hindus are commonly aware of.
Firstly, they are symbolic of fertility, in humans and of the land itself.
Secondly, Nagas and snakes in general, are considered guardians. They are depicted as guardians of material wealth, like ancient and hidden treasure. They are also symbolic of wisdom and spiritual prowess.
Lastly, Nagas are considered technologically superior as cultures go, which is perhaps an offshoot of their being associated with wisdom.
I will share a couple of examples of this technological superiority. In the Mahabharata, during the Ashwamedha Yajna after the Kurukshetra War, Arjuna is killed by own son Babruvāhana. He is healed and brought back to life by his wife Uloopi, who is a Naga princess. Uloopi uses a “Naga Mani” to heal Arjuna. The “Naga Mani” is a popular trope in modern Indian entertainment as well. It again links treasure (Mani is a gemstone) with the Nagas. This story shows Nagas possessing technology or knowledge that allows them to perform tasks that are beyond normal humans. It brings them closer to the divinities in this sense.
Uloopi summoning the “Naga Mani” or the Gem of the Nagas. Image credit – “Uloopi”, published by Amar Chitra Katha
The other example is the “Sarpāstra” or the “Nagāstra”. “Astra” can be translated as an arrow or a projectile weapon. Astra can be used to depict any weapon that is discharged, with a bow or any other device (the air-to-air missile developed by India for its fighter aircraft is also called “Astra”). This is a special arrow used in both the Ramayana and the Mahabharta. This arrow is supposed to never miss, unlike other arrows. Further, an adversary who is struck by this arrow is either sure to die, with no hope of recovery, or be bound for all time, as one can never escape the weapon’s clutches. In essence, this Naga weapon is more capable compared to those used by humans.
A representation of the “Sarpastra” being superior to a normal human arrow. Image credit – “Uloopi”, published by Amar Chitra Katha
These positive traits associated with Nagas results in names associated with Nagas being widely prevalent in India even today! Names like “Nagaraj”, “Nagaswamy”, Nageshwar (male version) and Nageshwari (female version) and many others associated with Nagas are encountered by all of us regularly. All of these names translate to “King / Lord/ Chief” of the Nagas. I am sure all of us can recall at least one friend or relative who has a name associated with the Nagas. This is not to mean that snakes are not feared in modern India. There is a healthy respect for snakes all across India. The association with the Nagas, and hence snakes, is not new. Many royal lines from the times of Ramayana and Mahabharata to historical times link themselves to Naga ancestry.
It might seem that Nagas, who are part of legend and folklore in India are the ones who have positive traits. It is not snakes that have positive traits. I beg to differ on this point. I will share my personal opinion on this point. Let us begin with venom again. Earlier, I mentioned the astra named after snakes or Nagas. This is literally true in snakes! Snakes have developed the mechanism to deliver venom at a “stand-off” distance. There are multiple species of Spitting Cobras that have evolved a fang with an opening through which they can spray venom on an adversary, and keep them at bay. This is a true astra indeed!
Let us now consider aspects of snakes beyond the use of venom. Let us begin with the physical trait of snakes that everyone recognizes – the forked tongue that snakes possess and flick in and out of their mouth every now and then. Snakes use their tongue to analyse the environment around them. Snakes have an organ on the roof of their mouths, on the inside, called the “Jacobson’s Organ”. The tongue collects samples from the air and deposits it onto the Jacobson’s Organ, which in turn determines what the surrounding atmosphere is like. This is like snakes carrying around a lab inside their heads that can analyse their surroundings! This is miniature technology like no other!
The forked tongue of a snake
Of course, this is not limited to snakes. Other species have evolutionary senses that seem like magic, or at least marvels of technology, thanks to modern science. Some raptors (birds of prey) can see in the ultraviolet spectrum, sharks can detect the electrical signals in water to find food and elephants can communicate using infra sound. These are just a few examples from the natural world, without even considering the plant kingdom.
Considering evolutionary senses, one cannot ignore “the Pit” used by snakes. Pit vipers and some pythons have an organ called the “Pit” at the top of their heads on the outside. This pit is a sensory organ that allows the snakes that possess them to perceive their surroundings through something like “heat vision”. They can identify temperature differences to identify prey and track them.
So, considering just the two examples above, snakes carry in their heads, heat vision equipment and a lab to study their surroundings! 😛 This does indeed seem like high technology to us humans, in hindsight of course. Therefore, Nagas, who are linked to snakes and sometimes are nothing more than anthropomorphized forms of snakes, are no doubt considered wise and technologically advanced.
Nagas represented as part human and part snake.Image credit – “Uloopi”, published by Amar Chitra Katha
Even if one considers humans before modern science revealed all the “super senses” that snakes possess, we can still explain the fascination with snakes. In a previous article of mine***, titled “Ashta Siddhi and Budo”, I had discussed what are considered the “8 achievements” of a warrior and how they can be understood through modern budo practice. The fifth of these five achievements is called “Praapti”.
“Praapti” can be considered to be “able to receive everything”. This in modern parlance, in my opinion, refers to being able to perceive all the information in a given time and space, which in turn aids in conflict management and hopefully conflict mitigation. For practitioners of the Bujinkan, this would, again in my opinion, be nothing other than “Sakkijutsu”. Sakkijutsu, put simply, is one’s intuitive ability, which could also be termed as “awareness”, “situational awareness” or “mindfulness”.
The sensory abilities of snakes described earlier would be apparent to people in historical times, for they were keen observers of the natural world as well. The senses of snakes might not have been explained, but it would not be something unknown either. So, in a culture where, the ability to perceive the surroundings is celebrated as one of the “8 achievements” and the ability of snakes would be known, would snakes and therefore the Nagas, not be deeply respected as well? I would say that they definitely would be.
All of the above aspects I have mentioned are beyond the usual symbolism attached to snakes – that of growth. The act of moulting has made snakes a symbol of “growth” and therefore “transcendence”. The points shared above are from the perspective of a Hindu in modern India, who is also a practitioner of the Bujinkan (an expression of Budo).
I had started this post with a couple of quasi historical stories from Japanese history. I will now revert to Japan to make yet another point. During my training the Bujinkan, I have learnt from a mentor of ours, Arnaud Cousergue, that the Togakure Ryu, one of the schools of Ninpo Taijutsu (sometimes referred to as Ninjutsu) that we learn, is divided into 18 segments. Only a few of these 18 segments are trained in dojos these days. One of these 18 segments is “Kayaka Jutusu”. This refers to training the use of explosives. There is no segment that is attributed to the practice and use of poisons. But Ninjas did use poison as evidenced by the two stories mentioned earlier. So, could it be that a segment for poisons was not present in just the Togakure Ryu? Or was it subsumed under “unconventional weapons”, the chief of which was gunpowder and explosives in later centuries? I am not a historian and have no answer to this question.
In my personal opinion, this segment, “Kayaka Jutsu”, could perhaps be considered to refer to the use of unconventional weapons. A theory about the origin of the Togakure Ryu states that it originates in the 12th century. This was before Japan’s first encounter with gunpowder and explosives, which was during the Mongol invasion, in the late 13th century. So, maybe this segment among the 18 was added later during the evolution of the Togakure Ryu? Or, as mentioned earlier, was it that this segment referred to “unconventional weapons” in general and later became specific to explosives as that was the primary new weapon? I am assuming it was so. If anyone knows otherwise, please do share your knowledge with me.
While considering “unconventional weapons”, there is one trait of snakes that is truly staggering, the very definition of “unconventional”. Snakes have no ears and do not hear like other animals. Snakes sense vibrations through the bones in their head. But their “hearing” or perception of sound in comparison to humans and other animals is poor. But snakes use sound to warn potential threats.
Russel’s Viper
The best example of this are rattle snakes. They have evolved a rattle to warn creatures who intrude on their habitats. Similarly, in India, if anyone has heard the warning hiss of a Russel’s Viper, it sounds like a pressure cooker about to go off! In both these cases, sound is used as a warning device. This means that snakes use a medium of perception to warn creatures, that they themselves do not possess! Snakes cannot hear but know other creatures can! And they use that sense for the benefit of both! How cool is that! It is baffling and “unconventional” to say the least.
Of course, the ability to use a medium one cannot perceive well is a product of evolution over millions of years. And evolution itself brings to mind two aspects that are expressed in the Bujinkan. These are Kami Waza and the fourth of the Gojo, “Shizen no choetsu”.
Kami Waza is a concept where one moves during a fight in such an amazing manner that it seems like one was being moved by something divine. This is exactly what evolution is! The outcome of evolution seems truly magical in hindsight. I had referred to Kami Waza in my article about the Ashta Siddhi, which is linked here. “Shizen no choetsu” could be translated as “the transcendence of nature”. It is the fourth of the 5 Gojo that is oft quoted in Bujinkan dojos. I had written an article some time ago where I have discussed my understanding of the five Gojo. The same is linked here+.
Evolution that is seen in nature is about continuous and incremental changes to overcome challenges in ways that are inconceivable at any given time. The ability of a creature that does not use sound to ward off creatures that do use it, without knowing the experience of sound is exactly that! Transcendence in its essence! First an animal realizes that other animals perceive something that it does not, and then devices a means to use that perception to its advantage, but without developing that perception in itself! 😀 I know, I am saying this a lot, because it boggles the mind!
There is another Gojo, the third of the five that goes, “Shizen no Ninniku”. This can be translated as “the forbearance of nature”. This refers to how one needs to persevere through any activity, just like nature has an abundance of ability to take any challenge and over time overcome the same. I have discussed this also in my previous article. I will use a personal experience of mine to show this trait in snakes.
My family used to run a rescue and rehabilitation centre for wild animals within the city many years ago. This centre functioned from the late 1970s through the late 2000s. Sometime in the late 90s of the early 2000s, an interesting incident took place. We got a call from a local timber yard about a snake in one of the logs at their premises. It was a log that had been transported from Malaysia to India. In the log was a clutch of eggs that had not been noticed earlier and had somehow survived the processing of the tree before transportation.
One of the eggs hatched and a live Small Banded Kukri Snake emerged from the same. It was a Malaysian species of Kukri Snake which hatched in India. Unfortunately the snake did not survive long. But this does show how snakes can survive and extend their territories. In this case an egg travelled from Malaysia to India and hatched. We hear many stories of how Burmese Pythons have successfully created a habitat for themselves in Florida, the other side of the ocean.
A large Indian Rock Python
Snakes can endure habitat destruction, disturbances to their nests and dwellings, human trade in exotic pets and still find new habitats to inhabit. This is a wonderful example of how nature perseveres, its forbearance is infinite. This is not unlike how one needs to spend years to train the martial arts. It is a gradual process, demanding time, effort and many resources to be expended.
That is a roundup of the fascinating connections between snakes, the martial arts and Indian culture. In conclusion, snakes are like a living breathing sensor package, much like modern day fighter aircraft and other weapons systems. This is like “Praapti” in Hindu culture and Sakkijutsu in the Bujinkan. This is also the key behind modern day 5th generation warfare, where conflicts are not kinetic and information gathering is of paramount importance and technology is a vital ingredient. Technology of a natural kind is what snakes also deploy, chemical weaponry, or venom, in a world where strength, speed and size matter. This leads back to the martial arts, where unarmed combat might be basic, but weapons are the true expression of the art. And we have not even spoken about flying snakes or the world of the sea snakes…
Acknowledgements – All images unless mentioned, were taken over the course of many years by various members of my family. I share my deep gratitude to my uncle, Dr. Shashidhar for sharing many images of the many creatures that shared our home over the decades.
This post would be incomplete without sharing a couple of images of another uncle of mine, the late Srinath. He had an innate understanding of all wild creatures and a knack for working with snakes that was, to say the least, intuitive. He could sense the temperament of any snake, or any animal for that matter, in an instant. Watching him work with wildlife will be something that I will never not miss!
Left – With a King Cobra. Right – With a Spectacled Cobra.
Nine years ago, on a trip to Japan one of our mentors made a very interesting statement. It was a trip to train at the Bujinkan Hombu1 dojo with some of the senior most teachers in the system. At that time, a lot of us had passed the Sakki2 test to receive the 5th Dan just a few years previously. Many more of our buyu3 passed the test and achieved the 5th Dan during that trip. The 5th Dan is a requisite to receive a “Shidoshi”4 certificate, which is a prerequisite to start teaching the students of the Bujinkan.
During that trip, one of our mentors, Sensei Darren Horvath, said something very interesting. Sensei Darren has always considered the teachings in the dojo as applicable to human life as a whole, and not just as those applicable in a physical altercation.
He said that the achievement of the rank of “Shidoshi” means that the person who achieves this should be able to, in the near term, at least double her or his income, as a result of the learning achieved so far. This was in the context of how the learning from becoming a Shidoshi should lead to a considerable improvement in the quality of life of the Shidoshi. Considering how monetary wealth is vitally important in modern day life, there should be a surplus of it, which allows for other pursuits important to one’s life. It was in light of this opinion that the earlier statement was made.
To put it simply, personal prosperity is supposed to be an outcome of the training put in, to achieve the Shidoshi certification. This could be classified under the personal or self-development that results from training the martial arts. The Sakki test that needs to be passed on the way to a Shidoshi certification requires development of trust in one’s own intuitive abilities. This can also be called mindfulness or awareness of any situation. This development of an individual is expected to help one advance in aspects of life that have nothing to do with physical combat or the martial arts.
As a Hindu and an Indian, the idea of prosperity is an intersection between Budo and Hindu culture that stands out. This idea inspired this post. Personal prosperity (including monetary wealth), as I understand it, is a vital aspect of Hindu culture. One of the Goddesses we routinely pray to is Lakshmi, who is the Goddess of wealth and also the consort of Lord Vishnu. Another divinity, who is not prayed to as much is Kubera, who is considered the God of Prosperity & Wealth. Kubera is also the lord of the Yakshas.
The wealth of Kubera represented by his loan to the wedding of Lord Venkateshwara. Image credit – “Venkateshwara Taanada Chitragalu”, published by Pioneer Publications
In a previous article of mine, I had shared a sutra* from the Arthashastra, one line of which says “Dharmasya moolam arthaha”. This means that “artha”, or wealth, is the root of Dharma. Wealth is vitally important for Dharma to exist and permeate all walks of life. Dharma, as I understand it, is “that which sustains”. This means that Dharma is doing what needs to be done to sustain a good life. This is why Dharma is sometimes referred to as “doing the right thing” or “doing the best thing possible in a given situation”. Thus, wealth, or prosperity, is very important for a good life by doing the right things. Personal prosperity is the root!
One symbol of prosperity in India, since a very long time, is the elephant. This is perhaps because people or institutions who owned an elephant(s) in India were prosperous, for owning an elephant was expensive, not to mention maintaining several of them. One of the eight forms of Devi Lakshmi is titled, “Gaja Lakshmi”, where Gaja means an elephant. The elephant is associated with Lakshmi as she is the Goddess of Wealth/Prosperity, and the elephant is a symbol of the same.
A representation of the arrangement during the celebration of Aane Habba (Elephant Festival)
15th of December, 2024 was celebrated as “Aane Habba” or “The Elephant Festival”. The date of the festival changes every year as it is based on the Tamil Solar calendar. This is a festival specific to my community and not a festival that is widely observed in India, or elsewhere. But the day on which the Aane Habba is celebrated is observed variously by different Hindu communities. The day on which the festival falls is the Poornima (full moon day) of the Kartika month according to the Tamil Solar calendar. It is an auspicious time and hence is celebrated under different names by different groups.
Devi Lakshmi on the white elephant above
One of these is “Kiru Deepavali” or “Little Diwali”. Another is “Vishnu Deepam”. Yet another festival that occurs a day or two earlier is “Karthigai Deepam”
The Kartika month itself is very important for historical reasons. The “Bali Jatra” festival happens in the state of Odisha during this month. Historically this was the beginning of the voyage from India to South East Asia (Bali in particular) for trade. Bali Jatra is associated with the Kartika Poornima festival. This occurred on 15th November in 2024. This voyage generated enormous wealth historically for the merchants involved and for the nations along the coast. This is the Poornima based on the Lunar calendar, hence the difference in the date of the festival.
The Aane Habba itself is specifically celebrating the elephant, which is another way of saying that we celebrate prosperity and wish for more of it, and in perpetuity. This specific aspect of the festival brings us back to the same idea in Budo which I started with. The notion of personal prosperity seems vitally important, if one is a Hindu. The same idea being reflected as an objective for Budo practice, makes it a wonderful reason to train the same. 😊
In martial arts around the world, wood is used a lot for practice weapons. These days weapons made of various polymers like nylon and polypropylene have started to replace wood as the material of choice for practice weapons. But this is not ubiquitous yet. In India, we almost never get training weapons made of anything but wood. It is too expensive due to a lack of demand. Polymer weapons need to be imported, again resulting in great costs. So, wood it is for us for now.
Recently we had a batch of wooden training weapons made and that is where the idea for this article came from. Wood comes from trees. And trees and plants have always played a major role in cultures all over the world from times immemorial, as weapons of both offence and defence. Trees are present in modern day speculative fiction, everyday news and in daily conversations as well. But I have never heard of a “Way of the Tree”.
Let us consider the presence of trees in stories from our tradition, myths from extinct religions, pop culture and modern day conversations.
One the most popular fantasy series of recent times is “The Wheel of Time” written by Robert Jordan and later by Brandon Sanderson. In the series there is a community of nomadic people called “The Traveling people” or “Tuatha’an”. This community follows what is called the “The Way of the Leaf”. It is a completely pacifistic way of living with absolutely no violence at all. This people reminds me of some Jain groups in India, who also follow a way living which abhors violence of all sorts.
An opposite of “The Wheel of Time” is “A Song of Ice & Fire” written by George R R Martin. In this series there is a kind of tree called a Weirwood. This tree is partially magic and has human faces carved into it. These trees might have a hive mind and also accept sacrifices, including human sacrifices!
Who can forget the Huorns and Ents in the Lord of the Rings! The Huorns are literally trees that move! In numbers, they are a forest that moves like an army. And the Ents are called shepherds of the forest, though in my opinion, they are like Generals to the Huorns.
In Norse mythology, mistletoe is a weapon. It is used to kill the God Baldur.
The plant Sanjeevini is used as a medicine in the Ramayana, to save Lakshmana from a weapon deployed by Indrajit (Meghanath), the son of Ravana.
Plant and tree produce are used for healthcare in India, as seen in the ancient Indian science of Ayurveda.
There are Gods for wine-making in many cultures. In old Vedic rituals, sacred Soma or Somarasa, which is believed to be an intoxicating drink made from a plant, is used.
I am a Hindu, and trees are all over our culture. We celebrated the festival of Dasara (Dussehra) a few weeks ago. On the last day (10th day) of the Dasara festival, which is Vijayadashami, a tree takes centre stage. The Banni or Shami tree is worshipped on this day. “Banni Mara” is the name in Kannada and “Shami Vruksh” is the name in Hindi. Both of these supposedly refer to Prosopis Cineraria.
Shami/Banni leaves given as “prasada” after a pooja on the occasion of Vijayadashami
In a lot of folklore in India, ghosts are associated with the Banyan tree. On the positive side, trees are worshipped during marriage ceremonies by some communities. The Peepal tree, called the “Ashwath Mara” in Kannada receives prayers by womenfolk during a marriage ceremony. Of course, the Buddha is supposed to have achieved enlightenment under a Peepal tree. This specific tree was called the Bodhi tree.
Social gatherings under Peepal trees were important for local discussions in India and hence the place under the tree was called a “Katte”, which is the Kannada word for a platform where people can sit and discuss. This was specifically called the “Ashwath Katte” or the “Peepal Platform”! Literally a platform for people under the Peepal! Sandalwood is used to make a paste, called “Chandana” and is offered to Gods. This is also applied on the neck of devotees after the offering, as a blessing from the Gods.
A Peepal tree
If we consider martial aspects, we can go back to the Ramayana. The bow used by Lord Rama was called the “Kodanda”. I have heard that a bow made of bamboo was called “Kodanda”. The bow of Rama was supposed to have three curves, in other words, it was a recurve bow made of bamboo. Just to expand on this point, consider the bow of Lord Vishnu. It is called the “Shāranga”. “Shāranga” is supposed to mean “horn”. So, the bow of Vishnu was made of animal horns. So, does that mean that Vishnu used a composite bow? I am not sure. I am basing this on the fact that when horn is used a material for a bow, it is usually a composite bow where sinew, glue and other materials are used to make the bow.
Representative image of Lord Rama with his bow, “Kodanda”. Image credit – “The Ramayana” published by Amar Chitra Katha.
There is a martial art with its origins in the modern day state of Tamil Nadu, called “Silambam”. The main weapon used in Silambam is a staff made of bamboo or rattan. I have seen it said that Silambam literally means “a staff of bamboo” or a “staff from the hills” which again refers to bamboo. And if the staff is not made of bamboo, it is made of a wood from different trees. There is a martial art called “Lathi Khela”, which focuses specifically on fighting with a staff. This martial art is famous all over the country.
Staff fighting is present in multiple martial art forms originating in India. Even as late as the 19th and early 20th century, the staff was the weapon of the enforcers employed by Landlords or Zamindars. These Zamindars used the enforcers for rent seeking and are considered “villains” in contemporary thinking. The staff is called a “Lathi” and the people who used the staff were called “Lathaith”.
Of course, staff fighting is popular all over the world. From the knobkerrie or rungu used in parts of Africa to the shillelagh in Ireland to the bo in Japan, staffs of various lengths are used in fighting all the time. Robin Hood fighting Little John is a popular story and in modern fantasy there is Matrim Couthon in the Wheel of Time series, who can defeat swordsmen with a quarterstaff.
If we consider defensive weaponry, armour made of fabric, like layers of cotton and the billowing cape used by Japanese cavalrymen to protect against a single arrow are well known examples. A cloth turban to protect the head was present in historical India. Another form of protection is the shield. Shields made of wicker were present in historical China while wooden parrying sticks were used in parts of Africa.
We can even use trees in a metaphorical or philosophical sense to expound on martial concepts.
Training the martial arts is a long term activity. It takes years of training to achieve mastery over the forms. It takes even longer to develop the expertise needed to share the knowledge / experience / wisdom gained. It requires commitment and passion for the art form. Conviction is also needed in the benefits of practice of the martial art to motivate an individual to keep at it.
This is not unlike the life of a tree. A tree takes years to grow, especially the large trees, which create a sense of awe in anyone who beholds them. Some trees live for over a thousand years! They grow from a seed or kernel or acorn into a sapling into a small tree into a giant of epic proportions. A great tree is a treasure because of the sheer time it has taken to get there, which could be centuries if not years! This is not unlike the time taken to master the martial arts, scaled down to a human lifetime of course.
Also consider the numbers game in the martial arts and trees in their early life. A very small fraction of all the students who start training reach the higher levels of any martial art. I am not sure if anyone has carried out a study on this, but a popular saying in the dojo I train with, is that less than 1% of all the students who walk into the dojo last for 10 years. Consider the trees now. How many seeds or saplings survive to grow into the giants we see? It is supposed to be a small fraction again, especially in the tropics where the evergreen forests cut-off most of the sunlight from ever reaching the ground. The fight for light space for a sapling on the forest floor in the tropics is same as the effort it takes a student to make time to practice the martial arts.
Another way of looking at this is the manner in which a forest, through its trees, reclaims land which was inhabited by humans for ages, even with monumental construction. There is the famous photo of the ruins in Cambodia, where the tree has literally taken over what was formerly a human dwelling. This is like sustained siege warfare, that is never let up! The trees are always there, surviving, waiting for an opening to take back what was likely lands they once occupied.
The above two images show trees taking over abandoned settlements at Ta Prohm in Cambodia. Image credit – My cousins
This is like incessant training, making time however possible. It is also like surviving against opponents without trying to win, only focusing on self-protection and self-preservation. Maybe an opening will appear in time, to mitigate the threat of the opponent. One of the senior most teachers in the Bujinkan system of martial arts, Nagato Sensei has a saying which is very popular. He says, “Leave no opening”. This saying of his has actually been put on training t-shirts! 🙂
What Sensei means by his statement, as I understand it, is that one should focus on first ensuring that one has moved to a position against an attack that fully protects oneself. There should be no opening the opponent can exploit or an opportunity to further the attack without revealing an opening in himself or herself. Unless this is achieved, looking to counterattack is counterproductive, as that might in turn give the opponent more opportunities for further attacks.
The above statement by Nagato Sensei is beautifully exemplified by how trees exploit gaps in masonry! If a sapling is not removed in the early stages when it is spotted on masonry, it can go on to crack walls over time and even spread its roots through pipes laid down for wires and plumbing.
Consider how saplings spring up with rains and sunlight in places where there is no soil at all! On concrete terraces with a little debris or construction waste. They are always there, looking for openings and opportunities to grow. This is akin to surviving a fight and to finding time and space to train. It could also be considered a metaphor in negative terms. Could the springing up of saplings on construction waste be more like the retinue of students who pass through a dojo? Like the many that are never really able to stick around to achieve any useful training? After all, a lot of the saplings that spring up are like weeds that do not last very long. Either way, “The Way of the Tree” seems a fine metaphor for the martial arts.
A representation of how flora reclaims gaps in masonry and construction debris.
There are several ways in which the martial arts are described. This includes the martial art systems as a whole, specific forms, weapons used in the art forms and the metaphors used to describe the martial arts as a whole. Top of mind to me for these descriptors are usually reminiscent of animals or geography (including metals, rocks and such), but not really based on flora, either trees or plants. Consider the following examples.
The animal forms of Shaolin Kung Fu have been made famous by the Kung Fu Panda franchise. The Tiger style, Snake style, Monkey style, Crane style, Eagle style, Mantis style are well known.
Metaphors of natural forces like water and wind are also well known, like “flow like water around your opponent”. Responding to the situation metaphorically becomes “water takes the shape of the container”. In India, strength is associated with Vayu, the God of Wind. Vayuputras (sons of the God of the Wind) Bhima and Hanuman are the epitome of strength and martial prowess.
There are representations of metals related to martial prowess as well. Consider Excalibur, which combines metal and water to bestow greatness, which includes martial skill. Another example is the “Sword of Mars” wielded by Attila the Hun. This sword is supposed to have been made of meteor iron and a marker of greatness. Of course, Attila was a great warrior king as well.
Coming to pop culture, in the world of Conan the Cimmerian (Barbarian) written by Robert E Howard and brought to life famously by Arnold Schwarzenegger, is “the riddle of steel”. Again, a metal exemplifies the martial skill embodied by Conan. Even in the world famous “Crouching Tiger Hidden Dragon”, dedication to the martial arts is called “The Iron Way” due to how hard it is and the sacrifices it supposedly entails.
There are examples of trees and plants used, but a lot fewer, and none in pop culture as I can recall. In the Bujinkan, one of the schools studied is the “Takagi Yoshin Ryu”. The name of this school translates to “School of the Weeping Willow”. Here the willow tree is representative of being flexible yet strong. I opine that it is apt, because the Takagi Yoshin Ryu is an expression of jutaijutsu. Jutaijutsu, as I understand it, could be considered a super set that also includes, wrestling, judo, malla yudha, kushti etc. All of these martial arts do need flexibility and strength.
The first 2 techniques trained with the kunai also have tree based names, though not very representative of the martial style as a whole. The first technique is called “Kiri no hito ha” which translates to “cutting the paulownia leaf”. The second technique is called “Rakka” which translates to “falling petals”!
Beyond the above examples, other plant or tree based names and metaphors in the martial arts escape me at this time, at least as “top of mind” examples. If anyone is aware, do share the same with me. This seems strange to me, considering how ubiquitous trees are in our lives. It seems strange that there is no “Way of the Tree” in the martial arts. Is it likely that we might have such a system in the future? Perhaps, as I have tried to make the case for one above.
Considering the importance of the Peepal tree for us Indians, we once had a Bujinkan training t-shirt that had an image of a Peepal tree leaf on it.
Image credit – “The Adventures of Tom Sawyer” by Mark Twain, Illustrated Classic Edition published by Moby Books
In my community, Deepavali used to be a 5 day festival until electric water boilers and modern plumbing became commonplace. That would mean the 1970s and 1980s and even the 1990s in many Indian cities. One can add modern transportation to the mix here. This is something I have heard from my parents and grandparents.
We all know of Deepavali being a 3 day festival. The first day is Naraka Chaturdashi, the second day is Amavāsya (not a festival, more like connective tissue between 2 festivals) and the third day is Bali Pādyami. This nomenclature and observance of course, is specific to my community. Every community could observe the days of the Deepavali with different festivals. The number of days celebrated as part of Deepavali could also be different among different groups of people. I am just sticking to what I know with respect to my own community.
So, I mentioned 3 days of the festival. What are the other 2 days celebrated as? Also, the 3 days I mentioned are the second, third and fourth days in the five day festival. Naraka Chaturdashi being day 2, Amavāsya day 3 and Bali Pādyami day 4. Day 1, the first day, was celebrated as “Neeru Tumbō Habba”. Day 5, the last day, was celebrated as “Varsha Todaku”. As I understand these two festivals today, they are both “trick festivals”. Let me elucidate further, starting with the “Neeru Tumbō Habba”.
“Neeru” means “water” in Kannada. “Tumbō” means “filling” or “to fill” in the same language. The filling here is like one fills a vessel or a bucket with water. “Habba” means “festival”, again in Kannada. So “Neeru Tumbō Habba” in Kannada means, “Water filling festival”. Now come the questions, why and where should water be filled and why is this “filling” a festival?
Remember that I stated early on that this was a festival at a time before modern plumbing and electric water heaters were common in Indian homes? This is the key to this festival. Naraka Charurdashi celebrations started early in the day. This required everyone to wake up early, bathe (not shower, bathe), dress in new clothes (or at least fresh ones) and be ready for pooja activities or to have fun bursting firecrackers.
Back then, joint families were a lot more common compared to current times. Also, families were larger, with more than 10 people living under the same roof being common. Imagine that all of these people have to bathe and be ready early, all using the same bathroom (again, not shower!). This takes a lot of water! Early bathing also means that hot water for bathing could be desirable.
How was water heated for bathing? In large vessels over a fire, using wood as fuel. This large vessel, in Kannada, was called “Hande” and was made of a metal that was a good conductor of heat, generally a copper alloy. These were not vessels out in the open. A vessel, the “Hande”, was built into a fireplace in the bathroom. This fireplace was kept burning continuously until everyone finished bathing. So, water was filled in the “Hande” every few minutes. People took water needed for bathing, added cold water to achieve a comfortable temperature and went about their business. This process was repeated for everyone in the family. And this meant a lot of water was used.
The design of a well from 80s and 90s urban India
Where did all this water come from? It is not from a tap, for modern plumbing was not yet a thing. Water was drawn from a well, usually within the household and used for the bathing. Since many people have to bathe one after the other early in the morning, several buckets and vessels were filled with water ready to be used. And this leads to the origin of the “Water Filling festival”.
An exaggerated representation of carrying water.Image credit – “The Invaluable Treasure” from “Jataka Tales – Stories of Wisdom”, published by Amar Chitra Katha
Since everyone had to bathe early in the morning, the many vessels (called “koda” in Kannada) and buckets including the “Hande” were filled up with water the previous day or night, for immediate use the next morning. This activity took quite some time and human effort as all the water had to be drawn from a well and moved to the bathroom and wherever else it was stored for use the next day. This activity was common for the entire community and everyone knew what one would be doing on the day before Naraka Chaturdashi. So, it became a festival in its own right! And this is where Tom Sawyer comes into the picture.
“The Adventures of Tom Sawyer” is a very famous novel written by the American novelist Mark Twain (Samuel Langhorne Clemens) in 1876. Tom Sawyer is in his early teens in the novel. At the beginning of the novel, Tom is tasked with whitewashing a fence as punishment, on a beautiful summer day when he should be having fun. Tom is worried that his friends will make fun of him for working when he should be reveling in fun and leisure. But Tom overcomes this problem with ingenuity.
Image credit – “The Adventures of Tom Sawyer” by Mark Twain, Illustrated Classic Edition published by Moby Books
Tom, with clever use of words, convinces his friends that whitewashing the fence is “the thing to be doing”. This leads to his friends wanting to try their hand at the whitewashing. Tom makes them trade him apples and trinkets for the opportunity. In the end, Tom gets his friends to do his chore, makes a profit in trinkets and gets the whitewashing completed well ahead of time! So, he is also left with a large part of the day for fun and games, while he was originally going to spend all of it at whitewashing.
Tom Sawyer made drudgery seem like fun and everyone participated in it enthusiastically! In my opinion, this is exactly what the “Neeru Tumbō Habba” does!Call the chore of drawing and filling water a festival and everyone is enthusiastic about it! Add to this, once it is called a festival, the activity becomes a responsibility and everyone participates in it actively. Naraka Chaturdashi was always the first day of Deepavali, but some clever ancestors of ours added a day “minus one” to the festival and made sure everyone is clean and ready on the first day! Genius indeed. 😀 I am sure Tom Sawyer would flip in approval.
Image credit – “The Adventures of Tom Sawyer” by Mark Twain, Illustrated Classic Edition published by Moby Books
A small aside here. When I was in school, we had a textbook for English called the “Gulmohar English Reader”. These textbooks were used from the first standard to the sixth (I think it would be called “sixth grade” these days). If I recall right, in the Gulmohar textbook for the third standard, the story of Tom Sawyer tricking his friends was a lesson called “Work can be fun” or something like that. If I am wrong about this and anyone recalls differently, please share your information with me.
Now let us have a look at the other festival, the last day of Deepavali, called “Varsha Todaku”. “Varsha” in many Indian languages denotes “year”. “Todaku” in a dialect of Tamil means “continues”. So, “Varsha Todaku” means “The year continues”, in a dialect of Tamil. It is interesting that the first festival “Neeru Tumbō Habba” is in Kannada, while the last festival, “Varsha Todaku”, is named with a word that seems more Tamil than Kannada. This is perhaps because my community originated in what is modern day Tamil Nadu, but have lived for centuries in what is modern day Karnataka, specifically the region that formed the Old Mysore State.
Coming back to the festival, what does “The year continues” mean? How can this be a festival? What is it a celebration of? I do not have clear answers to any of these questions. I have spoken about this to the older members of my family and have no answer that is satisfying to me. I am sharing what I think is the reason for this festival.
Deepavali is an awesome time! It involves holidays filled with visiting and hanging out with family and friends. It involves new clothes, great fun with firecrackers and great food! So, the end of Bali Pādyami leaves one with a heady feeling that one does not want to let go of, and prolong if possible. Back in the early 20th century, would this feeling be more special? Perhaps, I cannot be sure. Either way, getting back to normal life would be hard, or at least leave one with a wistful feeling. Add to this, the cleaning up that might be needed after the celebrations and visitors, a tinge of “I want more” might linger. So, we make the return to normalcy yet another festival!
So, one gradually returns to normal life, starting with cleaning up and maybe a little regular work on the day of “Varsha Todaku”. This is followed by a complete return to normalcy on the next day. Thus, “the year continues”. “Varsha Todaku” then becomes a bridge to come off the festival high and ease back into the routine. If this activity is a festival, it must be important, right? And so must be the letting go of the holidays. This is what I think explains the existence of this festival. Again, if anyone knows differently, please do share what you know with me.
Very few people even in my own family seem to remember or hark back to these two festivals. And Deepavali is now not a 5 day, but a 3 day festival. I feel that this 5 day pattern might not have been followed for very long, maybe a few decades in the first half of the 20th century. If it had been a practice for longer, I opine that its memory would be more prevalent. But I could be wrong here. I request anybody who knows otherwise to please enlighten me.
These days, families are a lot smaller, early starts are not important and hot water is easily made available at all times. So, there is no need to celebrate filling water, “Neeru tumbuvudu”. Similarly, there is so much opportunity to celebrate life these days. There is not even a need to wait for a festival. So, the need of a festival to ease one back to drudgery does not exist. There is no hankering for a festival and hence, no need for a “Varsha Todaku”.
I now have to connect all of the above to the martial arts, for this blog wouldn’t exist without Budo.
Years ago, my teacher shared an anecdote from the Bujinkan. One of the people he was training with, while in Japan, was an ex-paratrooper from France. This person was well built, about 6’3” tall, fit and strong, not to mention a very experienced martial artist. He in turn was training with another individual who was larger than he was. This person was about 6’5” or 6’7” tall. He was as experienced as the paratrooper in the martial arts, specifically the Bujinkan. Most importantly, he was a lot more muscled and in general stronger than the smaller (relatively speaking) individual.
The Bujinkan is not a sport and hence has no weight categories or rules. It is an exploration of real life combat and movement. Due to this and the size difference, the ex-paratrooper had trouble dealing with the larger person in offence and defence. So, he asked one of the senior Japanese teachers, what one can do against opponents that have a considerable physical advantage. The Japanese Sensei is supposed to have said that the way to do this is to make the other, larger person your friend and use his abilities to benefit you, instead of treating the other person as an opponent.
This response is about seeing a problem in a new light, or from a different perspective. Maybe the new perspective will show one how to use the situation which is a problem to one’s own advantage. This is exactly what I think my ancestors did when the festivals of “Neeru Tumbo Habba” and “Varsha Todaku” were added to Deepavali! They changed the perspective and made drudgery fun!
Image credit – “The Adventures of Tom Sawyer” by Mark Twain, Illustrated Classic Edition published by Moby Books
In Hindi, there is a phrase, “aapada mein bhi avasar hai”. It means “there is opportunity in a crisis”. “Aaapada” is crisis and “avasar” is opportunity in Hindi. This is identical in spirit to the English phrase “Never let a crisis go waste”. This phrase usually means that one should use a crisis to make changes for the better. Perhaps these phrases also arise from situations that gave rise to new festivals and the response from our Sensei in the Bujinkan.
Deepavali (also called Diwali) is the celebration of “Light” and the triumph of Dharma over Adharma (very poorly translated as triumph of good over evil). The “light” is almost always associated with knowledge, wisdom and new experiences that help one benefit oneself in life. I guess when we throw “light” on a problem, the change in perspective leads to a solution, which might or might not have anything to do with the problem in the first place.
And finally we have the word “enlightenment”. My teacher once told me that one feels “light” when a weight is dropped. If you are carrying a heavy backpack and you set it down, you feel “enlightened”. By this definition, letting go of an existing or fixed notion is perhaps enlightenment, for the notion was a burden! And the lack of a burden allows a new perspective, which might show the lack of a problem where one previously existed. 🙂
And this perhaps allows for joyous participation in boring chores and the creation of new festivals – opportunities for the celebration of life!
Arrangement of toy soldiers, part of a Dasara doll display
I work in the IT (Information Technology) industry. One thing that is common in the IT industry is the need to avoid “escalations”. An “escalation” occurs is when someone (likely on the side of the client) complains that work or delivery of a solution or progress of a project is not happening as expected (relating to costs or timelines). Prevention of “escalations” is of paramount importance, right up there along with usual indicators of cost, revenue, profitability, growth and client relations.
The last part there, client relations is what escalations are believed to affect first. To avoid escalations and to mitigate their consequences when they do occur, steps are put in place to stay connected with the team and clients. These are formal mechanisms that are put in place and are taken very seriously across the industry. This is true for all industry sectors, but especially so in the service sector (beyond IT and extending to hospitality, banking etc.)
This aspect of “staying connected” is at the root of escalation prevention and also key to identifying new opportunities in business. When I was pursuing an MBA, the professor teaching us Sales Management used to say that the work of a Salesperson is to build a relationship with existing and potential clients/customers, and then stay connected. This “connection reveals opportunity” was what he wanted us to take away from his course.
I am also a student of the Bujinkan system of martial arts. I heard for the first time, around the year 2009, a Japanese phrase, “En no kiri nai”. This was a phrase that Soke Masaaki Hatsumi used while teaching. As I understand it, the phrase means “do not break/sever the connection”. The idea of this concept is that one needs to be connected to the opponent(s) to be aware of what his/her/their intentions are, and this awareness allows the situation to be controlled. This connection and control can be physical, but not necessarily. Also, the control involves self-control, control of the opponent(s) and control of the overall space/environment of the conflict (conflict could easily be a synonym for “escalation”). In a previous post of mine, I had discussed the idea of “being aware of the opponent” in much greater detail (the idea of Shatrubodha). The link to this post is seen in the notes below1.
Daishihan Alex Esteve from Spain, was in Bangalore a few weeks ago and we had a great few classes with him. During the sessions, he was exploring aspects of the Koto Ryu. As part of this exploration, he was sharing how specific points on the arms, fingers and face can be used to control the opponent. Here, the control was to prevent the opponent from initiating attacks by inducing pain and the threat of potential fractures. This method of control came with a warning.
Daishihan Alex emphasized that if the threat of a fracture or any other damage to the body becomes a reality, control is lost. If the threat comes to pass, the opponent is likely to fight for her or his life and the situation deteriorates, in other words, escalation occurs. Another way of seeing this is as the loss of connection. To control an opponent through a pressure point on the finger, the finger should be connected to the body in the natural manner. If the finger breaks, this connection is broken and the opponent can move with a broken finger which can no longer be used to induce further pain! The pain has increased to a point where the opponent’s brain has switched to a desperate fight for survival, which can overcome all forms of existing control.
Ensuring that the opponent does not go berserk due to the potential of injury requires self-control. This means that one should know when not to overdo the pressure on a pressure point. If one expands this point further, we find examples of laws in some countries for bouncers. The laws require that the bouncers never initiate a confrontation and never strike a person. They can protect themselves, and use grappling or wrestling to subdue the opponent. This means that they can control another person, and thus the conflict, but to achieve this, they need to have self-control, to not strike another person.
In a martial context, the word “opportunity” can be replaced with the word “opening”. Staying connected to the opponent reveals openings to control the opponent and staying connected requires self-control, not a blind adherence to pre-set motives. Also, we are reminded regularly that winning or victory in a conflict, especially in a real physical conflict, is survival, not the condition or fate of the opponent. If this is brought back to the industry example I started with, escalation prevention is survival, is victory.
So, the above points show that opportunities come from connection and connection leads to control. Control leads to self-protection/self-preservation (no escalations remember!). This is victory.
Speaking of victory, we are in the midst of the festival of Dasara (Dussehra to some). Today is Ashtami, the 8th day, tomorrow, the 9th day is Āyudha Pooja and day after tomorrow, the 10th and final day of the festival, is Vijayadashami. Vijayadashami is the celebration of victory and the day to begin new endeavours. Āyudha Pooja is the day to show gratitude to the various inanimate tools and implements we use in our lives. In my post from last year, related to this festival, I had discussed the importance of Āyudha Pooja and Vijayadashami in greater detail2. The link to this post is seen in the notes below.
Weapons in preparation for Ayudha Pooja
Āyudha is the word used for “weapon” in many Indian languages. The term Āyudha can also be applied to any tool or implement that we use to live our lives and earn a livelihood (like laptops, machine tools, tools of any trade etc.). Weapons are just tools used by individuals whose responsibility is security of various kinds. These are the implements used to achieve success or victory.
Earlier in this post, I mentioned that victory is survival. And connection leads to control which leads to survival. So, “connections are a key to victory”! That meansconnections are a weapon, or a very important tool at the very least.
Connection as I have been using the term, is about being aware of oneself and the surroundings. The surroundings include the space and environment around oneself. It also includes the individuals and organizations one interacts or interfaces with, and that means awareness of the motivations and objectives of people and organizations.
Just as escalation prevention means staying aware of what might be going wrong in a project, prevention of escalation of conflicts at the levels of nations includes diplomacy and espionage. Both involve learning about what friends and foes want, are working towards and are up to. While diplomacy might involve mechanisms of communication that are defined, espionage might involve identifying new connections and using the same for various ends, nefarious and otherwise. So, connection is intelligence too!
This is borne out by several examples from history, including the actions (supposedly) of the Israeli agencies in the ongoing conflict in West Asia. A few other examples that come to mind are shared below.
One of the reasons for the South Indian kingdoms losing to the Khilji (Khalji) and Tuglaq armies is supposed to be poor intelligence, or a lack of awareness of the urgency of the threat posed from the North. When Khilji attacked the Seuna Yadavas at Devagiri in 1296, the large part of the Devagiri army was supposedly raiding further south, likely in Hoysala territory. Also, when the army returned, they fell prey to false reports of the size of the Sultanate army. This indicates a lack of Shatrubodha, or awareness of the enemy! It also reveals a lack of awareness of who the threat is and when it could materialize. In other words, there was a complete lack of connection with what was happening in the North, while the same was not true of the South.
In an eerily similar situation, Malik Kafur (Khilji’s General) is supposed to have been able to defeat the Hoysalas at their capital Dwarasamudra in 1311, as the Hoysala army with its king, Veera Ballala III was campaigning further south in Pandya territory. The Hoysala king Veera Narasimha is supposed to have set aside the taxes from one village, for pilgrims to use as travel expenses and more importantly, the toll levied by the Delhi Sultanate (jizya) while visiting Kāshi. This happened some 80 years before the Sultanate armies were on the doorstep of the Hoysala capital. This again indicates a weak connection to the surroundings or a break in one that existed. The YouTube video linked below shows Sandeep Balakrishna of “The Dharma Dispatch” explain the actions of Veera Narasimha quoted earlier. The link is to the YouTube channel, “Prāna Stories”.
This happening in India is inexplicable as the tradition of the importance of espionage had existed for about 1,500 years before the Delhi Sultanate invaded the Deccan kingdoms. Chanakya, in his Arthashastra, is supposed to have emphasized how a ruler should ensure that he is aware of happenings in countries all around his territory and even beyond. As I recall, Chanakya suggests friendly relations with nations with which a kingdom does not share borders and military superiority over the ones with which there is a shared border. He also advocated always having active spies and being ready for covert action (maybe with the legendary Vishakanyas).
This is another way of saying, “stay connected, always”! For, whether one is making friends or staying dominant, both are forms of staying connected, even if the means and ends differ. Also, whether to make friends or achieve superiority, one needs information and awareness, which comes from intelligence and hence connections.
Even in modern times this holds true. Consider Japan in the middle of the 19th century. It had maintained an isolationist policy for about 250 years by then. But the arrival of Commodore Perry and his fleet forced Japan to sign a one-sided treaty and open its borders. Japan had fallen behind many parts of the world technologically due to its self-imposed isolation. The importance of the incident with Commodore Perry is revealed by the number of Japanese manga and anime that use it as a backdrop for their stories.
This experience of Japan shows that a while policy of minding one’s own business and not getting involved is great self-control, it is a complete lack of connection. And that is a sure shot way to encountering negative consequences. All of us, as individuals, societies and nations are part of a system and disconnecting leads to danger, if not outright harm, on all three levels.
Consider how India handled the Bangladesh Liberation War of 1971. India took its time to build up its military and intelligence capabilities before declaring war. This is shown by the actions of the R&AW, India’s external intelligence agency and the tri-services. Also, India indulged in diplomacy with all parts of the world to ensure that external interference would not thwart its military objectives. This is revealed by the USSR holding off the efforts of the USA to help Pakistan, its then ally. This is an instance of building and using connections in all domains to achieve objectives successfully.
The thing with espionage is that it knows no friends or foes, for it is connection, pure and simple. I recall reading in a novel many years ago, I think it was a Frederick Forsyth novel, I cannot say for certain, that Israeli foreign policy sees no friends, only enemies and neutrals, so no one is free from being spied upon by Israel (the Kendra Bindu* of news currently!).
An example of this that does not involve Israel is the case of the R&AW officer Ravindra Singh. He is supposed to have spied on India for the CIA and eventually defected to the USA. This happened in 2004, after the relationship between the USA and India had thawed post the nuclear tests of 1998 and friendly (somewhat) relations had been established. So, at least in international relations, friends should expect to be spied upon by friends and not desist from spying on friends of their own. It is all just about staying connected remember! 😛
Coming back to the festival of Dasara, the one distinguishing feature of this festival in parts of Karnataka and Tamil Nadu is the display of dolls. The displays could have themes or just be a revitalization of memories. People can use new dolls made in traditional styles to tell stories of Rama or Krishna or any other or just display dolls that are inherited from parents and other older relatives. The themes could also be lifestyles in a city, a park, animal life and the like.
However one indulges in the arrangement of the display of dolls – the entire event, from preparing the platform, cleaning stored dolls, arranging them as planned and later the storing of the same for use next year and cleaning up after the festival is done – it is all about connecting with one’s recent history, culture and family traditions. It is a connection across time – to remember a time from a century or a few decades ago and adding it to current lifestyles.
Arrangement of “Bombe” (dolls) at my in-laws place 🙂
The other feature of the Dasara many people in South India associate with, is the Jambu Savaari in Mysuru (Mysore). This is the carnival like parade led by elephants, which recreates the way Dasara was celebrated in the late 19th and early 20th centuries. This is also a connection across time. The Jambu Savaari is a connection at a community level, even if one only watches the procession on TV or on a live stream. The display of dolls is a connection at a personal level, with family and friends.
The festival of Vijayadashami on the last day of Dasara is when the Jambu Savaari happens every year. This festival is also considered auspicious for any new activity to begin. So, people are encouraged to start something new on this day. Now, consider what I hypothesized earlier. Connections are a tool and Āyudha Pooja is the celebration of tools.
If we put the two festivals together, we celebrate connections on Āyudha Pooja and endeavour to begin establishing new connections on Vijayadashami. For starting a new connection or fixing one that is not great, is a new activity. If connections can provide protection (victory), that is only apt, for Vijayadashami is also the celebration of victory. Thus, a dual purpose is served.
The last point about Dasara brought us to connections across time. This is perhaps vitally important in an Indian context. Indian or Bharatiya civilization has survived an assault by both Islamic and European cultures. Connecting to this past through history should reveal many important points to ponder. One of the important ones is about what happens when the civilization breaks connections with sections of its own people and environment.
American political scientist Harold Dwight Lasswell had produced a paper in 1936 titled “Politics: Who gets What, When, How”. I recently saw an article in the “Frontline”3 which used this title to begin, by saying “Politics is about who gets what”. The article is not relevant to the points I am about to make, but the line is relevant.
Everyone knows that India is extremely diverse in terms of language, food, culture, traditions and even geography and climate. Now, consider the description of “politics” from the previous paragraph. If any of the diverse sections of the Indian population is deprived of any resource, a feeling of a breaking of a connection with the Indian state is created. Something else needs to be done to fix this break and re-forge the connection. This is a perpetual task, considering limited state resources in India. One of the resources is “a feeling of staying in control of one’s destiny” or simply put “a feeling of having power”. So, power sharing is the name of the game, apart from all other resources. So, Indian politics, perhaps all politics, is “to stay connected with everyone”.
“Staying connected to everyone” can be expanded further based on a concept from the Hindu way of thinking. The are 5 “Rnas” or debts everyone is supposed to carry, according to Hindu thought. These connect to not just everyone, but to everything! This should be obvious as seen below.
The 5 debts are –
Deva Rna – The debt owed to the Gods for maintaining the natural order of the universe
Pitr Rna – The debt owed to the ancestors for their activities that allow us to live the lives we do
Rishi Rna – The debt owed to the Sages of the past, for the knowledge, technology and systems they created, that enable our lives
Manushya Rna – The debt owed to fellow humans that exist, for we are all connected in invisible ways
Bhuta Rna – The debt owed to the natural world (plants, animals, land, climate etc.) for without the ecosystem, our lives are impossible
So, as seen above, these are debts everyone is expected to endeavour to pay. This is a perfect summarization of saying that connections are vitally important to survive and should never be forgotten. Watch the following video from the YouTube channel “Samvada English”, between the 25 and 45 minute marks. Here Dr. Aarti V B, explains the five debts in a beautiful manner, apart from several other concepts of Hindu Dharma.
Leading on from the last few paragraphs, I will end with a point about connections across time! I had discussed how narratives and news are modern day weapons which are “time-based”, just as missiles and bombs are space based, as in, “long range missiles” and “bombs that can flatten a city (geographical spread)4.
The depth of connections can be vast and perhaps only be identified with a hindsight of many centuries. Consider the following video from the YouTube channel of the ‘The Print”. In the video, historian Anirudh Kanisetti explains how the Pandya kingdom drove up the prices of horses all over the world by importing vast numbers of the same from Central Asia. This turned out to be a catalyst for the invasion of Pandya territory by the Delhi Sultanate. To reach the Pandyas, the Sultanate armies had to defeat the Yadavas of Devagiri, the kingdom of Warangal and the Hoysalas. When the Pandyas were defeated, a lot of these horses were part of the loot taken by the Sultanate army.
This video shows that knowledge is another form of identifying connections, even if they are of events that happened centuries ago! The events that transpired during the campaigns of the Delhi Sultanate form narratives that affect Indian politics in current times. So, the past is not really dead and a tool by itself. The use of History as a weapon/tool means one needs to identify its connection to various aspects of contemporary life.
Issac Asimov, one of the greats of Science Fiction writing, wrote a short story called “The Dead Past” in 1956. In the story, a scientist develops a means to see the past, which can be used by everyone. This happens after his request to use the Government controlled technology to do the same, is refused. This has major repercussions he never envisioned. This story is also an exploration of how the past is not dead and connections to it still shape our lives.
And that hopefully explains how connections are the key to everything and how the festival of Dasara and the martial arts lead to the same learning/reminder.
Wish you all a wonderful Āyudha Pooja, Vijayadashami and Dasara in general!
Stay connected, stay strong, it is the primary weapon for survival.
Mundane Budo 