PLEASE NOTE: THIS ARTICLE HAS BEEN REPUBLISHED FROM 2008. Kindest regards, André Bertel.
The two kanji (Chinese characters) which form ‘ma’ are a
combination of mon (gate) and taiyo (sun). Ma therefore depicts the sun seen
through, or between, a gateway. Here in Japan ma is used by the various
traditional art forms namely for distance and timing.
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For example in Shodo (Japanese calligraphy),
Kado (flower arrangement), Sado (tea ceremony), and other cultural disciplines,
ma is a top priority. For the budoka, control of ma’ai (meeting distance) in a
fight outweighs everything else. Why? Because fundamentally all successful
evasive maneuvers and attacking techniques are completely dependent on ma.
A great illustration, if you want to really improve your own ‘ma’, is to study
the actions of a shodo shihan (Japanese calligraphy master). If you have seen a
true master at work you will know how motionless they sit in seiza, how their
washi (rice paper) is perfectly situated in relation to their position, how
they take time to meticulously cover their brush in ink, then finally.., and
with total decisiveness, make each stroke of their brush to form beautiful
kanji. Their action is the same as karate kata, some techniques rapid, some
increasing or decreasing in speed, others very slow, yet others heavy, light,
or a combination of both.
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Ma in kata
I’ve heard many people asking “how can I move like the elite Japanese karateka?” especially in regards to kata, and the answer is threefold: Firstly ‘precise Japan trained kihon’. Secondly, ‘high repetitions of this exact kihon’. And thirdly, ‘proper use of ma’. The lame excuse of Westerners claiming “Japanese exponents have ‘better' or 'advantaged physiques' for kata" is utter rubbish. However, correct use of ma does require a comprehensive understanding of Japanese culture, via living and training extensively in Japan. It is a 'total experience' not a partial one. Like it or not, this is the reality of practicing a 'Japanese martial art', and is undeniably why Japan still sets ‘the standard’. Karate instructors who haven't made long-term pilgrimages to Japan (or have trained, for many years, under a sensei who has), are simply incapable of teaching ma, and authentic karate in general. Needless to say, correct ma in kata immediately reveals this.
Ma in kata
I’ve heard many people asking “how can I move like the elite Japanese karateka?” especially in regards to kata, and the answer is threefold: Firstly ‘precise Japan trained kihon’. Secondly, ‘high repetitions of this exact kihon’. And thirdly, ‘proper use of ma’. The lame excuse of Westerners claiming “Japanese exponents have ‘better' or 'advantaged physiques' for kata" is utter rubbish. However, correct use of ma does require a comprehensive understanding of Japanese culture, via living and training extensively in Japan. It is a 'total experience' not a partial one. Like it or not, this is the reality of practicing a 'Japanese martial art', and is undeniably why Japan still sets ‘the standard’. Karate instructors who haven't made long-term pilgrimages to Japan (or have trained, for many years, under a sensei who has), are simply incapable of teaching ma, and authentic karate in general. Needless to say, correct ma in kata immediately reveals this.
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Ma in kumite
Obviously correct use of ma in kumite destroys the adversaries distance and timing, and also allows one’s own attacks and counterattacks to ‘work’. In traditional karate this means that percussive blows will destructively penetrate the target, if not arrested*. However, in sports karate, often fully stretched attacks, which could have never seriously damaged the opponent, are still awarded points (like a game of tag). Scores are allocated to competitors by simply reaching/touching the surface of the target, which clearly illustrates a ‘major void’ between traditional (martial art) karate and sports (game) karate.
Obviously correct use of ma in kumite destroys the adversaries distance and timing, and also allows one’s own attacks and counterattacks to ‘work’. In traditional karate this means that percussive blows will destructively penetrate the target, if not arrested*. However, in sports karate, often fully stretched attacks, which could have never seriously damaged the opponent, are still awarded points (like a game of tag). Scores are allocated to competitors by simply reaching/touching the surface of the target, which clearly illustrates a ‘major void’ between traditional (martial art) karate and sports (game) karate.
To conclude I'd like to reiterate the
following points: Firstly, ma is the extreme contrast between stillness and
movement, ma is rhythm. Rhythm can be fast, slow, poised, accelerating,
decelerating and so on. Rhythm determines distancing and timing, success or
failure, therefore it determines everything! Secondly, ma highlights the
difference between authentic traditional karate (karate as a martial art), and
imitation karate (karate played as a sport/game). And lastly, ma is an
important part of Japanese culture, something that karateka need to fully
understand, and physically express, if they want to execute traditional
Japanese karate-do.
© André Bertel, Japan
2008: (Republished, February 10th, 2018).
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