everything wrote:Think you answered your own question? If you do not have to "preserve the art as taught" or play a specific role in that legacy and continuity, how is there personal pressure on what to retain? Isn't it up to you? Sometimes The Beatles (or pick your musician of choice) could not remember their old lyrics or chord progressions and had to go back and re-learn them. It seems like "artists" and "art" change over time for various reasons. Not necessarily wheat/chaff reasons. Could be other reasons.
Sea.Wolf.Forge wrote:everything wrote:Think you answered your own question? If you do not have to "preserve the art as taught" or play a specific role in that legacy and continuity, how is there personal pressure on what to retain? Isn't it up to you? Sometimes The Beatles (or pick your musician of choice) could not remember their old lyrics or chord progressions and had to go back and re-learn them. It seems like "artists" and "art" change over time for various reasons. Not necessarily wheat/chaff reasons. Could be other reasons.
You're right, that there is a funny friction in "leaving" tradition is the part I'm getting at.
Martial arts are unique in that their preservation can be both functional, aesthetic or a spectrum of combinations of the two. Practices becoming flowery and demonstrative are fine as long as they retain the ability to convey function (if function is the point), but hyper-focusing on function can lose the more ubiquitous appeal of practice for enjoyment. I trained a style of karate for many years, it had its good and bad points but instead of "fixing it" to make it suit me and continue I thought it better to abandon it completely.
Similarly, wrestling with the perceived intrinsic value of training "as taught" which is the traditional norm, vs the contemporary maxim of filling in gaps to make things more functional (hedged by the hyper-traditionalists who will say "it would work if you were better at it").
I'm not looking for a specific answer to this problem, only asking for the experiences of others with a diverse (or narrow) practice history and their perspectives on what they value and gain from their methods.
Sea.Wolf.Forge wrote:
I'm not looking for a specific answer to this problem, only asking for the experiences of others with a diverse (or narrow) practice history and their perspectives on what they value and gain from their methods.
wiesiek wrote:over 30 years of trainings is nuf time to sublimate into your own style, if you practice daily.
If you unable to select pearls...
well,
guess the bitter truth.
Bhassler wrote:If you're training in a coherent system, then whatever you practice should have the critical elements common to all the material. This means you could cycle through material and not lose too much on things between cycles, or you could practice a few things and relatively easily pick up less practiced things as needs or interest dictate at a later time.
everything wrote:Sea.Wolf.Forge wrote:
I'm not looking for a specific answer to this problem, only asking for the experiences of others with a diverse (or narrow) practice history and their perspectives on what they value and gain from their methods.
as a hobbyist who usually only gets to intermediate level at best, not advanced level, in sports or arts, I can't worry about it. but it's like wiesiek (or Bruce Lee) said, but even more broad. for example, tennis gives lessons useful in football/soccer and probably MA, and the list goes on.
scholars, teachers, commentators (for sports/arts with massive amount of film) can worry about it professionally if they wish.
I guess MA can be fairly quickly re-engineered after the zombie apocalypse ... something like launching satellites or creating mRNA vaccines may get lost for much longer
origami_itto wrote:
Some people treat their practice like a museum, my art is a laboratory.
Sea.Wolf.Forge wrote:origami_itto wrote:
Some people treat their practice like a museum, my art is a laboratory.
I like that.
origami_itto wrote:Sea.Wolf.Forge wrote:origami_itto wrote:
Some people treat their practice like a museum, my art is a laboratory.
I like that.
Me too, but like Hawkins said, we stand on the shoulders of giants. I have to be careful not to discard something before I understand it well enough to KNOW if it's good for me or not.
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