consciouBncss, his ego, and all his mental blbcks. Indeed, the toole are idtimatelymeans for penelrattng the depth of his being so that he will restore
thie ocjuilibrium of hiB inner center of gravity, With tMs vital inward loosening flows his outward expression of his tools, Behind each physical movcment of sn aocoraplished martail artist is thie wlioleness of being, this all inclusive-atłitmifr,
TJow often we aro told by different" mastera1’ and "professorG1’---and we
do haye many phiięsophical and Bometimes soholastic profnssors around—-that martial art is life jtsclf; howevcr, I wonder ho w many of thom really appreoiate that statement and truły understand* To be &ure, life doee not mcan 3 partialiT.ed sometbing, a framc. Life is never stagnalion. Tt is a constant movemenl, un-rythrraatic moyftiueiit, as we 11 as constant change* Instoad of flowing wilh this ohange chofcelessly, many of the martial art "masters", past and present, have built an illu^icni of f].xed forms, soiidifying the ever-flowiug, difo-jjeotiPnjjthf? totality, .organiaing choicod pattei-ns^planniTsg spontaneily, śeparaling the harmomous unity i ni o duaUly of the soft yorsus the firm, etc., etc. The result is quite «videnced. In marfĄil art wc luiyo now many many in-sensfEi^ed patternized rob ols around li sten i ng to thoir owo sereams and spiritual yells. They arc merely performing their mełhod^’^ routines as. responst ralher thon responding to "wliat is". They no longer lplistenM to eircumstances; they lfrecite their circumstances1'. Thcse poor souls have be come those organized f«rms( they aro those olassical blorksi in nhort, they are the "produot" of con-ditioning hamled down hundredw and thoueands of yf.-ars o go,
OftinlUme the quection ik asked whether JKI3 is agoinat form. tt is tron Ihat therc is no pre-arranged aels or kata in JKD. TToweyer, in any physical movemotn there is ft^waya o most cfficient and alive majjjier to accomplisb th« purpose of the performance for each individual------tbat iw, in regarda to prop*:r leyerage,