Demons, Divination and Inquisition from History in Relation to Harry Potter and the Order of the Phoenix

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         The film Harry Potter and the Order of the Phoenix, an adaptation of the novel by J.K. Rowlings directed by David Yates, has specific elements that mimic beliefs of Medieval and early modern witchcraft and its persecution, such as demonic magic, inquisitions of witches and divination.  In the following, the idea of witchcraft growing from an art meant for mechanical means to demonic witchcraft will be demonstrated, and how it went from something that was practised by the ignorant to a force that deserves persecution.   Then the plot of Harry Potter will be outlined and what aspects of magic are seen.   After this, an analytical comparison will be done, demonstrating the similarities and differences found in the film with respects to historical artefacts.

            To begin, magic for many has been used for purely mechanical means; however, it could be used for evil.   When used for mechanical means magic could be known as simply sorcery (Russell & Alexander 13).   In Egypt, “gods and spirits were all part of the one, living cosmos, and no distinction was made between natural and supernatural” (Russell & Alexander 29).  Also, it is because the spirits were a part of a “cosmic whole” that no spirit was considered evil (Russell & Alexander 29).  However, some sorcerers would use these spirits for negative effects.

Furthermore, spirits and magic have been commonly dependant on one another throughout different locations and time periods, but these spirits eventually became known as demons.   The word demon is derived from “the Greek Daimon...used by Homer almost as a synonym for theos, ‘god’” (Russell & Alexander 31).  From here, Socrates believed a “daimon could be either good or evil” and he said one would whisper things into his ear (Russell & Alexander 31).   It is also said “diamones (Latin daemones) were neutral spirits, intermediates between gods and human beings” again “capable of serving either good or evil purposes” (Kieckhefer 38).  Eventually, “Plato’s pupil Xenocrates divided the spiritual world into gods and demons,” and when this happened, Xenocrates took any negative quality once found in the gods and applied it to demons (Russell & Alexander 31).   The demons were from then on recognized as evil, creating a negative association with witchcraft and sorcery, for it was believed  they called upon these spirits to work their magic (Russell & Alexander 31).   According to the text, A History of Witchcraft, “the Greeks believed that all varieties of sorcerer worked their trade by consulting daimones” and since referring to demons was correlated with evil, witches were also associated with “powers of darkness” (Russell & Alexander 31).   Hence, it can immediately be seen that there is a moving definition, from demon simply meaning a god, to meaning a type of spirit that is positive or negative.  Then it is shown that even in Ancient Greece there was a move in thought, that sorcery and witches were deemed as evil, due to their association with demons, but this idea did not become complete until later on. 

At the same time, the source of the word magic has significance in how witches and sorcerers are represented in years to come.   Magic was the art the magi practised; these individuals were Zoroastrian priests of Persia (Kieckhefer 10).   When the magi reached Greece, sometime during 5^th century B.C. they were treated with some trepidation, leading to shady association and if Greek were to deal with the magi they were also treated with some fear (Kieckhefer 10).   The ideas that have been described so far about magic, witches and sorcery, have a heavy influence, again leading to the demonization to any who practice magic.

After this, when Christianity began to come into power, there was another move in the ideas of magic and those who used it.   For early modern Christians, the gods the Greeks and Romans worshipped were false gods and therefore demons (Keickhefer 10).   This is a form of magic, which Richard Kieckhefer defines as demonic magic, which was considered a ‘perversion of religion’, which caused humans turn away from the Christian God “toward demons for their help in human affairs” (Kieckhefer 9).    Not only this, but demons “for Christians, as for most Jews...were angels who had turned against their creator and turned wholly to evil” (Kieckhefer 38).    Also, sorcerers and witches continued to be deemed evil, after the Hebrew bible was translated to Greek (Russell & Alexander 32).   When the bible was translated the meaning of certain phrases and words changed as well (Russell & Alexander 32).   For example the word Maleficos originally meant any type of criminal or wrong-doer, but when the witch-craze began the term was associated with sorcery and therefore the devil (Russell & Alexander 32, 52).  

Before this though, other early Christian writers had a heavy influence on the way witchcraft was perceived.  One Christian writer was Augustine of Hippo (A.D. 354-430) was swift to see witchcraft as being demonic in nature (Kieckhefer 10).   Augustine believed “it was demons who had founded magical arts and taught them to human practitioners” (Kieckhefer 10).   Augustine was extremely influential in promoting the belief of witches as diabolical.

However, a different text suggests that magic and the belief in it is absurd.   The Canon Epscopi was believed to date back to the 4^th century, but was actually written in the 10^th century (Russell and Alexander 54).  It “dismissed the reality of witchcraft and condemned those who believed in it as week in faith” (Russell and Alexander 54).  A Century later the Burchard of Worms also condemned those who believed in witchcraft and listed penance for such behaviour (Kors & Peters 63). Even though these texts had a large amount of power, the belief in witchcraft and their demonic abilities was already widespread and was not enough to prevent the witch-craze.

During the middle ages of Europe the fear of witchcraft and therefore its prosecution accelerated.  The reason for this fear was based on eight beliefs; “the night ride”, “pact with the Devil”, “the formal repudiation of Christianity”, “secret, nocturnal meetings”, “the desecration of the eucharist and the crucifix”, “the orgy”, “sacrificial infanticide” and “cannibalism” (Russell &Alexander 55).   The source of these ideas came from various places as illustrated thus far.   Also, due to such beliefs encouraged King James I, whose belief in witches lead him to hang “more witches than any other English monarch” (Russell & Alexander 79).  After this, the craze continued in part because of the writing of Heinrich Institoris, a member of the Dominican Order, who wrote the Malleus Maleficarum.  The Malleus was extremely significant because it illustrated why, at the time, more women were witches; it was due to their supposed obsession with superstition (Kors & Peters 181).  As well, the Malleus gives specific details on how to gain confession.  Another attribute, which contributed to the witch-craze was religious strife.  Between 1560 and 1660 there was a large quantity of religious conflict between Catholics and Protestants, and according to one text “was the height of the witch-craze” (Russell & Alexander 83).  The witch-craze lasted for 200 years, but began to decline in Europe after the 1700.

The reason for the decline in the belief of witchcraft is similar to how it was promoted, through the writings of the “legal, intellectual and religious elites” (Russell and Alexander 123).  Once these individuals rejected the belief in witchcraft, so did the masses. Also, it is argued that “witchcraft declined because a new world view made it superstitious” (Russell & Alexander 124).  Thus promotion of intellect and growth of knowledge lead to the abolishment of beliefs of witchcraft.

Overall, the beliefs of witches developed over a long period, coming to its epitome in the Middle Ages; then coming to a close toward the 1800’s.  Despite the nasty history surrounding witchcraft, it has resulted in the inspiration of many children’s and adult literature and entertainments, such as The Simpsons and Harry Potter.

In Harry Potter and the Order of the Phoenix, Harry Potter and his cousin Dudley are attacked by Dementors.  Dementors as they are depicted in the film are demon-like creatures that fly and attempt to take a person’s essence.   Before this happens, the scene has a sudden change in weather creating a feeling of dread, suggesting the Dementors were sent for evil purposes. When the Dementors attack Harry Potter uses a charm called the Patronus Charm and says “Expecto Patronum”, thus discouraging the Dementors and causing them to leave.

            After this, Harry is charged with under age Wizardry by the Ministry of Magic because he used magic in front of a Mugle or non-wizard and is therefore expelled from Hogwarts School of Magic. Then Harry is brought to the secret headquarters of “The Order of the Phoenix”, which is a hidden society headed by Dumbledore, the headmaster of Hogwarts.    The Order includes characters such as former teacher Alastor “Made-Eye” Moody and Harry’s Godfather, Sirius Black.   It is from here that Harry learns that the Ministry of Magic is slandering anyone who believes the Dark Lord Voldemort has returned.

Eventually, Harry is sent to trial to learn the outcome of his actions.  With the help of Dumbledore and Harry’s neighbour, he is cleared of the charges and is allowed to return to school.   Then Harry and his best friends, Ron and Hermione, discover that the Minister of Magic Cornelius Fudge has appointed Dolores Umbridge to the teaching position of Defense against the Dark Arts; however, no one at the school is actually allowed to practice magic, out of concern for Dumbledore’s backlash.  Both Fudge and Umbridge voted for Harry’s conviction, and while at the school Umbridge persecutes Harry for the belief Voldemort has returned.  When this happens, Umbridge forces Harry to write out “I must not tell lies”, which, with the use of her magic quill, causes the phrase to be written in his flesh, demonstrating a form of torture.  Umbridge gains increasingly more power over the school forcing specific rules on the students.   In time, Hermione and Ron convince Harry to create their own army, called Dumbledore’s Army, and practice defensive magic in secret.  

After this, Umbridge creates an Inquisition into who is practicing magic without permission, in which members from Slytherin join and eventually discover the group after interrogating Cho, Harry’s love interest in the film, with an illegal truth-telling potion.   After this, the entire group is subject to the torture Harry faced earlier, being forced to write in to their own flesh.   Once this happens, Harry has a dream in which he predicts that Ron’s father, Arthur Weasley, member of the Order of the Phoenix, is attacked by Voldemort, representing a form of Divination.

 While this is happening, Bellatrix Lestrange, Sirius’ evil cousin, escapes from a prison known as Azkaban.   This character is also known as a Death Eater, an evil follower of Voldemort.   Meanwhile, Dumbledore takes the blame for Dumbledore's army, but before he is arrested he magically disappears.    Afterwards, Harry has another vision, this time of Sirius being attacked by Voldemort.  When Harry tries to find Sirius, Harry and his friends are then caught by Umbridge, threatened and interrogated.  When this happens, Hermione convinces them that Dumbledore has a secret weapon in the forest, and while there Umbridge is eventually attacked by Centaurs, for they too have issues with the ministry.

Once the children are freed of Umbridge's control, Harry, Hermione and Ron, as well as other characters, go on a search for Harry’s Prophecy and to discover his relation to Voldemort.   Harry and his friends are then attacked by Death Eaters.  Towards the end, Sirius is killed by his cousin, and Harry runs after her, then Voldemort tempts Harry to finish her off and yield to his dark feelings.   When Voldemort is on the verge of killing Harry, Dumbledore appears and begins to fight Voldemort.   Dumbledore subdues Voldemort for the most part, but Voldemort attempts to possess Harry, and says to Dumbledore “you’ve lost old man.”  However, Harry finds the strength to overcome Voldemort when possessed through the power of love.  Once this happens, the Minister arrives and is forced to admit Voldemort has returned, thus freeing Harry of any judgements and Dumbledore is then reinstated as headmaster at Hogwarts.   In the end, Harry now understands his prophecy and eventually he must kill Voldemort. 

The first aspect of the film comparable to the history of Witchcraft is found in the power of demons.   In the first scene of Harry Potter and the Order of the Phoenix, Harry is attacked by Dementors.  It can be seen just by looking at the name Dementor that is visually and phonetically very similar in sound and spelling, demonstrating its magical association.   Also, the Dementors in the film are presented as dark, flying creatures that appear very light in weight.   This is very similar to a description of demons said by Marsilio Ficino, a Platonist philosopher with an interest in medicine and magic (Kieckhefer 146).   Ficino says “the planetary demons have bodies made of air or ether, and are in transmitting astral influences to Earth” (Kieckhefer, 150).    Here, the description of demons is very similar to the way Dementors appear in the film.  However, the Dementors do not appear to have any astral influence, unless you view the change of weather that happens when they appear as a cosmic effect.

After the attack, the audience learns during Harry Potter’s trial that the Dementors were under the control of the Ministry; however, it is also known Dementors were also once under the control of the evil Lord Voldemort.   The idea the Dementors can be controlled for good and bad is very similar to the ideas found in ancient Greek culture mentioned earlier.  Demons were understood to be “neutral spirits” that were “capable of serving either good or evil purposes” (Kieckhefer 38).   However, in this film the Dementors are mostly illustrated as evil. 

The Dementors are a further representative of evil for a few reasons.  One reason is that they attacked Harry and Dudley and when doing so attempted to suck out their essence or soul, which is signified through a white mist.   The attack of the Dementor on the soul is comparable to the use of demonic magic inflicting harm on those who use it. In Magic in the Middle Ages, it says “those who practised [demonic magic] were in danger of physical and spiritual assault from the wily demons they sought to master” (Kieckhefer 176).  This shows those who practice magic concerning demons were likely to put their soul and body in harm’s way.  While in film, Harry did not choose to come in contact with the demons, his soul and body was still subject to danger in the Dementors presence.

            Yet, in order to defeat the Dementors, Harry had to use a magical charm.  The Patronus Charm appears to be a form of defensive magic which rebels the Dementors.   This charm can be seen as a form of adjuration or exorcism.  In one text it is said “exorcists could command demons by using powerful secret names” (Kieckhefer 37).  In the film, apparently not many students can do the Patronus charm and when the students hear Harry can, they are extremely impressed, giving the charm a sense of exclusiveness.  Additionally, the Patronus Charm seems to be activated by a happy personal memory or feeling.   This is reminiscent of what is said in Kieckhefer’s text, “often the power of an adjuration is enhanced by appeal to persons, things or events that are sacred and therefore powerful” (Kieckhefer 71).   Granted, adjurations had far more religious meaning when looking at the middle ages, and when it says sacred, it refers to something that is religiously sacred (Kieckhefer 71).   However, it is learned in the film the Patronus Charm works best when referring to something that is sacred to an individual on a personal level.

            After Harry and Dudley escape from the Dementors, Dudley exhibits the symptoms of someone who has been possessed in the middle ages.  In one text, a pious woman had possessed youths that “were so far beside themselves that attendants must hold them from behind” to receive the cure (Kieckhefer 77).   This is very similar to Dudley after running away from the Dementors; Harry has to hold him up on the way back home.  Once there, Dudley’s father says to Harry, “you’ve finally driven him loopy” and says to his wife “our son has gone lumpy.”   This illustrates that Dudley suffered from some type of mental trauma after the attack of the Dementors.   Thus, Harry’s use of the Patronus Charm was enough to drive the Dementor away from Dudley, like that found in adjurations but not enough to cure Dudley of the effects the Dementor had.

            Additionally, the use of the Patronus Charm on the Dementors is not just an example of adjuration or demonic magic, but of another one as well.   The type of magic used in the Patronus Charm could be an example of antipathetic magic, which is the opposite of sympathetic magic, which “works by ‘secret sympathy’ or symbolic likeness between the cause and the effect” (Kieckhefer 13).   Thus antipathetic magic works due to its secret antipathy.   As mentioned before the Dementors can be represented as evil, as they attempt to take the souls of Harry and Dudley, and the removal of light when they appear, as well as their dark representation in the film.  The Patronus Charm in the film is explained to work due to the use of positive thought and energy and is therefore is antipathetic to the Dementors causing them to flee during its use.

            Another theme in the film that appears to have origins in relation to medieval magic is when Harry believes that Voldemort has returned and is punished for it.  Harry’s punishment for believing in Voldemort is similar to what is seen in the Burchard of Worms: The Corrector, sive Medicus.  In this text anyone who believes in magic or seeks it out is forced to do penance (Kors & Peters 63).   For example, it is said “Have you ever believed or participated in the perfidy, that enchanters and those who say that they can let loose tempests should be able through incantation of demons to arouse tempests or to change the minds of men” and then as punishment one must “do penance for one year on the appointed fast” (Kors & Peters 64).   Here, Harry actually believes what is said in Burchard of Worms.   In the film, Harry recalls Voldemort’s power over the Dementors, which, as seen before, are similar to demons.  When Harry suggests that Voldemort has returned he is forced into Umbridge’s office and force to do “penance” by writing “I must not tell lies” into his flesh.   Therefore, the fact Harry is punished for believing in an elements of witchcraft, is very similar to what is found in Burchard of Worms during the 10^th century.

            Afterwards, the Inquisition Umbridge initiates on Harry and his friends when they form Dumbledore’s army can be a representation of the Inquisitions found in the Middle Ages.  In the film, Umbridge puts up proclamations over the wall warning against the practice of witchcraft.  For example proclamation number 68 “All student organizations are henceforth disbanded, any student in non-compliance will be expelled”, in this case it refers to Dumbledore’s army practice of defensive magic.  This is very similar to a “German woodcut of 1487 warning against sorcery” (Kieckhefer 176).  In this way, the proclamation is similar to the practices to avoid the practice of witchcraft in the 15^th century.  

Another proclamation reads “All students will submit to questioning about suspected illicit activities”.   In the film, when the Dumbledore’s army is practising defensive magic, Umbridge creates an Inquisitional committee to seek them out.   This is comparable to the late middle ages where “prosecution of magicians increasingly fell to inquisitors” who “searched out heretics” (Kieckhefer 190).   Then the “judge could use intimidation, and torture if necessary to secure a confession” (Kieckhefer 190).  Harry and his friends are found out and punished based on one person’s confession, Cho.   When the students are found out they are subject to torture as mentioned before, by being forced to write into their own flesh.  Cho’s confession is induced through an illegal truth telling serum called Veritaserum.   This signifies a similarity with tactics used in history to gain confessions.   In the film illegal and harmful means are used to gain Cho’s confession, as well as the use of intimation by Umbridge and the fear of being expelled. 

Additionally, in reference to torture, Umbridge also threatens to use torture on Harry in another scene.   When Harry tries to find Sirius, he and his friends are caught by Umbridge, once there Umbridge thinks Harry is searching for Dumbledore and threatens to use the Cruciatus Curse.  The Cruciatus curse apparently is extremely severe and causes harm to the person who receives it.   Also, before this Umbridge slaps Harry, which can also be seen as an intimidation tactic.   An example of torture in historical texts is found in The Trial of Suzanne Gaundry, during Suzanne’s interrogation she was “strapped down” then “more tightly stretched upon the torture rack, urged to maintain her confession” (Kors & Peters 355-366).  The use or the threat of torture found in the film can be based on such recorded examples of torture found in the text. 

Another aspect of the film that is reminiscent of early modern notions of witchcraft is the use of divination.  The form of divination seen in the film is a type of Oneiromancy, which is “the interpretation of dreams” and “involve simple equation of dream content with future events” (Kieckhefer 85).   Also, all divination “was a means for knowing a destiny that was foreordained (Kieckhefer 85). In the film Harry has a dream that a Voldemort is attacking Mr. Weasley in the form of a snake.  When Harry has this dream he sees it from the point of view of the attacker, suggesting a mental connection between Harry and Voldemort.   Also, there is a prophecy in the form of a class ball, which describes this connection.   However, for early modern writers all divination “relied on demonic inspiration” (Kieckhefer 85).   In the film, no demons are referred to in relation to the dreams or the prophecy.   Thus, the magical elements of divination are presented in the film, but without any help from demons.

Later on in the film, Harry has another vision that Voldemort is torturing Sirius.  This, however, is a fake vision in order to get Harry to come to the Department of Mysteries, where Harry and others are eventually attacked by Death Eaters.   The mental manipulation used by Voldemort is comparable with Necromancy, which is described as “explicitly demonic magic” (Kieckhefer 152).  Necromancies aim is “to affect other people’s minds and wills: to drive them mad... to constrain them to do or not to do some deed”, to “create illusions” and “discern secret things, whether past, present or future” (Kieckhefer 158).   Again, necromancy is the exact same kind of magic found in the film.   Voldemort apparently discovers a connection between his mind and Harry’s and exploits it to drive Harry to come to Departments of Mysteries.   As well, Voldemort does this by creating an illusion in Harry’s dream that Sirius was being attacked.  Also, Voldemort’s connection allows Harry to have the vision about Mr. Weasley, thus saving him.  Here, the film shows a correlation with necromancy, however, instead of having an evil effect in the film the divination helps to save someone.

In conclusion, Harry Potter and The Order of the Phoenix demonstrates an enormous amount of elements of witchcraft.  However, it would take a lifetime to reveal all the aspects of magic found in it, for it took the lifetime of civilization to create such ideas. With that in mind, one element mainly illustrated in the film is demonic magic through the use of charms and adjurations towards the Dementors, which appear to be examples of antipathetic magic.   Another aspect of the film that is represented is the punishment in the belief in magical beings, although in the film unlike a text like the Canon Episcopi, Harry is punished for only believing in the evil wizard Lord Voldemort, while in the 10^th century one was forced to do penance for any belief in magic.   Not only this, but the film simulates an Inquisition on the practice of witchcraft, in which the students are punished.  Yet, in the film unlike during the Middle Ages, the children were allowed to study magic.   Still, the students in the film face torture and ridicule due to their practice while in Dumbledore’s Army, similarly to what is found in the time of the witch-craze.  Additionally, divination was presented in the film through oniernomancy, yet in the film, unlike the middle ages no demons were stirred in order for Harry to see his visions. Lastly, the use of necromancy on the part of Voldemort in order to manipulate Harry was demonstrated, with almost perfect accuracy to what is seen in scholarly texts.  Thus, the film Harry Potter and the Order of the Phoenix illustrates a huge number of elements from magic found throughout the history of mankind.   Yet, unlike the writing those in medieval times, these ideas are the foundation for fun and imagination for adults and children. 

Work Cited

Harry Potter and The Order of the Phoenix. Dir. David Yates. Warner Bros, 2007. DVD.

Kieckhefer, Richard.  Magic in the Middle Ages. Cambridge University Press: 2000. Print.

Kors, Alan Charles, and Edward Peters.  Witchcraft in Europe, 400-1700. University of Pennsylvania Press: 2001. Print.

Russell, Jeffrey Burton, and Brooks Alexander. A History of Witchcraft: Sorcerers, Heretics and Pagans. Thames & Hudson: 2007. Print. 

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Florida’s Fists of Fury: The Southern Paws of Nick DePaolo

“Creativity is the ability to introduce order into the randomness of nature.”- Eric Hoffer
 

Surrounded by the water and forestry of New Brunswick’s capital Sensei Nick DePaolo introduced us to the scope of his imagination. Sensei Nick is one of the most creative and proficient Karate-ka I have met. In Sensei Nick’s Koryu Uchinadi Concepts seminar—hosted by Sensei Geoff MacDonald—he demonstrated his creative, encouraging and high energy teaching style. In a room full of students with seemingly random backgrounds, that of Shoto Kan, Chito Ryu, Goju Ryu and Shito ryu with various technical level and ages, Sensei Nick introduced the entry level of KU to the participants. In the seminar, the group explored a flow drill consisting of applications for judan uke, gedan burai, uchi uke, soto uke, kake uke and shuto called Shiho uke-waza futari-geiko, as well as, tegumi, Okinawan hand grappling consisting of trapping, deflecting and bumping and how to transition between them and to the ground. 

Josh Stewart, Geoff MacDonald, Nick DePaolo and Me

“The comfort zone is the great enemy to creativity; moving beyond it necessitates intuition, which in turn configures new perspectives and conquers fears.”- Dan Stevens

            

        The enthusiastic students were introduced to tegumi practices as our warm up. Tegumi encouraged everyone to get up close and personal, something that may have been uncomfortable for a group of individuals who had only just met. The tegumi we grappled with were straight punch, back fist, hammerfist and six ways of engaging the hook punch! At first, individuals reached out towards the impact coming towards them instead of waiting for the opponent to come close to making contact, then receiving. However, due to the repetitive nature of the exercise everyone quickly overcame their anxiety concerning the technique and of each other. Eventually, Sensei Nick went to the next level of the exercise encouraging everyone to switch between the various type of tegumi. Again, encountering various attacks at any point was frightening, but Sensei Nick promoted the positive energy by saying “it’s the best I’ve seen all day!” By renewing everyone’s confidence and willingness to attack the drill we were able to move closer towards intuitively anticipating our opponent’s spontaneous attacks. 

Shidoin Josh Stewart & Geoff MacDonald experiment with Tegumi.
Not only is Sensei Geoff MacDonald an awesome practice partner, he
is also an amazing host who defines hospitality.

“True creativity often starts where language ends.”- Arthur Koestler 

One of the most impressive things about Sensei Nick is his teaching ability. In many ways, I learned creative ways to convey a message without necessarily using language. Sensei Nick’s way of teaching incorporates various different visually, auditory and physical cues. When teaching the first movement of Shiho uke-waza, a defense against a bear hug where you under-hook the opponent’s right arm to keep them from grabbing with that hand as you simulate grabbing the groin with the other hand by reaching as far as you can between the opponents legs; Sensei Nick called attention to the importance of the under hook by snapping his fingers engaging both the auditory and visual learner.  (Video of Shiho uke-waza can be found at the following: https://www.youtube.com/watch?v=q9YNjPyg3Qo)

To emphasis intent throughout the drill Sensei Nick would make sound effects as he went through the drill. For example, Sensei Nick would make aggressive growling noises like “Ruff!” when attacking throughout the drill. In the event of receiving he would make a noise like “Op!”  By making these sound effects it was not only engaging for those watching, but promoted the aggressive nature of the exercise.  As the group practiced they also mimicked these auditory cues, intensifying the energy in the room.

Another way Sensei Nick engaged the visual learner was through waving the hand or making the attacks obtuse for beginners. For example, at the point in the drill where you defend a finger four behind the back and come around to right hook punch while grabbing the partner’s right hand with the left hand, he would emphasis the attacking hand by opening it. Sensei Nick also maintained the importance of making the movement large for those doing it for the first time. By making the movement big the student can learn to recognize the situation, as the student progresses the attacker can make the movement increasingly more subtle. Not only this, but because the student can recognize and assess the attack successfully, there is an increase in self-confidence, a wonderful side effect of learning to defend oneself. 

Second sequence of Shi ho uke waza futari geiko

“Making the simple complicated is commonplace; making the complicated simple, awesomely simple, that's creativity.”- Charles Mingus

            

     An amazing element of Sensei Nick’s style is the simplicity in which he addresses receiving impact, especially in relation to the head. If you want to protect your head and face, then put your palms on either side of your forehead, much like a helmet. When the attacks are coming from either side of your head simply move your palm, which will move your arm into the correct position to receive the impact. The best part is it’s already in our nature to assume this position when we perceive a threat coming towards our head. Furthermore, it facilitates the idea of moving from the body. As mentioned earlier, at the beginning of the seminar there was a tendency for those receiving impact to reach out towards the attack. Reaching out can only increase the possibility of getting hit, because you remove your hands from your guard. Be aware your hands must be in contact with the head before impact is received, less you will be executing a teisho on yourself by receiving the attack on the forearm and then your own head. This has been by far the simplest and effective way of receiving impact that I have encountered. 

Taking techniques to the ground with emphasis on 
protecting the head

“Creativity involves breaking out of established patterns in order to look at things in a different way.”- Edward de Bono

As a practitioner Sensei Nick is the fastest and most intense of the people I have worked with. I enjoy his way of doing two person drills the most. Sensei Nick’s continuity in movement demonstrates a simple and eloquent way of performing techniques. In many ways Sensei Nick broke away from established patterns of Karate and KU through the use of mitt work. At the seminar we took our striking and receiving drill called Uke Waza (a.k.a Quadrant drill) and applied it to mitt work. This was a great way to focus on aiming and intensity within the drill. At the same time, it helped those holding the mitts to understand the role of the coach; it was their job to keep their partner working hard and motivated. Also, it’s not just the person striking who gets to practice the fundamentals; the person feeding the mitts has the opportunity to practice skills too. In many ways, it’s harder to receive the impact as the “coach” than it is to hit, you have to remember the drill and ensure the pads are in the right place at the right time. With that said, feeding the mitts assists in improving hand speed, distancing and knowing your targets in a fun manner for both practitioners. 

“Anxiety is the handmaiden of creativity” - Chuck Jones

In my previous article about training out West I mentioned a dilemma: “whether I should do as I am taught, or follow the principles that lie within those teachings”. It was through training with Sensei Nick that I began to realize a way to deal with this anxiety.  In Sensei Nick’s seminar, he took the basic drills and the fundamentals they teach and found new ways to reinforce them, for example through mitt work and increasing intensity.  I learned everything one needs to be successful can be found within the drill on the condition the basics are always reinforced and taught in a manner which promotes positive outcomes; that being, it is only through promoting the participants self-confidence and presenting a positive atmosphere will the student continue to study and master the basics. Sensei Nick addressed the anxiety of the beginner in that learning basics are in many instances quite boring, repetitive and sometimes mechanical and used that to find a creative way to teach KU in a way which is both fun and practical. As teachers by addressing the issues of our novices, I believe our students will not only find confidence in their technical skills, but also in the ability to find faith in their own ideas and imagination, hopefully generating not just skilled karate-ka, but inventive teachers.  
  
For more information on Sensei Nick DePaolo and Koryu Uchinadi, 
please visit the following: 
 http://www.alphafightingarts.com
 http://www.koryu-uchinadi.com

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"Harry Potter and the Order of the Phoenix"
 

Chinese Temple Art: Transferring Time and Meaning

             When entering the Royal Ontario Museum one is faced with art, architecture and important artifacts of other cultures. The main element that will be looked at whilst exploring the ROM will be the Bishop White Gallery of Chinese Temple Art. Then, the nature of transferring such art will be looked at, while discussing the conflict between its purpose during the Yuan dynasty, opposed to its purpose in modern day Canada.

 According to the tour guide, the ROM has the largest collection of Chinese artifacts outside China, this includes two Daoist paintings, one called “Homage to the Higher Powers” originating from temple walls during the Yuan dynasty in the Shanxi Province. The image on the Eastern wall depicts the Seven Stars and on the other side the five planets that can be seen from Earth along with the first Emperor. In the painting there is the representation of Mercury as a monkey and scribe, Venus as a Phoenix, Mars as the god of war, Saturn and its four moons depicted as plumbs and Jupiter as old and wise with a cane. When first looking at the painting, one can notice the circular elements around the Sage’s heads. Later on in the tour, when looking at money, which is circular in shape with a square as it centre is said to represent heaven and earth.  Hence, one can presume the circle around the heads in the painting represent some type of heavenly essence. One may also notice the subtle squares in the image, which one may believe was the artist’s intention to represent Earth; however this was due to how it was transferred from its original wall of the Temple to the ROM.

With that, it is interesting to ponder how and why this particular piece made it to Canada. At the time, the temple art was being accumulated by Bishop White many Chinese religious artifacts were being destroyed.  Hence, Bishop White must have been in a hurry to bring these paintings back to Canada, which may lead one to wonder whether or not there are pieces of the artifact that may be missing or even fabricated.  Naturally, the tour claims that they are original, but how are the audience looking at this piece actually suppose to know if the paint on the picture was originally red, blue or whatever colour is shown. As mentioned before, there is subtle squaring in the painting due its transfer from one wall to another, which placed meaning to the ROM audience that would not have been there while in a temple wall. At the same time, paintings such as “Homage to the Higher Powers” were originally a Temple painting.  Presumably, Temple paintings were meant to be worshiped and were set as reminders of proper etiquette in everyday life of the people in the Yuan dynasty in the Shanxi Province. Now, while in the ROM these painting are tourist attractions, something to be gawked at by students and elitist seeking higher education and culture.  Hence, one is left to wonder, although the ROM refers to the “Homage of the Higher Power” as “Chinese Temple Art”, is it still temple art, when it is no longer placed in a temple to worship, whilst in Ontario, Canada.

            Overall, the Chinese Temple Art presented in the ROM is similar to looking at any significant element of a different culture. The transference of temple art from its original time and location to contemporary Canada, like the translations Chinese writings of Confucius and Loa Tzu, leaves something lost in translation.  Hence, although, the image of “Home of the Higher Powers” is still preserved, its religious significance can never be realized again. 

For more information, please visit: http://www.rom.on.ca/en

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West Coast Swing: The Extension of Principles

From Body to Bo with Sensei Cody Stewart

The West Coast of Canada is known for various things (swing dancing, cowboys and mountains to name a few), but hidden between the four corners of Calgary is one of the most talented martial artists I have seen. Between June 6^th and 16^th, 2013 I had various opportunities to train with Sensei Cody Stewart at his dojo at the University of Calgary and a Yamane Ryu bojutsu seminar taught by him in Chilliwack, British Columbia. Sensei Cody is a Shidoin and currently working towards his Renshi in Koryu Uchinadi Kenpo Jutsu (KU for short). Not only this, but Sensei Cody holds a Yondan in KU, a Nidan in Tae Kwon Do, a Shodan in Wado Kai and really knows how to swing a stick around. In the following, I will share my experience training with Sensei Cody, in terms of what he taught during our training sessions and seminar, his teaching style and what I gained both in terms of technical and philosophical understanding through my trip through the lens of the learning principle of Shuhari.  

Sensei Don Shapland & Sensei Cody Stewart

         

Shu/守 “learning from tradition”

I feel my initial training sessions with Sensei Cody represents shu of the learning process. At the University of Calgary we stuck with the Nyumon (entry level) curriculum, focusing on the basics and fundamental elements of body mechanics.

Leading up to my arrival, I was given the opportunity to attend all the classes offered by the Bunbukan Karate Club—the dojo Sensei Cody teaches with—headed by Sensei Alan Colter (Nidan KU).  Upon arriving at the class, I was welcomed to the dojo by the critical stare of Sensei Cody.  Sensei Cody has been described by some of his students as rather “picky”. I view Sensei Cody more like that of a four-year-old tracking a bug in the grass: inquisitively watching, but always on the verge of gently stomping on you—depending, of course, on how well you perform your techniques.   

            Sensei Cody started my stomping.... I mean “lesson” from the beginning, tsuki waza—a series of 210 punches. One and a half movement in, I hear “Stop!”

I thought, “Seriously?”

            I was given at least 5 things to work on! Starting from my feet to the top of my head, I was given things to improve on to promote greater power and stability. Picky, yes, but this is only in the effort to offer greater insight into what we were practicing; maybe, Sensei Cody would be better defined as “intellectually generous”.

            After this, we also worked on Shi Ho Uke waza level 1, Heishu waza, Keri waza and their respective partner drills, as well as Taisabaki Oyo waza 1 through 6. While working on these, Sensei Cody demonstrated his technical expertise; his understanding of body mechanics is only outdone by his keen eye for detail. For any student who seeks perfection in any movement, I highly recommend this instructor for you. Sensei Cody’s technical skill and understanding is not only reflected in his ability to apply them, but also in his ability to explain them.  As a learner, Sensei Cody appears to be a kinesthetic and visual learner, but his teaching of the Nyumon material was highly inclusive, extending to all learning types. 

            Moreover, Sensei Cody’s teaching skills not only applied to teaching on an individual level, which I was so fortunate to experience, but also in a seminar format. While teaching at the Yamane Ryu and KU fundamentals seminar in BC, hosted by Sensei Don Shapland, we worked through the basics of Tanbo and Bo with proper form being emphasized, such as extending through the point of contact, remembering what part of the weapon you want to hit with and most importantly AIM! Sensei Cody’s demonstration of technique for the visual learners was always impressive; he would say, “It’s just like this!” BAM! Disarm.  For the kinesthetic learners, he would walk around and work with those who needed that help. For those who were principle-based students, he would say, “as a general rule...” For auditory learners, he would draw examples and create conversation. What I found most impressive was his ability to extend basic principles of leverage to all the weapons we used, extending from our own body to Tanbo to Bo. For example, we learned how to apply chokes as applications for Naifanchin using our own body, the gi, as well as with the Bo and Tanbo, by creating a class two lever around the neck; the hand gripping the weapon or garment acts as a fulcrum, the neck as the load and the other hand applies effort to the opposite end of the weapon to create pressure on the carotid artery or esophagus.

            Here, I look at coming back to basics as a way of “learning from tradition”. By emphasizing the proper body mechanics in our one-on-one lessons, I will be able to extend those to all my drills, whether solo- or partner-based practices, as well as apply them to extensions of the body, like the Bo or Tanbo.

             

Sensei Alan & Myla White (a promising young martial artist)
working through a short Tanbo drill

           

Ha/破 “breaking from tradition”  

Whilst going through the Nyumon, Sensei Cody shared simple ways of looking at the Oyo’s in a more practical manner. For example, instead of rolling out of the Oyo for chudan dai ichi, Sensei Cody suggested pressing the opponent’s arm into their face forcing them to look to the ground, then stepping away into a fighting position. In this instance, instead of rolling out and doing the courtesy bow to our partner after finishing a section of the drill, I was taught to maintain the perspective that our “partner” was the “opponent”. This breaks from the traditional practice of bowing. I felt I was able to maintain the intent of each application, as there was never an identification of roles such as “I am the Tori”, “This is my uke”, or “we are partners”; the person who stood before me was the opponent, nothing else. 

Furthermore, the idea of the “opponent” I found to be especially important while dealing with Bo or Tanbo. The application of basic techniques found, for example, in Pechin Kumi Bo—Yamane Ryu’s basic partner drill—was entirely dependent on one’s ability to maintain intent: blinding flash of the obvious, just like ALL drills. It was shocking that in a room full of martial artists, of whom I was included, it was so hard to try and hit each other in the head. I too, found myself unintentionally missing the opponent; something that I am sure tested Sensei Cody’s patience.  But, herein lies the point, to not just have intent, but to also have conscious intent. It is very easy to fall stagnate within drill-based practices, weapon or not, hence it is important to sometimes to step outside the drill and break from what is usually taught to keep you on your toes and conscious of what, as martial artists, we are trying to do: replicate fighting. We did exactly this in our application of Bo techniques; taking small sections of Pechin Kumi Bo, we explored the “what-if scenarios”. This is one of Sensei Cody’s strengths, as he paradoxically has the ability to escape the drill by staying within it; by this, I mean that if we found that we had poorly executed our technique or the opponent responded unexpectedly leading to a different position than found in the drill, we were taught to adapt and overcome, but not with a new or advanced technique, but with techniques that were already found within the drill, just performed in a different order or context. 

 Brad White (another great practice partner)
defending against Sensei Gary

The Sultans of Swing

It is important to note that in order to gain greater insight into the practical aspects of our art; we are highly dependent on the people we train with to move from Shu to Ha. In addition to working with Sensei Cody I had the opportunity to work with his students, Alan Colter, Gary Raposo, Kai Kleinitz and Cadence Mandybura. In the martial arts, I’ve been told a person is only as a good as their practice partner, if this is true, than anyone lucky enough to work with these individual will surely improve tenfold.  While at the Yamane Ryu Seminar, I found Sensei Gary to be a joy to work with, as far one can be joy while having them attack you with a 6 foot stick. Not only did he consistently remind me to aim, but also made me laugh. I have had previous experience working with Sensei Kai and I very much looked forward to working with him this time around. A beautifully patient man, Kai provides balance; he is neither too passive nor overtly aggressive.  When first learning a technique, as with Sensei Gary, Sensei Kai only gives in if the technique is correctly executed irrelevant to power of either individual.  I was fortunate enough to also attend Sensei Alan Colter’s classes and work with him in the seminar, a highly organized individual; he structured his class by connecting tegumi to various other grappling techniques and found strength in the Nyumon. While working tegumi with Sensei Cody I was paired with Sensei Cadence. A very pleasant young lady, I admired Sensei Cadence’s ability to ask so many intelligent questions, and her ability to connect concepts. Whenever I go to a seminar I search out the best in the room in order to get the most out of my trip, if you have the opportunity I highly recommend running as fast as you can to these fine martial artists to learn and practice.  Again, practicing with people with the right mind frame—that of conscious intent—aids us in moving from the Shu to Ha to Ri. It is not just up to us, but the people with whom we train to motivate, question and challenge us in order to gain greater enlightenment of the drills and kata we practice.

Me & the Sultans of Swing

Ri/離 “To Separate”

            It is the principle of Ri I find to be the most difficult to write about. It is this stage that is associated with creativity and enlightenment; while on my trip I have gained a better understanding of the principles of creating power and applying leverage and learning to move from drill to drill, assisting me in reacting more effectively to confrontation; despite this, I find I feel greater frustration. In many instances while training with Sensei Cody, as mentioned before I very much felt like a bug in the hands of a four-year-old. This is not just due to Sensei Cody’s playful nature, but also just like a bug, I was always drawn towards the light. There were so many enlightening moments concerning the psychological and technical aspects of the methodology of Koryu Uchinadi Kenpo Jutsu and Yamane Ryu as a style; I fear I cannot remember them all. Yet, while remembering each enlightening moment, I find that these blinding flashes of the obvious cast a shadow over the path one should take in terms of how to practice. With the knowledge that there is much to be realized in the basic drills and solo practices, while at the same time, knowing how much can be found exploring outside them, I am left with the dilemma of whether I should do only as I am taught, or follow the principles that lie within those teachings.

            Despite my frustration, I found traveling to Calgary and BC to train to be highly rewarding, intellectually, physically and personally. While training with Sensei Cody and his students I experienced a microcosm of shuhari.  Overall, Sensei Cody’s technical skill and understanding is something I aspire to and he is both a talented martial artist and an engaging instructor with amazing comprehension of the principles that allows one to be proficient in any fighting system.  I highly recommend Sensei Cody for anyone looking to gain insight into the creative application of these principles.

For more information on Koryu Uchinadi classes or seminars on the West Coast, please visit: 
 http://www.bunbukan.ca
 http://www.koryu-uchinadi.com/irkrs-seminars
 http://www.wacademy.net

 What you can look forward to next: Chinese Temple Art: Transferring Time and Meaning