I was the last person to leave class tonight, after turning off the lights I bowed and exited the dojang in the dark.

Through my journey I’ve learned one very pragmatic thing about “mudo”; all of the writings about mudo are from Masters of their art. Not just masters of a martial “any style” but of a martial art. In many instances these are people that in addition to studying a martial art are also artists, many of which are poets, painters and musicians. So it is that I find myself trying to describe and write about a topic as a young apprentice that has been asked to take up the study of an art. To try and describe mudo from my standpoint is similar to standing outside a stained glass window and describing what is taking place in a room on the other side; to which I cannot yet find an entrance. It is with this stained glass window metaphor that I take you with me and together we’ll begin to examine the pieces of mudo and assemble them to better understand the topic. Just as a stained glass window obscures what can be seen on the other side, our understanding of mudo starts. However, just as we can focus on the pieces of an image through a stained glass window, we’ll focus on the pieces of mudo to better understand it. 

To begin our discovery of mudo we’ll start by imagining a scene of mudo practitioners (mudoin) taking place in a room. We can better understand and view the scene by entering the room, however in order to gain access we have to find our own way. As easy as this sounds, it can actually be quite difficult, so difficult in fact that it confuses many people because they think that there is something mystical and confounding about mudo. Like trying to find the door to our imaginary room without a map, these people are lost without an instructor of mudo. 

In order to begin our journey, let’s attempt to briefly return our mind to an initial state; a state where our mind was still pure and free of worldly distractions. At birth, all humans start with a clean slate. The process of being born is our origin with nothing preoccupying our thoughts and the only task we need to be concerned with is breathing. We took in our first breath and expelled it releasing the air we took in. Just as we started our life with this first breath, take one now. Go ahead and take a deep breath; breathe in until you feel the pressure expand in your abdomen, now hold it for just a second to the point of origin, and exhale slowly – as slowly as you can, relaxing your body as the breath exits. Now we’ll take another breath and as we do, we’ll return to our stained glass window. As we continue to exhale, relax and lean into the window to see if we can get a glimpse of what is going on inside. Take another breath; hold it, now exhale slowly. It is through relaxation obtained from the repetition of breathing that we can free our thoughts and are now able to witness two mudo practitioners inside the room. One has just handed a sword to the other accompanying the motion with a deep respectful bow, making sure the cutting edge is away from the receiver. We know as we’ve been trained that this is a sign that he is both looking out for the other’s safety and making life more comfortable for the other person. Why after so many years of practicing are they still so respectful and cautious? Could it be that people possessing such knowledge as mudo still practice basic etiquette, just as we do in class every day? Etiquette must be an important of mudo, but how and why do the rules of etiquette that we’ve been observing apply?

The Random House Collegiate dictionary defines etiquette as:

1. conventional requirements as to social behavior. 2. a prescribed or

accepted code of usage in matters of ceremony. 3. the code of ethics of a profession.

  Let’s think back to other lessons of etiquette that we have been taught. The first are lessons of simple rules of etiquette which we were introduced to as a new student at dojang. Upon entering the dojang  we remove our shoes and bow in respect for the martial art and to the dojang in which we train. We bow again when entering the mat out of respect for our instructor(s) and instruction. In addition, we also start each class with three kneeling bows. The instructor and all students bow first to the highest seat. This is to honor and show respect to both the Founder and tradition of our art. The instructor and students again bow to the highest seat in respect for the dojang and instruction. For the third bow, the instructor turns and bows to the students, the students out of respect return the bow to the instructor. This last bow is extended to include respect between the students. 

As we attended class more and more often, our understanding of etiquette grows. We started doing additional things to show respect. Come to think of it, all of us, as we attended more classes, started to show a level of comprehension that there was more to be gained by observing etiquette than just following the rules. We started assuming additional responsibilities in respect to the dojang, our art and to our instructor. Could it be that our instructor has been instilling within us a profound sense of respect?  

This is a good start so far. I’m beginning to see “respect” repeated over and over again. I don’t know about you, but I’m tempted to see what else I can learn up at the window, but hold on, my instructor is always reminding me to be patient. So let’s be patient and see what we can learn on our own first, take another breath and let’s look further into etiquette. As senior students we are expected to guide new students almost as an older child would guide younger siblings. It is through this relationship and by example in the use of etiquette that a new student will learn the behavior that is expected of them. Just as senior students are responsible for newer students, the instructor is responsible for setting this example for the dojang (the students and their path to mudo). Through this model of leading by example new students will deepen their understanding and respect for etiquette.   

Good, I think we have a good sense of why etiquette is a fundamental part of mudo.  It is through etiquette that we show respect to the people and life around us. Not just to our art, but to everyone and everything in general. I’m reminded of a memory that I have of Aunt Retti (pronounced like “ready”, but with a ‘t’) teaching us etiquette as children. I remember: “Don’t gulp your drink, swallow quietly so you don’t disturb the other people around you.” Etiquette is all about respecting. Respecting others, respecting history, respecting art. Respect…. 

I’m glad I was patient and didn’t go back to the window too quickly (I would have been frowned upon by my instructor). Let’s take another breath (remember to breathe deep) letting it expand your abdomen and exhaling slowly. As you take several more breaths, reflect upon respect for a while. No hurry, we’ve had our entire lives since that first breath to get it wrong. Take our time to appreciate getting it right.   

I feel like we have a good grasp on a fundamental principle of mudo. Respect: as a mudoin we must respect everything, we show this in all our actions, bowing in class, cleaning the dojang, even how we drink at the table. By requiring us to follow the rules of etiquette and expanding on it, our instructor is introducing us to one of the fundamentals of mudo. As respect settles into our being, let’s think about what we can do to better understand mudo.  I know respect is an important factor, but respect is also an important part of many other things. What is it about mudo that is different?   

This time, let’s try a little harder to relax and focus on the stained glass window. I don’t know about you, but I’m having difficulty seeing anything more so let’s start like we did last time, by taking a good breath from our center, relaxing, and focusing. This time, I see the same person that was handling the sword, practicing a four-direction cut over and over again. The mudoin is moving slowly and fluidly with no wasted motion. I’m confused, why does he still practice? Once you’ve got it perfect, why not go on to something else (like knitting)? Aren’t there many people in the world that as soon as they finish something, they move onto the next “thing”? Why isn’t he moving on? 

As an art student for the vast majority of my education, I was always fascinated by paintings of the Renaissance period, thinking that nothing could be better – except of course for maybe some later work done in the Impressionist period. Artists like Renoir took what had been perfected from the earlier Renaissance period and practiced/expanded on it until it became their individual expression of art. It was through fervent practice of technique and understanding of thought that proceeded did the masters of the Impressionist become artists. Could it be that this mudoin is a master in the same sense? Is it necessary to practice beyond a level of understanding of a technique in order to move through the technique to an art in the same way? When a technique has been practiced enough that the movements become so natural to a point we begin to extend the technique, making it our own can we then become artists in the same way by making the art our own? Just as a pianist that has practiced their entire life “knows” exactly where each key is, never missing a note, does the pianist reach a level of expression, invoking emotion through their music. Could this be where practice evolves into an art? Just as the masters of the Impressionists period mastered their art and found ways to express themselves through practicing their technique to a point of knowledge, a martial artist can be created by practicing technique. 

As we began our training, technique was unsure and was often at a lower intensity from a lack of confidence and knowledge. In the beginning we were more focused on the minutia of life - our ego, not looking foolish and trying to belong. When practicing, we should show respect for our partner while focusing on improving our technique. Being distracted by unimportant things prevents our minds from freely focusing on learning the technique. 

Devoted training with a clear and focused mind will sharpen a student’s technique and when combined with the respect learned from proper observation of etiquette, a student develops a sense of virtue. In order to achieve this level we need to persevere in our training until it becomes ingrained with our daily life. However, in order for this level of blending with to be acquired, we respectfully train to the point of committing the technique to muscle memory. It is as this memory permeates our everyday life combined with the reverence of etiquette will we start to become virtuous martial practitioners. Therefore practice intently in mind and body, tempering ourselves ceaselessly to begin developing the spirit of martial way. 

The “spirit of martial ways”, is something that transcends the limited capabilities of the body. It is the part of the student’s personality that is not immediately evident; the part that is molded by long hours spent practicing technique and fortifying the spirit that may take a decade of work to begin to understand its movement.   

We can see now, training in technique is another way that our instructor has been teaching us mudo. Respect through etiquette is not in itself mudo, but when this respect is combined with martial techniques, it becomes distinct. There are many people that have deep sense of respect. However, when the respect is combined with a good understanding of a martial technique, they are following a different pattern. This is where studying the martial technique becomes virtuous. They gain a responsibility to use their martial techniques to improve life. 

I feel as if our understanding of mudo has increased dramatically. By clearing our minds of all minutiae that has polluted our thoughts since birth; by retaking that first breath and focusing on the examples set forth by good instruction, I’m beginning to have a good understanding of mudo. However, a final piece is still missing. After all, mudo is an art and while a perfect technique can be beautiful, in order for something to be an art (especially a master practicing an art) you must be able to transcend a technically perfect outcome.  With this in mind, there must be something beyond that. It needs to add or evoke an outcome by being a moving experience. 

This time, let’s step back from the stained glass window, way back, so far that we can see the entire building. What type of building do you see? Just a simple building with four walls, or is this a building that evokes a spiritual presence?   

As an art Student (Gifted program for art in high school, Graphic design in College) art has always instilled within me a sense of awe and peace. To me this sensation is spiritual in nature.

  When translating words from one language to another, meaning is often lost. This happens because the word taken from the original language does not have a direct equivalent in the another language. An example that comes to mind is the Greek term of “Agape” meaning God’s love, which is a love beyond traditional love of which we have no term to describe in the English language. 

“Art” however does a wonderful job of describing the spiritual aspect of a Martial Art.  Denoting the spiritual awe one strives to achieve through the pursuit of an art. For some, this means practicing a technique until it becomes perfect, until you can do it in your sleep. For many it means being able to create a musical masterpiece. I subscribe to the idea that it is both and the spiritual side of the person that grows and aspires to a spiritual “Awe” just as an artist evokes from a masterfully played piece of music or painting. Mudo is the way that leads to this sensation of awe in our daily lives through the practice of martial technique. 

Now I feel we are arriving to a good understanding of what is expected of us as mudoin. However, look around you; look around the building we’ve been focusing on. Did you notice the graveyard? Not the normal graveyard behind the building, but this one is up front at the position of highest respect – the highest seat.