Category Archives: Eastern Philosophy

A Better Way to Overcome Fears And Worries

My book Fighting To Win: Samurai Techniques For Your Work And Life had just come out, and I was on a TV show publicizing it. The host said, “I read your book last night. You say in it that in the martial art called aikido you “harmonize” your movements with your opponent’s movements. Can you demonstrate to me what that means?”

hands of Aikido martial artistWe were sitting about three feet apart, facing each other.  I said, “I’ll be happy to.” The host said, “Should we go over there where we have more room?” I said, “This is fine. I won’t have to get up out of this chair. Throw a punch at me as though you are mad at me and want to knock me down. Don’t hold anything back. Really throw a punch.”

The host said, “Are you sure you want me to?” He was a very big, muscular man who was obviously a body-builder. I said, “Go ahead. I’ll be all right.”

The host stood, reared back, and threw a punch; still sitting, I reached out and grabbed his hand that was coming at me and pulled it forcefully. The host went flying to the floor. Lying on the floor, he said, “Wow.”

I helped him up and said, “You see, I harmonized with you by not resisting you but instead by going with you, following your intention, the direction of your movements, pulling your hand rather than blocking it. That is called extending in aikido–that pulling–going further in the direction of the opponent’s momentum and force. That is not the normal Western way to defeat an opponent. In the West we are trained to oppose force with force. You punch me and I punch you.  Then the stronger person wins. In aikido the weaker person can win.”

The host laughed: “I certainly know now how effective extending can be in defeating an opponent.”

I said, “You can apply the technique of extending to overcome everyday emotional difficulties like fears and worries that may have been causing you problems that even for a long time have interfered with your living.”

The host said, “That’s interesting. How does that work?” Then he added, “You’re not going to throw me again are you?” I chuckled and said, “That won’t be necessary.”

 

Some Applications

The fear of public speaking is a major problem for many people. Surveys have shown that some people would rather fall 32,000 feet from an airplane than give a speech in public. (In other words, they would rather die.)  The only greater fear among most people is the fear of sharks. I’ve known people to turn down promotions into lucrative executive positions or teaching jobs because giving speeches or lectures would be a necessity of the new job and that they cannot imagine themselves doing.

I know of a PhD candidate who spent eight years researching and writing her dissertation, but after finishing it was so afraid of the interview with department faculty that was required before that degree could be awarded that after all the work was done she quit the program. She had worked hard for a long time and never had the fulfillment of a degree because of the fear she could not cure.

Man holdng head, worriedI’ve seen emotional extending used successfully to overcome the fear of an upcoming speech many times. Go into a room by yourself, sit on a chair, and alone, worry and make yourself afraid. Tell yourself things that scare you. Exaggerate. Do this for five or six minutes, or longer, if necessary. After a while you will find the fear disappears. Extending excites emotions that are troubling you, then calms them down. The fear of asking for a promotion or a raise, of having an upcoming job interview or of asking for a date can be dealt with the same way. Whatever the fearful situation is, extending will help.

 

Excerpted from Fighting To Win: Samurai Techniques for Your Work and Life:

“All your emotions are forms of energy. Each and every one of your emotions is power. Your positive feelings of excitement, pleasure, joy, courage, optimism, confidence, and love can fill your actions with an almost unbelievable power. You know that yourself without even having to think twice about it. When you’re filled with really positive feelings, there’s hardly anything you feel you cannot accomplish.  Hardly anything can stop you.

Your negative emotions are also power. But they’re destructive. Your fear, worry, anxiety, depression, anger, nervousness and even stage-fright and all the other of what the samurai called inner ‘dragons’ are power that’s being used in the wrong way. They are energy that’s pointed in the wrong direction. It’s directed inward, against you. It holds you back. It keeps you down.

What I call emotional aikido is a way of transforming negative, inward-directed emotional power into positive power pointed outward. It transforms your harmful emotions into helpful ones, and it does so by going with your harmful emotions, not opposing them.

Neurologist Dr. Viktor Frankl points out that, paradoxically, trying too hard at something often makes it impossible. For example, the person who is afraid of blushing and tries hard not to when he enters a room full of people will actually blush. The person who is afraid of stuttering, and tries hard not to, will stutter. Frankl calls this “hyper” intention. It’s intending too much and too hard. A classic example of too much intending is the man who is so damned intent on impressing his partner with his sexual prowess that he tries too hard and fails miserably.

Frankl realized that hyper-intending could be a very useful way to rid people of emotional impediments: If a person stuttered when he tried very hard not to, wouldn’t he be unable to stutter if he tried very hard to make himself stutter? And that’s exactly what happened. A man with a lifelong severe case of stuttering stopped only when he tried very hard to force himself to stutter. A man who had suffered from writer’s cramp for some years was cured by trying not to write neatly and legibly, but in the worst possible scrawl.

The moment he deliberately tried to scribble, he couldn’t. Using the technique of hyper-intention, Dr. Frankl even cured a healthy man of his terrifying fear of having a heart attack. He had him try to induce one! The man worked at it like the devil. He huffed and puffed trying to make it happen. What happened was that the heart attack didn’t happen, but the man lost his irrational fear of one.

In going into battle against a disturbing inner emotion you have a choice to make. If you’re a direct force-against-force stylist you’ll probably attempt to overcome the emotion directly through willpower. You’ll tell yourself, “I won’t let this thing get the better of me. I will not blush this time . . . will not stammer . . . will not feel nervous, afraid, worried, depressed,” etc., etc., etc.

According to Frankl, that approach only increases the problem: “Pressure precipitates counter-pressure.” But if you use the indirect, extending style of hyper-intention you stand a far better chance. To use it, you (1) take the frontal approach by identifying the emotion that’s disturbing you, and then you (2) go with it and exaggerate it. If you’re feeling afraid of something tell yourself things that will make you even more afraid. Fear your guts out. Fear to beat the band. Do the same thing for any feeling that’s troubling you. All your emotions have a saturation point which when reached will stop the emotion. Emotional extending is over-saturating them.

You can’t ignore the troublesome worries, fears and anxieties that get in your way and interfere with your functioning and feeling well, just as you cannot ignore any opponent without risking defeat. They’re real. They’re blocking you. And to win you have no choice but to deal with them. You can’t will them out of existence by pitting your willpower against their power. But you can extend them out of existence. Don’t attempt to suppress them or beat them down. Do the opposite—exaggerate them, hyper-intend them, over-saturate them, extend them.”

 

pink lotus flower on green If you choose to use the aikido approach to overcome external and emotional adversaries, be aware that the way to “serve” one’s adversary in the aikido style is to understand what they want, and to give them more of it to get what you want. Remember: the extending technique or process can be an antidote to the emotions of fear, worry, anxiety, the blues, and depression.

Using emotional extending aikido the “intention” of your fear is to make you feel afraid. Give it what it wants. But go further. Make yourself feel more afraid .The fear will grow greater for a while as you think thoughts that induce fear, and then if you persist the fear will disappear. Make yourself be more anxious and the anxiety will grow greater and then as you continue extending, the anxiety fortunately will disappear.

If the PhD candidate who dropped out of the program rather than face her fear of speaking with the department faculty had been familiar with emotional extending it may well be that she would have had a wonderful career she had worked so hard to prepare for.

 

© 2021 David J. Rogers

For my interview from the international teleconference with Ben Dean about Fighting to Win, click the following link:

Interview with David J. Rogers

 

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The Swing of the Advantage  

I know this much about you: at one time or another your chances for a better life, once very high, changed and seemed dim. Your spirits plummeted because whatever advantage you once held had slipped away. On another day you regained the advantage. Then your spirits instantly soared, and you were the one thing you had always wished to be: happy.

The swing of the advantage–to you or away from you–is something that-occurs in every aspect of your life and mine from childhood through old age. The advantage is like aWoman swinging attennis racket on tennis court ball passing back and forth between you and life. No one ever holds the advantage all the time. The advantage can swing to you or away from you at any time. Sometimes you hold the advantage, and an ideal life and great achievements in your career or personal life seem so near you can touch them with your fingers. Then you suffer a setback, a crisis, or a major problem, and you’re driven down into the dark depths of discouragement. You have lost the advantage, and your need now is to get it back.

Then you shake off discouragement and take decisive action. Once you’re in action, opportunities appear like jewels you pick up off the ground. The advantage is yours once more, and a better life unfolds like the petals of a rose. Your dreams are no longer mere fantasies but facts that you now incorporate into your life You turn directions, changing into a new being. For example, the success you wanted was to publish a book. You work hard. Your book is published, and now the identity that will never leave you is yours: “published author.

swinging pendulum“The Swing of the Advantage” is a concept from my print best seller Fighting to Win: Samurai Techniques for Your Work and Life (now available as an eBook). From the twelfth through the nineteenth centuries Japanese samurai (bushi) were fighting men and women in service of a lord, a “daimyo.” They were the greatest warriors who ever lived, and based their expertise on physical, psychological, and Zen spiritual insights and techniques that they acquired through as demanding training as there has ever been in any discipline. Their skills were legendary. Fighting To Win prescribes their spiritual/psychological insights and adaptations of their techniques for overcoming obstacles to a productive and fulfilling life.

Samurai tactics never changed. They are a philosophy and life style–a “kamae,” a battle stance or posture,” a “Way.” They are “zan totsu“–which means “rushing straight ahead into action”  and “mo chih ch’u,” which is “going ahead confidently without hesitation.” The samurai were conditioned to confront, not avoid, difficulties, to embrace them, to race directly and swiftly to what you fear most. Were we to rush into our fear without hesitations many of our problems would be dispensed with quickly. When you approach your life and your work mo chih ch’u, fearlessly, your strength increases fourfold and you go straight to your goal.

Samurai were taught “Trust only movement” and “Test your armor, but only test the front” because you are not in action–in your everyday life, in your occupation and other pursuits–to run away and hide from “inner dragons.” Dragons are the sum total of all your fears, anxieties, and inhibitions. Seeking freedom from dragons, samurai “strike through the black silhouette of a dragon head with open mouthdragon’s mask.”

You can use this samurai concept of the swing of the advantage to gain victories. Like samurai you can face up to difficulties and rush to the attack—confronting and overcoming obstacles, not hesitating, not hanging back, but solving problems–dispensing with useless patterns  of thought and action that have led you from your goals rather than to them. Then you will be filled with the exhilarating surge of the powerful energy (“ki’) of a man or woman on the attack. You are not looking back, not fearful of facing up to what lies ahead in the fog of life, but committed in spirit and mind to the  action in front of you not tomorrow, but in this single fleeting moment of time, gaining back the swing of the advantage before this moment ends.

Let’s say you’re afraid to take a chance and the opportunity slips away. You’ve given up the advantage. But then you take the chance and succeed. You’ve seized the advantage back. Sometimes your diet is going well. But at other times you ravenously raid the cookie jar Once again fattening food has gained the advantage and your self-esteem and health are in jeopardy. But then you get a little angry and recommit yourself, and achieve your target weight. You have regained the advantage.

Prescriptionsseesaw with red seats

  • Recognize and be prepared for swings of the advantage–sometimes to you and other times away from you. Because you and I are alive, neither of us is a stranger to the swing of the advantage.
  • Make the loss of the advantage only a temporary impediment. Say to yourself, “Oops, there goes the advantage.” Then quickly, without stopping to bemoan your plight, use your determination, spirit, and decisive action to get it back. And when it swings back over to you–when you have solved a longstanding problem, for example, or overcome an obstacle that has stopped you for as long as you can remember–don’t stop to congratulate yourself. Don’t stop at all. When you’re gaining ground on a better life say, “You can’t escape me. I’m on your trail.” Just keep moving in the only direction that matters–forward toward your goals.
  • Don’t delude yourself into believing you have the advantage when you don’t. Life is to be looked at in one way–squarely in the eye–and a fool’s paradise is hell in disguise.
  • Maintain a powerful spirit–confident and daring–that cannot be stopped however far away from you the advantage has swung. It couldn’t matter less how often you’ve lost the advantage or how far away from you it swings, only that you have it when it matters most.

Application

wooden swing on a background of green grassIs there any area in your personal or professional life right now in which the advantage has swung away from you? What will you do to get the advantage back? Whatever it is, don’t delay. Run straight toward it zan totsu–boldly.

 

© 2020 David J. Rogers

For my interview from the international teleconference with Ben Dean about Fighting to Win, click the following link:

Interview with David J. Rogers

 

Order Fighting to Win: Samurai Techniques for Your Work and Life eBook by David J. Rogers

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The Self-Concept: Freeing Up Your Creator’s Mind and Personality

In those happy days when I was starting out and writing books during the night while my wife and children slept, I was a business consultant during the day. One client was an anal-type organization–lots of rules, very little freedom, business workers in office cubiclesdictatorial–and many disgruntled employees. You might have worked in an organization like that. You may be working in one now.

One rule was that no one from one unit was to visit another unit during working hours. They were serious. Wherever you went you heard people saying, “Don’t get caught out of your unit.”

Your creator’s self-concept–self-image, self-estimate–is your internal, private opinion of the kind of creator you are and of the actions you are or are not capable of performing as a creator. It directly controls how successful you are in your creative endeavors and how full and satisfying your creative life will be. Like that nutty rule, your creator’s self-concept says, “Whatever you do, don’t get caught out of your self-concept.”

Your behavior has absolute trust in your creator’s self-concept and believes it and obeys it. You may have decided after five years writing that you’re a pretty average poet, so you work only hard enough to write average poems, never expecting to do any better. Your self-concept is perfectly content with mediocrity although you may have the potential for greatness. It is continually telling you to stay inside its definition of the kind of person you are: “You’re a decent painter but let’s face it, you’ll will never be much more than that.”

Many people I’ve met and you’ve met tell themselves they’re not creative. They realize that creativity could make them happier, but they claim they just don’t have it. Many people think, “Oh, a painter is creative, or a novelist or an architect. But I’m not a bit creative.” Yet researchers have demonstrated that the self-concept is so powerful and yet so malleable and so easy to change that the moment–the moment–people start thinking “I am creative” instead of “I’m not creative,” creativity increases. They can write and paint and perform dramatic roles passably well.  Now they have a creator’s self-concept.

Disappointments lead some creators to think, “I can’t produce really superb art work. . .sell my stories to magazines…make a lot of money…place my paintings in the best galleries…get in a good show… compete with young creators…” and so on.

Many creators have such narrow self-concepts they’re living in a unit that’s only a fraction of the size of their true creative ability. They possess the capacity to accomplish high creative goals but they don’t realize they do. Other creators have wide and expansive self-concepts. Their actions are bolder. They are self-confident. They expect to excel and often do.

What’s holding narrow self-concept creators back? Don’t look at me. I’m not holding them back. You’re not holding them back. They are holding themselves back. Some creators—maybe you know a few of them—have self-concepts so narrow and confining that they have made themselves incapable of doing anything significant. Often they don’t even try.

Many of you reading this are fiction writers. But we are all fiction writers. ALL SELF-CONCEPTS ARE FICTIONS; THEY ARE ALL MADE UP.  They are not real in the way a flower pot is real or a desk is. They are merely ways you have chosen to view yourself. From this insight it’s a short, leaping step to the next: “Hey, since I made up this damned self-concept and I’m not happy with it, and it’s holding me back, all I have to do to increase my possibilities and free up my creator’s mind and personality is to create another one and act accordingly,” or “Do I need a self-concept at all?” If your self-concept is right for you—if you’re happy with it—by all means keep it. But if it’s bringing you creative disappointment after disappointment and discouragement and you’re dissatisfied with it, you’d better, I think: (1) change it, or (2) operate without it.

I want to tell you two stories:

Story One: “The Storekeeper and the Thief”

In Japan in the nineteenth century, storekeepers were considered lily-livered weaklings. One storekeeper became sick and tired of this reputation. To prove that it was totally false he took lessons at a martial arts dojo. He devoted himself religiously and after some years he became an expert. After closing his shop late one night, the storekeeper and his wife started home down the dark streets carrying the day’s receipts. They had just turned the corner when a man holding a knife stepped out of the shadows and ordered the storekeeper to hand over his money.

At first he refused, but when the thief charged him, growling, “You miserable merchant, I’ll cut you to pieces,” the storekeeper lost his courage, fell to his knees, and began to tremble with fear. Suddenly his wife cried out, “You’re not a storekeeper, you’re a master of the martial arts.”

The storekeeper turned his head and looked at his wife. “Yes,” he said, “I am.” He stood, a warrior now, totally fearless, completely calm. He let out a powerful katzu, “battle shout,” and leaped at the thief. He defeated him easily.

Story Two: “The Teaman and the Ronin

In feudal Japan, a servant, a poor practitioner of chado, the Way of tea, unwittingly insulted a ronin, a masterless samurai. Outraged, the ronin challenged the servant to a duel. “I’m not a warrior,” the teaman said, “and I’m very sorry if I offended you. I certainly didn’t mean to. Please accept my apology. ”But the ronin would have none of it. “We meet at dawn tomorrow,” he said, and as was customary, he handed the terrified teaman a sword. “Go practice,” said the ronin.

The servant ran to the home of a famous sword master and told him the terrible thing that had happened. “A unique situation,” the sword master said. “For you will surely die. The thing I might be able to help you with is isagi-yoku, the art of dying well.”

While they talked, the teaman prepared and poured tea. The masterful way he did it caught the eye of the sword master. He slapped his knee and said, “Forget what I just told you. Put yourself into the state of mind you were in as you prepared the tea and you can win this fight.” The teaman was shocked. The sword the ronin had given him was the first he had ever held. “What state of mind?”

“Were you thinking ‘I’m a teaman?’ ” asked the master.

“No. I wasn’t thinking at all.”

“That’s it!” The sword master laughed. “Tomorrow draw your sword and hold it high over your head, ready to cut your opponent down. Don’t think you’re a teaman or that you’re a swordsman. Just listen. When you hear him shout, strike him down.”

Image of kendo {{PD-1923}} The next morning the ronin appeared on the field and the teaman immediately raised his sword overhead, his eyes on the ronin, his ears waiting for the battle cry. For long moments the ronin stared at the raised sword, and the determination in his opponent’s eyes. Finally the ronin said, “I cannot beat you.” He bowed and left the field.

The problem of these two men should seem familiar. Their predicament is one we all encounter every day. Our opponents aren’t usually thieves and they certainly aren’t wandering samurai ronin, but that’s not important. Those weren’t the main opponents anyway. The primary battle, the main event, was going on inside the storekeeper and the teaman. To win on the outside, each had to deal with a faulty, inadequate, self-defeating self-concept.

Option One: “I’m a Warrior, Not a Storekeeper.” Changing Your Self-Concept

Many creators are overlooking their creative abilities. They persist in thinking they’re storekeepers when if they just thought differently about themselves they would see what warriors they have the potential to be. Listen to the things you say about yourself and think about yourself that begin with “I am,” “I’m not,” and “I can’t.” They are your self-concept in action. And they directly control what is possible for you.

 

Robin tells herself, “I’ve been working on the thing I call ‘My Novel’ for years and can’t seem to finish it. It’s embarrassing. I have no will power.”  And because of it she has real problems getting the damn thing off to a publisher. Ariel tells herself she’s not intelligent enough to write a Hollywood screen play. She doesn’t realize that intelligence is not fixed and final in a person, but can increase with use and with it her concept of herself as an intelligent woman.

Creators are what they are because they keep telling themselves they are. If they stop telling themselves they are, they change. If creators say to you, “I just can’t talk in front of large groups,” or “I’m not the sales type,” or “I’m not a really clever person,” and then ask you if there is anything they can do about it, you might suggest that they never, never say that again. Then suggest they counter every “I’m not” or “I just can’t” with a firm “I am” or “I can.”

Saying it isn’t enough.  What is in your head doesn’t count for anything unless you translate it into action, “body knowledge.” It’s not enough to think, “Hey, I’m not just a storekeeper, I’m really a warrior after all.” To defeat the thief you have to fight, and you can because:

 All behavior is nothing more than an act, a performance.  Acting is easy. Everyone can act. We are all performers.  As soon as a public speaker realizes that she is not a lecturer but an actor, her presentations get good. To BE confident, ACT confidently.

Find a model, someone who does well what you would like to do. Watch how she does it, then do it the same way yourself. Or borrow from a number of models.

Option Two: Operating Without a Self-Concept

The sword master advised the teaman, “Tomorrow draw your sword and hold it high over your head. Don’t think that you’re a teaman or you’re a swordsman. Just listen. When you hear him shout, strike him down.”

In sales training sessions I gave I often used a simple role-playing exercise that’s designed to demonstrate the teaman alternative. The teaman alternative is not replacing your old, limiting self-concept with a new and improved one. It’s not thinking you’re a cowardly storekeeper or a poor teaman, but it’s not thinking you’re a warrior either. It’s not holding any self-concept in mind, but just taking action, doing something.

After everyone in the training group had played the part of a sales person making a presentation to a potential customer, I asked them to list the things that they did well during the role-play and the things they would like to improve upon. Then we discussed the “like-to-improve-upons.” Sam said he was no good at thinking on his feet. He went blank. A real salesman, Sam said, is able to handle himself smoothly.

Gerri said her problem was talking too fast. Her words came shooting out so fast she often said the wrong thing. She got flustered. She blew sales.

One by one, they all had to tell me about their “improve-upons.” Midway through every description of a problem I stopped the speaker and said something like “I’m not sure I understand what you mean. I’ll tell you what: show me how you would like to be able to do it.” Then I just sat back and watched the amazing thing that almost always happened. Virtually every time, they were all able to do what they said they had trouble doing or could not do at all. Now they were acting.

Sam, for example, actually did think on his feet, and responded smoothly and quickly to the prospect’s objections. Gerri actually became a more composed, together, non-flustered and relaxed saleswoman. Shy people who wished to act more boldly and self- confidently actually did. Those who wished to improve their body language did so. And tough, defensive people who “always” argued and who wanted to be more friendly and warm succeed in acting that way.

I had prompted each of the role-players to act directly without letting their self-concept affect their performance at all. They were doing before their self-concepts had time to inform them, “You just got through saying you couldn’t do that, so it doesn’t make any sense for this guy to ask you to.”

What the role-players learned is precisely what the sword master taught the teaman: You can do what even you believed you couldn’t if you forget about your self-concept totally.

Seeing how easy and effortless it was to forget about a previous self-concept and just act, just be, just perform was exciting for everyone. It was an unforgettable life learning experience.

Man painting a pictureDo whatever you’re doing  creatively without any thought about your “I ams,” “I can’ts” and “I’m nots,” or any concern about “what bad thing will happen if I fail” or “what great thing will happen if I succeed.” You’ll be unhappy whenever your internal opinion of yourself makes you concerned with yourself instead of the creative action at hand.

The creative action at hand–the story or the painting to be crafted, the role to be played, the dance to be danced–they are all that matters, they are the main thing.  Forget about everything else. Watch what happens. Watch your creative life change.

 

Parts of this post appeared in different form in my book Fighting to Win: Samurai Techniques For Your Work And Life

 

© 2017 David J. Rogers

For my interview from the international teleconference with Ben Dean about Fighting to Win, click on the following link:

http://www.mentorcoach.com/positive-psychology-coaching/interviews/interview-david-j-rogers/

 

Order Fighting to Win: Samurai Techniques for Your Work and Life eBook by David J. Rogers

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The Warrior Creator

My thirty-seven year old son Eli, a school principal and YA author, and a wonderful man, has been a strong supporter of my work since he was a little boy and went with me to store after store while I autographed books. It’s he who suggested I write a blog. That’s when I said, “A what?” So three years ago that’s what, with my wife Diana’s technical help, I started to do.  I hope my blog friends are reading this post and will benefit from it. A few years ago Eli called me and said, “Dad, in an internet reader’s poll Fighting To Win has been maned the best motivational book ever written.” I said, “Well, how do you like that?”  Any creator knows what a joy it is to have his/her work praised. (That’s one reason we work so hard isn’t it?)

Hand with penAnd any author knows that if he writes a book that catches on, he’ll never get rid of it. He will become identified with it the rest of his life.  So here I am, the author of Fighting to Win: Samurai Techniques for Your Work and Life. I’m happy to say that that prescriptive how-to-do-it self-improvement book is a classic that since it first came out thirty years ago has been widely used by people of all kinds here and in Europe and Asia as a guide to actualizing their wonderful talents that otherwise may have lain dormant and unused. It started as a book popular with people in the work world, particularly business people, but then quickly spread to people in the arts.

Over the years I’ve received thank-yous from accountants and sales people, and painters, writers, opera singers, composers, movie directors, actors, musicians, and so on–people who’ve come to realize that whatever their walk of life might be, the psychology of the warrior fits them to a T because they are thinly disguised warriors too.  It’s a tribute to Fighting to Win that it Is still available as an eBook, is still being read, and is still changing lives.

I turned to the study of the samurai way of life as a result of hard times taking a terrible toll on me. I experienced far too many disappointments and was cheated in business by people I had trusted. I was looking for something that would Samurai swordsman in silhouettesalvage me from the kind of misery I was experiencing and in the samurai Way found strength as well as insights, strategies, and techniques I could use to pull myself out of the awful lethargy I had settled into. By way of the book, magazine articles, TV and radio, the internet, and speeches, I’ve been fortunate to meet many wonderful people. They have told me that they too have found solace from setbacks and gained the psychological and spiritual wherewithal to excel in their careers through samurai wisdom and what I call “the inner skills of creative people.”

The samurai of Japan were the greatest warriors who ever walked the earth. Trained to perform phenomenal feats of courage and fearlessness, they were stern, quiet, utterly serious people who devoted their lives to developing their skills, spirits, and minds to the highest possible level.

Just as all creative people face internal obstacles that interfere with their lives, so did the samurai. The bulk of his or her training (there were women samurai) was devoted to overcoming those inner obstacles that are no different than the obstacles you and I and creators of all descriptions face—anxiety, procrastination, self-doubt, hesitation, fear of taking risks, nervousness, discouragement, crippling over-analysis, depression, apprehension, impatience, anger, and more.

Japanese Character for Warrior

Japanese Character for Warrior

Creators and warriors both begin as ordinary people with the potential to be exceptional and memorable, to apply themselves and acquire impressive skills not everyone possesses, and to develop talents and excel at their chosen life path–their “Way.” Each Way is different: the Way of the painter is similar to yet totally different from the Way of the actor, which is like but different from the Way of the writer or the ballet dancer, etc. At a certain point in their training and development, they cease being ordinary anymore, but have become extraordinary. They have wholly recreated themselves.

To function superbly in their chosen role–the painter to paint, the writer to write, the performer to perform, the samurai to fight–of necessity all must be brave,  be bold, take chances, and resist discouragement, fear, hesitations, and self-doubt. Ideal warrior creators have the courage of a lion, the boldness of a gambler, and yet the sensitivity of a butterfly. Critics and nay-sayers are not capable of intimidating them–nothing does. Think how liberating it is to be incapable of being bullied by agents, by publishers, by directors. They are not flustered. Now you are thinking how glorious that would be. When they are facing critical moments, their goal is to be as relaxed as a person sitting down for breakfast, and that’s possible.

I’m sure you know many creators who encounter the fear of performing their craft–that’s one of their fears. When I Empty canvas on easelvisited a successful painter friend of mine I saw the same unfinished painting on the easel. Nothing about it changed month after month. Not a single new brush stroke touched the canvas. Then she moved away and I didn’t see her for a number of years.  When we got together again I asked first thing since that was what I was the most curious about: “Whatever happened to that green pastel that was on your easel for so long?”

She said, “I never finished it.”

I said, “You were afraid.”

She said, “I was terrified of it.”

I know a singer who has had a successful professional career, but suddenly and inexplicably after five years developed a fear of performing and for two years retired because of it. She read the book, applied what she read, resumed her career, and was more successful than ever. Her ordeal of not being able to perform matured her.

Fear–there are a thousand of them–is the creator’s most formidable foe. You know that: fear of not being good enough or creative enough or smart enough or talented enough, of being rejected by an audience, of never reaching the success you dreamed of since childhood.

Some creators are afraid even to enter their work room in the morning. The creator’s fear tightens him/her up. Confidence disappears and self-punishing self-doubt takes its place. Their thoughts don’t flow as they did when they Archer about to shoot an arrowwere confident.  To create becomes difficult if not impossible. But once creators learn to defeat fear, their minds and spirits are immediately rejuvenated, and creativity flows out of them in torrents: the novel takes shape; the just-right color is added to the canvas. What can possibly stop them now?

Warrior creators must always be ready to overcome almost unbearable personal impediments that might stop other people and to overcome scores of obstacles of all sorts standing between them and their highest ambitions.  Every year thousands of painters and thousands of writers and other creators give up and quit–just quit–and thousands more are getting ready to quit right now, possibly you. Hopefully they’ll eventually learn that adversity can’t be avoided and in fact is essential to a creator’s development.  If only they had persevered a little longer. Persistence is a creator’s good and faithful friend.

When you are a warrior creator your spirit must be strong and poised, in the words of the samurai strong enough to bring down “a wall or iron.” If you are knocked down you must not lie in bed and moan and whine, but must jump up. Knocked down seven times by circumstance you must jump up eight. You must take care that your spirit is never broken, whatever happens.

Your “depths” should never be penetrated. Inside the warrior creator is a tiny core of strength that nothing can touch. You must control your breathing so that energy is released like steam from an engine because the work creators apply themselves to is unbelievably difficult. Tremendous vitality spread over a whole lifetime and put into every poem, every sculpture, and every actor’s role is needed if one wishes to create.

Like samurai, warrior creators strive to remove all psychological blocks, and learn specific techniques for doing that, and having done that to be able to function freely without conscious effort, the way do when you are your most creative. When you are at your best and well trained everything is automatic, the fluid movement of a master swordsman, the ease of the gestures of a violinist, the sure brushstroke of an experienced painter, the rhythmic typing of a writer in the zone.

The work seems to do itself, and everything is easy. The release of the arrow is the most difficult problem the archer Dew falling from a leaffaces. Like the inspiration of the artist, the release “should be done without thought, like a drop of dew falling from a leaf or a fruit falling when it’s ripe.” One’s every creative act should be like the release of an arrow.  I’ve seen people like that and so have you.

All that warrior creators need is within, in their minds. Your mind holds all the secrets.  The meaning of all things is within, not something that exists “out there.” Warrior creators “grow from within.” You should leave your mind alone and not complicate it with fruitless anxieties and jealousies so many creators experience. Only then can the mind function uninhibited, in the state of highest creativity.

The mind of the warrior creator must never get “caught” or “snagged” (toroware), or “stopped” (tomaru) on internal obstacles like a fish on a line but should always be flowing smoothly from thought to thought to thought like an unimpeded river. When warrior creators are at their best, their hearts are undisturbed and at total peace, their bodies and minds operating without conscious direction. To the master in any field, to execute their art is no more difficult than to breathe or utter their name.

When most productive warrior creators are confident and self-possessed, they are certain that sooner or later they will succeed. There can be no doubt about that. They are disciplined.  Their egos are under control. They look squarely at reality and never flinch from it. If up ahead is something unpleasant, well, up ahead is something unpleasant, so let’s get to it right away and get it over with.

Warrior creators are always trying to improve themselves. Tomorrow they should be smarter, stronger, more knowledgeable, and better skilled than they are today. They do things mindfully, deliberately, and are fully committed. Whatever they do they have every intention of completing. They are “immovable” and don’t budge from their important goals.

Warrior creators are designed to move. They know that when things are done leisurely, seven out of ten turn out poorly. Poster saying "Action is your natural inclination, a fulfilling life your true destiny"The Way of the warrior creator is action, action, and more action–getting things done, not procrastinating, not delaying, not stalling, but finishing what you start without delay and going on to the next thing.  The main goal of all creators is production–to produce works, an actor to play many roles, the writer to write many stories, the lithographer to work with many plates. No creator is more able to produce voluminous works than men and women of action.

The warrior creator knows that when you encounter calamities, it isn’t enough to say you’re not upset, but it is best to “dash forward bravely and joyfully” to meet the difficult situation.  What you fear the most you must get to first. Warrior creators accept whatever they are doing and flow with whatever may happen. They are taught to expect nothing but to be mentally and physically prepared for anything.

They focus: the concentration of the artist is astounding to the non-creator. Their lives are focused too, to enable them to do their work without interference. Among their affairs are many responsibilities, but no more than two or three “matters of greatest concern.” The most important time in the warrior creator’s life is the present moment: “There is only one purpose of the present moment, but a person’s whole life is just a succession of present moments.”

For the warrior creator every moment brings with it a CHOICE POINT at which one’s whole life can change: “From this point on, after this present moment ends, shall I be strong or shall I be weak, shall I commit myself to my craft or continue playing at being a painter, shall I buckle down and see what I can become at last?” These are crucial questions.

The warrior creator is to think what a frail thing life is and is reminded that every day of his/her life may be the last. Poster saying "The delicate cherry blossom doesn't last long in the wind that blows it from the tree."There is no fear of death. So warrior creators dedicate their lives to the fulfillment of their obligations to others and to themselves. They have an obligation to their art, their craft, and to live with the energy and flexibility that go into a creator’s every work: “Never let the thought of a along life seize upon you, for then you are apt to indulge in all kinds of wasteful dissipation.”

The warrior creator turns back again and again to the creative work to be done in this much too brief life, this single blessed moment that is occurring right now.

 

© 2017 David J. Rogers

For my interview from the international teleconference with Ben Dean about Fighting to Win, click on the following link:

http://www.mentorcoach.com/positive-psychology-coaching/interviews/interview-david-j-rogers/

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Total Concentration: The Heart and Soul of Creative Work: Part Two

A heart surgeon was performing a delicate operation when large chunks of the ceiling came crashing down all around him. People in the operating room screamed, the noise was deafening. But the surgeon was so concentrated on

the surgery that he didn’t notice.  When your creator’s mind is as deeply on the act of creation as it should be when you are painting, writing, dancing, acting, like that surgeon you will be aware of nothing else. You will look up and see that your friend has been talking to you and you didn’t notice or that rain is coming in the window that has blown open while you worked. You won’t hear blaring music from the apartment next door.

Creative people often notice that if their ability to concentrate while they are working is poor, their work is also poor, but that if their concentration is good, their work is also good–cause and effect–that concentration is essential to their doing their best work.

An actor’s concentration must be total and never not total from curtain up to curtain down. The more total her concentration, the more engrossed in her performance the audience will be.  Also, the more concentrated a writer is while writing, the clearer the writing should be. And isn’t clarity the secret of supreme writing that not every writer has learned, but the best writers have? It’s obvious that to produce clear work you must be thinking clearly.

Part One of this two-part post began…

 … Concentration is the heart and soul of creative work. How to develop and sustain it is a concern of actors, painters, dancers, pianists, composers, writers, and all other creators. Unless you bring to bear all the mental and physical alertness and clear-mindedness that you have the potential for you will not be enjoying the best conditions for your creative work.

 … Creators who can concentrate their mind like brilliant beacons of light at will can focus anywhere and can work under any conditions, and whenever they wish.

 … Concentration is an ability most people have not developed. Their minds run wild.

 Creators must concentrate on what they are doing in the moment, in the “now.” Then they must be able, when that “now” is finished, to move onto the next “now.” They work very hard. They should strive to develop the ability to be as little affected by distractions as possible, to brush them off and to quickly resume their performance after an interruption. Some creators avoid distractions almost completely by eliminating TV, clocks, telephone calls, Face Book, Emails, and unnecessary conversations.

Select a place where you concentrate best—for most creators that’s the same place every day. Get started (the best way to get started is to get started), keep distractions and diversions to a minimum and don’t stop for any reason until the day’s goal is reached, except for brief rest periods. Look at the prescriptions for increasing concentration in Part One of this two-part post.

Persist working and growing in the face of obstacles and inevitable setbacks. Overcoming psychological obstacles such as discouragement, self-doubt, lack of confidence, and the ubiquitous creator’s fear of who knows what is another skill creators must master. You can still do great work if you don’t let the obstacle stop you from concentrating. You must also learn to pace yourself and maintain your energy and stamina over days, weeks, months, and years.

Konstantin Stanislavski was the most significant and most often quoted figure in the history of actor training. He was a pioneer attempting to define the actor’s mental, physical, intellectual, and emotional processes in a way that was comprehensive and had never been attempted before. He said, “The first step of creative art is concentration of attention…Through my system we try to achieve a state of concentrated attention.”

He said that concentration cannot be defined in a few words. But that “the thought must be fixed entirely and absolutely on one object or idea and only it, without breaking the circle of creative attention for anything else…You need all the power of your attention to dwell on each separate aspect of your task.”

How are you to know that your mind has become concentrated? What is the test? It is when the awareness of time has vanished. The more time passes unnoticed the more concentrated you are.

When I was so ill and in such pain I looked for relief. I observed that since the human mind can be on only one thing at a time, if I absorbed myself deeply in some thought or activity my mind could not be aware of my misery. Prize fighters, hockey players, football players, bullfighters, soldiers in combat, and others engaged in activities requiring intense concentration may be seriously injured but yet experience no pain whatsoever. I took seriously the Buddhist aphorism “Without mind there cannot be pain.”  When my mind was deeply engaged in working on my Growing Up Stories when I was ill the sensations of pain, so horrible usually, thankfully, didn’t trouble me.

It’s easy to be absorbed in the creative problem if it’s interesting–that’s not hard at all. But what if it’s not interesting? What if it’s boring? You know as well as I that creative work and the slow snail’s pace process of developing your skills to a level you’re satisfied with are often drudgery. Drudgery or not you still have problems to solve before you can go on with your creative performance. What can you do? When something is not interesting the first thing you do is what you shouldn’t do: you give it less attention. But give more of your attention to something and it will become more interesting.

The famous biologist Louis Agassiz was known for turning out students with highly developed powers of observation. Many of them went on to become eminent in the field. A new student appeared and asked Agassiz to teach him. Agassiz took a fish from the jar of preservative and said, “Observe this fish carefully and when I return be ready to report to me what you noticed.”

Left alone, the student sat down to look at the fish. It was a fish just like any other. The student finished looking and sat waiting, but no teacher. Hours passed and the student grew restless. He asked himself why he had hooked up with an old man who was obviously behind the times.

With nothing else to do, the student counted the scales, then the spines of the fins, then drew a picture of the fish. In doing so, he noticed the fish had no eyelids. He continued drawing and noticing other facts that had escaped him. And he learned that a fish is interesting if you really see it. (From Fighting to Win: Samurai Techniques for Your Work and Life)

You may turn to something else and return to your work later when you’re more focused. At times concentration can be so intense that it actually interferes with work and is exhausting, and so then it’s better to decrease attention.

Some people find that working when they’re tired and their mind is less sensitive to distractions is best for them. Then their work speeds up.

Your job to figure out how to focus on your work for a desired period of time. You have to learn to abandon what isn’t working and put aside problems that aren’t worth bothering with because they will lead to dead-ends.

Condition your mind. Practice concentrating on one thing at a time until you can concentrate at will. Focus on concentrating on things, on people, on ideas, on the text you’re reading. Look at your thumb. Turn it, study it and see it. Stare at your face in the mirror for ten minutes. See the blemishes; see the beauty you’d never noticed.

Fix your mind completely on one thing at a time and give it all your full attention–that one thought that it’s most important  to express in that one sentence,  that one right word that will capture exactly what the poem means, that one brushstroke, that one most-important emotion you, the actor, will communicate to the audience in Act Two. Practice keeping yourself in that state of alertness as long as you’re working.

The great Vivekananda said, “There is no limit to the powers of the human mind. The more concentrated it is, the more power is brought to bear on one point; that is the secret… In making money, or in worshiping God, or in doing anything, the stronger the power of concentration, the better will that thing be done.”

 

© 2017 David J. Rogers

For my interview from the international teleconference with Ben Dean about Fighting to Win, click on the following link:

http://www.mentorcoach.com/positive-psychology-coaching/interviews/interview-david-j-rogers/

 

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Achieving Mastery in Creative Work

david-youngWhen I was a little boy about eight or nine, I was playing in front of the TV in our Chicago apartment when an old black and white English movie came on.  I knew nothing about acting, though I had once played a tree in a skit. But there was one actor on the screen who I could see was remarkable. He was just different, unlike any of the other actors, though I couldn’t say how. But I could see that something special right there on the screen.

What he was doing, how he was acting, the impression he was making made me feel a sensation which I now know was awe. I realized I was watching an extraordinary accomplishment I had never seen in movies before, in my life before. I pointed at the man and said, “Who is that, Mom?” She was a movie buff, so she knew. She said, “That’s Laurence Olivier. He’s the greatest actor in the world.” Even so young I had recognized supreme mastery, the highest attainment of any art.

As I grew older I began to notice examples of supreme mastery all around me: athletes, singers (In my family were many fine singers), pianists, violinists, and auto mechanics. And then, when I went into business and became a management consultant, executives, workers in offices, factories, and plants. And then when I became a professional speaker, spell-binding orators with supreme mastery who could inform you and teach you and move you in a way other speakers didn’t dare dream of.

About the people who perform best, whether actors, dancers,  accountants, ballerina-534356_640_copy2physicians, executives, sales people, mothers and fathers, chefs, carpenters, athletes, novelists, poets, and playwrights, etc., there’s  an ease, an effortlessness. They stand out. You notice them. You don’t forget them. They just do what they do so well and naturally, so charismatically, beautifully, confidently, and with what seems so little effort, that if you stand back and watch them, you have to marvel. You have no choice but to think, “What I am now watching is almost unreal. It is almost super-human.” They do it better and have more ability than just about anyone else you’ve ever seen—better than other actors, painters, or writers, etc.

It’s called yugen in Japanese. Yugen is the “highest principle” in Japanese art—in any country’s art, I think—and the most difficult term in Japanese flower-653710_640aesthetics to define. It’s the creation of grace and beauty–the mark of great ability of men and women who have reached highest attainment in their art, their craft, their occupation. There is “Grace of music,” “Grace of performance,” and “Grace of the dance.” There is the grace of any of the arts.

 Yugen is “the something behind the gesture” of a great craftsman.  It’s described poetically as the emotion you feel watching a bird slowly crossing the moon at night, or the ease with which a flower grows, or one of my favorite sensations which you might have experienced, that of wandering on and on in a deep forest with no fear and no worry and no thought of turning back.

No element of the yugen performance is wasted or done without purpose, and it’s something to behold. You can think right now of people you’ve seen, of people you might know, possibly you yourself, and be able to say something like, “If ever a person possessed yugen mastery it was Ms. Cartwright, my fourth grade teacher,” or Jessica Lange in Nobel Prize winner Eugene O’Neill’s Long Day’s Journey Into Night, or yourself, thinking, “When I directed that play,” “When I wrote that novel”   “When I danced Swan Lake,” “I had it.”

Everyone is—you are, I am, my wife is, my children and grandchildren are—potentially a yugen person. Aren’t we all more extraordinary than we realize?

If you ask yugen people, they won’t be able to explain exactly what it is they do that makes them different from others in their field because after long periods of practice and development they now do it intuitively, and what is done intuitively cannot completely be communicated to another person rationally. Oh, they have an idea, but can’t quite put their finger on what makes them able to leap up consistently in performance.

theatre-96714_640Olivier once finished a stage performance which he knew was perfect. Everyone in the company knew it was perfect and when he came off stage they asked, “Larry, how did you do that?”  He replied, “I wish I knew so I could do it again.”

If you have that special touch in the work you do, you would be hard put to tell someone who comes to you to be trained exactly what you put into your performance. You say, “I do the best I can.”  You’re not being modest. Just honest.

What’s known for sure is that mastery doesn’t happen overnight but is the result of long practice and absorption in the craft. Every person who reaches high achievement in a field will have spent much of his time trying to get better, and better still, and will have reached highest ability via a long process of learning and application while pushing himself upward to competence, then to expertise, then excellence, then greatness.

When you’re coming into your own artistically you are discovering in all its detail your most creative self of all the selves you might have been. Sometimes a person who one day will become a writer, artist, actor, or dancer doesn’t know himself what he might do. But he feels instinctively that he’s good for something and has some reason for existing. He has a hunch that there is something important in him that’s worth pursuing further. He finds that something in art. He makes himself into a writer, for example–an expert in expressing himself via written language.

Coming into your own, you are developing your skills and yourself to their peak. You are increasing the depth and breadth of your knowledge of your chosen field.  You are developing deep-felt, deeply-woven identity that everyone recognizes as the real you. You are on a creator’s Life Path.  Just imagine the fulfillments the Path will lead you to.

Mastery is revealed in everything the person does, down to the smallest detail. Dancer and choreographer Twyla Tharp said she could decide if a dancer was right for her company even by the way he came through the door of the studio and put down his bag. The opening scenes of a really skillfully-written play or the first leap of the dancer tell you right away if this artist has yugen.  If so, settle back, you’re in store for something marvelous.

 

© 2017 David J. Rogers

For my interview from the international teleconference with Ben Dean about Fighting to Win, click on the following link:

www.mentorcoach.com/rogershttp://www.mentorcoach.com/positive-psychology-coaching/interviews/interview-david-j-rogers/

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Samurai Concepts for Creatives Part 2

In the last post, subtitled, “A New Language for Creative People,” I applied Samurai terms to the lives of creatives to show that those terms have relevance to writers, artists, composers, architects, and actors today, a thousand years samurai-statueafter “the tramp of warriors sounded like a thousand convulsions of the earth,” and “the shouts of warriors, the whistling of arrows, the thunder of the feet of foot soldiers and the hooves of chargers did not cease.”

Do: The Concept of a “Way”

The Japanese “do” (pronounced “dough”), means “way,” short for “way of life” or “life path.” That a discipline is a Way is indicated by the do suffix at the end of a word. Thus kendo (ken, sword; do, way) means “sword Way,” or Way of the sword. Bu (warrior) do (Way), refers to the attitudes, behavior and life-style of the Samurai warrior.

In kyudo, the Way of the bow, no quiver is worn and the archer fires just one arrow. From this the archer is to learn daido, a “principle that operates in all things.” The archer is to come to value his life more fully, for each arrow is like the japanese-flowers-ikebanatotality of his life. You have but one life; thus you shoot but one arrow. The Samurai was taught, “The Way is your daily life.”

A serious writer’s or artist’s life is a “Way,” for example, the Way of the Writer,” “the Way of Writing,” and “the Way of the painter or sculptor”– just as in Japan there is the Way of floral arrangement, the “Way of flowers,” and “The Way of tea.” It’s axiomatic that what applies to one teapot-37046_640Way has application to all the other Ways. For example, a basis of the Way of the Warrior is showing courage in the face of adversity. And a writer or actor and painter too faces adversity and will benefit from having a warrior’s courage.

When creating is a Way you say to yourself, “I am full of unrealized potentials and special gifts that need to be developed, and am what I make of myself. I take full responsibility on myself and am choosing a creative’s life of my own free will.  I have felt that creative calling for a long time.  So many years and days allotted to me have passed and I believe I haven’t gotten far enough. I’m clear now and I have stores of energy in me that will make possible extraordinary achievements. My life now will be an existence that I’m designing to my own specifications. I have the conviction that the life I now envision is the life I was always meant to have.”

On the creative’s Way you’re committed to:

  • Finding a best outlet for your talents
  • Perfecting your aptitudes and skills
  • Discovering and expressing yourself
  • Creating beauty
  • Expressing truth
  • Communicating with a public
  • Learning a discipline, becoming part of a tradition
  • Prevailing over difficulty
  • Developing and improving
  • Being paid and/ or compensated in other ways such as through recognition and acclaim
  • Finding pleasure in creating and the creatives’ life

Skills can be taught, but a Way can’t. There’s no searching for a Way. It comes to you on its own when you’re ready. And when it does come, you know.  As a boy-paintingchild, you begin writing or drawing no differently than anyone else, but at some point—it could be at the age of five or a hundred and five–you begin creating more purposefully than other people. Then almost without being aware of how it happened, out of the processes of creating,  gaining knowledge of your craft, and the craft’s world, and growing in skill, you are “taken” by it fully and completely and find yourself on the Way of the painter, writer, or actor, etc.

The logical end of the creative’s Way is to become a Real Writer, or Real Painter, or Real dancer, and so forth—to become known by your family, friends, teachers, and audience, and to define yourself as “someone who is serious about creating.”

Let your work become a Way.

Mokuteki Hon’I: “Focus on Your Purpose’’

When as a person doing creative things you discover what you must accomplish with your talents and that becomes a major goal there comes something new and extraordinary into your existence. You’re electric with that rarest of qualities—intensity. Doing the work as well as you’re able becomes a Purpose.

The Samurai was taught, Mokuteki hon’I, “Focus on your purpose.” With a purpose your every act takes on power. Obstacles, once so intimidating, fall away because your purpose is more powerful than the obstacles. You feel a zest, a tingle. Your imagination is on fire. It is strength to be of one mind, complete and undivided, fully committed to a life with purposes.

When you make a purpose out of what a moment before was merely a responsibility, or a chore, or a duty by thinking, “This, what I am doing now, is a-focused-mindmy purpose,” extraordinary achievements become possible. Impediments become light as feathers.

Begin every project and every day, every time you return to work after a break, with your purpose in mind. Say the words, “Focus on your purpose.” I can’t tell you how many times in my life I’ve said “Focus on your purpose” aloud to myself and been inspired by those words. Thousands.

Kufu: “Struggling, Wrestling, and Grappling with Something

Until a Good Solution Is Found”

I was interviewing people for a job that required the ability to write reports. While he wanted the job, Jack confided that he had a problem—writer’s block. Anyone who will apply for a writer’s job and be so honest as to tell the person doing the hiring that he has problems writing is my kind of guy. He told me more. “When I sit down to work, all that I want to say seems clear to me. But when I actually start I have a tough time. The ideas and words don’t come. I try, but after about an hour I give up. What do you think I should do?”

“Don’t quit after an hour,” I said.

The point I was making was a simple Samurai one. I was telling Jack to kufu his way out. Some problems are one-hour problems, others are two or five hour or longer problems.

Kufu. It’s a wonderful concept that applies equally to the small everyday tasks and problems in a creative’s life and to the big ones too. It means giving yourself completely to discovering the solution or to finding the way out of your difficulties and to your creative goal.

It means to struggle, to grapple, to wrestle until you find the solution. It is holding nothing back in reserve. It is closing ground on the problem and never retreating or hanging back. When you take the kufu, grapple-your-way-out approach, you know that somewhere ahead of you lies a breakthrough point, a moment when you will get the better of the creative problem or the task. It is there awaiting you. All you have to do is remain concentrated and focused on the goal.

“Who knows,” I told Jack, “but your breakthrough point could come at sixty-one minutes or seventy-five or may take days. If you give up after an hour, hand-299675_6401you’ll never reach it. Kufu your way out of this writer’s block.”

Months later Jack came to tell me that he had gone back to his writing to try the kufu approach of staying with it, trying it again and again, no matter how long it took. Suddenly, he said, writing had become not totally effortless, but noticeably less difficult.

No one is spared resistances to the creative breakthrough experience. Jack continued to encounter concentration problems from time to time, but he had learned what many people never learn: the kufu spirit of staying with it until the problem is solved.

Makoto: “Sincerity”

Makoto is the Samurai precept of precepts and a concept of action that the Japanese of today value above all others. It is usually translated into English as “sincerity.” But it does not mean sincerity in the sense of “I’m sincerely pleased with our conversation.”

Makoto means putting absolutely everything you have, everything you are into an act—all of your heart, and all your spirit, mind, and all of your physical strength.  To hold anything back in reserve or to hesitate in any way whatsoever is for the creator to act . . . insincerely.

Creative people are tremendously productive individuals who at their best practice makoto every day, putting all their talents, skills, and training into their work, holding nothing in reserve.

The Samurai terminology I’ve described in the last two posts express ideas that have been useful to creative people everywhere in the world as they all aimed so steadily at perfecting their skills and so devotedly pursued their Way.

japanese-garden

 

© 2016 David J. Rogers

For my interview from the international teleconference with Ben Dean about Fighting to Win, click on the following link:

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Samurai Concepts For Creators

A New Language For Creative People

A newspaper reviewer of my book Fighting To Win: Samurai Techniques For Your Work and Life thought that a unique feature of the book is that it exposes the reader to an exciting new vocabulary–Asian terms for self-improvement for which there are no Western equivalents. The book begins with an example of what the book is about: the application of the psychological and spiritual insights of the samurai, the most remarkable warriors ever to walk the earth, to the everyday lives of ordinary working people—the most magnificent people of all.

samurai-161642_640It says: “The tramp of warriors sounded like a thousand convulsions of the earth. The shouts of warriors, the whistling of arrows, the thunder of the feet of foot soldiers and the hooves of chargers did not cease,” and tells the story of a sales woman who uses insights from the samurai Way to overcome her fear of an intimidating prospect and makes a sale.

I think it will be worthwhile to apply a select few of these terms to the lives of creative people–the Way of the artist, the Way of the writer, the Way of the composer, the architect, the performer–since so many creative people read my blog and the concepts will be so beneficial to them. As you read, think of the many applications there are to your creator’s life as so many people have.

Musha Shugyo: Samurai Training. Samurai were trained to fight in the service of a lord—with supreme self-confidence, courage, bravery, and superb samurai-67662_640skill with weapons.  Four things were especially important to samurai:

Duty—we must make good what we owe.

Self-Control—body, mind, spirit, emotions under control.

Commitment to Immediate Action—“The Way of the samurai is immediacy”—no delays.

Constant Self-Improvement—no resting on your laurels; always striving to do better; to develop your skills to the highest level you’re capable of. What creator is not trying to improve?

Ryuu: Dragons. For samurai warriors of feudal Japan all obstacles in a person’s mind, heart, and spirit were “dragons.”  A creator’s dragons are no longer of the fire-breathing variety that scared him or her as a child. They’re dragon-149393_150now a different species entirely, and to become all the creator you wish to become you will have to break completely free of them. When a samurai overcame a dragon he was “striking through the dragon’s mask.”

I arrived early at a conference room where I was to speak. Two men and a woman who’d come to hear me were early too and were at a table with their copies of Fighting To Win open. They seemed to be working hard and I asked “What are you working on?” The woman said, “We’re discussing our dragons.”  The main dragons the samurai faced and creative people face too are:

Fear: Creative women and men experience fear most every day. The samurai set out to master fear, to learn to be no more ruffled whatever he was facing—however terrible–than “someone sitting down for breakfast.”

Being Afraid to Take Risks: The desire for certainty, the sure thing, often makes us cowards. There’s no room for sure things in a creator’s world. Samurai were taught that the greatest rewards lie one inch from the foe’s blade—edge in close, take a chance. Why aren’t we more confident and bolder?

Thinking Too Much: To be creatively free creators have to learn to think much less about what might go wrong.

Doubting Yourself: The creator’s most powerful dragon is dwelling again and again and again on his shortcomings, on what he lacks.

Hesitating: Wanting to do something but stopping.

Cowardice: The Chinese language permeates the Japanese language. The Chinese character for “cowardice” is composed of two symbols, “meaning” and “mind.” Creators are often finding too much meaning in things—he or she thinks too much—often worrying and fretting and dissipating their creative energy, that fuel creators need so much of. If you believe you’re thinking too much and that it’s driving you away from instead of to your work, this could be a dragon you’ll want to get rid of.

Try to make it a point to remember the term tomaranu kokoro. No small thing in samurai fighting, it has been called “the secret essence” of the samurai martial-arts-291051_640Way. More important, it’s relevant to the Way of the Creator.  It means “a mind that knows no stopping.” If you have ever seen a master swordsman in action, you’ve witnessed tomaranu kokoro. Without once stopping he attacks, feints, cuts, slashes, turns, leaps, spins, and thrusts in a whirlwind of action.

The reason he is able to move so smoothly, effortlessly and quickly, his sword a blur, is that he is doing the same thing in his head. His body moves without stopping because his mind is tomaranu kokoro. His mind doesn’t stop to worry, to ask “what if”—“What if I lose?” “What if I die?”—or the creative person’s “What if I’m not good enough?” It doesn’t stop for anything. It keeps moving and facilitates the movement of his body.  You can see that tomaranu kokoro is an ideal state of mind for the creator–an uninhibited, free, fluent, effortless yet focused mind and body.

Toraware—its opposite–means “caught,” and tomaru means “stopping” or “abiding.” You might want to remember them too, because they help explain why so many exceptionally talented creators are not as successful as they have the potential to be. It’s when your thoughts get caught (toraware) or stopped (tomaru) that you have trouble executing a creative action. It’s when your mind doesn’t flow from one idea to another but gets hooked or snagged on self-doubt or worry or anger, etc.  that you are prevented from fully functioning  creatively. Recall the last time you had problems with a painting, sculptor, story, composition, or performance and you were upset or troubled. It was because your thoughts got caught or stopped; they didn’t flow.  You were all tied up—your mind, your body.

Whenever you find your thoughts getting caught or stopped, tell yourself to remember toraware, “caught,” and tomaru, “stopping.” More important, tell yourself to get back to tomaranu kokoro, the mind that knows no stopping, and return with confidence to your work. Let your mind be free to function according to its own natural free-flowing nature.

Fudoshin: The Skill of Making the Body Obey the Mind and Immovable Mind

Have you ever run in a marathon, felt pain, thought of stopping but refused to?  If so, you’ve tasted fudoshin, immovable mind. No matter what you were athletics-229808_6401going through your mind wouldn’t budge from the goal of finishing. The samurai spoke of iwoa no mi, “rock body” and wanted his commitments to be as immovable as a mountain. Why not yours?

The skill of making the body obey the mind is this: going into action—getting your work done, being creative, thriving, reaching success in spite of your dragons.  Not letting any dragon stop you. You needn’t go off to the top of a mountain to overcome a dragon.  You can say, “OK fear, come along if you want. “ Self-doubt, hesitation, thinking too much—you can’t stop me.” “Come on, tag along. But you cannot stop me. I’ve got a story to write, an etching to complete, a performance to give, a career to manage.”

Every day in studios, work rooms, and theatres some creators are thinking: “In order to do it (whatever it is) I’ve got to first overcome my problem—my fear (or shyness, lack of self-confidence, bad habits, indecisiveness, etc.). Once I get rid of that baby, I’ll be all right. Then I’ll be able to create my great work.” The real problem isn’t what they think it is. It is not the fear or lack of confidence. It’s their belief that the fear has the power to prevent them from doing what they should be doing.

If the creator forgets about himself and his dragons completely and focuses only on adapting to what his creative life path requires of him, no dragon will ever stop him. The dragon has no right to stop you. But your mind must be immovable. Keep your mind focused on the task. Put negative emotions out of the equation.

*******

In my next post, Part II of this topic, I’ll discuss more samurai concepts creative people can apply to improve their work and lives.

© 2016 David J. Rogers

For my interview from the international teleconference with Ben Dean about Fighting to Win, click on the following link:

www.mentorcoach.com/rogershttp://www.mentorcoach.com/positive-psychology-coaching/interviews/interview-david-j-rogers/

Order Fighting to Win: Samurai Techniques for Your Work and Life eBook by David J. Rogers

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Living with Commitment and Power

When I was writing Fighting to Win: Samurai Techniques for Your work and Life and getting ready to send the manuscript off to Doubleday, the publisher, a good friend with my best interests in mind made it a point to come over to my house one afternoon to warn me. He said, “You’re not going to talk about death are you, Dave? It will be too depressing for your readers because your writing is always so optimistic, hopeful, and inspiring, and that’s what readers will be expecting. No one wants to read about death. No one wants to be reminded they’re going to die. I know, I know very well you have this belief that a writer must always tell the truth and owes it to the reader to never not tell the truth, but leave that out of your book. Even your editor won’t like it.”

Fighting to Win shows how the wisdom and philosophy of the samurai, the greatest and most spiritual warriors who samurai-161642_640ever walked the earth, applies to the everyday lives of anyone who can read the book, and will help them—old people, young people, students, movie stars, writers, artists, business people, teachers—anyone–Americans, Frenchmen, Swedes, Russians. And since death was so ever-present in the lives of these samurai men and women whose role was to risk death in battle without flinching or running away, how could I ignore death?

Warriors are taught to act boldly and decisively in the face of inevitable fate. In his “Primer” for samurai, Shigesuke Daidoji says, “The idea most vital and essential to the samurai is that of death, which he ought to have before his mind day and night, night and day, from the dawn of the first day of the year till the last minute of the last day of it . . . Think what a frail thing life is, especially that of a samurai. This being so, you will come to consider every day of your life your last and dedicate it to the fulfillment of your obligations. Never let the thought of a long life seize upon you, for then you are apt to indulge in all kinds of dissipation.”

Hagakure, a famous samurai text, says, ‘Every morning make up your mind to die. Every evening freshen your mind with the thought of death.”

“Freshening” your mind with the thought of death might seem a grim way to spend time; on the contrary, it is anything but. Those who are totally aware of how short their life will be—and who can feel the importance of that fact in the deepest corners of themselves—live a completely different kind and quality of life than the people who drift mindlessly along, never letting the thought sink in that in a relatively short time they will be gone.

All truly living things–creators in particular–have an urge to grow, to continue growing til the end of their lives.

In Japan the samurai is likened to the delicate cherry blossom which doesn’t last long in the wind that blows it from the japanese-cherry-trees-324175_640tree. One moment it is there and the next it’s gone. The same is true of the samurai and you and me. You are a cherry blossom and I am a cherry blossom too.

Every person with vitality and spirit chooses to die hard; to not go gentle into that good night and to fight against the dying of the light. If you’re a person with spirit, you’re no fool. You know death is going to get you, but it’s going to have a battle on its hands. While alive, you’re going to live without wasting your limited time being worried, cowardly, tentative, or putting things off for a tomorrow that might not come.

When you live with the full knowledge that death is always stalking you, you feel a quick surge of powerful energy, a sudden spark that overcomes you. When you live in the samurai style—as if you are already dead—you operate even more vitally. You acquire extraordinary courage, boldness, and decisiveness. You’re not timid any more, not about anything, any task, any impediment. You “go beyond the trifles of the world.” You fear nothing; you are fearless.

You reach a state of seishi o choetsu, “beyond life and death,” where even the knowledge of your death no longer frightens you. All that matters now is making use of the tremendous power you suddenly feel inside to accomplish all you set your mind to and to find your true destiny, a power strong enough, says the samurai “to bring down walls of iron.” And then your every act takes on an intensity that you have never known before. You live with commitment and power, two feet higher and  three steps faster than everyone else. And you find that you have incredible control over the conduct of your life. You find that there is not a single obstacle you cannot overcome.

The Rabbit and the Fox

A wise master and one of his students went for a walk through the countryside. The student pointed to a fox chasing a rabbit and said, “Oh, the poor rabbit.”

cottontail-rabbit-938478_640The master said, “The rabbit will elude the fox.”

The student was surprised. Maybe the old man’s mind wasn’t so sharp anymore. He said, “No, you see, the fox is faster.”

“The rabbit will get away,” repeated the master.

“What makes you think so?” asked the student.

“Because the fox is running for his dinner, but the rabbit is running for his life.”

The first step in living at the gut-level is understanding that we are all running for our lives.

An Exercise

The exercise is a short one. Read this . . .

The first man asked, “How do you feel?”

“Like one who has risen in the morning and doesn’t know whether he will be dead in the evening.”

“But this is the situation of all men.”

“Yes, but how many of them feel it?”

. . . and feel it.

I sent the manuscript off and ten days later my editor called to talk about it. He started by saying, “We love that section about the samurai and death. I was worried about how you would handle that. You made a potentially depressing subject inspiring. One editor would read those pages and pass them on to another editor and say ‘Look at this’ and now we can’t imagine the book without them.”

© 2015 David J. Rogers

For my interview from the international teleconference with Ben Dean about Fighting to Win, click on the following link:

www.mentorcoach.com/rogershttp://www.mentorcoach.com/positive-psychology-coaching/interviews/interview-david-j-rogers/

Order Fighting to Win: Samurai Techniques for Your Work and Life eBook by David J. Rogers

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The Inner Skills of Creative People

I’ve been writing blog posts for writers and artists for sixteen months and over that time have published about 120,000 words. And though I’ve been a professional writer for many years, have written national and international best-sellers, startup-594126_640 (1)been contributing editor to popular magazines, have had published non-fiction, poetry, and prose, have advanced degrees, have taught in graduate schools, and have been studying, reading, and researching about the arts all my adult life, very rarely will you find me writing anything about how to write or paint better because that is not my main interest.

I will not tell a painter how to paint because I don’t know enough about that. But even if I did I probably wouldn’t talk about good technique or good use of color except to say I recognize them when I see them. I will talk about what made great artists tick and why they’re so special. And I will say that people who do great things are great in themselves.

I know enough about writing to have taught serious writers and found great pleasure in that and discovered I have a lot to say. I’ve written about extraordinary writers—the most extraordinary ever to write. But you won’t hear from me these days anything about developing characters, scenes, conflicts, and episodes, or how to write dialogue, or generate a mood, or structure a plot, or that kind of thing. There’re plenty of books, magazines, web sites, classes, and blogs for that. People have been writing about those things for 2,000 years.

My interest—the territory I have staked out for myself—are The Inner Skills of Creative People, for there, I think, inside, in your spirit, will be found the magical difference between adequate creators and great ones.

ballerina-534356_640_copy2I write freely, unabashedly, happily of human qualities that distinguish one creative person from another such as strength (suggesting that every day it’s worth a creator asking, “Am I strong today? Will I be strong?”) And I write about courage, persistence, tenacity, will power, commitment, empowerment, sense of purpose, discipline, good writing moods and bad writing mood, and ideal writing moods. And self-resilience, enthusiasm, guts, self-motivation, energy and your capacity for work, sacrificing for the sake of your craft, boldness, doggedness, adaptability, endurance, resilience, maintaining at all times a high hope of succeeding, and other spiritual dimensions of you. I teach Buddhist and Hindu non-attachment so that the writer or artist might become selfless and dispassionate, and free himself from debilitating envy and worry that so recklessly destroy talented people.

I write about self-doubt, the creator’s curse, and I write about creator’s confidence because confidence may be the most important factor of all. Creative people fail because: (a) they lack the necessary skill, or (b) they have the skill but don’t have the confidence to use that skill well. More fail because they lack the confidence and not because they lack the skill. If you have confidence and faith in yourself you’ll reach higher levels of success than other creators of equal ability who lack them. So much of realizing your long-held hopes—possibly you’ve had them since childhood–is a result of knowing exactly what they are, wanting badly to achieve them, and believing that you can. Confidence precedes success. All great creators are confident.

A poet who lived several hundred years before Plato wrote, “Before the Gates of Excellence the high Gods have placed sweat.” No outstanding creative achievement has ever been produced without a lot of effort on the part of the creator, however much natural ability or how many technical skills he/she possesses. So I write about sweat.

I write about creative patience because patience makes artists and writers more successful.

martial-arts-291051_640I write about warrior artists and writers—and warrior actors and ballet dancers—because warriors know things and possess skills that enable them to go through life 18 inches off the ground and to move faster and live more intensely, with stronger commitments and greater seriousness, than everyone else.

I write about production because to produce a work—a painting a sculpture, a poem, a stage performance—is the reason for being of a creator. Everything—all the creator’s training and education, habits and routines, dreams and hopes—are aimed at that central goal: no matter what is happening around you, to get the work out. Some writers and some artists are 25 times more productive than others.

Out of the mass of experiences of a life, you (1) must somehow or other settle on the creator’s way of life, which is a distinct way of being; (2) must have the personal makeup necessary to excel as a creator; must possess the (3) knowledge, (4) persistence, (5) confidence, and (6) complement of skills necessary to excel, and must (7) minimize your weaknesses and develop your strengths.

The creator who has technical skills, but lacks these spiritual inner skills will not go as far as he could, or may not go far at all. What you are—what you are made of, what constitutes you, what you stand for—is so important.

Your technique and your spirit must be united. Creators grow from within.

© 2015 David J. Rogers

For my interview from the international teleconference with Ben Dean about Fighting to Win, click on the following link:

www.mentorcoach.com/rogershttp://www.mentorcoach.com/positive-psychology-coaching/interviews/interview-david-j-rogers/

Order Fighting to Win: Samurai Techniques for Your Work and Life eBook by David J. Rogers

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