|The last move in Sanseiru always|
seems to mystify, but only because
it's so often disconnected from
what precedes it.
|For some people, the similarity of|
this posture to statues of Shakyamuni
showing the vitarka mudra with one
hand and the varada mudra with
the other hand is meaning enough.
movement takes on a sensual or inner quality instead of an intellectual one. Maybe it's something like the whirling dervishes in Sufism, only we might be dancing for Guan Yu, the martial diety of ancient China.
Of course, I'm just guessing, but perhaps that's why there are not only so many martial arts schools that only practice forms and kata as movement without meaning, but also maybe why there is such disagreement within styles about the interpretation and analysis of the katas themselves; that is, if we say that kata can be interpreted and applied any way one desires, that there is an intentional ambiguity in kata movement, it's almost the same as saying it has no inherent meaning. And that's pretty much the same as "authentic movement"--movement that allows "intuitive impulses to freely express themselves without intellectual directive." Though I'm not sure how much more mindless movement we need in the world today. Seems to me there's probably way too much of that going on as it is.