The Usefulness of the Cup

For those of you who don’t know it, Bruce Lee was not just THE master of kung fu. He was also a great thinker. An indication of this is of course how he critically analysed classical or traditional martial art forms such as karate and kung fu and deconstructed them to create belief-system, Jeet Kune Do. I think of Jeet Kune Do as a postmodern take on the traditional fighting styles.

BRUCE LEE – Hong Kong-born martial arts expert and film actor

 

 

 

 

 

 

 

 

 

 

 

I remember finding karate really boring and stifling when I practised it as a teen. I lasted about a year and then left the dojo. But in my room and at the local gym,  I would continue to follow Bruce’s heuristic method of martial arts. This is the notion of self-knowledge through self-discovery.  Essentially the idea is to be able adapt to specific situations and opponents/attackers.  There are no katas or set moves, so there are no fixed stances as in classical martial art styles. Lee believed fixed stances and forms were rigid and had no place in martial arts. They are inflexible to change, and do not represent actual fighting situations. In Jeet Kune Do, drills are used that are fluid and alive and always changing. This is why I say that Lee’s thinking about martial arts was postmodern: it presents many solutions to many questions, and is never fixed.

Interception is the leading principal of  Jeet Kune Do, which means ‘Way of the Intercepting Fist.’ If you are merely blocking an attack it means you are at a disadvantage.  You are only reacting to the attack, reactive instead of being pro-active. It is better to simultaneously block and strike, or even better to just hit first. The physical goal of Lee’s art is perpetual development of physical speed, timing, footwork, coordination and power.

 

In order to understand it Lee advised emptying yourself. He uses an analogy to explain:

A learned man once went to a Zen teacher to inquire about Zen. As the Zen teacher explained, the learned man would frequently interrupt him with remarks like, “Oh, yes, we have that too…” and so on. Finally the Zen teacher stopped talking and began to serve tea to the learned man. He poured the cup full, then kept pouring until the cup overflowed. “Enough!” the learned man once more interrupted. “No more can go into the cup!” “Indeed, I see,” answered the Zen teacher. “If you do not first empty your cup, how can you taste my cup of tea?”

So for Lee the usefulness of the cup is its emptiness. As an artist this is a philosophy I ascribe to: as student, teacher and practitioner.  If you want to learn, first acknowledge you know nothing. Empty your cup. Then learn by allowing yourself to be filled from the source you have come to. After that you can take what you have learnt and make it your own and pass on what you have learnt. I still do this as a Masters student .  As the poet, Keats, once proclaimed:  My Imagination Is a Monastery and I am its Monk.

As a lecturer though, I warn my students not to get so focused on the tasks that the art degree sets them that they forget to experience the sheer joy of their journey: the joy of learning, of making, and of doing this with people who are like-minded. But I mostly remind them of their love of art and how it feels to express themselves visually.  Bruce Lee again illustrates this beautifully using the analogy of a finger pointing to the moon:

Please do not take the finger to be the moon or fix your gaze so intently on the finger as to miss all the beautiful sights of heaven. After all, the usefulness of the finger is in pointing away from itself to the light which illuminates finger and all.

Go to Lee’s official site if you are interested in finding out more:

https://bruceleefoundation.org/2016/05/whatisjeetkunedo/

The reason learning has been on my mind recently is because I have been, over these past 3 months, hectically involved with university matters, both as student and as lecturer. It is quite a surreal experience to be both. You become very aware of the symbiotic relationship involved in the learning process. It is rarely a one way thing.

I recently had to attend a postgrad seminar as a requirement of my Masters degree. As I presented an overview of my dissertation to the university board a part of me reflected on my students’ experiences and what they must feel when facing my fellow lecturers and me.  Faced with the arduous task of attempting to make the connections between my theory and my art-making understandable to a group of professors and doctors, I felt a huge wave of empathy roll over me for my students. I have been in the fortunate position to have been the student, then the lecturer, and now both the student and lecturer. And isn’t that just how life should be?:  to be open to learning, to be willing to pass on knowledge, to share experience. Most important is to acknowledge when you do not know something.  Not knowing is OK. What is not OK is ignorance. Ignorance is you assuming you know more than you do. Prejudices and racism originate in ignorance. Be a better person than that.

TSUNDOKU

Tsundoku: the act of leaving a book unread after buying it; typically piling it up together with other such unread books.

This singularly perfect Japanese word wonderfully describes my present condition. This is not to say that I am not reading. No, on the contrary, I am reading (and writing) in vast amounts. But it has been very selective reading, focused in the world of academia, and on the thinking about the idea of art.

I am certain by now that you, dear reader, must know that I am presently busy with my Masters. I know this is because I go on and on about it! You will have to forgive me for that but please understand that this is what my world revolves around at the moment. I am either working in the factory or on my Masters. That’s what I do aside from the odd run. So it is quite literally on my mind all the time, and has been for virtually 3 years now. I am not trying to boast or say that I am so wonderful. My Masters is all I really have to speak about. I am obsessed! It is a tough proposition and takes serious focus, determination and stamina. You need to be seriously obsessed! But then all good artists do obsession well, so I feel that I am in fine company.

In addition, I have, over the past 3 months, been further occupied with something really exciting. I was asked to be a co-curator of a feminist exhibition at the Durban Art Gallery. I was included to operate as the masculine counterpoint within the collaborative; a beast amongst the beauties. This is a huge honour as DAG is the metro gallery for the region I live in and has a history going back as far as 1892 when it was founded. I have exhibited in this hallowed space before but it was quite another thing to curate an entire exhibition in those spaces. It was an amazing experience to be involved with curating on a scale such as this.

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The title of the exhibition was Beauty & Its Beasts and it revolved around the theme of the changing face of female stereotypes in visual arts. It highlighted issues of gender, race and representation through the stereotype. Considering my Masters deals with these exact issues you can understand why I simply could not turn down the opportunity despite my workload. It is safe to say that opportunity knocked and I French-kissed the hell out of it!

Lliane Loots, a lecturer at the University of KwaZulu-Natal, founder of Flatfoot Dance Company and feminist activist, opened the exhibition with a wonderful speech. I managed to get her to forward a copy of it to me and I share a few excerpts with you here:

Her overall impression – I am indeed extremely grateful for the invite as I feel like I have been woken again to something significant. Partly it is the exquisite politics of art making and artists who are unafraid to travel to the heart of darkness, and partly it is the very dedicated collaborative curatorship of an exhibition that left me feeling very emotional as I walked around.

beaded curtain

We are asked to enter the exhibition through a bedroom-like curtain of shiny beads … it is a playful disruption that allows you to catch your breath as the eye moves first to Sibanda and her hounds/bitches, and then to the ghostly  disembodied figures of women’s bodies in portraits and sculpture.

 

 

 

 

Queen Victoria’s portrait (ever present) sits and watches the fury and majesty of Sibanda’s alter ego Sophie as she literally spills her guts, with her hounds (or bitches) at her feet … it is  a brave curatorial pairing but one that makes sense when we begin the dialogue around post-coloniality and the violence of embodied race and gender stereotyping.

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Jane Alexander’s raped “Oh Yes” girl hangs crucified in a dialogue with Fran Saunder’s densely crocheted unravelling cloak hanging from a butcher’s hook – all in recognition of the almost never mentioned plight of the women of Marikana.

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The curators have taken a building and a series of spaces that cannot not reflect its historical coloniality and found ways to ask the viewer to re-position themselves as they engage with, what for me, is an exhibition that resounds with broken bones, broken skin and broken spirits of women. The triumph of course is that some of these women look back and look past you …

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So yes, tsundoku: piles of unread books! All waiting for me to get to them. I love it! So much to look forward to!