I’ve long viewed climbing as a meditation of sorts. It’s my time to focus on perfecting perfectly non-utilitarian goals. It’s all about breath and balance and giving just the right effort to hold on, not more or less. My goal is always to move with as little distinction between mind and body as possible — with what Mihaly Csikszentmihalyi called “flow.”
For insight into the relationship between physical action and meditation, I emailed my friend Thomas, a video game developer who lives in Vietnam. Thomas has practiced kung fu for 20 years, on and off, and engaged at various times in kendo, boxing, yoga, and Rinzai Zen practice. He’s climbed a bit, too. When I asked him about the use of martial arts as a way of moving towards higher states of consciousness, he recounted this anecdote:
In both [martial arts and climbing] you could perform strictly physically, or you could get in the zone and then you aren’t climbing. My Zen master had one kensho [an understanding of reality “as it is”] while fighting his kendo instructor. A clean hit stroke against his instructor, after which his instructor bowed to him. It is the only time his instructor ever acknowledged his ability. He describes the experience as ‘It hit.’
To this day in Japan, various physical arts are used as moving forms of mediation. Flower arrangement and tea ceremonies are two good examples. In such practices, the ultimate, selfless expression is described as the “artless art.”
Archery is another classic example. Zen in the Art of Archery, by the German philosopher Eugen Herrigel, is an interesting book on the topic. In the introduction, D.T. Suzuki writes that the practice of archery in Japan is “meant to train the mind … to bring it into contact with the ultimate reality.” When archery is practiced in this way, Suzuki writes, “the hitter and the hit are no longer two opposing objects, but are one reality.
Herrigel’s book documents his six years spent in Japan studying with a master archer named Kenzo Awa. Herrigel describes the long process of learning simply to draw the bamboo bow with proper form. Still more time went toward learning to release the arrow with the same mindlessness as a leaf in a rain shower tipping to release its water. One day, after years of practice, he succeeded in loosing the arrow such a way. Awa stopped and exclaimed:
“Just then ‘It’ shot.”
In such instances, a simple motion, the result of years of constant practice, becomes the physical expression of a higher understanding. Herrigel had released hundreds, if not thousands, of arrows up to that point, but never without self-consciously doing so. To a master like Awa, the difference was instantly recognizable. Likewise, it is entirely possible that my friend Thomas’ master had hit his instructor in the past, but never before had “It” hit. From the outside, the experience might seem similar, but internally there is a profound difference.
It is very common for climbers to recount such experiences. When working to piece together a climb that rides the edge of our ability, we often enter a state where the movements seem to execute themselves. Holds that once were too far or too small feel closer, larger, right beneath our fingers and toes when we need them most. We flow through the climb acutely aware yet without consciously planning our actions. The climber and the climb, like the archer and his target, finally become one reality.
“Both martial arts and rock climbing require the practitioner to push body and mind … to work as a single entity in the moment,” Thomas wrote in his email. “And any time you do that, you’re scratching at the surface of existence.”
To me, there is no greater experience on a climb.
What about you? Have you scratched the surface? Have you felt “It” climb?