How the Game is Played

Mission of Flowing Dragon Swords

FAQ

How the game is played

The Connection/Birth

1. The two Opponent/Teachers (O/T's) face each other with Swords in a neutral position; they begin by grasping the “Bokken” *(see glossary) with one hand just below the “Tsuba”* (see glossary) and the other hand supporting the blade, or the lower part of the “hilt”(long handle), whichever is more comfortable.
2. The O/Ts then step into an engaging stance which involves placing one foot – at least one foot length (their own foot length) – behind the other at about shoulder-width apart.
   
   The O/Ts then bow to show their respect for each other and to honor their training.  The Swords are then carefully offered to one another with the idea of “opening” to one another, while simultaneously “reaching” for the other, and each O/T should start to hold this intention in their Sword, Body and Soul.
3. The idea now is to contact the O/T’s sword at a single still point, or as some people prefer, a slow drawing movement, like gently placing the bow on violin strings – the outcome must be, however; that the swords contact only once and do not “Tap-tap”.  As per the agreements of our game, “a tap with a second tap” would mean there was a disconnect; however small, and it would be considered a time to repeat part “2” entirely.
4. The O/Ts now offer their EYES to one another, holding {the intention of “Reaching and Opening to the [Other]”} The O/Ts are now attempting to maintain full and complete eye contact {as much as possible}, reaching for 99.0% (as there are some movements while turning which make eye contact impossible).
5. This “reaching” is also an offering and an invitation to more than eye-contact; it is offering one of the deepest connections possible, while simultaneously Opening to the “Other”.  As we do this,
   
   the mid-16th century proverb is held in our “Heart –Mind” :
   “The Eyes are the Window of the Soul.”

The Game has truly begun.

6. The connection now made fully, if the two O/T’s “Game” results in movement, which comes from that mutually-inspired organic realm which only they can co-create together, they are then encouraged to flow on this path.  Likewise, “Flow” can come from just the deep inner well – and can contain (for whatever reason) very little external movement at all.  However, if this comes from that same organic realm, it can bring the same truths and depths as even the most physically active examples of our Practice.
7. If one O/T moves their physical location, the other must follow. This is true of the movement initiated from either O/T, and both must fully give over when this occurs.  Both lead, both follow, always the two O/Ts
   have = equal = responsibility and power,
    and this is realized only in their unique, co-created play.

The Disconnection/Death

Disconnection; in our Game, is not losing:

• It is not cause for concern,
• It is not the mark of inability,
• It is not a bad or unfortunate thing.

This is the place where we know we have disconnected:

• from ourselves,
• each other,
• and the world around us.

We want and need this place, so we can begin to understand where and when we are present with each other, while not placing ourselves above or below one another, and moving toward acceptance of self and all others.

That is why the extraordinary quote from the
Sioux warriors riding into the hail of Custer’s bullets fits our renewed understandings in Flowing Dragon Swords so well:

“It is a Good Day to Die!!!”

In dying to our small selves we live in a greater understanding of this
Phenomenal Life.

With Flowing Dragon Swords there is no winning or losing. There is no blame or expectation. However, these learned behaviors arise in each of us. As they do, the budding peace warrior within us reaches out first to slay these Dragons and then to blend with them in harmony. FDS’s play has a soothing effect on the emotions and psyches of all who choose to play. It is a healing communion between people who wish to open themselves to its power.

Statements of the Practice

1. The Swords come together, they don’t come apart; there is no hacking, stabbing, or slashing, no aggressive movement of any kind.
2. There is No Winning or Losing.  There is No Winning or Losing.
3. There is only Life, Death and Learning
   …And Finally just Life & Learning

• Honor the history and mythology of the Game

• Always treat your sword with respect (others will if you do)

• Show care and patience to all who would share the game and honor you with their cooperative-“opponent/teacher” participation.

• Take common sense care to avoid the face, throat and lower soft vital areas, and if these places are threatened, you probably need further explanation and training before proceeding, so please seek this out

• The Game is to be practiced slowly, and is to be presented slowly.  Advanced play and advanced variations are to be explored under an advanced instructor only. 

• Wherever possible give and maintain 99.0% eye-contact, as The Eyes are the Window of the Soul.  {As well as “Reaching with” & “Opening” your "Heart-Mind/your Soul" }

• Flowing Dragon Swords is played as a “deep breath,” not a “gasp”

• There is no winning or losing

• Invest in the “death”; “in loss”;  enjoy your own learning and journey, pursue balance

• Relinquish the burdens of the spirit through the release of your “Dragons”.

• Honor the history and mythology of the Game

• Always treat your sword with respect (others will if you do) 

• The swords touch (primary contact), they do not come apart

• It is considered a great honor to acknowledge that you have died (in dying in the Game, {the Sword’s physical-disconnection} we live again, having learned)

• During Play if the sword of one O/T should run into the “Retaining ring” of the “Tsuba” (the hand-guard on a Bokken), of the other, it may simply “Bump” it, and can feel like a disconnect. This is not truly coming off; and is referred to as a “Tsuba Bump”, and can be declared as a reassurance during play to help the game continue.

• Your sword may be grasped anywhere during play, {by your own}, one or two hands. “The entire sword is the blade; the entire sword is the handle.”  

• Take common sense care to avoid the face, throat and lower soft vital areas, and if these places are threatened, you probably need further explanation and training before proceeding, so please seek this out
• There are only “pauses” in the Game, once play starts (the Game, like life’s learning, goes on forever)
• We are All each others cooperative -“Opponent/Teachers”.

• Honor the history and mythology of the Game

• Always treat your sword with respect (others will if you do)

• Show care and patience to all who would share the game and honor you with their cooperative-opponent/teaching.

Agreements of Advanced Play for students of Flowing Dragon Swords

• Wherever possible give and maintain 99.9% eye-contact, as The Eyes are the Window of the Soul.  {As you practice “Reaching with” & “Opening” your Soul}

• The principle of “Kokyu or Kokyuing”*(see glossary), is used in our practice as a physical reminder of “being present”. With this intention, we reach for manifesting this “Breath power” in the whole body, while emphasizing “circulating this breath” thru the two arms, and flowing thru the hands as with; “Ki” or “Chi”.
  
  The use of this “unbendable arm” practice helps us reach for the ideal, of “arms filled with breath”. In our practice, these breath filled arms may ebb and flow with our O/T’s Sword and assist in supporting us when we are connected with the other in the Game.

• Your sword may be grasped anywhere during play, {by your own}, one or two hands.

•  Secondary contact / “Reminder Death”, (made with blade or hilt); can only happen while sustaining primary, (sword) contact

•  Death of our dragons is caused by losing primary (sword) contact, or in advanced play, in our O/T; by touching them anywhere on the body, except between the neutral area of the hand and elbow.

• After a “touch”/ “Reminder Death” has been made and acknowledged, while the players are in neutral positions, they face each other, bow, and continue the Game.

• The Study of Different Weapons Training is to be done only under advanced supervision.

• The additional engagement of the three other “appendage weapons”* (see glossary).  of the body, must be a mutual understanding and added gradually.
  
   Prudent use and understanding of the “appendage weapons”, comes from “empty step /empty hand”-training from additional practices such as; Tai Chi, Qui Gong, Aikido, or Unique life experience

• The Hand or Foot maybe placed, with respect, on the body of the opponent/teacher, and only then filled with energy, never forced.
  {Re: “Flowing Dragon Swords” is played as a “deep breath,” not a “gasp”}.

• Maintaining primary contact, (In this advanced stage, Primary contact has changed from the sword to the eyes).Awareness of your place in time and space, while blending with your opponent/teacher, is essential as you reach beyond these principles.

Four Essentials for Advanced Play;

• Maintaining Primary Contact with an Open Heart-Mind
• Awareness of where you are in time and space
• Blending with your Opponent/Teacher
• Reaching beyond these Principles to include All yet allowing them to fall away from your “thinking mind.”

Flowing Dragon Sword Lore

The Myth of the Three Dragons

The Three Dragon Myths which speak to us through the Game, come from two groups of cultures ---half a world apart.

1. The first, Is from a Far Eastern Dragon Myth Interpretation, which portrays Dragons as magnificent and prodigious, (*1) “protectors of the swamp,” bold, brilliant, and beautiful; - yet they are consistently undone, by their vanity and use of power. For our purposes, We will call this
   “The High Dragon”.
2. The Second Myth of the Dragon, comes to us from an Interpretation of one of the European Dragon myths, and portrays the Dragon, -- as a cave-dwelling creature, equal to our basest natures (*2)“a hoarder of gold and virgins.”  This Dragon possesses only, and knows only, --- its own repugnancy and pain. Obsequious with the darkest places of itself, it cannot participate in the philanthropy of the spirit, nor, the joys of love. For our purposes, We will call this “The Low Dragon”
3. The Third Myth, is a compilation of both an Asian and a European - Specifically Germanic-Myth, and blends these  two paradoxical forms to produce a third and rarest of all Dragons;
   “The Golden Dragon”-

Quotation Footnotes
*1 & *2) Joseph Campbell-in conversation with Michael Toms from- The Wisdom of Joseph Campbell Series

As we speak of:
"Slaying our Dragons to become a Dragon”.
The Golden Dragon is said, to lie in a place so peaceful and harmonious that few have ever glimpsed it.

There is confusion to this day, as to whether these sightings are The Golden Dragon or a child . . . which seems to be reported in the same breath. This unfettered place where the Golden Dragon lies is the birthright of all people. This precious gift from the Divine Nature, which is born in each one of us, is a place of balance and serenity. For our purposes,  We may also call this, "The Golden” or “The Balanced Dragon” 

What do we know of Dragons? 

“The World Culture” is rich in Dragons.  The Dragon, in many cultures, has a wide spectrum of meanings.  The early “Old World”(Anglo-Euro) and the early Far Eastern World are places where the stories of these ancient creatures tell us they were both feared and respected; sought after and hunted; and were everything from the portenders of wealth and powerful protectors, to the cause of poverty, sadness and ruin.  This great variety of symbolic meaning can speak to us, when we look to the Dragon myths, legends and stories as metaphors, for what they most certainly were to the “Old World”, and are to our present-day psyches.

How do the High and Low Dragons relate to us?

These Dragons are the parts of ourselves which do not serve us.  They are the parts of us, wherein, we tell ourselves that we are not worthy of love,… that we have no right to happiness, … and that all others are better than we are.

This is the Low Dragon as: Abused Ego -- the place of insecurity, depression and inaction.

Likewise, are those parts of us with which we tell ourselves we are superior to others, that we are above service to our fellow persons, and that,
 all our deeds and motives are righteous.

This is the High Dragon as: Inflated ego--- the place of hubris, conceit and arrogance.

The Dragon as Ego

(Feeding the Dragon)

These Dragons, both High and Low, are at the well-hidden edges of our conscious behavior and placed stealthily in the subconscious.
These Dragons are masked by us, -- keeping them from societal scrutiny- and are fed by the “tiny-unhealthy voices”, which speak to our abused subconscious with amazing, “self-indulgent-clarity”:-- when we are not keeping our practice.

Famed Psychiatrist, Carl Jung, states that the subconscious often appears as water in dreams. The Chinese tale of the Four Dragons, corroborates this most obviously, as it represents,- water as being the host realm for many of the Dragons; As well as these creatures’ ability to bestow and control the Earth’s life-giving rain, further affirming their powerful mythic and psychological properties.

This archetype has a good deal of corroboration in much of Dragon Lore and is further supported by the premiere Mythologist, Joseph Campbell;

Our Dragons/Our Demons, slain or embraced;

How will we try to understand ourselves?

The Beautiful truth of this fact, which we tend to ignore, is that there are many practices to assist us and it is our own inattention and lack of awareness, which allow these tiny-unhealthy voices and petty conversations great fodder

Without realizing it, we are both the “Grifter” and the “Mark”, and it is our signatures on both lines of every contract.
We then secretly compose all the pictures, which appear in this gallery of falsehoods.

There is a different internal dialog available, to all of us.
It just needs supporting, clearing and strengthening.
We may pick up our sword and Slay these falsehoods, by choosing to look deep in the mirror of our “Opponent/Teacher” and we can discover; there is no losing; there is only life and learning. 

Here is where we must face the Dragons, and Slay them;
To slay these Dragons:

• We must be willing to honor ourselves
• To honor ourselves we must be willing to ask others to help us look at ourselves, in a deep and meaningful way- a way in which, we are born knowing; but have been trained away from.

Our Opponent/Teachers-
- Can provide us the reminders.
These can be the places of physical disconnection manifesting between the swords /or in Advanced Play; what are said to be “touches”, “physical-acknowledgements” (or in Flowing Dragon Swords Terms), :“Reminder-deaths” in the Game.

 When acknowledged as the honor that it is, the “Death”,
 -- provides opportunity for learning and new life.

The Game goes on forever…

These Reminder Deaths keep us present with  the other, while reaching for a more complete awareness of the self . This is where we may touch upon The Divine Presence  if we are willing to look at ourselves through & with the other: while reaching to quiet Fear and Desire.

The opponent/teachers are not therapists, but rather, the truest of mirrors; which only reflect, if we are willing to look,-- past the reflection, to a new image, of the two as the “Greater-One”.   Along the way there will be life, learning and death.

However, if we choose, and stay present,  we may find that there is just life and learning, and if we (*3) “Invest in the loss,” (The Death), and choose learning,
There will only ever be life.

For in a world where death is a part of life, there can never be an end,  Just transition while we assimilate the lesson. Bringing our attention back to being in the moment, Present with the other, this is the key to being in the truest sense “Ourselves”. This realization is a reaching for the Divine, with and through honoring our opponent/teacher, within ourselves.

Quotation Foote Notes
*3) Prof. Cheng Man-Chi ng in the book- “T ’ai Chi”- The “Supreme Ultimate”
(‘Exercise for Health, Sport and Self –Defense”)

Flowing Dragon Sword Thoughts:

Flowing Dragon Swords

A beautiful Poem by a student and friend;

(An FDS Student’s proposed Creed for the receiving of a Bokken, in the Practice of Flowing Dragon Swords;)

The following are principles, from Aikido practice, and are presented here as my interpretation of what was purported to me, from my current Sensei, Sensei Noha, in a story from his experience of an understanding from Endo Sensei in Japan. This is not meant to be a quote or even what Sensei Noha necessarily meant by sharing them with me. They are what I’ve formulated and taken away from that experience and have used to speak to similar principles in FDS Practice with my students. (RS)

Three Pillars of “Ji Waza”

1. Connection
   Beginning with you…
   Connect with the self, breathe away all agenda.
   We then Open the “Heart-Mind”/ “Soul”, the “Consciousness”... 
   Simultaneously we reach for the eyes as the windows to the soul, and gently request that we may enter.
2. Blend With and Enter
   While we are joined in connection we ebb and flow with our “Opponent/Teacher”, leading and following, co-creating and being present.
   We then go to our own breath; it is this that allows us to “listen” to the other through the swords, in each fresh moment.
3. Technique
   The last consideration, and only after the first two are embodied as second nature, along with the growth of your overall game, does this then become something to turn your attention more to:  first – train and train.

Another way to express the same truths we can glean from FDS practice

 

The Mission of Flowing Dragon Swords is;

 

REGARDING RICHARD SQUERI’S SWORD GAME

Part One

I cannot remember when I was first introduced to “the game”.  I think it was around 1998 but it is hard to be exact because I believe the game is always there, waiting to be played. 

Just last week, as I was preparing to conduct my Aikido class at The Educational Center for the Arts (ECA),I could feel a pervasive energy, certainly related to the result of the Presidential election.  The vibe of fear and destruction was so prevalent, I wanted to do something that in no way could be misunderstood by my teenage students as “kick ass”. 

Often young people and beginners in general look at the dynamic authority of Aikido and confuse it with “victorious battle” or “defeating an enemy”. These observations change over time, but given the state of the world I decided the best lesson was one that looked at “life” and “death” with equal value and no fear.  Normally I prefer that my students’ first introduction to “the game” be presented by Richard Squeri (my teacher) in person, but given the situation I decided to undertake it myself, though I had laryngitis.  I asked the students for their patience with regard to the low volume of my voice and began explaining the game. I noticed the pain-stricken face of one young girl.  I did my best to describe the mythology and guidelines of the game, paying particular attention to the depiction of “dragons” as ego.  I soon noticed a change in the young girl’s demeanor, her posture straightening and eyes widening as I continued my explanation.

 I then began a series of games with my students, reminding those watching that the players needed the energy provided by the spectators. I went around the circle of students, enjoying how unique each person feels through the wood of the Bokken. I then had the students separate into four groups of three. As I moved from group to group, watching and occasionally playing, I could feel vitality, youth and joy.  This seems to be a consistent reaction when the game is introduced at the right time.  The hour flew by and I thanked my students with a bow, watching as they bounded out of class, giddy with teenage energy.

I was collecting the wooden swords when I saw the young girl approaching.  I turned to greet her and she expressed her admiration for “the game”, asking if we could continue playing.  Since her bus wouldn’t arrive for another forty-five minutes, I agreed and we began another game.  She played with impressive flow and relaxation, but also in perpetual retreat as though she were begin attacked from all sides and powerless to change that condition.  After studying her game for a while, I decided to ask her what was wrong.  She explained her sadness, the loss of her older friends who would graduate soon, and how she would be left alone.  I listened carefully, doing my best to offer some words of comfort and encouragement.  Time passed and she had to catch her bus, but she agreed to play again after next class. 

The following Monday, I quickly put the mats away so the young girl and I could get to our game.  As we began to play,  I could see she was worse than before; her movements more sluggish, her energy more self-conscious.  We played a bit longer and did a few other types of sword practice before initiating conversation.  She revealed to me that since we last played an acquaintance of hers had committed suicide, and that she was especially upset about the fact that it happened when she was “ready to give up”.  This remark alerted me that the situation was more complicated than I had initially thought.  I told her some of my own stories dealing with suicide, particularly about my friend Eddie who hung himself a year and a half ago and how I had to analyze, through time and reflection, the complexity of that situation.  After we talked some more, I felt confident that she wasn’t in danger of her hurting herself. She promised to speak to the school counselor “first thing tomorrow”, and I called the school administrator to let him know she would be coming.  He told me he would call her in as soon as her bus arrived and arrange a meeting with the school councilor.  After hanging up the phone, I wondered what would happen tomorrow, and if we would play our game again on Wednesday.  I prepared myself for a long forty-eight hours.

 

Part Two

Around one o’clock the next day I realized I had missed a phone call.  I checked the message and discovered it was from the counselor at ECA, leaving me shaken that I’d missed the call.  I called back at the exact moment the young girl was meeting with the counselor.  The counselor asked for details of my conversation with the girl.  We then hung up in order for  the counselor to continue her interview with the girl.

I immediately felt like I had betrayed the girl’s confidence.  As a teacher of young people there is an obligation to “report” any information that might suggest suicidal feelings. The only way I can explain why I felt badly, is this:  by playing “the game” we had shared a mutual vulnerability, which allowed her the comfort to tell me her feelings.  And even though my first priority has to be a student’s safety, I felt that in achieving that priority, I lost my footing with my student.  What had been level now felt lopsided.  I don’t claim to have a better method to deal with circumstances like these, but I still felt badly.   The rest of the day was a bit murky until my evening Aikido class, where for a while I regained the present moment.

The following day, I was still lost in these thoughts. As I tied the front knot of my Hakama, I wondered what state the young girl would be in when she arrived.  Sighing as I closed my locker, I began setting up the mats.  As usual, several of my students helped bring the mats into the arts hall.  The young girl was there, but would make no eye contact with me.  I decided to respect her space.  After warming up the class, I conducted a lesson on tactile sensitivity, using forearm contact to measure our partner’s intentions.  We studied horizontal and vertical lines and curves, and the relationship between our own centers and our partners’.  The hour flew by and it was time to go.  I watched the young girl quickly rush to put on her shoes and collect her belongings.  Still no eye contact, but I approached her anyway.

“Would you like to play swords today?” I asked.  She replied with a soft “No.” and continued collecting her things.  I returned to folding up the mats, trying to hide my own disappointment. 

I thought at length in the locker room, wondering what I could have done differently.  I sighed, slung my bag over my shoulders and made my way downstairs to the front of the building.  To my surprise the young girl was sitting on the little wall beside the front entrance.  I stepped out and asked if I could join her.  She shrugged indifferently, and in that moment I decided to speak to her with as much sincerity as I could, “person to person” as oppose to “teacher to student”.

“I want to apologize for what happened yesterday,” I said.  I felt in that moment it was less important to explain the adult reasons behind yesterday’s inquiry, and more important that she know that I respected how she was feeling now. “I didn’t know it would happen the way it did.  I just called ahead to let them know you were coming.”She seemed to let her guard down a little by giving me brief moments of eye contact. I hope you’ll play swords on Monday.  I’ll be around if you still want to.”  She nodded her affirmation.  I said good-bye and left.

Epilogue

The following Monday the young girl stayed after class to play swords.  She did the same on Wednesday.  Her energy is much better in her swordplay, class practices and her attitude.  She has been very conversational, telling me all about her musical preferences and her recent experiences in the marching band.    

David Lasala -
Independent Filmmaker,
Martial Artist & Instructor

---

Swordplay, in the way master teacher Richard Squeri presents it, is a language of the soul. It provides a direct route to what my heart wants to reveal to me. Facing an opponent with the swords brings me an awareness of my deep spiritual and emotional body. I've had the immense pleasure of “playing swords” with Richard Squeri on several occasions, and experienced surprisingly different results with each encounter. I've also played swords with my life partner of thirty-two years. It is difficult to describe how profound this has been for me. It was a soul-to-soul, heart-to-heart conversation. In this modern era, we live in our heads. We talk from our heads, we move from our heads, we create from our heads. We spend little time feeling the animal of our bodies and tapping into the profound wisdom they contain. Never in human history has there been such a need for all of us to connect with one another in deep understanding and love. The swordplay as created by Richard gives us an opportunity to practice this connection on a visceral level, in a safe place. It provides an elegant way to truly experience our enlightened body wisdom as we connect deeply with one another. Practicing this dance over time teaches us to tune in to the body, mind, and Spirit while we remain engaged with another human being.

As I put away my sword and ease into the rest of my day, I find that this remarkable game transforms all my encounters in a positive way.

Justine Toms
www.newdimensions.org
Uncommon Wisdom for Unconventional Times
Changing the World One Broadcast At A Time
New Dimensions World Broadcasting

Frequently Asked Questions (FAQ)

1. Where did Flowing Dragon Swords come from?
Flowing Dragon Swords comes from the fortunate mixture of training and life experience which Richard Squeri has been blessed by. Richard’s professional vision braids three strands of that blessing together:

1. Teachings by Far Eastern and Indigenous mentors;
2. Counseling of hundreds of youth at-risk in Los Angeles & New Haven, CT;
3. Training in various martial arts, stage-combat and stunt work, as well as the teachings, writings and wisdom of Joseph Campbell, Carl Jung, Morihei Ueshiba, Nietzsche, Rumi and many others.

2. How long have you been teaching this to groups?
Since about 1991-and before that mostly one on one. Though this Game was known as “Tai Chi Sticking Swords, Dragon Slayer Style” in those Days, and only has been known as: “Flowing Dragon Swords” since 2004.

3. How fast should the Game be played?
Because of the unique nature of Flowing Dragon Swords, it is played at as many speeds as there are players who play it. There is no “correct” speed except that when starting to learn, it is best to go very slowly. Never, would you go faster than the speed at which they are “meeting you”, (as you are always “Listening” to your O/T’s sword). It is always a co-creation of movement or stillness, slow or moderate, beginner, novice or advanced.

Note: There is also what’s known as “Stilling Play” *(see glossary), which is little or NO movement at all after the O/Ts have engage swords and eyes.

4. How do I start without tapping or double bumping the swords together?
The idea is to contact the O/T’s sword at a single still point, so placing your second hand on the back of the blade while steadying the first contact is sometimes helpful or as some people prefer, the other hand can be placed on the lower part of the long handle, then using a slow drawing movement, like gently placing the bow on violin strings, you can join with your O/T and start or continue your Game. In all Instances though it is good to take a “Good deep Breath”; this could be all you need to ground yourself.

5. What if our swords come apart a lot?
It is said in Flowing Dragon Sword Practice that, “A Game with a thousand Deaths in it, is preferable to a Game without Integrity.” First, try slowing down. Disconnection in our Game, is part of our Game, and though not purposely sought, it is a vital piece, which identifies for us areas of our play which we can bring our attention to( starting always with the self). Then Reaching for the other, with our “Heart-Mind”/ or “Soul” and Opening our own heart/ or “soul” at the same time.

5a) How can we do this?
We don’t worry about it --- we simply reach for it each time we play.

6. What if I think my partner is not doing it right?
It is said that when a student would bring someone else’s faults to the attention of Professor Cheng Man Chi-ng the Great Tai Chi Master of the Yang short form, that he would have the answer for the troubled student by saying, “Start with yourself”. If we are graced to have a partner, an O/T of any ability, who does us the profound honor of helping us to look at ourselves in this deep way, then: “It is always up to us to meet them where they are…”

7. Is eye contact really that important?
“The Eyes are the Windows of the Soul.” Though uncomfortable for some at first, it is a vital physical and psychological principle to reach for in our practice. It is, in final the analysis, what makes FDS the extraordinary possibility for change of our own deeply held “High and Low Dragons.” These Dragons are like the Masks and Armor which we fit, create and forge to protect us, hide our guilt, faults and hubris. This leads us and pushes away from one another, only to find more reason to fear each other in this self fulfilling world of separation.

We ask this of each other, Not because it is an easy thing, but because it can be a difficult thing. Only by participating in the mutual gift of Risk, do we have the opportunity to grow.

8. Why can't I play this with my friends and family at home?
Part of the answer may be helped by this analogy: Though not readily apparent, this is a very “Different Language” than most of us use to communicate with each other. Further, you probably already have your very own language with this other, which did not happen overnight; and like this complex other language, there are even more easily MIS-understood subtleties, until you become use to speaking this new language more fluently. This can usually happen in 4 to 5 lessons. However, before that, you might be using a very harmful form of the “Verb” without realizing it, while simply wanting to say something very different.

There are deep and vital emotions, feelings and messages which you would like to communicate to the ones you love the most, have the most history with, and want most to be understood by. You have had the common lovely and positive experience with a Flowing Dragon Sword Instructor, now you want (understandably) to share that experience with the ones closest to you.
It is also said in FDS, “That the Swords are not the Dangerous part of our practice; it is without doubt the ‘Dragons’ we all carry, which can do the most harm.”

9. Is this a Martial Art or do you need Martial Arts experience to play?
Yes and no.  In its advanced stages of play, it has many martial applications. However, it is not what is normally thought of (in general terms) in and of itself as a martial art. Anyone who can “Hold a Sword” can practice FDS; I have played with people in wheelchairs and Hospice beds and had some of the most profound games of my experience.

However, if it is combined with other martial understandings then it is one of the finest and strongest augmentations to Martial Practice available.
In its practice we are reaching for the premier ideal of the
“High Martial Arts”, namely … “to Protect your attacker “;
to be so connected to your fellow human’s energy, so completely present, that new understandings are brought to the moment, physically, psychologically and spiritually.  

10. Could I learn how to teach this?  Do you use people of different ages, sizes, physical states to teach?

The age of Teachers (FDS Instructors) trained in the past and presently in training, range from their late twenties to 82 years young, with a low and/ or moderate to extraordinary athletic ability. They come in all sizes from stocky and/or petite to tall and/or large of stature.

None of these things has a great bearing on whether someone will make a good “FDS Instructor”; It tends to be much more about what is on the inside and where that inside is on its path. Presently it is by Invitation only and at this time, there are no plans to change that policy.

11. How do I find out about who teaches FDS, where & when Classes are, and can I get private lessons?

Please start by using this site:

1. To find out who Teaches see the Contact page
2. Where and When Classes are. Please email us.
3. To find out about Private Lessons Please email us

To Contact us for this or any other additional Information Please email us.

 

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Flowing Dragon Swords ©2008Photography by Patrice Ryan