morality

Society for East Asian Anthropology
Jingyi Tian
February 26, 2020

For Hongkongers, kendo offers practice in the pursuit of self-cultivation and ethical work.

This piece is part of the SEAA series “An Anthropology of Ethics in East Asia.” The articles highlight different aspects of moral values and ethical practices in a range of Asian regions. They examine how individuals cope with societal changes such as environmental crises, nationalism, economic development, and mobility through lens of everyday ethics.

“Many people can’t control their egos in kendo. They hit one after one—pong, pong, pong! It’s pointless. This is where kendo mirrors their inner characters,” said a senior Hong Kong practitioner who has been practicing kendo, a Japanese combative martial art, consistently for more than five years. The practitioner told me that kendo helps him to cultivate a strong mind. Many practitioners had similar ethical reflections, which led me to ask, How does kendo serve as a tool of self-cultivation?

Hong Kong fans of Japanese culture are often drawn to the sport by the iconic image of samurai fashion. Although kendo is not the most popular sport in Japan (the All Japan Kendo Federation counted 1.8 million practitioners in 2017), the martial art is noteworthy because its practitioners devote themselves to the practice for years, even decades, in pursuit of moral self-cultivation. Like the man quoted above, many kendo practitioners regard kendo as a life practice (Cantonese: sau hang; Mandarin: xiu xing, 修行). This term has a strong connotation of spiritual exercise in Chinese, and an association with ascetic practices. It accurately reflects a feature of kendo—practitioners engage in a highly intensive, exhausting, and challenging combative activity that forces them to endure hardship and injuries. Yet, many dedicated practitioners are more than willing to endure such rigors.

Photo of a practice room with numerous people in kendo gear. — **Hong Kong kendo practitioners in their regular practice.** Jingyi Tian

The ideal status and traits of the better person produced through kendo practice vary from individual to individual. Practitioners have similar physical experiences, but their own interpretations and goals. Kendo works as a tool for personal growth for some practitioners. Others find kendo helpful in learning how to cultivate social relationships. I will highlight three examples to showcase the range of practitioners’ ethical desires: a financial trader who wants to become a person who can make sharp and accurate decisions at work through better control of his ego; a Christian who aims to practice compassion and love through kendo, which helps him to do a better job as a manager; and a young practitioner who seeks self-empowerment to cope with the harsh yet routinized work. They all have a telos in a Foucauldian sense, namely, a goal of pursuing an “ethical self”—a status or a state of being that they wish to achieve.

A financial trader
Edward is a financial trader in his forties. Before he began learning kendo, he read the book Gorinsho (TheBook of Five Rings), which is filled with stories of a famous Japanese swordsman, Musashi Miyamoto. Edward told me that both kendo and his job require making the right decision at the right moment under pressure. In kendo, a combatant needs to practice how to manage their fear or anxiety, which helps to build up inner power. Edward insists that kendo helps him make good decisions. In that sense, he believes that kendoinstills self-control and a tranquil mindset, both of which benefit his career. Although the inner power that practitioners seek is unlikely to solve all their worldly problems, their dedication to developing such power reflects their keen ethical aspirations.

A Christian
Christopher is a pious Christian and entrepreneur who opened his own business when he was in his forties. He adopted kendo as a training regimen that helps him learn how to get along well with his coworkers. Christopher has found that kendo’s moral messages align with his Christian beliefs—especially the call to show love and care in practice. When he spars with less experienced opponents, he tries to help them improve their kendo skills through courtesy, which he sees as another kind of training that he applies in his work life as well.

A young practitioner
Melissa is in her mid-twenties and works as a legal clerk. She told me that her routinized job made her feel powerless for not being able to make a difference. She wants to be more energetic and positive toward life, and kendo offers her a scheme in which she can transform herself.

To reach their goals, kendo combatants seek self-improvement and self-advancement through exhausting bodily practices that challenge their limits. They often trace kendo’s moral codes to Inazo Nitobe’s famous 1905 book, Bushidō:The Soul of Japan, which offers a genealogy of kendo’s moral framework that various practitioners’ find useful. Practitioners regard the moment they are faced with an attack as the moment to transcend their fear like a warrior; when presented with opportunity to initiate an attack, they practice self-control to repress the impulse. They strive to refine their inner selves in combat with a diligent attitude, and such refinement will not happen unless they keep practicing over the long term. In this process, physical combat not only trains the body but also constitutes ethical work, as the moment when one faces a challenge in combat is a good time to train “heart” (心). The written character of the heart is the same in Japanese (kokoro) and Chinese (Mandarin: xin; Cantonese: sam). In kendo culture, the heart represents inner power that can be obtained through training.

Although the inner power that practitioners seek is unlikely to solve all their worldly problems, their dedication to developing such power reflects their keen ethical aspirations. Recalling Michel Foucault’s theoretical reflections on ethics and self-formation, practitioners adopt the moral framework of kendo practice as a “technology of the self” through which they hope to transform themselves and attain an ideal state of being. Practitioners hold that kendo practice helps them find the weaknesses in their own characters and become better people.

The demand for self-cultivation through kendo reflects a larger neoliberal social milieu in Hong Kong where individuals are left to individually cope with intense pressure from their jobs, including finances, harsh demands in the workplace, and routinized work life. Kendo’s moral framework provides a means for practitioners to build up a strong mindset to cope with their anxiety and suggests a culture of the body that emphasizes self-reliance, self-improvement, adaptability, and individualism. Their experiences resonate with similar patterns of self-cultivation among practitioners of yoga, judo, wingchun, and taichi.

Joseph Alter’s study on yoga in India shows that middle-class yoga practitioners adopted yoga practice as a spiritual antidote to the anxiety and pressure in their fast-paced capitalistic lifestyle. This work has inspired other scholars to contextualize bodily practices within a larger socio-moral landscape. The case of Hong Kong kendo practitioners suggests that kendo’s moral framework is particularly appealing to middle-class practitioners who experience extraordinary pressures in daily work life and culture.

Cite as: Tian, Jingyi. 2020. “Cultivating the Ethical Self in the Way of the Sword.” Anthropology News website, February 26, 2020. DOI: 10.1111/AN.1356

Society for East Asian Anthropology
Aaron Su
October 10, 2019

This piece is part of an SEAA series on “An Anthropology of Ethics in East Asia.” The articles highlight different aspects of moral values and ethical practices in a range of Asian regions. They examine how individuals cope with societal changes such as environmental crises, nationalism, economic development, and mobility through lens of everyday ethics.

Last year in Shanghai, I was taken by my friend Mei to an affluent corner of Songjiang District, an hour away from the city center. To our surprise, we encountered a poster of Lei Feng, a deceased People’s Liberation Army soldier known for his thrift and selflessness, hanging on the front gate of a housing community. I had been rambling about jobs and other frustrations when she seized the opportunity to stage a witty comeback by pointing and reading the text on the poster: “Xuexi Lei Feng, kuaile zhiyuan” (Learn from Lei Feng, a happy volunteer). She laughed a bit, and in that moment revealed to me the complex relationship between an ethical claim—one that is issued by the state, on full public display—and the less straightforward way that it came to be interpreted. Laughter, more precisely, bore the trace of Mei’s perception and interpretation, but it was also an opaque utterance that lacked the grounding of a defined conclusion.

Lei Feng poster in gated community. — **Lei Feng propaganda campaign in Shanghai, China, 2018.** Aaron Su.

I wanted her to explain to me the elements behind that humor, since comedy can tell so much about the perceived order of things, especially through implicit judgments about what the real or the serious actually is (Berlant and Ngai 2017). She started with a brief history: Lei Feng was a soldier in the early days of the socialist state, prized for his altruism and revolutionary allegiance. After losing his life from a truck accident at age 22, he became a mythic figure and the subject of a large-scale propaganda campaign. His life stories were substantiated by a diary, published in 1963, replete with praise for Chairman Mao. “I’m not sure why, but he’s still here today, and there’s so much of him around here,” she concluded. As the day progressed, this mismatch she was insinuating between history and the present grew more and more pronounced. Lei Feng’s face graced the front of murals, billboards, and banners everywhere in the wealthy suburbs. There seemed to be an underlying logic that persisted beneath the surface, but in practice it was dismissed by a brief chuckle and cast aside.Humor has traction in post-socialist China, as literary and journalistic sources corroborate. It slows politics down, pauses the drive toward conclusive judgments, and serves as a medium for critique in moments where ethical claims made by the state need to be contested or negotiated.I continued to wonder why Mei met the situation with an ambivalent affect such as humor, rather than the possible range of more direct, more conclusive judgments—approval, disdain, disengagement—so I continued to probe about the posters and about experiencing street propaganda more generally. A haziness loomed over her response, again accompanied by a laugh: “I usually don’t have the time to look, but it feels like the historical campaigns are much stronger recently.” Her observation was reminiscent of my friend Allen’s comments a week earlier, who noted too that recent campaigns “are so blatantly of the past” to the point that their incongruence with the present comes off as “funny.” Allen’s and Mei’s statements share much in common: they both sidestep the quest for comprehension, making a diversion to comedy to fill in the gaps where a conclusive understanding of a political phenomenon doesn’t yet appear to be possible. Humor has traction in post-socialist China, as literary and journalistic sources corroborate. It slows politics down, pauses the drive toward conclusive judgments, and serves as a medium for critique in moments where ethical claims made by the state need to be contested or negotiated.

Recourse to history is a growing trend in China, with Lei Feng representing just one instance in an emergent pattern of the state invoking history in order to stage ethical claims. As Angela Zito (2016) has observed, themes of Confucian filiality that were once not part of PRC dogma have made their way back into political campaigns, perhaps as a way to encourage forms of familial and elderly care that had been neglected in years past. On a similar note, Confucius has returned as a cultural theme and a mechanism of soft power, both in the expansion of mainland campaigns (Xi 2015) and in initiatives to establish educational institutions outside of China, although not without its discontents, some of whom are from the discipline of anthropology (Sahlins 2015).

But for many of those who experience these historically-inflected campaigns on a daily basis, attention is seldom devoted to contemplating their magnitude or political origin. On the contrary, my interlocutors spend more time considering how they should interpret and respond to these ethical pleas, producing indirect responses such as laughter and humor, which play with narrative space afforded by ambiguity. As Mei pulled out a trove of experiences with past political campaigns, she could not summon up strong feelings for or against their injunctions; she didn’t experience responses that matched up to the ethical charge of what she was being faced with. The campaigns were quite straightforward in content, but there was a level of confusion about how she or other individuals would interpret them and incorporate them into their own daily practices. This fundamental ambiguity took the shape of a Chinese idiom she muttered to me at the end of our conversation—sidongfeidong (denoting something along the lines of “seeming to understand something at face value is to really not understand it at all”).

Propaganda poster on the streets of Shanghai — **A banner with four Core Socialist Values and a promotion for the Chinese Dream campaign, Shanghai, China, 2018.** Aaron Su.

Consider the Core Socialist Values and Chinese Dream campaigns of recent years, which permeate Chinese streets to a greater extent than any other government initiatives. As Christopher Connery’s (2019: 9) analysis demonstrates, the message is clear-cut: these billboards feature both dynastic and socialist graphics, and they link the ideal Chinese life to ethical values “whose historical scope is civilizational.” At the same time, public responses to these displays of ideal ethical virtue (responses that are formed out of brief, real-time encounters, rather than detached analysis) are not as easily reducible to the straightforward messages they convey. Mei talked to me about these posters, with roundabout statements interspersed with chuckles or shifts in her tone. She alternated between earnest, knowledgeable analyses—“it wants to keep a memory going of national history”—with other more fleeting and rhetorical comments—“it feels like an advertisement.” Despite these vicissitudes, there remained a deeper uncertainty about what to do with the broad ethical imperatives placed in front of her eyes. As my informants’ responses to these campaigns reveal, laughter and moments of comedic relief shift the register of conversation to one less tied to reality, where a direct political judgment need not be made and where closure