I saw “Karate Kid” when it first
came out in movie theaters. Since that evening in 1984 I've
encountered countless children dressed in tiny white pajamas, and yet
the experience of a class filled with little Ralph Macchios seemed
entirely foreign to me.
There my son was draped in a suit of
white muslin, one trouser cuff folded up, the other catching under
his heel as he sidestepped across a room-sized mat. The white sash
that held his tunic closed could have wrapped around his waist three
times. Twice was traditional, and he had no intention of breaking
with tradition.
The boy who stepped onto that mat, fist
pressed against palm and bending into a deep bow, looked exactly like
the kid who bounced into my car, charged over the seats with his
muddy sneakers and had to be cajoled into sitting quietly and
snapping his own seatbelt into place.
He looked exactly like the kid who
threw his glove up in the air as he waited for the baseball to make
its way into his section of the outfield. The boy who routinely sat
criss-cross-applesauce during every other play. Coach can holler
“baseball ready” all he wants, the term floats into the air and
drifts away meaningless as he dances and stretches and plucks up
grass by the blade. “I love baseball,” he insists. “I play
great on the Wii.”
But this kid was different. Focused and
alert. Watching every one's move and keeping in step. This was
another sport entirely. And somehow he seemed to understand the
language.
“Hey, buddy,” I yelled to get his
attention. “Your sash is dragging on the floor. Let me help you
retie it.”
Even my son recognized I seemed lost
and in need of a translator.
“It's not a sash, mom. It's a belt.
And I know how to tie it.”
Since he started taking a martial arts
class I stand corrected. A lot.
The teacher isn't a master or a sensei,
he's just “sir.”
It's not just a uniform or a gi, it's a
dobok.
It's also not karate … or kung fu or
Aikido … it's tae kwon do.
It comes from Korea, not Japan or
China.
He riddles me with fact after fact,
which I try to sort out with help from a careful comparison of
dozens of Wikipedia entries. The variations, however, are lost on me.
What isn't lost on me is the
stick-straight body of my normally fidgety son, in rapt silence, as
he listens to the instructions of his new mentor.
As I watch from my place on the folding
chairs, I am sure I couldn't duplicate the dance. Each step has a
name I can't even pronounce.
It's all about the form. He moves
through some basic stances. Foot plant. Foot plant. Swivel. Punch.
Punch. Punch.
My son moves through this script
fluidly and with confidence, needing only small corrections here and
there. Leveling of shoulders, aligning of arms, position of feet. He
finds the alignment on his own through repetition.
For an hour, twice a week, he seems
like a different child. Focused and engaged. A little of this new
stance even stays on him for a while after his dobok is in the
laundry and he is swimming around in the tub.
He bows deeply, saying, “Yes, sir”
and “No, sir” gently and unprompted.
Meditation in movement.
His teacher asks questions:
“Win or lose, does it matter?”
He and his classmates chime in unison:
“No, sir.”
“What matters is that you do your
absolute best. It might not be 100 percent every day, but it's your
best for that moment.”
“Yes, sir.”
And in that moment, it didn't seem
foreign in the least.