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Phenomenology of Logak

boabom logak 3

Phenomenology of Logak


The title of this article may frighten the everyday reader. But, ampoule although you may not believe it, it deals with the most basic features imaginable. Any phenomenology is no more than the effort to unlock the absolutely distinctive and undeniable characteristics of a given phenomenon. We could say that the closest activity to phenomenology is pruning. As the gardener carefully cleans, clearing shoots and dry leaves until he finds all the points of the tree that connect directly to the roots; phenomenology is a method of thought that searches, step by step, to find the ultimate reality, the radical characteristic of the thing in question. It is through this process that the great philosopher Hans-Georg Gadamer (1977), in his quest to develop a phenomenology of experience, found in the heart of this phenomenon – paradoxically – its undefinability. Phenomenologically speaking experience is, above and beyond anything else, what cannot be reduced, defined or limited. Experience is just experience when it refers to nothing but itself, when it is unique, unrepeatable and indefinite. Equivalent phenomenological efforts have been made with regards to love, technique, freedom, forgiveness and knowledge. Our effort here is to describe the phenomenon of Logak.

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Those who practice any of the Mmulargan arts know that Logak is one of the particular varieties of the Boabom arts, which presents itself – in multiple forms – in the different disciplines that are taught in Northern and Southern Schools. There is Logak in Osseus Boabom, in Seamm Jasani, in Yaanbao, in Loam-Yagra. So, what is the distinctive feature of Logak? What differentiates Logak from all other arts (and from other phenomena)? In another way, what is the specific characteristic of Logak?

Let’s go step by step. If Logak is a variety of the Boabom arts, we should define first what we understand as Boabom. We will define Boabom as the art of developing movements and physical and physical actions to awaken the body (Asanaro 2007). From there, we will understand Logak as one of this possible forms or orientations for awakening the body.

If the body can be awakened through movements and specific actions, then the body is usually asleep. It is not useless to note that the great majority of the activities we do in our daily lives, the automatic and unthinking ones, reveal the inertia which engulfs our daily life.

We work, walk, eat, cook, talk, all without the slightest reflection on what we are doing. We just do it. Generally we take for granted a series of regularities in different situations that usually presents to us. Kierkegaard gave us an account of a circus which began to burn in flames in the middle of a performance. The owner quickly sent a clown to tell the audience to evacuate the big top. The poor clown received nothing but laughter in reply, and all the audience perished, victims of the fierce fire. As can be expected, everyone supposed that the news coming from a clown was nothing more than another joke.

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The majority of things we do require our body to be asleep. Hanna Arendt (1995) drew attention to how difficult our lives would be if at every instant we were to strive to be totally awake, attentive, and aware of what we do. Imagine how tiring and exhausting it would be to live in a state of permanent sensorial vigilance. Perhaps is not coincidence that the most attentive beings in the animal kingdom – the felines – are precisely (and by far) those who devote the greatest proportion of their day to sleep. It seems like the cost of the feline reflexes are paid for with checks made out to Morpheus.

To awaken  the body – and to keep it awake – requires great effort, and that effort must be compensated with rest and sleep. If we were alert all day like a lynx, we should sleep the 15 hours a day that the feline devotes to its rest.

Now haven given account of our first step, which is: the body is, usually, asleep. To wake it up requires effort. The Boabom Arts – and specifically Logak – are a system to awaken it.

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Let us take a step further. If an art (discipline, system) must be developed to awaken the body – as the Boabom Arts do – this means that the body cannot be awakened in just any way. To awaken the body, then, requires special techniques and movements, in short what the Ancient Greeks call ascesis. It is funny that what we today understand as ascesis (purity), has nothing to do with its original meaning: “Aes-kinesis” used to mean – for the Hellenes – preparation for movement, and designated the regimen that the athletes constantly and methodically lived, as required by the demands of their disciplines.

It is not by chance, then, that the Amato always emphasize the indispensableness of perseverance and persistence in the development of the Boabom Arts. It is not by chance, also, that Logak is not practiced in the first level of any of the Boabom arts. If something distinguishes Logak as a form of awakening the body it is that, before anything, Logak requires, as a necessary condition to its practice, previous and continuous preparation and training. Now we understand why anyone can take a Boabom class, but not everyone can do Logak.

So far we have taken two preperatory steps in our effort for finding the unique particularity of Logak. We said that Logak is a way to awaken the body, and the specific requirementof this art is that it requires that a previous and continuous training be developed.

But there is more. It is not enough to say that Logak is a way of awakening the body, a way characterized by continuous preparation and background of exercise. There is something more that distinguishes Logak. It is funny to note that Logak is characterized by its staging. When Logak is practiced, the Husam is organized in such a way that allows everyone to watch the Logak. It seems that the only Boabom Art that must be seen to be complete is Logak. Indeed, in its staging (as of a show, can be said) it is ratified by the corporal disposition, the prohibition of contact, the rhythm, the way of breathing, and the presence of an Amato, all of which Logak demands.

If Logak should be seen and performed, this means that it is trying to represent something; in another way it would not need this staging. When something is staged, it is to transmit synthetically something deep and complex. It is not for nothing that Calderon called society “the Theater of the World”.

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What is it that Logak tries to transmit? Without a doubt we can say that it tries to transmit a corporal and mental state. More specifically, a way of awaking the body. But, if we have said that Logak requires preparation, how can it be possible that we can awaken the body through Logak?  We cannot say, then, that Logak presents a way of awaking the body, because to do Logak the body must already be awakened. Eureka! We have found something: to do Logak one must have previously awakened the body. We are face to face with a great truth. Indeed, to do Logak it is not enough to be awake: one must stand on end and hypersensitize all of his senses, muscles, reflexes, and hairs. We are at last in condition of saying specifically what Logak is: Logak is a representation of the form that our body adopts, and presents, when it is taken to the highest possible level of attention, sensitivity, alertness, and awareness. Logak is a kind of pinnacle of awakening. In it our body, mind, and senses are as awake as they can possibly be. This is why Logak is so tiring, and because of this, so short. It is why, also, that when a Logak seminar is taught the body feels more awake than ever before. And it is why Logak turns into an impressive spectacle: a flash of light from different bodies, each with all of its senses like gears revolving at their maximum.


Francisco (Boabom – South)