Wednesday, January 16, 2008

Positive and Negative in Accord

Positive and Negative in Accord

The Use of the Entire Body in Karate

Imagine two karate-ka training kumite with each other and opponent “A” steps in with an oi-zuki (lunge punch) to the chest area of opponent “B”. What would a casual observer to this exchange answer if asked, “what did opponent “A” hit opponent “B” with?” The obvious answer would probably be “his fist”, but what about the idea that opponent “A” hit opponent “B” with his opposite hip, or perhaps his rear foot? The effectiveness of karate techniques comes not only from the part of the body that makes contact with your opponent, the “active” side, but from the effective utilization of the opposite, or “negative” side of the body.

The first introduction to this principle for the new karate-ka is the hikite, or draw hand. It is the movement of this opposite hand that increases the effectiveness of the technique being delivered, whether it’s a punch, strike, or block, by assisting in the rotation of the hips, increasing the speed and therefore the power in the technique, and providing balance and stability.

Another principle that is stressed early on is that of muscle relaxation. In Shotokan karate, we are taught that the main difference between a beginner and an advanced student is the speed at which the student can relax. Taken further, the advanced student, after many years of training and countless repetition, will develop the ability to control their muscle relaxation/tension among different muscle groups at the same time.

Combined with the principle of utilizing the “negative” side of the body that was mentioned earlier, the karate-ka is able to perform a technique and achieve the greatest effect possible with the minimum amount of effort.

Returning to the opening scenario of the oi-zuki, we can see how these concepts are brought together effectively. The power for this technique comes from the rapid and straight movement of the entire body forward. As a learning aid, we are taught to “hit with the hips” in executing an oi-zuki. To completely describe the actions of every muscle group during the execution of a proper oi-zuki would take pages of text and thousands of words, so for the sake of simplicity, we will focus on the major movements of the technique. Another important note is that the “negative” or “positive” side of a technique does not only mean left or right, but can also describe the actions of the top and bottom half of the body.

As the karate-ka face off, relaxed but alert to each other’s movements, opponent “A” sees an opportunity to deliver his oi-zuki. He is in a high front stance with his left leg forward and his right leg to the rear. In a fraction of a second, he tenses the muscles of the left leg, pulling his body forward, while simultaneously tensing the muscles of the right leg, pushing himself forward. His upper body and arms remain relaxed. The left foot will not leave the ground during the execution of this movement but after the initial thrust forward, the right foot will leave the ground and the karate-ka will relax the muscles of the right leg. As the right leg steps through, the left leg will switch from pulling to pushing and he begins the forward motion of the right hand towards his target. Up to this point the emphasis has been on the lower part of the body, which can be viewed as the “negative” side, but is providing the majority of the thrust and power for the end of the technique. Continuing with the technique, our karate-ka’s left hand begins to retract into hikite (draw hand) and his right hip is now in line with his left and will remain full face during final impact. As the right arm fully extends toward the center line of the body and the fist meets its target, the left hand is fully drawn back into hikite and this new “negative” side of the body, along with the firm planting of the left foot which provides a solid connection with the ground, allows the karate-ka to deliver the full shock and impact of the punch from the ground up and through the arm and out from the first two knuckles of the right hand.

It is important to note that any error in correct form will result in a technique that is weaker or perhaps totally ineffective. For example, tensing the upper body during forward motion may result in a decrease in speed to the target, therefore reducing power. Perhaps the left heel comes off the ground, assuming all other aspects of the technique are done properly, the punch will lack full power as the energy is reflected back into the body and out through the back heel.

Let’s examine another technique, the gyaku-zuki or reverse punch. The power behind this technique comes from the rapid rotation of the hips and torso from a half-face position, to a full face position. It is important to note that having the shoulders square to the target does not automatically translate into the hips being square to the target, so focusing on full rotation is a must. The rotation for this technique is assisted by the movement of the opposite hand into hikite position. As the hips begin to rotate forward, the right hand begins its forward motion and the left hand pulls backwards. The upper body is still fairly relaxed at this point and the both feet are firmly gripping the floor. It is likely that in a kumite situation, the right knee is slightly bent and as the right hand begins its forward movement, the muscles of the right leg tense and begin to straighten the leg, as well as propel the right hip forward. Just as in the oi-zuki, at the moment of impact there is a split second where the entire body tenses and then immediately relaxes, ready to move again.

Again, proper form is essential to the effectiveness of this technique, particularly in regards to rotation of the hips and the planting of the rear foot. Of course there must also be correct form in the hand and arm delivering the punch, but notice how much importance is placed on the proper coordination and utilization of all the other parts of the body that don’t come in direct contact with the target! A good drill for students that illustrates this point is to perform several gyaku-zukis on a makiwara without using hikite, or perhaps raising the heel of the back foot. After doing several of these and then doing them properly, the difference in power and effectiveness will be apparent. As students progress in their training, they will transition through these stages:

  1. Unconscious incompetence

The student neither understands or knows how to do something, nor recognizes the deficit or has a desire to address it.

  1. Conscious incompetence

Though the student does not understand or know how to do something, he or she does recognize the deficit, without yet addressing it.

  1. Conscious competence

The student understands or knows how to do something. However, demonstrating the skill or knowledge requires a great deal of consciousness or concentration.

  1. Unconscious competence

The student has had so much practice with a skill that it becomes "second nature" and can be performed easily (often without concentrating too deeply).

* Please read the attached addendum for additional information regarding this learning model.

As instructor trainees, it is important for us to recognize this and ensure that we share these concepts of the “negative” side of the body and relaxation with the students that we have been entrusted with. In doing so, I believe that progression will occur much faster, and produce an overall better karate-ka.

Addendum on The 4 Stage Learning Model

It is not clear who originated the very first “conscious competence” learning model. As well as various modern authors, sources as old as Confucius and Socrates are cited as possible earliest originators.

Gordon Training International is popularly considered to be the originator of the conscious competence model. The California-based Gordon Training organization, founded by Dr Thomas Gordon, states that their Learning Stages model called “The Four Stages for Learning Any New Skill”, was developed by former GTI employee, Noel Burch over 30 years ago and seems to be the most commonly referenced source in connection with the conscious competence theory.

In researching the origins of this learning model, I came across several sources of discussion on a possible 5th stage, which I believe speaks directly to our Kenshusei training. The idea is generally stated as “Conscious competence of unconscious competence”, which describes a person's ability to recognize and develop unconscious competence in others. This ability to recognize and develop skill deficiencies in others involves a separate skill set altogether and can take as much, if not more, effort and training as becoming competent in the skill sets we have already learned and hope to teach others!

Luis Santana

Triangle’s Best Karate

January, 2008

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