Rhythm in karate

Instructor Certification Course
April 19, 2008
Rhythm in Karate

Wendy Mach



Rhythm plays a fundamental role in every part of karate training. It is part of kihon, kata, and kumite practice. There is a rhythm to the execution of every technique. Nothing happens in isolation.

The most noticeable rhythm in karate is movement, the expansion and contraction of the muscles used to step, block, punch, and strike. However this is only one element of rhythm. In each technique there is also the rhythm of relaxation and tension of the muscles. Another part that is often overlooked or at least underemphasized is the rhythm of the breath. In the big picture, without breath there is no life. In the karate picture, without breath there is no kime, and without kime what you are practicing is not karate according to Sensei Nakayama.

In kihon training each technique is a combination of individual elementary actions. There is a rhythm to the sequence of these actions. Each action involves expansion and contraction of the appropriate muscles along with proper relaxation and tension of the muscles. Many techniques begin with most of the muscles of the body fully relaxed in order to generate speed quickly. It is then necessary to tense the entire body instantaneously at the end of a technique in order to produce kime. This is part of the rhythm of the technique.

Inhalation and exhalation are also important elements to the execution of every technique. Full, explosive exhalation at the end of a technique provides the internal tension necessary to produce kime. Movement, muscle relaxation, and breathing are all necessary elements for the proper rhythm of any karate technique.

When techniques are performed in combination, there is also a rhythm that connects one technique to the next. Sanbon-zuki is performed with a 1..2-3 rhythm. When stepping and kicking mae-geri, mawashi-geri, yoko-geri, ushiro-geri, the rhythm is 1..2..3..4. Some combinations can provide the optimal situation where the ending of one technique automatically provides a load for the next technique. An example of this would be stepping back age-uke, stepping forward mawashi-geri. As soon as the age-uke rear foot touches the floor, it instantaneously pushes off again for the kick. This should be performed with a rhythm like a rubber ball bouncing on a floor. The ball hits the floor and compresses to maximum tension, then instantly rebounds. The rhythm for this combination is 1-2.

The rhythm of the breath determines how quickly combinations of techniques can be performed. The breath must be synchronized with each technique so that combinations can flow together smoothly, and are performed with the proper amount of power.

It has been well established that the rhythm of movement is a fundamental element of kata performance. The total time that it takes to perform a kata may vary from individual to individual; however, the rhythm of the techniques must always remain the same. Once again most people associate the rhythm of a kata with the physical stepping and performing of techniques only. This is associated with the expansion and contraction of the muscles. The rhythm of relaxation and tension of the muscles also has an established rhythm and is more prominent in kata techniques that are performed with the feeling of muchimi. Kanku-dai and Sochin both have techniques that are performed with constant tension.

Every kata also has a breathing rhythm. In Advanced Karate-Do, a suggested breathing rhythm is listed for every kata. Though this is not an absolute rhythm. There are variations that are also acceptable. Even though the inhalation and exhalation rhythm is not firmly established, breathing must still be synchronized with the expansion and contraction, and relaxation and tension of the muscles for proper execution of each kata technique.

There are a few kata that have a very prominent breathing rhythm. Hangetsu requires controlled breathing during the performance. Kancho Kanazawa is well known for his breathing rhythm in this kata. Short inhalations with long exhalations are synchronized with the beginning movements of the kata to calm the spirit and to allow chi to circulate throughout the body.

The first movement of Unsu also incorporates a prominent breathing rhythm. The slow, deep inhalation of the breath is synchronized with raising the palms of the hands to chin level. This allows chi to enter the body through Yang-quan in the feet, move through the legs to gather in the Dan Tien, and rise up to the chest. The exhalation of the breath is then synchronized with pressing the palms of the hands out to both sides of the body. This sends chi outward through the arms leaving the body through Lao-gong in the hands.

In Shotokan karate there are various forms of kumite, and each has its own rhythm. In basic terms offensive kumite rhythm involves understanding an opponent’s movements in order to determine the optimal moment to attack so that your technique can hit the target with full power. Defensive kumite rhythm involves disrupting the rhythm of an opponent’s attack after he has begun his technique and is fully committed to it, but before it has fully developed.

In gohon kumite and sanbon kumite the rhythm of the attacks should be determined by the skill level of the karateka. Beginners should use a regular, natural rhythm for each attack of 1..2..3. This could be verbally announced or determined by the attacker. More skilled karateka can change the rhythm of the attacks to increase the degree of difficulty of the drill. These rhythms would be 1..2-3 and 1-2..3. They could be either verbally announced or determined by the attacker. The final rhythm for more advanced karateka would be an unannounced 1-2-3 continuous attack. This increases the intensity and degree of difficulty of the drill even more.

In jiyu ippon kumite and jiyu kumite it is the opponent’s rhythm of movement that becomes important for success. Do not move around in the same rhythm as your opponent. Move in his off-beat according to a weakness in his rhythm. Make sure to break your own movement rhythm in order to become unpredictable. Use the tactical skill of changing your rhythm to your advantage, while noticing your opponent’s rhythm and using it against him.

Once you understand your opponent’s rhythm, you can set him up using sen no sen or go no sen. The rhythm of your opponent’s attack will determine when you attack; either just as he is beginning his technique, or by leading his technique into a position that is advantageous to you. You could also attack during an off-beat of your opponent’s rhythm. Vary the rhythm of your attacks so that your opponent cannot determine your rhythm and counter in between techniques. Also try to vary your attacks so that your opponent falls behind your rhythm, and you can perform a finishing technique before he has time to react.

In any form of kumite practice the rhythm of the breath is just as important as the rhythm of movement. Movement of your opponent’s chest, stomach, or flaring of the nose can provide a noticeable rhythm for you to take advantage of to determine when he is about to attack or when it is most advantageous for you to attack. When not attacking or defending, slow, deep breaths help keep the body and mind calm. Proper exhalation leaves some air in the lungs. Do not fully exhale the breath because this will make the body limp, and provide an opening for your opponent to attack.

In kihon practice the rhythm of expansion and contraction of the muscles, and relaxation and tension of the muscles, is synchronized with the rhythm of the breath. Breathing enhances the muscles ability to relax, and also to concentrate maximum power into every technique. Fully exhaling the breath at the moment of impact of a technique is absolutely necessary to produce kime. Breathing should not be uniform, it should change accordingly with the techniques that are being performed.

In kata practice the rhythm of the expansion and contraction of the muscles, and relaxation and tension of the muscles has been previously established and must be adhered to exactly. The synchronization of the breath with the movements is important, but there are variations in the rhythm of inhalation and exhalation that are permitted. In some kata breathing is very prominent and noticeable during the performance.

In kumite practice the karateka tries to hide and vary the rhythm of his movement and breathing. The rhythm of movement should be unpredictable and the rhythm of the breath should be unnoticeable.

Self-defense situations have a predictable rhythm to the set of instinctual behaviors that occur in the escalation toward a physical confrontation. Physical confrontations begin with a simple disagreement between two people. If the disagreement is not resolved, it can escalate. The first level of escalation involves loud verbal abuse and posturing in order to appear larger and more threatening to the other person. If the disagreement is not resolved at this point, the confrontation may escalate to the next level. This involves moving into the other person’s physical space and gesturing. At this point the aggressor is “in your face” and pounding his fist or pointing his finger at you. The third level of escalation is where light physical contact is made for the first time. The aggressor will begin poking or physically pushing or grabbing you. It may still be possible at this level to diffuse the situation without anyone being injured. The final level of escalation is where the intention of the confrontational behaviors is to physically injure or maim the other person. This is where the “fighting” begins.

The escalation toward physical violence is instinctual and has a predictable rhythm. The timing of the escalation is not predictable though. A disagreement can explode into violence in minutes, or the resentment could fester for months before a physical attack is made. Just as in kata performance, the rhythm is well established, but the timing is dependent on the individual.

References:

Advanced Karate-Do by Elmar T. Schmmeisser, Ph.D.

25 Shoto-kan Kata by S. Sugiyama