Instructor Certification Course
May 24, 2008
Morote waza
Wendy Mach
The assignment for this month was to identify the morote waza in the Heian Nidan, Sandan, Yondan, Godan, Bassai Dai, Gankaku, and Hyaku Hachi Ho katas, and to determine how these techniques could be used to respond to modern acts of physical violence. I took a broad interpretation of this and looked at any technique that could be used as a two-handed response where both hands were assisting in performing the technique. For clarity the kata movement numbers from the BEST Karate series by Sensei Nakayama are used to identify each technique. In some applications additional kata techniques such as kicks are added when they fit into the flow of the response. For Hyaku Hachi Ho the techniques are listed by name.
Historically a kata was used by a particular family as a mnemonic to help remember the techniques of their personal fighting system. So it makes sense that each technique would be used for a different act of physical violence. One kata would not have five different responses to a right punch. Even though various kata are being examined here, I still tried to list responses to as many different acts of physical violence as possible.
Heian Nidan
Movements #1,2,3 Defense against a double shoulder grab.
#1 Bring both arms up to knock the attacker’s hands off of your shoulders while stepping in between his legs.
#2 Grab his collar with your left hand and pull while punching him with your right fist.
#3Grab his belt with your right hand and pull while striking his throat with your left wrist. This will make him fall backward.
Movement #4 Defense against an attempted right grab.
#4 Strike the attacker’s right arm with your left wrist and punch up under his chin with your right fist.
Movements #4,5,6 Defense against a left punch coming from your right side.
#4 Strike the attacker’s left arm with your right wrist and punch the side of his jaw with your left fist.
#5 Strike down inside his left arm with your left forearm.
#6 Punch his jaw or throat with your right fist.
Movement #11 Defense against a right grab of your left lapel.
#11 Strike down inside the attacker’s right elbow with your left forearm. This will lower his head setting him up for a thrust to his throat using your right spear hand.
Movement #22 Unbalance an attacker.
#22 Grab the attacker’s left wrist with your left hand keeping his arm low. Press your right forearm against his chest. Put your right knee behind his left knee and push against it unbalancing him while pressing your right forearm clockwise making him fall backward.
Heian Sandan
Movements #2,3 Put an attacker into a left arm bar behind his back.
#2 Grab the attacker’s left wrist with your right hand.
#3 Wrap the inside of his left elbow around the inside of your left elbow bending his arm. Grab the back of his shoulder with your left hand and twist his arm behind his back grabbing the back of his shirt with your right hand.
Movements #5,6 Put an attacker into a right arm bar behind his back.
#5 Grab the attacker’s right wrist with your left hand.
#6 Wrap the inside of his right elbow around the inside of your right elbow bending his arm. Grab the back of his shoulder with your right hand and twist his arm behind his back grabbing the back of his shirt with your left hand.
Movements #7,8 Defense against a left mid-level punch.
#7 Strike the attackers left arm with your left wrist moving to the side and punch his ribs with your right fist.
#8 Grab his left wrist with your left hand straightening his arm. Strike his elbow with your right palm locking it.
Add #9 Turn your body counter-clockwise keeping constant pressure on his elbow using it as a fulcrum. This will unbalance him sending him away from you, or break his arm.
Heian Yondan
Movements #1,3 Defense against a right face punch.
#1 Turn away from the punch grabbing the attacker’s wrist with your right hand and strike his elbow with your left palm.
#3 Press his elbow downward with your left palm while holding his wrist with your right hand. This forces him to his knees. Punch him in the back of the head with your right fist.
Movement #2 Defense against an attempted grab and tackle with the attacker’s head on your left side.
#2 Strike both palms down on the back of the attacker’s neck. Place your hands on both sides of his head and twist it clockwise while raising your palms. This turns him away from you and bends him backward. This movement can be continued to throw him away from you.
Movement #4 Defense against a right grab of your right elbow.
#4 Cover the attacker’s hand with your left hand so that he cannot escape. Swing your right forearm up over his and press downward forcing him to bend over.
Add #5,6 Kick the side of his knee with your left heel to make him fall, then hammer fist his neck or face with your left fist.
Movement #11 Defense against a right hand hair grab.
#11 Strike the attacker’s inner thigh with your left knife hand. Grab his right wrist with your left hand to hold it in place and strike his neck with your right knife hand.
Add #12 Kick his inner thigh or groin.
Movement #14 Defense against a double throat grab.
#14 Bring both fists together punching under the attacker’s chin. Strike down against both of his elbows grabbing his arms.
Add #15 Knee his inner thigh or groin.
Add #16 Twist his shoulders clockwise.
Add #17 Then counter-clockwise to throw him.
Movement #18 Defense against a left round punch.
#18 Step inside the punch and strike the attacker’s left arm and shoulder with your fists. Then hammer fist his jaw with your right fist.
Add #19 Knee his inner thigh or groin.
Add #20,21 Continue punching him.
Movements #22,23,24,25 Defense against multiple punches, right punch first.
#22 Strike the attacker’s right arm with your left wrist pressing it outward and immediately punch the same arm with your right fist.
#23 Strike his left punching arm with your right wrist pressing it outward and immediately punch the same arm with your left fist.
#24 Strike his shoulder with your left fist and punch his solar plexus with your right fist.
#25 Slap his ears with your palms then grab his neck pulling him into a knee kick to the groin or head.
Add #26 Turn and twist his neck to throw him.
Heian Godan
Movement #3 Defense against a left grab of your right elbow.
#3 Circle your right forearm around the outside of the attacker’s arm locking his elbow joint and turning him away from you. Punch him in the face with your left fist.
Movements #6,7,8 Twist the attacker around and put him into a strangle hold.
#6 Turn the attacker away from you wrapping your right elbow around his neck under his chin and pressing his hips away with your left hand.
#7 Quickly spin him around to face you cross grabbing his collar and stepping behind his legs with your right foot.
#8 Push him to the ground over your right leg and press your forearms against his neck to strangle him.
Movements #9,10 Defense against a right overhead attack.
#9 Raise your crossed arms to catch the attacker’s raised arm.
#10 Grab his right wrist with your hands and pull his arm back to your right hip twisting his arm so that the elbow is upward.
Add #11 Strike his elbow with your left hand to either force him to the ground or break his elbow.
Movements #17,18,19,20 Close fighting with a throw and strangle.
#17 Move into the attacker hitting his throat with your right back fist, and his ribs with your left fist.
#18 Turn your right hip into him while grabbing his right wrist with your left hand and punching up under his chin with your right fist.
#19 Continue turning to throw him to the ground. Kneel down cross grabbing his collar.
#20 Pull your fists apart to strangle him.
Movement #21 Throw an attacker who is on your right side.
#21 If someone is attempting to punch or grab you, step to his left and block his arm to the side with your left palm while striking his solar plexus or groin with your right palm. Wrap your right arm around his thigh and lift up while pushing away and down against his neck with your left hand. This will push him over onto his back.
Movement #23 Throw an attacker who is on your left side.
#23 If someone is attempting to punch or grab you, step to his right and block his arm to the side with your right palm while striking his solar plexus or groin with your left palm. Wrap your left arm around his thigh and lift up while pushing away and down against his neck with your right hand. This will push him over onto his back.
Bassai Dai
Movement #1 Defense against a double grab of your right wrist.
#1 Grab your right fist under the attacker’s wrist with your left hand. Rotate your wrists to the left and upward. Step forward pushing against his chest making him fall backward.
Movement #18 Grabbing an attacker’s right arm, then kick and throw him.
#18 Grab the attacker’s right wrist with both hands.
Add #19 Pull him in toward you while kicking the front of his knee with your right heel.
Add #20 Turn and throw him down to the ground.
Movements #22,23 Defense against an attempted double grab of your shoulders.
#22 Bring both arms up striking under the attacker’s wrists.
#23 Strike inward with both hammer fists to his ribs.
Movement #25 Defense against a right hand lapel grab.
#25 Strike down on the inside of the attacker’s elbow with your right knife hand. Grab underneath his elbow with your right hand and pull upward while pressing away and down on his neck with your left hand. This will bend him backward.
Movements #29,30,31 Defense against a bear hug from the front. (A woman’s defense)
#29 Strike the attacker’s inner thigh with your right hammer fist.
#30 Grab the package with your fight hand and yank up while striking his other thigh with your left hammer fist.
#31 Grab the package with your left hand and yank it again while striking his left thigh again with your right hammer fist.
Movements #33,35,37 Defense against a hair grab and pull.
#33 Lean into the attacker and simultaneously punch his face with your left fist and his groin with your right fist. Your left forearm should rise up attempting to knock his hand off of your hair.
#35 Kick the side of his knee with your left foot and simultaneously punch his face with your right fist and his groin with your left fist.
#37 Kick the side of his knee with your right foot and simultaneously punch his face with your left fist and his groin with your right fist.
Gankaku
Movements #1,2 Defense when your wrists are tied together.
#1 Attacks to the face can be blocked by both hands circling upward.
#2 Attacks to the body can be blocked by both hands pressing downward.
Movements #6,7 Put an attacker into an armbar over your shoulder.
#6 Grab the attacker’s wrist with both hands rotating his arm so that his elbow is down, and place his arm on top of your shoulder.
#7 Pull down on his wrist to lock his elbow and raise him up on his toes.
Movements #8,9 Pull an attacker down stairs. (You are below the attacker)
#8 Move up the stairs rapidly and grab one or both of the attacker’s ankles.
#9 Turn around clockwise yanking his feet out from under him making him fall down the stairs. Punch him as he goes.
Movement #12 Defense against a right front shirt grab.
Add #10 Grab the attacker’s right fist with your left hand and swing your right arm over his right arm hitting the elbow and locking it.
Add #11 Step into him holding his right arm up with your right hand while striking him in the ribs or inner thigh with your left knife hand.
#12 Step in and push him away.
Movements #13,14 Defense against a double throat grab.
#13 Strike the attacker’s elbows from below with the palms of your hands.
#14 Circle your arms around the outside of his arms so that your elbows are on the top of his arms and press down to break his hold on your throat.
Movement #15 Throw an attacker behind you.
#15 Grab the attacker’s right wrist with your right hand and place it behind your neck while stepping behind his leg with your left foot. Pull your right arm straight while pushing your left arm against his body to make him fall backward.
Movements #16,17,18 Defense against a right grab of your left wrist.
#16 Raise your left wrist grabbing the attacker’s right wrist and raising his arm. Step in and strike his ribs with your right hammer fist.
#17 Reach under and around his right shoulder, turn counter-clockwise and throw him to the ground.
#18 Kneel down bending his right arm over your knee to lock the elbow joint and punch his ribs.
Movements #19,20 Defense against a shoulder grab from either side.
#19 Turn toward the attacker and strike the inside of his grabbing arm.
#20 Immediately wrap your arm behind and over his arm pressing downward on his elbow bringing him to his knees.
Movements #21,22,23,24 Defense against a right grab of your left shoulder from the front.
#21 Grab the attacker’s right wrist with your left hand and circle your right arm over his trapping it against your body.
#22,23 Jerk his body around by twisting counter-clockwise then immediately clockwise keeping downward pressure on his shoulder to bend him over toward the ground.
#24 Strike him in the back of the neck with your right back fist.
Movements #25,26 Defense against a right grab of your left shoulder from the top of the stairs. (You are below the attacker)
#25 Strike the attacker’s right wrist with your right knuckles.
#26 Circle your left arm over his arm and press down.
Add #27 Climb up the stairs holding on to his arm with your left hand.
Add #28 Punch him with your right fist.
Movements #29,30 Defense against a right wrist grab from the bottom of the stairs. (You are above the attacker)
#29 Strike the attacker on the back of his hand with your left knuckles, and grab his wrist.
#30 Pull his arm to the left side of your body.
Add #31 Kick him in the chest, throat, face, or any available target with your right foot.
Add #32 Punch him with your left fist.
Movements #33,34 Defense against a left wrist grab from the bottom of the stairs. (You are above the attacker)
#33 Strike the attacker on the back of his hand with your right knuckles, and grab his wrist.
#34 Pull his arm to the right side of your body.
Add #35 Kick him in the chest, throat, face, or any available target with your left foot.
Add #36 Punch him with your right fist.
Movements #39,40 Break an attacker’s right arm over your shoulder.
#39 Grab the attacker’s right wrist with both of your hands and pull his arm close to your left side.
#40 Spin clockwise under his arm turning it so that the elbow is down. Place his arm over your right shoulder and pull his wrist downward to break his arm.
Hyaku Hachi Ho
Reverse Wedge Block – Defense against a double wrist grab.
Cross your right wrist under your left wrist. Circle your wrists together upward and separate them forcefully breaking the attacker’s hold.
Roundhouse Block (left starting on top) – Defense against a right face punch (moving outside the attack).
Strike the attacker’s right wrist with your left hand. Wrap your right wrist under his right wrist grabbing it. Punch him in the jaw or ribs with your left fist.
Roundhouse Block (right starting on top) – Defense against a right face punch (moving inside the attack).
Strike the attacker’s right wrist with your right hand. Wrap your left wrist under his right wrist grabbing it. Punch him in the jaw with your right fist.
Circling Arms Overhead – Defense against a double lapel grab.
Strike the attacker’s elbows from below with the palms of your hands. Circle your arms around the outside of his arms so that your elbows are on the top of his arms and press down to break his hold.
Right Augmented Knuckle Punch – Defense against a double grab from behind.
(Begin with the Turning Inside-outward Block)
Turn counter-clockwise to face the attacker striking his elbow with your left elbow.
If this breaks his hold, grab his left arm. If this does not break his hold, wrap your left arm around his arms trapping them. Step forward and punch his jaw with your right fist.
(Continue with the Double Down blocks)
Wrap your right forearm around his neck and press downward making him fall backward.
Double Crane-head Blocks (right starting on top) – Defense against a right grab of your left elbow.
Cover the attacker’s hand with your right hand so that he cannot escape. Swing your left forearm up over his and press downward forcing him to bend over.
Double Crane-head Blocks (left starting on top) – Defense against a right grab of your right wrist.
Cover the attacker’s hand with your left hand so that he cannot escape. Circle your right hand clockwise over his right wrist and press downward forcing him to his knees.
Looking at augmented techniques where the opposite fist presses against the elbow, these morote-waza include morote-uke, morote-gedan-barai, and morote-zuki. There are various applications for these simple techniques within the Shotokan kata.
In Heian Nidan morote-uke could be used to unbalance an attacker. In Heian Sandan it could be used to defend against a mid-level punch. In Heian Yondan it could be used to defend against an elbow grab, or against multiple punches. In Heian Godan it could be used in conjunction with other kata techniques to turn an attacker and put him into a strangle hold, or it could be used with other kata techniques to throw an attacker then put him into a strangle hold.
In Bassai Dai morote-gedan-barai could be used to get out of a bear hug from the front. In Hyaku Hachi Ho morote-zuki could be used in conjunction with other kata techniques to defend against a double grab from behind.
The true test of a technique is its versatility. Can it be used in different situations against various modern attacks of physical violence? Here are only a few of the possible applications for these techniques. There are certainly others. Morote-waza can be used to defend against punches, grabs, and holds, and also to unbalance and throw an attacker. Clearly these are very versatile and useful techniques.
References:
Kyusho Secrets by Vince Morris
Shotokan’s Secret: The Hidden Truth Behind Karate’s Fighting Origins by Bruce D. Clayton
Wednesday, June 18, 2008
Friday, June 13, 2008
Paper 16: Rhythm in Karate
Rhythm is a vital component within every aspect of existence. From the macro level, rhythm can be found in how the universe expands and contract and the manner in which planets, moons and stars rotate around each other. In a micro view, rhythm pervades how the even the smallest organisms move, grow, communicate to how animals and humans live every day of their lives. Everything has a rhythm, easily identifiable or not. And most beings follow a rhythm, instinctual or from habit, which makes them most comfortable. Breaking a rhythm can be either by choice or by environment, and the reaction to the break in pattern will result in either a good or bad outcome. As with the rest of life, rhythm is also an essential part of karate, both the physical and mental aspects.
When a student trains karate they follow a pattern or rhythm. Depending on the pattern this can be highly beneficial or less so. Sensei Funakoshi wrote in his 20 Precepts, specifically Precept #11, that “Karate is just like hot water; if you do not give it continuous heat, it will become cold.” This means that you must train regularly, daily is best, in order to maintain your level and to see improvement. Taking time off, or only sporadically pursuing, from any physical activity, whether it be sports, fitness training, hobbies, education, work, whatever, you will lose what you have gained. It is essential to maintain a regular pattern and rhythm to achieve the optimal results from whatever the endeavor.
In karate, each training session also follows a rhythm. It begins with how the student prepares for training during the day by how they eat, rest, and arrive at the dojo. It continues as the student enters the dojo, bows to the school, sensei(s) and sempai(s), empties their mind, gets into their gi, ties their obi, and bows entering the training floor. The rhythm continues with class bowing to shomen and the sensei, then starting with a warm-up, training for the class being kihon, kata, kumite, cardio, strength, or some combination of any or all these things. The class rhythm finishes with stretching and a warm down, bowing to shomen and then to the instructor. The rhythm concludes when the student leaves the training floor, gets out of their gi, bows good-bye to the sensei and leaves the school, and how they replenish their bodies. Following a rhythm for the whole aspect of karate training is critical for optimal development. But rhythms can be good and bad. And following a bad rhythm can be detrimental to karate training. Coming late to class or arriving just seconds before may not give the student enough time to properly prepare. Rushing, or not properly participating a warm-up or warm-down/stretching can lead to injury. Not showing proper respect for yourself and others can result in “bad things” happening. Not taking care of your gi and obi may result in a private (and sometimes public) conversation with sensei. All these problems can be avoided by following a good rhythm.
On a more micro level in karate, rhythm is found in our movements and our breathing. For movements, more specifically, it is how each technique contracts and expands, and how muscles relax and flex. When training kihon, we are working towards the optimal rhythm of muscle movement in order to achieve the best speed and power. Beginners at karate appear very tense, slow and jerky in their movements because they have not learned how to properly use their bodies in these particular motions. Advanced students make the same movements look effortless, yet powerful, and fluid with great speed. The difference between the two types students is that the advanced student understands the proper rhythm of body movement to achieve the desired outcome. Or they are at least is on the right path, there is always room for improvement. What the advanced student has learned is how to isolate the muscles to be used in each part the movement, while at the same time relaxing all others, and then completing the movement with correct tension in all parts of the body at the same instant, resulting in good kime. Over time, continual focus on the rhythm of a particular movement or technique will result in better execution, including reduced effort, increased speed and timing, and more power.
In kihon training there is also rhythm found in combination techniques, it is not limited to single movements. In order to effectively execute a combination of, for example, kizame zuki, gyaku zuki, step forward with a mawashi geri, and ending with another gyaku zuki there must be rhythm. Otherwise it is not a combination, but rather just 4 separate techniques performed in a short period of time. Each component of the combination is learned independently, but then to become a combination in a karate-ka’s arsenal, it must be trained such that it flows fluidly, which means it must have rhythm. And as with individual techniques, good rhythm comes down to muscle movement, and how after one technique ends with kime, then how quickly relaxation occurs for the start of the next technique. Effective combinations come from the pairing of strong kihon movements with proper rhythm.
Breathing rhythm can both improve and impede a karate technique. Improper breathing, such as holding your breath, or inhaling or exhaling at the wrong time, and even the depth of the breath can dramatically reduce the power of technique, and that of all following techniques. Becoming “out of breath” is common in these types of circumstances, and you never want to be out of breath. This situation will result in less oxygen getting to your muscles, thereby reducing your ability to perform movements effectively. While training kihon, kata, and kumite it is important to focus on your breathing, when to inhale and exhale, how much to take in and let out, and when. This is a learned rhythm from extensive training. Left up to its own natural rhythm, our bodies tend to take short, shallow breaths when we are exerting ourselves. However, this is not nearly optimal. Therefore, practicing a breathing rhythm, along with proper muscle relaxation and tension, will result in the most efficient delivery of oxygen to the muscles and by the muscles, and also ensure our bodies are ready to deliver or receive a blow.
Kata is a predefined set of movements. It follows a pattern and has a cadence, which is not to be confused with rhythm. Cadence is more like timing, meaning it refers to the general speed at which each technique is performed (fast, slow, somewhere in between, or varying), and the elapsed time between techniques. Rhythm comes into play in the overall flow of the kata, specifically how an individual performs it. While two different students can perform the same kata with the same cadence, the rhythm can be very different. Just like with two musicians playing the same piece of music following the same tempo, the result can sound very different. One musician may play the piece correctly but lack good rhythm and piece sounds bland. The other may have exceptional rhythm and play the same piece, but makes the music comes alive. It’s the same with kata. Even though the two karate-ka performed the same kata at the same cadence or tempo, the results can be dramatically different. It’s the rhythm to which the movements and transitions are made that create the differences. Advanced students perform techniques with greater speed (generally), therefore their rhythm is different than a less advanced student. As pointed out in “The Textbook of Modern Karate” by Sensei Okazaki and Dr. Stricevic, the total time to perform kata has, over time, been slowly getting shorter. This is not because the cadence has been changed; it is because the performance of techniques has gotten faster as more has been learned about the intricacies of the art. And the resulting change in time to perform techniques has led to differences in rhythm because now there is a larger separation in the timing of fast techniques from slow. Knowing and practicing rhythm of movement and breathing can make a kata strong, fluid and beautiful. Bad rhythm will make the kata look like a jumble of 20, 54, or 100 disparate techniques.
Kumite builds on the rhythm honed in kihon and kata training by adding in the element of an opponent(s). In this case there are multiple rhythms which have to be dealt with. In one instance you have your own rhythm to maintain (which can include altering as the situation warrants). This is vitally important in any confrontation. If you are not in control of your own rhythm then someone else is. In the case of kumite, rhythm is really referring to the movements you are currently performing (could be just standing still, or moving around or even running) and the movements, which are as of yet undetermined, that you are about to make. Kumite (and in this case I am including non-structured fights) is random, therefore unlike kata you can never be sure which technique or maneuver you will employ next. Thus, you must be prepared to defend or attack at any given moment. Being out of your normal rhythm will reduce your ability to effectively and efficiently defeat your opponent. Therefore, it is important to maintain your rhythm while at the same time disrupt your opponent. Alternating the types of your movements, fast and slow, from big to small, in and out, side to side, high and low, while at the same time maintaining your breathing pattern and muscle relaxation and tension will allow you retain your internal rhythm while externally not show any predictable pattern. This will hopefully disrupt your opponent while at the same time keep you primed for optimal response. It is also important to try and determine if your opponent has a predictable rhythm and to see if you can somehow get them to either change it or lose it, or to capitalize on it. Kumite, or in general fighting, can look like a dance, where all parties are moving together, almost in unison. This happens when each adopts an external rhythm similar to the other(s). In most cases this is not desirable. In a fight you want to disrupt and dominate your opponent, not to dance. Furthermore, you don’t want your rhythm superseded or altered by them because now you have been taken out of your prime position. Therefore, you need to control your own internal and external rhythms as well as your opponents.
As first stated, rhythms are everywhere. They can be big, external patterns of movement, and they can be minute, internal manifestations. This pattern holds for karate as well. Externally, rhythm is found in how movements are strung together either in a predetermined way like with kata, or in a random way with kumite. These are external examples of rhythm. How and when to breath, relax and tense muscles, contract and expand are examples of internal rhythms. Both need to be honed continuously to gain improvement. Working on optimizing the internal rhythms first will allow the external rhythms to improve as well. All this tuning of the internal and external rhythms has to be done with a “training rhythm”, which will maintain your karate at a “boil”.
Craig Lawton
Triangle’s Best Karate
June 8, 2008
When a student trains karate they follow a pattern or rhythm. Depending on the pattern this can be highly beneficial or less so. Sensei Funakoshi wrote in his 20 Precepts, specifically Precept #11, that “Karate is just like hot water; if you do not give it continuous heat, it will become cold.” This means that you must train regularly, daily is best, in order to maintain your level and to see improvement. Taking time off, or only sporadically pursuing, from any physical activity, whether it be sports, fitness training, hobbies, education, work, whatever, you will lose what you have gained. It is essential to maintain a regular pattern and rhythm to achieve the optimal results from whatever the endeavor.
In karate, each training session also follows a rhythm. It begins with how the student prepares for training during the day by how they eat, rest, and arrive at the dojo. It continues as the student enters the dojo, bows to the school, sensei(s) and sempai(s), empties their mind, gets into their gi, ties their obi, and bows entering the training floor. The rhythm continues with class bowing to shomen and the sensei, then starting with a warm-up, training for the class being kihon, kata, kumite, cardio, strength, or some combination of any or all these things. The class rhythm finishes with stretching and a warm down, bowing to shomen and then to the instructor. The rhythm concludes when the student leaves the training floor, gets out of their gi, bows good-bye to the sensei and leaves the school, and how they replenish their bodies. Following a rhythm for the whole aspect of karate training is critical for optimal development. But rhythms can be good and bad. And following a bad rhythm can be detrimental to karate training. Coming late to class or arriving just seconds before may not give the student enough time to properly prepare. Rushing, or not properly participating a warm-up or warm-down/stretching can lead to injury. Not showing proper respect for yourself and others can result in “bad things” happening. Not taking care of your gi and obi may result in a private (and sometimes public) conversation with sensei. All these problems can be avoided by following a good rhythm.
On a more micro level in karate, rhythm is found in our movements and our breathing. For movements, more specifically, it is how each technique contracts and expands, and how muscles relax and flex. When training kihon, we are working towards the optimal rhythm of muscle movement in order to achieve the best speed and power. Beginners at karate appear very tense, slow and jerky in their movements because they have not learned how to properly use their bodies in these particular motions. Advanced students make the same movements look effortless, yet powerful, and fluid with great speed. The difference between the two types students is that the advanced student understands the proper rhythm of body movement to achieve the desired outcome. Or they are at least is on the right path, there is always room for improvement. What the advanced student has learned is how to isolate the muscles to be used in each part the movement, while at the same time relaxing all others, and then completing the movement with correct tension in all parts of the body at the same instant, resulting in good kime. Over time, continual focus on the rhythm of a particular movement or technique will result in better execution, including reduced effort, increased speed and timing, and more power.
In kihon training there is also rhythm found in combination techniques, it is not limited to single movements. In order to effectively execute a combination of, for example, kizame zuki, gyaku zuki, step forward with a mawashi geri, and ending with another gyaku zuki there must be rhythm. Otherwise it is not a combination, but rather just 4 separate techniques performed in a short period of time. Each component of the combination is learned independently, but then to become a combination in a karate-ka’s arsenal, it must be trained such that it flows fluidly, which means it must have rhythm. And as with individual techniques, good rhythm comes down to muscle movement, and how after one technique ends with kime, then how quickly relaxation occurs for the start of the next technique. Effective combinations come from the pairing of strong kihon movements with proper rhythm.
Breathing rhythm can both improve and impede a karate technique. Improper breathing, such as holding your breath, or inhaling or exhaling at the wrong time, and even the depth of the breath can dramatically reduce the power of technique, and that of all following techniques. Becoming “out of breath” is common in these types of circumstances, and you never want to be out of breath. This situation will result in less oxygen getting to your muscles, thereby reducing your ability to perform movements effectively. While training kihon, kata, and kumite it is important to focus on your breathing, when to inhale and exhale, how much to take in and let out, and when. This is a learned rhythm from extensive training. Left up to its own natural rhythm, our bodies tend to take short, shallow breaths when we are exerting ourselves. However, this is not nearly optimal. Therefore, practicing a breathing rhythm, along with proper muscle relaxation and tension, will result in the most efficient delivery of oxygen to the muscles and by the muscles, and also ensure our bodies are ready to deliver or receive a blow.
Kata is a predefined set of movements. It follows a pattern and has a cadence, which is not to be confused with rhythm. Cadence is more like timing, meaning it refers to the general speed at which each technique is performed (fast, slow, somewhere in between, or varying), and the elapsed time between techniques. Rhythm comes into play in the overall flow of the kata, specifically how an individual performs it. While two different students can perform the same kata with the same cadence, the rhythm can be very different. Just like with two musicians playing the same piece of music following the same tempo, the result can sound very different. One musician may play the piece correctly but lack good rhythm and piece sounds bland. The other may have exceptional rhythm and play the same piece, but makes the music comes alive. It’s the same with kata. Even though the two karate-ka performed the same kata at the same cadence or tempo, the results can be dramatically different. It’s the rhythm to which the movements and transitions are made that create the differences. Advanced students perform techniques with greater speed (generally), therefore their rhythm is different than a less advanced student. As pointed out in “The Textbook of Modern Karate” by Sensei Okazaki and Dr. Stricevic, the total time to perform kata has, over time, been slowly getting shorter. This is not because the cadence has been changed; it is because the performance of techniques has gotten faster as more has been learned about the intricacies of the art. And the resulting change in time to perform techniques has led to differences in rhythm because now there is a larger separation in the timing of fast techniques from slow. Knowing and practicing rhythm of movement and breathing can make a kata strong, fluid and beautiful. Bad rhythm will make the kata look like a jumble of 20, 54, or 100 disparate techniques.
Kumite builds on the rhythm honed in kihon and kata training by adding in the element of an opponent(s). In this case there are multiple rhythms which have to be dealt with. In one instance you have your own rhythm to maintain (which can include altering as the situation warrants). This is vitally important in any confrontation. If you are not in control of your own rhythm then someone else is. In the case of kumite, rhythm is really referring to the movements you are currently performing (could be just standing still, or moving around or even running) and the movements, which are as of yet undetermined, that you are about to make. Kumite (and in this case I am including non-structured fights) is random, therefore unlike kata you can never be sure which technique or maneuver you will employ next. Thus, you must be prepared to defend or attack at any given moment. Being out of your normal rhythm will reduce your ability to effectively and efficiently defeat your opponent. Therefore, it is important to maintain your rhythm while at the same time disrupt your opponent. Alternating the types of your movements, fast and slow, from big to small, in and out, side to side, high and low, while at the same time maintaining your breathing pattern and muscle relaxation and tension will allow you retain your internal rhythm while externally not show any predictable pattern. This will hopefully disrupt your opponent while at the same time keep you primed for optimal response. It is also important to try and determine if your opponent has a predictable rhythm and to see if you can somehow get them to either change it or lose it, or to capitalize on it. Kumite, or in general fighting, can look like a dance, where all parties are moving together, almost in unison. This happens when each adopts an external rhythm similar to the other(s). In most cases this is not desirable. In a fight you want to disrupt and dominate your opponent, not to dance. Furthermore, you don’t want your rhythm superseded or altered by them because now you have been taken out of your prime position. Therefore, you need to control your own internal and external rhythms as well as your opponents.
As first stated, rhythms are everywhere. They can be big, external patterns of movement, and they can be minute, internal manifestations. This pattern holds for karate as well. Externally, rhythm is found in how movements are strung together either in a predetermined way like with kata, or in a random way with kumite. These are external examples of rhythm. How and when to breath, relax and tense muscles, contract and expand are examples of internal rhythms. Both need to be honed continuously to gain improvement. Working on optimizing the internal rhythms first will allow the external rhythms to improve as well. All this tuning of the internal and external rhythms has to be done with a “training rhythm”, which will maintain your karate at a “boil”.
Craig Lawton
Triangle’s Best Karate
June 8, 2008
Wednesday, June 4, 2008
Rhythm in Karate
Stratton Lobdell
Rhythm in Karate
May 2008 Instructor training assignment.
Rhythm (from Greek rhuthmos, "any measured flow or movement, symmetry") is the variation of the length and accentuation of a series of sounds or other events. In karate, the rhythm of our movements determines the speed of an encounter. Rhythm is particularly important in the practice of kata. As discussed by Okazaki Sensei and Dr. Stricevic in the “Textbook of Modern Karate”, the rhythm of kata has changed much since Funakoshi Sensei introduced the world to Shotokan Karate. As the rhythm has changed, katas have become shorter in time and changed the type and degree of athleticism necessary to perform kata.
Howard Goodall, author of numerous books on music, presents theories that rhythm recalls how we walk and the heartbeat we heard in the womb. However neither would seem to have any survival value in Man's evolution. More likely is that a simple pulse or di-dah beat recalls the footsteps of another person. Our sympathetic urge to dance is designed to boost our energy levels in order to cope with someone, or some animal chasing us - a fight or flight response. It is possibly also rooted in courtship ritual
We will leave the courtship rituals to another discussion, but it is important to realize that rhythm is a part of everything we do. As Shihan Robinson points out, karate is in everything we do as well. Walking down the street is karate; awareness of your surroundings, the way you walk to keep yourself always prepared to move, the speed and length of your steps. The rhythm of your gait is part of this.
Funakoshi Sensei predicted that as karate developed the rhythm of kata would increase and the duration of katas would decrease. There is no more striking example of this to me than the Tekki katas. When Funakoshi Sensei performed Tekki Shodan in 1935, the duration of the kata was a full 60 seconds. At the time that Okazaki and Stricevic published their book the average time to perform Tekki Shodan was 35 seconds. From personal experience, I have to slow the movements down to even take 35 seconds!
For kata to be most effective as a training tool the rhythm can be changed. There are optimal times for different katas to be performed and until a high level of proficiency is achieved with each kata there should be very little deviation from the time frame put forth by the instructor. To illustrate katas in which rhythm is of particular importance, Hangetsu and Empi are good opposites. Hangetsu is a slow and controlled kata with an extra emphasis on breathing. Hangetsu is from the Shorei school. Empi is quick, light, and acrobatic. Empi is from the Shorin school.
The rhythm of Hangetsu is slow and powerful with a moment of tension before the next movement. This 41 movement kata moves in time with the karateka’s breathing. This is one of the few kata that has increased in it duration since Funakoshi Sensei’s day. The rhythm of this kata lends itself to long term training. Hangetsu is a kata that can be performed without great impact and will continue to benefit strength and balance even for older karateka. This kata still includes explosive movements and provides anaerobic muscle conditioning as well as isometric strength training. The common mythology surrounding the Shorei school of kata is that these karateka were mostly inland farmers and the long plodding pace of their movements was best for long days of planting and work in the hot sun.
Empi is the other extreme. The rhythm of this kata is fast, the movements whip the karateka through combinations. Because of Empi’s rhythm it lends itself more to the younger karateka with its acrobatic jump and constant movement. This kata is another which has become shorter in duration over the years and is generally performed in less than 50 seconds as opposed to Funakoshi and Nakayama Sensei’s 60 seconds. This is likely also a result of this kata’s use in sport karate. Sport karate has pushed the rhythm of many kata to make them faster and more acrobatic. Empi is anaerobic and its 37 movement are almost all completed quickly. The Shorin school this kata comes from is said to have developed from the fisherman in Okinawa who were more accustomed to casting nets and had higher stances than their farmer counterparts.
In self defense rhythm plays a subtle but important role. The rhythm and tempo of a confrontation must be controlled carefully. Fast, frenetic movements will stimulate a frantic response from an opponent while controlled and relaxed movements can calm a situation. The karateka must be able to read his opponent and manipulate the rhythm of the confrontation to his benefit.
Karateka must also be aware of others effect on us. Most confrontations in the street are over quickly once they have moved to physical violence. The goal is to avoid such confrontations and this can often be accomplished by the use of rhythm in our speech. By speaking slowly and softly with respect and deference most confrontations can be defused. Funakoshi Sensei used this method as a first line of defense in many situations. He was singled out for his ability by his instructors as he relates in his autobiography a particular walk home from a moon viewing party. He was sent by Master Itosu to speak to their, would be assailants. “Perhaps, this is a case of mistaken identity?” he said, knowing very well that he and his group were perfectly capable of defending themselves against these men. This is an example of the diplomatic use of karate’s other weapons; calm demeanor, control over natural fight/flight response, and clear thinking. By dictating the rhythm of the confrontation Funakoshi Sensei avoided what could have been a costly altercation for both sides.
It is important for us to understand rhythm not just as an aspect of karate but is an integral part of how we relate to the world around us. Humans see the world in terms of patterns and events. Our day to day lives are structured by rhythm; wake up, eat, work, train, sleep, repeat. We walk with a rhythm, one foot in front of the other again and again. Our hearts beat with a rhythm that structures everything down to the music we listen to. Because rhythm pervades every aspect of our lives, a deep understanding of this rhythm can give us greater insight into our karate. It can also help us to understand when the rhythm must be changed.
Breaking rhythm on ones own terms allows the karateka to create openings. Becoming focused on or lulled into rhythms is the ultimate trap. Once lost in a rhythm an opponent become completely vulnerable. This is a concept which warrants deep study. This is a concept which pervades the art of Judo. The ultimate goal of Judo is to break the opponents balance and throw him to the ground. This is usually accomplished by breaking the rhythm of his movement, or by changing the rhythm of ones own movement so that it disrupts the opponent. This is an important lesson for all martial artists.
To create an opportunity to end a conflict, we must render our opponent vulnerable. By changing our rhythm we are out of sync with our opponent and openings become available. To understand karate one must understand rhythm.
Rhythm in Karate
May 2008 Instructor training assignment.
Rhythm (from Greek rhuthmos, "any measured flow or movement, symmetry") is the variation of the length and accentuation of a series of sounds or other events. In karate, the rhythm of our movements determines the speed of an encounter. Rhythm is particularly important in the practice of kata. As discussed by Okazaki Sensei and Dr. Stricevic in the “Textbook of Modern Karate”, the rhythm of kata has changed much since Funakoshi Sensei introduced the world to Shotokan Karate. As the rhythm has changed, katas have become shorter in time and changed the type and degree of athleticism necessary to perform kata.
Howard Goodall, author of numerous books on music, presents theories that rhythm recalls how we walk and the heartbeat we heard in the womb. However neither would seem to have any survival value in Man's evolution. More likely is that a simple pulse or di-dah beat recalls the footsteps of another person. Our sympathetic urge to dance is designed to boost our energy levels in order to cope with someone, or some animal chasing us - a fight or flight response. It is possibly also rooted in courtship ritual
We will leave the courtship rituals to another discussion, but it is important to realize that rhythm is a part of everything we do. As Shihan Robinson points out, karate is in everything we do as well. Walking down the street is karate; awareness of your surroundings, the way you walk to keep yourself always prepared to move, the speed and length of your steps. The rhythm of your gait is part of this.
Funakoshi Sensei predicted that as karate developed the rhythm of kata would increase and the duration of katas would decrease. There is no more striking example of this to me than the Tekki katas. When Funakoshi Sensei performed Tekki Shodan in 1935, the duration of the kata was a full 60 seconds. At the time that Okazaki and Stricevic published their book the average time to perform Tekki Shodan was 35 seconds. From personal experience, I have to slow the movements down to even take 35 seconds!
For kata to be most effective as a training tool the rhythm can be changed. There are optimal times for different katas to be performed and until a high level of proficiency is achieved with each kata there should be very little deviation from the time frame put forth by the instructor. To illustrate katas in which rhythm is of particular importance, Hangetsu and Empi are good opposites. Hangetsu is a slow and controlled kata with an extra emphasis on breathing. Hangetsu is from the Shorei school. Empi is quick, light, and acrobatic. Empi is from the Shorin school.
The rhythm of Hangetsu is slow and powerful with a moment of tension before the next movement. This 41 movement kata moves in time with the karateka’s breathing. This is one of the few kata that has increased in it duration since Funakoshi Sensei’s day. The rhythm of this kata lends itself to long term training. Hangetsu is a kata that can be performed without great impact and will continue to benefit strength and balance even for older karateka. This kata still includes explosive movements and provides anaerobic muscle conditioning as well as isometric strength training. The common mythology surrounding the Shorei school of kata is that these karateka were mostly inland farmers and the long plodding pace of their movements was best for long days of planting and work in the hot sun.
Empi is the other extreme. The rhythm of this kata is fast, the movements whip the karateka through combinations. Because of Empi’s rhythm it lends itself more to the younger karateka with its acrobatic jump and constant movement. This kata is another which has become shorter in duration over the years and is generally performed in less than 50 seconds as opposed to Funakoshi and Nakayama Sensei’s 60 seconds. This is likely also a result of this kata’s use in sport karate. Sport karate has pushed the rhythm of many kata to make them faster and more acrobatic. Empi is anaerobic and its 37 movement are almost all completed quickly. The Shorin school this kata comes from is said to have developed from the fisherman in Okinawa who were more accustomed to casting nets and had higher stances than their farmer counterparts.
In self defense rhythm plays a subtle but important role. The rhythm and tempo of a confrontation must be controlled carefully. Fast, frenetic movements will stimulate a frantic response from an opponent while controlled and relaxed movements can calm a situation. The karateka must be able to read his opponent and manipulate the rhythm of the confrontation to his benefit.
Karateka must also be aware of others effect on us. Most confrontations in the street are over quickly once they have moved to physical violence. The goal is to avoid such confrontations and this can often be accomplished by the use of rhythm in our speech. By speaking slowly and softly with respect and deference most confrontations can be defused. Funakoshi Sensei used this method as a first line of defense in many situations. He was singled out for his ability by his instructors as he relates in his autobiography a particular walk home from a moon viewing party. He was sent by Master Itosu to speak to their, would be assailants. “Perhaps, this is a case of mistaken identity?” he said, knowing very well that he and his group were perfectly capable of defending themselves against these men. This is an example of the diplomatic use of karate’s other weapons; calm demeanor, control over natural fight/flight response, and clear thinking. By dictating the rhythm of the confrontation Funakoshi Sensei avoided what could have been a costly altercation for both sides.
It is important for us to understand rhythm not just as an aspect of karate but is an integral part of how we relate to the world around us. Humans see the world in terms of patterns and events. Our day to day lives are structured by rhythm; wake up, eat, work, train, sleep, repeat. We walk with a rhythm, one foot in front of the other again and again. Our hearts beat with a rhythm that structures everything down to the music we listen to. Because rhythm pervades every aspect of our lives, a deep understanding of this rhythm can give us greater insight into our karate. It can also help us to understand when the rhythm must be changed.
Breaking rhythm on ones own terms allows the karateka to create openings. Becoming focused on or lulled into rhythms is the ultimate trap. Once lost in a rhythm an opponent become completely vulnerable. This is a concept which warrants deep study. This is a concept which pervades the art of Judo. The ultimate goal of Judo is to break the opponents balance and throw him to the ground. This is usually accomplished by breaking the rhythm of his movement, or by changing the rhythm of ones own movement so that it disrupts the opponent. This is an important lesson for all martial artists.
To create an opportunity to end a conflict, we must render our opponent vulnerable. By changing our rhythm we are out of sync with our opponent and openings become available. To understand karate one must understand rhythm.
Subscribe to:
Posts (Atom)