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.
Thursday, May 29, 2008
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
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
Friday, April 18, 2008
Self Defense
What is self defense? One definition of the term is, “actions taken by a person to prevent another person from causing harm to one's self, one's property or one's home”. Another is, “Using whatever means necessary to quickly end a situation that offers you grievous bodily injury”. While sounding relatively simple and straightforward, there is a very fine line between what is considered self defense, or simply fighting. Knocking out the closest assailant of a group of 4 or 5 so you run away is self defense. Shooting a knife wielding assailant is self defense. Talking yourself out of a confrontation is self defense. However, the best self defense is to never put yourself in a bad situation to begin with.
With a general idea of what self defense is, it would be helpful to discuss what fighting is. Fighting is a participatory event. As defined in a legal context, it is "mutually agreed upon combat." That means you are actively engaged in the conflict and you are half the reason that it escalated. Fighting is illegal, self defense is legal. If you are walking down the street and are unexpectedly assaulted by six thugs who demand your money and then attack, defending yourself is self defense. Standing there, nose-to-nose, calling the guy all kinds of nasty things so he takes a shot at you is NOT self defense. It is fighting. Here is another interesting scenario that I came across that helps to define this further:
“If you are honestly trying to withdraw from physical danger and -- without provocation -- you are assaulted, that is self-defense. However -- and this is a big however -- backing away, while proclaiming that the guy has an amazing resemblance to various anatomical items, is *not* looked upon as being attacked ‘without provocation’. That is still participating and escalating the problem. Your may have been backing up, but your words were still attacking. In fact, some states have laws that state you cannot say certain things and then claim he attacked you for no reason”.
I went back to our assignment from December 2006, “Martial Arts & The Law”, and found the following:
Self-defense: It is generally a legal defense to a charge of homicide, assault, or battery to show that you had reason to believe that you were about to become the victim of serious bodily harm. However, you must simultaneously prove that you tried every other reasonable way of avoiding the situation. This includes running away and calling 911. You also lose this right to self-defense if you started the fight, chose to engage in mutual combat, or committed the defense solely in the protection of property. Errors in judgment don't count, either. So if you get into a fight on behalf of someone else, and that person is later found to have been the legal aggressor, then you become the aggressor's accomplice, and risk conviction for assault, battery, or manslaughter, as appropriate.
Deadly force: In North American jurisprudence, deadly force is defined as being an amount of force that can be expected to cause death or serious bodily harm. This includes the use of improvised weapons such as skillets and hammers as well as the use of obvious weapons such as firearms and knives. Attacks by boxers and other trained martial artists are generally construed as being sufficient to cause death or serious bodily harm. Courts usually allow people to use deadly force in self-defense when all three of the following conditions are met:
• All means of non-violent and non-lethal means of self-defense have failed.
• Death or serious bodily harm will result if you do nothing.
• The use of deadly force does not significantly increase the risk of injury for innocent bystanders. This third requirement usually precludes the use of firearms.
Excessive force: Excessive force refers to the use of more force than a judge decides was necessary to have caused an altercation to end. While this involves considerable armchair-quarterbacking, most judges consider it excessive if you keep hitting someone after he or she has fallen to the ground, or if you use weapons or unarmed combat skills in response to simple assaults. And as most criminal trials are ultimately tried by a judge without recourse to jury, the judges' opinions matter a great deal.
As an addition to our assignment, we were asked to take the 5 characteristics of an athlete and list them in our personal order of proficiency. The characteristics (in no particular order) are:
· Speed
· Strength
· Balance
· Endurance
· Flexibility
For myself, I would rank these in the following order:
· Strength – For the last two years, Sensei Robinson has been training me resistance and weight exercises that have resulted in a very noticeable increase in overall strength and power.
· Balance – This used to be number one for me before beginning training as I’ve always had a natural sense of balance. However, as fatigue sets in, balance becomes more difficult.
· Speed – My hand speed and reaction time is faster than my whole body propulsion speed, but I’m aware of it and try to use it to my advantage during kumite.
· Endurance – This one is a close tie with speed and for me is dependant on the activity. For aerobic type activity, I have definitely improved over the last several weeks because of the addition of cardio training outside of karate. For upper body exercises, my endurance is pretty good but as soon as my legs become involved, I tire quickly. It is because of this that I rank this as number 4 and I attribute some of this to my weight, which is currently 210lbs.
· Flexibility – This is the one that I continue to struggle with as I continue my training. It is definitely MUCH improved from when I first started training, but needs much more work.
This self assessment would have been impossible without the benefit of training on a daily basis and discovering these strengths and weaknesses. I believe that effective self defense incorporates the knowledge (and repetitive training) of effective techniques, along with the awareness of the situation and finally, knowledge of what our personal abilities and strengths are to quickly determine the best course of action in any given situation.
Luis Santana
Triangle’s Best Karate
April, 2008
Paper #15: Self Defense
Self defense is a concept that has been around since the beginning of time. In its simplest form, self defense is the act of protecting one’s self from a threat until that threat has been absolved. As times have changed so have the types of threats (or attacks) that people are confronted with. Therefore, the art of self defense has had to evolve at the same time and pace to remain viable option. Each situation in which some form of self defense is called for will have factors which dictate what type of response is appropriate; thus, the perception that one type of defense will be effective in all situations is naïve. In modern society we are faced with threats from, for example: highway snipers, road rage, suicide bombers and terrorist attacks, as well as from gangs, angry parents, bullies and thugs. For each of these aforementioned examples one’s actions to defend themselves would be dramatically different. For the purposes of this assignment the focus of this paper will be on close-proximity confrontations.
Today, the basic U.S. legal definition of self-defense is: allowing a person attacked to use reasonable force in their own defense and the defense of others. A person may use physical force to prevent imminent physical injury; however, a person may not use deadly physical force unless that person is in reasonable fear of serious physical injury or death. (http://en.wikipedia.org/wiki/Self-defense_%28United_States%29) The definition, in its complete form, includes the right to defend of one’s property, as well as a duty to retreat if possible. An individual can use self-defense up to the point where the threat from assault has been abated; otherwise, the continued use of force in the act of defense becomes an assault itself.
Putting aside all of the subtleties of the legal definition, there are several important points to note in the above description and expectations of self defense that apply to the actual act of effective self defense versus the legal definition. The word “imminent” implies that a person is able to perceive a threat from a potential attacker. This perception is a key element in mounting an effective defense. Being caught off-guard can dramatically alter the playing field between two opponents, a change which usually favors the aggressor and is a detriment to the victim. Therefore, situational awareness is of vital importance at all times. The phrase “to retreat if possible” conveys the idea that if a person can avoid a physical confrontation they should. Retreating should not be taken to only mean leaving or running, but also to mean being able diffuse the situation – to take away the threat. Swallowing one’s pride or admitting a fault, even if untrue, just to avoid a conflict can be a better alternative to a physical confrontation. The final point concerns judgment, specifically about how much force is permissible in the given situation. The person being attacked has to be able, at any point during the confrontation, to evaluate the level of the threat posed to them, thus potentially altering their method(s) of defense. Ignoring whether “deadly force” is called for or not, the point is that the victim has to constantly be focused and adapt as necessary as the situation evolves.
The points raised in the previous paragraph are important in understanding some of the mental aspects of self defense. Being able to accurately assess the situation is as important as the physical application of force.
Turning to the physical side of self defense, one has to consider what the necessary qualities are in order to best protect against a close-proximity threat/attack. Each of the following qualities has a direct affect on one’s ability to defend him or herself:
• Speed
• Strength
• Timing
• Endurance
• Flexibility
• Balance
• Agility
• Mobility
• Resilience
• Reflex
The above list represents a wide variety of capabilities, and thus it takes a tremendous amount of training in order to improve all of these. Working out in a gym (or similar type of exercise), or playing sports can enhance some of these qualities, such as strength, endurance and speed, but there are few activities which incorporate, to some degree, all of them including the mental aspects. Training in martial arts (depending upon the school and focus) can cover most, if not all, of these qualities. In addition, martial arts training exposes students to situations which require both the physical and mental aspects of defense, which is something you cannot get from a gym or a playing field. However, in the real world when it comes to an attack there are no rules, no legal and illegal, and no right or wrong. Anything goes; therefore, the person being attacked has to be prepared that anything can happen, and to respond and adapt quickly and decisively.
Speed – encompasses many aspects of physical movement, including: executing a block, kick or a strike, movement between positions (e.g. tai sabaki, enter/retreat), rate at which multiple techniques are delivered, and reaction. This is one of the most important qualities, as it is directly related to the ability to effectively direct an attack against an opponent. Without speed all techniques will be easily evaded by the opponent. Furthermore, speed, or more accurately acceleration, is one component in the generation of force. Higher speed, more acceleration, more force. For some individuals fairly high levels of speed come naturally, but there are limits. For others speed is something that has to be developed. In Shotokan karate speed is developed by: utilizing only the muscles required for the movement, increasing the ratio of fast-twitch muscle fibers to slow-twitch, and through relaxation during the movement until the point of impact/completion.
Strength – this particular quality, like speed, has a broad influence, specifically on technique delivery. To effectively and explosively execute a technique, strength is required for the technique itself, a kick for example, but also for supporting the body during the execution and impact of the technique. A strong kick without a strong stance is ineffective. Strong stances start from the ground up, and require not only leg strength but also a solid core. This quality should not be measured by how much someone can bench-press, but as an evaluation of overall musculature fitness and control. In karate we train kihon to improve overall muscle tone.
Timing – this attribute applies to both defense as well as offense. With proper timing, one can adeptly block or diminish the effectiveness of an attack with the possibility of eliminating the threat altogether. A counter attack is most effective when delivered when an opening is available, which is usually not for a very long period of time, therefore, being able to execute instantly is of utmost importance. In karate, like most martial arts, training with partners on timing drills enhances the ability to create openings and time attacks. Proper timing is a quality that comes naturally to some, but for most it requires extensive training become adept.
Endurance – this quality is not limited to the physical fitness of the person being attacked. Adrenaline, which will most likely be flowing during an assault for all parties involved, can increase the ability to sustain a prolonged encounter. However, physical fitness, or more specifically the fitness of the cardio-vascular system is key. Without good fitness even an adrenaline rush cannot be sustained for long. Efficient utilization of oxygen by the body, by means of good muscle tone, means that someone can maintain a high level of activity for long periods of time. However, in most attack situations, the people involved are most likely, during the actual physical portion of the encounter, in an anaerobic state. Endurance for anaerobic situations can be attained but requires non-traditional training methods. In Shotokan karate we aim to end encounters quickly, ideally with a single attack; this is not always possible so we train both aerobically and anaerobically. Kihon training, depending on the drill(s) will be either; kata is usually anaerobic which is why we focus heavily on this aspect.
Flexibility – being flexible has many benefits to an individual, including having the ability to attack any point on a target, as well as avoiding injury. Flexibility can be broken down in two ways: static and dynamic. Static flexibility refers to the ability of someone to stretch slowly in a particular direction. Dynamic refers to the range of motion of a particular movement when moving quickly, such as when kicking. Both are important and each can be improved over time. Our karate training places strong emphasis on this quality as it allows us increase our range of motion which is vitally important for both attacking and defending. We end our training, which is when our muscles and tendons are most warm, with stretching so that we can reduce the lactic acid buildup and so that our muscles “remember” the top end of their range.
Balance – this is probably one of the most important elements because, without proper balance, a person can not make effective movements, whether executing an attack, a block, or changing position. Not being able to maintain your balance leaves you vulnerable to an attack because your ability to move has been diminished. Moreover, improper balance when executing an attack can reduce the power that is able to be generated. Like many of the other qualities some people have natural balance, others have to work at it by understanding how their bodies move and what correct and incorrect body positions are. In karate we strive to always maintain balance through proper stances, positional relationship of the hips and shoulders, and controlled contraction and expansion of movements.
Agility – this quality refers to ability move smoothly and quickly, either when evading an attack without having to block (such as by “slipping” sideways), or when attacking for a fast strike and then immediately retreating out of “critical distance”. Relaxation is vital; being still will reduce a person’s agility. Having good agility improves other qualities such as timing and mobility. Karate training, in its most basic form, teaches that we block and then counter an attack. As we advance in our training, we learn that we don’t have to be so rigid.
Mobility – being able to move effectively, efficiently and quickly is essential in any physical encounter, whether you are countering an attack or attempting to flee. In the case of a physical exchange being able to move linearly (forward, backward, diagonally), side-to-side, and in a circular motion increases a person’s ability to avoid an attack as well as find and create openings. In Shotokan karate linear and side-to-side movements are predominate; however, in our school we also train to move less-traditional ways which increases our options in any given situation.
Resilience – in any given encounter even the best participant is likely to get hit. Being able to withstand a blow (kick, punch, strike, cut, hit with an object) is very important so that you can continue or flee the encounter. However, not every blow can be tolerated, but one can train their body to endure a significant amount. And this does not only apply to being struck, but also to the act of striking also. When counter-attacking you might not always hit a soft target, you might punch an elbow or kick a shin/knee, so your body has to be trained to be “harder” than your opponents, so that you can withstand these possibilities. While training karate we work to strengthen our bodies (hands, feet, forearms, shins, abdomen, etc.) to be able to endure being struck and offensive striking.
Reflex – having good reflexes adds to almost every quality listed. Reflexes are developed through repetition, so that motions are executed without thought, thereby dramatically increasing speed. Having fast reflexes requires that you are able to observe clearly what is happening or about to happen and then adapting instantly. In Shotokan karate kihon and kata training focus on repeating movements and motions over and over again until they become a reflex. Thinking about a punch or a kick will slow it down, so we perform high numbers of repetitions in order that someday these techniques will become a reflex.
Not included in the list of physical qualities or in the several points concerning the mental aspect of self defense are two additional items which need to be addressed: evaluation of the opponent and surroundings, and the commitment on the part of the person being attacked. Understanding (or evaluating) the situation you are in is extremely important to how and what you can do to defend yourself. All of these factors, such as: location & terrain, time of day, weather, attacker(s), on-lookers, your own physical state and situation, weapons (both to be used against you or by you), etc. are independent variables which, when taken into account, help dictate how you can and should react. Your reactions to these independent variables are the dependent variables, which could include submission, fleeing, or defending. In the case the choice is defending, the independent variables will also affect your options, creating more dependent variables, such as how do you defend against a weapon or multiple attackers, or someone who clearly dominates you in size and/or strength. It is important that you are able to quickly assess the elements of the encounter so that you understand the factors which will influence your actions (dependent variables). Furthermore, when choosing to defend yourself you have to determine your level of commitment to that act. Your defense will be ineffective if you cannot commit to fully eliminating the threat by means of (potentially) causing physical harm to the attacker.
My personal evaluation (on a scale of 1-10):
• Speed – 5 to 7 depending on the technique. Punches/strikes and mae geri at the higher end (7), body shifting and blocking (6), stepping forward and back (5).
• Strength – good (6), but could be better. For someone of my size and experience I would expect more both from a muscle point of view as well a technique delivery perspective.
• Timing – inconsistent, so it’s hard to say. Some days it seems really good, other days I can barely get out of my own way.
• Endurance – fair (5), but my recovery is lower (3).
• Flexibility – static is not very good, especially ankles, but is slowly getting better (3), dynamic is better but I need a bit of warm up of my hips to reach my current max for side/roundhouse kicks (6).
• Balance – this has always been a problem for me, ever since childhood. I struggle with this every day in training (3).
• Agility – Not a good quality in me, I tend to get stuck in place (3).
• Mobility – Again, certain aspects are better than others, but on average I would say I am middle of the road (5).
• Resilience – This is one area where I feel I am better than average, especially in the heat of the moment (7). I generally don’t notice painful things until I have had a chance to relax.
• Reflex – average, and getting better (6). The more I train, the more repetitions I do, the more I notice certain things happen without thought.
Conclusion:
There are a myriad of potential situations in today’s world where someone may have to defend themselves or others. No one can be prepared for all of them and no one kind of training alone is best. However, by training or practicing to improve the 10 physical qualities outlined in this paper, a person would be benefited in a physical encounter. If you add to that self-defense training and/or combative training, such as karate or other martial art styles, you will greatly increase your options. Furthermore, keen awareness of the situation, quick thinking and commitment also play an important role in determining the outcome.
Craig Lawton
Triangle’s Best Karate
April 6, 2008
Today, the basic U.S. legal definition of self-defense is: allowing a person attacked to use reasonable force in their own defense and the defense of others. A person may use physical force to prevent imminent physical injury; however, a person may not use deadly physical force unless that person is in reasonable fear of serious physical injury or death. (http://en.wikipedia.org/wiki/Self-defense_%28United_States%29) The definition, in its complete form, includes the right to defend of one’s property, as well as a duty to retreat if possible. An individual can use self-defense up to the point where the threat from assault has been abated; otherwise, the continued use of force in the act of defense becomes an assault itself.
Putting aside all of the subtleties of the legal definition, there are several important points to note in the above description and expectations of self defense that apply to the actual act of effective self defense versus the legal definition. The word “imminent” implies that a person is able to perceive a threat from a potential attacker. This perception is a key element in mounting an effective defense. Being caught off-guard can dramatically alter the playing field between two opponents, a change which usually favors the aggressor and is a detriment to the victim. Therefore, situational awareness is of vital importance at all times. The phrase “to retreat if possible” conveys the idea that if a person can avoid a physical confrontation they should. Retreating should not be taken to only mean leaving or running, but also to mean being able diffuse the situation – to take away the threat. Swallowing one’s pride or admitting a fault, even if untrue, just to avoid a conflict can be a better alternative to a physical confrontation. The final point concerns judgment, specifically about how much force is permissible in the given situation. The person being attacked has to be able, at any point during the confrontation, to evaluate the level of the threat posed to them, thus potentially altering their method(s) of defense. Ignoring whether “deadly force” is called for or not, the point is that the victim has to constantly be focused and adapt as necessary as the situation evolves.
The points raised in the previous paragraph are important in understanding some of the mental aspects of self defense. Being able to accurately assess the situation is as important as the physical application of force.
Turning to the physical side of self defense, one has to consider what the necessary qualities are in order to best protect against a close-proximity threat/attack. Each of the following qualities has a direct affect on one’s ability to defend him or herself:
• Speed
• Strength
• Timing
• Endurance
• Flexibility
• Balance
• Agility
• Mobility
• Resilience
• Reflex
The above list represents a wide variety of capabilities, and thus it takes a tremendous amount of training in order to improve all of these. Working out in a gym (or similar type of exercise), or playing sports can enhance some of these qualities, such as strength, endurance and speed, but there are few activities which incorporate, to some degree, all of them including the mental aspects. Training in martial arts (depending upon the school and focus) can cover most, if not all, of these qualities. In addition, martial arts training exposes students to situations which require both the physical and mental aspects of defense, which is something you cannot get from a gym or a playing field. However, in the real world when it comes to an attack there are no rules, no legal and illegal, and no right or wrong. Anything goes; therefore, the person being attacked has to be prepared that anything can happen, and to respond and adapt quickly and decisively.
Speed – encompasses many aspects of physical movement, including: executing a block, kick or a strike, movement between positions (e.g. tai sabaki, enter/retreat), rate at which multiple techniques are delivered, and reaction. This is one of the most important qualities, as it is directly related to the ability to effectively direct an attack against an opponent. Without speed all techniques will be easily evaded by the opponent. Furthermore, speed, or more accurately acceleration, is one component in the generation of force. Higher speed, more acceleration, more force. For some individuals fairly high levels of speed come naturally, but there are limits. For others speed is something that has to be developed. In Shotokan karate speed is developed by: utilizing only the muscles required for the movement, increasing the ratio of fast-twitch muscle fibers to slow-twitch, and through relaxation during the movement until the point of impact/completion.
Strength – this particular quality, like speed, has a broad influence, specifically on technique delivery. To effectively and explosively execute a technique, strength is required for the technique itself, a kick for example, but also for supporting the body during the execution and impact of the technique. A strong kick without a strong stance is ineffective. Strong stances start from the ground up, and require not only leg strength but also a solid core. This quality should not be measured by how much someone can bench-press, but as an evaluation of overall musculature fitness and control. In karate we train kihon to improve overall muscle tone.
Timing – this attribute applies to both defense as well as offense. With proper timing, one can adeptly block or diminish the effectiveness of an attack with the possibility of eliminating the threat altogether. A counter attack is most effective when delivered when an opening is available, which is usually not for a very long period of time, therefore, being able to execute instantly is of utmost importance. In karate, like most martial arts, training with partners on timing drills enhances the ability to create openings and time attacks. Proper timing is a quality that comes naturally to some, but for most it requires extensive training become adept.
Endurance – this quality is not limited to the physical fitness of the person being attacked. Adrenaline, which will most likely be flowing during an assault for all parties involved, can increase the ability to sustain a prolonged encounter. However, physical fitness, or more specifically the fitness of the cardio-vascular system is key. Without good fitness even an adrenaline rush cannot be sustained for long. Efficient utilization of oxygen by the body, by means of good muscle tone, means that someone can maintain a high level of activity for long periods of time. However, in most attack situations, the people involved are most likely, during the actual physical portion of the encounter, in an anaerobic state. Endurance for anaerobic situations can be attained but requires non-traditional training methods. In Shotokan karate we aim to end encounters quickly, ideally with a single attack; this is not always possible so we train both aerobically and anaerobically. Kihon training, depending on the drill(s) will be either; kata is usually anaerobic which is why we focus heavily on this aspect.
Flexibility – being flexible has many benefits to an individual, including having the ability to attack any point on a target, as well as avoiding injury. Flexibility can be broken down in two ways: static and dynamic. Static flexibility refers to the ability of someone to stretch slowly in a particular direction. Dynamic refers to the range of motion of a particular movement when moving quickly, such as when kicking. Both are important and each can be improved over time. Our karate training places strong emphasis on this quality as it allows us increase our range of motion which is vitally important for both attacking and defending. We end our training, which is when our muscles and tendons are most warm, with stretching so that we can reduce the lactic acid buildup and so that our muscles “remember” the top end of their range.
Balance – this is probably one of the most important elements because, without proper balance, a person can not make effective movements, whether executing an attack, a block, or changing position. Not being able to maintain your balance leaves you vulnerable to an attack because your ability to move has been diminished. Moreover, improper balance when executing an attack can reduce the power that is able to be generated. Like many of the other qualities some people have natural balance, others have to work at it by understanding how their bodies move and what correct and incorrect body positions are. In karate we strive to always maintain balance through proper stances, positional relationship of the hips and shoulders, and controlled contraction and expansion of movements.
Agility – this quality refers to ability move smoothly and quickly, either when evading an attack without having to block (such as by “slipping” sideways), or when attacking for a fast strike and then immediately retreating out of “critical distance”. Relaxation is vital; being still will reduce a person’s agility. Having good agility improves other qualities such as timing and mobility. Karate training, in its most basic form, teaches that we block and then counter an attack. As we advance in our training, we learn that we don’t have to be so rigid.
Mobility – being able to move effectively, efficiently and quickly is essential in any physical encounter, whether you are countering an attack or attempting to flee. In the case of a physical exchange being able to move linearly (forward, backward, diagonally), side-to-side, and in a circular motion increases a person’s ability to avoid an attack as well as find and create openings. In Shotokan karate linear and side-to-side movements are predominate; however, in our school we also train to move less-traditional ways which increases our options in any given situation.
Resilience – in any given encounter even the best participant is likely to get hit. Being able to withstand a blow (kick, punch, strike, cut, hit with an object) is very important so that you can continue or flee the encounter. However, not every blow can be tolerated, but one can train their body to endure a significant amount. And this does not only apply to being struck, but also to the act of striking also. When counter-attacking you might not always hit a soft target, you might punch an elbow or kick a shin/knee, so your body has to be trained to be “harder” than your opponents, so that you can withstand these possibilities. While training karate we work to strengthen our bodies (hands, feet, forearms, shins, abdomen, etc.) to be able to endure being struck and offensive striking.
Reflex – having good reflexes adds to almost every quality listed. Reflexes are developed through repetition, so that motions are executed without thought, thereby dramatically increasing speed. Having fast reflexes requires that you are able to observe clearly what is happening or about to happen and then adapting instantly. In Shotokan karate kihon and kata training focus on repeating movements and motions over and over again until they become a reflex. Thinking about a punch or a kick will slow it down, so we perform high numbers of repetitions in order that someday these techniques will become a reflex.
Not included in the list of physical qualities or in the several points concerning the mental aspect of self defense are two additional items which need to be addressed: evaluation of the opponent and surroundings, and the commitment on the part of the person being attacked. Understanding (or evaluating) the situation you are in is extremely important to how and what you can do to defend yourself. All of these factors, such as: location & terrain, time of day, weather, attacker(s), on-lookers, your own physical state and situation, weapons (both to be used against you or by you), etc. are independent variables which, when taken into account, help dictate how you can and should react. Your reactions to these independent variables are the dependent variables, which could include submission, fleeing, or defending. In the case the choice is defending, the independent variables will also affect your options, creating more dependent variables, such as how do you defend against a weapon or multiple attackers, or someone who clearly dominates you in size and/or strength. It is important that you are able to quickly assess the elements of the encounter so that you understand the factors which will influence your actions (dependent variables). Furthermore, when choosing to defend yourself you have to determine your level of commitment to that act. Your defense will be ineffective if you cannot commit to fully eliminating the threat by means of (potentially) causing physical harm to the attacker.
My personal evaluation (on a scale of 1-10):
• Speed – 5 to 7 depending on the technique. Punches/strikes and mae geri at the higher end (7), body shifting and blocking (6), stepping forward and back (5).
• Strength – good (6), but could be better. For someone of my size and experience I would expect more both from a muscle point of view as well a technique delivery perspective.
• Timing – inconsistent, so it’s hard to say. Some days it seems really good, other days I can barely get out of my own way.
• Endurance – fair (5), but my recovery is lower (3).
• Flexibility – static is not very good, especially ankles, but is slowly getting better (3), dynamic is better but I need a bit of warm up of my hips to reach my current max for side/roundhouse kicks (6).
• Balance – this has always been a problem for me, ever since childhood. I struggle with this every day in training (3).
• Agility – Not a good quality in me, I tend to get stuck in place (3).
• Mobility – Again, certain aspects are better than others, but on average I would say I am middle of the road (5).
• Resilience – This is one area where I feel I am better than average, especially in the heat of the moment (7). I generally don’t notice painful things until I have had a chance to relax.
• Reflex – average, and getting better (6). The more I train, the more repetitions I do, the more I notice certain things happen without thought.
Conclusion:
There are a myriad of potential situations in today’s world where someone may have to defend themselves or others. No one can be prepared for all of them and no one kind of training alone is best. However, by training or practicing to improve the 10 physical qualities outlined in this paper, a person would be benefited in a physical encounter. If you add to that self-defense training and/or combative training, such as karate or other martial art styles, you will greatly increase your options. Furthermore, keen awareness of the situation, quick thinking and commitment also play an important role in determining the outcome.
Craig Lawton
Triangle’s Best Karate
April 6, 2008
Thursday, April 17, 2008
Instructor Training Experiences
Instructor Certification Course
March 15, 2008
Experiences
Wendy Mach
People join the Instructor Training Program for various reasons. My reasons were probably different from most people. I didn’t necessarily want to become an instructor, and I didn’t want to become a better fighter. I wanted to gain a deeper understanding of the principles of the art of Shotokan karate. And more importantly for me, I wanted to face and conquer some of my own fears. I had the quest for knowledge, but not necessarily the quest to pass on that knowledge.
There is an expression, “Every day do something that scares you.” The first few Instructor Training classes scared and intimidated the living daylights out of me. Did I really think that in my mid forties I could keep up with the other trainees? It has been decades since I have been in school and written papers for a class. Would I be able to write something intelligent that would contribute to someone else’s knowledge? Would anyone be interested in anything that I tried to teach them? After the first few classes I would drive home literally shaking from the intimidation factor that I had placed on myself.
It took me a little while, but eventually I felt more comfortable during class and while writing my assignments. I have learned something new from each class and my knowledge of the principles of Shotokan karate and the principles of body movement has become greater and deeper. In one class Shihan McClary talked about the fact that you can look at a student’s stance and see that it is structurally correct, but you cannot tell if he is using his muscles correctly. This was something that I had never thought of before. It is exactly why we need to test our students periodically to determine that their stances are stable, that pressure is moving forward into the target, and that the body’s muscular structure is supporting the technique.
There have been a number of times in class that we have worked on how to “load” the rear leg so that it can drive forward into the target providing maximum support to the technique. Each time that this subject has been reviewed, my understanding of the principles of body movement has increased. By working on this in my own personal training, I have been able to improve many techniques, and improve the flow from one technique to the next. In many cases the ending of one technique automatically provides the “load” for the next technique. After learning how this works and feels in my own body, I have been able to notice deficiencies in other student’s movement. Then I have been able to both demonstrate the proper physical movement to the student, and to explain the mechanics of the movement on a level that the student could understand.
When I first started the Instructor Training Program, I thought that I would be learning how different people learn, and learning how to teach. I was surprised when these subjects were not addressed directly. What I have discovered is that we trainees have been indirectly learning how to teach. The Instructor Training classes have involved learning higher level skills and principles and having the trainees “perform” various techniques and katas working to improve small nuances of movement. After we learn these skills within our own bodies, then we can demonstrate and teach them to others. This has been an interesting discovery for me. I have not been learning how to verbally teach. I have been learning how to teach by demonstration.
Imitation is one of the first ways that infants and toddlers learn how to do things like walk. So it is very natural for karate instructors to use the “watch and do” teaching method. Students can learn more in 2 minutes of watching someone perform a kata, than they can learn in 30 minutes of an instructor telling them how to perform the kata. I am the first to admit that I had watched Sensei Deshi’s hips for years and wondered, “How can I make my body move like that?” I am still working on it.
I have discovered that I look forward to the writing assignments each month. I find them challenging and they have made me look deeper into the art of Shotokan karate and into myself. Assignments like Anatomy and Physiology, and Active and Supportive Karate have added to my depth of knowledge, and I have learned a lot while researching them. My favorite assignment has been Renoji-dachi and Sanchin-dachi as fighting stances. Since the associated Instructor Training class had focused on how to maneuver around obstacles, I chose to take the assignment out of the dojo completely and into a more natural setting. I had a great time going outside performing katas in my back yard on the wet grass, in parking lots on loose stones, and all around Mt. Misery at Valley Forge. I made numerous discoveries about sanchin-dachi and wet grass, and renoji-dachi and rocks. I also slid all over the place trying to perform long stances in all the wrong places.
For me an integral part of this experience has been with teaching classes. I started with the kid’s class. In my first 3 classes I had a student who had a short attention span and too much energy. After every class I was frustrated trying to determine what to do to get him to behave. Then it came to me. My attitude was wrong. What I should have been thinking about was how to keep him excited throughout class, and keep his attention on karate. After my attitude changed I realized that this child was going to teach me how to become a good instructor.
While I was still teaching the kid’s classes, I started developing drills that would use objects such as tennis balls, small wooden blocks, and balloons. These drills would help the kids learn skill sets that were used not only in karate, but also in everyday life. The favorite drill was using gyaku-zuki to grab a wooden block as quickly as possible from someone’s hand. The kids watched each other perform the drill and started their own friendly competition to see who was the fastest. The dojo may have become a little noisy, but all the kids were having a good time and paying attention to the lesson. Everyone waited politely for their turn to grab a block, and no one wanted the class to end. After class most admitted that they were really faster than everyone else. By working with this amazing, diverse group of kids, I discovered that I really did like teaching karate. The kids taught me how to teach.
I have also had the opportunity to teach people of all ages, physical abilities, and mental capabilities. Many have taught me more about teaching than I have taught them about karate. Kids come to karate class to have fun. Most do not care about the physical fitness, coordination, and balance benefits. They just want to have fun. So as instructors, if we want to keep the students coming to class, we have to find ways to teach karate while making it fun for the students. Adult classes are completely different. Adults come to karate class for many, diverse reasons. So the goal for an instructor when teaching adults is to design the class so that every student is challenged, and gets something to benefit them. Shihan McClary has an amazing ability to teach classes so that each student believes that the class was just for them.
I have found it to be an interesting challenge to try to teach in this manner. Before each class I design a basic structure for the class based on either a technique that I want to work on, or a principle that I want to teach. Then I wait to see who comes to class. The final class structure is determined by who is there, and what each individual needs to work on. I try to make each class challenging for all levels of ability and make sure that each student gets individual attention.
I have learned that the Instructor Training classes and teaching classes are a continuous loop of growing knowledge and experience. During the Instructor Training classes my knowledge of the principles of Shotokan karate deepens. Then when I teach a class, that knowledge helps me notice what the students need to work on. This experience feeds back to the next Instructor Training class and writing assignment, and on and on. When the trainees were given the assignment to design a class, I decided to make up 3 different classes based on 3 different audiences. At the time I was teaching a full range of classes, so I felt that it was important to make up classes for each different group of students that I had been working with. I then used these class outlines for my actual kids’ class, all rank adult class, and black belt class. Since that assignment, I have learned more from the Instructor Training classes, so that I have been able to improve the original class designs.
Finally I want to comment on my experiences with my fellow trainees. I have tremendous respect for their commitment and dedication to the art of Shotokan karate. In every Instructor Training class they have demonstrated a level of maturity and understanding that I never had at their rank. After each Instructor Training class I am inspired to work harder. We have often approached the writing assignments from different angles, and I have looked forward to reading their papers every month. When we had the assignment to choose a student and help them for the next month, I was amazed at how thorough the other trainees were in determining what their chosen student should work on and in assisting the student with personalized drills and feedback so that the student could achieve maximum results in the allotted time frame.
I can remember years ago when Shihan McClary said, “What if all of the high ranking Shotokan instructors were in a plane crash and you had to pass on the art? Could you do it?” The thought chilled my spine because I knew that I wasn’t good enough and the future of Shotokan karate would be doomed. After training and sweating beside my fellow trainees for the last 2 years, I know that the future of Shotokan karate is in good hands.
March 15, 2008
Experiences
Wendy Mach
People join the Instructor Training Program for various reasons. My reasons were probably different from most people. I didn’t necessarily want to become an instructor, and I didn’t want to become a better fighter. I wanted to gain a deeper understanding of the principles of the art of Shotokan karate. And more importantly for me, I wanted to face and conquer some of my own fears. I had the quest for knowledge, but not necessarily the quest to pass on that knowledge.
There is an expression, “Every day do something that scares you.” The first few Instructor Training classes scared and intimidated the living daylights out of me. Did I really think that in my mid forties I could keep up with the other trainees? It has been decades since I have been in school and written papers for a class. Would I be able to write something intelligent that would contribute to someone else’s knowledge? Would anyone be interested in anything that I tried to teach them? After the first few classes I would drive home literally shaking from the intimidation factor that I had placed on myself.
It took me a little while, but eventually I felt more comfortable during class and while writing my assignments. I have learned something new from each class and my knowledge of the principles of Shotokan karate and the principles of body movement has become greater and deeper. In one class Shihan McClary talked about the fact that you can look at a student’s stance and see that it is structurally correct, but you cannot tell if he is using his muscles correctly. This was something that I had never thought of before. It is exactly why we need to test our students periodically to determine that their stances are stable, that pressure is moving forward into the target, and that the body’s muscular structure is supporting the technique.
There have been a number of times in class that we have worked on how to “load” the rear leg so that it can drive forward into the target providing maximum support to the technique. Each time that this subject has been reviewed, my understanding of the principles of body movement has increased. By working on this in my own personal training, I have been able to improve many techniques, and improve the flow from one technique to the next. In many cases the ending of one technique automatically provides the “load” for the next technique. After learning how this works and feels in my own body, I have been able to notice deficiencies in other student’s movement. Then I have been able to both demonstrate the proper physical movement to the student, and to explain the mechanics of the movement on a level that the student could understand.
When I first started the Instructor Training Program, I thought that I would be learning how different people learn, and learning how to teach. I was surprised when these subjects were not addressed directly. What I have discovered is that we trainees have been indirectly learning how to teach. The Instructor Training classes have involved learning higher level skills and principles and having the trainees “perform” various techniques and katas working to improve small nuances of movement. After we learn these skills within our own bodies, then we can demonstrate and teach them to others. This has been an interesting discovery for me. I have not been learning how to verbally teach. I have been learning how to teach by demonstration.
Imitation is one of the first ways that infants and toddlers learn how to do things like walk. So it is very natural for karate instructors to use the “watch and do” teaching method. Students can learn more in 2 minutes of watching someone perform a kata, than they can learn in 30 minutes of an instructor telling them how to perform the kata. I am the first to admit that I had watched Sensei Deshi’s hips for years and wondered, “How can I make my body move like that?” I am still working on it.
I have discovered that I look forward to the writing assignments each month. I find them challenging and they have made me look deeper into the art of Shotokan karate and into myself. Assignments like Anatomy and Physiology, and Active and Supportive Karate have added to my depth of knowledge, and I have learned a lot while researching them. My favorite assignment has been Renoji-dachi and Sanchin-dachi as fighting stances. Since the associated Instructor Training class had focused on how to maneuver around obstacles, I chose to take the assignment out of the dojo completely and into a more natural setting. I had a great time going outside performing katas in my back yard on the wet grass, in parking lots on loose stones, and all around Mt. Misery at Valley Forge. I made numerous discoveries about sanchin-dachi and wet grass, and renoji-dachi and rocks. I also slid all over the place trying to perform long stances in all the wrong places.
For me an integral part of this experience has been with teaching classes. I started with the kid’s class. In my first 3 classes I had a student who had a short attention span and too much energy. After every class I was frustrated trying to determine what to do to get him to behave. Then it came to me. My attitude was wrong. What I should have been thinking about was how to keep him excited throughout class, and keep his attention on karate. After my attitude changed I realized that this child was going to teach me how to become a good instructor.
While I was still teaching the kid’s classes, I started developing drills that would use objects such as tennis balls, small wooden blocks, and balloons. These drills would help the kids learn skill sets that were used not only in karate, but also in everyday life. The favorite drill was using gyaku-zuki to grab a wooden block as quickly as possible from someone’s hand. The kids watched each other perform the drill and started their own friendly competition to see who was the fastest. The dojo may have become a little noisy, but all the kids were having a good time and paying attention to the lesson. Everyone waited politely for their turn to grab a block, and no one wanted the class to end. After class most admitted that they were really faster than everyone else. By working with this amazing, diverse group of kids, I discovered that I really did like teaching karate. The kids taught me how to teach.
I have also had the opportunity to teach people of all ages, physical abilities, and mental capabilities. Many have taught me more about teaching than I have taught them about karate. Kids come to karate class to have fun. Most do not care about the physical fitness, coordination, and balance benefits. They just want to have fun. So as instructors, if we want to keep the students coming to class, we have to find ways to teach karate while making it fun for the students. Adult classes are completely different. Adults come to karate class for many, diverse reasons. So the goal for an instructor when teaching adults is to design the class so that every student is challenged, and gets something to benefit them. Shihan McClary has an amazing ability to teach classes so that each student believes that the class was just for them.
I have found it to be an interesting challenge to try to teach in this manner. Before each class I design a basic structure for the class based on either a technique that I want to work on, or a principle that I want to teach. Then I wait to see who comes to class. The final class structure is determined by who is there, and what each individual needs to work on. I try to make each class challenging for all levels of ability and make sure that each student gets individual attention.
I have learned that the Instructor Training classes and teaching classes are a continuous loop of growing knowledge and experience. During the Instructor Training classes my knowledge of the principles of Shotokan karate deepens. Then when I teach a class, that knowledge helps me notice what the students need to work on. This experience feeds back to the next Instructor Training class and writing assignment, and on and on. When the trainees were given the assignment to design a class, I decided to make up 3 different classes based on 3 different audiences. At the time I was teaching a full range of classes, so I felt that it was important to make up classes for each different group of students that I had been working with. I then used these class outlines for my actual kids’ class, all rank adult class, and black belt class. Since that assignment, I have learned more from the Instructor Training classes, so that I have been able to improve the original class designs.
Finally I want to comment on my experiences with my fellow trainees. I have tremendous respect for their commitment and dedication to the art of Shotokan karate. In every Instructor Training class they have demonstrated a level of maturity and understanding that I never had at their rank. After each Instructor Training class I am inspired to work harder. We have often approached the writing assignments from different angles, and I have looked forward to reading their papers every month. When we had the assignment to choose a student and help them for the next month, I was amazed at how thorough the other trainees were in determining what their chosen student should work on and in assisting the student with personalized drills and feedback so that the student could achieve maximum results in the allotted time frame.
I can remember years ago when Shihan McClary said, “What if all of the high ranking Shotokan instructors were in a plane crash and you had to pass on the art? Could you do it?” The thought chilled my spine because I knew that I wasn’t good enough and the future of Shotokan karate would be doomed. After training and sweating beside my fellow trainees for the last 2 years, I know that the future of Shotokan karate is in good hands.
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