Trip to Matsubayashi Shorin Ryu International Hombu Dojo, Ireland

First, I planned to keep it as a private letter to my teacher, Patrick  Beaumont sensei. Then I have decided that there is nothing private in what I want to say and even opposite, I'd rather make it public.

That was another amazing trip and a great and successful event.

Last weekend was emotional, intense and jolly all together. The travelling party consisted of my two advanced students (Maciej and Ricardo representing @furin.karate) and me, is back home now, in the Netherlands. And as it often happens the wave of realizing the events during the short trip to the Hombu Dojo has just arrived. Martial Artists may recognize that moment as well when you are in action (regardless of its type) you are committed and performing with no back thoughts, you are focused and dedicated to the purpose so, that your mind and body do what is right to do. But after all is over only then you are trying to process and understand those past moments. Here I am, taken away with the memories. "But the memory remains..." (c) Metallica, and the memories are to be preserved. This is why this little article has to be written.

I would like to thank my Matsubayashi Shorin Ryu International #MBSRI Family and its founder and leader Beaumont sensei for the hospitality, comradery, brotherhood; for their unconditional love, trust and support; for the sense of humor and serious discussions, technical corrections, lessons; for accepting my students to the family and of course for evaluating my karate to Sandan (happy and humbled). It was a pleasant surprise! And it is an honor and privilege to represent #MBSRI in the Netherlands.

In the last 3 days we have experienced loads of things.

We arrived in the airport of Dublin and got picked up by Sean Donohoe sensei (thank you Sean sensei)! Arrived in the Hombu Dojo and introduced Maciej to Patrick sensei. Ricardo was there already the second time. So, he felt back home I guess. It was Maciej's first time in Ireland ever and the first time to meet the Karate Family though. Of course he loved Ireland from the first look... How can one not to?! Later we had a successful evening class organized especially for us. The floor was still as fresh (read - "icy cold") as usual at this time of the year! :) The day has gone fast. After the session and the late dinner tired and happy we returned to our temporary home that was arranged by Jennifer Duffy sensei. Thank you sensei.

Next morning we had an advanced YUDANSHA and guests session followed by the grading of the new black belts. That was a very special event! But I must mention that Maciej, my student "has turned" into GO-KYU (blue belt)! Congratulations Maciek! Your hard work shows off. Keep it up! I want to say that both my lads (lads! ;-)) with honor represented my #Furin DOJO. Well done gentlemen!

Then there was the black belt exam. Most of the candidates were children or teenagers. Not all of them were at the same level of karate of course (it is impossible by the way) but how they tried...! What an effort from both sides it was! ...from the examiners board and the prospects!!! It is a pleasure to be related to such moments. After the warm-up session led by Ricardo (my student - proud of you man!) the black-belts-to-be demonstrated 

- KIHON WAZA

- YAKUSOKU KUMITE

- GOKYU WAZA 

- KATA (my favorite). 

Each KATA of the Matsubayashi syllabus was first presented by the brightest young star of the dojo and MBSRI Hanna (14 y.o.) and only then by the candidates. Her skills and knowledge do not have equivalent not only amongst young karateka of our organization but on the National level and above. Shhhhhh... Then she didn't know that we were watching her as well and she without knowing was passing her grading for NIDAN. Unfortunately, my English is limited to describe the level, elegance and beauty of her demonstrations. All KATA!!! So, running ahead of the story, she has been graded NIDAN in front of entire audience including children and adults, the NIDAN! Congratulations Hanna! Well done! You motivate us and make us all proud.

After "a-must program" there was a free demonstration of favorite KARATE KATA, KOBUDO KATA and JYU KUMITE . That is when the black belt candidates had a chance to express their KARATE and to show off a bit! :-) So, did I. I was asked, to be precise, by Sensei if I would like to present some KATA. I considered it an honor at such event to be asked to demonstrate my KARATE and proudly presented one KARATE KATA and one KOBUDO KATA (nunchaku). As I learned later, at the final ceremony I was also watched and as a result was graded as SANDAN. Surprised, happy, humbled and honored at the same time.

The grading has finished with the most important part, exchange of the technical remarks for all candidates. And finally, the grading ceremony. Beautiful diplomas, very new black belts and big smiles, hugs, shaken-hands and bows. The last but not the least Jennifer sensei used candles and allegory to explaine to the newbies that the karate journey just began from the moment one received a black belt. Candles were lit representing internal desire to practice karate.

Late dinner again. Night site seeing with the SENSEI. Next morning a relaxed chat and farewell from Patrick sensei. Sean sensei brought us back to Dublin. Thank you again. I had to show my students and friends the city.

Later when we have already parted and I arrived home after the long day and flight to Eindhoven I had suddenly realized how much Patrick sensei and all SENPAI, SENSEI, KOHAI and friends and all karateka did for us, how much love and friendship, respect and support we received during this weekend.

It was amazing weekend! Thank you my karate family, my Hombu Dojo, my brothers- and sisters-in-arms, thank you Patrick sensei! We are counting already days to see you here back in Netherlands. 

Congratulations to all promoted KARATEKA and instructors!

Tot ziens!

Your Dmitry,

The Seeker

Dec 2019, Eindhoven 

Tags: 

#practice, #MBSRI, #martialarts, #Okinawan, #shorinryu, #matsubayashi, #karate, #eindhovencity, #Nederlands, #Netherlands, #Ireland, #kibudo, #furindojo

IMPORTANCE OF THE POSTURE AND OTHER RELEVANT THOUGHTS

Recently I was trying to make a point to my students highlighting the fact that any rotation should be done rather on the heel part of the foot instead of the ball of the foot (except special cases where it has to be done this way). This discussion can lead us to a very popular and often misuinterpreted subjcet, the hip rotation. In this artile I am going to omit an explanation why do we use hip roatation for now and stop on the relation foot.

Let's start with a posture. What is a "good karate posture"? As you can see on the image below in general good posture for humans has a couple of major points. Here are the tips:

• Head should not be hanging forward or backward. In order to get the correct position of the head one should drop his chin and lift the top of the head so as if it was connected with a tiny thread to the sky. By doing so the six vertebrai would stretch up helping to hodl the head (which is quite a heavy object on its own) and thuse protecting the necj and the shouldress from the overstressed position when they have to work hard balancing the head (6-7 kg).
• Shoulders should be relaxed but kept straight. Do not try to "carry" them with connected shouldre baldes and also do not let them completely roll forward. I personally do the following when I want to put my shouldrees in the correct position. I lift them up and drop completely relaxed. It works for me - it might work for others. The main point is do not add stress to your shoulders as except negative impact on your posture and health in general it will also slow down your hand moves drammatically.
• Lower back should be narly straight (GAMAKU). IN order to achieve it the best thing to do is to life your pelvis, same way as a dog for example hides his tale when feels guilty or scared. The motion of the pelvis should be circular: from the lower back down and up in front. If you wear a belt (OBI) the knot of the belt should pop-up when the pelvis is lifted. Try!
• Once the pelvis is in "good" position your body sinks between hips so that the center of gravity drops. It allows to use hips without looosing the structure.

• Do not bend knees but also do not lock them. Knees should act as ammortisation devices. Imagine a car without ammortisation driving over a bump. Something is going to break. Ammortisators are absorbing impact. So the knees should do. Hence relax them, do not bend and do not lock.
• And the last point, actually the one we are discussig here is position of the foot. Look at the image below. Do you see where the straight line points? Yes, under the heel! When we use a phrase "push from the heel" we should understand that we mean actually this part of the foot nd not the heel bone itself! 
  

Now, wh yis it so important? It is imprtant because the hip aligned with teh foot. Always! Where the foot is pointing the hip is pointed. This greeen  line above is a pivot line, the pivot axis. So, any hip roatiation should be done using this line its axis. And this is why the spot under the heel is so important.

If I need to raotate my hip I need to roatate my foot using that point as a pivot point for the rotation. I hope it makes sense. Let me know otherwise.

SOLO PRACTICE

During the COVID-19 quarantine times I learned a lot. I advanced on my KATA, I fell in love with Makiwara again. I developed teaching karate online skilks. Etc.

But the most important I learned to practice in solo mode. No, of course even before I trained on my own but it was never so enjoyable. Apparently, as I said many times, it is just a habit. I was right saying it. Indeed the more I do the more used to it I become. 

I have to admit I even like my 2 hours solo practice. Together with 90 minutes teaching it makes my day complete and my Karate advancing. 

Solo practice is probably the most important skill for any martial artist. That is when we actually review our art and evolve.

Keep practicing!!

FUKYUGATA ICHI

This rainy Sunday morning I practised FUKYUGATA ICHI. Amongst other  important points, descriptions and explanations relevant to this kata I highlight for myself and my students a very simple tactical idea of its combinations.

In order to enter the fortress, one must open its gates first.

From a strategical point of view, we are trying to produce a successful attack in the anterior of the opponent. And the chosen tactics is to open (destroy) his defence first.

All combinations in this kata allow us to open opponent on one level and attack on another.

Simplified:

GEDAN UKE (GEDAN TETSUI UCHI) → CHUDAN TSUKI

GEDAN UKE (GEDAN TETSUI UCHI) → JODAN UKE (JODAN HIJI ATE UCHI)

JODAN UKE (JODAN HIJIATE UCHI) → GYAKU TSUKI

GEDAN UKE (GEDAN TETSUI UCHI) → JODAN TSUKI

NEW DARUMA DOLL

Beginning of the year comes with a new wish.

I want to video record all Matsubayashi Shorin Ryu kata I am practicing and to publish them here, in my blog and in YouTube. 

Now when I finally made a wish I am going to write it on paper.

I have asked my students to do the same.

What is your wish?!

BACK HEEL

Let's agree on the following statements first: 

• Energy is an invisible substance that could be either saved or transmitted to another object
• Energy exists in two states, either potential or kinetic
• Every motion and transition could be described as a wave.

I realize of course taht these are very vague definitions as well as drawing energy flows with lines for example but they should be sufficient for the purpose of this article and actually make it easier for me at least to understand the subject. We are not going to discuss the physics laws and matematical formulas here. There are loads of resources for those who is interested. 

What I would like to discuss here though is how to make a karate technic in efficient way  producing maximum energy with minimal effort (utimate goal of many martial artists); and what the key elements of the technic are. Let it be a "simple" punch, CHOKU-TSUKI (直突き, straight punch) for instance. 

Let's focus on the energy.

Newton Cradle is an amazing model to experiment with energy transfoirmations. In two words this model demostrates Potential to Kinetic Enrgies transition and passing momentum. When a ball is pulled up we "create" Potential Eergy. Once it is released and falls - Kinetic. The thing is that in the ideal conditions this would become a perpetuum mobile but in reality there are forces that contradict and absorb some energy during the transforamtion.

Anyway as we can observe it is not the last ball that produces energy; it serves for the energy  delivery mostly, from the fist to the target. It makes me visualize the punch differently. Here are some interesting points to keep in mind:

1. Potential Energy to be created first. Yes, basically someone has to pull the ball up first in order to create a momentium for the last one. 

The ignition of the movement is given by a little "explosion" inside the center of the body, so called gravity center or HARA (腹), TANDEN, DANTIAN (丹田) etc. Certain parts of the brain responsible for intention and commitmnent  stimulate muscles to produce a "car piston effect". I imagine a car piston-like environment that releases energy as a result of explosion inside, that "lifts the ball" creating a potential. And the lifting process itself is described by passing this energy from hand to the ball or in our case from the explosion in the center to the heel of the back leg. Now there is an amount of potential energy generated, although for short time only (natural losses). The systems is set for the action.

2. Next step is to transform Potential Energy to Kinetic. And the back leg together with the foot are playing crucial role in this process. Excatly the same way the "ball was lifted" it will be released. The exact same way the energy generated from the body center to the heel it will come back but... 

• If the heel is connected to the floor the momentum, the wave, will be bounced back with the same phase (this is why the timing has to be correct) and with minimal losses leading to the Constructive Interference and as a result making the amplitude doubled and energy - quadrupled accordingly.
• In case, if the heel is disconnected from the floor the energy will be mostly dispersed as there would be no bouncing effect and no wave constructive intereference... or if the timing is incorrect the system can even work agaibnst itself (shifted or opposite phase) leading to the Destructive Interference canceling the wave and killing the energy at all. This is why I am focused so much on keeping the heel down during my practice at least for KIHON (基本, fundamentals) and KATA ( 型, form) practice.

Let's stay positive and imagine that the energy was passed the best way and got quadroupled. Then what? What happens to the generated wave?

3. Then we come to the moment when the energy was successfully transferred from Potential to Kinetic and the ball flies down (or through the same channel, the leg comes back to the hips area). 

4. Once it hits the second ball the chain reaction has started and based on the principle of conservation of momentum and energy the amount of energy generated above through the chain of balls will be transmitted to the last ball, the end effector and in our case to the punching wrist. 

I deliberately avoided going deep in physics and tried to keep an imagination working for myself rather than formulas. I believe that visualization in Martial Arts is the key. So, formulas are left aside. Sorry. 😉

Of course the entire system is not static like the Newton Cradle and there are extra momentums added (i.e. push of the back leg, hips rotation, shoulder and elbow extentions etc.) making the pounch even more efficient but on their own, without the energy generated of the back heel they are nothing but physical attempts to use muscles only.

And since we are talking about muscles we should make anoher observation, and a very important one. 

The famous Newton Cradle, is just a model. Due to the natural losses the movement cannot be 100% efficient and eventually stops. In order to reduce those negative forces (such as friction, for example) the balls are hanging on the elastic light ropes! Elasticity (my sensei's favorite word!) is the factor that makes the losses much smaller and allows free motion of the balls. How does it apply to the muscles? Here you go. In order to produce the most efficient punch (technic), assuming that the generation and transition of the energies went smoothly one's muscles should be relaxed like those ropes allowing the energy, the wave, to pass through with as less resistance as possible. And only at the end whe the enrgy is to be transferred to the target the KIME comes in, and for a split second only only (subject for another discussion later). So, ideal model of the punch in this case would be a whip that becomes a hard or sharp (depending on the technic) stone for a split second of the contact only. 

- Confidence leads to Relaxation

- Relaxation leads to Speed

- Speed is Power...

- Power leads to Confidence.

Try to keep your heel down during KIHON or KATA practice and keep your hands relaxed making them hard for a spolit moment of the impact only. Let me know if it worlks for you as it does for me. Have fun!Just observe other acitivties that involved the same musculoskeletal chain! 

Of course the heel is not staying down all the time but it serves its purpose when needed. Timing is important.

PHOTO FRAME STANCE

A couple of months ago I was teaching a regular class (FURIN KARATE DOJO), the Sunday mixed class where the age range between students is about 40 years. As I remember I was preaching about the stances and their importance in KIHON (基本, basics) and KATA (型, forms) practices. My intention was to provide instructions that would deliver the following message: 

"The back leg plays an extremely important role in ZENKUTSU DACHI (前屈立, extended frontal stance) as well as in any other stance". 

While I was going over and over again and the class was moving from one wall of the DOJO (道場, practice hall) to another suddenly a little girl (7 years old) broke the puffing silence of the class:

"It is simple! It is like a photo frame..."

I, who always inspire my students and myself to visualize technics in order to understand them, who draws pictures and uses simple examples, was struck with a genius of the student and simplicity of her explanation! Indeed the stability of any DACHI (stance) could be explained as simple as the stability of the photo frame! So, I have decided to write this short article. I hope there is at least one KARATEKA (空手家, karate practitioner) in the World who will find it useful.

The frontal part of the body with both hips turned forward, towards the attack, looks like a frame when the back leg serves as a support to it and... very important, delivers the explosive push initiating the chain reaction to entire body (back leg heel → pelvis → hips → trunk (core) → shoulders → hands → arms) that is well explained by the famous mechanical model of Isaak Newton, known as the Newton Cradle (I am going to write separately on this matter later). And actually, this function of the supporting leg is even more important than just supporting.

As a result, back leg functions are, but not limited to:

• Support to the body where the front leg serves as a pivot;
• Delivery of explosive power to any technic.

Since then I successfully use the same "photo frame" visualization example when I am teaching the transition from  ASHI MAE SHIZENTAI DACHI (front leg natural stance) to ZENKUTSU DACHI (extended frontal stance), back and forward. Dropping the center of gravity and bringing it up works well when the "frame" stays where it is (pivot of the front leg) whilst the back leg is either sliding back and forward. By doing so one can maintain dominating and intimidating pressure on the opponent (my favorite "offensive defense" tactics) while changing the stances and managing center of gravity in his favor (potential energy ↔ kinetic energy).

ARM STIFFNESS

STIFFNESS. I do believe that most of us are struggling with this... habit (?) sometimes not even realizing what the issue is. 

The deal is still the same - I am helping you by highlighting the problem using myself as an example and I really hope and expect to hear back from you correcting me. Please constructively criticize me as much as possible! Especially if you disagree with the summary of the article.

As we've agreed before, the fist should be very solid. As solid as a... stone. Your fist is a so-called "end-effector". It is your "weapon of choice" (here we go - video :-) ) actually chosen by one for a particular purpose.

It is as good as any other weapon: SHUTO (the outer edge of your palm), HAITO (the inner edge of your palm), HIZA (knee), EN(M)PI (elbow), IPPON NUKITE (one finger) etc. but let's imagine for the next attack I have chosen a "closed fist". 

What was happening to me before was the following? I was trying to hit the target with such power and speed that I got stiff in shoulders, elbows, and forearms that in fact, it made my attack (technique) slower and weaker. We, the Westerners, are so focused on our shoulders! It is so macho-like to be wide in shoulders and carry your chest as if it was a wooden one. We are extremely stiff in the upper body because we believe that power comes from muscles of the upper torso mostly. Therefore we are trying to show this "power" out by even carrying ourselves through the posture. 

Now, I should talk more about visualization as lack of this skill was another issue I have highlighted to myself for improvement. Next time. But let's just say for now that every martial artist regardless of the art should be very skillful in visualization.

Visualize 2 following visualization scenarios then:

  1. There is a long stick with a stone attached to it. You are holding it and trying to hit a target with the stone fast and hard by either swinging the stick or poking it like with a spear.

  2. There is a long rope with a stone attached to it. You are holding it and trying to hit a target with the stone fast and hard by just wiping it.

In which case do you think you create more speed, more power and get less tired?? Visualize!

Yes, #2 is the winner. Now convert these simple and rather mechanically primitive examples into the complex one of your body, muscles, and ligaments. Do you see what I mean? In fact (and it took a lot of time to understand this idea and start using it regularity) the more relaxed your "rope" (arm) is the faster and more powerful the technique will be considering that you know how to make a fist and hold it as one piece tightening it at the very end of the punch for the impact.

The move is generated by hips as we all know. Hips create a "wave" (to be discussed in a separate post) and the wave is transferred into a whiplash motion to the arm (rope) that carries a heavy solid "stone" on its end.

Now, what is happening, at least to me, when I become stiff or how do I become stiff when it happens. I have noticed that when we are trying to deliver a strong punch first thing that comes to our mind is to make a very strong, nearly stressed, fist. We believe that only strong fist can deliver power. It is partially true. Indeed at the very last moment, we want to make a stone of the fist. But If the timing is wrong and we tense the fist earlier it leads to arm muscles becoming tense as well as the pressure in arm arteries rises, not even touching the Qi for simplicity. All this make the arm so stiff and heavy that in order to move it with the desired speed we have to employ shoulders and upper body. You can imagine that the speed is not the case anymore. On the other hand, if the tension moment happens at the very end of the motion and for a split second of actual contact with the attacked surface then the whole arm is most of the time is relaxed and free to move like a whip.

Advantages of the whip-motion:

• natural power 
• needs little preparation 
• virtually invisible 
• the only way one can move and commit completely in one direction and, without stopping or losing speed, reverse direction 
• size, weight and gender or person using it makes no difference 
• can be thrown from any angle, anywhere close to or far from the body without losing effectiveness or form 
• completely confusing to the opponent 
• seldom used or known 
• needs no particular state of emotional preparation compared to other strikes 
• the fastest way to generate the most power using any or all parts of the body 
• needs no previous conditioning of flesh or bone being used to hit 
• adds power to even the most rigidly used movement 
• can be adjusted while in flight or when totally committed to a move, to compensate for a change in the position or angle of the desired target

HELLO WORLD!

Just saying Hello World! I still find it very difficult to manage my personal time in a way that would allow me to continue this blog. This is why I am typing this message now: "I am alive and kicking!" :-)

Post Preface

Well, after my Preface article I had a couple of discussions and had myself some thoughts. It seems that we need to stop a little more on the Olympics saga. I will try to repeat my monologue I produce whilst discussing the matter with one of my brothers-in-arms so to say.

Why am I so disappointed with the karate World heading towards Olympics? Here is how I see the issue. By the way you do not have to agree with me.

In order to win competitions athletes need to follow the rules. Rules are made up in a way that allows to defend organizers and participants in case of injuries. Therefore all dangerous techniques are removed and prohibited. This approach is good and makes sense. Of course we do not want to have accidents at the competitions especially lethal ones which are quite possible considering the essence of the activity. So, what is the problem than? - you should ask. Well, the problem is in interpretation. As usual "lost in translation" case.

When coaches ( SENSEI is a wrong term when it comes to sport I believe) train their sportsmen for competitions they choose the best winning strategy for them meaning excluding prohibited techniques from the training agenda. Also they deliberately avoid "simple" KATA and choose the ones that impress public and the most important judges. What does it lead to? It leads to training sessions limited to KIZAMI and GYAKU TSUKI practice only, limiting practitioners from entire arsenal of truly efficient KARATE-DO techniques (remember they re removed from the competitions for the same reason?) and to practitioners choosing a very complicated KATA that they cannot fully understand but believe in making a perception.

Why coaches do that? Because winning medals gives them credibility for claiming their clubs (not DOJO) successful and from of the public (parents, kids and some adults) and more important in front of the local and national authorities. Both factors lead to financial success of the clubs: bigger crowd and financial support from the government.

Nothing new there. It was. Until now. Now there will be a competition between clubs for sport money from the state. There is a budget for the sport development if the sport is Olympic. And that is an ultimate goal of any sport oriented KARATE club. Now read above and guess what is going to happen with KARATE-DO in the next dozen of years. Nothing good from my point of view.

Ego (sport is driven by Ego and eager to win) is not what should be developed through true training. GICHIN FUNAKOSHI, the founder of SHOTOKAN KARATE-DO was against even KUIMTE (known fact). By the way he was not a member of any federation. Neither he was given any grade. My understanding of KARATE-DO is very simple and rather not exciting. The only purpose of practicing KARATE-DO is practicing KARATE-DO. This is supposed to be a life journey. And it is to make you a better person. Winning or loosing is far from its idea. Choose one-two KATA and make them your own through practice and through deep dive into meaning of each and every technique. No matter how simple and useless it might look. It doesn't matter how slow or fast your progress is. Neither your belt matters. Just practice!

Respect to those who practice KARATE-DO and good luck to those competing in KARATE!

DESIRE TO WRITE A BOOK

Why? Why another book, - one can ask. There are plenty of books on the subject already written by well-known masters and advanced practitioners. Well, why not?! Seriously, I believe that we, martial arts practitioners are responsible for the art. We have to preserve and develop it. We are meant to be adepts and guardians. We should protect the art and ensure its further development.

Art. There is a huge misunderstanding what this word means, not only in martial arts sense but also in general sense. What is art? Art is a set of skills that allows certain activity to be done on a very high if not the best level. Now cut all the cute words and leave the essence. What do we have? Set of skills! Thus when we say art in this text or anywhere else we are going to mean set of skills. If you are OK with this statement I will answer your next question. Why SHODAN? First of all you might know already that SHODAN means "first level". For example, KATA named HEIAN SHODAN suggests that this KATA is a first of level of all HEIAN KATA (five in total). Now I have SHODAN in karate-do that means that I have a black belt of the first level or degree. So, this book is written by a SHODAN karate-do practitioner (me) and for SHODAN karate-do practitioners mostly or anyone who is interested in personal development process in karate-do. Especially I believe it would be useful for advanced colour belt students and for first level black belt who is focused on the deep understanding of his own level.

http://karateandknowledge.blogspot.ie/p/karate-myint-kywe-soshiki-karate-school.html

Speaking about relaxation, it has been a long way since karate-do went on from very hard style based on the muscles and images of furious "samurai"-like people to the way of total relaxation and whip-like techniques. We are all familiar I hope with late master TETSUHIKO ASAI and his development of SHOTOKAN KARATE-DO. If not I strongly recommend to check the web. Master ASAI was one of few who could see the future for karate-do and who could pull modern SHOTOKAN KARATE-DO out from its stagnation. No wonder martial art practitioners criticize this style for its external, long, hard and stiff elements comparing to the others. Yes, this is how we received the knowledge back in 70s, how it was passed to us and how we passed it to others. We can go deep in discussion why and who but it is rather irrelevant. Sport direction of karate-do development ruined the DO part of it (the way) and made it purely a show. Many people argue that karate competitions is only a part of karate-do. Well, yes, that was the idea originally but look what has happened to the art and what is happening to it currently. By the rules of competitions and in order to ensure safety of competitors and of course to avoid any legal consequences all dangerous techniques are banned. Dangerous techniques! Basically the most efficient ones. Well, you say - nothing wrong with that. And I agree. But now let's go on the club level and coach level (called DOJO and SENSEI in karate-do). If coach wants his students to win next competitions he is coaching them on the techniques that are allowed by the rules and do not spend too much time if any on the other ones. Day by day, year by year and we have what we have - we have lost a list of the techniques once known as distinctive signatures of SHOTOKAN KARATE-DO. Here is a list just of some TSUKI WAZA (punch techniques):

• MAWASHI
• HAITO
• NAKADE
• TETSUI
• KAKUTO
• SERIUTO
• TORADE
• KUMADE
• HAIWAN

We can continue the list of TSUKI WAZA and then to write a new one for KERI WAZA (kick techniques). That is what we are doing to this martial art. We are removing skills from the set leaving only the basic ones. If you watch any training session or even a competition event you will notice that the technical arsenal went down up to 10 elements the most:

• KIZAMI TSUKI
• GYAKU TSUKI
• MAYA GERI
• MAWASHI GERI
• YOKO GERI
• USHIRO GERI
• URA MAWASHI GERI etc.

 http://shoko-sato.com/master-shoko-sato-kyoshi

An even worse picture is presented in the KATA. Practitioners trying to impress the judges and the public choose very complicated KATA and leave the "less interesting ones" unattended and forgotten. You want see many people choosing BASSAI DAI or even HEIAN for their competitions. Everyone is picking at least UNSU or NI JYU SHI HO KATA. People learn new KATA sequence and barely knowing it start learning "next one" driven by competitions and grading, by their Ego and "greed" for glory and success. We have lost understanding what success in KARATE-DO means. Masters of the past would study 1-3 KATA all their lives trying to go deeper in deeper in its understanding.

Anyway we can discuss my points of view and argue infinitely. It will not make us better KARATEKA though. I propose to stop talking and start thinking and practicing. 

KATA OPENING

OK, let's have a look. How are we taught the very first move of the KATA. Hold on! I am not talking about the defensive or offensive (depends how you see it) move with a certain technique everyone is (or at least should be) so focused on. I am talking about the move number Zero. The opening move or so called YOI position very often referred as Attention posture. In order to make it easier let's take HEIAN SHODAN for example and you will see later why the KATA doesn't really matter.

In MUSUBI DACHI (formal stance) perform REI (bow). MUSUBI DACHI is a stance were heels of the feet are touching each other and the feet are slightly out . That creates a triangle like foot-print and as we know triangle is the most stable geometrical figure. So, bowing forward should not be a problem. The problem comes immediately after and usually is overlooked by everyone as considered a non-KATA related movement.

So, how from MUSUBI DACHI one should transform into HACHIJI DACHI in order to start the KATA?

In many clubs, and I have been to many (!) one is instructed to step to the right and crossing hands in front of the body bring them into "ready" position shoulders wide and slightly forward. That's it. That's it?! Seriously.

I dug a bit dipper and found a possible (!) explanation in Tai Chi. By the way Tai Chi is the oldest of all known today martial arts. Karate is one of the youngest probably...

I leave the details until the actual movement.

1. Slowly and allow the entire body to float forward
2. Both elbows (currently on the hips after the bow) turn outward
3. The thumb and the index fingers still touch the hips on both sides of the body
4. The knees are slightly bent (bent is a wrong word - they are rather relaxed as well as the shoulders and the whole body in fact)
5. Shift your body weight to the left foot (pivot)
6. Slide the right foot (step out) to the side to the shoulders width whilst keeping you body straight and relaxed
7. Gradually move your weight to the right in order to balance the stance; pivoting inward on the right toe and allow right foot to turn outward slightly
8. Pivot on the left heel and bring left toe inward (heel stays out); the weight is on right side
9. Shift your weight to the left foot
10. Bring weight to balance on both feet and whilst doing all the steps above after step #2 rotate the arms inward and cross them in front of the body. At the step #9 when balancing the body open the hands returning them into "ready" position. Elbows bent, shoulders relaxed.

Of course the technique has many-many more details. But I decided to cut most of them in order to focus on the movement itself.

Let's discuss each step.

1. "Floating forward", is it to us, KARATEKA entirely foreign idea? Imagine you stand on the heels. How is your balance? Yes, one light pinch you are gone. Imagine you bring you body back... Same. SO, floating a bit forward whilst moving left/right is rather trying to keep that invisible triangle (left foot-right foot- natural gravity centre below belly button) in tact in order to keep balance. If you ever  tried to stand on your head you can imagine two hands acting as feet and forehead being a third point. Same idea.
2. Elbows rotating outward (wrapping inside). Rotating he arm from elbow to the wrist is a known KARATE sub-technique. Every punch or block involves rotation along the hand. This rotation is very important as its spinning momentum helps the technique. In this case it is a blocking technique that is touched in step #10. IN order to block a punch one rotates elbows outward and continues rotation of the forearm in order to create a deflection movement.
3. Until the block is actually happening the wrists are still at the hips maintaining the contact (energy) and pivot.
4. The knees are always in a slightly bent state acting as natural body springs and absorbers.
5. In order to move in any direction we, humans must shift the weight on one of the feet whilst moving another. It would be different if we had more contact points to the ground as animals do. Therefore before moving right leg out we need to free it from the weight we apply on it and thus shift to the left is a must. But be careful the shift shouldn't mean loss of the upright posture.
6. When I say slide I actually mean it. The foot should get right in a sneaky way practically being "invisible". See it as a fight for the territory. You take it with you feet first.
7. When the right foot has arrived to its new place pivot the foot in order to make your toes looking forward and not outside (not a "penguin stance").
8. Same on the other side now in order to reach balance and to ensure the feet are parallel meaning that the big toes are slightly forward by the way.
9. Once Left foot is turned balance the body.
10. All the steps above should be accompanied by the blocking movement that starts with elbows rotating outwards and forearms being spun along floating into the cross in front of the body and then returned to the sides.

This or similar sequence but with the same idea is applicable to any KATA. I have tried to slowly exaggerate and demo it in the video. In reality it is faster and smoother of course.

Maybe not the best video shot though. LOL!  Anyway try to do it this way when starting any KATA and you will feel the difference. I do.

MAKING A FIST

I have been helping teaching kids (and adults) and watching children (and adults!) I realized that step number #1 in karate, regardless of the style, school, dojo etc., should be actually a lesson of HOW TO MAKE A FIST.

About 4-5 years ago I went through a very dramatic self-revision of my karate and one of the fatal mistakes I had identified in my own karate was the actual fist formation. With a weak fist a punch will never be powerful enough. Makiwara is a good test for it and I am planning to write about it later.

So, what was the issue? Little finger was not tight enough and the thumb was not in the right place. It has been fixed since. I believe I need to review it again. Therefore I am asking for your help and advice regarding any issues my theory and my application currently has. 

Making a fist (as I see it) should be happening in the following sequence:

1. Open the palm

2. Bend all four fingers (no thumb included) to their base in a way that the highest level of tension is created by your little finger, yes the "pinky" :-) Stay focused on that one during the rest of the procedure.

3. Roll them further towards the base of the palm creating a fist with a thumb still pointing out.

4. Now bend your thumb in a way that it makes a latch preventing the first two fingers (index and middle) to get released from the tight hold.

The way I see it is if the pinky is not tight enough the whole fist will be weak and if the thumb is not in place creating a latch the elements of the fist will be disconnected. All these lead to a weak fist, potential injuries, impossible work on makiwara and punching the air as the only use of one's karate.

And of course all this is supposed to be done as one and very fast. So, the more you practice the better. Nothing new, right?! It has to become as hard as a stone. Test it on the even flat surface (I use wall). Do not hit it (why would you do it?) but rather just softly put your fist against the wall the way you punch and see how strong or weak your fist is. Now imagine when you hit an opponent who is approximately 90 kg and potentially moving towards you throwing his attack at you... Right? Your fist should be extremely strong and placed correctly to survive the impact and create some damage to the opponent. Considering the fact that it is weak in connection to your arm point anyway.

Please feel free to comment, advise, criticize and just give any input you wish. This blog is the right place for it. Thanks in advance. 

Ossu!

RONIN

Is it a mistake? I do not know. I do not treat it as my one anyway.

The thing is that just recently I have been kicked from my karate federation for training in a "wrong" club with the "wrong" sensei. After 7 years being loyal and active member of the dojo... I never planned to leave. I am out now. The name of the federation doesn't matter.

What I want to say: Karateka please do not "fall in love" with your federation. It provides a comfort zone for you in some sense. But being a member of any karate union doesn't make you a karateka. And comfort zone is not what karate is about.

So, keep practicing and ignore these politics (read "money") wars. The only war you should be trying to win is a war against yourself and your weaknesses.

I have just removed the badge (see picture). This is not a gesture. I am not a Christmas Tree to wear nice decorations on my sweaty dogi. If I do not belong there so let it be.

Ossu!

FURIN KEIKOJO

Here there is my dream. 

I want to create an environment (hall, place, location, time, group and etc.) where karateka (people who practice karate) would meet up for karate practice, KARATE NO KEIKO (not sure if I've spleeled it right). I see too much of politics and money around this beautiful art. So, this place has to be FREE of it. Another way to say: I regardless of Dan, Federation, Association and Affiliation a karateka should be able to come and practice together. Nothing to argue about or prove - pure practice time. The thing is there is not enough training time in our DOJO's. We come there to study and to get corrected but any art requires more than that. particularly it requires repetition and practice. 

I am still considering my options... I need to find a place first. Then I wil try to inform people and we will see...

I will call that place FURIN KEIKOJO. Looking for a place right now...