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

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).

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!

UCHI UKE

I have just finished my midday practice that included:
- SOTO UKE - GEDAN BARAI - UCHI UKE - GYAKU TSUKI
- EMPI and JUNRO YONDAN.


I have to come to one of the most difficult for me points, UCHI UKE. Somehow application of this technique goes better than KIHON (that's how I see it at least!). UCHI UKE - a block from inside. It should start from the HIKITE creating compression (potential energy) and making the whipping snap (kinetic energy) in order to stop in front of the body covering its "edge". Usually performed on CHUDAN level.


Please watch my video and point out as many of my mistakes as possible. I am going to review this technique during the the next two weeks.

MUTIMI (?) or KOSI-NO-KAITEN

All traditional karateka know that creating a wave by one's hips rotation is one of the most basic and important points in karate. Karateka should produce a motion similar to a whip by sending his hips (later we will speak about the limbs too) as fast and as far as possible around the imaginary axis (spine). The farther and the faster hips rotate the faster they will come back to the initial position creating the wave towards the point of impact. This motion is called "mutimi" (Okinawan) or "kosi-no-kaiten". It is a power source for any karate technique (I guess).

"The goal of mutimi is to generate a wave of impulse from hips to the attacking limb" (K.Terekhin "The Karate We've Lost").

I am trying to demonstrate my kosi-no-kaiten and looking for its correction. Please share your points. Thank you. Ossu!

Introduction. And so we begin or Why this blog

There are many pages on the Web dedicated to the Japanese art of karate-do (as many as of any other subject I guess). Here and there they provide useful information on the subject. Some of them contain interesting video footage, some written advices, many of them criticize the rest, forums, blogs, discussions, etc. I have been one of those addicted to the art for long time now and thus very interested in developing my karate, reading advices from the advanced karateka and trying to see different points of view. My karate is getting better. Slowly but surely. I have all my life (the rest of it) in front of me to continue this progress yet. No hurry though. I take my time.

Suddenly I realized that probably the best way to get my karate-do better is just to let all karateka Worldwide  to criticize my technics and to answer my questions (I have a lot). This blog will be following this bright idea!! ;-) I will be posting something of my karate (not necessarily something very advanced) and you, my brothers-in-art, are very welcome to crash my Ego with your notes, criticism, sarcasm and hopefully useful advices.

Please do not hesitate! I do not promise that I will take on board all of those ideas but I should and I do promise to read all and not to argue over any of them. My goal is to learn. So, "the cup is empty".

Thank you in advance. Ossu!

The Twenty Guiding Principles of Karate: The Spiritual Legacy of the Master