Understanding Karate
Understanding Karate
Understanding Karate
Understanding Karate-do
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Johnston, Owen
Understanding Karate-do (Work-in-Progress)
Copyright 2005-8
Table of Contents
Introduction - 5
Owen Johnston
2005
Introduction
My contact info:
Owen Johnston - [email protected]
http://www.johnstonkarate.com
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Understanding Karate-do
Part I:
Foundation -
A Concise History and Lineage of Wado-Ryu
History
History continued
History continued
Aikido, and the other karate sensei he trained with, into the
classes Funakoshi-sensei had put him in charge of. This included
free fighting, and weaving his newfound principles into the kata.
While many students agreed with the changes being made, Funakoshi-
sensei viewed them as contrary to his teachings. Due to their
disagreements, it was in 1930 that Ohtsuka-sensei and Funakoshi-
sensei finally parted ways.
Over the 4 years that followed, with help from students who
also left Funakoshi's instruction, Ohtsuka continued his own
teaching. Constantly developing his new budo, he focused on
deriving practical defense from formal art. A major breakthrough
was the idea of Kihon Kumite Kata, which became his greatest
contribution to martial arts. In blending Jiu Jitsu, Aikido, and
Karate, he created not only 36 new kata, but a new budo.
Ohtsuka-sensei created the All Japan Karate-do Research
Organization (Dai Nippon Karatedo Shinko Kai) in 1934, after
encouragement from many of his students. Also, his son Jiro (later
known as Hironori Ohtsuka II), who would later become Ohtsuka's
heir, was born that same year.
Four years later, the All Japan Classical Martial Arts
Festival (Dai Nippon Kobudo Tai Kai) invited Ohtsuka-sensei to
demonstrate his controversial new style. He was asked to name the
style prior to the demonstration, and he registered it as Shin Shu
Wado Ryu Karate-jujutsu - New Style Way of Harmony School. The
year after, when Dai Nippon Butokukai requested all Japanese
martial arts and their chief instructors register their names,
Ohtsuka-sensei gave the name Wado-Ryu - Way of Peace and Harmony.
Ohtsuka-sensei continued teaching, and Wado-Ryu eventually
became one of the most highly regarded Japanese martial arts. The
1st All Japan Wado-Ryu Karate championships were held in 1955. In
1963, Mr. Arakawa, Mr. Takashima, and Mr. Tatsao Suzuki left Japan
to help spread Wado-Ryu Karate to Europe and America. Emperor
Hirohito in 1966 awarded Ohtsuka-sensei with The Grand Order of
the Rising Sun (Kyuokujitsusho). In 1972, the president of
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History continued
Karate Lineage
Sokon Matsumura
Student of Kong Su Kung/Kushanku and Sakugawa
Matsumura taught Okinawan Shuri-te which later became known
as Shorin-Ryu. This form was a combination of Sakugawa's tode, and
Kong Su Kung's Chinese Boxing.
Yasutsune Itosu
Student of Sokon Matsumura
Itosu-sensei continued Shorin-Ryu as it was originally taught
by Matsumura-sensei.
Kanryo Higaonna
He practiced and taught the Naha-te style which became known
as Shorei-Ryu (influenced directly by Zhao Long Liu, a Chinese
martial art). After his death, Shorei-ryu was continued by Chojun
Miyagi, who later formulated it into Goju-Ryu.
Kosanku Matsumora
He practiced and taught Tomari-te.
Gichin Funakoshi
Student of Yasutsune Itosu and Sokon Matsumura
The father of modern karate-do, Funakoshi-sensei founded
Shotokan Karate-do in the 1920's after popularizing his martial
art in Japan. He originally studied under not only Matsumura and
Itosu-sensei but a number of other masters, whom Funakoshi talks
about in detail in his Karate-do: My Way of Life.
Choki Motobu
Student of Soken Matsumura and Anko Itosu of Shuri, Kosaku
Matsumora of Tomari, and possibly Tokumine
His teaching methods primarily consisted of Naihanchi kata for
kihon (basics), and kumite. He stressed up-close fighting.
Hironori Ohtsuka
Student of Gichin Funakoshi
Founder of Wado-Ryu Karate-do, Ohtsuka-sensei developed the
style as a blend of the basics and kata of Shotokan Karate, the
rugged practicality and natural movements of Shindo Yoshin-ryu Jiu
Jitsu, and the fluidity and peacefulness of Aikido. The Wado-Ryu
symbol represents peace encompassing strength.
In the months leading to his retirement, he decided that his
son was to succeed him as grandmaster of Wado-Ryu. However, some
of the higher level Wado-Ryu Karateka were not in favor of this
decision. Negotiations took place, but no agreement could be
reached as to the next grandmaster. As a result, some of the
karateka split off to form their own associations.
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Tatsao Suzuki
Senior Student of Hironori Ohtsuka
Founder of International Wadoryu Federation
Suzuki sensei was one of the primary influences in spreading Wado
throughout Europe. As a result, Wado is currently the most widely
practiced form of karate in Britain.
Lineage of Heiwado:
Kiyohisa Hirano-soke
Student of Hironori Ohtsuka
Founder of Japan International Karate Center
Hirano-soke founded Heiwa-do, his interpretation of Wado-Ryu
Karate-do. It also blends in ideas from Shotokan, Shito-Ryu, and
Goju-Ryu, as well as Aikido, Iaido, and Judo. The basic strategy
and philosophies are classical Wado-Ryu.
Shotokan's scientific approach to body physics helps students
grasp instruction more easily. Shito's efficiency & superior
stances are also adopted. Also integrated into the movements are
Goju-Ryu's dynamic breathing methods.
The name Heiwa-do uses the first kanji (Japanese set of
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Part II:
Fundamentals -
Principles, Techniques, and Kata
Zanshin
'Remaining mind' / Awareness.
Haragei
Breathing art/'Belly art'/Body Focus. Breathe, relax, and
settle your body, naturally.
Mushin
'Mind-without-thinking'/Mental Focus. Empty your mind and be
fully aware of all angles. Do not concentrate on one technique,
but let your principles guide you according to the situation.
Kiai
'Life force harmony'/Spirit Focus. Exert your spirit in a
powerful yet natural way. Be flexible, intimidating, and
untouchable.
Tai Sabaki
Body management/body shifting/'optimum utilization'. These
movements are performed with economy of motion.
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Defensive movements
Heavily influenced by Shindo Yoshin-ryu jujutsu, these
movements are used to control the opponent's energy. These
movements apply maai and body shifting. Consider uses of the
timings for counter attack.
Musubi
'Connection'. This deals with finding the opponent's center
of gravity. Imagine touching fine silk - use no energy. In this
way you must become undecipherable. Focusing on skill in
application rather than force guarantees proper use of principle,
and that the opponent will be less likely to be able to use their
own strength against you. Relax and develop sensitivity! Once you
find this, you will find the same principles in all waza. Remember
to push with the hands and pull with the feet.
Maai
The state of mind and spirit of the combatants, and the
distance between them. Keep enough space to attack and defend. At
a high level, you control the spirit and energy of a conflict.
Draw a reaction from the opponent that will give you a tactical
advantage. Practice the above principles to understand maai, and
practice maai to apply the following. Never stop studying tactics
so you may better see from this broad view.
Hei Jo Shin
'Calm mind and body'. When the opponent feints or draws a
weapon, you should not flinch, but be prepared. Harness the
adrenal state so that you do not panic, but fight reflexively.
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Basic Techniques
Basic Directions/Positions:
High (Jodan) / Middle (Chudan) / Low (Gedan)
Left (Hidari) / Right (Migi)
Centerline (Seichusen)
Strikes:
Karate Arm Techniques:
Knife hand (Shuto)
Ridge hand (Haito)
Elbow strike (Empi zuki)
Hammer fist (Tettsui)
Back fist (Uraken zuki)
Spear hand thrust (Nukite tsuki)
One knuckle punch (Ippon ken)
Palm strike (Kamate)
Reverse Punch (Gyakuzuki)
Karate Kicks:
Front snap kick (Mae geri), Roundhouse kick (Mawashi geri)
Side thrust kick (Yoku geri), Back kick (Ushiro geri)
Inward & Outward Crescent kicks (Mikazuki geri)
Knee kick (Hiza geri)
Boxing Techniques:
Jab, cross, hook, Uppercut, Shovel hook
Straight lead, Overhand cross, Smash hook
Flicker jab, Dempsey roll
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Techniques continued
Stances:
Attention stance
Ready stance
Horse stance (Naihanchi dachi / Kiba dachi)
Straddle / 45 degree horse stance (Shiko dachi)
Cat foot stance (Neko ashi dachi)
Back stance (Kokutsu dachi)
Front stance (Zenkutsu dachi)
Sanchin dachi (Hourglass stance, as used in Goju ryu)
Crane stance (Tsuru dachi)
Grappling:
This includes throws, takedowns, as well as seizing &
controlling techniques such as joint locks, chokes, gripping, and
small joint manipulation. These deal with various body points,
including vital organs, muscles, joints, and nerve clusters. When
using locks, maintain pressure and use pain to control or subdue
the opponent.
Remember to control all the joints in the arm when applying
wrist / arm locks, and to push with your hands rather than pull
(do not depend on the opponent for balance!). The key is to not
allow the opponent to use their strength to resist - find their
center and attack their weak line of movement and use circular
movements to defeat the linearity of the human body.
Study kuzushi and sensitivity to understand not only
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Techniques continued
grappling, but striking - don't miss the forest for the trees!
Footwork:
Three basic types of footwork used in getting closer to the
opponent. Yoru means to get closer.
Drills:
Alternate sparring
Take turns striking, with no blocking or hard contact.
Call sparring
Call a technique or series of techniques, and wait for your
partner to confirm that he or she is ready before attacking. Your
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Techniques continued
Techniques continued
Minor outer reap uses the front leg on the same side (mirror
image), and Minor inner reap aims to the opposite leg.
Technique combinations:
When attacked, one must counter quickly and efficiently. Use
both grappling and striking skills as necessary. The following are
simply examples. As you train, you must learn to adapt.
A few examples
Punch Counter 1:
Pulling Block with the near hand as you step to the
attacker's outside, and attack to the neck. Wrap your attacking
arm around the neck to apply a neck crank. Use your attacking hand
to hold on to your other bicep, as you push down and forward on
the head with your free hand to cut off breathing. Your back
should be turned towards him/her to prevent groin strikes. Use
your near knee to strike upwards on theirs, and apply more
pressure on the neck until he/she taps out or goes unconscious.
Punch Counter 2:
Brush block to the outside and trap the attacking hand. Elbow
to the head, and knee to the body. This may be followed by an
outward hammer strike and foot sweep, followed by kicks, or a
submission such as cross arm lock or rear naked choke.
Punch Counter 3:
Smash the near knee with a side or front kick, as you block /
evade and trap the attacking hand under your arm. Knock the
attacker into submission or unconsciousness with elbows, knees,
and other in-close strikes to vital organs. The trapped arm may
also be cranked in an arm lock if necessary.
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Techniques continued
Kata
'A kata may be regarded as an integration of offensive and
defensive techniques, but it is more than that. One should try to
understand the spirit of the master karateka who created the kata,
for it has a life of its own and requires five or six years to be
mastered.'
- Hironori Ohtsuka, Wado-Ryu founder
Kata:
Wado-Ryu kata tend to use the Okinawan names. Alternate names
included are the Japanese / Shotokan names, unless otherwise
indicated. The kata included in any particular dojo's curriculum
may vary from this list, however. As such, this list is intended
to be informative to those interested in kata history, rather than
suggestive of what should be required to learn. I also do not
pretend that my information is complete / perfect, due to a lack
of written records in early 'te' history, and ongoing debate. I
have also listed various other kata I am aware of.
Kata list
Kata continued
Chinto (Gankaku)
'Fighting to the East' / 'Crane on a Rock'. Formulated in Tomari
from the teachings of a Chinese sailor of the same name, this kata
was based mostly on White Crane Kung-Fu and later adopted into
shuri-te. Ohtsuka-sensei studied variations of this kata under
masters Funakoshi and Mabuni.
Seishan (Hangetsu)
'13 Hands'/'Crescent Moon'. It is based on movements brought from
Fukien to Okinawa circa 1700. Ohtsuka-sensei also knew and taught
the shuri-te version of Seishan.
Bassai
'Extract from a fortress' or 'remove an obstruction'. An Tomari-te
kata that uses dynamic stances and hip rotation. The Shotokan,
Shito, and Wado ryu versions of Bassai are directly based upon
Master Itosu's Bassai. Ohtsuka learned Bassai from Funakoshi.
Wanshu (Empi)
'Dumping Form'. A Tomari-te kata based on movements brought to
Okinawa in 1683 by Wanshu, which is the Okinawan adapted name of
the Wang Ji. Wanshu was a practitioner of the Shaolin tradition of
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Understanding Karate-do
Kata continued
Jion
'Temple Sounds' / 'In the Jion-ji Shaolin Temple'. A Tomari-te
kata, it is named after Jion-Je, a Buddhist temple. Ohtsuka
studied this kata under Funakoshi and Mabuni.
Rohai (Meikyo)
'Vision of a crane' or 'vision of a heron'. Originally a Tomari-te
kata, a version of it was taught by Itosu-sensei, who formulated
three versions of it (Rohai Shodan, Rohai Nidan, Rohai Sandan).
Itosu Rohai was taught by Master Mabuni to Ohtsuka. The Rohai
practiced in Wado is known as Rohai Shodan, in Shotokan. The
Shotokan version, Meikyo, translates 'clear mirror' or 'mirror of
the soul'.
Niseishi (Nijushiho)
Transmitted by Ankichi Aragaki, variations of this Shuri-te kata
exist in Shotokan, Shito, and Wado.
Kata continued
Sei Shi
'24 Steps'. A Shorin-ryu kata performed in 3 directions - the
points of a triangle.
Seipai
Variations exist in Goju-ryu and Shito-ryu. It was influenced by
White Crane Kung-Fu.
Annan
A Shito-ryu kata that primarily uses open hand techniques. It also
has a Goju variation. Annan has great versatility and speed in its
self defense techniques.
Gojushiho Dai
'54 steps' number two. A Shotokan kata.
Ji'in
Variations exist in Shotokan, Shito & Wado.
Nipaipo
A Shito kata with a Chinese flair.
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Kata continued
Bunkai
Bunkai, or application of technique, assists in understanding
the movements once they have been learned. Kaisetsu, or learning
the principles behind the movements, may then be drilled, so as to
assist in learning how to adapt and apply kata. As such, there
should not be any one prescribed method for teaching bunkai. As
such, drilling the following bunkai is not meant to be 'the only
way', but instead meant to help gain a basic understanding of
"kaisetsu".
Pinan Shodan
This kata helps movements become stable, efficient, and
intimidating. The first technique, 'c block', sets up for a
redirection. Even the sword hand blocks can become attacks.
Pinan Nidan
This kata instructs further on timing, distance management,
and counter-attacking quickly.
Pinan Sandan
This kata teaches a continuous guard. It also helps become
body shifting, consistency of stances, and redirection of attack.
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Kata continued
The middle & low blocks in the beginning may be termed 'continuous
block', which may be interpreted in many ways. The turn after the
spearhand strike, and follow-up with the outward tetsui, is
twisting out of the opponent's grappling of your arm, and
countering.
The use of the elbows in naihanchi dachi may be either
strikes or strong blocks. This may be interpreted in many ways in
close quarters. The last moves of the kata may be seen as elbowing
to both the back and front, breaking rear grapples with an elbow
to each opponent's abdomen and a hook to the face, or a powerful
hook or elbow to an opponent in front.
Pinan Yodan
Stepping into a back stance as you double block disrupts the
opponent's movement, as you simultaneously block and counter.
Blocking behind you immediately after the initial blocks cuts a
sneak attack short. The low block, front snap kick, and elbow
combination will block, stumble, and knock out an opponent. The
sequence after the second elbow assists in learning how to follow
through with attacks, and helps practice economy of motion.
The cross-block that begins the second half of the kata
counters a grab attempt. Pulling the hand back as you kick may be
interpreted as trapping the opponent's arm under yours, and
pulling him/her into a kick to the groin.
Pinan Godan
The high cross block sets up for an arm lock, tetsui, and
finishing punch. The jump ends with a strike to a fallen opponent.
The palm strikes followed by pulling motions represent attacking
the groin and causing severe trauma to it.
Kushanku
The Pinan kata help understand Kushanku, as there are many
similarities. The slow motions are used for breathing and focus,
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Kata continued
Naihanchi
Naihanchi develops lower body strength. It also teaches one
to settle all one's strength in the abdomen/center and draw from
it. The methods employed in Naihanchi are best applied and
interpreted in a narrow space.
Bassai
Bassai builds a stronger, more efficient defense. The first
two middle blocks may be seen as a kick counter and takedown; the
backfists near the end may also be used this way by performing
scooping blocks to set up for the attacks. The crescent kick
redirects an attack, so as to set up for the elbow strike. After
the elbow is 3 sets of double strikes to counter a rear grapple
attempt.
Wanshu
Wanshu, like Bassai, is technical and efficient, but is of a
more aggressive nature. It is also a study in timing and follow-
through. Stepping into side stance as you set up for a low block
may be seen as body shifting to dodge an attack, as you move in to
punch the opponent. The jump represents stomping on a downed
opponent while preparing to block an attack from another.
Jion
Jion is very direct, yet powerful, stable, and technical. Its
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Kata continued
Seipai
As an Okinawan kata, Seipai uses a small structure to
reinforce mobility. Due to the Crane influence, Seipai is a study
in entering and parrying. The first combination blocks and pulls
a low attack, then knocks the attacker down. The rolling motion of
the arms after the turn, low block, middle block, and mawashi uke
combination represents a damaging arm lock. In a variation of
Seipai, juji uke is performed just before the sweep. The last two
strikes of the kata knock the opponent down, then out.
Gojushiho Sho
This kata is a study in close quarters techniques. The first
sequence is a double wrist block, and counter attack. The
sequences after the elbow strike represent a kick counter, nukite,
and grapple counter. The last sequence represents blocking an
attack to the midsection, blocking a grapple attempt, then counter
attacking to the collar bones.
Annan
Annan contains many practical, efficient counter attack
methods. It is also useful in practicing breathing and focus.
Raising the knee and striking with the finger may represent
blocking a kick, then hitting the vital point below the ear.
Stepping into horse stance, extending the hands, and clinching
them into fists will jam the opponent, and grab him/her to gain
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Kata continued
control for the side kick. The 'ox jaw' wrist blocks near the end
block a middle punch, then knock the shoulder out of joint.
Seishan
Seishan is direct yet graceful. The primary stances used are
seishan dachi, tate seishan, and shikodachi. The footwork and a
number of the techniques utilize forward whipping movement for
speed and impact. The open handed blocks near the beginning may
counter grappling as well as strikes. These blocks may also be
seen as double spear hands. Also, in the second half of the kata,
what appears to be a shortened high block may be used as a wrist
block, and the jammed front snap kick becomes a knee kick.
Overview:
Aside from the dojo precepts, kata is traditionally Karate-
do's primary tool for personal development. It is the textbook of
Karate-do that is to be learned, understood, and applied. It is
the tool by which Karate-do demonstrates fighting principles, but
also creates unity in one's body, mind, and soul.
What may seem unnatural motions become second nature with
training and practice. Kata assists in drilling good habits, and
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Kata continued
Part III:
Dojo -
Philosophy, Terms, and Ranking System
Philosophy
Dojo Precepts
1) Perfect one's character!
1) Dedicate oneself to others!
1) Uphold honor, bravery, and justice!
1) Never stop learning!
1) Obtain victory without conflict!
Mukso (Meditation)
Meditation warms up the mind before training, and cools down the
mind after training. After training, meditate on what you did
well, and what you want to work on next time.
Bowing
Shomen ni rei - Bow to the front
Otagai ni rei - Bow to each other
Traditions
1) Do not wear anything on your feet on the training floor, or
anything that inhibits training.
2) Courtesy / Respect: Bow when entering and leaving the training
floor. Bow when a teacher enters or leaves the training floor. Say
'Thank you' or 'Arigato' and 'Hai, sensei' often. Ask the teacher
first before you leave the floor for any reason.
3) Relationships: Teacher-Student (oyabun-kobun) and Senior-Junior
(sempai-kohai). In Japanese tradition, the relationship of master
and apprentice is comparable to that of parent and child.
4) Honor: Carry yourself in an honorable fashion in dealing with
people in and out of the dojo. In the dojo, this includes
respecting your classmates and teachers by giving them your best.
Outside of the dojo, this includes doing the best you can for
others.
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Terms
Pronunciation
Ei is like long a, ai is like ie in pie, y is like long e
General
Dojo - 'Place of the Way'; The training hall
Sensei - 'One who comes before'; Instructor
Sempai - 'Senior'; Senior Student / Assistant Instructor
Kohai - 'Junior'; Instructor-in-training
Karate-do - 'Way of the Empty Hand'; Founded in Okinawa as a
system of self-defense & conduct
Hai - Yes
Osu - A karate greeting used in various styles.
Commands
Yoi - Ready
Kiyotsuke rei - Line up, bow
Jiyu kumite - Free sparring
Hajime - Start
Yame - Stop
Mawate - Turn
Seiza - Formal Japanese sitting position
Mukso - Concentration / Meditation
Shomen ni rei - Bow to the front
Otagai ni rei - Bow to each other
Tate - Stand up
Moichido - One more time
Counting
Ichi - One / Ni - Two / San - Three / Shi - Four / Go - Five
Roku - Six / Shichi - Seven / Hachi - Eight / Ku - Nine
Juu - Ten
(Note: 'Shi' may also be pronounced 'yo' or 'yon', since 'Shi' can
also mean death. 'Shichi' is alternatively pronounced 'nana', and
'Ku' is alternatively pronounced 'kyuu'.)
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Syllabus
Syllabus continued
Syllabus continued
Syllabus continued
Note:
Kyu - Class (10th to 1st). While I do not grant "kyu" ranks, this
system is commonly used in Japanese martial arts for pre-dan
students. The kyu rank of a student is often represented by a
corresponding white or colored belt. The order of colors tends to
vary between schools, but white belt is generally the first.
Dan - Grade/Step (1st to 10th)
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Karate Precepts
Karate Principles
Strategy
Strategy - part II
When faced with a heavy handed puncher, his or her hand speed
and upper body defenses may be hard to match or get past. In this
case, timing and creativity are of high priority. In a street
situation, you do not have time to memorize his or her habits.
Watch for openings in the attacks, and draw out your opponent for
a timed hit. Don't forget use of body shifting; especially to the
outside of the opponent, which will present you with a strategic
advantage. This reduces his / her options by 50%. This will be
easier or harder to do depending on the attacker's training; such
is hard to judge immediately, so it is instead better to take the
initiative and/or counter-hit as quickly and efficiently as
possible. Untrained punchers, however, tend to have a large amount
of telegraphing (movements that signal a certain attack).
Against a kicker, remember that people are already on the
brink of disaster on two feet, and taking another foot off the
ground ruins balance even more. Also, a kick generally takes
longer than a punch to reach its destination. You will want to
react to the opponent's starting movement as quickly as possible
with a jamming technique or combination. Be extra careful when the
attacker does manage to raise a kick. A well trained kicker can
often change a kick's height or target before putting his or her
foot down.
You must maintain a strong cover from which you can counter
swiftly, and off-balance your opponent while their kicking foot is
still traveling. Make an opportunity to close with the kicker, and
reduce his or her options. Elbows and knees are particularly
effective for striking away kicks. Use caution, however, if your
attacker appears trained in a heavily body-conditioning oriented
flavor of Muay Thai / Thai boxing, Kyokushin karate, or the like.
Counter striking to vital areas that cannot be conditioned (solar
plexus and so forth) will be even more important in these cases.
Many fights end up hitting the ground. If you are not
comfortable working from the ground, then maintain a solid
fighting distance and avoid in-close fighting as much as possible.
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dojo, which was the first formalized karate dojo. Also during this
time, karate as a whole came to be formalized and 'Japanized'
(although divisions among separate karate styles have not, to this
day, been resolved - primarily due to pride and organizational
politics).
Such formalization included acceptance of the kyu/dan
(class/grade) system as devised by Jigoro Kano (founder of judo).
Also, it became important that all teachers were qualified and
knowledgeable. Finally, it was necessary to institute a standard
curriculum, uniform, and competitive format.
Nationalism and anti-Chinese sentiment made the karate-jutsu
movement consider a more appropriate ideogram to represent their
art. The original 'kara' ideogram of karate meant China, as did
the 'tou' of toudi (Chinese hand, and a reference to the Tang
dynasty). The replacement ideogram means 'empty', and takes on not
just a physical but a spiritual meaning. 'Kara' may represent the
'void', and freedom from worldly desire.
Also changed was the suffix for karate. Instead of jutsu
(art/science), do (way/path/totality, pronounced 'dao' in
Mandarin) came to be used. In this sense, as a result of the
efforts of such masters as Itosu, karate-do joined kendo, jiu
jitsu, aikido, and judo as a modern budo, in which not only combat
is practiced, but also a cultural discipline for the pursuit of
harmony.
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Mizuumi - Lake
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On Teaching
In Pursuit of Perfection
Or 'Mizuumi' / 'Lake' - Part I
In Pursuit of Perfection
Or 'Mizuumi' / 'Lake' - Part II
Many martial arts use forms to help teach not only the
technique systems, but the qualities and types of power that I put
forth in the previous article. Proper rhythms - and broken rhythm
- must be understood. This is not simply for fighting, but also
for life.
In this light, I have developed Mizuumi ryu Karate. It is
primarily based upon my own experience in karate, boxing, and
jiujitsu. 'Mizuumi ryu' translates to 'Lake school' (taken from
Lake City, my hometown). Mizuumi is a heavy handed, light footed
style that includes compact, continuous movement. The goal is to
utilize the entire body in such a way that the opponent's line of
attack may be rendered an advantage to the Mizuumi practitioner.
The system contains two exclusive training methods which may be
used to supplement traditional martial arts practice.
The first method is a new kata entitled 'Nekoashi kata',
literally meaning 'catfoot form'. This is not necessarily superior
to the older, traditional kata ('set form' in Japanese). Nekoashi
kata is instead meant to be easier to digest and interpret than
some of the old kata. Also, the qualities for external and
internal strength, as well as the types of power, are highly
emphasized in the movements.
Like any of the old forms, there is more that is not seen.
The entire structure is meant to be heavily interpreted. It is not
meant to be set in stone, but instead adjusted once learned. One
could say that this is so for the old forms, but others would
argue that there are only a few 'definitive' ways to perform them.
However, with Nekoashi kata, it is proper to learn 'a' version of
it and apply it to oneself. As long as both the version learned
and one's own adjustments are effective for one's needs, then both
are proper.
Nekoashi Kata
The general theme of this kata is to unify many techniques
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and methods into one structure, which is loose, agile, and cat-
like. As such, the following qualities are highly important within
the kata - efficiency, flexibility, power (including strain
energy, falling energy, momentum, explosive power, and short
power), springy evasive movement, trapping hands and feet, as well
as simultaneous attack and defense.
Let us consider not just the techniques in each of the
sequences, but the meanings of the sequences themselves. These
sequences provide not just an assemblage of techniques, but a
consistent structure which may be applied, interpreted, and added
to. Nekoashi Kata provides a solid framework of bunkai
(application of techniques) from which to study.
Nekoashi no Michi
The second method of Mizuumi ryu is 'Nekoashi no michi',
literally meaning 'Method of Cat Feet', or 'The Way of The Cat's
Feet'. This set appears more free form, and may also appear at
first to be a mix of kickboxing and jiujitsu. However, as in any
kata, one must learn the subtleties of footwork. The various types
of footwork in Nekoashi no Michi drill not only combat tactics,
but also help with physical conditioning. Also, the Nekoashi no
Michi assists in kaisetsu (study of principles) of the Nekoashi
Kata.
Shuffling
This set of movements provides a setup for the rest. This
drill helps develop speed, efficiency, grace, timing, softness,
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Smashing
Each of the following could be used alone, or as a setup for
the technique that comes after it. One could also use qualities of
two or more of them.
Pulling steps
Pulling steps primarily drill standup grappling. The key is
to push with the hands and pull with the feet. The ultimate goal
is to take away your opponent's free range of movement. Leverage
and positioning are key. The basic technique is take a big step
backwards using the lead foot while using a brush block with the
lead hand, and a twisting movement with the hips. This is to
control the opponent's attacking arm / wrist / leg, using the
opponent's momentum, to effect an unbalancing technique, which
sets up for an easy transition into an armbar submission, or a
takedown and/or leg lock. Look to the brush block, "pulling", and
low side kick near the midpoint of Bassai kata for an example of
"Pulling steps".
If the opponent resists your counter, use your control of his
or her arm to effect a "kuzushi" in a different direction, setting
up for a standing wrist / arm lock or similar technique, and a
takedown. However, if the opponent reacts to your "pushing hands"
by trying to pull you back, push in and effect a blood choke or
similar submission technique. Also, as needed, use strikes, clinch
work, and seizing / pain compliance techniques (aim for joints,
vital points, and muscles), especially if your opponent powers
through a submission. Lastly, takedowns, throws, and sweeps allow
easy transitions to various ground submissions.
In the case of multiple opponents, you may throw one into
another, or use an opponent as a shield.
Switching
Each may be used alone or as part of a sequence. The goal of
switching is to use trickery and clever strategy to throw your
opponent off his or her rhythm / pattern. Switching step also sets
up for Sinking Steps and Spinning Steps.
Forward switch. Quickly move forward with the lead foot while
performing fast technique of choice with the lead hand. As you
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step, pivot the back leg around and past the front leg, using a
quick twist of the hips. This looks like a shortened step-forward-
and-pivot body shift.
The dip of the back leg may be large or small, but it must be
fast and performed immediately after the first technique. Dipping
the back leg sets up for a side kick with the front leg. After the
side kick, retract the leg and come back to a front stance, and
perform a roundhouse kick with the back leg. Retract that leg to a
front stance (pulling it back or setting it forward), then perform
a front kick with the other leg. Of course, one may change the
techniques, but the idea is to trick your opponent and "box" him
or her in and limit their movement.
One may also vary the forward switch, of course, to pivot and
turn at various angles. This may be used as a tricky version of
"Pivot shuffles". The idea is quickly shutting down your
opponent's movement with tricky footwork. One could add in
continuous strikes, making this also similar to sticking smash.
Sinking step
This involves deepening your stance, lunging, and turning of
the body to remove your vital areas from the line of attack. These
movements also setup for quick counter attack. One may use sinking
steps to assist in performing jumping kicks. However, keep in mind
that jumping kicks are only used in Sinking Steps practice to
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Spinning step
Take care to time and distance properly. This step should be
a quick evasive pivot that sets up for techniques such as throws,
back hands, and back kicks.
Forward spin. Like forward switch, move in with the lead foot
and hand, then pivot the back leg. However, follow-up by
completing a full turn on the back leg. This back leg turn may be
compared to the kind of pivoting commonly seen in karate kata.
Forward spin is more of a practice drill than a direct
application. As such, one may adjust it to include techniques such
as spinning back kicks, or throwing one opponent and then turning
with the back leg to face another.
As with Forward Switch steps, one may vary the Forward Spin
to pivot and turn. Practice pivoting to one side, then the other.
Finally, adjust it to include defensive and offensive techniques,
as well as various kinds of steps (depending on what you want /
need to practice).
then trapping the limb, and pivoting quickly behind you to effect
a takedown. This may be adjusted to accommodate various kinds of
throws, especially judo applications. For instance, imagine that
you lead in with a side foot sweep, and the opponent evades.
Transition from the sweep attempt into forward switch, and adjust
the step to get into the proper position to land a shoulder throw,
uchi mata, or hip toss. Throwing spin may also be used to
accommodate leg sweeps that use a great degree of spin (dragon
sweeps, roundhouse "cut" kicks, etc.).
Swing spin. Like throwing spin, move in with the lead foot
and hand, then pivot the back leg. Then, follow-up by using a
brush block against your imaginary opponent's arm or leg, then
trapping the limb, and pivoting quickly behind you. Here, instead
of just a takedown, one may apply Dragging pull to spinning your
opponent into another, or into an obstruction, and finishing with
a Slamming pull. Also, instead of tossing around only one
opponent, Swing spin may also be considered continuously moving in
on opponents and throwing them (and/or creating openings for
whatever techniques are needed).
Falling step
It is essentially practicing break falls and fast ground
work. Kicks, elbows, takedowns, setups for various submissions,
joint locks and so forth), and more, may be practiced in
conjunction with the rolls, falls, and position changes. The key
is to keep moving, transitioning, and attacking. The key in
breaking falls is to use both momentum and every part of the body
to lesson the impact on any one part.
Side fall. Sometimes you may have to use a side break fall as
not to get the wind knocked out of you, or take damage to your
back. Remember to loosen up as you fall and use your arm to soften
the blow. From here, use one or more kicks as you try to regain
position and control. This may be following with a technical rise,
clinch, shoot, leg sweep (by using a roundhouse kick, for
example), and so forth.
In Summary
The ultimate goal is near-constant movement. One must be able
to move in any direction with equal agility. Even in defensive
movement, one must be able to simultaneously attack. The best
defense is a good offense - and a direct one. Cut your opponent
short, and jam their attack by sensing their pattern, their
rhythm.
Much study is needed to understand all of this. It would take
many pages to break down how techniques utilize the different
kinds of power, much less describe further application in actual
fighting. Let us remember then that these elements of personal
power, and factors for external and internal strength, should also
be used to carry ourselves with a positive attitude through life.
Overall:
Be natural, let go of human pride, and always study the path
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of truth. The mind and body are incredibly adaptable. The soul is
capable of great depth - and great height as well, if indeed we
study hard, so as to soar into the heavens and return to share
what we have learned. Do remember to always engage in well
rounded, sober training in the martial ways. Anything less is to
shortchange oneself and all those one comes in contact with.
One should study the martial ways wholeheartedly. To
understand the warrior mindset, one must understand warriors who
have come before. To be a warrior is not to be hostile, violent,
or proud, but to be ready to survive, protect, and lead. Much can
be said on this, but I do not pretend to be a sage. It is for this
reason I recommend various martial and religious texts.
However, I may say that one should not mistake the truth for
an interpretation of the truth. Let us study "a" way for a while
to gain an understanding of "the" way - whose goals include
perfection of character and dedication to others. This will help
us further our knowledge of the internal factors, which we may
call wisdom. Also, the key in any sustained personal progress
begins not in action, but choice. We must decide within ourselves
to follow our goals and dreams.
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In Pursuit of Perfection
Or 'Mizuumi' / 'Lake' - Part III
Let us train the external factors with the whole heart. This
will help us develop power. This is not just personal power, which
may be used blindly, and with vanity. This is strength that may
help us walk the path of truth. Let our inner hopes, then, shine
through. I will detail in the next article a few ideas for
external training.
Keep in mind that the following routine is a general outline
that I recommend. The exercises train one's body to be able to
properly perform Nekoashi no Michi. Age, health, time, and other
such factors allowing, one may make adjustments to the routine. Of
course, one may substitute exercises for easier or more difficult
ones, as well as do more or less reps, and even add or remove
exercises. The routine may also be split up over a number of days
(such as working the arms one day, working the legs the next day
and so forth). One may also use the Pavel's Ladder method in place
of the routines I list for the weight and body weight exercises.
http://www.cbass.com/Pavel%27sLadders.htm
Pushups:
One minute rest between each exercise, and each set.
Incline pushups - one set of 25 to 50
Knuckle pushups - one set of 25 to 50
Clap pushups - one set of 10 to 15
Regular pushups until failure
Pull-ups:
Two sets of 10, then pull-ups until failure
Abdominal:
One minute rest between each exercise, and each set.
Incline sit-ups - equipment allowing, of course. Perform 2 or
3 sets of 15.
Crunches - perform 25-50. Only the shoulders should be raised
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off the floor, as you breathe out and tense the upper abs, and
then relax. A light to medium weight held slightly above the chest
may be used to provide resistance.
Double ended crunches - pull your knees as close as possible
to your chest as you perform a crunch. Perform this 25 times.
Squats
One minute rest between each exercise, and each set.
Squat kicks - squat as low as you possibly can, and as you
come back up, perform a front snap kick. Alternate legs with each
repetition. One set of 20.
One legged squats - use a door or wall to assist balance.
However, one should try to maintain balance during this exercise
without relying too much on objects. To perform this exercise, one
may place one leg in front of or behind the body (depending on
what one feels more comfortable with) and squat with the other
leg. At least one set of 10 each leg. Once proficient with one
legged squats, add a free weight.
Normal squats
One set of 20, a set of 40, then perform squats until
failure.
Bear crawls - get on hands and feet, with the body close to
the floor (the knees and elbows should be bent). Move forward as
quickly as possible while staying low. Choose an area (20 to 50
feet) to bear crawl across. Bear crawling the length of it, and
back, is a lap. Do 4 laps, or until failure.
Duck walk - start in bunny hop position, but instead move one
foot in front of the other without coming up at all. The goal is
to move swiftly without dragging one's feet, or losing balance. Do
2 laps, or until failure.
Dumbbell exercises
If necessary, start with light weights - 5 or 10 pounds.
Don't forget to exhale sharply when performing a repetition, and
to inhale deeply inbetween repetitions (or reps, for short).
Rows - these work arms and back. Best with two dumbbells,
which should be placed beside one another, and within arm's reach
on the floor in front of you. A.) Start with your feet shoulder
width apart, then lean forward and stretch down your right arm and
grab the right dumbbell. Use your left hand and leg for support if
needed. B.) Then, pull the right dumbbell up as you bend your arm
back to waist level, and carefully lower the dumbbell back to the
floor. This should be done quickly. C.) From there, grab the left
dumbbell and perform the same exercise. Perform 2 sets of 25.
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body and the hands to come to shoulder level. Also, the knees
should bend deeply as you land. Basically, you will be landing
under the weight. Perform this 10 times at half your max, 5 times
at two thirds max, and at least once at max.
for motivation.
In Pursuit of Perfection
Or 'Mizuumi' / 'Lake' - Part IV
Elements of Power
Water yields - sticking / glueing / pulling power. Wind turns
- twisting / grinding / ripping power. Fire burns - driving /
exploding / pushing power. Metal axes - penetrating / cutting /
hacking power. Earth buries or strengthens - crushing / stopping /
Blunt Force Trauma. These deal more with application and training
than specific techniques. Many techniques, stances, and footwork
utilize a certain type of power, but may use different types of
power as needed.
Technical example listed on page 62
penetrates with sword claws. 11. Cat grabs its prey. 12. Cat
shoots like bullet.
The following qualities are highly important within the kata
- efficiency, flexibility, power (including strain energy, falling
energy, momentum, explosive power, and short power), springy
evasive movement, trapping hands and feet, as well as simultaneous
attack and defense.
Index of Steps
Shuffling:
Side shuffles
Side, behind, across - slowly, then quickly
Pivot shuffles
Straight line shuffles
Forward, backward, fake-out shuffle twists
Circular shuffles
Four-paw cat shuffles
Smashing:
Cross smash
Sticking smash
Angle smash
Downward smash
Cutting smash
Pulling
Switching:
Forward switch
Turn switch
Dancing switch
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Sinking:
Angle sink
Wedging sink - back/forth
Flowing sink - quick spin
Rockfall sink - sink low, wedge in, sinking spin to throw
Pouncing sink - downward, forward
Spinning:
Forward spin - forward turn (vary for angles)
Throwing spin - judo throws etc.
Swing spin - continuous spins and pivots
Falling:
Back roll
Forward roll
Back control
Guard, submissions, sweeps
Forward control
Sprawl and brawl, mounts, ground and pound, submissions
Side fall
Breakfall, kicks, sweeps, clinch
Dance
Party
http://www.conradjoneskarate.com/
Great Wado ryu webpage with info about their Tennessee area
classes as well as Wado as a whole.
http://www.msisshinryu.com/history/tomari-te/
Very detailed explanation of the Tomari region's important role in
the development of karate.
http://www.hogia.net/karate/karate/history.htm