I think it's safe to say, "To excel at any physical endeavor you must know your own body."
Regarding karate, or any martial art, this is especially true, For it's not the mere performance of the techniques which makes one an expert, but the deeper understanding of how these movements translate to self defense scenarios and the ability to apply them in non-compliant situations.
This is where the art of self correction becomes so important. As you absorb your teacher's lessons and are corrected in the dojo, you must remember and correctly apply them on your own. As you become more proficient you begin testing what you've learned to the point of making their application your own. Listening to your body, interpreting what it's suggesting, is the best way to learn karate techniques.
For a new karateka, learning very different gross motor skills just feels "strange". As these skills (think stepping punch) are practiced they begin to make sense, but only to a certain point as dojo learned in a class situation, unless you have a knowledgeable and willing upper level student willing to spend time pointing out the finer aspects of each technique. Even with this assistance only a certain plateau of knowledge can be attained. It's the personal, self training which elevates the karateka to the next level of expertise - self training based on understanding one's body dynamics and limitations, as well as the purpose of each part of the body's synchronized members working in unison.
All technique must be seen in three stages: beginning, middle and end. The technique must be practiced repeatedly in a relaxed manner in a 1-2-3 format - slow thoughtful comprehension of the stage of the technique you are performing it is being translated from your body to your mind; then back from mind to body. The instantaneous response only comes with repetition which corrects itself through comprehension of the purpose of the technique time over time over time. Over time the practice of relaxed movement into intense kime then nearly instantaneously back to a relaxed, prepared state (to retreat or continue the attack, decisions made in milliseconds) is made natural. For this is what you strive for in karate.
Well, that's all for now.
Saturday, October 25, 2014
Thursday, October 23, 2014
Getting Your Kicks From Kata
Some people get their kicks on Route 66. I get mine performing kata.
When performing kata for trophies high kicks are often the norm, and this makes sense since the kata is an "artistic performance". But for me, in attempting to interpret kata for real world self defense, I target my kicks to either the lower abdominal area or legs. Certainly there is a training and aesthetic benefit when performing head level kicks - and certainly there are those who can successfully use these kicks in real world situations. But for most people, I think, it would be extremely dangerous attempting to kicking someone in the head - unless they've lowered the target first via some other technique.
Take today for example: it's a wet and rainy fall day - wet leaves abound and the asphalt in the parking lot is slippery as well. If I were to be accosted while walking to my car - even if the opportunity presented itself - would it be wise to attempt a head kick as an initial strike? I think the answer is obvious - no. There are too many variables working against me. Another reason to avoid high kicks - clothing. In the dojo your gi pants are loose fit allowing greater movement, but on the street wearing your stylish tight jeans is another story. Restrictive clothing obviously restricts movement. So unless your an expert fighter when flat on your back please don't try head kicks in the tight jeans you are wearing. A third reason head kicks aren't ideal - time of day and the weather's effect on the body. When I arrive at work around 6:45 AM my body isn't nearly as flexible as it is by late afternoon. Factor in a cold winter day and I'm at an even greater disadvantage for applying techniques requiring flexibility. While this may not apply to the same degree to a twenty-something karateka, I believe it still a a factor of some degree.
Now back to kata. I think it's safe to say all kicks found in the Shotokan kata syllabus are part of a combination of techniques meant to immobilize your opponent offering you the opportunity to escape. A kick to the knee or shin, as part of flurry of techniques, may be all you need to temporarily injure your opponent enough to run and seek help and safety. A kick to the groin or lower abdomen will have the same effect - it's hard to chase someone when you're doubled over in pain. Lower kicks also are safer for the karateka as well, since they are less likely to be caught by your opponent. Additionally lower kicks can be more sneaky - you can supply sufficient power while "cheating" by not applying full leg motion as done when kicking to higher levels (look up the flick kick).
Remember, when performing and interpreting kata, keeping it real is the best way to understand its intent - and this especially applies to kicks I believe.
Well, that's all for now.
When performing kata for trophies high kicks are often the norm, and this makes sense since the kata is an "artistic performance". But for me, in attempting to interpret kata for real world self defense, I target my kicks to either the lower abdominal area or legs. Certainly there is a training and aesthetic benefit when performing head level kicks - and certainly there are those who can successfully use these kicks in real world situations. But for most people, I think, it would be extremely dangerous attempting to kicking someone in the head - unless they've lowered the target first via some other technique.
Take today for example: it's a wet and rainy fall day - wet leaves abound and the asphalt in the parking lot is slippery as well. If I were to be accosted while walking to my car - even if the opportunity presented itself - would it be wise to attempt a head kick as an initial strike? I think the answer is obvious - no. There are too many variables working against me. Another reason to avoid high kicks - clothing. In the dojo your gi pants are loose fit allowing greater movement, but on the street wearing your stylish tight jeans is another story. Restrictive clothing obviously restricts movement. So unless your an expert fighter when flat on your back please don't try head kicks in the tight jeans you are wearing. A third reason head kicks aren't ideal - time of day and the weather's effect on the body. When I arrive at work around 6:45 AM my body isn't nearly as flexible as it is by late afternoon. Factor in a cold winter day and I'm at an even greater disadvantage for applying techniques requiring flexibility. While this may not apply to the same degree to a twenty-something karateka, I believe it still a a factor of some degree.
Now back to kata. I think it's safe to say all kicks found in the Shotokan kata syllabus are part of a combination of techniques meant to immobilize your opponent offering you the opportunity to escape. A kick to the knee or shin, as part of flurry of techniques, may be all you need to temporarily injure your opponent enough to run and seek help and safety. A kick to the groin or lower abdomen will have the same effect - it's hard to chase someone when you're doubled over in pain. Lower kicks also are safer for the karateka as well, since they are less likely to be caught by your opponent. Additionally lower kicks can be more sneaky - you can supply sufficient power while "cheating" by not applying full leg motion as done when kicking to higher levels (look up the flick kick).
Remember, when performing and interpreting kata, keeping it real is the best way to understand its intent - and this especially applies to kicks I believe.
Well, that's all for now.
What Is My Style of Shotokan Karate?
Well, it's tough to explain, since it's continually evolving and changing.
I think though that through it's evolving it is becoming more cohesive in it's philosophy and execution. Nearly five years ago I began the journey of self training in Shotokan Style karate. It's basis is ISKF from when I trained in a dojo many years ago, and is very much influenced by men such as Kanazawa and Asai. Certainly my original Sensei, Marc Steiner, had a tremendous influence on my karate as well. In just over two years of training with him the foundation was laid to be able to successfully teach myself thirteen (and counting) kata over the original seven I learned in Glenside.
One thing is certain, it is my style - the subtleties of how I interpret movement and technique, each being explored and tested so each kata has a legitimate purpose for existing in my repertoire. That's the beauty of having one's own style, interpretation allows a kata to become the property of its owner, as long as the owner understands its intent. Please understand though, I'm not saying I know the "true intent" of the kata I've learned - it's truly a continual life long process of education and practice. What makes kata so special though is it's both universally practiced across the continents, yet completely personal as it becomes a part of its owner through practice and reflection.
Yet, personalizing a style creates a dilemma. As one interprets kata techniques subtle changes in the performance of the kata are introduced. What makes sense to me may not look right to another experienced Shotokan karateka. This is where explanation and sometimes education come into play. While I'm not saying I know more about a particular kata than someone who learned it through traditional means, I do think sometimes I may have a more robust understanding from the internet research I've done. For example, yesterday while reading a karate based blog, I learned of a judo site (http://judoinfo.com/) which has tons of examples of Judo techniques. While reviewing some of them I couldn't help but see the similarities to some movements in Shotokan kata. I know it's somewhat common knowledge among the more experienced karateka that many kata techniques can be interpreted as throws and take downs, but at the same time there are those who hold to a more rigid interpretation and still see a pivoting technique as a defense against an opponent attacking from another direction.
I think what it all boils down to is strive to self train regularly for that's where your own personality influences your karate - making it your own, making it work for your purposes.
That's all for now.
I think though that through it's evolving it is becoming more cohesive in it's philosophy and execution. Nearly five years ago I began the journey of self training in Shotokan Style karate. It's basis is ISKF from when I trained in a dojo many years ago, and is very much influenced by men such as Kanazawa and Asai. Certainly my original Sensei, Marc Steiner, had a tremendous influence on my karate as well. In just over two years of training with him the foundation was laid to be able to successfully teach myself thirteen (and counting) kata over the original seven I learned in Glenside.
One thing is certain, it is my style - the subtleties of how I interpret movement and technique, each being explored and tested so each kata has a legitimate purpose for existing in my repertoire. That's the beauty of having one's own style, interpretation allows a kata to become the property of its owner, as long as the owner understands its intent. Please understand though, I'm not saying I know the "true intent" of the kata I've learned - it's truly a continual life long process of education and practice. What makes kata so special though is it's both universally practiced across the continents, yet completely personal as it becomes a part of its owner through practice and reflection.
Yet, personalizing a style creates a dilemma. As one interprets kata techniques subtle changes in the performance of the kata are introduced. What makes sense to me may not look right to another experienced Shotokan karateka. This is where explanation and sometimes education come into play. While I'm not saying I know more about a particular kata than someone who learned it through traditional means, I do think sometimes I may have a more robust understanding from the internet research I've done. For example, yesterday while reading a karate based blog, I learned of a judo site (http://judoinfo.com/) which has tons of examples of Judo techniques. While reviewing some of them I couldn't help but see the similarities to some movements in Shotokan kata. I know it's somewhat common knowledge among the more experienced karateka that many kata techniques can be interpreted as throws and take downs, but at the same time there are those who hold to a more rigid interpretation and still see a pivoting technique as a defense against an opponent attacking from another direction.
I think what it all boils down to is strive to self train regularly for that's where your own personality influences your karate - making it your own, making it work for your purposes.
That's all for now.
Friday, September 19, 2014
Can You Teach Yourself Karate?
Yes.
Let me try explaining. I think you need a firm structured training base before you can ever teach yourself nearly anything: whether a musical instrument, dancing, a sport such as soccer or a martial art such as Shotokan karate. How long and intense should that time be? I think it's up to the individual. Some learn faster and more intuitively than others, so their time will be shorter. For me, I had two and a half years of formal training, including a few months at the Hatboro YMCA at the end of my formal training time. Others will learn the fundamentals sooner, others longer. The important thing is that they are learnt, and learnt well.
The key word above is fundamentals. They must be learned and ingrained since they are the foundation of what will be later self taught and trained. Also, they must not be neglected in self training. All training circuits need to include them every time at some level. My preference is with a heavy bag: standing or hanging. Working fundamental combinations - in and out of stances at speed is an excellent way of honing those skills. Still, it lacks behind having a knowledgeable training partner, but I can't have everything.
Self training is possible due to the immense amount of resources available: free and for purchase. YouTube alone has been my main source for learning thirteen new kata. Downloading and playing so that the movements can be slowed down, rewound and played in loops all make learning a new kata possible - assuming again that the fundamentals are grounded.
Finally a game plan is needed. What is known mixed with what is being self taught must be trained in a cyclical manner, so that no technique is too long abandoned. The similarities in kata must be recognized and new techniques must be fully understood as they are learned. All should combine over the course of one training session to teach an integrated lesson. Eventually all kata have been once again reviewed and improved: both in technique and more importantly - understanding.
Well, that's all for now.
Let me try explaining. I think you need a firm structured training base before you can ever teach yourself nearly anything: whether a musical instrument, dancing, a sport such as soccer or a martial art such as Shotokan karate. How long and intense should that time be? I think it's up to the individual. Some learn faster and more intuitively than others, so their time will be shorter. For me, I had two and a half years of formal training, including a few months at the Hatboro YMCA at the end of my formal training time. Others will learn the fundamentals sooner, others longer. The important thing is that they are learnt, and learnt well.
The key word above is fundamentals. They must be learned and ingrained since they are the foundation of what will be later self taught and trained. Also, they must not be neglected in self training. All training circuits need to include them every time at some level. My preference is with a heavy bag: standing or hanging. Working fundamental combinations - in and out of stances at speed is an excellent way of honing those skills. Still, it lacks behind having a knowledgeable training partner, but I can't have everything.
Self training is possible due to the immense amount of resources available: free and for purchase. YouTube alone has been my main source for learning thirteen new kata. Downloading and playing so that the movements can be slowed down, rewound and played in loops all make learning a new kata possible - assuming again that the fundamentals are grounded.
Finally a game plan is needed. What is known mixed with what is being self taught must be trained in a cyclical manner, so that no technique is too long abandoned. The similarities in kata must be recognized and new techniques must be fully understood as they are learned. All should combine over the course of one training session to teach an integrated lesson. Eventually all kata have been once again reviewed and improved: both in technique and more importantly - understanding.
Well, that's all for now.
Friday, September 12, 2014
What's Your Kata Footprint?
Huh?
Exactly. I'm not up on my Japanese Shotokan terminology, but what I'm describing is the path you have drawn by performing the kata - imagine near the ocean's edge on a clean sandy slightly damp beach.
There are so many ways to work through kata and one I truly enjoy is reducing my footprint while performing kata in confined spaces such as one-car garages, narrow driveways, gravel bike paths, small patches of woodland... there are so many choices. The necessity of quick shifting while reversing the feet - stepping back while simultaneously stepping forward is a great way of focusing technique. The body must be sufficiently relaxed to quick-shift the feet, yet maintain a firm path of travel through the entire kata. Pivoting is nearly always centered under the body's center of gravity. Attention must be paid to good body position and dynamics to maximize each technique to its full potential.
I firmly believe doing so is actually more realistic compared to potential movement in a real self defense situations. Body shifting is enhanced, maximizing useful space is stressed and realistic imagination is furthered by "seeing and feeling" combinations built into the kata.
Try it and envision striking, grabbing and controlling, throwing and taking down... as well as evasion, multi-angle attacking, quick redirecting within a four by four, or smaler, patch of ground... it's all there so do it.
Well, that's all for now.
Exactly. I'm not up on my Japanese Shotokan terminology, but what I'm describing is the path you have drawn by performing the kata - imagine near the ocean's edge on a clean sandy slightly damp beach.
There are so many ways to work through kata and one I truly enjoy is reducing my footprint while performing kata in confined spaces such as one-car garages, narrow driveways, gravel bike paths, small patches of woodland... there are so many choices. The necessity of quick shifting while reversing the feet - stepping back while simultaneously stepping forward is a great way of focusing technique. The body must be sufficiently relaxed to quick-shift the feet, yet maintain a firm path of travel through the entire kata. Pivoting is nearly always centered under the body's center of gravity. Attention must be paid to good body position and dynamics to maximize each technique to its full potential.
I firmly believe doing so is actually more realistic compared to potential movement in a real self defense situations. Body shifting is enhanced, maximizing useful space is stressed and realistic imagination is furthered by "seeing and feeling" combinations built into the kata.
Try it and envision striking, grabbing and controlling, throwing and taking down... as well as evasion, multi-angle attacking, quick redirecting within a four by four, or smaler, patch of ground... it's all there so do it.
Well, that's all for now.
Thursday, July 31, 2014
What Do Kata and Ballroom Dancing Have in Common?
I've enjoyed watching ballroom dancing for a few years now with the advent of shows such as "So You Think You Can Dance?" and "Dancing With The Stars". One thing I've learned is for a routine to be successful there has to be a lead partner and a compliant partner. The lead is in control: spinning, throwing and moving the partner in synchronization to the music. The compliant partner accepts the lead's direction and moves in harmony with the lead. Together they perform a moving "work of art", which can touch all emotions depending on the music and choreography.
How does this apply to kata? I think the answer is in thinking of yourself as the lead when practicing kata. You are in control. You are moving your "partner" at will. You are "choreographing" your "dance". Of course there's one slight problem: your partner isn't compliant - at least not initially. That's where decisive, aggressive action comes into play. By "taking the lead", the initiative, you are controlling the situation which will either lead to a compliant partner ("I give up!"), or at least a temporarily disabled partner, allowing you to "dance away" to safety.
I had thought about naming this post "What Do Kata and the Waltz have in Common?" since the waltz's basic step is a 1-2-3, 1-2-3.... It's a relatively simple dance for learning the basics, but can be extraordinarily complex when performed by expert ballroom dancers. In self defense though simpler is almost always the best course of action to take. Gross motor skills are effective and easier to learn, so keep this in mind when interpreting kata techniques and keep sequences short thinking combinations of 1-2-3 (evaluate on-the-fly) 1-2-3. Remember all you need to do is enough to give yourself the opportunity to escape.
Well that's all for now.
How does this apply to kata? I think the answer is in thinking of yourself as the lead when practicing kata. You are in control. You are moving your "partner" at will. You are "choreographing" your "dance". Of course there's one slight problem: your partner isn't compliant - at least not initially. That's where decisive, aggressive action comes into play. By "taking the lead", the initiative, you are controlling the situation which will either lead to a compliant partner ("I give up!"), or at least a temporarily disabled partner, allowing you to "dance away" to safety.
I had thought about naming this post "What Do Kata and the Waltz have in Common?" since the waltz's basic step is a 1-2-3, 1-2-3.... It's a relatively simple dance for learning the basics, but can be extraordinarily complex when performed by expert ballroom dancers. In self defense though simpler is almost always the best course of action to take. Gross motor skills are effective and easier to learn, so keep this in mind when interpreting kata techniques and keep sequences short thinking combinations of 1-2-3 (evaluate on-the-fly) 1-2-3. Remember all you need to do is enough to give yourself the opportunity to escape.
Well that's all for now.
Saturday, July 12, 2014
Single Track Training for Kihon in Shotokan Karate
So far, it's been a great season for outdoor training in Shotokan-style karate.
Currently I have five outdoor locations where I practice my flavor of Shotokan karate. My current favorite though is the canal park about a mile down the road from where I live. I walk and run the single track trails; I also use them for warming up with dynamic stretches and movements, as well as fundamental kihon practice. It's great training, in my opinion, dealing with the nuances of the trail's terrain: grass covered, hard pack dirt, light gravel, mud, leaves and rocks - it's all part of the mix. Strong attacks into forward stances must be tempered by allowing immediate shifting and sliding while maintaining balance and forceful movement.
Much is learned when practicing with a variety of surfaces and terrain: better shorten your stances if the ground is slippery from mud, rain or gravel. Learn which stances are best when facing up or down hill, when the ground is deeply deformed or when you are moving from one surface type to another. Learn how to use the terrain to your advantage: position yourself on the high ground, on the sure-footed surfaces, with the sun at your back, with an escape route available.
Another spot I've recently discovered is along the gravel trail between the Betzwood picnic area of Valley Forge National Park and Pawlings Road. This spot a flat dirt packed piece of ground under an ancient deceased tree. Today I worked Tekki's Shodan, Nidan and Sandan keeping in mind the surrounding plants, branches, rocks and other obstacles on the ground. It's a great spot - kind of like a magical "dojo in the woods". A 20x20 foot piece of real estate made for karate training: level with a forgiving surface.
Possibly the best part of the canal park is the small glade of mature hardwood trees spread about a quarter of an acre: perfect for kata training - shaded level ground. On another note, I've decided to dedicate the rest of July to Bassai Sho and Hangetsu, with other kata interspersed of course. Grass is such a great surface for exercise: it's typically a bit forgiving if the ground isn't too hard packed. It offers just enough slipperiness in the right circumstances to make it challenging and also challenges based on it's height and thickness.
So I encourage you to get out and train your martial art outdoors. It's healthy and fun!
Well, that's all for now.
Currently I have five outdoor locations where I practice my flavor of Shotokan karate. My current favorite though is the canal park about a mile down the road from where I live. I walk and run the single track trails; I also use them for warming up with dynamic stretches and movements, as well as fundamental kihon practice. It's great training, in my opinion, dealing with the nuances of the trail's terrain: grass covered, hard pack dirt, light gravel, mud, leaves and rocks - it's all part of the mix. Strong attacks into forward stances must be tempered by allowing immediate shifting and sliding while maintaining balance and forceful movement.
Much is learned when practicing with a variety of surfaces and terrain: better shorten your stances if the ground is slippery from mud, rain or gravel. Learn which stances are best when facing up or down hill, when the ground is deeply deformed or when you are moving from one surface type to another. Learn how to use the terrain to your advantage: position yourself on the high ground, on the sure-footed surfaces, with the sun at your back, with an escape route available.
Another spot I've recently discovered is along the gravel trail between the Betzwood picnic area of Valley Forge National Park and Pawlings Road. This spot a flat dirt packed piece of ground under an ancient deceased tree. Today I worked Tekki's Shodan, Nidan and Sandan keeping in mind the surrounding plants, branches, rocks and other obstacles on the ground. It's a great spot - kind of like a magical "dojo in the woods". A 20x20 foot piece of real estate made for karate training: level with a forgiving surface.
Possibly the best part of the canal park is the small glade of mature hardwood trees spread about a quarter of an acre: perfect for kata training - shaded level ground. On another note, I've decided to dedicate the rest of July to Bassai Sho and Hangetsu, with other kata interspersed of course. Grass is such a great surface for exercise: it's typically a bit forgiving if the ground isn't too hard packed. It offers just enough slipperiness in the right circumstances to make it challenging and also challenges based on it's height and thickness.
So I encourage you to get out and train your martial art outdoors. It's healthy and fun!
Well, that's all for now.
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