Read up part 4 - extracted from -- Karate - the art of "Empty-hand" fighting

Read up part 4 - extracted from -- Karate - the art of "Empty-hand" fighting

Combined physical-psychological principles

Focus (kime)

Briefly, “focus” in karate refers to the concentration of all the energy of the body in an instant on a specific target. This involves not only concentration of physical strength but also the type of mental concentration described above. There is no such thing as a focus lasting for any measurable length of time. Since successful karate depends entirely on effective concentration of body strength, focus is extremely important, and without it karate would become nothing more than a form of dancing. This principle will appear frequently in the follow pages, so a clear understanding of it at this point is desirable. To further analyse the concept of focus, take the technique of punching for an example. In reverse punching, the fist is thrust straight out from the body and simultaneously the hips are twisted in the direction of the punch so as to transmit the strength of the hips and trunk to the face of the fist, augmenting its speed and power. Of course, speed and power must be carefully balanced, i.e. sacrificing speed by exerting too much power into the arm or body must be avoided. Also, the breathing control principle explained above plays an important part in focusing, i.e. the breath should be sharply exhales at the moment of impact . an of course, there must be an accompanying mental attitude reflecting this total concentration of the body strength. As the fits nears the target its speed is increased to its maximum point, and at the moment of impact the muscles of the entire body are tensed. The effect of this is that speed is transformed into power, and the strength of the entire body is concentrated for an instant at the fist. This, in essence is what “focus” in karate means.

It should not be forgotten that this maximum exertion of energy is instantaneous and in the next instant is withdraw in preparation for the next movement, i.e. the muscles are relaxed, the breath inhaled, and position appropriated for the net technique assumed. A karate technique which is not focused is in effective and so much wasted effort.

Responding (hen-o)

This karate concept refers to the correct apprehension of the opponent’s movements and the conscious adoption of the proper techniques in accordance with them. Both parts of this process are performed as a single momentary act and appear to an onlooker almost as a reflex action. It is this character of karate that creates self-confidence in it practitioner, i.e. he knows that his mind-directed reflexes don’t have to “think what to do”. ( Kim song words -> train to instinct )

Read up part 3 - extracted from -- Karate - the art of "Empty-hand" fighting

Read up part 3 - extracted from -- Karate - the art of "Empty-hand" fighting

Psychological Principles

Since karate involves direct contact between to or more human beings, psychological factors play an important role. In many cases the psychologically strong party wins even when he is out-matched physically. Although this psychological conditioning comes about naturally – until it is almost second nature – in the course of karate training, the examples given below, which embody ancient concepts handed down from the past, offer valuable avenues of approach.

Mizu no kokoro (a mind like water)

This term, along with the one in the flowing section, was emphasized in the teaching of the ancient karate masters. Both refer to the mental attitude required while facing an actual opponent. Mizu no kokoro refers to the need to make the mind calm, like the surface of undisturbed water. To carry the symbolism farther, smooth water reflect accurate image of all object within it range, and if the mind is kept in this state, apprehension of the opponent’s movements, both psychological and physical, will be both immediate and accurate and one’s responses, both defensive and offensive, will be appropriate and adequate. On the other hand, if the surface of the water is disturbed, the images it reflect will be distorted, or by analogy, of the mind is preoccupied with thoughts of attack or defence, it will not apprehend the opponent’s intentions, creating an opportunity for the opponent to attack

Tsuki no kokoro (a mind like the moon)

This concept refers to the need to be constantly aware of the totality of the opponent and his movements, just as moonlight shines equally on everything within its range. With the thorough development of this attitude, the consciousness will be immediately aware of any opening in the opponent’s defences. Clouds blocking the light of the moon are likened to nervousness or distractions which interfere with correct apprehension of the opponent’s movements and make it impossible to find an opening and to apply the proper techniques

Unity of mind and will

To use a modern analogy, if the mind is compared to the speaker of a telephone, the will is like he electric current. No matter how sensitive the speaker is, if there is no electric current, no communication take place. Similarly, even if you correctly apprehend the movements of your opponent and are conscious of an opening, if the will to act on this knowledge is lacking, no effective technique will be forthcoming. The mind may find an opening, but the will must be activated in order to execute the technique called for.

Read up part 2 - extracted from -- Karate the art of "Empty-hand" fighting

Read up part 2 - extracted from -- Karate the art of "Empty-hand" fighting

Physical principles

Maximum strength

Any movement of the body depends on muscular expansion and contraction. There are many factors involved in exerting maximum force through control of these expansion and contractions, and only the most basic are listed here

1) Force is directly proportionate to the degree of the muscular expansion and contraction. This is the principles behind, for example, the coil spring – the more the coil is pressed down, the greater the force it exerts when released. Many parts of the human body operate in the same way.

2) The striking power of a force is inversely proportionate to the time required for its application. This means that in karate it is not the muscular strength used to life a heavy object that is required, but the strength manifested in terms of sped of muscular expansion and contraction. In the other words, force is accumulated in the form of speed and at the end of the movement; speed is converted into striking force. In scientific language, force equals mass times the square of the velocity.

Concentration of strength

To perform any kind of heavy physical work, concentration of strength is necessary. Even a great amount of strength will accomplish little if it is dispersed. By the same token a small amount of strength, properly concentrated, can be quite powerful. It is no exaggeration to say that the practice of most karate techniques is the practice of concentration of strength at the proper time and at the proper place. The following principles are basic

1) Other things being equal, the shorter the time a striking force is applied, the more effective it is. This element of concentration in terms of time is very important in karate, for it enables one to move immediately in to the next technique.

2) The greater the number of muscles brought into play in performing a given movement, the greater the concentration of strength. This force which can be exerted by the hands or feet acting alone is relative small; therefore, the musculare power of the whole body should be exerted in such a way that this strength is concentrated at the point of impact.

3) Maximum concentration of body strength depends on effective utilization of the resultant of forces produces by exertion of the various muscles. When the muscles are properly coordinated, the resultant force is greater; when they act in opposite direction, it is lessened

4) Concentration of strength depends not on simultaneous exertion of all the body muscles, bit on their exertion in the proper order. The muscles of the abdominal and pelvic region are powerful but slow, whereas those of the extremities are fast but weak. In order to concentrate the force of both sets of muscles, those of the abdomen and hips must be brought into play first, and this force transferred to the point of impact, either in the hands or feet. This account for the common saying in karate to move the hips first and hands and feet last.

Utilizing reaction-force

This refers to the well known principle of physics that to every action there is an opposite and equal reaction. This principle finds wide use in karate; for example. In punching out with one hand, the other hand is simultaneously withdrawn to the hip, adding reaction-force to the punching hand. Running or jumping is made possible by pressing downward with the opposite leg. This is important feature in karate where, for example, in punching, the rear leg is pressed hard against the floor, and the resulting reaction force is passed through the body and arm to the striking hand, adding force to the punch. In even more complex fashion, when the hand actually strikes the target, the shock of the blow is passed through the body to the legs and floor and then is reversed back to the punching hand, adding further force to the blow.

Use of breath control

It is well known that exhaling aids in contracting the muscles, while inhaling tends to relax the muscles. This finds direct application in karate, where the breath is sharply exhaled during the execution of techniques and inhaled after their completion.

Read up part 1 - extracted from -- Karate - the art of "Empty-hand" fighting

Read up part 1 - extracted from -- Karate - the art of "Empty-hand" fighting

Essential principles

The remarkable strength manifested by many individual karate techniques, both offensive and defensive, is not the mysterious, esoteric things many observers, as well as certain proponents of the art itself, would you have believe. On the contrary, it is the inevitable result of the effective application of certain well-known scientific principles to the movement of the body. Like wise

Knowledge of psychological principles, along with constant practice, enable the karate man to find openings and executes the proper techniques at the proper times, no matter how minute the movements of his opponent. At an advance level, it is even possible for a karate expert to sense the movements of his opponent before they take place.

Before learning the various individual techniques, it is necessary to have a clear understanding of the physical, psychological, and combined physical-psychological principles which underlie them all of course; it is difficult to interpret complicated physical or psychological processes in terms of a few simple principles. Discussed below are the most important ones.

Karate - the art of "empty-hand" fighting

I was reading the book -- Karate - the art of "empty-hand" fighting, borrowed from the national library. Although it is written by shotokan masters, alot of the topics cover is common to all school of karate ( at least in my point of view) .

Book was written by Hidetaka Nishiyama and Richard C. Brown. ISBN 0-8048-1668-9

UKE NO GO GENSOKU

Extracted from http://www.shuriway.co.uk/blocking.html

Shito-Ryu´s Five Method´s of Defence

Master Kenwa Mabuni, the founder of Shito-Ryu, defined five principles of blocking. They are RAKKA (pulling or moving the attack downward); RYUSUI (moving the attack to the side); TEN'I (body shifting away from the attack); KUSSHIN (lowering the center of gravity); HANGEKI (meeting the attack with a counterattack)

RAKKA: (Blossoms fall from a shaking tree)

Analogous to a tremor of the earth that shakes a tree with such tremendous force as to knock the blossoms from its branches.

Primarily hard blocking techniques applying sudden maximum power with a twisting action of the arm to literally stop the opponent's attack and destroy his/her confidence. Examples include Age Uke, Yoko Uke, Yoko Uchi and Harai Uke.

RYUSUI: : (Two rivers join in harmony)

Analogous to the greeting of two rivers that ultimately create a force greater than each alone although doing so with little or no turbulence.

Primarily softer blocking techniques that absorb an attack and redirect it using circular or deflecting blocks or parries in a continuous and flowing movement. Examples include Ura Uke, Shuto Uke, Kakete and Sukui Dome.

TEN'I: (A Willow sways in the wind)

Analogous to the branches of a willow tree that sway to and fro in the wind allowing its tremendous force to pass seemingly effortlessly.

General concept of body shifting (taisabaki) or turning away from an attack to avoid the direct force of the attack, often utilized with Ryusui defense (i.e. evasive maneuvers with a soft deflecting block).

KUSSHIN: (The Lion crouches low in the grass)

Analogous to a Lion that crouches unnoticeably in the grass with its body coiled for an attack on its prey.

General concept of disguising one's stance with the ability to either shift quickly out of one stance and into another or reflexively darting away and then back (typically at an angle) momentarily disappearing from the attacker.

HANGEKI: (A Flower greets the morning sun)

Analogous to a flower that opens its petals early in the morning to accept the rays of the sun for nourishment.

Advanced concept of reading an opponent's body actions to determine his/her intent prior to the opponent taking action. Response can be to greet the attack with a counter-attack (Go-No-Sen) or to precede the attack with a neutralizing action to defeat the opponent's aggression (Sen-No-Sen).

These five elements should be combined for practical use. Whether you use a hard block (Rakka), a gentler deflecting block (Ryusui), or a counter-attack (Hangeki), always move yourself into a safer and more advantageous position without wasting movement or energy using Kusshin and Teni.

KARATE and KIHON

HOW TO PROGRESS IN KARATE THROUGH KIHON

Extracted from http://www.shuriway.co.uk/progress.html

There are three basic physical components of karate training. These are named kihon, kata and kumite. Students beginning karate training are usually introduced to kihon as the basics of that training. The kihon are considered the fundamental components from which all else is built. They are like the strokes in painting, the letters in writing and the pure-tonal notes of music. On their own they are of little value but when mastered and allowed to flow naturally in learned or natural sequences they become far more powerful than individual basic strokes, letters or tones. If kihon are not practiced, appreciated and 'felt' (kimochi), karate cannot exist beyond a very rudimentary level. The greater the depth of appreciation and the depth of feeling for the kihon the more the karate-ka can delve into the depths of their karate and the heart of traditional karate, kata. A beginner memorizes the kata sequence often while still struggling with what constitutes proper kihon. The student tries to remember the proper form for the kihon and, in addition, remember what the elaborate sequence of the kata is as well.

Manzo Iwata practicing kihon

Confusion usually reigns and the student must practice the kata over and over to memorize the sequence. In time the student triumphs. The kata is memorized. The student will require much more time to internalize and truly 'understand' the kata, however. At this level the student probably has only developed rudimentary kihon. The stances remain high, immobile, weak or wobbly. The blocks, punches and strikes are fairly ineffective lacking power, speed, and correct paths for maximum efficiency. Transitions from one to another are usually poorly balanced and slow.

Manzo Iwata training in kihon with master Mabuni

One great pitfall, and a common one, is the lack of refinement of kihon. After a few weeks or months students believe they have 'mastered' the kihon. They are bored by kihon practice. This is evidenced in two ways. The first is that they begin to dread repetitive kihon practice and avoid it or put very little effort into the kihon sessions in class, and rarely, if at all, practice outside of class. The second way is that they just don't eagerly seek improvement in the manner that kihon are refined. Some believe, if not most, at least at this stage of learning, that they already know the kihon so further refinement is inconsequential or just not necessary. This can lead to years where the student makes little progress in karate proficiency. The kihon hold the key. The kihon develop and refine not only the way that karate is practiced but also the way that body dynamics develop.

If the kihon are distorted in any way through lack of practice or attention to detail, refinement of form is not possible. In addition, proper body dynamics cannot be grasped. Any sustained errors or modification, even through simple ignorance of proper form, will hinder the martial art students progress and proficiency. Advice on how to progress The simple answer is to practice your kihon. A great karate master (Mas Oyama of Kyokushinkai), was once asked what the secret to his karate was. The master lifted his eyes as if to reveal a great secret and he said; "sweat, sweat and more sweat". In other words practice. But you must also keep in mind good form. Look at yourself, study what you are doing at that moment, feel (kimochi) the technique and try to understand what you are doing. Remember that practice alone does not make perfect. Practice makes permanent. Perfect practice makes perfect. It is the kihon that holds the foundation of all that is to come! Courtesy Sensei A Tanzadeh

A full detail extracted from the above link ..

ZANSHIN

ZANSHIN

Extracted from http://www.shuriway.co.uk/zanshin.html

There is an old Japanese samurai saying, "When the battle is over, tighten your chin strap." This refers to constant awareness, preparedness for danger and readiness for action.

The Japanese saying itself focuses on the end of a combat engagement when it is natural to relax awareness, thinking the danger is over, when in reality it often is not. "This concept carries over into the dojo which is not just a training hall but a place where a certain awareness of the possibility of serious combat must constantly be maintained," said John Donohue in his article Kendo: The Way of the Sword found in the Learning section. But, for the serious martial artist this heightened state of awareness becomes a natural part of the psyche, something that is automatically turned on while awake as well as during sleep.

"On one level, zanshin refers to neutral, non-threatening stances or kneeling in such a way as to be always ready for action.

....

Zanshin is also the flip side of single-minded devotion to technique. You must learn not to focus exclusively on your actions but rather to be attentive and receptive to all activities surrounding you," says Donohue. It may seem contradictory, he continues, "but both the ideas of focusing entirely on technique and of maintaining zanshin have to do with the transcending of subjectobject distinctions through martial training. Unity with the Void, to use Musashi's (the famious Japanese swordsman) idiom, results in the execution of technique without any selfconscious awareness of doing so.

By the same token, proper zanshin is indicative of the fact that the swordsman experiences no discontinuity between his surroundings and himself."

Various martial arts have different ways of training to develop heightened zanshin.

... For more detail information, please refer to the above link

Hara & Koshi

Extracted from the below web

http://www.shuriway.co.uk/hara.html

abdomen & hip

'Te de tsukuna, hara de tsuke; Ashi de keruna, koshi de kere'.

(Do not punch with your arm, punch with your 'HARA';
do not kick with your leg, kick with your 'KOSHI').

'HARA' generally means 'abdomen', but in martial arts it means more specifically the lower abdomen. This is where your center of gravity should be. Without a stable center of gravity you cannot keep good balance and perform techniques with weight behind them. To be able to keep one's center of gravity at the lower abdomen, one has to learn abdominal breathing, which involves up and down movement of the diaphragm.

Refer to the above link for more information .. a good resource web

13 Fundamental Points in kata

Extracted from http://www.shitokai.com/kata.php - a Good reading and Knowledge source

In this section, we are going to read about thirteen very fundamental points in kata that must be considered while practicing kata.

Yooi no kishin- Readiness, concentration, will, and determination against opponent before starting kata.

In'yo - Active and passive (i.e. knowing whether you are attacking or defending).

Chikara no kyojaku - Correct method in using power, the amount of power used for each kata movement and position.

Waza no kankyu - Speed used in each kata movement and position.

Tai no shinshoku - the amount of contraction and expansion for each movement.

Kokyu - Breathing, right exhalation and inhalation in each kata movement.

Chakugan - Look spot, considering the aim and destination of technique.

Kiai - Shout, in one or more certain points, shout shows the soul of fight of kata. Additionally, the whole conducted power is released.

Hyoshi - Rythm. Proper accentuation and flow of the movement of kata and each combination of kata.

Kime - Focal point or Focus refers to the concentration of all the energy of the body in the instant a particular technique( blocks, kicks, punches and...)makes contact with its target.

Antei - Balance. Stability, adjusting, figure and using the proper and correct stance in each movement.

Keitai no hoji - Using each technique in its proper place.

Zanshin - Being fully aware, being in guard position at the end of kata. Looking towards the side kata is finished.

Today we can see that many karatekas do not practice kata seriously and do not realize the usage of kata. In fact, it is true that kata will be useable only for those who have studied it deeply and have perfect recognition.

Rey (Bow)

At the beginning and at the end of the kata, one bows. This is part of the kata. When doing kata successively, bow at the every beginning and at the completion of the final kata.

Different forms of kata practices

Extracted from http://www.shitokai.com/kata.php

Different forms of kata practices

1. Slow, without concentration (relax) performed as warm up.
2. Quick, without concentration (relax) in order to keep the moments of kata in mind.
3. Quick, powerful with Kime. The movements are performed one by one. This form is suitable in-group class.
4. With the real speed and rhythm of kata and kime. This is the real kata the same as real combat.
5. Slow, with contraction of muscles, performed as an exercise to strengthen the muscles.
6. Slow, relax along with deep breathing, feeling Hara in each movement like Tai Chi Chuan.
7. Symmetry movements, if kata is started from the left, try starting from the right.
8. Converse performance (i.e. perform from the end to the beginning). This is done in advance level of kata practice.
9. Selecting some parts of a kata and repeating them constantly.
10. Close-eyed performing.

A number of things can be said about kata. Below you will find some points that help to better learning and performing of kata:

• Do not try to do all the movements quickly. It has to be noted that each movement requires its own speed and position.
• Lower the hips and have pressure on Hara, you can shorten the distance between your anus and navel.
• Close your mouth and prevent contracting the muscles of your face.
• Keep your body upright all the time.
• Move your whole body as a unit and not partly.
• Be fully aware of the connection between kata and practice and kumite.
• Practice over and over.

Kata

Extracted from http://www.shitokai.com/kata.php

Kata

"Regardless of how many kata a person may know, if his training in them is
insufficient, they will be useless."

Mabuni Kenwa - 1989-1952 A principle founder of modern karate and
originator of the Shito School of Karatedo.

-------------------------------------------------------------------------------

Kata means form. For many years, all major and fundamental points, blocks, strikes, kicks, punches and basic techniques have been formed. Katas have series of points and techniques selected concisely and each has a specific and deep inner meaning.

Kata is the base and point of karate. There are primary principles and fundamentals of Karate in Katas that briefly are the position of body, stances, foot works, tai sabaki, changing directions, timing, breathing, kiai, as well as a correct mental behavior.

Kata alone is a combat against some imaginary opponents on whom karate techniques are done. Therefore, the morals of the individuals during kata are of great importance. Practicing kata continuously, you will realize the real meaning of karate techniques. This knowledge allows you to show correct reaction automatically and in any situation against any attack. Moreover, kata consists of a kumite strategy.

Practicing a kata, one should constantly focus on his opponent(s) and do the movements with the highest strength and care, as his life (being alive) depends on doing the techniques in the best possible way. This sort of practicing unifies body and mind. In other words, we can call it feeling, touching and living of kata. However, it has to be noted that some techniques are dangerous but practicing them in kata gives you a control of power and therefore, you gain enough power to control these techniques before using them in kumite.

Katas practiced concisely and correctly, teach the trainer the real purpose of master in creating and doing them. That's why kata is counted as one of the most important points in karate.

-- for more details refer to the above website -- recommended reading

Rei.

Foundation movement in Kata

Etracted from http://www.shitokai.com/tenshin-happo.php - visit the website for more infomation Tenshin/Happo (Eight directional Movement)
Tenshin/Happo is a formal shitoryu kihon practice, shift the body and apply the techniques on the eight main directions. Start from Yoi position, begin from the left gamae, back to the Yoi position and apply on the right side as well. Please follow the numbers and look at the graphs.

Hokei Kumite or Bunkai Kumite

Extracted from http://shitokai.com/hokei.php


Master Mabuni was a pioneer and his thinking, years ahead of his contemporaries. His systemization of Karate was well planned and well executed and designed to make it available to general public were preserving its unique value as a martial art. This form of exercise was over free sparing by many of the most prominent masters of Karate.

Master Mabuni experimented it with protective equipments, during the 1930s. Hoping that it would allow self-simulative combat. However powerfully applied techniques still cause concussions through the thickest protections and broken feet and hands were common. He quickly reverted to pre arranged sparing to prevent injuries and also because protective equipments limited natural movements, and therefore inhabited technique.

Many movements and combinations of movements are expressed in Hokei or Bunkai Kumite.
These exercises are manifestation of the principles of Yo Riu Bi.

Master Mabuni insisted that the system of Yo Ryu Bi applied. That is technique should be useful (Yo), and have flowing rhythm of movement (Ryu), and from the combination should come (Bi) or beauty.

Everything should be practical but have a utility elegant so is the parent about the expert and casual observer. The applications of follow are those of a basic Heian Katas of Shito ryu Karate.

Extracted from a forum Bunkai Vs Hokei

Bunkai means 'application' and Hokei means 'dance'

Bunkai is the contraction of the formal name Bun Bu Kai Setsu which approximately means ' the division of the principles between the martial skill and the intellectual knowledge ' or mas specifically 'analysis'.

Whereas the ideograma Hokei can mean 'flower' or 'dance'.

The Hokei-Kumite is mas similar to the Kata-Kaho of the former Ju-jutsu and to the modern ones En Bu or martial dances.

In the Bunkai the karateka analyzes the answers, studies, observes and learns new things.

In the alone Hokei-Kumite it dances and trains.

Extract from http://www.theshotokanway.com/nijukun.html

this is the teachings from Shotokan soke also the founder of Shotokan, I personally find the Precepts are good.

The Niju Kun are Funakoshi's Twenty Precepts, written to help the student understand how they should conduct themselves in karate, and in everyday life. Each of the principles is explained in detail in 'The Twenty Guiding Principles of Karate' by Gichin Funakoshi.

1. Karate is not only dojo training.

2. Don't forget that Karate begins with a bow and ends with a bow.

3. In Karate, never attack first.

4. One who practices Karate must follow the way of justice

5. First you must know yourself. Then you can know others.

6. Spiritual development is paramount; technical skills are merely means to the end.

7. You must release your mind

8. Misfortune comes out of laziness.

9. Karate is a lifelong training.

10. Put Karate into everything you do.

11. Karate is like hot water. If you do not give heat constantly it will again become cold.

12. Do not think you have to win. Think that you do not have to lose.

13. Victory depends on your ability to tell vulnerable points from invulnerable ones.

14. Move according to your opponent.

15. Consider your opponent's hands and legs as you would sharp swords.

16. When you leave home, think that millions of opponents are waiting for you.

17. Ready position for beginners and natural position for advanced students.

18. Kata is one thing. Engaging in a real fight is another.

19. Do not forget (1)strength and weakness of power, (2)expansion and contraction of the body, (3)slowness and speed of techniques.

20. Devise at all times.