by David Gimberline

Re: Matt D’s questions about Hangetsu.

Warning: this is a long post, but if you have ever read any of my other posts, you will know this is normal. 

Before I start, I should tell you Hangetsu is considered by most to be a pretty advanced kata.  However, I do feel all levels can benefit from it’s practice.

Of all the Shotokan kata, Hangetsu is my favorite.  Throughout my karate career I have been plagued with being too tight (excess tension.) and too slow.  Hangetsu taught me to relax and be sharp (relatively speaking .  I first learned it at 5th kyu level, because it was my instructor’s favorite kata.  I liked the insights it offered to expansion/contraction and breathing, so, although I knew it was advanced, I worked on it every once in a while for the next few years.

When I passed shodan, I decided it was time to work on it for real and dedicated the next year or so to working on it consistently in preperation for my ni-dan (we have a two year minimum between shodan & nidan exams).  One day my instructor (a different and more senior instructor) had us all working on our own kata and was walking around giving us feedback.  After watching my performance his comment was, “Are you just learning this kata?”  Not quite sure how to answer, I came up with my usual brilliant response, and kinda said “Ahh…”, seeing my hesitation he then prompted, “you’ve been working on it for about a year?”.  I nodded and said, “Hai”.     “You’re just learning this kata”, was his pronouncement.  This was a clue.    Maybe this kata was still a little beyond me and maybe I should pick something else to work on.  So I did.  After passing nidan, I again started to work on Hangetsu, (thick headed Due to injury, family and work conflicts there was actually about 10 years between my Sho dan & San dan exams.  I performed it for my San Dan exam and passed on the first try. (Somewhat unusual where I come from).

I still love it, even though I’ve been working on others, I still come back to it.

So, finally in response to Matt’s questions:

• explain the alignments of the feet, legs and hips for this stance.
• what I understand, it is 2 shoulder-widths in length and 1 shoulder-width
• in depth, with both knee’s bent in and the feet turned in as much as
• possible so it feels uncomfortable.  Apparently if practiced over a long
• period of time it can cause knee pains to develop. I’ve also heard that
• this stance is associated with inner tension. Could someone please explain

These days it is sort of trendy to teach the hangetsu stance as sort of a front stance with your front foot turned in.  I do not do it this way.  To me it feels more like an elongated sanchin dachi, but it has it’s uniqueness also.  My stance ends up a couple inches shorter and sometimes a titch wider than zenkutzu.  As is true with many karate techniques and concepts, many of the feelings and positions and movements are difficult to write about, but I will try.  Also, with time, each individual must find the positions and tensions that are right for them.   YOUR KNEES SHOULD NEVER HURT from doing this kata.  If they do, it is coming from a misunderstanding of the leg/hip/feet angles and their related pressures.

To find hangetsu stance start from a front stance inside block (uchi uke?) position, so your hips are at a 45 degree angle.  This is important, and I think most people miss it.  Shift your weight back to 50/50, turn in your front foot about 45 degrees, and squeeze in with your knees.  This is the inner tension they are talking about.  It is huge, especially at first, when compared to a front stance, but if this remains the dominant feeling of your stance, you will probably hurt your knees.  I am tempted to say that the back leg from the knee down is the same position as the front stance, but standing next to my computer now (in my office, where no one has yet paid any attention to the weirdo shifting position from front stance to hangetsu stance, and occasionally sanchin    I find that my back foot is actually turned in a little more than front stance position, if my front stance rear foot position is about 60 degrees, then hangetsu is about 65 or 70 degrees.

After squeezing in, you must relax and sink.  The inner tension tends to lift you up, and isolates pressure in your knees.  As you sink into a better position, the pressure goes out, especially from your knees to the floor.  This is where you can really feel the “hour glass” concept.  It is narrow and pulling in at the top and then widens dramatically and pushes out at the bottom (basically from the knees down, although this isn’t quite right either.)  The pushing out actually starts above the knees and pushes out through the knees along the center of bone to the floor.  So, from one point of view, the inner pressure really just sets your bones into position, and with in this new framework or structure, you try to get pressure from your center to flow through your legs to the ground.

Stay in this position and slowly try to counter punch.  You will find your hip rotation is slightly limited.  It will not go completely straight (like in zenkutzu) with out changing the position of your front leg.  Don’t do this.  Try to learn the new position.

Most people think the stance is confining and rigid.  It is a little confining at first, but if you learn to work within this new framework, you will discover new relationships, with their own freedoms and advantages.  IMHO no stance should ever be rigid.  Many people make this mistake.  If you can’t feel the energy flowing, sinking, and transferring through your position, it is wrong.

A GOOD EXERCISE for learning the stance, and for getting a better idea of front stance too:

Get a partner and an extra belt (or one of you take off yours).   Loop the belt around your waist (low; at the hip/leg joint) and have your partner stand behind you holding both ends of the belt.  Assume a front stance (zenkutsu dachi) and have your partner pull straight back (behind you) and down towards the ground at a 45 degree angle or so.  You should be able to resist this pressure, not by directly pushing against it, but by increasing the pressure from your center to the floor, and sinking into your stance.  Now have your partner stop pulling and move around to the front.  When your partner applies pressure forward and down, you should be able to resist it the same way, do not switch your position and try not to lose the pressure to the back leg (very difficult).  In your front stance you should be able to handle a lot of force straight from the front or back.  Try to keep the pressure from your center to UNDER your hip.

Standing either in front or in back, if the pulling partner moves off to one side, even a little, you will either lose your balance or be forced to change position to maintain it.

Now start in the hangetsu position.  When your partner starts to pull from behind, you may have difficulty maintaining the position.  This is actually a weak spot in the hangetsu stance.  Pay special attention to squeezing in and tucking in your butt cheeks.  Try to keep the tension flowing along the bottom of your legs to the floor.

After you have this position, have the person start to circle around you and maintain the pulling pressure.  This is where you can start to feel the pressure shift in the stance even the position doesn’t change.  When you start to lose it, push down harder from your center and inner thighs and grab with your toes.  You will start to get an understanding of new connections.

Try to recreate this feeling when ever you do the kata, even without the person pulling on you.

Next try performing the kata with this type of resistance.  The first move is one of the most difficult.  The squeeze in between moves is VERY important.  Start with straight in, straight out elbow motion.  It may evolve to slightly circular.  Make sure to get your elbow past center when coiling.

At first when performing the kata, try to focus each move completely, release completely and move on to the next move.  Eventually, the release of one move IS the beginning of the next, and each focus has a direction; when released, naturally moves towards the next position.

Observations from the kata Hangetsu:

• Hangetsu stance utilizes multidirectional stability
• Teaches how to create a base using indirect pressure and use this base to operate from
• Teaches how to separate squeezing and expansion/contraction from breathing
• Your elbow and knees sort of match (and the pressure along inner arm and inner leg)
• Your front foot position is already set to be the back leg if you were to shift to the inside, i.e. if you are in a left foot forward hangetzu stance, the angle of your knee and foot is such that you can shift directly to the right (moving in and out with your foot work) without losing any drive or requiring any reposition of the structure to move.  This is a huge advantage over the front stance where this is not possible.  Try both by having your partner pull from the side.
• Both of your front two hip joints should have pretty sharp angles in relationship to your legs.  If they start to become smooth, you are over-tucking.
• It is better to start in this stance a little too short, rather than a little too long.  Being too long increases the chance of knee injury.  You can only go as long as you can maintain positive pressure on the joints.  Compression rather than pulling apart.
• Training in this stance and kata teaches you more about all stances and kata.

Even for me, this is a long post.  I have to get back to work now.  As always, I appreciate any feedback in private or on the list.

Sincerely,
Dave in Minnesota

by David Gimberline

What does everybody think about makiwara training? I  await your reactions.

I see that my response is very long.  I hope it makes sense.  It is much easier to show and teach than it is to describe. 

I think makiwara training is one of the most important and most misunderstood training aids to karate development.

Karate has never come very natural for me.  Throughout my karate development, I have always been slow & tense.  In order for me to progress, I had to come to understand the basic body mechanics of each movement, the expansion & contraction of the body center, and how they relate to movement and to transference of energy into the target.

The 3 most necessary activities that produced results for me are (in no particular order):  Slow repetition emphasizing exact body mechanics and expansion contraction (especially for kicks), makiwara training, and the kata Hangetsu.

(Looking at what I just wrote, this might all be one thing.)  

Makiwara training, IMHO, should be a training device for developing ‘center’, ‘stance’,  and ‘focus’.  The fact that it conditions your hands and makes you physically stronger is just a side benefit.

I feel the most common mistakes are; trying to ‘hit’ the board, trying to hit the board hard, ‘reaching’ for the board, bracing for the anticipated impact, tensing and expanding the body frame in an attempt to push the board, taking too big of a breath, and failure to hold the focus long enough to feel what you are doing.

While avoiding all of the aforementioned problems, what you want to do is to refine your body motion and muscular contraction, using the board for immediate feed back.

I think of it in these terms:

“Isolating the Finishing Position”  /   “Isolating Initiation” for the Twist, “Maintaining” the body frame & muscular direction during the movement

“Isolating the Finishing Position”:

One of the first exercises I have people do on the makiwara, and I do my self when I have been away from it too long, is put yourself in a ‘good’ reverse punch position with your punching hand on the board (I recommend starting with your bad side).  Without too much detail on the stance, your initial position can be fairly high, especially if you are using this as a warm-up (which I do after tons of arm circles & rolling out my joints), and try to feel that your center slightly leads the rest of your body (chest & shoulders).  In your finished position, you are done with your twist and both hips and both shoulders should feel they are pulling forward and together to meet your center, including your inner thighs, at a point several feet in front of the board.  The pressure should feel like it is coming from ‘underneath’ your body & not ‘over the top’.  To help with this feeling, you can slightly lift your front heel, while simultaneously dropping the muscle group under your hips on your back leg, and squeezing your inner thighs.  The result should be a feeling of generating energy down & forward from your center at a 45 degree angle.  This is a ‘settling’ feeling and not a tense or forced feeling.  (Try to understand this compression and consciously control the contraction rather than relying on exhaling a lot of air to compress your body.  )

Increasing this feeling and using your legs to push your center forward should result in more pressure on your fist on the board.  There is no more reach or penetration from here, you are already done punching.   Sit in this position and relax, so that the weight in your center comes to dominate the feeling.   (Nishiyama says ‘soft elbow’, ‘soft shoulder’).  If you can, feel the weight on your back heel, under you hip, your center, and your fist; and try to maintain this lineage.  (Although at first people may have to think of their elbow and not their fist, but either way, as the punch extends it feel like your elbow is being pulled closer to your center, even though in reality it is moving away).

“Isolating Initiation” for the Twist,  [although you can hit the board harder by shifting your weight back and forth as you hit the board; adding shifting power to twisting power, I strongly recommend that you leave your center stationary and isolate the twist]

This is where almost every messes up.  I feel the dominating feeling should be one of your body pulling together.  I think most people initially initiate by starting a muscle action that results in the body separating.    Lets say you are in your reverse punch position and you are about to jab.  To get the ‘pulling together’ feeling, have someone grab your extended arm and pull lightly on it.  You will respond by trying to pull the energy (and fist) through your center to your back heel, without actually starting the twist.  (Also pull the drawing arm elbow to your spine & there is an elbow to elbow relationship) As you feel this pulling energy bringing your body together, it sort of hits a wall in the back of your center and this becomes the base that you start to twist from.  When you feel like you have the energy going the right way, twist and jab.

Now they grab your extended jab and you again visualize pulling the energy through your center, into your back leg.  As you feel the weight increase in your back heel, let that be the energy that starts your twist.  This is very similar to the idea that you generate the force by using your heels/ feet/ ankles to push on the floor.  It is just a higher degree of refinement.  The energy to your heels relates to your center and your whole system,  and the weight never comes off the feet, it is still compressing when you hit the target.  It is also the same as ‘more drawing arm’; it’s just sort of a ‘drawing body’.

If, when someone pulls on your extended arm, there is a significant settling of your shoulder (or for that matter, any of your joints), your are over extending, or reaching.   There should also not be a major switch in muscle direction.  Have this same helpful partner pull on your extended arm, and you respond by pulling together; then have them push on your fist & you should pull even more.  It is a very common mistake for someone to try to ‘push’ against the push, but as they come to understand focus a little better, they will start to get the importance of pulling together and feeling the energy flow though them rather than try to directly resist the action.

“Maintaining” the body frame & muscular direction during the movement:

At the initiation of each movement, this directional contraction that leads towards and results in a focus, but it is not the same.  Many people, especially those that are already prone to excess tension, try too hard and focus too soon and in so doing, disrupt the continuity and connection they started with.  To combat this, after you have the contraction to start the motion, move your legs, move your hip, and let your hand go last (only as a training method), and fly into the board with no effort on your part.  AFTER you have hit the board, try to settle and focus and hold the position.  When you release this held focus, you should feel a sharp inhale of breath (but not on purpose) and a slight ‘up’ feeling due to the muscle expansion.  If, when you release your held position, air comes out of your lungs and you sink a little it means you are tense.  (your focus should represent your most settled position).  Try to try less.  Do not anticipate the impact of the board;  Your hand just happens to hit the board as you complete your punch.  If you are still tight at the point of impact, give up the focus and do just the punches, but hold the end position, until it starts to settle like in the first section.  If it isolates in your shoulder, back off and hit the board very lightly, no power.  Just a little powder puffy punch, and then practice settling into position.

It is important that you are able to succeed.  If the board is too stiff, or you are trying to penetrate too deep, you are interfering with the ability of your body to come together.

Every once in a while, you will relax enough to hear the board ‘smack’.  Your excitement to reproduce this will ensure that it won’t happen.  As you get more confident in your punch, start to commit a little deeper, but only to the point where you are still succeeding.

This energy that flows through your system should generally feel like it goes through the center of your bones.  If it doesn’t there is either some structural defect to be corrected or there is a misdirection of muscle contraction.  Another feeling is that your bone structure is very straight and tall and remains that way during the focus, while the muscles contract around the frame and the energy flows without disrupting the structure..

OK.  I’ve used up far more than my fair share of space.  I hope it’s understandable.  Please write back with input.

Dave in Minnesota

by David Gimberline

Someone wrote to me with the problem that he was slowing down before the end of the technique. This was my response:

I have had this problem at various times in my career and seen it many times in other students.

You are fortunate IMO that you have a good, quick start, as that is a much more difficult and time-consuming ‘fix’.

If you are slowing down before the end of the technique, I can think of only two basic reasons: 1) You focusing too soon, very common in strong, muscular people; or 2) you are unsure of the ending structural position and/or which muscles to utilize and in what order to create a proper focus.

I suspect your problem is the first, because you said “I am technically sound with all points [a pretty bold assertion, actually, because what you think is sound for your level may not be sound, i.e. refined enough, for the next level ] so it’s a matter of finding a way to avoid this ugly habit without sacrificing that soundness.” I would like to briefly address both issues though.

#1) Focusing too soon is common, as I said, and it’s relatively easy to fix, but it will feel silly at first. My premise here is that strong people ‘know’ they have to be strong at the point of impact and in anticipation of the impact, they tighten too soon (especially the upper body), slowing the technique for the last third of the motion. The maddening thing is, the harder you try, the worse it gets (this actually helps to identify the problem). To fix it, you must perform the technique with no power at all, and focus AFTER you have completed the motion. It will seem ridiculous at first, and it may be a bit of an over correction, but my experience says it tends to balance out in a week or so. So, for a week, or at least a couple days, perform a technique with no intention of focusing, just some speed and good form, and, after you finish, tighten sequentially; center and legs first, along with the drawing arm, and the technique arm last, if at all.

It seems very strange, but the sensation is that you get more power from trying less. If this works, and then seems to go away, you’ll have to keep coming back to it, until it replaces your current inclination. Thin and quick people may have no clue as to why this is a problem for you.

#2) This structural and or sequential kime problem may be related to the first. In fact, if you have the first it could cause the second. Here the problem may be structural, like position, or lacking in proper muscular support. If your end position is in some way unsound, even minimally so, or if your body is not sure of the position, your body might be protecting itself from injury. It avoids being thrown into a potentially damaging position and hits the breaks to save your knees, or back, or shoulder, whatever. If it’s not structural from your and or another’s analysis (it’s always tough to know what you look like), it might be muscularly unsound.

Many people tense into what results in a static position, which jars different parts of the body. To me a focus has a “settling” feeling, and continues to flow into the ground and into the target, rather than a true ‘end’ of the technique.

A way to test this is to perform a technique, like say a counter punch or oistuki with maximum kime. Hold the position for a second (a real second) and then relax. If you “settle” on the relaxation; air comes out of your lungs, your should settle down into a relaxed position. etc, then you are “tensing” and not focusing. A focus should pull your body together. Try it at this same end position. Squeeze your center, settle through your legs into the floor, grab with your toes, let air out of your lungs, pull your drawing arm (but not really the drawing shoulder, the pects should be tightening on both sides, so your shoulder remains relatively stable) (at the end, even though you may have spun to get there, both hips and both shoulders are going forward, along with your center, and meet at an imaginary point a few feet in front of you.). Relaxing from this kime, air should come IN to your lungs (without you trying to inhale) and your shoulders lift to their natural position (they were compressed towards center) and you should feel lighter on you feet.

Another common problem when learning to focus is people tighten the small muscles around the joints. You usually notice this as small cramps around the hip joint or pain in the back, but many go on joyfully squeezing in spite of these indications it may not be a good idea (sometimes looks like over tuck of the hip). If you can learn to focus the ‘center’ the joints themselves actually stay pretty soft and pliable. This is for any stance, especially when punching in kibadache people tighten this area incorrectly.

Honest, the big muscles squeeze, (center, legs, etc) and sometimes feel like they wrap around the bone, but the kime kinda flows throw the joints. Do not tense them. Not the hips, not the knees, not the ankles, and eventually, not the shoulder or the elbow.

To fix this, just make sure to keep practicing the end positions over and over, kime slowly and completely, then release completely (failure to release is part of the initiation slowness). Eventually to go with speed, you don’t initiate the technique and move towards kime, you just remember the kime position and assume it. If the motion is slow enough for you to perceive, (like most people’s oistuki) it is too slow to be of any value. Snap into the end position, and pretend the middle doesn’t exist.

A final, closely related problem might be AIR. You may be taking too big of a breath, which takes time and slows you down (extremely common in oistuki) or, you may be holding your breath, which is ultimately a type of too much or misplaced tension (could be mental apprehension). You gotta breath, but not too much 8~D

Ok, It’s late. I’m going to sleep.

If anybody read this and they have an opinion, please share it either publicly or e-mail me private.

Sincerely,
Dave in Minnesota

By David Gimberline

Personally, I get some of my best insights from teaching, or rather the process of teaching.

It is important to continue to learn on your own, and to have had a decent base to start from, but the experience of teaching causes a much more in depth analysis of each concept you are teaching. This introspection and self evaluation can bring about tremendous insights.

If you are teaching someone how to punch or any physical technique, you must first break down the process to understandable parts. If people are not catching on to what you are telling them, instead of just figuring they are idiots, you must figure out how it CAN be presented. It is also valuable to see every permutation of every possible mistake.

Sometimes I present something in what I think is a suitable progression, and people are still missing something. Often this means there is an aspect of the technique I thought was intuitively obvious, or covered in my initial presentation/demonstration a progression, or I missed altogether because it was so much a habit I didn’t consciously think of it any more.

Sometimes, the most talented practitioners are not the best teachers, because they have never had to really examine how they do something. It is so easy for them, they can’t help someone who doesn’t get it.

Often, by watching a student perform, you can tell what dojo they are from. An instructor’s strengths and weaknesses are often mirrored in their students.

One Sensei told me a story about when he was teaching a seminar, and on one certain move, everyone at the seminar was doing it wrong. He couldn’t understand why they would all make the same mistake. He said, “That’s not correct, why are you all doing it that way?” The answer came, “Because you’re doing it that way, Sensei”.

Just some general thoughts on teaching,

The traditional Japanese mentality is that it is the student’s job to strive to learn what the instructor is teaching. They learn by copying and repetition and divine inspiration (a touch of sarcasm here, the repetition also gives a much deeper understanding of the movement). They think if you are not learning you are obviously not trying hard enough.

The modern western tradition is that the teacher (or coach) has to find a way to motivate the students and present the material in a way the students can understand.

I think the ideal learning situation would utilize the best of both worlds. With dedicated, motivated students, it is the instructor’s fault if they are not getting the message across. Many would benefit from evaluating the effect their teaching actually has on the students, and making adjustments to present the material in a different way when necessary.

As you know, some people learn from watching, some from doing, some from having it explained, so they can intellectualize it. In reality of course, all students use all of this input to one degree or another, but I think many instructors only have one way to teach.

I personally try to create drills that break things down into simple concepts and reinforce the important part of the lesson. It is also vital to strike a good balance between explanation and repetition.

It is one of my biggest complaints that often our karate (in the group I train with) is too intellectualized (a huge contrast from 20 years ago, when it was all repetition). It needs to be more instinctive. The way the training session is run has a strong impact on your ability to perform. If you are constantly thinking and analyzing when you are training, you are missing out on an important aspect.

On the other hand, all the repetition in the world doesn’t do much good (and can be harmful) if you are doing it wrong.

So, I’m thinking a proper amount of explanation and coaching can radically aid a trainee’s progress, but if it goes too far, the training becomes intellectually based and fails to develop the mind set necessary for one to perform under stress. (Spirit overcomes technique). One exceptional karateka pointed out to me years ago, “there’s lots of great theories, but unless you train your body to an incredible degree, most of that stuff doesn’t make any difference”.

Not quite a complete presentation, but I’d be interested in your thoughts.

David Gimberline
Minnesota, USA

By David Gimberline

Does anybody even remember the question?    Sorry this has been so long in coming, but some of us actually have jobs, y’know.  

Originally I said:

This is a question for all those out there who use sanbon or gohon  kumite drills in their training.

Assume you are the defender.

Starting, of course from the traditional positions; the attacker has the left leg forward, assumes gedan barai position, and announces “jodan” (head (I know, not really)).

From 2^nd position, you nod or say “Hai” and the attacker steps in oisuki , which you counter by stepping back and blocking with an age-uke (rising block).

In that first step, do you step back with your right (and block with your left) so you and the attacker are toe to toe, or do you step back with your left (and block with your right)?

Why?

Is it different if the attacker attacks chudan (stomach)?

I didn’t get all that many responses.  In part, I feel this is the fault of Mal Diamond, who was the first to answer and was exactly correct.  This, of course automatically disqualifies him from any further contests, where I already have the answer. (or at least AN answer)   ;-D

I did get some interesting responses and the all bring up good points:

Joe Kras said:

My preferred response is to step back with my right, and end up toe to toe.  This minimizes my exposure to the attacker’s “other weapons”, specifically his left arm and leg.  With a little bit of maneuvering I end up in the opponent’s shikaku.  HOWEVER, I realize that there are going to be times that, for whatever reason, moving to this side will be impossible, or less desirable (2nd attacker in that direction, less advantagious position because of terrain, etc.)  Therefore, I also train responses to the other side. I do this whether the attack is jodan, chudan, or gedan

These are excellent strategic considerations.  But I believe for this drill, they do show a blind spot (IMHO).

Jon Keeling  (Jon, thanks for the spelling corrections , dg)  said:

In that first step, do you step back with your right (and block with your  left) so you and the attacker are toe to toe, or do you step back with your  left (and block with your right)?

Either way.  It depends on what is being trained.  Could be a change in strategy, timing, followup technique, etc.  Sometimes only one way is correct. Sometimes, either leg forward could be acceptable.  >>>

Is it different if the attacker attacks chudan (stomach)?

Yes. You don’t block with age-uke.

Funny :-)

Otherwise, not really.  Please note: this is not the norm for other SKdA or JKA dojo
where I have trained….<snip> I also teach variations in many other ways, during all types of kumite.  I also vary kata performance, which we can discuss sometime in the future.

I also believe variations are important, and many of the drills you have suggested (in the past) are interesting and valuable.  I still maintain there is a basic reason the drills should be primarily performed in one particular fashion.

Paul James said:

In that first step, do you step back with your right (and block with your left) so you and the attacker are toe to toe, or do you step back with your left (and block with your right)?

We block with our left first, stepping back with our right.  Probably so that we finish left leg forward, blocking with the left and countering with the right (usually our strongest side).

Again an excellent reason, but not, I feel the most important.

I think the emphasis of the exercise (not technique) is really on the final attack and counter, the first four punches are used just as blocking practice.  Although it’s important to be able to defend and fight with either side forward I think it’s important to be at least competent with one side first.

Here enters some of the confusion in the use of blocks that stems from this drill.  This is a totally different subject that I would like to address in a different post, but I would say this is not even a blocking drill.  It is a tai sabaki (body shifting), maai (effective distance) and timing drill.  You should be able to do the sequence with out the blocks.

Is it different if the attacker attacks chudan (stomach)?

No, it’s the same as long as you are blocking soto uke.  It’s even more important to block their right with your left so that you turn the attacker away with your block so that you can counter to their ‘blind’ side.  If you block their right with your right then you must block further across your body, exposing your ‘closed’ side to the attacker’s ‘open’ side (not good!)

Again, some excellent strategic thinking going on here.  Unfortunately, falling right into the blind spot trap. 

The blind spot I’m referring to here is the idea of defending primarily against a straight punch, because that is what we practice with oisuki and gyakasuki.  This drill is practiced all over the world, and I feel many have lost the basic idea (not the idea I referred to above) of blocking a punch someone throws at your head.

The single most common strike is going to come from the right side and it’s going to be curved.  (some would call this a haymaker).  If someone throws a right punch at your head and you step back with your left and block with your right age-uke, you will get punched in the head.

I agree there are many ways to vary the drill, (and Michael brought up an excellent point regarding the methodology of training and the development of the proper mind set; again this needs to be discussed in a separate post) but I feel if the practitioner doesn’t train primarily toe-to-toe for the head attack, with an understanding of why, then they may be training themselves to reflexively respond to an attack by stepping back and getting punched in the head. 

With the stomach attack, it’s the same consideration.  The attack is much more likely to follow an arcing path than a straight path, so stepping back with either foot is NOT just as effective.  Here when the attacker steps in with the right, you should step back with the left and soto-uke with the right arm.

With perfect JKA technique, many variations will work, and either foot is a good option.  I submit, however, if you want to retain self defense ability, you should train with the most likely street attacks in mind.

The assumes you are using these uke primarily as blocks, and that you are stepping back away from your attacker.  IM(apparently)NSHO, neither of these concepts is valid if you examine the kata.  The uke were not meant to be used this way.  (oh, well another lengthy post)

Mal said it much more succinctly:

its simply a matter of receiving the attack with the correct arm, that is, the attacker is punching with their right arm (which would be on the defenders left) so the defender blocks with the left arm first.

I have noticed the English have a much better understanding of the practicalities of fighting.  I mostly attribute this to Enoeda Sensei setting up such a strong spirited core group.  (however it could be they frequent the pubs a bit more than they should   )

He also said:

its a little presumptive to assume that there is only one right way to perform these blocks, and that the only “right” way is yours…

I agree.  In this particular case though, I was trying to offer a bit of a challenge, not be presumptuous.  Also, if I said there is only one way to do a kata, or a front kick, it would be different than the situation I described, I think.

After sitting at my computer for the last couple of hours, I know remember why it took me so long to put this answer together. 

Respectfully and Sincerely
David Gimberline
ITKF/AAKF
Minneapolis, Minnesota

by David Nishimoto

So, as a Martial Artist that has practiced standing meditation, one hour a day, for a year; your ready to advance to the next level. In last year, a rare form of discipline has evolved, as a part of your new found martial art discipline. You now possess the ability to clear your mind of distractions, at will. You are centered and powerful. Much more powerful than you’ll ever know. You have gained a deeper understanding of focus and Zen. As a great Martial Artist you realize the mind extends through out the body moving chi energy through your body. You realize chi movement is controlled by the mind. The mind can move chi. Chi is the battery. Jing is the electrical current or kinetic force. You can feel chi, but not necessary Jing. A sense of balance and softness has been strongly integrated into your frame. You understand the mind controls how the mind and body root to the earth. You’ve learned to use redirection and rooting to repel external forces. You may be starting to understand the basics of jing. This largely depends on your chi levels, understanding of chi and its application, and your natural capabilities. A strong feeling of spirituality has emerged, as deeper levels of concentration and focus have been obtained, and you have greater control over your emotions and mental state. Your mind is centered. You are at one with yourself. These are the basic requirements, you must have, before working on the next level.

The next level is called warming the chi. Return to a standing position, let your arms form a circle, like your holding a large pot, legs are slightly bent, palms facing towards the body, and fingers from both hands face each other, with a six inch gap. Focus chi energy up from your center along the spine, down the arms, and into the palm of the hands. You may feel a energy current and resulting vibrations, as the energy starts to flow. Be sensitive and thoughtful about what your doing. Don’t force the affect or try to hard. Your breathing should be deep and relaxed. Image each breath brings an oxygen rich resource to your body. Remember the energy flow is determined by your singularity of mental focus. Concentrate with real intent. The energy will radiate from the both palms creating a sensation of warmth. Also, visualize energy flowing down to the bottom of your feet, and spiraling deep into the earth. As the chi warms, it is like being suspended in warm water. Let the energy flow continuously, warming and relaxing your body. As the chi warms your body, it will start to feel more relaxed. This is very healthy for your mind, spirit, and body. Its important to keep your mind clear, open and focused. The relaxation represents the balance between positive and negative. As you relax you may feel an excitement pertaining to your mastery and control of your energy. Obtainment of energy flow and control is a great achievement. Appreciate and value what you have and what you have accomplished. This is a very satisfying, state of being. It should take about ten minutes to create the necessary energy flow to feel a warm sensation; focus on warming the chi, and you will find it easy to maintaining your standing meditation of the hour, without pain. If your arms start to hurt drop them down into the standing bear posture. If your feet feel like they are falling a sleep, move the weight from side to side. Its important to remain comfort, safe, and focused. It is important to generate this energy balance in every aspect of your martial art training and life. This experience will definitely change your conceptualization of power. You will start to understand what the master knew throughout the ages. As you do so, the correct path will emerge for you to follow. Good Luck in your mastery.

Continue this practice for the remainder of the year, and I will provide additional instruction.

By David Nishimoto

Bouncing or uprooting the person is not mystical. First, relax and create a feeling of sinking into the earth. Connectedness with the earth is the fundamental principle to the bounce. The feet are integrated with the earth. Gravity is pulling body mass towards the earth. The legs and feet are supporting the body from falling. The knees are slightly bent and have a rubbery characteristic. External force is perceived and directed from the center through the legs, to the feet; and a counter-force is generated. Just like a bumper car hitting the edge of the pit, the reflected force is compressed by the legs and reflected back through the body into the opponent. So minimal external force is amplified and reflected back into the opponent with maximum effects. The hands or body propel the opponent back as the reflected force exceeds the force of gravity holding the opponent down. The hands or upper body are the transmitted force generated from the legs and center.

Think about walking. Each step is a balance between falling to the earth and a counter force pushing back. A connectedness exists between the minds timing perception which connects with the earth and generates an counter force pushing the body back up. Likewise, as an external force is approaching, a connectedness needs to be perceived relating time to impact and the counter force necessary to bounce the opponent away. The external force compresses the your body downward to the earth. A certain degree of compression is realized and expansion series initiates at will cause the counter force. Expansion generates a greater force greater than the force of gravity holding the person down causing causing a bounce or uprooting. The degree of bounce or uprooting depends on the intent and degree of expansion.

The discovering the center-line means finding the opponents body location where yielding becomes difficult. The body pivots around the center. Double weighted-ness means pushing too hard, at a miscalculated center and losing one’s own center of balance. If one pushes against a door thinking that it is rigid but instead it swings free open; the over extension will cause him to fall. This is called double weighted-ness and is bad. The test of double weighted-ness is the objective of pushing hands. If the body is soft and yielding to external force the center can not be discovered. However, any points of rigid-ness or resistance can be compressed and the opponent’s center of balance exploited causing him to step back or jump back to absorb the incoming counter-force.

Focusing on feeling increases awareness. Remove the ego of looking good and start thinking about the moment. Surrendering and yielding to the opponents movements allows you to blend with them. Blending is the key to find their center. Blending can lead to a bounce or a yield, control, and neutralization. Blending can start at formation of intent by your opponent. A punch, kick, tackle can be sense before it starts. It more important to feel what the person will do and blend with that feeling. Feeling is more important than seeing. With experience fighters the feeling is very subtle. Connectedness with your body, the earth, and the opponent is the key. Remove the ego of superior strength, credentials, pride, and prestige immediately proceeding listening to feelings. Concentrate on the sensation in the body: breathing, integration with the earth, confidence, integrated energy, and feeling the other persons energy.

Relaxation increases the ability to connect with the earth. Relaxation reduces the number of mistakes in technique. Relaxation keeps the body soft and prevents the centerline from being discovered. Test this principle by having a person push forward gently on your shoulders, swing your body with the force. Alternate between left and right parts of the body. Repeat the push on the left and right hips also. Relaxation is the key to not getting bounced during pushing hands.

Focus on the purpose of the technique. Executing a technique without understanding the intent will result in failure even if it looks perfect. Technique changes as the understanding of the purpose changes.

by David Nishimoto

Standing meditation builds great marital artists. Lets start with standing. Standing builds the frame. The frame is used to repel or redirect all forms of force. Once a student has been standing for a few years they build a integrated frame. The integrated frame becomes the beginning of advance drills for refining balance. All martial art systems have some forms and methods for improving balance. Here’s how to begin.

Select a private and secluded area where you can stand without interruption. In many areas of the country, if you go to a park you will experience more interruptions than its worth. Its important that you select an area where you can devote 100% concentration on what your doing. Don’t be afraid to explain to people, who may see you, what your doing. Just say, “standing meditation, minimal investment and maximum results.”

Start with your feet separated at shoulder distance. Slightly bend your knees keeping the back straight. Image your body is suspend from a rafter. Let the arms hang down and slightly in front with your fingers separated. Concentrate on breathing slowly and rhythmically.

Later move your arms upward forming a ring shape in front of your body. The palms of your hands should face inward and the fingers pointing at each other with a small gap in between the hands. Image you are hugging a tree. Working on the feeling of expansion and contraction as you stand. Adjust your balance as you feel slight changes in weight.

Standing requires you to focus on your breath, weight distribution, and mental focus. At first your mind will be racing. What do you think of? Nothing. You’ll be able to free your mind and reach a state of mental activity similar to one just before waking up. This is the beta state. An advanced form of relaxation where learning is maximized and the maximum benefits for your body are achieved.

Stand for only small periods of time, but over the year work up to a hour of standing. Once you’ve reach this level contact me for additional instructions. I recommend working in groups. If you have the determination to stand then more advance concepts can be taught later.

by Morne Swanepoel

Many a times have I heard Martial Arts instructors & schools state the amount of techniques they know etc. and classify themselves at different levels with these achievements.

I think we can all agree that there is Unlimited amount of techniques to study in any Martial Art system and that we all have limited time or even lifespan to train these techniques in. This is more the reason why we need to be true to ourselves and
identify the reason for training. We live in a time and era where our time is limited. That’s why it is so important to prioritize your training methods.

Saying this Let’s take Sport & Self Defence as an example. There are certain techniques that would score your points in tournaments but would not do the job in the street, and the same applies for the opposite. So if your aim is to learn how to defend yourself against an aggressive opponent it doesn’t make sense training techniques that would not work in the street. Learn as much as possible but you must also be able to distinguish between those techniques that are only good for demonstrations, and those which will give you results in an all out street fight.

How do you know which techniques will do the job?

At JKD Unlimited we make sure we test all our techniques. You have to try it out against a resisting, aggressive opponent who is going to do everything in his might
for you not to be able to apply your techniques. So yes unfortunately when you put on your protective gear and undergo a vigorous sparring session you will quickly find out what works for you and what doesn’t. This is exactly the same concept as what the late Bruce Lee used to refer to as swimming on dry land. You can learn all the strokes to become an excellent swimmer on dry land. But can you apply your strokes if
you get thrown into the ocean where the water is freezing, currents are pushing you all over the show, huge waves and maybe some other factors such as man eating sharks Thanks to my personal coach- Founder and President of Jeet Kune Do Unlimited, Burton Richardson, we have two very important guidelines we always refer to:

• Knowledge is not power. The ability to apply your knowledge is true Power.
• If you want to learn how to fight, make sure you train against someone who is fighting back.

Always practice the basic fighting techniques using training methods that are alive first. After you have improved in each range, then you can take the time to play with the other techniques which may improve some attributes, but which are difficult to apply against an aggressive opponent.

The main goal for Martial Artists should be for the individual to develop him or herself towards their Unlimited potential physically and mentally. By training in the Martial Arts we have a guideline for training in any other area of our life, from business to relationships. The concepts learned in your training should be transposed into your whole life experience.

You will never be able to learn each and every technique. Instead learning the Martial Arts should be like learning how to write.

First you learn the alphabet, then learn how to spell words, then learn how to make sentences and paragraphs and you can create as many stories as you wish. You don’t learn how to spell and then spend the rest of your life copying stories written by other people. You get to write what you want to write, your own expression. The same is true in the Martial Arts. Learn the basics well and you are only bound by your imagination. If you imagination is unlimited, then you too are truly unlimited.

Morne Swanepoel
President Jeet Kune Do Unlimited – South Africa
President World Taiji Boxing Association – South Africa
Website www.jkdu.co.za
Email morne@jkdu.co.za