Join Chris on his journey exploring the essence & application of traditional karate
"Chris is one of the most forward thinking martial artists in the world today."
- Paul Enfield Sensei
- Paul Enfield Sensei
I love to train. There's rarely a day goes by that I'm away from the dojo and often the best part of training as a martial artist is the huge variance of methods you can apply. This can also be a downfall though if you do not manage your training effectively, since it can become quite difficult to 'fit it all in' over the course of each week.
Martial artists need to develop in many areas such as strength and power, endurance, flexibility, speed, balance core dynamics, structural stability, fast adaptation to change, sensitivity, mobility, conditioning, technique, mental clarity and focus. We're fortunate that some methods of training can tick multiple boxes for us, but you need to be constantly watchful in case what one day you call a 'supplementary' method starts to take over your whole schedule.
I began weight training many years ago and I really love the challenge. A number of years ago now I took the decision to become a qualified fitness instructor in order to ensure that I could confidently train and advise others in the correct way.
Many martial arts use music as a basis for their application of movement and technique. Look at the traditional fights of Muay Thai or the fascinating Brazilian art of Capoera for some fine examples of this.
Music, or more specifically the rhythm and timing associated with it has strong connections with all martial arts, including karate. Whether you twang a string on a guitar, whack a snare drum, blow down the end of a trumpet, hit the keys on a piano or indeed strike the opponent - it's all based on the universal application of rhythm and timing.
All beautiful music is made up of 12 fundamental notes. However it is not the notes themselves that makes each song unique, but the strategic placement of gaps, transitions and varying emphasis. Notes without gaps is simply noise!
A number of people have asked me questions lately relating to why traditional karate practitioners spend time conditioning their forearms. It is commonly suggested that this is to facilitate more effective blocks, but considering the fact that in close range self-defence the concept of blocking in any form is seriously flawed (due to the lack of ability to react in time), there is in fact a much more pragmatic reason as to why forearm conditioning is so vital.
First of all, the forearms make up a primary weapon in karate. It is extensively used in Naihanchi Kata and if you think about the fundamental techniques practiced in the first few months of training then you will see that the vast majority use the forearms as a point of contact to issue force. In fact, the four basic receiving techniques of (1) age-uke, (2) soto-uke, (3) uchi-uke and (4) gedan-barai together prescribe the principle gross motor movements with the upper limbs: up, down, inside and outside. The only movements not covered are thrusting out from and in towards the body, but I'm sure you'll agree that tsuki covers that pretty well!
Here's a FREE sample chapter from a recent publication by Lee Taylor - I've added it to the guest author section of the site:
This PDF on the Heian Shodan kata and bunkai is an extract from the book Heian / Pinan Kata & Bunkai - The Fundamentals.
In that book all 5 of the Heian / Pinan kata are examined in detail from the solo performance of each kata, to the two person bunkai sequences.
Last week I uploaded an article to the site that I'd wrote about makiwara training, which was originally published in Combat Magazine in early 2012...
To supplement this piece, I also added a video to my new YouTube channel that showed a some clips of my personal hand conditioning routine...
Chris Denwood has been studying martial arts since childhood and specialises in the practical application of karate's traditional principles for civilian self-defence, personal development, life integration and discovery.