Over the past few weeks I've been posting short but regular 60-sec video blasts to my Instagram, Facebook and Twitter accounts...
The idea behind this new project is to quickly share some of the stuff we get up to at the dojo, introduce a selection of the core concepts behind our approach to karate and hopefully, provide mobile friendly bite-size inspiration...all within the space of only one minute!
In recent years, there has been an increase in practically minded karate practitioners making use of two-person flow drills to help develop tactile-based skills for close-range altercations. Normally seen in arts such as Wing Chun, Silat and Filipino systems, some Okinawan karate systems also practice kakie (hooking hands) to help develop this area of expertise. These methodologies can run from being rather rudimentary more comprehensive, depending on the style, teacher and aims of the art.
In my dojo, we also practice a series of close-range limb control drills derived directly from Naihanchi Kata, which are used as a core template to express a more free-flowing application of kata bunkai principles. But as with all training methods, they have specific limitations that as mindful practitioners, we must be aware of. Indeed, one of the generic weaknesses in flow drills is the fact that they actually FLOW! I know, a little contradictory, so let me elaborate.
Here's some video footage taken yesterday evening during one of our closed dojo sessions. It features a brief recap of the content we covered in class so that members could see how all the topics we explored connected together.
We began by looking at a fundamental movement pattern and then exaggerated its associated mechanics using a short stick. This is a popular tool in our dojo and is used to help draw out particular aspects of technique so that they may be more easily developed. We began by focusing solely on the limb and sequencing from the shoulder, to elbow and then to wrist. After this, we then added the hip and finally, the legs to achieve integration from the ground to the hand.
These mechanics were then taken to the focus mitts, where we could emphasise the development of percussive shock and minimise the external motion, whilst still maintaining the kimochi (feeling) of the technique. We looked at changing angles with this and incorporating the 'retraction' of the limb as either a second strike, or to facilitate an index to set up the next strike.
Attaching to the opponent's centre line or head/neck are two prime areas for indexing.
I'm currently working on the draft of the upcoming second volume of my Seed of Shuri Karate book series and I thought that followers of my work may enjoy this little segment taken from the chapter on percussive impact delivery. The finished publication will no doubt read different to this as I always extensively edit, but nevertheless, I hope you'll find this sneak peek on the principle of 'indexing' a nice complement to your cup of coffee...
Indexing (also known as a 'set up', 'controlling', gauge' or 'leveraging arm') is an important concept taught in modern day self-defence systems and is also a key tactic expressed throughout the application of classical movements found in karate kata. You only need to spend a few moments searching YouTube for footage of real street attacks, self-defence encounters or bar brawls and you will see that the use of indexing is rife. This is simply due to the fact that it is both natural and highly advantageous. It is also a strategy used extensively in weapon attacks (especially puncture weapons such as knives or screwdrivers), where repetitive thrusting or clubbing 'sewing machine' styles are employed to devastating effect.
I often recommend that my students make use of a full length mirror as part of their training, in order to make visual acknowledgement of their form. A mirror is a useful tool because what you see in the reflection is also what an opponent will see when facing you. In addition, it allows those with poor body awareness to 'see' individual transitions taking place. However, we must also develop to a point by which we begin to let go of the visual cues and come to 'internalise' the subtle feelings associated with movement. Aesthetics then becomes a secondary consideration over what is required for function.
Old-style karate is less concerned with what a techniques looks like and more concerned with how well it functions. There is more freedom to move in a natural and fluid way, as opposed to always maintaining the same height and exclusively employing rigid rotations of the waist and excessive muscular contraction in order to express power.
Sorry it's been a while since I blogged here - rest assured, I haven't been sat twiddling my thumbs!
Over the past few months we've been juggling a pretty big house extension plus two new additions to our family - a beautiful baby girl called Isabelle Rose and a pet dog called Cookie! Added to the work I've been doing to help progress our dojo up here in sunny Cumbria, it's been a little hectic to say the least!
However, things have started to settle down a little and so I should now be able to squeeze a little time here and there to get back blogging for my website.
Thanks to those who have kept in touch regarding the second instalment of my Naihanchi book series and my sincere apologies for letting the original planned release date slip. The good news is that I'm back in the saddle (so to speak) and just this week I managed to finish drafting another chapter. It is my aim to give this project priority over the next few months and once it's finally published I'm sure (or indeed I hope) you'll all consider it worth the wait! Nevertheless, your continued support is always very much appreciated :-)
OK - so now let's get down to the reason I sat down to blog today...
Here's a short video taken in the dojo a little while ago, where we spent some time looking developing the ability to strike effectively at multiple angles using the same hand, utilising some of the lessons on body dynamics taken from Naihanchi Kata.
For the sake of the drill, I chose four key trajectories to work with (up, hook, reverse hook and down) and we looked at how best to join them together with smooth transitions from the core, whilst still aiming to create 'shock' at the end of each blow as if they were single fully committed shots.
For traditional karate practitioners, striking hard and with full intent to switch of the threat to facilitate safe escape safety should make-up our primary strategy for physical self-defence. It is simply the most clinical way of ending a confrontation. Other skills gained through the holistic study of kata bunkai (such as limb control, clinch work, joint attacks, throwing, choking etc.) may then act as secondary support options, to be applied when things don't go to plan, and aiming to return us back to a position of dominance whereby we may continue on with our primary striking options. Therefore, neglecting the development of effective strikes during your dojo training is from a pragmatic perspective, a recipe for disaster.
It's been a while since I posted a video to my blog, so here's a 15 minute tutorial covering my Naihanchi Kata limb control drills!
Naihanchi (or Tekki) Kata is the core form for all Shuri-based karate styles, providing the essential framework for their functional combative strategies. My dojo syllabus has a number of limb control drills that come from the lessons given within the movements of Naihanchi Kata and the video below is a sample tutorial for one of these.
During the performance of kata, it can become quite easy to fall into the trap of producing specific shapes simply for the sake of aesthetics. With standardisation across styles, plus the pressure for kata to become visually eccentric and pleasing for competition or gradings, many students who follow a modern-day approach may be conditioned to aspire to form first and then wonder at a later date why the kata they follow do not directly transfer into the functionality they may require for practical application. But of course, kata was never originally developed to visually impress.
"A kata is not fixed or immoveable. Like water, it is ever changing and fits itself to the shape of the vessel containing it. However, kata are not some kind of beautiful competitive dance, but a grand martial art of self-defence, which determines life and death." - Kenwa Mabuni
Over the past few years within the health and fitness world, we have seen a boom in more functional and old-school methods that have in some ways, turned the whole industry on its head. No longer is it cool to lock yourself into a vertical chest press machine and crank up the pounds, but rather for those who are looking to gain more functional development for a particular sport or skill, then asymmetrical challenges, core blasters and dynamic full-body integration exercises are the order of the day.
As a traditional karate practitioner, seeing things develop in this way puts a huge smile on my face. What many people would consider as being cutting edge principles today is often nothing more than the re-birth of some of the most effective training tactics that were considered mainstream only a couple of lifetimes ago. In terms of karate, there are many connections between traditional supplementary training methods (hojo undo) and modern-day functional practices. Furthermore, in the spirit of constantly evolving the art, linking these to other influences from around the world can yield some fantastic benefits.
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.