I'm currently re-reading the book, 'The Secrets of Okinawan Karate' by Kiyoshi Arakaki and whilst I must admit I'm not that particularly fond of the title, I feel that the content within certainly inspires readers to think outside the box. One particular part caught my eye this morning, causing me to pause, nod and smile...
"Everyone thinks shuto is a technique that uses the hand like a sword or knife. As the definition implies; therefore, the technique becomes deadlocked. The scope of the term itself is too limited to encompass the essence of traditional karate's shuto-uke. Historically, this move can push the opponent; strike to the opponent's upper or middle body; strike the opponent's attacking arm, or leg; hook; parry and guard. All these possibilities are intrinsic in one technique. Modern shuto-uke's usage is completely different from traditional shuro-uke, which employed each individual part of the arm, including the back of the hand, palm of the hand, and side of the hand, as well as the entire arm itself. It is the same story for sei-ken, which should imply strike, hit, stab or nukite."
There is much debate between bunkai researchers as to whether the techniques in kata were designed for one particular application in mind, or whether the movements are more generic to offer options against a variety of scenarios. With the lack of historical information available, we may never know for sure. However, regardless of the opinion you personally subscribe to, it nevertheless pays dividends to look at the movements of karate with an open mind, so that your study does not become as Arakaki Sensei so eloquently described, 'deadlocked'.
On my most recent visit to Okinawa in March 2014, I was very privileged to have had the opportunity to spend some time with Katsuhiko Shinzato Sensei, both privately and with members in class at his home dojo in Yonabaru.
In short, I can say that the teachings he shared with me over the course of what was only a couple of weeks, have made a lasting impression on my karate, plus the kindness shown by Sensei and his students has made a equally lasting impression on my character, for which I am truly grateful.
I first had the pleasure of meeting Shinzato Sensei back in April 2010, when I gave an intriguing seminar for karate-ka from around the world at the Budokan in Naha. As soon as I witnessed him move, I knew straight away that he had something very special to share.
The footage of Shinzato Sensei on YouTube is amazing but believe me, to witness this man in real life is something else entirely! Many people do not understand what he is trying to impart, but I can't help but feel that through what now must be over half a century of comprehensive and exacting research, he has unlocked something very old in karate and his sophisticated methods of movement breathes a unique sense of vigour back into the art.
Check out the following video of Shinzato Sensei's approach to Naihanchi Kata...
Last weekend, I was invited to teach a seminar down south in Reading UK. We covered lots of subjects over the course of the day, but here's a few minutes of video footage from the event, where I'm providing some advice on close-range power generation and specifically, the use of 'whipping' energy in Tetsui-Uchi that's often seen to be a trademark of Shuri-based karate systems.
In the video, I discuss and demonstrate the requirement to sequence the joints so that energy may perpetuate from the floor, up through the body and out of the striking limb. I also emphasise the need to utilise gravity by being in control over your state of balance. All of these principles can be found in most (if not all) traditional karate techniques.
It's been a little while since I added to my blog and now that I'm finally starting to get back on track after returning from my last trip to Okinawa, I'll be looking add some more posts over the coming months to help correct this.
As most who follow my work will know, I like think of traditional karate as being the integration of three main components, which in contrast, differs significantly from the more modern-day 3K (kihon, kata, kumite) approach. These components are Kata (physical form), Ohyo (functional application) and Hojo Undo (supplementary training). Acting like a like a jigsaw puzzle, all three pieces must be present before the ‘whole picture’ can be seen and each component must be able to connect to the others in accordance with the main context and objectives of the art.
Now that I've finally fixed the audio problem on my computer here in the office, I've been busy reviewing the video footage taken at my applied karate seminar in Malta in December last year. My intention is to share with you all a selection of short tutorials from the weekend to offer a flavour for some of the topics covered.
The first day of my seminar in Malta focused almost entirely on the four 'uke' (age/soto/uchi/gedan) movements and their subsequent appearance in a number of kata across the styles. The video below shows one of the drills I covered to help participants understand the numerous ways in which the technique of Gedan Barai (lower sweep) may be applied combatively.