Within the chapter that focuses on the percussive impact in my upcoming book on the exploration of civilian combative methods found in Naihanchi Kata, I mention the 'Hierarchy of Impact' and how this important principle may be utilised in the practical application of traditional karate.
The components of 'distance' and 'time' are luxuries seldom enjoyed in the realm of civilian self-protection, so it stands to reason that any system that relies heavily on these is fundamentally flawed when aligned to this specific context. And in my opinion, due to extended ranges emphasised in many of the more contemporary karate systems in order to meet other goals, the hierarchy of impact is not often given the attention it deserves.
In this blog post, I'd like to write a little about the hierarchy of impact and why I believe any self-defence based karate dojo should look to embrace this principle throughout a variety of training protocols.
Pulling the non-striking hand back to the hip is a common motion found in karate and although there are numerous practical applications for such an action and indeed, different reference points for hikite, I think it's important to consider why the hip position may be principally emphasised in most fundamental techniques (kihon-waza) found in classical kata. Following on from my recent posts on this subject, I'd like to discuss two key reasons, based on the assumption that the 'hiki-te hand' has something in it when being employed (i.e. the opponent's arm, head, clothing etc.) and not performed simply for the sake of conformity.
When exploring the old-school karate concept of Meotode (husband and wife hands), the application of hikite (retracting hand) as seen in many fundamental kata techniques most commonly springs to mind. However, hikite is only one component of meotode, which is itself, a more holistic notion that considers both hands being used together in harmony towards a common goal. This integrated use of the hands, or indeed the whole body, is a vital principle of karate and especially so when used within the context of self-protection.
Developing mechanical habits that see arms and legs being divorced from one another is not only in-efficient, but also completely nonsensical with respect to how the human body is actually designed to operate as an integrated whole. Thus, I would suggest that as a core principle, every classical kata should have the idea of meotode woven within its transitional movements and we should never see body parts moving in complete isolation.
The Chi-Ishi (strength or power stone) is most notably used in Goju Ryu (hard/soft style), as part of their hojo undo (supplementary training methods). However, the use of this tool may also be found in other Naha/Shuri/Tomari lineages of koryu karate, along with various other pieces of equipment, as an adjunct to kata and their application practices. Indeed, the term hojo undo is generically used to describe the holistic attribute training methods undertaken to enhance the ability for the body, minds and spirit to combatively express the choreography of karate kata. As such, even with a plethora of traditional and more contemporary tools available today, the unique design and qualities of the chi-ishi can be used to play a key role in building the karate body and it is for this reason that I continue to make use of it in my own training.
No more advanced than a stick with a weight attached to one end, the asymmetrical nature of the chi-ishi is what provides its most challenging asset. Even to manipulate the weight to an adequate level of control takes a high degree of body awareness, proprioception and core integration. But it is often the subtleties of such exercises, the things going on underneath the surface, which provide the most benefit. Simply swinging the tool around for the sake of being able to claim that you ‘practice hojo undo’ simply doesn’t do the chi-ishi any justice and even though there are other pieces of training equipment around that can provide similar attributes, the classic saying that ‘a poor craftsman will always blame his tools’ is true for everything you place in your hand. So how we understand the performance of hojo undo and in particular, how the exercises we repetitively undertake connect with our karate practice is of chief importance – not necessarily how many reps we can push out!
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!