A few weeks ago, I was sent a spring loaded dummy arm for makiwara by its inventor Braulio Mira (Dimira) from Portugal. His website www.ronin777.com features lots of great training aids and having already made great use of one of his dummy arm sets in my dojo for over a year now, I was excited to see how his newly designed makiwara arm would hold up.

I've been incorporating this product in my training routine now for around a month or so and wanted to share a quick review for any interested karate practitioners who may be thinking about purchasing one. I know how important it is for martial artists to find good quality training equipment, so I hope my honest views below may help readers make an informed decision about this, or similar products.

Here's a short video clip of the product in action...  

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.

The third level of analysis that we apply to Naihanchi Kata (Bunkai Sandan) in our dojo concerns what we term 'breaking the mould' and takes the fundamental combative lessons given by the form a stage further. It allows us to explore specific aspects, once the core application framework has been understood.

Vol. 2 of my book series soon to be published primarily focuses on Bunkai Nidan (functional combative application). Towards the end though it also provides a section on Bunkai Sandan and a specific example of this development process using the aspect of limb control, which is in itself a very useful component for self-defence. We have six two-person drills that come from Bunkai Sandan, which may be practised in isolation, or together in flow and then expanded to branch to other kata applications etc.

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!

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.

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.                     

The study of body dynamics in traditional karate can go as deep as you'd like it to and exploring the subtleties found in the art can be a very addictive process.  Indeed, exploring how you may best use positional advantage, move between stances efficiently, make use of natural strengths, exploit natural weaknesses and interact with an opponent to achieve the best results can prove a very seductive pursuit.  So much so that we sometimes forget to keep at the forefront of our minds the fundamental requirement for simplicity in self-defence, with the real risk of 'pure function' creeping further and further away from our dojo training. As they say, simplicity is the ultimate sophistication!

Percussive impact makes up Karate's primary strategy for dealing with an imminent physical threat to one's safety.  If avoidance, escape or dissuasion are not valid options to pursue or have already been exhausted, then the order of the day would be to employ swift, aggressive and overwhelming ballistic strikes. either pre-emptive (ideally) or reactive, with the aim of switching off either the ability or the inclination for the opponent to continue posing a significant risk, thus facilitating the opportunity to make a safe escape.