Structural Alignment in Naihanchi Kata

This week in my closed dojo, we spent some time looking at the main structural components of Naihanchi Kata, investigating why its analysis and application is somewhat different to that of the other forms and how its specific teachings can be integrated into the rest of the art.

Choki Motobu Performing Naihanchi Kata

I recently wrote some words detailing my understanding and opinions regarding these structural components, which will eventually become one of the main chapters in my upcoming book. So as a bit of a 'taster', I thought I would share a concise summary those words here for my blog readers that will also provide some supplementary information for my own students. Needless to say - the original chapter goes into far more depth!

Since the human structure is given shape through the skeletal framework, I have referenced each component against the major joints along what I call the 'power chain' between the floor (our source or power), up through the body and out from the issuing limb. It's worth also noting here that there are always two energy systems at play here: the (1) delivery system and the (2) reaction system. Both systems play a significant part in overall effectiveness and whereas most martial artists can easily relate to the delivery system, the reaction system must also be seriously considered. 

Ultimately, the stances and movements used in kata are only ever as valid as your personal interpretation and application - otherwise it resembles nothing more than dancing!

Attributed to each structural component is a word that describes a particular 'feeling' to aim for. I am still in two minds whether or not I have chosen the right words here, since sometimes these feelings are difficult to put into words, nevertheless I think this is still much better than using more 'mechanical' or 'visual' descriptions.

An early picture of Gichin Funakoshi Performing Naihanchi - notice the shape of the stance is very similar to that of Motobu.

So, from the floor you should aim to...

1. Dissolve the feet: the feet should be as if they are an integral part of the floor. The act of 'gripping the ground' with your toes as is often taught will only end up forcing you further away from it.  
2. Empty the knees: the knees should be balanced so that the weight of the upper body can pass through them and to the feet without any effort.
3. Connect the pelvis: I have used the word 'connect' because the pelvis is the main junction between the upper and lower body. Therefore, we must align this area if we are to act as a single integrated unit.
4. Straighten the spine: it is necessary that the normal 'S' shape of the spine that's designed to take the trials and tribulations of everyday living is gently straightened in order to create a more efficient conduit for energy transference through the body (for both delivery and reaction systems). As with all other structural adjustments, this should be performed in a natural way and without excessive tension or effort.
5. Suspend the head: the whole of the upper body should have a feeling of 'expansion' by imagining that the crown if the head has been suspended from an invisible hook above. This helps to avoid the tension-based 'tortoise shell' syndrome that many practitioners exhibit when attempting to apply power.
6. Nest the shoulders: the shoulder joint has a huge range of motion and for this, gives up a degree of stability in the process. However, rather than allowing the shoulders 'float', they should instead be nested correctly in the 'socket' and naturally supported by the surrounding musculature, therefore properly connecting the torso (main drive) to the upper limbs (point of energy transfer).
7. Drop the elbows: the elbows should always be kept low, heavy and connected to the waist. The more we allow the elbows to flail out, the more energy we direct from us laterally (to the sides) and away from the point of contact (i.e. the opponent in front).

Here's a picture of Funakoshi in his latter years - notice how his stance has now changed somewhat to a more 'modern Shotokan' shape!

So, I hope that the points listed above help to stimulate some thought regarding the structural components of Naihanchi Kata.

To me, kata should be thought of as a 'process' of learning, not simply as a single or isolated aspect of training. If the traditional forms are to become useful to us then we must embrace this developmental process. In fact, I think it would be hard to disagree that Naihanchi Kata is anything else other than a process, since the depth of application found within the movements can seamlessly flow into almost all other aspects of the art.