Tag Archives for " kata "

November 22, 2013

Jidosha Dojo 自動車道場 (Automobile studio)

Many of you agree that karate practice does not stay only in a dojo. Where do you practice outside the dojo? Some of you are lucky to have a big back yard or a large garage where you can do your practice. Some may go to a park or a school gym. What do you practice at those places? You can certainly practice kata and kihon. Can you practice kumite? Yes, only if you can find a partner. But most of the time you will have to practice by yourself so no kumite. Dojo bus Today I propose an idea of training in your car that includes makiwara and kumite practice. I call this “automobile dojo”. No, I am not proposing that you buy a bus or a big van to train inside. This idea does not include a loud ki-ai to the driver who is in the car next to you, or pounding your fist against the steering wheel to toughen it, or swinging your back fist to the passenger side head rest, either. In fact, what I will share with you will not propose any techniques and movements that are not related to driving itself. What I am proposing is only your normal driving but I will ask you to incorporate karate training to your driving and I will describe what and how. Many people drive to and from work daily. Some of you may spend more than an hour in a car each way. This means you spend more time driving than training in your dojo every week. Wouldn’t you agree that it would be wonderful if you can add those hours to your karate training? You may say “I sometimes think about kata or other karate techniques but I cannot continue thinking about it because I am too busy driving”. It is true, and it may be too dangerous if you were day dreaming or paying attention to something other than driving. What I will explain is completely different from what you are probably expecting. In fact, what I suggest will improve your driving performance if you follow it correctly. There are several different training syllabuses or menus. Let me share some of the main ones that you can include in your driving habit. Menu #1: Distance practice Little man syndrome truckOne thing you must remember is that your car is an extension of yourself. Now, this is a very important concept and I want the readers to fully understand this. So I will spend some time on this subject first. You already know that a meek person may feel braver when he is in a large truck than when he is in a smaller car. In his big truck he will not be intimidated by a small car even if its driver may be a big and muscular guy. This is one example of a concept of a car being an extension of yourself, but, I am not talking about this emotional feeling that can be created by what kind of a car one drives. What I am talking about is connected more to the physical aspect of your body when I say “extension”. In fact you must believe that the end of your body does not stop at the tip of your finger or your skin but it goes or extends further. It is true that there is a certain amount of space around you that you would consider a part of your “territory”. I am sure you have encountered a situation in your life more than once when a person passes you in front of you without saying “Excuse me”. I suspect you felt somewhat offended or invaded by this person or his act. If the distance between you and him was 100 meters or even 10 meters, you would not have cared. But you felt it was a very close distance so you expected a common courtesy of “Excuse me”. Why did you feel that courtesy was needed? It is simply because we all have a space around us that we feel it isproxemics diagram 2 “my” personal space or territory. In fact, there is a study called proxemics; the study of the cultural, behavioral, and sociological aspects of spatial distances between individuals. The amount of this distance varies a lot by the personal feelings and also by the cultural custom. In some Asian countries the distance tolerance is very close. For instance, a person behind you will stand very close to you when we are in line in Japan. I have been living in the US for many years so I often find myself feeling uncomfortable in the subway ticket line or a post office line when I visit Tokyo. Even within a same country the distances vary if you are in a city like New York or in a small village of a wide open state like Idaho. Of course, the distance tolerance is much higher in NY and a visitor from Idaho will probably feel very uncomfortable in a crowded New York City subway. If you are interested in learning more about proxemics you may want to access the following site; http://proxemics.weebly.com/index.html So there is a space you recognize that is a part of you or you consider your space. What I will ask is to go further with this feeling. If you drive a small car in your daily life and if you have to drive a larger car you will feel uncomfortable especially when you have to park or drive through a narrow road or a bridge. You would feel even more uncomfortable or insecure if you have to drive a big van or a truck. This is a good example of body extension when you drive. An experienced bus driver or a truck driver has no problem even with a parallel parking and driving through a narrow bridge. He can “extend” himself to the outside of his bus or truck and knows exactly how far he (or his truck or bus) can or cannot go. He has the longer body distance than we (small car drivers) do. This is definitely a learned skill and a professional truck driver must go to a special school for this. This extended body distance ability can also apply to the use of a weapon such as a sword, a bo and a nunchaku. I will not go into this subject here as we are focusing our discussion with automobile driving right now but I am sure the readers can guess how it applies. We also talk about a long distance fighting method which is the characteristic of Shotokan karate compared to a short distance fighting method such as Goju-ryu. I believe the training method I will share will help both fighting styles but I think the benefit is bigger for the Shotokan practitioners as it will expand the territory or space that will be controlled by you. I will present two types of training here that you can use to train in your car. One is automobile makiwara training. The other one is automobile kumite. Makiwara tireBy automobile makiwara training I am not suggesting you to run into a post or make a makiwara with an old tire (though it is nice to have one). It is only a metaphor and I am suggesting you to pay more attention when you park your car in your garage or in a public parking lot. Your training is not to hit the front or the side (particularly the passenger side) of your car on anything around you. This is totally opposite of makiwara training as you are not supposed to hit anything in automobile makiwara training but it is still a distance practice. You must be able to extend yourself to the outline of your car. tight_squeezeThe obstacles in your garage or other parked cars can be your “partners”. If you are skilled in this training, your car will stay scratch free for many years. In addition, you will be an expert in parallel parking. Check your skill and see if you need more training or not. In automobile kumite, I am not proposing to bump your car against another or attack the other cars or drivers. In fact, it is better called “automobile taisabaki” as you keep the correct distance from all the cars around you. The first thing you must do is to stop being a tailgater if that is your habit. tailgatingI will discuss more in Menu #4 but having sufficient distance between you and the car in front of you is very important. It may be easier on a highway or a freeway but it will take much more practice and close attention in a busy city street but that is the best kumite situation for you. In a dojo kumite you typically have only one opponent. You are lucky if your sensei puts you in a multiple opponent kumite but I am sure you will not usually face more than 2 or 3 opponents. On the other hand, what you can train on here is the distance training with many opponents (cars) around you, not only the ones in front of you but also the ones beside you and even behind you. I will talk more about the rear side training in Syllabus #3 as it requires a different technique. We will focus on the cars in front and beside. You will have at least three separate distance training here. With the car or cars in front of you your training is to keep the same distance with it or them. If it or they slow down check how soon you will react to the difference in the distance. The driver in the car in front of you may not pump the brake to alert you. Your training is to detect the distance difference by visual observation. This visual check from a car that is running at even moderate speed of 30 or 40 miles per hour will help you with your eye judgment in real kumite. The training with the cars on your sides will require more than a distance practice so I will further explain this in Menu #2. Menu #2: Perceiving the other drivers’ intentionsParistraffic Your training with the cars on your side or sides is to develop your alertness for a car that may turn into yours by mistake or cut in front of you without warning. If this happens you need to be ready to either swerve away or put on the brakes to avoid an accident. This is almost a training of reading the mind of the drivers in other cars around you. If you have a mind set for this training then you can develop a skill to detect a movement by the other driver and you can almost read his mind if he is thinking of turning in or not. A lot of time your car may be in a blind spot of the other driver and this is a dangerous moment. If you are alert then you can avoid an accident. Certainly, you need to pay attention to the other cars that may get into the blind spots of your car. You must not depend on a rear view mirror when you change lanes or turn corners. You must turn your head and verify with your own eyes that it is clear to the side you are turning into. You must also be alert to the car in front of you. There are three cases; (1) a car or cars going the same direction, (2) coming towards you, (3) waiting at an intersection to cross the street. Let’s look at case (1), the same direction. You must always expect that the driver in front may have a sudden need to brake hard and stop. If you have a sufficient distance this action will not bring you into a scary situation but being ready all the time will give you a faster reaction and you will not need to brake hard yourself. This (not braking hard) will alleviate the possibility of getting hit by a car from the back. To avoid this type of accident it is better to have several separate pumps on the brake to let the other driver know that you are putting the brakes on. I will go further on the driver who is driving behind you but here again you must not assume that this driver is alert and is a safe distance away from you. Paying attention to the back is very important though you may not be the cause of the accident but who wants to be in an accident regardless of who is at fault. In the case of (2), coming towards you, you also need to pay full attention as this driver may decide to turn in and cross the street in front of you. It is amazing but sometimes the driver in that car does not see your car or he may misjudge the distance and timing. You need to be ready for any sudden moves by a car that is approaching you. Do not assume the driver in that car will see you or will make a safe and proper judgment. This can apply to case (3), a car that is either merging into your lane from another lane or a car that is waiting at a cross street or an intersection that may suddenly get into your lane or cross the street in front of you. The key point here is “Never underestimate your opponent or situation”. All these situations are taught at a driving school but we easily forget. Paying attention all of the time for all possibilities and be ready for them is the martial art mind. Driving a car is a perfect training opportunity to train and develop this attitude or mindset and after the training hopefully this will turn into an ability of being able to perform almost unconsciously. Menu #3: Watching your back practiceWatch-your-back Even though it will not be your fault when you are hit from behind but no one wants to have an accident so you must learn to keep the distance with the car that is behind you. If a car behind you likes to tail gate you the best option for you to change your lane. If there is no other lane then stop and let him pass you. This is common sense but not too many people follow this advice. What some people do is to step on the brake to scare the guy behind you. Sometimes it may work but other times it irritates or angers the other driver and may develop into a more dangerous situation. So, I strongly advise you not to use a braking action to your tail gating opponent. Cop-In-Rearview-MirrorThere is another exercise you want to do for your backside training. A rear view mirror becomes very important here. Of course, I am not referring to its use to put your lipstick on or to fix your hair. This is to watch out for a police car. Most of the time you get caught by a police officer that was trailing behind you. By training this ability you will have less chance of receiving a traffic ticket and your automobile insurance will not go sky high. Seriously, a karate expert must not receive any ticket not just by observing the rear view mirror but by observing all the traffic laws and keeping them. Menu #4: Controlling your emotion practicebut-you-didnt-have-to-cut-me-off-gotye-in-a-car This training is a part of automobile kumite. When a careless or impolite driver may cut right in front of you, do not honk or get upset. What you need to do is to let off your accelerator so you will slow down and allow more space between your car and his. As the driver in front of you is either careless or impolite he is not a safe driver. Pay more attention to this car and exercise Syllabus 2. When you are having a bad day this small incident may upset you. Of course you need to train your feelings so that you will not let the feelings dictate your reactions. In addition, you need to work on Syllabus 2 more so that a surprise move by a car next to you will not happen. If you can detect the feeling that this car is getting into your lane, you will let off the accelerator a little and make a space in front of you. There is another situation when you need to control your feelings. You either cut in by mistake or drive too safely (slowly) and get another driver angry. If you offended another driver by cutting in by mistake then the best thing to do is to signal your apology. Most of the time the other driver may be upset but he will forgive you if you wave your hand and apologize. However, there may be a driver who gets so upset and who needs to show his anger by retaliating. This person may want to pass you quickly and cut in front of you. If this happens the best thing to do is to go slower and let this person pass you. Keep the distance from this person and the best strategy is to ignore this unhappy driver. There are many unhappy or upset drivers who are looking around for an emotional outlet. You do not want to get caught by a person like this. There is no reason for you to be a target of this negative feeling and you should not let this person risk your safety as well as that of your loved ones. This is a very good training to keep yourself calm in a conflict situation. Interestingly a person becomes impolite or rude in a non-face-to-face situation like a car incident. This seems to be truer with a male. If you happen to meet him in a supermarket or in a library this person may offer to open the door for you or may say “After you” to let you go first. This non face to face situation in traffic encourages a person to be less polite or considerate. This situation is probably less common with a woman. Whether you are a man or a woman, avoid those impolite people and keep a good ma-ai from those people who are looking for a trouble. Menu #5: Driving with minimum brake action 142991_pollute_ALS_Now I will complete my article with the most challenging training syllabus for Jidosha Dojo. The idea is simple and clear but doing it correctly and safely can be very challenging. Driving with minimum braking action is fairly easy on a freeway where you have a little traffic. You can set your car on a cruise control and just drive. However, once you are in a town or a city and if you have to drive on a city street it will not be so easy. Why am I adding this as a syllabus? Is this something a retired person with a lot of time but not enough excitement wants? No, this syllabus will require a lot of mind work and discipline. One is distance perception involving the other cars, traffic lights and other traffic signs and obstacles. Another is time perception when to step on a brake and when to release it. You will also have to fight against your desire to speed up some times but you will need to make a judgment if that is required or advisable. In the end your driving will improve and your car will perform very smoothly. The passengers in your car will not feel any jerky and quick stopping movements. They will also feel very safe as your car just glides through the traffic like a flying carpet. It is true that some of the drivers behind you may not like the way or the speed you are driving. Your driving style may be different and unusual. They may honk or yell at you. I advise that you will let them pass you quickly so you can keep you smiling. There are, of course, other syllabuses you can incorporate in Jidosha Dojo training such as breathing, stretching, reaction, etc. But if you get good at these five exercises I listed here your car performance will change and you will drive differently. It will A-Happy-Drivercertainly be much safer. You will most likely avoid receiving any traffic tickets. You will have much less chance of getting involved in a car accident. Initially you may find it challenging but once you get used to it or when you master the art, you will enjoy your driving much much more. In addition, you will realize that the Jidosha Dojo training will help you with your karate in both physical and mental aspects. One thing I can confidently say is that what I am proposing here will increase the safety of your driving experience even if it does not help you with your karate. Another thing I want to add is a controversial statement. If you claim that you are a karate or martial art expert then you must be able to prove this by your driving history. A diploma that may show a high rank is not good enough for a true qualification. One qualification a karate expert must produce is a clean traffic history and record since the time he began to call himself a karate expert. I consider what I am stating here is very fair. However, I wonder how many karate experts can share their driving history to satisfy this qualification. Whether you wish to try out my training ideas or not, Jidosha Dojo, is your choice and I do not expect all the readers will do it. But think of your life without any accidents and traffic tickets. Isn’t it worth giving it a try even for a short period of time and see if it will make any difference?

What part of your foot do you use when you turn?

In the past I have received questions from many people, in essence asking something like this; “When we turn, what part of our foot should we use as a pivoting point?” They specifically asked if they should turn on the ball or on the heel of the foot when they make a body rotation. We all know it is very important for all karate practitioners to be able to turn quickly and smoothly. In fact, I consider this an independent technique. Today I will attempt to provide a short essay to describe my understanding of this technique. I would like to hear back from the readers whether they agree or disagree or don’t care.

Now before we talk about turning, we need to pay attention to and understand two important concepts; “center of mass” and “center of gravity”. They are different but for our discussion they are interchangeable. I will quote some parts from Wikipedia to explain the definitions of the center of mass and the center of gravity.

In physics, the center of mass, of a distribution of mass in space is the unique point where the weighted relative position of the distributed mass sums to zero. The distribution of mass is balanced around the center of mass and the average of the weighted position coordinates of the distributed mass defines its coordinates.

balance

Calculations in mechanics are simplified when formulated with respect to the center of mass. In the case of a single rigid body, the center of mass is fixed in relation to the body, and if the body has uniform density, it will be located at the centroid. The center of mass may be located outside the physical body, as is sometimes the case for hollow or open-shaped objects, such as a horseshoe.

A center of gravity (Wikipedia again):

In physics, a center of gravity of a material body is a point that may be used for a summary description of gravitational interactions. In a uniform gravitational field, the center of massserves as the center of gravity. This is a very good approximation for smaller bodies near the surface of Earth, so there is no practical need to distinguish “center of gravity” from “center of mass” in most applications, such as engineering and medicine. centre-of-gravity.1 So I have a choice for the term and I will use the center of gravity in my discussion. To shift the body even to take a simple step, you need to shift the center of gravity. Believe it or not, you cannot simply stand up from a chair if your head is prevented from shifting forward. Try the following experiment; have your friend sit up straight in a chair and you place the tip of your index finger on his forehead and prevent him from leaning forward. Challenge him to stand up and see if he can. You will find that it is impossible for him to stand up normally until you let go of his forehead.

First of all, do you know exactly how your foot is constructed? If you don’t know how your racing car is constructed you will never be a world class race car driver. The principle is the same with our body though our body construction is much more complex and precise than a racing car or even the most advanced jet fighter. Here is an illustration of our foot. You probably had some idea that the bone structure of your foot looked like this. However, I suspect you have not paid close attention to the finer details of the bones that make up this precise mechanism called the foot. The human foot and ankle is a complex mechanical structure containing 26 bones, 33 joints, 19 muscles and tendons, and 107 ligaments.

Bones-of-the-foot

The precise numbers are not important. What is important is the you realize that your foot is made of a very complex construction. The muscles and the ligaments are around these bones so that you can make numerous precise movements with your foot. One of those precise movements is walking. It is not possible to do a simple walk without the harmonious workings of the muscles, tendons and ligaments of our feet. I am always so impressed and truly thankful whenever I study the mechanism of our body. Don’t you agree that it is really a work of a genius and that our body, indeed, is a master piece?

 Believe it or not the first human like robot that could walk like us became possible only in the year 2000. A robot called ASIMO (Advanced Step in Innovative Mobility, photo right) was designed by Honda and introduced in October 2000. I wanted to mention this because the precise mechanism of bi-pedal walking is unique. Bi-pedalwalking (and leaving the front legs or hands free) was necessary for the Homo sapiens to set themselves apart from the other primates. Bi-pedal walking can be easily perceived as a simple body movement but it is incredibly complex and difficult to be imitated by a machine. I have covered this topic in one of my books so I will not repeat it in this article. The point I want to emphasize is that we must never think light of the abilities of our body that were given to us.

  Dance-turn Back to the original question…What part of our foot do we use when we turn? My answer is that there are basically three different ways to turn and the part you will use will depend on the situation. One situation is a turn in position or an in place bodily rotation (photo left). In this case you will line up the center of gravity through one leg (pivoting leg), hips, torso, and shoulder area and all the way up to the center of your head. If you can line up all these parts as straight as possible then your turn can be smooth and fast. This turn is often used in dancing, figure skating and gymnastics to name a few. A body rotation technique can be found in various karate katas such as; Kanku dai, Gankaku, Junro Yondan, etc to name a few. If you are familiar with these katas you will know which parts of the kata require the rotation. In these cases, you need to use the part that is directly below your shin bones. Again take a look at the illustration of a foot (below).

You may have a misconception that the lower legs were made up of only one bone. Actually, there are two bones; the tibia and fibula. There are two so that you can rotate and move your foot just the same as we have two bones in our forearm to move and rotate our hand.

Foot-bones

As shown in the illustration they are not positioned in the center of your foot. The ankle is the point where these bones are connected and we now know the ankle is located nearer to the heel than to the toes. We also notice that there is an arch and that the foot is concaved inward in the midsection of the foot. This means there is no protruding point directly under the ankle to turn on. This makes it extremely difficult to turn at the best point, directly underneath the ankle. So most dancers use the heel part or the contact point of the bone called calcaneus. However, it is difficult to keep the balance if the rotation is complex or multiple, so as an alternative they can use the ball of the foot, the area underneath the third joints of the toes. Turning on the ball of the foot requires much more precision but we have the tools (joints and muscles) to control the turn and balance with the front part of the foot. The area of the ball of foot is rather large (illustration below).

the-ball-of-the-foo

The senior professional dancers would use only one spot (the best spot will be under the middle toe though some may choose under the big toe because it is usually the strongest toe) but the inexperienced dancers may float the spinning point across the foot which results a slower and a poorly balanced turn.

 For an in-place rotation, the area underneath the ankle is themost recommended spot as it gives the best balance for the simple rotations that are found in most of the kata. However, we have discussed and pointed out that this method is the most challenging and most difficult one to use. I propose to the readers as the best alternative is to use the heel. I recommend the readers should try to bring the turning point as close to the spot directly under the ankle.

Sorry to have started with the most challenging technique. There are two other turning methods that are easier and you are probably already doing them. To turn as you are moving forward (for instance the left gedan barai move after the first ki-ai in Heian Shodan), you will want to use the ball of the foot. As I have mentioned earlier the center of the foot (third joint) is the best specific pivoting part in the foot. In a standard Shotokan dojo I suspect that you were taught to keep our body up right when you shift your body. As you advanced in your training, you might have found that it is better to lean your upper body slightly to the direction of your turn. By doing this you found that you can move faster and smoother. The first move of Bassai dai may be an excellent example. Even though an excessive amount of incline would be counterproductive, you want to incline slightly towards the turning side. Let’s take an example of the move I mentioned above in Heian Shodan after the first ki-ai. You want to incline slightly to the right as you turn from the right zenkutsu to left zenkutsu gedan barai. In this turning you may use a different part of your foot. It is still the ball of the foot area but maybe closer to or at the edge of the right foot. This requirement is the same with any other physical activities such as football.

Football-turn

See the player in the photo. He is inclining to his right as he makes a quick right turn. If you can expand the right foot area of the photo you can see that the runner is turning on the ball of the right foot and at the little toe side of his foot. Football has much more complex running and foot movement requirements in its play than in the karate kata. Thus, we cannot adopt the steep incline they use but the concept or objective of quick and smooth turn is the same. This will require a fine aligning of your foot to the leg bones. You may ask why.

Leg-bones

Take a look at the illustration of the leg bones. Just to line up the leg you have to pay attention first to the hip joint, then the knee joint and the ankle in addition to the numerous other small joints in your foot. This is only in your leg. For the entire body, you have the joints of many other parts of your body but for our discussion let’s focus on the leg area alone. What is the key for a good turn? Simply put, the fewer joints you use in your body alignment the easier you can keep the balance and turn smoothly. It does not take a rocket scientist to understand this logic. Let’s look at a top which you must have played with when you were a child. It can demonstrate a beautiful spin or rotation. As you know the axis is straight and short. But imagine if the axis was long and made of several pieces that were not lined up straight. How about if those pieces are not firmly connected? Can such a top spin?

独楽

That is almost how our body is constructed. Now you know why it is difficult for us to spin. Look at the illustration of the foot again and you can see that the bone structure of the heel area is much simpler. The front area that covers the toes is much more complex. This is natural as we normally walk forward and less frequently backward. Then, can we do a turn moving forward using the heel part of our foot? Yes, it is possible so you can. You may feel more stable by turning on the heel, however, turning on the ball of the foot will give you a much faster turn.

Then what is the third method? You can easily guess that it is a turn as you move backward. Remember the third move of Heian Shodan? After the second move (right chudan oizuki) you will step back with your right leg and turn 180 degrees to make right zenkutsu with right gedan barai. What part of your foot do you think that you will use to do this turn? Yes, this was an easy question. Most of you probably said “heel”. As you step back it is natural and easy to shift the center of gravity to the heel. One word of caution on a heel use. The heel area (calcaneus) is a simple bone structure and it is a blessing in one way. At the same time, it can make your turn more challenging. The heel area is simple without the joints and ligaments. This means you are unable to do the fine tuning that can be done with the ball of the foot area. To master the heel area turning, you will need to do a lot of practicing and learn how to be stable and well balanced during the turn.

 To be able to execute the most effective body turns in your karate, you need to be able to manage all three different turning methods.

Asai-demo-jump

A turn may look simple but the mechanism to deliver the most effective turn certainly is not. A good turn is important in all athletic games. So I’m sure you’ll agree that it is also extremely important in karate if you happen to be serious with perfecting your techniques. Shotokan is labeled as a linear or straight movement martial art. If you look at our kihon it may look linear but when you observe the expert Shotokan practitioners perform we all witness our karate is filled with circular techniques and body movements. Asai ryu karate is a great example of this as it adopts many tenshin (body rotation) techniques.

Did I give you too much information? Maybe so, but it will make more sense to you as you read this article several times. You may think this information was written only for the advanced practitioners or the instructors. Even though I want the instructors to read the information written here, I was also thinking of the beginner and the intermediate level practitioners. It is better for the beginners to learn the techniques correctly at the early stage of their training. As you known once you form a habit it will be very difficult to change or correct later. The ability to turn correctly is much more important than most practitioners give a credit for. When you play basketball, football or tennis, isn’t a superior turning ability important and necessary? If so, then why not in karate? To improve your karate you know that you need to practice all three K elements of karate; kihon, kata and kumite. Regardless of which K element you may be practicing, one of the key requirements for your improvement is that you master the techniques of perfect turning. Good training.

by Shihan Yokota More information about Karate (Shotokan, Shito Ryu, Wado Ryu and Goju Ryu) – visit the most comprehensive Karate website in the world and join the movement:KarateCoaching.com  

Shotokan Myth #4 Returning to the starting point in Kata

Must we really return to the starting point in our kata?

When we do kata is it really mandatory that we come back to the exact spot where we started?  I can almost hear your reply; “Yes. Nakayama sensei said so in Best Karate.“  You are absolutely correct.  He listed 6 important points for kata in that famous book: 1. Correct Order 2. Beginning and End 3. Meaning of each movement 4. Awareness of target 5. Rhythm and timing 6. Proper breathing For item 2 above, he clearly stated that “Kata must begin and end at the same spot on the embusen.  This requires practice.” If you are in a tournament this is absolutely a requirement, isn‘t it?  If you are off by, say, one meter, I am sure those careful judges will take some points off of your performance. Have you ever wondered why there is such a requirement?  Nakayama sensei did not explain why in his book.  Maybe it is such a natural thing and you may think I am wasting my time asking this.  But, I have wondered about this and foolishly investigated why for many years.  I was curious to know if the creators of kata (Itosu for Heian kata for an example) really designed all kata in such a way a performer will always return to the starting point.  After much investigation and direct questioning I concluded that this was not the case.  Someone changed the rule and created this new requirement of coming back to the exact starting point.  I wanted to find who was behind this and for what reasons.  This is a mystery and I wish to share my findings and my theory on this mystery with you today. If you are a Nidan and above, you must have learned Chinte and this kata could be your tournament kata, especially if you are a female practitioner.  We know this is a very unique kata (Chinte literally means “unique or strange hand”,) but do you realize it also has a very unique (strange) ending (three hops backward)?  I have researched for many years and asked many sensei about these ending steps.  For the longest time, no one could give me a believable bunkai for these “unique” moves with the feet in heisoku dachi and hands clasped together.  It had been a big mystery to me, as I could not figure out the meaning of these strange hops. The following is what I have found in the process of investigation.  One Japanese sensei, whose name I cannot reveal, told me it was for balance training.  Yes, it is indeed difficult to keep the balance with your feet and hands put together.  But if you think it through, it just does not make any sense as you wonder why they were put at the end of the kata.  After the final delivery of a kime technique (right gyaku zuki to chudan with ki-ai), we can expect a zanshin move as seen with the last step in Enpi.  However, why would anyone put three backward hopping steps that are not stable as a zanshin move?  Even if you buy this idea of having this balancing move there, why hop with two feet together?  Hopping with only one foot is more of a martial art move (like a tsuru ashi dachi in gankaku.)  No matter how much I considered the possibility, I cannot buy into this theory. (read more...)   Shihan Yokota has published numerous articles and books:

Winners of the All Japan Karate Championship KATA PT. V

Years 1998 to 2004 MALE/FEMALE KATA Division
Year # DIVISION 1st 2nd 3rd
1998 41ST MEN / WOMEN HASHIGUCHI YUJI / FUJIWARA MIYOKO IZUMIYA SEIZO / GUNJI MIYO TANIYAMA TAKUYA / NAKATA TERUMI
1999 42ND MEN / WOMEN TANIYAMA TAKUYA / FUJIWARA MIYOKO IZUMIYA SEIZO / OSHIMA HITOMI TAKAHASHI SATOSHI / NAKATA TERUMI
2000 43RD MEN / WOMEN TANIYAMA TAKUYA / NAKATA TERUMI IZUMIYA SEIZO / GUNJI MIYO SHIINA KATSUTOSHI / OSHIMA HITOMI
2001 44TH MEN / WOMEN SHIINA KATSUTOSHI / NAKATA TERUMI TANIYAMA TAKUYA / HIRAYAMA YUKO TAKAHASHI SATOSHI / AZUMA CHIHARU
2002 45TH MEN / WOMEN TANIYAMA TAKUYA / NAKATA TERUMI SHIINA KATSUTOSHI / HIRAYAMA YUKO KOBAYASHI KUNIO / OSHIMA HITOMI
2003 46TH MEN / WOMEN TANIYAMA TAKUYA / NAKATA TERUMI KOBAYASHI KUNIO / OSHIMA KAORU UBUKATA KOJI / ARAGAKI MISAKO
2004 47TH MEN / WOMEN SHIINA KATSUTOSHI / NAKATA TERUMI KOBAYASHI KUNIO / ARAGAKI MISAKO TANIYAMA TAKUYA / HIRAYAMA YUKO

Shotokan Myth #2 Hangetsu – A missing link to Naha-te Karate

In the #47 issue (May ’96) of Shotokan Karate Magazine, late Steve Cattle wrote an article on this kata, Hangetsu. It was a needed and educational article. The title was “Hangetsu the neglected kata” where he pointed out that this kata was most unpopular.  He claimed, “I feel it is a very neglected kata, generally because of the difficulty in performing the turns, the stance and its lack of beauty”.  He concluded that the biggest reason why this kata is unpopular to the difficulty of turns and its stance, Hangetsu dachi.  “The difficulty is in the turn, which is why I think it is neglected in competition as well as the actual stance difficulty”.   I agree with most of his claims but I am afraid he has missed some key points.  If you investigate the origin of this kata, you will discover the hidden history and the deep mysteries behind this unique kata. Even though Shuri-te and Naha-te do not share the same kata, Hangetsu (Seisan/Seishan) is one exception.  This kata is found in almost all styles including Wado, Shito, Goju, Uechi, Shorin, Ryuei, etc.  I will attempt to put the facts together and make necessary comparisons to come up with the answers to many questions.  By sharing those findings, I hope the readers will come to a new appreciation and understanding when he/she performs this unique and valuable kata. There is another article that is definitely worth reading is found in the issue #49 (Nov ‘96). The title is “Inside Tension Stances” and the sub title, “Sanchin-dachi, Neko-ashi-dachi, Hangetsu-dachi” by John Cheetham, the chief editor of this magazine. It is a 3 page article explaining whata those inside tension stances are and how they are constructed. It touches the subject that is not frequently touched and I recommend all Shotokan practitioners to read it if they have not. Unfortunately, the detailed information of Hangetsu dachi and it s very uniqueness were not mentioned or described in this article. However, I can not blame the author at all. He probably has a set of all karate textbooks such as Dynamic Karate, Karate-do Kyohan and Best Karate, but he can find only the steps of Hangetsu kata and not much else. In fact, we can find very little information on how to do this kata properly or on the details of Hangetsu dachi. The author wrote, “ – hangetsu dachi is described in most books and by most instructors as a longer version of sanchin dachi with all the same points as sanchin.” That is how it skips the detailed description of Hangetsu dachi.  I will attempt to bring out the hidden facts from the history and the comparison of this kata with the other Ryuha (styles) to fill the gap in this article. (read more...)     Shihan Yokota has published numerous articles and books:

Winners of the All Japan Karate Championship KATA PT. IV

Years 1988 to 1997 MALE/FEMALE KATA Division
Year # DIVISION 1st 2nd 3rd
1988 31ST MEN / WOMEN HASHIGUCHI YUJI / MIMURA YUKI IMURA TAKENORI / NAKAMURA YOKO KAGAWA MASAO / KONO KEIKO
1989 32ND MEN / WOMEN AIHARA TOMOYUKI / MIMURA YUKI HASHIGUCHI YUJI / NAKAMURA YOKO KAGAWA MASAO / KONO KEIKO
1990 33RD MEN / WOMEN AIHARA TOMOYUKI / MIMURA YUKI HASHIGUCHI YUJI / NAKAMURA YOKO IMURA TAKENORI / AKIYAMA MIWA
1991 34TH MEN / WOMEN AIHARA TOMOYUKI / MIMURA YUKI IMURA TAKENORI NAKAMURA YOKO HASHIGUCHI YUJI / GUNJI MIYO
1992 35TH MEN / WOMEN IMURA TAKENORI / NAKAMURA YOKO HASHIGUCHI YUJI / KONO KEIKO AIHARA TOMOYUKI / GUNJI MIYO
1993 36TH MEN / WOMEN IMURA TAKENORI / NAKAMURA YOKO AIHARA TOMOYUKI / GUNJI MIYO HASHIGUCHI YUJI / AKIYAMA MIWA
1994 37TH MEN / WOMEN IMURA TAKENORI / NAKAMURA YOKO HASHIGUCHI YUJI / GUNJI MIYO AIHARA TOMOYUKI / OSHIMA KAORU
1995 38TH MEN / WOMEN IMURA TAKENORI / NAKAMURA YOKO HASHIGUCHI YUJI / GUNJI MIYO AIHARA TOMOYUKI / NAKATA TERUMI
1996 39TH MEN / WOMEN IMURA TAKENORI / NAKAMURA YOKO HASHIGUCHI YUJI / GUNJI MIYO AIHARA TOMOYUKI / NAKATA TERUMI
1997 40TH MEN / WOMEN IZUMIYA SEIZO / GUNJI MIYO HASHIGUCHI YUJI / NAKATA TERUMI TERASHIMA HISASHI / OSHIMA HITOMI

Tekki Keypoint 2

I do not have much time today so I will put down the summary of the point here. There are two good reasons why Tekki is based only on Kibadachi and the body movement is sideways. The first one is obvious and everyone knows. Kiba dachi is an excellent stance to train your stance and strengthen your legs. The second one has been a mystery: why only moving sideways? I have heard a few ideas. One was that this kata was created to fight with the wall behind you. Another was to learn the fighting method in a narrow corridor. I will talk about bunkai in Key point #3 so I will not go into this.Let me present my understanding from this unique kata. I have already mentioned about the body shifting in my previous post. Okinawan masters wanted the beginners (this was the very first kata before Heian was invented in late 19th century) to learn how to body shift sideways before they learned how to body shift forward. Why sideways first? It is because it is physically easier to body shift that direction. I know many people do not agree with this as you feel more comfortable moving forward and moving sideways feels un-natural. But please experiment. Stand up in heisoku dachi and lean forward. You have the leg muscles to prevent the falling. Then try to lean sideways, it is a lot harder to prevent falling sideways. Believe it or not, ninja of medieval Japan found this running method useful. Regardless, by "falling" to the side one learned how to body shift quickly. Once it is learned, the students went on to Bassai Dai that has the forward body falling in its first move. I must say this old time curriculum of learning the fast body shifting is amazing.In fact there is another reason for kiba dachi which is not too emphasized in the most dojo. Kiba dachi is classified as one of the outside tension stance. However, by moving sideways one learns how to tense the inner muscles of upper legs. This again helps in fast body shifting.I will cover the key point of bunkai in #3, hopefully tomorrow.
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Tekki Keypoint 1

Kamae of Tekki Shodan is heisoku dachi. Interestingly the next kata you learn, Bassai Dai's kamae is also heisoku dachi. In Tekki you learn to body shift side ways while in Bassai you learn to go forward. I see the wisdom and I am truly impressed with the deep understanding by the Okinawan master who developed the kata syllabus. The students learn to shift side ways first because that is easier to show how to shift the body weight between left and right feet. In other words, at kamae of heisoku dachi, your body weight is put evenly between left and right feet. With the first move, you cross your legs (kosa dachi). What happens here is that your weight on your left leg becomes zero as you lift it to step over and the weight distribution on the right foot becomes 100%. Of course, at kosa dachi there will be a small weight distribution (maybe 10% or so) but at the next instance it will receive 100% as your right foot is lifted up high for fumikomi. Then you will end in kiba dachi (back to 50/50). This change of weight distribution from 50/50 to 0/100 (or 10/90) and to 100/0 and finally to 50/50 is the biggest learning lesson in Tekki. Every time you step aside and go to a next kiba dachi through kosa dachi, you learn how to body shift quickly and strongly. Once you learn how to move sideways then the Okinawa masters believed the students can start learning how to body shift forward. I agree with them totally. The value of this technique has been lost, as far as I can see in Shotokan, and it is not taught that way any more. Thus, many students miss learning this key point. They mistakenly believe Tekki is a strange and unimportant kata you go through before you become a brown belt so you can tackle more important kata like Bassai. It is a big shame and I wish many people study this kata again and find the true value of this amazing kata.   264708_10200189382479879_1041679257_n

Natomas Karate Instructor Places 3rd In Philippines Competition

    From SACRAMENTO (CBS13) – A Sacramento martial arts instructor is making international headlines and she and her team placed third in an event held in the Philippines. They call her “Sensei Christina” at Tokon Martial Arts in Natomas and Christina Hinschberger’s recent accomplishment is a childhood dream come true. She and her team placed third in a worldwide karate kata competition where teams perfect a series of synchronized techniques designed for multiple attackers. “Just to be able to compete with other countries and know that we placed in the top three, it means a lot to me,” she said. Even when her long journey took a detour – she found out she was pregnant in the middle of her training – she never let up. “I was on the dojo mats six days a week up until I was 37 weeks, and at 37 weeks I trained in the swimming pool,” she said. Her pursuit for perfection paid off. It means a lot to parents at her Natomas studio too, knowing their children are learning from one of the best. Strong, yet gentle, sensei Christina never stops guiding children. A third grade teacher by day, by night she continues to mold and maneuver. We wondered if there’s anything this sensei with feet fast as lightning couldn’t handle? “I’d like to think not,” she said with a laugh.