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April 15, 2013

Shotokan Myth #6 Makiwara Training

Makiwara is a true tradition of karate and its training is a must for all karate-ka.

The makiwara has been a fixture in karate dojos since its introduction to mainland Japan in the early 20th century. We have seen pictures of Funakoshi sensei punching one with his geta (wooden clogs) on. I have even heard that some of the modern day sensei would carry portable makiwara in their suitcases with them when they travel.

The makiwara had been an important training tool in my karate life as well. Let me explain how I got introduced to this traditional equipment in my first days of karate training. At the first dojo I joined in the early 60’s (Kobe Shotokan Karate Club), I remember there were several makiwara posts, some were wrapped with straw ropes and some with softer pads. I also remember that those pads were no longer white or have their original colors, whatever they were. The pads I saw were reddish black, covered in dried blood. It was obvious that my senpai punched these posts over and over again even when their fists were bleeding. My senpai, Kato-san once said, “Now look. My fist is so strong I can punch like this.” He punched straight into a wooden 4 x 4 beam of the dojo. Bang! Bang! The beam shook but he felt no pain. (At least he did not show it.) Wow! I was very impressed. If he could punch that beam like that, he could easily kill me. Honestly, it really made me scared of this senpai and he won unconditional respect from me. So as soon as I was allowed to punch a makiwara I started the tradition with full might. My dohai (student who started at the same time) Nakai and I punched the makiwara hundreds of times every day. In a year Nakai had developed some very respectable calluses but I couldn’t. I was frustrated and thought I was not punching hard enough. No matter how hard I punched the makiwara, the calluses on my fists did not get larger. ( Later, I realized that this was due to my skin’s very rubbery and soft characteristics. Actually, these characteristics are very good for they also allow me to be flexible as well. ) Despite not developing any respectable calluses, I kept the makiwara habit for more than 15 years. I must admit that the resonating sound made by hitting a makiwara in a dojo was euphoric, especially when the rhythm is so close to that of my own heartbeat.

I wondered if makiwara training is a true tradition and whether it was handed down for many centuries.We knew that the makiwara came from Okinawa but we have little documentation to support its history. I discovered, to my surprise, that this tradition is only 100 years old since its invention. It is believed that Matsumura Sokon (1809 – 1899) initially invented the makiwara and Itosu Anko (Master Funakoshi’s sensei, 1830 -1915) popularized it in the early 1900’s. Matusmura sensei took kenjutsu called Jigenryu of Satsuma. Jigenryu is a very unique style and their main practice is (read more...)

Shihan Yokota has published numerous articles and books:

April 8, 2013

Shotokan Myth # 5 Kime

Kime – Trademark of Shotokan karate

 

The readers will agree that perfect kime is what we dream of when we do the oi zuki or gyaku zuki. Bang boom! Look at Enoeda sensei’s tsuki (photo on below)  Yes, this is Shotokan.

Indeed, the powerful punches and kicks are trademarks of Shotokan karate.   When you look at Shitoryu kata, their performances look smooth and fluid but their techniques look “weak.”  The Gojuryu kata have a lot of neko ashi dachi and sanchin dachi, and although their arm movements are circular, these movements, just like their stances, look short and do not have enough kime. (Note: I want to emphasize that I am in no way trying to bash any styles at all.  I am simply comparing the general impressions of shotokan and other styles.)  If the impressions above coincide with yours, then you want to ask, “OK, so what?”  Hold your breath, here is a shocking statement: Kime (more precisely, encouraging it) is probably the most harmful action for most Shotokan practitioners while training, particularly for beginners. I am aware of the graveness and controversial nature of my statement.  However, I am convinced that all instructors and serious practitioners must be aware of and understand well this prevalent problem in Shotokan training.  Despite the risk of being misunderstood, I dare to write this article as I believe this knowledge must be expressed publicly.  So, please read on to catch the true essence of my statement.

I want to emphatically state that I am NOT identifying kime itself or having a correct kime in your techniques as a problem.  If you are capable of producing a good and correct kime and you feel your overall movements are fluid, then this may not be an issue.  What I wish to convey is that the overly tensed body that kime creates is the problem. (read more...)

Shihan Yokota has published numerous articles and books:

April 1, 2013

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:

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