Makiwara Training
In this video Shihan Yokota is sharing some ideas on how to train on the Makiwara.
More Makiwara information and videos can be found in the members section.
KarateCoaching presents Learning Kata Jion. Performers are Shihan Yokota and Christina Hinschberger. See the full Kata and more information in the member section.
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:
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:
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:
Are you practicing karate as Bujutsu or Budo? Do you care? I hope you do. I believe it does matter and we must ask this question to all karate practitioners and instructors. Unfortunately, many of them do not care. Even if they do, they either fail to understand the differences or they are too lazy to research about these concepts.
Let’s look at the popular reasons for the people to pick up karate and practice:
• Self defense
• Health/physical conditioning
• Stress reduction/mental wellness
• Competition/tournaments
All these reasons are good and respectable ones. We must not pass the judgment on any of the reasons and to regard any of them is better than the others. Though I am glad to see the people practicing karate for whatever the reasons, I have a strong concern with the current trend of tremendous amount of participation in the tournament activities, especially by the children and the youths. In fact too much emphasis is put on winning. The participants are told to do whatever necessary to win the matches. The things they are encouraged to do are to use only the certain techniques that are easier to score, to bend the rules, to do illegal things (by hiding them from the judges), to change kata moves to look “fancy”, etc. Their ultimate goal is to win without paying much attention to anything else and that is the essence of Bujutsu, martial arts. The 16th century Japan was in a war period and they cared only the best swordsmanship in order to survive in a battle.
Well then, what is different between Bujutsu and Budo? I believe a half of the problem comes from many of us not having clear understanding of the differences between the two terms and concepts. Most of us consider them as same or believe that they are inter-changeable. This is the gravest misconception and it is where the serious problem begins. (read more...)
Shihan Yokota has published numerous articles and books:
When we think of Ki-ai what do you think? If you are an old guy or a gal like me you remember that funny sound Bruce Lee made. An amusing story from the past involves the men’s after shave called Hai Karate. If you remember this then you must be at least 50 years old. This product was advertised on TV in the 60’s and possibly in the 70’s. Here is what the announcer said:
ANNOUNCER: “Hai Karate aftershave is so powerful; it drives women right out of their minds. That’s why we have to put instructions on self-defense in every package. Hai Karate, the brisk splash-on aftershave that smoothes, sooths, and cools. Hai Karate, aftershave, cologne, and gift sets. Hai Karate, be careful how you use it.”
Then there is a skit with a guy who has to fight off the girls who would try to grab him after using this aftershave. Some of my friends must have believed that I needed this because for several years, each Christmas I would receive numerous bottles. I really appreciated their genuine interest to help me out but I had to toss most of them because I could not use them up if I had lived to 100 years old. Besides I did not like the smell. I knew the aftershave would surely drive the girls wild or rather; it would have surely driven them away.
I also have a very memorable incident with ki-ai which I would like to share. I started karate 46 years ago (1963) in Kobe Japan. Thanks to the following experience in my very first class I still clearly remember that wonderful day. I can vividly picture this senpai, Tanaka (not the famous JKA sensei) in front of me. He stood a little over 5 foot but he was a towering figure to us. He slowly stepped up to the new students (me included of course). We were brand new, excited and were dying to learn those deadly techniques. He said very nicely, “You boys (no girls dared to join as it was thought to be too rough, but that was exactly the reason why I joined) have to learn how to say Osu.” As the readers know, Osu is a very convenient word in Japanese that can be used for meaning “yes”, “no”, “maybe”, “I will try”, “right”, “sure‘ or whatever. It could mean almost anything and, we were always happy to use it as we could sound like a tough karate guy. So, we all said “OSU”! The senpai then said “What? I can’t hear you!” So we repeated with a louder voice but that still did not please him. He then said “you guys just don’t have spirit”. “You are going to learn how to Ki-ai today and you will learn to show your spirit.” Then, he gave a real LOUD Ki-ai which pierced through our bodies and sent shivers down our spines. Then he smiled and said “OK boys you will Ki-ai without stopping until I return.” We thought he would return in a few minutes but he did not come back until the end of the class, 2 hours later. We were yelling “Ya” or “Tou” or whatever the Ki-ai we thought cool (we didn’t know Bruce Lee yet). The senpai’s word was the command (plus he was looking at us from the other side of the dojo) so none of us would stop. After 30 minutes or so we started to cough and lose our voice. At the end we could hardly make any sound at all. We left the dojo very quietly that day. Incidentally, all the brand new students except one did not come back after the first day. That was his way to separate the normal people from the crazy one (me). My voice was gone for several days but I showed up at training the very next day. I could only whisper on the following day and my mother did not seem to mind as the house was quiet for a change. Thankfully the senpai did not ask me to Ki-ai on the second day but my training did not get any easier either. He now told me to stay in Kiba dachi for 2 hours. He kept on saying, “Lower! “. When my legs gave out and I fell down, I guess I was too “low” so he said “Get up”. It went on like that (very simple exercise but very looooong) and I am sure you can guess how the rest of the Japanese way of training or breaking in the new student went on. I am still not sure if that senpai really knew what he was doing or if he was simply too lazy to figure out a more sophisticated training.
OK, you’ve heard enough funny stories about Ki-ai. Now more serious stuff… There are many articles on Ki-ai and most of the authors stressed the importance of doing Ki-ai and how to do it. Some explained the meaning of Ki-ai and the others showed the relationship to breathing. If that is the case, then you will ask why I am writing this used up and uncontroversial subject. Well I am one of those people who do not like to take things for granted. So today I want to take up the challenge and ask “Is ki-ai really important?” and “Is ki-ai necessary in karate training?” You might say, “You must be crazy to challenge these things.” Maybe the readers are correct and I may fumble nicely with this subject. But I think it is a good exercise to investigate instead of just believing something because many instructors and the “experts” say it is so. (read more...)
Shihan Yokota has published numerous articles and books:
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 |
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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: