Avi Rokah's karate

More stance: how deep and wide and why?

2012-01-19T18:23:00.000-08:00

In karate the main objective is Todome (finishing blow technique), to achieve Todome means that the whole body has to cooperate to one line of energy and deliver the total energy in the shortest instant. The use of external force is crucial since without external force the body center of mass cannot increase energy.

Therefore, stance is most fundamental to karate technique, it allows us to maximize ground reaction force, and optimal interaction between momentum, gravity and ground reaction forces.

A stance should be functional and allow us to maximize ground reaction, unfortunately, because of competition, many participants tend to focus on esthetics rather than function.

Other reason for those stances is that a lot of our training is against the air without feedback and one can feel strong even when it is not.

Training against air is beneficial but we must also have feedback to confirm that we are effective and not just looking good.

Below are some guidelines to proper stance:

In a good basic stance the center of gravity should be as low and the stance as wide as possible in the following conditions:

You can keep the sacrum vertical to floor, which means keeping the posture, pelvis alignment and connection between legs and body center. If connection between legs and body center is lost, and energy cannot transfer from legs to torso, the stance loses its purpose.
The stance is as deep and wide as possible without losing the range of motion of body dynamics. The stance should support hips action and not limit it.
Stance as wide and deep without lost of elasticity, and connection between the legs, the inner thighs should be drawing to each other.
If interaction between the legs is lost, energy cannot be transferred from legs to torso and potential energy is lost.

Why should we practice in deepest stance?

In the basics we practice through biggest range of motion for the following reasons:

Conditioning the body through the full range (likewise you will do squats in the gym to the full range, you wouldn’t do baby squats, you want to strengthen muscles and keep their function to full range).
Easy to teach the nervous system proper patterns and coordination through big action.
The big include the small but not vice versa, which means that if we can coordinate, connect the kinetic chain and produce force in big action, we eventually will be able to do so in any range within that big range, but if we practice small movement, our nervous system will not know how to coordinate in bigger ranges.
Train the body to be resilient to injuries, most injuries in sports happen at end ranges and not mid ranges.

P.S in some Chinese martial arts they practice for years in small ranges (Different view).

More stance considerations

2012-01-07T18:09:00.000-08:00

Distinguish between weight and pressure:

In all stances (except one leg stance) the weight is in the center, and the pressure is to one leg or another, (not as some books say that 70% of the weight is on one leg and 30% the other) depending on the stance and technique direction.

This allows for interaction between both legs and the body center, to create potential energy or for kime.

In front stance the pressure (generally) is toward the front foot, using the breath to create pressure from back foot through body center toward front foot.

In back stance use the breath to create pressure from front foot through body center to back foot.

Stance form is meaningless without the right interaction of both feet, body center and breath.

Take back stance for example, the form, position of back stance is useless unless there is interaction between both legs, and the front foot make pressure to back leg, to create coiled spring in the stance.

Pressure is applied differently depending on necessity.

This pressure is applied differently at the moment of kime than when moving around with opponent. In case of kime it is maximum pressure and in the kamae it is soft pressure to keep potential energy.

Either foot can receive pressure at any moment so one can move at any instant to any necessary direction.

Wheel of energy.

The stronger the pressure applied to front foot in front stance, the stronger the reaction to back leg and more potential energy.

The same is true to back stance or any stance.

This principle is true at the moment of kime or in Kamae stance when moving with opponent.

So at each kime there isreaction to back leg which means there is potential energy and no gap between techniques.

Front stance is the only stance in karate that the back leg, supporting leg, is pushing and directed to technique direction.

All other stances are indirect, in back stance one presses back and twist the muscles around the back leg thighbone back to create energy forward, so is sochin or kiba dachi.

Stance considerations: Understanding outside and inside tension stances.

2011-12-28T16:12:00.000-08:00

We have 2 type of stance: kime stance and kamae stance.

Here I discuss some elements of kime stance, the stance at moment of impact, which is most prevalent in the kata.

We have 2 types of kime stance: outside tension and inside tension.

Outside tension stances are most common in shotokan (zenkutsu dachi, kokutsu dachi, kiba dachi and sochin dachi) even though we use inside tension stances (Hangetsu dachi, sanchin dachi and neko ashi dachi) quite often.

In an outside tension stance, at kime the muscles of the hips and thighs are contracting from the outside in and toward the centerline of the body.

In an inside tension stance the muscles of the hips and thighs are contracting inwardly toward the front and the midline of the body.

The purpose of this contraction is to make a strong base in order to fully deliver the technique’s power through target, and avoid recoil, bounce of energy as reaction from impact. The contraction of the legs and hips allow for strong connection and transfer of energy from legs through the body center. Of course there are some other reasons such as contraction is potential energy, kime should be best condition to starting next action.

Important points:

Bones not moving

The bones of the thighs are not moving; rather the muscles are contracting around the thighbones and pelvis.

If the bones are moving, the thighbones will be out of optimal alignment with the hip sockets, and as result, transfer of energy at the hip joint will not be complete, and there will be undue stress on the hip joint, which over time can result in injury.

Contraction must have direction

The contraction of the legs and hips muscles is not static, since power needs direction. The contraction is either from the outside or inside toward the centerline of the body and in a spiral to the line of technique.

In a case of a punch for example the contraction of the legs and hips is in a spiral from the ground up to the technique line.

In a case of pull, or sweeping block, the contraction of the legs is in a spiral toward the ground, this is what we call reverse transmission of energy.

Stance contraction allows for total body contraction

We know that at kime we need total body musculature contraction in shortest time to line of technique. If the legs contraction is insufficient than the rest of the body contraction will lack, since the stance is the foundation.

When practice kata, try to move at full speed and at kime legs don’t move, not any wobble. Remember that when the outside stop, the inside energy don’t stop.

Learning and knowledge

2011-11-25T17:55:00.000-08:00

Sensei Nishiyama used to tell me: “once you think you know, you are finished, you don’t learn anymore”.

This is the problem of knowledge, once we “know” something it feels old, even dead.

The fact that we can look at every day’s miracles around us, and not be constantly amazed is death.

“Not knowing” is different than ignorance, how do we go about increasing in learning while still maintaining the freshness and sense of wonder?

One idea is to treat each thing we learn as a piece in a larger puzzle that still has missing pieces.

Instead of each thing we learn become another thing we know let it be a reminder of how little we know.

Sensei Nishiyama used to constantly say that in karate “we seek the beauty of one finishing blow technique”, he never stressed doing more techniques and memorizing more combinations, but rather going deeper into each technique. Each technique has limitless levels. Aiko San used to say “treat each technique as a jewel”.

I remember going with Sensei to on of his international seminars, and he was teaching very basic techniques but very deeply, and some students looked very board, and I wanted to scream, please pay attention, you cannot get this information anywhere, don't miss out. Even now she I look at a picture of sensei doing simple reverse punch, I get the feel of how deep his technique was.

If we look at each technique and concept freshly, with amazement, we can keep finding out deeper levels.

With Sensei Nishiyama there was not one week that I did not learn something new or at least get a deeper understanding of things.

I heard this example of a mother and a baby traveling to far places, from the baby point of view they were always at same place, he was in his mother’s arms.

There were many times that Sensei Nishiyama said things that did not make sense to me, but with the years as he kept teaching us in all different ways, I understood where he was taking me.

There are times we need to accept our teacher experience and trust the direction he leads us, but we must be constantly questioning, curious and amazed.

Mokuso – make best mental/psychological condition for fighting. And for anything you want to be at your peak.

2011-11-02T22:53:00.000-07:00

We start and end every class with a period of mokuso (meditation, concentration), yet most of us think of it as routine and just wait for it to be over so we can start training.

Truth is even we have the best technique, we will not be successful in competition or self defense, or any sport if we don’t have stable emotions and a quiet mind.

Mokuso is meant to create this condition, or a mind that is fresh, quiet and therefore aware of itself and everything around, that is a mind that is present and is responsive. A mind that have total focus without losing the awareness of the whole.

When we face an opponent and have such short time to make decision and react, if we analyze and our mind is not quiet, is over informed, we start having doubt, hesitate, lose stable emotions, then we cannot perceive the opponent, especially not the subtleties, the information that is there but is not obvious.

When we analyze we either confirm and wait or lose patience and rush, we are also easy to be manipulated and controlled by the opponent.

When our mind is quiet we perceive more information, so we are not only better fighters but also better students. Not just karate students, in the same way that we perceive the opponent as is, without judgment, so we can listen without our previous knowledge and with a mind that is beyond thought, thought is limited to what we know and is interfering and preventing us from true listening and learning.

Aiko San told me to take meditation very seriously. There are many ways for Mokuso, sensei Nishiyama used to tell us to half close the eyes and look softly down to a point 2,3 feet in front of us and with the exhalation push down any negative thoughts and emotions through the body center and to that spot.

Also, our karate is meditative, if we do the kata with full intention, and the intention, breath, muscles and technique match, than without effort our mind becomes very quiet.

I used to have a zen monk at my dojo whose famous master told him to go to karatein order to practice do-zen-moving meditation.

Of course you can meditate all day long and have a calm mind and strong spirit, yet you will die in a fight if you don’t have the technique.

Sensei Nishiyama constantly said, “Hard training makes confidence, confidence allows for stable emotions”. If you know you have strong finish technique and good timing, which will surely help stay calm and confidant.

So train hard and once in a while let’s remember that Mokuso is not just some ritual, but it allows us to have the right mind, and our body will move and respond only as well as the mind that controls it.

What is “Traditional” in traditional karate?

2011-10-23T23:31:00.000-07:00

I have the feeling that to some people “traditional” implies old, out of date, stagnant, something or someone who refuses to change and adapt.

When I think of traditional karate, I think just the opposite, I think of karate that is alive and evolving, I think of principles of budo that were learnt through many generations of trial and error and those principles allow us to evolve, we do not have to rediscover, we are lucky to have a gift handed down to us.

I think of old masters seeking for ways to transfer what they discovered through combat, realizing that words can be misinterpreted and are not enough, therefore created a kata as a symbol of principle, as a mean to transmit those principles. The kata with oral transmission is how we pass on the collective wisdom of many generations.

And our job is to build upon them.

I think that if we just imitate the kata and focus on the outside form, we miss the point, we become rigid traditionalists, and than we have dead karate.

If we look at the kata as a mean to understand the principles, than the application of those principles is limitless and we can keep evolving.

Principles are laws, rules, and truths of movement, of combat. As we seek deeper and further beyond our limits, those principles are like guidelines, so we don’t deviate from the right path.

Even the most genius person could not have created airplane or I phone 10,000 years ago. Using the advancements of science that are handed from one generation to next allow an innovative person to create and go beyond the known limits.

I believe that we in karate have to embrace the old, deeply understand what was passed to us and with that knowledge and with an unconditioned mind, with a mind that dies to itself every day, look into newest information from sport research, from other people and arts discoveries and with our own experience keep on seeking beyond the known.

About Intention

2011-10-05T09:51:00.000-07:00

In karate we say that the source of power are body dynamics and internal muscle action (contraction/expansion) but most important source of power is mental, the mind. Without strong intention those physical power sources are limited no matter how correct and pretty the form is.

Bt precise form is important, because our image and actual movement must be matching; we have to have the correct image of ourselves for the intention to be effective. Later, when we advance, we do not need form anywhere the intention goes or whole body will instantly cooperate to that direction.

We say that the stronger and more pure the intention is the more muscle motor units will be recruited and cooperating for the intended purpose.

Research shows that if for example a person performs biceps curls and have strong intention, he will be able to lift 30% more than if he was joking while doing it.

Intention, imagination has to be used correctly, we say that the body center is the intention center and movement center, which will allow for maximal and proper recruitment sequence.

If I try harder and harder with my brain, I will probably get stiffer, use more top power and be less effective.

Sensei Nishiyama used to say “put your brain in your low stomach”, “intention first, than breath, than muscles and technique”.

Outside form is easier to fix, one can see and adjust their form, it is tangible.

Sequencing body movement and muscles recruitment is more difficult to correct than external form because it is training the nervous system and developing patterns of recruitment.

Intention is most difficult, because it is least tangible, but once we put the intention in the right place, form, sequencing and maximizing recruitment all take place naturally.

Form, sequencing and intention are interlinked.

In karate we start by learning the external form, which gives us the base, structure and tools to adjust and tune the recruitment sequence. For example, if the form is lacking and the back foot angle out too much it will be difficult to use the legs, and rotation of the hips will be limited, that will force us to compensate with the shoulders. A faulty pattern will be digested into the nervous system.

If intention is pure and from center without judgment and brain interference, we will likely to have the proper sequence and form. When judging and wanting results we are likely to move the top technique first and use more effort than necessary in the extremities and technique will be lacking.

When our intention is strong and from the center and is pure, without brain effort, we can project more energy and sense the opponent’s energy and intention. I am sure that everyone faced someone, who, before any movement you feel a lot of pressure, being controlled, that is how I felt when facing Sensei Nishiyama.

Once we develop the proper form and recruitment sequence, and we have intention from the body center (not from brain) more muscles motor unit will be recruited and body segments will cooperate and sequence more powerfully.

When we say “give direction from body center to opponent” or “inside, technique already finished, than technique start”, we mean that there is a strong image first, and the muscle though not moving yet, already have direction. That mean that the sequence is already determined, from inside out, and strong but optimal recruitment will follow.

At the highest level there is only intention and breath, no conscious of technique at all.

How to relax?

2011-09-04T09:00:00.000-07:00

In the last article I tried to explain what is relaxation, and now I will try to explain some of the steps to how to achieve relaxation or optimal amount of contraction in technique.

When I tell people to relax their shoulders or elbows or face, many will ask how do I relax?

There are few answers to that:
1. First, apply the principles of karate technique with the form as a mean, the better one follow basic principles the more likely to be able to relax and be effective.

Principles such as:

a. Technique always initiates from ground reaction, is indirect, the technique itself is only an expression, like using a tool or weapon, the weapon is not making independent effort but is handled by the person using it. If ground reaction is not being used there is no other choice but using the arms and legs, which make for top power technique. Also think of hikite (pulling hand) rather than technique because hikite increases body action speed and range and in turn increase energy to technique. Thinking hikite will also help stay mentally centered and relax the technique limb, allow it to be a tool ann expression.

b. Timing of technique, from feet to top, each segment increases maximum energy before next segment move, so maximum energy is accumulated. Simply put, body action first than technique, so the technique itself just makes direction, serves as contact area, and is additional force to the main power from the body.

If timing is off and the full body dynamics is not utilized, there will be tendency to make up for it by muscling the technique.

c. Joint as action center, if a joint is not stable, energy will not transfer fully through that joint and again there will be tendency to make up for it with top power technique.

d. Breathing matching muscle action and dynamics, if the breath is not synchronized with muscle action and dynamics, full rate of contraction/relaxation cannot be used, ground reaction cannot be maximized and the optimal use of muscles, the right amount in the right time cannot be achieved resulting in stiff technique.

e. Stable emotions and relaxed focus, if one is not stable emotions in kumite/fight there will be tendency to be protective and tight or overly aggressive and tight forcing technique.

f. Ho Shin - Give everything, when we are able to give everything, have no mind in the technique, as if each technique is last in our life, than there is no conflict mentally, and the physical follow without contradictory and extraneous tension.

g. Limitation in a range of motion along the kinetic chain will cause compensation and overuse in other segment. For example limitation in ankle dorsiflexion, or hip internal rotation, will cause over use of the muscles around lumbar spine or shoulder or both.

2. Awareness of self – we get comfortable with our postures and movement patterns that we are not aware of tensions we carry in certain parts of our body, those tensions feel normal to us, the wrong feels right.

For that reason, I like to sometimes use the dead body position of yoga in order to develop sensitivity to tensions in different areas and by noticing them I can let go of them, using breath and consciousness.

But one just need to listen to his Sensei’s correction and be sensitive.

3. It is not enough to understand those principles, one has to truly accept, believe and digest them into the nervous system, otherwise in a moment of truth one come back to habitual patterns and try to use force and stiff technique.

Therefore karate training is very wise, use the kata which is low stimuli to learn to use optimal form and strength and digest movement principles and gradually increase the stimuli, hitting the pads, doing basic timing when elements of reaction and distance are added, and than free sparring where anything can happen and nothing can be expected.

Using the pad is particularly important to get feedback and realized and internalize the concept that soft technique is way more powerful than stiff technique, that indirect power is way more effective than direct means.

Few thoughts about relaxation

2011-08-14T07:48:00.000-07:00

Relax is not a letting go or collapse, relax is the due amount of tension for the activity.

Think of Usain Bolt, it was measured that with each step he produces reaction from ground equal to 1000lb, that is a lot of power, yet his face appears totally relaxed, he put all the tension where it should be.

I picture sensei Nishiyama’s punch and it is always seem effortless, that is for the same reason, no tension is used that is not contributing for the purpose.

For me the best way to describe it is the right amount (of muscle activation) in the right time in in the right segment.

Sensei Nishiyama used to say “keep your very center and contact area strong and everything in between soft”, and that is also tricky, because he spent a lot of time trying to explain what strong means, it is not tight, it is firm, sometimes Sensei will say “put ki energy in center and contact area and that is it”.

The wrong tension is like pushing the brakes while you are driving, it kills speed; it will create contradictory and extraneous energy.

Bud Winter was at one time the coach of all sprinting events world record holders, he coached his athletes not to extend a 100-percent effort. He claimed and proved that far more can be achieved with a four-fifths effort.

He encouraged athletes to use four-fifths effort and get timed. You will find it faster than 100 percent, even though it will not feel as fast.

How much contraction is necessary? How do we become more relax? In the next article.

UNDERSTAND FUNCTIONAL BODY MOVEMENT

2011-07-23T20:56:00.000-07:00

This is not a pure karate article but I believe that is directly related, the more we understand human motion and the latest research of functional movement, the more we can enhance how we move in karate, and also we can condition the body to perform better in karate, and in addition prevent and rehabilitate injuries.

Functional science is based on how the body is designed to move, it is derived from principles of functional bio mechanics, its purpose is to balance the body musculature and posture, to teach the nervous system to recruit muscles in proper sequenced, to improve effective range of motion and strength through these ranges, in short, the purpose is to enhance one’s ability to perform in sports or to enjoy life, and to make the body more resilient to injuries.

Functional conditioning exercises are derived from principles of function:

Principle: Movement is 3 dimensional.

In textbooks Joints are described as uni-axial, bi-axial or tri-axial, this is based on independent motions during nonfunctional movement such as when lying on the therapist bed not considering the influence of gravity, ground reaction and momentum.

All joints move in 3 planes and are 3-D.
In textbooks the knee is described as bi-axial, with saggital (flexion, extension) and transverse (rotational) movement.

In reality as example, during weight bearing function the chain reaction created by gravity and ground reaction when landing creates frontal plane movement at the knee, adduction and abduction or side to side.

This motion of the knee activates the hip muscles, which protects the knee.

This concept is very important to how we create and tweak exercises for improve performance, injury prevention and rehabilitation.
Limitation in one plane of motion in one joint will create compensations usually elsewhere along the kinetic chain.
For example, if hip internal rotation is limited in a golf swing the lumbar spine will have to do more of the rotation and is likely to be strained.

Principle: Movement is driven.

Total body movement is created by forces = drivers.

Physical drivers – gravity, ground reaction force, momentum

Physiological drivers – muscles, ligaments, fascia

Behavioral drivers – pain, fear, guilt

Principle: Movement is chain reaction.

The body is made up of connected parts; a driver affects the entire body.
Example, when your hand moves the ankle will respond, when your eyes move the rest of the kinetic chain will be influenced and follow.

Principle: Movement is subconscious.

The chain reaction occurs in a subconscious level.

Conscious of the task, but not bones, joints, muscles.

The goal is to give a person a task based on the principles of functional science in order to create the desired chain reaction.

Strategies based upon the principles suggest the task to use.

Principle: LOAD and EXPLODE

In order to accomplish any task the body needs to load, movement is required to load the system; the body knows it needs to move opposite the desired movement, you create tasks to produce the desired load.

Failure to accomplish the goal (explode) often is caused by failure to load effectively.

Limitation of motion at one link of the kinematic chain will inhibit the loading chain reaction.

Example: motion blocked at one plane will inhibit motion in 3 planes at multiple joints. Loss of right ankle dorsiflexion will alter the way a squat is performed, knee can’t move forward due to ankle limitation, so the butt must move back to lower the body. Lack of motion to load creates great deficits in spite of good muscle strength.

Principle: optimal posture is where all movement should start

Total body movement is made of multiple segments movement, not isolated movement. Out of optimal posture force can be transfer smoothly through the kinetic chain, muscles will function optimally and joints will have least stress.

For example in the common head forward posture the thoracic spine is hunched , the upper back muscles are over lengthened and the shoulders migrate forward and are out of optimal axis of rotation. Forces cannot transfer smoothly through the thoracic spine to scapula to the shoulder, the shoulder will have to compensate, and it is already out of its axis of rotation.
We must do extension exercises and corrective postural exercise to strengthen the posterior chain muscles, ideally not isolating but zooming on those muscles within total body movement.

Hikite - Pulling hand

2011-07-16T21:46:00.000-07:00

Hikite – pulling hand

Hikite is one of the most important yet neglected aspects of the technique.

Most of us concentrate on the result, which is the technique itself, this is what we see and we are end gaining and want results.

Therefore, most people focus on technique side and ignore the hikite side.

When Sensei Nishiyama was testing people we used to joke that for sure one of his comments will be weak hikite".

If you ever tested for 3rd dan by sensei nishiyama and he asked you to correct another student, you would have a sure right answer if you said "weak hikite", 99% of the time.

Hikite is more important than technique hand since the technique hand does not increase speed and range of the body action and is only a result, an expression.

It is the hikite that directly increase the speed and range of motion of the body action and in turn increases energy to technique arm.

The hikite also help increase the contraction of the torso at kime, the technique arm also does so to a lesser degree. Just try for yourself and make body contraction without hikite and see how difficult it is. Therefore, at kime hikite twist and glued to the body.
Notice how the hikite can help you engage the back muscles, if you are in a good posture.
Strong hikite is making a strong base side, where energy is being delivered from.

Attention to the hikite also will center mentally and physically make us more centered, while attention to technique will make us uncentered.

Sensei used to repeatedly scold us, “more strong hikite, hikite, hikite is more important than technique” and usually it followed with the shinai hitting my hand, even if my hand was taped and was obviously injured, sensei would still hit my hand, and believe I can feel the pain till today, so I don’t forget about hikite.

Aiko San told me constantly “both sides of the body have to b used through the center”.

Hikite will balance both side of the body and of course will make for cyclical action, when one technique ends the hikite side helps loading the body for next action.

Aiko San used to stress how the hikite elbow should travel in shortest line, if hikite make circle and travel through a long course, the body action and technique will be slow.
Aiko San also used to stress that the elbow of the hikite side should heavy as if a dumbbell is attached to it to help firm base side.
Generally, try to think of the hikite as the active arm, and the technique side as the passive, receiver.

Be aware of the placement of the hikite, when you place the arm to your side, where the elbow is, that is where your hikite fist should be, for reasons of connecting the body to elbow which is important in any sport, think of tennis, shut put.

Hikite is a learning tool, helping us to learn to connect body to elbow and use both sides of the body through the center, but in reality, and in advanced level, karate technique starts from anywhere, no hikite is needed.

Does it seem that I am contradicting myself? Well when you digest the principles of hikite, you can forget the form yet you will never violate its principles.

Try to play with those points and let me know how it works for you, I hope it will be useful for you.

Tune to opponent, accept the attack, anticipate and hit as he/she moves

2011-07-01T18:16:00.000-07:00

Tune to opponent

When facing an opponent, the eyes should be drawn back, see yet not look, monitor don’t judge, be aware of the whole, one idea is to look at the opponent as a shadow, so you don’t get caught in details. The way to perceive the opponent is using the breath to catch the opponent rhythm, or lead the rhythm as one strategizes. The same breath that catches the opponent’s rhythm also creates potential energy in my footwork, which means that the breath and footwork has to match, and that should not be too difficult if one has good basics, since the breath should control the body center, should control the legs and footwork, that should be developed through the kata and basics, so it should be a given.

If one has difficulty following with the breath and you feel that you are behind rhythm, or the legs get heavy and stuck (Itsku), than try to tap dance with your partner, so your feet are catching his rhythm, try to make it as internal as possible, don’t show it on the outside.

I do it whenever I feel. That I am looking too much, over using the eyes, which makes me behind, or when I face small, quick opponent, and have hard time to follow with the breath. Make sure that at any instant you are ready to apply pressure to floor, using breath, center, and feet interaction to initiate technique. Feel as if your feet are one paper space from the floor, which indicates floating (ukimi) and allow for making pressure at any moment.

Accept opponent’s attack

This is one of the most enlightening guidance I received from Aiko San who was second to none in her budo understanding; it changed my view of kumite. When you are tune to the opponent, accept his attack, look at it as your opportunity, because whatever attack he/she will do, the in between space is bigger than when just moving around, a space is open and that is a chance, qio, and you must take advantage of it.

In order to take advantage of the attack one must be comfortable with the opponent attacking, have the feel of “come, come”. Most people are not comfortable with being attacked at full speed, and in that they separate themselves from the opponent, conflicting with opponent, and therefore they either rush to attack themselves, or being confirming, recalculating when being attacked, and therefore behind on the response and counter.

If you accept the opponent’s attack you should be totally relaxed, yet loaded, not sloppy.

Hit the opponent as he move

That is easy if you follow and internalize the first 2 steps described, when opponent move, react with your breath, don’t look and than move, if you see the attack you are too late, when opponent moves your breath and feet are already in motion, as if you are his shadow. We either hit the opponent as he commit or in between techniques, never in same rhythm. We catch the rhythm in order to break the rhythm.

Back heel up or down in gyaku Zuki (reverse punch) at kime? (in kumite)

2011-06-26T08:05:00.000-07:00

I am being asked that question by many people so here is the point of view of budo karate, Nishiyama system.

The answer is not so simple and requires understanding the priniples of stance and delivery of force. Basically the answer is heel down, heel firm on the floor, but this is the ideal, the kata and basics show us the optimal.
In basics (kihon) and kata there is no compromise, the heel should strictly be firmly down (unless one is injured), and if one has stiff ankles, the stance should adjusted, shortened so the back heel and outer edge of the foot are firm on the floor.
Now, in kumite (applications), one can violate the form as long as the underlying principles of the kata are not violated.

Lets get into it:
Heel on the floor allows for stronger driving from the back leg and supporting the technique at kime, engaging the back leg fully, back heel down make stronger connection of the back leg to body center, it allows at kime for breath pressure to front foot and reaction of this pressure to back foot, which makes for a cycle of energy, unbroken wheel of energy if you will. This allows for more power transmission, and keeping potential energy, and therefore smooth transition without gaps and initiating even the smallest action from the feet and ground reaction.
Don’t forget that kime should also be best condition to start next technique.
When the back foot is firm on the floor, at kime when we make pressure to floor, there will be no escape, dissipation of energy, and the reaction from this pressure will be absorbed through the kinetic chain and fully delivered to line of technique, whilst if the heel is up some of the pressure will escape.
This might not be important for a boxer or kick boxer since they don’t use the concept of pressure to floor at kime but rely on momentum.
Maybe not even for a sport karate practitioner where the fist or foot reaching the target is considered a scoring point and Todome is not the goal.
When someone throws a baseball, the heel coming off the ground is necessary since it is additional power of the ankle, but there is not reaction force at contact.
For us in karate, pressure is main energy; especially in short space where the luxury of big momentum is not available, and we need to avoid recoil, bouncing at impact.
Sensei Nishiyama had us punching the pads and at impact confirming the back foot receiving pressure back, before transition to kamae.

In reality, sensei Nishiyama was the only person I knew who could keep his foot always firm on the floor even when while shifting. I try very hard, but I admit that sometimes my heel still comes off the floor.

Here is the answer:
We should strive to keep as close to the optimal as possible, but what really important is that we don’t lift the heel so much to the point that the weight and body center shift over to the front foot, since that will make us floating, we will lose the interaction between the feet, and between the feet and the body center, we will lose potential energy and the ability to make pressure to floor.
So even if the back heel comes off the floor slightly, one must make sure to keep the back leg engaged, keep the cycle of energy, pressure from back foot through center to front foot and reaction to back foot which in turn delivers the energy to line of technique. Keep the ability to make pressure to floor with least leaking of energy.
One should make sure to avoid pronation of the back foot (rolling toward the inner edge and lifting the outer edge), avoid over stretch of the back leg, since it will become like an anchor that contradict energy direction rather than support it.
Those faults can also create injury over time.
Keep optimal space between the feet.

Similarly, when talking about posture in basics we want to be upright as possible, but in reality we are not mummies, and sometimes applications require that we lean in certain way, yet, we must keep as close to optimal posture as possible, and even when leaning, we want to keep neutral spine as possible, connection through the kinetic chain, and optimal length for function of all torso musculature.
So once more, the form can be violated as long as its underlying principles are kept.

Observations of AAKF nationals 2011 (Atlanta)

2011-06-22T10:19:00.000-07:00

Karate competition is different than other sports, it is based on Shiai –testing each other for future development rather than winning trophies, it is based on one chance win or lose rather than accumulating points and it is only one aspect of karate, a mean and not an end.

The true winner in competition is the one who reflects and take lesson into future training.

If I won any competition, the following day Sensei Nishiyama would never tell me how well I did, but rather point at the many areas that needs work, and he will use the Shinai to help (not so gently) correcting me more than any other day.

It was partially to keep me humble and mainly since competition will magnify your weaknesses and habits so it is a learning opportunity we should not miss.

In the past nationals in Atlanta, some athletes did very well, but karate is limitless and there is always plenty of space for improvements.

I was very proud of the Power brothers who performed beautifully, and even when Barry and Brian had to fight each other they gave it all but with love as brothers.

Shiri, Taichiro, Kamil, marcus, salma and everyone did great and gave it all.

Of course each person has different weak and strong points, but here are some general points that I felt need work:

1.
On the attack, move foot first, body center second and than technique. A lot of times I saw shifting the body center too soon, which makes the initiation slow and expose space for counter. Also it makes it difficult to make pressure and causes floating at kime.

2.
On the Amashi Waza (shifting back using distance and than counter) footwork, the switch from back shifting to forward counter is too slow, and that is for 2 reasons: first, over using the legs, the body center should suspend the legs (ukimi), and move the legs, the legs should be soft and the feet light.
At same token, some people over shift the center, jump back, and create a lot of space between.

3.
Zanshin – most dangerous moment is after kime since we are at optimal distance for our kime, which is usually optimal for opponent if we miss. Many people let go mentally and physically after kime.
In kime as one delivers energy they should also be recharged physically, and have the mental awareness, monitoring.

4. Kime –mainly in the kata kime should be complete, pressure to floor and contraction of total body musculature, to the point that next technique just happens without a choice, effortlessly, as reaction.

Many people transit from one technique to next before completing kime.
Of course, to say that at kime we give all breath, maximum pressure and contraction is general since every kime is different depending on purpose.

5Kumite stategy – many competitors need to think more of making strategy to create chance rather than rush to attack and be faster.
Using the space and distance effectively should be considered more as important part of strategy.
To make strategy and set up, one has to accept the opponent’s attack and be comfortable and confident with the attack and anticipate and capitalize on it.

A budo story about the importance of breath

2011-06-11T12:49:00.000-07:00

The following story was one of Sensei Nishiyama (and mine) favorite stories and he told it to us at least every 4,5 months, usually when the focus of training was on breath and timing.

An old sword master had to choose a successor between his 2 top students.

He decided to test them, and the test would be how many times they can cut a falling water drop.

They had a week to prepare, and they both train very hard, all day.

The first student practiced over and over, actually cutting a falling water drop.

The second student did not touch the sword; he practiced “cutting” the falling water drop with his breath and imagination.

Guess who won the test…you are right! At the day of the test the student who practiced cutting with the breath won and became the successor.

On the one hand we say that breath initiates the technique, and on the other breath catches the opponent’s rhythm and reaction is by breath, so reaction and action are one.

It is not as simple as that since breath is at top of the pyramid, and to get to the level that we can initiate and control all aspects of technique with breath and intention, there are lots of skills that have to be acquired.

The breath has to match and control internal muscle action and external body action and technique, it has to initiate action as chain reaction from the ground up, using optimal stance and posture and all parts of kinetic chain are linked. It has to use the right amount of motion and muscle action in the right time, from start to kime.

And only when all those skills are digested we can talk about breath reaction, which means, by passing the brain, not over analyzing and judging, which cause over information, than doubt, hesitation, unstable emotion.

Only when we allow breath reaction we can see the information that is available before the opponent even moves, we can catch his intention, allowing the natural breath reflex to work for us will also heightened our sensitivity, and ultimately bring us to level of “not knowing – yet knowing”. Seeing the opponent action is too late.

OUTSIDE STOP, INSIDE DON'T STOP

2011-05-29T18:07:00.000-07:00

This is one of the most important, difficult and misunderstood aspects of kime, focus of mental and physical energies at impact.

Many understand the idea of pressure and contraction, but somehow many people stop the breath and momentum at kime which stops the energy rather than impart it to opponent, and at same time create qio (chance).

Sensei Nishiyama used to constantly scold us: "Don't stop the momentum".

At kime we talk about pressure to floor and sharp contraction of total body musculature, and we say that for a moment nothing moves.

Of course, one cannot make pressure to floor and move at the same time, one need a firm base, stance, in order to apply pressure to floor.

We talk about all parts of the body peaking and stopping at once, so all parts peak and achieve maximum speed and momentum at the instant of impact. Sensei Nishiyama used to say that at kime even the eyes don’t blink, no wobble, any wobble means leak of energy.

At the same token, the whole purpose is maximize shocking power, moment of impact is when energy starts transferring to opponent, and sensei Nishiyama used to give us images such as a car driving at full speed, you put the breaks on but do not stop the engine, engine is at full power, or imagine you push a wall, you obviously are not moving but all muscles are contracting to direction of the push.

Or Sensei Nishiyama used to stand in front of me and Aiko San stood behind him, and he told me to punch at him and my body stops in front of him yet inside my body continue to hit Aiko San.

Or Aiko San used to stand in front of me and she wanted me to punch toward her, and she could easily tell if my momentum stopped or the energy went pass through her.

There are many elements involved in not stopping the energy, first, the intention and breath should be to infinity, focus at contact but not stop.

Than try to imagine that your body center hits the target, and your arm or foot are merely an extension, making direction and being tools of contact.

This is important because in many cases the momentum of the body does not match that of the technique, and in other cases there is a lot of isolated tension in the technique arm and leg, which limit the technique to top power, and in other cases someone tries to control the distance by the contraction of the arm or leg which stops and chokes the energy.

The control of distance at kime should be from the body center using the breath, breath makes kime, than stopping is not stopping the momentum and energy. A punch could be a once inch punch yet the mental extension is to infinity.

Harvey Panick, the golf master said the one should pour the energy of the swing into the ball, this is a great image for karate technique.

Without going to details, I like to mention that what was said about breathing will not be applicable if the stance is not used properly, for example, in a Gyaku Zuki, front stance at kime, pressure by breath is applied toward the front foot, and the reaction of this pressure comes back to the back foot, and from the back foot through the center energy transferred to the technique, so the more pressure toward front foot the stronger the back foot becomes, and more energy is transmitted to line of technique, a wheel of energy is being created.

Of course, this has to become reflexive, so all one has to think is intention and breath.

So the interaction between breathing, body center and both feet is essential for maximum transfer of energy and momentum.

I would also like to add an important drill that Aiko San used to do with me, she used to stand in front of me and without technique, only by using kiai, she demanded that I would go thorough her, and the breath had to come from the lower abdominals, we would do this for hours.

She kept on demanding that the throat will be like pipe without effort, otherwise top muscles will contract in access, and energy cannot flow through, the body has to be like a clear tunnel so energy can flow in the needed line and in the right amount.

St. Louis Seminar

2011-05-28T10:26:00.000-07:00

The seminar was held on May 21, 22 at the Mo Karate dojo, which is run by the Power Brothers.

This is passionate, family like dojo thanks to the Power brothers who are doing amazing job, always improving their own karate and lighting the fire at their students.

We worked on Kogo kumite, which is a great way to develop strategic kumite, one side is offense, making strategy, trying to create a chance, and the other response (defense).

The offense side learns to be purposeful, but without rush, with the objective of creating a chance rather than attack.

The response side learns not to be defensive, waiting, but take advantage of the opponent’s attack, or any space.

We worked on Kite kata, which was created by sensei Nishiyama with other masters of Goju and Shito-ryu.

This kata has elements from both shurei te and Naha te systems, and used in fukugo, kata/kumite mixed division. We worked on the small details of this kata, the way Sensei Nishiyama originally taught it.

POLAND SEMINAR

2011-05-10T08:36:00.000-07:00

I was teaching the Poland seminar on Saturday and Sunday, May 7 &8.

This is an annual seminar that was regularly taught by Sensei Nishiyama till his passing at 2008, and now I teach it annually.

300 instructors and black belts participated last weekend in beautiful Stara Wiez, from Poland, Czech, Lithuania, Russia and Great Britain.

Stara Wiez is an amazing place, a karate village in the midst of beautiful forest and mountains, a place that can only be born out of burning passion to karate, and all my appreciation for Vodek and the Polish traditional karate for bringing a dream to reality.

The atmosphere was amazing; true learning atmosphere and true love for karate.

I was teaching Hangetsu and Tekki San dan, and through those katas showing movement and combat principles, which we than applied to kumite.

In hangetsu we stressed using the breath and maximizing muscle action, and than in Tekki sandan, we demonstrated how same principles are used in smaller action space, where muscle action becomes more important, connection, sequencing, and tranfer of energy through the kinetic chain are crucial to making big power in smaller action space.

Than in kumite we went through Oji waza (response timing) and Shikake waza (set up and strategy).

At the end of the first day the final tournament of the Polish league was held, and the level was great, real fun to watch how this athletes are getting better every year.

The top 2 men and women will participate in the World Cup in June.

Inner pliable force vs. outer rigid force

2011-04-29T19:27:00.000-07:00

The power of karate

Inner pliable force vs. outer rigid force.
When one begins karate training the focus is on the outer form, at this level when one wants to make strong technique there is normally a lot of tension and strength involves.

As we progress we realize that through the outside form we should learn to move from the inside out, the outside form gives us the means, the position of mechanical advantage and it contains the principles that when internalized allow us to move from the inside and make power effortlessly.

At advanced level one should realize that when the body is tense it is very hard if not nearly impossible to connect and transfer energy from feet to legs to torso to top technique.

You see, the external form gives us the mechanical advantage where minimum effort can be used to achieve maximum force, but it is not a given, one has to understand the underlying principles. In fact, Kata is symbol of principle, the external form is a mean to understand and digest the underlying principles of movement and combat.

Only when one is soft and elastic we can make total connection and transfer of energy, when soft and properly aligned and moving in proper sequence we can make clear tunnels and the energy will transfer without interference or discontinuity, and energy increases at each segment.

That is why good form is only the first step in learning, next, when good form is natural, we learn to move from the inside out and from the ground up; from around the spine musculature and than energy increases in a ripple effect to the outer big muscles and to the extremities, and we do this by using the breath.

We must learn to put the intention, ki energy and breath in the Tan Den, center of energy, located 3 fingers below the navel and toward the spine.

When we move from the center, or the small diameter of the spine around the sacrum, energy increases in ripple effect.

We learn to use the breath to store energy internally, by interaction of the abdomen and back, and than to release energy from the back using the breath as trigger.

Than we have no back motion, the preparation is internal, and therefore the opponent does not know my timing, and has very little space to react to my technique, and we can react quickly to any space and generate force to any direction at an instant.

When we reach this level, when the body is soft and connected, energy is stored and released from inside, the technique is sequenced correctly, and every segment move in the right time and in the right amount, the body follows the intention, breath and ki energy.

At this level there is no hand, the whole body is a hand and there is no foot, the whole body is a foot, the power of technique is tremendous and there are no gaps or holes for the opponent to attack, and yet we can utilize any space.

Back to moving from the centerline of the body, you see when the muscles around the spine activate first, and the spine is stable and aligned optimally, the bigger outer muscles, will be in optimal length and will have a stable platform to move from and therefore they can be soft or contracted in the right amount and time, they can be used to the full rate of contraction.

If you ever see Sensei Nishiyama punch it seem soft and effortless, but I felt it many times, and it feels like a heavy hammer hitting you. On the other hand, some athletic people look strong but the effect is minimal, when one move from the outside it is impossible to be soft, and utilize the full range of muscles contraction/relaxation.

To reach this level we need good guideless, teacher, but even with the best teacher one can be stagnant in training, understand intellectually but not digest internally, unless one develops awareness of self and increase sensitivity, and one must constantly reflect on self.

This is the beauty of traditional karate.

CZECH REPUBLIC SEMINAR, APRIL 15-17

2011-04-21T22:10:00.000-07:00

SUMMERY OF SEMINAR AND MATERIAL COVERED

Seminar in Czech Republic was held April 15-17; there were 110 participants from Czech, Poland, Germany, Lithuania and Chile, many of them are regular students of Sensei Nishiyama who used to come to LA dojo. I really enjoyed teaching, it was such a great group of karateka, eager to learn, curious, working hard and asking great questions, in this kind of environment, it is like a karate laboratory, there is mutual learning. And, to the credit of karate, in the same class there were some tough athletic young guys, middle age people, women and kids, all can enjoy karate working according to their abilities and reaping benefits according to their interests.

I always try in my seminars to give a whole picture of how karate principles interlink, seeing the reasoning and wisdom in our system, rather than do a bunch of techniques and applications.

This way I believe people can take with them knowledge for future training.

OUTLINE OF SEMINAR:

Posture

We described what is a good posture and how a good or bad posture affects the technique and the Psyche.

I also try to give tools and drills to make good posture tangible and get feedback as to having a good posture or not because what we feel is right is not always accurate.

Stance, ground reaction

2 types of stance, kamae stance and kime stance, principles of functional stance, and understanding that every action is reaction from floor, even one finger move, it is from the feet, breath activates the feet.
And again, giving tools to get feedback if one is really using the floor in each techniques.

Main power is from body center using ground reaction.

Power from center by body dynamics and muscles action.

Body center connection to elbow and to knee.

Technique is always from body center to elbow to contact area or from body center to knee to contact area, and that includes sequence of movement; body action first technique is result.

Breath

Breathing from floor initiate technique, breath make muscles direction of movement, either from the center out or from the outside to the center (reverse transmission), breath make kime and type of kime.

Hiding the inhalation in order to expose chance.

Speed and power

Initiate technique quickest without back motion.

Muchimi – body like whip, total body snap, acceleration.

Kime – pressure to floor for acceleration and mean of transfer momentum to target.

Sharp total body musculature contraction for maximizing shocking power.

Kumite, Applications

I always like to relate the principles taught in the basics to kumite because that is what basics are ultimately for. The beauty in Nishiyama karate is that every technical detail has reasons both in regard to effectiveness of technique and applications. High level kumite depends on internalizing principles of technique.

We practiced Unsoku (footwork) and using Ukimi (suspension of legs from body center.

Rhythm, we did drills using breath and footwork to catch (and ideally conduct) opponent’s rhythm and keeping the maai.

Reaction by breath bypassing the brain, using Sen timing.

Zanshin – not giving mental or physical space after kime, we did some important drills to develop zanshin.

Stressing that the more we give everything in the technique the more physical and mental preparedness we have, and Zanshin is effortless.

Oji Waza (response techniques)

Sen, to anticipate, we practiced progression of Sen timing drills and variations of sen.

Go no Sen (hitting the opponent after first technique or between techniques)

Uke Waza (blocking) block is attack opponent technique on the way to attack his body, foot moves first than body center.

Amashi Waza - using space to avoid attack and counter in the off rhythm.

Understand Mikiru (estimate opponent range).

Mawashi Waza – foot circle, avoiding the opponent’s line of attack and counterattack breaking, switching the rhythm.

Shikake Waza – set up, creating a chance, strategy

Yomu – read opponent intentions, first step before forming strategy

Types of Shikake

Sasoi Waza – invite, using fake, considering the distance, making the fake in the right moment, the right amount of fake depending on the opponent eagerness to attack.

Tsume – press the opponent, infinitely and smoothly coming into his space forcing him to attack, and anticipating him.

Give bait - when detecting the opponent waits for counter, give the opponent a technique to block, and use the space between his block to counter, switching techniques sharply.

Combinations – when the opponent retreat and we can initiate in between his rhythm with small techniques to close the space while staying mentally/physically ahead, finishing with big technique.

TIMING

2011-04-17T20:30:00.000-07:00

When facing bigger opponent or skillful opponent, good timing is as important as strong technique, good timing is at the instant the opponent cannot apply his/her power

In karate we spend many hours of training to develop Todome Waza (finish technique), we spend endless hours to develop the body system that can cooperate the whole body into one direction, and deliver maximum power in the shortest instant through different parts of the body.

But even the best techniques are useless if not used properly, in proper timing and distance, and with the right strategy to create the chance for attack.

It is much easier to kill with sword than with empty hand, but even Japanese sword practitioners spend a lot of time understanding timing and distance.

Here we go into understanding the right time to apply our technique.

We must be able to distinguish between Jitsu and Kyo.

Jitsu is when the opponent is in good posture, good stance (able to change position quick and smooth without back motion), when he is has stable emotions and strong spirit. This is not the right time to attack.

Kyo is when any of the above conditions has changed, when there is mental or physical movement and as result the opponent cannot apply is technique and power instantly.

For example, when the opponent loses stable emotions, he/she is excited, afraid, angry, stiff mind, loses spirit or physically, when opponent loses balance, when he/ she initiate or even mentally commit to attack, or in between techniques, at the change from action to another, or in between footwork, or at the inhalation.

“Kyo itself is too late, when the no Kyo becomes kyo, you must hit the opponent”.

Aiko San told me this sentence and it was enlightening for me, it changed my karate.

It is not enough to see the Kyo, and actually seeing the Kyo is too late, by the time we realize Kyo it is gone. We have to observe the Kyo and be there, apply the technique as the no kyo becomes Kyo.

That is why Sensei Nishiyama kept insisting: “don’t use eyes”, “by pass the brain”, “reaction by breathing”, “reaction from spinal level” or “feeling reaction”.

We cannot have space between reaction and action, the normal processing of receive information, analyze, decide and than order from brain is too late for us, when we have less than tenth of a second of a window to apply a technique.

That is why we don’t look to opponent’s outside body, legs and arms, but look to opponent heart, feeling.

We must catch the intention, the decision, and maybe as a first step catch the opponent breath and rhythm, and moreover, be the conductor and make the opponent into our orchestra; we make the music for him.

“Don’t self dance”

Sensei Nishiyama used to scold people who were too aggressive, and only thought of their techniques, not considering the opponent’s rhythm, distance and timing.

Digesting the fundamentals is essential in order to apply the theory presented above.

Kata and kumite are like a hand and a glove, kata is for kumite and if the relationships and underlying principles of kata are not digested the timing ideas I explained can never materialized..

It is through the kata and kihon that one learns to match and synchronize, breath, muscle action, body dynamics and technique, one learn to move as a chain reaction from the floor to legs, torso to technique in proper sequence and harmony.

Breathing initiates technique by activating the feet and muscle action, body action and technique, than I can react to opponent’s move with the breath, and breath reaction is technique, without space of analyzing and judgment.

Than reaction and action is one, without a gap or space.

And than we can say breathing, kiai is the trigger that starts technique, because the breath set the pathway for technique, breathing makes technique.

Timing methods will be explained in another article.

MAAI - EFFECTIVE DISTANCE

2011-04-10T07:50:00.000-07:00

Sensei Nishiyama explained Maai as distance including timing, or as effective distance.

A big part of our training with sensei Nishiyama was dedicated to understanding opponent’s distance, one’s own distance (Issoku –ito, one foot one technique), and according to those distances, using the relationships between those distances, making strategy.

Also, understanding the different distances:

Standard distance, where I can hit my opponent in one technique, but also be able to go out of his range, being able to give him danger, and motivate his attack if needed.

To –ma, (long distance), and Chikama (short distance), and when and how to use either.

Depending on my opponent size, tendencies, quickness, explosiveness and depending on my abilities, I will choose what kind of strategy and distance to adapt.

In karate we spend a lot of time polishing our basics, but while we develop a good weapon, make our body into a weapon, through basics and kata training, we also need to understand how to use those techniques effectively, which means understanding distance and timing.

This is the difference and advantage of karate over most fighting systems, very few use distance, timing and strategy as profoundly as karate does.

Aiko San was a tiny, gentle and fragile woman, but boy, she knew fighting, she knew strategy, she would not hesitate to tell sensei Nishiyama if she felt that he taught something insufficiently and he would listen. He knew that if she said something there is truth in it.

Aiko San was the one who really made me understand distance, and understand what sensei really meant in his very few words.

She told me that once I found that distance, my distance, no one will be able to get closed to me, she insisted that I must make my territory and than nobody can get pass that space. She made me realize that I was relying on beating the opponent’s speed and power, fighting with him.

With her help I was trying to figure out how not to brawl, not to randomly attack, but using the space and rhythm to create chances, accept the opponent’s attack, and use my technique in the moment that success is most likely, and than at that moment, live or die, give everything.

It is the wrong kind of spirit to give everything and spend your energy all the time, to use power against power, to be suicidal, to brawl, this is not budo way.

A skilful person should have awareness of the situation all the time, read the opponent, use the space and rhythm to make chance, and just in the right moment give everything, hold back nothing, mentally and physically.

Don’t forget that to use distance effectively one has to have good footwork, to make smooth or quick change of space as necessary, and of course perfect timing to utilize any Kyo (space) in the opponent without Gap.

You see, most people are too busy thinking of attacking, but if one can be patient, understand the opponent’s sphere of power (the limit of his range), and than create the right moment, when the opponent is OFF, disconnected mentally/physically, and at that moment instantly break into the opponent’s space and without contradiction of power, make Todome, this is Budo.

LEARNING VS. KNOWLEDGE AND HABITS

2011-04-02T10:49:00.000-07:00

Learning, knowledge and habits

Why we bow?

Sensei Nishiyama used to tell me “when you think you know, you are finished, you stop developing”.

You have to die to what you discover the moment you have discovered it, than you can flow and develop infinitely.

And he used to tell me about early senior instructors that at first were good but than got sloppy and lazy in their sparring, they took being better for granted and that make them stagnant and sloppy.

Sensei told me: “you can learn even from baby”, Aiko San told me to watch the rhythm of my kids which is unexpected because they are not habitual and patterned yet, and she told me to spar with a dog for same reasons.

At first when I wrote articles Sensei resisted and said that we are only experimenting ideas and concepts, it is always in progress, while what is written stays on paper forever.

He thought that at any moment we should be searching and learning and never hold on to what we know.

Later, he agreed that writing is important, since people should have information and direction, even if what we write is incomplete and will never be.

Bow

Sensei Nishiyama always insisted that we bow properly and with intention, it seem a little strange at first, but I really appreciated the importance of the bow later.

Bowing to your partner is like we tell each other “thank you for being my teacher”, even if a master faces a beginner, he still has to humble himself, to empty himself from what he knows, so he can learn something by facing the beginner.

So bow is helping us to have optimal state of mind for learning.

FIRST YOU MAKE HABITS THAN HABITS MAKE YOU

2011-03-26T09:51:00.000-07:00

Make good ‘body system’ so when anything happen, your body and mind know what to do.

I heard this quotation a few days ago from a basketball coach, and loved it : “first you make habits than habits make you”, it applies to all of life and to karate in particular.

Many of us are being controlled by our habits and those habits will dictate how we live our lives, how we move, how we react to all kind of stimuli. Even if we learn something new we do it with our old habits. We have contradictions between our mind and our heart. It take some will and awareness, mindfulness to acquire good habits, may it be in the realm of emotions, movement or how we react to what life put in front of us.

In karate kata is symbol of principle, our job is to break the code of the kata, understand the underlying principles it symbolizes, and through kata training acquire good habits, which include how our nervous system is wired, developing good posture, efficient movement patterns, and also to keep our brain and heart in balance, how we react to threat, how we respond to stress, how we keep our composure in competition or fight.

Now, this is not a given, just doing repetition, just doing the technique as hard as one can, is not going to develop good habits, on the contrary, it will magnify bad habits, which will be harder to change later, and over time limit ones performance.

What we need is to understand the principles that are contracted into the kata, and than we need awareness, reflecting on how we do things, allow ourselves to feel wrong in the short run so we can be successful in long term since the habitual feels right.

When good habits are installed into our nervous system, a good ‘body system’ is created, and that is who we are, we don’t try to make good technique, it happens by itself.

The same concept applies when facing an opponent, when one have success doing certain techniques in certain way, he will stick to doing it, even if it is not according to correct principles.

I remember sensei Nishiyama telling me over and over during kumite : “don’t do technique the convenient way, do the right way”, and at first I did not get it, I’m getting my opponent, what does he want? And than I understood and that was one of the most enlightening moments in my karate, he wanted me not just to win, maybe even to lose for a while, so I can develop and engrain movement according to the principles he taught us, so there is success in the long term.

I remember in some competition, sensei told me on some competitor: “look, he is stiff, because he is a champion, he is holding on to what he is used to and made him successful”.

Don’t just try hard and force your way, monitor the situation, each opponent is different, with different tendencies, each moment is new, fresh, be aware of yourself while interacting with the opponent, your posture, breath, be aware of using the space, creating a chance, and at the right moment (Ho Shin) give everything, not having any mind in the technique, and yet because of this, there is still awareness, mindfulness, the mind is empty yet full.

Many times in class I will tell a student to relax during kumite, and they are not aware of being tense, of holding the breath, and how can one use the breath to tune to opponent to control their technique, when they don’t breath? Sensitivity and awareness of ourselves with understanding of what principles are passed through the generations will allow us to achieve more with less effort.

Once we develop a good ‘body system’, we can “think by mind (heart), act by ki” and the right action will take place effortlessly, all by themselves.

This is what our training is for, way beyond just a physical workout.

Posture -pelvic alignment- anterior tilt

2011-03-20T08:10:00.001-07:00

Sensei Nishiyama used to start every class with checking our posture, he knew that all other elements of our technique depend on posture and our potential can be maximize by good posture or limited by bad posture.

A bad posture not only will limit our performance but will shorten our training life and increase risk of injury.

In karate when we talk about posture most important is the head relationship to the neck and torso and the alignment of the center or the sacrum and pelvic.

In regards to the center we say "Upper stomach (at belly button) back, low stomach forward and sacrum straight to floor".

Sacrum straight to floor is more of a feel and prevention of forward tilt since the sacrum should be at about 30 degrees.

Belly button back help activate the inner unit muscles to stabilize the spine and prevent over extension of the lumbar.

Low stomach forward is not an actual movement but direction, and prevention of forward tilt and lumbar over extension, it allows the muscles to be at optimal length for function.

We constantly talk about moving and making power from the center, but if our pelvic and sacrum are not aligned properly, all the hard training and repetitions will take us in the wrong directions.

Some of the most common postural faults has to do with pelvic that is not in neutral position, which causes the powerful muscles of the core to be out of optimal length, it causes compensatory movement, reduced performance and eventually low back and hip pain.

Looking at it from another angle, the sacrum, the feet and the cervical spine are the richest areas in proprioceptors, which give us feedback as we move and interact with gravity, momentum and ground reactions. If the muscles in those areas are out of balance, proprioceptive feedback will not be accurate, which will reduce performance and cause injuries.

Here I examine some of the causes for the very typical anterior pelvic tilt.

This is when the lumbar lordosis is exaggerated, lower back is arched and butt stick out.

Hip flexion while standing erect can be the result of weak or over lengthened external oblique or lower rectus abdominis muscles and or short and stiff hip flexor muscles.

When the hip flexor is short relative to the abdominal muscles, instead of compensation in hip motion, there may be exaggerated anterior pelvic tilt and increased lumbar extension.

In most exercise programs more attention is given to stretching the hamstring muscles and little attention to maintaining the length of the hip flexor muscles or keeping the strength and optimal length of the abdominal muscles that prevent anterior pelvic tilt.

In gait in every step require maximum excursion of the hip flexors but minimal excursion of the hamstring muscles.

Maintaining optimal hip flexors length and optimal performance of the abdominal muscles is important in preventing increased lumbar lordosis and excessive anterior pelvic tilt, particularly under dynamic conditions such as walking, running or karate.

Because of the above, I believe that in our karate training we always have to include corrective exercises so we don’t keep on getting stronger in an imbalanced way.

Economy of movement in karate - Eliminating back motion in technique

2011-03-16T16:42:00.000-07:00

Below is an article by Assaf Dekel, this is his thesis for 4th dan which he passed successfully, Assaf study very deeply and train daily, both at Sensei Nishiyama's dojo (till his passing) and at mine.

Economy of Movement in Karate – Eliminating Back Motion in Technique

Karate movement may seem quite complex to the novice or the untrained observer. The more we practice we realize that in its essence Karate technique is rather simple and direct therefore highly effective. Walking the Karate way is like removing layer after layer of burdens. These burdens, physical or mental, at first are quite obvious as we have to let go of our wrong movement patterns acquired through life in order to make room for new and improved ones. The more we practice technique becomes more internal in nature and these layers become more subtle. Through constant refinement we polish our movement in order to take away all unnecessary actions thus revealing movement at its purest form.

Economy of movement is the way to perform the task in hand using optimal energy\muscular tension involved in order to get maximum effect. In Karate terminology - We strive to perform any technique with the optimal muscular tension in order to create maximum impact with the least chance for exposure - Kyo.

In this paper I will suggest that the pursuit of excellence in Karate training lies at the ever evolving effort in seeking economy within one’s movement as demonstrated in the case of Back-Motion. By taking a closer look at the various possible causes for Back-Motion and how to prevent it I will try to show how proper preparation and mental direction can be practiced towards Back-Motion free movement.

Back Motion in Executing technique

Back-Motion can be described as the dynamic loading of the moving part in opposite direction of technique trajectory. In karate, any deviation from the shortest trajectory of technique (such as in elbows out) or any type of outside preparation will result in reduced acceleration and lack of connection. In addition, the smallest, unconscious back-motion will let your opponent sense the coming attack earlier and allow him more space to intercept it. Back motion then is a physical Kyo. Causes for Back-Motion can be divided to:

Physiological – Insufficient stability at the lumbar spine and weak connection between legs and trunk can result in the need to wind-back before executing technique (as in weight shifting or kicking technique).

The human brain and central nervous system that control motor functions distinguish between actively contracting prime movers (as in arms and shoulders) and the postural slower muscles. Brain activity is more prevalent in the prime movers. As a result most people tend to move the arm without thinking of the rest of their body. In pitching a baseball or swinging a golf club this has a positive effect but in Karate it is an unwanted Kyo.

Mental –A wrong state of mind during movement can be reflected in Back-Motion in movement. Mental rush, hesitation or the desire to generate force in movement are all very common states of mind that can cause mental division or excessive muscular tension which leads to pre motion. Most importantly, weak mental image and direction or lack of it more often than not is translated into physical space as in back motion before movement.

Understanding Elbow – Body loading

The brain and the nervous system must be retrained to remove their hold of the moving limb and focus on preparation for movement instead. The purpose is to first realize and later on maximize the elbow-body loading effect. The trajectory of an arm movement is derived from the movement of the elbow joint (similarly, the trajectory of the whole body is derived from the movement of the body’s center of gravity). The interaction between the focal moving parts (in arms technique – the elbows) to the main muscle groups of the torso has a major role in creating internal load in and around the body center (Without the arms it is almost impossible to fully contract the core muscles).Using the abdominal wall, the diaphragm and the pelvic floor we create a static-elastic spring in the abdominal cave. This load must be reinforced by the back and the pelvis muscles that form a wall against which the abdominals are loaded. This is similar to increasing the Intra Abdominal Pressure (IAP) by using the main core muscles in an eccentric/isometric contraction. Breathing should be used in this stage of eccentric contraction and is of major importance in switching from loading to unloading instantly and spontaneously. By focus on elbows and body interaction and letting breath control the minded is distracted from the punch itself. In addition to squeezing back we also rotate the forearms outwards (supination) in order to enhance the loading effect. While preparing by squeezing elbows towards the back we must have clear mental direction of technique trajectory and energy line. The amount of muscular contraction is a matter of experience but it was shown that a muscle is best prepared for action if it is stretched about 1/3 beyond its resting length to create instant release. It is important to maintain optimal muscle tone that is increasing potential energy and not just stiffening your abdominals. [In a very similar mechanism Chameleon’s tongue shoots out to catch insects with extremely high acceleration of 500 Meter/Sec² to as much as one and a half of its body size. In preparation for the tongue discharge the muscles contract radially towards the center cartilage and becoming longer in length. This follows by a series of slingshot effect expansions and contractions that result in a very fast and accurate catapult]

Methodology – Toward eliminating Back Motion in technique

Karate methodology is very organized and well structured. Kata and Kihon teach us the basics body dynamics with various stances, techniques and directions of energy. Basic Katas stress the full range of motion in every technique to develop good synch between all body parts and instill the proper sequence in movement – from the ground up. Later on, we understand that in sparring or self-defense situation we don’t have the space or extra time for a full range Gedan Barai, or a full hip Rotation in reverse punch. This is when we start using the same basic Katas and techniques to find ways to produce the same effect in technique with less movement space. Only after gaining good base for movement and basic understanding of body mechanics and limb connection can we start developing internal preparation to enhance and eventually replace the physical one.

In other words, we begin to use the full range of motion as means to eliminate Back-Motion by first realizing and then actually creating the same motion on a smaller scale internally.

Here are few training methods and drills that can be useful in realizing and developing static-elastic load instead of dynamic load.

1. When practicing basic Kata – one should try and use the full range of motion to first create the same imaginary motion internally and capture this feeling. Slow motion practice is very important to realize first the connection between the full range motion and creating an internal load. The outside motion helps to understand the internal mechanics that underline it (examples). Step by step, our mind is removed from our arms so the actual back-motion is done only to illustrate and activate the internal one.

Full range technique is the first step to eliminate Back-Motion only if practiced with awareness of it’s purpose as such. Start from the most basic techniques in which elbows are closer to body. After getting the right feeling, it is possible to capture the same feeling with more advanced techniques (such as short range techniques or techniques where elbows are further away from body center). Starting from Yoi establish interaction between elbows to body center.

2. When practicing techniques from Kamae – it is useful to add a conscious, small back motion in slow motion to further develop awareness for the elbows-body interaction in creating internal load. Use different direction techniques while focusing on elbows squeeze to the opposite direction of technique and creating a wall like base utilizing your backside muscles from which technique is driven. At first, focus on continuous squeeze until there is no more left – then instantly switch breathing to release or unload. At this point any tension or dis-coordination will interfere with the smooth transition and result in deceleration and loss of momentum. Breathing control is essential to prevent this. Step by step experiment with shorter squeeze time so technique is bouncing of the backside and the spring created inside your body.

3. Resistance training - Using partner’s resistance against technique direction in the preparation stage. Let resistance help creating internal load. Let your backside muscles be fully engaged. If all is fully charged and mental direction is clear, the moment partner lets go of resistance by surprise tsuki or uke waza will be initiated spontaneously without any space.

4. Target training – Mitts or Bag training can be very effective way to illustrate how back motion occurs unconsciously. When facing a target the mind immediately wants to hit it powerfully. No matter how good is one’s technique, target training can expose the smallest gaps and flaws in it.

To conclude I would like to emphasis the importance of mental direction – Always have strong and clear mental image and direction before executing technique. Without it, even the best internal spring will not transfer to technique and potential energy will have no direction and will not travel in the desired line. Proper mental image is essential to form a constricted line in which technique and energy will travel in synch. Clear and strong mental direction should simulate the feeling of ‘inside body already moving’ or ‘inside movement already finished’ before technique start. In this way technique will have only narrow line to move in.

When applying all of this in timing drills and sparring at first it might have a stiffening effect on our body and movement (what sports psychology refers to as ‘paralysis by analysis’ – when too much information and details has a negative effect on performance). Eventually, after it becomes part of our nervous system, when facing an opponent there is always internal spring producing potential for movement and reaction. This potential is available for us to use in any direction, thus eliminating back-motion.

How to train, condition for performance and injury prevention?

2011-03-05T14:34:00.000-08:00

Although the predominant focus of this blog is Budo Karate, I am going to post some articles about proper movement and conditioning of the body. You may wonder why I would post such articles on this blog, but before you question, allow me to explain. While karate to me is primarily about Budo, a martial art, I believe that the better we can understand how the body is designed, the more effective our karate can be. Moreover, one must concede that for many people, karate is a means of remaining healthy and functional through old age; therefore, we want to train karate according to the principles of functional biomechanics in order to perform better and free of injury. As a result of the aforementioned reasons, I have studied the science of functional movement for the past years. I have discovered and continued to discover that sports science findings run in accordance with orally transmitted karate principles.

How to effectively train and condition, rehabilitate and prehabilitate (prevent injury) the whole and the part

First we must understand how the part functions, it’s relationships to other parts of the body, how it influence its friends and how its friends influence it, and according to this understanding we make strategy for training and conditioning for performance or rehabilitation.

Lets take the hamstrings as example, the anatomy text book says that the hamstring is knee flexor and therefore most traditional training programs will train the hamstrings in leg curl machine in saggital (forward and back) plane of motion.

In reality the hamstrings are knee flexors only when we take gravity and momentum out of the picture.

In upright function the hamstrings not only do not flex the knee but doing exactly the opposite, it decelerates knee flexion and it does it in 3 planes of motion.

The 3 hamstrings are responsible for decelerating the knee as we rotate and change directions; the hamstrings also control the torso and are driven by the torso.

As the hamstrings decelerate the knee in 3 planes they receive prorioceptive feedback from the golgi ligament endings in the collateral ligaments and in our training and conditioning we need to develop and make more accurate this sensory feedback. If sensory feedback is not accurate the hamstrings will react to gravity, momentum and the movement of other parts of the body late and not accurate.

Flexion of the knee in function is given by gravity as we walk or squat or prepare for a jump.

If range of motion in the foot and ankle or hip are lacking the hamstrings will likely become overactive.

Even a head forward posture can cause the hamstring to become overactive because it constantly have to support a body with a center of gravity too much to the front.

When we train or rehabilitate on leg curl machine we are saying that proprioception is not important, the butt and the foot interaction with the hamstrings is not important, we do not consider the hamstrings interaction with its friends.. We do not consider that there are 3 hamstrings that function in the very important transverse and frontal planes as well.

Bad hamstrings are a result of something causing the hamstrings to become bad.

That is why we have to look at the whole and train the whole.

Training and conditioning need to concurrently deal with stability, mobility and proprioceptive reaction.

I f you do functional training the hamstrings will perform functionally, and sometimes even if one does not identify the cause functional training will solve the problem.

When you functionally train the hamstrings you automatically train the whole body functionally.

Functional training prepares one for the demands of functional activities.

Comparison of two rehabilitaion programs in the treatment of acute hamstrings strains, a traditional one plane, isolation vs. 3 planes, prorioceptive training.

In the traditional program return to activity was on average 37 days, in the functional 22 days.

Re-injury rate within first 2 weeks of activity in traditional program 50% versus 0% in functional.

Re-injury within one year 50% versus 5%.

Source of Power in Karate technique, Body Dynamics and Muscles Action

2011-02-20T08:50:00.000-08:00

Source of power in karate

Body dynamic

Muscles action (contraction/expansion)

The whole body has to cooperate and integrate to produce maximum force to one direction and in the shortest amount of time.

The first and most basic means to produce power are body dynamics, and the bigger the space the more power one can generate.

The second mean of producing power is internal muscles action, or contraction/expansion power. As one becomes more skillful, internal muscles action becomes more important, and the goal is to produce more force in less action space.

Body dynamics and muscles action are used together, and breath, muscles action and dynamics has to be matching and synchronized.

There are times in short space that we have to use only muscles action without outside movement, a high skill level is required to be effective.

Body dynamics is the external movement of the body in space in order to produce force, it is the movement around the spine as an axis, and more specifically around the body center (3 fingers below the navel toward the spine at S1, 2).

6 body dynamics:

Rotation

Vibration

Shifting

Pendulum

Rising

Dropping

We use one or combination of those body actions in each technique, depending on the space available and direction/line of technique.

The bigger the body action the more energy we can produce.

Body action is initiated from the body center because the biggest, strongest muscles in our body are at this region, such as glutts, abdominals and back muscles. If we look deeper into this than the movement of the body center should be initiated from the smaller muscles attached to the spine, in order to stabilize the spine and provide stable foundation for the bigger, external muscles to move from.

The body center is both engine, center of action and crossroad of the body.

Energy from the feet to the hands or from hands to feet has to transfer through the body center.

We say that technique is initiated from body center using ground reaction force, since no matter how strong the muscles at the center are energy cannot increase without ground reaction.

6 body dynamics (short description):

Rotation is the most common body action we use, and is the most powerful; it allows us to increase more energy in less space and effort. Used in medium ranges.

Vibration is used in short distance, and is small double rotation; sometimes we refer to it as snap action of the body (different than muchimi). In vibration we initiate and finish the action in same position.

When vibration action stops the body stops on the outside but internally continue vibration, like waves of energy, this is hard to explain in writing.

Shifting is used for longer ranges and distance, when the body center of mass shifts from point A to B; we build momentum and energy that should be transferred to the technique. It is hard to build sufficient energy using shifting in short space, rotation will be more effective in short space. In many cases we use shifting for distance and initial energy and than rotation at end as main power. It is common to see people using more shifting than necessary and when rotation is available, losing time and power.

Pendulum, or leverage action of the hips, we tilt the sacrum and pelvis using ground reaction to make leverage to initiate kicking action to various direction.

This leverage action can be forward, back to the side or combined with rotation, so the body center becomes the hand that control and handle the whip, which is the leg, to any direction.

Rising energy, when the technique direction of energy is down to up, and I am low relative to the opponent, the body center can rise, lift up to produce force to the technique line, such as in elbow attack upward.

Dropping energy, the body center is lowered to produce energy to a technique from up to down, such as elbow, punch, or fumikomi (stamping).

Muscles action – contraction/expansion of the muscles is used to produce force.

Expansion is really relaxation and is reaction of contraction.

Muscles act like springs, contraction is potential energy and when we release this contraction we drive the technique. Relaxation is not simple letting go but must have direction. And than the more relaxed we are during movement the stronger the potential for contraction at impact. At impact contraction itself produces additional power, allows for shocking power by increasing the density and for elastic collision, and is a recharge, potential energy for next action.

In addition, and very crucial, breathing, muscles action, body dynamics, ground reaction energies and technique (closing and opening of the joints), have to match and synchronize in order to be effective.

Other methods to develop kime

2011-01-27T20:42:00.000-08:00

Other methods to develop pressure and contraction at kime

Previously I wrote about hitting the pads as important method to develop kime, there are other important methods we use that can give you feedback, help you asses your kime and are great exercise at the same time, the assessment is the exercise and vice versa.

Tapping-

At the moment the partner makes kime, let’s say in gyaku zuki, I check his contraction, and for areas that are contracting insufficiently, by tapping on the partner by doing so bringing his/her awareness to those muscles. Some muscles typically are hyperactive and have low threshold such as the hip flexors, hamstrings, lumbar erectors and chest muscles, other muscles have high threshold and tend to be underactive and even dormant, such as the gluts, lower abdominals and scapula adductors.

First, I will push against his fist to see that total contraction is to technique direction, than I will tap the connecting muscles, such as under the armpit (chest and back), if the shoulders are raised because of upper trapezius dominance than the lattisimus will be over lengthened and hard to engage. Than the areas that are most commonly lazy and underactive, such as the back around the thoracic spine, between the scapulas, this area is underactive in people with forward head posture in particular. I will point the relationship between posture and muscles that don’t fire properly, for example in a head forward posture, thoracic kyposis is exaggerated and the back extensors and scapula adductors are over lengthened and not in optimal length for function, also the muscles around the shoulder joint are not in optimal length and movement at the shoulder is altered. We need to fix the posture and bring the attention to those areas. I will also point out the relationship between weak hikite (pulling hand), and under active back, when the hikite is firm, glued to the body and the elbow is heavy, the back muscles will likely fire and engage, the arm feeds the back.

Than I will check the buttocks and inner thighs and abdomen. The gluts tend to be under active when its antagonists hip flexors, or its postural synergists, hamstrings and/or the lumbar erectors are tight and the pelvis anteriorily tilts.

Touching your partner can be a great feedback to the partner, bring the awareness and also adjust the alignment that allows for optimal muscles length for contraction.

Making kime without action space

Put your fist on your partner stomach in gyaku zuki position and use sharp pressure to floor and contraction from the inside out to drive your partner back, do not push or over extend. The pressure to floor and contraction are controlled by the breath. Your partner should strongly tighten the abdomen and core.

A skillful person can produce sufficient shocking power without or with very little external motion.

We have to teach the nervous system to recruit as many motor units as possible in shortest time and in proper sequence.

Similar exercise but with added reaction component is to face an opponent with hands touching, and as the opponent punch block sharply and without external action, snap his attack away using sharp pressure and contraction from around the spine muscles. Both the reaction and action are initiated by the breath. Make sure that the blocking arm barely moves, the whole body from the ground integrate to snap the opponent attack away, don’t push, and be relax to allow space for contraction.

KIME #4: USING THE BAG, MITTS AND MAKIWARA TO DEVELOP KIME

2011-01-15T20:16:00.000-08:00

Hitting the bag, the mitts or the makiwara, should be done at least few times a week for 10-20 minutes, it is a great and necessary way to develop your kime and impact power and to get feedback on your quality of movement.

There are few things to consider:

First, when you start hitting at the warm-up phase don’t concern with hitting hard, but rather with following the basic principles, move your foot first, let your body action drive your technique, snap with the whole body, pressure to floor at contact rather than muscling the technique, keep the elbow and shoulder soft, find your range and distance for each technique, don't over extend yourself, than gradually increase the speed without loss of coordination and sequence of muscles and joint activation.

Second, be careful of being tense too soon before impact, that will kill your speed, kind of like driving with the brakes on.

We need maximum speed and momentum and than pressure/contraction at impact. When I hit the bag or makiwara I let the contraction happen as I hit the bag, otherwise you might slow down before impact.

And if you tense while moving there is less potential contraction for kime, we need the contrast, the softer in between, the more contraction is available for impact.

Third, Sensei Nishiyama gave me very useful tip when hitting the makiwara, at impact I want to feel the reaction power coming back to my center (low stomach), rather than to the elbow or shoulders. That is a good feedback, that will tell me if I am aligned properly and/or if the contraction sequence is optimal, and if the technique was initiated properly from the body center. It also tells me that the whole body momentum is meeting the target.

Fourth, I like to think of “pouring” the energy from my body through the fist to the bag or mitt. This is helpful, because some people tense in a way that braces and “chokes” the energy, and energy is absorbed into our own body, this should be avoided.

Fifth, don’t push, it is not about muscular power, push is power delivered over long period and is ineffective.

Use total body snap, your body should be like a whip from the center out.

We need to teach the nervous system to recruit more motor units in shortest time.

Sixth, when you hit, nothing moves externally for a moment, yet inside momentum does not stop, kind of like a car crash, the sharper and more at once the car stops, the more momentum will the passengers inside will receive. Use the mitt or bag to understand how long does it take to transfer the full momentum to target, because kime should not be any longer or shorter than that, once energy is transferred the reaction should be Zanshin with the next breath.

Seventh, at contact have a strong stance, to deliver the energy from.

Remember, you cannot shoot a cannon from a canoe.

At the same token, you should also be able to deliver power of off one leg, even though it is not optimal, it is sometimes necessary so I spend some time hitting from one leg stance, especially during combination techniques.

Eighth, develop single techniques power first and than combination, you should be able to make 2,3 or 4 techniques with full speed and kime and completely relax in between. If one does not relax instantly from kime, the following action is likely to be stiff, pushing and lacking snap. Use your exhalation to relax and use the energy from one kime to next action.

Avoid the temptation to use top heavy power, don’t go after end results and muscle the techniques, make sure each action is from feet and ground reaction, if you cannot do it at first, slow down, coordination is more important than power at first. When moving from the feet it will be easier to relax the top muscles.

Powerful technique should appear relax, give up power at first to be powerful in the long run.

Kime part 3: breathing (kiai) makes kime

2011-01-08T12:31:00.000-08:00

Breathing make Kime

Breath (Kiai) make type of kime

This is extremely important but very tough to explain, I can probably demonstrate better than explain, but will try my best.

Aiko San and Sensei Nishiyama could correct my technique without looking at me, just by listening to the kiai. I will give some examples of how they taught me to use Kiai and breath to control my kime (and every phase of the technique, but that is not for this article) and than I will summarize what it all means. This is a subject that is harder to explain than technique mechanics, it is not tangible and require sensitivity, one has to get the feel of it, and this is where karate is more of an art.

Aiko San and sensei Nishiyama used to face me for a long periods of time and as I had to punch toward their face or stomach, they will tell me if the energy extended through or if I stopped the momentum at kime, or if my breath was such that the energy spread and did not focus, or if it did not come from lower abdomen, so muscles were recruited from the top body.

And it took hours to fine tune and to apply a simple reverse punch decently.

Sometimes Aiko San will stand in front of me and Sensei was standing behind her, and I had to punch at Aiko San, but sensei wanted the kiai and energy to hit him, and it was very hard to satisfy them.

Sometimes, Aiko San would ask to apply the kiai sharply as if cutting through water, as if not to spread but focus the energy, and at first that was very hard to grasp and see to what she wanted, but when it became clear it was beautiful, we spend sometimes a whole Sunday, maybe five hours of just doing that.

For training Aiko San will bring the Los Angeles Times, and hold the paper at the top, and I had to break the paper with Tsuki using sharp kiai, my homework was to finish the LA Times on Sunday.

Sensei Nishiyama will often say :Kiai destroy opponent”, this is very important, because first it implies that by giving all the breath, one gives all of his spirit and self, holding nothing, back into the technique, and it also means physically maximizing the use of all of our resources.

In karate you can see a lot of people trying to control the distance by consciously, from the brain, stopping the punch or kick, and stopping the energy, in this case the brain controls the arm, and the energy is not being delivered, the muscles will contract in wrong direction.

There should be no control of the arm, no mind in the technique, the intention center is in the Tan Den, 3 fingers under the belly button toward the spine, and the breath controls the muscles and energy from this center.

Many times Sensei Nishiyama will insist that the Kiai will peak at the impact point (not stop there), this is not easy, most people kiai will peak before kime and weaken at impact, in other wards the breathing, muscle action and technique are not matching.

Other times Sensei Nishiyama will tell me to do the Kiai as if there is no echo, the kiai does not come back, it all goes to one direction, and if one can do that, there will be no recoil, no bounce of energy.

Many times Sensei will say “one period of breath is total energy”, “give all breath in shortest time”. Of course we cannot give all the air out, but that is a feel, and the breath connects the mental and physical, it allows us first to mentally give everything, and to physically use total body musculature contraction, and when we say that we mean all muscles that contribute to the purpose.

Paradoxically, the more we give all air, and give the mind away, the more full we are, meaning, we are fully aware and ready for any necessary action, no mind is full mind, and that is natural Zanshin.

And physically, the more we give everything, the more pressure and contraction, the more potential for next action we have, next action will start as reaction of breath, Zanshin. Kime and Zanshin are very connected.

Regarding Types of kime, every technique require different application of power, different muscle activation, a block is sharp, a punch to the body needs more penetration, a strike is sharper than a punch, and sweeping block is smooth, a push require continuous contraction, all these type of kime are controlled by different Kiai which we call: Ei, Ya and To.

I’ll explain this in more detail in another article.

Summery:

At first we understand that kime (focus) is mainly depends on 2 elements, pressure to floor at impact to create acceleration and deliver force and momentum accumulated in the technique, and second, contraction, to make the body dense, to maximize shocking power and make elastic collision at contact.

Both pressure and contraction are controlled by the breath, and with repetition, as we advance we do not need to think of details, the details become engrained in the nervous system, and becomes what Sensei Nishiyama called “body system” or in motor learning “motor engram”.

At this point the breath will make the focus, the timing of pressure and the when and where (at what distance) and how much, contraction will happen. I put my intention at a point and the breath will follow and set pathways for the muscles, the peak of the kiai is where contraction will maximize, but the breath does not stop, it rather extends through target.

By using the breath and forget about muscles I find that there is no access tension in the kime, just the due amount in the right time and direction.

And that does not contradict the fact that we want maximum and total body contraction, since we want optimal contraction, and not to activate muscles that will hold the energy and contradict the direction and purpose of a technique.

Kime part 2: sharp contraction of total body to technique line

2010-12-27T11:50:00.000-08:00

· 2 components of kime: pressure and contraction.

· Contraction of total body musculature to line of technique at impact.

· Purpose is to allow delivery of total force in shortest amount of time, to achieve maximum shocking power, Todome.

· Muscles contraction is controlled by breath, Kiai.

· Contraction is from the ground up and from the center out.

· Contraction to midline, than chain reaction to technique line.

· Legs contraction in a spiral to midline and to technique line.

· Body like steel for a moment.

· Elastic steel, which has flexibility and potential energy.

· Power needs direction therefore contraction to line of technique.

· During contraction no move on the outside, not any wobble, but inside does not stop.

· Sensei Nishiyama used to “at kime don’t even blink, kime from eyes (in a sense)”, when blinking breath muscles synchronization is lacking.

Force equal mass by acceleration, and force delivered in shortest amount of time is impulse or shocking power.

In karate the goal is to achieve Todome – finishing blow technique, and therefore shocking power is a must.

Our body is soft since it is made of 70% water, and we have many joints, and each joint is like a cushion where there is a “give” and energy can easily dissipate.

Test shows that when we drop a 5kg (12lb) steel ball from a height of 40 cm (16inches) on a brick, the brick will break every time, and this is because steel is dense, and the energy will transfer to the brick in 1/1000 of a second. On the other hand if we drop a many times heavier pillow on the brick nothing will happen because of the “give” of energy.

In movement we want to be elastic and soft to achieve maximum speed and momentum but at contact we want to be as dense as possible, like steel.

How do we achieve this density at contact and become like steel?

We need contraction of total body musculature to line of technique.

We cannot think of individual muscles, since the brain does not know muscles but movement patterns, also we don’t want to simply brace the muscles, because the contraction will be from the outside, and will be limited.

Our method is very special and effective, and based on lots of trial and error. We use the breath and intention to control the muscles, and think of contraction toward the spine, the midline, and than from the midline chain reaction to line of technique.

How does it works?

When making contraction to midline, the inner unit muscles, smaller muscles around the spine are activated, stabilizing the spine, and providing an anchor, working foundation for the bigger, more powerful, outer muscles to contract more fully and effectively to line of technique.

So, even though we say contraction to centerline, the purpose is not contraction inwardly, where energy is being “choked”, but rather contraction from the inside outward.

The contraction starts as we make pressure to floor, and as reaction of this pressure, therefore the contraction is from the floor and upward through the kinetic chain to line of technique. Likewise, when a person jumps and lands, as he hits the floor, there will be contraction against gravity, which is lengthening contraction, also called eccentric contraction.

During contraction continue pressure to floor and breath does not stop.

Only out of optimal posture contraction can be total and complete, since in optimal posture all muscles are at optimal length for function.

The muscles of the upper back, the gluts and adductors have tendency not to engage in contraction, the hip flexors and upper abdominals tend to be over active.

The pulling hand is very important in helping to use both side of the body through the center, in activating the back and gluts muscles.

The feet, big toe, heel and arch are very important in maximizing the activation of the legs, especially gluts and inner thighs.

Saying that we use all air to make total body contraction in shortest time is general, since different techniques require different types of energy, so the optimal amount of force should be applied.

Also, giving all air is more of a feel, that allows to give everything both mentally and physically, the breath is the link between mental and physical.

A block is not finish technique, and only meant to deflect an attack, kime is very short, a tsuki (punch) is finish technique, yet attack face require short delivery since the head tend to give and energy escape unless power delivery is sharp, Tsuki to the body needs to be deeper and more penetrating, therefore different types of breath is used to produce different types of kime.

The general exclamation that we need sharpest contraction is true, and we need to teach the nervous system to recruit as many muscles motor units in shortest time. This is a different kind of muscle activation lets say than a person who bench press and have as much time as needed to press, we need as much power applied in shortest amount of time, which is a skill that require proper training.

That is why sensei Nishiyama used to say that you don’t need to be Popai to be skillful in karate but you need to use what you have well.

He also used to say that there is no points of having 8 cylinders if one can use only 2. It is important to develop base strength, so one has more potential and is also safer.

Both pressure to floor and contraction are potential energy that can be released by exhalation to direction of next technique.

Kime or end of one technique is best condition for start of next technique.

As we release energy we also recharge energy for next technique.

This is a subject for another article.

Pressure to floor at kime

2010-12-10T05:49:00.000-08:00

Sensei Nishiyama always stressed that at impact one should apply maximum pressure to floor. Pressure to floor is actually one of the most important components of kime, and is a special point to karate technique. Another very important component is the sharp contraction of total body musculature to technique line, which I will explain at another time.

Sensei Nishiyama went so far and many times would say: “kime is pressure”.

Let me try to explain pressure, I will start by saying that mass by acceleration equal force, and pressure is acceleration and therefore most important for force production.

When one apply pressure to floor properly, the reaction from floor can equal 2 to 3 times body weight, that is huge acceleration, and especially important in short range when we cannot create big momentum.

Pressure to floor is also a mean of energy delivery, for example, we can compare it to a long jump, a person runs and creates momentum, but for this momentum to transfer into a jump, to become a jump, one has to hit the ground as sharp as possible.

Likewise, from start of technique till contact can be compared to the run up, and than to transfer the energy into the target fully, one has to apply pressure to the floor, the pressure is additional acceleration and at he same time allows for full transfer of the momentum.

Now, a jump is different than karate technique, since in a jump the purpose is to lift the body as high or far as possible using the momentum and ground reaction, in karate technique on the other hand the purpose is to transfer the energy to the opponent, the body is the vehicle for transferring the energy.

Therefore, unlike in a jump, in karate technique at pressure the body should not bounce up, since any bounce, any wobble, means escape or leak of energy.

In karate technique at pressure the whole body is still for a moment, yet the momentum continues through the target, we say “outside stops, inside don’t stop”.

This outside stop is only for a short instant, enough to transfer the full momentum and energy.

How to make pressure at impact?

We use the breath to apply maximum pressure to floor with the intention of reaction from floor being absorbed through the body and delivered to technique line.

One must avoid thinking of hitting with the fist, because that will nullify the effect of pressure and will cause undue tension in the top body, remember that power is indirect, a reaction.

Other important points to remember are that one should not slam the floor or “muscle” the pressure, but just use the breath.

If one “slams” the floor with the legs and feet, energy escapes, and there will be stress on the joints.

Also, the body should not rise and drop, does not change level, the pressure happens internally, without external change, it might be useful to have the feel of dropping internally.

For the pressure to be effective, posture has to be optimal, since if any joint is out of line, pressure will escape, and the reaction from the ground up will not be complete, we must have clear channels to transfer the reaction of the pressure from the ground up to technique line.

Breathing does not stop-

Breath make pressure to floor but does not stop, rather the breath passes through target, if one cuts the breath, pressure stops and the momentum stops.

Pressure to floor has other benefits besides acceleration and force delivery, when we make pressure, we create a spring internally, which is potential energy, which can be released into next technique with next exhalation. Pressure also help maintaining balance.

There are different methods to help the student understand how to make pressure, but those have to be demonstrated and hard to explain in writing.

UKE Waza (blocking technques) part 2, principles of applications

2010-12-02T16:53:00.000-08:00

There are three main types of Uke Waza: Hooking (kake uke), sweeping block (nagashi Uke) and hitting blocks.

Hitting block is the most common in our karate, first to be taught to beginners, and is the main subject of this article.

I personally like sweeping block as much and use equally hitting and sweeping

blocks. It is a matter of preference, and also one should be able to use sweeping or hitting block at the proper situation and time. Sweeping blocks requires less power and more smoothness, in general when slightly late for hitting use sweeping block. I will go through principles of sweeping block in another article.

Here I will describe the most important technical points that make uke waza effective and useful in free application and against unknown attack, and not only in basic training.

I will also explain the necessary mental preparation that is necessary to apply hitting block successfully no matter what attack comes at you and at what speed.

Mental preparation is very important to enable us to use Uke Waza instinctively against any unexpected attack:

When in kamae facing the opponent “give direction to your technique”, this mean that from tanden, (center of energy, 3 fingers below the navel toward the spine), and from kami tanden, (upper center of energy, the point between the eye brows) ki energy is “shooting”, projecting to opponent, the muscles already have direction, decision is already made, now the breath is really the trigger that initiates the reaction/action.

To go a little further on this point, my hands are mentally touching opponent’s hand, on the way to the attack. Physically not touching but mentally touching.
This mental preparation, “give direction to technique”, is critical for success of uke waza for 2 reasons:

1. When danger we reflexively lift the hands to protect the brain and throat, and this is a back motion, which is not acceptable in application.
We cannot change this reflex but we can redirect it with our intention, and the reaction will be to direction of opponent

2. When something happens we cannot analyze, decide and than move, that is too late, when the muscles already have direction, the breath is the trigger, “bypassing the brain”, and allow us to move as the opponent initiates action, without a gap.

Another preparation, the hands have slight but constant move, side to side, as extension of the body center/lower spine, this movement should be barely noticed, but inside at body center movement should always be present, the engine is already working, since it is easy to initiate movement from being in motion, rather than from stillness.This is called: “the bird tail is moving yet the body is seem not to move”

Keep in mind block is not defense, think that when late for Sen, you attack opponent's technique on the way to attack his body. Uke Waza is a technique of Go no Sen.

Technical considerations:

1. Breath and spine reaction, allow us to catch the attack as early as possible.

Don’t use eyes, since if we look we will have to confirm and than move and that is too late. If we look we will be over informed since the opponent has many options and than we are likely to doubt and hesitate, you should observe but not look.

2. Within the block we must take leadership

And be ahead of the rhythm, be able to break the opponent rhythm and counter between his rhythm and not in the same rhythm. This means that we hit the opponent’s attack before kime, when he still has some momentum left, and this left momentum is our space for counterattack.
If we cannot hit the attack before kime we must switch to Amashi Waza, use space by shifting back, and when to apply Uke Waza or Amashi waza is not a conscious choice, it is not in the brain, it is result of experience and facing certain situations many times.

3. When blocking foot moves first, than weight, the body center shifts very little, since uke waza, is not “todome” - finish technique, and the purpose is only to deflect the attack, full use of the body weight is not necessary. Moving the foot first is faster, and we can never move the body weight as fast as the punch coming at us.

Also moving the foot first allows us to keep the head back while advancing which is safer, and enable us to monitor.
Using back stance is effective because it allows us to move the foot to adjust the distance without shifting the weight, we cannot do this in front stance.
Look at how many examples the kata gives us of using back stance with uke waza and in most cases moving forward, since uke waza should be used moving in, if we move back we use space to avoid the attack, and block is not needed.
When we switch from block to counter, we need to fully use the weight into the attack, since this is todome waza, so we change from back stance to front stance.

4. Arm move in straight line rather than circle.
This is important, the blocking hand move in shortest line to attack the opponent’s attack, we describe this motion as a straight line with a slight curve at end, since we need to create force in a sideline.
The reasons for that are two, first, a straight line is faster than a circle, and so if we block in circle we are in disadvantage.
Second, we avoid selection reaction, brain interference, when being attacked first my breath reacts and the arm extends straight to opponent, and as I move I choose left or right, jodan or chudan, this choice is not in my brain, it is in my back memo, drawn from my experience (like a computer back memo).
Few important details regarding this point are, first the block is as big as possible without over extending and loss of unity, connection between body center and arm, and that is because I want to catch the opponent as early as possible, before he accumulate energy, and in his territory.
Second the elbow moves as little as possible, to keep connection between body to elbow, to avoid exposing our body center, and also the moment the elbow moves unnecessarily, we are starting to move the arm in isolation, which mean the brain has to order the movement of the arm, and there is no more breath reaction and reaction from spine, and we are likely to be late.

5. Use wrist or near wrist area as contact area and attack opponent fist wrist area.
In the area near the wrist we can produce most power because we have most leverage, it is like the “sweet spot” in a baseball bat. It also allows us to “tsukome”, catch the opponent hand after block if necessary, especially if he has weapon, or if we want to throw him.
Attack the opponent fist, wrist area, also gives us most leverage at contact and it is faster to get to the fist than to forearm or upper arm.

6. Your own block protects your center, and inline for counterattack.
At end position of block, your body center should be protected, your arms should draw a triangle in front of your center, and you should not lose the midline, so you don’t have to readjust your arms for counterattack, in the block position, you should be in perfect centered line for counter attack.

7. In the block use sharp Muchimi (total body snap)

This is important since many times we have very short action space for block and need to accelerate sharply to produce force in short space.
Also sharp snap action allows us to switch quick from block to counter, using the potential energy that is in the snapping muscles.

Misconceptions of Abdominal Training

2010-11-28T22:40:00.000-08:00

Abdominal strength exercises such all types of crunches are popular both in the general public and with those involve in rehabilitation.

The reasons for this popularity is appearance of a flat stomach and the assumption that a strong abdomen protects the spine.

However, many people with strong abdominal muscles develop back pain.

Often, programs designed to strengthen abdominal muscles will contribute to muscle imbalances and pain syndromes.

The most important aspect of abdominal muscles performance is obtaining the control that is necessary to appropriately stabilize the spine, maintain optimal alignment and movement relationships between the pelvis and spine, and prevent excessive stress and compensatory motions of the pelvis during movement of the extremities.

In fact, Cholewicki and others report that only 2% to 3% of maximum voluntary activity of the abdominal muscles is necessary for stabilizing the spine during upright unloaded tasks. In sport performance the abdominal muscles are also helping us explode while decelerate and prevent unwanted movement and leaks of energy. At the same time some muscles contract concentrically to produce force while others contract eccentrically to decelerate and stabilize and prevent unneeded movement.

From this we understand that the selection and instruction of abdominal exercises has to be based not only on strength but the control that is needed and in the case of back pain the type of stresses that contribute to pain.

The most important factors that need attention are sequence of activation, with the deeper, smaller, stabilizing muscles firing before the big prime movers and maintaining balance development between abdominal and back muscles, flexors and extensors.

Because of misunderstanding many people perform various forms of crunches which cause the rectus abdominis to become dominant over the oblique’s external and internal.

Study shows that there is greater rectus activation during sit up (68%) comparing to external oblique (19%) and internal oblique (14%).

The disadvantage of this is that the rectus abdominis cannot produce or decelerate rotation which is most important in most life tasks and sports and shortness or stiffness contribute to thoracic kyphosis.

Also during sit up there is strong activity of the iliopsoas, and in the case of a person with back pain when the source is compression and anterior shear, which is what the iliopsoas are causing, the activation of this muscle should be minimized.

The best way to train the abdominal muscles is through functional whole body movements, strengthening the abdominals while it cooperate with the whole kinetic chain.

Some isolation exercises are useful when certain muscles are dormant or delayed in recruitment, in particular the inner unit, the deeper stabilizing muscles, closer to the spine.

Also in the common case of slouched posture, strengthening the back extensors is necessary.

Uke Waza (blocking technques) part 1

2010-11-25T11:10:00.000-08:00

WHY IS UKE WAZA (BLOCKING TECHNIQUES) SO IMPORTANT?

Our karate distinct advantage and superiority is the precise and very advanced use of body mechanics to achieve Todome (finishing blow), and the use of precise timing and distance so one does not meet the opponent’s strength.

Those elements allow a karate person to use less power to over come big power; the small and week can overcome the big and strong.

Understanding those elements intellectually is not enough one has to digest and internalize to the point that it is no more in our brain, but in the nervous system, the way your nervous system is wired, or in sensei Nishiyama’s wards “body system”.

But mere repetition is not enough, there is a certain order in when and how one should practice timing, and each step should make you ripe and ready to digest and step to next level, and than of course it is like a spiral, we return and repeat certain drills with the emphasize depending on the needs, this is quality rather than quantity training.

The first and most basic timing we learn and repeat the most is Sen (ahead), which is to anticipate the opponent’s action, ideally to hit him at his mental commitment (Kake no Sen)and at the latest during the physical action (Tai No Sen). When doing Sen, our offense is our defense.

Sen teaches us to react with the breath and directly from the nervous system (not brain), to make the reaction and action as one, without space of judgment, and mentally/physically to give everything once we go (Ho Shin).

In Sen we are doing single reaction, we don’t have to select between opponent’s techniques, we trust our feeling and shoot like a bullet, yet with awareness, monitoring.

Uke Waza is similar, when we are slightly late for sen, we attack the opponent’s technique on the way to attacking his body, therefore Uke Waza, is not defensive. In Uke Waza like any other timing the reaction is with the breath, but unlike in Sen timing there is selection reaction, because choice has to be made to what technique is coming at you, of course we developed methods to minimize this selection.

Uke Waza is very important first of all because it is very effective and useful in application.

Second and very important benefit of Uke Waza is that when you get good at it, all other timing and footwork become easy to apply.

When you are comfortable in front of any attack that might come at you, which seem very difficult initially because when you block you do have to select between many options that the opponent has and you move into it. You have to select not with your eyes and brain, but with your intuition, with the wisdom of the body, you have to see without your eyes.

Sensei Nishiyama used to say that if properly trained anyone could use Uke Waza within short time, one needs to repeat over and over.

When you can stay relax and calm and tune to the opponent, no matter what speed or technique he will use, when you can be comfortable to see the attack coming at you and move into it with confidence, than it is easy to apply all other kinds of Oji Waza (response techniques) and footwork, such as Amashi Waza, using space to avoid opponent and than counter, or Mawashi Ashi, (foot circle) to avoid the line of attack, or Hiraki Ashi, (to open the foot) in order to move out of attack line.

When you are comfortable with Uke Waza, all of the sudden all other timing options become easier and natural to use, because you are relax and confident and therefore can perceive the opponent and see what is not there yet, and can easily capitalize on any attack.

When you are expert in Uke Waza, you accept the opponent’s attack, you welcome it, and take advantage of it, which also allows one to set the opponent up without rush, since you have to be confident to set the opponent up and allow him to attack first yet be ahead of him.

In general you initiate Uke Waza as quick and early as possible but it is not always the case, Aiko San used to point out to me to watch Sensei Nishiyama blocks, and he does not move until the attack is almost there, he receive the attack when it starts but actually moves to it late and without rush. This is, of course, mastery.

The Kinetic Chain

2010-11-25T00:16:00.000-08:00

KINETIC CHAIN

TIMING OF TECHNIQUE

Sensei Nishiyama used to say: “ what is the point of having 8 cylinders if we use only 2”.

He also used to joke: “we don’t need muscles like Popai, we need to learn how to use what we have”.

In a karate hand technique, but also in overhead throwing motion and other functional movements, force is summated through the kinetic chain via force production at the various joints, from the lower body to the hand.

Any change in timing or force generation may result in poor performance and or eventual injury at another level within the chain.

The kinetic chain is only as strong as it weakest link.

Functional movement is never isolated, because it is produced by several muscles acting as prime movers, synergists or stabilizers that coordinate together.

Functional strength does not require maximal activation, rather optimal activation in precise timing is more important.

Alignment, motor patterns, ultimate health and performance.

2010-04-06T10:36:00.000-07:00

Maintaining or restoring precise movement of all segments is the key to preventing or correcting musculoskeletal pain or injury, and first, most important step to maximize one’s potentials and performance.
The biomechanics of the movement systems are similar to the mechanics of other systems.In Mechanical systems, the longevity of the components and the efficiency of performance require the maintenance of precise movement of the rotating segments.
In contrast to machinery, in human motion stress on the components is necessary for optimal health and stress; load in the right amount can actually strengthen the involved tissues.
Loss of precise movement can begin a cycle of overload to certain tissues and eventually cause overload injury.
As with any mechanical system alignment is important. Ideal alignment facilitates optimal movement.
If alignment is faulty before movement is initiated, correction is necessary to achieve the ideal configuration that must be retained throughout the motion. Posture and alignment are dynamic and should be at optimal throughout the movement.
The more ideal the alignment of the skeletal segments the more optimal the performance of muscles and nervous system.If alignment is ideal, there is less chance of causing microtrauma to joints and supporting structures.
Take as analogy the wheels of an automobile, for optimal rotation, the wheels must be aligned and in balance, than the tires wear evenly and last for much longer.
Optimal muscular performance and joint health are achieved through subtle adjustments of muscular length and strength, as well as through the patterns of recruitment.
In Karate therefore first we teach posture, and a teach techniques as precise postures with precise directions, and then we teach sequencing, or precise motor patterns, which are easier to learn from precise alignment and posture.
Only ones posture and motor patterns are precise we add speed and power, quick start, snap action and kime (focus), delivery and force production by pressure to floor and sharp, total musculature contraction.

Budo Story "the harder you try the longer it takes"

2010-04-03T21:50:00.000-07:00

Commentary by Eyal Nir
“Eyes on the Sword”
Long ago in Japan, a young man was an eager student of the sword. He roamed the land seeking instruction from any master who would
teach him. As he traveled, he heard rumors about a great sword teacher who had grown weary of fighting and had retired to the mountains to meditate. After months of searching, the young man finally discovered the teacher’s hut high in the mountains. Finding the teacher at home, the young man begged him to instruct him in the Way of the sword. The teacher agreed to take the young man on as a student.
"How long will it take for me to master the sword?” the young man inquired. “Five years,” the teacher replied.
"Five years!” exclaimed the young man. “That is FAR too long! I promise to practice every day as hard as I can. How long will it take me then?” “Ten years,” said the master.
“Ten years!” exclaimed the young man, “what if I agree to study and practice night and day – how long then?” “Fifteen years,” said the old man softly.
“I do not understand!” said the young man. “Why is it that the harder I say I will work, the longer you say it will take me to master the sword?”
“Because,” the wise teacher responded, “the more you seek to master the sword, the less I will be able to teach you. I cannot teach you to have two eyes on the sword if you have one eye on your goal.”
With that, the young man bowed deeply.
___________________________________________________
Comments:
1. End results are important but often to get there one should forget
about the final goal and focus on the way (Do).
2. An easy to understand example is in mastering a technique:
· Often we tell students to give up power as in their desire
for an end result (e.g. punching harder) they "do more of the
same" within their current habits domain becoming more
stiff, isolating limbs rather than learning "center-driven
connection"...in short not allowing themselves to walk the
way (passing thru a discomfort zone) of abandoning old
habits for new and better ones adopting and digesting new
skills.
· While allowing ourselves to walk the way putting aside end
results is a necessary phase in acquiring new skills once the
"new info" is well digested into our system and for actual
application it is often useful to actually forget about all technique
details and focus on end results using "imagination training"
envisioning the desired result as this employs an unconscious \
automatic mechanism in our brain which is more efficient in
executing already acquired skill.
3. In summary - there are 2 phases:
1. Acquiring motor skill
2. Putting it to use in actual application.
The nice story above in more relevant to the 1st phase while in actual application we do not want to keep 2 eyes or even 1 eye on our sword (technique) as we should forget about technique, let the skill express itself automatically while we focus on intention and breath which make strategy.

STILL MIND, TO PERCIEVE THE OPPONENT

2009-12-06T21:20:00.000-08:00

This is true in the physical and mental realms, we cannot separate the mental from the physical but here I will focus on the mental side.
The mind has to be still, still does not imply dead or stuck, it is not a forced stillness either, which comes from discipline and will power, if I force the mind to be here and not to be there, there is a conflict, energy is wasted. So we want to just observe, without thought, judgment, it means not being taken by any particular idea, action of the opponent, emotion, and the mind is free to be anywhere it needs to be. To be still is to observe, to monitor, without any effort, without interference of thought, it is to have a fresh mind, to look at the opponent without previous knowledge, than you become the opponent, see the opponent as is. We use the breath as a mean to become the opponent, “by passing” the brain as my teacher, sensei Nishiyama used to say, you look at the opponent directly without the screen, interference, noise of your thought and judgment, than how can the opponent surprise you? Whatever he does, you are already ahead. Thought is time, it is movement, and we want direct perception, or perception - action, rather than perception- thought – action. In this stillness, there is space, since the mind is not over informed, the mind is free and flowing and can be wherever it needs to be instantly, without a gap of thought, decision. In karate and budo the mind should be nowhere in particular but everywhere it needs to be.
My teacher used to say “don’t look to the opponent’s outside, look to his heart”, or he constantly said: “eyes way back, monitoring, having a total view”Zen master Takuan in his letters to famous samurai, Miyamoto Musashi said that the mind should be immovable, meaning not taken by any particular thing, so it can be anywhere it needs without space of time, as there is no gap between the stones hitting each other and the fire.We are looking for attentive mind rather than concentration, in concentration, one focuses on one thing excluding others, and there is effort, energy spent on concentrating, in attention one see the whole, effortlessly so all the energy is there to do what is necessary.
That is very important because it allows us for total action, as my teacher repeatedly used to say: “ho Shin, give everything, once you go you must give everything, there is no mind in the technique”.
In Budo we say “no mind” or “empty mind” which should be explained carefully, because it does not imply being stupid but rather “mind of no mind” when the mind is empty, there is no conflict or choices, the mind is free and can be applied fully, and so the body can follow, and can be applied without holding back.
In concentration thought is involved and the body becomes easily rigid, in attention there is no thought and the body is soft, yet it is more intense state, you see the situation with your whole being, the whole body sees the opponent, as sensei Nishiyama used to say: “put your eyes in your stomach”.The eyes is only part of how we pervieve things, and our thinking is only part of our intelligence, we have to know when thought is proper and when it is interfering.
In karate we learn to have an attentive mind through simple physical directions that are mental as well:
Eyes back
Low stomach forward and perceive the opponent
Breath reactionBreathing initiating muscle action and technique from the ground up
Feet like tap dance with the opponent
Breath tuning to opponent and ultimately conducting the opponent’s rhythm.

Federer Exerts His Power From the Ground Up

2009-09-13T18:17:00.000-07:00

Comparison to karate

I found this beautiful article in the NY times about Federer efficient and artful footwork and his ability to produce power from the ground up, which make him one of the best players in tennis history.
To me it is beautiful to see that whenever athletes reach a level of art, you will hear the same description, effortless power, effortless focus, smooth, pure, without extra motion.In karate more than in other sports those qualities are taught, they are not just left for the practitioner to find or maybe not to find out, but of course one has to work at it, one cannot be fed and injected with those qualities. There is a system that allows anyone to reach this artful quality of movement. Maybe it is because of the long history of karate, I saw some similar teachings in dance and in Gymnastics.
I will take some of the points in the article and compare them to the teachings of karate and specifically my teacher’s.
In karate for many generations training always starts with posture and stance, one who is able to maximize ground reaction forces and transfer them effectively through the body center and to the arms and legs can produce much greater force than bigger and more athletic person.Only from a good posture one can have truly masterful footwork, since the legs and feet are expressions of the spine and body center.These concepts are acknowledged more and more in other sports and even in just being effective in everyday activities.

NY Times: This is how Roger Federer transcends tennis before taking a single swing. He moves with feet that whisper when most squeak…his head held still, as if balancing a book on top.

Aiko San (my teacher’s secretary)used to constantly remind me to keep the feet soft and quiet, and to keep the head still, she used to make me practice footwork with a book balanced on my head, or she told me to imagine that my head was just balancing on my shoulders and if my head was to fall, it should fall between my legs and not to either side.
Nishiyama Sensei did not like to explain too much, he would just hit me with the stick to remind me of posture.

NY Times: The argument for Federer as the greatest player in men’s tennis history starts from the ground up

That is how you can tell the level of karate person, the more power is generated from the ground and body center, the higher the quality, the more power from the arms and legs the poorer.

NY Times: “When Roger is in full flight, he looks like he’s gliding,” the former No. 1 Jim Courier said. “Almost like he’s floating above the court.”

In Japanese Budo (Japanese martial arts) the term Ukimi means floating and refers to the suspension of the legs from the body center, which allows the body center to handle the footwork, and the feet appear as gliding.Sensei Nishiyama used to say “feet are one sheet paper from floor” or “as if walking on thin ice” or “walking on shoji screen (rice paper)”.

NY Times: Everything else that separates Federer from his peers — the wizardry behind his shot selection, the ferocity of his forehand, the success on varied surfaces — starts with an artful dance that someone like Kathryn Bennetts can appreciate.
Bennetts runs the Royal Ballet of Flanders in Belgium, when she became a professional dancer, she noticed the correlation of movement between both passions. Dancers grace stems from their awareness of their feet and the way movement flows from there. They move easily, in balance, made to appear that way through thousands of hours of repetition. In Federer, Bennetts found the Mikail Baryshnikov of tennis.
Aiko San was a professional dancer, 40 years ago she came from Japan to study dance at UCLA, (very uncommon at that time) and many people are not aware that many of Sensei Nishiyama’s teachings are influenced by Aiko San deep knowledge of dance and movement. When she worked with me, she compared many times dance and karate principles, a good karate person should move smoothly and effortlessly as a dancers from the ground up and from inside out.She made fun of Sensei Nishiyama’s dance, she said it looks like kata.
NY Times: Federer’s 6-foot-1 build — leaner on the top, thicker and stronger on the bottom — is balanced. When he runs, he keeps his upper body almost level. He moves laterally, not vertically, around the court.
In karate one must keep upright to be effective and not move up and down in order to be smooth.
NY Times: “Like out of a Miss Manners class,” Courier said. “He does most, if not all, of his movement with his legs. That’s part of his genius.”
A good karate person initiate and control every action from the feet, sensei Nishiyama will say “even if one finger moves, it is controlled from the feet, feet like remote control”.
NY Times: Federer’s footwork is most evident, though, when he is playing poorly. Only then does he lunge or lean, looking uncomfortable or off-balance.

Good footwork allow one to be in the right moment in the right space, move smoothly, quickly as necessary without back motion, unnecessary motions are removed, and than one has more time to apply effective technique from a firm base and make his opponent at lose, behind.When one has poor footwork he is rushing, uncomfortable, losing his posture, leaning and moving from the top.

2009-08-09T22:52:00.000-07:00

Posture and performance

In previous articles we discussed how postural distortions can increase the chances of cumulative injury.Here we will discuss posture and it relationship with performance.Optimum posture and alignment provides optimum structural and functional efficiency to the kinetic chain. If one component of the kinetic chain is out of alignment it creates patterns of tissue overload and dysfunction which leads to decreased neuromuscular control, and decreased performance.Optimum posture and alignment provide optimal shock absorption, weight acceptance and transfer of force during functional movements.In optimum posture least amount of energy is spent statically and during functional tasks.
Ideal functional posture maintains the structural integrity of the kinetic chain and optimum alignment of each component. This promotes optimum length-tension relationships, force-couple relationships, and joints kinematics. There is an optimal length at which a muscle can develop maximal tension.If the muscles are shortened or lengthened beyond the optimum length, the amount of force that can be generated decreases.The central nervous system is designed to optimize the selection of muscle synergies to produce movement.Muscles work as force couples to produce force, dynamically stabilize, and reduce force.Joint arthrokinematics refers to the optimal movement at the joint, roll, slide, glide and translation. Optimum length-tension relationships and force-couple relationship ensure normal efficient joint kinematics.
For example, if one muscle is tight (altered length-tension relationships), the force couple around that joint are altered, normal movement at this joint is altered. This will alter proprioceptive input to the central nervous system.Proprioception is the cumulative neural input to the central nervous system from all mechanoreceptors of the entire kinetic chain.Mechanoreceptors are highly specialized neural structures that convert mechanical information into electrical information, which is than relayed to the central nervous system.
When the muscular, articular and neural systems are activated during function, the cumulative information from all the structures is sorted out by central nervous system.
This process allows the appropriate motor program to be chosen to perform an activity.This ensures that the right muscle contracts at the right joint, the right amount of force, and at the right time.
If any component of the kinetic chain is dysfunctional, (tight muscle, weak muscle. Joint dysfunction) than neuromuscular control is altered, which decreases force production, force reduction and stabilization.Reciprocal inhibition is a process where a tight muscle causes decreased neural drive to its antagonist. For example, a tight psoas (hip flexor) will decrease the neural drive to the gluteus maximus (buttocks), this alters normal force-couple relationships. The activation and force production in hip extension of the prime mover (gluteus maximus) is decreased, leading to compensation by the synergists (hamstrings) and stabilizers (erector spinae).This process is called synergistic dominance, where a synergist compensates for a prime mover to maintain force production.This alters joint alignment, which further alters the normal length-tension relationships around the joint that the muscles attach to.
Optimum posture enables the development of high levels of functional strength and neuromuscular efficiency.

Reaction and action are one

2009-04-14T08:17:00.000-07:00

Using the eyes make us late, we tune and react to the opponent with the breath
If you see the attack, you are too late, when he attacks you must already be in motion. The reaction should be directly from the spine, by the breath, just as when you walk in the street and something happens, you breath reacts, haaaa..., and only than your brain realizes what happened, this is a a reflex. In karate we say that we "by pass" the brain, confirming and deciding in the brain will make you behind. It is more than just reflex, by not judging, by keeping wide attention, we perceive the opponent, we allow our intuitive mind to receive the opponent, there is a lot of information we can receive from the opponent about his intentions if we are tuned to him.
If we look too hard, judge, confirm, we will interfere with breath reaction, and the technique will have a different cycle, pattern, it will be an order from the brain to the arm, which makes us late but also makes us isolate the arms and legs.

The breath initiates the technique
Reacting with the breath and perceiving the opponent is only half the picture.
Breath reflex is innate but if it does not translate into action and technique it is useless.
In the basic training we learn to coordinate between intention, breath, muscles and technique, we learn to control the spinal muscles by using lower abdominal breath.

From previous articles, we know that the first muscles to fire in any movement are those around the spine, and we also know that the legs and arms movement are function of the spine.

As we advanced and go beyond the external form, the breath will initiate the body center and control the feet and the technique. The breath is the "trigger" that initiates the technique, and therefore when we react with the breath, feet action and technique are resulting.

Now, put the two together, breath makes reaction, breath makes action, reaction and action are one without space.
So when the opponent attacks us, the breath and the feet are the first to move, moreover, when the opponent move, your feet should already be in motion.
Reaction and action are one, initiated from the center which is controlled by the breath, so at advanced level, one does not think of arms and legs, neither of the opponent's arms and leg, only intention and breath and the rest will do itself, now the mind is free, and has space to make strategy.
Remember, the mind has to be free so the technique can be expressed.

Maximizing impact in karate technique

2009-04-11T13:14:00.000-07:00

Karate technique is based on the concept of Todome-finishing blow technique, executed in perfect timing, this is fighting by skill rather than exchange of techniques and brawling, which is to rely on strength and size.
Therefore, we need to study each technique, deeply rather than learn many techniques superficially. We need to understand many details and through understanding the complexity achieve simplicity. The technique has to become reflexive, we say that "there is no mind in the technique".

Force equal mass times acceleration, and shocking power, impulse, equal force divide by time, or maximum force delivered in shortest amount of time.

We also need to consider other factors beside achieving maximum impact power, such as we have to initiate a technique quickest and without back motion for it to be applicable, and the end of a technique has to be best condition for next, to eliminate space or readjustment between actions, we also have to remember that in most cases only small space is available, so we have to remove unnecessery action and our goal is to produce more force in less movement.

The following principles have to be applied to any kime technique, using any body action, from any stance:

Quickest start without back motion

This is achieved by two means:
Sharp turning from the spine, or spinal muscles, using ground reaction, therefore breath from the lower abdominal trigger the technique by controlling the spinal muscles while applying pressure and twisting to the feet. (turning from the big diameter of the hips is too slow).
Using inside muscle reaction, "reverse" exhale to draw the stomach toward the back, to apply pressure to the back and the floor as a base by changing the exhalation direction sharply, we release the loaded muscles and technique.
The breath is the trigger.

Muchimi, body like whip, total nody snap
This is most important acceleration, speed increases sharply as the body snaps like a whip from the center out, with the Sacrum as the base or the handle of the whip, and the expression at the contact area, via the twist of the forearm at the elbow joint or at the wrist.

Kime, at contact maximum pressure to floor and total bady contraction to technique line of energy
At contact using the breath and proper body alignment we apply maximum pressure to floor as a mean to deliver the total accumulated energy through the target, the pressure to the floor is also acceleration of the vody weight up to 2 to 3 times, which is very important force production especially in short space where momentum is limited. (we cannot change the body weight but can accelerate it using ground reaction0.
As we make pressure we make sharp contraction of the whole body, the body should be like steel for an instant, the purpose is to deliver the total energy in shortest time to make maximum shocking power.
To achieve total contraction we think of the torso muscles contracting like a tube to the spine and from the spine chain reaction to technique line, it is important that the contraction has the proper direction, since power with no direction is useless.

Zanshin
After technique keep mind, or mental and physical prearedness, when we make a technique we give everything without holding back, physically the more pressure to floor and the sharper contraction the more potential, so next technique starts as reaction, effortlessly, also mentally when we give everything the mind is free, it has no ressistance or contradiction, and can smoothly flow with the situation without gap, or space of decision and confirmation.

Foundattions of karate techniques

2009-04-10T22:28:00.000-07:00

Foundations of karate technique
We discuss pre requirements to karate technique, conditions that have to be understood and digested before we can talk about speed, snap, and kime.

Intention
Condense ki energy to body center (using breath and intention), body center is intention center, intention from center to opponent's center. Intention, imagination first, than breath, than spinal muscles, and in ripple effect energy, force increases to extremities and technique.

Posture
best body alignment from where body movement can be initiated quickest, smoothest and with least effort. The postural direction have important influence on our mental and emotional state.

Using ground reaction, stance
We cannot increase energy and change the center of mass without external force, all karate technique is initiated from external force, indirectly.Stance in karate is for the purpose of maximizing ground reaction forces to initiate a technique, quickest, without back motion.
Also, the purpose of stance is to provide strongest base to deliver force fully to the target at impact (kime).

Zui Ban, accompanying movement, action from body center
When the body center, about 3 fingers under the belly button toward the spine, at the sacrum, moves to certain direction, all parts of the body tend to cooperate to same direction.
Therefore, our intention center and action center is at the Tan Den.

Breath control technique
Breathing from floor to initiate the technique from ground reaction, and to activate the muscles as chain reaction from the feet up. We use "reverse" exhale to produce force from outside inward, such as pulling, sweeping technique. The breath controls muscles contraction/expansion, and the type of contraction we want at kime.

Sequence, timing within technique
To accumulate maximum energy, each body segment increases energy fully and than next segment starts. Simply we say, body action first than technique starts naturally.
Or, we say, in hand techniques: stomach to elbow to contact area, in foot techniques: stomach to knee to contact area.

Joint as action center
Energy transfer from one body segment to another at the joint, the more stable the joint is, the more transfer of energy. For example, if the knee is wobbly during hips rotation, ground reaction energy will dissipate.

Knowledge vs. Free mind

2009-04-10T10:18:00.000-07:00

When we start learning karate, we must learn technique and kata first, we must have the knowledge of details of technique. This knowledge can become a hindrance when we hang to it, when we let it shape and condition the mind in a particular way. Than this knowledge prevents us from new investigation and discovery.

This is true with knowledge in general, we accumulate knowledge and memory which is important, without it we could not fly airplane, practice medicine and do essential things for our lives, but it can become a hindrance, set us in patterns, and prevent us from having a fresh, free mind that can discover.

In learning karate and learning in general we should not allow accumulation of knowledge top make us mechanical.
So we should distinguish between when knowledge is essential and when it becomes a hindrance.
The difficulty is to free the mind from the known so it can discover what is new all the time.

Great mathematicians can get stuck on a problem when they try hard to solve it but when the mind is quiet and have space the problem itself will reveal the answer.
We must have information about a problem but one must be free of that information to find an answer.
Similarly, in karate, one must have good technique, learned from the best teacher, but must be free of this technique to apply it successfully.

We acquire information, knowledge and technique, but we do not learn how to quiet the mind, how to keep the mind free, so we become a slave to a system which really means no creativity.
To have technique is meaningless without creative mind.
There must be first freedom of the mind for creativeness to take place, and than technique can express this creativeness.
We must teach technique first to introduce a person to karate or any knowledge, and at the same time have the awareness that we do not become dull, mechanical by this technique.

The mind and technique

2009-04-09T19:53:00.000-07:00

In karate one must die every day to what he knows, so the mind is fresh.
We make no conclusions we are just there to find out.
Good technique should be an expression of spontanous, free mind, if we hold on to the technique, make it a safeguard, the mind will deteriorate.
Technique is only our vehicle to discover and internalize karate principles, at the same time we have to keep our mind pure, free.