Misconceptions of Abdominal Training

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

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

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.

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"

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

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

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.