<i>Kiba-dachi</i> - Side Stance

This is the third in a series of articles on the subject of basic Shotokan stances. For information about zenkutsu-dachi/front-stance, please see my August 2000 article. For kokutsu-dachi/back-stance, please see my October 2000 article.

General Stance Configuration

Kiba-dachi is usually the same length as zenkutsu-dachi (when facing the side), but with no significant width. The feet should be parallel to each other, with the knees just inside the line of the big toes.  The height of the stance is the same as zenkutsu-dachi and kokutsu-dachi.  The torso's position is exactly in the middle of the two feet. As with the front- and back-stances, I will not discuss hip movement/rotation in this article. There is some limited hip movement possible with this stance. But I am only concerned with a straight hip position at this time, as this is the method employed most often during basics and kata.

Strength, stability and mobility
In this basic position, the stance is relatively stable and strong toward the sides, but not to the front. Moving from side to side can be done relatively quickly, if the aim is to move only a matter of inches, using a shift or shuffle of the feet.  To move greater distance the sides, using steps (either cross-over or alternating), these movements become more awkward and unstable.   Moving forward/back while in this stance (in the direction the torso is facing) is unrealistic.  But using this stance while defending/attacking to the front/back is more practical.


Variations

Moving weight forward/back or to one side, feet  further apart, feet angled further out/in than 90-degrees, higher/lower stance, knees facing other than the same direction as the toes…

Strength, stability and mobility
As the feet move further apart from each other, the stance may become more stable (to a certain point).  When the feet are situated closer to each other, mobility may be enhanced. With the feet angled out further, movement to directions outide a 90-degree range become more easily attainable, with a resulting diffusion of power and control.


My Theory

Some instructors will describe side stance as being as wide as front stance is long (twice the width of the shoulders).  Others will desribe the distance between the feet as being the same as in front stance (the diagonal between the feet is a greater distance in front stance than the length of the stance).  I believe that the proper range for the width of the side stance is between these two measurements.  More specifically, I think that the stance should be wider or narrower at different times; not always the same distance between the feet.

While facing the front, it makes sense to keep the feet closer together, in order to (a) increase mobility and (b) better align the knees with the feet.  When moving to the side, it makes sense to keep the feet further apart to (a) increase stability to the sides and (b) better align the knees with the feet.

Huh?  How can the alignment be better in both situations?  Please see the following photos:



In the example on the left, the stance is performed roughly as most commonly practiced by Shotokan practitioners  in modern dojo.  In the example on the right, it is performed closer to the way it was practiced 50+ years ago, at Shotokan's early stages (the feet were actually even closer together when Funakoshi first brough his version of karate to the Japan mainland in the first half of the 20th century).   Both have relative advantages and disadvantages.

In the example on the left, the feet are further apart and the knees are situated such that a line drawn down to the floor from them would end significantly inwards of the feet.   In the example on the right, the feet are closer together and the knees are almost directly over the feet.  The knees are actually in almost exactly the same position in both examples.  But, due to the position of the feet, the relative position of the knees compared to the feet changes.

With the feet wider, the imaginary line drawn between the feet and hip comes close to where the knees are.  With the feet closer, the knees are further from this line.   What this indicates is that when pushing toward the sides (shifting or stepping), the stance is more stable and powerful. 

With the knees situated inwards of the feet, the legs are not in as good position to direct power or move to the front or back.  To change quickly and correctly to front-stance or back-stance while moving to the front or back from side-stance (as opposed to shifting in place) would be better accomplished by placing the knees directly above the feet (more specifically, situating the knee directly above the line projecting forward from the toes of the feet).

Thus, for movements or techniques to the sides, the wider version is probably better.   For movements or techniques to the front/back, the narrower version is probably better.


From Static Positions to Moving

While it is important to study the static stances, it is also important to realize that, in reality, one should not expect to remain in any one stance for more than a second or two at a time. Stepping, shifting, turning, rising, falling and other motions come into play from the basic stance. One should consider options from the static stance. Some of the variables mentioned above may become even more important when considering what comes before or after. This can be further complicated when considering movements to directions other than directly to the front, back or sides, or combinations of directions in succession.


Summary

There are obviously many factors that should be considered when evaluating what an "ideal side stance" might be. I suggest experimentation to determine what is both best for you as an individual in an ideal situation, as well as what might be best considering the variables involved. There are accepted variations. But there are some variations that may not be advisable or accepted. As usual, for students, I suggest further discussion with your instructor(s) for clarification and more physical examples. For instructors, I hope this helps promote further technical study and possibly provide new ideas on what/how to teach or explain technique to students. As always, feel free to contact me with questions or comments.


Copyright © 2000, Jon Keeling

<i>Kiba-dachi</i> - Side Stance

This is the third in a series of articles on the subject of basic Shotokan stances. For information about zenkutsu-dachi/front-stance, please see my August 2000 article. For kokutsu-dachi/back-stance, please see my October 2000 article.

General Stance Configuration

Kiba-dachi is usually the same length as zenkutsu-dachi (when facing the side), but with no significant width. The feet should be parallel to each other, with the knees just inside the line of the big toes.  The height of the stance is the same as zenkutsu-dachi and kokutsu-dachi.  The torso's position is exactly in the middle of the two feet. As with the front- and back-stances, I will not discuss hip movement/rotation in this article. There is some limited hip movement possible with this stance. But I am only concerned with a straight hip position at this time, as this is the method employed most often during basics and kata.

Strength, stability and mobility
In this basic position, the stance is relatively stable and strong toward the sides, but not to the front. Moving from side to side can be done relatively quickly, if the aim is to move only a matter of inches, using a shift or shuffle of the feet.  To move greater distance the sides, using steps (either cross-over or alternating), these movements become more awkward and unstable.   Moving forward/back while in this stance (in the direction the torso is facing) is unrealistic.  But using this stance while defending/attacking to the front/back is more practical.


Variations

Moving weight forward/back or to one side, feet  further apart, feet angled further out/in than 90-degrees, higher/lower stance, knees facing other than the same direction as the toes…

Strength, stability and mobility
As the feet move further apart from each other, the stance may become more stable (to a certain point).  When the feet are situated closer to each other, mobility may be enhanced. With the feet angled out further, movement to directions outide a 90-degree range become more easily attainable, with a resulting diffusion of power and control.


My Theory

Some instructors will describe side stance as being as wide as front stance is long (twice the width of the shoulders).  Others will desribe the distance between the feet as being the same as in front stance (the diagonal between the feet is a greater distance in front stance than the length of the stance).  I believe that the proper range for the width of the side stance is between these two measurements.  More specifically, I think that the stance should be wider or narrower at different times; not always the same distance between the feet.

While facing the front, it makes sense to keep the feet closer together, in order to (a) increase mobility and (b) better align the knees with the feet.  When moving to the side, it makes sense to keep the feet further apart to (a) increase stability to the sides and (b) better align the knees with the feet.

Huh?  How can the alignment be better in both situations?  Please see the following photos:



In the example on the left, the stance is performed roughly as most commonly practiced by Shotokan practitioners  in modern dojo.  In the example on the right, it is performed closer to the way it was practiced 50+ years ago, at Shotokan's early stages (the feet were actually even closer together when Funakoshi first brough his version of karate to the Japan mainland in the first half of the 20th century).   Both have relative advantages and disadvantages.

In the example on the left, the feet are further apart and the knees are situated such that a line drawn down to the floor from them would end significantly inwards of the feet.   In the example on the right, the feet are closer together and the knees are almost directly over the feet.  The knees are actually in almost exactly the same position in both examples.  But, due to the position of the feet, the relative position of the knees compared to the feet changes.

With the feet wider, the imaginary line drawn between the feet and hip comes close to where the knees are.  With the feet closer, the knees are further from this line.   What this indicates is that when pushing toward the sides (shifting or stepping), the stance is more stable and powerful. 

With the knees situated inwards of the feet, the legs are not in as good position to direct power or move to the front or back.  To change quickly and correctly to front-stance or back-stance while moving to the front or back from side-stance (as opposed to shifting in place) would be better accomplished by placing the knees directly above the feet (more specifically, situating the knee directly above the line projecting forward from the toes of the feet).

Thus, for movements or techniques to the sides, the wider version is probably better.   For movements or techniques to the front/back, the narrower version is probably better.


From Static Positions to Moving

While it is important to study the static stances, it is also important to realize that, in reality, one should not expect to remain in any one stance for more than a second or two at a time. Stepping, shifting, turning, rising, falling and other motions come into play from the basic stance. One should consider options from the static stance. Some of the variables mentioned above may become even more important when considering what comes before or after. This can be further complicated when considering movements to directions other than directly to the front, back or sides, or combinations of directions in succession.


Summary

There are obviously many factors that should be considered when evaluating what an "ideal side stance" might be. I suggest experimentation to determine what is both best for you as an individual in an ideal situation, as well as what might be best considering the variables involved. There are accepted variations. But there are some variations that may not be advisable or accepted. As usual, for students, I suggest further discussion with your instructor(s) for clarification and more physical examples. For instructors, I hope this helps promote further technical study and possibly provide new ideas on what/how to teach or explain technique to students. As always, feel free to contact me with questions or comments.


Copyright © 2000, Jon Keeling

"Hip Vibration" - What does it really mean?

Most of the JKA-style practitioners who are reading this article, at least those who have been at it for at least a year or two, have heard of "hip vibration." I am quite sure that some non-JKA Shotokan practitioners have also heard the term. Whether or not the hips move during techniques that are described as using "hip vibration" is not an issue. They move. How and why they move, however, are issues I would like to address here.

Some people, after hearing about and seeing "hip vibration," will put much effort into this action. While there may be good reason to think about this action, it would be worth taking some time to think about what is actually happening (or, more appropriately what should be happening) during this action. "Hip vibration" is not merely an extraneous horizontal swing or jiggle of the hips. And it is not something completely esoteric, either.

The usual way in which the hips "vibrate" during a punch involves the hip on the side of the forward leg moving towards the target first (or, sometimes, the hip of the back leg moving back). Then, the back hip is immediately forced towards the target. This quick, one-two action is the normal physical action referred to as "hip vibration." Sometimes, such as during blocks, the hip action occurs the other way around. Basically, the hips move horizontally toward the opposite of their final position, then are quickly snapped into their final position.

So, it is as easy as moving the hip one way, then the other, right?

Wrong. There is more to it. And there is less to it, depending on how you look at it…

While the above is the normal physical movement that we witness during techniques using "hip vibration," I would say that this is more of a reaction to something else. The way I see it, the primary force causing this "hip vibration" is not as much an intentional hip swing, as an application of "dynamic tension."

What is actually occurring in the hips during this movement is a result of a relaxation of the hips, lower torso and upper-leg muscles, followed by a tensing of the muscles of this region. When we relax those muscles, the hips naturally turn towards a position between the extremes of shomen and hanmi (hips front and hips to the side), to a neutral position. We relax these muscles, then quickly tense them as we assume our final, less-natural hip position, at the extreme of either shomen or hanmi hip position. The resulting physical action is what we see as "hip vibration."

If we are simply trying to make a large movement of the hips to add horizontal power to a technique, then we are probably better off using larger hip movements, instead of this "vibration." The purpose of "hip vibration" is not so much to add rotational force to a technique. I would actually say that there is no purpose to it at all; it is a side-effect. It is more a result of an action aimed at efficient motion. Through relaxation, during the first part of the movement, we should be able to increase speed and be able to more naturally react to unknown stimuli. Through tension, during the final part of the movement, we should connect the various body parts together (muscles binding solidly to each other through and around the joints) as they come to a stop. The energy conserved while relaxing can then be utilized during tension, to create "dynamic tension," a sharp contrast between relaxation and tension of the muscles of the hip region.

In summary, I would stress that when thinking about "hip vibration," it is probably better to think of the contrast between relaxation and tension than to think about the physical movements of the hip itself.

See the following articles for more on tension/relaxation:
• February 1998 (Tension vs. Relaxation)
• May 2000 (Tension Timing: Part I)
• June 2000 (Tension Timing: Part II)
• July 2000 (Tension Timing: Part III)

See the following article for more on hip rotation:
• December 1999 (Hip Rotation?) 


Copyright © 2000, Jon Keeling

"Hip Vibration" - What does it really mean?

Most of the JKA-style practitioners who are reading this article, at least those who have been at it for at least a year or two, have heard of "hip vibration." I am quite sure that some non-JKA Shotokan practitioners have also heard the term. Whether or not the hips move during techniques that are described as using "hip vibration" is not an issue. They move. How and why they move, however, are issues I would like to address here.

Some people, after hearing about and seeing "hip vibration," will put much effort into this action. While there may be good reason to think about this action, it would be worth taking some time to think about what is actually happening (or, more appropriately what should be happening) during this action. "Hip vibration" is not merely an extraneous horizontal swing or jiggle of the hips. And it is not something completely esoteric, either.

The usual way in which the hips "vibrate" during a punch involves the hip on the side of the forward leg moving towards the target first (or, sometimes, the hip of the back leg moving back). Then, the back hip is immediately forced towards the target. This quick, one-two action is the normal physical action referred to as "hip vibration." Sometimes, such as during blocks, the hip action occurs the other way around. Basically, the hips move horizontally toward the opposite of their final position, then are quickly snapped into their final position.

So, it is as easy as moving the hip one way, then the other, right?

Wrong. There is more to it. And there is less to it, depending on how you look at it…

While the above is the normal physical movement that we witness during techniques using "hip vibration," I would say that this is more of a reaction to something else. The way I see it, the primary force causing this "hip vibration" is not as much an intentional hip swing, as an application of "dynamic tension."

What is actually occurring in the hips during this movement is a result of a relaxation of the hips, lower torso and upper-leg muscles, followed by a tensing of the muscles of this region. When we relax those muscles, the hips naturally turn towards a position between the extremes of shomen and hanmi (hips front and hips to the side), to a neutral position. We relax these muscles, then quickly tense them as we assume our final, less-natural hip position, at the extreme of either shomen or hanmi hip position. The resulting physical action is what we see as "hip vibration."

If we are simply trying to make a large movement of the hips to add horizontal power to a technique, then we are probably better off using larger hip movements, instead of this "vibration." The purpose of "hip vibration" is not so much to add rotational force to a technique. I would actually say that there is no purpose to it at all; it is a side-effect. It is more a result of an action aimed at efficient motion. Through relaxation, during the first part of the movement, we should be able to increase speed and be able to more naturally react to unknown stimuli. Through tension, during the final part of the movement, we should connect the various body parts together (muscles binding solidly to each other through and around the joints) as they come to a stop. The energy conserved while relaxing can then be utilized during tension, to create "dynamic tension," a sharp contrast between relaxation and tension of the muscles of the hip region.

In summary, I would stress that when thinking about "hip vibration," it is probably better to think of the contrast between relaxation and tension than to think about the physical movements of the hip itself.

See the following articles for more on tension/relaxation:
• February 1998 (Tension vs. Relaxation)
• May 2000 (Tension Timing: Part I)
• June 2000 (Tension Timing: Part II)
• July 2000 (Tension Timing: Part III)

See the following article for more on hip rotation:
• December 1999 (Hip Rotation?) 


Copyright © 2000, Jon Keeling

"Hip Vibration" - What does it really mean?

Most of the JKA-style practitioners who are reading this article, at least those who have been at it for at least a year or two, have heard of "hip vibration." I am quite sure that some non-JKA Shotokan practitioners have also heard the term. Whether or not the hips move during techniques that are described as using "hip vibration" is not an issue. They move. How and why they move, however, are issues I would like to address here.

Some people, after hearing about and seeing "hip vibration," will put much effort into this action. While there may be good reason to think about this action, it would be worth taking some time to think about what is actually happening (or, more appropriately what should be happening) during this action. "Hip vibration" is not merely an extraneous horizontal swing or jiggle of the hips. And it is not something completely esoteric, either.

The usual way in which the hips "vibrate" during a punch involves the hip on the side of the forward leg moving towards the target first (or, sometimes, the hip of the back leg moving back). Then, the back hip is immediately forced towards the target. This quick, one-two action is the normal physical action referred to as "hip vibration." Sometimes, such as during blocks, the hip action occurs the other way around. Basically, the hips move horizontally toward the opposite of their final position, then are quickly snapped into their final position.

So, it is as easy as moving the hip one way, then the other, right?

Wrong. There is more to it. And there is less to it, depending on how you look at it…

While the above is the normal physical movement that we witness during techniques using "hip vibration," I would say that this is more of a reaction to something else. The way I see it, the primary force causing this "hip vibration" is not as much an intentional hip swing, as an application of "dynamic tension."

What is actually occurring in the hips during this movement is a result of a relaxation of the hips, lower torso and upper-leg muscles, followed by a tensing of the muscles of this region. When we relax those muscles, the hips naturally turn towards a position between the extremes of shomen and hanmi (hips front and hips to the side), to a neutral position. We relax these muscles, then quickly tense them as we assume our final, less-natural hip position, at the extreme of either shomen or hanmi hip position. The resulting physical action is what we see as "hip vibration."

If we are simply trying to make a large movement of the hips to add horizontal power to a technique, then we are probably better off using larger hip movements, instead of this "vibration." The purpose of "hip vibration" is not so much to add rotational force to a technique. I would actually say that there is no purpose to it at all; it is a side-effect. It is more a result of an action aimed at efficient motion. Through relaxation, during the first part of the movement, we should be able to increase speed and be able to more naturally react to unknown stimuli. Through tension, during the final part of the movement, we should connect the various body parts together (muscles binding solidly to each other through and around the joints) as they come to a stop. The energy conserved while relaxing can then be utilized during tension, to create "dynamic tension," a sharp contrast between relaxation and tension of the muscles of the hip region.

In summary, I would stress that when thinking about "hip vibration," it is probably better to think of the contrast between relaxation and tension than to think about the physical movements of the hip itself.

See the following articles for more on tension/relaxation:
• February 1998 (Tension vs. Relaxation)
• May 2000 (Tension Timing: Part I)
• June 2000 (Tension Timing: Part II)
• July 2000 (Tension Timing: Part III)

See the following article for more on hip rotation:
• December 1999 (Hip Rotation?) 


Copyright © 2000, Jon Keeling

"Hip Vibration" - What does it really mean?

Most of the JKA-style practitioners who are reading this article, at least those who have been at it for at least a year or two, have heard of "hip vibration." I am quite sure that some non-JKA Shotokan practitioners have also heard the term. Whether or not the hips move during techniques that are described as using "hip vibration" is not an issue. They move. How and why they move, however, are issues I would like to address here.

Some people, after hearing about and seeing "hip vibration," will put much effort into this action. While there may be good reason to think about this action, it would be worth taking some time to think about what is actually happening (or, more appropriately what should be happening) during this action. "Hip vibration" is not merely an extraneous horizontal swing or jiggle of the hips. And it is not something completely esoteric, either.

The usual way in which the hips "vibrate" during a punch involves the hip on the side of the forward leg moving towards the target first (or, sometimes, the hip of the back leg moving back). Then, the back hip is immediately forced towards the target. This quick, one-two action is the normal physical action referred to as "hip vibration." Sometimes, such as during blocks, the hip action occurs the other way around. Basically, the hips move horizontally toward the opposite of their final position, then are quickly snapped into their final position.

So, it is as easy as moving the hip one way, then the other, right?

Wrong. There is more to it. And there is less to it, depending on how you look at it…

While the above is the normal physical movement that we witness during techniques using "hip vibration," I would say that this is more of a reaction to something else. The way I see it, the primary force causing this "hip vibration" is not as much an intentional hip swing, as an application of "dynamic tension."

What is actually occurring in the hips during this movement is a result of a relaxation of the hips, lower torso and upper-leg muscles, followed by a tensing of the muscles of this region. When we relax those muscles, the hips naturally turn towards a position between the extremes of shomen and hanmi (hips front and hips to the side), to a neutral position. We relax these muscles, then quickly tense them as we assume our final, less-natural hip position, at the extreme of either shomen or hanmi hip position. The resulting physical action is what we see as "hip vibration."

If we are simply trying to make a large movement of the hips to add horizontal power to a technique, then we are probably better off using larger hip movements, instead of this "vibration." The purpose of "hip vibration" is not so much to add rotational force to a technique. I would actually say that there is no purpose to it at all; it is a side-effect. It is more a result of an action aimed at efficient motion. Through relaxation, during the first part of the movement, we should be able to increase speed and be able to more naturally react to unknown stimuli. Through tension, during the final part of the movement, we should connect the various body parts together (muscles binding solidly to each other through and around the joints) as they come to a stop. The energy conserved while relaxing can then be utilized during tension, to create "dynamic tension," a sharp contrast between relaxation and tension of the muscles of the hip region.

In summary, I would stress that when thinking about "hip vibration," it is probably better to think of the contrast between relaxation and tension than to think about the physical movements of the hip itself.

See the following articles for more on tension/relaxation:
• February 1998 (Tension vs. Relaxation)
• May 2000 (Tension Timing: Part I)
• June 2000 (Tension Timing: Part II)
• July 2000 (Tension Timing: Part III)

See the following article for more on hip rotation:
• December 1999 (Hip Rotation?) 


Copyright © 2000, Jon Keeling

"Hip Vibration" - What does it really mean?

Most of the JKA-style practitioners who are reading this article, at least those who have been at it for at least a year or two, have heard of "hip vibration." I am quite sure that some non-JKA Shotokan practitioners have also heard the term. Whether or not the hips move during techniques that are described as using "hip vibration" is not an issue. They move. How and why they move, however, are issues I would like to address here.

Some people, after hearing about and seeing "hip vibration," will put much effort into this action. While there may be good reason to think about this action, it would be worth taking some time to think about what is actually happening (or, more appropriately what should be happening) during this action. "Hip vibration" is not merely an extraneous horizontal swing or jiggle of the hips. And it is not something completely esoteric, either.

The usual way in which the hips "vibrate" during a punch involves the hip on the side of the forward leg moving towards the target first (or, sometimes, the hip of the back leg moving back). Then, the back hip is immediately forced towards the target. This quick, one-two action is the normal physical action referred to as "hip vibration." Sometimes, such as during blocks, the hip action occurs the other way around. Basically, the hips move horizontally toward the opposite of their final position, then are quickly snapped into their final position.

So, it is as easy as moving the hip one way, then the other, right?

Wrong. There is more to it. And there is less to it, depending on how you look at it…

While the above is the normal physical movement that we witness during techniques using "hip vibration," I would say that this is more of a reaction to something else. The way I see it, the primary force causing this "hip vibration" is not as much an intentional hip swing, as an application of "dynamic tension."

What is actually occurring in the hips during this movement is a result of a relaxation of the hips, lower torso and upper-leg muscles, followed by a tensing of the muscles of this region. When we relax those muscles, the hips naturally turn towards a position between the extremes of shomen and hanmi (hips front and hips to the side), to a neutral position. We relax these muscles, then quickly tense them as we assume our final, less-natural hip position, at the extreme of either shomen or hanmi hip position. The resulting physical action is what we see as "hip vibration."

If we are simply trying to make a large movement of the hips to add horizontal power to a technique, then we are probably better off using larger hip movements, instead of this "vibration." The purpose of "hip vibration" is not so much to add rotational force to a technique. I would actually say that there is no purpose to it at all; it is a side-effect. It is more a result of an action aimed at efficient motion. Through relaxation, during the first part of the movement, we should be able to increase speed and be able to more naturally react to unknown stimuli. Through tension, during the final part of the movement, we should connect the various body parts together (muscles binding solidly to each other through and around the joints) as they come to a stop. The energy conserved while relaxing can then be utilized during tension, to create "dynamic tension," a sharp contrast between relaxation and tension of the muscles of the hip region.

In summary, I would stress that when thinking about "hip vibration," it is probably better to think of the contrast between relaxation and tension than to think about the physical movements of the hip itself.

See the following articles for more on tension/relaxation:
• February 1998 (Tension vs. Relaxation)
• May 2000 (Tension Timing: Part I)
• June 2000 (Tension Timing: Part II)
• July 2000 (Tension Timing: Part III)

See the following article for more on hip rotation:
• December 1999 (Hip Rotation?) 


Copyright © 2000, Jon Keeling

<i>Kokutsu-dachi</i> - Back Stance

This is the second in a series of articles on the subject of basic Shotokan stances. For information about zenkutsu-dachi/front stance, please see my August 2000 article. I will review other stances in future articles.



General Stance Configuration

Kokutsu-dachi is the same length as zenkutsu-dachi, but with no significant width. The forward foot should be pointing straight ahead (towards the opponent) with the rear foot perpendicular to it, knees of each leg pointing in the same direction as the foot. The front leg is only slightly bent. The back leg is bent nearly to the extreme. The weight should therefore be situated in excess of 80% towards the back foot. This stance is usually considered more "defensive" than the front stance. As with the front stance, I will not discuss hip movement/rotation in this article. There is some limited hip movement possible with this stance. But I am only concerned with an open hip position at this time, as this is the usual method employed during basics.

Strength and stability
In this basic position, the stance is relatively stable and strong. More specifically, the torso's position above the back leg is set very well. It is not that the front leg is very strong/supportive, because it is not. The reliance on the support of the rear leg allows the front leg to move without greatly affecting the rear leg and torso positions. As the front leg is not bent much, unintended movement of that leg would not greatly affect the position of the back leg and torso. This is perhaps one of the most important points to keep in mind during practice of kokutsu-dachi. There is not as much of a commitment (in terms of torso positioning) as there is with zenkutsu-dachi, although it is still a relatively strong position that could quickly change to the even stronger, more fully-committed zenkutsu-dachi if needed.

Mobility
As with the front stance, this stance is also especially suited for movement to the front and back. Back stance provides more mobility to the sides than the front stance, due to the rear foot's angle to the side. But it still takes some time for transition to the sides, due to the fact that the feet are in one line (to the front/back).


Variations

Moving weight forward/back, feet wider or further apart, feet angled further out/in than 90-degrees, higher/lower stance, knees facing other than the same direction as the toes…

Strength and stability
As the feet move further apart from each other, the stance may become more stable (to a certain point). With the weight closer to the center (as described by the torso's position relative to the feet), this may provide for greater stability of the front leg. Although this may be desirable at times, one of the defining characteristics of kokutsu-dachi is the inherent stability of the back leg in particular. With the weight forward, the stability of the back leg is diminished.

Mobility
When the feet are situated closer to each other, mobility may be enhanced. With the feet angled out further, movement to directions outide a 90-degree range become more easily attainable.


From Static Positions to Moving

While it is important to study the static stances, it is also important to realize that, in reality, one should not expect to remain in any one stance for more than a second or two at a time. Stepping, shifting, turning, rising, falling and other motions come into play from the basic stance. One should consider options from the static stance. Some of the variables mentioned above may become even more important when considering what comes before or after.

Another point worth consideration is the relationship between the pull and push of the legs. Do you pull from the front leg, or push from the back leg when stepping forward? Or do you do both? If you do both, is it both at the same time, or first pushing, then pulling? Or perhaps push, pull, push? There are, of course, acceptable variations. But, generally speaking, there should be a combination of both pushing and pulling forces at work during the stepping motion. If the weight is further back, the reliance on the push portion increases, vis-à-vis the pulling action, at least for the initiating action. Likewise, when stepping back, the importance of the push off the front leg decreases, in relative terms, as the weight is situated closer to the back than the front in back stance.

The above can be further complicated when considering movements to directions other than directly to the front or back.


Summary

There are obviously many factors that should be considered when evaluating what an "ideal back stance" might be. I suggest experimentation to determine what is both best for you as an individual in an ideal situation, as well as what might be best considering the variables involved. There are accepted variations. But there are some variations that may not be advisable or accepted. As usual, for students, I suggest further discussion with your instructor(s) for clarification and more physical examples. For instructors, I hope this helps promote further technical study and possibly provide new ideas on what/how to teach or explain technique to students. As always, feel free to contact me with questions or comments.

Copyright © 2000, Jon Keeling

<i>Kokutsu-dachi</i> - Back Stance

This is the second in a series of articles on the subject of basic Shotokan stances. For information about zenkutsu-dachi/front stance, please see my August 2000 article. I will review other stances in future articles.



General Stance Configuration

Kokutsu-dachi is the same length as zenkutsu-dachi, but with no significant width. The forward foot should be pointing straight ahead (towards the opponent) with the rear foot perpendicular to it, knees of each leg pointing in the same direction as the foot. The front leg is only slightly bent. The back leg is bent nearly to the extreme. The weight should therefore be situated in excess of 80% towards the back foot. This stance is usually considered more "defensive" than the front stance. As with the front stance, I will not discuss hip movement/rotation in this article. There is some limited hip movement possible with this stance. But I am only concerned with an open hip position at this time, as this is the usual method employed during basics.

Strength and stability
In this basic position, the stance is relatively stable and strong. More specifically, the torso's position above the back leg is set very well. It is not that the front leg is very strong/supportive, because it is not. The reliance on the support of the rear leg allows the front leg to move without greatly affecting the rear leg and torso positions. As the front leg is not bent much, unintended movement of that leg would not greatly affect the position of the back leg and torso. This is perhaps one of the most important points to keep in mind during practice of kokutsu-dachi. There is not as much of a commitment (in terms of torso positioning) as there is with zenkutsu-dachi, although it is still a relatively strong position that could quickly change to the even stronger, more fully-committed zenkutsu-dachi if needed.

Mobility
As with the front stance, this stance is also especially suited for movement to the front and back. Back stance provides more mobility to the sides than the front stance, due to the rear foot's angle to the side. But it still takes some time for transition to the sides, due to the fact that the feet are in one line (to the front/back).


Variations

Moving weight forward/back, feet wider or further apart, feet angled further out/in than 90-degrees, higher/lower stance, knees facing other than the same direction as the toes…

Strength and stability
As the feet move further apart from each other, the stance may become more stable (to a certain point). With the weight closer to the center (as described by the torso's position relative to the feet), this may provide for greater stability of the front leg. Although this may be desirable at times, one of the defining characteristics of kokutsu-dachi is the inherent stability of the back leg in particular. With the weight forward, the stability of the back leg is diminished.

Mobility
When the feet are situated closer to each other, mobility may be enhanced. With the feet angled out further, movement to directions outide a 90-degree range become more easily attainable.


From Static Positions to Moving

While it is important to study the static stances, it is also important to realize that, in reality, one should not expect to remain in any one stance for more than a second or two at a time. Stepping, shifting, turning, rising, falling and other motions come into play from the basic stance. One should consider options from the static stance. Some of the variables mentioned above may become even more important when considering what comes before or after.

Another point worth consideration is the relationship between the pull and push of the legs. Do you pull from the front leg, or push from the back leg when stepping forward? Or do you do both? If you do both, is it both at the same time, or first pushing, then pulling? Or perhaps push, pull, push? There are, of course, acceptable variations. But, generally speaking, there should be a combination of both pushing and pulling forces at work during the stepping motion. If the weight is further back, the reliance on the push portion increases, vis-à-vis the pulling action, at least for the initiating action. Likewise, when stepping back, the importance of the push off the front leg decreases, in relative terms, as the weight is situated closer to the back than the front in back stance.

The above can be further complicated when considering movements to directions other than directly to the front or back.


Summary

There are obviously many factors that should be considered when evaluating what an "ideal back stance" might be. I suggest experimentation to determine what is both best for you as an individual in an ideal situation, as well as what might be best considering the variables involved. There are accepted variations. But there are some variations that may not be advisable or accepted. As usual, for students, I suggest further discussion with your instructor(s) for clarification and more physical examples. For instructors, I hope this helps promote further technical study and possibly provide new ideas on what/how to teach or explain technique to students. As always, feel free to contact me with questions or comments.

Copyright © 2000, Jon Keeling

<i>Nukite</i> - A Relatively Useless Technique?

Why do most Shotokan practitioners practice basic kumite using only a few techniques repeatedly? While repetition can be a very good way to ensure a technique is recalled in an emergency situation, that one technique or variation may not be ideal for every situation. I advocate varying the techniques trained during kumite training. However, I believe the variations should be practiced in a controlled manner, limiting techniques to only the most basic until at least the intermediate level (brown belt).

Some dojo/organizations now require participants to perform different counterattacks when doing kihon kumite (basic sparring) during exams and tournaments. Failure to do this results in failure/disqualification. While I agree with encouraging people to use different techniques, they must be properly applicable, or it is pointless. If only one technique would suffice, there is no need to do any others. But those performing exactly the same technique every time should realize that this can be unrealistic.

I was once (perhaps more than once, now that I think about it) posed with the question of why we do not use more kokutsudachi/shutouke (knife-hand block in back-stance) and nukite (spear-hand strike), specifically, during normal kumite practice. As these moves are used often in kata, the student thought that we should want to use these techniques more often in sparring. In addition to their abundance in kata, most Shotokan dojo often include basic training exercises (kihon) that include a combination of those two techniques. So why not add these techniques to kumite training?

Most of us rarely use back stance (or other stances than front stance) when doing kumite. I believe in using different stances for kumite training, as well as different blocks and attacks. We must not rush to make variations, however, understanding what is to be accomplished in kumite training. We are working on the most fundamental techniques. Only after many years of training in these basic techniques should we expect to be able to expand our technical arsenal considerably. In many other martial arts and even other Karate styles the approach may be different. But in Shotokan the theory is that we should practice just a few basic techniques over and over until they become part of our subconscious or unconscious, so we can use them without having to think. That we almost always only use front stance in kumite is, in my opinion, a bit odd. But that we use only a few attacks, for at least the first year or so, seems completely logical. For more on kumite variations, please see the following articles: Dec ’98, Apr ’00.

We practice a wide range of different techniques (grappling, etc.) in our kata, which we almost never practice with a partner in class. (For more on kata application, please see my article on that subject.) Some of these techniques are not given much training time outside of kata because they are very limited in their applicability (e.g. only if someone grabs you in a certain way). Other techniques are included more as a training tool than anything else.

For example, the original application of the technique we now refer to as nukite is most likely much different from how it is described these days. It is really much more a training tool today than an easily applied self-defense technique (which it may have been 100 years ago, when the application was different). Do you really think your fingers would hurt any less than your opponent's abdominal muscles if you tried to apply such a technique? It is silly to expect to be able to use such a technique in a realistic encounter.

But think about all the related techniques; a vertical punch is not that much different, shuto-uchi, haito-uchi...It is a very believable theory that supposes the originally intended application for what is now nukite was a choking strike to the neck, used quite often even today in Sumo competition. By working on the principles involved in this technique (use of hip rotation/vibration, timing of various body parts, etc.), we are training many techniques simultaneously. This is the core of Shotokan training. Work on the basics (a few techniques) until they are solid and natural. Then, move on to apply the same principles to new, related techniques. Nonetheless, nukite is generally not a very good technique for self-defense application, directly applied.

There are reasons for the way we practice Karate. Some are obvious. Some are not. We should strive to discover what is directly applicable to a realistic encounter, what is a training tool, and what is simply for show. By understanding the purpose of a given training exercise, more can be gained from it.

Copyright © 2000, Jon Keeling

<i>Zenkutsu-dachi</i> - Front Stance

This is the first of a series of articles on the subject of basic Shotokan stances. I will review other stances in future articles. (I did review the "free-stance" in my January '98 article. But as that stance is open more to individual interpretation, my analysis of than stance was a bit different than in this series.)

Zenkutsu-dachi is the most common basic stance utilized in Shotokan practice. In many training sessions, this stance may be used more than all others combined. It is obviously a very important stance and worth some study.



General Stance Configuration

In general terms, the feet are situated roughly twice as far to the front as to the sides. Often, instructors will tell students that the stance should be two shoulder-widths long by one shoulder-width wide. Many students (especially men) misinterpret this and measure the width of the shoulders to extend all the way to the edge of the muscles around the shoulder, and place their feet at or outside of this width. In defense of some students, many instructors do not correct their students' inaccurate measurements, as they also may have misunderstood when they were students. Perhaps those instructors' instructors also did not clearly explain to them that this may be too wide (more on why this may be considered "too wide," below). Measurements such as this should be taken between joints. The side-to-side distance between the ankles should be approximately the same as the distance between the shoulder joints. Another way to measure is in multiples of the length of your foot (1-1/2 x 3). Ultimately, though, there are acceptable variations depending on a multitude of factors, including flexibility, desired mobility vs. stability ratio, and relationship with the opponent(s).

So, what is ideal if it is not the basic 2 x 1 stance configuration? How do we know if we are too low or too high while performing our front stances? (when in doubt, most of us are probably too high) How do we know what is a good blend of stability and mobility?

Let's briefly review the idea of alignment, which I covered in detail in my March '98 article. Place the legs such that the back leg is stretched and the front leg is bent to where the front of the knee is over the front of the toes, 2 shoulder-widths long by 1 shoulder-width wide. (A common mistake is to push the front knee out too far to the outside; please see my article on inside/outside stances for more on that subject). With this stance configuration, the intersection of the lines described by the lower portion of both legs should intersect roughly where your punch would meet the target directly in front of the body, with the arm fully extended, at around chest level. If this is not where the intersection of these two lines is, according to proper alignment theory, the stance should be altered. Many people cannot situate their legs to conform exactly to the ideal front stance (especially when considering that the feet should both be pointing directly toward the front, with the knees and toes always pointing the same direction). Depending on one's limitations in flexibility, agility and strength, "perfect" technique may not be attainable. But it is probably a good idea to at least strive toward these goals, realizing what is given up by each compromise.

Strength and stability
Proper alignment, as described above and in my March '98 article, provides us with strength and stability by placing us in a position that is structurally sound.

Mobility
While you may be more mobile in a higher stance, what is lost in stability will often make this added mobility unworthy of the lack in strength/stability. The properly aligned stance is usually a good balance, providing both mobility and stability


Variations

Now, let's consider how changes in length, width, height, foot angle and weight distribution effect the stance. Some of these points were already brought up in my January '98 article, which considered variables in the "free" stance/kamae.

Leaving all other variables as they are, try changing the front stance such that the distance between the feet is more or less than 2 shoulder-widths, when measured front-to-back. Separately, try altering the distance between the feet side-to-side. Then, don't bend the front knee so much. Try bending both legs more. Try spreading out the directions the feet point; then turn them in towards each other. Finally try varying the position of the hips/torso in relation to the feet (proper alignment dictates roughly 75-80% weight distribution toward the front). Study of these variations should help you to determine what part each variable plays in making a good stance, as well as to figure out how you may want to alter your stance from the most basic version for certain circumstances or considering your physical abilities or limitations.

Strength and stability
When is the stance strong or more stable? Probably when the base of support is wider (to a certain extent, anyway). When the feet are closer together, some stability is generally lost. How does weight distribution effect stability? It depends on what angle is being considered. With the torso situated further toward the front, the stance is usually more stable to the front.

Mobility
How about the ability to move within/from the stance? When the feet are closer together, you may be able to move faster. When the feet are apart, you are generally slower. Weight distribution effects again depend on the angle in consideration. When the feet are both facing forward, the performer of the stance is probably both stable and mobile towards the front. But what about to the sides? For this, perhaps the feet should be angled outwards (also discussed in January '98 article and to be discussed in the upcoming article on back stance).


From Static Positions to Moving

While it is important to study the static stances, it is also important to realize that, in reality, one should not expect to remain in any one stance for more than a second or two at a time. Stepping, shifting, turning, rising, falling and other motions come into play from the basic stance. One should consider options from the static stance. Some of the abovementioned variables may become even more important when considering what comes before or after.

When stepping forward/back, there are generally two methods of foot movement taught to Shotokan students. In one method, the moving foot comes inwards to touch (or nearly touch) the unmoving foot. This is sometimes referred to as "C-stepping," referring to the shape of the course the foot takes. In the other method, the foot moves directly forward/back in a straight line, without coming in to meet the unmoving foot. There are advantages and disadvantages to either method, depending on many factors. Also, these two methods can obviously be blended, such that the moving foot moves only partway inward.

Another point worth consideration is the relationship between the pull and push of the legs. Do you pull from the front leg, or push from the back leg when stepping forward? Or do you do both? If you do both, is it both at the same time, or first pushing, then pulling? Or perhaps push, pull, push? There are, of course, acceptable variations. But, generally speaking, there should be a combination of both pushing and pulling forces at work during the stepping motion. If the weight is further forward, the reliance on the pull portion increases, vis-à-vis the pushing action, at least for the initiating action. Likewise, when stepping back, the importance of the push off the front leg increases, as the weight is situated closer to the front than the back in front stance.

The above can be further complicated when considering movements to directions other than directly to the front or back. Those used to "C-stepping," for example, may find it easier to change direction midway through the step, as compared to those used to always stepping directly forward and back. Those wishing to be stronger to the side may want to assume a wider stance. While those who want to be prepared to shift or shuffle their feet quickly may want to bring their feet closer together. But, while training in front stance, there is a standard that we should keep in mind. "Free stance" is free. Front stance is not.

Summary

There are obviously many factors that should be considered when evaluating what "ideal front stance" might be. I suggest experimentation to determine what is both best for you as an individual in an ideal situation, as well as what might be best considering the variables involved. There are accepted variations. But there are some variations that may not be advisable or accepted. As usual, for students, I suggest further discussion with your instructor(s) for clarification and more physical examples. For instructors, I hope this helps promote further technical study and possibly provide new ideas on what/how to teach or explain technique to students. As always, feel free to contact me with questions or comments.

Copyright © 2000, Jon Keeling

Tension Timing - Part 3

Part 3: Trajectory

In Part 1 of this series on Tension Timing, I discussed the differences in tension timing; Braking, Reversing and Flowing. In Part 2, I described why certain timings might be more suitable for certain targets, using examples of the head, the body and the knee. In this article, I will review how certain tension timings may be more suitable for certain weapon (e.g. fist) trajectories.

Linear
Techniques involving linear projection of the weapon often benefit from Type I (Braking) focus, or a combination of Type I and Type III (Flowing). Imagine a battering ram. To snap back this battering ram quickly as contact is made would probably not be as effective as slamming into the door with no recoil. With the battering ram, we do not expect to smash through in one try. So the brakes are applied to keep us from flying into the door ourselves, when forward momentum of the ram is abruptly halted. At the point where we know the ram can knock down the door, we may instead decide to plunge through in a more flowing motion. Similarly, a linearly projected punch or kick could stop abruptly at the target, or follow through. In most cases, the brakes would be applied at impact, as we do not usually know if we can really push through the target, or if that is even a desirable outcome.

Arc
Projecting the weapon in an arching motion is usually benefits from incorporating Type II (Reversing) focus. With this trajectory, the weapon (hand/foot) revolves in an arch around the corresponding joint (e.g. elbow/knee) and strikes at or near 90 degrees as related to the base of projection (e.g. the direction the elbow or knee faces). The weapon is usually retracted in a similar path after contact is made with the target.

Curvilinear
Curvilinear (somewhere between a straight line and an arc) is usually the best way to utilize Type III (flowing) focus. Often, this type of trajectory involves the weapon travelling a large distance, much of it relatively far from the body center, such as during ashibarai (foot sweeps).

Combining trajectories
As with the types of focus, trajectories can be blended. A common example is the usual employment of the front "snap" kick most Shotokan instructors expect of students when stepping forward. In this kick, the arching motion is timed with a forward thrust of the hip such that the trajectory straightens out considerably, thereby turning the arching motion into a more curvilinear one. It should be noted in this example, however, that there are both linear and arching motions at work. In the typical foot sweep, there is no real snap involved; thus I do not consider it a combination of trajectories, per se.

Trajectory Applied

Thrust
A thrusting technique is one that involves a linear trajectory of the weapon. More specifically, the weapon's trajectory is not only straight, but straight from close to the center of mass of the attacker projected directly into the target. Usually, this type of trajectory employs Type I (Braking) focus.

Snap
Snapping techniques are those that employ arching trajectory. There are plenty of "snappy" techniques, which use a quick pull-back timing-Type II (reversing). But some of these techniques actually utilize curvilinear projections of the weapon. A pure snap involves very limited motion of the joint around which the weapon revolves, not thrusting that joint (elbow/knee) towards the target.

Sweep
Sweeping techniques use curvilinear trajectory of the weapon. Usually, this type of trajectory employs flowing tension timing. Sweeping trajectory can be used for arm techniques as well as leg techniques and is usually used when performing takedowns.


To be continued
Although this concludes my three-part series of web articles, there is much more to the study of tension timings, trajectories and related subjects. These articles are merely short synopses of my research. For much more in-depth analyses, please contact me for updates on my research, including the idea of the publication of a technical manual on the subject.

Copyright © 2000, Jon Keeling

Tension Timing - Part 3

Part 3: Trajectory

In Part 1 of this series on Tension Timing, I discussed the differences in tension timing; Braking, Reversing and Flowing. In Part 2, I described why certain timings might be more suitable for certain targets, using examples of the head, the body and the knee. In this article, I will review how certain tension timings may be more suitable for certain weapon (e.g. fist) trajectories.

Linear
Techniques involving linear projection of the weapon often benefit from Type I (Braking) focus, or a combination of Type I and Type III (Flowing). Imagine a battering ram. To snap back this battering ram quickly as contact is made would probably not be as effective as slamming into the door with no recoil. With the battering ram, we do not expect to smash through in one try. So the brakes are applied to keep us from flying into the door ourselves, when forward momentum of the ram is abruptly halted. At the point where we know the ram can knock down the door, we may instead decide to plunge through in a more flowing motion. Similarly, a linearly projected punch or kick could stop abruptly at the target, or follow through. In most cases, the brakes would be applied at impact, as we do not usually know if we can really push through the target, or if that is even a desirable outcome.

Arc
Projecting the weapon in an arching motion is usually benefits from incorporating Type II (Reversing) focus. With this trajectory, the weapon (hand/foot) revolves in an arch around the corresponding joint (e.g. elbow/knee) and strikes at or near 90 degrees as related to the base of projection (e.g. the direction the elbow or knee faces). The weapon is usually retracted in a similar path after contact is made with the target.

Curvilinear
Curvilinear (somewhere between a straight line and an arc) is usually the best way to utilize Type III (flowing) focus. Often, this type of trajectory involves the weapon travelling a large distance, much of it relatively far from the body center, such as during ashibarai (foot sweeps).

Combining trajectories
As with the types of focus, trajectories can be blended. A common example is the usual employment of the front "snap" kick most Shotokan instructors expect of students when stepping forward. In this kick, the arching motion is timed with a forward thrust of the hip such that the trajectory straightens out considerably, thereby turning the arching motion into a more curvilinear one. It should be noted in this example, however, that there are both linear and arching motions at work. In the typical foot sweep, there is no real snap involved; thus I do not consider it a combination of trajectories, per se.

Trajectory Applied

Thrust
A thrusting technique is one that involves a linear trajectory of the weapon. More specifically, the weapon's trajectory is not only straight, but straight from close to the center of mass of the attacker projected directly into the target. Usually, this type of trajectory employs Type I (Braking) focus.

Snap
Snapping techniques are those that employ arching trajectory. There are plenty of "snappy" techniques, which use a quick pull-back timing-Type II (reversing). But some of these techniques actually utilize curvilinear projections of the weapon. A pure snap involves very limited motion of the joint around which the weapon revolves, not thrusting that joint (elbow/knee) towards the target.

Sweep
Sweeping techniques use curvilinear trajectory of the weapon. Usually, this type of trajectory employs flowing tension timing. Sweeping trajectory can be used for arm techniques as well as leg techniques and is usually used when performing takedowns.


To be continued
Although this concludes my three-part series of web articles, there is much more to the study of tension timings, trajectories and related subjects. These articles are merely short synopses of my research. For much more in-depth analyses, please contact me for updates on my research, including the idea of the publication of a technical manual on the subject.

Copyright © 2000, Jon Keeling

Tension Timing - Part 3

Part 3: Trajectory

In Part 1 of this series on Tension Timing, I discussed the differences in tension timing; Braking, Reversing and Flowing. In Part 2, I described why certain timings might be more suitable for certain targets, using examples of the head, the body and the knee. In this article, I will review how certain tension timings may be more suitable for certain weapon (e.g. fist) trajectories.

Linear
Techniques involving linear projection of the weapon often benefit from Type I (Braking) focus, or a combination of Type I and Type III (Flowing). Imagine a battering ram. To snap back this battering ram quickly as contact is made would probably not be as effective as slamming into the door with no recoil. With the battering ram, we do not expect to smash through in one try. So the brakes are applied to keep us from flying into the door ourselves, when forward momentum of the ram is abruptly halted. At the point where we know the ram can knock down the door, we may instead decide to plunge through in a more flowing motion. Similarly, a linearly projected punch or kick could stop abruptly at the target, or follow through. In most cases, the brakes would be applied at impact, as we do not usually know if we can really push through the target, or if that is even a desirable outcome.

Arc
Projecting the weapon in an arching motion is usually benefits from incorporating Type II (Reversing) focus. With this trajectory, the weapon (hand/foot) revolves in an arch around the corresponding joint (e.g. elbow/knee) and strikes at or near 90 degrees as related to the base of projection (e.g. the direction the elbow or knee faces). The weapon is usually retracted in a similar path after contact is made with the target.

Curvilinear
Curvilinear (somewhere between a straight line and an arc) is usually the best way to utilize Type III (flowing) focus. Often, this type of trajectory involves the weapon travelling a large distance, much of it relatively far from the body center, such as during ashibarai (foot sweeps).

Combining trajectories
As with the types of focus, trajectories can be blended. A common example is the usual employment of the front "snap" kick most Shotokan instructors expect of students when stepping forward. In this kick, the arching motion is timed with a forward thrust of the hip such that the trajectory straightens out considerably, thereby turning the arching motion into a more curvilinear one. It should be noted in this example, however, that there are both linear and arching motions at work. In the typical foot sweep, there is no real snap involved; thus I do not consider it a combination of trajectories, per se.

Trajectory Applied

Thrust
A thrusting technique is one that involves a linear trajectory of the weapon. More specifically, the weapon's trajectory is not only straight, but straight from close to the center of mass of the attacker projected directly into the target. Usually, this type of trajectory employs Type I (Braking) focus.

Snap
Snapping techniques are those that employ arching trajectory. There are plenty of "snappy" techniques, which use a quick pull-back timing-Type II (reversing). But some of these techniques actually utilize curvilinear projections of the weapon. A pure snap involves very limited motion of the joint around which the weapon revolves, not thrusting that joint (elbow/knee) towards the target.

Sweep
Sweeping techniques use curvilinear trajectory of the weapon. Usually, this type of trajectory employs flowing tension timing. Sweeping trajectory can be used for arm techniques as well as leg techniques and is usually used when performing takedowns.


To be continued
Although this concludes my three-part series of web articles, there is much more to the study of tension timings, trajectories and related subjects. These articles are merely short synopses of my research. For much more in-depth analyses, please contact me for updates on my research, including the idea of the publication of a technical manual on the subject.

Copyright © 2000, Jon Keeling

Tension Timing - Part 2

Part 2: Target-Specific Technique Application

Some Karate people will insist that there is only one way to punch (or kick, etc.). Some will argue that the only good punch is one that involves a coordinated tension of the muscles throughout the entire body at the moment of impact. Others will argue that all that matters is the speed of the fist. My view is that it depends on many factors, and these factors may change in importance depending on the situation. The factor I would like to discuss here is "target-specific application."

When considering the muscular tension/contraction levels and timings involved in a punch or kick, we should really consider what we would like to accomplish with that punch or kick. Do you want to simply discourage further attacks from the opponent? Do you want to knock him off balance? Cut him? Knock him out? Some of these options are not even considerations for certain target areas. For example, it is unreasonable to try to knock someone out with a kick to the knee.

Looking at various parts of the human anatomy, we can see that there are many types of possible targets. Some parts, such as the torso, do not move much in reaction to a light attack. Other areas, such as the ends of the appendages, can move a great deal when struck with relatively little force. For different levels of reactive movement, doesn't it make sense to use different types of attacks? Should we really use the same type of punch for the head as the body? And the same types of kicks to various targets as well?
Below, I will review three common target areas and what type of technique applications work well on each and why. Please note that I am providing this information in consideration for practical self-defense application. I am not advocating testing out on others what I describe here. Use of practice targets, such as heavy bags and makiwara, may be used to experiment with these ideas, to simulate reality, but should only be done under the supervision of a qualified instructor, beginning with slow, soft movements.

Target: the head
The head can be moved much further as a result of a blow than the body can. But it will not be moved quite as easily as a target such as a knee. There are many ways to inflict damage to the head. One way is to strike quickly with a snapping motion of the striking limb, concentrating on speed more than sheer power. The defender's striking weapon (fist or foot) could come at the target in a non-linear path, as this type of trajectory is more condusive to a quick pull-back after impact, which provides for effective transfer of momentum. The resulting jarring motion of the skull can, through this inertia, cause concussion. Concussion is caused by the brain moving within its skull casing. The head is not moved so great a distance. But it is moved. And it is moved quickly.

Target: the body
The body cannot be moved much without a strong blow. With the exception of certain key areas, such as the "solar plexus", a fast fist or foot alone may do little damage to a large, strong body. For a strike to the assailant's body, the striking limb should probably be attached more rigidly to the defender's body through muscular tension timed to coordinate with impact. A thrusting trajectory best suits this type of coordinated tension and also provides for the large amount of transfer of momentum required to move the body. This is because the thrusting action involves a projection of the weapon directly from the defender's body center. The body is thus moved (or at least part of it is, in what is sometimes referred to as "folding"), albeit less quickly, through this type of technique application.

Target: the knee
The knee can be moved much more easily than the head or body, especially if struck from the side. Because it is relatively easy to move, having a very powerful or quick attack is not as important as the control of the depth of the attack. For such an easily moved target, a sweeping movement of the weapon might be best. By sweeping the foot into the side of the knee, not tensing the muscles of the leg as when kicking the body and not snapping back as when striking the head, the knee can be controlled more easily.


Any technique in Karate can use any of the three types of muscular tension timings I detailed in Part 1 of this series. Which timing you use may depend on many factors, target type being perhaps one of the most important. In general, some techniques work much better using one specific type of tension timing (for example, a side-snap kick only really works well with a Type II/reversing tension timing). Other techniques may work well with all three (for example, a back-fist strike). The important thing to consider is that there is more than one way to perform/apply any technique.

In Part 1 of this series on Tension Timing, I discussed the differences in tension timing in more detail. In Part 3, I will discuss trajectory in more detail.

Copyright © 2000, Jon Keeling

Tension Timing - Part 1

Part 1: The Basics

I provided an introduction to the difference between tension and relaxation in my Feb98 article. Part 1 of this 3-part series will expand on this idea and take it to a higher level. In the Feb98 article, the emphasis was on creating a distinction between tension and relaxation. This article deals with the timing of the changes between muscular tension/contraction (Note: I will use the term "tension", for the most part, in this article series, but it should be noted that there is a difference between the terms and that contraction is often the more appropriate one.  I use the term "tension" more because it is a more commonly understood term and many readers of these articles are not native english speakers) and relaxation involved in a given technique. Generally, these tension timings are referred to as "focus" or "kime," especially in type I, below. It should be noted, however, that both the English and Japanese terms can refer to more than a description of physical movement alone. In this series of articles, I am only concerned with the physical movements.

There are three general types of tension timing. Each type can be utilized with any Karate technique. Some techniques, however, may work better with one type than another. Please note that the terminology I am presenting below is my own. As this is a subject rarely discussed in any detail in Karate, specific terminology has yet to become universal. Please also note that I am primarily concerned with the muscles of the attacking limb (and, for the case of arm attacks, the upper torso) in this analysis, as the amount of tension in the stance and lower torso are generally relatively uniform throughout the technique.

1) Type I: Braking
"Slamming on the brakes" in the muscles (tensing) of the moving appendage (for example, the arm), as with a car, decelerates the weapon (for example, the hand) very quickly. This is basically what I described in the Feb98 article. This type of focus is the one normally used for most blocks and punches, as well as thrusting kicks, as performed in basics. The idea is to set a target, reach it with the weapon, stopping just at the target. Relax as the weapon approaches the target, then tense into impact. The connection of the entire body through coordinated tension generally plays a more important role in this type of tension timing than it does for the others.

2) Type II: Reversing
This timing is as in shifting a car into reverse just before reaching the forwardmost point. The limb is relaxed until just prior to impact. At and just after impact, the muscles tense in such a way as to bring the weapon away from the point of impact quickly. The speed at impact is usually greatest with this type of focus. This type of focus is usually what is used for snapping kicks, as well as some strikes and some punches. The idea with reversing is to reach the target quickly, immediately returning after impact. The return actually starts before impact, similar to the way a whip is yanked back just prior to full extension. The tension begins just prior to impact and continues through during the pullback. Total body connection is least important with this type of tension timing.

3) Type III: Flowing
Flowing through the target is similar to taking the foot off the accelerator after reaching top speed, but not touching the brake. With this timing, the tension lessens following impact, having gradually increased tension up to that point. This type of focus is often employed when performing foot sweeps, as well as most Aikido and Judo techniques. To follow through after making contact is the idea. So enough tension must exist going into impact to keep the technique moving, along with the target it just struck. That tension then declines in a controlled manner, based on how far the target is intended to be moved.


As many of the more advanced practitioners already know (even if they haven't studied the mechanics in detail), the above three types of tension timing can be blended. For example, a block could strike the attacker's wrist with the intention of moving that limb far out of the way in such a way that the move combines Type I & III tension timings. The attacker's arm is moved a large distance (not just a couple inches, as with a basic block). But that distance is controlled and culminates with a tense blocking arm. Using the car analogy again, it is like holding the foot on the accelerator while running into an object, then braking quickly after pushing the object the desired distance.

In Part 2 of this series on Tension Timing, I will discuss how a specific tension timing may be more suitable for a given target. In Part 3, I will discuss trajectory in more detail, and how certain tension timings relate to certain trajectories more effectively.


Copyright © 2000, Jon Keeling

Tension Timing - Part 1

Part 1: The Basics

I provided an introduction to the difference between tension and relaxation in my Feb98 article. Part 1 of this 3-part series will expand on this idea and take it to a higher level. In the Feb98 article, the emphasis was on creating a distinction between tension and relaxation. This article deals with the timing of the changes between muscular tension/contraction (Note: I will use the term "tension", for the most part, in this article series, but it should be noted that there is a difference between the terms and that contraction is often the more appropriate one.  I use the term "tension" more because it is a more commonly understood term and many readers of these articles are not native english speakers) and relaxation involved in a given technique. Generally, these tension timings are referred to as "focus" or "kime," especially in type I, below. It should be noted, however, that both the English and Japanese terms can refer to more than a description of physical movement alone. In this series of articles, I am only concerned with the physical movements.

There are three general types of tension timing. Each type can be utilized with any Karate technique. Some techniques, however, may work better with one type than another. Please note that the terminology I am presenting below is my own. As this is a subject rarely discussed in any detail in Karate, specific terminology has yet to become universal. Please also note that I am primarily concerned with the muscles of the attacking limb (and, for the case of arm attacks, the upper torso) in this analysis, as the amount of tension in the stance and lower torso are generally relatively uniform throughout the technique.

1) Type I: Braking
"Slamming on the brakes" in the muscles (tensing) of the moving appendage (for example, the arm), as with a car, decelerates the weapon (for example, the hand) very quickly. This is basically what I described in the Feb98 article. This type of focus is the one normally used for most blocks and punches, as well as thrusting kicks, as performed in basics. The idea is to set a target, reach it with the weapon, stopping just at the target. Relax as the weapon approaches the target, then tense into impact. The connection of the entire body through coordinated tension generally plays a more important role in this type of tension timing than it does for the others.

2) Type II: Reversing
This timing is as in shifting a car into reverse just before reaching the forwardmost point. The limb is relaxed until just prior to impact. At and just after impact, the muscles tense in such a way as to bring the weapon away from the point of impact quickly. The speed at impact is usually greatest with this type of focus. This type of focus is usually what is used for snapping kicks, as well as some strikes and some punches. The idea with reversing is to reach the target quickly, immediately returning after impact. The return actually starts before impact, similar to the way a whip is yanked back just prior to full extension. The tension begins just prior to impact and continues through during the pullback. Total body connection is least important with this type of tension timing.

3) Type III: Flowing
Flowing through the target is similar to taking the foot off the accelerator after reaching top speed, but not touching the brake. With this timing, the tension lessens following impact, having gradually increased tension up to that point. This type of focus is often employed when performing foot sweeps, as well as most Aikido and Judo techniques. To follow through after making contact is the idea. So enough tension must exist going into impact to keep the technique moving, along with the target it just struck. That tension then declines in a controlled manner, based on how far the target is intended to be moved.


As many of the more advanced practitioners already know (even if they haven't studied the mechanics in detail), the above three types of tension timing can be blended. For example, a block could strike the attacker's wrist with the intention of moving that limb far out of the way in such a way that the move combines Type I & III tension timings. The attacker's arm is moved a large distance (not just a couple inches, as with a basic block). But that distance is controlled and culminates with a tense blocking arm. Using the car analogy again, it is like holding the foot on the accelerator while running into an object, then braking quickly after pushing the object the desired distance.

In Part 2 of this series on Tension Timing, I will discuss how a specific tension timing may be more suitable for a given target. In Part 3, I will discuss trajectory in more detail, and how certain tension timings relate to certain trajectories more effectively.


Copyright © 2000, Jon Keeling

<i>Kumite</i> (Sparring) Training

Kumite (Sparring) Training
Kumite means, literally, "group hand." The te is the same as that of Karate ("empty hand"), thus essentially an abbreviation for it. The kumi means "group" or "pair," as in "practicing Karate in groups/pairs." Kumite is usually translated as "sparring." It can actually involve much more than simply trying out punches and kicks with someone else, though, to which sparring is often thought to be limited.

There are many types of kumite. Some may involve basic techniques, some free techniques. Some may not involve actual techniques at all. The idea is to train with another person or people, not just imagining opponents, as with kihon (basics) and kata (forms). Below are some examples of kumite variations typically practiced in Karate dojo and what I consider to be important training points of each. If you are not familiar with one or more of these types of kumite, please consult your instructor.

Kihon-sanbon (or -gohon, etc.) kumite - Three-step (or five step, etc.) basic sparring
This is usually the first type of sparring introduced to beginners. The main idea is to repeat movements, to get students used to basic technique. I believe that not enough time is spent doing this type of sparring for most beginners. However, I believe the techniques practiced should sometimes be expanded to include various other basic techniques, as found in the first few kata (traditionally, only punches are practiced as attacks in this type of sparring). Often, students are encouraged to change timing during execution of this type of sparring. While there is nothing wrong with this, "tricking" the opponent should not be the aim. This is basic sparring, thus the primary emphasis should be on proper form.

Kihon-ippon kumite - One-step basic sparring
This is almost the same as the above multiple-step basic sparring, but involves only one step forward by the attacker. Often, the attacks are changed to include a few basic kicks and sometimes the defender is allowed to move off to the side, not only directly back. With all basic sparring, the attacker announces the attack, but the defender is allowed to change the block and counter, as long as it is done in basic form. Again, I believe that more time should be spent on this type of sparring, particularly the numerous possible variations. Again, emphasis should be placed on proper form, above all else.
Jiyuu-ippon kumite - Semi-free sparring (lit. free one-step)

Semi-free sparring usually involves the same techniques as in basic one-step, but the attacker and defender are allowed to move around in free-sparring stance until the moment of attack/defense. The completion of the attack and the counter should be in the full basic form. The block is sometimes abbreviated or left out entirely if a large, powerful (basic) block is not necessary. For those under black belt (and for many black belt holders as well), primary emphasis during this type of sparring should also be on proper form. There are actually many possible steps to take between basic one-step and free one-step. For more on this, please see my 12/98 article. For more on the free-sparring stance position, please see my 1/98 article.

Jiyuu kumite - Free sparring
Is "free sparring" really "free?" The attacker does not call out the intended target or type of attack and, in most cases, both people are allowed to attack at any time. But, as grabbing and certain attacks are not usually allowed, it is not really completely free in the sense of "anything goes." There are many variations of jiyuu-kumite, ranging from two people chasing each other back and forth across the dojo floor, to one person being attacked by a group of mock adversaries. Techniques can be limited (e.g., only kicks). Speed can be altered. Time or space could be restricted. A specific timing may be trained. Various levels of contact could be used. Beginners are usually not allowed to practice free sparring, unless it is done very slowly and under the watchful eye of the instructor.

Non-sparring kumite
There are various other types of kumite drills. For example, in sets of two, one person can initiate a movement to one side or the other, or front or back. The other person must then follow, as a mirror-image. For more advanced practice, add arm/leg techniques and speed up. There is no contact in this example, yet it is still, officially, kumite. Other examples of kumite could involve timing drills, distance drills or practice of kata application, for example.

Additional points to ponder
I noted at several places above that proper form should usually be the primary focus during sparring. There are, however, other points to consider. Speed, power and timing are obviously important, the relativity of each dependent on the focus of the class at the time and what the individual practitioners are attempting to accomplish. Other points are often much more subtle and may actually be more of a primary focus at a higher level of training. For example, a more advanced practitioner may be ready for anything during the entire time while practicing kihon-ippon kumite. Psychological and awareness training may be considered after having reached a high competence level in terms of physical form.

In closing
When practicing kumite, try to keep in mind what the aim of the practice is. It is not always just to "try to get the other guy." Kumite is yet another learning tool. Furthermore, I would recommend that, just as with kata and kihon, once "advanced" sparring methods are studied, the practice of more basic sparring should not be discarded. Rather, these new methods should be added, as opposed to substituted. I would go so far as to say "a Karate practitioner who says he has nothing to gain from practicing basic sparring (or basic kata) does not understand basic sparring (or basic kata)."


Copyright © 2000, Jon Keeling