We have probably all seen it before. Some of us have experienced it first-hand. The old instructor spars with the much more athletic young tournament champion. The old instructor seems to be able to read the mind of the young athlete. The younger guy seems to be able to get in a few shots but for the most part everything is blocked or avoided and the older guy gets at least as many "points" in, despite his age and condition.
How does this happen? ESP (extra-sensory perception)? Through so many years of practice in "moving meditation," has the old instructor learned to read minds?
What may appear to be mind-reading is more likely "body-reading" and educated guesses.
Through experience at watching and feeling how the body moves, paying particular attention to technical flaws such as extraneous movement leading up to an attack, the older instructor can often "sense" something as it is just getting started. It is not that he is seeing things before they happen. It is that he sees things much earlier than others might, while the situation is unfolding. Because the onlooker (or opponent) may not have seen any real indication of the attack having yet taken place, it may appear that this is "mind-reading".
Furthermore, through so many years of training, the older instructor probably has a good idea of what is likely to follow when he sees events unfolding. For example, after someone attacks with 2 kicks, is it very likely that the next attack would be a punch as opposed to another kick? Is this the type of opponent who is looking for a chance to counterattack or pushing in aggressively? Through experience, he develops the ability to make better decisions based on these experiences. The tournament champion also has likely developed this ability to some extent, but within the rules of competition; the older instructor may have more of an ability to "think outside the box."
As for the attacks being relatively successful, the experienced instructor may have also developed an ability to psychologically affect his opponent. For example, he may give his younger opponent the impression that the older man is on the defensive, lulling him into a false sense of security, only to be met with a barrage of attacks from the senior.
Of course this “mind reading” often falls apart when two experienced people are matched up. Neither one shows much extraneous movement. Both can read each other and the other can see that the other can read him. As a result, many techniques barely start and then are quickly retracted. And since they are both good at making educated guesses, they tend to use more feinting as a way to trick the other into making an incorrect assumption.
Would you like to develop this skill? Here are a few things you can watch for that might help you:
- When the shoulder lifts, this is often an indication that a punch from that arm will soon follow.
- Slight shifting back or angling outward of the front foot often precedes a step forward.
- Overall rising up of the body sometimes precedes a kick.
- Someone who likes to counterattack usually likes to do so with the back arm or leg.
- If someone turns around for a back kick, the move following is often not an attack and if it is, it is rarely another kick.
- The eyes sometimes give away an attack; the opponent may look at the intended target (for example, at the midsection) as he attacks, or he may squint just prior to attacking.
- Attacks are rarely delivered on an in-breath.
Of course what helps with this the most is quite simple: experience. Get to the dojo often and try to train with various people to get more experience with a range of possibilities. Of course I knew that you knew this already… After all, I have ESP!
And just for “kicks”, try this: http://trunks.secondfoundation.org/files/psychic.swf
Copyright © 2005, Jon Keeling
Thursday, December 1, 2005
Tuesday, November 1, 2005
Good Enough
"Good," I told my students, after calling a pause in their repetitions. "That's good enough," I tell them.
"But is 'good enough' really all that good?"
When you have the cable guy come out to hook up your TV and he shows up 2 hours late and takes another hour for what you were told would take 10 minutes, you may call this “good enough”, as he did eventually get you hooked up. When you get to your hotel room and notice that it does have a bed, bathroom, etc., but doesn't look anywhere near as good as the photo you were shown, you may call it “good enough”. But there are times when “good enough” may not or should not be considered “good enough”.
Your kick may be good enough to score a point at a local tournament. But would that same kick (granted it is controlled for safety in the tournament) be effective in a real self-defense encounter? Is it really “good enough” for you?
Your punch seems faster than it was when you first started your training years ago. But the woman next to you seems faster. You may be “good enough” to pass the minimal required criteria on your next kyu or dan exam. But is this good enough for you?
Each person has his or her own priorities and levels of acceptance for different things. If I am in a class and the instructor says “good”, I usually think of that as meaning 'good enough', and then try even harder. My standards are higher than most. And I know when I am doing just enough to do better than the person next to me in line at my dojo. At times like this I sometimes imagine that I am back in Tokyo, next to people training at a level beyond what I am letting myself settle for.
Is traveling to Japan to train the answer? Will that make us good enough to be really "good enough"? It depends on what you want to get out of your training. For some people, putting the extra effort into traveling to a different location to focus on training might really help. For others, just focusing more on training at the home dojo might be the better answer. (For more on this, please see articles on Training in Japan and Gung-ho Training)
This is not to say that we should never be happy with our performance. If we are not happy during training, we are not doing it right! Karate should be, overall, an enjoyable activity. No need to get frustrated during every exercise. But are our standards as high as they should be? Are we sometimes letting 'good enough' be our goal?
As also explained in my Challenge article, we must push ourselves. It should not always be up to the instructor/coach to push us. This self-challenging can involve pushing ourselves to go a little faster or train a little harder or more often. But it can also involve taking a hard look at ourselves to assess our technical performance (see articles on Video Training and Look & Feel in Kihon for more on this subject).
Let's strive to be good. But when we can, let's try to be better than just "good". Let's try to be outstanding!
Copyright © 2005, Jon Keeling
"But is 'good enough' really all that good?"
When you have the cable guy come out to hook up your TV and he shows up 2 hours late and takes another hour for what you were told would take 10 minutes, you may call this “good enough”, as he did eventually get you hooked up. When you get to your hotel room and notice that it does have a bed, bathroom, etc., but doesn't look anywhere near as good as the photo you were shown, you may call it “good enough”. But there are times when “good enough” may not or should not be considered “good enough”.
Your kick may be good enough to score a point at a local tournament. But would that same kick (granted it is controlled for safety in the tournament) be effective in a real self-defense encounter? Is it really “good enough” for you?
Your punch seems faster than it was when you first started your training years ago. But the woman next to you seems faster. You may be “good enough” to pass the minimal required criteria on your next kyu or dan exam. But is this good enough for you?
Each person has his or her own priorities and levels of acceptance for different things. If I am in a class and the instructor says “good”, I usually think of that as meaning 'good enough', and then try even harder. My standards are higher than most. And I know when I am doing just enough to do better than the person next to me in line at my dojo. At times like this I sometimes imagine that I am back in Tokyo, next to people training at a level beyond what I am letting myself settle for.
Is traveling to Japan to train the answer? Will that make us good enough to be really "good enough"? It depends on what you want to get out of your training. For some people, putting the extra effort into traveling to a different location to focus on training might really help. For others, just focusing more on training at the home dojo might be the better answer. (For more on this, please see articles on Training in Japan and Gung-ho Training)
This is not to say that we should never be happy with our performance. If we are not happy during training, we are not doing it right! Karate should be, overall, an enjoyable activity. No need to get frustrated during every exercise. But are our standards as high as they should be? Are we sometimes letting 'good enough' be our goal?
As also explained in my Challenge article, we must push ourselves. It should not always be up to the instructor/coach to push us. This self-challenging can involve pushing ourselves to go a little faster or train a little harder or more often. But it can also involve taking a hard look at ourselves to assess our technical performance (see articles on Video Training and Look & Feel in Kihon for more on this subject).
Let's strive to be good. But when we can, let's try to be better than just "good". Let's try to be outstanding!
Copyright © 2005, Jon Keeling
Good Enough
"Good," I told my students, after calling a pause in their repetitions. "That's good enough," I tell them.
"But is 'good enough' really all that good?"
When you have the cable guy come out to hook up your TV and he shows up 2 hours late and takes another hour for what you were told would take 10 minutes, you may call this “good enough”, as he did eventually get you hooked up. When you get to your hotel room and notice that it does have a bed, bathroom, etc., but doesn't look anywhere near as good as the photo you were shown, you may call it “good enough”. But there are times when “good enough” may not or should not be considered “good enough”.
Your kick may be good enough to score a point at a local tournament. But would that same kick (granted it is controlled for safety in the tournament) be effective in a real self-defense encounter? Is it really “good enough” for you?
Your punch seems faster than it was when you first started your training years ago. But the woman next to you seems faster. You may be “good enough” to pass the minimal required criteria on your next kyu or dan exam. But is this good enough for you?
Each person has his or her own priorities and levels of acceptance for different things. If I am in a class and the instructor says “good”, I usually think of that as meaning 'good enough', and then try even harder. My standards are higher than most. And I know when I am doing just enough to do better than the person next to me in line at my dojo. At times like this I sometimes imagine that I am back in Tokyo, next to people training at a level beyond what I am letting myself settle for.
Is traveling to Japan to train the answer? Will that make us good enough to be really "good enough"? It depends on what you want to get out of your training. For some people, putting the extra effort into traveling to a different location to focus on training might really help. For others, just focusing more on training at the home dojo might be the better answer. (For more on this, please see articles on Training in Japan and Gung-ho Training)
This is not to say that we should never be happy with our performance. If we are not happy during training, we are not doing it right! Karate should be, overall, an enjoyable activity. No need to get frustrated during every exercise. But are our standards as high as they should be? Are we sometimes letting 'good enough' be our goal?
As also explained in my Challenge article, we must push ourselves. It should not always be up to the instructor/coach to push us. This self-challenging can involve pushing ourselves to go a little faster or train a little harder or more often. But it can also involve taking a hard look at ourselves to assess our technical performance (see articles on Video Training and Look & Feel in Kihon for more on this subject).
Let's strive to be good. But when we can, let's try to be better than just "good". Let's try to be outstanding!
Copyright © 2005, Jon Keeling
"But is 'good enough' really all that good?"
When you have the cable guy come out to hook up your TV and he shows up 2 hours late and takes another hour for what you were told would take 10 minutes, you may call this “good enough”, as he did eventually get you hooked up. When you get to your hotel room and notice that it does have a bed, bathroom, etc., but doesn't look anywhere near as good as the photo you were shown, you may call it “good enough”. But there are times when “good enough” may not or should not be considered “good enough”.
Your kick may be good enough to score a point at a local tournament. But would that same kick (granted it is controlled for safety in the tournament) be effective in a real self-defense encounter? Is it really “good enough” for you?
Your punch seems faster than it was when you first started your training years ago. But the woman next to you seems faster. You may be “good enough” to pass the minimal required criteria on your next kyu or dan exam. But is this good enough for you?
Each person has his or her own priorities and levels of acceptance for different things. If I am in a class and the instructor says “good”, I usually think of that as meaning 'good enough', and then try even harder. My standards are higher than most. And I know when I am doing just enough to do better than the person next to me in line at my dojo. At times like this I sometimes imagine that I am back in Tokyo, next to people training at a level beyond what I am letting myself settle for.
Is traveling to Japan to train the answer? Will that make us good enough to be really "good enough"? It depends on what you want to get out of your training. For some people, putting the extra effort into traveling to a different location to focus on training might really help. For others, just focusing more on training at the home dojo might be the better answer. (For more on this, please see articles on Training in Japan and Gung-ho Training)
This is not to say that we should never be happy with our performance. If we are not happy during training, we are not doing it right! Karate should be, overall, an enjoyable activity. No need to get frustrated during every exercise. But are our standards as high as they should be? Are we sometimes letting 'good enough' be our goal?
As also explained in my Challenge article, we must push ourselves. It should not always be up to the instructor/coach to push us. This self-challenging can involve pushing ourselves to go a little faster or train a little harder or more often. But it can also involve taking a hard look at ourselves to assess our technical performance (see articles on Video Training and Look & Feel in Kihon for more on this subject).
Let's strive to be good. But when we can, let's try to be better than just "good". Let's try to be outstanding!
Copyright © 2005, Jon Keeling
Good Enough
"Good," I told my students, after calling a pause in their repetitions. "That's good enough," I tell them.
"But is 'good enough' really all that good?"
When you have the cable guy come out to hook up your TV and he shows up 2 hours late and takes another hour for what you were told would take 10 minutes, you may call this “good enough”, as he did eventually get you hooked up. When you get to your hotel room and notice that it does have a bed, bathroom, etc., but doesn't look anywhere near as good as the photo you were shown, you may call it “good enough”. But there are times when “good enough” may not or should not be considered “good enough”.
Your kick may be good enough to score a point at a local tournament. But would that same kick (granted it is controlled for safety in the tournament) be effective in a real self-defense encounter? Is it really “good enough” for you?
Your punch seems faster than it was when you first started your training years ago. But the woman next to you seems faster. You may be “good enough” to pass the minimal required criteria on your next kyu or dan exam. But is this good enough for you?
Each person has his or her own priorities and levels of acceptance for different things. If I am in a class and the instructor says “good”, I usually think of that as meaning 'good enough', and then try even harder. My standards are higher than most. And I know when I am doing just enough to do better than the person next to me in line at my dojo. At times like this I sometimes imagine that I am back in Tokyo, next to people training at a level beyond what I am letting myself settle for.
Is traveling to Japan to train the answer? Will that make us good enough to be really "good enough"? It depends on what you want to get out of your training. For some people, putting the extra effort into traveling to a different location to focus on training might really help. For others, just focusing more on training at the home dojo might be the better answer. (For more on this, please see articles on Training in Japan and Gung-ho Training)
This is not to say that we should never be happy with our performance. If we are not happy during training, we are not doing it right! Karate should be, overall, an enjoyable activity. No need to get frustrated during every exercise. But are our standards as high as they should be? Are we sometimes letting 'good enough' be our goal?
As also explained in my Challenge article, we must push ourselves. It should not always be up to the instructor/coach to push us. This self-challenging can involve pushing ourselves to go a little faster or train a little harder or more often. But it can also involve taking a hard look at ourselves to assess our technical performance (see articles on Video Training and Look & Feel in Kihon for more on this subject).
Let's strive to be good. But when we can, let's try to be better than just "good". Let's try to be outstanding!
Copyright © 2005, Jon Keeling
"But is 'good enough' really all that good?"
When you have the cable guy come out to hook up your TV and he shows up 2 hours late and takes another hour for what you were told would take 10 minutes, you may call this “good enough”, as he did eventually get you hooked up. When you get to your hotel room and notice that it does have a bed, bathroom, etc., but doesn't look anywhere near as good as the photo you were shown, you may call it “good enough”. But there are times when “good enough” may not or should not be considered “good enough”.
Your kick may be good enough to score a point at a local tournament. But would that same kick (granted it is controlled for safety in the tournament) be effective in a real self-defense encounter? Is it really “good enough” for you?
Your punch seems faster than it was when you first started your training years ago. But the woman next to you seems faster. You may be “good enough” to pass the minimal required criteria on your next kyu or dan exam. But is this good enough for you?
Each person has his or her own priorities and levels of acceptance for different things. If I am in a class and the instructor says “good”, I usually think of that as meaning 'good enough', and then try even harder. My standards are higher than most. And I know when I am doing just enough to do better than the person next to me in line at my dojo. At times like this I sometimes imagine that I am back in Tokyo, next to people training at a level beyond what I am letting myself settle for.
Is traveling to Japan to train the answer? Will that make us good enough to be really "good enough"? It depends on what you want to get out of your training. For some people, putting the extra effort into traveling to a different location to focus on training might really help. For others, just focusing more on training at the home dojo might be the better answer. (For more on this, please see articles on Training in Japan and Gung-ho Training)
This is not to say that we should never be happy with our performance. If we are not happy during training, we are not doing it right! Karate should be, overall, an enjoyable activity. No need to get frustrated during every exercise. But are our standards as high as they should be? Are we sometimes letting 'good enough' be our goal?
As also explained in my Challenge article, we must push ourselves. It should not always be up to the instructor/coach to push us. This self-challenging can involve pushing ourselves to go a little faster or train a little harder or more often. But it can also involve taking a hard look at ourselves to assess our technical performance (see articles on Video Training and Look & Feel in Kihon for more on this subject).
Let's strive to be good. But when we can, let's try to be better than just "good". Let's try to be outstanding!
Copyright © 2005, Jon Keeling
Sunday, October 2, 2005
Cheetahs and Gazelles
The cheetah is known as the fastest animal on land, able to sprint at 96 kph / 60 mph. The gazelle is a common target for the cheetah. Gazelles have horns that are of limited defensive use against a cheetah attacking from the rear or side. The gazelle is agile but not nearly as fast as the cheetah. So how is it that gazelles can often avoid becoming dinner for the hungry cheetah?
The cheetah will sprint quickly toward its prey. If the gazelle is not paying attention, this could mean disaster. But if the gazelle moves sharply off the line of attack at the last moment, the cheetah very often overshoots his target and continues charging a considerable distance. Stopping, turning around and trying it again, the cheetah usually gives up in exhaustion after a few attempts.
In training in “traditional” Shotokan dojo, as well as other Japanese-based styles, most people put more time into the fast, direct movements. Many of the Okinawan stylists, as well as those of some other martial arts, spend significant time on the finesse and agility involved in getting off the line to avoid direct attacks. Aikido is a clear and obvious example, where this is basically their primary focus of training.
Here is an example of how you can practice both a fast, direct attack (the cheetah) and an agile escape (the gazelle):
1. First, do some repetition of quick, large, lunging forward attacks. I suggest practicing extra-large stances and letting the back foot slide.
2. Then do some shifting exercises. Concentrate on getting off the line of attack quickly.
3. Kumite: Person A begins in front stance or free-sparring position. Person B is standing or nearly standing.
4. Person A (the cheetah), with minimal windup or extraneous movement, steps in quickly and punches, trying to catch Person B (the gazelle) off-guard. I would suggest starting with just chudan (abdomen) attacks to keep things safe. In the first version, to concentrate on the complete conviction and large movement forward of the attacker, Person A should try to go through the target, not just to it. Person A should aim to go a full step past Person B’s initial position. Person B should step back as far back as possible, of course very quickly, to avoid being run over.
5. In the next version, Person B shifts out of the way, just parrying if needed (not a full block; no block/parry if it is not needed). Person B should work on moving sharply and only at the last moment. The end result should look a lot like a swift cheetah trying to catch an agile gazelle. Ideally, the cheetah will sometimes "catch" the gazelle and the gazelle will sometimes avoid the cheetah's charge.
So is it better to be the cheetah or the gazelle? What you choose to specialize in may depend partly on what your body is capable of and also what type of person (character) you are. In my opinion, it is good to develop both the ability to charge in quickly and directly, as well as to be able to use agility to avoid an attack. There are times to act like a cheetah and times to act like a gazelle. They must both be doing something right if they are surviving in the wild, right?
Copyright © 2005, Jon Keeling
Friday, September 2, 2005
"Look and Feel" in Karate Training - Part 3
Kumite (Sparring)
In the previous two articles of July 2005 and August 2005, I presented different ways of exploring "look and feel" when working on kihon (basics) and kata (forms). In this article, the last of a 3-part series, I will address the subject of kumite.
As with kihon and kata, kumite training should involve awareness of form. But function is particularly important when dealing with the less structured versions of sparring practice. As with kihon and kata, watching and feeling your performance during kumite is important. But watching your opponent is at least as important, and at times of utmost importance. Not watching your opponent can mean disaster if he is intent on scoring a point or, even worse, causing you harm. We should be watching technique, distance, timing and more.
Watching your partner in kumite is important. This is not a revolutionary concept. But "feeling" your opponent is something that is often overlooked and can be approached in numerous ways. It is not simply that we are making contact, but how we are making contact.
I will not go into how you might "feel" when getting hit, or hitting someone. In general, it does not feel good to get hit. Hopefully you are not making a habit of either hitting or being hit. Let's now move on to other points about making contact...
In basic kumite, you may be touching wrist-to-wrist/-ankle when blocking. Feeling the connection to your partner in this way can help you refine distance and timing and check the accuracy of your technique (and theirs). In some types of sparring, one person may grab another. During such a situation, feeling where contact is being made is very important, as is how contact is being made. Looking by itself may not suffice if someone tries to grab you from the back, for example.
Remember that the literal definition of kumite implies that two or more people are working together, learning from the interaction. We learn by using all our available and applicable senses (taste and smell do not help much, but the sense of hearing, for example, can help). For more on the 5+ senses, see the article on the subject. In particular, the senses of touch, proprioception and balance are all involved in and enhanced by contact with the kumite partner.
Here is an exercise worth trying to help test and develop the above senses through contact:
• Person A and Person B face each other (could be standing or in sparring stance)
• Person A situates closed hands just in front of the stomach area in a low guard position.
• Person B places her open hands lightly on the hands of Person A and closes her eyes.
• Person A slowly executes punches and strikes while Person B deflects these attacks, keeping contact with both hands/wrists at all times.
• Gradually increase speed.
• Switch attack/defense roles.
"Look and feel" in kumite practice involves more than simply how "cool" it seems. We are not doing just "virtual karate" (at least I hope not).
"Look and feel" in all parts of karate is worth exploring. Watch yourself. Watch others. Feel the techniques and movements. Feel good about your training.
Copyright © 2005, Jon Keeling
Tuesday, August 2, 2005
"Look and Feel" in Karate Training - Part 2
Kata (Forms)
As noted in my July 2005 article, techniques and movements can be improved by watching and also by “feeling” the position or movement. In kata, the ideas of looking and feeling can be practiced at yet another level.
In the past few years, it seems as though discussions and arguments have been heating up regarding the way kata is practiced. Should it be a technical study of movement - primarily an exhibition of physical fitness - or should we study the applications in depth. This issue of form vs. function has been a source of debate with some great points on each side.
In most karate tests and tournaments, kata performace is judged only on form, which involves proper execution of techniques, timing, displays of intensity and more. There are many people whose primary emphasis in their daily kata practice is form with no regard for function. There are others who scoff at the traditional form, claiming that a disregard for application (function) is pointless. But often these people also just work on the outward appearance of application and couldn’t actually apply some of these methods and tactics in a realistic encounter (self-defense). Making some intentional contact with a partner and receiving physical and verbal feedback in such practice is very valuable. Thus “feeling” in kata application practice can be a very useful part of training.
Some people do their kata without much regard to how it looks (form) or what the applications might involve (function). Some of these people concentrate on the physical fitness aspects of the training, treating it as an exercise. Some treat it as a very personal time, whether it be as an expression of art or an outwards demonstration of personality, like a dance. For these people, they may “feel” the kata in a different way. Kata practice can make one happy or satisfied with oneself.
Joggers refer to a "runner's high" and many athletes talk about being "in the zone" when they are not only performing well outwardly but also feeling good about their performance inwardly. During individual kata practice, in addition to physical fitness, self-defence and other possible benefits, some people just "feel good doing it" and need nothing more.
The feelings that are experienced during kata practice are worth exploring as part of one’s personal karate journey.
As you can see, the “look and feel” of kata can be explored from many angles. With this in mind, kata practice can always be interesting and and various educational opportunities are there for the taking.
What do you feel when practicing kata? Please write to me and let me know. Maybe I can add some short quotes to this article in the future...
Copyright © 2005, Jon Keeling
"Look and Feel" in Karate Training - Part 2
Kata (Forms)
As noted in my July 2005 article, techniques and movements can be improved by watching and also by “feeling” the position or movement. In kata, the ideas of looking and feeling can be practiced at yet another level.
In the past few years, it seems as though discussions and arguments have been heating up regarding the way kata is practiced. Should it be a technical study of movement - primarily an exhibition of physical fitness - or should we study the applications in depth. This issue of form vs. function has been a source of debate with some great points on each side.
In most karate tests and tournaments, kata performace is judged only on form, which involves proper execution of techniques, timing, displays of intensity and more. There are many people whose primary emphasis in their daily kata practice is form with no regard for function. There are others who scoff at the traditional form, claiming that a disregard for application (function) is pointless. But often these people also just work on the outward appearance of application and couldn’t actually apply some of these methods and tactics in a realistic encounter (self-defense). Making some intentional contact with a partner and receiving physical and verbal feedback in such practice is very valuable. Thus “feeling” in kata application practice can be a very useful part of training.
Some people do their kata without much regard to how it looks (form) or what the applications might involve (function). Some of these people concentrate on the physical fitness aspects of the training, treating it as an exercise. Some treat it as a very personal time, whether it be as an expression of art or an outwards demonstration of personality, like a dance. For these people, they may “feel” the kata in a different way. Kata practice can make one happy or satisfied with oneself.
Joggers refer to a "runner's high" and many athletes talk about being "in the zone" when they are not only performing well outwardly but also feeling good about their performance inwardly. During individual kata practice, in addition to physical fitness, self-defence and other possible benefits, some people just "feel good doing it" and need nothing more.
The feelings that are experienced during kata practice are worth exploring as part of one’s personal karate journey.
As you can see, the “look and feel” of kata can be explored from many angles. With this in mind, kata practice can always be interesting and and various educational opportunities are there for the taking.
What do you feel when practicing kata? Please write to me and let me know. Maybe I can add some short quotes to this article in the future...
Copyright © 2005, Jon Keeling
Saturday, July 2, 2005
"Look and Feel" in Karate Training - Part 1
Kihon (Basics)
Whether or not we train in front of a mirror, we all look at ourselves during our training; some people more than others. Watching what you are doing can help improve performance. But it can also detract from the idea of “feeling” the technique/movement, if we make it an unconscious habit. A combination of “looking” and “feeling” is probably best.
As I have mentioned before in one or two of my articles, the use of mirrors may be better for watching yourself than looking down to check your technique/movement. And the use of video or asking someone else to watch and give feedback is even better. The main reasons for this:
• Looking down to watch oneself can cause the neck to bend and/or body to tilt. We may also subconsciously correct the technique during the time it takes to glance down, creating an unrealistic understanding of what is actually going on. This can also cause a bad habit of looking down and/or tilting the head/body all the time, particularly detrimental during kumite training.
• When we look down at ourselves, we are usually just monitoring 1 or 2 aspects of our movement/technique. While it is not bad to focus on just 1 or 2 points, there may be more going on than one can see with a limited field/angle of vision. By asking someone else to watch, or recording onto video, we can monitor several things, some of which we may not have considered when starting the exercise.
All of this visual monitoring can be helpful. But we should also be working on “feeling” our techniques/movements. Try closing your eyes sometimes while stationary or even while moving. Feel where all the body parts are, including the angle of the joints and the alignment of various parts of your body. Feel how all the muscles are being used and in what timing. Feel if you are off-balance or operating inefficiently.
Watch others in thier training. When you see them doing poorly, watch to see if you are making the same errors. But also feel if you are. Likewise, when you see someone performing something well, watch and feel to determine whether you are also doing it that way.
When you are certain you are doing something well, take the time and effort to solidify the good behavior/technique. Close your eyes and feel it and encourage your body and mind to memorize the position/movement. Repeat until you can see and feel that it is getting better.
More on this subject to come in future articles within the next few months…
Copyright © 2005, Jon Keeling
"Look and Feel" in Karate Training - Part 1
Kihon (Basics)
Whether or not we train in front of a mirror, we all look at ourselves during our training; some people more than others. Watching what you are doing can help improve performance. But it can also detract from the idea of “feeling” the technique/movement, if we make it an unconscious habit. A combination of “looking” and “feeling” is probably best.
As I have mentioned before in one or two of my articles, the use of mirrors may be better for watching yourself than looking down to check your technique/movement. And the use of video or asking someone else to watch and give feedback is even better. The main reasons for this:
• Looking down to watch oneself can cause the neck to bend and/or body to tilt. We may also subconsciously correct the technique during the time it takes to glance down, creating an unrealistic understanding of what is actually going on. This can also cause a bad habit of looking down and/or tilting the head/body all the time, particularly detrimental during kumite training.
• When we look down at ourselves, we are usually just monitoring 1 or 2 aspects of our movement/technique. While it is not bad to focus on just 1 or 2 points, there may be more going on than one can see with a limited field/angle of vision. By asking someone else to watch, or recording onto video, we can monitor several things, some of which we may not have considered when starting the exercise.
All of this visual monitoring can be helpful. But we should also be working on “feeling” our techniques/movements. Try closing your eyes sometimes while stationary or even while moving. Feel where all the body parts are, including the angle of the joints and the alignment of various parts of your body. Feel how all the muscles are being used and in what timing. Feel if you are off-balance or operating inefficiently.
Watch others in thier training. When you see them doing poorly, watch to see if you are making the same errors. But also feel if you are. Likewise, when you see someone performing something well, watch and feel to determine whether you are also doing it that way.
When you are certain you are doing something well, take the time and effort to solidify the good behavior/technique. Close your eyes and feel it and encourage your body and mind to memorize the position/movement. Repeat until you can see and feel that it is getting better.
More on this subject to come in future articles within the next few months…
Copyright © 2005, Jon Keeling
"Look and Feel" in Karate Training - Part 1
Kihon (Basics)
Whether or not we train in front of a mirror, we all look at ourselves during our training; some people more than others. Watching what you are doing can help improve performance. But it can also detract from the idea of “feeling” the technique/movement, if we make it an unconscious habit. A combination of “looking” and “feeling” is probably best.
As I have mentioned before in one or two of my articles, the use of mirrors may be better for watching yourself than looking down to check your technique/movement. And the use of video or asking someone else to watch and give feedback is even better. The main reasons for this:
• Looking down to watch oneself can cause the neck to bend and/or body to tilt. We may also subconsciously correct the technique during the time it takes to glance down, creating an unrealistic understanding of what is actually going on. This can also cause a bad habit of looking down and/or tilting the head/body all the time, particularly detrimental during kumite training.
• When we look down at ourselves, we are usually just monitoring 1 or 2 aspects of our movement/technique. While it is not bad to focus on just 1 or 2 points, there may be more going on than one can see with a limited field/angle of vision. By asking someone else to watch, or recording onto video, we can monitor several things, some of which we may not have considered when starting the exercise.
All of this visual monitoring can be helpful. But we should also be working on “feeling” our techniques/movements. Try closing your eyes sometimes while stationary or even while moving. Feel where all the body parts are, including the angle of the joints and the alignment of various parts of your body. Feel how all the muscles are being used and in what timing. Feel if you are off-balance or operating inefficiently.
Watch others in thier training. When you see them doing poorly, watch to see if you are making the same errors. But also feel if you are. Likewise, when you see someone performing something well, watch and feel to determine whether you are also doing it that way.
When you are certain you are doing something well, take the time and effort to solidify the good behavior/technique. Close your eyes and feel it and encourage your body and mind to memorize the position/movement. Repeat until you can see and feel that it is getting better.
More on this subject to come in future articles within the next few months…
Copyright © 2005, Jon Keeling
"Look and Feel" in Karate Training - Part 1
Kihon (Basics)
Whether or not we train in front of a mirror, we all look at ourselves during our training; some people more than others. Watching what you are doing can help improve performance. But it can also detract from the idea of “feeling” the technique/movement, if we make it an unconscious habit. A combination of “looking” and “feeling” is probably best.
As I have mentioned before in one or two of my articles, the use of mirrors may be better for watching yourself than looking down to check your technique/movement. And the use of video or asking someone else to watch and give feedback is even better. The main reasons for this:
• Looking down to watch oneself can cause the neck to bend and/or body to tilt. We may also subconsciously correct the technique during the time it takes to glance down, creating an unrealistic understanding of what is actually going on. This can also cause a bad habit of looking down and/or tilting the head/body all the time, particularly detrimental during kumite training.
• When we look down at ourselves, we are usually just monitoring 1 or 2 aspects of our movement/technique. While it is not bad to focus on just 1 or 2 points, there may be more going on than one can see with a limited field/angle of vision. By asking someone else to watch, or recording onto video, we can monitor several things, some of which we may not have considered when starting the exercise.
All of this visual monitoring can be helpful. But we should also be working on “feeling” our techniques/movements. Try closing your eyes sometimes while stationary or even while moving. Feel where all the body parts are, including the angle of the joints and the alignment of various parts of your body. Feel how all the muscles are being used and in what timing. Feel if you are off-balance or operating inefficiently.
Watch others in thier training. When you see them doing poorly, watch to see if you are making the same errors. But also feel if you are. Likewise, when you see someone performing something well, watch and feel to determine whether you are also doing it that way.
When you are certain you are doing something well, take the time and effort to solidify the good behavior/technique. Close your eyes and feel it and encourage your body and mind to memorize the position/movement. Repeat until you can see and feel that it is getting better.
More on this subject to come in future articles within the next few months…
Copyright © 2005, Jon Keeling
"Look and Feel" in Karate Training - Part 1
Kihon (Basics)
Whether or not we train in front of a mirror, we all look at ourselves during our training; some people more than others. Watching what you are doing can help improve performance. But it can also detract from the idea of “feeling” the technique/movement, if we make it an unconscious habit. A combination of “looking” and “feeling” is probably best.
As I have mentioned before in one or two of my articles, the use of mirrors may be better for watching yourself than looking down to check your technique/movement. And the use of video or asking someone else to watch and give feedback is even better. The main reasons for this:
• Looking down to watch oneself can cause the neck to bend and/or body to tilt. We may also subconsciously correct the technique during the time it takes to glance down, creating an unrealistic understanding of what is actually going on. This can also cause a bad habit of looking down and/or tilting the head/body all the time, particularly detrimental during kumite training.
• When we look down at ourselves, we are usually just monitoring 1 or 2 aspects of our movement/technique. While it is not bad to focus on just 1 or 2 points, there may be more going on than one can see with a limited field/angle of vision. By asking someone else to watch, or recording onto video, we can monitor several things, some of which we may not have considered when starting the exercise.
All of this visual monitoring can be helpful. But we should also be working on “feeling” our techniques/movements. Try closing your eyes sometimes while stationary or even while moving. Feel where all the body parts are, including the angle of the joints and the alignment of various parts of your body. Feel how all the muscles are being used and in what timing. Feel if you are off-balance or operating inefficiently.
Watch others in thier training. When you see them doing poorly, watch to see if you are making the same errors. But also feel if you are. Likewise, when you see someone performing something well, watch and feel to determine whether you are also doing it that way.
When you are certain you are doing something well, take the time and effort to solidify the good behavior/technique. Close your eyes and feel it and encourage your body and mind to memorize the position/movement. Repeat until you can see and feel that it is getting better.
More on this subject to come in future articles within the next few months…
Copyright © 2005, Jon Keeling
Thursday, June 2, 2005
Harder is Better
I sometimes hear students in class asking if they are doing things properly. They wonder if they might not be doing it correctly because they find that the way that I am asking them to do it is "harder" than what they think it should be.
Sometimes, harder is better.
Why do we train mostly in low stances? Is it because this is the way we should apply our techniques in an actual self-defense situation? These stances may work well in actual application. But it may be more about the actual training itself than the application of it. By going to an extreme, we are really working to the maximum. And this usually makes the practice more valuable as a form of exercise and creates a more beneficial training of muscle memory.
Doing things the easy way is, well, "easy". And as such it should not be difficult to revert back to the easy/natural way in cases where we forget or do not have time, energy or clear enough understanding to perform the ideal way. So, in self-defense, for example, if we are not able to make a full, proper, round-house kick, at least our training will have probably made whatever kick that comes out in such a situation more effective.
When it comes down to it, that front snap kick we trained so hard on in the dojo may not be as effective as the pushing type of front kick that comes more naturally. Does that mean we should not practice the relatively ineffective snapping front kick? No. This kick could definitely be very effective; it is simply that the situations in which it would be more effective than a more natural thrust kick are somewhat limited. And since the thrusting version is more natural, it does not need as much practice. The snapping version is more difficult. Thus that is what we concentrate on.
Why do we wait until the last possible moment before blocking? Although there are practical application reasons to do this, part of it may simply be to make the training more challenging. And the challenge itself is sometimes very beneficial to our training.While these challenges can at times cause some frustration, we should keep in mind that these challenges are there to be overcome. They are there to make us try harder and as a result become better.
"Challenge, but not Impossible"
This is one my signature sayings. I use this phrase often when I teach. Our objective should be to put ourselves and our partners in a situation that is a challenge but not one that seems impossible. If we are always simply working within our comfort zone, not trying at all to reach outside of what is easy for us, how are we to improve? For more on the subject of "challenge," please see article from February 2004.
Remember that we do not need to always be focusing on 1000 different points and that we should sometimes not worry too much about certain details while training, instead focusing on just the one or two most important points of the lesson. For reference, see article from June 1999. Trying to focus on many details at once is tough. But this is not really what I have in mind when I suggest keeping training "hard". It should be a challenge even if you just focus on one or two details.
Please do not forget to keep in mind that "hard" does not have to mean "exhausting and/or dangerous" training. That type of workout may be what some people desire. But training should be hard enough (difficult enough) without making people so uncomfortable that they no longer feel like they want to come to the dojo.
Doing things that are difficult is often a good thing. But that does not mean that everything should be a struggle and successes be severely limited. We should be meeting our challenges and keeping in mind that there is usually a reason that things are difficult. Do not get too frustrated. This "hard" training should be good for us.
Copyright © 2005, Jon Keeling
Sometimes, harder is better.
Why do we train mostly in low stances? Is it because this is the way we should apply our techniques in an actual self-defense situation? These stances may work well in actual application. But it may be more about the actual training itself than the application of it. By going to an extreme, we are really working to the maximum. And this usually makes the practice more valuable as a form of exercise and creates a more beneficial training of muscle memory.
Doing things the easy way is, well, "easy". And as such it should not be difficult to revert back to the easy/natural way in cases where we forget or do not have time, energy or clear enough understanding to perform the ideal way. So, in self-defense, for example, if we are not able to make a full, proper, round-house kick, at least our training will have probably made whatever kick that comes out in such a situation more effective.
When it comes down to it, that front snap kick we trained so hard on in the dojo may not be as effective as the pushing type of front kick that comes more naturally. Does that mean we should not practice the relatively ineffective snapping front kick? No. This kick could definitely be very effective; it is simply that the situations in which it would be more effective than a more natural thrust kick are somewhat limited. And since the thrusting version is more natural, it does not need as much practice. The snapping version is more difficult. Thus that is what we concentrate on.
Why do we wait until the last possible moment before blocking? Although there are practical application reasons to do this, part of it may simply be to make the training more challenging. And the challenge itself is sometimes very beneficial to our training.While these challenges can at times cause some frustration, we should keep in mind that these challenges are there to be overcome. They are there to make us try harder and as a result become better.
"Challenge, but not Impossible"
This is one my signature sayings. I use this phrase often when I teach. Our objective should be to put ourselves and our partners in a situation that is a challenge but not one that seems impossible. If we are always simply working within our comfort zone, not trying at all to reach outside of what is easy for us, how are we to improve? For more on the subject of "challenge," please see article from February 2004.
Remember that we do not need to always be focusing on 1000 different points and that we should sometimes not worry too much about certain details while training, instead focusing on just the one or two most important points of the lesson. For reference, see article from June 1999. Trying to focus on many details at once is tough. But this is not really what I have in mind when I suggest keeping training "hard". It should be a challenge even if you just focus on one or two details.
Please do not forget to keep in mind that "hard" does not have to mean "exhausting and/or dangerous" training. That type of workout may be what some people desire. But training should be hard enough (difficult enough) without making people so uncomfortable that they no longer feel like they want to come to the dojo.
Doing things that are difficult is often a good thing. But that does not mean that everything should be a struggle and successes be severely limited. We should be meeting our challenges and keeping in mind that there is usually a reason that things are difficult. Do not get too frustrated. This "hard" training should be good for us.
Copyright © 2005, Jon Keeling
Monday, May 2, 2005
Teacher Student Relationships
Should teachers and students be allowed to date? No comment. That is not what this article is about...
As I have discussed in previous articles, there are different general methods of teaching and different methods of learning. Instructors can teach in different ways and students learn in different ways. Matching these types of teaching and learning can greatly enhance the transfer of knowledge and abilities from teacher to student.
Many times, I have seen an instructor (let’s call him “Teacher A&rdquo
participate in a class taught by another instructor (“Teacher B&rdquo, then later seen that instructor (A) try to teach in the same way as B did. While teacher B may have taught a very interesting and educational class, teacher A may not come up with the same results. Teacher A may be a fine instructor. But perhaps he is just not used to the teaching style and/or subject matter that is Teacher B's specialty. Teacher A may be a fantastic motivator, getting students to train hard in the basics, while Teacher B may be great at giving technical explanations. They each have a skill set that is valuable to students. But these skills are quite different. Furthermore, just because one set of students learns a lot and/or enjoys a certain teaching style or class subject, that does not mean that everyone does. Teacher A may benefit from trying to teach some different subjects, or from trying to teach some familiar subjects from some new angles or different approaches. On the other hand, Teacher A may have more success by teaching in the way he always has.
For reference, see articles from April 2001 (teaching), November 2001 (teaching changes), June 2003 (who should teach whom) and May 2002 (the value of training).
While it is obviously ideal to have an instructor whose teaching style matches the student’s learning style, this is not always possible, or at least not on a regular basis. Having multiple instructors in the same dojo really helps, particularly if these instructors have different teaching styles. Attending seminars can be very valuable, particularly if there are multiple instructors at such events (such as at the Hoitsugan Seminars). It is also valuable, as could be witnessed at such an event, to have instructors who can speak in the native language of the students. Spoken language is not as crucial a component in some types of teaching/learning combinations and particularly if the subject matter is very performance-based. But if there is technical explanation on biomechanics, for example, or strategy theory, having an instructor who can speak the language of the students can really help.
An instructor should be able to "connect" with the students, preferably in a common language. Many students just leave everything up to the instructor, who supposedly knows best. But for some students, it is very important for the teaching method to fit their learning style. And for some students, they would like to have more of a connection than simply teaching-learning karate; some would like guidance for their lives outside of karate as well, to some extent. It is up to the teacher(s) to manage expectations and do regular check-ups to see if the students are finding the teaching educational, valuable and enjoyable.
Copyright © 2005, Jon Keeling
As I have discussed in previous articles, there are different general methods of teaching and different methods of learning. Instructors can teach in different ways and students learn in different ways. Matching these types of teaching and learning can greatly enhance the transfer of knowledge and abilities from teacher to student.
Many times, I have seen an instructor (let’s call him “Teacher A&rdquo
participate in a class taught by another instructor (“Teacher B&rdquo, then later seen that instructor (A) try to teach in the same way as B did. While teacher B may have taught a very interesting and educational class, teacher A may not come up with the same results. Teacher A may be a fine instructor. But perhaps he is just not used to the teaching style and/or subject matter that is Teacher B's specialty. Teacher A may be a fantastic motivator, getting students to train hard in the basics, while Teacher B may be great at giving technical explanations. They each have a skill set that is valuable to students. But these skills are quite different. Furthermore, just because one set of students learns a lot and/or enjoys a certain teaching style or class subject, that does not mean that everyone does. Teacher A may benefit from trying to teach some different subjects, or from trying to teach some familiar subjects from some new angles or different approaches. On the other hand, Teacher A may have more success by teaching in the way he always has.For reference, see articles from April 2001 (teaching), November 2001 (teaching changes), June 2003 (who should teach whom) and May 2002 (the value of training).
While it is obviously ideal to have an instructor whose teaching style matches the student’s learning style, this is not always possible, or at least not on a regular basis. Having multiple instructors in the same dojo really helps, particularly if these instructors have different teaching styles. Attending seminars can be very valuable, particularly if there are multiple instructors at such events (such as at the Hoitsugan Seminars). It is also valuable, as could be witnessed at such an event, to have instructors who can speak in the native language of the students. Spoken language is not as crucial a component in some types of teaching/learning combinations and particularly if the subject matter is very performance-based. But if there is technical explanation on biomechanics, for example, or strategy theory, having an instructor who can speak the language of the students can really help.
An instructor should be able to "connect" with the students, preferably in a common language. Many students just leave everything up to the instructor, who supposedly knows best. But for some students, it is very important for the teaching method to fit their learning style. And for some students, they would like to have more of a connection than simply teaching-learning karate; some would like guidance for their lives outside of karate as well, to some extent. It is up to the teacher(s) to manage expectations and do regular check-ups to see if the students are finding the teaching educational, valuable and enjoyable.
Copyright © 2005, Jon Keeling
Teacher Student Relationships
Should teachers and students be allowed to date? No comment. That is not what this article is about...
As I have discussed in previous articles, there are different general methods of teaching and different methods of learning. Instructors can teach in different ways and students learn in different ways. Matching these types of teaching and learning can greatly enhance the transfer of knowledge and abilities from teacher to student.
Many times, I have seen an instructor (let’s call him “Teacher A&rdquo participate in a class taught by another instructor (“Teacher B&rdquo, then later seen that instructor (A) try to teach in the same way as B did. While teacher B may have taught a very interesting and educational class, teacher A may not come up with the same results. Teacher A may be a fine instructor. But perhaps he is just not used to the teaching style and/or subject matter that is Teacher B's specialty. Teacher A may be a fantastic motivator, getting students to train hard in the basics, while Teacher B may be great at giving technical explanations. They each have a skill set that is valuable to students. But these skills are quite different. Furthermore, just because one set of students learns a lot and/or enjoys a certain teaching style or class subject, that does not mean that everyone does. Teacher A may benefit from trying to teach some different subjects, or from trying to teach some familiar subjects from some new angles or different approaches. On the other hand, Teacher A may have more success by teaching in the way he always has.
For reference, see articles from April 2001 (teaching), November 2001 (teaching changes), June 2003 (who should teach whom) and May 2002 (the value of training).
While it is obviously ideal to have an instructor whose teaching style matches the student’s learning style, this is not always possible, or at least not on a regular basis. Having multiple instructors in the same dojo really helps, particularly if these instructors have different teaching styles. Attending seminars can be very valuable, particularly if there are multiple instructors at such events (such as at the Hoitsugan Seminars). It is also valuable, as could be witnessed at such an event, to have instructors who can speak in the native language of the students. Spoken language is not as crucial a component in some types of teaching/learning combinations and particularly if the subject matter is very performance-based. But if there is technical explanation on biomechanics, for example, or strategy theory, having an instructor who can speak the language of the students can really help.
An instructor should be able to "connect" with the students, preferably in a common language. Many students just leave everything up to the instructor, who supposedly knows best. But for some students, it is very important for the teaching method to fit their learning style. And for some students, they would like to have more of a connection than simply teaching-learning karate; some would like guidance for their lives outside of karate as well, to some extent. It is up to the teacher(s) to manage expectations and do regular check-ups to see if the students are finding the teaching educational, valuable and enjoyable.
Copyright © 2005, Jon Keeling
As I have discussed in previous articles, there are different general methods of teaching and different methods of learning. Instructors can teach in different ways and students learn in different ways. Matching these types of teaching and learning can greatly enhance the transfer of knowledge and abilities from teacher to student.
Many times, I have seen an instructor (let’s call him “Teacher A&rdquo
participate in a class taught by another instructor (“Teacher B&rdquo, then later seen that instructor (A) try to teach in the same way as B did. While teacher B may have taught a very interesting and educational class, teacher A may not come up with the same results. Teacher A may be a fine instructor. But perhaps he is just not used to the teaching style and/or subject matter that is Teacher B's specialty. Teacher A may be a fantastic motivator, getting students to train hard in the basics, while Teacher B may be great at giving technical explanations. They each have a skill set that is valuable to students. But these skills are quite different. Furthermore, just because one set of students learns a lot and/or enjoys a certain teaching style or class subject, that does not mean that everyone does. Teacher A may benefit from trying to teach some different subjects, or from trying to teach some familiar subjects from some new angles or different approaches. On the other hand, Teacher A may have more success by teaching in the way he always has.For reference, see articles from April 2001 (teaching), November 2001 (teaching changes), June 2003 (who should teach whom) and May 2002 (the value of training).
While it is obviously ideal to have an instructor whose teaching style matches the student’s learning style, this is not always possible, or at least not on a regular basis. Having multiple instructors in the same dojo really helps, particularly if these instructors have different teaching styles. Attending seminars can be very valuable, particularly if there are multiple instructors at such events (such as at the Hoitsugan Seminars). It is also valuable, as could be witnessed at such an event, to have instructors who can speak in the native language of the students. Spoken language is not as crucial a component in some types of teaching/learning combinations and particularly if the subject matter is very performance-based. But if there is technical explanation on biomechanics, for example, or strategy theory, having an instructor who can speak the language of the students can really help.
An instructor should be able to "connect" with the students, preferably in a common language. Many students just leave everything up to the instructor, who supposedly knows best. But for some students, it is very important for the teaching method to fit their learning style. And for some students, they would like to have more of a connection than simply teaching-learning karate; some would like guidance for their lives outside of karate as well, to some extent. It is up to the teacher(s) to manage expectations and do regular check-ups to see if the students are finding the teaching educational, valuable and enjoyable.
Copyright © 2005, Jon Keeling
Teacher Student Relationships
Should teachers and students be allowed to date? No comment. That is not what this article is about...
As I have discussed in previous articles, there are different general methods of teaching and different methods of learning. Instructors can teach in different ways and students learn in different ways. Matching these types of teaching and learning can greatly enhance the transfer of knowledge and abilities from teacher to student.
Many times, I have seen an instructor (let’s call him “Teacher A&rdquo participate in a class taught by another instructor (“Teacher B&rdquo, then later seen that instructor (A) try to teach in the same way as B did. While teacher B may have taught a very interesting and educational class, teacher A may not come up with the same results. Teacher A may be a fine instructor. But perhaps he is just not used to the teaching style and/or subject matter that is Teacher B's specialty. Teacher A may be a fantastic motivator, getting students to train hard in the basics, while Teacher B may be great at giving technical explanations. They each have a skill set that is valuable to students. But these skills are quite different. Furthermore, just because one set of students learns a lot and/or enjoys a certain teaching style or class subject, that does not mean that everyone does. Teacher A may benefit from trying to teach some different subjects, or from trying to teach some familiar subjects from some new angles or different approaches. On the other hand, Teacher A may have more success by teaching in the way he always has.
For reference, see articles from April 2001 (teaching), November 2001 (teaching changes), June 2003 (who should teach whom) and May 2002 (the value of training).
While it is obviously ideal to have an instructor whose teaching style matches the student’s learning style, this is not always possible, or at least not on a regular basis. Having multiple instructors in the same dojo really helps, particularly if these instructors have different teaching styles. Attending seminars can be very valuable, particularly if there are multiple instructors at such events (such as at the Hoitsugan Seminars). It is also valuable, as could be witnessed at such an event, to have instructors who can speak in the native language of the students. Spoken language is not as crucial a component in some types of teaching/learning combinations and particularly if the subject matter is very performance-based. But if there is technical explanation on biomechanics, for example, or strategy theory, having an instructor who can speak the language of the students can really help.
An instructor should be able to "connect" with the students, preferably in a common language. Many students just leave everything up to the instructor, who supposedly knows best. But for some students, it is very important for the teaching method to fit their learning style. And for some students, they would like to have more of a connection than simply teaching-learning karate; some would like guidance for their lives outside of karate as well, to some extent. It is up to the teacher(s) to manage expectations and do regular check-ups to see if the students are finding the teaching educational, valuable and enjoyable.
Copyright © 2005, Jon Keeling
As I have discussed in previous articles, there are different general methods of teaching and different methods of learning. Instructors can teach in different ways and students learn in different ways. Matching these types of teaching and learning can greatly enhance the transfer of knowledge and abilities from teacher to student.
Many times, I have seen an instructor (let’s call him “Teacher A&rdquo
participate in a class taught by another instructor (“Teacher B&rdquo, then later seen that instructor (A) try to teach in the same way as B did. While teacher B may have taught a very interesting and educational class, teacher A may not come up with the same results. Teacher A may be a fine instructor. But perhaps he is just not used to the teaching style and/or subject matter that is Teacher B's specialty. Teacher A may be a fantastic motivator, getting students to train hard in the basics, while Teacher B may be great at giving technical explanations. They each have a skill set that is valuable to students. But these skills are quite different. Furthermore, just because one set of students learns a lot and/or enjoys a certain teaching style or class subject, that does not mean that everyone does. Teacher A may benefit from trying to teach some different subjects, or from trying to teach some familiar subjects from some new angles or different approaches. On the other hand, Teacher A may have more success by teaching in the way he always has.For reference, see articles from April 2001 (teaching), November 2001 (teaching changes), June 2003 (who should teach whom) and May 2002 (the value of training).
While it is obviously ideal to have an instructor whose teaching style matches the student’s learning style, this is not always possible, or at least not on a regular basis. Having multiple instructors in the same dojo really helps, particularly if these instructors have different teaching styles. Attending seminars can be very valuable, particularly if there are multiple instructors at such events (such as at the Hoitsugan Seminars). It is also valuable, as could be witnessed at such an event, to have instructors who can speak in the native language of the students. Spoken language is not as crucial a component in some types of teaching/learning combinations and particularly if the subject matter is very performance-based. But if there is technical explanation on biomechanics, for example, or strategy theory, having an instructor who can speak the language of the students can really help.
An instructor should be able to "connect" with the students, preferably in a common language. Many students just leave everything up to the instructor, who supposedly knows best. But for some students, it is very important for the teaching method to fit their learning style. And for some students, they would like to have more of a connection than simply teaching-learning karate; some would like guidance for their lives outside of karate as well, to some extent. It is up to the teacher(s) to manage expectations and do regular check-ups to see if the students are finding the teaching educational, valuable and enjoyable.
Copyright © 2005, Jon Keeling
Friday, April 1, 2005
Reference Points
When we first began to do karate, we found many of the movements unnatural. We struggled to situate our bodies in relatively uncomfortable positions and to memorize sets of movements. At this stage, our initial reference points (that to which we compared the new things we were learning) for the physical movements were perhaps from other physical exercises or sports. As we learned self-defense applications, we may have based the interpretation on what we had seen in movies, or just tried to visualize as we went based on explanations from the instructor.
As we gained experience in karate, we were able to use some of what we knew already as reference points as we learned new techniques, movements and strategies. We used our knowledge of the kata we knew already as we learned new kata. We studied how to change the timing of our blocks or attacks based on a basic timing that we practiced so many times before.
Some people who have done karate for many years seem to feel that they have done all there is to do in their art; that since they have memorized all the kata and won a few medals at tournaments, they have taken their study as far as it can go.
There is always more to learn. There are always ways to make training challenging.
Reference Points in Kihon (Basics)
In kihon practice, we do not always need to "march" up and down the dojo floor. We can shift to the side, spin to the back, etc. We should not neglect our "normal" practice. But we can do what I sometimes call "basics with a twist" and deviate from the mundane to stimulate our minds and bodies to get more out of training.
For more on changing timing in kihon, please see article August 1998.
Reference Points in Kata (Forms)
Your "reference point" in kata would usually be the kata as normally practiced. But how you change from this reference point could be varied considerably. For example, you could change some techniques or timing. Or you may want to try perfoming the kata facing a corner instead of the front of the room. An experienced and talented karateka should be able to alter his/her kata perfomance in various ways.
For more on kata application possibilities, please see article March 1999.
Reference Points in Kumite (Sparring)
Just as with variations in kata performance, in kumite you could also add or change a technique or timing, or face a different direction. You could also practice sparring with more than one other person.
For more on the subject of kumite timing, please see article June 2002.
Wrapping It Up
For more on changing angles in kihon, kata and kumite, please see article from May 2003. And don't forget to keep aware of the basic principals while you do whatever you do. Creativity can greatly enhance your training, in both keeping it "fresh" and also more eduational. But while trying to "think outside the box," keep one foot inside the box, or at least awareness of what you are deviating from. Our training is built on standard techniques and training methods that should not be overlooked, but can be expanded upon.
Keep thinking. Keep learning. Keep training.
Copyright © 2005, Jon Keeling
As we gained experience in karate, we were able to use some of what we knew already as reference points as we learned new techniques, movements and strategies. We used our knowledge of the kata we knew already as we learned new kata. We studied how to change the timing of our blocks or attacks based on a basic timing that we practiced so many times before.
Some people who have done karate for many years seem to feel that they have done all there is to do in their art; that since they have memorized all the kata and won a few medals at tournaments, they have taken their study as far as it can go.
There is always more to learn. There are always ways to make training challenging.
Reference Points in Kihon (Basics)
In kihon practice, we do not always need to "march" up and down the dojo floor. We can shift to the side, spin to the back, etc. We should not neglect our "normal" practice. But we can do what I sometimes call "basics with a twist" and deviate from the mundane to stimulate our minds and bodies to get more out of training.
For more on changing timing in kihon, please see article August 1998.
Reference Points in Kata (Forms)
Your "reference point" in kata would usually be the kata as normally practiced. But how you change from this reference point could be varied considerably. For example, you could change some techniques or timing. Or you may want to try perfoming the kata facing a corner instead of the front of the room. An experienced and talented karateka should be able to alter his/her kata perfomance in various ways.
For more on kata application possibilities, please see article March 1999.
Reference Points in Kumite (Sparring)
Just as with variations in kata performance, in kumite you could also add or change a technique or timing, or face a different direction. You could also practice sparring with more than one other person.
For more on the subject of kumite timing, please see article June 2002.
Wrapping It Up
For more on changing angles in kihon, kata and kumite, please see article from May 2003. And don't forget to keep aware of the basic principals while you do whatever you do. Creativity can greatly enhance your training, in both keeping it "fresh" and also more eduational. But while trying to "think outside the box," keep one foot inside the box, or at least awareness of what you are deviating from. Our training is built on standard techniques and training methods that should not be overlooked, but can be expanded upon.
Keep thinking. Keep learning. Keep training.
Copyright © 2005, Jon Keeling
Reference Points
When we first began to do karate, we found many of the movements unnatural. We struggled to situate our bodies in relatively uncomfortable positions and to memorize sets of movements. At this stage, our initial reference points (that to which we compared the new things we were learning) for the physical movements were perhaps from other physical exercises or sports. As we learned self-defense applications, we may have based the interpretation on what we had seen in movies, or just tried to visualize as we went based on explanations from the instructor.
As we gained experience in karate, we were able to use some of what we knew already as reference points as we learned new techniques, movements and strategies. We used our knowledge of the kata we knew already as we learned new kata. We studied how to change the timing of our blocks or attacks based on a basic timing that we practiced so many times before.
Some people who have done karate for many years seem to feel that they have done all there is to do in their art; that since they have memorized all the kata and won a few medals at tournaments, they have taken their study as far as it can go.
There is always more to learn. There are always ways to make training challenging.
Reference Points in Kihon (Basics)
In kihon practice, we do not always need to "march" up and down the dojo floor. We can shift to the side, spin to the back, etc. We should not neglect our "normal" practice. But we can do what I sometimes call "basics with a twist" and deviate from the mundane to stimulate our minds and bodies to get more out of training.
For more on changing timing in kihon, please see article August 1998.
Reference Points in Kata (Forms)
Your "reference point" in kata would usually be the kata as normally practiced. But how you change from this reference point could be varied considerably. For example, you could change some techniques or timing. Or you may want to try perfoming the kata facing a corner instead of the front of the room. An experienced and talented karateka should be able to alter his/her kata perfomance in various ways.
For more on kata application possibilities, please see article March 1999.
Reference Points in Kumite (Sparring)
Just as with variations in kata performance, in kumite you could also add or change a technique or timing, or face a different direction. You could also practice sparring with more than one other person.
For more on the subject of kumite timing, please see article June 2002.
Wrapping It Up
For more on changing angles in kihon, kata and kumite, please see article from May 2003. And don't forget to keep aware of the basic principals while you do whatever you do. Creativity can greatly enhance your training, in both keeping it "fresh" and also more eduational. But while trying to "think outside the box," keep one foot inside the box, or at least awareness of what you are deviating from. Our training is built on standard techniques and training methods that should not be overlooked, but can be expanded upon.
Keep thinking. Keep learning. Keep training.
Copyright © 2005, Jon Keeling
As we gained experience in karate, we were able to use some of what we knew already as reference points as we learned new techniques, movements and strategies. We used our knowledge of the kata we knew already as we learned new kata. We studied how to change the timing of our blocks or attacks based on a basic timing that we practiced so many times before.
Some people who have done karate for many years seem to feel that they have done all there is to do in their art; that since they have memorized all the kata and won a few medals at tournaments, they have taken their study as far as it can go.
There is always more to learn. There are always ways to make training challenging.
Reference Points in Kihon (Basics)
In kihon practice, we do not always need to "march" up and down the dojo floor. We can shift to the side, spin to the back, etc. We should not neglect our "normal" practice. But we can do what I sometimes call "basics with a twist" and deviate from the mundane to stimulate our minds and bodies to get more out of training.
For more on changing timing in kihon, please see article August 1998.
Reference Points in Kata (Forms)
Your "reference point" in kata would usually be the kata as normally practiced. But how you change from this reference point could be varied considerably. For example, you could change some techniques or timing. Or you may want to try perfoming the kata facing a corner instead of the front of the room. An experienced and talented karateka should be able to alter his/her kata perfomance in various ways.
For more on kata application possibilities, please see article March 1999.
Reference Points in Kumite (Sparring)
Just as with variations in kata performance, in kumite you could also add or change a technique or timing, or face a different direction. You could also practice sparring with more than one other person.
For more on the subject of kumite timing, please see article June 2002.
Wrapping It Up
For more on changing angles in kihon, kata and kumite, please see article from May 2003. And don't forget to keep aware of the basic principals while you do whatever you do. Creativity can greatly enhance your training, in both keeping it "fresh" and also more eduational. But while trying to "think outside the box," keep one foot inside the box, or at least awareness of what you are deviating from. Our training is built on standard techniques and training methods that should not be overlooked, but can be expanded upon.
Keep thinking. Keep learning. Keep training.
Copyright © 2005, Jon Keeling
Reference Points
When we first began to do karate, we found many of the movements unnatural. We struggled to situate our bodies in relatively uncomfortable positions and to memorize sets of movements. At this stage, our initial reference points (that to which we compared the new things we were learning) for the physical movements were perhaps from other physical exercises or sports. As we learned self-defense applications, we may have based the interpretation on what we had seen in movies, or just tried to visualize as we went based on explanations from the instructor.
As we gained experience in karate, we were able to use some of what we knew already as reference points as we learned new techniques, movements and strategies. We used our knowledge of the kata we knew already as we learned new kata. We studied how to change the timing of our blocks or attacks based on a basic timing that we practiced so many times before.
Some people who have done karate for many years seem to feel that they have done all there is to do in their art; that since they have memorized all the kata and won a few medals at tournaments, they have taken their study as far as it can go.
There is always more to learn. There are always ways to make training challenging.
Reference Points in Kihon (Basics)
In kihon practice, we do not always need to "march" up and down the dojo floor. We can shift to the side, spin to the back, etc. We should not neglect our "normal" practice. But we can do what I sometimes call "basics with a twist" and deviate from the mundane to stimulate our minds and bodies to get more out of training.
For more on changing timing in kihon, please see article August 1998.
Reference Points in Kata (Forms)
Your "reference point" in kata would usually be the kata as normally practiced. But how you change from this reference point could be varied considerably. For example, you could change some techniques or timing. Or you may want to try perfoming the kata facing a corner instead of the front of the room. An experienced and talented karateka should be able to alter his/her kata perfomance in various ways.
For more on kata application possibilities, please see article March 1999.
Reference Points in Kumite (Sparring)
Just as with variations in kata performance, in kumite you could also add or change a technique or timing, or face a different direction. You could also practice sparring with more than one other person.
For more on the subject of kumite timing, please see article June 2002.
Wrapping It Up
For more on changing angles in kihon, kata and kumite, please see article from May 2003. And don't forget to keep aware of the basic principals while you do whatever you do. Creativity can greatly enhance your training, in both keeping it "fresh" and also more eduational. But while trying to "think outside the box," keep one foot inside the box, or at least awareness of what you are deviating from. Our training is built on standard techniques and training methods that should not be overlooked, but can be expanded upon.
Keep thinking. Keep learning. Keep training.
Copyright © 2005, Jon Keeling
As we gained experience in karate, we were able to use some of what we knew already as reference points as we learned new techniques, movements and strategies. We used our knowledge of the kata we knew already as we learned new kata. We studied how to change the timing of our blocks or attacks based on a basic timing that we practiced so many times before.
Some people who have done karate for many years seem to feel that they have done all there is to do in their art; that since they have memorized all the kata and won a few medals at tournaments, they have taken their study as far as it can go.
There is always more to learn. There are always ways to make training challenging.
Reference Points in Kihon (Basics)
In kihon practice, we do not always need to "march" up and down the dojo floor. We can shift to the side, spin to the back, etc. We should not neglect our "normal" practice. But we can do what I sometimes call "basics with a twist" and deviate from the mundane to stimulate our minds and bodies to get more out of training.
For more on changing timing in kihon, please see article August 1998.
Reference Points in Kata (Forms)
Your "reference point" in kata would usually be the kata as normally practiced. But how you change from this reference point could be varied considerably. For example, you could change some techniques or timing. Or you may want to try perfoming the kata facing a corner instead of the front of the room. An experienced and talented karateka should be able to alter his/her kata perfomance in various ways.
For more on kata application possibilities, please see article March 1999.
Reference Points in Kumite (Sparring)
Just as with variations in kata performance, in kumite you could also add or change a technique or timing, or face a different direction. You could also practice sparring with more than one other person.
For more on the subject of kumite timing, please see article June 2002.
Wrapping It Up
For more on changing angles in kihon, kata and kumite, please see article from May 2003. And don't forget to keep aware of the basic principals while you do whatever you do. Creativity can greatly enhance your training, in both keeping it "fresh" and also more eduational. But while trying to "think outside the box," keep one foot inside the box, or at least awareness of what you are deviating from. Our training is built on standard techniques and training methods that should not be overlooked, but can be expanded upon.
Keep thinking. Keep learning. Keep training.
Copyright © 2005, Jon Keeling
Reference Points
When we first began to do karate, we found many of the movements unnatural. We struggled to situate our bodies in relatively uncomfortable positions and to memorize sets of movements. At this stage, our initial reference points (that to which we compared the new things we were learning) for the physical movements were perhaps from other physical exercises or sports. As we learned self-defense applications, we may have based the interpretation on what we had seen in movies, or just tried to visualize as we went based on explanations from the instructor.
As we gained experience in karate, we were able to use some of what we knew already as reference points as we learned new techniques, movements and strategies. We used our knowledge of the kata we knew already as we learned new kata. We studied how to change the timing of our blocks or attacks based on a basic timing that we practiced so many times before.
Some people who have done karate for many years seem to feel that they have done all there is to do in their art; that since they have memorized all the kata and won a few medals at tournaments, they have taken their study as far as it can go.
There is always more to learn. There are always ways to make training challenging.
Reference Points in Kihon (Basics)
In kihon practice, we do not always need to "march" up and down the dojo floor. We can shift to the side, spin to the back, etc. We should not neglect our "normal" practice. But we can do what I sometimes call "basics with a twist" and deviate from the mundane to stimulate our minds and bodies to get more out of training.
For more on changing timing in kihon, please see article August 1998.
Reference Points in Kata (Forms)
Your "reference point" in kata would usually be the kata as normally practiced. But how you change from this reference point could be varied considerably. For example, you could change some techniques or timing. Or you may want to try perfoming the kata facing a corner instead of the front of the room. An experienced and talented karateka should be able to alter his/her kata perfomance in various ways.
For more on kata application possibilities, please see article March 1999.
Reference Points in Kumite (Sparring)
Just as with variations in kata performance, in kumite you could also add or change a technique or timing, or face a different direction. You could also practice sparring with more than one other person.
For more on the subject of kumite timing, please see article June 2002.
Wrapping It Up
For more on changing angles in kihon, kata and kumite, please see article from May 2003. And don't forget to keep aware of the basic principals while you do whatever you do. Creativity can greatly enhance your training, in both keeping it "fresh" and also more eduational. But while trying to "think outside the box," keep one foot inside the box, or at least awareness of what you are deviating from. Our training is built on standard techniques and training methods that should not be overlooked, but can be expanded upon.
Keep thinking. Keep learning. Keep training.
Copyright © 2005, Jon Keeling
As we gained experience in karate, we were able to use some of what we knew already as reference points as we learned new techniques, movements and strategies. We used our knowledge of the kata we knew already as we learned new kata. We studied how to change the timing of our blocks or attacks based on a basic timing that we practiced so many times before.
Some people who have done karate for many years seem to feel that they have done all there is to do in their art; that since they have memorized all the kata and won a few medals at tournaments, they have taken their study as far as it can go.
There is always more to learn. There are always ways to make training challenging.
Reference Points in Kihon (Basics)
In kihon practice, we do not always need to "march" up and down the dojo floor. We can shift to the side, spin to the back, etc. We should not neglect our "normal" practice. But we can do what I sometimes call "basics with a twist" and deviate from the mundane to stimulate our minds and bodies to get more out of training.
For more on changing timing in kihon, please see article August 1998.
Reference Points in Kata (Forms)
Your "reference point" in kata would usually be the kata as normally practiced. But how you change from this reference point could be varied considerably. For example, you could change some techniques or timing. Or you may want to try perfoming the kata facing a corner instead of the front of the room. An experienced and talented karateka should be able to alter his/her kata perfomance in various ways.
For more on kata application possibilities, please see article March 1999.
Reference Points in Kumite (Sparring)
Just as with variations in kata performance, in kumite you could also add or change a technique or timing, or face a different direction. You could also practice sparring with more than one other person.
For more on the subject of kumite timing, please see article June 2002.
Wrapping It Up
For more on changing angles in kihon, kata and kumite, please see article from May 2003. And don't forget to keep aware of the basic principals while you do whatever you do. Creativity can greatly enhance your training, in both keeping it "fresh" and also more eduational. But while trying to "think outside the box," keep one foot inside the box, or at least awareness of what you are deviating from. Our training is built on standard techniques and training methods that should not be overlooked, but can be expanded upon.
Keep thinking. Keep learning. Keep training.
Copyright © 2005, Jon Keeling
Tuesday, March 1, 2005
Blocking Timing
The study of timing is a very important part of karate practice. In kata, we have learned that some movements are better done slowly, some executed in quick succession, some movements begin fast but finish slow. In kumite, we have studied how to time the counter following an attack (for more on this, please see article on Kumite Timing).
In this article, I would like specifically to address the timing of the blocking/parrying action in kumite practice. Please note that in this article wherever I use the term "block" I mean to imply block, parry or simply keeping the attack from following the defender as he moves out of the line of attack.
I often remind my students that their priorities during training should be technique, then speed, then power. In other words, do not add too much tension ("locking in" the form more quickly using "muscle memory") until they can be performed correctly at speed; and do not speed up until the technique(s) can be done correctly at a slow pace. This priority ranking of (1)technique (2)speed (3)power is superseded, however, by the idea of "don't get hit". So, ultimately, our highest concern is our safety. So as we practice variations on blocking timing, we want to keep this in mind.
When we first began training, we usually just tried to make sure the attack to not reach its mark. As we progressed, most of us were advised to try to wait until the last moment to block. This type of training certainly has its value. However, I suspect that most people simply start their blocking action as soon as they see the attack coming. This is also valuable training. But, as usual, I advocate using a variety of methods during training to explore relative benefits.
Let's compare a few ways of timing the blocking action, using a chudan oizuki (step-in punch to the midsection) as an example attack.
The basic block
As soon as the defender senses the movement of the attacker (that is to say the movement toward the defender), the block is initiated. The block and attack finish approximately simultaneously. In this version, because the defender is spending more time on the block, it can use a large movement, employing proper basics.
The late block
The defender waits as long as possible before initiating the blocking movement (and perhaps the retreat as well). The block and attack finish approximately simultaneously. In this case, the blocking movement must be performed very quickly. Because the defender may feel "rushed", he may not have the time to make a full, basic blocking movement.
The early block
As soon as the defender senses the movement of the attacker, the defender initiates movement of the blocking arm forward, meeting the attack partway. As the attack continues, the defender guides the attack out of the way or makes sure it remains on its original course as the defender shifts out of harm's way. In this case, the initial action must be very quick but once contact is made with the attacking limb, speed and power is not as necessary as with the other blocking timings. This block looks a bit different than the basic blocking that we typically practice.
For video example of above, please click here.
Remember that it is good to experiment. But it should be done carefully, to maintain safety.
Copyright © 2005, Jon Keeling
In this article, I would like specifically to address the timing of the blocking/parrying action in kumite practice. Please note that in this article wherever I use the term "block" I mean to imply block, parry or simply keeping the attack from following the defender as he moves out of the line of attack.
I often remind my students that their priorities during training should be technique, then speed, then power. In other words, do not add too much tension ("locking in" the form more quickly using "muscle memory") until they can be performed correctly at speed; and do not speed up until the technique(s) can be done correctly at a slow pace. This priority ranking of (1)technique (2)speed (3)power is superseded, however, by the idea of "don't get hit". So, ultimately, our highest concern is our safety. So as we practice variations on blocking timing, we want to keep this in mind.
When we first began training, we usually just tried to make sure the attack to not reach its mark. As we progressed, most of us were advised to try to wait until the last moment to block. This type of training certainly has its value. However, I suspect that most people simply start their blocking action as soon as they see the attack coming. This is also valuable training. But, as usual, I advocate using a variety of methods during training to explore relative benefits.
Let's compare a few ways of timing the blocking action, using a chudan oizuki (step-in punch to the midsection) as an example attack.
The basic block
As soon as the defender senses the movement of the attacker (that is to say the movement toward the defender), the block is initiated. The block and attack finish approximately simultaneously. In this version, because the defender is spending more time on the block, it can use a large movement, employing proper basics.
The late block
The defender waits as long as possible before initiating the blocking movement (and perhaps the retreat as well). The block and attack finish approximately simultaneously. In this case, the blocking movement must be performed very quickly. Because the defender may feel "rushed", he may not have the time to make a full, basic blocking movement.
The early block
As soon as the defender senses the movement of the attacker, the defender initiates movement of the blocking arm forward, meeting the attack partway. As the attack continues, the defender guides the attack out of the way or makes sure it remains on its original course as the defender shifts out of harm's way. In this case, the initial action must be very quick but once contact is made with the attacking limb, speed and power is not as necessary as with the other blocking timings. This block looks a bit different than the basic blocking that we typically practice.
For video example of above, please click here.
Remember that it is good to experiment. But it should be done carefully, to maintain safety.
Copyright © 2005, Jon Keeling
Blocking Timing
The study of timing is a very important part of karate practice. In kata, we have learned that some movements are better done slowly, some executed in quick succession, some movements begin fast but finish slow. In kumite, we have studied how to time the counter following an attack (for more on this, please see article on Kumite Timing).
In this article, I would like specifically to address the timing of the blocking/parrying action in kumite practice. Please note that in this article wherever I use the term "block" I mean to imply block, parry or simply keeping the attack from following the defender as he moves out of the line of attack.
I often remind my students that their priorities during training should be technique, then speed, then power. In other words, do not add too much tension ("locking in" the form more quickly using "muscle memory") until they can be performed correctly at speed; and do not speed up until the technique(s) can be done correctly at a slow pace. This priority ranking of (1)technique (2)speed (3)power is superseded, however, by the idea of "don't get hit". So, ultimately, our highest concern is our safety. So as we practice variations on blocking timing, we want to keep this in mind.
When we first began training, we usually just tried to make sure the attack to not reach its mark. As we progressed, most of us were advised to try to wait until the last moment to block. This type of training certainly has its value. However, I suspect that most people simply start their blocking action as soon as they see the attack coming. This is also valuable training. But, as usual, I advocate using a variety of methods during training to explore relative benefits.
Let's compare a few ways of timing the blocking action, using a chudan oizuki (step-in punch to the midsection) as an example attack.
The basic block
As soon as the defender senses the movement of the attacker (that is to say the movement toward the defender), the block is initiated. The block and attack finish approximately simultaneously. In this version, because the defender is spending more time on the block, it can use a large movement, employing proper basics.
The late block
The defender waits as long as possible before initiating the blocking movement (and perhaps the retreat as well). The block and attack finish approximately simultaneously. In this case, the blocking movement must be performed very quickly. Because the defender may feel "rushed", he may not have the time to make a full, basic blocking movement.
The early block
As soon as the defender senses the movement of the attacker, the defender initiates movement of the blocking arm forward, meeting the attack partway. As the attack continues, the defender guides the attack out of the way or makes sure it remains on its original course as the defender shifts out of harm's way. In this case, the initial action must be very quick but once contact is made with the attacking limb, speed and power is not as necessary as with the other blocking timings. This block looks a bit different than the basic blocking that we typically practice.
For video example of above, please click here.
Remember that it is good to experiment. But it should be done carefully, to maintain safety.
Copyright © 2005, Jon Keeling
In this article, I would like specifically to address the timing of the blocking/parrying action in kumite practice. Please note that in this article wherever I use the term "block" I mean to imply block, parry or simply keeping the attack from following the defender as he moves out of the line of attack.
I often remind my students that their priorities during training should be technique, then speed, then power. In other words, do not add too much tension ("locking in" the form more quickly using "muscle memory") until they can be performed correctly at speed; and do not speed up until the technique(s) can be done correctly at a slow pace. This priority ranking of (1)technique (2)speed (3)power is superseded, however, by the idea of "don't get hit". So, ultimately, our highest concern is our safety. So as we practice variations on blocking timing, we want to keep this in mind.
When we first began training, we usually just tried to make sure the attack to not reach its mark. As we progressed, most of us were advised to try to wait until the last moment to block. This type of training certainly has its value. However, I suspect that most people simply start their blocking action as soon as they see the attack coming. This is also valuable training. But, as usual, I advocate using a variety of methods during training to explore relative benefits.
Let's compare a few ways of timing the blocking action, using a chudan oizuki (step-in punch to the midsection) as an example attack.
The basic block
As soon as the defender senses the movement of the attacker (that is to say the movement toward the defender), the block is initiated. The block and attack finish approximately simultaneously. In this version, because the defender is spending more time on the block, it can use a large movement, employing proper basics.
The late block
The defender waits as long as possible before initiating the blocking movement (and perhaps the retreat as well). The block and attack finish approximately simultaneously. In this case, the blocking movement must be performed very quickly. Because the defender may feel "rushed", he may not have the time to make a full, basic blocking movement.
The early block
As soon as the defender senses the movement of the attacker, the defender initiates movement of the blocking arm forward, meeting the attack partway. As the attack continues, the defender guides the attack out of the way or makes sure it remains on its original course as the defender shifts out of harm's way. In this case, the initial action must be very quick but once contact is made with the attacking limb, speed and power is not as necessary as with the other blocking timings. This block looks a bit different than the basic blocking that we typically practice.
For video example of above, please click here.
Remember that it is good to experiment. But it should be done carefully, to maintain safety.
Copyright © 2005, Jon Keeling
Blocking Timing
The study of timing is a very important part of karate practice. In kata, we have learned that some movements are better done slowly, some executed in quick succession, some movements begin fast but finish slow. In kumite, we have studied how to time the counter following an attack (for more on this, please see article on Kumite Timing).
In this article, I would like specifically to address the timing of the blocking/parrying action in kumite practice. Please note that in this article wherever I use the term "block" I mean to imply block, parry or simply keeping the attack from following the defender as he moves out of the line of attack.
I often remind my students that their priorities during training should be technique, then speed, then power. In other words, do not add too much tension ("locking in" the form more quickly using "muscle memory") until they can be performed correctly at speed; and do not speed up until the technique(s) can be done correctly at a slow pace. This priority ranking of (1)technique (2)speed (3)power is superseded, however, by the idea of "don't get hit". So, ultimately, our highest concern is our safety. So as we practice variations on blocking timing, we want to keep this in mind.
When we first began training, we usually just tried to make sure the attack to not reach its mark. As we progressed, most of us were advised to try to wait until the last moment to block. This type of training certainly has its value. However, I suspect that most people simply start their blocking action as soon as they see the attack coming. This is also valuable training. But, as usual, I advocate using a variety of methods during training to explore relative benefits.
Let's compare a few ways of timing the blocking action, using a chudan oizuki (step-in punch to the midsection) as an example attack.
The basic block
As soon as the defender senses the movement of the attacker (that is to say the movement toward the defender), the block is initiated. The block and attack finish approximately simultaneously. In this version, because the defender is spending more time on the block, it can use a large movement, employing proper basics.
The late block
The defender waits as long as possible before initiating the blocking movement (and perhaps the retreat as well). The block and attack finish approximately simultaneously. In this case, the blocking movement must be performed very quickly. Because the defender may feel "rushed", he may not have the time to make a full, basic blocking movement.
The early block
As soon as the defender senses the movement of the attacker, the defender initiates movement of the blocking arm forward, meeting the attack partway. As the attack continues, the defender guides the attack out of the way or makes sure it remains on its original course as the defender shifts out of harm's way. In this case, the initial action must be very quick but once contact is made with the attacking limb, speed and power is not as necessary as with the other blocking timings. This block looks a bit different than the basic blocking that we typically practice.
For video example of above, please click here.
Remember that it is good to experiment. But it should be done carefully, to maintain safety.
Copyright © 2005, Jon Keeling
In this article, I would like specifically to address the timing of the blocking/parrying action in kumite practice. Please note that in this article wherever I use the term "block" I mean to imply block, parry or simply keeping the attack from following the defender as he moves out of the line of attack.
I often remind my students that their priorities during training should be technique, then speed, then power. In other words, do not add too much tension ("locking in" the form more quickly using "muscle memory") until they can be performed correctly at speed; and do not speed up until the technique(s) can be done correctly at a slow pace. This priority ranking of (1)technique (2)speed (3)power is superseded, however, by the idea of "don't get hit". So, ultimately, our highest concern is our safety. So as we practice variations on blocking timing, we want to keep this in mind.
When we first began training, we usually just tried to make sure the attack to not reach its mark. As we progressed, most of us were advised to try to wait until the last moment to block. This type of training certainly has its value. However, I suspect that most people simply start their blocking action as soon as they see the attack coming. This is also valuable training. But, as usual, I advocate using a variety of methods during training to explore relative benefits.
Let's compare a few ways of timing the blocking action, using a chudan oizuki (step-in punch to the midsection) as an example attack.
The basic block
As soon as the defender senses the movement of the attacker (that is to say the movement toward the defender), the block is initiated. The block and attack finish approximately simultaneously. In this version, because the defender is spending more time on the block, it can use a large movement, employing proper basics.
The late block
The defender waits as long as possible before initiating the blocking movement (and perhaps the retreat as well). The block and attack finish approximately simultaneously. In this case, the blocking movement must be performed very quickly. Because the defender may feel "rushed", he may not have the time to make a full, basic blocking movement.
The early block
As soon as the defender senses the movement of the attacker, the defender initiates movement of the blocking arm forward, meeting the attack partway. As the attack continues, the defender guides the attack out of the way or makes sure it remains on its original course as the defender shifts out of harm's way. In this case, the initial action must be very quick but once contact is made with the attacking limb, speed and power is not as necessary as with the other blocking timings. This block looks a bit different than the basic blocking that we typically practice.
For video example of above, please click here.
Remember that it is good to experiment. But it should be done carefully, to maintain safety.
Copyright © 2005, Jon Keeling
Blocking Timing
The study of timing is a very important part of karate practice. In kata, we have learned that some movements are better done slowly, some executed in quick succession, some movements begin fast but finish slow. In kumite, we have studied how to time the counter following an attack (for more on this, please see article on Kumite Timing).
In this article, I would like specifically to address the timing of the blocking/parrying action in kumite practice. Please note that in this article wherever I use the term "block" I mean to imply block, parry or simply keeping the attack from following the defender as he moves out of the line of attack.
I often remind my students that their priorities during training should be technique, then speed, then power. In other words, do not add too much tension ("locking in" the form more quickly using "muscle memory") until they can be performed correctly at speed; and do not speed up until the technique(s) can be done correctly at a slow pace. This priority ranking of (1)technique (2)speed (3)power is superseded, however, by the idea of "don't get hit". So, ultimately, our highest concern is our safety. So as we practice variations on blocking timing, we want to keep this in mind.
When we first began training, we usually just tried to make sure the attack to not reach its mark. As we progressed, most of us were advised to try to wait until the last moment to block. This type of training certainly has its value. However, I suspect that most people simply start their blocking action as soon as they see the attack coming. This is also valuable training. But, as usual, I advocate using a variety of methods during training to explore relative benefits.
Let's compare a few ways of timing the blocking action, using a chudan oizuki (step-in punch to the midsection) as an example attack.
The basic block
As soon as the defender senses the movement of the attacker (that is to say the movement toward the defender), the block is initiated. The block and attack finish approximately simultaneously. In this version, because the defender is spending more time on the block, it can use a large movement, employing proper basics.
The late block
The defender waits as long as possible before initiating the blocking movement (and perhaps the retreat as well). The block and attack finish approximately simultaneously. In this case, the blocking movement must be performed very quickly. Because the defender may feel "rushed", he may not have the time to make a full, basic blocking movement.
The early block
As soon as the defender senses the movement of the attacker, the defender initiates movement of the blocking arm forward, meeting the attack partway. As the attack continues, the defender guides the attack out of the way or makes sure it remains on its original course as the defender shifts out of harm's way. In this case, the initial action must be very quick but once contact is made with the attacking limb, speed and power is not as necessary as with the other blocking timings. This block looks a bit different than the basic blocking that we typically practice.
For video example of above, please click here.
Remember that it is good to experiment. But it should be done carefully, to maintain safety.
Copyright © 2005, Jon Keeling
In this article, I would like specifically to address the timing of the blocking/parrying action in kumite practice. Please note that in this article wherever I use the term "block" I mean to imply block, parry or simply keeping the attack from following the defender as he moves out of the line of attack.
I often remind my students that their priorities during training should be technique, then speed, then power. In other words, do not add too much tension ("locking in" the form more quickly using "muscle memory") until they can be performed correctly at speed; and do not speed up until the technique(s) can be done correctly at a slow pace. This priority ranking of (1)technique (2)speed (3)power is superseded, however, by the idea of "don't get hit". So, ultimately, our highest concern is our safety. So as we practice variations on blocking timing, we want to keep this in mind.
When we first began training, we usually just tried to make sure the attack to not reach its mark. As we progressed, most of us were advised to try to wait until the last moment to block. This type of training certainly has its value. However, I suspect that most people simply start their blocking action as soon as they see the attack coming. This is also valuable training. But, as usual, I advocate using a variety of methods during training to explore relative benefits.
Let's compare a few ways of timing the blocking action, using a chudan oizuki (step-in punch to the midsection) as an example attack.
The basic block
As soon as the defender senses the movement of the attacker (that is to say the movement toward the defender), the block is initiated. The block and attack finish approximately simultaneously. In this version, because the defender is spending more time on the block, it can use a large movement, employing proper basics.
The late block
The defender waits as long as possible before initiating the blocking movement (and perhaps the retreat as well). The block and attack finish approximately simultaneously. In this case, the blocking movement must be performed very quickly. Because the defender may feel "rushed", he may not have the time to make a full, basic blocking movement.
The early block
As soon as the defender senses the movement of the attacker, the defender initiates movement of the blocking arm forward, meeting the attack partway. As the attack continues, the defender guides the attack out of the way or makes sure it remains on its original course as the defender shifts out of harm's way. In this case, the initial action must be very quick but once contact is made with the attacking limb, speed and power is not as necessary as with the other blocking timings. This block looks a bit different than the basic blocking that we typically practice.
For video example of above, please click here.
Remember that it is good to experiment. But it should be done carefully, to maintain safety.
Copyright © 2005, Jon Keeling
Tuesday, February 1, 2005
Time Management
Last month’s Instructors’ Class at my dojo focused on the subject of “time management”. Within the context of karate, there are various ways to look at this subject.
For the Instructor
One issue relating to time management is how to break up the class time between its various phases, such as the warm-up, kihon (basics), kata (forms) and kumite (sparring), possibly integrating strengthening exercises or self-defense practice as well, perhaps some time for stretching and/or meditation at the end of class. Most instructors deal with this by either just giving the “3 K’s” (kihon/kata/kumite) equal time within each class, or by giving more time to kihon on Mondays, kata on Wednesdays and kumite on Fridays, to give them equal time over the course of the week. These methods work fine, unless some students can only attend certain days each week. There are other ways to deal with this as well, such as trying to "blend" different types of training such that we do kihon in kata format, or facing each other as though doing kumite.
Another issue for instructors to consider is how to deal with the flow and intensity in class such that students are not bored, confused or exhausted. Bearing in mind that membership may be composed of people of a wide range of athletic abilities, intellectual capacity, ages and interests, this can be quite a challenge.
Then there is the issue of managing the time spent between sets of exercises. Does this instructor let the students do whatever they want between sets? Is stretching encouraged or discouraged? Is there a long enough break to keep them from becoming exhausted? Or are the breaks so long that their muscles get cold and they become bored? Is there time for questions? If there are many or very involved discussions, we may again have issues with people becoming bored or cold.
How does all the above change when dealing with classes composed of a wide range of student types? How can we manage the time spent between kihon, kata and kumite when some people really want and/or need to practice kihon above all else, while others kata and others kumite? How can we best deal with the tempo of classes and the complexity of the techniques and exercises, taking into account the range of students present? I usually prefer to keep things more on the basic end of the spectrum. But basics can be worked on at a high level by those with more experience. The trick is to make it challenging for everyone, yet not so challenging that it is confusing to the less experienced. The better instructors usually find a way to link kihon, kata and kumite, in their classes.
For Both Instructors and Students
How can we deal with the time we are given to stretch out between sets?
If we cannot get to the dojo as often as we would like, how can we make the most of the time that we do have for karate training? And how about all those extra-curricular activities, such as tournaments, seminars, etc? How can we possibly fit it all in?
And on a somewhat related note, micro-managing our training time, what should we keep in mind as we count? Should we count monotonously and at an even tempo? Should we count as we execute the technique, just before, or timed together with the completion of the move? (the correct answer is just before).
On a “macro” level, how much time should we commit to focusing on different concepts, techniques and training methods in our day-to-day karate activities? What are our priorities in training? Should we, for example, be putting half of our time into perfecting a single move of a kata? Or would our time be better spent another way? There is definitely a point of "diminishing marginal return" on the investment of your time toward a particular training focus. Putting all your effort into making a strong punch may result in poor posture, for example.
Even without going into much detail on the above, it is quite obvious that there are many points relating to “time management” that are worth consideration. Note that I have intentional not answered all my own questions, above, as I think these subjects should be contemplated on an individual basis, taking into account the reader's particular situation, desires and goals.
No one answer will fit everyone. But each person should consider if he (or she) is managing his (and/or his students') karate time in a way that best fits the desired goals.
Copyright © 2005, Jon Keeling
For the Instructor
One issue relating to time management is how to break up the class time between its various phases, such as the warm-up, kihon (basics), kata (forms) and kumite (sparring), possibly integrating strengthening exercises or self-defense practice as well, perhaps some time for stretching and/or meditation at the end of class. Most instructors deal with this by either just giving the “3 K’s” (kihon/kata/kumite) equal time within each class, or by giving more time to kihon on Mondays, kata on Wednesdays and kumite on Fridays, to give them equal time over the course of the week. These methods work fine, unless some students can only attend certain days each week. There are other ways to deal with this as well, such as trying to "blend" different types of training such that we do kihon in kata format, or facing each other as though doing kumite.
Another issue for instructors to consider is how to deal with the flow and intensity in class such that students are not bored, confused or exhausted. Bearing in mind that membership may be composed of people of a wide range of athletic abilities, intellectual capacity, ages and interests, this can be quite a challenge.
Then there is the issue of managing the time spent between sets of exercises. Does this instructor let the students do whatever they want between sets? Is stretching encouraged or discouraged? Is there a long enough break to keep them from becoming exhausted? Or are the breaks so long that their muscles get cold and they become bored? Is there time for questions? If there are many or very involved discussions, we may again have issues with people becoming bored or cold.
How does all the above change when dealing with classes composed of a wide range of student types? How can we manage the time spent between kihon, kata and kumite when some people really want and/or need to practice kihon above all else, while others kata and others kumite? How can we best deal with the tempo of classes and the complexity of the techniques and exercises, taking into account the range of students present? I usually prefer to keep things more on the basic end of the spectrum. But basics can be worked on at a high level by those with more experience. The trick is to make it challenging for everyone, yet not so challenging that it is confusing to the less experienced. The better instructors usually find a way to link kihon, kata and kumite, in their classes.
For Both Instructors and Students
How can we deal with the time we are given to stretch out between sets?
If we cannot get to the dojo as often as we would like, how can we make the most of the time that we do have for karate training? And how about all those extra-curricular activities, such as tournaments, seminars, etc? How can we possibly fit it all in?
And on a somewhat related note, micro-managing our training time, what should we keep in mind as we count? Should we count monotonously and at an even tempo? Should we count as we execute the technique, just before, or timed together with the completion of the move? (the correct answer is just before).
On a “macro” level, how much time should we commit to focusing on different concepts, techniques and training methods in our day-to-day karate activities? What are our priorities in training? Should we, for example, be putting half of our time into perfecting a single move of a kata? Or would our time be better spent another way? There is definitely a point of "diminishing marginal return" on the investment of your time toward a particular training focus. Putting all your effort into making a strong punch may result in poor posture, for example.
Even without going into much detail on the above, it is quite obvious that there are many points relating to “time management” that are worth consideration. Note that I have intentional not answered all my own questions, above, as I think these subjects should be contemplated on an individual basis, taking into account the reader's particular situation, desires and goals.
No one answer will fit everyone. But each person should consider if he (or she) is managing his (and/or his students') karate time in a way that best fits the desired goals.
Copyright © 2005, Jon Keeling
Saturday, January 1, 2005
The Midsection
The midsection (basically the area of the lower torso) is very important in karate. We spend much time working on how to "develop the power of the hips" and doing our various exercises to strengthen this area. Why is this so important? For those who may be thinking that doing exercises that work on the midsection is overrated, let's consider the following.
Strengthening arm techniques
Many times, I have heard karate instructors use the phrase "total body connection," or some variation of it. "Put your hip into it" and "push from your stomach" as well. The basic idea behind much of this is to maximize the transfer of power/effort/energy/momentum from the legs into the arms as we punch or strike (or block, for that matter). By strengthening the midsection, we can better "connect" the upper-body to the lower-body. Imagine trying to use a hammer that had a very flexible handle. No matter how strongly you swing it and how strong the hammer's head is, its affect would be greatly reduced due to the wobbling of the handle.
Strengthening leg techniques
The muscles of the lower part of the midsection in particular (those that are most directly connected to the leg/hip/glut muscles) help to drive the kicking leg up and into the target.
Posture
The muscles of the midsection, particularly the lower part, also help keep the upper body upright and controlled during kicks, which helps us to be ready for the techniques and movements to follow. Posture in general can benefit from a developed midsection.
Ability to withstand blows to that area
This should go without saying. Developed muscles help to reduce damage when attacked.
----------
Points worth considering when doing exercises for the midsection:
• The muscles of the lower back should be worked out; not just those of the abdominal area in front.
• Don't forget the sides of the midsection as well.
• The lower abdominals are harder to work out, tire more quickly and are probably actually more important for karate. So starting with some type of leg-lift exercises, then working your way up toward crunches is probably a good idea. Doing crunches to work out the upper abs is relatively easy and should be saved for last.
• Many of these exercises are very easy to do while watching TV.
• Breathe properly during the exercise. Many people reduce the effectiveness of a given exercise and/or tire more quickly because they hold their breath during each repetition.
Working out the midsection has various benefits. Why wouldn't you spend some extra time on it?
Copyright © 2005, Jon Keeling
Strengthening arm techniques
Many times, I have heard karate instructors use the phrase "total body connection," or some variation of it. "Put your hip into it" and "push from your stomach" as well. The basic idea behind much of this is to maximize the transfer of power/effort/energy/momentum from the legs into the arms as we punch or strike (or block, for that matter). By strengthening the midsection, we can better "connect" the upper-body to the lower-body. Imagine trying to use a hammer that had a very flexible handle. No matter how strongly you swing it and how strong the hammer's head is, its affect would be greatly reduced due to the wobbling of the handle.
Strengthening leg techniques
The muscles of the lower part of the midsection in particular (those that are most directly connected to the leg/hip/glut muscles) help to drive the kicking leg up and into the target.
Posture
The muscles of the midsection, particularly the lower part, also help keep the upper body upright and controlled during kicks, which helps us to be ready for the techniques and movements to follow. Posture in general can benefit from a developed midsection.
Ability to withstand blows to that area
This should go without saying. Developed muscles help to reduce damage when attacked.
----------
Points worth considering when doing exercises for the midsection:
• The muscles of the lower back should be worked out; not just those of the abdominal area in front.
• Don't forget the sides of the midsection as well.
• The lower abdominals are harder to work out, tire more quickly and are probably actually more important for karate. So starting with some type of leg-lift exercises, then working your way up toward crunches is probably a good idea. Doing crunches to work out the upper abs is relatively easy and should be saved for last.
• Many of these exercises are very easy to do while watching TV.
• Breathe properly during the exercise. Many people reduce the effectiveness of a given exercise and/or tire more quickly because they hold their breath during each repetition.
Working out the midsection has various benefits. Why wouldn't you spend some extra time on it?
Copyright © 2005, Jon Keeling
The Midsection
The midsection (basically the area of the lower torso) is very important in karate. We spend much time working on how to "develop the power of the hips" and doing our various exercises to strengthen this area. Why is this so important? For those who may be thinking that doing exercises that work on the midsection is overrated, let's consider the following.
Strengthening arm techniques
Many times, I have heard karate instructors use the phrase "total body connection," or some variation of it. "Put your hip into it" and "push from your stomach" as well. The basic idea behind much of this is to maximize the transfer of power/effort/energy/momentum from the legs into the arms as we punch or strike (or block, for that matter). By strengthening the midsection, we can better "connect" the upper-body to the lower-body. Imagine trying to use a hammer that had a very flexible handle. No matter how strongly you swing it and how strong the hammer's head is, its affect would be greatly reduced due to the wobbling of the handle.
Strengthening leg techniques
The muscles of the lower part of the midsection in particular (those that are most directly connected to the leg/hip/glut muscles) help to drive the kicking leg up and into the target.
Posture
The muscles of the midsection, particularly the lower part, also help keep the upper body upright and controlled during kicks, which helps us to be ready for the techniques and movements to follow. Posture in general can benefit from a developed midsection.
Ability to withstand blows to that area
This should go without saying. Developed muscles help to reduce damage when attacked.
----------
Points worth considering when doing exercises for the midsection:
• The muscles of the lower back should be worked out; not just those of the abdominal area in front.
• Don't forget the sides of the midsection as well.
• The lower abdominals are harder to work out, tire more quickly and are probably actually more important for karate. So starting with some type of leg-lift exercises, then working your way up toward crunches is probably a good idea. Doing crunches to work out the upper abs is relatively easy and should be saved for last.
• Many of these exercises are very easy to do while watching TV.
• Breathe properly during the exercise. Many people reduce the effectiveness of a given exercise and/or tire more quickly because they hold their breath during each repetition.
Working out the midsection has various benefits. Why wouldn't you spend some extra time on it?
Copyright © 2005, Jon Keeling
Strengthening arm techniques
Many times, I have heard karate instructors use the phrase "total body connection," or some variation of it. "Put your hip into it" and "push from your stomach" as well. The basic idea behind much of this is to maximize the transfer of power/effort/energy/momentum from the legs into the arms as we punch or strike (or block, for that matter). By strengthening the midsection, we can better "connect" the upper-body to the lower-body. Imagine trying to use a hammer that had a very flexible handle. No matter how strongly you swing it and how strong the hammer's head is, its affect would be greatly reduced due to the wobbling of the handle.
Strengthening leg techniques
The muscles of the lower part of the midsection in particular (those that are most directly connected to the leg/hip/glut muscles) help to drive the kicking leg up and into the target.
Posture
The muscles of the midsection, particularly the lower part, also help keep the upper body upright and controlled during kicks, which helps us to be ready for the techniques and movements to follow. Posture in general can benefit from a developed midsection.
Ability to withstand blows to that area
This should go without saying. Developed muscles help to reduce damage when attacked.
----------
Points worth considering when doing exercises for the midsection:
• The muscles of the lower back should be worked out; not just those of the abdominal area in front.
• Don't forget the sides of the midsection as well.
• The lower abdominals are harder to work out, tire more quickly and are probably actually more important for karate. So starting with some type of leg-lift exercises, then working your way up toward crunches is probably a good idea. Doing crunches to work out the upper abs is relatively easy and should be saved for last.
• Many of these exercises are very easy to do while watching TV.
• Breathe properly during the exercise. Many people reduce the effectiveness of a given exercise and/or tire more quickly because they hold their breath during each repetition.
Working out the midsection has various benefits. Why wouldn't you spend some extra time on it?
Copyright © 2005, Jon Keeling
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