Is it better to practice single techniques or combinations? If a combination is simply a group of single techniques, does it really matter which we do?
I have found that, in general, those who are very good at single techniques are very good at combinations of techniques as well. However, those who are merely adequate at single techniques are not necessarily so good with combinations. The same holds true the other way around; those who are very good at combinations are usually very good at single techniques, but those who are are simply passable at combinations are often not so good with their single techniques.
For self-defense purposes, it is usually advised that one practice very few techniques as frequently and repetitively as possible. In an emergency situation, it is usually difficult to do anything complicated. And what you have trained repetitively to be instinctive is what should be the natural reaction in such a situation where we do not have time to think about complicated maneuvers or strategy. Fancy combinations that work in tournaments may not work in a more realistic encounter.
But what if one is not training for self-defense, but more for tournaments? For this student as well, practice of single techniques can be very valuable, for the reasons mentioned above as well as considering that, except for rare situations, only one point is scored in tournament kumite anyway.
So if single techniques are all we need, and even if we decide we want to perform combinations, it is merely a factor of adding single techniques together, what value does combination training hold for us? In my opinion, the main advantages of practicing combinations is to work on strategy and transitions.
As for strategy, practicing a kick for long range followed by a punch then an elbow strike for progressively shorter distances can be valuable training. To be able to then modify such a combination to gain a familiarity with moving forward, back or to the side with such a set of techniques, then changing the order of the techniques, then the techniques themselves, gives us strategic ideas and experience. These can be helpful for self-defense, tournaments, physical dexterity or the study of body mechanics, depending on what the individual wants to get out of such training.
As for transition between movements, this can be quite important as well and is one way that this idea works in reverse; that someone very good at combinations is often very good at single techniques as well. If we practice only a single move for each count all the time, regardless of the number or variation of techniques involved, whether by the count or no-count with the feeling of pausing between each technique, this has its limitations. If we practice minimizing the time to transition between techniques/movements, it can not only improve our combination skills, but can improve our single technique execution as well.
This last point was made more clear in my mind while training with Ubl (Steve) Sensei recently. He had us performing a kizamizuki-oizuki (jab off front arm followed by stepping-punch off back arm) combination, reminding us that the step forward should begin no later than the initial punch is executed and perhaps at times even before the first punch has completed. We were practicing this while moving slightly back with the front foot on the first technique, which made this particularly challenging and enlightening. To move the back foot forward before the front foot is planted following its backward movement is quite difficult, especially if one want to maintain stability and strength in the first technique and not simply as a setup for the second technique.
It all comes back to setting goals and keeping them in mind while we train. If we train only combinations or only single techniques, we can still improve the other skill. In the same way that our kumite training can help our kata, and vice-versa. As with everything, just keep in mind what you are trying to accomplish and work toward those goals.
Copyright © 2002, Jon Keeling
Thursday, May 12, 2011
<i>Gedan-barai</i> Habits
(This article originally appeared in the April 2006 issue of ShotoMag.)
One of the first techniques we learned, gedan-barai (literally "lower-level sweep" but commonly known as "down-block") is something we have all done many times. It is a very useful technique and its prevalence in Shotokan kata suggest that the masters of old thought it worth much practice. In some dojo, every turn in kihon/basics is accompanied by gedan-barai.
In this article, I would like to first review parts of the basic technique itself, as a lead-in to my points of what are benefits and drawbacks of making a habit based on this technique.
Getting the blocking arm to end in the correct position and the other arm to end on the hip is important. But we also need to consider how we got our arms where they end up. I would like to focus here on the "chamber" position. In basics, we should generally try to make techniques as big as possible. And the chambering is no exception.
In photo 1, you can see that the hand that is to be used as the block is pulled to above the opposite shoulder, in a large preparatory movement.
1
In photo 2, you can see that an improvement has been made. The hand is rotated to situation the palm toward the head. This means that the wrist/forearm will turn as the blocking arm is extended. (the value of this wrist-twist is explored in an article on my dojo website, www.jkasv.com ).
2
In both of the above photos, you can see that the elbow is low. This helps keep the shoulder from rising excessively and also helps keep the line of vision clear. As much as is possible, the hand is pulled back to the shoulder, not just in front of it.
This big and correct preparatory move will help the technique. So it is good to get this position into our "muscle memory," making it a habit that is hard to forget.
So why do so many of us forget sometimes?
See photos 3-5, below. This is, I believe, quite typical of how this move is performed in the opening sequence of Heian Sandan:
3
4
5
See photos 6 & 6b, below. This uses the correct (big) preparatory (chambering) position that we spent so much time working on when doing gedan-barai as a solitary technique. Why not keep this habit when combining the technique with uchi-uke in this kata?
6
6b
Other examples in kata where we may see this happen is in the first move of Jion, several times in Jiin and in Tekki Sandan. Related moves include manji-uke, which occurs many times in kata. This gedan-barai/uchi-uke combination actually appears in over half of the Shotokan kata. So I think that working on this point could be of significant help, not just to this particular example movement in Heian Sandan.
There are plenty of cases in kata where there is a gedan-barai or tetsui-uchi (hammer-fist strike, which is basically just a gedan-barai executed to a different height) that we precede with the habitual gedan-barai chambering position, as detailed above.
But should this be how we perform this move? Is there some application of the move we should consider in addition to simply a chambering/preparatory move?
As an example, please see photos 7-9, below, from the opening sequence of Heian Nidan. I believe these photos are a fair representation of the way most JKA-style Shotokan people perform these movements.
7
8
9
Now see photo 10, below. Almost no matter what application is envisioned for this move, it seems to me that placing the non-punching/striking arm more vertical makes more sense from an application standpoint. Personally, I view this technique at the most basic level (not considering grappling possibilities) as a soto-uke (outside block). Either as a block or an arm-bar, having the arm in this position makes more sense to me.
10
See also photo 11, from Heian Godan, photo 12, from Empi, photo 13, from Nijushiho. Considering the above, should we be placing the arm more vertical for these as well? Shouldn't they all work as blocks?
11
12
13
One may argue that some of the moves listed above are simply preparation for the block or strike to follow. If that is all there is to it, then fine; making this movement work as an outside block may not be a concern.
But if we are considering the possible blocking applications of the non-punching/striking arm in these techniques, I think it makes sense to at least be able to break the gedan-barai habit.
So why not just perform gedan-barai with a chamber position that involves a soto-uke? I think this may make the move smaller and thus, for a beginner, not maximizing our point of working on techniques that are as large as possible. It also then breaks the alignment of the path of the technique. Gedan-barai should involve an extension of the arm that projects the hand directly in a straight line as opposed to curving toward its final position. If we pass through a soto-uke position on the way to the normal chambering position, the only drawback to this that I see is a slight increase in overall time it would take to complete the technique, as it is then a little less direct/linear.
Take a look at your basic gedan-barai and see where the preparation habit should and should not appear. I think this is a point worth thinking about.
One of the first techniques we learned, gedan-barai (literally "lower-level sweep" but commonly known as "down-block") is something we have all done many times. It is a very useful technique and its prevalence in Shotokan kata suggest that the masters of old thought it worth much practice. In some dojo, every turn in kihon/basics is accompanied by gedan-barai.
In this article, I would like to first review parts of the basic technique itself, as a lead-in to my points of what are benefits and drawbacks of making a habit based on this technique.
Getting the blocking arm to end in the correct position and the other arm to end on the hip is important. But we also need to consider how we got our arms where they end up. I would like to focus here on the "chamber" position. In basics, we should generally try to make techniques as big as possible. And the chambering is no exception.
In photo 1, you can see that the hand that is to be used as the block is pulled to above the opposite shoulder, in a large preparatory movement.
1
In photo 2, you can see that an improvement has been made. The hand is rotated to situation the palm toward the head. This means that the wrist/forearm will turn as the blocking arm is extended. (the value of this wrist-twist is explored in an article on my dojo website, www.jkasv.com ).
2
In both of the above photos, you can see that the elbow is low. This helps keep the shoulder from rising excessively and also helps keep the line of vision clear. As much as is possible, the hand is pulled back to the shoulder, not just in front of it.
This big and correct preparatory move will help the technique. So it is good to get this position into our "muscle memory," making it a habit that is hard to forget.
So why do so many of us forget sometimes?
When to Work on Keeping the Habit
See photos 3-5, below. This is, I believe, quite typical of how this move is performed in the opening sequence of Heian Sandan:
3
4 5See photos 6 & 6b, below. This uses the correct (big) preparatory (chambering) position that we spent so much time working on when doing gedan-barai as a solitary technique. Why not keep this habit when combining the technique with uchi-uke in this kata?
6
6bOther examples in kata where we may see this happen is in the first move of Jion, several times in Jiin and in Tekki Sandan. Related moves include manji-uke, which occurs many times in kata. This gedan-barai/uchi-uke combination actually appears in over half of the Shotokan kata. So I think that working on this point could be of significant help, not just to this particular example movement in Heian Sandan.
Credit where it is due: The above point was brought into focus for me in 1999 when Amos (Richard) Sensei was teaching a seminar and showed me myself on video as he explained where he saw my technique as benefiting from larger movement.
When to Work on Not Keeping That Habit
There are plenty of cases in kata where there is a gedan-barai or tetsui-uchi (hammer-fist strike, which is basically just a gedan-barai executed to a different height) that we precede with the habitual gedan-barai chambering position, as detailed above.
But should this be how we perform this move? Is there some application of the move we should consider in addition to simply a chambering/preparatory move?
As an example, please see photos 7-9, below, from the opening sequence of Heian Nidan. I believe these photos are a fair representation of the way most JKA-style Shotokan people perform these movements.
7
8 9
Now see photo 10, below. Almost no matter what application is envisioned for this move, it seems to me that placing the non-punching/striking arm more vertical makes more sense from an application standpoint. Personally, I view this technique at the most basic level (not considering grappling possibilities) as a soto-uke (outside block). Either as a block or an arm-bar, having the arm in this position makes more sense to me.
10
See also photo 11, from Heian Godan, photo 12, from Empi, photo 13, from Nijushiho. Considering the above, should we be placing the arm more vertical for these as well? Shouldn't they all work as blocks?
11
12 13
Bringing It Together
One may argue that some of the moves listed above are simply preparation for the block or strike to follow. If that is all there is to it, then fine; making this movement work as an outside block may not be a concern.
But if we are considering the possible blocking applications of the non-punching/striking arm in these techniques, I think it makes sense to at least be able to break the gedan-barai habit.
So why not just perform gedan-barai with a chamber position that involves a soto-uke? I think this may make the move smaller and thus, for a beginner, not maximizing our point of working on techniques that are as large as possible. It also then breaks the alignment of the path of the technique. Gedan-barai should involve an extension of the arm that projects the hand directly in a straight line as opposed to curving toward its final position. If we pass through a soto-uke position on the way to the normal chambering position, the only drawback to this that I see is a slight increase in overall time it would take to complete the technique, as it is then a little less direct/linear.
Credit where it is due: This idea had been something I had thought about for many years but was really driven home during some of the classes and discussions I have had with Ubl (Steve) Sensei over the past few years.
Take a look at your basic gedan-barai and see where the preparation habit should and should not appear. I think this is a point worth thinking about.
Contraction/Expansion
First of all, let me point out that muscles do not "expand" so much as they "lengthen" and "contract" is slightly misleading as well. What is often meant by contraction/expansion in Karate, however, is not so much an explanation of what the muscles do, as a relational description of the movements of various parts of the body. These parts (usually 2 joints) move closer to and further from each other due to the amount of flexion in a joint between them. This is the type of contraction/expansion that I would like to discuss here.
This type of flexing movement usually involves a tensing of certain muscles during the "contraction" portion of the movement. But, contrary to what many may like you to believe, the difference in overall muscle tension is often not much different in a "contraction" move than an "expansion" move. This is due to the fact that while muscles on one side (of the arm, for example) are tensing/shortening, the muscles on the other side usually relax/lengthen to compensate. It is true that one can tense a majority of muscles at once, or relax almost all the muscles at once. Although there is often a noticeable difference between the total amount of muscle tension in your body at impact/completion of a technique and the relatively relaxed state of preparation, the overall tension should not differ much during the pre-impact portion of execution of quick karate techniques.
So why all the emphasis on contraction/expansion? If you are trying to think of "squeezing" and "stretching" muscles, maybe you should concentrate on the individual muscles involved. Sometimes, it is advantageous to break down a move into the component parts to analyze the various tensions involved. But I think a more obvious way to think about this is to simply study the movement of the joints. The muscles will do their work if the various body parts are moving in the proper ways. And it's easier to keep track of, for example, where your knee is, than how much your various leg muscles are shortening/lengthening during a movement.
If you refer to my February article, you can see that I have already discussed a related point: relaxation vs. tension. As I mentioned in that article, it is usually advantageous to relax muscles to increase speed, and tighten muscles to gain more connection to the rest of the body, both of which help create force (Force = Mass x Acceleration--I will discuss this in more detail in a future article). So if we are trying to maximize speed in a technique (in this example, a punch), why would we want to "contract" (=tense) our muscles? This is my point. There can be a contraction between different body parts (closing the distance between the two points) existing with minimal muscle tension. In the case of a punch, there is a certain amount of muscle tension required to launch the fist towards the target. But the muscles which should be tensed are those of the torso more than that of the arms (There is always some tension in the legs, but that's a different story-again, see the February article for further comments). So while the punching arm is bent during the starting phase of the technique, the muscles of the arm are more relaxed. And when the arm is extended, the muscles momentarily tense. So the "contraction/expansion" of muscles is sometimes the opposite of the "contraction/expansion" of the moving body parts.
Copyright © 1998, Jon Keeling
This type of flexing movement usually involves a tensing of certain muscles during the "contraction" portion of the movement. But, contrary to what many may like you to believe, the difference in overall muscle tension is often not much different in a "contraction" move than an "expansion" move. This is due to the fact that while muscles on one side (of the arm, for example) are tensing/shortening, the muscles on the other side usually relax/lengthen to compensate. It is true that one can tense a majority of muscles at once, or relax almost all the muscles at once. Although there is often a noticeable difference between the total amount of muscle tension in your body at impact/completion of a technique and the relatively relaxed state of preparation, the overall tension should not differ much during the pre-impact portion of execution of quick karate techniques.
So why all the emphasis on contraction/expansion? If you are trying to think of "squeezing" and "stretching" muscles, maybe you should concentrate on the individual muscles involved. Sometimes, it is advantageous to break down a move into the component parts to analyze the various tensions involved. But I think a more obvious way to think about this is to simply study the movement of the joints. The muscles will do their work if the various body parts are moving in the proper ways. And it's easier to keep track of, for example, where your knee is, than how much your various leg muscles are shortening/lengthening during a movement.
If you refer to my February article, you can see that I have already discussed a related point: relaxation vs. tension. As I mentioned in that article, it is usually advantageous to relax muscles to increase speed, and tighten muscles to gain more connection to the rest of the body, both of which help create force (Force = Mass x Acceleration--I will discuss this in more detail in a future article). So if we are trying to maximize speed in a technique (in this example, a punch), why would we want to "contract" (=tense) our muscles? This is my point. There can be a contraction between different body parts (closing the distance between the two points) existing with minimal muscle tension. In the case of a punch, there is a certain amount of muscle tension required to launch the fist towards the target. But the muscles which should be tensed are those of the torso more than that of the arms (There is always some tension in the legs, but that's a different story-again, see the February article for further comments). So while the punching arm is bent during the starting phase of the technique, the muscles of the arm are more relaxed. And when the arm is extended, the muscles momentarily tense. So the "contraction/expansion" of muscles is sometimes the opposite of the "contraction/expansion" of the moving body parts.
Copyright © 1998, Jon Keeling
Teaching Martial Arts (and many other things, for that matter...)
What makes a good teacher?
There are many people who are good at teaching. There are also many people who are not good at teaching. This goes for karate as it does for almost any subject taught. Some people can do something very well, but just do not teach it well (there are many athlete-turned-coach examples of this in professional sports). Others have almost no actual experience doing something, yet can teach very well. Some people call themselves teachers, when all they do during their "classes" is call out the name of a technique and count as everyone repeats the technique numerous times. This is true not only in the martial arts. There are many "teachers" in schools around the world who seem to know nothing about teaching, even though they may know a lot about the subject matter that they are supposed to be teaching. I have had several professors in college who were terrible teachers. I have also had some brilliant instructors who did not even realize how good they were at teaching. Many of the best teachers have given much thought to their method of teaching. But some have not; good teaching ability may sometimes come naturally. Also, most of the best teachers seem to enjoy teaching. I suspect this is more than mere coincidence.
So what makes a teacher good? Is it the ability to pass on knowledge? That could certainly be a large part of it. Is it the ability to inspire students to learn? Or to impart a certain "spirit"? These could also be important. In addition to how well a teacher teaches, it is sometimes very important "how" a teacher teaches.
Teaching Styles
There are basically three major teaching styles, at least for physical disciplines such as martial arts. These teaching methods can be combined or blended.
Explanation
This type of teaching involves time and effort of the instructor. Simply talking about a technique is not really sufficient. One must really understand the how’s and why’s. Explanations could be about how to perform a technique correctly, according to biomechanics principles. Or they could be about how to apply various types of timing, depending on the situation. Explanations could cover kata application or history. Or they could concern psychology in self-defense.
Demonstration
Showing people how to do things correctly or showing them how not to do things requires physical ability. Demonstrating such that observers understand the point can usually be done better when the instructor has a good idea of what to focus on to convey the desired message to students.
Correction
This method involves watching students perform and correcting them, either verbally or physically. Simply counting as students perform technique is not really correcting. This type of teaching involves either telling a student what to do or not to do, or adjusting their form through physical contact.
How do you / your instructor(s) teach?
Most karate instructors I know focus on the Correction method, with some Demonstration method mixed in to save time. I also know of quite a few instructors who try to use technical explanations, but lack the knowledge or ability to form coherent explanations. Often, teaching methods are blended, such as explaining to a student how/why a technique should be performed a certain way, while demonstrating and correcting the student as he or she tries to do as the instructor explained and demonstrated.
Learning Styles
There are three major learning styles, at least in the case of physical disciplines such as martial arts.
Analyzing theory
Whether listening to a detailed explanation or performing a simple technique, this type of student is always trying to figure things out. Analyzing students often ask questions to help them learn.
Duplicating what is seen
This student watches for clues for improvement, through observation of instructor and other students. This is the way the majority of Japanese are expected to learn almost every subject in school, as well as karate. Repetition of techniques is the way this student advances.
Feeling
This type of student wants to practice technique to feel what it is like. Not content with just watching or thinking about a technique, this person must experience it. This type of student often prefers to practice less-structured sparring and might prefer to consider the application of kata movements as opposed to the physical form.
Note: Common theory on learning styles refer to the three types of learning broken up slightly differently to what I have describe above. The more common breakdown is (a) auditory - learning through hearing about something (b) visual - learning by watching and (c) kinesthetic - learning by doing. There are also two broad styles of learning commonly refered to as (x) global and (y) analytical, which combine with the first three mentioned (a, b and c).
Matching Teaching Style and Learning Style
Just because one instructor is considered by many to be the best does not mean that he is best for you. A good instructor is only good if he is good for you. If you learn best when you see a good physical example to follow, then an instructor who can perform well (or at least has an assistant who can demonstrate well) is good for you. If you feel a need to break things down into details to be able to piece them together into good technique, then someone who has a lot of knowledge and ability to share it is a good type of teacher for you. If you do not care about what a proper technique looks like or the details behind it, but simply want to experience the feeling of a martial art, perhaps you have little need for the knowledge or performance abilities of some instructors. In the end, a teacher is good when he or she can teach in such a way that can help you to learn.
Bibliography:
"Martial Arts Teachers on Teaching," by Carol Wiley. ISBN: 1-883319-09-9
(This is an excellent book and one that I would recommend to anyone serious about teaching the Martial Arts.)
Copyright © 2001, Jon Keeling
There are many people who are good at teaching. There are also many people who are not good at teaching. This goes for karate as it does for almost any subject taught. Some people can do something very well, but just do not teach it well (there are many athlete-turned-coach examples of this in professional sports). Others have almost no actual experience doing something, yet can teach very well. Some people call themselves teachers, when all they do during their "classes" is call out the name of a technique and count as everyone repeats the technique numerous times. This is true not only in the martial arts. There are many "teachers" in schools around the world who seem to know nothing about teaching, even though they may know a lot about the subject matter that they are supposed to be teaching. I have had several professors in college who were terrible teachers. I have also had some brilliant instructors who did not even realize how good they were at teaching. Many of the best teachers have given much thought to their method of teaching. But some have not; good teaching ability may sometimes come naturally. Also, most of the best teachers seem to enjoy teaching. I suspect this is more than mere coincidence.
So what makes a teacher good? Is it the ability to pass on knowledge? That could certainly be a large part of it. Is it the ability to inspire students to learn? Or to impart a certain "spirit"? These could also be important. In addition to how well a teacher teaches, it is sometimes very important "how" a teacher teaches.
Teaching Styles
There are basically three major teaching styles, at least for physical disciplines such as martial arts. These teaching methods can be combined or blended.
Explanation
This type of teaching involves time and effort of the instructor. Simply talking about a technique is not really sufficient. One must really understand the how’s and why’s. Explanations could be about how to perform a technique correctly, according to biomechanics principles. Or they could be about how to apply various types of timing, depending on the situation. Explanations could cover kata application or history. Or they could concern psychology in self-defense.
Demonstration
Showing people how to do things correctly or showing them how not to do things requires physical ability. Demonstrating such that observers understand the point can usually be done better when the instructor has a good idea of what to focus on to convey the desired message to students.
Correction
This method involves watching students perform and correcting them, either verbally or physically. Simply counting as students perform technique is not really correcting. This type of teaching involves either telling a student what to do or not to do, or adjusting their form through physical contact.
How do you / your instructor(s) teach?
Most karate instructors I know focus on the Correction method, with some Demonstration method mixed in to save time. I also know of quite a few instructors who try to use technical explanations, but lack the knowledge or ability to form coherent explanations. Often, teaching methods are blended, such as explaining to a student how/why a technique should be performed a certain way, while demonstrating and correcting the student as he or she tries to do as the instructor explained and demonstrated.
Learning Styles
There are three major learning styles, at least in the case of physical disciplines such as martial arts.
Analyzing theory
Whether listening to a detailed explanation or performing a simple technique, this type of student is always trying to figure things out. Analyzing students often ask questions to help them learn.
Duplicating what is seen
This student watches for clues for improvement, through observation of instructor and other students. This is the way the majority of Japanese are expected to learn almost every subject in school, as well as karate. Repetition of techniques is the way this student advances.
Feeling
This type of student wants to practice technique to feel what it is like. Not content with just watching or thinking about a technique, this person must experience it. This type of student often prefers to practice less-structured sparring and might prefer to consider the application of kata movements as opposed to the physical form.
Note: Common theory on learning styles refer to the three types of learning broken up slightly differently to what I have describe above. The more common breakdown is (a) auditory - learning through hearing about something (b) visual - learning by watching and (c) kinesthetic - learning by doing. There are also two broad styles of learning commonly refered to as (x) global and (y) analytical, which combine with the first three mentioned (a, b and c).
Matching Teaching Style and Learning Style
Just because one instructor is considered by many to be the best does not mean that he is best for you. A good instructor is only good if he is good for you. If you learn best when you see a good physical example to follow, then an instructor who can perform well (or at least has an assistant who can demonstrate well) is good for you. If you feel a need to break things down into details to be able to piece them together into good technique, then someone who has a lot of knowledge and ability to share it is a good type of teacher for you. If you do not care about what a proper technique looks like or the details behind it, but simply want to experience the feeling of a martial art, perhaps you have little need for the knowledge or performance abilities of some instructors. In the end, a teacher is good when he or she can teach in such a way that can help you to learn.
Bibliography:
"Martial Arts Teachers on Teaching," by Carol Wiley. ISBN: 1-883319-09-9
(This is an excellent book and one that I would recommend to anyone serious about teaching the Martial Arts.)
Copyright © 2001, Jon Keeling
Warming Up & Stretching
Warm-up
Warming up involves the physical heating of the muscles, lubrication of the joints and increasing oxygen and blood flow throughout the body. Running, jumping and skipping rope are all forms of warm-ups. Stretching the muscles is much easier once they are properly heated and the blood is pumping. Some think of "jumping jacks" (also known as "star jumps") as funny looking, but they are a very good warm-up, moving both the arms and the legs at once. The muscles should be kept warm during the entire workout period, and any long periods of discussion/lecture in class should be followed by warming-up exercises when possible. There are different theories on the use of a "warm-down." Let it suffice to say that it is usually advisable to do more, rather than less, warming and stretching of the muscles both before and after a workout. But the pre- and post-training routines should be different, as they perform different functions.
Stretching
After the muscles are sufficiently warmed-up, they can be stretched further and with more ease. There are many theories concerning the proper way to stretch (for example, bouncing, slow-and-hold, PNF), but I will not get into them in detail here. I would not advise rushing stretches, nor bouncing past the maximum comfortable range. Lightly "bouncing" in some stretches is not usually harmful if done within your normal range of flexibility. But I would advise against forcing muscles to the point of discomfort and possible injury.
Some will find that they do not require as much stretching time as others. Many will never be as flexible as they would like to be. Some find that their muscles get cold quickly. Others find they can remain flexible for hours but suffer from occasional cramping of the muscles. No two people are exactly alike and we must understand our differences and limitations.
Do not force your muscles to the point that you are doing irreparable damage. Do not take it too easy either; flexibility helps us in many ways and stretching should be considered a necessary part of training. Those who feel they need more might want to try stretching lightly first thing in the morning and very lightly just before going to bed at night. Also, going to the dojo early can really pay off if you spend that time warming up and stretching, instead of just talking to your friends.
Remember that in stretching, just like any other Karate activity, pain in your joints is usually a sign of poor technique; be careful not to manipulate your joints in such a way as to cause pain.
You should notice that you may feel better stretched after some kinds of stretching than others and it is recommended that you try to develop your ideal routine. This may not be ideal for everyone else in the class, and you should do your best to please everyone if you are leading the group taiso. There can be a noticeable difference in the performance of the students following a good warm-up and stretching set. Study why some are more successful than others in getting the class stretched out properly. One thing to consider is the progression of stretching from one area of the body to another (for example, moving from the upper body to the lower body, or starting from the center of the body [the hips & torso] and working out to the limbs methodically).
One problem many people have is that they do not know how many stretches to include. My recommendation is to consider that some muscles take longer than others to stretch (the larger leg muscles, for instance), so either include more of those stretches or spend longer on the few that you do. There have been studies conducted which claim that each stretch should ideally be held for 30 seconds. Although that seems a bit extreme, fast, bouncing stretches at the other end of the spectrum can often do more harm than good. Even if you do not spend a full 30 seconds on every stretch, there are more than enough different stretching exercises to fill up the better part of an hour. But most people can be sufficiently stretched after as little as 5 minutes, if done properly and follow a good warm-up routine (ideally several minutes in duration as well). It is just like everything else in Karate; study and practice!
Some instructors frown upon students wishing to stretch and/or keep their muscles warm between sets of movements. Although I do not advocate chaos, the opportunity to keep in top form throughout the class certainly has its advantages. I often remind students that they should do their best to keep warmed up and stretched out to gain as much as they can from each set of movements as well as to prevent unnecessary cramping or straining of the muscles. In contrast, I expect my students to not figit while going through the techniques.
I like to make sure I include 3 types of activities in my "warm-up" routines (not including the occasional strengthening exercise):
• Warming up - to raise the temperature of the body as well as the heart rate.
• Joint lubrication - twisting and turning of major joints.
• Stretching - including both dynamic (more towards the beginning of the routine) and static (a little at the end of the pre-workout portion and more after the workout).
Copyright © 1998, Jon Keeling
Teaching Different Types of People
Changing teaching methodology depending on the needs of the particular student type(s)
As with instructors of any type of subject, whether athletic or academic, martial arts instructors must keep the individual student in mind while teaching. Typically, teaching in Japan involves trying to fit everyone into the same mold. With this approach, some students are bound to achieve less than their potential while others are likely to quit in despair. This type of teaching may be good for those who happen to fit the mold. But how many people actually do? Although instructors of larger classes cannot tailor every minute of every class to each and every individual in it, they can often at least customize in general terms, depending on the general level(s) of participants in the class.
When possible, it is usually a good idea to make separate classes, or at least to split up a class into sections, to allow for similar students to work together. Otherwise, to have various types of students working on the same exercises next to each other, at different paces or levels of comprehension, may be a hindrance to the students' development. This obviously requires multiple qualified instructors and/or an instructor with a lot of time to devote to teaching classes. Some instructors are not able to teach more than a few times a week and thus cannot teach separate classes for different types of students. Even if an instructor had enough time to teach a few different types of classes, the schedule could probably never be perfect for everyone.
Below are several examples of general types of students. Within these types, it is possible to have sub-types. Sometimes, students can belong to two or more of these student types. Each learns best from a certain type of instructor/instruction. Some types require much more attention than the "average" student.
Children
Children generally have shorter attention spans than adults and this is more obvious the younger the student is. If possible, children's classes should be broken down into different age groups. Sometimes, boys and girls should be separated as well. Generally speaking, children under the age of about 13 are usually not mentally or emotionally mature enough (although they may be sufficiently physically mature) to join an adult class. Teachers of children must be able to tolerate less structure to the class at times, as younger students (particularly boys) may have a tendency to be disruptive. Mixing in physical games (including running or jumping) with their regular martial arts training may be a good idea, especially for the younger ones. Classes for younger children often have to be shorter, as these students cannot retain as much information and the instructors get tired faster while dealing with the potential for disruption and wandering attention of their students. Corrections should usually be more general than for adults, working on improvements in stages, over a longer period of time.
Mental Limitations
We must be conscious of the fact that not everyone is able to follow detailed descriptions of techniques, kata applications, a complex sparring drill or remember a complete kata after going through it only a few times. Part of this has to do with recognizing learning modes and matching teaching modes to accommodate. But it can be more than that. Some people have dyslexia, which may make it harder for them to figure out which foot is supposed to go forward. Others may have some kind of brain-damage and require more patience. Remember that just because someone does not "get it" right away does not mean that he is "stupid." Some people require more time and/or a different teaching mode. Teaching these students can be frustrating at times, requiring a great deal of patience. But this patience can pay off when the student finally does "get it."
Chronic Injuries and Illnesses
Examples of this include diabetes, asthma, poor eyesight and physical deformity. Each case must be treated independently, as rarely is more than one student in any given class afflicted with exactly the same problem. Diabetes usually means a student needs to be careful to maintain a certain level of physical activity, not training too hard or sitting idle too long. Asthma may require a student to sit out a section of class sometimes. Poor eyesight may cause a student to have problems in kumite drills. Physical deformity, such as a shorter limb may require alterations in stances or techniques. It is usually helpful to discuss these conditions with afflicted students to see what their perception is of their limitations. In addition to possibly making alterations in teaching these students, the teacher may also want to remind other students to keep such limitations in mind while training together.
Temporary Injuries and Illnesses
Examples of this type of affliction are broken/sprained joints, recent surgery, pulled muscles, blistered feet, and influenza. As with chronic injuries/illnesses, each situation must be treated individually. Teachers should not push students too hard when there are injuries or illnesses involved. Hard training can sometimes make the injury/illness worse. However, a good sweat can help to push some people through a fever and building up muscles around an injury (once healed) can be a crucial part of the rehabilitation process.
Old Age
There are many potential obstacles to consider when teaching older people. Some examples are heart problems and arthritis. When teaching someone with a weak heart or prone to seizures, it is probably a good idea to check with that person several times during each class to make sure all is well. For those with arthritis, there should be no sharp jarring motions of the inflicted joints; for the hips/knees, this includes jumping. Instructors should realize when to allow (or even suggest) students with various conditions to sit out and/or alter a given training exercise, due to their particular limitations.
The "Perfect" Athlete
Even the ideal athletic student can have problems. Teachers must be conscious of fatigue, pulled-muscles, dehydration and more. Those in their physical prime may have a feeling that they can do anything and therefore may be even more prone to injury than those who have problems of which they are being careful. A problem a teacher of high school or university students may sometimes face is that he may hurt himself while demonstrating to students, forgetting that he has some physical limitations that the students do not.
Thoughts for the Student
Most of the above was written with the teacher in mind. For the student, he or she should consider that not everyone else has the same limitations on training, nor the same abilities nor similar aspirations. Just because one older student is slow does not mean that they all are. Just because one training partner understood the sparring drill with only one demonstration from the instructor does not mean that the others did. We must all remember that a class is not composed of people with exactly the same attributes. We are all individuals. As such, we must consider each other's cases individually, as much as possible.
Copyright © 2001, Jon Keeling
As with instructors of any type of subject, whether athletic or academic, martial arts instructors must keep the individual student in mind while teaching. Typically, teaching in Japan involves trying to fit everyone into the same mold. With this approach, some students are bound to achieve less than their potential while others are likely to quit in despair. This type of teaching may be good for those who happen to fit the mold. But how many people actually do? Although instructors of larger classes cannot tailor every minute of every class to each and every individual in it, they can often at least customize in general terms, depending on the general level(s) of participants in the class.
When possible, it is usually a good idea to make separate classes, or at least to split up a class into sections, to allow for similar students to work together. Otherwise, to have various types of students working on the same exercises next to each other, at different paces or levels of comprehension, may be a hindrance to the students' development. This obviously requires multiple qualified instructors and/or an instructor with a lot of time to devote to teaching classes. Some instructors are not able to teach more than a few times a week and thus cannot teach separate classes for different types of students. Even if an instructor had enough time to teach a few different types of classes, the schedule could probably never be perfect for everyone.
Below are several examples of general types of students. Within these types, it is possible to have sub-types. Sometimes, students can belong to two or more of these student types. Each learns best from a certain type of instructor/instruction. Some types require much more attention than the "average" student.
Children
Children generally have shorter attention spans than adults and this is more obvious the younger the student is. If possible, children's classes should be broken down into different age groups. Sometimes, boys and girls should be separated as well. Generally speaking, children under the age of about 13 are usually not mentally or emotionally mature enough (although they may be sufficiently physically mature) to join an adult class. Teachers of children must be able to tolerate less structure to the class at times, as younger students (particularly boys) may have a tendency to be disruptive. Mixing in physical games (including running or jumping) with their regular martial arts training may be a good idea, especially for the younger ones. Classes for younger children often have to be shorter, as these students cannot retain as much information and the instructors get tired faster while dealing with the potential for disruption and wandering attention of their students. Corrections should usually be more general than for adults, working on improvements in stages, over a longer period of time.
Mental Limitations
We must be conscious of the fact that not everyone is able to follow detailed descriptions of techniques, kata applications, a complex sparring drill or remember a complete kata after going through it only a few times. Part of this has to do with recognizing learning modes and matching teaching modes to accommodate. But it can be more than that. Some people have dyslexia, which may make it harder for them to figure out which foot is supposed to go forward. Others may have some kind of brain-damage and require more patience. Remember that just because someone does not "get it" right away does not mean that he is "stupid." Some people require more time and/or a different teaching mode. Teaching these students can be frustrating at times, requiring a great deal of patience. But this patience can pay off when the student finally does "get it."
Chronic Injuries and Illnesses
Examples of this include diabetes, asthma, poor eyesight and physical deformity. Each case must be treated independently, as rarely is more than one student in any given class afflicted with exactly the same problem. Diabetes usually means a student needs to be careful to maintain a certain level of physical activity, not training too hard or sitting idle too long. Asthma may require a student to sit out a section of class sometimes. Poor eyesight may cause a student to have problems in kumite drills. Physical deformity, such as a shorter limb may require alterations in stances or techniques. It is usually helpful to discuss these conditions with afflicted students to see what their perception is of their limitations. In addition to possibly making alterations in teaching these students, the teacher may also want to remind other students to keep such limitations in mind while training together.
Temporary Injuries and Illnesses
Examples of this type of affliction are broken/sprained joints, recent surgery, pulled muscles, blistered feet, and influenza. As with chronic injuries/illnesses, each situation must be treated individually. Teachers should not push students too hard when there are injuries or illnesses involved. Hard training can sometimes make the injury/illness worse. However, a good sweat can help to push some people through a fever and building up muscles around an injury (once healed) can be a crucial part of the rehabilitation process.
Old Age
There are many potential obstacles to consider when teaching older people. Some examples are heart problems and arthritis. When teaching someone with a weak heart or prone to seizures, it is probably a good idea to check with that person several times during each class to make sure all is well. For those with arthritis, there should be no sharp jarring motions of the inflicted joints; for the hips/knees, this includes jumping. Instructors should realize when to allow (or even suggest) students with various conditions to sit out and/or alter a given training exercise, due to their particular limitations.
The "Perfect" Athlete
Even the ideal athletic student can have problems. Teachers must be conscious of fatigue, pulled-muscles, dehydration and more. Those in their physical prime may have a feeling that they can do anything and therefore may be even more prone to injury than those who have problems of which they are being careful. A problem a teacher of high school or university students may sometimes face is that he may hurt himself while demonstrating to students, forgetting that he has some physical limitations that the students do not.
Thoughts for the Student
Most of the above was written with the teacher in mind. For the student, he or she should consider that not everyone else has the same limitations on training, nor the same abilities nor similar aspirations. Just because one older student is slow does not mean that they all are. Just because one training partner understood the sparring drill with only one demonstration from the instructor does not mean that the others did. We must all remember that a class is not composed of people with exactly the same attributes. We are all individuals. As such, we must consider each other's cases individually, as much as possible.
Copyright © 2001, Jon Keeling
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
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
"Inside-" vs. "Outside-Tension" Stances
Traditional view:
In most traditional Shotokan dojo (as well as in those of many other Karate styles), instructors can be heard sometimes explaining the difference(s) between "inside-tension stances" and "outside-tension stances." Most of us have heard these terms many times if we have practiced more than a couple years. Many of us now realize which are considered "inside-tension stances" and which are considered "outside-tension stances." But how many of us actually understand what the differences really are?
Definitions:
What do "outside tension" and "inside tension" mean? Well, it seems logical enough to imagine that "outside tension stances" involve a stance in which there is more muscular tension on the outsides of the legs, relatively speaking, whereas "inside tension stances" involve more muscular tension on the insides of the legs. This makes some sense. All stances obviously involve tensions on both the insides and the outsides of the legs. But considering the relationship between the two, particularly which set of muscles is dominant, does have some value. Also, some people look at the positions of the knees and the strains put on them as a determining factor when describing a stance as "inside-" or "outside-tension" (knees pressed out for outside-tension and in for inside tension). These, as I understand it, are the two "traditional" views on the terminology and there is (at least as of Oct 2000) no real consensus on which are the real defining characteristics.
Let's think about some examples:
So let us consider the most commonly practiced basic Shotokan stances; zenkutsudachi (front stance), kokutsudachi (back stance) and kibadachi (side stance). These three are almost universally given as representatives of "outside tension stances" in traditional Shotokan dojo in North America (In 8 years training in Tokyo, I never heard any reference to "outside-" or "inside-tension stances"). Do you think there is more tension on the outsides of the legs than the insides while performing these three stances? Perhaps there is. But how does this compare to, say, walking?
The inside/outside ratio of leg tensions involved in walking, I think most would agree, should probably be referred to as "natural tension," if anything. There may be some natural dominance of the outer leg muscles during the walking motion (I am also posing this question to biomechanics scholars and will update this article after I get a definitive answer). How do the muscular tensions of the legs compare in zenkutsudachi stepping and static positions to that of walking? I do not think they are really all that much different, at least when keeping the hips straight (shomen), if the stance is properly configured.
So let us examine zenkutsudachi a little closer. There are actually three distinct types of zenkutsudachi, depending on the position (amount of rotation) of the hips: shomen, hanmi and gyaku-hanmi. With the hips straight to the front (shomen), the outsides of the legs don't seem to have any greater tension, percentage-wise, than while walking naturally. With the hips open (hanmi, as is done with most front-arm blocks), there may be more outside tension. With the hips turned the opposite direction (gyaku-hanmi, as performed with some back-arm blocks), inside tension is greater, percentage-wise, when compared to natural walking.
So what is the verdict on front stance? I think it is fair to say that it ranges from slightly outside- to inside-tension, often being a "natural stance," much like walking.
Back stance and side stance are much like the hanmi position of front stance, and probably involve some limited extra outside tension of the leg muscles. But is it fair to call these "outside-tension stances?"
When considering the positions of the knees (how far outward they are pushed), it seems that the front- & back-stances do not involve pushing the knees past the point of natural alignment (see March article for more on alignment). Side-stance may involve just a slight outward push on the knees past this natural point. To rotate the knees to the point where they face a different direction than the foot (toes) of that leg is improper form and bad for your joints. In proper stances, this should not occur.
My View:
Basically, I think calling most so-called "outside-tension stances" by that term is misleading. "Inside-tension stances" clearly involve a less natural muscular tension arrangement. But not all those stances that are not called "inside-tension stances" really involve what I would call "outside tension." It seems to me that only a couple of rarely-practiced Shotokan stances even come close to being as extremely "outside" as the "inside-tension stances" are "inside."
Let's examine "inside-tension" stances a little closer...
Back to the subject of alignment:
Understanding alignment is very important to both realize the effectiveness of a technique through proper channeling of power & coordinated, efficient movements, as well as to minimize damage to your own body while training. (Please see March '98 article for more on alignment.) The alignment of the legs in all basic stances should involve the knee pointing the same direction as the toes of that leg's foot. Improper alignment can not only cause power to be improperly channeled (resulting in a weak technique). It can also cause damage to the practitioner, especially if the same error is repeated many times over the course of many years.
A common problem I have noticed is that, hearing that they need to "squeeze their legs together" for inside-tension stances, many students put unnecessary torque on their knees while assuming a very uncomfortable-looking stance. While "inside tension stances" may be unnatural, they should not be so unnatural as to cause pain in the knee joints. As I often remind students, muscular pain means you are working out (=good) while pain in the joints usually means that there is a problem with the way the technique is being done (=bad). The knees in "inside-tension stances" are often pushed towards each other as far as the practitioner can manage. But the knee and toes of each leg should still be pointing in the same direction.
Another way to look at it:
Instead of just squeezing the knees together, try to take some of this pressure in the hips. Actually try to rotate your entire leg inward, instead of just the lower half. This should take some of the excess torque off your knee. If you have seen the way ballet performers often stand with their legs turned outward (the entire leg, starting at the hip), then you should be able to understand what I mean. (This positioning of the hip/leg in ballet is actually refered to as "turnout.") Having the ability to control your hip flexibility in this manner should aide you well, especially when trying to perform inside-tension stances. As always, the knee and toes should remain facing the same direction while in static stances and while moving; "inside-tension" stance training is no exception.
How about stepping?:
When stepping, there are changes between outside and inside tensions as the legs are brought closer together, then spread apart as the step is completed. Therefore, all stances are really inside and outside-tension stances when put into motion. The initial phase of the step involves pressing off the moving foot. That can be seen as outside tension (more so in some stances than others). As the foot breaks from its initial position, the pulling from the support leg takes a more important role. This is inside tension. As the moving foot passes the support leg, outside tension again increases in relative terms. After another combination of inside- and outside-tensions, the step is complete. Not so clear anymore what is an "outside-tension stance" and what is an "inside-tension stance," is it?
Summary:
Don't get too caught up in the terminology as a perfect definition of what your body should be doing during training. Stances must always have both inside- and outside-tensions in both static positions and while moving. And often those stances described as "outside tension stances" do not involve a particularly high ratio of outside-to-inside tension. I advocate discarding this unrealistic 'traditional' terminology, to concentrate more on the tensions of the individual muscle groups (such as the knee region and the hip region) involved during each specific movement.
Copyright © 1999, Jon Keeling
In most traditional Shotokan dojo (as well as in those of many other Karate styles), instructors can be heard sometimes explaining the difference(s) between "inside-tension stances" and "outside-tension stances." Most of us have heard these terms many times if we have practiced more than a couple years. Many of us now realize which are considered "inside-tension stances" and which are considered "outside-tension stances." But how many of us actually understand what the differences really are?
Definitions:
What do "outside tension" and "inside tension" mean? Well, it seems logical enough to imagine that "outside tension stances" involve a stance in which there is more muscular tension on the outsides of the legs, relatively speaking, whereas "inside tension stances" involve more muscular tension on the insides of the legs. This makes some sense. All stances obviously involve tensions on both the insides and the outsides of the legs. But considering the relationship between the two, particularly which set of muscles is dominant, does have some value. Also, some people look at the positions of the knees and the strains put on them as a determining factor when describing a stance as "inside-" or "outside-tension" (knees pressed out for outside-tension and in for inside tension). These, as I understand it, are the two "traditional" views on the terminology and there is (at least as of Oct 2000) no real consensus on which are the real defining characteristics.
Let's think about some examples:
So let us consider the most commonly practiced basic Shotokan stances; zenkutsudachi (front stance), kokutsudachi (back stance) and kibadachi (side stance). These three are almost universally given as representatives of "outside tension stances" in traditional Shotokan dojo in North America (In 8 years training in Tokyo, I never heard any reference to "outside-" or "inside-tension stances"). Do you think there is more tension on the outsides of the legs than the insides while performing these three stances? Perhaps there is. But how does this compare to, say, walking?
The inside/outside ratio of leg tensions involved in walking, I think most would agree, should probably be referred to as "natural tension," if anything. There may be some natural dominance of the outer leg muscles during the walking motion (I am also posing this question to biomechanics scholars and will update this article after I get a definitive answer). How do the muscular tensions of the legs compare in zenkutsudachi stepping and static positions to that of walking? I do not think they are really all that much different, at least when keeping the hips straight (shomen), if the stance is properly configured.
So let us examine zenkutsudachi a little closer. There are actually three distinct types of zenkutsudachi, depending on the position (amount of rotation) of the hips: shomen, hanmi and gyaku-hanmi. With the hips straight to the front (shomen), the outsides of the legs don't seem to have any greater tension, percentage-wise, than while walking naturally. With the hips open (hanmi, as is done with most front-arm blocks), there may be more outside tension. With the hips turned the opposite direction (gyaku-hanmi, as performed with some back-arm blocks), inside tension is greater, percentage-wise, when compared to natural walking.
So what is the verdict on front stance? I think it is fair to say that it ranges from slightly outside- to inside-tension, often being a "natural stance," much like walking.
Back stance and side stance are much like the hanmi position of front stance, and probably involve some limited extra outside tension of the leg muscles. But is it fair to call these "outside-tension stances?"
When considering the positions of the knees (how far outward they are pushed), it seems that the front- & back-stances do not involve pushing the knees past the point of natural alignment (see March article for more on alignment). Side-stance may involve just a slight outward push on the knees past this natural point. To rotate the knees to the point where they face a different direction than the foot (toes) of that leg is improper form and bad for your joints. In proper stances, this should not occur.
My View:
Basically, I think calling most so-called "outside-tension stances" by that term is misleading. "Inside-tension stances" clearly involve a less natural muscular tension arrangement. But not all those stances that are not called "inside-tension stances" really involve what I would call "outside tension." It seems to me that only a couple of rarely-practiced Shotokan stances even come close to being as extremely "outside" as the "inside-tension stances" are "inside."
Let's examine "inside-tension" stances a little closer...
Back to the subject of alignment:
Understanding alignment is very important to both realize the effectiveness of a technique through proper channeling of power & coordinated, efficient movements, as well as to minimize damage to your own body while training. (Please see March '98 article for more on alignment.) The alignment of the legs in all basic stances should involve the knee pointing the same direction as the toes of that leg's foot. Improper alignment can not only cause power to be improperly channeled (resulting in a weak technique). It can also cause damage to the practitioner, especially if the same error is repeated many times over the course of many years.
A common problem I have noticed is that, hearing that they need to "squeeze their legs together" for inside-tension stances, many students put unnecessary torque on their knees while assuming a very uncomfortable-looking stance. While "inside tension stances" may be unnatural, they should not be so unnatural as to cause pain in the knee joints. As I often remind students, muscular pain means you are working out (=good) while pain in the joints usually means that there is a problem with the way the technique is being done (=bad). The knees in "inside-tension stances" are often pushed towards each other as far as the practitioner can manage. But the knee and toes of each leg should still be pointing in the same direction.
Another way to look at it:
Instead of just squeezing the knees together, try to take some of this pressure in the hips. Actually try to rotate your entire leg inward, instead of just the lower half. This should take some of the excess torque off your knee. If you have seen the way ballet performers often stand with their legs turned outward (the entire leg, starting at the hip), then you should be able to understand what I mean. (This positioning of the hip/leg in ballet is actually refered to as "turnout.") Having the ability to control your hip flexibility in this manner should aide you well, especially when trying to perform inside-tension stances. As always, the knee and toes should remain facing the same direction while in static stances and while moving; "inside-tension" stance training is no exception.
How about stepping?:
When stepping, there are changes between outside and inside tensions as the legs are brought closer together, then spread apart as the step is completed. Therefore, all stances are really inside and outside-tension stances when put into motion. The initial phase of the step involves pressing off the moving foot. That can be seen as outside tension (more so in some stances than others). As the foot breaks from its initial position, the pulling from the support leg takes a more important role. This is inside tension. As the moving foot passes the support leg, outside tension again increases in relative terms. After another combination of inside- and outside-tensions, the step is complete. Not so clear anymore what is an "outside-tension stance" and what is an "inside-tension stance," is it?
Summary:
Don't get too caught up in the terminology as a perfect definition of what your body should be doing during training. Stances must always have both inside- and outside-tensions in both static positions and while moving. And often those stances described as "outside tension stances" do not involve a particularly high ratio of outside-to-inside tension. I advocate discarding this unrealistic 'traditional' terminology, to concentrate more on the tensions of the individual muscle groups (such as the knee region and the hip region) involved during each specific movement.
Copyright © 1999, Jon Keeling
Tension vs Relaxation
Relaxation and tension are both necessary parts of proper karate technique. Some people are naturally tense, and have an easy time tightening their muscles during a technique, but find it difficult to relax in between. Others tend to be more relaxed, and have an easy time flowing through motions which do not require any tension, but have difficulty tightening the muscles during techniques where it is important (usually at the moment of impact). The ability to make a movement tensed or relaxed, therefore, is often dependent on the particular individual.
Contrast
You may have a difficult time relaxing OR tensing muscles; most people find one state easier than the other. No matter which you find easier, you must try to enable yourself to switch back and forth at will to maximize the efficiency and effectiveness of your karate techniques. It is easy enough for most to flex and relax muscles slowly, in a controlled environment. But to quickly relax, then tense, and then relax again in a sparring situation takes much practice. This control of the contrast between tension and relaxation is one of the most important physical components of proper 'kime' (focus*), and should be a subject of study for any serious karateka. Below are two basic examples of this contrast.
*The actual definition of "kime" is "decision," as in "to have a decisive (=effective) technique." The term refers to both the physical and non-physical aspects of focus, among other things. In this article, I am refering only to the physical side of this focus, particularly the idea of muscular tension timing.
Contrast between tension & relaxation of the upper body when executing a basic gyakuzuki (reverse punch):
Although the tension in the lower body (the legs and hips) remains at nearly the same level throughout this technique (especially so if in performed in a basic front stance), most of the muscles of the upper body change from a relaxed state to tense during the punching motion. Although many are tempted to put a lot of tension in their upper arm at the moment the punching arm begins to move from its starting position, there is little need for such tension at that point. In fact, it will slow you down if you put too much tension into the arm early in its execution. Tension slows the speed that the muscles move. Imagine what happens to water when the temperature suddenly drops. Ice is hard, but it does not move quickly. Try to keep your upper body flowing, like the liquid state of the water, at least up until the moment of impact. Put only enough tension in the muscles of the arms, chest and back to get the arms to move in their proper courses. At the final instant, tense all the muscles of the body that you can. This is the idea of flowing like water at the beginning of the punch, but ending as hard as ice; same substance, different form.
Contrast between upper body relaxation & lower body tension when executing a basic maegeri (front kick):
I will not get into the tension and relaxation of the kicking leg itself here. What I would like to point out is the difference between the tension that exists in the legs through most of the kicking motion, and the almost total relaxation of the upper body throughout the movement. There is really no need for any more tension in the upper body than is required to keep your guard up (or wherever you choose to put your arms when kicking). Unless you are punching, striking or blocking at the same time as you kick, you should notice a large contrast between the tension of your legs and the relaxation of your upper body.
In both of the above examples, it should be noted that the muscles to be tensed are those located between the points of contact. The feet contact with the floor and the hand with the target, for gyakuzuki. All the muscles in between can add to the effectiveness of the punch. (Note that it is not really necessary to tense the pulling arm, as this is not between the points of connection.) For the kick, there is only one foot on the floor. Between that foot and the one at the target, only the leg muscles exist. Other (upper body) muscles do not contribute.
Practice:
For practicing proper contrast between relaxation and tension, I suggest the following exercise with chokuzuki (basic standing "straight" punch)-
1.
a) Stand in shizentai (natural standing position), with left arm extended in punching position and right arm drawn back as in normal practice.
Put only as much tension into the arms as is required to keep them from falling to your sides.
b) Open both hands to further relax your arms & wrists.
c) Slowly pull your left hand back as your right arm advances.
d) Only after your arms are in their final positions (like normal chokuzuki), rotate the wrists.
e) Close the hands, tensing all the muscles situated between the floor and the target. After about one second of total tension, relax.
f) Repeat until comfortable, gradually reducing the time of tension.
2. Try above with hands in fists the whole time, but keeping the same (lack of) tension in the hands & wrists.
3. Gradually increase speed.
4. Do again in zenkutsudachi.
5. Advanced karateka may want to try the same thing, but with the arms in jiyuu kamae (free sparring position), trying to create the same contrast between tension & relaxation in a shorter distance & time.
Very advanced karateka are capable of accelerating their hands (or feet) towards a target at great speeds, aided by proper relaxation. Then timing the tensing of many different muscle groups at the final instant to create explosive power. I've seen a man in his late 80's break a pile of roofing tiles in Japan without moving his hand more than about an inch from the top tile. And remember Bruce Lee's 'one-inch punch?' These are extreme examples of successful contrast between relaxation & tension utilized within a very short period of time.
For more on this subject, please see http://www.baylor.edu/~BUKarate/articles/relaxation.html
Contrast
You may have a difficult time relaxing OR tensing muscles; most people find one state easier than the other. No matter which you find easier, you must try to enable yourself to switch back and forth at will to maximize the efficiency and effectiveness of your karate techniques. It is easy enough for most to flex and relax muscles slowly, in a controlled environment. But to quickly relax, then tense, and then relax again in a sparring situation takes much practice. This control of the contrast between tension and relaxation is one of the most important physical components of proper 'kime' (focus*), and should be a subject of study for any serious karateka. Below are two basic examples of this contrast.
*The actual definition of "kime" is "decision," as in "to have a decisive (=effective) technique." The term refers to both the physical and non-physical aspects of focus, among other things. In this article, I am refering only to the physical side of this focus, particularly the idea of muscular tension timing.
Contrast between tension & relaxation of the upper body when executing a basic gyakuzuki (reverse punch):
Although the tension in the lower body (the legs and hips) remains at nearly the same level throughout this technique (especially so if in performed in a basic front stance), most of the muscles of the upper body change from a relaxed state to tense during the punching motion. Although many are tempted to put a lot of tension in their upper arm at the moment the punching arm begins to move from its starting position, there is little need for such tension at that point. In fact, it will slow you down if you put too much tension into the arm early in its execution. Tension slows the speed that the muscles move. Imagine what happens to water when the temperature suddenly drops. Ice is hard, but it does not move quickly. Try to keep your upper body flowing, like the liquid state of the water, at least up until the moment of impact. Put only enough tension in the muscles of the arms, chest and back to get the arms to move in their proper courses. At the final instant, tense all the muscles of the body that you can. This is the idea of flowing like water at the beginning of the punch, but ending as hard as ice; same substance, different form.
Contrast between upper body relaxation & lower body tension when executing a basic maegeri (front kick):
I will not get into the tension and relaxation of the kicking leg itself here. What I would like to point out is the difference between the tension that exists in the legs through most of the kicking motion, and the almost total relaxation of the upper body throughout the movement. There is really no need for any more tension in the upper body than is required to keep your guard up (or wherever you choose to put your arms when kicking). Unless you are punching, striking or blocking at the same time as you kick, you should notice a large contrast between the tension of your legs and the relaxation of your upper body.
In both of the above examples, it should be noted that the muscles to be tensed are those located between the points of contact. The feet contact with the floor and the hand with the target, for gyakuzuki. All the muscles in between can add to the effectiveness of the punch. (Note that it is not really necessary to tense the pulling arm, as this is not between the points of connection.) For the kick, there is only one foot on the floor. Between that foot and the one at the target, only the leg muscles exist. Other (upper body) muscles do not contribute.
Practice:
For practicing proper contrast between relaxation and tension, I suggest the following exercise with chokuzuki (basic standing "straight" punch)-
1.
a) Stand in shizentai (natural standing position), with left arm extended in punching position and right arm drawn back as in normal practice.
Put only as much tension into the arms as is required to keep them from falling to your sides.
b) Open both hands to further relax your arms & wrists.
c) Slowly pull your left hand back as your right arm advances.
d) Only after your arms are in their final positions (like normal chokuzuki), rotate the wrists.
e) Close the hands, tensing all the muscles situated between the floor and the target. After about one second of total tension, relax.
f) Repeat until comfortable, gradually reducing the time of tension.
2. Try above with hands in fists the whole time, but keeping the same (lack of) tension in the hands & wrists.
3. Gradually increase speed.
4. Do again in zenkutsudachi.
5. Advanced karateka may want to try the same thing, but with the arms in jiyuu kamae (free sparring position), trying to create the same contrast between tension & relaxation in a shorter distance & time.
Very advanced karateka are capable of accelerating their hands (or feet) towards a target at great speeds, aided by proper relaxation. Then timing the tensing of many different muscle groups at the final instant to create explosive power. I've seen a man in his late 80's break a pile of roofing tiles in Japan without moving his hand more than about an inch from the top tile. And remember Bruce Lee's 'one-inch punch?' These are extreme examples of successful contrast between relaxation & tension utilized within a very short period of time.
For more on this subject, please see http://www.baylor.edu/~BUKarate/articles/relaxation.html
Mind-Body Connection
I have heard many martial arts' instructors use the phrase "mind-body connection." I am sure that many of them really believe in what they say when they use that phrase. But many instructors may use the term lightly, primarily as a way to sound more esoteric.
As I see it, "mind-body connection" does not have to be esoteric. In my opinion, a connection between the mind and the body primarily describes mindful action of the body. In other words, think as you move, think about your movements.
How often do we really think about our movements in karate (or other martial arts, or any activity, for that matter)? Sure, many of us use our minds in order to memorize new combinations or to concentrate on excelling at a particular kumite timing. While this can be described as "mind-body connection," I think we can and should go beyond that.
Although most people do not have a desire to delve so deeply into their training as to spend hours each day on non-physical study of their art(s), at least some thinking can be of great benefit to physical training.
Training in the mind only is of limited value. So is training of the body only. To integrate the two is the ideal. By using the mind more, the physical training becomes more efficient and the techniques more effective. We should strive to "connect" mental and physical training more to make our training time more valuable, "steepening the learning curve."
"Mindless Repetition Training" ("MRT") that occurs in a large number of dojo around the world every day has its value for physical training of the body. But it is not, generally, as efficient or effective a use of training time. To think about the moves as we do them speeds up the learning process and more completely ingrains the movements, ideas and strategies into our bodies and minds. MRT can be good sometimes to ingrain movements into our bodies and our subconscious through "muscle-memory" or to simply get a workout. But to do this type of training only is neglecting a significant potential portion of training, perhaps even the physical training itself, in a way.
The mind-body connection can work in the other direction, too. A finely-tuned body can help to make the mind more alert and in top condition for other applications. A physically fit body may contribute to the development of an emotionally sound and intellectually active mind.
Some people read about karate (such as you are doing right now). Some instructors actually tell students that they should not read about karate, nor should they talk about the subject; "shut up and train" is an often-quoted phrase. Anyone who has attended university classes (of any subject) knows that many of the best classes are those that involve discussion time, not simply lectures. Although there is much written about karate that is of relatively little value, there is a lot of valuable information and opinion put out these days as well, much of it for little- or no-charge on the internet.
• Read - books, magazines, e-zines, discussion group postings, articles, newsletters
• Watch - instructional videotapes, demonstrations, tournament
• Discuss - talk with others about their questions and opinions to open up new ideas and get feedback on your thoughts.
• Experiment - If you think you are on to something, perhaps it is worth some experimenting; the so-called "masters" do not have all the answers.
Read, watch videos, discuss, experiment, think.. But keep training as you do it. Integrate the physical and mental sides of your study and it should make both better.
Copyright © 2001, Jon Keeling
As I see it, "mind-body connection" does not have to be esoteric. In my opinion, a connection between the mind and the body primarily describes mindful action of the body. In other words, think as you move, think about your movements.
How often do we really think about our movements in karate (or other martial arts, or any activity, for that matter)? Sure, many of us use our minds in order to memorize new combinations or to concentrate on excelling at a particular kumite timing. While this can be described as "mind-body connection," I think we can and should go beyond that.
Although most people do not have a desire to delve so deeply into their training as to spend hours each day on non-physical study of their art(s), at least some thinking can be of great benefit to physical training.
Training in the mind only is of limited value. So is training of the body only. To integrate the two is the ideal. By using the mind more, the physical training becomes more efficient and the techniques more effective. We should strive to "connect" mental and physical training more to make our training time more valuable, "steepening the learning curve."
"Mindless Repetition Training" ("MRT") that occurs in a large number of dojo around the world every day has its value for physical training of the body. But it is not, generally, as efficient or effective a use of training time. To think about the moves as we do them speeds up the learning process and more completely ingrains the movements, ideas and strategies into our bodies and minds. MRT can be good sometimes to ingrain movements into our bodies and our subconscious through "muscle-memory" or to simply get a workout. But to do this type of training only is neglecting a significant potential portion of training, perhaps even the physical training itself, in a way.
The mind-body connection can work in the other direction, too. A finely-tuned body can help to make the mind more alert and in top condition for other applications. A physically fit body may contribute to the development of an emotionally sound and intellectually active mind.
Some people read about karate (such as you are doing right now). Some instructors actually tell students that they should not read about karate, nor should they talk about the subject; "shut up and train" is an often-quoted phrase. Anyone who has attended university classes (of any subject) knows that many of the best classes are those that involve discussion time, not simply lectures. Although there is much written about karate that is of relatively little value, there is a lot of valuable information and opinion put out these days as well, much of it for little- or no-charge on the internet.
• Read - books, magazines, e-zines, discussion group postings, articles, newsletters
• Watch - instructional videotapes, demonstrations, tournament
• Discuss - talk with others about their questions and opinions to open up new ideas and get feedback on your thoughts.
• Experiment - If you think you are on to something, perhaps it is worth some experimenting; the so-called "masters" do not have all the answers.
Read, watch videos, discuss, experiment, think.. But keep training as you do it. Integrate the physical and mental sides of your study and it should make both better.
Copyright © 2001, Jon Keeling
On the Value of Tournaments
Tournaments can hold different value for different people. For some competitors, they are a chance to test how good one's kata or kumite looks compared to others of similar rank. For some spectators, they are opportunities to get a better idea of what is possible in karate. For some instructors, they are a motivational tool to try to get students to train harder. There are various reasons to consider getting involved in tournaments. While there are some who believe tournaments have no value and avoid them completely, there are others who seem to focus on competition to the detriment of training itself.
I have had my share of tournament experience. I have competed in various Shotokan and multi-style tournaments in Japan and the US, including several All-Japans representing Tokyo (which requires placing in the top 8 in the Tokyo tournament). I have additionally watched numerous national and international competitions and have dozens of them on videotape. I have acted as a coach. I have been a corner referee and a center judge. I have helped with tournament organization and promotion. All of this, and I do not consider tournament competition to be so important relative to many other aspects of Karate. That being said, I still think it has its benefits.
Some people are just not interested in competing. Some older practitioners consider tournaments an activity for young people. While it may be true that many attributes of athleticism deteriorate after one reaches his/her thirties, some qualities can continue to be improved for decades after that. Some people in their 60's look better doing their kata than some of the best of those in their 20's and 30's now placing in tournaments. While athleticism plays a part in many competitions, some look beyond this. One should realize that the old saying is true: "It's not whether you win or lose, but how you play the game."
Some people feel that they simply are not qualified to compete, as they know many others who are competing are more likely to win. Competition should not be against others as much as against oneself. By this, I mean than one should push oneself to reach new heights previously thought unattainable. While tournaments may not be necessary as inspiration, they can be a good judge of progress.
Some instructors and senior practitioners feel embarrassed to be beaten by younger black belts, perhaps even a student. I have lost kumite rounds to people of lesser experience and ability than myself. In many cases, we both knew that outside of a tournament situation, there would be no doubt as to who was better. That being said, some big, strong participants often lose tournaments to small, weak opponents who, realistically, might not stand a chance in an all-out actual encounter. We must realize that tournaments are about points; they are a game. While this game may at times be realistic, it is not reality. For this reason, winning or losing should not be considered of the highest importance.
What, then, is the advantage to winning in a tournament? One of the biggest advantages I see to winning multiple-round kumite competition is the chance to gain more experience with various people. With more unknowns, this additional experience could be quite valuable. For this reason, I would be just as happy placing in the final rounds, regardless of which color the medal was (or winning no medal at all). Alternatively, I would rather just spend the time doing non-tournament practice with various people outside of a competitive environment than sit around waiting for my turn to compete. For kata competition, one of the main advantages of tournament performance over regular dojo performance is facing the added anxiety involved being publicly scrutinized. Who is a better kata performer is usually relatively clear. This is a why the same person may be seen winning the kata portion of a competition year after year, while kumite winners change (the best man does not always win, due to varying circumstances, including luck).
What might make a tournament more valuable than regular training? I think regular training is, generally, more valuable for overall improvement. If taking part in activities outside of regular dojo classes, I would also place training at outside seminars at higher priority than tournaments. But there is still value to tournaments and other extra-dojo activities. Sometimes these extra-curricular activities help as motivational tools and often help to bring family and friends closer to what you enjoy doing.
I see several potential negative parts related to tournament competition:
• For some competitors, tournaments are the reason for training. Competition is the means and the end. All their training is competition-oriented, if they train at all.
• Some competitors like to show off and are only there to win. Some competitors like to show off before the judge, their peers and the spectators, even if they do not win.
• Some promoters exaggerate the value of their tournaments in order to make unreasonable profit (profit is not bad, per se, but trying to convince competitors that the tournament is extremely important is).
• Some promoters put on tournaments in an effort to gain promotion within their organization, as tournaments are a way to get money and popularity for the organization.
I see these potentially positive facets to tournament involvement:
• As unrealistic as it might be, the experience can be valuable.
• Tournament training is better than no training at all.
• It helps spread understanding and appreciation (although sometimes not entirely accurate) of karate to those who otherwise might not have opportunity to see it.
• Watching and/or competing in a tournament, as well as meeting others there, can be fun.
• It can be an inspirational experience.
• Watching high-quality performance can be a good training aid.
• Observing mistakes in the performance of others can be a resource for self-evaluation.
• Concentration required in the face of anxiety can be valuable emotional training that may help in an actual self-defense situation.
To summarize, I think tournaments have many potential positive and negative facets. As with so many other aspects of karate, it generally true that much of what you get out of it depends on what you put into it.
Copyright © 2001, Jon Keeling
I have had my share of tournament experience. I have competed in various Shotokan and multi-style tournaments in Japan and the US, including several All-Japans representing Tokyo (which requires placing in the top 8 in the Tokyo tournament). I have additionally watched numerous national and international competitions and have dozens of them on videotape. I have acted as a coach. I have been a corner referee and a center judge. I have helped with tournament organization and promotion. All of this, and I do not consider tournament competition to be so important relative to many other aspects of Karate. That being said, I still think it has its benefits.
Some people are just not interested in competing. Some older practitioners consider tournaments an activity for young people. While it may be true that many attributes of athleticism deteriorate after one reaches his/her thirties, some qualities can continue to be improved for decades after that. Some people in their 60's look better doing their kata than some of the best of those in their 20's and 30's now placing in tournaments. While athleticism plays a part in many competitions, some look beyond this. One should realize that the old saying is true: "It's not whether you win or lose, but how you play the game."
Some people feel that they simply are not qualified to compete, as they know many others who are competing are more likely to win. Competition should not be against others as much as against oneself. By this, I mean than one should push oneself to reach new heights previously thought unattainable. While tournaments may not be necessary as inspiration, they can be a good judge of progress.
Some instructors and senior practitioners feel embarrassed to be beaten by younger black belts, perhaps even a student. I have lost kumite rounds to people of lesser experience and ability than myself. In many cases, we both knew that outside of a tournament situation, there would be no doubt as to who was better. That being said, some big, strong participants often lose tournaments to small, weak opponents who, realistically, might not stand a chance in an all-out actual encounter. We must realize that tournaments are about points; they are a game. While this game may at times be realistic, it is not reality. For this reason, winning or losing should not be considered of the highest importance.
What, then, is the advantage to winning in a tournament? One of the biggest advantages I see to winning multiple-round kumite competition is the chance to gain more experience with various people. With more unknowns, this additional experience could be quite valuable. For this reason, I would be just as happy placing in the final rounds, regardless of which color the medal was (or winning no medal at all). Alternatively, I would rather just spend the time doing non-tournament practice with various people outside of a competitive environment than sit around waiting for my turn to compete. For kata competition, one of the main advantages of tournament performance over regular dojo performance is facing the added anxiety involved being publicly scrutinized. Who is a better kata performer is usually relatively clear. This is a why the same person may be seen winning the kata portion of a competition year after year, while kumite winners change (the best man does not always win, due to varying circumstances, including luck).
What might make a tournament more valuable than regular training? I think regular training is, generally, more valuable for overall improvement. If taking part in activities outside of regular dojo classes, I would also place training at outside seminars at higher priority than tournaments. But there is still value to tournaments and other extra-dojo activities. Sometimes these extra-curricular activities help as motivational tools and often help to bring family and friends closer to what you enjoy doing.
I see several potential negative parts related to tournament competition:
• For some competitors, tournaments are the reason for training. Competition is the means and the end. All their training is competition-oriented, if they train at all.
• Some competitors like to show off and are only there to win. Some competitors like to show off before the judge, their peers and the spectators, even if they do not win.
• Some promoters exaggerate the value of their tournaments in order to make unreasonable profit (profit is not bad, per se, but trying to convince competitors that the tournament is extremely important is).
• Some promoters put on tournaments in an effort to gain promotion within their organization, as tournaments are a way to get money and popularity for the organization.
I see these potentially positive facets to tournament involvement:
• As unrealistic as it might be, the experience can be valuable.
• Tournament training is better than no training at all.
• It helps spread understanding and appreciation (although sometimes not entirely accurate) of karate to those who otherwise might not have opportunity to see it.
• Watching and/or competing in a tournament, as well as meeting others there, can be fun.
• It can be an inspirational experience.
• Watching high-quality performance can be a good training aid.
• Observing mistakes in the performance of others can be a resource for self-evaluation.
• Concentration required in the face of anxiety can be valuable emotional training that may help in an actual self-defense situation.
To summarize, I think tournaments have many potential positive and negative facets. As with so many other aspects of karate, it generally true that much of what you get out of it depends on what you put into it.
Copyright © 2001, Jon Keeling
"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
Why Take Exams?
Most new students do not give it a second thought when their instructor or senior tells them that passing exams is necessary to advance in rank in karate. As the months and years roll by, however, some may wonder if the tests are really testing what they should, or if there should be exams at all.
As with many other facets of karate and the way its related activities are administered, there are positives and negatives that may be worth considering.
Positives:
• Gives the student feedback on his/her performance
• Gives other students an idea of relative ability
• Gives everyone (student, teacher and others) an opportunity to see how well the performer does under pressure
• Provides a goal for the student to aim for in training
• Provides teachers with primary curriculum for different level students
Negatives:
• Does not always reflect accurately the true ability of the performer, simply the performance at the time of the exam
• Favors athleticism
• Only tests a limited number of techniques and scenarios
• Some people do not like to take tests, either for fear of pressure or lack of interest
The process of kyu testing (pre-black belt) has the benefit of determining if the student has a sufficient grasp of the most basic techniques before advancing to the more complex techniques and combinations. At different levels, there are certain general points being looked at, in addition to the specific techniques of the exam. For the dan ranks, it is often more of a personal achievement, although more advanced technical skills are generally required for higher levels. For the higher ranks (usually over yondan), contributions to an organization are often a prerequisite in addition to "technical maturity" (an obviously ambiguous, subjective and perhaps arbitrary term).
To get around some of the exam shortcomings, whether real or perceived, examiners may want to consider that the ranking exams are often limited in their scope and that not everyone should be expected to be able to fit into the same mold in terms of physical technique and performance. This thought should also probably be explained to many students who may wonder why they failed when other passed an exam, or vise-versa. One way that I augment the traditional physical exams is by providing a written exam as well.
With the combination of physical and written exams, an examiner can get a better idea of the student's understanding of techniques and ideas for consideration when it may not be clear by simply watching his or her performance. For added reference, the physical exam may be videotaped. All of this is good for the examiner. But for the benefit of the student being tested, feedback on the physical and written exams, as well as a copy of the videotape, really should be provided after the exam for clarification as to what advancement in rank (if any) was decided upon. The examiner may also want to explain what the decision process involved.
Once a rank is achieved, others may sometimes question its validity. While some dojo may accept the rank of new members gained elsewhere, some do not. Usually, within a given organization, ranks are accepted between different dojo. But even this is sometimes not the case.
There are many different styles of karate and organizations that supply rank certification. It should be understood, however, that these ranks are not always accepted outside of those organizations, sometimes not even outside a particular dojo. Kyu rank is usually considered "dojo rank" in that it is up to the instructor of a new dojo if he will accept the kyu rank awarded elsewhere. Dan rank is usually a more official rank that is generally accepted at any dojo affiliated with the organization with which that rank is certified. That being said, it is still up to the instructor to decide who is to wear what color belt or where to stand/sit in the lineup when it concerns functions/hierarchy within the dojo. This should be because there may be a difference in standards or points of focus specific to a particular dojo, not just because the instructor wants to demean the new student.
For example, in my dojo I usually require new students to take a test with me, no matter where they may have received their previous rank, unless it is clear that they are up to the standards of my dojo. Most are not. I have a reputation of having higher technical standards than just about anyone else in the area teaching Shotokan. Some students may have been required to do more complicated combinations or some self-defense at their previous dojo. At my dojo, however, I require a higher level of understanding of the most basic techniques, as opposed to a shallow understanding of many so-called "advanced" techniques or tactics. Often, students who have transferred from another dojo, where they claim to have been a 4th kyu or 2nd kyu, or even a black belt, may have to wear a white belt for a while, or at least a belt level/color that they have more clearly earned. Some of my prospective students, hearing of this concept, decide to train elsewhere. Those who decide that the color of their belt is not as important as the level of training/teaching they receive usually do well and advance quickly. The ability to accept a "beginner's mind" is truly an asset to the learning process.
Rank exams and different colored belts have their purpose. They can be good tools for instructors, students and others to gauge relative abilities. If one has any doubts as to what is required at a given rank, where one stands in relation to others or how one is doing in training in general, I cannot emphasize enough that a student should consult with the instructor(s) for clarification and guidance.
Copyright © 2002, Jon Keeling
As with many other facets of karate and the way its related activities are administered, there are positives and negatives that may be worth considering.
Positives:
• Gives the student feedback on his/her performance
• Gives other students an idea of relative ability
• Gives everyone (student, teacher and others) an opportunity to see how well the performer does under pressure
• Provides a goal for the student to aim for in training
• Provides teachers with primary curriculum for different level students
Negatives:
• Does not always reflect accurately the true ability of the performer, simply the performance at the time of the exam
• Favors athleticism
• Only tests a limited number of techniques and scenarios
• Some people do not like to take tests, either for fear of pressure or lack of interest
The process of kyu testing (pre-black belt) has the benefit of determining if the student has a sufficient grasp of the most basic techniques before advancing to the more complex techniques and combinations. At different levels, there are certain general points being looked at, in addition to the specific techniques of the exam. For the dan ranks, it is often more of a personal achievement, although more advanced technical skills are generally required for higher levels. For the higher ranks (usually over yondan), contributions to an organization are often a prerequisite in addition to "technical maturity" (an obviously ambiguous, subjective and perhaps arbitrary term).
To get around some of the exam shortcomings, whether real or perceived, examiners may want to consider that the ranking exams are often limited in their scope and that not everyone should be expected to be able to fit into the same mold in terms of physical technique and performance. This thought should also probably be explained to many students who may wonder why they failed when other passed an exam, or vise-versa. One way that I augment the traditional physical exams is by providing a written exam as well.
With the combination of physical and written exams, an examiner can get a better idea of the student's understanding of techniques and ideas for consideration when it may not be clear by simply watching his or her performance. For added reference, the physical exam may be videotaped. All of this is good for the examiner. But for the benefit of the student being tested, feedback on the physical and written exams, as well as a copy of the videotape, really should be provided after the exam for clarification as to what advancement in rank (if any) was decided upon. The examiner may also want to explain what the decision process involved.
Once a rank is achieved, others may sometimes question its validity. While some dojo may accept the rank of new members gained elsewhere, some do not. Usually, within a given organization, ranks are accepted between different dojo. But even this is sometimes not the case.
There are many different styles of karate and organizations that supply rank certification. It should be understood, however, that these ranks are not always accepted outside of those organizations, sometimes not even outside a particular dojo. Kyu rank is usually considered "dojo rank" in that it is up to the instructor of a new dojo if he will accept the kyu rank awarded elsewhere. Dan rank is usually a more official rank that is generally accepted at any dojo affiliated with the organization with which that rank is certified. That being said, it is still up to the instructor to decide who is to wear what color belt or where to stand/sit in the lineup when it concerns functions/hierarchy within the dojo. This should be because there may be a difference in standards or points of focus specific to a particular dojo, not just because the instructor wants to demean the new student.
For example, in my dojo I usually require new students to take a test with me, no matter where they may have received their previous rank, unless it is clear that they are up to the standards of my dojo. Most are not. I have a reputation of having higher technical standards than just about anyone else in the area teaching Shotokan. Some students may have been required to do more complicated combinations or some self-defense at their previous dojo. At my dojo, however, I require a higher level of understanding of the most basic techniques, as opposed to a shallow understanding of many so-called "advanced" techniques or tactics. Often, students who have transferred from another dojo, where they claim to have been a 4th kyu or 2nd kyu, or even a black belt, may have to wear a white belt for a while, or at least a belt level/color that they have more clearly earned. Some of my prospective students, hearing of this concept, decide to train elsewhere. Those who decide that the color of their belt is not as important as the level of training/teaching they receive usually do well and advance quickly. The ability to accept a "beginner's mind" is truly an asset to the learning process.
Rank exams and different colored belts have their purpose. They can be good tools for instructors, students and others to gauge relative abilities. If one has any doubts as to what is required at a given rank, where one stands in relation to others or how one is doing in training in general, I cannot emphasize enough that a student should consult with the instructor(s) for clarification and guidance.
Copyright © 2002, Jon Keeling
Keeping Track
Some of us could use a little extra motivation sometimes. Tournament involvement, for example, can be a good sourse of motivation, whether you are participating as a competitor, spectator, judge or organizer. There are other activities outside of regular training that can also help renew interest or bring one to a higher level in training. There is also enough to training in a good dojo that perhaps nothing more is ever needed. Regardless, keeping track of your activities can help with motivation or at least encourage one to keep trying and feel good about how much has been accomplished.
If you haven’t been training very long, just keeping track of how many classes you have been to might be a good place to start. How many hours have you trained? On top of this, we can add a list of techniques learned, maybe also along with the approximate skill level attained thus far in each.
And how about kata? Or exercises in general? I have created Excel spreadsheets to help keep track of both of these. They are in the Files section of the JKASVwebsite YahooGroup. You may surprise yourself with how much you are actually doing; sometimes more, sometimes less, than what you had thought. Some of us may find ourselves doing more, simply because we are keeping track. This is of course one of the main reasons for doing this…
Here is an interesting exercise I ask all my prospective students to go through, particularly those coming in from other dojo. Total up all the HOURS you have trained. Think about it in as much detail as possible. Some people surprise themselves when they come up with the final number.
I know some people who keep a record of almost everything they did in any class, in the form of a training log. I did this for a short while when training in Japan. In hindsight, I should have done that much more. Now, I try to keep track of some of my better ideas for teaching classes as well as some of the things to avoid, that I have learned through trial and error.
Just as reading and talking about training, as well as watching videos and classes, is not a substitute for training, neither is keeping track intended to be a replacement for actual training. On the contrary, it is intended to help you train more, as well as better. I hope you can help motivate yourself to train more and train harder through keeping track of your training progress. As always, please feel free to pass on this article to others and feel free to contact me with questions and/or comments.
Copyright © 2003, Jon Keeling
If you haven’t been training very long, just keeping track of how many classes you have been to might be a good place to start. How many hours have you trained? On top of this, we can add a list of techniques learned, maybe also along with the approximate skill level attained thus far in each.
And how about kata? Or exercises in general? I have created Excel spreadsheets to help keep track of both of these. They are in the Files section of the JKASVwebsite YahooGroup. You may surprise yourself with how much you are actually doing; sometimes more, sometimes less, than what you had thought. Some of us may find ourselves doing more, simply because we are keeping track. This is of course one of the main reasons for doing this…
Here is an interesting exercise I ask all my prospective students to go through, particularly those coming in from other dojo. Total up all the HOURS you have trained. Think about it in as much detail as possible. Some people surprise themselves when they come up with the final number.
I know some people who keep a record of almost everything they did in any class, in the form of a training log. I did this for a short while when training in Japan. In hindsight, I should have done that much more. Now, I try to keep track of some of my better ideas for teaching classes as well as some of the things to avoid, that I have learned through trial and error.
Just as reading and talking about training, as well as watching videos and classes, is not a substitute for training, neither is keeping track intended to be a replacement for actual training. On the contrary, it is intended to help you train more, as well as better. I hope you can help motivate yourself to train more and train harder through keeping track of your training progress. As always, please feel free to pass on this article to others and feel free to contact me with questions and/or comments.
Copyright © 2003, Jon Keeling
<i>Hikite</i> (pull hand) - What's It Good For?
Hikite is a Japanese term meaning, literally, "pull hand."
Some instructors will say that a punch, strike or block is not effective if not properly using the pulling hand on the other side of the torso; perhaps for balance, perhaps for added rotational power. Some will say that the pull represents an actual pull; pulling the opponent into the attack.
Regardless of what reasons are given, hikite has its functions. I believe, however, that there are some holes in a few of the more common theories.
Pulling the opponent in
Ever try to pull someone while you are punching? Not that easy, is it? Especially not for a smaller person to do to a larger person, as a self-defense situation might warrant. More practical might be the idea that the "pulling hand" is stabilizing the opponent while the punching/striking arm moves into the target. Following this idea, try catching the opponent's arm with one hand and punching or striking with the other. Instead of actually pulling back with the non-punching/striking arm, simply anchor yourself to the opponent at that point. In relation to the "push" of the other arm, this arm seems to "pull." In actuality, that arm doesn't really move much, but does inhibit the opponent's movement, particularly his ability to pull his arm back. Your "counter-pull" may end up canceling out his movement, more than anything else.
Power
Hikite adds power through timing with the hip rotation? Ha! Maybe I'll write another entire article on this subject sometime in the future. The pull of the arm does not really create more power in basic techniques as performed from static stances. Although it can help when using some non-basic stepping patterns, including some kinds of shifting and stepping. I will discuss one such pattern below.
Hikite adds power through coordinated tension? Not really. The idea of tensing various body parts to make a stronger technique is very good. But not all the muscles need to be tensed. In fact, the tensing of some muscles can actually make a technique slower and weaker. Tension in the pull-hand may not detract from the power of the technique, but it may not add anything to it, either. See my 3/99 article for more on this subject. The muscles to tense are those located between the base of support (from the feet, where support from the floor is initiated, up through the hips) and the target (through the attacking limb into the opponent). If this "connection stream" does not include the pulling arm, why tense it?
Balance
"For every action, there is an equal and opposite reaction." Pulling one side of the body helps propel the other side forward…right? Not in basics. This will be discussed further in a future article.* Balancing the "pull" with the "push" doesn't really make much sense for most basic techniques.
Efficiency
Maybe it makes for a stronger technique somehow. Maybe it also makes for a good start for a big follow-up technique. But we do lose something when pulling back the non-punching/striking/blocking arm. That arm is then out of the way and less able to block/cover the opponent's attack. It also takes that arm longer to move forward again to apply an additional technique. There are tradeoffs when using a large pull-back of the arm. As long as these trade-offs are understood, there is nothing wrong with its practice. I see a big hikite action to have advantages and disadvantages, depending on the situation.
Example of good use of hikite
Here is one example of how I believe a large, forceful hikite action can benefit the overall technique:
Start with the left foot forward in a front or free stance. As the opponent comes straight towards you, step back with the left foot and continue the step around such that your left foot ends about 45 degrees off to the right side. At the same time, perform a kizamizuki (jab) or uraken-uchi (backfist-strike) with the right arm, pulling the left hand back to your left hip.
Why is the hikite action more important in this technique than in basics? First, note that the attacking arm in this example does not have the benefit of a large amount of mass pushing into the target. The only thing that is really going into the target is the arm; not the shoulder, hip and other parts of the body that are usually involved when using a "normal" (forward shifting/stepping) pattern of attack. Because of this lesser effective mass going towards the target, we must rely on speed and timing more. The quick and forceful movement back on the pulling side of the torso helps propel the attacking arm towards the target. But, perhaps more importantly, it helps move your body out of harms way. This is an added benefit of the hikite action sometimes. Perhaps this is even more important than some other, more common ideas.
Another point to consider in this example technique is the use of the hips. As the left hip is moving in a large arch, the use of rotational force may be very important in this type of action. The pull of the arm may aid in the application of this rotational force, helping the hips move faster. But for control and efficiency, the pulling arm is not allowed to extend out from the body, as might have helped the rotational force further if that were our only goal. Generally, the more the hip moves backwards, the more the pull of that hand helps that action become larger, faster and more forceful.
Conclusion: Hikite can be helpful. But the goals should be understood, to be sure that we are training the proper points, instead of just mindlessly following what we are told.
*Please watch for more on the subjects of hikite and hip rotation in future articles.
Copyright © 1999, Jon Keeling
Some instructors will say that a punch, strike or block is not effective if not properly using the pulling hand on the other side of the torso; perhaps for balance, perhaps for added rotational power. Some will say that the pull represents an actual pull; pulling the opponent into the attack.
Regardless of what reasons are given, hikite has its functions. I believe, however, that there are some holes in a few of the more common theories.
Pulling the opponent in
Ever try to pull someone while you are punching? Not that easy, is it? Especially not for a smaller person to do to a larger person, as a self-defense situation might warrant. More practical might be the idea that the "pulling hand" is stabilizing the opponent while the punching/striking arm moves into the target. Following this idea, try catching the opponent's arm with one hand and punching or striking with the other. Instead of actually pulling back with the non-punching/striking arm, simply anchor yourself to the opponent at that point. In relation to the "push" of the other arm, this arm seems to "pull." In actuality, that arm doesn't really move much, but does inhibit the opponent's movement, particularly his ability to pull his arm back. Your "counter-pull" may end up canceling out his movement, more than anything else.
Power
Hikite adds power through timing with the hip rotation? Ha! Maybe I'll write another entire article on this subject sometime in the future. The pull of the arm does not really create more power in basic techniques as performed from static stances. Although it can help when using some non-basic stepping patterns, including some kinds of shifting and stepping. I will discuss one such pattern below.
Hikite adds power through coordinated tension? Not really. The idea of tensing various body parts to make a stronger technique is very good. But not all the muscles need to be tensed. In fact, the tensing of some muscles can actually make a technique slower and weaker. Tension in the pull-hand may not detract from the power of the technique, but it may not add anything to it, either. See my 3/99 article for more on this subject. The muscles to tense are those located between the base of support (from the feet, where support from the floor is initiated, up through the hips) and the target (through the attacking limb into the opponent). If this "connection stream" does not include the pulling arm, why tense it?
Balance
"For every action, there is an equal and opposite reaction." Pulling one side of the body helps propel the other side forward…right? Not in basics. This will be discussed further in a future article.* Balancing the "pull" with the "push" doesn't really make much sense for most basic techniques.
Efficiency
Maybe it makes for a stronger technique somehow. Maybe it also makes for a good start for a big follow-up technique. But we do lose something when pulling back the non-punching/striking/blocking arm. That arm is then out of the way and less able to block/cover the opponent's attack. It also takes that arm longer to move forward again to apply an additional technique. There are tradeoffs when using a large pull-back of the arm. As long as these trade-offs are understood, there is nothing wrong with its practice. I see a big hikite action to have advantages and disadvantages, depending on the situation.
Example of good use of hikite
Here is one example of how I believe a large, forceful hikite action can benefit the overall technique:
Start with the left foot forward in a front or free stance. As the opponent comes straight towards you, step back with the left foot and continue the step around such that your left foot ends about 45 degrees off to the right side. At the same time, perform a kizamizuki (jab) or uraken-uchi (backfist-strike) with the right arm, pulling the left hand back to your left hip.
Why is the hikite action more important in this technique than in basics? First, note that the attacking arm in this example does not have the benefit of a large amount of mass pushing into the target. The only thing that is really going into the target is the arm; not the shoulder, hip and other parts of the body that are usually involved when using a "normal" (forward shifting/stepping) pattern of attack. Because of this lesser effective mass going towards the target, we must rely on speed and timing more. The quick and forceful movement back on the pulling side of the torso helps propel the attacking arm towards the target. But, perhaps more importantly, it helps move your body out of harms way. This is an added benefit of the hikite action sometimes. Perhaps this is even more important than some other, more common ideas.
Another point to consider in this example technique is the use of the hips. As the left hip is moving in a large arch, the use of rotational force may be very important in this type of action. The pull of the arm may aid in the application of this rotational force, helping the hips move faster. But for control and efficiency, the pulling arm is not allowed to extend out from the body, as might have helped the rotational force further if that were our only goal. Generally, the more the hip moves backwards, the more the pull of that hand helps that action become larger, faster and more forceful.
Conclusion: Hikite can be helpful. But the goals should be understood, to be sure that we are training the proper points, instead of just mindlessly following what we are told.
*Please watch for more on the subjects of hikite and hip rotation in future articles.
Copyright © 1999, Jon Keeling
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
The Value of Karate Classes
How much are karate classes really worth?
In economics terminology, something is worth "what the market will bear." This definition may be further classified to include one or both of the following: 1) what seems reasonable based on costs and profit levels (supply side) and 2) perceived value (demand side).
From the supply side: If an instructor enjoys teaching karate classes and has a day-job that pays well, he may not require much money from the students to be satisfied. If an instructor is relying on the income of the dojo and has many expenses to cover, he may require higher payments.
From the demand side: Some people may shop around for various martial arts programs and simply choose the one that costs the least. The classes that cost the least may or may not actually be the "cheapest." Some instructors are very undervalued and some are overvalued. This is at least partially a reflection of perception, both of the public in general and the individual consumer. It is often, however, the perceived value that determines what the market will bear.
Let's make a few comparisons, in terms of relative value:
1. Movie - Lasts longer, more entertaining
Yes, a movie can be more entertaining. But if you are attending karate classes for entertainment purposes, what you are doing is probably not "real" karate. Karate can be entertaining. But there is a lot more to it than that. Unless you are watching an educational documentary (not so entertaining), you are probably not going to learn much from the movie that would help you become more fit, learn self-defense skills, or understand any of the other ideas explored in most karate classes.
2. Visit to the gym or community center - Can involve different activities
You can get a great workout in many different ways. Karate is only one of many choices you have if all you want to do is get in shape. But it is worth noting that unless you are fortunate enough to be working out with a friend who is helping you, or paying a hefty fee for a personal trainer, you are probably not going to learn as much as in a karate class. Also, it is sometimes more difficult to stay motivated and disciplined under such conditions. People are generally not as committed to their workouts and you may see completely different people every time you go.
3. Ballet - More "sophisticated" and "cultured" an activity
When comparing ballet and karate, it seems that perceived value becomes very evident. It is generally accepted that classes in traditional ballet cost a lot. Ballet teachers work diligently for many years to become the best that they can at their art and go on to study in more depth as they migrate to the teaching role. Although ballet may result in body flexibility, muscularity and motion control, it is probably not a very helpful tool for a self-defense encounter. This factor may make karate the more practical or "valuable" of the two, all else being equal. When compared to aerobics, including "cardio-kickboxing" and similar misnomers, both ballet and (authentic) martial arts really stand out as sophisticated, both taking many years to do well and years more to teach well. But for some reason, ballet is often perceived as having a higher value for classes than karate.
What is the value of karate classes in actual monetary terms? It obviously depends on what the individual student thinks they are worth. For some students, $10/hour may seem like a bargain. For others, that may seem a bit expensive.
In very general terms, I would say that the value of a 60- to 90-minute group karate class, at least in California's Silicon Valley (relatively expensive for almost everything), may be something like this:
• Good workout, with no real instruction: $5-10
• A few pointers, but nothing special; instructor as "coach": $10-15
• Something(s) pointed out that will make a difference in the long-term; a real teacher: $15-25
• Very eye-opening experience, including many points or at least one very major one: $25-50
The event should be pleasant, educational and fulfilling. For example, if attending a one-hour class that consists of a hard workout, but no instruction, where one is injured partially due to lack of supervision/instruction, $5 might be more than enough.
Of course we must also take into consideration that a special seminar may occur with an instructor who does not visit the area frequently. For this, one may pay an extra $5-10, knowing that this opportunity may never to come again, even though it may not be much better than a regular class. The host(s) of such an event often have to pay considerable fees to hire the guest instructor, often involving travel expenses, accommodations, hourly fees and perhaps rental charges for the facilities used. As a regular member of a dojo, attending many classes, you should be expected to get a discount over the hourly fees suggested above, by paying monthly/quarterly dues, etc.
The value of the class is probably at least somewhat determined by the size of the class. If there are hundreds of participants, comments by the instructor(s) to students are probably only of the most general type. If there are only a handful of people training, the instructor can probably give much more specific comments and tailor the training more to suit the individual. For private lessons, therefore, the value of the class could easily be 5 times the value of a group class, if the instructor is very good. A one-hour class that costs in excess of $200 may be worth every penny and more, if the instructor does a fantastic job. What is learned in this one hour may be enough to keep you thinking and training for months of regular classes without any additional comments needed.
In the modern age of the internet, microwaves and other things that have made our lives, generally, so much easier than those of previous generations, many people seem to have become lazy. Some people cannot imagine traveling for more than 20 minutes to a martial arts class, considering that there are 3 or 4 places within that amount of travel time from which they can choose. They often do not realize that their time would be better spent traveling the extra 20-30 minutes to a better dojo, perhaps in another city entirely. Some people do realize the value of traveling for their training. I have numerous students, for example, who spend almost an hour each way to train at my dojo. For special events, such as the Instructors' Classes, black belts come from as far as 2 ½ hours away to better themselves. I used to travel 90-minutes each way to train in New York City every Friday night with Mori Sensei, happy to pay the added costs of visitor fees. I did this for a couple years because I felt it was worth it. Although I do not expect everyone to jump on a plane and go to Japan as I have done so many times for my training, it seems to me as though many people could benefit by going the literal "extra mile" for their training.
I always aim to make students feel that they are getting a bargain in my classes. I charge a little more than a few other dojo in the area. But a lot less than many others. My private lessons cost more than just about anywhere else in northern California. But I think they are worth it. When I have potential new students or those visiting from other areas who are hesitant about paying a guest fee, I tell them to just pay me after class whatever they think it was worth. I try to be fair. One instructor from another area, upon hearing me tell him to "just pay me whatever you think is fair" for teaching a seminar, replied: "I don't think we can pay that much!"
Ultimately, while some martial arts' classes overpriced, most are generally undervalued. If you are looking for a (new) dojo and have any doubts about the prospective instructor, or classes in general, I would always suggest checking out many dojo in the area. Talk with both the instructor(s) and students to get a better idea if it is what you want to do, how you want to do it and what it might be worth for you.
For additional reference, please see information about my Shotokan Karate Instructors' Profile Database.
Copyright © 2002, Jon Keeling
In economics terminology, something is worth "what the market will bear." This definition may be further classified to include one or both of the following: 1) what seems reasonable based on costs and profit levels (supply side) and 2) perceived value (demand side).
From the supply side: If an instructor enjoys teaching karate classes and has a day-job that pays well, he may not require much money from the students to be satisfied. If an instructor is relying on the income of the dojo and has many expenses to cover, he may require higher payments.
From the demand side: Some people may shop around for various martial arts programs and simply choose the one that costs the least. The classes that cost the least may or may not actually be the "cheapest." Some instructors are very undervalued and some are overvalued. This is at least partially a reflection of perception, both of the public in general and the individual consumer. It is often, however, the perceived value that determines what the market will bear.
Let's make a few comparisons, in terms of relative value:
1. Movie - Lasts longer, more entertaining
Yes, a movie can be more entertaining. But if you are attending karate classes for entertainment purposes, what you are doing is probably not "real" karate. Karate can be entertaining. But there is a lot more to it than that. Unless you are watching an educational documentary (not so entertaining), you are probably not going to learn much from the movie that would help you become more fit, learn self-defense skills, or understand any of the other ideas explored in most karate classes.
2. Visit to the gym or community center - Can involve different activities
You can get a great workout in many different ways. Karate is only one of many choices you have if all you want to do is get in shape. But it is worth noting that unless you are fortunate enough to be working out with a friend who is helping you, or paying a hefty fee for a personal trainer, you are probably not going to learn as much as in a karate class. Also, it is sometimes more difficult to stay motivated and disciplined under such conditions. People are generally not as committed to their workouts and you may see completely different people every time you go.
3. Ballet - More "sophisticated" and "cultured" an activity
When comparing ballet and karate, it seems that perceived value becomes very evident. It is generally accepted that classes in traditional ballet cost a lot. Ballet teachers work diligently for many years to become the best that they can at their art and go on to study in more depth as they migrate to the teaching role. Although ballet may result in body flexibility, muscularity and motion control, it is probably not a very helpful tool for a self-defense encounter. This factor may make karate the more practical or "valuable" of the two, all else being equal. When compared to aerobics, including "cardio-kickboxing" and similar misnomers, both ballet and (authentic) martial arts really stand out as sophisticated, both taking many years to do well and years more to teach well. But for some reason, ballet is often perceived as having a higher value for classes than karate.
What is the value of karate classes in actual monetary terms? It obviously depends on what the individual student thinks they are worth. For some students, $10/hour may seem like a bargain. For others, that may seem a bit expensive.
In very general terms, I would say that the value of a 60- to 90-minute group karate class, at least in California's Silicon Valley (relatively expensive for almost everything), may be something like this:
• Good workout, with no real instruction: $5-10
• A few pointers, but nothing special; instructor as "coach": $10-15
• Something(s) pointed out that will make a difference in the long-term; a real teacher: $15-25
• Very eye-opening experience, including many points or at least one very major one: $25-50
The event should be pleasant, educational and fulfilling. For example, if attending a one-hour class that consists of a hard workout, but no instruction, where one is injured partially due to lack of supervision/instruction, $5 might be more than enough.
Of course we must also take into consideration that a special seminar may occur with an instructor who does not visit the area frequently. For this, one may pay an extra $5-10, knowing that this opportunity may never to come again, even though it may not be much better than a regular class. The host(s) of such an event often have to pay considerable fees to hire the guest instructor, often involving travel expenses, accommodations, hourly fees and perhaps rental charges for the facilities used. As a regular member of a dojo, attending many classes, you should be expected to get a discount over the hourly fees suggested above, by paying monthly/quarterly dues, etc.
The value of the class is probably at least somewhat determined by the size of the class. If there are hundreds of participants, comments by the instructor(s) to students are probably only of the most general type. If there are only a handful of people training, the instructor can probably give much more specific comments and tailor the training more to suit the individual. For private lessons, therefore, the value of the class could easily be 5 times the value of a group class, if the instructor is very good. A one-hour class that costs in excess of $200 may be worth every penny and more, if the instructor does a fantastic job. What is learned in this one hour may be enough to keep you thinking and training for months of regular classes without any additional comments needed.
In the modern age of the internet, microwaves and other things that have made our lives, generally, so much easier than those of previous generations, many people seem to have become lazy. Some people cannot imagine traveling for more than 20 minutes to a martial arts class, considering that there are 3 or 4 places within that amount of travel time from which they can choose. They often do not realize that their time would be better spent traveling the extra 20-30 minutes to a better dojo, perhaps in another city entirely. Some people do realize the value of traveling for their training. I have numerous students, for example, who spend almost an hour each way to train at my dojo. For special events, such as the Instructors' Classes, black belts come from as far as 2 ½ hours away to better themselves. I used to travel 90-minutes each way to train in New York City every Friday night with Mori Sensei, happy to pay the added costs of visitor fees. I did this for a couple years because I felt it was worth it. Although I do not expect everyone to jump on a plane and go to Japan as I have done so many times for my training, it seems to me as though many people could benefit by going the literal "extra mile" for their training.
I always aim to make students feel that they are getting a bargain in my classes. I charge a little more than a few other dojo in the area. But a lot less than many others. My private lessons cost more than just about anywhere else in northern California. But I think they are worth it. When I have potential new students or those visiting from other areas who are hesitant about paying a guest fee, I tell them to just pay me after class whatever they think it was worth. I try to be fair. One instructor from another area, upon hearing me tell him to "just pay me whatever you think is fair" for teaching a seminar, replied: "I don't think we can pay that much!"
Ultimately, while some martial arts' classes overpriced, most are generally undervalued. If you are looking for a (new) dojo and have any doubts about the prospective instructor, or classes in general, I would always suggest checking out many dojo in the area. Talk with both the instructor(s) and students to get a better idea if it is what you want to do, how you want to do it and what it might be worth for you.
For additional reference, please see information about my Shotokan Karate Instructors' Profile Database.
Copyright © 2002, Jon Keeling
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