....I would have liked to say profane, but as we had to wash Son Sempai's blood out of my doji yesterday, soiled would be a better word.
I haven't been able to train as much as I would have liked regularly so last night (Thursday) was refreshing to say the least. Actually it was a pattern-breaking day beginning with Kata and ending in ji-yu kumite- hence the sacred and profane.
If you are KWF, you will know that we have three theories of generating power: koshi no kaiten, kusshin and the combination of the two. As Kata, Kumite and Kihon are just different expressions of the same fundamentals, sometimes YS does things backwards.
As opposed to me, who often gets things backwards.
Heian-1-2-3
Recently I have been asked if I know anyone who knows the Kata Hushu (Kaze no te or Wind Hand) which is an Asai-Ryu Kata (i.e. developed by Tetsuhiko Asai Shihan). I always say, "I don't know any Kata at all. The most important Kata for 6th dan in KWF is Heian Shodan- or at least it is checked minutely by YS and IS for that grade.
Last night was a special treat: focusing on koshi-kiru and tameru in Heian Shodan while adding in blocks and punches, then a clinic on some points on H-2 and H-3.
Heian Shodan
We only did it five times but each time YS asked us to completely focus on a specfic technical point and, as it turned out, the last time, synthesise them.
#1: Relaxed and perfection: focus on extreme hanmi and then gyakuhanmi
Pull out student for good example, correct student with bad example
#2: Relaxed and then apply power using koshi no tameru and hold, hold hold the hanmi to the last instant to generate power on the gyakuzuki
Pull out student for good example, correct student with bad example
#3: Repeat with more speed and power: however focus on Kushin and koshi no tameru
Pull out student for good example, correct student with bad example
#4: Repeat and now focus on all these points plus age-uke to gyaku-zuki (x2)
Pull out student for good example, correct student with bad example
#5: Put them all together!
H-2 & 3 Clinic:
The biggest points with Heian Nidan today were driving off the hips for the initial blocks and making the shuto long and attacking. With H-3 it was driving forward with the three fumikomi. The point is that if you are like me, and like stomping, move beyond that- you should be driving forward into your attacker (remember the hip thrusts in Enpi!) and belting out the urkan; the two must be dynamically linked- it's not THUMP (stomp) (fraction of nothing) WHACK (urakan), its driiiiiiiiiiiiiveSTOMPaTHUMP. Sorry, that's the best I can do for now!
Kumite
We did 4 or 5 sets of Gohon Kumite and it was me with Son Sempai, who is old school, so I got hit on the jaw three times and kicked in the, well, yes, twice and then jiyu kumite with him, which involved, how might we put it, a fair and frank exhange of opinions, and me feeling the less than gentle administrations of the guy who regarded himself as the toughest non-sensei fighter in the old Ebisu dojo until a certain young guy called Yahara give him a whipping...and another one, and another one ;-)
Yoroshiku,
Paul.
Tuesday, September 30, 2008
Do Suru...? "Unsu" ...The Son of....
Sorry folks,
Following the return of Mike Dukas Sensei's sensational South Africans, we have been back to normal here, which means TOO MUCH WORK. As my better half caught a cold, I spent the weekend trying to look after Yuko (lucky she's still alive, I guess) and nursing the dark brown bruising running from my wrist to my elbow joint after Friday.
Coming up:
1. Do Suru? UNSU! Part #2 with Bryan Dukas Sensei.
Bryan Sensei sent me an e-mail yesterday saying that he will get me his writeup of the lesson he received from YS last week on Unsu.
2. Do Suru? UNSU! Part #3, which will look into the strange world of Aiful and...UNSU.
You have been warned. Those of you without a sense of humour need not attend.
3. How and how not to bend your back leg in Kushin
Yoroshiku,
Paul.
Following the return of Mike Dukas Sensei's sensational South Africans, we have been back to normal here, which means TOO MUCH WORK. As my better half caught a cold, I spent the weekend trying to look after Yuko (lucky she's still alive, I guess) and nursing the dark brown bruising running from my wrist to my elbow joint after Friday.
Coming up:
1. Do Suru? UNSU! Part #2 with Bryan Dukas Sensei.
Bryan Sensei sent me an e-mail yesterday saying that he will get me his writeup of the lesson he received from YS last week on Unsu.
2. Do Suru? UNSU! Part #3, which will look into the strange world of Aiful and...UNSU.
You have been warned. Those of you without a sense of humour need not attend.
3. How and how not to bend your back leg in Kushin
Yoroshiku,
Paul.
Friday, September 26, 2008
Getting to Grips with YS
The key message with this one, is don't- you'll end up on your head!
We did standard Kihon last night- just good standard training, which was really good for me as several of us had been out late the night before at the KWF "Shadow" Hombu Dojo, Barmian, sending Bryan Sensei off.
We had gakusei in tonight (university students) so YS focused on cleaning up their Bassai Dai. That is a post all in of itself!
We also did Jion. But to be honest, I was so exhausted, I was coasting on fumes.
A Gripping Situation
Ouch! Yowl!
About three times a year YS deals with applications that are not part of Kata bunkai. Last night, we went through some techniques and takedowns about how to deal in a Karate way with situations where a thug or a hoodie, drunk, etc. grabs you by the lapel. Usually its for leverage for the quickly coming headbutt, punch or, with a second hand coming quickly, headbutt, knee in the groin. We only did two techniques, but we did them lots of times, and YS only stopped when we all demonstrated that we could do them. Unfortunately for me, I was the aite, so now I am covered in bruises...
It's difficult to explain the moves, so I'll check Best Karate etc. to see if there are Nakayama Sensei equivalents. The most important thing, however, is to be fast- not hurried, because that's fatal, and decisive. YS says there is a huge difference in power and approach between a left hand grab and a right hand grab. Most people are right handed, so a left hand grab often means a right hand punch is coming. Unless, of course, your thug is a southpaw. So, there are no absolute truths and there are many caveats. The major thing is be cool and decisive and strong!
Enpi Attack
Assuming a right had grip, an extremely fast vertical chop down hitting the top of the arm on a spot 5-8 centimeters on the lower part of the forearm on the palm side of the forearm should, done properly, rip the hand away from the strongest grip. The point here is the point- it's difficult to explain exactly where that point is- you have to be told and you have to be hit there to feel it. Hitting it is really, really painful- it's a tsubo or pressure point. But then, the critical thing is that you use the momentum for a powerful Enpi to ribs, groin, face, throat, etc. getting inside your opponent. And I mean you really go for it- creating the opportunity for you to take the initiative. I am lucky because after years of Judo, I have taken several thugs down with Tai-otoshi, or Harai-goshi. But these days a powerful heel on the shin, ankle will do!
The most difficult part of these moves however is not to signpost and to generate power at the same time. When someone grabs you, it means that they feel aggressive and instinctively superior to you so you MUST take away their initiative immediately. Act fast, cool, decisively- so don't swing your chop back and come down, use the hips and chop vertically! Again, with your center of gravity below your opponent, don't signpost the Enpi, just smash it in, shinshuku, and up. When I did this to Goro even controlled, there was a sickening smack of my elbow and his jaw and he went flying.
Lock and Takedown
This is almost impossible for me to describe- you have to do it and either you get the hang of it quickly or you need a competent teacher to break it down with you, and build it up. Luckily I also did a year of Aikido- so while I would never pretend to be anything more than a beginner, at least I am used to doing these things. I'll see if I can find someone who knows what technique this refers to. The main thing about a wrist lock is making sure to use your whole body with your hips to draw your assailant off balance. I personally think that once you have done that, you are on the way to dealing with the situation- the next thing to do is to make sure you take advantage of your advantage!
Yoroshiku,
Paul.
We did standard Kihon last night- just good standard training, which was really good for me as several of us had been out late the night before at the KWF "Shadow" Hombu Dojo, Barmian, sending Bryan Sensei off.
We had gakusei in tonight (university students) so YS focused on cleaning up their Bassai Dai. That is a post all in of itself!
We also did Jion. But to be honest, I was so exhausted, I was coasting on fumes.
A Gripping Situation
Ouch! Yowl!
About three times a year YS deals with applications that are not part of Kata bunkai. Last night, we went through some techniques and takedowns about how to deal in a Karate way with situations where a thug or a hoodie, drunk, etc. grabs you by the lapel. Usually its for leverage for the quickly coming headbutt, punch or, with a second hand coming quickly, headbutt, knee in the groin. We only did two techniques, but we did them lots of times, and YS only stopped when we all demonstrated that we could do them. Unfortunately for me, I was the aite, so now I am covered in bruises...
It's difficult to explain the moves, so I'll check Best Karate etc. to see if there are Nakayama Sensei equivalents. The most important thing, however, is to be fast- not hurried, because that's fatal, and decisive. YS says there is a huge difference in power and approach between a left hand grab and a right hand grab. Most people are right handed, so a left hand grab often means a right hand punch is coming. Unless, of course, your thug is a southpaw. So, there are no absolute truths and there are many caveats. The major thing is be cool and decisive and strong!
Enpi Attack
Assuming a right had grip, an extremely fast vertical chop down hitting the top of the arm on a spot 5-8 centimeters on the lower part of the forearm on the palm side of the forearm should, done properly, rip the hand away from the strongest grip. The point here is the point- it's difficult to explain exactly where that point is- you have to be told and you have to be hit there to feel it. Hitting it is really, really painful- it's a tsubo or pressure point. But then, the critical thing is that you use the momentum for a powerful Enpi to ribs, groin, face, throat, etc. getting inside your opponent. And I mean you really go for it- creating the opportunity for you to take the initiative. I am lucky because after years of Judo, I have taken several thugs down with Tai-otoshi, or Harai-goshi. But these days a powerful heel on the shin, ankle will do!
The most difficult part of these moves however is not to signpost and to generate power at the same time. When someone grabs you, it means that they feel aggressive and instinctively superior to you so you MUST take away their initiative immediately. Act fast, cool, decisively- so don't swing your chop back and come down, use the hips and chop vertically! Again, with your center of gravity below your opponent, don't signpost the Enpi, just smash it in, shinshuku, and up. When I did this to Goro even controlled, there was a sickening smack of my elbow and his jaw and he went flying.
Lock and Takedown
This is almost impossible for me to describe- you have to do it and either you get the hang of it quickly or you need a competent teacher to break it down with you, and build it up. Luckily I also did a year of Aikido- so while I would never pretend to be anything more than a beginner, at least I am used to doing these things. I'll see if I can find someone who knows what technique this refers to. The main thing about a wrist lock is making sure to use your whole body with your hips to draw your assailant off balance. I personally think that once you have done that, you are on the way to dealing with the situation- the next thing to do is to make sure you take advantage of your advantage!
Yoroshiku,
Paul.
Wednesday, September 24, 2008
Do suru? UNSU .....Part I
Tonight was a special lesson aimed at Bryan Dukas Sensei whose tokui kata of his tokui kata is Unsu.
Great!
Basically it was a 70 minute breakdown of each move with some special jumping practice, which both Bryan and Ohtsuka Senseis had never seen before.
As Bryan is already excellent at this kata, as he demonstrates vividly time and time again, we struck a deal: he is going to write his version of the key 20-30 points YS focused on tonight and I am going to try to knit them into a narrative. So, I'll have to wait until he types out his version of events and sends them to me, which may be until after the weekend when he is recovering from the horribly long flight back to SA.
Spirit
YS commentated that of all the kata, especially in public performance, Unsu is perhaps the most difficult spiritually because it is so demanding, and the JUMP is waiting for you like the executioners chair near the end. Time and time again, said YS, people start Unsu dramatically and full of confidence, but the kata gradually defeats them as niggling little worries (did I do that well enough, that not strong enough, etc.) build up and gradually sap the confidence.
With Unsu you have to turn up dressed to impress and perform it magnificently, absolutely magnificently with brimming power and grace, passion and quietude, explosive energy and kime- or just don't bother- do Sochin or something instead. Unsu the Yahara way brings out the passion and the artist in the performer, as well as the killer dispatching enemies beautifully.
As YS explained this, his eyes just radiated passion and energy- it was incredible and awesome to be there.
Kick Strong, Jump High- not one or the other!
One of the most interesting parts was seeing the belt and pad training method. As YS explained, Unsu is a fiendish kata for eating away at the concentration of the performer- the jump is the focus but it is tempting to rush or ignore the minor mistakes that build up before the jump. But you have to jump high! And you have to kick strongly? So what's the solution?
Anyway, Brian Sensei will be filing the main content for Part II next week, I hope.
I can't wait, for one.
Yoroshiku,
Paul.
Great!
Basically it was a 70 minute breakdown of each move with some special jumping practice, which both Bryan and Ohtsuka Senseis had never seen before.
As Bryan is already excellent at this kata, as he demonstrates vividly time and time again, we struck a deal: he is going to write his version of the key 20-30 points YS focused on tonight and I am going to try to knit them into a narrative. So, I'll have to wait until he types out his version of events and sends them to me, which may be until after the weekend when he is recovering from the horribly long flight back to SA.
Spirit
YS commentated that of all the kata, especially in public performance, Unsu is perhaps the most difficult spiritually because it is so demanding, and the JUMP is waiting for you like the executioners chair near the end. Time and time again, said YS, people start Unsu dramatically and full of confidence, but the kata gradually defeats them as niggling little worries (did I do that well enough, that not strong enough, etc.) build up and gradually sap the confidence.
With Unsu you have to turn up dressed to impress and perform it magnificently, absolutely magnificently with brimming power and grace, passion and quietude, explosive energy and kime- or just don't bother- do Sochin or something instead. Unsu the Yahara way brings out the passion and the artist in the performer, as well as the killer dispatching enemies beautifully.
As YS explained this, his eyes just radiated passion and energy- it was incredible and awesome to be there.
Kick Strong, Jump High- not one or the other!
One of the most interesting parts was seeing the belt and pad training method. As YS explained, Unsu is a fiendish kata for eating away at the concentration of the performer- the jump is the focus but it is tempting to rush or ignore the minor mistakes that build up before the jump. But you have to jump high! And you have to kick strongly? So what's the solution?
Anyway, Brian Sensei will be filing the main content for Part II next week, I hope.
I can't wait, for one.
Yoroshiku,
Paul.
Tuesday, September 23, 2008
Stepping in, and Stepping Up to Hanmi
Well, the recovery from the Fuji gasshuku (a sort of rain-a-beer-athon with occasional views of lake Kawaguchi through the fog and lightening bolts, but no sign of Fuji at all)...
Yesterday was a national holiday so Bryan Sensei, Yoda, Makita, Hayashi, Shirakawa and Yuko and I crept into the Shirokanedai Dojo for a "secret" practice- the contents of which will remain secret until
a) I can find the time to write it up
b) Somebody buys me a pint to write about it.
Actually it was 50/50 whether Isaka Sensei would have been in there doing his own training: if he was he would have laughed and welcomed us in to do things with tetsugeta and rubber tubes...
Saturday Practice:
This was more of the same as on Friday but it was appallingly humid which meant that we were slipping and sliding all over the place, especially during Kumite.
Ji-yu (Nanbon) Kumite
As per last session but YS made the point again- when we practice this, the critical thing at distance is forget your opponent, remember your Kihon and timing. If your Kihon and timing is correct, everything will start falling into place, including that age-uke which will prevent your aite giving you a mouth full of blood, a trip to the dentist, or chopsticks up the nose to straighten it out again!
With close quarters timing, the essential part of mai requires intelligence and skill on behalf of both sides of the Kumite equation. If the kogeki side is too far, then the shinshuku-kushin from the aite is going to miss. Too close and aite might as well sen no sen! But the correct distance forces the adequate block and counter.
But at the same time the correct mai forces correct kihon kushin and shinshuku from the aite. I think this is the real test of Kihon (Nan)bon and Jiyu (Nan)bon Kumite. If the kushin isn't far enough back and down, the aite isn't going to be able to counter with gyaku-zuki. In ji-yu fighting the appropriate response in KWF karate would naturally be chudan spinning uraken, but as we were practicing kushin-shinshuku under the pressure of a full (even if yakusoku) oi-zuki, then...do it right! Right!
A Merry Dance- Jion
Today's practice was distinguished by some real back and forward stuff, culminating in easy stages to "ichi"
....jiyu-kamae to oi-zuki-kushin-gyakuzuki, leap back pivoting on rear leg to age-uke and step in oi-zuki. The instant you finished one, it's at "ni" and the instant you finish that you are already at "san." I could see YS clearly enjoying this. When people were staggering, time to switch sides!
Jion with Extreme Hanmi
I love Jion. It's just the sort of kata someone thick set like me can look good at, you know the stomping etc. Delusions of grandeur until I see myself on tape. Argh!!!! Just for that sake, I have to do Bassai Dai, which requires the performer to be both rapier as well as a battering ram. Fat chance I have. Thus it is my tokui kata until something is found that is even more of a challenge for me (like Bassai Sho).
Ready- Steady- GO!
Let me ask you a question. What is this hanmi stuff about anyway? I enjoy my dancing about in pajamas and I don't want any strange Japanese telling me what to do! Besides, we've got a picture of Funakoshi Gichin on our wall, so this must be the real thing.
We are of the belief that as sports karate is now the dominant force in the Karate Universe Jion is one of the kata of last stand, a sort of third and final fallback trench as the hoards of "phat-phatting" "shuut-pooting" sports karate robots overwhelm our position...in support of hami and shomen in Jion. I think one of the elements of huge power and beauty of Jion comes in the age-uke- gyaku-zuki, age-uke gyaku-zuki and age-uke oi-zuki sequence, but this just seems to have become a "speed and power" sequence to be banged through. The result is asinine mediocrity at best. When combined with the shoot-phatting, it makes for an experience that stimulates the tear ducts. We also believe in holding hanmi all the way through until the front foot is a good 40 cm beyond the hips in the turn sequences for the later oi-zukis.
There's no other way perform a great Jion.
By the way, I was brought up in Catford, not Lewisham. And what happened to Ladywell Baths? I still have the scars of three verruca plantaris picked up there.
Yoroshiku!
Paul.
a) I can find the time to write it up
b) Somebody buys me a pint to write about it.
Actually it was 50/50 whether Isaka Sensei would have been in there doing his own training: if he was he would have laughed and welcomed us in to do things with tetsugeta and rubber tubes...
Saturday Practice:
This was more of the same as on Friday but it was appallingly humid which meant that we were slipping and sliding all over the place, especially during Kumite.
Ji-yu (Nanbon) Kumite
As per last session but YS made the point again- when we practice this, the critical thing at distance is forget your opponent, remember your Kihon and timing. If your Kihon and timing is correct, everything will start falling into place, including that age-uke which will prevent your aite giving you a mouth full of blood, a trip to the dentist, or chopsticks up the nose to straighten it out again!
With close quarters timing, the essential part of mai requires intelligence and skill on behalf of both sides of the Kumite equation. If the kogeki side is too far, then the shinshuku-kushin from the aite is going to miss. Too close and aite might as well sen no sen! But the correct distance forces the adequate block and counter.
But at the same time the correct mai forces correct kihon kushin and shinshuku from the aite. I think this is the real test of Kihon (Nan)bon and Jiyu (Nan)bon Kumite. If the kushin isn't far enough back and down, the aite isn't going to be able to counter with gyaku-zuki. In ji-yu fighting the appropriate response in KWF karate would naturally be chudan spinning uraken, but as we were practicing kushin-shinshuku under the pressure of a full (even if yakusoku) oi-zuki, then...do it right! Right!
A Merry Dance- Jion
Today's practice was distinguished by some real back and forward stuff, culminating in easy stages to "ichi"
....jiyu-kamae to oi-zuki-kushin-gyakuzuki, leap back pivoting on rear leg to age-uke and step in oi-zuki. The instant you finished one, it's at "ni" and the instant you finish that you are already at "san." I could see YS clearly enjoying this. When people were staggering, time to switch sides!
Jion with Extreme Hanmi
I love Jion. It's just the sort of kata someone thick set like me can look good at, you know the stomping etc. Delusions of grandeur until I see myself on tape. Argh!!!! Just for that sake, I have to do Bassai Dai, which requires the performer to be both rapier as well as a battering ram. Fat chance I have. Thus it is my tokui kata until something is found that is even more of a challenge for me (like Bassai Sho).
Ready- Steady- GO!
Let me ask you a question. What is this hanmi stuff about anyway? I enjoy my dancing about in pajamas and I don't want any strange Japanese telling me what to do! Besides, we've got a picture of Funakoshi Gichin on our wall, so this must be the real thing.
We are of the belief that as sports karate is now the dominant force in the Karate Universe Jion is one of the kata of last stand, a sort of third and final fallback trench as the hoards of "phat-phatting" "shuut-pooting" sports karate robots overwhelm our position...in support of hami and shomen in Jion. I think one of the elements of huge power and beauty of Jion comes in the age-uke- gyaku-zuki, age-uke gyaku-zuki and age-uke oi-zuki sequence, but this just seems to have become a "speed and power" sequence to be banged through. The result is asinine mediocrity at best. When combined with the shoot-phatting, it makes for an experience that stimulates the tear ducts. We also believe in holding hanmi all the way through until the front foot is a good 40 cm beyond the hips in the turn sequences for the later oi-zukis.
There's no other way perform a great Jion.
By the way, I was brought up in Catford, not Lewisham. And what happened to Ladywell Baths? I still have the scars of three verruca plantaris picked up there.
Yoroshiku!
Paul.
Monday, September 22, 2008
More info: KWF International Masters Camp, Algeria
Sensei Sid Tadrist is doing a wonderful job setting up the the KWF International Masters Camp in Algeria. If you are are at all interested in experiencing the breathtaking and dynamic Budo Karate that is the KWF, this is a great chance!
Please go to the KWF HQ website for more details.
Be seeing you ;-)
Paul.
Please go to the KWF HQ website for more details.
Be seeing you ;-)
Paul.
Friday, September 19, 2008
Delayed filing of next episode
After the Kurobi Seminar tonight, many of us are going on a gasshuku in Fukushima, back Monday night; so I'll try to jot down some notes of Saturday's training between the beer and the braai and the sightseeing, etc. It's a tough job, but somebody has to do it.
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