Functional Karate

Twitter feed

2011-02-09T21:47:00.000Z

I've just gone live with a Twitter account @fkarate. Next task will be to put the widget on this page.

Koryu Uchinadi - Galway Training Camp

2011-02-09T08:34:00.002Z

I have become increasingly impressed with the Koryu Uchinadi syllabus the more I learn of it. Similarly, the high standard of teaching from Ben Ryder has been a huge influence on my decision to get more involved in KU.

For these reasons it was a really attractive prospect when, just before Christmas, Ben suggested I attend the gashyuku with the KU team in Galway and train under Shibucho (Chief Instructor) Ante Brännbacka for a weekend during January.

On Friday night we covered the standing portion of the KU two person Shime-waza (chokes and strangulation techniques) drill as well learning how to apply these techniques in response to Habitual Acts of Physical violence such as haymaker punches and bear-hugs. Sensei Brannbacka then increased the difficulty level by encouraging us to react as quickly as possible to a threat. The threat was simulated by closing our eyes and allowing our training partner to give us a quick tap on the head or a slap, as a trigger for our defensive response. Obviously in this simulation when you have your eyes closed you don’t have a clue where your opponent or his limbs are in relation to you, or where his strike is coming from.

After training some of us went down to an American style diner for hamburgers then to a pub for a swift one.

On Saturday morning we went through the solo and two person version of the Keri-waza drill in detail.

KU also includes some weapons work in the guise of Yamane Ryu kobudo, which initially involves learning the Bo.

I’m already keen to organise a training session so I can work on all this new material.

Girl Guides subject Martial Artist to Vicious Beat-down.

2010-05-05T18:57:00.000Z

Yes - I got beaten up for money yesterday.

Thats a joke. Somewhat.

Yesterday I taught an introduction to Self Defence to a group of Girl Guides. There were two session of approximately forty minutes, with 16 Guides in each session. The number of students was pretty big for the topic, but that aside I managed to cover some of the essentials, and to dispel a few commonly held misconceptions. Hopefully they had a little fun too.

Forty minutes is not much time to go over the soft skills AND to provide some fun, physical practice. The danger is that you might resort to demonstrating crowd-pleasing (but ultimately useless) strikes or escapes purely to keep their interest levels up. I erred on the side of caution and perhaps the session came off as a bit dry and dull - but I'd prefer that than to be remembered for something that didn't work when the chips were down.

Koryu Uchinadi - a study session

2010-05-03T08:14:00.000Z

Last Sunday I attended the Koryu-Uchinadi study group session, instructed by Ben Ryder - assisted by Stuart Sadler. Lee Richardson of Halifax Jissen Karatedo hosted the training. Here's a quick (!) run-down of what we covered.

We began with a tegumi flow drill which doubled as a good warm-up. This drill includes commonly used strikes e.g. straight and hooking punches, uppercuts, knees, plus parries and traps.

The tegumi drill also serves as a great springboard from which to practice other techniques such as joint locks, take downs and clinches and indeed this was the main focus of the study session.

From each of the basic strikes we then practiced counters that flow through into effective clinches leading to takedowns then ground-based submission or control and restraint techniques.

On numerous occasions, Ben pointed out where the various postures seen in each grappling technique could be found within traditional kata such as Naihanchi/Tekki, Empi, Niseishi/Nijushiho, Gojushiho, Passai/Bassai Dai, Jitte, Nipaipo etc.

After a short break (during which I tried to mentally catalogue all that I’d learned in the previous couple of hours!), we then learned escapes and counters to the grappling clinches we’d learned earlier. All the while we practiced these clinches and their escapes from a pre-emptive strike or habitual act of violence at realistic range.

There then followed logically sequenced ne-waza (groundwork) techniques including upper-four-quarters with knee strikes, scarf-hold with associated jointlocks and strangulation methods, the mount, and the guard and escapes from all these.

The final forty minutes or so were spent consolidating this vast amount of material in a two person drill which can be practiced with varying levels of compliance to allow testing of the techniques with increasing realism.

I thoroughly enjoyed the training and learned a great deal. Thanks again to Ben, and Stuart (yeah, cheers Stuart, my thighs are still knackered from the demonstrated method of releasing a bearhug! *grin*) and to Lee for organising everything.

Look out for the next session - this one was a bargain at only £10 for four hours training!

Flow drills

2009-08-05T17:32:00.000Z

I’ve started a steep learning curve recently, based upon two person flow-drills. Continuous training drills were a feature of my original karate study, but they were so stylised as to be irrelevant in terms of real combat application. The most significant advantage of these new drills over the ones I worked previously, is the realistic range.

Basic Tegumi flow drill –

Incoming RH direct punch/throat grab
Parry across your body with LH (outward-to-inward motion is quicker than inward-to-outward), RH haito to his wrist, press/trap with LH, Punch direct with RH.

Interestingly – this most basic of flow drills is essentially the same technique as the first part of Jitte no bunkai ichiban. It’s a shame it was always practiced as a defence against a chudan jun tzuki in zenkutsu-dachi stance from a full stride away instead of a close range boxing-style jab punch.

The traditional karate foundation (or at least its training drills) on which my skill set was based, begins all its techniques with the protagonists a step or so apart – which gives a fraction of a second of preparation time that does not necessarily exist in a realistic conflict. Certainly, if you have your wits about you at this range, the chances of stopping a situation from escalating either with avoidance, awareness, dialogue or pre-emptive strikes are half-decent. The real training need kicks in if everything has fallen apart – when you’re forced to cover, block or parry incoming strikes – then your arms will connect with your adversary’s and this moment is crucial as the phase of combat transitions from kicking/punching range to clinching.

Most martial arts possess drills to train the practitioner to capitalize on this moment of connection with the adversary. My research has indicated that Chi-sau, Hubud, Kakie etc. are distinctly different methods from traditional arts, but they focus on the close range fight scenario.

Steve Morris says of Hubud;
“The Kali hubud drill is one similar to that used within Tiger systems and Uechi-ryu. It's a way of making offensive, defensive or counteroffensive contact on the outside or inside of the man's arm, and on the basis of that contact and his reaction to it, initiating your next move and so on and so forth…
…it forces you to work with your hands out in front of you, not cocked or 'chambered' as in a karate. They become antennae, looking for contact and learning to interpret and act upon cues of touch. At that range, you can't use your eyes. Your working range is from elbow to hand, so it's not only half-beat but half-range working range. That's why the emphasis within the southern systems is on short-range strikes.”

Patrick McCarthy has developed drills in his “Koryu Uchinadi” syllabus for traditional karate practitioners to achieve the similar ends - some of these drills I’m learning and messing with for my own training regime.

The challenge for a keen practitioner or wannabe-instructor like myself is to bridge the gap between these valuable drills, and the actual fight. A drill will only ever be a drill, regardless of how much training value it can imbue. Unless you put the drills to one side and so some actual fight practice its all still academic – especially if they are stylised. Why keep one hand in hikite during a drill, unless that hand is there to simulate a grab…?

Naihanchi / Tekki

2009-04-26T21:03:00.004Z

I finally spent some time learning the sequence of Naihanchi/Tekki kata this weekend. Its a pretty short form. I've been taught a large number of practical applications for it recently. Many of these applications are clinch fighting techniques and hence provide a great addition to my skillset (which is predominantly longer range still).

Its a great kata for solo practice (if that's your interest, though obviously solo practice of a form will only provide limited training benefits) in the home since it requires so little floorspace.

Internal Battles

2009-03-12T13:20:00.001Z

Its not easy to for me to write this kind of stuff.
Inbuilt in me is a need to record some of my thoughts on martial arts/self defence, and to share them. Unfortunately the very act of formulating all this material, in order to put it into words tends to become so long-winded that the thought has then passed on, morphed into something else or been discarded for more pertinent information. Perhaps the act of writing is a good exercise, a way of stretching my communication skills by describing a coherant shape to things that were unformed.

Another part of the difficulty that I battle with whilst writing is to do with the martial arts/self-defence topic itself. This content is very sensitive because of the simple fact that I don't want to spread any mis-information. If I'm going to write anything down on this subject I want to be as sure as I can be that its fact, or at least workable and practical. Its one thing to teach martial arts as a means of attaining fitness, since this is relatively easy to achieve if you're leaping about room for an hour trying not to get hit by someone. Its a totally different animal to teach someone to become more aware of their surroundings, and equip them with a means of coping better with violence should they encounter it.

I know in my heart-of-hearts that some of the material I can offer is worthy of reading by the right audience. Its sometimes difficult to acknowledge or have confidence in this though, because the standard of information and the quality of delivery from some of my sources is so solid.
That may seem like a pair of contradictory statements, but look at it this way; There's no point in me regurgitating information straight from the likes of Iain Abernethy and Rory Miller, they deliver it far more succintly than I ever will - you're better going straight to the source. That means in order to have something to say I need to add value to the debate, and quite honestly thats a tall order.

I guess Sgt. Miller has said this already though in a far more succint way:

"I’ve put as much personal experience into my teaching and writing as I can, along with advice from people I know and trust to be experienced. I also quote or paraphrase researchers (many of whom have never bled or spilled blood in either fear or anger) when the research sounds right. Take my advice for what it is worth. Use what you can use. Discard anything that doesn’t make sense. Test everything."

Training and teaching

2008-09-30T19:10:00.003Z

I put a call in to T. yesterday. He trained bloody hard in the year or so during which I was teaching, and he was starting to get pretty good, but unfortunately I had all the hassle with changing location, taking onboard the kids from Dan’s old dojo and time pressures with my change of lifestyle etc. T stuck with it until I took the decision to close up the dojo and I honestly felt like I’d let him down. Teaching the kids had its merits, but it was never what really interested me at that stage.

I'm still more interested in teaching adults, since it has a direct impact on my own technique and also gives me the opportunity to practice for myself.

Scary stuff

2008-09-26T12:04:00.001Z

I’ve just acknowledged another lesson re-learned last night. In order to stay sharp, do something that scares you on a regular basis. Get your adrenaline going. Get your body used to the rush and learn to work with it. Become familiar with the adrenal response and how it affects your motor skills, vision, clarity of thinking etc.

It’s no wonder I blanked this out last night. When you’re tired it’s not easy to take onboard challenging advice.

Choice of Lesson / The Poker Game

2008-09-25T21:54:00.004Z

I'm not interested in sport karate. Not really.

So when we started to work on some sport techniques in class tonight I was a bit disappointed and part of my mind was dismissive of what was being shown to us.

Lesson 1: You can't always choose the nuggets of useful info that may get thrown your way.

However, just as I was getting frustrated, I was quickly taught that I should be taking note, since sport karate is largely about deceiving your opponent and that deception allows you to land your technique.

Just like pre-emption on the street.

I have bad "tells" too. My partner saw me coming a mile off and each time told me why.

"You're taking a breath before each attack,"
"Now you're dipping into the movement"
"Your punching arm is telegraphing because you're winding it up"
"Your eyes widen each time you're about to launch"

Working on strikes infront of a mirror while staying relaxed should assist in patching some of these flaws.

Pushing Against an Open Door

2008-09-23T12:58:00.005Z

I think this blog will be very beneficial as time goes on – a great resource to refer back to. The Word file format I’m using at present is very easy to access from my desktop on a daily basis. It’s the easy access that has meant I’m writing quite so frequently.

One important task I have yet to tackle is the formation of a solo training regime. I want to improve my actual physical techniques and strength.

Here are some solo training tips I have just grabbed from the web:

“Use only one submission technique for the whole session. If all you are using is a straight armbar the opponent will get pretty good at defending it and you will get much better at figuring out answers to their counters. The next time, switch to a different technique.”

“When sparring beginners allow them to start with you pinned or nearly submitted – work your escapes!”

“It's fine to build stamina on your own. Solo training is great for building up the numbers of punches and kicks you can perform in a row. Great for building power and speed.”

“Spar with an open door as your enemy.”

Now, I'm not sure quite how the last one works, but it sounded kind of interesting!

Dancing Freak

2008-09-23T12:58:00.004Z

Here’s an extract from an article on visualisation:

“…certain styles of Kempo, teach a method of freestyle Kata. Students imagine what the attacks are and then move spontaneously to deal with them. According to history, freestyle Kata practice was the method of training for real combat. By picturing multiple attackers and then moving to defend against them, a person learns how to move instinctively, a necessary skill for self-defence.”

I should give this a go. I’ll look like a dancing freak no doubt, but perhaps it will provide a useful training experience.

The Double-edged Sword

2008-09-20T12:57:00.002Z

Like a growing number of karateka, in the last couple of years I have moved away from my original 3Ks training regime in an effort to explore practical self-defence applications of my art.

This move is a double-edged sword.

It’s challenging to gather training partners together who have their own schedules, preferences of location, etc. It’s tough to plan practice sessions in a balanced and inspiring way. It’s not cheap to source mats, mitts and pads. Travelling many miles to attend seminars is time consuming and financially burdensome. Engaging in more realistic training will, by its very nature, come with bumps, bruises, cuts and scrapes.

But those barriers are surmountable.

The benefits are many; the chance to set and work towards my own goals, improved fitness, greater physical strength, enhanced self-confidence. Now, more than ever I’m convinced of the need to take responsibility for my own training.

Like any other weapon, with practice the double-edged sword can be mastered.

An introduction to Koryu Uchinadi

2008-09-19T12:56:00.001Z

Friday lunchtime, and I’m still trying to take in all that happened on Wednesday evening. I can remember most of the Koryu Uchinadi drill Ben taught us and I’ve made the best written notes I can. Unfortunately I can’t remember the last part of the sequence or how it loops. Hopefully C or M will remember, but if not I’ll have to ask Ben via email.

I found some footage of the same application flow-drill on Patrick McCarthy’s Youtube page, though it’s a bit rough and ready and too fast to absorb in places. The participants were obviously going at it hell-for-leather, so its tough to see the detail.

Ben’s understanding of karate is on a whole different level – he seems to have absorbed a principle-based-training model that seems as desirable as it does foreign, and for that reason his view of kata is far clearer and less dogmatic than mine.

His applications for the “hopping backwards through rice paddies” mnemonic from Chinto freaked me out. I’d previously visualised some of the applications that were described on Iain’s message board but still not been convinced as to their effectiveness (or even whether they truly could be accepted as part of the original kata), but damn me when he choked me out or did that neck destruction technique with the bouncing foot motion I was totally freaked. His level of knowledge is clearly exceptional.

upcoming training...

2008-09-17T12:56:00.000Z

Well, I’ve got a venue sorted after talking with the Ashton Leisure Centre and will be training tonight with Ben assuming everything goes according to plan. I’ll probably take the Bunkai Jutsu and DVD player incase we run out of ideas.

Iain Abernethy Seminar

2008-09-15T12:55:00.001Z

I went to Iain Abernethy Seminar yesterday at Brighouse near Leeds. At the end of the seminar I also bought Iain’s 2nd Kata Bunkai DVD with Naihanchi and Bassai kata analyses. From the content of the seminar and previous articles he’s written on Naihanchi I expected to see some pretty brutal applications for this kata, but the Bassai section caught me by surprise. I hadn’t any idea of some of the neck wrenches and (in particular) the nasty arm manipulation techniques he’s described.
As the review on the cover describes, the DVD has wall-to-wall content and is very good value for money. I’m not sure that the Seisan/Hangetsu one will be important to my current needs, since the shito-ryu Seisan is so different to that of other styles. The Pinan series DVD may be worth buying for the progression from basic and core techniques through to more elaborate fighting methods, rather than diving in the deep end, but I’m not familiar with the Pinan katas of course.
Whilst writing my message to Iain (asking about local training in KBS), I acknowledged that I should have spoken to J or I about a private training session in order to cover the content I want to. This should be next on my list of activities after training with BR. B has offered to get together sometime this week and I’m really pleased about that, the difficulty I need to overcome now is how to find a good venue. Possibly an Ashton squash court will do?

2008-08-19T12:54:00.001Z

Throw into Jujigatame – J showed me some important steps to follow in the transition from throw to armlock (or perhaps more accurately, from clinch/roll into the armlock).

Use left hand (usually grabbing lapel), to pin opponent’s left shoulder to the ground. Use right knee on opponent’s chest or stomach. Step over opponent’s head with left leg and apply the lock.
When applying the lock in a class situation it’s obviously important to ensure your training partner’s safety, keep hold of his lapel with your right hand and THEN apply the lock once in the lying position. In a live fight you could obviously drop into the lock in one motion.

Raising the hips applies more pressure to the joint. In order to utilise this effectively, secure the opponent’s arm against your chest as tightly as possible and THEN raise your hips to apply the pressure.

The escape:
Just as the lock is about to be applied, use the pulling action of the opponent to help you twist your body around to your right and slip out from under his left leg. Your head is the last part of your body to escape.

The counter:
Assuming the opponent tries to achieve the mount position having escaped the lock, use your left foot to stop him by pushing on his upper right thigh. Now pull his arm (the right arm which should still be securely in your grasp, off to the right side of your body (across his body) and curl your right leg over his left shoulder and around the back of his head. Secure the leg by hooking the crook of your left leg over the ankle of your right foot. Doing so will apply the triangle choke.

Confusing hips

2008-07-21T12:52:00.002Z

The Double hip technique and other checkpoints I’m being taught at Ashton are certainly providing me with greater power than I had before. I’m confused as to which direction my hips should move for chudan uchi uke though.

Poo Punches

2008-06-06T12:51:00.001Z

Did some more padwork at Ashton Shukokai last night. I can’t believe just how poor my punching technique and power generation are at present.

How can I improve? I need to practice the hip twitch for punching and get on with some pad work. Keep the structure straight for impact, legs, back, shoulders and arm.

Functional Kempo

2008-06-01T12:49:00.001Z

Stumbled across another good Youtube site “Functional Kenpo”. This was exciting to see because the teacher in the clips is obviously very skilled, he’s great at explaining, very keen to show a lot of info in each clip, and it’s definitely a no-bullshit approach.

Kenpo itself isn’t a term I’ve ever thought to search for on the web. I stumbled across the Functional Kenpo clips through various links. Seeing the clips made me realized that the emphasis of some of my previous instruction was kenpo based – in particular the “Delayed Sword” technique shown in the Functional Kenpo is exactly as I was taught for Nekoashi dachi chudan shuto, mae geri chudan, but the application was never illustrated in this way. Now this probably shouldn’t surprise me.

The problem of how to interpret the system’s kata in a way that is compatible with the style, still remains. For example, one of the golden rules in most kata bunkai philosophies is a “hikite hand always has something in it”. This would suggest to me that the philosophy adopted by these kata bunkai exponents is more influenced by ju-jitsu and other grappling arts, than from kenpo-karate. Lots of techniques in each kata have a hikite hand and a striking hand. Now you watch this chap practising his kenpo and you’ll see that most of the work is percussive strikes chained together and that all-important pulling hand may never actually grab anything – it’s either chambered ready for the next strike or press-blocking an opponent’s limb. One of his favourite techniques is an arm-bar and this obviously involves catch and hold, but what about the chains of percussive strikes? How do we find those within the kata and still stick to the hikite hand “golden rule”.

Now thinking back on a number of lessons, I vividly remember seeing some applications from my previous instruction that were DEFINITELY of a kenpo nature. There were koken uchi strikes to the ribs, eye rakes, glancing elbows etc. and all with a fluidity and speed that were pretty impressive to see. These were classed as “high level” applications, but they were obviously very practical whilst still being definitive of the style.

So… how do I use the knowledge I’ve gained to progress?

Martial Arts Explorer

2008-05-30T12:48:00.001Z

Found a good site on Youtube – Martial Arts Explorer. Some excellent tips:

When working on a technique to the opponent’s inside, if they strike with their free hand use the chambered shuto (i.e. cross parry, then strike).

Crane stance (as per Rohai) can be used as a takedown if opponent is getting too close and has his arm around your neck in a “friendly” and disarming manner in preparation for a headlock.
I’m still finding it damned difficult to get my head around the fact that the process of bunkai

needs to be very very flexible.

Zenkutsu dachi gedan harai uke as a takedown;
Opponent grabs with RH. RH hammerfist into crook of elbow (L5) LH uppercut punch to face. LH grab back of neck. Turn 90 degrees left and takedown using LH in gedan harai uke movement.

Bunkai progress

2008-05-27T07:29:00.001Z

I engineered an application from Seipai last night. I’m not sure which HAOV it’s most suited to countering – essentially an attempted lapel grab, but I hadn’t come up with anything appropriate for that particular mnemonic previously. I think its more practical than previous seipai techniques I've seen but it works on a similar principle.

Pad work

2008-05-23T12:49:00.001Z

We did some pad work last night from which I really learned a lot. RELAXATION of punching arm, shoulders and torso provide greater power. Don’t drop into low stance – unnecessary. I was taught also that its possible to punch very hard even off one leg – it’s the body movement forwards that generates a large amount of power in this instance. I have a tendency to let the elbow of my punching arm flair out when striking a pad. I'm not sure whether this is a bad habit I've developed due to a lack of practice over the past year or so, or whether its something that comes from never having done any serious pad work, and punching air instead.

The strikes we practised were:

Chudan tzuki from heiko dachi
Chudan tzuki with sliding left leg into kihon dachi. Stretch left hand out infront, inflate chest and raise up on left leg. Slide right foot forward and punch mid-step before planting right foot. Ensure that you don’t drop down and ensure that right leg doesn’t step forward too far.
Mawashi empi with sliding left leg into kihon dachi.

New Year, New Start

2008-01-20T21:24:00.001Z

Did a couple of hours of karate with G yesterday and made a start to the new year’s training. Basically we practised our kata and critiqued each other, with emphasis primarily on the enbusen and getting back to the starting point. This is a great method for establishing whether one’s stances are correct.

Being quite tall I’ve often found that my stances are wider than they should be (probably because I’m trying too hard to get my balance). The strange thing is that when G mentioned this, and I reduced the width of my shiko-dachi for example, my stability actually improved.

I will probably be allowed to try for my 2nd Dan in March, so I want to and need to train regularly from now until then. My plan is to do some kata each morning or evening at home on the wooden floor. That way I'll be able to get my physical strength back as well as refresh my techniques. Its amazing just how fast you lose it when you stop training for a bit! I’ve only got 6 weeks to go before the exams...

Its been difficult to make time for posting info here recently too. No internet access worth speaking of at work though its nice having a wireless enabled laptop at home.

Routine; the Slayer of Awareness

2007-12-18T16:44:00.002Z

When you’re following the same commuter route morning and evening it’s so easy to slip into autopilot. Yesterday morning I was in the middle lane of the motorway cruising at around 65mph in heavy traffic, as I do every morning.

We slowed to 15mph, passing the slip road which always builds up with congestion – it’s the same thing every morning.

I flipped on the radio.

We slowed further to 5mph for a few minutes as people futilely swapped lanes – it’s the same thing every morning.

I flipped through the channels, in no mood for the arguing presenter and politician, the blathering DJ full of ‘news from the jungle’ or the stale slice of 80s pop – it’s the same thing every morning.

We stop-started for a few hundred metres – it’s the same thing every morning…

…Then the tall artic truck next to me in the right-hand lane honks. It’s dark outside still and a silhouetted figure points down into the lane ahead of me. I see the tail lights I’ve been following for five miles. Nothing significant there. My eyes refocus and I peer around. Another truck, high-sided. Infront of that… HEADLIGHTS.

What the hell? The car was spun about 170 degrees the wrong way. Now THAT doesn’t happen every day…

When we do something for the first time its absorbing. Its new, challenging, sometimes its even scary. When we do it a second or third time it still takes a lot of our attention to learn the process. As time goes on the subconscious begins to learn the ins and outs of the process until we can do it without thinking.

My girlfriend’s learning to swim and the way she describes her progress reminds me of learning karate. The first few times its tough to simultaneously think about where one hand is going, where the opposing foot is going AND remember to breathe. I assured her that after a while she won’t really be thinking about any of those things and they’ll seem completely natural, like walking or talking.

And there’s the challenge. Routine journeys like travelling to work or the shops can be so routine that we switch off mentally and our awareness shuts down. Crossing the same road each day, pulling out at the same junction into rush-hour traffic time and time again. These repetitive processes make it very easy to not noticing that cyclist in the wing-mirror, or to ignore the two blokes who are loitering on the pavement just up ahead...

Daydreams

2007-12-17T17:00:00.001Z

Classes have finished for the Christmas holidays but I want to get in shape. Need exercise and I’m not getting enough as it is.

There’s a punchbag on the way for G from Santa. That’s cool - he’ll love it and benefit from the aggression-sink. Its junior sized so I don’t suppose that I’ll get much use from it though, even when it’s free. I’d like a full length bag for kick practise, preferable heavily filled. I know that one day I’ll finally get the full-on gym with mats etc, but sometimes it’s difficult to be patient. I’ll have to promise myself not to turn it into an office, or a junk room though. Seen too many like that!

Holding regular classes would be one method of keeping the place clear for its intended use. Maybe I could even coach private sessions to pay for its upkeep.

Earning the right

2007-12-06T16:36:00.002Z

Through 4 years of reading, and self-driven study of the works of Iain Abernethy, Lawrence Kane and Kris Wilder, scouring interviews with Sgt. Rory Miller for real, practical information. I now know the ‘shape’ of the skillset I want to build. I know karate was originally intended as a no-nonsense self-defence method with the primary strategy of doing damage and I’m not content with perfecting performance kata or going for competition sparring titles.

Great so far, but here’s the difficult part…

My karate must have an aspect which allows me to inspire others and to communicate a message and I need to know for my own sake and for that of future students, that I have earned the right.

I’m a Creative. I don’t mean that in a smug way, it’s just a job description. If I can’t make or produce something that inspires a response then it’s all over for me and I’ll happily get into the box.

So how does this 30 year old office worker, who’s never been in a real violent confrontation, learn and pass on effective, proven self-defence skills?

What qualifications should I study for? What hands-on experience do I require? Should I get a part time job as a bouncer to get the experience of confrontation? Do I need to spend time in the company of a corrections officer or a paramedic, in order to see and experience true violence and its aftermath?

I don’t knowingly romanticise violence or needlessly put myself in harm’s way – which is probably the biggest reason for why I haven’t experienced true violence. But I do want to learn how to prevent or neutralise a street ambush for the sake of myself, my friends and my family and ultimately bring this knowledge to others – and I want to know that my skills really work.

How do I earn that knowledge and earn the right to pass it on?

Finishing techniques

2007-12-03T16:56:00.003Z

Finishing technique

Stomp kick has a circular motion – pushing outwards and up before stamping down with sokuto (footblade). This is infact a double technique. Firstly kick maegeri to side of opponent’s head, this exposes the neck for the final finishing technique.

Importance of “finishing” techniques when practising solo kata. Tension in the body and hand shapes was missing from my kata performance at the time.

I find it difficult to visualise the opponent when practising the solo form of kata. I was thinking this fact through last night and it seemed much easier to see in my mind's eye, the actual range of the opponent when facing a nearby wall! That way my eyes focused at the correct distance and I could make contact with various strikes. I guess this is yet another indicator that I need to move on from solo kata practise and start working more with a punchbag or a live partner.

I was thinking about the mae-geri/yoko-geri thing just now. Mostly Shotokan kata show yoko geri attacking to the knee or lower leg with a ninety degree aspect and shito-ryu shows mae geri for the same purpose, performed at 45 degree aspect. These are both essentially achieving the same aim. I personally have felt it easier to strike yokogeri, so I’m tempted to see how I can adapt my kata to take account of this (in my own practise of course).

Multi-tasking

2007-12-03T16:56:00.002Z

There's something big I'm missing in my practise - this became evident a number of times but its important that I learn from it whilst its in mind this time!

I've trained to block, and then counter. Now I need to up my game and do the two simultaneously.

There are more than enough techniques within kata to do this, so I need to identify those techniques within Seipai (my chosen specialist kata) and drill these techniques...
Attacks will include RH haymaker. Double lapel grab etc. etc.

Blame it on Zen

2007-11-24T17:25:00.001Z

Well, I've learned a great deal recently about the origins of modern karate, and those historical factors have cleared much of my frustration about my training.

I couldn't figure out: "why is there almost no grappling in our training, when the kata (if interpreted in accordance with the original Okinawan styles of fighting) include many throws, chokes, strangles and jointlocks?" Several answers came to mind when I was pondering this question for the last year or two - few of them good. Maybe the techniques were "lost" to our style. Maybe they were considered too risky to practise in our dojos? Maybe the style I was studying didn't value such methods as effective?

The answer was provided by content I found at http://www.downloadkarate.com/. The Shitoryu style shown here seems extremely similar to previous stuff I learned (probably the strongest resemblence I've come across in all my trawling of many karate websites on the web) and it is backed up by some great information about how the Japanese historically changed the emphasis of karate to give it different properties to the Okinawan emphasis.

Now at least I can see how the techniques I'm learning fit into the self-defence/sportkarate/mindbodyspirit picture.

Russell Stutely Seminar Notes:

2007-11-16T16:53:00.000Z

Body Balance
Upper arm and thigh orientation show where the body’s balance will go

PPs
Quadrant Theory

Improving joint-lock/joint-destruction techniques:

Bzzz! Use a high frequency vibration in your pressure.
The vibration should be in three dimensional, figure-eight spirals.
Atishoo! Apply the lock suddenly (instantaneous - in the way a sneeze feels instantaneous) to get maximum result (be careful when practising!)
Apply pressure diagonally downwards and towards opponent.

Naked Strangle
Use bicep area of upper arm to crash into opponent as applying strangle. (Maybe this is a viable application for the scooping block in bassai dai towards the end of the kata…?)

Seipai checkpoints, Gashyuku November 2007

2007-11-06T16:39:00.000Z

Shikodachi nukite: Ensure both hands finish same time as completing transition into shiko dachi.
When bringing left hand up to RH ensure it travels in vertical path only.
Twist and break-off is a quick movement, then raise elbow in pronounced motion to clear target area of opponent’s ribcage whilst moving quickly into shikodachi empi uchi strike.
Next technique into reverse zenkutsu dachi is slow. Ensure hands and feet finish same time.
LH chudan block is a slow technique.
Jodan shuto uchi, mae-geri, kakate and enpi uchi, uraken uchi are all fast and unbroken techniques. Shuto should have bent wrist to contour with neck/jawline.
Gedan harai uke RH and yoko uke RH are slow techniques, as is the following kakate.
Arm break technique unchanged (add tension?)
Bend knees more to transition to groin strike. After flick with RH, RH should be in gedan harai uke position – i.e. further out. LH should be at hikite position – i.e. higher up. Note; LH could be used for grabbing opponent’s hair or ear instead of just trapping their broken arm during transition to groin strike?
Gedan/chudan open hand blocks should be the basic type. Ensure the positions are consistent with chudan yoko uke and gedan harai uke.
Include finger-strike to opponent’s eyes when performing the foot sweep after shikodachi empi technique.
50/50 foot transition when turning 180 degrees from shiko-dachi gedan harai uke to nekoashi dachi fura-ken uchi.
When in kosa-dachi (fura-ken uchi) extend L leg slightly backwards in order to make a proper sanchin dachi stance for next position.
When performing final tetsui uchi strike the opponent’s head should be aligned with your RL. Throw away both their wrists which were gripped during the takedown stop them obstructing the temples which are the target area.

Seinchin checkpoints November Gashyuku 2007

2007-11-05T17:33:00.000Z

Seinchin checkpoints from Hogan Shihandai on November Gashyuku:

Fists touch sides of legs in kamae position.
Ensure proper 45 degree angle in shiko-dachi stances.
Shiko dachi nukite. Bunkai: Break off rearward wrist grab.
For break-off of bear hug. Breathe in, hunch shoulders forward using internal strength. Keep shoulders hunched and exhale whilst feeding hands into the gap created in front of chest. Continue exhalation to generate power whilst breaking off the grab.
Deflect with one hand, then grab with the other whilst stepping into shiko dachi. Pull opponent’s shoulder in curved path towards solar plexus (this disrupts their posture) whilst striking nukite to armpit.
Next application was against wrist grab. I'm unsure of the actual form. Break off with asassae uke, raise opponent’s arms quick then strike to chest with assisted punch (bottom two knuckles). This was shown as a power strike to send opponent flying, not a localized sharp shock technique.
Deflect incoming jodan tzuki, grab back of opponent's head and strike empi uchi.
Deflect incoming chudan tzuki and strike tsuki age chudan to floating ribs. Grab opponents RArm with your RH and whilst dropping into shikodachi strike tetsui uchi to groin. Change grip, twist arm with your LH and break arm with RH gedan barai strike. I’m unsure of the flow of this one…
Deflect then grab with RH whilst dropping into shiko dachi and simultaneously striking with LH gedan knifehand to floating ribs. This technique is block and attack at same time.
Alternatively the gedan hand is blocking a kick. From nekoashi dachi kick with the forward foot to the opponent’s groin.
When performing solo form keep RH in same position when moving up into sanchin dachi. This way the RH is cocked and ready for soto uke strike. Follow this with small step and uraken uchi.
Block incoming punch with yoko uke LH whilst simultaneously punching opponent’s shin with RH. Grab with RH and strike uppercut. Uraken and then gedan harai uke.
Step to outside, parrying chudan tzuki with R elbow. Strike R elbow empi to opponent’s ribs whilst moving into zenkutsu dachi.
Deflect incoming chudan tzuki with downward sweep of LH. This draws opponent further in and onto RH uraken to face. Next kick mae-geri from nekoashi dachi.
Opponent grabs lapels. Use elbows and drop into nekoashi dachi to break off grab whilst disrupting opponent’s posture. Gouge eyes or throat with fingers.

Muscular Tension

2007-11-05T15:00:00.002Z

I realised that my kata has no muscle tension throughout. Most techniques must be carried out with max speed and internal muscle tension can reduce this speed if used incorrectly, so to outward appearances my kata looks fine – the actual shape and locus of movements is pretty accurate. However, certain techniques require strength of form in order to unbalance the opponent or disrupt his posture. Since I do not have any tension in those techniques each time I practise those techniques with a partner I suddenly find that I’m not able to effectively use them.

Having watched G practise his kata (Sanchin in particular) and knowing that G’s karate comes from Goju-ryu roots, I know that his technique possesses a great deal of internal strength. G tends to put tension in many of the techniques which I practise myself without tension. Now I see that G and I come from opposite ends of the spectrum and we can learn from eachother. I am pretty certain that G needs to loosen up on some techniques to generate speed and fluidity, and I need to strengthen my musculature on some to disrupt the opponent and to retain a strong base.

This to me seems like a major eureka moment right now. Hopefully I’ll capitalise on it and improve my karate as a result.

Muscle Tension

2007-11-05T14:54:00.000Z

I realised today that my kata has a lack of muscle tension in key places. Most techniques must be carried out with max speed and internal muscle tension can reduce this speed if used incorrectly, so to outward appearances my kata looks fine – the actual shape and locus of movements is pretty accurate. However, certain techniques require strength of form in order to unbalance the opponent or disrupt his posture. Since I do not have any tension in those techniques, each time I practise those techniques with a partner I suddenly find that I’m not able to effectively use them.

Having watched Greg practise his kata (Sanchin in particular) and knowing that Greg’s karate comes from Goju-ryu roots, I know that his technique possesses a great deal of internal strength. Greg tends to put tension in many of the techniques which I practise myself without tension. Now I see that Greg and I come from opposite ends of the spectrum and we can learn from each other. I am pretty certain that Greg needs to loosen up on some techniques to generate speed and fluidity, and I need to strengthen my musculature on some to disrupt the opponent and to retain a strong base.

This to me seems like a major eureka moment right now. Hopefully I’ll capitalise on it and improve my karate as a result.

Footwork

2007-08-28T12:32:00.000Z

Starting from LHside kamai...

Shufflestep: Slide left foot forward whilst punching LH mae-ken-tzuki and guarding head with RH. Quickly draw right foot forward to regain kamai position and twist hips counterclockwise whilst punching RH gyaku-tzuki.

Halfstep: Slide right foot to bring alongside left foot whilst guarding with both hands. Ensure knees together and guard is strong (this is a vulnerable position so don't stay there for long!). Then perform Shufflestep as above.

Changeover: Step through with right leg and strike jun tzuki with RH. then perform gyaku tzuki with lh.

Kumite techniques and tips

2005-12-14T09:55:00.000Z

Kamae – step into kamae position fast and with power. Leave heel of rear foot off ground. Continue fluid motion in place until hajime – do not allow stance to become flat.

All attacks and defenses to occur in direct line

Mae ken tzuki, Gyaka tzuki
Block incoming gyaka tzuki, counter gyaka tzuki (come in low), strike uraken uchi (outside). This technique requires motion to outpace that of opponent
block incoming gyaka tzuki, counter with simultaneous uraken uchi (across inside)
leap and strike uraken uchi outside

Sanchin dachi technique names, and general thinking

2005-10-25T16:02:00.001Z

I suppose it’s inevitable that in non Japanese speaking countries there will always be some variation in karate terminology both due to differing sources and through misunderstandings.

Chudan age tsuki
Shotei osa uke
Chudan tzuki
Kakate
Jodan Fura-ken uchi
Jodan yoko Uchi uke
Jodan yoko shuto uchi
Ura-ken uchi
Kentsui uke

As an aside; the way we practised these techniques in class last night was useful for helping me remember what they’re called. Each karate-ka named a technique and then shouted out the count for the drill.

I’ve done a good of study “Karate’s Grappling Techniques” by Iain Abernethy over the past few days. What a fantastic book. First and foremost it’s taught me that karate includes many techniques some of which I used to think were found only in the judo practitioner’s repertoire. Most surprisingly, hook punches and uppercuts (which I associated mostly with (western style boxing) should be in the karateka’s close combat arsenal too and as such, are found in the kata. It seems I missed them until now, because I was always looking for the big takedown or complex joint-lock.

I’d include these techniques in my teaching plans straight away – and part of me says “why not now?” The answer is I definitely want to try them in my own training regime before testing them out on a live class. Its one thing to go straight ahead and teach things exactly as I’ve been taught them, but something very different to teach them untried techniques from a book.

Tengun

2005-10-18T23:48:00.001Z

This set of exercises is like kihon basics, though it seems the selection of moves is more practical than ido kihon since they’re practised in a more natural stance with less range of motion. This begs the question: why do so many drills I've been taught use zenkutsu dachi to start with?

Perhaps these drills are intended to help the karateka have a strong, rooted zenkutsu dachi stance whilst performing a mae-ken tzuki strike with the leading hand – rather than suggesting a stepping forward motion and punching with the hand that was in the hikite position.

Sword hand – equivalent to chudan shuto. Once first block has be accomplished, rest other hand on opponent’s blocked hand – this will allow sensitivity to whether they’re going to strike again.

Diagonal blocking – jodan haito uke and teisho uchi (downward strike is shuto also instead of palm heel).

Twist and downward drag – applied as a block, kakate and drop into shikodachi to take opponent down onto a throat strike.

Horizontal clamp – jodan haito uke, then kakate. Can’t remember actual application practised.

Wednesday class training

2005-10-12T17:39:00.001Z

Shiai Kumite
Maegeri (rear foot)
Maegeri (lead foot)
Maegeri -> Mawashi geri
Mawashi geri to calf (feint) mawashi geri to head

Seisan Bunkai
Opponent grabs lapel
snatch their cuff, grab throat kekomi geri to rear of leading knee

opponent grabs both lapels
grab both cuffs, come forward with lead thigh into their groin
sweep opponent's RL (outside) with LL (inside)
Take down, kneel on groin and punch to head

Tai Chi reading - thoughts and extracts

2005-10-10T18:41:00.001Z

“Power is rooted in the feet, controlled by the waist and expressed through the fingers”

Hara: Keep the centre weighted down

Practise jitte-no-bunkai (the section prior to takedown) with students repeatedly to develop speed.

Investigate different strategies required for fighting taller or shorter opponents.

Tai chi – let chi direct movement and do not start any movement until the chi has sunk to the dantian

Relaxation must take place prior to commencing kata practise – there is insufficient time during the kata to become relaxed or focussed.

Training for students should include more visualisations to assist in “feeling” technique.

Look up sticky hands

If weight is distributed more on one leg than the other it is easier to be aware of where the centre is.

Imagine that the top half of the body is extremely light, and the lower part of the body is extremely heavy. In this way speed of hand movement and deep rooted stances will be emphasised.

Shidoin checkpoints

2005-09-29T16:00:00.000Z

Kihon
Heko-dachi chudan tzuki: slight twisting motion of foot is necessary when punching – promotes increased power.
Heko-dachi chudan geri: tension in abdominals and tilting of pelvis when kick is complete and foot is replaced into heko-dachi.

Zenkutsu-dachi: More hip rotation in all techniques.
Zenkutsu-dachi jodan age uke: always INSIDE

Jitte checkpoint: Final technique turning back into heisuko-dachi = heelturn. Use abdominal strength to make this technique more graceful.

Seisan checkpoints:

Foot movement in sanchin-dachi stance sequence requires more careful weight transfer. Shuto (RH) into open hand (LH) is a slow motion technique.

Tension in abdominals when R Knee is lifted to Sagiashi-dachi. Knee lift occurs in synch with lifting of both hands during break-off technique.

Tension in abdominals for knee strike and RA arm teisho uchi

Sanchin-dachi kakate. Small wrist motion is same as technique in Kururunfa. Hip rotation to accompany arm motions.

Bassai Dai checkpoints

2005-09-16T12:37:00.001Z

Final 2 Neko-ashi dachi kakate techniques. Elbow of catching hand is used to strike the outside of opponent's arm before catching (and kicking mae-geri).

After empi uchi, block gedan harai uke, then swap hands to break-off a wrist grab. This break-off technique starts slower and finishes fast. NOT fast all the way through. Remember to use hip movement for this technique too.

Matsukaze - Complete Kata Sequence

2005-09-09T08:57:00.001Z

Rei
Announce Kata
Yoi

Kamai: Turn 90º Clockwise (face east) Nekoashi dachi chudan shuto (RH)
Turn 180º Anticlockwise (face west) Nekoashi dachi chudan shuto (LH)
Change stance (same leg forward) to Zenkutsu dachi. Sharply bring both hands back to hakite. Look to NW.
Turn 90º Clockwise (face north) shikodachi chudan tzuki RH
Chudan tzuki LH.
Step forward into Zenkutsu dachi (RL), Juji Uke
Form fists, bring fists back to touch chest, then extend out to left and right (fast movement)

Turn 90 anticlockwise pivoting on RL. Nekoashi dachi Chudan shuto LH
Nekoashi dachi Chudan shuto (RH)
Nekoashi dachi Chudan shuto (LH)

Sagiashi dachi LL, chudan haito uke RH (Leave left hand in previous Shuto position)
Step out with RL, Zenkutsu dachi jodan tzuki LH (RH Hikite)
Step RL back up to sotohashi dachi, Chudan tzuki RH (LH Hikite)
Step out RL to zenkutsu dachi, haito uke LH (RH Hikite)
Leave LH in haito uke position and Step RL up to sotohashi dachi, Chudan tzuki RH

Turn 180 degrees anticlockwise into zenkutsu dachi, block LH gedan harai uke and Punch chudan tzuki RH.

Step forward into Nekoashi dachi RL, chudan shuto uchi RH
Nekoashi dachi LL, chudan shuto uchi LH

Sagiashi dachi (LL), chudan haito uke.(RH)
Step out with RL, Zenkutsu dachi jodan tzuki (LH)
Step RL back up to sotohashi dachi, Chudan tzuki RH
Step out RL to zenkutsu dachi, haito uke LH
Step RL up to sotohashi dachi, Chudan tzuki RH

Turn 90 degrees anticlockwise to face north Zenkutsu dachi LL. Block gedan harai uke (LH)
Step up RL into sotohashi dachi, punch chudan tsuki RH. KIAI

Turn 180 degrees anticlockwise to face South. into Zenkutsu dachi RL. Block gedan harai uke RH.
Punch chudan tzuki LH.
Kick LL mai geri chudan, step into LL zenkutsu dachi, punch chudan tzuki RH.
Kick RL mai geri chudan, step into RL zenkutsu dachi, punch chudan tzuki LH.
Kick LL mai geri chudan, step into LL zenkutsu dachi, punch chudan tzuki RH.

Step across front of body with LL, turn 180 degrees clockwise to face North, scoop and block with RH.

Yame
Rei

Kururunfa - Complete Kata Sequence

2005-09-09T08:57:00.000Z

Bow
Announce Kata
Yoi
Kamai
Face 90 anticlockwise, Nekoashi dachi LL
Face 180 clockwise, Nekoashi dachi RL

Turn 90 anticlockwise to North, Sanchin dachi RL, RH jodan shote uke, LH gedan shote uke.
Kokutsu dachi gedan tesho uchi RH, LH shuto hikite
Sanchin dachi RL, RH jodan shote uke, LH gedan shote uke.

Step forward, Sanchin dachi LL, LH jodan shote uke, RH gedan shote uke.
Kokutsu dachi gedan tesho uchi LH, RH shuto hakite
Sanchin dachi LL, LH jodan shote uke, RH gedan shote uke.

Step forward, Sanchin dachi RL, RH jodan shote uke, LH gedan shote uke.

Turn 45 anticlockwise to face NW. Nekoashi dachi LL, block chudan haite uke LH.

Catch with RH (Hip rotation anticlockwise to assist).

Step forward Nekoashi dachi (remaining LL first) punch tsuki age chudan LH.

Kick maegeri chudan RL

Step forward into shiko dachi RL, attack hiji uchi RH.

Step back into Nekoashi dachi LL - LA out horizontally infront across chest, fingers extended.

Turn 45 clockwise to face NE and step back into Nekoashi dachi LR, block chudan haite uke RH.

Catch with LH (Hip rotation clockwise to assist).

Step forward Nekoashi dachi (remaining RL first) punch tsuki age chudan RH.

Kick maegeri chudan LL

Step forward into shiko dachi LL, attack hiji uchi LH. KIAI

Step back into Nekoashi dachi RL Facing North - RA out horizontally infront across chest, fingers extended.

Turn 90 degrees anticlockwise to face West. Sanchin dachi LL. Block chudan haito uke LH.

Kakate.

Turn 180 anticlockwise to face East using LL as pivot, finish in kihon dachi LL. At same time attacking behind with RH elbow as RH moves to hakite position. LA infront of chest across body.

Step forward with RL into sanchin dachi. Block chudan haito uke RH.

Kakete.

Turn 180 degrees clockwise to face West using RL as pivot, finish in kihon dachi RL. At same time attacking behind with LH elbow as LH moves to hakite position. RA infront of chest across body. KIAI

Turn 90 degrees clockwise to face north, stepping LL into naifanshin dachi. Wrap arms around body, RA over LA.

Extend arms horizontally to sides, at same time change stance to sotohashi dachi.

Bend arms at the elbow to point fingers upwards, forearms parallel to body.

Reach behind head, breaking off attack from behind. Change stance down into shiko dachi. Attack teisho uchi with hands to rearward opponent's groin. Thrust backside backwards, then tilt head sharply backwards (mouth open) to strike with back of head.

Step forward RL into Zenkutsu dachi, block both hands juji-uke (RH on top).
Turn 180 degrees anticlockwise to face S bringing LL to RL and assume Heisuko dachi. Bend over, arms straight and lower both fists.

Move 45 degrees clockwise into Zenkutsu-dachi RL (Facing SW) whilst extending RA and strike gedan teisho uchi LH. (Attacking opponent's knee joint.

Move forward into Zenkutsu-dachi LL (Facing SE) whilst extending LA and strike gedan teisho uchi RH.

Remain low and turn anticlockwise to face North and assume Nekoashi dachi LL whilst performing windmill block (?). Strike teisho uchi with LH (gedan position) and RH chudan position).

Yame
Rei

Chinte - Complete Kata Sequence

2005-09-09T08:54:00.000Z

Bow
Announce Kata

Yoi

Kamai - Heisuko-dachi

RH Jodan tetsui uchi (Bunkai chudan harai uke blocking opponent's chudan jun tzuki) LH Jodan tetsui uchi.

Extend LL infront, Weight change Turn 270 degrees clockwise, LH jodan Kakete, shiko dachi chudan shuto uchi RH.

Nekoashi dachi, chudan shuto uke. RL
Chudan kage-tzuki LH

Zenkutsu dachi mae empi uchi.
Turn 180 degrees,

Nekoashi dachi chudan shuto uke, LH
Nekoashi dachi chudan shuto uke RH

Chudan mae geri LL,
Zenkutsu dachi - Yoko uke RH / Gedan harai uke LH

Scoop RH, Heisuko-dachi Jodan soto uchi RH. (LH Hikite)

Turn 90 degrees clockwise, Sotohachi dachi, RH jodan shote uke (upward block) Kakete (bring hand to forehead). Tesho uchi LH (breaking - slow with kime)

Reverse Zenkutsu-dachi gedan tesho uchi LH. (keeping elbow inside) (RH Hikite)

Change facing 180 degrees clockwise, Sotohachi dachi, LH jodan shote uke (upward block) Kakete (bring hand to forehead). Tesho uchi RH (breaking - slow with kime)
Reverse Zenkutsu-dachi gedan tesho uchi RH.

Both feet 50% move up to Sotohachi dachi. Urai uke (both hands).

Hiza geri (knee strike) RL, Both fists (palms down) to lap
Nekoashi dachi LL, Nakataka ippon ken strike RH, then LH. (attacking back of opponents hand, then top of forearm.
Chudan haito uke LH
Zenkutsu-dachi RL, jodan Nihon Nikite RH (Finger strike to the eyes)

Turn 180 degrees anticlockwise
Nekoashi dachi LL Chudan haito uke LH
Zenkutsu dachi RL, jodan Nihon Nukite RH
Turn 90degrees anticlockwise, to face S. At same time block gedan shote uke RH (blocking opponent's kick at the ankle) and attack gedan tesho uchi LH (breaking opponent's leg at the knee).

Step forward Zenkutsu dachi RL, arms in and up to chest, then extended fully to sides, hands as fist.

Turn 180 degrees anticlockwise to face N and assume Nekoashi dachi LL whilste attacking both hands chudan kage tzuki

Step forward into Nekoashi dachi RL chudan shuto uke RH
Chudan mae empi uchi (LH)

Step forward into Nekoashi dachi LL kage tzuki RH KIAI

Yame
Rei

Seisan Checkpoints

2005-09-09T08:52:00.001Z

Shuto strike (RH) into flat of LH, then teisho uchi LH, Kakate RH whilst Jodan nukite. Timing in this sequence is important. 1...2.3.... Then next technique (fingertip rake to eyes).

Nukite strikes to groin - fingers pointing inward more, and arms closer to body.

Turning 180 degrees for the first time, then kakate sequence. Rising hand (moving from behind body) shows a small cupping motion prior to moving upwards for kakate technique. As yet I do not know the bunkai for this move.

Shiko dachi kakate sequence - hikite hand is actually palm down (maybe kakate also? check on this).

Bassai Dai Checkpoint

2005-09-08T21:45:00.000Z

Mika-tzuki geri in Bassai Dai. Kick is direct - not a sweeping 90 degree angle. Having said this, do not turn 90 degrees then kick. Study this carefully.

Checkpoint

2005-09-08T05:57:00.001Z

When changing direction of facing, turn head first. Kind of like spotting when spinning in dance. This aids balance, and shows understanding of body movement.

Niseishi checkpoints

2005-07-08T14:15:00.000Z

Block teisho uchi LH (zenkutsu-dachi LL)
Punch chudan tzuki RH
Twist RA clockwise slightly, palm uppermost. Pull sharply back to hikite. Forward movement, Kentsui uchi LA
Move body to arm when turning 180 degrees clockwise for Yama tsuki. Do not move arms until punch.

Sweden checkpoints

2005-05-11T12:00:00.001Z

Sanchin dachi Ido Kihon
1) Kentsui - arm slightly higher to defend face
2) Shuto uchi - hand straight, not bend back like Sepai
3) Checkpoint kakete hand position (hand vertical)
4) Urai uchi - Arms to side then strike central
5) Tzuki age chudan - arm horizontal then raise by one fist thickness
6) Shotei uke - More like turning pages- elbows inside
7) Uchi uke - keep shoulders level
8) Finish each technique with weight down - hips "joined"

Jitte Checkpoints
1) Shikodachi turning on centre of foot
2) Lower and longer stance when moving R Foot across - will assist in embusen finishing on start point.

Bassai Dai Checkpoints
1) Kosa dachi left foot 45 degrees (behind right)
2) Open hand LH assase uke - slip forward to trigger motion
3) Turning 180 degrees to LH yoko uke. L arm yoko uke - elbow finishes pointing inward (to belt knot)
4) RH yoko uke (kihon dachi) as 3
5) Smaller foot movement (bring R foot in only halfway) remember heel turn on L foot
6) Keep R arm inside line of body when catching kick, do not bring back behind line of body when following through. Finish soto hachiji dachi
7) Nekoashi dachi soto uke - move r arm and right leg before twisting L foot - promotes hips ensure R arm does not flex
8) Soto hachiji dachi kensui -> zenkutsu dachi jodan tzuki LA: Two moves R foot, 1 move L foot
9) Returning to sotohachiji dachi: Bend R Leg to spring up - no footwork for this move
10) Move across to RL Nekoashi dachi Gedan shuto: Ensure R foot does not move too far left
11) Arm Break: RH more away from body - on opponent's elbow
12) Turning Kihon Dachi -> Nekoashi Dachi chudan shuto: Bend RL for weight transfer. Use hip rotation - keep upper body in same vertical line. Heel turn still important. RH is performing empi uchi to rearward opponent. Hips basically perform two actions
13) Zenkutsu dachi double hikite (hands with backs uppermost) then shuffle to shiko dachi chudan tzuki
14) Heisuko dachi -> Shiko dachi kage tzuki. Use last part of footwork to promote hips, not first part. Kihon/Zenkutsu as midpoint before shiko dachi
15) Hand over hand: both feet shift within stance in order to promote hips.
16) Yama tzuki - get fist positioning more accurate
17) Gedan barai/flip down is two techniques. Block of kick then strike to groin.