Routine; the Slayer of Awareness

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

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

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

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

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

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:

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

• 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

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

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

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

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.