The following is a short write-up by Pat Nakata Sensei on our most recent Hawaii Karate Kenkyukai meeting held on 11 April 2010.
This session was very interesting and fun. Sean Roberts Sensei started by performing the Rohai Kata. We were expecting him to do the (Itosu) Rohai Shodan, but instead, he performed the Tomari Rohai, which is the classical Rohai. Anko Itosu Sensei created three Rohai kata (Rohai Shodan, Nidan, and Sandan) from the Tomari Rohai. Hisae Ishii-Chang Sensei was to have performed the Meikyo Kata, which is a Shotokan Kata that was created by Gichin Funakoshi or his son Giko, or possibly both. Meikyo is a combination of the Itosu Rohai Nidan and Sandan. Unfortunately, Hisae Sensei was not able to attend. Charles Goodin Sensei performed the Matsubayashi (Tomari) Rohai.
Angel Lemus Sensei performed the Chikina no Tunfa (Tuifa, Tunkua), followed by Alan Yokota, Roy Rivera, John Oberle and myself performing the Hamahiga Tonfa (Tonfa or Tounfa in the Shuri dialect). Alan Lee Sensei, Kyle Nakasone, and Garrett Miyagawa performed their version of the Hamahiga Tunfua.
Herbert Ishida Sensei finished Round 1 by performing Sokugi Taikyoku Sono Ichi.
Round 2 followed the same format, but with discussions after each presentation. First again was Roberts Sensei with his Tomari Rohai. Goodin Sensei asked Gerry Tsuda to perform their Rohai and he followed by performing and explaining their moves. After discussing the Tomari Rohai, Alan Yokota and I decided to perform the Itosu Rohai Shodan, although our OSKA / RKHS no longer practice this Kata.
Lemus Sensei followed with explanations of the unique Chikina Tunfa. Our Ryukyu Kobudo Hozon Shinkokai (RKHS) followed with a presentation and explanation of our Hamahiga Tonfa. Alan Lee Sensei, Kyle Nakasone, and Garrett Miyagawa presented and explained their Hamahiga Tunfua, which is a little different from the conventional Hamahiga Tunfua.
Herbert Ishida Sensei again finished the round with Kosugi Taikyoku Sono Ni.
After a 5 minute break which gave everyone an opportunity to compare notes, Herbert Ishida Sensei led everyone through the Kosugi Taikyoku Sono Ni. After 15 minutes everyone partnered up to practice kicking with their toes. After about 10 minutes, it was Lemus Sensei's turn. He had everyone practicing an unconventional Tunfa flip out strike that goes 360 degrees. It seems everyone was having fun, especially the people who are more used to the conventional methods.
Lee Sensei and I followed with our more conventional Tunfa basics.
The session was educational and interesting as always, but this session was fun.
The participants were: Sean Roberts Sensei, Charles Goodin Sensei, Jerry Tsuda, Angel Lemus Sensei, Judy Lemus, Alan Yokota, Pat Nakata, Roy Rivera, John Oberle, Jay Paige, Alan Lee Sensei, Kyle Nakasone, Garrett Miyagawa, and Herbert Ishida Sensei.
Observing were Rodney Shimabukuro Sensei, Carl Kinoshita, and George Drago.
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Wednesday, April 21, 2010
Tuesday, March 02, 2010
Hawaii Karate Kenkyukai: February 28, 2010
The Hawaii Karate Kenkyukai held its most recent meeting on Sunday, 28 February, 2010. As always, it was an enjoyable opportunity to learn about and share traditional karate with each other. The session followed our usual pattern of three rounds of kata study. The first round was a demonstration of kata, followed by another round of demonstration, but with a question and answer session after each kata. The third round consisted of each instructor explaining an application from the kata they performed and then a few minutes for everyone to practice the technique.
This time we studied four kata: Anan, Gojushiho, Saifa, and Kanegawa no Timbei.
Starting us all off, Sean Roberts Sensei performed Anan. This kata most likely came into Shito Ryu from Ryuei Ryu and Roberts Sensei emphasized the more circular movements within the kata and some of the crane-style strikes and blocks.
Following this, the Gojushiho kata was performed by Charles Goodin Sensei, Angel Lemus Sensei and his wife Judy, and Hisae Ishii-Chang Sensei. Gojushiho was explained as being more of a Naha-style kata in derivation and not technically a “core” Shuri-te kata, although many Shorin schools do perform this kata since Sokon Matsumura taught his version of it. It was this version that was performed by each of the instructors mentioned above. The Naha/Chinese roots can not only be seen from the actual movements themselves, but also the name itself, as “Gojushiho” means “fifty-four”. Nakata Sensei explained that his instructor, Chibana Chosin Sensei, stated that all “number” kata were Naha kata of Chinese origin. The Shotokan Gojushiho Sho appears to be a variant of the Itosu Gojushiho, while their Gojushiho Dai is the more prevalent Matsumura Gojushiho. One of the easiest ways to distinguish the Itosu version from the Gojushiho version is that one of the earlier sequences contains two punches, a kick, and then another punch. If the foot steps back after the kick, it is the Matsumura version. If it steps forward, it is the Itosu version.
Next, Alan Lee Sensei and his student Kyle Nakasone Sensei performed the kata Saifa, followed by Herb Ishida Sensei, who was representing Bobby Lowe Sensei. While not a “number” kata, this kata does have Chinese origins, having been brought back by Kanryo Higaonna. The kata included a lot of grabbing, ripping, and tearing, the name itself meaning “smash and tear”.
Lastly, Pat Nakata Sensei performed Kanegawa no Timbei, being joined by Alan Yokota, Roy Rivera, Steve Chun, and myself. He explained that this weapons kata came more from the farmer/peasant class and that the classical items used were the large Chinese straw hats (timbei) or pot covers as a sort of shield coupled with a small stick called a hira, which was essentially a potato digger. If there is metal and/or blades involved, the weapon is called a rochin. Due to these weapons’ relatively flimsy natures compared to a sharp katana, the kata focuses more on deception, timing, and masking of the weapon while moving and striking in order to defeat the opponent.
During the application round, everyone partnered up to practice techniques present in the kata just performed. Unfortunately, Roberts Sensei had to leave early to teach a class. Lee Sensei, Lemus Sensei, and Ishida Sensei each explained techniques based around escapes from a grab, while Nakata Sensei explained some of the concepts involved in elbow strikes. These included the use of the opposite hand to pull an opponent inwards rather than overextending and the difference between a forearm smash versus hitting with the elbow.
After the conclusion of the session, there was some discussion about footwork and how it affects moving with body weight and power generation. Like always, it was very refreshing to see individuals from different styles meeting together in the spirit of openness and learning in order to help everyone grow as practitioners of karate.
In attendance:
Herb Ishida Sensei (representing Bobby Lowe Sensei, Kyokushin Karate)
Pat Nakata Sensei (Okinawa Shorin Ryu Karate Association Hawaii, Ryukyu Kobudo Hozon Shinkokai Hawaii) with Alan Yokota, Roy Rivera, Steve Chun, and John Oberle
Alan Lee Sensei (Hawaii Senbukan Goju Ryu) with Kyle Nakasone Sensei
G. Hiase Ishi-Chang (Island Ki Shotokan Karate) with Dr. Leo Maher
Charles Goodin Sensei (Hikari Dojo, Okinawa Shorin-Ryu Kishaba Juku)
Angel Lemus Sensei (Ninchokan Dojo, Zentokukuai of Hawaii, Sukunaihayashi Shorin Ryu) with Judy Lemus
Sean Roberts Sensei (Minakami Karate Dojo, Minakami-ha Shito-Ryu)
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This time we studied four kata: Anan, Gojushiho, Saifa, and Kanegawa no Timbei.
Starting us all off, Sean Roberts Sensei performed Anan. This kata most likely came into Shito Ryu from Ryuei Ryu and Roberts Sensei emphasized the more circular movements within the kata and some of the crane-style strikes and blocks.
Following this, the Gojushiho kata was performed by Charles Goodin Sensei, Angel Lemus Sensei and his wife Judy, and Hisae Ishii-Chang Sensei. Gojushiho was explained as being more of a Naha-style kata in derivation and not technically a “core” Shuri-te kata, although many Shorin schools do perform this kata since Sokon Matsumura taught his version of it. It was this version that was performed by each of the instructors mentioned above. The Naha/Chinese roots can not only be seen from the actual movements themselves, but also the name itself, as “Gojushiho” means “fifty-four”. Nakata Sensei explained that his instructor, Chibana Chosin Sensei, stated that all “number” kata were Naha kata of Chinese origin. The Shotokan Gojushiho Sho appears to be a variant of the Itosu Gojushiho, while their Gojushiho Dai is the more prevalent Matsumura Gojushiho. One of the easiest ways to distinguish the Itosu version from the Gojushiho version is that one of the earlier sequences contains two punches, a kick, and then another punch. If the foot steps back after the kick, it is the Matsumura version. If it steps forward, it is the Itosu version.
Next, Alan Lee Sensei and his student Kyle Nakasone Sensei performed the kata Saifa, followed by Herb Ishida Sensei, who was representing Bobby Lowe Sensei. While not a “number” kata, this kata does have Chinese origins, having been brought back by Kanryo Higaonna. The kata included a lot of grabbing, ripping, and tearing, the name itself meaning “smash and tear”.
Lastly, Pat Nakata Sensei performed Kanegawa no Timbei, being joined by Alan Yokota, Roy Rivera, Steve Chun, and myself. He explained that this weapons kata came more from the farmer/peasant class and that the classical items used were the large Chinese straw hats (timbei) or pot covers as a sort of shield coupled with a small stick called a hira, which was essentially a potato digger. If there is metal and/or blades involved, the weapon is called a rochin. Due to these weapons’ relatively flimsy natures compared to a sharp katana, the kata focuses more on deception, timing, and masking of the weapon while moving and striking in order to defeat the opponent.
During the application round, everyone partnered up to practice techniques present in the kata just performed. Unfortunately, Roberts Sensei had to leave early to teach a class. Lee Sensei, Lemus Sensei, and Ishida Sensei each explained techniques based around escapes from a grab, while Nakata Sensei explained some of the concepts involved in elbow strikes. These included the use of the opposite hand to pull an opponent inwards rather than overextending and the difference between a forearm smash versus hitting with the elbow.
After the conclusion of the session, there was some discussion about footwork and how it affects moving with body weight and power generation. Like always, it was very refreshing to see individuals from different styles meeting together in the spirit of openness and learning in order to help everyone grow as practitioners of karate.
In attendance:
Herb Ishida Sensei (representing Bobby Lowe Sensei, Kyokushin Karate)
Pat Nakata Sensei (Okinawa Shorin Ryu Karate Association Hawaii, Ryukyu Kobudo Hozon Shinkokai Hawaii) with Alan Yokota, Roy Rivera, Steve Chun, and John Oberle
Alan Lee Sensei (Hawaii Senbukan Goju Ryu) with Kyle Nakasone Sensei
G. Hiase Ishi-Chang (Island Ki Shotokan Karate) with Dr. Leo Maher
Charles Goodin Sensei (Hikari Dojo, Okinawa Shorin-Ryu Kishaba Juku)
Angel Lemus Sensei (Ninchokan Dojo, Zentokukuai of Hawaii, Sukunaihayashi Shorin Ryu) with Judy Lemus
Sean Roberts Sensei (Minakami Karate Dojo, Minakami-ha Shito-Ryu)
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Monday, December 28, 2009
Closing Distance and Not Overextending: Musashi's "Body of a Shuko"
Miyamoto Musashi’s Book of Five Rings speaks of “having the body of a shuko”, a shuko being a short-armed monkey. He writes that “… The shuko does not extend his arms… If you think o f extending your arms, your body will retract… it is easy to approach with your body in the same time it would take for your hand to reach out.”
In other words, close distance so that you do not execute any technique before you are within the proper range to do so. This is one of the largest compromisers of proper stance and posture because it causes leaning, throws off your center of balance, and prevents proper body weight transfer into the opponent. Simply put, your technique becomes incredibly weak and leaves you vulnerable. This applies to anything, whether it is a punch, block, kick, or grappling maneuver. While this seems like common sense, executing outside of proper range is extremely common and in the end ironically boils down to a fear of getting hit. This is easily observed in many fighters, regardless of their training background and experience. As such, many people are used to “stand-up fighting” well outside of the proper range and will prefer only to grapple within what we would consider to be proper striking distance. It requires extreme confidence to close distance with the body as a whole first before execution.
As Musashi would say, “study this well.”
This concept is of course tied in closely with what we call osae, the constant press forward into the opponent, which requires a post in and of itself. While Musashi does not use the term osae, he writes of the same concept in at least three separate passages. This will be discussed in another post.
As a footnote, I am currently using the William Scott Wilson translation of Musashi’s Book of Five Rings. After comparing it to the archaic Japanese used in the original work, Wilson’s translation is perhaps the best I have come across.
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In other words, close distance so that you do not execute any technique before you are within the proper range to do so. This is one of the largest compromisers of proper stance and posture because it causes leaning, throws off your center of balance, and prevents proper body weight transfer into the opponent. Simply put, your technique becomes incredibly weak and leaves you vulnerable. This applies to anything, whether it is a punch, block, kick, or grappling maneuver. While this seems like common sense, executing outside of proper range is extremely common and in the end ironically boils down to a fear of getting hit. This is easily observed in many fighters, regardless of their training background and experience. As such, many people are used to “stand-up fighting” well outside of the proper range and will prefer only to grapple within what we would consider to be proper striking distance. It requires extreme confidence to close distance with the body as a whole first before execution.
As Musashi would say, “study this well.”
This concept is of course tied in closely with what we call osae, the constant press forward into the opponent, which requires a post in and of itself. While Musashi does not use the term osae, he writes of the same concept in at least three separate passages. This will be discussed in another post.
As a footnote, I am currently using the William Scott Wilson translation of Musashi’s Book of Five Rings. After comparing it to the archaic Japanese used in the original work, Wilson’s translation is perhaps the best I have come across.
Technorati:karate Martial Arts martial-arts Self Defense fighting personal combat kata traditional karate Shorin Ryu Okinawan karate martial arts bunkai Miyamoto Musashi Musashi The Book of Five Rings
Monday, December 14, 2009
A Good Coach
My sensei Pat Nakata will sometimes remark that he does not teach in any of his classes, but everyone is welcome to train with him. Or, he might say something along the lines that he is not a karate teacher, but a coach. I always used to think these were odd things to say. Recently, Sensei has been emphasizing that we be proactive in correcting each other during our training, especially since we have some newer members training with us.
In a typical class, we will normally execute each kata about two or three times. If there are more than three of us, the students will usually rotate out one at a time. This isn’t meant to be a break; the student who is not performing kata is expected to make on-the-spot corrections verbally and/or physically. However, these corrections must be done succinctly and accurately so as not to disrupt the flow of the kata. Just like in a fight, there is no time to “think” and the correction must happen naturally. This requires as much engagement and concentration as performing the kata itself. There is no time for putting things gently or diplomatically, it just has to be done.
This rotation happens regardless of how long people have been training. At the bare minimum, it provides an opportunity to see how it is supposed to be done for those who are still learning the kata. Of course, if some of us are doing kata incorrectly, it can also show how NOT to do it.
I sometimes find myself seeing someone requiring correction, yet have difficulty making the correction quickly or adequately. This usually means I do not understand the technique or concept well enough myself. Then there are other times when I explain something and then Sensei will have to interject and correct some (or all) of what I just got done saying. Either way, it aids in identifying my own weaknesses as well.
With this class setup, not only must I constantly work on improving my own karate, but also the karate of others, which then theoretically should improve my own… and so on. If I “go easy” on others and just let their bad habits slide, I will not be doing anyone any favors. Correcting, watching the corrections of others, receiving corrections and correcting oneself are all necessary to become a good coach. Maybe it’s not that odd after all.
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In a typical class, we will normally execute each kata about two or three times. If there are more than three of us, the students will usually rotate out one at a time. This isn’t meant to be a break; the student who is not performing kata is expected to make on-the-spot corrections verbally and/or physically. However, these corrections must be done succinctly and accurately so as not to disrupt the flow of the kata. Just like in a fight, there is no time to “think” and the correction must happen naturally. This requires as much engagement and concentration as performing the kata itself. There is no time for putting things gently or diplomatically, it just has to be done.
This rotation happens regardless of how long people have been training. At the bare minimum, it provides an opportunity to see how it is supposed to be done for those who are still learning the kata. Of course, if some of us are doing kata incorrectly, it can also show how NOT to do it.
I sometimes find myself seeing someone requiring correction, yet have difficulty making the correction quickly or adequately. This usually means I do not understand the technique or concept well enough myself. Then there are other times when I explain something and then Sensei will have to interject and correct some (or all) of what I just got done saying. Either way, it aids in identifying my own weaknesses as well.
With this class setup, not only must I constantly work on improving my own karate, but also the karate of others, which then theoretically should improve my own… and so on. If I “go easy” on others and just let their bad habits slide, I will not be doing anyone any favors. Correcting, watching the corrections of others, receiving corrections and correcting oneself are all necessary to become a good coach. Maybe it’s not that odd after all.
Technorati: karate Martial Arts martial-arts Self Defense fighting personal combat kata traditional karate Shorin Ryu Okinawan karate martial arts
Sunday, July 19, 2009
Robert "Snaggy" Naoto Inouye
Today we celebrated the life of Robert "Snaggy" Naoto Inouye, one of Sensei's real old-timers who passed away on the 3rd of July, 2009.
Alan Yokota would always speak of his constant coaching, mentoring, and vocal corrections. When Snaggy came back to the dojo to train with us, I finally got to understand what Yokota meant. Like others who have been coached by Snaggy, I still hear his voice while I do my kata, telling me not to go blank, to get my chin up or relax my shoulders or... and the list goes on. His guidance during class and mentoring afterwards had a profound effect on me, so although I am a slow learner, I continue to understand more of his words the more I train.
Last November, he was diagnosed with aggressive kidney cancer. I was still in Iraq at the time so I would occasionally give him a call to see how he was doing. After we filled each other in on what we had been up to, Snaggy would start mentoring and coaching me long-distance, asking me how my training was going and what corrections I had been working on. Even as he battled cancer, his willingness to help others grow in karate was unchanged.
After I got back, we went out to eat at Utage's and were talking story. He told me what he missed the most due to his condition was karate. He said he would literally dream of training and would have given up anything to be able to train once more.
The power of his statement struck me hard. What an important lesson! When you start to lose everything, you gain sight of what is truly important. There are many common variations of that phrase, but Snaggy made me understand its true depth.
While in ICU, Snaggy still never ceased his mentoring. When I visited him, he started off by scolding me, saying he wasn't "make" yet (for you non-Hawaiians, "make" is pidgin for "dead"). And sure enough, even though I was supposed to be there to encourage him and despite his difficulty speaking at the time, he still gave me a pep-talk on my training. That is the kind of fighter, coach, and mentor Snaggy was.
During the funeral reception, we did several kata with a "missing man formation", leaving a space open for him. So in the end, Snaggy's wish was granted and he was training with us once more. Upon returning back to my apartment, I couldn't sit still. I finally had to go down to the dojo and train. Sure enough, Snaggy was there, shouting out his corrections like usual.
You may be gone from this life, Snaggy, but you will always be here training with us. Thank you for everything. Thank you.
Alan Yokota would always speak of his constant coaching, mentoring, and vocal corrections. When Snaggy came back to the dojo to train with us, I finally got to understand what Yokota meant. Like others who have been coached by Snaggy, I still hear his voice while I do my kata, telling me not to go blank, to get my chin up or relax my shoulders or... and the list goes on. His guidance during class and mentoring afterwards had a profound effect on me, so although I am a slow learner, I continue to understand more of his words the more I train.
Last November, he was diagnosed with aggressive kidney cancer. I was still in Iraq at the time so I would occasionally give him a call to see how he was doing. After we filled each other in on what we had been up to, Snaggy would start mentoring and coaching me long-distance, asking me how my training was going and what corrections I had been working on. Even as he battled cancer, his willingness to help others grow in karate was unchanged.
After I got back, we went out to eat at Utage's and were talking story. He told me what he missed the most due to his condition was karate. He said he would literally dream of training and would have given up anything to be able to train once more.
The power of his statement struck me hard. What an important lesson! When you start to lose everything, you gain sight of what is truly important. There are many common variations of that phrase, but Snaggy made me understand its true depth.
While in ICU, Snaggy still never ceased his mentoring. When I visited him, he started off by scolding me, saying he wasn't "make" yet (for you non-Hawaiians, "make" is pidgin for "dead"). And sure enough, even though I was supposed to be there to encourage him and despite his difficulty speaking at the time, he still gave me a pep-talk on my training. That is the kind of fighter, coach, and mentor Snaggy was.
During the funeral reception, we did several kata with a "missing man formation", leaving a space open for him. So in the end, Snaggy's wish was granted and he was training with us once more. Upon returning back to my apartment, I couldn't sit still. I finally had to go down to the dojo and train. Sure enough, Snaggy was there, shouting out his corrections like usual.
You may be gone from this life, Snaggy, but you will always be here training with us. Thank you for everything. Thank you.
Monday, May 25, 2009
Chibana Chosin's Kata Curriculum
Chibana Sensei consulted with Itosu Sensei about which kata he should use for his teaching curriculum. Chibana Sensei was concerned that a limited amount of kata would limit one's versatility, while a large amount of kata would not allow one to work on refinement. Itosu Sensei told him to use the core Shorin kata, listed below. After watching Chibana Sensei perform the Matsumura Patsai, Itosu Sensei instructed him to retain this kata as "Patsai Dai", while the Itosu Patsai would be taught as "Patsai Sho". In addition to the three kihon kata developed later by Chibana Sensei, the Chibana core curriculum became as follows:
Kihon Shodan, Kihon Nidan, Kihon Sandan
Naihanchi Shodan, Naihanchi Nidan, Naihanchi Sandan
Pinan Shodan, Pinan Nidan, Pinan Sandan, Pinan Yondan, Pinan Godan
Patsai Sho, Patsai Dai
Kusanku Sho, Kusanku Dai
Chinto
When discussing Chibana Shorin Ryu karate, questions about the Gojushiho kata sometimes arise. If a student wished to learn Gojushiho, Chibana Sensei would normally refer them to Nakazato Sensei, although Nakata Sensei was able to learn the Itosu Gojushiho from Chibana Sensei. However, this was not considered a core Shorin kata and thus not part of the standard curriculum.
The Patsai Gwa kata (gwa being the Okinawan equivalent of sho, the "lesser" kata), is said to have been created by Itosu Sensei and popularized by Tokuda Anbun Sensei. Chibana Sensei did maintain that there were no Sho and Dai versions of the Patsai until Itosu Sensei instructed him to retain the Matsumura Patsai as Patsai Dai and the Itosu Patsai as Patsai Sho. Patsai Gwa was left out.
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Kihon Shodan, Kihon Nidan, Kihon Sandan
Naihanchi Shodan, Naihanchi Nidan, Naihanchi Sandan
Pinan Shodan, Pinan Nidan, Pinan Sandan, Pinan Yondan, Pinan Godan
Patsai Sho, Patsai Dai
Kusanku Sho, Kusanku Dai
Chinto
When discussing Chibana Shorin Ryu karate, questions about the Gojushiho kata sometimes arise. If a student wished to learn Gojushiho, Chibana Sensei would normally refer them to Nakazato Sensei, although Nakata Sensei was able to learn the Itosu Gojushiho from Chibana Sensei. However, this was not considered a core Shorin kata and thus not part of the standard curriculum.
The Patsai Gwa kata (gwa being the Okinawan equivalent of sho, the "lesser" kata), is said to have been created by Itosu Sensei and popularized by Tokuda Anbun Sensei. Chibana Sensei did maintain that there were no Sho and Dai versions of the Patsai until Itosu Sensei instructed him to retain the Matsumura Patsai as Patsai Dai and the Itosu Patsai as Patsai Sho. Patsai Gwa was left out.
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Tuesday, April 28, 2009
Present State of Training
Well, I'm still alive. I returned to Hawaii a week ago after an extended stay away from the island. With far more free time now, I find myself contemplating the state of my training over the past 8 months while I was gone. While I did train fairly consistently (I like to think I kept my priorities in order), the level of concentration and focus on refining was not what it should have been for various reasons, some of which have merit, but I suppose they ultimately become just excuses when viewed objectively.
Sensei and I were talking story after practice when he made the comment that I had "gone off on a few tangents", referring to several bad habits I picked up since he last saw me. Then he made a fairly insightful comment for me, remarking that at this stage of development, most of us tend to execute the kata using kimochi, or feeling, so if our execution is wrong, then our feeling of how the technique is executed must also be wrong.
Some of this incorrect execution probably stems from "getting away with it" in the past; in other words, I might have been performing those movements somewhat correctly on the surface, but bad habits emerged because I did not truly internalize proper execution and feeling. This calls to mind the ever apt phrase, "You must consciously develop good habits or you will unconsciously develop bad ones" I hear so often in the dojo. Getting locked in a comfort zone will make it all too easy to turn what used to be an occasional mistake into a bad habit. At this stage, you start to actively try and achieve a certain feeling when executing a movement, but that feeling is your body telling you NOT to do it like that...
While unfortunate they happened in the first place, these tangents provide context for me as I concentrate on my corrections and more importantly, what I should be doing rather than merely trying to avoid mistakes. If anything, I am far more conscious of those movements on which I have had corrections made. At this time, I can't help but recall Snaggy's warnings in the past against relying solely on feeling without understanding the technical side. He has always told me that there must be absolute concentration on proper execution before one can rely on feeling. As always, the fine balance between "learning karate with your body" and staying cognizant of what you're actually doing by staying in the moment is essential. Gravitate to one extreme with a slack mind and your techniques will be sloppy and ineffective; gravitate to the other with a constricted mind and you become far too rigid and can't apply techniques in a practical manner.
As usual in the end, whether you can execute correctly from the beginning or have to make mistakes first and have them corrected, you have to train first.
Technorati: karate Martial Arts martial-arts Self Defense fighting personal combat kata traditional karate Shorin Ryu Okinawan karate martial arts
Sensei and I were talking story after practice when he made the comment that I had "gone off on a few tangents", referring to several bad habits I picked up since he last saw me. Then he made a fairly insightful comment for me, remarking that at this stage of development, most of us tend to execute the kata using kimochi, or feeling, so if our execution is wrong, then our feeling of how the technique is executed must also be wrong.
Some of this incorrect execution probably stems from "getting away with it" in the past; in other words, I might have been performing those movements somewhat correctly on the surface, but bad habits emerged because I did not truly internalize proper execution and feeling. This calls to mind the ever apt phrase, "You must consciously develop good habits or you will unconsciously develop bad ones" I hear so often in the dojo. Getting locked in a comfort zone will make it all too easy to turn what used to be an occasional mistake into a bad habit. At this stage, you start to actively try and achieve a certain feeling when executing a movement, but that feeling is your body telling you NOT to do it like that...
While unfortunate they happened in the first place, these tangents provide context for me as I concentrate on my corrections and more importantly, what I should be doing rather than merely trying to avoid mistakes. If anything, I am far more conscious of those movements on which I have had corrections made. At this time, I can't help but recall Snaggy's warnings in the past against relying solely on feeling without understanding the technical side. He has always told me that there must be absolute concentration on proper execution before one can rely on feeling. As always, the fine balance between "learning karate with your body" and staying cognizant of what you're actually doing by staying in the moment is essential. Gravitate to one extreme with a slack mind and your techniques will be sloppy and ineffective; gravitate to the other with a constricted mind and you become far too rigid and can't apply techniques in a practical manner.
As usual in the end, whether you can execute correctly from the beginning or have to make mistakes first and have them corrected, you have to train first.
Technorati: karate Martial Arts martial-arts Self Defense fighting personal combat kata traditional karate Shorin Ryu Okinawan karate martial arts
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