The study of karate takes place on the dojo floor, or the spot outside where true training occurs. Karate does not have a vast tradition of sharing the strategy and tactics to make the training work in conditions extremis. For the most part it probably consists of oral tradition shared between instructor and student, and tactics studied on the dojo floor.
With the exception of the Bubishi (which is of Chinese origin) and a small selection of various instructors concepts, there is not consistent body of knowledge to consult.
Allow me to quote from “The Sword & The Mind” written by Yagyu Munenori translated by Hiroaki Sato, Published by Overlok Press in 1985.
A brilliant collection of Japanese sword lore, on the tactics involved. While written for the sword, the principles apply to all confrontation.
Consider in all things there is a first move, an opening. Or the passage that follows beginning from page 68 in the aforementioned work.
“Understanding the Startup Rhythm”.
In dancing or in chanting, if the performer doesn’t know the startup rhythm, accompanying him will be impossible. In swordmanship, too, there is something like a startup rhythm. You must correctly grasp how your opponent may use his sword and what tactics he may employ in order to see his ultimate intention. When you do, you are like a ‘No’ dancer or chanter who is well acquainted with the startup rhythm. Once you know your opponent’s moves and behavior well, you can work on him freely.
Six Approaches
1. Strike back as the opponent strikes.
2. A difference of three inches.
[Mitsuyoshi; “When two combatants face each other with swords crossed, the victory is said to be with the one who manages to move his sword forward thre inches ahead of the other.”] {victor smith – this does resemble the technique of Motobu Chokoi. Watch the following video http://www.youtube.com/watch?v=fmUEDqqj8hQ at exactly 3:50 you’ll see the crossed arms before a contest, straight out of Motobu’s own book.)]
3. Steal within a distance equal to the opponent’s height.
4. Mark the opponent’s elbows when he olds his sword in the upper position.
5. When a ‘wheeling’ moves is employed, mark that part of the sword grip between the two fists holding it.
6. A distance of three feet. [Mitsuyoshi: “You must concentrate on moving close to your opponent so that the distance between the tip of your forward foot and that of his is three feet or less……If it is further thatn three feet, you won’t be able to strike your opponent with your sword."]
These six approaches must be learned and explained orally in actual exercises with oyour master. So they are not detailed in writing.
If despite your initial feints and double-dealing, your opponent remains unalarmed and sticks to his waiting stance without making the first assault, you must steal within the three-foot distance, and move close to your opponent. When, when he cannot contain himself any longer but takes an attack stance, allow him to make the first strike, and while he is doing so strike him. Unless your opponent strikes first, you will not be able to win. And unless you learn not to receive a hit when your opponent strikes, you cannot allow him to strike at you. You must train hard to master these things so that you may fearlessly move close to your opponent, have him strike at you, and win. This is the attitude known as sen-sen (initiative above all).
Four Other Approaches
1. Taikyoku, or “great deception,” [Mitsuyoshi explains that kyoku, deception, is a technique of winning that lures the opponent to strike frist by showing an apparent weakness.] along with “initial’ moves’. To be orally transmitted.
2. Zanshin, or “maintaining presence of mind at all times.” Applicable in both ken and tai stances. [ken – attack stance, tai – waiting stance] To be orally transmitted.
3. Dodging the short sword by a foot and five inches. [a “foot and five inches” refers to the width of the shoulders but the meaning of the phrase is not clear.]
4. Ken-Tai in taking an initiative. Remember to hold your body in an attack position, your sword in a waiting position.
Not one of these can be mastered without having it explained in actual exercises with our master. These approaches are difficult to explain in writing.
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Yagyu Munenori lived from 1571 to 1646. These words to back over 300 years but they remain relevant in today’s studies. I have experienced them on the floor with my own instructors and agree they must be lived not read. Still they point towards an important level in our arts.
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