Friday, July 27, 2012

Just Kidding

The kids just fooling around at schools end. 

Tuesday, July 24, 2012

Friday, July 20, 2012

Force Enhancement Supplemental Training

One of Karate secrets in the Force Enhancement in supplemental Training

Differing systems focus on different paths, all designed to enhance the student’s abilities. It is safe to assume this takes time and consistency. A crucial piece besides constancy in training is that there is appropriately directed training. The instructor should both introduce the study and monitor its progress.

Foremost in these options is the makiwara.Caable of being used for more that a punching tool. One imagines Shimabuku Tatsuo using it for his favorite strike the punch then enpi strike,

A different use of the makiwara comes from Uchchi ryu which uses the makiwara for its thumb strikes and different hand strikes at or at

Abother training tool is related by Charles Murray recountings his training with Shimabuku Shinso where he developed nukite striking againwt a wall mounted box covered with a tires inner tube.This wasfor conditionins hix fingehs for striking.

Hiroshi Kinjo, a student of Itosu Anko, demonstrating the traditional training devices found on Okinawa at

Here in the states a cut tire is also used for toe conditioning. Other Okinawan Ueichi Ryu toe conditioning as seen in this ideo

Essentially supplemental training enhances the adepts ability.

Tuesday, July 17, 2012

Rembering the past decade

Black Belt Class 10.04.2002

Take a class from the past a learn anew.

I focused on lower body development today, especially as a tool in application analysis.

First we ran Fukyugata Sho, concentrating on the lower body, compressing our step into the centerline and then exploding out from same.

Then, to force one to concentrate on that, I overloaded the upper body response.

In that we changed the techniques being executed on each movement as follows.

1. The low block became a multiple combination, Left Low Block, Right punch, Left Low Block.

2. The lunge punch became a multiple combination. Right Lunge Punch. Left High Block, Right Lunge Punch.

3. The high block became a multiple combination. Right high block, Left Punch, Right High Block.

4. The reverse punch became a multiple combination, Right Reverse Punch, Left Outer Block, Right Reverse Punch

5. The rising punch became a multiple combination, Right Rising Punch, Left Inner Block, Right Rising Punch

Substituting each Sho technique with a combination movement.

This became very complex for the trainees, yet as time passes, the use of the lower body to explode into each series becomes more evident.

Then we worked on SunNuSu kata.

Keeping the use of the lower body an underlying theme, I then undertook a training concept of reverse stepping (a name which I change from time to time, I really haven’t figured out the best handle for this yet) shared by a friend with a Kishiba Juku background.

The reverse stepping allows you begin a step into the centerline, and finish it with the reverse step of the other foot away from the centerline.

Hence for Left Foot Forward, left side block (beginning Seisan) instead your left foot steps into the centerline (first ½ of the crescent step) but your right foot steps back from the centerline, ending in left foot forward Seisan.

When you apply this to all of a kata’s movements, your kata tends to be done in one spot, but you’re still selling each technique with traditional focus.

In application, its very easy to get mixed up, as you’re crossing the spheres of dominance of the brain hemisphere, yet it gives one great tactical advantage.

Most applications we either move in, or we move away. This allows us to shift to the center, and choose which is most expeditious, yet be somewhat confusing for the attacker.

To apply this I took the 3rd Elbow strike from SunNuSu kata, where you shuffle forward with the inner horizontal elbow strike.

Here is how I used this stepping for application.

The attacker is grabbing your right arm (around the biceps) with their left arm as they begin to punch to your head with their right. A good grab and punch attack.

1. As they’re punching with their right, as in the kata movement, I’m drawing my right foot alongside my left, as my left hand slaps across, moving their punch across my center away from me. My left hand then grasps their grabbing wrist, while my right hand just slightly touches their lower abdomen.

2. The lower abdomen touch is to draw their thought away from you, so they ask why am I being touched down there (a concept which originated in my studies with Sherman Harrill).

3. Using the reverse stepping I explode back with my left foot into right foot forward Seisan stance.

4. As that happens, my left hand locks on their wrist/hand and pulls back to chamber. [This movement will explode their wrist over (counter-clockwise) and yank them forward and is the primary counter.

5. My right elbow strike actually just lays across their forearm, the touch helping pin the lock.

6. This is not a finishing technique, but simply opens the attacker up for the appropriate strike or kick to complete their finish.

The above is much easier to say than to do. It’s not easy (at first) to step in and then step away. Easier to do running Seisan, much more difficult against the pressure of a partner.

But this provides strategic advantages. Depending on the left hand of the person, is it empty or holding a weapon for a 2nd strike. Does their hand slide back when I parry the punch, or is it ready for a 2nd punch.

Strategically sometimes I want to go in, sometimes I want to pull back, and sometimes I want to use the reverse step capability to give myself maximum choice in technique.

Drawing on a different attack, say an opponent grabbing your left hand (or arm) with their left hand and still preparing to strike your head with your right. I employ the opening of Seisan as follows:

1. Step into my centerline with my left foot.

2. Explode back with my right foot (often pivoting on my left to cross their grab with a 20 degree angle by my centerline) and finish in left seisan stance with a left side block. This turns their arm over.

3. a. One version is to immediately strike the best target, ribs, triceps or the side of their left leg

4. b. Another version is my left hand opens and turns over counter-clockwise, grabs their arm and pulls quickly back to chamber as you strike, drawing them forward.

I also explored options for the opening double rising blocks in Seiunchin Kata, and the closing Mawashi Uke from Sanchin (which is already using some of this movment, but which we normally practice moving inward against an attack.

It isn’t necessary (IMO) to master this with every technique. But say taking your best 3 or 4 applications and add this layer of choice, you can then offer more strategic application of these techniques. Your response then isn’t as patterned, but more three-dimensional.

Sunday, July 1, 2012

Black Belt Kicking Exercises

While walking this morning some favorite black belt kicking exercises came to mind.

Attacker Right Foot forward Right Punch

1. Right foot steps forward Hooking around attackers right heel.

2. Right swing kicking the direction attacker is stepping

(See how good their splits are)

Attacker Right Foot forward Right Punch

1. Right front kick to their left thigh

2. Right cross Slice kick to their right knee (from naifanchi)

Attacker Right Foot forward Right Punch

1. Step left outside of their attack

2. Sweep the left foot forward cutting their leg out

Attacker Left Foot forward Left Hooking Punch

1. Right crescent step behind their left foot sweeping it out

2. Right crescent step into their right foot (or right ankle)

3. (alternate) Right shin kicks into their right thigh (trom tjimande)

4. )alternate) Right front kick into their groin

Attacker Right Foot forward Right Punch

1. Step out with the right foot forcefully to break their foot

2. Execute U strike (borrowed from Mutsu passai description)

Attacker Right Foot forward Right Punch

1. Step left with a left downward parry

2. Right crescent step past their right foot

3. Spin counter-clockwise with your left foot and take them down

4. Follow them to the floor and right front kick their face

(borrowed from a demonstration by Ernest Rothrock)

Attacker Right Foot forward Right Punch

1. Right roundhouse (squat) kick to the left side of their body

2. Continue with a right stomp kick their right knee

Attacker Right Foot forward Right Punch

1. Right roundhouse dick to left their side

2. Left spinning back kick to their solar plexus

3. Right spinning outside crescent kick to their head

Attacker Right Foot forward Right Punch

1. Step left outside their attack with a left parry to keep their attack away

2. Right crescent step past the attacker

3. Right heel reverse strike into their groin