An example of One Breathing Pattern
I
had (and still have) a student 35 years ago who would not breathe performing
kata. He would get redder, and redder as he performed his kata. He was so focused
on rembering the movements that he would forget to breath. Constantly he was
reminded to just breathe as he practiced his kata. It took years, but
eventually he got it.
Any
system of martial art (and any other human endeavor) has breathing at its core,
but it is so fundamental that many times people don’t recognize it is there.
This
is not as simple a topic as Sanchin breathing is the answer. I know great practitioners
who do not use Sanchin in their practice.
There is not one answer.
And
in effect you cannot increase your performance by switching back and forth
between methods. That does not mean there is no value discussing them, but the
discussion must be tempered with reason, as you consider what can be gained.
I
can think of about 10 or so different breathing practices I have encountered
over the years. In each of those practices there are great technicians using
them to effect.
At
the core, in connection with form practice you might consider technique
sequences define inter and intra breathing practices. Using the opening of
Seisan kata (Isshinryu version) as a starting point, Inter technique sequence
breath can be used to control the speed of a kata. Where intar technique sequence
breath can be used to control the speed of a technique series (one movement, or
a sequence of movements done as one movement.
So
here is a sample analysis:
1.
(Inhale),
Left foot forward Left side block (exhale), (inhale), right reverse punch
(exhale)
2.
Left
foot forward left side block (inhale), right reverse punch (exhale)
3.
(Inhale),Left
foot forward left side block, right reverse punch (exhale)
4.
(Exhale),
Left foot forward left side block, right reverse punch (one continuous inhalation)
5.
----
(Exhale) Left foot forward left side block, right reverse punch; Right foot
forward, left reverse punch; left fot forward, right reverse punch (all on one continuous
inhale sequence)
This
gives the basic idea. Whatever the pattern chosen, under black belt performance
there is no reason to consider another choice. Instead continual improvement
using the first choice is the goal.
Where
there are strategic reasons to consider other breathing patterns, their use
becomes a permanent shift in one’s training at that choice. Which is why those
who are making those choices in their personal training , are not good choices
for training beginners at this stage of their training.
Example:
One system I know does not alter the breathing pattern until 3rd
Dan, and then it is a change for lifetime practice. Switching from normal
breathing to reverse breathing in the practice, the purpose to confuse the opponent,
who are timed subconsciously to react one way on hearing an inhalation, and not
expecting quite the opposite performance.
Another
example of reverse breathing is found in tai chi practice, but the systems that
choose to use this do not change back and forth no matter which practice they
use.
Consistent
practice, it can be altered, imo, but once chosen it has to become standard
practice to become effective. For when you are in conditions extremis, you can’t
choose, it has to be natural or you are dead.
A
different aspect of breathing is that some techniques perform best with inhalation
and some with exhalation. It does not have to be steady state.
A
movement like the heaven and earth throw of Aikido, works better in inhalation allowing
you to adhere to the opponent, when you are taking control of their center and
making the technique work. That does not mean exhalation won’t work, but it
works differently. This is where you have to explore the potential use of
different breath patterns.
When
you consider technique sequences you control what they mean for you. When done
with one continuous inhalation or exhalation the series can be performed faster
and faster. One of the systems I know uses this in one kata taking a long
sequence of movements and performing them very fast with one contioious
breathing pattern. Taking a breath in the middle of the series, would slow your
technique.
The
possibilities of breath are greater than what I have experienced. It is a
serious topic, For with breath there is life.
2 comments:
One tool useful for Black Belt study into breathing patterns, is a simpler form like Fukyugata Sho. The simplicity of the forms structure makes it easier to attempt different breathing patterns and seeing how they alter your performance. Then this exploration can allow one to consider new ways to choose to alter personal performance.
I worked out my own methodology with my own effort and my students over a very long time.
I was taught just a standard Isshinryu breathing when I learned the system.
Then I studied Yang Long Fist T’ai Chi Chaun under Ernest Rothrock, a major part of the instruction was the necessity of the breath control with the technique practice. For the T’ai Chi was I was taught was for a very specific purpose, but that did sensitize me to the necessity of breathing in all activities.
Later independent study on Tai Chi, I learned of systems that incorporated Reverse Breathing, but that was the way they were trained from the beginning. And no explanation as to why that was so.
Then another extremely skilled Senior Instructor made me aware of a number of methods which changed at 3rd dan in his students studied. One of them was switching over to reverse breathing all the time. Where for years they practiced standard breathing in their karate, then it was abandoned at that later stage.
Outside of the changes at 3rd dan, he never explained why it was changed. That was enough to begin a more indepth study of what was behind such a change. I was not trained in that methodology, just having the change explained. I had never heard of anyone doing that.
Over time I explored the rational behind that change, thinking that might have been one component behind his explosive technique, especially when I saw him compete in kumite (interestingly his students never had kumite as part of their training at any level). I began to realize how we cue when the other opponent might move off of our listening to their breathing then working out that a change to breathing might confuse an opponent listening as they did not understand that it was changed. My studies never went beyond that theoretical exercise.
Then more aware of what breathing patterns could mean I began to explore that potential further.
Taking a very simple kata, I began to work on a wide variety of breathing patterns, exploring what those changes could mean. I never shared this with kyu students (they had more than enough to work on) but this became a portion of my dan’s studies. Understanding that such changes could be used to one’s advantages.
And then after exploring those breath changes with a simple kata, one could move into further study with all their forms.
Along the way my experiments noticed many things. Among them how specific breathing enhanced specific techniques, and other breathing made those same techniques more difficult.
I did not dictate an answer. Every black belt having undergone the training was free to follow their own choices, but at least their choices would be made with experience as to what other possibilities did exist.
I posted this on my blog to assist my students to recall that training.
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