Black Belt Kicking Drills - Amended

I originally developed these Black Belt kicking drills to enhance Black Belt potential. I’m adding some other drills, and addition descriptions to make them more comprehensible. Most often the principle is to destroy the attacker’s base. I am not focusing on hands potentials in these drills but the use of the lower body.

For each line of attack the outside is the exterior line of defense and inside is the interior line of defense.


Exterior line of defense

Attacker Right Foot forward Right Punch

1. Right foot steps forward Hooking around attacker’s right heel.

2. Right front kick into their left supporting leg


Interior line of defense

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 as you boost their leg to he sky.)


Interior line of defense

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)


Exterior line of defense

Attacker Right Foot forward Right Punch

1. Step left outside of their attack

2. Sweep the left foot forward as you turn to cutt their leg out



Interior line of defense

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 (from tjimande)

4. (alternate) Right front kick into their groin


Interior line of defense

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’s description of Patsai kata in 1934)


Exterior line of defense

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

(a leg entanglement technique borrowed from a demonstration by Ernest Rothrock)



Interior line of defense

Attacker Right Foot forward Right Punch

1. Right roundhouse kick to their left side

2. Left spinning back kick to their solar plexus

3. Right spinning outside crescent kick to their head

4. (Alternate) Right hook kick to their head

The turning back kick is to set up the following kick



Exterior line of defense

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

An unexpected groin strike from the rear

John Kerker again at Clarence Whitley's in Chicopee

It wouldn't be October if I didn't have a chance to visit Mr. Whitley's beautiful dojo and attend Jouh Kerkr's annual clinic. You know what makes a beautiful dojo. the people!

A sample of the action!

The whole group at thc clinic.

Here is John an me. I'm the thin one on the left. if you can't tell.

 If you don't attend one of John's clinics you are missing a lot of knowledge.

Block Left or Block Right

While I do not have a special favorite kata (this minute), I do favorite technique performed in a natural fashion, the circular block/strike. Following the lessons from the late Sherman Harrill and exploring every potential use, I offer the following analysis

Below are some basic drills to safely begin their study. More advanced understanding of their potential comes from the senior instructors. This is to promote safer practice and provide the material when the students control develops. This is dan level study.

The use of the lower body is not being addressed with these drills.

Block Left – the blocking action is to the left of one’s centerline.

Block Left

The attacker RFF with a Right Strike.

1. Step RFF (interior line of defense)(angling your center across their strike about 20 degrees), and parry to the left with your right palm (just before their elbow).

1.a. Your left open hand rises to the front of your right shoulder.

2. Then parry out with your left palm (also just before their elbow).

3. Execute a right rolling back hand strike into the side of their neck.

4. Then the left hand slips up to press into their shoulder from behind, and you trow a right rising elbow strike into their shoulder.

And by just changing the angle, this is the rolling backfist strike at Seiunchin Kata ending (all versions), just with a different angle of execution. The palm strikes are done with 'mumichi' or a sticky flowing movement to press out and redirect their strike.

This technique really flows through a strike.

If the attacker is LFF with a Left Strike.

1. Step RFF (exterior line of defense)(angling your center across their strike about 20 degrees), and parry to the left with your right palm (just behind their elbow).

1.a.Your left open hand rises to the front of your right shoulder.

2. Step further forward and the left palm strikes into their face with a flowing to movement, turning their head clockwise and becoming a forced takedown.

The key to both of these movements rests on setp 1.a. where the left hand rises to the shoulder, otherwise it will never get there in time.


Block Left Extended

If the attacker is LFF with a Left Strike.

1. Step RFF (exterior line of defense)(angling your center across their strike about 20 degrees), and parry to the left with your right palm (just behind their elbow).

1.a Your left open hand rises to the front of your right shoulder.

2. Step further forward and the left palm strikes into their face with a flowing sticky movement, turning their head and becoming a forced takedown.

3. Your left open palm presses into the jaw to rotate their head counter-clockwise, as your right elbow strikes to the rear of their neck.

4. The right open hand rolls out and presses the palm out and down clockwise) and across the attackers neck, for a forced takedown.


Block Right – the blocking action is to the right of one’s centerline.

Block Right

If the attacker is LFF with a Left Strike.

1. RFF (interior line of defense) with a left rising back palm deflection parry as it rolls back to your shoulder.

2. Then use a right rising back palm deflection parry as it rolls back towards the shoulder.

3. Slide forward, the left hand presses in on their chest (and/or right arm) as you throw a rising right elbow strike to the side of the opponent’s rib cage.



Block Right Extended

If the attacker is LFF with a Left Strike.

1. RFF (interior line of defense) with a left rising back palm deflection parry it rolls back to your shoulder.

2. Then use a right rising back palm deflection parry as it rolls back towards the shoulder.

If the attacker then launches a Right strike

3. Use your left to slice down into their right strike with a low block.

4. Slide forward, the left hand presses in on their chest (and/or right arm) as throw a rising right elbow strike to the side of the opponent’s rib cage.

If the attacker is RFF with a Right Strike

1. RFF (exterior line of defense) with a left palm deflection parry as it rolls back to your shoulder.

2. Then use a right rising back palm deflection parry as it rolls back towards the shoulder.

3. Right arm folds into a rising elbow strike into their ribs

Block Right Extended

If the attacker is RFF with a Right Strike

1. RFF (exterior line of defense) with a left rising and then descending palm deflection parry as it rolls back to your shoulder.

2. Continue RFF but angle to the right and then use a right rising back palm to roll across their arm and in turn reach down to their left hip, as if to touch

it. The left hand flows to their back.

3. Right arm folds into a rising elbow strike into their face. The right forearm moves the face to rotate clockwise, and the left hand is placed behind their neck.

Strike Left – Instead of blocking to the left side – Strike

Strike Left

Attacker RFF Right Punch

Rght cross hand parry at the wrist

1.a. Left hand is on the top to the right shoulder

RFF as left open hand reaches out to flow across the attackers eyes, moving their head clockwise.


Strike Right – Instead of blocking to the right side – Strike

Attacker LFF Left Punch

Left cross hand parry at their wrist
Right hand reaches out and flows across their eyes rotating their neck clockwise.

Alternate

Left cross parry parry at their wrist

Attacker right punch

2. Right hand reaches out and flows across their striking arm, redirecting their strike back to their face


Classical Indonesian Method

Attacker RFF Right Punch

LFF Right cross parry to wrist

1.a. Left hand is on the top to the right shoulder

2. Left open hand reaches out to flow across the attackers eyes, moving their head clockwise.

3. RFF as left hand flows down behind their shoulder and right elbow strike (tip) across their chest (striking the rear hand with the body in between.

4. Follow with a right rising elbow strike to the upper chest

5. Rt hacksaw across and behind their neck with the right hand

6. Spiraling takedown, the right goes around the neck and comes out to the front behind.

7. As they rotate the head in (clockwise) the left hand hooks their right elbow and uses a circular throw to take them down.

8. Complete as their twisted by dropping down into horse stance, and press into their neck and rotate their arm the opposite turning direction, cranking them into a locking technique.

Difference between two hand technique and double hand technique.

Two hand technique is a one-two technique.

Double hand technique reaches both hands out simultaneously.

Double hand technique

Attacker RFF Right Punch

RFF turn left and both hand reach over the arm and pull back.

As this happens the right tip of the elbow impales their chest simultaneously.

There is much more potential here.

A Saturday Morning in New Hampshire Outside

Saturday morning, a very special time to me. No students so I don’t have to teach, I moved the Sat. class to Thursdays, so all I have to do is think about myself.

Today a real lack or balance, so the most difficult practices first.

Open with Isshinaru Sunsu Kata. For Isshiryu the most important practice allowing us to share Shimabuku Tatsuo’s thoughts. Then to Bando staff, the Horseman’s Form, a challenge with its turns. I’ve been doing it with a 7 foot bamboo pole cut from a stand of bamboo in my father’s yard. I need the lighter weight and the increases length is a challenge from a bo. Next the Bando Stick form. The Hidden Stick. Again a challenge with its tuns. Then the middle Isshinryu Naifanchi kata and Isshinryu Wansu kata. Sent time working the different variations. Then Isshinryu Seiasn kata. Finally Tomari No Rohai kata and Arakaki No Sochin kata and close with Isshiryu Sanchin kata.

A varied workout this morning.

Finally in the cool crisp fall air donned my gloves and went for a 4 mile walk. The leaves are falling (and I’m starting to rake, abet poorly. I really went for a long one for me this time.

The walk is good for my diabetes weight control (I’m now at 215 lighter than most of you have ever seen me) and good for my heart. Gives one time to absorb nature’s changes and think.

I sent the time after a while thinking on my favorite kata. In Isshinryu I no longer have a favorite as I have begun to understand all of their potential. I have favorite techniques but that’s another day. In addition to my Isshinryu I have my favorites.

Top of my list is the unique Sutrisno No Gojushiho kata. With it is the SutrisnoNo Nijushiho kata. Then Goju’s Seipai kata (which I consider a study in turns with Chinto kata), Aragaki No Sochin kata, Tomari No Rohai kata, Ueichi No Seisan kata and Ueichi No Sanchin kata complete my favorites.

Tomorrow I’ll focus on my self study re-learning Chinese Tam Tui and Yang Tai Chi Chaun and Sword.

Have to keep pushing so I don’t let the ongoing disability get me down.

The Applications Unlimited Toolbox

An older post.

Some thoughts on Applicatiions possibilities. These are concepts I regularly refer to, and have been trained in their usage. All of which I consider for any Applicatiions analysis. Perhaps some of which you will find of merit. As always any additional suggestions are appreciated.

Tool 1, Range of Applications

Applications can be how a section of a kata is applied against a specific attack.
Applications can be how a section of a kata is applied against various attacks.
Applications can be how a piece of a kata technique can be applied against a specific attack.
Applications can be how a piece of a kata technique can be applied against various attacks.
Applications can be direct use of said technique to strike into the opponent, and study where and how to strike effectively.
Applications can be direct use of said technique to lock the opponent.
Applications can be direct use of said technique to down the opponent.



Applications can be any combination of the above, together and in any direction with correct body shifting (whether present in the kata or not.)

Tool 2, Lower body Usage

The use of the lower body in a technique need to be carefully explored. The leg movement can be used to trap or sweep the opponent. Most importantly, it needs to be properly combined with the upper body. Our eyes, often control most of our learning process, and the hands and arms being closer to the eyes, tend to get our interest most frequently. But a careful analysis of most systems will find that the use of the lower body is an important part of the application.

step can step on a foot, or in front of or behind a foot. These movements can trap the leg allowing more effective striking, locking or takedowns. A step can always be an opening for a kicking technique, following the motion of the step itself. Traditional technique sequences can always be concluded with the next stepping motion from the kata. In most instances, this will a takedown, too.



Tool 3, Multiple Striking

The addition of multiple striking can be considered. This is primarily an outgrowth of my time with Tris Sutrisno and his family In reality it is also present in out arts if you look for it. Shotokan/tjimande/aikido studies. The opening strike is turned into another strike. If practiced it allows layering strikes.

I believe the reason this was developed was to try to break through the body's defenses. If struck, an individual can harden their body's musculature and alignment to take the shot, in effect strike back with their body itself. On the other hand after struck, the body automatically returns to softness. Multiple, layered striking uses the first strike to confuse the body and the second strike is the one which penetrates. I believe this is a possible answer why Isshinryu has a series of techniques which involve 5 punches into the abdominal area of an attacker.

The following examples of multiple striking all require practice and perfection. There is no shortcut for anything to work.

Upper Body Multiple Striking Possibilities

1. Beginning with the outer palm blade strike I used in connection with the Applicatiions of the 3rd technique in Gojushiho Kata, once the palm blade strike scores with its slice, the hand can then snap rotate into a palm strike into the same spot.

2. A punch can be immediately followed by a vertical palm srtike. From the punching hand the wrist can rotate either clockwise, or counter-clockwise either of which leave the standing palm strike 3. Spear hand can be immediately followed by a punch with the same hand.

3. The lead finger spear hand can be followed with a vertical palm strike.

4. It was previously mentioned on this list that a vertical palm strike may be followed by an index finger strike.

5. A replacement for the outer knife hand blocks (strikes). Instead do an outer middle ridge hand block, and upon contact, roll the hand over for a second short shuto strike. This can be a prelude to a grab.

6 Six Count striking Principles, any of which layer into kata Applications too.

a. The punch is followed by a backfist strike

b. The Backfist strike is followed by a descending palm strike

c. The Descending palm strike if followed by an ascending forearm strike

d. The ascending forearm strike is followed by a throat or eye grabbing technique.

Lower body multiple Striking Possibilities

1. A right front kick (into the attackers left thigh, becomes a right cutting kick (with the first kick's snap back) into the attackers left knee (from behind).

2. A right roundhouse kick into the floating ribs flows into a right stomp kick into the attackers knees

3. A right front kick into the attackers knee is followed by a right side kick into the attackers left thigh.

Tool 4, Kakushite - Additional Techniques

There is also a tradition in Okinawa Kata Applicatiions, of Kakushite. I've seen this take two forms. First where an additional technique, directly not in the kata, is added to the bukai of that sequence. The second is where entire technique sequences are added. For example I know of one version of Chinto kata, which has been expanded to add at least one additional technique to every movement of the Kyan based Chito problem. With this being done, the entire form takes on additional Applicatiions potential.

Well, I've expounded a bit. As aways I hope this is helpful

Itosu’s 10 lesson’s of Toudi

Itosu Anko

I was recently reading Itosu’s 10 lesson’s of Toudi in Mario McKenna’s translation of Nakasone’s “An Overview of Karate-do”. While I am not in Itosu’s lineage as an instructor of the young for nearly 40 years listening to the man who originated teaching the young seem like a good idea. While taking my daily walk and thinking on his words, it strikes me how differently we see Karate instruction today.

For one thing he makes the statement Karate is not to be studied for health reasons, though correct practice will help one’s health. The only reason to train is to develop the courage to protect ones parents and instructor. If attacked karate should only be used to deflect an attack not to inflict punishment.

Obviously Itosu didn’t speak for all instructors, but he did initiate the modern instruction of youth. It does address how different Okinawa was from today’s world. That Okinawa wasn’t truly a dangerous place even though violence can happen anyplace.

He didn’t state Toudi should be simplified, rather one should train vigorously. That art contained entering, deflecting, releasing and seizing in addition to striking. And that it required a lifetime of dedication. His vision saw everyone participating and that it would benefit military preparation. The benefit to health was a byproduct for training.

I do think it suggests the place we should hold our training today.

He explained, Toudi, or karate, held a role in society to develop the individual to protect the family to my way of thinking, Not for promoting health or self defense, Rather the parents, and by extension the family was the goal. A society that doesn’t promote the family is on its way to being lost.

That does not mean everyone should do karate, though that be an admirable idea.n Better to encourage the members to follow their own dreams, where ever they may be.

Rather the karate-ka should be conscious of their role protecting their own. The dojo should not be a place to hide and run away from one’s role. It should encourage and support the member’s family roles.

Protect one parent’s, one’s spouse and one’s children comes first. Balance training with one’s responsibilities. Be mature towards them first and the dojo will become stronger.

And of course the karate-ka will want to protect the instructor, a grand idea.

The Old Man's Art

With my recent physical changes I am forced to make some changes in my karate.

As my balance has been affected I must pay greater attention to my stances and everything entailed. That makes kata an even more important training tool. But the stances and loss of balance have a greater implication.

To compensate for lack of speed is becomes more important to have the correct angle of entry to an attack. No longer is straight in the best option.   To compensate for lack of balance my stepping become my kicking (similar to Tam Tuie technique).

My striking power is reduced about in half.

The loss of power and speed mean that I can not rely on my striking as before. That means I have to adapt. What I must do is use multiple striking:

http://isshin-concentration.blogspot.com/2011/04/multiple-striking.html

Back in 1980 I was shown a multiple striking drill by Tristan Sutrisno at our first meeting. It struck me how useful that drill was ad the entire concept. I modified it for my youth program to a three count striking drill and I utilized it with Kata Sho of our practice. I considered the concept Black Belt practice but I start beginners with it so by the time they get to Black Belt training they have mastered the practice. Later on I developed an Isshinyu \versions(using the vertical strike) and an nukite/shuto/haito version.

15 years later I saw how it was also Okinawa practice with Oshiro Toshiro using it.

A different variation comes from training with Harrill Sherman. Using the slicing of the returning/chambering hand for striking.

Yet another variation is found I the Jindo Strikes of Ernest Rothrock where blocks become strikes.

In total it is the underling principle which guides me. How one technique turns into an other technique.

My power is less but I can still reach out and touch you. One strike can boeme many and allow me to prevail.