Why Love Karate?

Hard question to answer. My journey in karate, like many people's, is almost purely circumstantial. I started because there was a dojo in my hometown, which was close by and I could afford the membership fees. A traditional dojo, whose curiculum mirrors programs designed to promote Japanese militarism and physical fitness rather than martial art study. People generally are also ferociously tribal for no real reason. Right now it's a hobby, which costs me absolutely no money.

The reason I love karate now is that it is democratic, meaning it can be practiced easily by everyone, and it can be used as an intuitive and instinctual form of physical combat. Anyone can learn a kata and start practicing at home. General principles can be followed, which make a kata a pretty brutal form of violence. We must remember that the kata survived till the modern period because they were easily transmittable, people were able to learn at night or travel abroad for a few years and become proficient. They also needed to work. All those, which practiced a bad kata, more than likely were either forgotten or lost because it got you killed. In violence, what doesn't work gets you killed. The kata we see are the survivors.

This is why I love karate, which is why I want to share it with people. You don't need a dojo, or a belt, or tradition or any of this stuff that decorates most places windows. You just need a little bit of space, some patience and a few minutes a day to play around with the kata.

Perspective

Noah Legel and the guys over at Karate Culture both put out some media on "fighting dirty." It's good stuff. There really isn't anything I disagree with in both their releases, but I think we all need a little bit of perspective. I kind of covered it in an earlier post, but I thought of a good example of what I'm talking about.

When I was in the Marines, there was a Wounded Warrior House on base, and I'd be assigned to cover events there. It was 2006 or 2007 and the house had just opened. There were two Marines there that had very traumatic brain injuries, so traumatic that they basically had half of their brain missing along with half of their skull. They walked and talked and were still basically functional though they needed some help. I also met those that lost limbs, were severely burned and blind.

I'm telling this story, because I've met several people that had very horrendous injuries in combat and survived. These are injuries where most people would have just died. This however isn't evidence against rifles, grenades and IEDs. These are highly effective and highly dangerous, but they don't work all the time. This is to say that if some people are so resilient that they can take a high powered round to the head and still live than what are the chances that your punches are going to work? It's not an argument against punches or any technique. It's just that some people are so tough that you're just screwed. It makes arguing about what's better having your hand open versus closed or whether hitting someone's skull is better than poking their neck rather moot, when you consider that even bombs don't work all the time.

Videos to Watch

I'm going to be posting some videos on here of some stuff I like, just to get some people exposed to what are hopefully new ideas and new practices. I hope it's beneficial.

No Nonsense Self Defense

I'd like to turn people's attention toward this website, No Nonsense Self Defense, which I've added to my links. I've mentioned it before in another post, but I just wanted to repeat myself. It's full of great information on many subjects related to violence and self defense, and I encourage everyone to read it. I use this site as my bullshit meter. It helps me determine whether someone is trying to sell me snake oil. It's big, long and somewhat complicated so prepare to spend a few days glued to your computer reading all of Marc MacYoung's stuff.

Sorry if you recently tried to click on the link. It's now fixed.

Pressure Point Knock Outs

To paraphrase Rory Miller, if these pressure point knock outs were real than no one would survive a good massage.

I know you've probably seen the same videos as me. Some guy taps someone on the neck or the chin and they collapse like a boned fish onto the mat, and this guru has to do some sort of back rub to get the guy conscious again. This is stupid. People believe this stuff because they want the martial arts to be like magic. They want to power up like Dragon Ball Z, and turn into some ultimate unstoppable thing with their chi. Maybe not this exactly, but it's pretty close. I used to be one of these people. I wanted the martial arts to be magical and mystical. Some dojo don't try to refute this type of stuff. In some ways they encourage it when they say "you'll be able to unlock the kata subconsciously when attacked." It's playing on people's insecurities that they need an ultimate weapon.

I put this kind of stuff in the same category as the Loch Ness Monster, Big Foot, alien abductions, moon landing conspiracies and astral projection that is the utter crap category.

Edit: I'd also like to say that I don't care for pressure point fighting in general. Like I've said, I broke my arm riding my bike. Because of the adrenaline dump, I was able to pick the bike up, fix the chain and ride home. An hour later, I couldn't even lift it, so I find the idea of performing some type of vulcan nerve pinch rather dubious.

Skill Not Included

This is something that's been bouncing around my head for a little bit. Skill is not included when it comes to kata movements or even analysis of those movements. I think skill is a foreign concept to many people. We can watch a professional athlete, a musician or an artist and enjoy their skill and on a certain surface level we know what a skill is, but we don't necessarily understand it. Most of us are much more familiar with just following instructions on some type of electronic gadget, or putting together some sort of boxed furniture from the store. Insert dowel A into recess G, or after booting up, click on the setup icon and choose tint from the drop-down menu. I believe we confuse the two sometimes. We confuse skill with instructions.

Kata has more of a parallel with hand tools than it does with electronic gadgets. There is some degree of skill required with electronics, but hand tools don't even come with instructions and require a larger degree of skill, nuance and experience to be used effectively. They're harder. It's why people don't use them. Anyone who's ever used a chisel knows there's a big difference between knowing how to use one and actually using one. They're two different things. Angle, pressure, grain and tactile feeling play a huge role in the finished product. This is information that can't be passed through instruction personal or otherwise. Kata is the same way. It's the text book and the tool, but this doesn't imply skill. There is nuance to it gained through experience. Not just partner practice, but solo practice as well.

Skill is derived from understanding how the tool works at it's most fundamental levels. If we understand the tool, than we can use it to its full potential. In regards to karate, understanding the tool really means understanding ourselves. This requires more diligent study turned inwards than looking for answers without.

Push Hands and Constant Pressure

I like push hands as a training tool. It allows me to practice my structure against a person in a non-competitive fashion and practice many of the patterns in kata that are not only used for ballistic attack, but are also used to receive and redirect force and put you in a position to return force without changing positions. I don't want to have to stop and reset my position to manipulate someone. I want to be able to manipulate them from the position I'm currently in.

One thing I've learned while doing this is that you need to give constant pressure. This could be deemed sticky hands, but it's more than just keeping contact, it's keeping pressure. I want to bog down the other person, to throw off their balance and keep them reacting instead of acting. I want them to have to move, shift and reset to manipulate me, so that they're always a step behind me. Part of how I do this is using stances, weight shifts and stable arm positions to lean on them. The end middle block position is a surprisingly stable position for leaning on someone. If the other person doesn't use structure than they'll be bearing some of your weight. Proper stance integrity is essential when I do this because if the person suddenly shifts than I need to have my balance.

Another lesson is angles. Use them. Angles, angles, angles. When ever I read something or heard something where someone was talking about angles they always seemed to explain it like you were lunging at someone from a few feet away at an angle, usually a 45 degree angle. I think it can be a little more subtle than this. It's really the difference between pushing a boulder and rolling a boulder. Another example would be walking furniture. You push at an angle and then the other side at an angle or you tilt it at an angle and walk it back and forth. It's the same with a person. You don't want to push into the center of their mass you want to push at the angles and tip them.

Just a few thoughts.

Why Hojo Undo Equipment is Cool and Stupid

Doing supplementary training exercises in the old fashioned way is pretty cool as a cultural study. I've used these old tools and it's pretty neat to discover exactly which muscles these old karate tools are used to develop. These are usually the deltoids, trapizious, the lats and the forearms. The exercises are performed for endurance because power endurance exercises are the kind of movements you want for physical conflict, but besides cultural study these tools are not necessary.

"If you don't use kigu, you're not practicing karate."

Read this recently and it made me roll my eyes. Almost all of these tools were some form of heavy household object. They ground rice were locks for doors or were just heavy stones. They were whatever you could find that was heavy. A modern equivalent would be lifting milk jugs or bags of kitty litter. In a hundred years it would look pretty silly to come across someone lifting their ancient traditional milk jugs because that's the true way that poor old great grandpa used to do. Besides the fact that the kigu came from Hawaii in the 1920s. The author of the above quote knows this, but I think some people are confusing form for function.

These grand old karateka were looking for results. Remember that there were no organizations, no belts, no ranks (as we know them) and no syllabus. You practiced however you felt made you stronger and you learned from others. You used what came to hand. Skill was what was important and not the kind you showed off to your friends, but the type that got you home at night. I'm fairly positive that if you could drop an Olympic weight set off at Matsumora's house and showed him how to use it, he'd be all over it. It's a lot more versatile than a rock.

If something is not about what you do, but how you do it than that's called aesthetics. Function has it's own kind of beauty, but form by itself is empty. It's an illusion. What counts are results.

There are plenty of free exercises that can work these same muscles. They're called calisthenics. You can look them up online and they only need a body. Your body. But then you'd just need to work hard, instead of playing with cool toys. Granted many of these tools can be made very inexpensively, but five dollars in my pocket is better than some more crap filling up my house.

The practice of one kata is the same. If I can learn karate from one kata than why should I pay someone for 20 if one will serve? Should I buy 20 different cars just in case, or twenty different corkscrews, 20 different kinds of axes? People love collecting this junk, but skill and creativity counts for more than possessions.

Looks are Deceiving

One technique that I love is a spine manipulation movement from Seisan. You put one hand on the small of a person's back, you put one hand on the person's chin and you push and pull while stepping forward. Even if you're really strong it's incredibly hard to fight. You feel yourself being crumpled backwards, but the leverage is so great that you just fold and fall. If you want to be incredibly damaging you step on one of their feet and instead of pushing on their chin you palm heel it then push. There's a possibility that you will break their jaw, neck and ankle and depending on the surface they're falling on their skull. If you do the technique nicely, you just tip them over.
All of these parts can be separated into their own techniques, but together you can have someone lying in a broken heap in the time it takes to take a single step forward. This is karate. The really cool thing is that most people think the movement is blocking a punch and finishing with an arm grab.

The movement done in the air looks like a open handed double block.

Mastery

Qualifications are a big thing in the martial arts despite most being completely worthless and some being only slightly worthless. Usually we like to talk about years of practice or hours of practice, 20 years, 30 years, 70 years, 5,000 hours, 10,000 hours, 30,000 hours. I've read recently that 10,000 hours was the master mark though I always go with the 30,000 hour rule, which would take about 90 years if one practices one hour a day. Ten thousand hours for me is proficient. It takes about 10,000 hours of education to get a PHD. 

More importantly does this matter? Not at all.

I don't really care about time spent training. I care about skill. If someone has been practicing half the amount of time I have and is super awesome than I want to find out what they have to teach me. The same as all the quacks that have 20-30 years of practice, who aren't worth bothering with.

If someone wants to try and get in that 10,000 hours of practice, go for it. I don't really care. They either do it or they don't, and they either learn something or they don't. It's up to them to do the work.

Only the people who are willing to continually learn, work, practice and play will get good at anything. The people who practice something hollow for 10,000 hours are only dangerous to themselves and doesn't impact me at all, so do what you like. I'll keep learning.

Simultaneous Attack and Defense

Maybe 99 percent of martial artists that I come into contact with have no idea what it means to combine attack and defense. It's sad because pretty much 100 percent of karate techniques are attack and defense combined.

Usually when I read someone's work on this subject, they talk about a simultaneous block/ strike combination. A person punches and you block the attack and launch your own at the same time. This is not exactly the same thing. Attack and defense combined means that when you attack you hamper the other person's ability to attack. This is hard for people to understand with karate because they believe it is a strict striking art like boxing. It is not. The simplest example I can give of attack and defense together is a simple shoulder throw. The throw itself protects you from harm because it's really hard to launch an effective counter attack while you're sailing through the air. The attack and defense cannot be separated. Another example would be just getting a person off balance. If I put my foot behind someone's heel and then push, it will trip them. They may not fall, but they'll have to spend a half second reorienting before they can counter. While they're trying to reorient, I attack again. I'm preventing an attack in the first place. It's much easier to avoid attacks that are thwarted before they even start. Defense becomes more about prevention than reaction. Prevention is the best medicine.

Preventing an attack can be lots of things however and it's pretty easy to practice and it's the most annoying thing in the world if you get caught on the wrong end of it. Moving off line can prevent an attack because your opponent has to reorient himself to attack again. Grabbing someone by clothing and jerking them around while you pummel them in the head works really well also. An overwhelming flurry can be attack and defense as well. The opponent will have trouble attacking if he's too busy trying to defend against your flailing. It's not complicated.

Your opponent should only get one attack and that's the one you don't see coming. After that, well fuck'em, he had his chance and he blew it. It's your turn now and they don't get another because you don't let them have another.

Striking Post and Limb Control

I'm somewhat surprised by how much I'm enjoying the striking post, and it's added an interesting element to my training. It's basically an immovable object. It seems strange, but I actually prefer this. Some of the postures in Seisan require making contact with the forearms, shins and feet at the same time and you need something sturdy to practice these types of techniques with any force.

It's also made me pay less attention to limb control than I used to and I think this is a good thing. Limb control is shown mostly as moving someone's arm to open up a target. This is a wasted action. More than likely there is a target open for attack without moving a person's limb. If I attack that, I don't have to move anything except my own body. If I do move someone's limbs, I don't want to just move it out of the way. I want to put it in a position so it can't be used to attack me, or I want to use their limbs to lever them off balance. Preferably I'll do both at the same time.

The striking post helps me remember to fight the whole body and not just focus on navigating limbs. It's another example of direct action I guess.

Kata in the Cold

It's been snowing for the last two days and it's below freezing outside, but I went outside to practice anyway. I practiced the kata for about twenty minutes stamping down the snow and adjusting to the difference. Then I spent a few minutes striking the pounding post.

It's always good to practice in varying weather conditions and terrain. It's easy to say you have a stance locked in when your bare toes are gripping the dojo floor, but it's harder to say when your leg muscles have to lock in a stance while sliding on snow and ice to keep yourself from falling, while wearing boots. It's a different feeling. Different terrain calls for different stance depths and there needs to be a certain amount of adaptability when dealing with uneven footing. These are things most don't talk about in the rigid uniformity of the dojo.

It's also good to be uncomfortable. Can you practice with the wind throwing snow in your face? Can you stick it out until your body heat compensates for your thin clothing? Can you keep going after your shoes are soaked and your fingers are numb? Questions that need answering.

Videos Coming Soon

I recently came into the funds to purchase a camera, so sometime in the near future there will be videos. I'm not exactly sure what we'll film, but most likely it will be a few principle videos, some infighting and maybe some application testing where we pressure test different techniques that we've seen to see if they'd work. It's not going to be anything too serious, and we'll just try and have some fun with it.

Ippon ken, tsumasaki-geri and spear hand

These techniques had always kind of confused me when I first started practicing karate. I'll use the English terms for ease of understanding. I'm speaking of the single knuckle fist, the toe kick and the spear hand. All of which seemed like kind of a dangerous proposition. Wouldn't they just break? After a few years it dawned on my why these techniques were trained and why you wouldn't just break yourself. I'm sure many did.

First on the breaking part cause it's shorter. The answer is structure. With the toe kick and the spear hand the striking surface is supported by the phalanges around them. The bones are kept in line with the supporting structures of the large bones to which they are attached. The single knuckle fist is supported in a similar fashion, but different configurations depending on style. The trick is that you have to get the alignment perfect, or at least within acceptable parameters. Hence the conditioning exercises. I don't really believe that kicking wood or stabbing tires makes your fingers harder or toes harder, but I do think it tests your structure. If it's wrong you'll definitely know it, hence the slow build up of these techniques. The callouses and such are just by products of the training.

Now why would one want to do such a thing?

Simple. Smaller surface area. Imagine you have a staff. It's a pretty good all around tool. If you stab someone with it, it can get the job done through impact. Now if you put a point on that staff you have a spear. The smaller surface area at the top with the same force behind it allows it to penetrate and cause more damage. It's the same basic principle.

This has a couple of advantages. The first is if you can get all your energy behind one of these strikes like the toe kick or the single knuckle punch you're going to obliterate the point that it touches. Maximum damage. The second advantage is that because it does have a small surface area you can use less force and get the same effect as a punch, or a kick. Motobu Choki recommended the single knuckle punch for when you were too close to punch properly.

Like the spear hand, these are soft target strikes and do have their own limitations due to the skill required to use them effectively, but the thought of someone launching their entire body weight behind a single knuckle punch into your solar plexus is a scary thought, or worse a toe kick into your testicles. They might just rip apart.


 

More BAB Training

J got a little overwhelmed today. We worked angles of attack and conditioning defenses against them. Getting grabbed from behind is a fear of hers so she dropped back into feral flailing mode a few times, while I dragged her to the ground. She got better though. J did the same thing for me, and I had to keep reminding myself to work toward the goal. If there's an opening for escape, I need to take it and I started to. We followed it up with a few minutes of infighting. J threw me a few times, but she still gave up once. We'll need to work on that some more.

All in all a good end to the day. A little tired, a little dirty and a little wiser.

Why sets of three?

There are a lot of theories out there about why many kata are done in set's of three. The most logical one I've heard is that the odds of being attacked by a right handed person is higher than being attacked by a left handed person. This definitely sounds like a sound theory, but I'm always suspicious of this. I don't like categorizing things that small.

If you've read my article on Karate Culture, than you'll know that I believe that kata movements are designed more to deal with the angle of attack than any particular specific attack. I believe some movements of Seisan are best for attacks that come in medially (down the middle, or center line) and other techniques are best when they come laterally (hook punches for example). This is the way I train at least because it's easier to train and condition. It's just a few general angles instead of a thousand. I've always been a little stumped however when it comes to the sets of three. Why three? Why not just two? I'll put forth my very thin theory.

Motobu Choki gave the advice, as many others do that you should train your left side twice as much as your right side. If you do two left side heavy movements for every one right side heavy movements than you get three. Left, right, left. I've also noticed that the movements in my kata, which are repeated in threes are predominately, left handed movements. Left chudan uke/ right thrust, right chudan uke/ left thrust, left chudan uke/ right thrust. While you could say there are more right punches in that sequence, the uke techniques are more complex movements. I also don't really consider the thrust (tsuki) the primary element of that movement.

It's definitely not a rock solid argument, but it's something to think about.

BAB Training

Thirty minutes training with J. Five minutes of one step sparring with the metronome. Rory Miller type rules: each get a simultaneous movement per beat, full structure and movement, no targets are off limits, but slow implementation for safety. A few of his touch sensitivity drills. One of us blindfolded with a few points of contact. I call out a target and she touches it with a striking surface. Example, "throat" she touches my throat with her knuckles. Another blindfolded drill where she's blindfolded and she puts her hands on my shoulders, I initiate a strike in slow motion and she blocks based on what she feels.

I have a responsibility to be her worst nightmare, to show no mercy. I'm not going to drill her in the face full force, but I'm not going to limit my techniques or give her an inch. Today during one step, I had her curled up in a ball raining down blows on her. Controlled of course. "Okay you got me," she said. "You're not allowed to practice dying," I responded. She hit me in the nuts and then hit me in the neck with her forearm. Good girl. I won't come close to being the most vicious person she might meet, but I still have to try.

The Vital Point Bunkai Test

Many times martial applications are developed based on how it could work and not based on how it could fail. It's very easy to develop interpretations on a best case scenario basis. There are so many different scenarios that can play out that it's easy to find one where your five step wrist lock of death analysis fits and puts an enemy on their butt, however, we not only need to know when a technique will work, but more importantly how it can fail and fail hard. A way to test this is by knowing your vital points.

Vital points work both ways and there are several that require almost no power generation or skill to damage and are severely debilitating. These points are the ears, eyes, throat and where the base of the skull and neck meet (we'll call it C1 from here on out).

A cupped-hand slap to the ear can cause permanent deafness and loss of balance. A finger in the eye can obviously cause severe pain and blindness. Any strike to the neck including a nukite can close a windpipe or cut off blood flow. A strike to the C1 vertebrae can cause death with only the momentum of the arm.

These are the baseline vital points that need to be defended and denied access while performing a technique. If your bunkai allows easy access to these vital points than it fails and should either be modified to meet this criteria or abandoned.

With this in mind, it's easy to see why many preparatory uke positions begin with one hand or the other up by your ear with the forearm blocking your neck. It's a smart standard operating procedure.