Have been supremely busy with end of financial year tasks at work - and have even missed a few trainings! Terrible, I know, but work must come before fun...
I am going to finally post about the great time I had at the 34th Australian Kendo Championships on 11th April 2009, and have finally compiled the videos that I took. At the moment I will just post the 2 matches that I was in due to time constraints (because blogging is inherently narcissistic), but I got a few Kyu individual matches, especially of the South Australian team so if someone wants a copy please let me know. There was also someone at the Adelaide Dojo who was going to compile the video that they took into a nicely edited DVD of the Nationals and they were going to incorporate the video I took, but they have been busy/not at training the same time as me and so am not sure of the status of this project.
Video is uploading to Youtube as I type, though I am getting tired and may not post it today.
At the Seminar we had 2 visiting 8th Dans from Japan and I will write about a couple of the most important points that I picked up from them (I have several pages of notes, but most are probably boring/personal).
- There are many ways in which a person can be taught Kendo, and there is not necessarily a "right" way. There are many ways to climb a mountain, but all of the ways lead to the same summit/peak.
- It is important that the distance that Kendoka start away from each other is 9 paces. At that distance you are wary of the opponent. Further than that and you are not in danger. Once you are at 9 paces you each take 3 paces in and you are at To-Maai and are dangerous to each other.
- When you lift your Shinai you keep your arms in the same position as Chudan-no-kamae and do not move past where your shoulders naturally allow. Your strikes should be relaxed and natural
Tuesday, July 7, 2009
Tuesday, May 26, 2009
Brace for War - Silvester Lidicky (Integrated) VS Kane Gehling (Brazilian Top Team)
Recently one of the guys from BTT competed in a MMA tournament up in QLD. Unfortunately South Australia has restrictive laws and we cant have this much fun down here.
Kane did a great job, although he lost on points.
Watch what I believe is Round 1 here
Osu!
Kane did a great job, although he lost on points.
Watch what I believe is Round 1 here
Osu!
Current Training
I haven't been posting much because I have been doing alot of training at the moment. Also, I have had lots of work and family commitments. I was going to post the videos that I took at the Kendo Nationals, but haven't had time to edit them yet. Also someone from the Dojo is going to more professionally edit the videos that they took with any other they can get (including mine) for a DVD for everyone to reflect upon.
Therefore I will most probably just edit video of my matches so people can see me get defeated - this keeps my humility and is in line with the narcissistic nature of blogging. I shall also try to post some comments about what happened, and especially the semiar with the 2 Hachidan's, which was one of the most significant martial arts experiences I have had, ever!
In the meantime I suggest you have a look at Vivian Yung's write up of her experiences of the Kendo nationals. I have been reading her blog for a while and we discussed blogging at the nationals. We naturally discussed Kendo too!
http://nintai.blogspot.com/2009/04/34akc-shomen-ni-rei.html
At the moment my training regime has been approximately this:
Monday: Kendo. (I missed the last 2 weeks due to work/injuries and did a 9 km run instead)
Tuesday: Weight training.
Wednesday: 9 km run (though this week Kendo because I missed Monday's training)
Thursday: No Gi BJJ; Gi BJJ - 3 hours total!
Friday: 9 km run or kata and kihon. Try for Kendo kihon inside
Saturday: 3-4 hours bunkai research at night
Sunday: 2 hours normal Karate class + 1 hour informal kata training with seniors (Sanseiru at the moment) + 1 hour of bunkai and conditioning with students or 1 hour bag work at home
Therefore I will most probably just edit video of my matches so people can see me get defeated - this keeps my humility and is in line with the narcissistic nature of blogging. I shall also try to post some comments about what happened, and especially the semiar with the 2 Hachidan's, which was one of the most significant martial arts experiences I have had, ever!
In the meantime I suggest you have a look at Vivian Yung's write up of her experiences of the Kendo nationals. I have been reading her blog for a while and we discussed blogging at the nationals. We naturally discussed Kendo too!
http://nintai.blogspot.com/2009/04/34akc-shomen-ni-rei.html
At the moment my training regime has been approximately this:
Monday: Kendo. (I missed the last 2 weeks due to work/injuries and did a 9 km run instead)
Tuesday: Weight training.
Wednesday: 9 km run (though this week Kendo because I missed Monday's training)
Thursday: No Gi BJJ; Gi BJJ - 3 hours total!
Friday: 9 km run or kata and kihon. Try for Kendo kihon inside
Saturday: 3-4 hours bunkai research at night
Sunday: 2 hours normal Karate class + 1 hour informal kata training with seniors (Sanseiru at the moment) + 1 hour of bunkai and conditioning with students or 1 hour bag work at home
Sunday, May 24, 2009
Sanseiru/Sesan combination in Goju Ryu
One of the key techniques in Sanseiru is the Uchi Uke/Mae Geri/Empi/Gyaku Zuki (outer block/front kick/up elbow/reverse punch) combination that is repeated 4 times. I started looking at bunkai for it but haven't found too much material on the internet (my primary research source) beyond the Higaonna bunkai and the Goju Kai bunkai for this combination and I so broadened my search from Goju bunkai on Sanseiru to other styles. Here is the Goju Ryu version for reference.
http://www.youtube.com/watch?v=9kdosSNtzZ0
Uechi Ryu has a kata of the same name, but which visually looks quite different. However it does have a similar technique combination in it: Kake Uke/step forward/Empi/knuckle strike/ippon ken sen (grabbing block/step forward/elbow/knuckle strike (or backfist)/ single knuckle strike). The technique is not however repeated 4 times like in the Goju version. See Kanei Uechi do the technique at 38 seconds.
http://www.youtube.com/watch?v=Ey_dIRzffNc
The next thing that I did was look at the video of Uechi Ryu Seisan because it looked interesting to see this old footage.
http://www.youtube.com/watch?v=fd5YdEkmQxo
I was surprised to see that at 50 seconds the same combination appears!
Going back over Goju Ryu Seisan at a similar part of the kata, albeit facing the opposite way, the combination step forward/ura zuki/uraken/gedan barai/gyaku zuki appears (step forward/uppercut/backfist/lower block/reverse punch). There is even the left hand in a blocking/deflecting/checking position before the combination is done.
http://www.youtube.com/watch?v=VMxnKhAJby8
What that lead me to think is that perhaps the 'Goju Sesan' combination and the 'Goju Sanseiru' combinations are actually from the same source and were once performed more similarly. Looking at the combinations they are quite similar in their nature:
First: a block or check with the left hand in a manner that would usually block from inside to outside and which could also be a grab (ie Kake uke).
Second: mae geri or stepping forward with the right leg.
Third: upward strike
Fourth and Fifth: Sesan only
Sixth: Gyaku zuki
While the fourth and fifth techniques of urken (backfist) and gedan barai (lower block) only appear in Sesan, the combination also appears in other kata.
Looking at Superinpei a similar combination appears at 1.38 and 1.57: Kake uke/mae geri/empi/uraken (grabing block/front kick/up elbow/backfist)
http://www.youtube.com/watch?v=fF_pfELVkhA
The Goju Superinpei combination appears much closer to the 'Uechi combination', being different only in the omission of the ippon ken sen (single knuckle strike) at the end (done with the right hand). Supposedly there was a fourth Uechi kata named Superinpei, although Kanbon Iechi did not have time to learn it. For those who are not familiar with the theory that Kanryu Higaonna only tought Miyagi Sanchin-Sanseiru-Sesan-Superinpei, published in an article a in the Journal of Asian Martial Arts (16:4, 2007) entitled “A Preliminary Analysis of Goju-Ryu Kata Structures” by Fernando Camara and Mario McKenna have a look at the following summaryavailable online.
http://dandjurdjevic.blogspot.com/2008/05/origins-of-goju-kata.html
That the three Kaishugata (kata with open hands: combat application reference kata) from the same system had a similar combination that appears in each would not be surprising - there are several other similarities between the three kata such as the opening using the 3 'Sanchin' punches, asymmetry, finishing with either mawashi uke or morote ko uke (double wrist block) etc. If the Goju Sesan, Sanseiru and Superinpei 'combinations' are actually derived from the same combination, I would think that the version that has survived in Superinpei would be more original for the simple reason that less people learn the higher level kata and so there are less people for it to evolve through. Perhaps also with higher level kata peope learn them much later into their practice and are less likely to change the kata at this stage (though this is just a quick postulation/musing).
If you look at a more 'modern' kata in the manner of Gekisai, you can see the following combination: uchi or kake uke/mae geri/uraken/gedan barai/gyaku zuki (outer or grabbing block/front kick/backfist/lower block/reverse punch). Because this kata was created by Miyagi it exposes his thinking on how the style of Goju Ryu fits together. He could have easily not have included a Gedan Barai and Uraken and made the 'Gekisai combination' simpler and more like Goju Sanseiru. Alternatively he could have switched the empi (elbow) for a ura zuki (uppercut) and made the combination more like Goju Sesan. I think that the choice of techniques in Gekisai shows the crossover in the combinations: that they are essentially the same thing.
One thought though is that in Gekisai Dai Ni, where the Uchi Uke (outer block) are exchanged with Kake Uke (grabbing block) and the Yama Zuki (double punch/mountain punch) is exchanged with a Mawashi Uke (circular block) to make the Kata more 'Okinawan' perhaps that 'Gekisai combination' could have been changed as well? It could have been made into the 'Superinpei combination' or the 'Uechi combination' perhaps. Say with the empi done into the left hand, or the gedan barai exchanged for an ippon ken sen.
In other Goju kata the 'Goju Sesan combination' appears in Seienchin and the 'Goju Sanseiru combination' appears in Shisochin and Kururunfa, although there is no Gyaku Zuki (reverse punch) at the end in any of these three kata. However the other hand is cocked and rotated ready to do a punch. A gyaku zuki (reverse punch) can very easily be implied into bunkai at the end of these combinations.
Interestingly Saifa and Sepai are the only 2 Goju Ryu Kaishugata (note Sanchin and Tensho are Haishugata: kata with closed hands - training kata) which do not have this combination. I think that the absence of the combination in these two kata is an additional factor of support for theory (see McKenna article, above) that Sanchin-Sanseiru-Sesan-Superinpei are 'H1' kata, ie passed down from Kanryu Higaonna to Miyagi, and that Saifa-Seienchin-Shisochin-Sepai-Kururunfa are 'M1' kata, ie kata that Miyagi derived from another source.
However on the basis of the inclusion of the combination one might further differentiate the M1 kata. Perhaps the exclusion of the combination signifies that Miyagi learnt Sepai and Saifa from a totally different source as all the other Kaishugata, say on his travels to China. Following through that line of thought one can see that the combination appears in some other Okinawan kata, such as Niseishi. There is a discussion that Nisheishi is a forerunner of Goju Sanseiru here:
http://cyberdojo.ning.com/group/gojuryu/forum/topics/how-much-of-aragaki-seishos?page=3&commentId=2954669%3AComment%3A4882&x=1#2954669Comment4882
Personally I agree, and by looking at Niseishi it seems to me to be a bridge between the otherwise very different Goju and Uechi versions of the kata. At 35 seconds and 41 seconds the 'Gekisai combination' appears in Niseishi.
http://www.youtube.com/watch?v=sjsJJ4xqxKY
There is written record of Seisho Aragaki performing a kata named "chisaukin" at a demonstration in 1867 and this could quite likely be the kata Shisochin. In his book “Okinawa kempo” Choki Motobu mentions the kata seisan, seiunchin and naihanchi as kata that were in existence in Okinawa long before Kanryo Higaonna’s trip to China.
“Among those styles or katas which have been used in Ryu Kyu from ancient days are:
Sanchin, Jo-Ju-Shi-Ho, Seisan, Seiunchin, Ippakku-Re-Hachi, Naihanchi (Ichidan, Nidan, Sandan), Passai, Chinto, Chinte, (bamboo-yari spear style), Wanshu, Rohai and Kusanku.
And especially the three styles Nai-Hanchi, Passai (great and small), and Kusanku which are very widely known to many islanders." http://dandjurdjevic.blogspot.com/2008/08/origins-of-goju-ryu-kata-part-2.html
Therefore one can deduce that the kata Shisochin and Seienchin have Okinawan histories, even if they were not passed on by Kanryu Higaonna. They can be contrasted with the Saifa and Sepai which have different sources. It is difficult to say where Kurununfa fits in: that is a discussion for another post (when I know more about it!)
http://www.youtube.com/watch?v=9kdosSNtzZ0
Uechi Ryu has a kata of the same name, but which visually looks quite different. However it does have a similar technique combination in it: Kake Uke/step forward/Empi/knuckle strike/ippon ken sen (grabbing block/step forward/elbow/knuckle strike (or backfist)/ single knuckle strike). The technique is not however repeated 4 times like in the Goju version. See Kanei Uechi do the technique at 38 seconds.
http://www.youtube.com/watch?v=Ey_dIRzffNc
The next thing that I did was look at the video of Uechi Ryu Seisan because it looked interesting to see this old footage.
http://www.youtube.com/watch?v=fd5YdEkmQxo
I was surprised to see that at 50 seconds the same combination appears!
Going back over Goju Ryu Seisan at a similar part of the kata, albeit facing the opposite way, the combination step forward/ura zuki/uraken/gedan barai/gyaku zuki appears (step forward/uppercut/backfist/lower block/reverse punch). There is even the left hand in a blocking/deflecting/checking position before the combination is done.
http://www.youtube.com/watch?v=VMxnKhAJby8
What that lead me to think is that perhaps the 'Goju Sesan' combination and the 'Goju Sanseiru' combinations are actually from the same source and were once performed more similarly. Looking at the combinations they are quite similar in their nature:
First: a block or check with the left hand in a manner that would usually block from inside to outside and which could also be a grab (ie Kake uke).
Second: mae geri or stepping forward with the right leg.
Third: upward strike
Fourth and Fifth: Sesan only
Sixth: Gyaku zuki
While the fourth and fifth techniques of urken (backfist) and gedan barai (lower block) only appear in Sesan, the combination also appears in other kata.
Looking at Superinpei a similar combination appears at 1.38 and 1.57: Kake uke/mae geri/empi/uraken (grabing block/front kick/up elbow/backfist)
http://www.youtube.com/watch?v=fF_pfELVkhA
The Goju Superinpei combination appears much closer to the 'Uechi combination', being different only in the omission of the ippon ken sen (single knuckle strike) at the end (done with the right hand). Supposedly there was a fourth Uechi kata named Superinpei, although Kanbon Iechi did not have time to learn it. For those who are not familiar with the theory that Kanryu Higaonna only tought Miyagi Sanchin-Sanseiru-Sesan-Superinpei, published in an article a in the Journal of Asian Martial Arts (16:4, 2007) entitled “A Preliminary Analysis of Goju-Ryu Kata Structures” by Fernando Camara and Mario McKenna have a look at the following summaryavailable online.
http://dandjurdjevic.blogspot.com/2008/05/origins-of-goju-kata.html
That the three Kaishugata (kata with open hands: combat application reference kata) from the same system had a similar combination that appears in each would not be surprising - there are several other similarities between the three kata such as the opening using the 3 'Sanchin' punches, asymmetry, finishing with either mawashi uke or morote ko uke (double wrist block) etc. If the Goju Sesan, Sanseiru and Superinpei 'combinations' are actually derived from the same combination, I would think that the version that has survived in Superinpei would be more original for the simple reason that less people learn the higher level kata and so there are less people for it to evolve through. Perhaps also with higher level kata peope learn them much later into their practice and are less likely to change the kata at this stage (though this is just a quick postulation/musing).
If you look at a more 'modern' kata in the manner of Gekisai, you can see the following combination: uchi or kake uke/mae geri/uraken/gedan barai/gyaku zuki (outer or grabbing block/front kick/backfist/lower block/reverse punch). Because this kata was created by Miyagi it exposes his thinking on how the style of Goju Ryu fits together. He could have easily not have included a Gedan Barai and Uraken and made the 'Gekisai combination' simpler and more like Goju Sanseiru. Alternatively he could have switched the empi (elbow) for a ura zuki (uppercut) and made the combination more like Goju Sesan. I think that the choice of techniques in Gekisai shows the crossover in the combinations: that they are essentially the same thing.
One thought though is that in Gekisai Dai Ni, where the Uchi Uke (outer block) are exchanged with Kake Uke (grabbing block) and the Yama Zuki (double punch/mountain punch) is exchanged with a Mawashi Uke (circular block) to make the Kata more 'Okinawan' perhaps that 'Gekisai combination' could have been changed as well? It could have been made into the 'Superinpei combination' or the 'Uechi combination' perhaps. Say with the empi done into the left hand, or the gedan barai exchanged for an ippon ken sen.
In other Goju kata the 'Goju Sesan combination' appears in Seienchin and the 'Goju Sanseiru combination' appears in Shisochin and Kururunfa, although there is no Gyaku Zuki (reverse punch) at the end in any of these three kata. However the other hand is cocked and rotated ready to do a punch. A gyaku zuki (reverse punch) can very easily be implied into bunkai at the end of these combinations.
Interestingly Saifa and Sepai are the only 2 Goju Ryu Kaishugata (note Sanchin and Tensho are Haishugata: kata with closed hands - training kata) which do not have this combination. I think that the absence of the combination in these two kata is an additional factor of support for theory (see McKenna article, above) that Sanchin-Sanseiru-Sesan-Superinpei are 'H1' kata, ie passed down from Kanryu Higaonna to Miyagi, and that Saifa-Seienchin-Shisochin-Sepai-Kururunfa are 'M1' kata, ie kata that Miyagi derived from another source.
However on the basis of the inclusion of the combination one might further differentiate the M1 kata. Perhaps the exclusion of the combination signifies that Miyagi learnt Sepai and Saifa from a totally different source as all the other Kaishugata, say on his travels to China. Following through that line of thought one can see that the combination appears in some other Okinawan kata, such as Niseishi. There is a discussion that Nisheishi is a forerunner of Goju Sanseiru here:
http://cyberdojo.ning.com/group/gojuryu/forum/topics/how-much-of-aragaki-seishos?page=3&commentId=2954669%3AComment%3A4882&x=1#2954669Comment4882
Personally I agree, and by looking at Niseishi it seems to me to be a bridge between the otherwise very different Goju and Uechi versions of the kata. At 35 seconds and 41 seconds the 'Gekisai combination' appears in Niseishi.
http://www.youtube.com/watch?v=sjsJJ4xqxKY
There is written record of Seisho Aragaki performing a kata named "chisaukin" at a demonstration in 1867 and this could quite likely be the kata Shisochin. In his book “Okinawa kempo” Choki Motobu mentions the kata seisan, seiunchin and naihanchi as kata that were in existence in Okinawa long before Kanryo Higaonna’s trip to China.
“Among those styles or katas which have been used in Ryu Kyu from ancient days are:
Sanchin, Jo-Ju-Shi-Ho, Seisan, Seiunchin, Ippakku-Re-Hachi, Naihanchi (Ichidan, Nidan, Sandan), Passai, Chinto, Chinte, (bamboo-yari spear style), Wanshu, Rohai and Kusanku.
And especially the three styles Nai-Hanchi, Passai (great and small), and Kusanku which are very widely known to many islanders." http://dandjurdjevic.blogspot.com/2008/08/origins-of-goju-ryu-kata-part-2.html
Therefore one can deduce that the kata Shisochin and Seienchin have Okinawan histories, even if they were not passed on by Kanryu Higaonna. They can be contrasted with the Saifa and Sepai which have different sources. It is difficult to say where Kurununfa fits in: that is a discussion for another post (when I know more about it!)
Sunday, April 26, 2009
Update on Karate Bunkai in BJJ
At training on Thursday I did the no-Gi followed by the Gi session for a total of 3 hours of BJJ - completely exhausting. I also have several scratches because one of my rolling partners didnt cut their nails enough.
Anyway, I tried out my Sanseru bunkai guard pass (see previous post) against our second highest instructor (a BJJ Brown belt, say equivalent of Shodan/Nidan Karate skills due to different ranking system). It sort of worked, but he asked me "what the hell was that crazy shit you used? It wasn't BJJ!"
I was very fortunate to be able to discuss the technique with him and our black belt (20 years training, highest ranked in Adelaide) and the following is what I derived from the discussion.
- Using the 'step over guard pass' exposes the back. You are completely exposing it and are in a bad position if the opponent is fast.
- The technique applies pressure towards the knee. Therefore if done wrong may injure the knee.
The opponent can avoid the guard pass by pulling the attacked leg back, and then can take advantage by pressing it towards you. However I suggested that one would only use this technique when the guard is difficult to pass and the closed guard is firmly on. Perhaps to counter a retraction of legs one could hold onto the attacked leg?
- The opponent can base themselves with arms out and prevent you flipping them.
- It was noted that this is similar to the 'spine breaking' technique that occured in the infamous youtube video.
While this is slightly different to the bunkai (because the opponent who got badly injured here was holding onto a leg) the point remains, and one would have to be very careful to make sure that one's opponent does not have their neck in the wrong position.
- However it was noted that although an opponent could avoid the guard pass it could be an effective "once per match" move. It was also agreed that the move was a very effective move for use on the street.
What a great opportunity it is to be able to use on art to test another!
Osu!
Anyway, I tried out my Sanseru bunkai guard pass (see previous post) against our second highest instructor (a BJJ Brown belt, say equivalent of Shodan/Nidan Karate skills due to different ranking system). It sort of worked, but he asked me "what the hell was that crazy shit you used? It wasn't BJJ!"
I was very fortunate to be able to discuss the technique with him and our black belt (20 years training, highest ranked in Adelaide) and the following is what I derived from the discussion.
- Using the 'step over guard pass' exposes the back. You are completely exposing it and are in a bad position if the opponent is fast.
- The technique applies pressure towards the knee. Therefore if done wrong may injure the knee.
The opponent can avoid the guard pass by pulling the attacked leg back, and then can take advantage by pressing it towards you. However I suggested that one would only use this technique when the guard is difficult to pass and the closed guard is firmly on. Perhaps to counter a retraction of legs one could hold onto the attacked leg?
- The opponent can base themselves with arms out and prevent you flipping them.
- It was noted that this is similar to the 'spine breaking' technique that occured in the infamous youtube video.
While this is slightly different to the bunkai (because the opponent who got badly injured here was holding onto a leg) the point remains, and one would have to be very careful to make sure that one's opponent does not have their neck in the wrong position.
- However it was noted that although an opponent could avoid the guard pass it could be an effective "once per match" move. It was also agreed that the move was a very effective move for use on the street.
What a great opportunity it is to be able to use on art to test another!
Osu!
Feedback vs Correction
Have a look at this article
http://www.24fightingchickens.com/2009/02/21/how-to-coach-advanced-karate-students/
Personally one thing that I have found unhelpful in training is for Sensei to say 'do as I say'. As I was recently told at the Kendo Nationals seminar by a Hachidan (8th Dan) "there are many ways to climb a mountain. You can go up one way, or another. However all these roads lead to the top of the mountain". I apologize if I have paraphrased the learned Japanese Hachidan but I think that I enunciate the point clear enough: there are many ways to achieve the same thing; other paths than the one you are currently on may be equally correct and lead equally to the same destination.
When I teach advanced students I try the best that I can to show them the things that I know and let them absorb it into their view of the martial arts. For example last Wednesday I visited our sister Traditional Japanese Karate Network Dojo, Magill Shito Ryu, and I took the senior part of the class for what I would decide as a 'boxing session'. We did boxing style punches, and focus mitt and bag work which was practically unknown to the students. My aim with the training was not to say "this is a better/more correct way of doing things" but rather to show a way that other people use. The students can then reflect upon what they have trained in and see how to use their own training to counter it. They are best placed to know how to use their own training to counter a new 'threat', and hopefully I have made a useful contribution to their training. My stated goal at the outset was to show them how work around the Jodan 'boxing style' combinations that my students use and so hopefully beat them at the next inter-club kumite.
Naturally our club has been working on strategies to defeat their 'chudan centric' manner of sparring. This minor inter-club rivalry benefits all participants.
My first training with our Shihan upon joining the TJKN was an excellent demonstration of the benefit of feedback, as compared with correction. Having never seen my training before, Shihan was able to give me several points of very useful 'feedback'. Of particular note was the manner in which he demonstrated his knowledge. While he could have said "X is the best way of doing this" he instead said "I see you are doing Y, you could also do X (addressing the students who do X), but since you are doing Y, here is how you could improve it".
The real honour in a situation like this is upon the instructor who not only demonstrates their knowledge of 'X' but also of 'Y' and other methods. It is one level of instruction to say "this is how I do X, copy me" and completely another level to be able to say "X is one of many ways of doing something and since you are doing Y this is what you should be doing". The difference in knowledge is exponential. Using the mountain analogy, it is like knowing many different ways to the top of the mountain.
An example of the feedback was for Shihan to say that when moving from kihon-dachi to Zenkutsu-dachi one should slide their front foot upon the ground - moving in the most direct method. However an alternate manner of doing this is by stamping the front foot. This 'stamping' method is slightly slower but still provides the forward motion that the transition demands.
I had been using the latter method, mainly due to my training in Kendo. It would have been perfectly acceptable for Shihan to correct me and say 'this is how you do X'.
As an insight into student psychology I would have done what I was told, and then thought deeply about which is the correct manner of doing things later should I have been corrected. I don't know what my final answer would have been, but if it had been conveyed that using a fumikomi (stamp) did not have the adequate forward motion this would have been difficult to reconcile, especially since I can see how it is correct and applied well in Kendo.
However as a result of getting 'feedback' I could not only refer back to my Kendo training as to how I may improve my forward motion with techniques through fumikomi, (and thus improve my technique) I can also see the benefits of using a more direct movement. I will also examine the sliding movement and try to understand where it may be more appropriate than a fumikomi.
Whilst giving 'correction' would have resulted in a student doing what they are told (perhaps begrudgingly) by giving 'feedback' the result is a student looking to improve on what they are already doing, and also looking to incorporate the alternative way of doing the technique. The student's impression of the instructor is not one of "this person knows a path to the top of the mountain" but instead "this person knows my path, and many others, to the top of the mountain." This is exponentially a higher manner of viewing an instructor.
Importantly, whenever I am explaining how to make the transition from Kihon-dachi to Zenkutsu-dachi, I will show my 'fumikomi' method of transition, but I will also show the alternate method of 'sliding transition' and will explain that while this is not the way that I do the technique, this is a perfetly acceptable alternate manner of doing the technique.
Hopefully I can teach as well as I have been taught.
Osu!
http://www.24fightingchickens.com/2009/02/21/how-to-coach-advanced-karate-students/
Personally one thing that I have found unhelpful in training is for Sensei to say 'do as I say'. As I was recently told at the Kendo Nationals seminar by a Hachidan (8th Dan) "there are many ways to climb a mountain. You can go up one way, or another. However all these roads lead to the top of the mountain". I apologize if I have paraphrased the learned Japanese Hachidan but I think that I enunciate the point clear enough: there are many ways to achieve the same thing; other paths than the one you are currently on may be equally correct and lead equally to the same destination.
When I teach advanced students I try the best that I can to show them the things that I know and let them absorb it into their view of the martial arts. For example last Wednesday I visited our sister Traditional Japanese Karate Network Dojo, Magill Shito Ryu, and I took the senior part of the class for what I would decide as a 'boxing session'. We did boxing style punches, and focus mitt and bag work which was practically unknown to the students. My aim with the training was not to say "this is a better/more correct way of doing things" but rather to show a way that other people use. The students can then reflect upon what they have trained in and see how to use their own training to counter it. They are best placed to know how to use their own training to counter a new 'threat', and hopefully I have made a useful contribution to their training. My stated goal at the outset was to show them how work around the Jodan 'boxing style' combinations that my students use and so hopefully beat them at the next inter-club kumite.
Naturally our club has been working on strategies to defeat their 'chudan centric' manner of sparring. This minor inter-club rivalry benefits all participants.
My first training with our Shihan upon joining the TJKN was an excellent demonstration of the benefit of feedback, as compared with correction. Having never seen my training before, Shihan was able to give me several points of very useful 'feedback'. Of particular note was the manner in which he demonstrated his knowledge. While he could have said "X is the best way of doing this" he instead said "I see you are doing Y, you could also do X (addressing the students who do X), but since you are doing Y, here is how you could improve it".
The real honour in a situation like this is upon the instructor who not only demonstrates their knowledge of 'X' but also of 'Y' and other methods. It is one level of instruction to say "this is how I do X, copy me" and completely another level to be able to say "X is one of many ways of doing something and since you are doing Y this is what you should be doing". The difference in knowledge is exponential. Using the mountain analogy, it is like knowing many different ways to the top of the mountain.
An example of the feedback was for Shihan to say that when moving from kihon-dachi to Zenkutsu-dachi one should slide their front foot upon the ground - moving in the most direct method. However an alternate manner of doing this is by stamping the front foot. This 'stamping' method is slightly slower but still provides the forward motion that the transition demands.
I had been using the latter method, mainly due to my training in Kendo. It would have been perfectly acceptable for Shihan to correct me and say 'this is how you do X'.
As an insight into student psychology I would have done what I was told, and then thought deeply about which is the correct manner of doing things later should I have been corrected. I don't know what my final answer would have been, but if it had been conveyed that using a fumikomi (stamp) did not have the adequate forward motion this would have been difficult to reconcile, especially since I can see how it is correct and applied well in Kendo.
However as a result of getting 'feedback' I could not only refer back to my Kendo training as to how I may improve my forward motion with techniques through fumikomi, (and thus improve my technique) I can also see the benefits of using a more direct movement. I will also examine the sliding movement and try to understand where it may be more appropriate than a fumikomi.
Whilst giving 'correction' would have resulted in a student doing what they are told (perhaps begrudgingly) by giving 'feedback' the result is a student looking to improve on what they are already doing, and also looking to incorporate the alternative way of doing the technique. The student's impression of the instructor is not one of "this person knows a path to the top of the mountain" but instead "this person knows my path, and many others, to the top of the mountain." This is exponentially a higher manner of viewing an instructor.
Importantly, whenever I am explaining how to make the transition from Kihon-dachi to Zenkutsu-dachi, I will show my 'fumikomi' method of transition, but I will also show the alternate method of 'sliding transition' and will explain that while this is not the way that I do the technique, this is a perfetly acceptable alternate manner of doing the technique.
Hopefully I can teach as well as I have been taught.
Osu!
Grading Highlights 29 March 2009
Below is the highlights from the grading in March so that students may review what they have done. Congratulations to all those who have graded.
In regard to the grading the panel members especially noted the strong improvement that many Junior students had shown, challenging themselves to be able to demonstrate some very complex Kata, Ido (moving combinations) and showing good co-ordination. The panel members also note the strong focus that was displayed by the junior students.
For future improvement the panel members suggest continuing to practice Kihon (basics) because these are the building blocks of all a student's karate.
The panel members commended the high standard of the adults grading, and especially note the high standard of Kata from the Magill Dojo. Also commendable was the strong kumite from the Seacliff Dojo.
One point of discussion among the panel was Ippon Kumite (one step sparring). Here it was noted that the use of principles from Bunkai (application of kata) could assist students in broadening the techniques demonstrated. Also, students should use strong Zanchin: focus and committal to the technique in order to conquer their opponent.
and the link
http://www.youtube.com/view_play_list?p=537E5227D52FBF60
In regard to the grading the panel members especially noted the strong improvement that many Junior students had shown, challenging themselves to be able to demonstrate some very complex Kata, Ido (moving combinations) and showing good co-ordination. The panel members also note the strong focus that was displayed by the junior students.
For future improvement the panel members suggest continuing to practice Kihon (basics) because these are the building blocks of all a student's karate.
The panel members commended the high standard of the adults grading, and especially note the high standard of Kata from the Magill Dojo. Also commendable was the strong kumite from the Seacliff Dojo.
One point of discussion among the panel was Ippon Kumite (one step sparring). Here it was noted that the use of principles from Bunkai (application of kata) could assist students in broadening the techniques demonstrated. Also, students should use strong Zanchin: focus and committal to the technique in order to conquer their opponent.
and the link
http://www.youtube.com/view_play_list?p=537E5227D52FBF60
Subscribe to:
Posts (Atom)
