QUOTE
June 18th, 2009
In This Issue
> Better Focus Means Better Technique And More Energy
> The Art Of Kata
> myGKR Training Tip Sample
In many ways, the quality of your focus will determine the quality of your karate. Have you ever found your instructor has to tell you to correct the same error in your basics or kata week after week, perhaps even month after month? This is likely because you are lacking focus.
Do you ever find yourself tiring out and having to ease off before other students (who don’t appear to be fitter than you? This is likely because you have incorrect focus.
Focus begins at Mukoso (pronounced ‘Mook-soh’). This is where we close our eyes at the start of class. During this time, we put aside the troubles of the day and bring the laser beam of our mind onto the training that is about to begin.
Once the class begins, some people think, “ho-hum basics again”, or “Saifa again” Their thinking then drifts away from technique and mistakes are repeated. Then, as the class continues and becomes more demanding (or they wear out) their thoughts drift from their techniques into thoughts of pain and/or fatigue.
The result of thinking about fatigue is that it overcomes you and you have to back off and pace yourself – You get what you focus on
The result of focusing purely on technique is that you are able to train longer – because you get what you focus on.
It is easy to fall into the trap of losing focus. This losing focus I’m speaking of is not like falling over (losing balance) or mucking up your kata, it is losing control of your thoughts. Letting your mind wander whilst you train: “What is that person doing next to me?” “My kicks are better than theirs”. “My legs hurt” This thinking means you have an undisciplined mind.
The things that should be running through your mind (being repeated in your mind each and every technique) are the areas you wish to focus on: snap, technique, timing, hips, tension, speed, breathing, swiftness, retraction, elbows in, knees up, toes back etc.
Master your thoughts and you will master your shortcomings.
Metaphorically speaking, the first definable level of kata performance is painting by numbers or using stencils. Solid blocks of colour are used and the movements are in stages. Beginners do their kata this way.
The movements are angular, thick, and well defined. "Hidden" moves are left for another time or, in the case of beginners or the lazy, not yet discovered.
The next discrete level of performance is by using guidelines and different shades of colour. The individual strokes (movements) are joined together now making the Kata flow more. Individuality comes into play.
Good brown belts and exceptional red belts are beginning to perform their kata in this manner.
The highest discrete or definable level of performance is free hand, which allows the performer freedom of physical and aesthetic expression. This is done by adding texture and substance to the Kata, accompanied by the poetry of movement between the transitions of moves.
Think of it as the size of brushes used, techniques used, mixtures of colour and the use of textures and blending. And so the kata tells a story independent of and in addition to its components when done this way.
This is the level of performance of one who has truly understood and applied the principles of kata.
6 Guiding principles of Kata
1. Ikita Kata. All Kata must be alive and done with feeling and purpose. Otherwise kata will be nothing more than a kind of dance and thus not a fight and with that not karate.
2. Inen. Stands for Kime or energy. Kata must be performed with spirit. As this develops you will gain control of your centre/hara
3. Kisoku no Donto. Kata must be done with proper rhythm of breathing, when to inhale and exhale
4. Waza no Kankyu. Means the timing of fast/slow. Your Kata must be done with variations in the timing of, there has to be a difference of speed.
5. Chikara no Kyojaku. Means hard/soft energy. Techniques can be strong or yielding, hard then soft. Each technique has to be done with the right amount of tension and relaxation
6. Keitai no Hoji – positioning, Movement and stance in the Kata. Proper balance is to be maintained throughout all Kata.
Don’t just think the Kata you are learning is only for your grade or so you can ask, “Sensei, when can I learn another Kata, I know this one?” Each Kata teaches us something new and we can learn so much from them. This in turn will help your journey as a Karate-ka. Stop and think about it. How does your picture look and if you’re unsure of something to do with the Kata, do you speak out or let someone else ask the question.
Learning a Kata will take you a lifetime so take your time and enjoy it.
To many karate-ka, kata is a means to an end. In other words, ‘develop your kata so you can grade and go on to a new kata’. Or, ‘Develop your kata so you can win a gold medal’. Others simply enjoy the physical and mental challenge that comes with trying to master the mechanics of each kata.
Kata however is far more than a means to an end and a coordination challenge. Ultimately, kata contains the majority of karate’s self-defence philosophies and principles.
Because of this, a student should be mindful of far more than just what angles to hold their hips, hands or feet on etc.
Over the following weeks, we shall discuss some of the underlying principles of kata. With the knowledge of these, a student can train in kata with an improved mindset and ultimately increase their overall karate ability.
Part 5. All elements of the technique are relevant.
No movement of a kata is present without purpose. More often than not, a punch with the returning hand resting on the floating ribs does not indicate a punch, it represents having pulled an opponent in towards you with that returning hand, while simultaneously punching them.
In Gichin Funakoshi’s 1925 book, ‘Rentan Goshin Karate Jutsu’, he wrote, “Here the meaning of the hikite (or pulling hand) is to grab the opponent’s attacking hand and pull it in whilst twisting it as much as possible so that his body is forced to lead against the defender.” The returning hand serves to unbalance an opponent, lock them up, throw them down or pull them in to make a strike more effective.
This also includes angles, namely, the angles at which the techniques are performed.
Rarely in kata is a changing angle meant to represent turning to face a new opponent. A changing angle generally represents you changing your position in relation to an opponent who was once in front of you. Moving in behind them or to the side of them. It may be to have access to their weak points, to remove yourself from harms way, or to be in a better position to lock them up.
In This Issue
> Better Focus Means Better Technique And More Energy
> The Art Of Kata
> myGKR Training Tip Sample
In many ways, the quality of your focus will determine the quality of your karate. Have you ever found your instructor has to tell you to correct the same error in your basics or kata week after week, perhaps even month after month? This is likely because you are lacking focus.
Do you ever find yourself tiring out and having to ease off before other students (who don’t appear to be fitter than you? This is likely because you have incorrect focus.
Focus begins at Mukoso (pronounced ‘Mook-soh’). This is where we close our eyes at the start of class. During this time, we put aside the troubles of the day and bring the laser beam of our mind onto the training that is about to begin.
Once the class begins, some people think, “ho-hum basics again”, or “Saifa again” Their thinking then drifts away from technique and mistakes are repeated. Then, as the class continues and becomes more demanding (or they wear out) their thoughts drift from their techniques into thoughts of pain and/or fatigue.
The result of thinking about fatigue is that it overcomes you and you have to back off and pace yourself – You get what you focus on
The result of focusing purely on technique is that you are able to train longer – because you get what you focus on.
It is easy to fall into the trap of losing focus. This losing focus I’m speaking of is not like falling over (losing balance) or mucking up your kata, it is losing control of your thoughts. Letting your mind wander whilst you train: “What is that person doing next to me?” “My kicks are better than theirs”. “My legs hurt” This thinking means you have an undisciplined mind.
The things that should be running through your mind (being repeated in your mind each and every technique) are the areas you wish to focus on: snap, technique, timing, hips, tension, speed, breathing, swiftness, retraction, elbows in, knees up, toes back etc.
Master your thoughts and you will master your shortcomings.
Metaphorically speaking, the first definable level of kata performance is painting by numbers or using stencils. Solid blocks of colour are used and the movements are in stages. Beginners do their kata this way.
The movements are angular, thick, and well defined. "Hidden" moves are left for another time or, in the case of beginners or the lazy, not yet discovered.
The next discrete level of performance is by using guidelines and different shades of colour. The individual strokes (movements) are joined together now making the Kata flow more. Individuality comes into play.
Good brown belts and exceptional red belts are beginning to perform their kata in this manner.
The highest discrete or definable level of performance is free hand, which allows the performer freedom of physical and aesthetic expression. This is done by adding texture and substance to the Kata, accompanied by the poetry of movement between the transitions of moves.
Think of it as the size of brushes used, techniques used, mixtures of colour and the use of textures and blending. And so the kata tells a story independent of and in addition to its components when done this way.
This is the level of performance of one who has truly understood and applied the principles of kata.
6 Guiding principles of Kata
1. Ikita Kata. All Kata must be alive and done with feeling and purpose. Otherwise kata will be nothing more than a kind of dance and thus not a fight and with that not karate.
2. Inen. Stands for Kime or energy. Kata must be performed with spirit. As this develops you will gain control of your centre/hara
3. Kisoku no Donto. Kata must be done with proper rhythm of breathing, when to inhale and exhale
4. Waza no Kankyu. Means the timing of fast/slow. Your Kata must be done with variations in the timing of, there has to be a difference of speed.
5. Chikara no Kyojaku. Means hard/soft energy. Techniques can be strong or yielding, hard then soft. Each technique has to be done with the right amount of tension and relaxation
6. Keitai no Hoji – positioning, Movement and stance in the Kata. Proper balance is to be maintained throughout all Kata.
Don’t just think the Kata you are learning is only for your grade or so you can ask, “Sensei, when can I learn another Kata, I know this one?” Each Kata teaches us something new and we can learn so much from them. This in turn will help your journey as a Karate-ka. Stop and think about it. How does your picture look and if you’re unsure of something to do with the Kata, do you speak out or let someone else ask the question.
Learning a Kata will take you a lifetime so take your time and enjoy it.
To many karate-ka, kata is a means to an end. In other words, ‘develop your kata so you can grade and go on to a new kata’. Or, ‘Develop your kata so you can win a gold medal’. Others simply enjoy the physical and mental challenge that comes with trying to master the mechanics of each kata.
Kata however is far more than a means to an end and a coordination challenge. Ultimately, kata contains the majority of karate’s self-defence philosophies and principles.
Because of this, a student should be mindful of far more than just what angles to hold their hips, hands or feet on etc.
Over the following weeks, we shall discuss some of the underlying principles of kata. With the knowledge of these, a student can train in kata with an improved mindset and ultimately increase their overall karate ability.
Part 5. All elements of the technique are relevant.
No movement of a kata is present without purpose. More often than not, a punch with the returning hand resting on the floating ribs does not indicate a punch, it represents having pulled an opponent in towards you with that returning hand, while simultaneously punching them.
In Gichin Funakoshi’s 1925 book, ‘Rentan Goshin Karate Jutsu’, he wrote, “Here the meaning of the hikite (or pulling hand) is to grab the opponent’s attacking hand and pull it in whilst twisting it as much as possible so that his body is forced to lead against the defender.” The returning hand serves to unbalance an opponent, lock them up, throw them down or pull them in to make a strike more effective.
This also includes angles, namely, the angles at which the techniques are performed.
Rarely in kata is a changing angle meant to represent turning to face a new opponent. A changing angle generally represents you changing your position in relation to an opponent who was once in front of you. Moving in behind them or to the side of them. It may be to have access to their weak points, to remove yourself from harms way, or to be in a better position to lock them up.
Interesting bit about the fast/slow timing, even when watching GKR shodan-ho gradings I didn't see any variation in the timing of the kata performed.