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Saturday 31 July 2010
Monday 26 July 2010
The role of kata
The role of kata
I have long held the belief that kata is the heart of karate, the most important element. Although this series has dealt with the development of the body and skills through drills, I would like to draw the reader's attention to the traditional side of the martial arts. Here are two extracts from my published articles which explain my views on the importance of karate kata.
From the article "Making an Impact":
What has kata got to do with fighting? Perhaps nothing. Perhaps everything. It all depends on how you look at it.
In the kata we have the wisdom of the ages - the masters who have gone before us. When we practice a kata, we are doing karate here in the 21st Century exactly the way a student did it a hundred years ago. Master Funakoshi studied under Master Itosu, and spent three years learning each of the three Tekki katas. When I am practicing Tekki, I am very aware that I am learning karate the way that it was learned by the founder of Shotokan.
Performing a kata is like listening to a piece of music or reading a book. Milton said "a good book is the lifeblood of a master spirit". The kata were laid down by the Masters of karate, and their performance is to touch a higher world of experience, of thought manifested. Time, distance and death may deny us the opportunity to train with these greats, but performance of kata allows us to practice karate the way they intended it to be practiced. Arnold Bennett wrote "people who would sooner hibernate than feel intensely will do well to eschew literature". The same could be said of those who think they do not need to practice the kata!
Hanshi Steve Arniel of Kyokushinkai recently said that, after 40 years, he is still finding hidden bunkai in the kata that he was previously unaware of! Just goes to show to much more there is that we all have to learn.
George Dillman and Vince Morris have been teaching kyoshi jutsu - pressure point and grappling applications from the original kata. When doing bunkai in my class, I often try to show these "new old" moves for a deeper understanding. At my Jujutsu class, as a student, I am being shown techniques that I now realise I had known for years, that were hidden in the katas I had been practicing. This kind of deep wisdom can be no bad thing for a martial artist.
Master Enoeda states that kata is the heart of Shotokan, the heart of karate. The symbol of Shotokan is Tora - The Tiger. Master Enoeda himself has been called "The Shotokan Tiger", a compliment within a compliment. When performing kata, one can sum up the indominable spirit of a karate master, the spirit of the Tiger. In boxing, we hear talk of "eye of the tiger", as characterised in the film Rocky 3. Surely this is the same thing. If we can develop this through the practice of kata, how much will this spirit help us in a real encounter?
We are now left with another dilemna - which kata to practice? My favourite workout is to use the three kata Heian Godan, Bassai Dai and Jion. I believe these three best exemplify the Shotokan spirit. Heian Godan, with it's bold powerful movements, some of which can be seen again in Bassai Dai - who's very name means "to storm a fortress" - to knock down castle walls - the spirit to penetrate any defence. Jion, perhaps the ultimate Shotokan kata, who's name is handed down from the Jion temple of China, roots buried deep in Chinese Kempo, via Okinawa, via Japan. Often I "warmup" with kata before doing my bagwork and find my focus is better, techniques crisper and sharper, and my spirit and resolve set.
So back to the original question, what has kata got to do with fighting? I would say Everything!
From the article "Kata - Heart of the Matter":
To start with I would like to draw your attention to the eighteenth precept of Shotokan - "kata wa tadashiku jissen wa betsu mono" - "practising a kata is one thing, engaging in a real fight is another". Only by taking the bunkai and practicing them realistically as possible will they be of value to you. There are two reasons to practice bunkai - one is that it helps to understand the kata better, so that you have a better understanding of the technique if you know what it is supposed to be, and so that you can glean the defensive techniques from them.
Master Kanazawa, one of the greatest karate masters of modern times, set out ten elements for kata, which are to be practicised and understood by all students.
The first is Yoi no kisin and refers to the spirit of getting ready. Concentrate the mind and the will against the opponent. This is the first thing you do in the kata, before the movements themselves. Standing in yoi, without having even bowed, the kata has begun in the mind. In Japanese philisophy something that often appears is Sanmitsu - thought-word-deed. Think it, say it, do it. If you conceive of something, say what you think and mean it, then doing it is simple because most of the job is done. At this stage the fight is already over and you have already won, all you need do now is manifest that the situation in reality.
Imagine being a boxer and on the day of a big fight you read your horoscope in the paper and it says "today you will win that big fight". How would you feel if this was you on the morning of a karate tournament? How differently would you perform knowing you could not fail? It's all to do with self belief and confidence, so if you bring this mindset to every kata, imagine what you can do if you switch it on like a light before every fight?
The last Shotokan precept reads: Tsune ni shinen kufu seyo - "always think of ways to live the precepts every day". An old samurai maxim: "You must concentrate upon and consecrate yourself wholly to each day, as though a fire were raging in your hair."
So when we practice karate, we must commit ourselves 100%, wholeheartedly, like the samurai in battle who might die at any moment. For, if we're honest, how do we know that we won't?
Master Kanazawa's eighth element refers to kiai. Each kata has kiai at set points and we perform these to show martial spirit.
Like the rei, most karate students don't understand kiai. Just as the rei is more than a bow, the kiai is most definately more than just a shout. (For more insight on Rei, see my article How To Fight).
The sixth element refers to kokyu - breathing. Throughout the entire kata, breathing is specific and controlled. Each posture and movement can only be correctly performed with the proper breathing.
Most kata have two kiai. Unlike other techniques in martial art, there is no point in repeating kiai - one kiai, giving everything, is all that is needed. If you are capable of performing a second kiai immediately after the first then you have not done the first one properly!
Kiai is made of two words - ki, meaning energy, and ai meaning harmony or union. The union of energy.
You are weak when breathing in and strong when breathing out. When the enemy breathes in, shoot forward and hit him using kiai - so all your energy is in the technique. You hit him while you are strongest and he is weakest. Taking a deep breath and breathing out is a well known technique for calming oneself. A strong blow landed when one is breathing in can cause a shock which paralyses the heart and lungs. This is the origin of the stories about karate masters being able to kill an enemy with a single punch.
Shoto's fifteenth precept reads: "hito no te ashi wo ken to omoe" - "think of the hands and feet as swords". With the knowledge of your own breathing and knowledge of your enemy's breathing, your hands and feet will truly be as effective as any sword. Knowledge is power, after all.
Sunday 25 July 2010
Weight Training for Martial Arts
There seem to be two sides to the argument about whether developing the body, building the muscles is any use to a martial artist or fighter and whether the time taken will be better used spent working on basic skills.
One camp is the big strong guys who use strength and power - we see the heavyweight boxer, the huge wrestler, the 6'5" 200 lb karate knockdown champion, the fifteen stone bouncer with the body as wide as it is high. People look at these individuals with their huge chest and arms and immense strength and say "wouldn't want to mess with him!"
Then we have the camp who talk about their superior fighting system, how technique can overcome strength, how their fighting spirit will win over the power of the body. They look at their huge, strong counterpart and when confronted with the above statement answer, often sneering, with questions such as "yeh, but can he use that power effectively?"
But what if the answer is yes? What if the big guy has been taught effective techniques and how to correctly use his strength and power?
What if our technician is a lightweight boxer, eight stone, with skill developed over ten years of training and competing, and the other guy is a heavyweight boxer, sixteen stones, also with ten years training and experience?
Would the heavyweight really be slowed down by all that bulk and muscles, would the lightweight really be able to avoid all the big blows and land so many small blows (but at a high speed, of course) that he could knock out the bigger guy? The answer is obvious! The stronger boxer would penetrate any defence the smaller boxer put up with big heavy blows and totally overwhelm him. The bigger guy may be slightly slower, but his power would more than compensate for it and would rend the smaller boxer's power virtually useless, assuming he got the chance to even fire off some shots!
This is not to say that a good level of technical skill is not important, as long as this is not neglected in favour of strength training, the extra strength will only benefit the fighter.
It is muscle that moves the limbs, that sends out the kicks and punches, not fat or skin. Does anyone really believe that having a flabby body with under developed muscles really make someone a better fighter than their more muscular counterpart?
Developing muscle for the martial artist should not be confused with the sports of powerlifting and bodybuilding.
With powerlifting, the purpose is to become as strong as possible, to lift as heavy a weight as possible, so that on the day of the contest, the lifter who shifts the most weight will be the winner.
With bodybuilding, the purpose is to build the muscles and large as possible, and then strip the body of fat, for cosmetic effect, for the purpose of display, contests where the artistic merit of the body's asthetics are in competition.
Although our goal is neither of the two, rather maximising functionality, we can learn from these athletes. For if we take the training routines from two sports which maximise muscular development, which go much farther than we need to go in our own development, how easy will it be for us to find our goals within these limits.
The same goes for boxing, where the boxer has trained his attributes to the limits, far further than the standard martial artist will ever reach in his career.
My personal training has taken me to hardcore weight gyms to train alongside bodybuilders and powerlifters, and to boxing gyms, to train alongside boxers. After twenty years, I have found where I fit in the scheme of all this, and have compiled this knowledge into this series of articles.
A lot of people say that weight training and martial arts do not go together. I say that is rubbish and I have proved that it can be done and that the goals can be met in both areas. The real secrets to this are in diet, nutrition and supplementation, perhaps the most important part of this first section, and one that I have left to it's last part.
I hope thse of you who are reading this series from a martial arts perspective will not skip this first section and take the time to use the exercises to develop some or all of the body's attributes before moving on to the section on skills.
I can assure you that you will be glad you did.
Although it's an argument that will probably never be resolved, I'll try and finish with some insight, and see if it makes some sense to you.
You get many small, skinny, wimpish guys who decry muscular development. They say things like the following:
"Women don't like all that muscle" (no, of course not, women prefer fat blobs or skinny wimps!)
(this is along the same argument as "size doesn't matter" - and that's not true either!)
"All that muscle makes you slow."
"Oh, it looks grotesque, I wouldn't want to look like that."
"Martial arts and muscle building don't mix - you can't do both"
"That sort of muscle and strength is no use in a real fight"
And the grandaddy of them all: "It's not muscle, it's really just fat." (so why does it both you so much then?)
What you never see is the musclemen saying :
"All this muscle is no use to me. It makes me slow. I keep getting beaten up by small, skinny guys and women hate the way my body looks. I wish I had never built up my muscles. I'm going to stop training right now and lose all the muscle to get a better looking body"
I think that about says it all.
Now get down the gym!
Wednesday 21 July 2010
HOW TO FIGHT!
HOW TO FIGHT!
A simple self defence set taken from karate and kickboxing.
Yes, I know what you're thinking "What a pretentious title for a magazine article". Well, maybe. But maybe not. Stay with me a minute and I'll try and justify that.
Many people who come to a martial arts class are concerned with just that - How to Fight. And they want to know that the person teaching them knows, that they are learning how to fight from someone who can.
I have been in a few (some would say a few too many) situations myself, and know confidently, when it comes to fighting, that I can. When my students ask me, out of what I teach them, what will serve them in a real situation of danger, they know that I know what I'm talking about.
Hope that clears that up.
What I teach, however, is not fighting, it is karate, both traditional, and freestyle (kickboxing), which adds elements taken from boxing. However, with the correct application of the relevent knowledge it is entirely possible to fight or defend oneself using the techniques of karate and kickboxing.
Stance
Square stance. This is the wrong stance to be in. However this is where you will probably find yourself at the start of an encounter - off guard and in a neutral stance.
Bladed stance. This is the correct stance to be in. One foot in front of the other, similar to the boxing stance or karate's Jiyu dachi fighting stance. 45% angle.
In karate we always move forward into stance to show martial spirit. Kata begins with a bow followed by a move into a stance, along with a block. All kata begin this way to demonstrate the first two precepts of karate - 1. that karate begins and ends with courtesy and 2. in karate one never strikes first.
However, in kumite, after the bow, we move back into stance. This is to show courtesy for the training partner. However, kumite itself is a form and this action has combat applications. Caught in a neutral stance when facing an attacker, we need to foremost keep in mind that we are being attacked and are obliged by the attacker to defend ourselves, hence the purpose of the bow (obviously we do not bow literally in a real encounter, but the spirit of the rei is still there). We move from the neutral stance back into a bladed fighting stance. Why not forward? Because if you step forward towards an experienced street fighter the first thing he will do is kick you in the knee as soon as it comes into range, as soon as you are lining him up for the first shot.
It's what I would do. Think about it. This guy in front of you, talking to you, changes his position, his left leg comes forward, his right hand moves up from his side to somewhere around his stomach area. He is stepping into position and lining you up for that big right hand. Kick him in the knee cap of his lead leg as soon as he steps into range. This is taking the initiative. So when you want to step into bladed stance, move your rear leg back, not your lead leg forward. Keep this trick in mind, not just so you can use it, but so that you don't fall for it!
A quick note on Rei - the bow. The rei is more than just bending at the waist or making a simple nod of the head. At the surface, the rei is the Japanese equivalent of the Western handshake. The handshake has great significance in that you take your hand away from your sheathed sword to offer it in friendship. When Baden Powell founded his Scout movement, he made use of a left handed handshake, to signify the laying down of the shield as a symbol of trust, an initiative he thought up when facing tribal warriors who carried shields as a means of defence. (Bet you didn't think you'd be reading about the Boy Scouts when you started to read an article on karate titled "How To Fight"! And no, I was never a Scout myself. Not because it is a bad thing to do, but because Scout night fell on karate night and I was doing karate.)
A good description of karate I once heard is that it is part of Japanese culture, the same culture that produced the beauty of the tea ceremony and the ritual suicide of hara-kiri. The Rei is just as important a part of that culture. So, in kumite, we rei to each other as a mark of respect for having someone to train with. In kata, we rei at the start and finish of each form. This shows respect for the art, our teachers and our dojo. It shows respect for life! Right behaviour means right consciousness, and proper form in techniques develops right behaviour. The three elements of martial art are wasa-ki-shin: technique, energy, attitude of mind. Every gesture in life should contain wasa-ki-shin. We have to start somewhere, so we start with the rei. When a student asks me "What is the most important technique in karate" I tell them the rei. Yes, not the block, punch or jumping side kick, but the bow. Think about it.
Punch range.
This is the range where most fights take place. His hands are able to reach your body. But your hands are also able to reach his.
In karate we practice gyaku zuki, from the natural stance (hachiji dachi) and from the front stance (zenkutsu dachi). In front stance, we perform this with the left hand open and pull it back as we send out the rear hand. This is done at three height levels - jodan, chudan and gedan.
In a real situation, the lead hand is the fence and the rear hand is cocked. We stand in the natural position, rather than the deep front stance. Remember Shotokan precept 17 - kamae wa shoshinsha ni ato wa shizentai - "beginners must master low stance; natural body position for advanced". Remember, we are practicing the art of karate, and it's combat application. Those who excel at boxing may use the cross as opposed to the gyaku zuki, it's really the same punch, but the mechanics are a little different, especially the feet.
The fence. Gives you a perception of where he is. Touch the fence to the opponent's body before launching a cross is the same as hitting him with a jab first - it gives you the lineup. It seems non-aggressive, but it means you are in control. If he has come forward into punch range he is a danger. If he is trying to get past your fence, he is doing it for a reason, so this is your chance to launch your pre-emptive strike.
The Guard. Not the same as the guard in grappling. This is based on the boxer's guard, hands up, ready to launch your punches and cover your opponent's punches. If you put this up it means you are fighting, and your chance to take the opponent with a surprise pre-emptive strike is gone. He has the same chance as you do. He has started it, you must finish it. As it turns out, you now may need to block an attack of his.
The block. Similar to a karate lead hand block, this works if he launches a swinging attack, as it jams the punch he throws. You need to keep your head down. Similar to the boxer's jab and thrown out in the same manner, but with the intention of intercepting the incoming punch. Don't use it like a karateka in solid zenkutsu dachi, applying age uke as in one step sparring - that is a training exercise. Do it in boxing stance, throw the jab a few times to get the feel and then, instead of landing the jab with the fudoken, roll up the hammerfist. It works surprisingly well. With a partner, jab his right pec a couple of time, then get him to throw a rear hook and roll up the block, stepping back on the rear foot half a step as you do. Well, blow me down. Karate blocks work after all!
The cover. Taken from boxing, covers your head against the punch. This is when the attacker is right in close on top of you and has bridged the gap from punch range to in fighting range. Nice of him to do so, and once you have covered the hit successfully you can use the infighting techniques to deal with him. More on those later.
The punch. Off the back hand, goes in like a cross, off the front hand, goes in like a hook. The Jodan zuki translates as this, and the target is the jaw. The tip of the chin, preferably, but anywhere along the crescent of the jaw will stun the attacker.
Karateka will be familiar with the technique mikazuki geri, which means crescent kick. The name mikazuki refers to the jaw, the mandible, and is the Japanese name for this body part, also this target. So when we refer to mikazuki geri we are in fact refering to it as not just a crescent shaped motion, but as a kick to the mandible. This naming of techniques after the targets is quite common in karate. Another example is kasumi uchi, taken from Bojutsu - a strike to kasumi - the temple. (Bet you didn't know that!)
In case you are wondering, I do not recommend trying to kick the jaw in a real fight. As you will probably be at punch range anyway, stick to the hand techniques.
The palm heel strike. Basically, swap the fudoken - clenched fist - for an open taisho palm heel and keep the jaw (mikazuki) as the target. Those who are not sure of their fist, or are concerned with damaging the hand, will have no such problems using the palm heel.
The chudan gyaku zuki is a powerful shot to the solar plexus. If the opponent is concerned with dealing with an attack at the head, he can easily be fooled if you switch "downstairs". He can be easily be setup with a feint lead hand jab, which would cause him to divert his attention to protecting his face. Attack By Drawing and the use of feints are not always the best tactics for a street fight. But should you find yourself facing someone in stance, waiting to see what will happen (thinking "How the hell did get here?"!), your best option is to land one first and a chudan shot to the solar plexus is an option.
The gedan zuki is aimed at the groin, the pubic bone. If the opponent has been drinking, which is possible in a pub or nightclub where many such fights start, then hitting the bladder can have the desired effect. At any rate, he won't be prepared for you to drop low, and won't be prepared for the effects of the shot either! It will pretty much leave him helpless as you line him up for the finishing move.
In fighting.
This is where you are closer than hand range. This is the range where trapping and vertical grappling will occur. With respect to Wing Chun practitioners, trapping will not occur in a real fight the way it is shown in your kwoon unless you are someone like Derek Jones, Emin Boztepe or Rick Young.
There is this great scene in the film Internal Affairs where Richard Gere's Bad Cop attacks Andy Garcia's Good Cop by surpising him in a lift. Garcia is going upstairs in the lift. The lift stops and the doors open and Gere is standing there, which takes both the audience and Garcia by complete surprise. Gere drops a headbutt straight into Garcia's face and he falls into the lift and hits the back wall. The doors close. Gere closes the gap and hits Garcia with a couple of short uppercuts to the body, which completely immobilises Garcia, who is in agony. They are now face to face at trapping/vertical grappling/infighting range and Gere taunts the helpless Garcia for a few moments. He then lands a knee to Garcia's groin which drops him to the floor. Of all Hollywood fight scenes, this is probably the most realistic I have ever seen. Up close, taken by surprise, simple and painfull shots - no messing about. This is the way to deal with an opponent at close quarters. No spinning back kicks in sight.
So the headbutt for jodan, body shot with an uppercut for chudan, and knee to the groin for gedan are the moves mentioned and the moves recommended. To this I would add the stomp to the attacker's instep. Develop these first three shots up close on the big bag. A stamp to the foot is so obvious it should not need any impact drilling.
If you are outside his leg, use the knee strike to his outer thigh.
Then move round the back to apply the sleeper choke.
(see my previous article "What Really Happens")
The aim of infighting is to get him off you - send him down and don't go down with him. If you do, you are into groundfighting. And that is something else altogether.
Kick range
Kick range happens if you are conversing at that range or the opponent is yet to move into punch range or has moved out from it. The best kicks are the three primary karate kicks - front, side and round, adapted for efficiency. The back kick, ushiro geri, is also handy if someone is moving in from behind and you don't get the chance to turn round.
Front kick is low and to the opponent's shin or knee, either with the cap of the shoe, or the inside edge. A bit like when in football you side foot the ball - you are going to side foot his shin with the inside edge of your shoe.
Side kick is a low thrust kick, again to the shin or knee. A lot of people talk about kicking the side of the knee. All good in theory but it does do a lot of damage - are you prepared to go that far? Also, if he is coming straight towards you or standing facing you, it is the front of his leg you will be presented with, you won't actually be round the side. Think about that.
Round kick is the Thai style round kick to the thigh, rather than the mawashigeri style of round kick.
Back kick works when someone moves in beside you or if you are dealing with one person and a second moves in to assist him, on your blind side. There are many examples in karate kata where you stack your hands on your hip and kick in the other direction. Karate's detractors try to put the art down for these moves without ever understanding them. "Unrealistic" they say. This concept is more realistic than they realise. You have both your hands at your left side, holding (or hitting!) an attacker, when his mate moves in from the right/rear side. Keeping your hands where they are, kick sideways/backwards either to his approaching leg as he puts it into range (remember that trick?) or straight into his groin. Either way, it deals with him rather well. No, you won't have time to turn and face him. Use the back kick. It works.
I like to follow up the back kick with a side elbow strike (yoko empi), The kick landing will bring his head down and forward and augments the power of the subsequent elbow strike.
From behind
When surprised from behind I have found the elbow strike to be the only efficient technique. If you have not had time to kick, he will be right on top of you, so just plow that side elbow right into his face and drop him. Try it with a partner up close (line up, not landing the elbow), even grabbing you. Find out how to line up that side elbow and you'll believe in what an effective technique it is. The strike can also be applied to the solar plexus, and hammer fist can be applied to the groin. We have all seen that technique on TV shows, usually done really poorly (I remember Avon in Blakes 7 applying it to an attacking alien) where the hero hits his attacker with an elbow to the stomach and a backfist to the face. I think if he is standing right by you then the face and solar plexus are open gain for the elbow and the groin is waiting for the hammerfist. I personally would not use the fist for a face attack to the rear, but the side is a different matter.
On the side
Sometimes you will be side on to an attacker, or have used the ploy of turning away to take him off guard. You then want to turn back with a powerful hammerfist to the nose or side kick to his knee, depending on range. These initial techniques can be followed up with a powerful finishing technique. Some karateka may think of using the backfist, but the danger here is missing with the knuckles and hitting the back of the hand against the opponent's hard bony skull. At the best it is painfull, the worst it will break the hand. Use the meaty hammerfist as a better weapon. I have also found from impact training on the bag and pads that I can generate more power with the hand in the hammerfist position than the backfist. Probably something to do with the supinators and pronators in the forearm lining up better. Or maybe not. At any rate, it seems to be the case. Find out for yourself.
Often when an opponent recieves one of the lower strikes - leg, groin or body, he will bend forwards at the waist, presenting his back at a target for dropping techniques. Depending on which of the ranges you are in, or if the range changes, will change the target, but the nape of the neck, the kidneys and the spine are the ones to aim for.
Developing the techniques
By way of example we'll look at a method for developing and adapting the punch for combat. This can then be applied to all the techniques.
The basic kihon - gyaku zuki in natural stance and front stance. Time taken to develop the basic form of the punch will not be wasted. It takes 5000 repititions of an action to make it a natural reflex. Also, practice the oi zuki lunge punch 5000 times. Not a realistic punch? Well maybe not in actuality, but as a training exercise it fully utilises the fist, turn of shoulder and hip, and obviously takes the footwork to it's ultimate conclusion: a complete step. So, with 3 forms of the punch, left and right, 5000 times each, we are looking at 15,000 punches to learn the basic technique. So those of you who have been doing karate for a while now and think you have "got the hang" of punching, think again. Then go and do some more reps.
Makiwara. Not everyone has access to these, but remember that this was the tool designed for developing karate kihon. If you have access to a punchbag then use this, but remember that the punchbag is a tool for developing the punches of boxing, in this case the cross, so adapt your technique accordingly. I use makiwara and the heavy bag in my solo training, to perfect the form for gyaku zuki and the cross. My actual technique kind of meets in the middle. Find where yours is.
As for how to practice the technique, many people make the mistake of trying to hit hard. OK, we want to hit hard, but we want to do the technique properly and add power to it. Most beginners try to hit harder and do the technique different. Therefore wrong, therefore weaker. This is where all those many kihon, those reps grooving the technique into the muscle memory will serve you. My advice here is don't try and hit hard - just land the technique with good form - and power will come the more reps you do. By the time you have landed another 5,000 you will be doing the punch properly and they will be hard and fast.
Lineup the punch. Get to know the target, in this case the jaw (mikazuki, remember). With a partner, lineup the punch to the jaw several times. Do this from both the fence, and from the guard, until your punch will find that target anytime you need it to. How many reps? Another 5,000 should do it.
Focus pads. This is the best way to develop punches. Get your partner to hold them up and lineup the shots, this time with speed and power. This is as close as you can get to actual sparring and it's worth spending a lot of time doing padwork once you have developed your punches. Don't forget to keep correct body mechanics and good form in the techniques. Both feeder (pad holder) and you can move around as if sparring for real. As this drill comes from boxing, the best way to practice this is in the ring for three rounds of three minutes. If this is not possible, as long as you have the focus pads, you can do the drill at the dojo. Stay on the mat and keep punching for the duration of a three minute round, or as close to as possible.
Sparring. This is where everything is put to the test and you will find yourself at both kick, punch and infighting range, and you will have the ability to land all your techniques at all levels. Basically you want to get in there, land those punches to your partner's jaw while he is trying to defend himself and attack you back at the same time. Use your guard, block and cover, learn not to take shots yourself. If you have worked your defensive moves as kihon and against a set up shot 5,000 times each then they should happen automatically when your partner throws a shot at you in sparring.
As for the punch, as soon as the open line to the jaw is there, you will instantly react and the punch will find it's way to the target on it's own. At first you will both be surprised "where did that come from?" he will be thinking and so will you. Once it has happened continuously in sparring you will be used to your new skills and will start to trust and believe in them. At this point you will be very dangerous to anyone who decides that they will attack you.
A quick note on developing the other techniques. For the kicks - do the reps as kihon to get them right and then against the bag for impact to get the power. Line them up against a partner's leg. You can get him to wear a shin pad if you want to develop a bit of contact.
For the defence - practice the age uke and the cover as kihon to groove the techniques in. Then get your partner to throw a gyaku zuki at punch range and a cross at infighting range to your head and practice both blocks, as in kihon ippon kumite. Do 5,000 on each technique each side and the block will happen instinctively should someone throw a punch at your head for real. Wear boxing gloves and go for some contact, so if you miss the block and get hit, you'll have an appreciation of where you went wrong and learn from your mistakes. If you are going to make mistakes in your defence, do it in training, not when it goes live!
So the kihon to be practiced are as follows. Choku zuki - jodan, chudan and gedan. At Jodan - taisho (palm heel) thrust and round, toho (sword peak hand). Yoko at jodan - urakan. Yoko at gedan - shuto. At chudan - ura zuki and tate zuki. At gedan - teisho. Elbow techniques - yoko, ushiro and mae empi. Tenchi (downward) shuto and empi.
In zenkutsu dachi - gyaku zuki, hiza geri, mae geri, kekome, ushiro geri and mawashigeri.
These translate to the following. Punch range - punch to jaw, palm heel to jaw, arc hand to throat, power slap to side of jaw, elbow to jaw, body shot and groin shot. Kick range - front kick and side kick to shin or knee, round kick to outer thigh. Infighting range - headbutt to face, uppercut to body, knee to groin and stamp to instep. From the side - hammerfist and elbow to nose, elbow to body, hammerfist to groin, side kick to knee. From behind - back kick to knee or groin, elbow to face. Opponent bent over - hammerfist, shuto or elbow as drop weapons to the following targets - nape of neck, spine, kidneys.
Conclusion
Remember that the martial arts are the arts of war. They developed that way. Warriors went out to battle and fought the way they were trained. Techniques that were effective were brought back. Techniques that were ineffective died with their inventors. The martial arts distilled as they were at the start of this century are systems born out of warfare - effective and realistic. The wisdom of those masters is in these systems and has been handed down to us in the lessons that are the martial arts. All we have to do is pay attention.
A simple self defence set taken from karate and kickboxing.
Yes, I know what you're thinking "What a pretentious title for a magazine article". Well, maybe. But maybe not. Stay with me a minute and I'll try and justify that.
Many people who come to a martial arts class are concerned with just that - How to Fight. And they want to know that the person teaching them knows, that they are learning how to fight from someone who can.
I have been in a few (some would say a few too many) situations myself, and know confidently, when it comes to fighting, that I can. When my students ask me, out of what I teach them, what will serve them in a real situation of danger, they know that I know what I'm talking about.
Hope that clears that up.
What I teach, however, is not fighting, it is karate, both traditional, and freestyle (kickboxing), which adds elements taken from boxing. However, with the correct application of the relevent knowledge it is entirely possible to fight or defend oneself using the techniques of karate and kickboxing.
Stance
Square stance. This is the wrong stance to be in. However this is where you will probably find yourself at the start of an encounter - off guard and in a neutral stance.
Bladed stance. This is the correct stance to be in. One foot in front of the other, similar to the boxing stance or karate's Jiyu dachi fighting stance. 45% angle.
In karate we always move forward into stance to show martial spirit. Kata begins with a bow followed by a move into a stance, along with a block. All kata begin this way to demonstrate the first two precepts of karate - 1. that karate begins and ends with courtesy and 2. in karate one never strikes first.
However, in kumite, after the bow, we move back into stance. This is to show courtesy for the training partner. However, kumite itself is a form and this action has combat applications. Caught in a neutral stance when facing an attacker, we need to foremost keep in mind that we are being attacked and are obliged by the attacker to defend ourselves, hence the purpose of the bow (obviously we do not bow literally in a real encounter, but the spirit of the rei is still there). We move from the neutral stance back into a bladed fighting stance. Why not forward? Because if you step forward towards an experienced street fighter the first thing he will do is kick you in the knee as soon as it comes into range, as soon as you are lining him up for the first shot.
It's what I would do. Think about it. This guy in front of you, talking to you, changes his position, his left leg comes forward, his right hand moves up from his side to somewhere around his stomach area. He is stepping into position and lining you up for that big right hand. Kick him in the knee cap of his lead leg as soon as he steps into range. This is taking the initiative. So when you want to step into bladed stance, move your rear leg back, not your lead leg forward. Keep this trick in mind, not just so you can use it, but so that you don't fall for it!
A quick note on Rei - the bow. The rei is more than just bending at the waist or making a simple nod of the head. At the surface, the rei is the Japanese equivalent of the Western handshake. The handshake has great significance in that you take your hand away from your sheathed sword to offer it in friendship. When Baden Powell founded his Scout movement, he made use of a left handed handshake, to signify the laying down of the shield as a symbol of trust, an initiative he thought up when facing tribal warriors who carried shields as a means of defence. (Bet you didn't think you'd be reading about the Boy Scouts when you started to read an article on karate titled "How To Fight"! And no, I was never a Scout myself. Not because it is a bad thing to do, but because Scout night fell on karate night and I was doing karate.)
A good description of karate I once heard is that it is part of Japanese culture, the same culture that produced the beauty of the tea ceremony and the ritual suicide of hara-kiri. The Rei is just as important a part of that culture. So, in kumite, we rei to each other as a mark of respect for having someone to train with. In kata, we rei at the start and finish of each form. This shows respect for the art, our teachers and our dojo. It shows respect for life! Right behaviour means right consciousness, and proper form in techniques develops right behaviour. The three elements of martial art are wasa-ki-shin: technique, energy, attitude of mind. Every gesture in life should contain wasa-ki-shin. We have to start somewhere, so we start with the rei. When a student asks me "What is the most important technique in karate" I tell them the rei. Yes, not the block, punch or jumping side kick, but the bow. Think about it.
Punch range.
This is the range where most fights take place. His hands are able to reach your body. But your hands are also able to reach his.
In karate we practice gyaku zuki, from the natural stance (hachiji dachi) and from the front stance (zenkutsu dachi). In front stance, we perform this with the left hand open and pull it back as we send out the rear hand. This is done at three height levels - jodan, chudan and gedan.
In a real situation, the lead hand is the fence and the rear hand is cocked. We stand in the natural position, rather than the deep front stance. Remember Shotokan precept 17 - kamae wa shoshinsha ni ato wa shizentai - "beginners must master low stance; natural body position for advanced". Remember, we are practicing the art of karate, and it's combat application. Those who excel at boxing may use the cross as opposed to the gyaku zuki, it's really the same punch, but the mechanics are a little different, especially the feet.
The fence. Gives you a perception of where he is. Touch the fence to the opponent's body before launching a cross is the same as hitting him with a jab first - it gives you the lineup. It seems non-aggressive, but it means you are in control. If he has come forward into punch range he is a danger. If he is trying to get past your fence, he is doing it for a reason, so this is your chance to launch your pre-emptive strike.
The Guard. Not the same as the guard in grappling. This is based on the boxer's guard, hands up, ready to launch your punches and cover your opponent's punches. If you put this up it means you are fighting, and your chance to take the opponent with a surprise pre-emptive strike is gone. He has the same chance as you do. He has started it, you must finish it. As it turns out, you now may need to block an attack of his.
The block. Similar to a karate lead hand block, this works if he launches a swinging attack, as it jams the punch he throws. You need to keep your head down. Similar to the boxer's jab and thrown out in the same manner, but with the intention of intercepting the incoming punch. Don't use it like a karateka in solid zenkutsu dachi, applying age uke as in one step sparring - that is a training exercise. Do it in boxing stance, throw the jab a few times to get the feel and then, instead of landing the jab with the fudoken, roll up the hammerfist. It works surprisingly well. With a partner, jab his right pec a couple of time, then get him to throw a rear hook and roll up the block, stepping back on the rear foot half a step as you do. Well, blow me down. Karate blocks work after all!
The cover. Taken from boxing, covers your head against the punch. This is when the attacker is right in close on top of you and has bridged the gap from punch range to in fighting range. Nice of him to do so, and once you have covered the hit successfully you can use the infighting techniques to deal with him. More on those later.
The punch. Off the back hand, goes in like a cross, off the front hand, goes in like a hook. The Jodan zuki translates as this, and the target is the jaw. The tip of the chin, preferably, but anywhere along the crescent of the jaw will stun the attacker.
Karateka will be familiar with the technique mikazuki geri, which means crescent kick. The name mikazuki refers to the jaw, the mandible, and is the Japanese name for this body part, also this target. So when we refer to mikazuki geri we are in fact refering to it as not just a crescent shaped motion, but as a kick to the mandible. This naming of techniques after the targets is quite common in karate. Another example is kasumi uchi, taken from Bojutsu - a strike to kasumi - the temple. (Bet you didn't know that!)
In case you are wondering, I do not recommend trying to kick the jaw in a real fight. As you will probably be at punch range anyway, stick to the hand techniques.
The palm heel strike. Basically, swap the fudoken - clenched fist - for an open taisho palm heel and keep the jaw (mikazuki) as the target. Those who are not sure of their fist, or are concerned with damaging the hand, will have no such problems using the palm heel.
The chudan gyaku zuki is a powerful shot to the solar plexus. If the opponent is concerned with dealing with an attack at the head, he can easily be fooled if you switch "downstairs". He can be easily be setup with a feint lead hand jab, which would cause him to divert his attention to protecting his face. Attack By Drawing and the use of feints are not always the best tactics for a street fight. But should you find yourself facing someone in stance, waiting to see what will happen (thinking "How the hell did get here?"!), your best option is to land one first and a chudan shot to the solar plexus is an option.
The gedan zuki is aimed at the groin, the pubic bone. If the opponent has been drinking, which is possible in a pub or nightclub where many such fights start, then hitting the bladder can have the desired effect. At any rate, he won't be prepared for you to drop low, and won't be prepared for the effects of the shot either! It will pretty much leave him helpless as you line him up for the finishing move.
In fighting.
This is where you are closer than hand range. This is the range where trapping and vertical grappling will occur. With respect to Wing Chun practitioners, trapping will not occur in a real fight the way it is shown in your kwoon unless you are someone like Derek Jones, Emin Boztepe or Rick Young.
There is this great scene in the film Internal Affairs where Richard Gere's Bad Cop attacks Andy Garcia's Good Cop by surpising him in a lift. Garcia is going upstairs in the lift. The lift stops and the doors open and Gere is standing there, which takes both the audience and Garcia by complete surprise. Gere drops a headbutt straight into Garcia's face and he falls into the lift and hits the back wall. The doors close. Gere closes the gap and hits Garcia with a couple of short uppercuts to the body, which completely immobilises Garcia, who is in agony. They are now face to face at trapping/vertical grappling/infighting range and Gere taunts the helpless Garcia for a few moments. He then lands a knee to Garcia's groin which drops him to the floor. Of all Hollywood fight scenes, this is probably the most realistic I have ever seen. Up close, taken by surprise, simple and painfull shots - no messing about. This is the way to deal with an opponent at close quarters. No spinning back kicks in sight.
So the headbutt for jodan, body shot with an uppercut for chudan, and knee to the groin for gedan are the moves mentioned and the moves recommended. To this I would add the stomp to the attacker's instep. Develop these first three shots up close on the big bag. A stamp to the foot is so obvious it should not need any impact drilling.
If you are outside his leg, use the knee strike to his outer thigh.
Then move round the back to apply the sleeper choke.
(see my previous article "What Really Happens")
The aim of infighting is to get him off you - send him down and don't go down with him. If you do, you are into groundfighting. And that is something else altogether.
Kick range
Kick range happens if you are conversing at that range or the opponent is yet to move into punch range or has moved out from it. The best kicks are the three primary karate kicks - front, side and round, adapted for efficiency. The back kick, ushiro geri, is also handy if someone is moving in from behind and you don't get the chance to turn round.
Front kick is low and to the opponent's shin or knee, either with the cap of the shoe, or the inside edge. A bit like when in football you side foot the ball - you are going to side foot his shin with the inside edge of your shoe.
Side kick is a low thrust kick, again to the shin or knee. A lot of people talk about kicking the side of the knee. All good in theory but it does do a lot of damage - are you prepared to go that far? Also, if he is coming straight towards you or standing facing you, it is the front of his leg you will be presented with, you won't actually be round the side. Think about that.
Round kick is the Thai style round kick to the thigh, rather than the mawashigeri style of round kick.
Back kick works when someone moves in beside you or if you are dealing with one person and a second moves in to assist him, on your blind side. There are many examples in karate kata where you stack your hands on your hip and kick in the other direction. Karate's detractors try to put the art down for these moves without ever understanding them. "Unrealistic" they say. This concept is more realistic than they realise. You have both your hands at your left side, holding (or hitting!) an attacker, when his mate moves in from the right/rear side. Keeping your hands where they are, kick sideways/backwards either to his approaching leg as he puts it into range (remember that trick?) or straight into his groin. Either way, it deals with him rather well. No, you won't have time to turn and face him. Use the back kick. It works.
I like to follow up the back kick with a side elbow strike (yoko empi), The kick landing will bring his head down and forward and augments the power of the subsequent elbow strike.
From behind
When surprised from behind I have found the elbow strike to be the only efficient technique. If you have not had time to kick, he will be right on top of you, so just plow that side elbow right into his face and drop him. Try it with a partner up close (line up, not landing the elbow), even grabbing you. Find out how to line up that side elbow and you'll believe in what an effective technique it is. The strike can also be applied to the solar plexus, and hammer fist can be applied to the groin. We have all seen that technique on TV shows, usually done really poorly (I remember Avon in Blakes 7 applying it to an attacking alien) where the hero hits his attacker with an elbow to the stomach and a backfist to the face. I think if he is standing right by you then the face and solar plexus are open gain for the elbow and the groin is waiting for the hammerfist. I personally would not use the fist for a face attack to the rear, but the side is a different matter.
On the side
Sometimes you will be side on to an attacker, or have used the ploy of turning away to take him off guard. You then want to turn back with a powerful hammerfist to the nose or side kick to his knee, depending on range. These initial techniques can be followed up with a powerful finishing technique. Some karateka may think of using the backfist, but the danger here is missing with the knuckles and hitting the back of the hand against the opponent's hard bony skull. At the best it is painfull, the worst it will break the hand. Use the meaty hammerfist as a better weapon. I have also found from impact training on the bag and pads that I can generate more power with the hand in the hammerfist position than the backfist. Probably something to do with the supinators and pronators in the forearm lining up better. Or maybe not. At any rate, it seems to be the case. Find out for yourself.
Often when an opponent recieves one of the lower strikes - leg, groin or body, he will bend forwards at the waist, presenting his back at a target for dropping techniques. Depending on which of the ranges you are in, or if the range changes, will change the target, but the nape of the neck, the kidneys and the spine are the ones to aim for.
Developing the techniques
By way of example we'll look at a method for developing and adapting the punch for combat. This can then be applied to all the techniques.
The basic kihon - gyaku zuki in natural stance and front stance. Time taken to develop the basic form of the punch will not be wasted. It takes 5000 repititions of an action to make it a natural reflex. Also, practice the oi zuki lunge punch 5000 times. Not a realistic punch? Well maybe not in actuality, but as a training exercise it fully utilises the fist, turn of shoulder and hip, and obviously takes the footwork to it's ultimate conclusion: a complete step. So, with 3 forms of the punch, left and right, 5000 times each, we are looking at 15,000 punches to learn the basic technique. So those of you who have been doing karate for a while now and think you have "got the hang" of punching, think again. Then go and do some more reps.
Makiwara. Not everyone has access to these, but remember that this was the tool designed for developing karate kihon. If you have access to a punchbag then use this, but remember that the punchbag is a tool for developing the punches of boxing, in this case the cross, so adapt your technique accordingly. I use makiwara and the heavy bag in my solo training, to perfect the form for gyaku zuki and the cross. My actual technique kind of meets in the middle. Find where yours is.
As for how to practice the technique, many people make the mistake of trying to hit hard. OK, we want to hit hard, but we want to do the technique properly and add power to it. Most beginners try to hit harder and do the technique different. Therefore wrong, therefore weaker. This is where all those many kihon, those reps grooving the technique into the muscle memory will serve you. My advice here is don't try and hit hard - just land the technique with good form - and power will come the more reps you do. By the time you have landed another 5,000 you will be doing the punch properly and they will be hard and fast.
Lineup the punch. Get to know the target, in this case the jaw (mikazuki, remember). With a partner, lineup the punch to the jaw several times. Do this from both the fence, and from the guard, until your punch will find that target anytime you need it to. How many reps? Another 5,000 should do it.
Focus pads. This is the best way to develop punches. Get your partner to hold them up and lineup the shots, this time with speed and power. This is as close as you can get to actual sparring and it's worth spending a lot of time doing padwork once you have developed your punches. Don't forget to keep correct body mechanics and good form in the techniques. Both feeder (pad holder) and you can move around as if sparring for real. As this drill comes from boxing, the best way to practice this is in the ring for three rounds of three minutes. If this is not possible, as long as you have the focus pads, you can do the drill at the dojo. Stay on the mat and keep punching for the duration of a three minute round, or as close to as possible.
Sparring. This is where everything is put to the test and you will find yourself at both kick, punch and infighting range, and you will have the ability to land all your techniques at all levels. Basically you want to get in there, land those punches to your partner's jaw while he is trying to defend himself and attack you back at the same time. Use your guard, block and cover, learn not to take shots yourself. If you have worked your defensive moves as kihon and against a set up shot 5,000 times each then they should happen automatically when your partner throws a shot at you in sparring.
As for the punch, as soon as the open line to the jaw is there, you will instantly react and the punch will find it's way to the target on it's own. At first you will both be surprised "where did that come from?" he will be thinking and so will you. Once it has happened continuously in sparring you will be used to your new skills and will start to trust and believe in them. At this point you will be very dangerous to anyone who decides that they will attack you.
A quick note on developing the other techniques. For the kicks - do the reps as kihon to get them right and then against the bag for impact to get the power. Line them up against a partner's leg. You can get him to wear a shin pad if you want to develop a bit of contact.
For the defence - practice the age uke and the cover as kihon to groove the techniques in. Then get your partner to throw a gyaku zuki at punch range and a cross at infighting range to your head and practice both blocks, as in kihon ippon kumite. Do 5,000 on each technique each side and the block will happen instinctively should someone throw a punch at your head for real. Wear boxing gloves and go for some contact, so if you miss the block and get hit, you'll have an appreciation of where you went wrong and learn from your mistakes. If you are going to make mistakes in your defence, do it in training, not when it goes live!
So the kihon to be practiced are as follows. Choku zuki - jodan, chudan and gedan. At Jodan - taisho (palm heel) thrust and round, toho (sword peak hand). Yoko at jodan - urakan. Yoko at gedan - shuto. At chudan - ura zuki and tate zuki. At gedan - teisho. Elbow techniques - yoko, ushiro and mae empi. Tenchi (downward) shuto and empi.
In zenkutsu dachi - gyaku zuki, hiza geri, mae geri, kekome, ushiro geri and mawashigeri.
These translate to the following. Punch range - punch to jaw, palm heel to jaw, arc hand to throat, power slap to side of jaw, elbow to jaw, body shot and groin shot. Kick range - front kick and side kick to shin or knee, round kick to outer thigh. Infighting range - headbutt to face, uppercut to body, knee to groin and stamp to instep. From the side - hammerfist and elbow to nose, elbow to body, hammerfist to groin, side kick to knee. From behind - back kick to knee or groin, elbow to face. Opponent bent over - hammerfist, shuto or elbow as drop weapons to the following targets - nape of neck, spine, kidneys.
Conclusion
Remember that the martial arts are the arts of war. They developed that way. Warriors went out to battle and fought the way they were trained. Techniques that were effective were brought back. Techniques that were ineffective died with their inventors. The martial arts distilled as they were at the start of this century are systems born out of warfare - effective and realistic. The wisdom of those masters is in these systems and has been handed down to us in the lessons that are the martial arts. All we have to do is pay attention.
Attributes
Coordination, balance, distance and timing
These are the more ephemeral qualities that a fighter needs to develop, but need to develop them he does. It is actually a set of exercises that build attributes into the body.
Also add to these attributes the following:
agility, awareness, grace, reaction, rhythm, speed.
The following exercises should be used to develop these attributes.
Skipping
Skipping is one of the primary exercises used by all boxers. Go to any boxing gym and you will find the serious fighters spending at least three rounds skipping.
This is part of the routine I follow and I recommend it to you as well.
When I was getting serious about my skipping, learning it, putting in my "skipping base", I took my rope to all my training sessions, including the gym and dojo, and used a couple of minutes skipping as part of my warmup.
It is a neglected skill by many fighters. There are groans every time, in my kickboxing class, when I bring out the ropes and insist the class does a three minute round. I do this rarely, because it is their responsibility to set their own time aside for the development and use of skipping, not class time. Still few do. And few have good footwork.
Skipping is by far the best way to develop good footwork for a fighter, in fact, there is no way to get it right without regular rope work. A student can learn the fundamentals of footwork - the advance and retreat and side-step in 20 minutes and be doing it by the end of his first session. Yet he will never be able to perform it correctly without hours of practice, and hours of skipping. Coming back to class to be reshown the footwork will be futile without going away and skipping (a lot!) in between.
Also, skipping is good cardio work. It has been estimated that 20 minutes skipping is the equivalent of an hours run. So, if you are working on your stretching, a 20 minute skip followed by a 20 minutes stretch routine means you will have done more work than in a six mile one hour run, and improves both your leg flexibility and footwork!
Also, skipping helps perfect the coordination between eye, hand and foot, so vital as we stab forward with the lead step, banging in the jabs and crosses.
Get into skipping as soon as possible, either a ten minute straight session, or three rounds of three minutes.
Exercises for developing attributes
Reading a record label. For visual tracking skill, the best method is one from the old boxers, used first by the legendary Jack Dempsey. Basically set the record playing and read the label as it revolves. It's harder than it seems but you will soon get used to it. Try it first on 33, then on 45. Dempsey himself could read labels revolving on 78! It will be a lot easier to follow punches and kicks aimed at you once you have developed this ability.
Practising in reverse, using your opposite side, will do wonders for brain coordination, and improves the reflexes. Try doing some rounds southpaw, with the right hand as lead, on the bags, and in sparring. Also try some "everyday" tasks on your "weak side". If you are right-handed, use your left hand for activities such as dialing the phone, brushing your teeth. Even taking time to learning to write with your left hand will bring gains in this area. In Kali we use double stick drills called Sinawalli. According to Dan Inosanto these "develop the left hand by relating it to the movements of the right hand". You could even try learning to juggle!
Cueing a technique is a good way to develop response. In my class I use a trick from JKD - I line the students up and tell them a pre-set move like a jab, then give them a simple cue, such as a quick clench of the fist to signal for them to make the move. We do this exercise for a few minutes. I then stand behind the line, out of sight, and use a clap as an auditory cue.
By changing the frequency of the cues, the students often miss the cue, or move too soon by anticipating it. As they learn to relax, they are ready for the cue but not tense and respond in good time. So when, in a fight, the cue is a punch aimed at the head, the student makes the appropriate response, namely the block. The secret to this is relaxation.
TV drill. This is how the student reproduces the drill on his own. Stand in stance while watching TV. Every time the scene changes, execute your preset technique, be it punch, kick or block.
Blindfold practice. Close your eyes or put on a blindfold to practice a sequence, shadow boxing, or even kata for the karateka. This will help you pay attention to what your body is telling you about it's position and movements. At an advanced level of Wing Chun, a practitioner does the chi sao exercise blindfolded, so as to rely on the tactile senses not the eyes to interpret the partner's attack.
Weighted punches. By holding small weights or wearing wrist weights when performing punches, combination and in shadow boxing, the techniques are "grooved" into the muscles by tensing them through the motion. This can also be done by wearing the weights on the ankles when performing kicks. Make sure to perform the kicks slower and not to snap them out with the extra weight at the end of the limb or damage could occur.
Hacky sack. In the guard position, hold the sack in your punching hand. Throw it up and catch it in the motion of the jab, returning to the guard postion. Do the same with the cross, hook and uppercut.
To add power in the legs, practice squat jumps. Bend down so the hands touch the floor, then jump up, straightening the body and arms to try to touch the ceiling.
Then try depth jumps. Jump from a chair to the ground then up to the ceiling.
Try squat kicks. Squat down and as you stand up, execute a front thrust kick. This is also an excellent warm-up for a workout involving kicks, or even your leg weight training workout.
For punch power, use press-ups on the knuckles, an old karate favourite. Then try explosive press-ups - push the hands away from the floor and clap between each rep. Then, in front of a step, push up to reach the step with your palms, then down to the floor again.
For balance, stand on one leg with the eyes closed and stay still as long as possible. The time will be brief at first, but will increase with practice.
These are the more ephemeral qualities that a fighter needs to develop, but need to develop them he does. It is actually a set of exercises that build attributes into the body.
Also add to these attributes the following:
agility, awareness, grace, reaction, rhythm, speed.
The following exercises should be used to develop these attributes.
Skipping
Skipping is one of the primary exercises used by all boxers. Go to any boxing gym and you will find the serious fighters spending at least three rounds skipping.
This is part of the routine I follow and I recommend it to you as well.
When I was getting serious about my skipping, learning it, putting in my "skipping base", I took my rope to all my training sessions, including the gym and dojo, and used a couple of minutes skipping as part of my warmup.
It is a neglected skill by many fighters. There are groans every time, in my kickboxing class, when I bring out the ropes and insist the class does a three minute round. I do this rarely, because it is their responsibility to set their own time aside for the development and use of skipping, not class time. Still few do. And few have good footwork.
Skipping is by far the best way to develop good footwork for a fighter, in fact, there is no way to get it right without regular rope work. A student can learn the fundamentals of footwork - the advance and retreat and side-step in 20 minutes and be doing it by the end of his first session. Yet he will never be able to perform it correctly without hours of practice, and hours of skipping. Coming back to class to be reshown the footwork will be futile without going away and skipping (a lot!) in between.
Also, skipping is good cardio work. It has been estimated that 20 minutes skipping is the equivalent of an hours run. So, if you are working on your stretching, a 20 minute skip followed by a 20 minutes stretch routine means you will have done more work than in a six mile one hour run, and improves both your leg flexibility and footwork!
Also, skipping helps perfect the coordination between eye, hand and foot, so vital as we stab forward with the lead step, banging in the jabs and crosses.
Get into skipping as soon as possible, either a ten minute straight session, or three rounds of three minutes.
Exercises for developing attributes
Reading a record label. For visual tracking skill, the best method is one from the old boxers, used first by the legendary Jack Dempsey. Basically set the record playing and read the label as it revolves. It's harder than it seems but you will soon get used to it. Try it first on 33, then on 45. Dempsey himself could read labels revolving on 78! It will be a lot easier to follow punches and kicks aimed at you once you have developed this ability.
Practising in reverse, using your opposite side, will do wonders for brain coordination, and improves the reflexes. Try doing some rounds southpaw, with the right hand as lead, on the bags, and in sparring. Also try some "everyday" tasks on your "weak side". If you are right-handed, use your left hand for activities such as dialing the phone, brushing your teeth. Even taking time to learning to write with your left hand will bring gains in this area. In Kali we use double stick drills called Sinawalli. According to Dan Inosanto these "develop the left hand by relating it to the movements of the right hand". You could even try learning to juggle!
Cueing a technique is a good way to develop response. In my class I use a trick from JKD - I line the students up and tell them a pre-set move like a jab, then give them a simple cue, such as a quick clench of the fist to signal for them to make the move. We do this exercise for a few minutes. I then stand behind the line, out of sight, and use a clap as an auditory cue.
By changing the frequency of the cues, the students often miss the cue, or move too soon by anticipating it. As they learn to relax, they are ready for the cue but not tense and respond in good time. So when, in a fight, the cue is a punch aimed at the head, the student makes the appropriate response, namely the block. The secret to this is relaxation.
TV drill. This is how the student reproduces the drill on his own. Stand in stance while watching TV. Every time the scene changes, execute your preset technique, be it punch, kick or block.
Blindfold practice. Close your eyes or put on a blindfold to practice a sequence, shadow boxing, or even kata for the karateka. This will help you pay attention to what your body is telling you about it's position and movements. At an advanced level of Wing Chun, a practitioner does the chi sao exercise blindfolded, so as to rely on the tactile senses not the eyes to interpret the partner's attack.
Weighted punches. By holding small weights or wearing wrist weights when performing punches, combination and in shadow boxing, the techniques are "grooved" into the muscles by tensing them through the motion. This can also be done by wearing the weights on the ankles when performing kicks. Make sure to perform the kicks slower and not to snap them out with the extra weight at the end of the limb or damage could occur.
Hacky sack. In the guard position, hold the sack in your punching hand. Throw it up and catch it in the motion of the jab, returning to the guard postion. Do the same with the cross, hook and uppercut.
To add power in the legs, practice squat jumps. Bend down so the hands touch the floor, then jump up, straightening the body and arms to try to touch the ceiling.
Then try depth jumps. Jump from a chair to the ground then up to the ceiling.
Try squat kicks. Squat down and as you stand up, execute a front thrust kick. This is also an excellent warm-up for a workout involving kicks, or even your leg weight training workout.
For punch power, use press-ups on the knuckles, an old karate favourite. Then try explosive press-ups - push the hands away from the floor and clap between each rep. Then, in front of a step, push up to reach the step with your palms, then down to the floor again.
For balance, stand on one leg with the eyes closed and stay still as long as possible. The time will be brief at first, but will increase with practice.
Tuesday 6 July 2010
White Tiger Applied Fighting Arts
Kali - Kickboxing - Kung Fu
Close quarter combat training taken from the
Applied Fighting Arts of
Karate, Jujutsu, Wing Chun, Muay Thai, Kali, Boxing and Krabi Krabong
Training sessions held in Caterham (Over 18s)
Street Self Defence - Urban Combat
Kickboxing - Boxing - Muay Thai - Freestye Karate
Kali – Eskrima - Kobudo - Weapons
Kung Fu - Wing Chun - Jun Fan - Feng Wei
Caterham Methodist Church, Coulsdon Road, Caterham-on-the-Hill
Monday 8 – 10 pm £5 a session
email: ShiroToraTiger@yahoo.co.uk
website: ShiroToraTiger.blogspot.com
Beginners Welcome
Close quarter combat training taken from the
Applied Fighting Arts of
Karate, Jujutsu, Wing Chun, Muay Thai, Kali, Boxing and Krabi Krabong
Training sessions held in Caterham (Over 18s)
Street Self Defence - Urban Combat
Kickboxing - Boxing - Muay Thai - Freestye Karate
Kali – Eskrima - Kobudo - Weapons
Kung Fu - Wing Chun - Jun Fan - Feng Wei
Caterham Methodist Church, Coulsdon Road, Caterham-on-the-Hill
Monday 8 – 10 pm £5 a session
email: ShiroToraTiger@yahoo.co.uk
website: ShiroToraTiger.blogspot.com
Beginners Welcome
White Tiger Kali, Kickboxing and Kung Fu Club
A bit too long winded that one.
We'll go back to White Tiger Martial Arts or even Shiro Tora Budo Kai
Applied Fighting Arts
Kali, Kickboxing and Kung Fu
Only just got the new ad up and we're planning the next one.
We'll go back to White Tiger Martial Arts or even Shiro Tora Budo Kai
Applied Fighting Arts
Kali, Kickboxing and Kung Fu
Only just got the new ad up and we're planning the next one.
White Tiger Kali and Kickboxing Club
Close quarter combat training taken from the
Applied Fighting Arts of
Karate, Jujutsu, Wing Chun, Muay Thai, Kali, Boxing and Kickboxing
Training sessions held in Caterham (Over 18s)
Street Self Defence
Kickboxing - Boxing - Muay Thai
Kali – Eskrima - weapons
Wing Chun - Jun Fan - Feng Wei
Caterham Methodist Church, Coulsdon Road, Caterham-on-the-Hill
Monday 8 – 10 pm £5 a session
email: ShiroToraTiger@yahoo.co.uk
website: ShiroToraTiger.blogspot.com
Beginners Welcome
White Tiger Kali and Kickboxing Club
White Tiger Kali and Kickboxing Club
Close quarter combat training taken from the Applied Fighting Arts of
Karate, Jujutsu, Wing Chun, Muay Thai, Kali, Boxing and Kickboxing
Training sessions held in Caterham (Over 18s)
Street Self Defence
Kickboxing - Boxing - Muay Thai
Kali – Eskrima - weapons
Wing Chun - Jun Fan - Feng Wei
Caterham Methodist Church, Coulsdon Road, Caterham-on-the-Hill
Monday 8 – 10 pm £5 a session
email: ShiroToraTiger@yahoo.co.uk
website: ShiroToraTiger.blogspot.com
Beginners Welcome
Close quarter combat training taken from the Applied Fighting Arts of
Karate, Jujutsu, Wing Chun, Muay Thai, Kali, Boxing and Kickboxing
Training sessions held in Caterham (Over 18s)
Street Self Defence
Kickboxing - Boxing - Muay Thai
Kali – Eskrima - weapons
Wing Chun - Jun Fan - Feng Wei
Caterham Methodist Church, Coulsdon Road, Caterham-on-the-Hill
Monday 8 – 10 pm £5 a session
email: ShiroToraTiger@yahoo.co.uk
website: ShiroToraTiger.blogspot.com
Beginners Welcome
Monday 5 July 2010
STMA Summer Course - Sunday 15 August
This will be a one day course, 10am to 5pm.
2 sessions of 3 hours.
During this course we will be dissecting the art of Street Fighting, breaking it down and building it back up with a comprehensive set of drills covering the progressive concepts and techniques from the STMA Applied Fighting Arts.
Based on the results of this course we will look into doing a 2 day full weekend course in the future.
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