Core Magazine by shane clapson

# 01 / 2012

IN THIS ISSUE:  INTERVIEW

KANCHO JACK SIMS The forefather of Karate in New Zealand

 KUMITE TIPS

36 Useful Sparring Tips

 LOW KICKING Below the Belt?  PLUS l STILLNESS TRAINING l NO FIRST ATTACK IN KARATE l HEALTH & MIND + MUCH MORE...

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Interview with Kancho Jack Sims The forefather of New Zealand Karate

16 The Nature of Fighting Understanding the applications of Karate Katas. 24 Stillness Training The benefits of contrasting movement with stillness

30 Learning Effective Breathing Methods One of the most important aspects of martial arts training is proper breathing 38 No First Attack in Karate The issue of pre-emptive striking 42 Low Kicking Below the belt? 2 CORE | ISSUE ONE 2012

46 Flexibility Improving our level of flexibility 50 Kumite Tips 36 effective sparring tips 52 Effective Lesson Planning The four main components of an effective lesson plan 54 Chuck Norris Interview with a a Karate legend

66 Mental Strength Accomplishing our goals 68 Dealing with Knee Pain Helpful exercises to try 69 Blueberries Powerful antioxidents 70 Nuts about Nuts Natures energy bundles 74 Martial Arts Retreats Enjoy a holistic holiday 76 The McDojo What are they? And how can you avoid them

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60 Letitia Carr Up and coming New Zealand Karate champ

80 Japanese Terms Reference guide

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Core Magazine is an amalgamation of some of the articles currently available to read on PhysicalArts.com. Opinions expressed in this magazine are those of the authors and not necessarily those of Mega Media Limited. The publisher accepts no responsibility whatsoever.

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INTERVIEW WITH

CHIDOKAN KANCHO JACK SIMS BY SHANE CLAPSON PHOTOGRAPHY BY BRYCE CARLETON

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Kancho Sims (Chidokan – 9th dan)

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Jack Sims established his own karate-do organisation – NZ Chidokan – in 1968 with his wife Mardie and close friend Ben Griffiths. This was the first Chidokan dojo to be established outside of Japan. In 1968 Jack was contracted to teach close quarter battle skills to the elite NZ SAS which he continued for the next 26 years. In 1970 Jack represented New Zealand at the first World Karate-do Championships held in Tokyo and was awarded one of just three medals for karate excellence. He was instrumental in the formation of the New Zealand National Karate-do governing body (UNZKO) in 1972 and went on to become an international referee, judge and New Zealand coach. At its peak, New Zealand Chidokan boasted 22 branch dojos and a membership of 3000 plus. In 1986 Jack was officially awarded New Zealand Kancho status. Now at over 70 years of age Jack Sims, 9th dan continues to teach and train with passion and belief in the art of his boyhood dreams.

hank you for the opportunity to interview you Kancho. You are one of the founding fathers of martial arts in NZ. When you first boarded the boat to Japan in 1967, did you have a grand plan beyond just getting through your training which you have described in your excellent book “Seven Times Down Eight Times Up”? Even on my sea voyage to Japan I recall having lofty ideas of simply continuing on from my seven years of previous martial arts training. I would pick up some experience at Chidokan hombu dojo, and slot in some Judo and Aikido training. After all, I would have plenty of spare time – so I thought. I was in for a rude awakening and that’s exactly what I got. My first night in Japan I did not train, but was invited to observe the class in action through the open door. My heart sank with what I saw – kyu grades performing at a standard I never knew existed. The green belts were scary by my standards. Worse was to come! Chidokan Kancho Sasaki, on meeting me for the first time asked what I did back in New Zealand. When I replied, “I teach martial arts”, he looked at me for a while, then replied, “how can you teach what you don’t know”. I felt quite foolish but managed to reply – “Sensei, hai wakarimasu” (I understand) I have come to Japan to learn from the beginning”. I never did find too much spare time for Judo or Aikido training. Whatever my early plans were before arriving in Japan had now dramatically changed – I was a white belt uchi-deshi; living above the dojo and required to train six hours every day. I was fighting to survive.

When you returned to NZ what shape was karate in then? Not too flash at all. Same as before I went to Japan in fact. Many, many very keen and willing students being taught; largely by self appointed dan grades – the blind leading the blind so to speak. The style of martial arts you teach is Chidokan. How does that differ from other karate styles? What style is it closest to? Chidokan came into existence in 1954. Takeshi Sasaki and his younger brother Kiyoshi were up until this time, studying karate at Waseda University, which at the time was the very centre of Master Funakoshi’s Shoto ryu organization. By this time, Master Funakoshi was quite elderly so much of the instruction was conducted by his senior dan grades, including his son Yoshitaka. Another very senior dan grade at this time was Obata Sensei, who in fact became the Sasaki brothers’ Sempai. After the death of Master Funakoshi in 1957, there was a great deal of disruption within the Shotokan organization – a bit of a power struggle I imagine - resulting in several senior dan grades breaking away and forming their own Shotokan based organizations. For many years Kancho Sasaki insisted that Chidokan was the name of his organization but the actual style practiced was Shotokan, as taught to him by the founder. However, with respect and in my opinion, there were always differences. Movements in Chidokan are not as large, less exaggerated than those used by Shotokan practitioners – Chidokan has it’s own unique basic exercises (kihon waza). There are small subtle differences in the kata. If you placed a Shotokan and Chidokan practitioner side by side you would see clear differences.

CHIDOKAN KANCHO SASAKI, ON MEETING ME FOR THE FIRST TIME ASKED WHAT I DID BACK IN NEW ZEALAND. WHEN I REPLIED, “I TEACH MARTIAL ARTS”, HE LOOKED AT ME FOR A WHILE, THEN REPLIED, “HOW CAN YOU TEACH WHAT YOU DON’T KNOW”. I FELT QUITE FOOLISH BUT MANAGED TO REPLY – “SENSEI, HAI WAKARIMASU” (I UNDERSTAND) I HAVE COME TO JAPAN TO LEARN FROM THE BEGINNING”.

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Kancho Sasaki was very strict when it came to dojo etiquette and traditions. No hands on hips, arms crossed. Must kneel to tie and untie the obi, dojokun recited with spirit and passion after every lesson. What is your view on the current state of Martial Arts in NZ, specifically karate? We have an abundance of excellent karatedo organizations currently operating within New Zealand. Of course we have, and will always have what I call fringe organizations or dojo’s. Our National Governing body – Karate New Zealand (KNZ) is well organized, in particular with regards to the sporting aspects. There does appear to be a growing trend Internationally towards fostering traditional karatedo – I guess it will come down to organizations choosing which path they wish to follow; sport karate or karatedo in its original, traditional form. Each with merit but striving for quite different objectives. There was a period in the 80s to early 90s when karate was very popular and dojo sizes were huge. What did you attribute that to, as you would have undoubtedly witnessed that era? Do you think that we will see a return to those days? Even as far back as the 70’s we experienced a membership boom. I feel it was because karatedo was “new” and it was surrounded by a certain mystique. Karate practitioners were seen as people with amazing fighting skills. The Bruce Lee and Karate Kid movies only heightened the reputation and aura of learning karate. But as well as all this, I believe it came down to good marketing. We were there – right place, right time. Will those days return? Be nice, but I think not. People have so many choices now, even in the wide and varied range of martial arts available – not to mention other choices including sport, entertainment (video games) and the like. How should karate go about making itself relevant to this generation of practitioners, both young and old? In other words, how should karate go about attracting more practitioners. I feel Karatedo is not particularly well marketed. Most dojo’s/organizations are geared around training. We have some very experienced and highly qualified instructors here in New Zealand, doing what they do best – teaching karatedo. Maybe we should enlist the services of marketing managers. If we want to reach out and expand our numbers, spread the benefits of learning traditional martial arts, we need more capable people/organizations prepared to promote the arts. When I say promote, I don’t mean commercialize in order to make a quick dollar. I mean genuine people who have the expertise and qualifications to not only teach, but also able operate a dojo/organization successfully. In this day and age it amounts to naive thinking to suggest that teaching and operating a dojo does not require a professional business like approach. Most martial arts require the sort of individuals who have some degree of mental toughness and resilience prior to ever taking their first lesson. In this new modern society are we seeing less and less of these types of people. To start with we have less numbers venturing onto the dojo floor. So fewer students equals less men and women of substance. Karatedo is at best, a hard task master. It is difficult for students to put in the dojo time we were able to back in the 70s – 80s. In those days, most worked five days a week and had the weekend free – now it’s not uncommon to be required to work (or shop) six days a week, plus overtime. During the early years we would claim that, on average, a diligent student could make Shodan in three to three and a half years of hard consistent training. Can we honestly use this rule of thumb these days? Rather than use years or months as a method of measuring one’s progress or part of a grading criteria, it may be more prudent to count the actual number of hours of dojo training achieved. Have you and your senior instructions had to modify their teaching style to ensure students aren’t put off by the discipline side of karate? In other words has there been any softening of your approach to teaching over the years? Absolutely, yes of course. Try slapping a student in the face for not responding fast enough or a swift kick in the midriff in order to lower their stance. All common in the “good old days” All jokes aside, we are still strict and very demanding, but a lot of the brutality has gone from most karatedo schools and I think this is a good thing. Better to motivate and attempt to instill a self desire to improve or train harder, than to knock people about.

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PERFECTION IS THE RESULT OF DOING A LOT OF LITTLE THINGS WELL – A GOOD TIME TO WORK ON SUCH LITTLE THINGS IS DURING SELF TRAINING.

Kancho Sims (Chidokan – 9th dan) and Shihan Parker (Chidokan - 8th dan)

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COMMITMENT IS ALSO A MAJOR CONSIDERATION. DON’T QUIT WHEN THINGS GET A LITTLE TOUGH. I OFTEN ASK MY STUDENTS, “IF YOU QUIT KARATEDO TRAINING, WHAT WOULD YOU REPLACE IT WITH ”? IF THEY DON’T KNOW, I SUGGEST THEY CONTINUE WITH KARATEDO IN THE MEANTIME, UNTIL THEY DO.

What are your views on sport karate? It has it’s place – but I prefer my karate with “do” on the end rather than “sport” at the beginning. In my opinion sport karate, although popular by some, changes the art’s purpose and objectives. In the words of the founder, Master Gichin Funakoshi – “the ultimate aim of karatedo lies not in victory or defeat, but in the perfection of character of its’ participants”. In my experience, all of my students who have chased the sporting accolades of karatedo soon tire of winning or losing on the tournament floor and give up their involvement altogether, such a waste. The future of traditional karatedo lies in the hands of the stout hearted; those with the courage and fortitude to follow the way of budo. Is there any aspect of karate that you enjoy above all others? Yes indeed, Kata. Here I believe we have a direct line to the masters who created them. Each kata represents various levels of learning. Different themes, lessons, and traps are all contained within each kata. Kata represents the “blueprint” of our style/organization, handed down over many generations. A kata rendition is a reflection of one’s acquired skill and deep understanding of the art studied. What does your self-training consist of and how much self-training do you do over a week? I treasure an opportunity to self train, usually before or after a class. A lot of my self training these days involves preparation for what I intend to teach in the days, weeks ahead. I still manage to get to the gym several days a week. I find a little weight training helps keep the muscles toned – I am always careful not to bulk or bind up muscle groups that might interfere with the demands of karatedo training. Perfection is the result of doing a lot of little things well – a good time to work on such little things is during self training. I am also a great believer in the kohai –sempai system. Everyone should have a coach or senior to watch over them – a one on one relationship. Would you like to see martial arts represented in the mainstream media such as Sky, TVNZ or a dedicated martial arts channel? Personally, no. Unless it promoted traditional martial arts and this is very unlikely, as the media tends to reflect on the spectacular rather than serious endeavours. What are some of the highlights of your martial arts life/ career so far? Receiving Shodan was a highlight. Dan grades that followed were celebrated for a day or so but such highs were soon put

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on the back burner and replaced by the normal day to day training routine. Another highlight would have been competing at the first World Karate Champs in 1970 and receiving one of just three medals awarded for karatedo excellence. These medals were awarded for winning matches with Ippon rather than an accumulation of points. During my younger years I used to really enjoy running. A highlight being my first marathon completed before my fortieth birthday – I managed the distance in 3 hours and 23 minutes. There has been a list of firsts in my career, WUKO (WKF) referee, National coach, team manager and dan grade promotion milestones. Although I look back with a certain amount of pride on such achievements, much of being first was because my time started back in the early pioneering days – so again – right place at the right time; I just developed along with the flow of time. What do you think the study of the martial arts has done for or given you? In the early years “fire in the belly”. As a young man everything was possible and achievable by way of self discipline and hard training. The ambition and confidence to establish and maintain the first Chidokan dojo outside of Japan. To build this organization in accordance with Japanese traditions, but headed by a dedicated group of highly motivated, talented hard men and women functioning under the leadership of a New Zealand leader (Kancho). Do you think martial arts is separate from you or do you think you live a martial arts lifestyle? Karatedo is a very important part of my life, but we should not lose sight of other aspects of equal importance in our lives, such as one’s family and friends. Although I have managed to separate my lifestyle to some degree, I cannot say that the influence of my karatedo training has not affected almost all aspects of my life – being Sims Kancho or that of just Jack. For example, as a hobby I began competitive pistol shooting some twenty eight years ago and soon discovered that to excel in pistol shooting required the same mental and physically disciplined approach necessary in other martial arts (yes pistol shooting is a martial art). My friends in the shooting world know little if anything of my involvement or position in karatedo – to them I am simply Jack. My wife occasionally reminds me that at home she reigns as Kancho ! What advice would you give to anyone contemplating taking up martial arts? Take the time to visit various dojo’s in order to determine if

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Kancho Sims (Chidokan â&#x20AC;&#x201C; 9th dan) and Shihan Parker (Chidokan - 8th dan) demonstrating tai subaki

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this is the martial art for you. Listen and watch a teacher taking a class – there are many approaches, but do you see and feel an atmosphere of respect and learning present. Sometimes the best dojo for you is not conveniently down the road or the one with cheap fees. Quality is worth the extra time and effort to find – I drive two hours to take a class, three times a week. I would be happy to do the same if my teacher was still around in order for me to attend his classes. Commitment is also a major consideration. Don’t quit when things get a little tough. I often ask my students, “if you quit karatedo training, what would you replace it with ”? If they don’t know, I suggest they continue with karatedo in the meantime, until they do. What do you think of the dan grade system and its value or means of measuring a person’s skill, experience and ability. A universal standard for black belt accreditation or progression does not exist. Standards and requirements differ greatly from one organization to another. As long as styles of karatedo exist this will always be the case. Traditionally, a teacher awards dan rank to a student who has fulfilled all that is required for such promotion. Such certification should be treasured above any other Regional, National or even International sanctioned recognition of this grade. Any credible system falls down when dan grade certification can be bought, sanctioned or awarded by some faceless panel or group of people, simply on receipt of a substantial sum of money. We are fortunate here in NZ, as our National Governing Body (KNZ) operates a robust, fair National Dan Grade Council which respects and supports the leaders of it’s member organizations. Do you have any heroes or role-models? I thought the world of my teacher Kiyoshi Sasaki Sensei. These days, I respect and admire a good number of people in all walks of life. I think it is natural and a good thing for young people to have heroes or role-models as long as it is tempered with a feeling of self motivation, belief and a desire to, in time become that role –model themselves. I always remember the words of my teacher when I asked to film (video) his wonderful kata. He implied that I should not dwell too much on his skill, rather train hard and achieve the skills I admire so much in others instead. Do you have any more goals left in karate and what are they? Yes I do. I will always be eternally grateful for the skills and direction received from my Japanese teachers. I went to Japan to learn karatedo, always with the objective of returning to New Zealand in order to teach and pass on this art in a way (version) my people could understand, adopt and benefit from. As the Japanese have successfully adopted many of our European customs, I believed we could do likewise with their martial arts. Now at seventy years of age, time is precious. I have willingly and gladly spent a lifetime immersed in practicing and teaching karatedo. The role of NZ Chidokan Kancho is a trusted responsibility and a position I do not take lightly – but the future lies in those willing to step forward and take charge. I look upon my Japanese counterparts as equals, not my seniors. I believe the future of traditional karatedo requires masters of all races to stand up and confidently claim their roles as leaders rather than followers. ✪

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KNOWLEDGE | KUMITE

THE NATURE OF FIGHTING Before studying the information that the various katas contain, it is important to understand exactly what that information is for. Karate is a civil tradition and hence the fighting methods recorded within the katas are for use within a civilian environment. The applications of the karate katas are for use against the attacks of the violent and untrained, they are not for use against a skilled warrior on a battlefield, or in a sporting contest.

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ACTION IS ALWAYS FASTER THAN REACTION. IN A REAL FIGHT YOU MUST NEVER ALLOW THE OPPONENT TO GAIN THE ADVANTAGE. YOU MUST BE THE ONE WHO TAKES CONTROL OF THE SITUATION AND YOU SHOULD NOT SIMPLY “RESPOND” TO YOUR OPPONENT’S ACTIONS

he methodology applied in the katas is ideal for self-defence today (if correctly interpreted and expressed). There is very little difference between a civilian fight in feudal Okinawa and a civilian fight today. However, the way in which battles are conducted has radically altered. A samurai warrior armed with feudal weaponry would not last long against the missiles, tanks, etc, employed by their modern counterparts. The weapons of war may have evolved a long way, but the human body has not. Two unarmed civilians brawling in an Okinawan street would employ similar methods to two unarmed civilians fighting in a modern city. In order to understand and apply the methods contained within the katas, it is necessary to understand the nature of civilian combat. How Fights Start What we will be looking at in this section is what happens at the start of fights, not what caused the fight to begin in the first place. “Why?” fights start is beyond the scope of this text, but I feel this aspect deserves a brief mention, as it is very important when discussing self-defence. I would encourage you to research why fights begin in great detail, as it is with this knowledge that fights can be effectively avoided (Geoff Thompson’s “The art of fighting without fighting” is well worth a look). Try to avoid placing yourself in locations or situations were violence is likely. Also, be sure not to make yourself an attractive target to any would be attackers. Keep all valuables out of sight, park your car in well lit areas, avoid isolated places, travel with the car doors locked, avoid suspicious looking people and situations, don’t consume too much alcohol, walk towards oncoming traffic, keep away from aggressive individuals or groups, do not stop to talk to strangers etc. Be aware of your surroundings and should an undesirable situation start to develop, you may be able to avoid it all together, and if you can’t, then at least the element of surprise is lost to your assailant. Gichin Funakoshi (Karate-Do Kyohan) wrote, “The secret principle of martial arts is not vanquishing the attacker but resolving to avoid an encounter before its occurrence. To become the object of an attack is an indication that there was an opening in one’s guard and the important thing is to be on guard at all times.” A fight avoided is a fight won. Good martial artists are secure enough in themselves, and humble enough, to be able to walk away from a fight. It is a sorry state of affairs when an individual’s ego prevents them from avoiding violence. A true martial artist will have the wisdom to avoid placing themselves in danger, and the compassion to avoid placing their opponent in danger unless

violence becomes absolutely necessary. If you have done everything possible to avoid the confrontation, you will be unfettered by any moral concerns, as you know that harming the opponent is now the only option left available to you. If your awareness is not what it should be, the opponent will be able to take you by surprise and hence will have a large advantage. As you’ll be aware, the katas should always be performed with Zanshin (awareness) and hence they will further develop that awareness and serve to remind the kata’s practitioner of its importance. If the opportunity for ambush is lost to the opponent they will have no option but to attempt a direct attack. As an aside, directly approaching an individual takes greater courage on the part of the assailant, as the potential risk - either in terms of physical injury or the fact that others may be alerted to their activities - is now greater. This may cause the assailant to abort their attack in favour of finding an easier victim later on. An assailant who approaches you directly may appear to be very friendly at first as an attempt to still yet take you by surprise. They may ask you for directions, or for a light, in a very friendly manner in the hope that you will drop your defences and allow them to get closer. When close enough they will then launch their assault, either verbal or physical. It is very common for an assailant to begin their attack with a barrage of swearing and verbal abuse. The assailant may wish to frighten you in order to get you to comply with their requests (give them your money etc.), or they may simply be after a fight, in which case the verbal attack is being used in order to soften you up. It may also be that your would be assailant is not overly sure of their ability to beat you and hence the verbal exchange is an “interview” of sorts, that will help them to determine the risk of engaging in a fight. Either way, the important thing to note is that there is very likely to be some kind of verbal exchange before a fight begins. It does not take a psychic to see when an attack is about to commence. Your assailant is likely to do a number of the following when their verbal aggression is about to escalate to the physical. Look for a change in skin colour, rapid breathing, an aggressive facial expression or stare, a clenching or shaking of the fists, pointing or pushing, a change in voice tone or pattern, excessive swearing, insults or challenges. Many of the techniques within the katas incapacitate the opponent at this early stage. Although the attack has not yet escalated to the physical, it makes little sense to wait until it does. When analysing Kata, it is important to understand that many fights will begin with the protagonists involved in a verbal exchange as one, or both, attempt to close the distance. The winner will normally be the first to act Action is always faster than reaction. In a real fight you must never allow the opponent to gain the advantage. You must be the one who takes control of the situation and you should

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not simply “respond” to your opponent’s actions. If you allow the opponent to land the first punch they will most likely be the winners. Whilst in karate much store is placed in “Karate ni sente nashi” or “there is no first attack in karate” I feel this statement needs closer examination. Most people interpret this statement as an instruction to let the opponent launch the first attack which is a suicidal strategy in a live fight - but it is my belief that “Karate ni sente nashi” is a far more profound message which does not require the karateka to act in such a suicidal fashion. See my article “No First Attack in Karate?” for further details.

Most fights begin close up Modern day sparring matches tend to be conducted with the combatants outside kicking distance. From there, one or both of them will close the distance, execute a few techniques and then move back out again. This exaggerated distance is also often employed during pre-arranged sparring. Real fights typically begin at punching / conversation range and rarely, if ever, have the back and forth motion seen during a boxing match or a karate tournament. A few punches will be thrown, and if none should stop the fight, it will quickly collapse into grappling range. Once the combatants have latched onto one another, moving back to punching range will not be possible due to the opponent’s grip keeping them in close. The techniques within kata are for use within real fights and hence the majority of kata applications are for dealing with an opponent who is close up. It is also important to understand that because most fights involve some form of grappling, so do the applications of the kata. The opponent is very unlikely to use “martial arts” techniques In a real fight, it is highly unlikely that the opponents will use techniques such as Oi-Zuki’s or Mawashigeris. Karate is a civil tradition and hence kata contains very few techniques for dealing with the skilled combinations of a trained fighter. Kata is all about defeating an attacker in a real life civilian encounter. Kata is not about winning trophies in the rule bound arena or about defeating a warrior on a battlefield. As martial artists we spend a great deal of time practising with, and against, practitioners of the same discipline. As a result boxers get good at fighting boxers, Judoka get good at fighting other Judoka, and Karateka get good at fighting other Karateka. The techniques within kata are designed for use against the violent and untrained not other martial artists. Kata techniques are most often counters to attacks such as wild swings, grabs, tackles etc. Any kata application that is interpreted as a defence against a lunging punch or other such karate technique is incorrect.

Real fights are sloppy affairs Real fights are not choreographed like the fights in films, nor are the combatants limited to a certain set of techniques as they are in sporting matches. Real fights are not visually pleasing and are extremely sloppy, fast and crude affairs. As martial artists we spend a great deal of time trying to perfect our techniques. A well-executed technique is very often visually striking to those who witness it. In a real fight, the opponent will not “play ball” in the same way a compliant practice partner would and hence the technique will not be as pretty in appearance. What is a graceful movement when performed in the kata, or against a compliant practice partner, will become rough round the edges when applied in an all out situation. A technique that is very easy to apply on a compliant practice partner may become next to impossible on a live opponent. In particular, the accurate placement of blows becomes much more difficult. The more complex a technique, the greater that chances of it failing in a real situation. It is also important to

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understand that the effects of the huge adrenaline surge you will experience in a live situation will greatly reduce your ability to perform complex tasks (See Geoff Thompson’s books, “Dead or Alive” & “Fear”). The techniques of the katas are should be relatively simple to apply. Should a suggested kata application be overly complex, or if it is reliant upon the opponent behaving in a certain way, it is extremely unlikely to work and hence is incorrect.

Most fights are decided by blows to the head Once a fight has begun, it is most often decided by who lands the first solid blow to the head. The head controls all and hence it is the prime target in order to end the fight as quickly as possible. As a result of this, one would expect the majority of strikes contained within the katas to be directed at the opponent’s head - which they are! At first glance it may appear that many punches are aimed at the opponent’s chest. This is not the case however, as most of the “middle level” punches are preceded by techniques that will cause an opponent to buckle at the knees or bend at the waist. These techniques will bring the opponent’s head down, such that it is in line with the kata practitioner’s chest, and hence what appears to be a middle level blow is in fact aimed at the head.

There are two key things to take into account when striking the head; 1. The head is very mobile and hence can be difficult to strike in a live fight. 2. The bones of the skull are far denser than the bones of the hand, and hence punching the skull with a clenched fist may well result in a broken hand. The katas consistently deal with both of these points such that effective blows to the head can be delivered. At close range, the head is often secured before a blow to the head is attempted. This is achieved either through a lock being applied that will suitably position the opponent, the direct control of the head itself, or the limbs or body being seized such that the opponent’s motion is severely limited. It is very rare in kata for a blow to the head to be attempted at close-range without control being gained first. With regards to the point that a blow to the head could result in damaged hands, it must be remembered that; 1. Hand conditioning was regarded as a vital part of the original karate. 2. Many of the strikes that are now punches were originally palm-heels etc. But were modified as the result of Master Itsou’s changes (making the kata more suitable for children). 3. If, when defending yourself in a real situation, all you suffer are damaged hands, then you have done very well indeed!

High and middle level kicks are unlikely to be effective In the unlikely event that you get the room to kick, attempting a high kick is almost certain to end in disaster. As soon as you take a foot off the floor you are unable to move and easy to unbalance. The higher you lift your foot the more vulnerable you are. In a real fight your aim is to win - not to look good! In a real fights all kicking techniques should be kept low, ideally lower than the level of the finger tips when the arms are down by the side. Low kicks are harder to block, they do not have as far to travel and the chance of the kicking leg being caught is greatly reduced. The practice of kicking low is one that is encouraged by the katas. Many of today’s karateka kick high during the performance of their kata, presumably for visual effect, however it is vital to remember that originally all the kicks were low.

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Most fights are over in seconds

Real fights are not like sporting contests

Although there are exceptions, the majority of fights are over almost as quickly as they begin. It is a rarity for live fights to last more than a minute at the outside. More often than not, the winner of the confrontation will be decided in the first few seconds. One of the combatants will be rendered semiconscious by a solid blow to the head and from that point on they will be at the mercy of their opponent. This is an important fact when attempting to understand kata. If most fights only last a few seconds, how many techniques do you need to know? Knowing thousands upon thousands of techniques is not only unnecessary but it can be downright harmful! For a technique to be useful in a live fight, the practitioner needs to be able to apply that technique with little or no conscious thought. If the practitioner has to choose from the thousands of differing techniques available to them, they will stall whilst the brain makes this decision (during which time the situation will no doubt have changed) and hence their opponent will be given the advantage. The katas provide instruction on a key number of techniques and concepts. They do not try to provide a technique for every conceivable situation, as to do so will prevent those who practice them from responding quickly and appropriately in a live fight. Each and every kata is designed to be a stand-alone system that will instruct those who practice them in the key concepts and strategies of the systems (katas) founder. Do not attempt to learn an infinite number of techniques but instead try to understand the principles upon which the techniques of Karate rest. It is far better to know very little, very well, than it is to know a great deal superficially. It is this approach that will lead to success, and hence this is the approach adopted by the katas.

In a real fight there is no limit of the techniques that can be used and there will be no referee to ensure fair play. Real fights are violent and thoroughly repugnant affairs. Your opponent can bite, gouge your eyes, seize the testicles, spit, use weapons etc. Losing a real fight can result in permanent physical or mental damage, or even the loss of your life. In combat you have to be prepared to use violent and repugnant methods when it becomes absolutely necessary. Many of the methods in the katas are as brutal as they are effective. It must be remembered that the techniques and concepts recorded within the katas are for use in the extreme danger of unprovoked attack. Real fighting is not pretty, and hence neither are the methods recorded in the katas. It is also important to understand that the opponent in the street will not respond in the same way as an opponent in a sporting contest. In a civilian self-defence situation, the assailant is very unlikely to be a martial artist and hence will not use complementary techniques, respond to feints, counter is expected ways etc. The techniques of the kata are all about defending ourselves in real situations. When studying bunkai, any mention of feints, skilled counters etc, is a good indication that the particular application in question is incorrect. It is vitally important you understand the nature of live fights if you are to successfully understand your katas. Most karateka do not engage in realistic training and hence do not see the errors in their interpretation of the katas. The founders of our art were all experienced fighting men who had used and relied upon their skills in real situations. They lived in violent times where the acquisition of fighting skills were a must if they wished to take care of themselves and their loved ones. The majority of people in today’s society do not have to face violence on a daily basis and hence have no idea of what it is like. When these same people fail to study the art of karate in the required depth, and hence fail to understand the advice and methodology of the past masters, they start to make assumptions about the nature of violence. They misinterpret the art so that it becomes in its mutated form -woefully inadequate. There are some of today’s martial artists who fully understand violence due to the experience they have gained during the course of their employment in the fields of security and law enforcement. We need listen to their hard won advice and use it to keep our training upon the right track. One thing that always strikes me is that these modern day masters of self-protection are rarely at variance with the founders of karate. The masters of old understood real fighting and that is reflected in their writings and in the katas they left behind. If we practice the art in the manner its founder’s intended, then karate is a very potent system. ✪

Blocking and countering is unlikely to work As mentioned previously, action is always faster then reaction. Blocking works fairly well at long range when the opponent is limited to a finite number of techniques (as in a karate tournament). Blocking also works well when you know exactly what technique the opponent is going to use. Neither of these situations is likely in live fight. It is almost impossible to block and counter an opponent’s punches at close range in reality. The idea of blocking and countering is one that many modern martial artists are reluctant to give up. If you have any doubts, I suggest that you get a partner, put on a pair of 16oz boxing gloves and go for it! Have a go at blocking and countering and I guarantee you will get trounced. From this we can conclude that the katas are unlikely to contain much blocking. Now again this may be surprising, as many modern interpretations of the katas would have every other move as a block. If you remember that at the start of the 1900’s, Itsou began teaching the katas as mainly blocking and punching as a way to conceal the dangerous techniques they contained. Prior to this time the large karate classes - with which we are so familiar today - would not have existed. As the number of students grew, so did the need for a common terminology. The terminology that was adopted was the one used by Itsou at that time, and hence many of the techniques that are currently labelled as blocks were never actually intended to be used as such. That is not to say there are no defensive techniques within the katas, as there are, but the katas do not contain what is commonly thought of as a “blocks.” All the defensive techniques within the katas are designed such that the initiative is regained and the opponent is placed in a position of disadvantage. Blocks merely attempt to stop an opponent’s attack (in the unlikely event that they work) and do nothing to secure a position of advantage.

This article has been reproduced with the permission of Iain Abernethy Iain Abernethy has been involved in martial arts since childhood. Iain holds the rank of 5th Dan with both the British Combat Association and Karate England (the official governing body for Karate in England). Iain regularly writes for the UK’s leading martial arts magazines, he has written a number of critically acclaimed books on the practical application of traditional martial arts and he is a member of the "Combat Hall of Fame". Visit his website www.iainabernethy.com where you can read more articles and purchase copies of his books and dvds.

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CORE | TRAINING KNOWLEDGE | TRAINING

STILLNESS Images: www.shutterstock.com

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TRAINING | KNOWLEDGE

TRAINING BY AARON HOOPES

One of the most important things I have learned in teaching breathing to martial artists is that one can only understand its importance by actually practicing deep breathing oneself. The same is true with stillness training. It is impossible to adequately understand the benefits of contrasting movement with stillness without actually trying it yourself.

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KNOWLEDGE | TRAINING

hotokan karate is a powerful and dynamic martial art. Yet, sometimes its emphasis on strong, hard techniques seems one-dimensional and overshadows the need for contrast. Without weakness there is no such thing as strength. Without soft there is no hard. This idea of contrast or balance in the martial arts is best symbolized by the concept of Yin and Yang. The Yin/Yang symbol is one of the oldest and best-known life symbols in the world. It represents the two poles of existence, which are opposite but complementary, and which exist everywhere in every part of the universe. The light, white Yang moves up blending into the dark, black Yin which is moving down. The two aspects are in opposition to each other but they are also interdependent. Yin and Yang can be described as dependent opposite forces that must always be in balance. The opposite forces flow in a natural cycle, one always replacing the other. Each force contains the seed of the other, which is why we see a black spot of Yin in the Yang segment and a white spot of Yang in the Yin. They do not merely replace each other but actually become each other. Absolute or pure Yin (or Yang) does not exist. Everything contains some degree of its opposite. What the Yin/Yang dichotomy is telling us is that in life all things have two opposite dimensions. If light exists then darkness exists as well. Wherever there is an “up” there will also be a “down”. If something has a front it must have a back. Something that is born will eventually die. There are no advantages without disadvantages; there are no disadvantages without advantages. All the opposites one perceives in the universe, then, are embodied in the opposing forces of Yin and Yang. This changing combination of negative and positive, dark and light, cold and hot is what keeps the world in motion. In our individual lives all change can be seen as one opposite becoming the other. As something reaches an extreme, it always gives way to its opposite. Just as the seasons cycle through summer-fall-winter-spring and create opposite periods of hot and cold, windy and still, rainy and dry. Yin and Yang cycle through active and passive, dark and light, strength and weakness. If Yin and Yang are balanced and flowing, life itself is balanced and flowing. Each of us must have this balance to be complete. For people who train in the martial Arts, one of the most important principles embodied by the concept of Yin and Yang, is the relationship between stillness and motion. Stillness is the natural state before movement begins, and yet it is also the basis of all movement. Understanding the symbiosis of stillness and movement can guide you in establishing true

26 CORE | ISSUE ONE 2012

THE BALANCE OF YIN AND YANG IS APPARENT IN EVERY ASPECT OF LIFE. WE JUST DON’T TAKE THE TIME TO PAY ATTENTION TO IT. STILLNESS TRAINING IS A METHOD OF ENHANCING AWARENESS OF THE INHERENT BALANCE IN LIFE. IT IS A TOOL FOR KEEPING US ON THE PATH OF KARATE AS A WAY OF LIFE

TRAINING | KNOWLEDGE

balance and control within yourself. A technique which begins from perfect stillness enables you to execute the movement in a coordinated and efficient manner which, in turn, allows your body and mind to reach together a balanced harmony. Furthermore, by increasing your efficiency of movement, you can release unnecessary tension and relax more completely. The best method for learning the principle embodied in stillness and movement is to stand still - completely still. To begin, choose an individual position from your favourite kata. For beginners it may be a back-stance, knife-hand block (kokutsu shuto-uke). More advanced karateka may choose the first move from Sochin or the last move from Gojushiho-sho. The actual position of the arms and legs is less important than the requirement of the training, which is simply to remain completely still. Once in position, do not move at all. The goal is to achieve total, pure stillness. This is different from just getting into a stance and holding it. The point here is to make absolutely no movement at all. No adjustment, no shifting

of weight, nothing. I realize that this may sound simplistic. But if you practice this training you will eventually come to understand the difference between absolute stillness and what passes for stillness in your regular training. You will become intimately aware of each and every muscle that is in use. Then the quality of your movement will naturally move toward perfection. Once you have achieved stillness, relax the focus of your eyes and bring your attention inward to your hara or dan tien (the spot just below the navel). Begin slow Abdominal Breathing (see my article, â&#x20AC;&#x153;Breathing Training for Martial Artistsâ&#x20AC;? ). Keep completely still in every other way. Ignore the itch on your cheek, the twinge in your foot and the ache in your muscles. Hold the position for as long as you can without moving. If you are training alone at home, it may be useful to play music and stay in position for the duration of a song, then gradually lengthen the time to two or three songs. When you cannot stay still any longer, slowly - as slowly as possible - shift

ISSUE ONE 2012 | CORE 27

CORE | TRAINING

BY LEARNING TO ACHIEVE A STATE OF STILLNESS, YOU ENABLE THE BODY AND MIND TO COME TO A RESTFUL POSITION. THEN, ANY MOVEMENT INITIATED FROM THIS STILLNESS IS DONE WITH COMPLETE AWARENESS AND TRUE INTENT

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TRAINING | KNOWLEDE

your position so that you are in a mirror image of the original position. Hold still again for another session. By learning to achieve a state of stillness, you enable the body and mind to come to a restful position. Then, any movement initiated from this stillness is done with complete awareness and true intent. Your actions become the embodiment of quality and perfection. As you become more adept at practicing stillness, you will learn that it can be incorporated into your regular training. Once you have a feeling for perfect stillness you will be able to call on it whenever needed. In a kata you may only be still for a split second between moves, but if it is perfect stillness then the transition between the moves becomes flawless. Finally, there is an additional benefit to this training muscle strengthening. But it’s a different type of strengthening. In weight lifting, for instance, we breakdown muscle tissue so that it grows back stronger. Stillness training, on the other hand, rather than breaking down the muscle. Tones the fibres of the muscle tissue. While it does not expand the size of your muscles, it does make them stronger. The more you practice the exercise the stronger your muscles will become and the longer you will be able to hold you stances. As you get used to this exercise, see if you can bring it into your daily life. When you find yourself with a free moment, practice it - or one adapted to your particular situation. Soon you will become more and more aware of the feeling of true stillness and you will begin to recognize how it contrasts with movement. We are constantly moving all during the day. Try to take a moment and bring stillness into your daily life. It will benefit your training immensely. The balance of Yin and Yang is apparent in every aspect of life. We just don’t take the time to pay attention to it. Stillness training is a method of enhancing awareness of the inherent balance in life. It is a tool for keeping us on the path of karate as a way of life. ✪

This article has been reproduced with the permission of Aaron Hoopes visit his website www.artofzenyoga. com/karate to purchase copies of his books you can visit www.artofzenyoga.com/store.htm Aaron Hoopes is a native of Vermont and the founder of Zen Yoga. He is the author of: Zen Yoga: A Path to Enlightenment through Breathing, Movement and Meditation, Breathe Smart, and Perfecting Ourselves: Coordinating Body, Mind and Spirit. He has studied the martial arts, Eastern philosophy, and alternative medicine in the United States, Australia, and Japan for over twenty-five years and has a degree in Asian History and Japanese Culture from Tulane University. He spent a number of years in Japan studying under Masatoshi Nakayama, chief instructor at the headquarters of the Japan Karate Association, until his death in 1987. Currently Aaron is a third degree black belt in Shotokan Karate, is a certified instructor and is one of the Hoitsugan Instructors. He is also a certified instructor of Shanti Yoga and Meditation and Tamashii Tai Chi. He is trained in Chinese Qigong, Energy Healing and studied Shiatsu Finger Pressure Therapy under Hitoshi Koeda in Japan. In addition, he has extensive knowledge of Iyengar Yoga, White Crane Qigong, Okinawan Karate, Shorinji Kenpo, Wing Chun Kung Fu and Zen Meditation.

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KNOWLEDGE | TRAINING

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TRAINING | KNOWLEDGE

Learning Effective Breathing Methods BY AARON HOOPES

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KNOWLEDGE | TRAINING

ne of the most important aspects of martial arts training is proper breathing. However, for practitioners of hard styles, effective breathing methods are often left to the students to figure out on their own. The central principle of breathing is of internal cleansing, getting rid of that which is old, worn out, and stale, and exchanging it for what is new, fresh, and energized. During inhalation we are bringing in fresh oxygen, nutrients, and vital energy. During exhalation we are expelling carbon dioxide and other toxins and poisons that we produce or collect in our daily lives. There are a large number of breathing exercises. Some are simple and easy while others require years of practice. I will discuss the five I believe to be the most effective for the martial artists who are beginning to explore the potential of proper breathing. First, we will describe the two methods which are best suited for becoming aware of the body: Attention Breathing and Abdominal Breathing. We will then go on to the more advanced exercises of Reverse Abdominal Breathing and Nose Panting. Finally we will introduce The Complete Breath which is more challenging and requires increased concentration and practice. In practicing these breathing exercises it is important to concentrate on breathing through the nose, both during inhalation and exhalation. Of course when training in the martial arts, breathing strictly through the nose is unrealistic. In fact it is physically impossible since the body’s demand for oxygen increases too fast for the nose to handle the flow. However, while doing these specific exercises it is important. Think of it as a closed circuit within the body, breathing in through the nose and out through the nose. If you open your mouth, you break the circuit and the energy dissipates.

Attention Breathing It is important to realize that people breathe differently. Children tend to breathe with their abdomen, while middle-aged people breathe with their stomachs, and older people often breathe mainly with their upper chests. But the way people breathe is also affected by other factors, emotions, for instance, or ill health. Someone who is excited will breathe faster and shallower than someone who is sad. Someone who is calm will breathe slowly and deeply. Someone out of shape may be panting after a short walk or climbing some stairs. Attention breathing, as its name implies, is about focusing your awareness on the natural rhythm of your breath, not to control it but simply to observe it as a bodily function. Your awareness is the instrument which enables you to shift from unconscious breathing to conscious, or dynamic, breathing. This shift is accomplished by concentrating on the feeling of the body as it breathes. Feel the air as it enters your nostrils. Follow it as it flows into the lungs and notice how deeply it reaches into them. Maintain your full attention and follow it back up as you exhale. Feel the used air as it is expelled from the body. Gradually, as you become aware of the feeling of the breath it should become smoother and more relaxed. But don’t try to change your breathing during Attention Breathing. Your aim is to observe your unconscious breathing habits so you will be able to feel the difference when you actually begin dynamic breathing. If you find your mind wandering, simply catch yourself and return to the breath. Try to perform Attention Breathing for five minutes each day at the same time of day, perhaps in the morning when you wake up or at night when you are about to go to bed. As you become used to it, see if you

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can focus on your breath at other times throughout the day. Eventually the awareness of the breath and your breathing should become an integral part of your life.

Abdominal Breathing Once you become aware of your breathing, it is time to begin modifying your breathing habits. Abdominal breathing is by far the best breathing method for people beginning to study breathing exercises. Regular practice brings quick, tangible results. It is easy to learn and difficult to do incorrectly. In addition, Abdominal Breathing has the benefit of invigorating the abdominal muscles. Their constant movement massages the internal organs and increases blood circulation. The basic idea is simple: fill the lungs from the bottom up. Abdominal Breathing is about filling the lungs completely. Most people breathe using only their chests or the top half of their lungs. Abdominal Breathing seeks to expand lung capacity by starting from the lowest part of the lungs. The focus, therefore, is on the abdomen, an area roughly three finger widths below the navel. Known as the hypogastrium in Western medical terminology, this area is called the dan tien in Chinese and hara in Japanese. This point is the focal point of Abdominal Breathing. Start in whichever stance or posture you feel most comfortable. Inhale through the nose. Expand the abdomen gradually by lightly pushing out and down as the oxygen fills the lower lung cavity. Focus the mind on expanding the abdominal area. Don’t be overanxious and forcefully protrude the abdominal wall. Instead, try to achieve a gentle and smooth expansion in time with the inhalation. When the abdomen is full, exhale through the nose and pull the abdomen gently back into the body, compressing the lungs from the bottom. With each inhalation the abdomen expands, with each exhalation the abdomen contracts. It is important to remember that you should not expand or contract your chest; instead, feel as if you are drawing the air deep into the lower part of your body. Repeat for ten cycles of inhalation and exhalation, filling to maximum capacity and emptying completely with each breath.

Reverse Abdominal Breathing Reverse Abdominal Breathing is more difficult than Abdominal Breathing simply because it reverses the natural flow of the breath. Reverse Abdominal Breathing is a breathing method best suited for those who study the martial arts since it concentrates focus on the hara during exhalation. Regular practice strengthens the abdominal muscles and makes breathing naturally strong. Try blowing up a balloon while keeping one hand on your abdomen. As you blow out, your abdomen naturally expands instead of contracting. The same is true if you are trying to push a car that has run out of gas. In order to express the power you are putting into the act, you exhale while pushing out. Reverse Abdominal Breathing is a breathing method which tends to infuse the breather with power. Again, start in whichever stance or posture

TRAINING | KNOWLEDGE

you feel most comfortable. Inhale through the nose. Slowly draw the abdomen in and up. The upper chest will naturally expand as oxygen fills your lungs. As you inhale, contract the muscles of your perineum. The perineum is the area between the anus and the lower edge of the pubis at the front of the pelvis. The central point of the perineum is called the huiyin in Chinese and is the focal point for Reverse Abdominal Breathing. By contracting and pulling up the huiyin you are able to concentrate on the abdominal area. Again, donâ&#x20AC;&#x2122;t be overanxious and forcefully squeeze the abdomen. Instead, focus on keeping a smooth and relaxed motion. When the lungs are full, exhale through the nose, release the huiyin, and push the abdomen out and down. Repeat for ten cycles of inhalation and exhalation, filling the lungs to maximum capacity and emptying them out completely with each breath.

Nose Panting Breathing through the nose is of the utmost importance when practicing breathing exercises. The nose has a number of defence mechanisms that prevent impurities and extremely cold air from entering the body. First, a screen of nose hairs traps dust and other particles that could injure the lungs if we breathe through the mouth. Next, there is a long passage lined with mucus membranes, where excessively cool air is warmed and very fine dust particles that escaped the hair screen are caught. Finally, in the inner nose are glands which fight off any bacteria that may have slipped through the other defences. The inner nose also contains the olfactory organ that gives us our sense of smell, which can detect poisonous fumes that could damage our health if we were to breathe them. The Nose Pant is a great exercise for charging yourself up with energy if you feel sleepy or for releasing stress any time during the day. Imagine that you are blowing a piece of dust out of your nose by sharply puffing out through the nostrils. This is immediately followed by an equally sharp intake of air through the nose. This in-and-out ventilation should be repeated in rapid succession ten times. As you become comfortable with the exercise, increase the number of repetitions. When beginning, just concentrate on the nose and upper chest when breathing, but as you progress try to focus on the abdomen. Abdominal Nose Panting consists of contracting the abdomen as you puff out. Reverse Abdominal Nose Panting expands the abdomen on the puff out. After completing a session of Nose Panting, always follow with a couple of deep slow breaths to calm the body down. â&#x153;Ş This article has been reproduced with the permission of Aaron Hoopes visit his website www.artofzenyoga.com/karate to purchase copies of his books you can visit www.artofzenyoga.com/store.htm

DURING INHALATION WE ARE BRINGING IN FRESH OXYGEN, NUTRIENTS, AND VITAL ENERGY. DURING EXHALATION WE ARE EXPELLING CARBON DIOXIDE AND OTHER TOXINS AND POISONS

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KNOWLEDGE | TRAINING

THE COMPLETE BREATH DYNAMIC BREATHING EXERCISE The Complete Breath is a dynamic breathing exercise that is both simple and complex. Regular practice expands lung capacity, which, in turn, slows down unconscious breathing and makes it smoother and more regular. In addition, The Complete Breath maximizes oxygen intake and enables oxygen-rich blood to flow to the extremities. It also cleans and invigorates the lungs. In the beginning it is best if The Complete Breath is practiced from a lying-down posture so maximum concentration can be placed on the exercise itself, which consists of four separate aspects: inhalation, retention, exhalation, and suspension.

Inhalation Inhale through the nose. Expand the lower abdomen, pushing out and down, just as if you were starting Abdominal Breathing. Once the abdomen is full, continue inhaling and expand the chest, filling the upper lungs. Raise the collarbone and shoulders as you continue inhaling. Fill the throat and the nose. Stop.

Retention Hold the breath in. Bring your attention to the fullness of the body. Feel the expansion circulating the oxygen-rich blood throughout the body. Continue to hold the breath in for a count of ten.

Exhalation Exhale through the nose. Contract the lower abdomen pushing in and up. Continue to exhale by squeezing the air from the lungs and chest. Lower the collarbone and shoulders. Blow the air from your throat and nose. Empty it all out. Stop.

Suspension Hold the breath out. Bring your attention to the emptiness of the body. Feel your body like an empty balloon waiting to be filled. Continue to suspend breathing for a count of ten.

Repeat On the next inhalation don’t gasp for air. Calmly and smoothly inhale just as before. Feel the air reaching far beyond your abdomen, filling every corner of your body like an expanding balloon. Notice the sensation of your body as the new oxygen is brought in.

Do the complete set five or ten times each day. The purpose of breathing exercises is to enable you to bring awareness to your breathing. When you are aware of your breathing you can use it to maximum effectiveness. The change from unconscious to conscious breathing is accomplished by thinking about your breathing and becoming aware of your own body. Most of our behaviour is unconscious. We walk around in our bodies, rarely noticing how they feel unless there is pain. Seldom do we consciously think of the body as feeling good. Feeling good shouldn’t be an absence of pain. It should be an invigorated, energetic state where you are comfortable and happy in your body. Becoming aware of your breath is a way to reach that feeling. Expanding your breathing ability is a way of extending that feeling. Try to become more aware of your breathing during training and at other times. Take deeper breaths. Do regular Abdominal Breathing. If you feel yourself getting tense or angry, do some Attention Breathing and notice how your feelings change. If you are bored or sleepy, do some Nose Panting to re-energise yourself. No matter what you are doing, breathe. Make conscious dynamic breathing a regular part of your life and you will find it naturally benefits your martial arts training. ✪

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IT’S NOT BRAGGING IF YOU CAN BACK IT UP MUHAMMAD ALI

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KNOWLEDGE | KUMITE TRAINING

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38 CORE | SPRING 2011

KUMITE | KNOWLEDGE

NO FIRST ATTACK IN KARATE BY IAIN ABERNETHY

ISSUE ONE 2012 | CORE 39

KNOWLEDGE | KUMITE

n recent years there has been much debate as to the legitimacy of pre-emptive striking. Some support the method stating that action is always faster than reaction, and emphasise the importance of seizing the initiative in high-risk situations. Others object to the method on ethical grounds. Gichin Funakoshi’s famous quote, “Karate ni sente nashi” or “There is no first attack in karate” is normally used to justify this stance. As a traditional karateka, it is my belief that training should revolve around self-development and self-defence, and should effectively promote both. We do not wish to produce training grounds for thugs nor do we wish to fail to equip our students to deal with society’s violent minority. The issue of pre-emptive striking is certainly controversial (as I found out after I included it in my book ‘Karate’s Grappling Methods’!) One thing that both camps agree on is that fighting is to be avoided whenever possible, it is what to do when fighting cannot be avoided that causes the debate. There can be very few martial artists who believe that the individual has no right to fight back, the question seems to be at what point is the use of force legitimate? I believe that “Karate-do ni sente nashi” and the pre-emptive strike are in no way mutually exclusive and can exist side by side. To my mind once an assailant has decided to attack us, the attack has begun and we are well within our rights to use whatever methods are appropriate to ensure our safety. Obviously we can’t read our opponent’s

attack him…” as opposed to, “...at that time wait until the assailant attacks before countering…” It would seem that once all other options have been exhausted, Funakoshi had no problem with the pre-emptive strike as a means to facilitate escape. I believe the pre-emptive strike to be a “defensive” method in so much as it is a way to avoid the unprovoked assaults of others. Striking an individual when they did not initiate the assault would undoubtedly be a violation of karate-do ni sente nashi, however, I feel that being pre-emptive, when one is convinced that the aggression of others can in no way be avoided, is ethically just. Another reason that acting preemptively is often scorned is the fact that all the kata begin with a defensive technique. Much has been written about how this underlines the importance of not striking first. Indeed all the katas do begin with defensive techniques, some of which are pre-emptive! The opening salutation and movement of Passai (Bassai-Dai) is a good example (see page 112 of the KGM book). The opponent has merely acted in an aggressive fashion (shaking their fist) and the kata regards this as justification enough for action to be taken. There are many other examples of the katas being pre-emptive (Page 45 & 124 are good examples). The practice of pre-emptive striking can be found as part of everyday practice within Wado-ryu (whether it is recognised as such is a different matter). On the Wado-ryu syllabus we can find ‘Tobo-Komi-Tsuki’ which is a head

IF WE DO NOT ACT PRE-EMPTIVLY, WE WILL BE FORCED INTO A POSITION OF HAVING TO DO ENSURE THE OPPONENT CANNOT FUNCTION, AS OPPOSED TO MEALY BEING SUFFICIENTLY STUNNED TO ENSURE EFFECTIVE ESCAPE mind so we must look for physical indications that an attack is imminent. Behaviour such as threatening body language, verbal threats, raised voice, excessive swearing etc. If an individual is behaving in an aggressive way whist attempting to invade our personal space then there is a strong possibility that their verbal aggression is about to escalate to the physical. This verbal assault is an attack in itself and waiting until the attack becomes physical is foolhardy in the extreme. (Read Geoff’s excellent books “Three Second Fighter” & “The Fence”). In his book ‘Karate-do Kyohan’ Gichin Funakoshi wrote, “When there are no avenues of escape or one is caught even before any attempt to escape can be made, then for the first time the use of self-defence techniques should be considered. Even at times like these, do not show any intention of attacking, but first let the attacker become careless. At that time attack him concentrating one’s whole strength in one blow to a vital point and in the moment of surprise, escape and seek shelter and help.” This is exactly what many of those who teach the pre-emptive strike recommend. It is interesting that the preceding quote states, “…at that time

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punch that is delivered from natural stance before assuming a fighting posture. The technique has no preceding block and would appear to be contrary to ‘karate-do ni sente nashi’ if the prevailing interpretation of ‘there is no first attack in karate’ were correct. I believe that Otsuka meant for this technique to be used as an assailant was preparing to launch an unprovoked attack and by including it in his style acknowledged the importance of practising such methods. Otsuka - like Funakoshi - also emphasises pacifism and the importance of avoiding conflict wherever possible, and in no way advocates striking an individual whom is not preparing to launch an attack. In his book ‘Wado-Ryu Karate’ Otsuka wrote, “There is nothing as unfortunate as finding one’s self in a situation where he must utilise martial arts to protect himself. The objective of martial arts training is to train hard and yet search for a state where martial arts need not be used. Hence, one must seek the path of peace and desire that path as well.” Acting preemptively has always been a part of Budo. In the classic text on strategy ‘Go Rin No Sho’ or ‘The book of the five rings’ Miyamoto Musashi tells us of three methods to forestall the enemy, one of which is, ‘attacking on the

enemy’s preparation to attack.’ This is exactly what we are doing when we deliver a pre-emptive strike. If we attacked when the enemy was not preparing to attack, then we are acting in a manner inconsistent with the ethics of the martial arts. If, however, the opponent is preparing to attack then we are simply gaining the initiative and ensuring our safety. Once the initial strike has been delivered we should seize the opportunity to flee. If we continued to strike the opponent we would be morally (and legally) in the wrong as well as putting ourselves at risk should the opponent have accomplices that we were not previously aware of. The pre-emptive strike should not be used to settle arguments or as a means to weaken an individual to enable us to give them “a good kicking.” What we are taking about is the legitimate use of a pre-emptive strike, when no other options are available, to distract the assailant in the instance of unprovoked attack in order to facilitate escape. If the pre-emptive strike is used in this way than I believe it is in no way contrary to ‘karate-do ni sente nashi’ (and - judging by the quote from Karate-do Kyohan - neither did Gichin Funakoshi). Should we not gain the initiative, and the chance to escape that it provides, we will be forced to fight (it we are still able) and that could result in far greater violence being committed either to our opponent or ourselves. As true martial artists we should always desire to cause as little damage to our opponent as is necessary to ensure our safety. If we do not act preemptively, we will be forced into a position of having to do ensure the opponent cannot function, as opposed to mealy being sufficiently stunned to ensure effective escape. Another vital consideration is the strong possibility of multiple opponents. If we do not seize the initiative in this situation we are putting ourselves at great risk. When setting the standard of ‘karate-do ni sente nashi’ I do not believe that it was the intention of the masters to ask us to act in a manner that would give societies violent minority the advantage, but to ensure that we do not become part of that minority. Some would say that by striking first we are ‘lowering ourselves to their level.’ I strongly disagree with this statement as when a true martial artist is forced into the position of having to use a pre-emptive strike it will be with a sense of regret. They will have done everything possible to avoid and defuse the situation and now must use force if their safety is to be assured. Compare this with the assailant who is using force for personal enjoyment or financial gain, who will feel good about the infliction of pain, and far from avoiding violence, has actively sought it out! To my mind ‘karate-do ni sente nashi’ is a reminder for us to always avoid violence, to never fight as a result of ego and only fight to ensure our safety (or the safety of others) in the instance of unprovoked attack when no other options are available. I do not believe the intention was to demand that a woman who has just been informed - by a knife wielding assailant - that she is about to be assaulted, and who has no means of escape, must wait until the knife is actually thrust towards her before she may act! Striking on the opponent’s preparation to attack, when we can not initially escape, is a just and legitimate method, it is supported in the writings of past masters, contained within the katas and (to my mind) is fully consistent with ‘karate-do ni sente nashi.’ ✪

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This article has been reproduced with the permission of Iain Abernethy. www.iainabernethy.com

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KNOWLEDGE | KUMITE

LOW-K

42 CORE | SPRING 2011

KUMITE | KNOWLEDGE

WHILST IT IS RELATIVELY EASY TO HIT A PUNCH-BAG, STRIKE A FOCUS-MITT, OR DELIVER ACCURATE BLOWS WHEN PRACTISING WITH A COMPLIANT PRACTISE PARTNER, IT IS EXTREMELY DIFFICULT TO DELIVER AN ACCURATE STRIKE TO AN OPPONENT WHO DOESN’T WANT TO BE HIT!

KICKING BELOW THE BELT? BY IAIN ABERNETHY

n this article we will be looking at the effective use of kicks in live situations. One thing I should probably say at the very onset is that kicking is probably the least effective of all the combative methods. This is because your motion and stability are severely curtailed the instant you take a foot off the floor, and you rarely get the space to use kicks anyway. That is not to say that kicking does not have a role to play, because it does. However, I do want to point out that this role is nowhere near as large as much of modern practice would suggest. In the modern dojo, practically every combination has a kick somewhere within it. This is primarily because kicking is very effective in the competitive environment (you have the space and they score more points). Also, because high-level competitors are amazing athletes, they can apply kicks in ways that would be totally inappropriate for those who are not as physically gifted. If you compare the techniques of modern karate with the techniques recorded within the katas - which are a record of the original version of the art - you will note that kicks are nowhere near as widely used. The simple reason for this is that the techniques of the kata were designed for real combat, and because kicks are not that effective or readily applicable in that environment, they are not emphasised to the same degree. A key difference between the kicks of the katas and their modern offspring is the height at which they are applied. In

modern karate, kicks are generally applied from the waist up due to that fact that this is a requirement of modern rules and safety standards. In real situations, it is always best to kick low; ideally lower than the level of the fingertips when the arms are down by the side. Low kicks are harder to counter, they are quicker, and the chances of you being unbalanced are greatly reduced. It should be understood that in relatively recent times, many of the kicks within the katas have been elevated, presumably for visual effect and to comply with the methodology of modern competition. However, originally, all the kicks throughout the katas were aimed low. If you practice a modern version of a kata then you may find middle-level or head-height kicks. Practicing your kicks at an elevated height, as a form of physical conditioning, can help to improve your explosiveness and power; however, when interpreting, expressing and applying the katas, and when training for self-protection, all the kicks should be aimed low. Certainly there are no head height kicks within the original katas, as to execute such a kick in a real situation is suicidal! Within the katas, there are some instances of kicks directed to the head, but in these instances the opponent has been positioned so that they are on the ground or on their knees, and therefore the kick is still low. Another difference between modern kicking and the kicking techniques recorded in the katas is one of power. In the modern competitive environment, kicks are executed with ‘control’ (they are pulled on contact) to scoring areas. Being able to deliver a high velocity kick and pull it on contact

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KNOWLEDGE | KUMITE

ALTHOUGH KNOWLEDGE OF WEAK POINTS CAN BE USEFUL, AND IDEALLY WE SHOULD AIM TO HIT THESE AREAS, IT SHOULD BE REMEMBERED THAT HITTING THESE WEAK POINTS IS NOT AT ALL EASY IN THE CHAOS OF A LIVE FIGHT requires tremendous skill. However, in a live situation, we should not “control” or pull our kicks and we need to have trained so that we are capable of kicking with great force. It is for this reason that we must ensure that we make use of kick-shields, full-length punch-bags etc in our training. Practicing kicks against the air can help to develop good form, but only practicing against pads etc will allow you to develop power. For superb advice on how to deliver your kicks with real power, I strongly recommend that you purchase Peter Consterdine’s Power Kick video. To make our kicks as effective as possible, we need to keep them low and deliver them with force. Another component of effective kicking is accuracy. During the chaos of a fight the accurate placement and delivery of strikes becomes extremely difficult. Whilst it is relatively easy to hit a punch-bag, strike a focus-mitt, or deliver accurate blows when practising with a compliant practise partner, it is extremely difficult to deliver an accurate strike to an opponent who doesn’t want to be hit! If you’ve engaged in realistic combat training, or have been unfortunate enough to experience a real fight, you’ll know that live fights are incredibly messy and frantic affairs, and this makes the accurate delivery of blows extremely difficult. It is for this reason that power is more important than accuracy. So long as your kicks are powerful, they will have an effect regardless of where they land. It should be obvious that a kick which hits a weak area will have a greater effect than it would have done otherwise, but it is a grave mistake to say that power is not important if you have knowledge of the weaknesses of the human anatomy. Having knowledge is one thing, being able to apply that knowledge is something else. Although knowledge of weak points can be useful, and ideally we should aim to hit these areas, it should be remembered that hitting these weak points is not at all easy in the chaos of a live fight, and therefore power is the main requirement for effective kicking. Having discussed the problems associated with accuracy, we will now move on to look at the key targets for low kicks. It is important to understand that there are no “safe” striking areas. A strike to anywhere on the human body can have severe effects e.g. a kick to the shin could cause the recipient to fall which, should their head hit the floor, may result in a fatality just as easily as a blow to the throat. Real fights can have very severe consequences and that is why we must always ensure we do our utmost to avoid them. As we have already discussed, kicks should ideally be delivered to targets no higher than mid-thigh. However, because this article is entitled “Low-Kicking: Below the Belt?” We will first look at a small number of target areas that are below the belt, but are higher than we should ideally kick in live situations.

Coccyx This point is located at the tip of the spine or ‘tailbone’. The Coccyx is part of the spine. A blow here will affect the entire

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KUMITE | KNOWLEDGE

spinal cord and can have severe consequences. The Coccyx is also directly above the sacral plexus, which is where all the major nerves of the lower limbs originate. A blow to this point will affect all these nerves and will result in extreme pain.

Testicles The testicles are very delicate organs and are loaded with nerves. A blow to the groin can result in pain, shock, nausea, vomiting, unconsciousness, difficulty breathing and possibly even death. Although an attack to the groin can be completely incapacitating, it is difficult to land such an attack. Most men will instinctively defend the groin and the protection provided by clothing can often reduce the effect of a blow. It’s also worth pointing out that there can be a slight delay between landing a blow to the testicles and the pain being felt by the recipient. In training, have you ever received an accidental blow to the groin, thought that you were ok, and then a few seconds later realised that you were far from OK!? I know I have. Although it is only a very short delay, it should be remembered that in a live fight, everything can change in a split-second and hence landing a kick to the groin does not instantaneously mean you are safe. Kicks to the groin are obviously very effective when they land, but kicks to the groin are not the guaranteed instant fight winners which they are sometimes portrayed as.

Inguinal Region The Inguinal Region is the area at the front of the leg where the thigh joins the torso. A kick to this point will affect the femoral nerve, femoral artery, femoral vein and genitofemoral nerve. This will result in great pain and a severe weakening of the leg. A strong kick could also result in temporary paralysis of the thigh muscles.

pain, severely limit an opponent’s mobility and will most likely need corrective surgery. A blow to the side of the knee can damage the ligaments that hold the knee joint together. This will again cause pain and severely reduce mobility. If the ligaments are damaged by a kick to the knees, it is very unlikely that the recipient will make a full recovery as there is a good chance that their knee joint will be permanently damaged. Kicking to the back of the knees can cause the leg to buckle and is often used to unbalance an attacker. Throughout the karate katas, attacks to the back of the knee are frequently accompanied by a pull to the upper body (these movements are frequently mislabelled as simultaneous kicks and hand strikes, or simultaneous kicks and blocks). This accompanying pull will obviously aid in the unbalancing of the opponent. The simultaneous kick and pull also results in great tension around the knee joint and can cause severe muscle damage.

Shins A kick to the shins is very painful and frequently results in the opponent bending at the waist. A kick delivered around two-thirds of the way down the shin will hit the deep Peroneal nerve, which will cause a sharp pain and a weakening of the lower leg. Control over the foot may also be reduced. In a number of katas the Nidan-Geri (double level kick) can be found. Whereas today, the movement is most frequently performed as two airborne head-height kicks, a more effective application is a grappling manoeuvre followed by a kick to this weak area and then a kick to the Saphenous nerve (see my video Bunkai-Jutsu Volume 3: Kushanku / Kanku-Dai). This will cause the opponent to fall forwards where they are then vulnerable to a follow up strike (in Kushanku / Kanku-Dai, a dropping elbow strike - most often mislabelled as a “back fist” is delivered to the opponent’s back).

Sciatic Nerve This point is located on the back of the leg just below the buttocks. The Sciatic nerve is the largest nerve of the body and plays a major part in the control of the hamstring and lower leg. A solid kick to this point will produce cramping, loss of control over the leg, and pain in the hips and abdomen. We shall now move on to discuss the weak areas of the legs that are located from the mid-thigh down. These are the ideal target areas for kicks, and hence they are also the most frequently used target areas for the kicking techniques of the katas (see my Bunkai-Jutsu series of video tapes).

Lower Calf

Vastus Lateralis

Instep

This point is located halfway down the outside of the thigh. The Vastus Lateralis is the large muscle running down the outside of the upper leg. A blow to this point will produce pain and cause temporary paralysis of the thigh.

A stamping kick to the top of the foot will affect the medial plantar nerve, deep peroneal nerve and superficial peroneal nerve. This will result in pain in the leg, hip and abdomen, and loss of control over the leg. Kicking has a limited role to play in self-protection situations because there is rarely the space needed, and your stability and mobility are greatly reduced the moment you take your foot off the floor (which is why they are relatively sparse in the traditional katas). If you do use kicks, they should be used sparingly, they must be powerful and they should be delivered lower than mid-thigh. Although you would ideally like to hit one of the weak areas covered in this article, it should be remembered that, due to the nature of live fights, delivering an accurate blow is not easy and hence the key thing is to ensure that your kicks are delivered with great force. Thank you for taking the time to read this article. I sincerely hope that you found it useful. ✪

Saphenous Nerve This target area is located halfway down the inside of the thigh. The nerve is relatively close to the surface, and therefore kicks to this area tend to have a much greater effect than those on the outside of the thigh, where the surrounding muscle affords greater protection to underlying nerves etc. However, this weak area is generally not as accessible to attack because the leg needs to be far enough in front in order to provide a clear path for the kick (the other leg needs to be out of the way).

Knees The knees can be attacked from the front, back and sides; all of which can have permanent effects on the recipient’s mobility. In addition to damaging the joint itself, a blow to the front of the knee could displace the knee cap. This will cause

A kick to the lower part of the calf will cause pain and temporarily paralyse the muscle. This will greatly reduce the opponent’s ability to move. Striking the inside of the shin, below the bulge of the calf muscle, is very painful and will again reduce your opponent’s mobility. Kicking this area will also drive your opponent’s leg to the outside, which will unbalance them and cause their head to drop (see my Combat Drills video tape for an example of how a roundhouse kick to this region can be used to drop an opponent’s head and set them up for a strike).

This article has been reproduced with the permission of Iain Abernethy. www.iainabernethy.com

ISSUE ONE 2012 | CORE 45

KNOWLEDGE | TRAINING

Images: www.shutterstock.com

46 CORE | ISSUE ONE 2012

TRAINING | KNOWLEDGE

Improving Flexibility BY TED BROOKS

Most martial arts styles require some level of flexibility and therefore improving flexibility for martial arts will help you grow to new heights in your practice while still remaining safe from injury. While some people seem to have a natural ability to be flexible most of us need to work at improving our level of flexibility for martial arts. This article gives you a basic introduction of the types of information and training which professional martial artists carry out.

oing stretches correctly will increase your flexibility but if they are done incorrectly you can actually cause more harm than good. It is important to remember that a large portion of injuries experienced in martial arts are caused by flexibility issues, mostly because the person does not have flexible muscles or fails to stretch the muscles properly before carrying out techniques. So to get more flexible we need to learn how to do stretches correctly. The fundamental point regarding stretching techniques is that they can be either dynamic (involving motion) or static (those that involve no motion). The six main types of stretching which incorporate these are listed and discussed below. Improving Flexibility for Martial Arts First lets start by examining the different methods of stretching. • Ballistic Stretching • Dynamic Stretching • Active Stretching • Passive (or relaxed) Stretching • Isometric Stretching • PNF Stretching

Ballistic Stretching Here you attempt to use the momentum of your weight to stretch beyond your normal comfort zone. Ballistic stretching involves bouncing to the end of your natural stretch and using the momentum of your weight to force you beyond your normal range of motion. An example of ballistic stretching is when you bounce up and down on your toes by bending your knees and stretching your hamstrings, then using the stretch to bounce back upright. In general Ballistic stretching is not

ISSUE ONE 2012 | CORE 47

KNOWLEDGE | TRAINING

WHEN YOU PULL A MUSCLE OR RIP MUSCLE TISSUE IT CAN TAKE MONTHS BEFORE YOU CAN GET BACK TO WHERE YOU WERE BEFORE THE INJURY

considered helpful and may actually decrease your flexibility by not allowing your muscles to stretch into or relax in the stretched position.

Dynamic Stretching This involves moving your body and limbs while gradually increasing both the speed and range of each movement. By skirting along the edge of your limits you use the warming of the muscles to gradually and gently increase the range of those movements. Dynamic stretching should only be used until the muscle starts to become tired. Tired or overworked muscles won’t be able to maintain the maximum stretch and the result will be less flexibility. A martial artist when carrying out dynamic stretching to increase flexibility might perform techniques such as kicking, starting a low kick height, working up to a much higher height with every kick. This is illustrated in the picture (right).

Active Stretching This type involves assuming a pose and then holding it through nothing but the strength of your muscles. True active stretching poses can usually be help for only 8 to 10 seconds. The tension of the muscles working to hold the pose allows them to stretch. Active stretching is common in many Yoga poses.

Passive Stretching Also called relaxed or static stretching this involves assuming a pose then holding it with the help of some other part of the body, the aid of a partner or some other apparatus. In terms of a martial artist using this sort of flexibility training, the picture may help. The martial artist may begin the stretch a muscle by moving their limb either with some apparatus or with their own bodily force, however upon holding the position of stretching the muscle, the actual muscle being stretched is relaxed. Slow relaxed stretching such as this can be useful in

48 CORE | ISSUE ONE 2012

releasing pain in injured muscles and is also very good as a cooling down after a work-out to avoid muscle fatigue and soreness.

Isometric Stretching This type of stretching is also a static stretch in that it doesn’t involve actual movement. Rather it uses the flexing of muscles to stretch and lengthen them. This type of stretch is one of the quicker ways to increase flexibility and strength of the flexed muscles. A common way to perform isometric exercises is to manually apply resistance using your own limbs. An example would be holding onto your toes as you attempt to bend your foot forward using your calf muscle. Or pushing against a wall even though you know you can’t move it. Another good example is when you place the palms of your hands together and push creating flexing and stretching of your arm and chest muscles.

TRAINING | KNOWLEDGE

LEARNING THE CORRECT WAY TO STRETCH AND THEN MAKING IT A PART OF BOTH GETTING READY FOR YOUR PRACTICE AND THE COOLING OFF AFTER A PRACTICE WILL ENSURE THAT YOU TAKE CARE OF YOURSELF AND CAN ENJOY YOU CHOSEN MARTIAL ART FOR YEARS TO COME

To do this type of stretching make sure that you have first used dynamic stretching to loosen the group of muscles that you are wanting to work. Then assume whatever position will allow you to create resistance on the chosen muscle. Flex the muscle for 7 to 15 seconds then relax it for at least 20 seconds. Realize that a full set of isometric stretching creates a big demand on the muscles you are working so should not be done more than once a day.

PNF Stretching This is currently considered the fastest most effective way to increase flexibility. PNF is an acronym for proprioceptive neuromuscular facilitation. It is actually not a way of stretching in itself but rather a way to combine passive and isometric stretching together in order to achieve maximum benefit. PNF was originally designed to help stroke victims but also works just as well for anyone else trying to increase their mobility. Here is one way to use PNF. This technique is called hold-relax. In this technique you first passively stretch the muscle you want to work then isometrically contract the muscle for 7 to 15 seconds, relax for a couple seconds then passively stretch the muscle just a little further than your first stretch. This final passive stretch should be held for 15 to 20 seconds after which you release, pause for a few seconds and continue. PNF stretching is a way to quickly strengthen and increase the flexibility of your muscles.

How often should I stretch for martial arts? The answer to this varies from person to person depending on how far you wish to push yourself and also how far you need to push yourself. Remember, every time you undergo a stretching session, very small tears in the fibres of your muscles occur - they are so small that you probably will not feel them however it is important that you allow your muscles

to recover. Unless you feel your muscle is in pain then it should be safe to stretch almost every day. However it is important not to stretch every single day to allow that redevelopment of your muscle fibres. If you are a martial artist looking to have excellent flexibility, you should be looking at undergoing a stretching session twice a day, almost every day. Whilst this may sound like a lot of work , the more supple you become, the less time you need to dedicate to each session. People with excellent flexibility need only spend 5 minutes per session. It is the frequency, regularity and efficiency of each session which directly affects your flexibility.Â

To conclude If you have never done stretches before it is a good idea to seek out the help of someone who has the experience to show you the correct way to do them. When improving flexibility for martial arts it is important that you learn how to remain in touch with your body. The last thing that you want to do is cause an injury by stretching incorrectly. It is important to remember that when you pull a muscle or rip muscle tissue it can take months before you can get back to where you were before the injury. Learning the correct way to stretch and then making it a part of both getting ready for your practice and the cooling off after a practice will ensure that you take care of yourself and can enjoy you chosen martial art for years to come. Remember to listen to your body and take note of how it feels. Any pain from your muscles while stretching is a message from your body to your brain to tell you to stop what you are doing, under no circumstances should you stretch muscles which are painful. There is a difference between pain and uncomfortableness, learn this difference and do not over stretch yourself, ever. â&#x153;Ş You can visit Ted Brooks blog at www.intermartialarts.com/ martial-arts-flexibility

ISSUE ONE 2012 | CORE 49

CORE | INTERVIEW

USEFUL SPARRING TIPS

50 CORE | ISSUE ONE 2012

SPARRING | KNOWLEDGE

You need to size up your opponent before you engage. If he strikes you first then you'll know he is an OFFENSIVE fighter. If he waits for you to attack then you'll know he is a DEFENSIVE fighter.

Find out which technique your opponent is good at by giving a fake. If your opponent moves his hands then you know he is a puncher. If your opponent moves his leg then you know right away that he is a kicker.

Try to get your opponent to attack first, either by a fake or taunt. You will quickly learn what technique your opponent relies on, (every fighter will have their favourite move) then plan a counter for that attack.

Do not telegraph your attack.

Never show fear when you are sparring. Your opponent will sense that fear and go on the attack. However, remember that fear can also be used as a fake.

When you and your opponent are in hitting range make sure you’re legs are never wider than your shoulder width. A wider stance makes your movements slower. Always set up your opponent before you strike. Set up high, strike low. Set up low, strike high. Most experienced fighters will never get hit unless you set them up.

If your opponent is good with sliding kicks then the time to attack is when his feet comes together right before he tries to launch a kick.

If your opponent has a great counter back kick with his right leg and you also fight with right leg back then you must switch your fighting stands with left leg back instead of right, this way you can move away faster and not walk into his back kick.

Watch your opponents body movement, not just their eyes. Experienced fighters do not show emotion so you must focus on their whole body.

Use back knuckle to set up opponent or to cover their vision.

Never turn your back on an opponent.

Don’t try to score on the first attack. Have in mind to set up and score on the 2nd or the 3rd attack.

The most common technique used in sparring is the round house kick. Learn various counters for the round house, such as, back kicks and spin heel kicks.

If you are cornered, jam your opponent’s attack before they can fully extend their leg, or hand and slip out to the side.

Every attack has a counter so learn them. You learned this if you played rock, paper, scissors as a kid.

If you get hit, never lose your temper and go after your opponent, rage will make you more vulnerable for a counter attack and you lose focus.

Always relax your body before you strike. Tension will slow down attacks. Visualise a snake attacking it’s prey. Calm, relaxed, then strike with lightening speed.

Close the gap between your thought and action. Don’t spend too long thinking or the opportunity will be lost.

The moment to strike an opponent is when he is about to launch an attack or as he is landing from his attack.

When fighting against a defensive fighter, you must use fakes to open them up before you start attacking.

Jabs and back knuckles are the fastest weapon for your hands which is done with the lead hand. Also practice round house and side kicks like a jab with the lead leg to set up or jam oncoming opponent.

Learn to side step when kicking in close distance.

Do not use high jump kicks for sparring. Low jump kicks are okay at a higher level.

Always remember when your opponent attacks - a part of their body will be exposed for counter. This applies to your counter as well.

Do not back up straight against a combination attack, move side ways or jam them before they can launch their attack.

If you are constantly clashing with your opponent then you must work on timing. If you don’t understand timing then go back to tip #10.

When you attack there must be no doubt or hesitation, you must completely commit otherwise you are left open to a counter attack.

Try to focus on the target in your mind, without looking at the target.

Do not always try to beat your opponent in the first round, especially if they are bigger. Cover up well, make them move, get them tired then move in.

Don’t kick just for the sake of kicking. Let each technique have a purpose rather than kicking or punching for the sake of just sparring.

Never under estimate your opponent.

No one person fights the same. Quickly adopt and assess your opponent’s weakness.

Sparring has 3 principles. RELEASE energy. RESERVE energy and REGENERATE energy. ✪

Don’t block unnecessary attacks.

Pace your energy, kicking takes more energy than hands so kick sparingly.

ISSUE ONE 2012 | CORE

KNOWLEDGE | TRAINING

Lesson Planning for Karate Instructors BY PAUL A. WALKER

FOUR MAIN COMPONENTS OF AN EFFECTIVE LESSON PLAN

52 CORE | ISSUE ONE 2012

TRAINING | KNOWLEDGE

s a karate instructor, you no doubt understand the importance of lesson planning. Developing an effective lesson plan is of vital importance, especially for new instructors. However, even for a highly experienced instructor it does not hurt to revisit some basic lesson planning principles. There are several main components that are critical to the overall lesson content of karate at all levels. These components are: Element, which includes basic training, forms, and partner work; Type, which includes quality, quantity, fun, and serious; Level, which is beginner, intermediate, and advanced; Focus, which includes grading syllabus, analysis and application of forms, self-defence, target training, and general drills. Generally, every lesson will include all four of these components. The parts of each component relate to the actual lesson content. By combining these components and making slight changes, each lesson will be interesting yet different while still sticking with the necessary content required at each rank level. Letâ&#x20AC;&#x2122;s define each component and its parts

Element The element component refers to what kind of content the lesson includes. Generally, each lesson will use one or more of the three kâ&#x20AC;&#x2122;s - kihon (basics), kata (forms), and kumite (partner work or sparring.)

Type The type component deals with how the lesson is delivered. Does the lesson focus on quality (detailed explanations of basic techniques, forms, or partner work), quantity (a hard workout using repetition of technique as the main teaching tool), or fun (a more relaxed atmosphere than normal, with activities such as target training, games for the kids, light sparring, or something completely different such as kata from another style)? Alternatively, is it a serious lesson-working on etiquette, posture, correct behaviour and habits, traditional philosophy, and history of karate? Each lesson can incorporate more than one of the four methods of delivery.

Level This component refers to the three main levels of students in class or to the level of content delivered in each class - beginners, intermediate students, and advanced students. However, lessons, at times, could still include beginner content for advanced students, to remind them about the things they should already know. Likewise, advanced content can be given to beginner students. This gives them a chance to see what they have to look forward to if they stick with their training. In a club with a large membership, there may be enough black belts to warrant a black belt-only class. If so, there could be a distinction between brown and black belts as to their level of class. This is for the instructor to decide, depending on the membership and resources of his or her club.

Focus This component guides the reason behind the content. When a grading is coming up in the next couple of weeks, a lesson on the techniques that will be tested in the grading is a good idea. When students have learned and memorized the moves to the kata they are studying, it is time to focus on the application of the kata. Perhaps one of your students is being bullied at school, and you feel it is time to revisit some self-defence techniques. Maybe you just want to have a general lesson that has a bit of something for everyone. With these four essential components, multiple effective lesson plans can be created. Also see How Karate Instructors Can Motivate Students In Three Easy Steps and For Karate Instructors: The Art of Effective Feedback in Class â&#x153;Ş Paul A. Walker has been studying karate since January 1982. Shotokan is his main style and he had the privilege and honor of studying under Master Hirokazu Kanazawa for three years at his Hombu Dojo in Tokyo and for many years since as one of his overseas instructors. For more great articles and resources by Paul A. Walker visit his blog at http://blog.shotokansensei.com. To purchase his book documenting his training with Master Hirokazu Kanazawa please visit the book's website at www.lessonswiththemaster.com.

ISSUE ONE 2012 | CORE 53

CORE | INTERVIEW

54 CORE | ISSUE ONE 2012

INTERVIEW | CORE

AN INTERVIEW WITH

CHUCK NORRIS INTERVIEWED BY GEOFF THOMPSON

ISSUE ONE 2012 | CORE 55

CORE | INTERVIEW

I THINK SETTING A GOAL, GETTING A VISUAL IMAGE OF WHAT IT IS YOU WANT. YOU’VE GOT TO SEE WHAT IT IS YOU WANT TO ACHIEVE BEFORE YOU CAN PURSUE IT. I’VE ALWAYS FOUND THAT ANYTHING WORTH ACHIEVING WILL ALWAYS HAVE OBSTACLES IN THE WAY AND YOU’VE GOT TO HAVE THAT DRIVE AND DETERMINATION TO OVERCOME THOSE OBSTACLES ON ROUTE TO WHATEVER IT IS THAT YOU WANT TO ACCOMPLISH. A LOT OF PEOPLE GIVE UP JUST BEFORE THEY’RE ABOUT TO

56 CORE | ISSUE ONE 2012

INTERVIEW | CORE

hat was your first break in to the film business? Well, really my first big break was a movie called Good Guy’s Wear Black. This was a screenplay that I helped develop and write. I peddled it around Hollywood for four years before I was able to finally make it a reality (laughs). But before that I had a chain of martial arts schools that a company wanted to buy and go nation-wide with. You know, like a whole chain of Chuck Norris schools. I thought that maybe 500 schools was better than owning six schools (laughs), well turns out it wasn’t. Anyway two years later I lost everything. It took me five years to get out of that hole and pay all the creditors back. In the meantime I was trying to decide what I was going to do with my life. I was teaching private students at the time and one of them was an actor by the name of Steve McQueen. He asked me what I was going to do and said that I wasn’t really sure yet whether I was going to start over again or what. I had a family at the time so I was making it by with private lessons and seminars. So he said ‘I would suggest that you try the acting field’. I said ‘why? I’ve never had an acting class in my life. I never even did a high school play (laughs). He said ‘well, acting is not just having lessons. You either have a certain presence that comes across on the screen or you don’t’. And he said ‘I think you may have it. I strongly suggest that you give it a try’. So, of course I tried to go to acting school but, you know at this time I had no money. Nothing. And I was checking into acting schools and they were just too expensive. Finally I found an acting school that I was able to take on my GI bill through the military. So I went back to school to learn acting. Then I went out trying to find work (as an actor) but I was competing against guys with years and years of experience. I said ‘this isn’t going to work’. So I wound up writing my own screenplay and finally, you know through sheer determination and faith I sold the idea and made it a reality. That was in 1977. That, really was the beginning of my career. You played a wonderful role opposite the legendary Bruce Lee in Way of the Dragon (Return of the Dragon - renamed for US release), now a movie classic how did that come about? Well Bruce and I met when I won the world (karate) title in New York City in 1968. He was doing that TV series The Green Hornet at the time. He was at the tournament as a special guest. We hit it off pretty well and so we started working out together in Los Angeles for a couple of years. Then he left for Hong Kong to pursue his movie career. He called me up in 1972 and said ‘I’ve done two movies in Hong Kong and I’m really big over here’. He said ‘I want to do a movie with a fight scene that every one will remember and since you and I have worked out together so much how about you being my opponent (in the film)? So kiddingly I said to him ‘who wins?’ (Laughs) Bruce said ‘I win, I’m the star (laughs).’ I said ‘Oh, I see you want to beat the world champion (laughs)’. But any way, you know at that time I was teaching, I had no aspirations toward acting but I went and did the fight scene in the movie with Bruce just as a kind of a break out of my schedule.

And it was a classic too. Yes it was. It was amazing because when I got to Rome my fighting weight was 168 (lbs.) and at the time Bruce weighed about 145. The producers of the film looked at us together and said to me ‘you know you two don’t look much different in size, you need to be bigger than Bruce, can we make you bigger?’ I said ‘what do you mean?’ He said ‘can you put on some weight (laughs)?’ I said ‘well, I don’t know.’ You know by this time I’m intimidated because I’ve never done this before, I’m scared and I said ‘well how much weight do you want me to put on?’ He said ‘well can you put on 20 pounds (laughs)?’ I said ‘well I’ll try’. So I started eating hamburgers and drinking malt. But I was training every day so I was burning the weight right back off again. I had to literally stop training and just eat. And then of course you know it wasn’t muscle it was more fat than it was muscle (laughs). So I went up to about 180 for that fight scene. That’s why you didn’t see me do any jumping kicks I couldn’t get off the ground (laughs). But it was a real experience to see Bruce Lee who was far ahead of every body else in that field. He had a vision that was years ahead of everyone. Then I came back to America and I thought my life would be teaching. Then, as I said in 1974 I lost everything with my schools then that’s when I started pursuing and acting career. Fortunately in 1977 Good Guy’s Wear Black became my first break. What was Bruce Lee like to fight? He was very fast. And he learned from everybody, he had a very open mind. Bruce never believed in only one style, or one style is the best, he felt that there were so many ‘best’ of everything. He said that everything had strengths and weaknesses and what he wanted to do was find the strengths and use them. When I first started training with Bruce he only believed in kicking below the waist, from the groin down. He didn’t believe in kicking any higher. And I said well you know the thing is to be able to do anything. Don’t limit your self to only being able to kick from the waist down. At least develop the ability to kick high, not meaning that you have to, but at least have the ability to kick high if you choose. Then make it work however you want. So then I started to do my spinning heel kicks and hitting the pads and all this kind of thing then Bruce started doing it and off course in six months he could do it as well as anybody. So Bruce was a guy who learned and absorbed everything. He worked with me, he worked out with Joe Lewis and Mike Stone and he learned from all of us. Then he added it to his repertoire of techniques. When you finally sold Good Guys Wear Black, that must have been a very exciting time. Yes it was, because fortunately for me at the time I didn’t realise how hard acting had to be (laughs) I was too stupid. I just didn’t realise it was so difficult. So I went in there very naïve and not realising there was so much to it. And off course the critics crucified me because my acting was so bad (laughs). But fortunately the martial arts in the film was adequate and people loved it, my flying kick through the car windshield and stuff like that. That’s what people remembered and the movie did well. My next one was A force Of One where I played a world champion kick boxer and that one did really well. Then I did the first Ninja movie, The Octagon and that was the big fight scene movie so yeah it was very exciting times but I was always learning, I am always learning and that’s what’s so great

ISSUE ONE 2012 | CORE 57

CORE | INTERVIEW

SUCCESS BEGETS SUCCESS JUST LIKE FAILURE BEGETS FAILURE. SO WHEN YOU START DEVELOPING THESE LITTLE SUCCESSES IT MAKES YOU WANT TO BECOME MORE SUCCESSFUL. KEEP FOCUSED ON IT AND DON’T LET ANYTHING GET IN YOUR WAY about it. And you know people ask me if I still enjoy it and I say ‘what’s so great is that I’m still doing the martial arts and I’m still doing everything I love but I’m making more money doing it (laughs)’. So I’m making a better living doing something I love which is the martial arts. You know acting is my career, martial arts are my life. It’ll be a part of me as long as I’m alive. You are known globally What is the key to your success? I think setting a goal, getting a visual image of what it is you want. You’ve got to see what it is you want to achieve before you can pursue it. I’ve always found that anything worth achieving will always have obstacles in the way and you’ve got to have that drive and determination to overcome those obstacles on route to whatever it is that you want to accomplish. A lot of people give up just before they’re about to make it. You know you never know when that next obstacle is going to be the last one. A lot of times people give up and say ‘well I can’t do it’ but that next obstacle might have been the final one for them. And so I always kept that in my mind and I’d say to my self well maybe the next one, the next person I meet might be the one. You need the tenacity to stick to it when things get tough. And have faith that you can do it. A lot of times people look at the negative side of what they feel they can’t do. I always

58 CORE | ISSUE ONE 2012

look on the positive side of what I can do. And when I got into the film business I didn’t say ‘look Chuck you’re 34 years old, you’ve had no acting experience, there’s 16,000 unemployed actors in Hollywood, the average income of an actor is $5,000 a year’. Now if I had looked at that side of it, the negatives, it would have probably made me give up. But I didn’t, I said ‘you know since Bruce has sadly died there’s a gap there for a good strong positive heroic image on the screen’. And that’s what I wanted to portray, a positive image. Because movies in the seventies were kind of negative movies, anti-hero type movies. And I said, ‘you know I think there’s an opening here, a spot here for a positive influence on the screen’. And that’s how I went for it and that’s what saved me because my acting left a lot to be desired. But I think that the image I tried to portray on the screen, a strong positive person, is what saved me and why people tolerated the poor acting. You are a very humble person. Do you think that has helped you, the fact that you are obviously genuinely grateful for everything you have been given and have achieved. Oh yeah, absolutely. I’m very grateful for every thing I have. You know when you start losing that then you start losing what life’s all about. But people do though don’t they, why is that? Unfortunately they do and I don’t know why that is. I think they forget, you know. People need to realise what real happiness and success is, because success as an actor is fleeting. You can be up there one day and gone the next. It’s very transient. Arnold Schwarzenegger and I have talked about this and he feels the same way I do. You know you take it for what it is. It’s great to have the acclaim and all that but it’s not going to be there forever so don’t go thinking that ‘I’m it forever’, too many people do that. Too many actors feel ‘I’m the best and I’ll always be the best’. It doesn’t work like that. It’s like being a competitive fighter in the martial arts, you’ll be the best one day, some one else is going to be the best the next day. So you’ve got to understand that and realise that the real secret to happiness is friends, camaraderie, for me it’s my (karate) organisation, my family. This is what success and happiness is about. People say ‘well if I make a lot of money I’m going to be happy’. Negative. Some of the most miserable people I know are some of the richest people in America, they are the most miserable individuals I’ve ever seen. So the money has not guaranteed their happiness. It’s working toward something that you want to achieve in your life, seeing those goals and striving for those goals. It’s like, you

INTERVIEW | CORE

know, some one said to me ‘when you won the world title isn’t that your greatest accomplishment?’ I said ‘no, the greatest one was the first tournament I won because I worked so hard trying to win it.’ It was the tournaments in between the world title that was the fun part. Once you’ve achieved it then say ‘well now what?’ Then you need a new goal see. That’s what life’s all about, working towards them goals and striving toward them and making your life the best you can make it. Are you a spiritual man, do you have God in your corner? Oh yes. I definitely feel I do have God in my corner. I’ve been very fortunate that way, I am very spiritual. I’m a very religious person. There’s to many things in life for us to cope with without the faith of God. I think that’s why there has been so many suicides today, the kids don’t have the strength of God in their hearts and so they give up, as individuals they don’t have the strength to cope. That’s why the third leading cause of death for teenagers in America is suicide. That’s very sad. You need internal strength. I think that’s where martial arts are such an integral part, because it does give you that strength of character, it does build internal strength. It becomes spiritual at a high level. I notice that you use your Walker (Texas Ranger) character as a vehicle to pass on a on a positive message. I’ve been very fortunate to be able to use my series as a platform to show a good message for the kids. We actually use the Kick Drugs (Kick Drugs Out Of America) kids in some of the episodes. We just finished an episode last night actually that we hope will have a tremendous amount of influence. In America the schools have become too permissive, the kids now are controlling the schools, the tail is wagging the dog. We’ve got to make a change there and get it back to where the teachers have control of the classrooms. We need to take it back to grass roots and hopefully one day that’s going to happen. What is Kick Drugs Out Of America? With the Kick Drugs association we work with inner city children. A lot of out kids are kids who already have two strikes against them and we’re just trying to keep them from striking out altogether. We have helped a lot of children. We have 3500 children now on our programme, a lot of these kids have become black belts. The ones we are trying to help are kids that have problems. We have one who was a gang member, on the way to destruction who has just been admitted into one of the biggest universities in America. We just want to help as many

kids as we can, help get them on the right track and away from drugs and crime. What is your ethos in life? Is it to serve. Oh yes, absolutely. You know I find that when you serve, when you help others it comes back to you, automatically, it is a philosophy that is true. What you give out is what you are going to get back and if you put out that negative vibe you are going to get the same thing back again. And when you serve there is a gratification there and you’re going to find that life is worth living. Have you a final message to leave the readers? Focus on what it is that you want, set a realistic goal. Start setting goals that you feel you can accomplish. Don’t try to go right to the top in one leap. Every time you accomplish a goal you develop the strength and wisdom to accomplish the next one. Success begets success just like failure begets failure. So when you start developing these little successes it makes you want to become more successful. Keep focused on it and don’t let anything get in your way. Thank you so much for you time Mr Norris. You bet ya.

This article has been reproduced with the permission of Geoff Thompson Geoff Thompson has written 30 published books 250,000 copies in print - and was on the Sunday Times Best-Seller list with his autobiographical book Watch My Back about his nine years working as a night club doorman. He has published several articles for GQ magazine, and has also been featured in FHM, Maxim, Arena, Front and Loaded magazines. For two years he was a contributing editor for Men’s Fitness magazine. He has been featured many times on mainstream TV about his book and his articles. Geoff has completed several book signing tours of Great Britain promoting his books in Waterstone and W.H. Smith.As one of the highest ranking martial arts instructors in Britain, Geoff was voted the number 1 self defense author in the world by Black Belt Magazine USA and was invited to teach for Chuck Norris twice in Las Vegas Nevada. Visit his website www.geoffthompson.com to purchase copies of his books/DVDs go to http://www.shop.geoffthompson.com/acatalog/

ISSUE ONE 2012 | CORE 59

CORE | INTERVIEW

KICK ASS! 60 CORE | SPRING 2011

INTERVIEW | CORE

KING Letitia Carr of Wellington, competing for New Zealand at the 2009 Karate World Games on the back of her wins at the 2008 Oceania Karate Championships becomes New Zealandâ&#x20AC;&#x2122;s most successful Karate Athlete narrowly losing to Slovakia 6-4 in a thrilling final that until the last 25 seconds she was leading 4-1. Silver in the open kumite event is New Zealandâ&#x20AC;&#x2122;s first medal at a senior WKF tournament in more than 35 years of trying and we are sure it is just the beginning, at 19 years of age she will be a force to reckon with on the world stage.

SPRING 2011 | CORE 61

CORE | INTERVIEW

AVERAGE TRAINING A WEEK CONSISTS OF ABOUT 7 SESSIONS PER WEEK. DURING THE LEAD UP PERIOD TO MAJOR COMPETITION THERE CAN BE UP TO 9-10 TRAINING SESSIONS PER WEEK. TRAINING SESSIONS CONSIST OF KARATE, PLYOMETRICS, POWER/STRENGTH, AGILITY AND FITNESS TRAINING.

62 CORE | ISSUE ONE 2012

INTERVIEW | CORE

Thank you for the opportunity to interview you Letitia. What got you interested in the martial arts and how old were you when you started training? I wanted to learn self-defence, I started when I was 11 years old.

How long have you been training? 8 Years (had 1 year off)

are your competition goals? I became interested in competition when I was 11. My coach encouraged me to compete in a NZ competition only 3 months into my training. I got through to the finals as a white belt competing against a black belt. I bet her and this is what gave me the starting spark for competitive karate I believe. My competition goal is to become a World Champion. This year’s main goal is to win Senior Worlds. I also want to win World Universities, World Combat Games and Oceania, but in saying this my main peaking point/goal is for Senior Worlds in October.

How often do you train and what does your training consist of? Average training a week consists of about 7 sessions per week. During the lead up period to major competition there can be up to 9-10 training sessions per week. Training sessions consist of karate, plyometrics, power/strength, agility and fitness training.

You participate in a number of national and international competitions, how are you supported financially? Initially I was helped entirely with my parent’s pocket, however now that I am a carded player within Karate NZ I have flights and Accommodation paid for and have also received grants from different organisations.

Do you supplement your training at the gym or other exercise such as yoga or pilates etc? Yes, plyometrics, power/strength, agility and fitness are all trained in the gym.

How do you prepare for competition? All psychologically including using a lot of imagery, apart from the obvious physical training in the lead up.

Which style do you study? I started off doing Shotokan karate, but now train Goju-Ryu karate.

Do you have a specific diet, and if so what does it consist of? Not normally, but when trying to make weight divisions sometimes I have to try and lose weight. I tend to go on a no Carbohydrate diet (however this is only when I’m desperate to lose weight). When did you become interested in competition and what

What was it like competing at the World Games? It was very well organised. After I made it to the final, while waiting to fight it was so noisy. Then the music stopped, the crowd went silent and as both our names got called out we had to walk out onto our mat. I was pumped and so ready! I will admit however it was scary having that much attention on you, as there was only one mat fighting during the finals, so all eyes were on us. It

ISSUE ONE 2012 | CORE 63

CORE | INTERVIEW

I WAS PUMPED AND SO READY! I WILL ADMIT HOWEVER IT WAS SCARY HAVING THAT MUCH ATTENTION ON YOU, AS THERE WAS ONLY ONE MAT FIGHTING DURING THE FINALS, SO ALL EYES WERE ON US. IT WAS AMAZING AND ITS NOT REALLY EASY TO DESCRIBE, ITS KIND OF LIKE ONE OF THOSE MOMENTS WHERE YOU JUST HAVE TO EXPERIENCE IT YOURSELF TO KNOW THE FEELING. IF I COULD, I WOULD DEFINITELY DO IT ALL AGAIN.

was AMAZING and its not really easy to describe, its kind of like one of those moments where you just have to experience it yourself to know the feeling. If I could, I would definitely do it all again. Just Amazing. How did it feel to stand on the podium receiving your Silver medal? Once again it’s hard to describe but pretty much on top of the world at the time. However, it was a little bit disappointing to say the least knowing how close I was to the GOLD. But would do it all over again. What did you learn competing at the World Games and will it change your training program looking forward? Letitia Carr: I learnt a lot, I always do. Things such as its not over until its over, be aware of the clock myself, and learning how the rest of the world fights. Yes it will have a positive change to my trainings from now on. What age is a good age to retire from competition? 35 Would you like to see martial arts represented in the mainstream media such as Sky, TVNZ or a dedicated martial arts channel? [Note: There is little to none martial arts coverage in New Zealand media]. Yes, for sure. We need more people in NZ to be aware of our sport. We might be a small sport in NZ but its big overseas especially in the European countries. So for NZ to be competing against European champs and bringing medals home from these events its pretty significant. In the big sports like Rugby, Netball, cycling etc the coaches get paid a lot of money but my coach and two Personal Trainers never got paid anything for the build up to last years World Games. They trained me because they enjoy it and wanted to help. If a single NZ cyclist had represented not only NZ but all the Pacific countries at a World Event and won a Silver Medal I’m sure it would have been all over the news. Not saying they don’t deserve it because they certainly do but so do the small sports who are proving successful like Karate. Our coaches, athletes and trainers put in just as much hard work and without all the financial backup the big sports have. I had a write up in the local Upper Hutt paper which was good but would have been nice for my coaches and trainers to have seen the final result and their own efforts recognised more by the national media as well.

64 CORE | ISSUE ONE 2011

What are your favourite techniques? Over the top and counter punching. Do you prefer kata (set number of moves), kumite (sparring) or kihon (fundamental technique)? Definitely Kumite. It’s a massive adrenalin rush!! What are some of the highlights of your martial arts life so far? Letitia Carr: Winning Silver at the World Games, x2 Bronze at Junior Worlds, x2 Golds World Koi Cups, Wellington Sports Award finalist, and Scholarships along with these results. How do you balance your training and non-martial arts life? Letitia Carr: Wouldn’t be without my Diary, organisation skills and having great friends and family supporting me. What are your martial arts goals? Become a World Champ and bring home to NZ our first GOLD medal from a Senior Event. Do you have any plans to become an instructor in your own-right? No, not at this point What do you think the study of the martial arts has done for or given you? Self-discipline, body conditioning and confidence Would you recommend the martial arts to other people, why and what advise would you give to those starting out? Letitia Carr: Yes, because it’s great for self-discipline and body conditioning. For people starting out I’d say anything’s possible. What advice can you give to other martial artists? Believe in your-self , that’s what I’ve learnt through my Karate career. If you believe you can, you can! Do you have any heroes or role-models? Yes, I admire Mahe Drysdale. I think he is a real Champion . Is there anyone you would like to acknowledge? My Coach Leo Donnelly, my trainers (2009) Phil Silverman and Che Todd, the Karate NZ team, all sponsors, my family and friends for all their ongoing support. No athlete can make it on their own and I’m grateful that I’ve always had a great team of people behind me to help me achieve my dream – to be a champion. ✪

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CORE | FOCUS

MENTAL STRENGTH BY IAIN ABERNETHY

66 CORE | ISSUE ONE 2011

HEALTH & MIND | CORE

It’s a common misconception throughout the martial arts that ‘technique’ is the key; if we have good technique then we will be effective in combat.

n his book ‘Wado-Ryu’ karate, Hironori Otsuka tells us that there are three kinds of strength - Physical Strength, Technical Strength and Mental Strength - and if any of those is deficient it will be “ the downfall of the individual “. It’s a common misconception throughout the martial arts that ‘technique’ is the key; if we have good technique then we will be effective in combat. The fact is that technique is no more or less important than physical fitness or mental conditioning. Many martial artists dislike this idea as it infers that those with poor technique can defeat those with good technique (if they lack the required mental and physical condition). A labourer on a building site (physically conditioned) who regularly gets involved in bar fights (mentally used to combat) could easily defeat the martial artist who concentrates on technique to the exclusion of the other forms of strength. If we are to be able to effectively defend ourselves then we need to ensure that our training also develops physical condition and mental strength in addition to technique. The key is to ensure that our training is intense enough to encourage growth in all three areas e.g. We drill our techniques with intensity and to the point of exhaustion (stimulates physical strength) and no matter how much we want to quit or ease off, we then drill them some more (stimulates mental strength). We need at least two sessions a week that take us to our very limits. They key is not duration but intensity. We can train for hours and never break sweat or we can work flat out for around two minutes and be close to throwing up. Real fights are extremely intense and, if our training is to be valid, we also need to train in an intense way. This intensity in training has many benefits besides increased combative effectiveness. To make progress physically, we need to attempt activities that are currently outside our capabilities. To get stronger, we attempt to lift more weight that we can currently lift. To increase our aerobic and anaerobic capacities we try to do more than we can currently do in a given time. Through attempting to accomplish that which currently lies beyond our reach, our bodies will adapt, our physical fitness will be advanced and the initial task becomes easier to accomplish. Our minds work in a similar way. If we wish to strengthen ourselves mentally, we also have to attempt tasks that are currently beyond us. This not only applies to our training but to our lives in general. Through our training, we get accustomed to reaching beyond ourselves. We are therefore more likely to reach beyond ourselves in

all areas of our lives. We should be prepared to take on difficult tasks in order to develop ourselves and the quality of our lives. The task needs to be difficult if it is going to develop our capabilities. If the weight lifter does not put enough weight on the bar, he isn’t struggling and hence he’s not getting any stronger. Likewise, if our lives are ‘plain sailing’, we are not developing ourselves. If things are too easy, our abilities are not developed and hence our potential for progress becomes limited. We won’t experience any ‘discomfort’ so long as we remain exactly where we are; but in my opinion that’s no way to live. We should push our boundaries and not remain tethered to our ‘fur-lined rut’. We should actively court discomfort and the growth that results from that discomfort. It is through attempting difficult tasks that we develop the ability to accomplish them. They key thing is to ensure that we are consistently trying to ‘lift that weight’. Regardless of what that ‘weight’ may be - better health, more money, more rewarding jobs and relationships etc - the only way we’ll get it is through attempting to get it. It may be very uncomfortable at first; however, it is that very discomfort that will develop your abilities and ensure that you eventually succeed. For example, if you take on a new job, it certainly won’t be as easy as the old familiar job, but any difficulty experienced will strengthen you and develop your capabilities. As your talents grow, there will come a point where the new job will become ‘easy’ and hence you now have the ability to reach yet further. To achieve great things we need great abilities, and the only way to develop great abilities is through great struggle. Once we understand that ‘resistance’ is a vital part of the process, we actually start to desire that resistance and the associated struggle. Our training gets us used to reaching beyond ourselves and helps us to understand the process of resistance and advancement. Our intense combat training (Jutsu) should lead to us applying the lessons learnt in our daily lives (Do). We train in a way that takes us beyond our current limits, so that we can expand those limits. In life, we should also constantly reach beyond our current limits so we can develop our capabilities and lead the lives we want to lead. In training and in life we need to seek out discomfort, strive to develop ourselves and ensure that we are constantly moving forwards. ✪ This article has been reproduced with the permission of Iain Abernethy. www.iainabernethy.com

ISSUE ONE 2012 | CORE 67

EXERCISING WITH BAD KNEES

f you have suffered a serious knee injury in the past or have had recent knee surgery, activities that involve a lot of running are going to be counterproductive for you. However, if you can find an effective low impact workout that is gentle on your joints, your previous injuries should be of no concern.

Tip 1:

If you have bad knees, one of the most important things to keep in mind is that running is your adversary. When you are running, every stride you take puts the equivalent pressure of three times your body weight on each of your knees. If you have bad knees, you should do your best to avoid running, jogging, jumping, lower-body weight training activities (such as squats), and most high impact sports.

Tip 2: An exercise that uses the leg muscles without putting much strain on the joints is bicycling. Whether you ride an actual bike or an exercycle, cycling can be the perfect exercise for someone with bad knees as it is low impact. Often, the exercycle is a favourite tool of trainers and physical therapists for their patientsâ&#x20AC;&#x2122; rehabilitation.

Tip 3: Elliptical machines (cross trainers) provide many of the same benefits as running, but like bicycles, they do not exert must strain on the joints. The motions employed by elliptical machines are something of a cross between biking and walking or running, using mainly the legs to propel movement. They also pro-vide a workout for the arms, albeit to a lesser extent, as they are the secondary force in making the ma-chine move.

Tip 4: A favourite exercise for people with bad knees or people rehabbing from injury is swimming. Because of the combination of resistance provided by the water and the simulated weightlessness it projects on the body, swimming can burn a lot of calories without straining the knees or other joints. It is a great cardiovascular exercise that is a great option for weight loss, rehabilitation, or basic fitness activity.

Tip 5: Any workout that can avoid using the lower body altogether is ideal for people with bad knees. Upper body weight training, including bench presses, curls, chin-ups, and pushups among other activities can be used for general fitness (using less weight for more repetitions) or for muscle growth (using more weight with less repetitions). Similarly, workouts that focus on the midsection such as crunches can be added to a fitness routine without any effect on the knees. â&#x153;Ş

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FOCUS | CORE

BLUEBERRIES WHY ARE THEY NUTRITIONAL STARS

ith flavors that range from mildly sweet to tart and tangy, blueberries are nutritional stars bursting with nutrition and flavour all the while being very low in calories. Blueberries are at their best from May until October when they are in season. Researchers at Tufts University in Boston USA, analysed 60 fruits and vegetables for their antioxidant capability and the blueberry came out on top, rating highest in their capacity to destroy free radicals.

A Powerhouse Packed with antioxidant phytonutrients called anthocyanidins, blueberries neutralise free radical damage to the collagen matrix of cells and tissues that can lead to cataracts, glaucoma, varicose veins, hemorrhoids, peptic ulcers, heart disease and cancer. Anthocyanins, which are the blue-red pigments found in blueberries, improve the integrity of support structures in the veins and entire vascular system. Anthocyanins have been shown to enhance the effects of vitamin C, improve capillary integrity, and stabilise the collagen matrix (the ground substance of all body tissues). They work their protective magic by preventing free-radical damage, inhibiting enzymes from cleaving the collagen matrix, and directly cross-linking with collagen fibres to form a more stable collagen matrix.

Protection against Macular Degeneration Your mother may have told you carrots would keep your eyes bright as a child, but as an adult, it looks like fruit is even more important for keeping your sight. Data reported in a study published in the Archives of Ophthalmology indicates that eating 3 or more servings of fruit per day may lower your risk of age-related macular degeneration (ARMD), the primary cause of vision loss in older adults, by 36%, compared to persons who consume less than 1.5 servings of fruit daily. In the study, which involved over 110,000 women and men, researchers evaluated the effect of study participants' consumption of fruits; vegetables; the antioxidant vitamins A, C, and E; and carotenoids on the development of early ARMD or neovascular ARMD, a more severe form of the illness associated with vision loss. Food intake information was collected periodically for up to 18 years for women and 12 years for men. While, surprisingly, intakes of vegetables, antioxidant vitamins and carotenoids were not strongly related to incidence of either form of ARMD, fruit intake was definitely protective against the severe form of this vision-destroying disease. Three servings of fruit may sound like a lot to eat each day, but by simply topping off a cup of yogurt or green salad with a half cup of blueberries, tossing a banana into your morning smoothie or slicing it over your cereal, and snacking on an apple, plum, nectarine or pear, you've reached this goal.

Cardioprotective Action While wine, particularly red wine, is touted as cardioprotective since it is a good source of antioxidant anthocyanins, a recent study has found that blueberries deliver 38% more of these free radical fighters. In the study, published in the Journal of Agriculture and Food Chemistry, researchers found a moderate drink (about 4 ounces) of white wine contained .47mmol of free radical absorbing antioxidants, red wine provided 2.04mmol, however wine made from high bush blueberries delivered 2.42mmol of these protective plant compounds.

A Better Brain In laboratory animal studies, researchers have found blueberries help protect the brain from oxidative stress and may reduce the effects of age-related conditions such as Alzheimer's disease or dementia. Researchers have found that diets rich in blueberries significantly improved both the learning capacity and motor skills of aging animals, making them mentally equivalent to much younger ones.

Promotion of Gastrointestinal Health Visionary Extracts of bilberry (a cousin of the blueberry) have been shown in numerous studies to improve night-time vision promoting quicker adjustment to darkness and faster restoration of visual after exposure to glare. This research was conducted to evaluate claims of bilberry's beneficial effects on night vision which were made by British Air Force pilots during World War II who regularly consumed bilberry preserves before going on their night missions.

In addition to their powerful anthocyanins, blueberries contain another antioxidant compound called ellagic acid, which blocks metabolic pathways that can lead to cancer. In a study of over 1,200 elderly people, those who ate the most strawberries (another berry that contains ellagic acid) were three times less likely to develop cancer than those who ate few or no strawberries. In addition to containing ellagic acid, blueberries are high in the soluble fibre pectin, which has been shown to lower cholesterol and to prevent bile acid from being transformed into a potentially cancer-causing form. â&#x153;Ş

ISSUE ONE 2012 | CORE 69

CORE | HEALTH

Images: www.shutterstock.com

NUTS ABOUT NUTS BY JENNIFER HOBBS

70 CORE | ISSUE ONE 2012

uts are natures energy bundles. They are the mature (dry) fruit of flowering trees where the nut itself constitutes a single seed contained within a hardened ovary wall. Shoved in backpacks and pockets nuts have traditionally been a convenient energy boost for campers, hikers and boy scouts (girls too I imagine) since – well, forever. Interestingly peanuts are not nuts as they are members of the legume family, which gives us beans, however as they are still the mature fruit of the plant and contain many of the same nutrients they are just as valuable, nutritionally speaking. Each nut will produce a whole tree and contains all the fat, protein and nutrients to required to create a new tree so it should be no surprise that a single almond contains 10 calories, much of this coming from their high fat content. It is just this high fat content that made nuts a no – no in diets for many years. All calories are not created equal though and studies reveal nuts are much less fattening than many other sources of energy. Healthy, tasty and full of protein nuts are easily one of the healthiest snack foods available. They are high in essential fatty acids, minerals and other important nutrients. It is said they can lower cholesterol and help prevent heart disease. There are many health benefits of nuts. They are high in fibre, protein and fat so they are very filling, which is good both for muscle mass and body fat loss. They contain Vitamin E, folic acid, magnesium, copper and are a good source of anti-oxidants. A small handful of nuts a day may help prevent diabetes, heart disease, macular degeneration (loss of sight), and cancer. Nuts are high in both calories and fat. If you are an athlete you may not be bothered by this, after all they contain loads of protein and their fats are of the good variety; key players in prevention of all the nasty diseases mentioned above. If you are dieting to lose body fat nuts can help you feel fuller for longer, but balance this with their their relatively high calorie value. Before you start munching them by the cup full though, there are some things you should know. Nuts alone do not offer a complete protein source for the human body. Vegetarians needs to eat nuts with beans or legumes to form a complete protein. Nuts, like many foods, have more Omega 6 than Omega 3, so in a balanced diet foods rich in both Omega 3 and Omega 6 are important. Nuts are high in the so called ‘good’ un-saturated fats. Mono-unsaturated and poly-unsaturated fats have been shown in a number of reputable studies to substantially reduce the risk of heart disease by lowering levels of ‘bad’ cholesterol and helping to keep arteries supple and flexible. There are studies that show people who regularly eat small amounts of nuts can reduce their risk of death from heart disease by up to 35%. Additionally those people tend to weigh less. I suspect the nut eaters are probably more health conscious generally but there are other benefit to nuts as well. Many nuts are very high in protein. This combined with their fat content helps you feel full for longer so a small serving of nuts can really help with weight management. There is even

ISSUE ONE 2012 | CORE 71

CORE | HEALTH

NUT BUTTERS ARE A USEFUL WAY OF ADDING PROTEIN TO SMOOTHIES AND POWDERED NUTS ADD TEXTURE AND SUBSTANCE TO CAKES AND BISCUITS – JUST REPLACE SOME OF THE FLOUR WITH EQUAL QUANTITIES OF GROUND NUTS some evidence out there suggesting including nuts in your diet promotes weight loss. Almond and brazil nuts contain roughly equal amounts of protein and carbohydrate by weight making them a good low GI food option. In walnuts and hazelnuts the ratio slightly favors carbs, but the star in the low carb stakes is the cashew with two and a half times more protein than carbohydrate! Don’t go nuts though, each variety has its own specialities so the best approach is to eat a variety. Nuts are high in both Omega 3 fatty acids and Omega 6 fatty acids. Both are essential for health. They have opposing roles in the body with Omega 6 promoting inflammation in the body and Omega 3 having anti inflammatory properties. Omega 6 has been getting a bit of a bad rep lately and it is true that too much can contribute to inflammatory conditions behind many chronic illnesses however it plays a vital role in preventing bleeding, in activating the immune system, in stress, in brain development and growth as well as promoting healthy skin and hair. Most nuts have significantly more Omega 6 than Omega 3 and for this reason consumption of nuts (as well as other Omega 6 rich foods) should be balanced with equal levels of Omega 3 in the diet. Foods rich in omega 3 and low in Omega 6 include Flax seeds and cold water fish species such as wild salmon and tuna, sardines and mackerel. The need to balance Omega 6 and Omega 3 in the diet can also be achieved with Omega 3 supplements such as fish and krill oil. Too much Omega 6 in the diet promotes all inflammatory conditions including injury and may slow the healing of sports injuries where inflammation is a factor so if you are recovering from such an injury it may be best to lay off the nuts for a while. One of the types of fat found in nuts is alpha-linolenic acid, a type of Omega-3 fatty acid machine. This little goody is used by the body to make EPA and DHA. These in turn are essential in cell function and have been found to play a positive role in a range of conditions, from depression and ADHD to rheumatoid arthritis, stroke and high blood pressure. Being anti-inflammatory Omega 3 fatty acids play an important role in the management of inflammatory conditions such as rheumatoid arthritis by helping to calm the pain sufferers experience. They also are important for healthy skin and hair, brain function, eyesight, joint health and are an important element in the aging process. Deficiencies of Omega 3 have been linked to a wide range of problems from obesity to depression and consumption of nuts has been linked to improvements in and prevention of many such disorders. Omega 3 is needed to maintain the wall of the cells in the body. With out it the cell walls become fragile and permeable, causing the cell to ‘leak’. This leakage happens

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in both ways making the person more vulnerable to allergies and inflammation. Cell damage and inflammation contribute to many chronic conditions. All nuts contain some Omega 3 but almonds, brazil nuts and hazelnuts contain only very small amounts with loads of Omega 6. Walnuts are high in Omega 3’s but, like all nuts are commensurately high in Omega 6’s so if you are concerned about inflammation nuts may not help. An important question about nuts is weather to eat them raw or cooked. The answer is raw, but if you want to want to cook them it is best to buy them raw and cook them yourself. The reason for this is the unsaturated fats found in nuts have a low melting point. This is the temperature at which the fats start to oxidize. This makes them vulnerable to heat degeneration. Cooking them yourself means you can control the cooking temperature. Lightly roasted at a low temperature is best. Commercially cooked nuts are sometimes fried in oils which rather negates the whole point of nuts as a health food as it destroys all the benefits of the healthy oils reducing them to a high calorie snack. Freshness is another vital point. Nuts do not keep well at room temperature. This is because unsaturated fats are not very stable and become rancid quickly when exposed to warmth and light. The nutrients break down becoming useless and the oils become oxidized. Oxidized oils form free radicals in the body and damage cells. Nuts should be stored in the freezer and can be eaten frozen. They gain a pleasing chocolate-like crunch. Yum! When buying nuts from the store make sure they are stored away from sunlight. Chose a store that you know has high turnover. The best and cheapest way I have found is to buy them online. They are between 20% and 50% cheaper than even the specials prices in my local supermarket and I have found that nuts in supermarkets are not always fresh. My favorite nutty snack is a few almonds poked into slices of banana. Nut butters are a useful way of adding protein to smoothies and powdered nuts add texture and substance to cakes and biscuits – just replace some of the flour with equal quantities of ground nuts. Almonds are traditionally used in some cultures with dates to help women who have problems lactating after giving birth, who knew! The upshot is nuts are great. They are an excellent source of ‘good’ fats and help mitigate the negative effects of the ‘bad’ fats so common in our diets. They are rich in protein and fibre and contain a host of other goodies. Store them in the freezer as they can get soggy in the fridge and pop a hand full in the kids pockets when they leave the house in the morning. But don’t go nuts. Like all foods, nuts are best in moderate quantities. ✪

www.martialartssupplies.co.nz

CORE | HEATH & MIND | RETREATS

DO NO KAI MARTIAL ARTS RETREAT, MEXICO

t Do No Kai - You tell them when, what and how long you want to train. For example, you have five days off over Easter and you want to learn the Wing Chun Mook Jong and Plum Blossom Poles, plus review and polish your existing forms. Assuming your dates are available, Shihan will determine if it is possible to instruct you in all that information during that amount of time. Retreats pricing: One day’s training is $250 USD. Second day’s training is $150 USD. Third day, and every day thereafter: $100 USD. Price includes all your instruction and lodging at the Temple. If more than one student attends the retreat, please contact us and we can discuss a proportional group discount. This attractive offer has been made because one of the Yudansha, Soke Heenan, has recently built a retirement home on the Temple property, and wants the house to be used to billet retreat students. The house can easily sleep five, and offers a sweeping view of Lake Chapala. For a small fee to cover insurance, you can also be provided with a car. Students are welcome and encouraged to bring cameras and recording devices to seminars, so they can refer to the experience at the Temple long after they've gone. Do No Kai awards students a certificate of completion and gives printed material and relevant DVDs for students to take home. Martial arts taught at DoNo Kai • Ju-Jitsu might be considered “martial Judo,” since Judo was created more as an Olympic Game competition than a martial art. These days, Ju-Jitsu consistently proves its timeless value in self-defense in every Ultimate Fighting Championship. • Kobu-Jitsu (weapons art) - Do No Kai teaches at least one complete form for each of the following weapons: Yawara, Keibo, Jo, Bo, Tonfa, Nunchaku, Kama, Sai, Naginata and Katana. • Wing Chun Kung Fu, an extremely effective close-in style of Chinese boxing. This system of Kung Fu is just as famous for its ability to be quickly learned as it is for its deadliness. • Tai-Chi Chuan, also known as moving yoga, martial meditation and “Grand Ultimate Fist,” is presently the most widely practiced form of exercise in the world. Its health benefits are legion, as are its martial applications. • Pak-Qua Chuan, the sister system to Tai-Chi Chuan, could also be considered its martial complement. A fascinating study in the superimposition of metaphysics and the physical. ✪ www.martial-arts-retreats.com

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HEATH & MIND | RETREATS | CORE

THE HILL THAT BREATHES, ITALY

ill That Breathes is an award-winning retreat centre in the heart of Italy running yoga and holistic holidays… but it is a yoga holiday retreat centre with a difference (thus the awards and press coverage) The Hill offers yoga holidays and yoga retreats with some of the world’s best teachers…but also international 'Masters' including The Barefoot Doctor and Karl Grunick… and holds the now-world-famous 'F**k It' weeks run by the owners, John C. Parkin and Gaia Pollini. There is a very impressive venue and setting, a 100 acre wooded hill in the heart of Italy, with renovated farmhouse, salt-water pool and a huge geodesic dome. The food… is delicious, Italian, healthy, vegetarian food… in fact, just the food brings people back to The Hill again and again. Unlike many retreat centres, nothing is taken too seriously… so there's no getting up at the crack of dawn to chant, no strict regimes, there's as much emphasis on pizza. Now, some people ask us if we do 'holistic holidays' as well as 'yoga holidays' or 'yoga retreats', The Hill offers both and is simply a way of having a great holiday, relaxing even more than you normally would, and taking something home that will last longer than your suntan. ✪ www.thehillthatbreathes.com

ISSUE ONE 2012 | CORE 75

Is that Karate School you are thinking of joining a McDojo? The term McDojo has come to be quite popular nowadays in the various martial arts business and trade journals and is a derogatory term used to describe certain types of martial arts schools. What are these types of schools and why is this term relevant to you as someone looking to get started in the martial arts? This article will first explain what a McDojo is and will then give you some advice on how to avoid joining one.

CORE | ADVICE

PART OF THE PROBLEM LIES WITH THE CONSUMER BECAUSE FOR THE MOST PART, THE CONSUMER DOES NOT KNOW WHAT TO LOOK FOR. WHAT IS A GOOD SCHOOL AND WHAT DOES A GOOD INSTRUCTOR LOOKS LIKE. THE GOAL WITH THIS ARTICLE IS TO HELP YOU KNOW WHAT TO LOOK FOR BEFORE YOU MAKE A MISTAKE THAT YOU WILL REGRET

s the martial arts have grown in popularity since the initial Bruce Lee craze that then lead to Jackie Chan, Chuck Norris, Jet Li, Steven Seagal, Jean-Claude VanDamme, The Karate Kid etc, martial artists across the country have begun to understand the potential of the martial arts as a money-making opportunity and a viable business opportunity. Not too many years ago, the idea that somebody could make money teaching karate was simply ludicrous, in fact legendary Chuck Norris set up a Karate school which failed. However, nowadays there are a growing number of so-called successful schools making upwards of seven figures in gross annual revenues. Some of these schools are reputable and offer quality programs with quality martial artists as the Chief Instructors/Owners, others are not. So how do you tell which is which? You have probably figured out by now that a McDojo is not considered to be a reputable school. A McDojo quite frankly represents the worst example of a martial arts school. It is one that has lost touch with what the true values of the martial arts are, such as honesty and integrity, and is intent on one thing - getting the most money out of each and every person who walks in the door. Part of the problem, however, lies with the

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consumer because for the most part, the consumer does not know what to look for or what a good school is and what a good instructor looks like. The goal of this article is to help you know what to look for before you make a mistake that you will regret. Here are the four warning signs that your school is a McDojo.

1. Hard-Sell Tactics From the moment you walk into the door, or before you get in the door as some McDojos come to you first. In New Zealand we have one particular McDojo that sell door-to-door offering deals to join their club. You will be met by hard-sell tactics that are focused primarily on you opening up your cheque book or surrendering your visa card before anything about the actual martial arts, instructor qualifications or programs have been discussed. Think about it and research the club before you sign up for anything.

2. Contracts Yes, you guessed it. You may have to sign up for a one year minimum, then three years, then five years or longer. Or you may be offered the chance to purchase a "life-time" membership, then pay for your individual classes as well. After all karate is about commitment, right? Itâ&#x20AC;&#x2122;s about never giving up and always doing your best. You know what, theyâ&#x20AC;&#x2122;re right on this one. Karate is about commitment, it is about never

IT IS CRUCIALLY IMPORTANT THAT YOU ARE TAUGHT BY AT LEAST A FIRST DAN BLACK BELT BUT PREFERABLY SANDAN (3RD DAN/DEGREE) OR ABOVE! giving up and always doing your best. However life is such that things can happen beyond your control and despite the fact that you wanted to get your black belt, you may have lost your job, got a promotion in another city, had a death in your family etc, and can no longer continue. A reputable martial arts school will give you a way out either through an agreement that provides an escape clause for any of the reasons listed or simply because they have integrity and understand and sympathise with your predicament. Many schools will not have a contract at all, you simply have the option to pay either by class, monthly or yearly.

3. False promises You may be told that you will be able to defend yourself against a crazed knife-wielding attacker within just three months. There are specialised courses that can teach this, your average martial arts school doesn’t. Or that it is possible to get your black belt in just over a year, or even in two years. Quite frankly this is a joke, it takes years of training to achieve your black belt. You may be asked to purchase expensive full body gear and padding. Basic sparring does not require full combat gear in the name of “safety,” it requires a good instructor, clear rules and appropriate guidance and supervision. Nothing more and nothing less.

4. Tips from Core Mag We do have McDojo Karate clubs in New Zealand, so remember to always check the grade of your instructor! They should be more than happy to divulge this to you. As an example: If the instructor is not wearing a solid black belt ie; it may have a white stripe running it’s length - then the instructor may not be a black belt at all, in fact they might only be a green belt. We know as a fact that this has been the case within many dojos, which is very disturbing. You may be told that your instructor’s grade is not important as they are part of a special instructor programme, this is just smoke and mirrors - the grade is important. It is crucially important that you are taught by at least a First Dan Black Belt but preferably Sandan (3rd Dan) or above! This subject of McDojos is incredibly important for all prospective students of the martial arts. Please don’t take it lightly. You must educate yourself and do your research. Good luck and best wishes on your journey in karate. ✪

www.martialartssupplies.co.nz

GLOSSARY OF JAPANESE TERMS 80 CORE | ISSUE ONE 2012

GLOSSARY | CORE

A Age Tsuke: Rising Punch Age Uke Gyaku Ashi: Upper Block (Reverse Foot) Age Uke: Rising Block Ago: Chin Ashi Waza: Foot Techniques Ashi: Foot Ashibo Kake Uke: Leg Hooking Block Ashikubi Kake Uke: Ankle Hooking Block Atama: Head Ate Waza: Smashing Technique Atemi: Striking The Vital Points Awase Tsuke: U Punch

B Bassai: Breaking Down the Fortress Budo: Martial Ways Bunkai: Application of Techniques in Kata Bushido: Way of the Warrior

C Choku Tsuke: Straight Punch Chudan: Middle or Chest Area Chudan Choku Tsuke: Straight Punch to Body Chudan Mae Geri: Front Kick to The Middle Area Chudan Shuto Uke: Middle Knifehand Block Chudan Uchi Uke: Block from Inside Out with Top of Wrist Chudan Ude Uke: Forearm Block against Body Attack D Dachi: Stance Dan Tsuke: Consecutive Punches De Ashi Harai: Advancing Foot Sweep Deai Osae Uke: Pressing Block Stepping In Do: Way Dojo: Practice Hall, Literally “Place Of Learning The Way”

E Empi Uchi: Elbow Strike Empi: Elbow En Sho: Round Heel Eri: Collar Or Lapel

F Fudo Dachi: Rooted Stance Fumikiri: Cutting Kick Fumikomi Age Uke: Upper Block, Stepping In Fumikomi Shuto Uke: Knifehand Block, Stepping In Fumikomi Ude Uke: Forearm Block, Stepping In Fumikomi: Stomping Kick

G Gai Wan: Outer Arm Gedan Barai Uke: Downward Sweeping Block Gedan Choku Tsuke: Straight Punch to Groin Gedan Kake Uke: Downward Hooking Block Gedan Kekomi: Thrust Kick to Groin Gedan Tsuke: Punch to Groin Gedan Uke: Downward Block Gedan: Lower Body Area Geri: Kick

Gi: Uniform Goshi (or Koshi): Hip Goshin Waza: Self Defense Techniques Gyaku Ashi: Reverse Foot Gyaku Juji Gatame: Palms Up Strangle Gyaku Mawashi Geri: Reverse Round Kick Gyaku Tsuke: Reverse Punch

H Hachiji Dachi: Open Leg Stance Hadaka Jime: Naked Strangle Hai Wan: Back Arm Hai Wan Negashi Uke: Back Arm Sweeping Block Haishoku: Instep Haishu: Backhand Haishu Uchi: Backhand Strike Haishu Uke: Backhand Block Haito: Ridgehand Haito Uchi: Ridgehand Strike Hajime: Begin Hangetsu Dachi: Half-Moon Stance Hangetsu Kata: Half-Moon Formal Exercise Hanmi: Half Front Facing Hara: Stomach Harai: Sweeping Hariken: Fore-Knuckle Fist Hasami Tsuke: Scissors Punch Heian: Peaceful Mind Heiko Dachi: Parallel Stance Heiko Tsuke: Parallel Punch Heisoku Dachi: Closed Feet Stance (Attention) Hidari Shizen Tai: Left Natural Position Hidari Teiji Dachi: Left T-Stance Hidari: Left Hiji Ate: Elbow Strike Hiji Suri Uke: Elbow Sliding Block Hiji Uchi: Elbow Strike Hiraken Tsuke: Fore Knuckle-Fist Straight Punch Hiraken: Fore Knuckle Fist Hiriki No Yosei: Elbow Power Hiza: Knee Hiza Geri: Knee Kick Hizagashira: Kneecap

I Ichitaita: One Against Many Ikkaijo: First Control Ippon Ken Tsuke: One Knuckle-Fist Straight Punch Ippon Ken: One Knuckle Fist Ippon Kumite: One Step Exercise Ippon Seoi Nage: One Arm Shoulder Throw Irimi: Entering Irimi Nage: Entering Throw

J Jo Sokutei: Raised Sole Jodan: Head Level Jodan Age Uke: Upper Block against Head Attack Jodan Choku Tsuke: Upper Straight Punch Jodan KeKomi Geri: Thrust Kick to Head Jodan Mae Geri: Front Kick to Head Jodan Uke: High Block Judo: Gentle Way

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CORE | GLOSSARY

Juji Kumite: Free Exercise Juji Nage: Crossed Arm Throw Juji Uke: Cross Block Jujutsu (also Jiu-Jitsu): Gentle Art Jumbi Undo: Warming Up Exercises

K Kage Geri: Hooking Kick Kage Tsuke: Hook Punch Kaisho: Open Hand Kaiten Nage: Open And Turn Throw Kaiten: Turning Kakato Geri: Heel Kick Kakato: Heel Kake Geri: Hooking Kick Kake Shuto Uke: Hooking Knifehand Block Kake Tsuke: Hooking Punch Kake Uke: Hooking Block Kakiwaki Uke: Reverse Wedge Block Kakuto Uke: Bent Wrist Block Kakuto: Bent-Wrist Block Kamae: Posture Kanku: Viewing the Sky Kansetsu Waza: Joint Manipulation Techniques Karate: Empty Hand Kata: Formal Exercise Kata: Shoulder Keage: Snap (Kick) Kebanashi: Kick Off (Snap Kick) Keito Uke: Chicken Head Wrist Block Keito: Chicken Head Wrist Kekomi: Thrust (Kick) Kendo: Sword Fighting Kentsui Uchi: Fist Hammer Strike Kentsui: Fist Hanmer Keri (or Geri) Waza: Kicking Techniques Kesa Geri: Diagonal Kick Ki: Inner Spirit or Strength Kiai: Yell Or Shout Kiba Dachi: Horse (Straddle Leg) Stance Kihon Dosa: Basic Movements Kihon Kumite: Basic Sparring Kihon Waza: Fundamental Techniques Kihon: Basics Or Fundamentals Kime: Focus Kin Geri: Groin Kick Kiostuke: Attention (Command) Kizami Tsuke: Jab Ko Soto Gari: Minor Outside Reaping Throw Ko Uchi Gari: Minor Inside Reaping Throw Koken Uke: Wrist Block Kokutsu Dachi: Back Stance Konoe Gaeshi: Leaf Turning Wristbend Kosa Dachi: Crossed Leg Stance Ko-Shi: Ball of The Foot Kote Gaeshi: Outward Turning Wristbend Kote Hineri: Inward Turning Wristbend Kubi Nage: Neck Throw Kubi: Neck Kumade: Bear Hand Kumite: Free Exercise

M Ma Ai: Distancing

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Mae Ashi Geri: Front Leg Kick Mae Empi Uchi: Forward Elbow Strike Mae Geri Keage: Front “Snap” Kick Mae Geri Kekomi: Front Thrusting Kick Mae Geri: Front Kick Mae Hiji Ate: Forward Elbow Smash Mae Tobi Geri: Jumping Front Kick Maeude Deai Uke: Forearm Pressing Block Maeude Hineri Uke: Forearm Twist Block Makiwara: Striking Board Masubi Dachi: Informal Attention Stance Matte: Stop Mawashi Geri: Round Kick Mawashi Tsuke: Round Punch Migi: Right Mikazuki Geri: Cresent Kick Momo: Thigh Morote Sukui Uke: Two-Handed Twist Block Morote Tsukami Uke: Two-Handed Grasping Block Morote Tsuke: Double Fist Punch Morote Uke: Augmented Forearm Block Mudansha: Ranks Below Black Belt Mune: Chest Musubi Dachi: Open Feet Stance, Heel Together

N Nagashi Tsuke: Flowing Punch Nage Waza: Throwing Techniques Nai Wan: Inner Arm Naihanchi: Iron Horse Nakadaka Ippon Ken: Middle Finger One KnuckLe Fist Nami Juji Gatame: Half Cross Strangle Negashi Uke: Sweeping Block Nekoashi Dachi: Cat Stance Nidan Geri: Double Kick Nihon Nukite: Two Finger Spearhand Nikaijo: Second Control Nukite: Spearhand

O Obi: Belt O Soto Gari: Major Outside Reaping Throw O Uchi Gari: Major Inside Reaping Throw Oi Tsuke: Stepping or Lunge Punch Okuri Ashi Harai: Sliding (or Gathering) Foot Sweep Okuri Eri Jime: Sliding Collar Throw Osae Uke: Pressing Block Otoshi Empi Uchi: Downward Elbow Block Otoshi Hiji Ate: Downward Elbow Strike Otoshi Uke: Dropping Block

R Rei: Bow Reinoji Dachi: “L” Stance Ren Tsuke: Alternate Punching Renzoku Geri: Combination Kick Ritsu Rei: Standing Bow

S Sanchin Dachi: Pigeon-Toed (or Hour-Glass) Stance Sankaijo: Third Control Sanren Tsuke: Three Consecutive Punches

GLOSSARY | CORE

Seiken Choku Tsuke: Forefist Straight Punch Seiken Tsuke: Forefist Strike Seiken: Forefist Seiryuto Uke: Ox-Jaw Block Seiryuto: Ox-Jaw Hand Sensei: Teacher Or Instructor Shihan: Head Instructor Shiho Nage: Four-Corner Directional Throw Shiho Wari: Breaking Boards on Four Sides to Test Power Shikko Ho: Knee Walking Shiko Dachi: Square Stance Shime Waza: Strangulation Techniques Shintai: Body Movement Shitage: Uniform Pants Shittsui: Knee-Hammer Shizen Dachi: Natural Stance Shizen Tai: Natural Position Shomen Tsuke: Front Punch Shomen Uchi: Front Strike Shotei Uchi: Palmheel Strike Shotei Uke: Palmheel Block Shu Wan: Palm Arm Shubo: Arm Stick Shumatsu Undo: Cool Down Exercises Shuto Uchi: Knifehand Shuto Uke: Knifehand Block SochIn Dachi: Diagonal Straddle-Leg Stance Sode: Sleeve Sokumen Awase Uke: Side Two-Hand Block Sokutei Mawashi Uke: Circular Sole Block Sokutei Osae Uke: Pressing Block with Sole Sokuto Keage Geri: “Snap” Kick with Edge of Foot Sokuto Keage: Snap Kick with Foot Edge Sokuto Osae Uke: Pressing Block with Foot Edge Sokuto: Foot Edge Soto Uke: Block from Outside Inward with Bottom of Wrist Suki: Opening Sukui Uke: Scooping Block Sutemi Waza: Sacrifice Technique

T Tai No Henko: Body Change Tai Subaki No Kihon: Basics of Body Movement Tai Subaki: Body Movement; Pivoting Taikyoku: First Cause Tameshigeri: Test Cutting with the Sword Tameshiwari: Power Demonstration, Breaking Tanden: Area Below the Navel and the Center of Ki Tatami: Mat Tate Empi Uchi: Vertical Elbow Strike Tate Hiji Ate: Upward Elbow Strike Tate Shuto Uke: Vertical Knifehand Strike Tate Tsuke: Vertical Fist Punch Te Nagashi Uke: Hand Sweeping Block Te Osae Uke: Hand Pressing Block Teiji Dachi: Stance Teisho Awase Uke: Combined Palm Heel Block Teisho Tsuke: Palm Heel Punch Teisho Uchi: Palm Heel Strike Teisho Uke: Palm Heel Block Teisho: Palm Heel Tekatana: Hand Sword Tekki: Iron Horse Tekubi Kake Uke: Wrist Hook Block Tem Ben Nage: Elbow Lock Throw

Tenkan: Turning Tobi Geri: Jumping Kick Tobi Yoko Geri: Jumping Side Kick Tori: Defender Tsukami Uke: Grasping Block Tsuke Waza: Punching Techniques Tsuke: Punch Tsumasaki: Tips Of Toes Tsuro Ashi Dachi: Crane Stance

U Uchi Hachiji Dachi: Inverted Open Leg Stance Uchi Mawashi Geri: Inside Cresent Kick Uchi Uke: Inside Block Uchi Waza: Striking Techniques Uchi: Striking (Also Inner) Ude Garami: Coiling Armbar/Figure Four Shoulder Lock Ude Uke: Forearm Block Ude: Arm Ukae: Attacker Uke: Block Ukemi: Breakfalls Ura Tsuke: Close Punch Uraken Uchi: Back Fist Strike Uraken: Backfist Ushiro Ashi Geri: Rear Leg Kick Ushiro Empi Geri: Back Elbow Strike Ushiro Geri: Back Kick Ushiro Hiji Ate: Back Elbow Strike Ushiro: Back, Rear Uwagi: Uniform Jacket

W Wake Gatami: Elbow Lock Wan: Arm Wanto: Arm Sword Washide: Eagle Hand Waza: Technique

Y Yama Tsuke: Wide “U” Punch Yoko Empi Uchi: Side Elbow Strike Yoko Geri Keage: Side “Snap” Kick Yoko Geri Kekomi: Side Thrust Kick Yoko Geri: Side Kick Yoko Hiji Ate: Side Elbow Strike Yoko Kekomi: Side Thrust Yoko Mawashi Empi Uchi: Side Round Elbow Strike Yoko Mawashi Hiji Ate: Side Round Elbow Strike Yokomen Uchi: Side Strike to Head Yoko Tobi Geri: Jumping Side Kick Yoko: Side Yokomen Uchi: Side Strike to Head Yonhon Uchi: Four Finger Spearhand Yonkaijo: Fourth Control Yubi: Finger YudaNsha: Black Belt Level

Z Za-Rei: Kneeing Salutation (Bow) Zenkutsu: Dachi Forward Stance

ISSUE ONE 2012 | CORE 83

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