(This article originally appeared in the June 2006 issue of ShotoMag.)

I am generally very supportive of the idea of setting and maintaining standards. I am also known for my ideas on experimenting with variations. This article is meant not as an exploration into variations. But rather offers an opinion as to when to consider a “standard” something that should not always be considered the goal but rather a “minimum acceptable level.” I would like to use two examples here, both dealing with “45 Degrees.”
 
“Hips 45”
 
We will first look at the hip positioning as we move in front stance between hip front position (shomen) and hip open position (hanmi).
 
When we pull the opposite hip back for blocking, in certain strikes or in preparation for a punch, most instructors seem to advise students to have their hips at “45 degrees.” While this is not bad, I think most of us can do better, and should. I think 45 degrees should be considered the minimum, for those who lack flexibility.
 
Are you stopping at 45 degrees? Can you go further? Try this:
 
Hold a staff (bo) or some other long, straight stick or pole (a broom should work fine, for example) at your hips, parallel to the floor. If you do not have such a staff or stick available, place your hands on your hips or stretch your arms out straight to the sides. This will help you more accurately determine the placement of your hips as you move. Start with your hips straight ahead (shomen)(photos A & 1). Pull your hip back to 45 degrees (photos B & 2). Bend your back knee further to make sure the hip does not rise or go back while you push your hip back past 45 degrees (photos C & 3). You may not be able to go much further. But every inch can make a difference. 60-65 degrees is probably about as far as most people can push it without distorting the stance and/or posture.

Photos A & 1:


Photos B & 2:


Photos C & 3:

 
By bringing your hip back further, the hip can move a larger distance, which can help in generating more power. If launching a punch off this hip, the fist will travel a greater distance as well. Not only does the hip move further, as well as the fist launched from it. But it can also be a more powerful movement due to that the rear leg should be bent further (photo 4). The stretch of the leg from this “loaded” (bent) position is the primary driving force behind most techniques that involve a change from hanmi to shomen hip positions.

Photo 4:

 
One must be careful, however, when testing the limits of this hip turn. The knee of the front leg may have a tendency to turn in and the rear knee may turn out. Alignment of the knee and other body parts is not only better for your health but usually better for making stronger and/or more efficient/faster movements as well.
 
Some positive points related to larger hip movement:
• Bigger hip movement => more hip in the technique
• Bigger arm movement
• Greater bend of back leg gives more power

Points to watch when trying to maximize this hip movement:
• Without sufficient flexibility and muscular development/control, the back hip may poke back/up, compromising posture and overall body control.
• Increased range of movement may result in longer execution time
• Watch that the back knee is not turning off to the outside and is not overtorqued (Photo 5)
• Be careful not to let the front knee turn in (Photo 6)
 
Examples Photos 5 & 6:

 

“Back Foot at 45 Degrees”
 
Now let’s move on to the position of the back foot when in front stance. Most instructors seem to be telling students to situate the back foot at 45 degrees. Not bad. But again I think most of us can do better.
 
Of course few people are flexible enough to be comfortable (or even capable) of placing the back foot straight forward while in a reasonably deep, correct front stance. But I think we should do what we can to work toward this goal.
 
Self-examination:
 
Get into a good front stance (as wide as your shoulders, twice as long, with front knee over the toes). Look at your back foot. Also look at your back knee. Are they pointing the same direction? If not, your misalignment could be causing your body harm over time. If you are driving forward with a deep stance and your back foot is off to the side too far, you could be hurting your knee. You could also be slowing yourself down by effectively dragging your back foot. If your back knee is pointing in the same direction as your back foot and your back foot is pointing too far to the side, you can also be damaging your knee and/or other parts of your lower body.
 

 
Try pointing your back foot as far forward as your flexibility allows. If your heel rises, that is too far. Notice that your alignment should be better; your knee and foot should be pointing the same direction (or at least closer to it). This should reduce injury to yourself. But pointing the foot more forward should also be more conducive to a fast/efficient movement forward and back.



Some positive points related to turning the back foot more forward:
• Better alignment helps reduce harm to your joints (particularly the knee)
• More efficient stepping forward/backward
• More torque of the back leg

Points to watch when trying to maximize this forward turn of the back foot:
• Heel rising
• Over-torque of the back knee
• Limits on hip turn due to lack of flexibility

Please note that the above is offered as suggestions to consider as goals when performing basic front stance. Other stances involve different points and self-defense obviously does not require such attention to detail and the above is primarily suited to direct forward/back movement with a single opponent in mind.
 
There are many other areas in Shotokan where our “standards” should be considered “minimums” rather than “ultimate goals.” We should set our goals high and not always settle for the “standard.”

(This article originally appeared in the April 2006 issue of ShotoMag.)

One of the first techniques we learned, gedan-barai (literally "lower-level sweep" but commonly known as "down-block") is something we have all done many times. It is a very useful technique and its prevalence in Shotokan kata suggest that the masters of old thought it worth much practice. In some dojo, every turn in kihon/basics is accompanied by gedan-barai.

In this article, I would like to first review parts of the basic technique itself, as a lead-in to my points of what are benefits and drawbacks of making a habit based on this technique.

Getting the blocking arm to end in the correct position and the other arm to end on the hip is important. But we also need to consider how we got our arms where they end up. I would like to focus here on the "chamber" position. In basics, we should generally try to make techniques as big as possible. And the chambering is no exception.

In photo 1, you can see that the hand that is to be used as the block is pulled to above the opposite shoulder, in a large preparatory movement.
1

In photo 2, you can see that an improvement has been made. The hand is rotated to situation the palm toward the head. This means that the wrist/forearm will turn as the blocking arm is extended. (the value of this wrist-twist is explored in an article on my dojo website, www.jkasv.com ).
2

In both of the above photos, you can see that the elbow is low. This helps keep the shoulder from rising excessively and also helps keep the line of vision clear. As much as is possible, the hand is pulled back to the shoulder, not just in front of it.

This big and correct preparatory move will help the technique. So it is good to get this position into our "muscle memory," making it a habit that is hard to forget.

So why do so many of us forget sometimes?

When to Work on Keeping the Habit

See photos 3-5, below. This is, I believe, quite typical of how this move is performed in the opening sequence of Heian Sandan:
3 4 5

See photos 6 & 6b, below. This uses the correct (big) preparatory (chambering) position that we spent so much time working on when doing gedan-barai as a solitary technique. Why not keep this habit when combining the technique with uchi-uke in this kata?
6 6b

Other examples in kata where we may see this happen is in the first move of Jion, several times in Jiin and in Tekki Sandan. Related moves include manji-uke, which occurs many times in kata. This gedan-barai/uchi-uke combination actually appears in over half of the Shotokan kata. So I think that working on this point could be of significant help, not just to this particular example movement in Heian Sandan.

Credit where it is due: The above point was brought into focus for me in 1999 when Amos (Richard) Sensei was teaching a seminar and showed me myself on video as he explained where he saw my technique as benefiting from larger movement.

When to Work on Not Keeping That Habit

There are plenty of cases in kata where there is a gedan-barai or tetsui-uchi (hammer-fist strike, which is basically just a gedan-barai executed to a different height) that we precede with the habitual gedan-barai chambering position, as detailed above.

But should this be how we perform this move? Is there some application of the move we should consider in addition to simply a chambering/preparatory move?

As an example, please see photos 7-9, below, from the opening sequence of Heian Nidan. I believe these photos are a fair representation of the way most JKA-style Shotokan people perform these movements.
7 8
9

Now see photo 10, below. Almost no matter what application is envisioned for this move, it seems to me that placing the non-punching/striking arm more vertical makes more sense from an application standpoint. Personally, I view this technique at the most basic level (not considering grappling possibilities) as a soto-uke (outside block). Either as a block or an arm-bar, having the arm in this position makes more sense to me.
10

See also photo 11, from Heian Godan, photo 12, from Empi, photo 13, from Nijushiho. Considering the above, should we be placing the arm more vertical for these as well? Shouldn't they all work as blocks?
11 12
13

Bringing It Together

One may argue that some of the moves listed above are simply preparation for the block or strike to follow. If that is all there is to it, then fine; making this movement work as an outside block may not be a concern.

But if we are considering the possible blocking applications of the non-punching/striking arm in these techniques, I think it makes sense to at least be able to break the gedan-barai habit.

So why not just perform gedan-barai with a chamber position that involves a soto-uke? I think this may make the move smaller and thus, for a beginner, not maximizing our point of working on techniques that are as large as possible. It also then breaks the alignment of the path of the technique. Gedan-barai should involve an extension of the arm that projects the hand directly in a straight line as opposed to curving toward its final position. If we pass through a soto-uke position on the way to the normal chambering position, the only drawback to this that I see is a slight increase in overall time it would take to complete the technique, as it is then a little less direct/linear.

Credit where it is due: This idea had been something I had thought about for many years but was really driven home during some of the classes and discussions I have had with Ubl (Steve) Sensei over the past few years.

Take a look at your basic gedan-barai and see where the preparation habit should and should not appear. I think this is a point worth thinking about.

Kihon (Basics)

Whether or not we train in front of a mirror, we all look at ourselves during our training; some people more than others. Watching what you are doing can help improve performance. But it can also detract from the idea of “feeling” the technique/movement, if we make it an unconscious habit. A combination of “looking” and “feeling” is probably best.

As I have mentioned before in one or two of my articles, the use of mirrors may be better for watching yourself than looking down to check your technique/movement. And the use of video or asking someone else to watch and give feedback is even better. The main reasons for this:
• Looking down to watch oneself can cause the neck to bend and/or body to tilt. We may also subconsciously correct the technique during the time it takes to glance down, creating an unrealistic understanding of what is actually going on. This can also cause a bad habit of looking down and/or tilting the head/body all the time, particularly detrimental during kumite training.
• When we look down at ourselves, we are usually just monitoring 1 or 2 aspects of our movement/technique. While it is not bad to focus on just 1 or 2 points, there may be more going on than one can see with a limited field/angle of vision.  By asking someone else to watch, or recording onto video, we can monitor several things, some of which we may not have considered when starting the exercise.

All of this visual monitoring can be helpful. But we should also be working on “feeling” our techniques/movements. Try closing your eyes sometimes while stationary or even while moving. Feel where all the body parts are, including the angle of the joints and the alignment of various parts of your body. Feel how all the muscles are being used and in what timing. Feel if you are off-balance or operating inefficiently.

Watch others in thier training. When you see them doing poorly, watch to see if you are making the same errors. But also feel if you are. Likewise, when you see someone performing something well, watch and feel to determine whether you are also doing it that way.

When you are certain you are doing something well, take the time and effort to solidify the good behavior/technique. Close your eyes and feel it and encourage your body and mind to memorize the position/movement.  Repeat until you can see and feel that it is getting better.

More on this subject to come in future articles within the next few months…

Copyright © 2005, Jon Keeling

I sometimes hear students in class asking if they are doing things properly. They wonder if they might not be doing it correctly because they find that the way that I am asking them to do it is "harder" than what they think it should be.  

Sometimes, harder is better.

Why do we train mostly in low stances?  Is it because this is the way we should apply our techniques in an actual self-defense situation?  These stances may work well in actual application.  But it may be more about the actual training itself than the application of it.  By going to an extreme, we are really working to the maximum. And this usually makes the practice more valuable as a form of exercise and creates a more beneficial training of muscle memory.

Doing things the easy way is, well, "easy". And as such it should not be difficult to revert back to the easy/natural way in cases where we forget or do not have time, energy or clear enough understanding to perform the ideal way. So, in self-defense, for example, if we are not able to make a full, proper, round-house kick, at least our training will have probably made whatever kick that comes out in such a situation more effective.

When it comes down to it, that front snap kick we trained so hard on in the dojo may not be as effective as the pushing type of front kick that comes more naturally. Does that mean we should not practice the relatively ineffective snapping front kick? No. This kick could definitely be very effective; it is simply that the situations in which it would be more effective than a more natural thrust kick are somewhat limited. And since the thrusting version is more natural, it does not need as much practice. The snapping version is more difficult. Thus that is what we concentrate on.

Why do we wait until the last possible moment before blocking?  Although there are practical application reasons to do this, part of it may simply be to make the training more challenging.  And the challenge itself is sometimes very beneficial to our training.While these challenges can at times cause some frustration, we should keep in mind that these challenges are there to be overcome. They are there to make us try harder and as a result become better.

"Challenge, but not Impossible"
This is one my signature sayings.  I use this phrase often when I teach.  Our objective should be to put ourselves and our partners in a situation that is a challenge but not one that seems impossible.  If we are always simply working within our comfort zone, not trying at all to reach outside of what is easy for us, how are we to improve?  For more on the subject of "challenge," please see article from February 2004.

Remember that we do not need to always be focusing on 1000 different points and that we should sometimes not worry too much about certain details while training, instead focusing on just the one or two most important points of the lesson. For reference, see article from June 1999. Trying to focus on many details at once is tough. But this is not really what I have in mind when I suggest keeping training "hard". It should be a challenge even if you just focus on one or two details.

Please do not forget to keep in mind that "hard" does not have to mean "exhausting and/or dangerous" training. That type of workout may be what some people desire. But training should be hard enough (difficult enough) without making people so uncomfortable that they no longer feel like they want to come to the dojo.

Doing things that are difficult is often a good thing. But that does not mean that everything should be a struggle and successes be severely limited. We should be meeting our challenges and keeping in mind that there is usually a reason that things are difficult. Do not get too frustrated. This "hard" training should be good for us.


Copyright © 2005, Jon Keeling

The midsection (basically the area of the lower torso) is very important in karate.  We spend much time working on how to "develop the power of the hips" and doing our various exercises to strengthen this area.  Why is this so important?  For those who may be thinking that doing exercises that work on the midsection is overrated, let's consider the following.

Strengthening arm techniques
Many times, I have heard karate instructors use the phrase "total body connection," or some variation of it.  "Put your hip into it" and "push from your stomach" as well.  The basic idea behind much of this is to maximize the transfer of power/effort/energy/momentum from the legs into the arms as we punch or strike (or block, for that matter).  By strengthening the midsection, we can better "connect" the upper-body to the lower-body.  Imagine trying to use a hammer that had a very flexible handle.  No matter how strongly you swing it and how strong the hammer's head is, its affect would be greatly reduced due to the wobbling of the handle.

Strengthening leg techniques
The muscles of the lower part of the midsection in particular (those that are most directly connected to the leg/hip/glut muscles) help to drive the kicking leg up and into the target.  

Posture
The muscles of the midsection, particularly the lower part, also help keep the upper body upright and controlled during kicks, which helps us to be ready for the techniques and movements to follow.  Posture in general can benefit from a developed midsection.  

Ability to withstand blows to that area
This should go without saying.  Developed muscles help to reduce damage when attacked.

----------

Points worth considering when doing exercises for the midsection:
• The muscles of the lower back should be worked out; not just those of the abdominal area in front.  
• Don't forget the sides of the midsection as well.
• The lower abdominals are harder to work out, tire more quickly and are probably actually more important for karate.  So starting with some type of leg-lift exercises, then working your way up toward crunches is probably a good idea.  Doing crunches to work out the upper abs is relatively easy and should be saved for last.
• Many of these exercises are very easy to do while watching TV.
• Breathe properly during the exercise.  Many people reduce the effectiveness of a given exercise and/or tire more quickly because they hold their breath during each repetition.

Working out the midsection has various benefits.  Why wouldn't you spend some extra time on it?


Copyright © 2005, Jon Keeling

For those who have been involved in karate for more than a few years, we know that there are some things we do in training that are not necessarily ideal for replicating in a self-defense situation, or tournaments, for that matter.  In fact, some things we do can actually be considered counter-productive.

So why do instructors of Shotokan place so much emphasis on keeping the heel down, holding in position during lower stances than are practical, or practicing kata application that deal with unrealistic attacks?

In my opinion, there are several possible explanations for the adherence to basics beyond what seems practical, some with more validity than others:

These are simply training tools. 
By training ourselves to adhere to strict basics, such as the idea of keeping the heels down practically all the time or returning to the starting mark in kata, we can be sure that everyone is not making large errors.  While it is understood by at least the more advanced instructors and practitioners that deviations can be advantageous, minimum standards should be maintained.  See below for related point of preparing for related techniques, etc.  Related articles include September2000 and May 2001.

We are training for extreme situations, to prepare for anything.
While very long and low stances may seem impractical, preparing for the unexpected has its value.  We train placing the weight/torso as far front as possible in front-stance and as far back as possible in back-stance.  We are training to be able to operate anywhere within that large range.  Although practical application may not involve either extreme, we should be ready, just in case.

Preparation for related movements/techniques/strategies.
Training with what I often refer to as “extreme basics”, the range of motion is very large.  While in a self-defense or free-sparring situation, this may be impractical (try, for example, the full preparatory move for soto-uke/outside-block while someone is trying to punch you from close range), this is actually preparing the person for realistic technique (if they have the right frame of mind, at least).  Although we tend to “do what we practice” when caught unprepared, the movements become smaller instinctively.  If we practice very large moves, we should expect that these techniques would become smaller in a realistic encounter.  If we started with only small movements from the beginning, application under stress may cause a further reduction in range-of-motion, which may mean it is too small to be effective. Also see article from September2000 regarding practice of related techniques.

Tradition.  Instructors simply teach what they were taught. 
Sadly enough, this is the reason that many, if not most, instructors teach this way.  They teach what they learned, how they learned it, feeling that what worked for them should work for others.

There are many valid reasons to practice basics that may seem impractical on the surface.  There are many reasons why one would want to practice other than these “extreme basics” as well.  But I advocate sticking to just the basics until the points are clearly understood and achievable.  After that, I believe one should still practice the basics that may appear to be unrealistic, also adding variations (when amongst other advanced practitioners, as not to confuse the less experienced), but keeping in mind that there can be great value in both types of training.


Copyright © 2004, Jon Keeling

Until quite recently, there was an interesting website devoted to Shotokan called "24fightingchickens".  This article has nothing to do with that...

Chicken Head
What I refer to as "chicken head" is the tendency for the head's forward movement to precede the rest of the body when stepping or shifting forward.  If you watch the way a chicken walks (or quite a few other types of birds, for that matter), you can clearly see that it uses the initial movement of its head to propel the rest of the body forward.  This has much to do with the chicken's limited leg/hip mobility as well as that its arms/wings are typically not involved in the movement.  With off-center counterbalances lacking as such, the forward movement must be initiated by some part of the center moving forward.  And the head is the most suitable candidate for these fowl.

In much the same way as the chicken, some people appear to propel their body forward, at least to some extent, by using an initial forward movement of the head.  In strict basic technique, we are often required to use limited arm movement (off-center counterbalances) and keep the hips in a fairly straightforward trajectory.  As such, it is understandable that a "chicken-head" tendency may develop quite naturally.  

We must, however, force ourselves to limit such movement.

Chicken Wings
Similar to "chicken head", "chicken wings" refers to the movements of the arms that some people perform while executing kicks.  It can make the karate person appear to be moving like a chicken, or other type of bird.

The arms are supposed to be kept still, with the elbows back.  But again for reasons often relating to lack of other suitable counterbalances, the elbow moves in an (usually unconscious) attempt to aide in the movement of other parts of the body (the kicking leg, the overall forward movement of the body).

Don't be a Chicken!
Watch yourself in a mirror, have someone else watch you, or videotape yourself.  Are you looking like a chicken sometimes?  While some of these movements may be fairly natural, we must train ourselves not to do these things.  Why?  While I can explain how it makes the movement less efficient and technique less effective, what should be very obvious to even the complete novice is that this movement can be seen quite easily.  And especially considering that these movements often precede the technique itself, these "chicken movements" can give the opponent a relatively clear indication that an attack is coming their way.  So don't be a chicken! 

Copyright © 2004, Jon Keeling

One of my more senior students (assistant instructor) and I were talking the other day about his new hobby of horseback riding.  He mentioned that the teacher was very impressed with how quickly he picked up on her descriptions of proper body-positioning and movements of the body.  When she told the group to sit up straight, for example, he already was.  When she explained how to turn, he did it as she wanted almost instinctively, conscious of his center.  My student and I then discussed how there are some basic principles that carry over between various physical disciplines.

Back Straight
This is an idea that anyone doing karate or aikido recognizes as important.  It is also important to people performing chayu (tea ceremony), to classical musicians, dancers and many other athletes.  Keeping the back straight helps the lungs fill with air more efficiently than when the back is hunched over.  It also helps the person to have better control of movements in various directions. It is important in everyday life.

"Using the Center"
Although this concept may seem a bit esoteric to some people, it is important to remain conscious of where the center of the body is (basically, the center of gravity) and move from it, as opposed to simply moving the limbs around as the primary movement motivator and having the center move as an afterthought...

Connection Through the Torso/Trunk
This is related to the above concepts of using the center while keeping the back straight.  More specifically, and less esoterically, the muscles of the midsection should be developed in order to form and maintain a physical connection between upper- and lower-body.  

Breathing
It is obviously necessary to breathe and we all should realize its importance. But how we do it is often not given much attention.  For more on my thoughts about breathing in karate training, please see my earlier article on this subject:  Breathing (March '00)

Relaxation
Some people are naturally relaxed and have a hard time contracting particular muscle groups.  But more commonly, it seems many people have a hard time relaxing even when they know that is what they should do.  Being able to relax on demand is a skill that often requires practice and, at least initially, conscious effort.  Please see article relating to relaxation vs tension: Tension vs. Relaxation (Feb '98)

"Be the Ball"
As Chevy Chase's character implied in "Caddyshack", golfers should visualize where the ball is going, not being overly concerned with the body's active participation in the process.  Visualization is an important tool for any athlete or performer.  

Zanshin
The Japanese term for "awareness" may seem a little mystical to some people.  But remaining conscious of what may happen following an action can be very important, depending on what you are doing.  We can learn something from the actions/inactions of the likes of Homer Simpson and his lack of zanshin..."Doh!"

More...
Some other related articles I have written include:
Spinning (June '98)
Training in other martial arts (June '01) 
"Mind-Body Connection" (Sep '01) 
Motivation (Feb '03) 
Muscle Memory (Mar '03) 
The 5+ Senses(July '03)
Escalators & Elevators(Mar '04) 

In Closing
I will wrap this up by reminding readers that what we learn in the dojo is sometimes transferable as a skill to be used outside the dojo as well.  In the same way, we can use principles from elsewhere to help our karate development


Copyright © 2004, Jon Keeling

Some dojo are located in community centers, schools and other such locations, run by people who do not depend on karate for their primary income.  In contrast, some are located in rental units where the instructor(s) treat their dojo more like a business.  The latter is sometimes referred to as a “commercial” dojo.

This article has nothing to do with that.

What I would like to introduce here is the concept of doing short training sessions while watching commercials on television!  Personally, I watch very little TV.  And when I do, I find it difficult to sit still during an entire TV program unless I am also reading or doing something else at the same time.  Most of the TV I watch (outside of the news that is playing non-stop on the monitors behind me at my office) is videotaped; so I usually fast-forward through the commercials.  But if you do watch TV, and you are around for the commercials, why not do a little training during those few minutes, a few times each hour?

It does not really take much effort nor time.  And even a little exercise is better than none.  I think the only real reason not to do a mini-workout during commercials is if it is not considered acceptable by other people in the room.  Of course much of this can be done during the actual TV program as well.  But I would think that at the very least, “commercial karate” should be a goal that most would be able to attain without much effort and without too many complaints from others in the room.

Here are some examples of what you might want to try:
• Stand in a stance, either changing stance at each commercial change or staying in one stance through the entire set of commercials.
• Repeat one technique continuously during a commercial, changing to another technique for the next commercial.
• Kick over the arm or back of your sofa or chair.
• Punch, strike or kick at an imaginary target, or set of targets, such as jackets hanging on the wall or a large plant on a shelf.
• Do calisthenics, such as push-ups, sit-ups, squats, etc.
• Hold a stretch for the duration of a commercial.
• Do a kata in place (without moving the feet around any more than you have space for)

I think that many people make excuses for not training much.  It is understandable if you cannot make it to the dojo more than a couple of times a week due to work, family, etc.  But there are plenty of opportunities for training that we may sometimes overlook.  Try out “commercial karate” next time you are watching TV and see how it goes.  Do you think that you are really going to miss hearing about some new-and-improved product you really didn’t want to buy anyway?   Good luck.

Copyright © 2004, Jon Keeling

Many instructors pay lip service to the idea that kihon, kata and kumite are interrelated.  Many instructors do make the point that we should attempt to maintain basic form while doing kata and kumite.  And some remind students that there are kumite application possibilities in the kata.  But the three are actually more interrelated than this…or at least should be.  For example, when someone recently asked “How much time do you spend at your dojo working on the basics,” I thought about it and realized that almost all the time at our dojo is focused on basic form to a large degree; not just while doing the “basics.”  Very little of the time is spent doing mindless, repetitive “marching” up and down the dojo that most people doing Shotokan seem to consider the “basics” part of class.  If all the 3 “K’s” (kihon, kata and kumite) of karate are consciously practiced with the others in mind, it should strengthen each of the parts, which of course strengthens the whole.

Are instructors actually making the connections between the three K’s clear in their classes?  Are students understanding the links between the different parts of their training?  I would like to discuss here one aspect of this interconnection which may not be explored often at many dojo.

Many karate practitioners and instructors appreciate the value of using different angles in kumite.  And there are obviously a lot of angles worked in the kata.  My main point in this article concerns the (under-)use of angles in kihon (basics).  If we are to make the links clear between the three K’s, this may be one aspect of training where some instructors could make improvements.

Before examining my idea on the use of angles in kihon, let’s look at the use of angles in kata and kumite.

Angles in Kata

We obviously use a lot of angles in kata:
Turn 90 degrees to the left.
Turn 180 degrees to the right.
Turn 90 degrees to the left.
Turn 270 degrees to the left.
Turn 180 degrees to the right.
Turn 90 degrees to the left.
Turn 270 degrees to the left.
Turn 45 degrees to the right.
Turn 180 degrees to the right.
Turn 45 degrees to the left.

And that’s just Heian Shodan, considered by many to be the simplest Shotokan kata!  Maybe the idea of limiting “basics” to marching straight up and down the room is that we do more than enough angle-work in the kata?  The techniques, and not just the angles, in kata are generally more difficult than in kihon.  Perhaps these two types of training are quite different after all?  Is basic kata the crossover between kihon and "real" (more advanced) kata?


Angles in Kumite

During kihon-ippon kumite (basic one-step sparring), we are taught early on that it may be advisable to step off at an angle for some blocks.  During jyuu-ippon kumite (semi-free sparring), subtle angle changes are further explored.  During multi-partner kumite, angles must be more consciously explored.  In self-defense, angles can be critical.


Angles in Kihon

If we use so many angles in our practice of kata and kumite, why not in kihon as well? 

I know of many instructors who spend a lot of time thinking up complex combinations of techniques to have students perform in their classes.  The majority of the combinations that I have observed involve almost entirely forward and backward movements. 

I recall now an experience I had many years ago.  I was training at a dojo here in the US for a few months between trips to Japan.  It was the type of place where one could get a good workout, but there was almost no teaching done whatsoever.  One night, the main instructor/coach did not show up and one of the senior black belts decided to have each of the black belts demonstrate a combination for everyone to perform in repetition.  After a few quite complicated combinations that I could see the white belts struggling with, I started off with turn-to-the-rear gyakuzuki, followed by turn-back-to-the-front gyakuzuki, followed by step-in gyakuzuki.  The senior black belt cut me short and asked me to come up with something less complicated.  I had chosen the most basic of techniques, but simply changed the angle of execution.  This was far less complicated a combination than is found in many of the basic kata.  I didn’t think much of it at the time.  But this situation demonstrates my point exactly.  Changing angles can help stretch our physical abilities.  But much more importantly it can help us to stretch our minds.  Exploring a wider range of application options can provide a good workout for both the body and the mind, as well as to help us prepare for potential situations that might involve atypical application of techniques we practice.

When I teach “basics” (generally what is not included in kata and kumite categories), I often include angle changes.  Examples of this include:
• Adding a sideward movement during a combination that is otherwise just  forward and backward.
• Allowing the option to shift off to the side instead of straight back for some moves (such as is done in many types of kumite).
• Staying essentially in place while turning to one side or the other while executing techniques.
• Using techniques from introductory basics portion of the beginning of the class substituted for the techniques normally used in a basic kata.  This can be thought of as kata-using-different-techniques or basics-using-stepping-patterns-of-kata, depending on how you look at it.

This is not to say that there is no benefit from “marching” up and down the dojo floor repeating basic techniques.  But I think we should be able to add to this.  Changing the angles of execution during practice helps us expand our capabilities.  Thinking “outside the box” can help us be more flexible in our execution of the techniques we are practicing. 

I believe that concentration on basic form is very important for training.  But this does not mean that we must simply repeat movements mindlessly, always in the same way.  By exploring different angles, timing, etc., we can expand our physical abilities as well as adding flexibility to our minds.

Copyright © 2003, Jon Keeling

”Muscle memory” relates to the idea that our muscles “remember” certain movements or positions after many repetitions of a given movement or technique are performed.  By tensing the muscles while performing these movements, or setting into a final position, the movement/positioning is more quickly “remembered” by the muscles and can therefore be recalled more quickly when needed.

Some may take this to mean that we must use a lot of tension when learning a new technique or movement, to more quickly get the body used to a new technique.  But this is actually the opposite of what is true.

Training in a new technique must be done carefully.  We must first use the minimal amount of tension in order for the muscles – and the mind – to assimilate the new movements.  If we tense too early in our learning process, we simply memorize incorrect movements/techniques, in our bodies if not in our minds as well.  And the more we practice incorrectly, the more work and time it will take to “unlearn” later (although, admittedly, many choose to simply not correct the technique or movement because they know it is so much work).  Until we are sure that what we are doing is as correct as we can do it, we should keep both our bodies and our minds relaxed/flexible, to accommodate for any minor adjustments that may be needed.

I have so many times sighed in despair while watching people train who were trying very hard and actually making their karate worse, not just in spite of, rather specifically because of their effort.  This is especially true where there is no instructor, but simply a senior student or coach leading the training on a regular basis.  An instructor will design classes to help students develop their technique and application of those techniques.  A coach drives the students to give that extra 10%, encouraging to go faster, harder, don’t give up, etc.  A dojo with instructor(s) and coach(es) is ideal.  A dojo with only instructor(s) is next best.   But a dojo with only coach(s) can sometimes be downright detrimental to the development of the dojo and its members.  At a minimum, the development of the dojo members would most likely stagnate.  With no real guidance or quality instruction taking place, the body becomes very well accustomed to performing incorrect movements/techniques.  Remember that “practice makes perfect” is not an entirely correct axiom.  It is actually better stated that “practice makes permanent; only perfect practice makes perfect.”

No matter how good a person is, if he is good at incorrect performance, it is still incorrect.  Our aim in training should not be to simply memorize new kata and mimic kumite performance of others without proper instruction as to what we should actually be doing.  We should not simply train hard all the time and not think about how we may actually be setting our development back as a result of excess tension during incorrect movements/techniques.  We must learn the techniques and movements while remaining relaxed and thinking about what we are doing.  Then, once we have a good understanding of what we are doing, we can gradually add tension and let the muscles “remember” the technique/movement, so the body can react more instinctively when needed.  Once we fully understand what how a technique or movement should be performed, we should repeat it many times and on a frequent basis.  This process must not be rushed.  In the modern age of satellite TV, faxes, cell phones and internet, many people are looking for the “quick fix”.  If you really want to speed up your muscle-memory and advance more quickly, I suggest you seek out the instruction of a teacher who understands such concepts.

It should be obvious from looking at my website that I am not opposed to the use of the internet and other ways we can make our lives more efficient and productive.  In fact, I just performed a quick search on the internet which resulted in thousands of articles dealing with “muscle memory” and “relaxation”.  While some advocated always relaxing while, for example, playing the guitar, playing the piano or bowling, all of them that I looked at seemed to agree that relaxation was key in learning a new movement or skill.  Here are a few examples among the many dealing with this subject:

Kayaking

Diving

Pool/billiards

And, of course, karate*

*I would advise anyone who has not already done so to read through all the articles on the Baylor website.

I recently wrote about “priorities” in a couple of my articles.  One priority I often point out to students is that during training the priority ranking should be: technique (form), speed and power.  Until one understands the correct form, practice at full-speed should not be attempted (remember that speed requires at least some tension, too).  Until one can practice correct technique quickly while relatively relaxed, he/she should not try to add much power (tension).  Applying these priorities during training, one should be able to develop more quickly.

Train hard; but also train right!

Copyright © 2003, Jon Keeling

Is it better to practice single techniques or combinations?  If a combination is simply a group of single techniques, does it really matter which we do? 

I have found that, in general, those who are very good at single techniques are very good at combinations of techniques as well.  However, those who are merely adequate at single techniques are not necessarily so good with combinations.  The same holds true the other way around; those who are very good at combinations are usually very good at single techniques, but those who are are simply passable at combinations are often not so good with their single techniques.

For self-defense purposes, it is usually advised that one practice very few techniques as frequently and repetitively as possible.  In an emergency situation, it is usually difficult to do anything complicated.  And what you have trained repetitively to be instinctive is what should be the natural reaction in such a situation where we do not have time to think about complicated maneuvers or strategy.  Fancy combinations that work in tournaments may not work in a more realistic encounter.

But what if one is not training for self-defense, but more for tournaments?  For this student as well, practice of single techniques can be very valuable, for the reasons mentioned above as well as considering that, except for rare situations, only one point is scored in tournament kumite anyway.

So if single techniques are all we need, and even if we decide we want to perform combinations, it is merely a factor of adding single techniques together, what value does combination training hold for us?  In my opinion, the main advantages of practicing combinations is to work on strategy and transitions. 

As for strategy, practicing a kick for long range followed by a punch then an elbow strike for progressively shorter distances can be valuable training.  To be able to then modify such a combination to gain a familiarity with moving forward, back or to the side with such a set of techniques, then changing the order of the techniques, then the techniques themselves, gives us strategic ideas and experience.  These can be helpful for self-defense, tournaments, physical dexterity or the study of body mechanics, depending on what the individual wants to get out of such training.

As for transition between movements, this can be quite important as well and is one way that this idea works in reverse; that someone very good at combinations is often very good at single techniques as well.  If we practice only a single move for each count all the time, regardless of the number or variation of techniques involved, whether by the count or no-count with the feeling of pausing between each technique, this has its limitations.  If we practice minimizing the time to transition between techniques/movements, it can not only improve our combination skills, but can improve our single technique execution as well.

This last point was made more clear in my mind while training with Ubl (Steve) Sensei recently.  He had us performing a kizamizuki-oizuki (jab off front arm followed by stepping-punch off back arm) combination, reminding us that the step forward should begin no later than the initial punch is executed and perhaps at times even before the first punch has completed.  We were practicing this while moving slightly back with the front foot on the first technique, which made this particularly challenging and enlightening.  To move the back foot forward before the front foot is planted following its backward movement is quite difficult, especially if one want to maintain stability and strength in the first technique and not simply as a setup for the second technique. 

It all comes back to setting goals and keeping them in mind while we train.  If we train only combinations or only single techniques, we can still improve the other skill.  In the same way that our kumite training can help our kata, and vice-versa.  As with everything, just keep in mind what you are trying to accomplish and work toward those goals.

Copyright © 2002, Jon Keeling

There are many good books on the market that explain techniques and practice methods of the martial arts (there is also a lot of garbage out there, but that is not the point of this article).  Many of these books contain excellent photographic examples and are worth studying for their form.

So, why not train like these pictures (at least the good ones)?  While these may be fine examples of how one should look at completion of a technique/movement, this is far from the “complete picture.”  Even a sequential set of photographs cannot fully show the finer points of movement between the techniques.

I have been known to tell students that “training is not pictures; it is video.”  The movements between the static pictures are very important.  Sometimes, they are actually more important than the position at completion of the technique or movement.  We should not be satisfied with simply having good positioning at the moment the technique is completed.  We should strive for proper, efficient, effective technique throughout the entire movement.

If someone is performing kata and looks very good in each stance, but habitually rises and falls in height (incorrectly) while stepping between these stances, are the techniques truly good?  I do not think so.  While a beginner can get away with flawed performance, more advanced karateka cannot (or at least should not).  In kumite, these flawed movements can cause the loss of a point or, even worse, an injury.  And in a real-life self-defense situation, the lack of complete control throughout techniques could mean the difference between a very real success and failure.

Following are some examples of common flaws between (or before or after) techniques
• From ready position (either basic gedan-barai or jiyuu-kamae), the punching arm moves back before moving forward for the punch (increase of total elapsed time to target and giving away intention to opponent).
• When punching, blocking or striking, the shoulder of the attacking arm is raised momentarily (inefficient/excess use of energy and giving away intention).
• When kicking (mae-geri, mawashi-geri, yoko-geri), the foot is not brought up close to the body before extending into the target but instead drags close to the floor (results in smaller snapping motion and/or less direct movement toward target from the body’s center).
• Making only the final portion of a movement fast (reducing effectiveness and realism, allowing opponent more time to react).
• Lack of zanshin after completion of a technique (this “remaining spirit” is the awareness that allows us to more easily and quickly react to whatever might come next).

One of the most common problems facing many of us is the counter-productive use of exertion.  This could be physical, such as when tensing the muscles too early in an effort to put more power into the technique.  This could also be non-physical, such as frustration or over-enthusiasm.  In these situations, we may find that the final position of the body may be proper, and therefore on the surface look like a good technique.  But, in fact, the execution of the technique may have been completely ineffective and therefore the technique as well would be lacking.

 In an effort to better see our shortcomings I would advise periodically videotaping performance and evaluating not only the final positions of the techniques, but the entire range of the movements.  With digital video, this analysis can be done quite easily, as the slow-motion playback on a good digital video-camera can show crystal-clear picture quality.  We should try to be objective when watching our own performance and be open to the opinions of others who might also be watching.  As usual, we should be trying to improve our techniques and ourselves, not just looking good for a moment.

  Copyright © 2002, Jon Keeling

When stepping forward using zenkutsudachi (front stance, see August 2000 article), should we be pushing off the back leg? Or should we be pulling from the front leg? Or should we be doing a combination of both? Some people have some very strong opinions on this push/pull relationship, while others have not thought about it much, if at all.

Let's try some experiments to isolate the push and pull and look at their relationship.

Facing a wall with your front foot about 12-18 inches from the wall, push against the wall with your arms while in front stance and lift the front leg (this position also used in article on alignment, from March 1998). Notice that the forward thrust is essentially the same without the use of the front leg. The primary use of the front leg seems to be that of brake. Now, lift the back leg and push. There is probably not much forward thrust, if anything. In fact, you may find yourself falling back unless the weight of the body is shifted forward. This indicates that, at least in a stationary front stance, the back leg's forward drive is important and may be used as a major force for propulsion forward during stepping as well.

Next, stand away from the wall in front stance and, lifting the back foot slightly for a moment, move your weight forward and step to the front. Notice how much you "pull" with the front leg when stepping. (In precise biomechanics terms, "pull" is not entirely accurate, but is a good conceptual term.) If you practice this for a while, you can see that active involvement of the muscles of the front leg can provide a definite improvement in the speed of forward movement of the body during stepping.

Considering the above two experiments, it seems that there must be some pushing and some pulling involved in the forward stepping motion during front stance movements, or at least there should be during most situations. The question still remains, however, as to how much of each is involved.

One of the primary determining factors in figuring out the relationship between pushing and pulling is the distribution of weight forward/back. Try the second experiment again if you have any doubts. Try it with the weight further back that usual and then further forward and see which seems to utilize more of the pull necessary for this movement.

So, the pull seems to be a larger contributing factor the further forward the weight is distributed toward the front, right? Well, not necessarily. . . There comes a time when the use of the front leg is not as a "pull" as much as it is a "push."

Consider the sprinter. While a marathon runner starts from a standing position, a short-distance runner really relies on the initial thrust off the starting blocks. Not just low to the ground, the sprinter also starts with his feet on blocks against which he pushes forward to gain initial momentum forward. While the use of both legs is employed, the role of the front leg is probably more of a push than a pull. That this is more of a "push" than a "pull" is partially related to the fact that the sprinter has blocks off of which to push. In comparison, the karateka has just the floor off of which to push, which is not at such an advantageous angle in relation to the direction of movement. In addition, we should consider that the sprinter starts with the weight situated relatively far forward, more so than many karateka's front stances.

So, the further forward the weight is situated, generally speaking, the more of a part the front foot plays in moving the body forward. While the weight is behind the front foot, this can be considered a "pull." After the weight passes in front of the front foot (soon to become the back foot), the function shifts to that of "push." The push off the back leg (cannot be considered a "pull" any way you look at it while stepping forward) may be significant-actually likely the most significant part- but lasts for only a brief moment before the front leg takes over.

Also affecting the contribution of the back leg's push is the amount of flexion in the leg. If the back leg is perfectly straight, very little force can be applied by that leg. When straight, that leg depends solely on the muscles of the ankle and foot for forward thrust unless that leg is momentarily bent before the forward movement, which of course takes valuable time. It might also give away the intention of movement to the opponent and have other detrimental effects.

This relationship of push/pull depending on weight distribution applies to other stances and stepping types as well. When stepping back in front stance, the front leg pushes back to a very high degree, while the back leg "pulls," at least at the outset of the movement. When stepping forward in back stance (kokutsudachi, see October 2000 article), the back leg definitely provides the majority of forward thrust. While stepping back in back stance, the back leg pulls and the front leg's push is minimal, at least when performed according to proper Shotokan basic form.

In summary, both pushing and pulling forces occur while stepping, but sometimes significantly more of one than the other. Furthermore, what we think we are doing and what we are actually doing may differ greatly. I would hope that everyone will want to individually examine how the push and pull of the legs are utilized (or should be utilized) when stepping and how this relationship is affected by weight distribution and leg flexion. By better understanding these points, you should be able to make better use of the various forces involved while training.

Copyright © 2001, Jon Keeling

Most students of Shotokan learn about "C-stepping" within their first few classes as a beginner. "C-stepping" involves describing the shape of a "C" when stepping forward or back in zenkutsu-dachi (front stance). While it feels like an unnatural movement at first, over time this type of stepping becomes second-nature; so much so that we often forget that we do it, or why we do it.

"C-stepping" involves the moving foot coming to meet the stationary foot while stepping.  The point in the middle, when the feet are together, is referred to as heisoku-dachi.  Another way to step involves the moving foot travelling directly forward/back when stepping.  In direct-stepping, the point in the middle, when the feet are next to each other (but not together), is referred to as heiko-dachi.   Please see the following diagrams:

"C-stepping"                  "Direct-stepping"
                   

C-stepping while moving forward/back
The accentuated movement of the moving foot towards and away from the stationary foot can make the step more dynamic.  With a greater overall movement, all else held constant, the larger range-of-motion can help the movement become stronger.  The use of "contraction/expansion" is more dynamically employed in this action.   A side-benefit of this type of step can be the ability to step inside an opponent's guard more easily.  Also, when using kicks such as maegeri (front kick) and other stances moving forward/back, the moving foot almost definitely must come toward the stationary leg.  Considering all these points, it is almost universally considered advantageous to teach this type of stepping to beginners.  The only real question is, do we need any other options?

Direct-stepping while moving forward/back
The direct movement of the stepping foot means that, all else held constant, the time it takes to step should be reduced.  Even though C-stepping may be stronger, that does not matter if the opponent is fast enough to get in or out while this more time-consuming type of stepping is employed.  This type of stepping can be more efficient.  The intermediary position in this type of stepping (heikodachi) is also more stable than that in C-stepping (heisokudachi).  An opponent's well-timed foot sweep could much more easily take out both feet if the feet are placed too closely together.  Also, if things do not go as planned partway into the technique, having a wider base of support is more advantageous when considering alternative movements. Although there are many advantages to using this direct-stepping, it should be avoided when doing many basic kicks and stepping into certain other stances, and therefore its use is generally considered by most instructors to be reserved only for those who have relative mastery in the C-step.

C-stepping while moving in directions other than forward/back
The accentuation of contraction/expansion dynamic motion can become even greater when stepping in directions other than directly forward and back.  Starting with the left foot forward, stepping forward with the right foot to further to the right than usual, the foot moves in a longer path, making it a more dynamic motion.  If stepping forward to the left of the left foot, there really is not much option; the stepping foot must come to the stationary foot in the middle of the stepping motion.

Direct-stepping while moving in directions other than forward/back
While stepping to the left in the above example is obviously better done by bringing the stepping foot close to the stationary foot, stepping to the right may be better accomplished with a more direct route of the moving foot.  While a direct path may be less dynamic, the decrease in overall time for execution of the step may be worth it.   Also, as mentioned above, the widened intermediary stance provides for more stability in case things do not work out as planned.

How about something in the middle?
If there are advantages to C-stepping for certain situations and advantages to direct-stepping for others, what is wrong with doing something in the middle as a compromise?  Nothing.  C-stepping, direct-stepping and the entire range between them are all acceptable to me.  Of course for a given situation, one may be better than another.  And it also depends on what the point of the particular class is.   Overall, though, I believe the best way to step forward/back in front stance is probably somewhere between the two extreme examples examined above.  When in doubt, students should ask their instructor(s) which way is desired and/or if more than one way is acceptable.

Summary
As with many of my other theories, I believe that one should examine a variety of methods in order to understand and appreciate the advantages and disadvantages of each method.   Furthermore, what works well for one person may not work as well for another, due to differences in speed, size, agility, etc.   Being comfortable in a range of different methods should make one better able to deal with various situations.


Copyright © 2001, Jon Keeling

This is the third in a series of articles on the subject of basic Shotokan stances. For information about zenkutsu-dachi/front-stance, please see my August 2000 article. For kokutsu-dachi/back-stance, please see my October 2000 article.

General Stance Configuration

Kiba-dachi is usually the same length as zenkutsu-dachi (when facing the side), but with no significant width. The feet should be parallel to each other, with the knees just inside the line of the big toes.  The height of the stance is the same as zenkutsu-dachi and kokutsu-dachi.  The torso's position is exactly in the middle of the two feet. As with the front- and back-stances, I will not discuss hip movement/rotation in this article. There is some limited hip movement possible with this stance. But I am only concerned with a straight hip position at this time, as this is the method employed most often during basics and kata.

Strength, stability and mobility
In this basic position, the stance is relatively stable and strong toward the sides, but not to the front. Moving from side to side can be done relatively quickly, if the aim is to move only a matter of inches, using a shift or shuffle of the feet.  To move greater distance the sides, using steps (either cross-over or alternating), these movements become more awkward and unstable.   Moving forward/back while in this stance (in the direction the torso is facing) is unrealistic.  But using this stance while defending/attacking to the front/back is more practical.


Variations

Moving weight forward/back or to one side, feet  further apart, feet angled further out/in than 90-degrees, higher/lower stance, knees facing other than the same direction as the toes…

Strength, stability and mobility
As the feet move further apart from each other, the stance may become more stable (to a certain point).  When the feet are situated closer to each other, mobility may be enhanced. With the feet angled out further, movement to directions outide a 90-degree range become more easily attainable, with a resulting diffusion of power and control.


My Theory

Some instructors will describe side stance as being as wide as front stance is long (twice the width of the shoulders).  Others will desribe the distance between the feet as being the same as in front stance (the diagonal between the feet is a greater distance in front stance than the length of the stance).  I believe that the proper range for the width of the side stance is between these two measurements.  More specifically, I think that the stance should be wider or narrower at different times; not always the same distance between the feet.

While facing the front, it makes sense to keep the feet closer together, in order to (a) increase mobility and (b) better align the knees with the feet.  When moving to the side, it makes sense to keep the feet further apart to (a) increase stability to the sides and (b) better align the knees with the feet.

Huh?  How can the alignment be better in both situations?  Please see the following photos:



In the example on the left, the stance is performed roughly as most commonly practiced by Shotokan practitioners  in modern dojo.  In the example on the right, it is performed closer to the way it was practiced 50+ years ago, at Shotokan's early stages (the feet were actually even closer together when Funakoshi first brough his version of karate to the Japan mainland in the first half of the 20th century).   Both have relative advantages and disadvantages.

In the example on the left, the feet are further apart and the knees are situated such that a line drawn down to the floor from them would end significantly inwards of the feet.   In the example on the right, the feet are closer together and the knees are almost directly over the feet.  The knees are actually in almost exactly the same position in both examples.  But, due to the position of the feet, the relative position of the knees compared to the feet changes.

With the feet wider, the imaginary line drawn between the feet and hip comes close to where the knees are.  With the feet closer, the knees are further from this line.   What this indicates is that when pushing toward the sides (shifting or stepping), the stance is more stable and powerful. 

With the knees situated inwards of the feet, the legs are not in as good position to direct power or move to the front or back.  To change quickly and correctly to front-stance or back-stance while moving to the front or back from side-stance (as opposed to shifting in place) would be better accomplished by placing the knees directly above the feet (more specifically, situating the knee directly above the line projecting forward from the toes of the feet).

Thus, for movements or techniques to the sides, the wider version is probably better.   For movements or techniques to the front/back, the narrower version is probably better.


From Static Positions to Moving

While it is important to study the static stances, it is also important to realize that, in reality, one should not expect to remain in any one stance for more than a second or two at a time. Stepping, shifting, turning, rising, falling and other motions come into play from the basic stance. One should consider options from the static stance. Some of the variables mentioned above may become even more important when considering what comes before or after. This can be further complicated when considering movements to directions other than directly to the front, back or sides, or combinations of directions in succession.


Summary

There are obviously many factors that should be considered when evaluating what an "ideal side stance" might be. I suggest experimentation to determine what is both best for you as an individual in an ideal situation, as well as what might be best considering the variables involved. There are accepted variations. But there are some variations that may not be advisable or accepted. As usual, for students, I suggest further discussion with your instructor(s) for clarification and more physical examples. For instructors, I hope this helps promote further technical study and possibly provide new ideas on what/how to teach or explain technique to students. As always, feel free to contact me with questions or comments.


Copyright © 2000, Jon Keeling

Most of the JKA-style practitioners who are reading this article, at least those who have been at it for at least a year or two, have heard of "hip vibration." I am quite sure that some non-JKA Shotokan practitioners have also heard the term. Whether or not the hips move during techniques that are described as using "hip vibration" is not an issue. They move. How and why they move, however, are issues I would like to address here.

Some people, after hearing about and seeing "hip vibration," will put much effort into this action. While there may be good reason to think about this action, it would be worth taking some time to think about what is actually happening (or, more appropriately what should be happening) during this action. "Hip vibration" is not merely an extraneous horizontal swing or jiggle of the hips. And it is not something completely esoteric, either.

The usual way in which the hips "vibrate" during a punch involves the hip on the side of the forward leg moving towards the target first (or, sometimes, the hip of the back leg moving back). Then, the back hip is immediately forced towards the target. This quick, one-two action is the normal physical action referred to as "hip vibration." Sometimes, such as during blocks, the hip action occurs the other way around. Basically, the hips move horizontally toward the opposite of their final position, then are quickly snapped into their final position.

So, it is as easy as moving the hip one way, then the other, right?

Wrong. There is more to it. And there is less to it, depending on how you look at it…

While the above is the normal physical movement that we witness during techniques using "hip vibration," I would say that this is more of a reaction to something else. The way I see it, the primary force causing this "hip vibration" is not as much an intentional hip swing, as an application of "dynamic tension."

What is actually occurring in the hips during this movement is a result of a relaxation of the hips, lower torso and upper-leg muscles, followed by a tensing of the muscles of this region. When we relax those muscles, the hips naturally turn towards a position between the extremes of shomen and hanmi (hips front and hips to the side), to a neutral position. We relax these muscles, then quickly tense them as we assume our final, less-natural hip position, at the extreme of either shomen or hanmi hip position. The resulting physical action is what we see as "hip vibration."

If we are simply trying to make a large movement of the hips to add horizontal power to a technique, then we are probably better off using larger hip movements, instead of this "vibration." The purpose of "hip vibration" is not so much to add rotational force to a technique. I would actually say that there is no purpose to it at all; it is a side-effect. It is more a result of an action aimed at efficient motion. Through relaxation, during the first part of the movement, we should be able to increase speed and be able to more naturally react to unknown stimuli. Through tension, during the final part of the movement, we should connect the various body parts together (muscles binding solidly to each other through and around the joints) as they come to a stop. The energy conserved while relaxing can then be utilized during tension, to create "dynamic tension," a sharp contrast between relaxation and tension of the muscles of the hip region.

In summary, I would stress that when thinking about "hip vibration," it is probably better to think of the contrast between relaxation and tension than to think about the physical movements of the hip itself.

See the following articles for more on tension/relaxation:
• February 1998 (Tension vs. Relaxation)
• May 2000 (Tension Timing: Part I)
• June 2000 (Tension Timing: Part II)
• July 2000 (Tension Timing: Part III)

See the following article for more on hip rotation:
• December 1999 (Hip Rotation?) 


Copyright © 2000, Jon Keeling

This is the second in a series of articles on the subject of basic Shotokan stances. For information about zenkutsu-dachi/front stance, please see my August 2000 article. I will review other stances in future articles.



General Stance Configuration

Kokutsu-dachi is the same length as zenkutsu-dachi, but with no significant width. The forward foot should be pointing straight ahead (towards the opponent) with the rear foot perpendicular to it, knees of each leg pointing in the same direction as the foot. The front leg is only slightly bent. The back leg is bent nearly to the extreme. The weight should therefore be situated in excess of 80% towards the back foot. This stance is usually considered more "defensive" than the front stance. As with the front stance, I will not discuss hip movement/rotation in this article. There is some limited hip movement possible with this stance. But I am only concerned with an open hip position at this time, as this is the usual method employed during basics.

Strength and stability
In this basic position, the stance is relatively stable and strong. More specifically, the torso's position above the back leg is set very well. It is not that the front leg is very strong/supportive, because it is not. The reliance on the support of the rear leg allows the front leg to move without greatly affecting the rear leg and torso positions. As the front leg is not bent much, unintended movement of that leg would not greatly affect the position of the back leg and torso. This is perhaps one of the most important points to keep in mind during practice of kokutsu-dachi. There is not as much of a commitment (in terms of torso positioning) as there is with zenkutsu-dachi, although it is still a relatively strong position that could quickly change to the even stronger, more fully-committed zenkutsu-dachi if needed.

Mobility
As with the front stance, this stance is also especially suited for movement to the front and back. Back stance provides more mobility to the sides than the front stance, due to the rear foot's angle to the side. But it still takes some time for transition to the sides, due to the fact that the feet are in one line (to the front/back).


Variations

Moving weight forward/back, feet wider or further apart, feet angled further out/in than 90-degrees, higher/lower stance, knees facing other than the same direction as the toes…

Strength and stability
As the feet move further apart from each other, the stance may become more stable (to a certain point). With the weight closer to the center (as described by the torso's position relative to the feet), this may provide for greater stability of the front leg. Although this may be desirable at times, one of the defining characteristics of kokutsu-dachi is the inherent stability of the back leg in particular. With the weight forward, the stability of the back leg is diminished.

Mobility
When the feet are situated closer to each other, mobility may be enhanced. With the feet angled out further, movement to directions outide a 90-degree range become more easily attainable.


From Static Positions to Moving

While it is important to study the static stances, it is also important to realize that, in reality, one should not expect to remain in any one stance for more than a second or two at a time. Stepping, shifting, turning, rising, falling and other motions come into play from the basic stance. One should consider options from the static stance. Some of the variables mentioned above may become even more important when considering what comes before or after.

Another point worth consideration is the relationship between the pull and push of the legs. Do you pull from the front leg, or push from the back leg when stepping forward? Or do you do both? If you do both, is it both at the same time, or first pushing, then pulling? Or perhaps push, pull, push? There are, of course, acceptable variations. But, generally speaking, there should be a combination of both pushing and pulling forces at work during the stepping motion. If the weight is further back, the reliance on the push portion increases, vis-à-vis the pulling action, at least for the initiating action. Likewise, when stepping back, the importance of the push off the front leg decreases, in relative terms, as the weight is situated closer to the back than the front in back stance.

The above can be further complicated when considering movements to directions other than directly to the front or back.


Summary

There are obviously many factors that should be considered when evaluating what an "ideal back stance" might be. I suggest experimentation to determine what is both best for you as an individual in an ideal situation, as well as what might be best considering the variables involved. There are accepted variations. But there are some variations that may not be advisable or accepted. As usual, for students, I suggest further discussion with your instructor(s) for clarification and more physical examples. For instructors, I hope this helps promote further technical study and possibly provide new ideas on what/how to teach or explain technique to students. As always, feel free to contact me with questions or comments.

Copyright © 2000, Jon Keeling

Why do most Shotokan practitioners practice basic kumite using only a few techniques repeatedly? While repetition can be a very good way to ensure a technique is recalled in an emergency situation, that one technique or variation may not be ideal for every situation. I advocate varying the techniques trained during kumite training. However, I believe the variations should be practiced in a controlled manner, limiting techniques to only the most basic until at least the intermediate level (brown belt).

Some dojo/organizations now require participants to perform different counterattacks when doing kihon kumite (basic sparring) during exams and tournaments. Failure to do this results in failure/disqualification. While I agree with encouraging people to use different techniques, they must be properly applicable, or it is pointless. If only one technique would suffice, there is no need to do any others. But those performing exactly the same technique every time should realize that this can be unrealistic.

I was once (perhaps more than once, now that I think about it) posed with the question of why we do not use more kokutsudachi/shutouke (knife-hand block in back-stance) and nukite (spear-hand strike), specifically, during normal kumite practice. As these moves are used often in kata, the student thought that we should want to use these techniques more often in sparring. In addition to their abundance in kata, most Shotokan dojo often include basic training exercises (kihon) that include a combination of those two techniques. So why not add these techniques to kumite training?

Most of us rarely use back stance (or other stances than front stance) when doing kumite. I believe in using different stances for kumite training, as well as different blocks and attacks. We must not rush to make variations, however, understanding what is to be accomplished in kumite training. We are working on the most fundamental techniques. Only after many years of training in these basic techniques should we expect to be able to expand our technical arsenal considerably. In many other martial arts and even other Karate styles the approach may be different. But in Shotokan the theory is that we should practice just a few basic techniques over and over until they become part of our subconscious or unconscious, so we can use them without having to think. That we almost always only use front stance in kumite is, in my opinion, a bit odd. But that we use only a few attacks, for at least the first year or so, seems completely logical. For more on kumite variations, please see the following articles: Dec ’98, Apr ’00.

We practice a wide range of different techniques (grappling, etc.) in our kata, which we almost never practice with a partner in class. (For more on kata application, please see my article on that subject.) Some of these techniques are not given much training time outside of kata because they are very limited in their applicability (e.g. only if someone grabs you in a certain way). Other techniques are included more as a training tool than anything else.

For example, the original application of the technique we now refer to as nukite is most likely much different from how it is described these days. It is really much more a training tool today than an easily applied self-defense technique (which it may have been 100 years ago, when the application was different). Do you really think your fingers would hurt any less than your opponent's abdominal muscles if you tried to apply such a technique? It is silly to expect to be able to use such a technique in a realistic encounter.

But think about all the related techniques; a vertical punch is not that much different, shuto-uchi, haito-uchi...It is a very believable theory that supposes the originally intended application for what is now nukite was a choking strike to the neck, used quite often even today in Sumo competition. By working on the principles involved in this technique (use of hip rotation/vibration, timing of various body parts, etc.), we are training many techniques simultaneously. This is the core of Shotokan training. Work on the basics (a few techniques) until they are solid and natural. Then, move on to apply the same principles to new, related techniques. Nonetheless, nukite is generally not a very good technique for self-defense application, directly applied.

There are reasons for the way we practice Karate. Some are obvious. Some are not. We should strive to discover what is directly applicable to a realistic encounter, what is a training tool, and what is simply for show. By understanding the purpose of a given training exercise, more can be gained from it.

Copyright © 2000, Jon Keeling

This is the first of a series of articles on the subject of basic Shotokan stances. I will review other stances in future articles. (I did review the "free-stance" in my January '98 article. But as that stance is open more to individual interpretation, my analysis of than stance was a bit different than in this series.)

Zenkutsu-dachi is the most common basic stance utilized in Shotokan practice. In many training sessions, this stance may be used more than all others combined. It is obviously a very important stance and worth some study.



General Stance Configuration

In general terms, the feet are situated roughly twice as far to the front as to the sides. Often, instructors will tell students that the stance should be two shoulder-widths long by one shoulder-width wide. Many students (especially men) misinterpret this and measure the width of the shoulders to extend all the way to the edge of the muscles around the shoulder, and place their feet at or outside of this width. In defense of some students, many instructors do not correct their students' inaccurate measurements, as they also may have misunderstood when they were students. Perhaps those instructors' instructors also did not clearly explain to them that this may be too wide (more on why this may be considered "too wide," below). Measurements such as this should be taken between joints. The side-to-side distance between the ankles should be approximately the same as the distance between the shoulder joints. Another way to measure is in multiples of the length of your foot (1-1/2 x 3). Ultimately, though, there are acceptable variations depending on a multitude of factors, including flexibility, desired mobility vs. stability ratio, and relationship with the opponent(s).

So, what is ideal if it is not the basic 2 x 1 stance configuration? How do we know if we are too low or too high while performing our front stances? (when in doubt, most of us are probably too high) How do we know what is a good blend of stability and mobility?

Let's briefly review the idea of alignment, which I covered in detail in my March '98 article. Place the legs such that the back leg is stretched and the front leg is bent to where the front of the knee is over the front of the toes, 2 shoulder-widths long by 1 shoulder-width wide. (A common mistake is to push the front knee out too far to the outside; please see my article on inside/outside stances for more on that subject). With this stance configuration, the intersection of the lines described by the lower portion of both legs should intersect roughly where your punch would meet the target directly in front of the body, with the arm fully extended, at around chest level. If this is not where the intersection of these two lines is, according to proper alignment theory, the stance should be altered. Many people cannot situate their legs to conform exactly to the ideal front stance (especially when considering that the feet should both be pointing directly toward the front, with the knees and toes always pointing the same direction). Depending on one's limitations in flexibility, agility and strength, "perfect" technique may not be attainable. But it is probably a good idea to at least strive toward these goals, realizing what is given up by each compromise.

Strength and stability
Proper alignment, as described above and in my March '98 article, provides us with strength and stability by placing us in a position that is structurally sound.

Mobility
While you may be more mobile in a higher stance, what is lost in stability will often make this added mobility unworthy of the lack in strength/stability. The properly aligned stance is usually a good balance, providing both mobility and stability


Variations

Now, let's consider how changes in length, width, height, foot angle and weight distribution effect the stance. Some of these points were already brought up in my January '98 article, which considered variables in the "free" stance/kamae.

Leaving all other variables as they are, try changing the front stance such that the distance between the feet is more or less than 2 shoulder-widths, when measured front-to-back. Separately, try altering the distance between the feet side-to-side. Then, don't bend the front knee so much. Try bending both legs more. Try spreading out the directions the feet point; then turn them in towards each other. Finally try varying the position of the hips/torso in relation to the feet (proper alignment dictates roughly 75-80% weight distribution toward the front). Study of these variations should help you to determine what part each variable plays in making a good stance, as well as to figure out how you may want to alter your stance from the most basic version for certain circumstances or considering your physical abilities or limitations.

Strength and stability
When is the stance strong or more stable? Probably when the base of support is wider (to a certain extent, anyway). When the feet are closer together, some stability is generally lost. How does weight distribution effect stability? It depends on what angle is being considered. With the torso situated further toward the front, the stance is usually more stable to the front.

Mobility
How about the ability to move within/from the stance? When the feet are closer together, you may be able to move faster. When the feet are apart, you are generally slower. Weight distribution effects again depend on the angle in consideration. When the feet are both facing forward, the performer of the stance is probably both stable and mobile towards the front. But what about to the sides? For this, perhaps the feet should be angled outwards (also discussed in January '98 article and to be discussed in the upcoming article on back stance).


From Static Positions to Moving

While it is important to study the static stances, it is also important to realize that, in reality, one should not expect to remain in any one stance for more than a second or two at a time. Stepping, shifting, turning, rising, falling and other motions come into play from the basic stance. One should consider options from the static stance. Some of the abovementioned variables may become even more important when considering what comes before or after.

When stepping forward/back, there are generally two methods of foot movement taught to Shotokan students. In one method, the moving foot comes inwards to touch (or nearly touch) the unmoving foot. This is sometimes referred to as "C-stepping," referring to the shape of the course the foot takes. In the other method, the foot moves directly forward/back in a straight line, without coming in to meet the unmoving foot. There are advantages and disadvantages to either method, depending on many factors. Also, these two methods can obviously be blended, such that the moving foot moves only partway inward.

Another point worth consideration is the relationship between the pull and push of the legs. Do you pull from the front leg, or push from the back leg when stepping forward? Or do you do both? If you do both, is it both at the same time, or first pushing, then pulling? Or perhaps push, pull, push? There are, of course, acceptable variations. But, generally speaking, there should be a combination of both pushing and pulling forces at work during the stepping motion. If the weight is further forward, the reliance on the pull portion increases, vis-à-vis the pushing action, at least for the initiating action. Likewise, when stepping back, the importance of the push off the front leg increases, as the weight is situated closer to the front than the back in front stance.

The above can be further complicated when considering movements to directions other than directly to the front or back. Those used to "C-stepping," for example, may find it easier to change direction midway through the step, as compared to those used to always stepping directly forward and back. Those wishing to be stronger to the side may want to assume a wider stance. While those who want to be prepared to shift or shuffle their feet quickly may want to bring their feet closer together. But, while training in front stance, there is a standard that we should keep in mind. "Free stance" is free. Front stance is not.

Summary

There are obviously many factors that should be considered when evaluating what "ideal front stance" might be. I suggest experimentation to determine what is both best for you as an individual in an ideal situation, as well as what might be best considering the variables involved. There are accepted variations. But there are some variations that may not be advisable or accepted. As usual, for students, I suggest further discussion with your instructor(s) for clarification and more physical examples. For instructors, I hope this helps promote further technical study and possibly provide new ideas on what/how to teach or explain technique to students. As always, feel free to contact me with questions or comments.

Copyright © 2000, Jon Keeling

Part 3: Trajectory

In Part 1 of this series on Tension Timing, I discussed the differences in tension timing; Braking, Reversing and Flowing. In Part 2, I described why certain timings might be more suitable for certain targets, using examples of the head, the body and the knee. In this article, I will review how certain tension timings may be more suitable for certain weapon (e.g. fist) trajectories.

Linear
Techniques involving linear projection of the weapon often benefit from Type I (Braking) focus, or a combination of Type I and Type III (Flowing). Imagine a battering ram. To snap back this battering ram quickly as contact is made would probably not be as effective as slamming into the door with no recoil. With the battering ram, we do not expect to smash through in one try. So the brakes are applied to keep us from flying into the door ourselves, when forward momentum of the ram is abruptly halted. At the point where we know the ram can knock down the door, we may instead decide to plunge through in a more flowing motion. Similarly, a linearly projected punch or kick could stop abruptly at the target, or follow through. In most cases, the brakes would be applied at impact, as we do not usually know if we can really push through the target, or if that is even a desirable outcome.

Arc
Projecting the weapon in an arching motion is usually benefits from incorporating Type II (Reversing) focus. With this trajectory, the weapon (hand/foot) revolves in an arch around the corresponding joint (e.g. elbow/knee) and strikes at or near 90 degrees as related to the base of projection (e.g. the direction the elbow or knee faces). The weapon is usually retracted in a similar path after contact is made with the target.

Curvilinear
Curvilinear (somewhere between a straight line and an arc) is usually the best way to utilize Type III (flowing) focus. Often, this type of trajectory involves the weapon travelling a large distance, much of it relatively far from the body center, such as during ashibarai (foot sweeps).

Combining trajectories
As with the types of focus, trajectories can be blended. A common example is the usual employment of the front "snap" kick most Shotokan instructors expect of students when stepping forward. In this kick, the arching motion is timed with a forward thrust of the hip such that the trajectory straightens out considerably, thereby turning the arching motion into a more curvilinear one. It should be noted in this example, however, that there are both linear and arching motions at work. In the typical foot sweep, there is no real snap involved; thus I do not consider it a combination of trajectories, per se.

Trajectory Applied

Thrust
A thrusting technique is one that involves a linear trajectory of the weapon. More specifically, the weapon's trajectory is not only straight, but straight from close to the center of mass of the attacker projected directly into the target. Usually, this type of trajectory employs Type I (Braking) focus.

Snap
Snapping techniques are those that employ arching trajectory. There are plenty of "snappy" techniques, which use a quick pull-back timing-Type II (reversing). But some of these techniques actually utilize curvilinear projections of the weapon. A pure snap involves very limited motion of the joint around which the weapon revolves, not thrusting that joint (elbow/knee) towards the target.

Sweep
Sweeping techniques use curvilinear trajectory of the weapon. Usually, this type of trajectory employs flowing tension timing. Sweeping trajectory can be used for arm techniques as well as leg techniques and is usually used when performing takedowns.


To be continued
Although this concludes my three-part series of web articles, there is much more to the study of tension timings, trajectories and related subjects. These articles are merely short synopses of my research. For much more in-depth analyses, please contact me for updates on my research, including the idea of the publication of a technical manual on the subject.

Copyright © 2000, Jon Keeling

Part 2: Target-Specific Technique Application

Some Karate people will insist that there is only one way to punch (or kick, etc.). Some will argue that the only good punch is one that involves a coordinated tension of the muscles throughout the entire body at the moment of impact. Others will argue that all that matters is the speed of the fist. My view is that it depends on many factors, and these factors may change in importance depending on the situation. The factor I would like to discuss here is "target-specific application."

When considering the muscular tension/contraction levels and timings involved in a punch or kick, we should really consider what we would like to accomplish with that punch or kick. Do you want to simply discourage further attacks from the opponent? Do you want to knock him off balance? Cut him? Knock him out? Some of these options are not even considerations for certain target areas. For example, it is unreasonable to try to knock someone out with a kick to the knee.

Looking at various parts of the human anatomy, we can see that there are many types of possible targets. Some parts, such as the torso, do not move much in reaction to a light attack. Other areas, such as the ends of the appendages, can move a great deal when struck with relatively little force. For different levels of reactive movement, doesn't it make sense to use different types of attacks? Should we really use the same type of punch for the head as the body? And the same types of kicks to various targets as well?
Below, I will review three common target areas and what type of technique applications work well on each and why. Please note that I am providing this information in consideration for practical self-defense application. I am not advocating testing out on others what I describe here. Use of practice targets, such as heavy bags and makiwara, may be used to experiment with these ideas, to simulate reality, but should only be done under the supervision of a qualified instructor, beginning with slow, soft movements.

Target: the head
The head can be moved much further as a result of a blow than the body can. But it will not be moved quite as easily as a target such as a knee. There are many ways to inflict damage to the head. One way is to strike quickly with a snapping motion of the striking limb, concentrating on speed more than sheer power. The defender's striking weapon (fist or foot) could come at the target in a non-linear path, as this type of trajectory is more condusive to a quick pull-back after impact, which provides for effective transfer of momentum. The resulting jarring motion of the skull can, through this inertia, cause concussion. Concussion is caused by the brain moving within its skull casing. The head is not moved so great a distance. But it is moved. And it is moved quickly.

Target: the body
The body cannot be moved much without a strong blow. With the exception of certain key areas, such as the "solar plexus", a fast fist or foot alone may do little damage to a large, strong body. For a strike to the assailant's body, the striking limb should probably be attached more rigidly to the defender's body through muscular tension timed to coordinate with impact. A thrusting trajectory best suits this type of coordinated tension and also provides for the large amount of transfer of momentum required to move the body. This is because the thrusting action involves a projection of the weapon directly from the defender's body center. The body is thus moved (or at least part of it is, in what is sometimes referred to as "folding"), albeit less quickly, through this type of technique application.

Target: the knee
The knee can be moved much more easily than the head or body, especially if struck from the side. Because it is relatively easy to move, having a very powerful or quick attack is not as important as the control of the depth of the attack. For such an easily moved target, a sweeping movement of the weapon might be best. By sweeping the foot into the side of the knee, not tensing the muscles of the leg as when kicking the body and not snapping back as when striking the head, the knee can be controlled more easily.


Any technique in Karate can use any of the three types of muscular tension timings I detailed in Part 1 of this series. Which timing you use may depend on many factors, target type being perhaps one of the most important. In general, some techniques work much better using one specific type of tension timing (for example, a side-snap kick only really works well with a Type II/reversing tension timing). Other techniques may work well with all three (for example, a back-fist strike). The important thing to consider is that there is more than one way to perform/apply any technique.

In Part 1 of this series on Tension Timing, I discussed the differences in tension timing in more detail. In Part 3, I will discuss trajectory in more detail.

Copyright © 2000, Jon Keeling

Part 1: The Basics

I provided an introduction to the difference between tension and relaxation in my Feb98 article. Part 1 of this 3-part series will expand on this idea and take it to a higher level. In the Feb98 article, the emphasis was on creating a distinction between tension and relaxation. This article deals with the timing of the changes between muscular tension/contraction (Note: I will use the term "tension", for the most part, in this article series, but it should be noted that there is a difference between the terms and that contraction is often the more appropriate one.  I use the term "tension" more because it is a more commonly understood term and many readers of these articles are not native english speakers) and relaxation involved in a given technique. Generally, these tension timings are referred to as "focus" or "kime," especially in type I, below. It should be noted, however, that both the English and Japanese terms can refer to more than a description of physical movement alone. In this series of articles, I am only concerned with the physical movements.

There are three general types of tension timing. Each type can be utilized with any Karate technique. Some techniques, however, may work better with one type than another. Please note that the terminology I am presenting below is my own. As this is a subject rarely discussed in any detail in Karate, specific terminology has yet to become universal. Please also note that I am primarily concerned with the muscles of the attacking limb (and, for the case of arm attacks, the upper torso) in this analysis, as the amount of tension in the stance and lower torso are generally relatively uniform throughout the technique.

1) Type I: Braking
"Slamming on the brakes" in the muscles (tensing) of the moving appendage (for example, the arm), as with a car, decelerates the weapon (for example, the hand) very quickly. This is basically what I described in the Feb98 article. This type of focus is the one normally used for most blocks and punches, as well as thrusting kicks, as performed in basics. The idea is to set a target, reach it with the weapon, stopping just at the target. Relax as the weapon approaches the target, then tense into impact. The connection of the entire body through coordinated tension generally plays a more important role in this type of tension timing than it does for the others.

2) Type II: Reversing
This timing is as in shifting a car into reverse just before reaching the forwardmost point. The limb is relaxed until just prior to impact. At and just after impact, the muscles tense in such a way as to bring the weapon away from the point of impact quickly. The speed at impact is usually greatest with this type of focus. This type of focus is usually what is used for snapping kicks, as well as some strikes and some punches. The idea with reversing is to reach the target quickly, immediately returning after impact. The return actually starts before impact, similar to the way a whip is yanked back just prior to full extension. The tension begins just prior to impact and continues through during the pullback. Total body connection is least important with this type of tension timing.

3) Type III: Flowing
Flowing through the target is similar to taking the foot off the accelerator after reaching top speed, but not touching the brake. With this timing, the tension lessens following impact, having gradually increased tension up to that point. This type of focus is often employed when performing foot sweeps, as well as most Aikido and Judo techniques. To follow through after making contact is the idea. So enough tension must exist going into impact to keep the technique moving, along with the target it just struck. That tension then declines in a controlled manner, based on how far the target is intended to be moved.


As many of the more advanced practitioners already know (even if they haven't studied the mechanics in detail), the above three types of tension timing can be blended. For example, a block could strike the attacker's wrist with the intention of moving that limb far out of the way in such a way that the move combines Type I & III tension timings. The attacker's arm is moved a large distance (not just a couple inches, as with a basic block). But that distance is controlled and culminates with a tense blocking arm. Using the car analogy again, it is like holding the foot on the accelerator while running into an object, then braking quickly after pushing the object the desired distance.

In Part 2 of this series on Tension Timing, I will discuss how a specific tension timing may be more suitable for a given target. In Part 3, I will discuss trajectory in more detail, and how certain tension timings relate to certain trajectories more effectively.


Copyright © 2000, Jon Keeling

Breathing is obviously important when doing Karate, as it is in everyday life. If you do not breathe, you do not live. Although it is obvious that we must breathe, how we breathe can change significantly. And the way we breathe, in turn, can significantly impact how we do things.

There are those instructors who will try to convince people that there is only one correct way to breathe for each particular movement or technique. There are others who will tell you to simply breathe naturally all the time. My view lies somewhere in the middle.

Inhaling/Breathing in
This portion of the breathing cycle often provides a lighter feeling when timed with the execution of a technique. When the lungs are filled with more air, the density of the body is lowered. Also, lightness may result from the muscles of the torso being stretched and thus more difficult to tighten. Try breathing in while relaxing the muscles of the torso (especially the chest) and compare this to breathing in while tightening these muscles. Relaxation of these muscles should better facilitate the inhalation.

Exhaling/Breathing out
Timing the execution of a technique with this part of the breathing cycle gives a heavier feeling. As the lungs force out the air, the overall density of the body is raised. With the muscles of the torso less stretched, they can more easily be tightened. Timing the tension of other muscles of the upper body with the tension of the muscles involved in the exhalation process is probably more natural than as with inhaling.

Holding/Not Breathing
Depending on the condition of the body/lungs at the time the breath is held, this could provide for a lighter or heavier feeling. As noted above, however, the timing of the tension of the torso muscles can influence the ability for other muscle groups to coordinate their tensions. Thus, not only is the condition of the lungs important, but the timing of the change of air flow as well.

Combining Breathing Types
Try performing a block/counter combination, such as ageuke/gyakuzuki, using the following breathing patters:
• Inhale/exhale
• Inhale/inhale
• Inhale/hold
• Continuous inhale

Repeat; beginning each combination with an exhalation, then using combinations with holding. How do these breathing patterns change the feeling of your technique, if at all, when you use different patters?

Experiment with incomplete breaths. For example, the inhale/inhale combination must either include an exhale in between the inhales or consist of two smaller inhales with a slight pause in between. Please note that this type of practice can lead to hyperventilation if done to excess.

It should be noted that there really is no one correct way to breathe when performing a given technique. There are sometimes ways that are better for certain situations. But you can never really be wrong, unless you hold your breath and keep holding…

Most Shotokan practitioners familiar with the kata Hangetsu have probably already thought about the breathing pattern for the opening moves. Should we breathe in and out on each technique? Or in on the blocks and out on the punches? I was first taught to breathe completely in-and-out on each and every technique throughout most of the kata. Then, when training with Nakayama Sensei in Japan, he told us to breathe in on the blocks and out on the punches. (He also told us to hold our breath during two of the moves, which I had never before considered as acceptable.) After years of training both of these ways and others, I would say that each way can work well, if done with the correct state of mind.

The difference in power between one type of breathing pattern and another may be substantial for some people. It may be minimal for others. Sometimes, it should be noted that psychology does play a part.

For example, the timing of arm tensions with the tension of the torso more naturally occurs while exhaling, connecting the torso and the arm through the muscles of the shoulder area. If you desire arm tension when punching, timing the culmination of breath and punch may be a good idea. But what about when kicking? The tension of the leg should not be effected by the tension of the torso and vise versa. This point was touched upon in previous articles on alignment and relaxation/tension. The muscles involved in tension are those situated between the point(s) of support (where the feet touch the floor) and the point of contact (through the striking appendage). Thus, the timing of the breath in relation to the execution of such a kick should not be that important, unless a follow-up technique is being considered, as the muscles between the points of contact at the floor and target only encompass the legs and hip area. If there is any perceived benefit in timing the kick with the exhalation, it must be primarily psychological.

Summary:
I believe it is possible to breathe various ways when doing Karate. There is no one correct way for any technique. There may, however, be some ways that are better than others, at least for certain situations. As always, I advocate experimentation and individual thinking.

For more on breathing in kata, try to get your hands on a copy of Advanced Karate-do, by Elmar Schmeisser.

For more on tension timings, see my series of articles on the subject:
May 2000
June 2000
July 2000


Copyright © 2000, Jon Keeling

Most people who have been training in Shotokan (and a few other styles of karate as well) for more than a couple years have probably heard of the idea of "turning on the heels." I have heard the topic brought up many times. But it seems to me that the ramifications of this kind of practice are not always clearly understood by the student, and sometimes not even by the instructor. Never one to simply "shut up and do it," I have thought about this subject a bit and would like to share my thoughts with you here.

Connection to the floor
Is the idea of "connection to the floor" merely that-an idea? Is this simply a mental picture to help us keep low throughout the stepping and shifting movements?

Although it can be a great mental picture, it can also be very real. If the heels are off the floor, the body does lack some physical connection to the floor. The heel being up, by itself, does not directly cause much more of a lack of connection than some reduction of friction, as less of the foot is then touching the floor. But, indirectly, the hips often have a tendency to rise when the heel is up, or to stick out/back. This can cause a lack of stability relating to the body's "connection" to the floor.

Speed
Is speed actually greater with the heels down? In some cases, yes. In some cases, no. I suggest experimenting individually, as flexibility, strength and other related factors vary from one person to another. Also, in trade-offs between speed and other factors, sometimes a slight loss of speed is OK if, for example, stability or strength is enhanced.

Control
In almost all cases, heels down may provide for better control in the same way that it provides for connection to the floor, as suggested above. As discussed in the article on spinning, when the moving parts of the body are closer to the center, there is more control. Having the leg more compact with the heel down can often help increase control throughout the move, as this usually helps keep the moving parts of the body closer to the axis of rotation. Furthermore, control is enhanced by the use of proper joint alignment, which is more easily attained while turning on the heel.

Efficiency
Are moves done more efficiently with the heels down? Again, it depends on the type of movement. Sometimes, there is more mobility with the heel up. Sometimes, there is more control with the heel down. Again, I suggest experimenting individually, as there is no clear-cut answer.

When to pivot on the ball of the foot
Although some instructors will say that you should always pivot on the heels, this is not entirely correct. For some moves it is better to pivot on the ball of the foot, for at least a portion of the turning motion of the foot. During a standard ushirogeri (back kick), for example, pivoting on the ball of the foot adds distance to the kick and is for most a more natural movement as well. For a defensive shift/step away from the opponent, a heel pivot may not work as well for one of the same reasons it works well for stepping/shifting forward; it encourages more movement forward.

Practical application and kata stepping
If we examine the moves of kata, a great majority of the turns should be performed with the heel as the pivot. It should be noted, however, that many of these moves are relatively unnatural and/or impractical. Who would perform the 3rd move (turn to right into gedan-barai/zenkutsu-dachi) in Heian Shodan as it is in the kata, if the intention of that move is to block a kick or punch aimed at the midsection? More likely, for self-defense, one would move away from the opponent with the block, or at least remain in roughly the same place, as opposed to moving into the attack (assuming the application we are considering is a block). While the move as done in the kata should use the heel as pivot, a more practical backwards shift might better use the ball of the foot as the pivot. As is often the case in kata, the method of execution may actually be aimed more at learning a certain point than being directly applicable to a realistic self-defense encounter.

Summary
If you pivot on the heel, you may give up some potential distance in certain techniques, and possibly some mobility. Raising the heel far, though, could cause instability and likewise involve a reduction of distance in some situations. One of the main points, therefore, is to keep as much of the foot on the floor as possible, having the ability to switch the pivot point at will. Often, the heel provides for more distance and greater stability, without much of a loss in mobility and is the preferred method for basic training in more cases than not.


Copyright © 2000, Jon Keeling

Many Shotokan instructors use the term "hip rotation" almost every class. The hips are definitely moving during most Karate techniques. But is it really rotational force driving the hips in the basic punches, delivered from a stationary (feet not moving) position? I have a different theory…

There is definitely use of rotational force in many techniques of Karate. But I believe that the use of the term may be misleading when used to explain the application of force during many basic techniques, especially those delivered while keeping the feet planted. There may even be a rotating/circular movement of the hips coinciding with the technique's delivery. But the force that is behind that technique may not be a driven by this rotational movement, per se.

As was discussed in the 11/99 article, there are stepping patterns that use hip rotation and in which that hip rotation may increase the effectiveness of the technique. The example in that article shows that there can be benefit to using hip rotation and that proper application of that rotation can benefit the effect of a given technique. Even if one hip or both move, though, that does not by itself indicate that there is rotational force driving the technique.

When you open or close a door, are you imparting rotational force on the side of the door that is moving (the knob side)? The door rotates around the hinged side of the door; there is no question that there is rotational movement of the door. But the force that is acting upon it is your push or pull that is probably fairly linear. Rotation of the door around its axis (the hinges) is the result of the force, not the cause of it.

Applying the same thought process to analysis of gyakuzuki (reverse-punch) executed while in a basic zenkutsudachi (front stance), you may come to realize that the hip rotation is more a resulting movement than a cause of force. The back leg's push forward is fairly linear, or at least should be if the alignment is correct. The leg should be flexing and stretching in such a way that the hip is moving directly towards and away from the target. The hip's movement along a somewhat circular path (a relatively small arch that is almost indiscernible from a straight line) is a result of the push of the back leg. This force is, at best, curvilinear (curved line) in its projection.

The torso should be moving in the same manner as the hips. Therefore, the same theory applies to the shoulders' "rotation." The extended limb in most techniques is linear as well. So that the force acting upon the moving limb is also linear makes sense, doesn't it?

To sum up:
The force is linearly projected from the push of the back leg towards the target in the same way that one pushes open a door. The hip's swing around its axis (the unmoving hip) is a result of this linear force. It may be better to emphasize the linear push of the back leg, rather than the rotation of the hip, when trying to increase power and speed in the delivery of basic techniques.


Copyright © 1999, Jon Keeling

Hikite is a Japanese term meaning, literally, "pull hand."

Some instructors will say that a punch, strike or block is not effective if not properly using the pulling hand on the other side of the torso; perhaps for balance, perhaps for added rotational power. Some will say that the pull represents an actual pull; pulling the opponent into the attack.

Regardless of what reasons are given, hikite has its functions. I believe, however, that there are some holes in a few of the more common theories.

Pulling the opponent in
Ever try to pull someone while you are punching? Not that easy, is it? Especially not for a smaller person to do to a larger person, as a self-defense situation might warrant. More practical might be the idea that the "pulling hand" is stabilizing the opponent while the punching/striking arm moves into the target. Following this idea, try catching the opponent's arm with one hand and punching or striking with the other. Instead of actually pulling back with the non-punching/striking arm, simply anchor yourself to the opponent at that point. In relation to the "push" of the other arm, this arm seems to "pull." In actuality, that arm doesn't really move much, but does inhibit the opponent's movement, particularly his ability to pull his arm back. Your "counter-pull" may end up canceling out his movement, more than anything else.

Power
Hikite adds power through timing with the hip rotation? Ha! Maybe I'll write another entire article on this subject sometime in the future. The pull of the arm does not really create more power in basic techniques as performed from static stances. Although it can help when using some non-basic stepping patterns, including some kinds of shifting and stepping. I will discuss one such pattern below.

Hikite adds power through coordinated tension? Not really. The idea of tensing various body parts to make a stronger technique is very good. But not all the muscles need to be tensed. In fact, the tensing of some muscles can actually make a technique slower and weaker. Tension in the pull-hand may not detract from the power of the technique, but it may not add anything to it, either. See my 3/99 article for more on this subject. The muscles to tense are those located between the base of support (from the feet, where support from the floor is initiated, up through the hips) and the target (through the attacking limb into the opponent). If this "connection stream" does not include the pulling arm, why tense it?

Balance
"For every action, there is an equal and opposite reaction." Pulling one side of the body helps propel the other side forward…right? Not in basics. This will be discussed further in a future article.* Balancing the "pull" with the "push" doesn't really make much sense for most basic techniques.

Efficiency
Maybe it makes for a stronger technique somehow. Maybe it also makes for a good start for a big follow-up technique. But we do lose something when pulling back the non-punching/striking/blocking arm. That arm is then out of the way and less able to block/cover the opponent's attack. It also takes that arm longer to move forward again to apply an additional technique. There are tradeoffs when using a large pull-back of the arm. As long as these trade-offs are understood, there is nothing wrong with its practice. I see a big hikite action to have advantages and disadvantages, depending on the situation.

Example of good use of hikite
Here is one example of how I believe a large, forceful hikite action can benefit the overall technique:

Start with the left foot forward in a front or free stance. As the opponent comes straight towards you, step back with the left foot and continue the step around such that your left foot ends about 45 degrees off to the right side. At the same time, perform a kizamizuki (jab) or uraken-uchi (backfist-strike) with the right arm, pulling the left hand back to your left hip.

Why is the hikite action more important in this technique than in basics? First, note that the attacking arm in this example does not have the benefit of a large amount of mass pushing into the target. The only thing that is really going into the target is the arm; not the shoulder, hip and other parts of the body that are usually involved when using a "normal" (forward shifting/stepping) pattern of attack. Because of this lesser effective mass going towards the target, we must rely on speed and timing more. The quick and forceful movement back on the pulling side of the torso helps propel the attacking arm towards the target. But, perhaps more importantly, it helps move your body out of harms way. This is an added benefit of the hikite action sometimes. Perhaps this is even more important than some other, more common ideas.

Another point to consider in this example technique is the use of the hips. As the left hip is moving in a large arch, the use of rotational force may be very important in this type of action. The pull of the arm may aid in the application of this rotational force, helping the hips move faster. But for control and efficiency, the pulling arm is not allowed to extend out from the body, as might have helped the rotational force further if that were our only goal. Generally, the more the hip moves backwards, the more the pull of that hand helps that action become larger, faster and more forceful.

Conclusion: Hikite can be helpful. But the goals should be understood, to be sure that we are training the proper points, instead of just mindlessly following what we are told.
*Please watch for more on the subjects of hikite and hip rotation in future articles.


Copyright © 1999, Jon Keeling

Some Karate enthusiasts prefer to train alone. Others find it necessary, perhaps due to unusual work hours or their remote location away from others who train. Instructors who have many beginners in their classes may find it difficult to train along with their students. For whatever reason, many people train alone on a regular basis, or at least try to. This article is meant for them.

How often?
While some may have time for only a couple of hours of exercise each week, others may find that they actually have a couple of hours every day, when adding up all the 10-15 minute periods of available time. Even while I was working 70-80 hours per week in Tokyo, I found that I had at least an hour or so during the week and several hours on the weekends to train. My main problem, though, was that these times usually did not coincide with the hours of operation for the dojo.

How long?
Training more than 30 minutes at a time may be difficult for some busier people. For shorter sessions, though, do not skip the warm-up/stretching entirely. To abbreviate a stretching session might be fine, if only concentrating on a certain technique and/or if the training is not very physically demanding. But at least make sure the muscles are warmed up sufficiently and that the muscles have already stretched to a point before the practice beyond which they will not stretch during the exercise. Practicing a technique for only 10 minutes can be beneficial to your training, if done with the right attitude and attention to detail.

Where?
Is it really important to get to a proper dojo if you're the only one there? When it comes down to it, isn't any space good enough? While a wooden floor is ideal for most types of practice, the reality of self-defense tells us that training in a variety of locations might have some advantage. Stopping to do a few blocks and punches while in the middle of a short run might make very good sense, for example. A small room can even suffice for an entire kata performance, if all the moves are done one step at a time, with shifts in between.

What?
This is probably what you are after in this article. What techniques should be practiced? This is obviously up to the individual. Here is my idea. If time is short, practice only the most basic techniques for repetition, then add more complex kata and combinations in moderation to review the wider range of techniques. When I only had 30 minutes or so in the evenings, for example, I would often do 100+ each of pushups (with feet on the stairs), sittups (some variation) and squats, along with some kicks and punches.
Sometimes, for example, I would practice a few hundred kicks over the arm of my sofa, to ensure that I was properly lifting my leg high. Other times I would do kizamizuki/gyakuzuki combinations at a jacket hanging on the wall for target practice. Still other times I would do block/counter combinations, with various stepping/shifting patterns. All of this would either follow a 20-minute bike ride back from the office or some other activity for a warm-up,, with a short stretching period for the days I did more kicking. I would do kata on the weekends to round things out.

You may want to vary your practice routine, to keep from becoming bored. But remember that most techniques would not be usable in a real-life encounter unless practiced on a regular basis. For this reason, I would select a focus for a particular day, but keep the techniques basic and practice many repetitions of whatever techniques are the focus that day. Additionally, if you are not sure if your technique is correct, better not practice it too much; habits become hard to break. A wise man said "Practice makes permanent. Only perfect practice makes perfect." For 3-days/week, maybe have one day for punches/strikes, one day for blocks, and one day for kicks, with some shadow-boxing and kata thrown in as well.

Keeping track
Keeping a journal of progress and ideas may seem childish. But it really is helpful sometimes. It doesn't have to be a detailed record of every technique you practice. Especially when a new concept is studied or a new theory is developed, however, I suggest you write it down for reference. I kept a journal of some of the classes I attended in Japan. In hindsight, I should have written more. Better late than never--I have created lengthy lists of training and technical theories since then, which I refer to when I am in need of a new subject to teach my class or particular focus for my individual training.

Thinking about it
Although it may seem obvious to you, some people don't realize that using the mind is important to physical training. Maybe you don't have time to physically practice your Karate everyday. But is there absolutely no time at all for thinking about Karate? While thinking, reading and talking about Karate are no substitute for physical training, they can be great complements, helping make the physical portion of your practice time more efficient. I became accustomed to making almost half of my training non-physical in nature during my busiest times at work. Don't get into an accident while driving, or get into trouble for day-dreaming at work or school. But when you have nothing else going on for a few minutes, maybe the time would be more productively spent thinking about Karate technique, strategy, or other training points. And again, write down important revelations for reference when you have time to get physical.

Training with others
Take the opportunity to train with others when you can. Some instructors think that they should not practice with their students. This may be OK for someone with enough time to train separately. But for some of us, there isn't that much additional training time available. Also, when an instructor comes to visit the area, do not make excuses such as "I'm not in shape" or "He's not an instructor in my organization." If there is an opportunity that looks like it has value, don't let it pass you by.

Bringing it all together
Training with others is valuable for improvement. But independent training can also be rewarding. This is a time to focus on yourself; not to compare yourself to others. If it's worth doing, it's worth doing right, right? If you want to work out to work out, there may be other options just as good as Karate. If you have decided that you want to do Karate, though, think about your objectives and get to it. And, as always, don't forget to smile once in a while, even when training alone. It may be hard work, but training should be enjoyable, too.

For more on the subject of training by yourself, please see http://www.baylor.edu/~BUKarate/articles/WorkingOutByYourself.html


Copyright © 1999, Jon Keeling

In the classes taught at JKA of Silicon Valley this May by Amos Sensei, many points were discussed. Among these points were obvious ones that most of us had forgotten or become lazy about. Also, there were small details of which many had previously not heard. But, above all else, I think the most important thing mentioned at these classes is probably the idea that "looking pretty" should not be nearly as much of an ideal during training as focusing on the given point of that particular exercise.

It is one thing to hear some old ugly guy scream this. But Richard (Amos Sensei) has not only placed high numerous times in international competition in both kumite and kata-- He has also worked as a model in London and New York! He knows what it is like to "look pretty" and has done so more often than not. But he also knows from experience that there are times to get realistic and concentrate on what works. If fighting for your life, effectiveness is the main priority. Why should daily training be any different?

Is this to say that we should not concentrate on having good form? On the contrary! Good form should always be an ideal when training. But some people get lazy and restrict their form in an attempt to not overextend past their comfortable range of abilities. Sometimes, it is better to forget how we look to others and instead focus on what we are actually trying to accomplish.

Let's take a simple training concept as an example: making a long stance. When stepping forward, back or turning, many high-ranking students (and even instructors) can often be seen using shorter stances than their juniors even when the instructor has told everyone that they should be making large steps. Some can legitimately blame age for their short stances. Many others claim that the more advanced practitioners no longer require the long stances to be powerful. Both of these may be true. But should we not continue to at least try to reach our maximum when the emphasis is on long stances?

Some may step out far but slide the back leg immediately forward, making a small stance. This may sometimes have its purpose. But for this training exercise, that may be considered simply cheating.

So then we stretch out into a long stance, but perhaps a bit slowly. Again some may blame a lack of flexibility as a limiting factor on the stance length. I am not advocating stretching to the point of tearing muscles. But let's try to be as realistic as can be mustered. Now the question comes up: "How long is too long?" (For more on this subject, please see my 3/98 article.) If the training is focusing on a long stance, maybe there is no such thing as "too long." In such a case, if the emphasis is to have a long stance at the expense of everything else, maybe it would be acceptable to lift the back heel, or even to fall over after the stretch. What is important is that the feeling is there; that the point of the exercise is being trained. The student stretching to her limit but falling over every other time may actually be getting more training out of the exercise than the guy who looks very nice and sharp with his snappy punches, but doesn't bother to stretch into a long stance as instructed.

In this respect, trying to act cool and make a "pretty" technique will not serve the practitioner well. I understand that not everyone practices Karate for self-defense. But even those who are practicing as an art form or self-expressionism would probably have something to gain from trying to extend past "comfort zones" when focusing on a particular point in class.


Copyright © 1999, Jon Keeling

(not what you might think)

Day after day in Shotokan dojo around the world, people train in "unequal" ways. I am not referring to gender or race here. I am referring to the practice of techniques on one side of the body more than on the other.

Have you ever stopped to think why we practice 3-step & 5-step sparring, but not any even number of steps? Sure, there is the excuse that 4 is sometimes considered unlucky in Japanese (4 in Japanese can be a homonym of the word for 'death'). But how about 2-step and 6-step sparring? Or how about how we almost always start attacks with the left side forward? Even when performing basics individually, far less often do we take an even number of steps than odd.

What we are doing is working one side of the body more than the other, for some certain techniques and strategies. This may not be an entirely bad thing. But it may not be the right thing for everyone, all the time.

In Japan, there are very few left-handed people. Mothers there are known for making it difficult for children to grow up using their left hands to hold their chopsticks or pencils. "The nail that sticks up needs to be pounded down," is a saying that comes to mind. There is a perfect mold in the Japanese mind. And that mold involves right-handedness.

So we practice specialization. That's not entirely bad. Specialization in global economics terms refers to the idea that different nations can help each other through more efficiently dividing labor resources for production specificity. The U.S. creates software and Japan produces consumer electronics. Why not learn to punch with one hand and block with another? Specialization can work. But why force everyone to specialize in the same way (such as left side block, right attack)?

In kata, we often have sequences of three repetitions, or attacks that use the same side for each occurrence in the kata. By training one side repeatedly, we can possibly make that technique become a natural reaction if performed on that particular side. But what if the chance arises in a self-defense situation to use it on the other side, and we are ill-prepared? For self-defense purposes, doesn't it make sense to practice both sides of every technique and strategy?

I advocate training even-number steps more often in sparring and/or starting from the opposite side sometimes, as well as performing kata mirror-image (starting from the right instead of the left) on a fairly regular basis. Practicing in such a way can be a real eye-opener. Some people who have trained for many years and look like they have totally mastered a certain technique or combination may not be able to stumble through the same technique or combination if done on the opposite side...


Copyright © 1999, Jon Keeling

Traditional view:
In most traditional Shotokan dojo (as well as in those of many other Karate styles), instructors can be heard sometimes explaining the difference(s) between "inside-tension stances" and "outside-tension stances." Most of us have heard these terms many times if we have practiced more than a couple years. Many of us now realize which are considered "inside-tension stances" and which are considered "outside-tension stances." But how many of us actually understand what the differences really are?

Definitions:
What do "outside tension" and "inside tension" mean? Well, it seems logical enough to imagine that "outside tension stances" involve a stance in which there is more muscular tension on the outsides of the legs, relatively speaking, whereas "inside tension stances" involve more muscular tension on the insides of the legs. This makes some sense. All stances obviously involve tensions on both the insides and the outsides of the legs. But considering the relationship between the two, particularly which set of muscles is dominant, does have some value. Also, some people look at the positions of the knees and the strains put on them as a determining factor when describing a stance as "inside-" or "outside-tension" (knees pressed out for outside-tension and in for inside tension). These, as I understand it, are the two "traditional" views on the terminology and there is (at least as of Oct 2000) no real consensus on which are the real defining characteristics.

Let's think about some examples:
So let us consider the most commonly practiced basic Shotokan stances; zenkutsudachi (front stance), kokutsudachi (back stance) and kibadachi (side stance). These three are almost universally given as representatives of "outside tension stances" in traditional Shotokan dojo in North America (In 8 years training in Tokyo, I never heard any reference to "outside-" or "inside-tension stances"). Do you think there is more tension on the outsides of the legs than the insides while performing these three stances? Perhaps there is. But how does this compare to, say, walking?

The inside/outside ratio of leg tensions involved in walking, I think most would agree, should probably be referred to as "natural tension," if anything. There may be some natural dominance of the outer leg muscles during the walking motion (I am also posing this question to biomechanics scholars and will update this article after I get a definitive answer). How do the muscular tensions of the legs compare in zenkutsudachi stepping and static positions to that of walking? I do not think they are really all that much different, at least when keeping the hips straight (shomen), if the stance is properly configured.

So let us examine zenkutsudachi a little closer. There are actually three distinct types of zenkutsudachi, depending on the position (amount of rotation) of the hips: shomen, hanmi and gyaku-hanmi. With the hips straight to the front (shomen), the outsides of the legs don't seem to have any greater tension, percentage-wise, than while walking naturally. With the hips open (hanmi, as is done with most front-arm blocks), there may be more outside tension. With the hips turned the opposite direction (gyaku-hanmi, as performed with some back-arm blocks), inside tension is greater, percentage-wise, when compared to natural walking.

So what is the verdict on front stance? I think it is fair to say that it ranges from slightly outside- to inside-tension, often being a "natural stance," much like walking.
Back stance and side stance are much like the hanmi position of front stance, and probably involve some limited extra outside tension of the leg muscles. But is it fair to call these "outside-tension stances?"

When considering the positions of the knees (how far outward they are pushed), it seems that the front- & back-stances do not involve pushing the knees past the point of natural alignment (see March article for more on alignment). Side-stance may involve just a slight outward push on the knees past this natural point. To rotate the knees to the point where they face a different direction than the foot (toes) of that leg is improper form and bad for your joints. In proper stances, this should not occur.

My View:
Basically, I think calling most so-called "outside-tension stances" by that term is misleading. "Inside-tension stances" clearly involve a less natural muscular tension arrangement. But not all those stances that are not called "inside-tension stances" really involve what I would call "outside tension." It seems to me that only a couple of rarely-practiced Shotokan stances even come close to being as extremely "outside" as the "inside-tension stances" are "inside."

Let's examine "inside-tension" stances a little closer...

Back to the subject of alignment:
Understanding alignment is very important to both realize the effectiveness of a technique through proper channeling of power & coordinated, efficient movements, as well as to minimize damage to your own body while training. (Please see March '98 article for more on alignment.) The alignment of the legs in all basic stances should involve the knee pointing the same direction as the toes of that leg's foot. Improper alignment can not only cause power to be improperly channeled (resulting in a weak technique). It can also cause damage to the practitioner, especially if the same error is repeated many times over the course of many years.

A common problem I have noticed is that, hearing that they need to "squeeze their legs together" for inside-tension stances, many students put unnecessary torque on their knees while assuming a very uncomfortable-looking stance. While "inside tension stances" may be unnatural, they should not be so unnatural as to cause pain in the knee joints. As I often remind students, muscular pain means you are working out (=good) while pain in the joints usually means that there is a problem with the way the technique is being done (=bad). The knees in "inside-tension stances" are often pushed towards each other as far as the practitioner can manage. But the knee and toes of each leg should still be pointing in the same direction.

Another way to look at it:
Instead of just squeezing the knees together, try to take some of this pressure in the hips. Actually try to rotate your entire leg inward, instead of just the lower half. This should take some of the excess torque off your knee. If you have seen the way ballet performers often stand with their legs turned outward (the entire leg, starting at the hip), then you should be able to understand what I mean.  (This positioning of the hip/leg in ballet is actually refered to as "turnout.")  Having the ability to control your hip flexibility in this manner should aide you well, especially when trying to perform inside-tension stances. As always, the knee and toes should remain facing the same direction while in static stances and while moving; "inside-tension" stance training is no exception.

How about stepping?:
When stepping, there are changes between outside and inside tensions as the legs are brought closer together, then spread apart as the step is completed. Therefore, all stances are really inside and outside-tension stances when put into motion. The initial phase of the step involves pressing off the moving foot. That can be seen as outside tension (more so in some stances than others). As the foot breaks from its initial position, the pulling from the support leg takes a more important role. This is inside tension. As the moving foot passes the support leg, outside tension again increases in relative terms. After another combination of inside- and outside-tensions, the step is complete. Not so clear anymore what is an "outside-tension stance" and what is an "inside-tension stance," is it?

Summary:
Don't get too caught up in the terminology as a perfect definition of what your body should be doing during training. Stances must always have both inside- and outside-tensions in both static positions and while moving. And often those stances described as "outside tension stances" do not involve a particularly high ratio of outside-to-inside tension. I advocate discarding this unrealistic 'traditional' terminology, to concentrate more on the tensions of the individual muscle groups (such as the knee region and the hip region) involved during each specific movement.


Copyright © 1999, Jon Keeling

It seems like many people doing karate are in far more of a hurry to do "advanced"* training than is good for them. Many seem to think that once a new, more "advanced" practice is introduced, they can now discontinue training in the more basic exercises that they were doing previously. Actually, advanced training is meant as practice to be done in addition to that which was previously practiced. Just as when we learn a new kata, the others that we already learned should not be ignored. We should continue to practice the basics, even as we progress and add more "advanced" practice to our routines.

In Shotokan, many people around the brown belt level are introduced to jiyuu-ippon kumite [semi-free sparring]. Prior to that, they were most likely practicing kihon-ippon kumite [one-step basic sparring]. As this is what is on their tests, these students usually concentrate on this type of sparring. There is nothing wrong with spending a lot of time on this kind of practice. But I have found that often around the brown belt level students develop certain bad habits that may even make their basic sparring worse.

Here is the way sparring practice usually progresses in Shotokan:

· Basic one-step sparring
Attack side starts from zenkutsudachi/gedan-barai [front stance/reverse punch] and steps forward with oizuki [lunge punch] to jodan [upper level], and then, after recovering, to chudan [middle level]. Defense side starts from hachijidachi or heikodachi [standing] and steps back to block with ageuke [rising block] for jodan or sotouke [outside block] for chudan, then counters, usually with gyakuzuki [reverse punch]. Sometimes, kicking attacks are substituted for/added to punches, other basic blocks are substituted for/added to the two mentioned here, and/or other counters are used in addition to/instead of gyakuzuki.

· Semi-free sparring
Attack side starts from jiyuu-kamae [free-sparring stance/guard] and steps forward with oizuki to jodan or chudan, having first called out the target area. Defense side also starts from jiyuu-kamae and shifts/steps back/side/front with block/no-block and counters. Both sides may shift around before the attack, feints are sometimes employed and both participants return to jiyuu-kamae after completion of their attack/counter. As with basic sparring, sometimes kicks are also used in addition to punching attacks.

This is actually quite a jump from basics to semi-free sparring, when you stop and think about it. There are so many variables introduced all at once between these two steps. That is why I often add more steps to bridge the gap between basic and semi-free sparring, and again between semi-free and free sparring. Consider the following additional steps possibly added between the above examples, to provide a smoother transition from basics to "advanced" sparring:
· Basic one-step sparring (as above)
· Add option of using blocks other than ageuke & sotouke
· Add option of using counters other than gyakuzuki
· Add option of stepping off at an angle, rather than always straight back
· Defense side also starts from zenkutsudachi/gedan-barai
· Both sides start from jiyuu-kamae
· Attacking side can shift in before stepping forward and defense side must match the stepping pattern
· Defense side does not need to match the stepping pattern of the attack side
· Semi-free sparring (as above)

The above covers most, but not all, of the steps between basic one-step and semi-free sparring.

Between semi-free and free sparring, there are again many steps possible. Here are just a few examples for creating a smoother transition:
· Attack side calls "jodan" but is not limited to oizuki [lunge/step-in punch]. The punch can be oizuki, kizamizuki, gyakuzuki or step-in gyakuzuki.
· This time, "jodan" can include any attack to the head that uses the arms
· This time, "jodan" can include any attack (kicks, too)
· Attack side blocks/counters the defense side's counter
· Attack side does not call target or type of attack, but gets only one chance. Defense tries to block and then counter (no "deai," or countering before the attack is complete).

The above are simply examples. There are other ways to create steps between the basics and more "advanced" sparring. My point is that we should not lose sight of the connection between basics and "advanced" practice methods. Even a high-ranking instructor should realize the value of extreme basics and be able to practice them in the basic form as it is originally taught to beginners. The idea is to grow in our capabilities, not simply to substitute them.

*(I am putting "advanced" in quotes here to remind us that some of the most advanced training is really found in basics. The fancy and freer types of practice are just that, not necessarily more advanced.)


Copyright © 1998, Jon Keeling

There are two main theories concerning the timing of the extension of the punching arm and the "rotation" of the hips in basic gyakuzuki (reverse punch). One extreme has the hip finishing its movement before the fist leaves its chambered position (moves from the hip). The other extreme has both motions finishing simultaneously. Other methods also exist in between these two extremes.

Speed
In the fist method, the idea is that the larger, more powerful muscles of the lower body begin the technique. At the moment of maximum velocity, the hip movement reaches its conclusion and inertia propels the fist from the hip. At that moment, the muscles of the arm and shoulder take over and the result is a very fast arm movement.

In the second method, the arm's extension and the hip's motion begin at roughly the same time and finish at the same time. The fist may not be travelling quite as fast at the point of impact, but the overall speed of the technique (elapsed time) is usually faster, since the arm's extension was begun earlier.

Connection
As far as the connection of the various body parts, these two methods are quite different. In the first example, the hip completes its rotation and tenses before the arm. If the lower body is properly tensed throughout the arm's extension, this method can provide for a stable, fairly strong punch, with the arm being launched off of a strong base (the tensed hips and legs).

In the second example, all the moving parts are tensed at the same instant, into impact. Although more difficult to time, if done properly, this method can provide for overall amount of connection similar (although timed differently) to that of the first method.

Momentum Transfer
This is where the two methods differ the most. In the first extreme, the hip completes its rotation well before contact is made by the fist into the target. The hips are not moving forward in this example when the arm completes its extension. Therefore, the only mass moving into the target at impact is that of the arm.

In the second extreme, the hip continues moving up to the point of contact (and perhaps still moving, if taken further to the extreme). Therefore, the mass moving into the target is that of the entire torso, in addition to the punching arm (in basics, in both extremes the draw hand moves back and front leg unit remains stable, so these points are not relevant here).

Variations
There is, of course, some middle ground. Some will combine the two extremes. One example is that the arm begins moving off the hip partway through the hips' rotation, finishing the movement at the same, or approximately the same time.

Sometimes, the tensing of the various muscle groups occurs like dominoes, with the muscles closest to the floor tensing first and others building on those already tensed muscles, culminating in a completely tense body. Some may also want to experiment with relaxing those muscles tensed first, before completion of the punch. This may not make much sense for a basic punch. But if shifting/stepping forward, it may prove to be worthwhile to develop this as an option. Obviously, when we look at non-basic punching, various other theories come into play and the extreme situations found in basics seem to no longer apply. Remember, though, that basics are the foundation without which we cannot properly progress to higher levels. Work on proper basics if you want to advance. These basic theories are important even for the most advanced of practices.


Copyright © 1998, Jon Keeling

Spinning

For those of you hoping to hear about flying, spinning kicks as seen in the movies…Sorry. You're not going to get that here. What I would like to discuss here mostly concerns the physical forces at work while rotating body parts around a central point. There are many examples of this type of motion in karate techniques. I will only be touching on some of the more obvious ones here.

Ice skaters & ballet dancers

Skaters and ballet dancers often spin during their routines. So they must be very conscious of how it is done. One way that their methods of spinning differ is the position of the eyes. In ballet, it is almost always taught that the eyes should remain fixed on a certain point while spinning, rotating the head very quickly around to look at the same point on each revolution. In skating, during very fast, long spins, a skater will often turn his/her head with the rest of the body and "blur" his/her vision, as not to focus on any one point. In Karate, there are very few times that we would ever spin more than 360 degrees and focus is usually only on one opponent at a time. So the method for ballet (turning the head sharply and focusing on one point) is recommended almost universally for karate techniques.

Centrifugal force

Although skaters and ballet dancers may think of their line of vision differently, their spins share many similarities, due to the laws of physics that apply to them (and karate spins as well). Centrifugal force (tending from center) is a term used to describe the force of rotation around a central/pivotal point. Here are a few points to consider relating to this force:

During a spin, the closer the mass is to the center/pivot point, the faster the rotation can occur (all else being equal). Think about the ice skater when she brings her arms in on a spin.

The closer the mass is to the pivot point, the more easily that mass can be controlled (all else being equal). You can test this on some amusement park rides.

Karate examples

An obvious example for spinning practice is ushirogeri (back kick). I'm not talking about a spinning back kick here. Let's stick to the basic Shotokan back kick for this example. Applying the ideas presented above, the spinning should be done with the mass as close to the pivot point as possible for maximizing speed and control. If the upper part of the leg is lifted too far to the side of the body, there is some loss of speed and control as a result. If the foot does not rise toward the back of the leg quickly enough, this also can cause a loss of speed and control during the technique.

This idea can be extended to other techniques as well. The kicking leg in mawashigeri (round-house kick), for example, also travels around a horizontally spinning center (in the large, basic version, anyway). Thus we should think about getting the foot close to the back of the kicking leg and connecting the whole unit of the kicking leg (during the chamber position next to the upper body) as close to the torso as possible for maximum speed and control. One obvious difference between the basic mawashigeri and basic ushirogeri is the path of the kicking foot. Because the mawashigeri involves approaching the target from the side, the knee rises more to the outside of the body than in ushirogeri. Another point to consider in both (as well as other) kicks, is that keeping the torso vertical throughout the movement also helps to keep mass near the axis of rotation; thus also adding to efficiency of motion and control.

Another point to keep in mind while spinning is that the shortest distance between two points is a straight line. While spinning the leg around in the back kick, the path the foot travels from the floor to the target should essentially be a straight line. Some people seem to have a hard time believing this, but this straight course can be accomplished while using a circular motion of the body. In geometrical terms, the path of the leg can be thought of as a tangent off the circular motion of the body's center. (This may be more easily understood after I add more graphics to these pages in the future.) Of course the back kick can involve approaching the target from the side (spinning back kick). But although this can be a powerful kick (if done correctly), it takes more time to deliver (physics' rules, not just mine).

Copyright © 1998, Jon Keeling

First of all, let me point out that muscles do not "expand" so much as they "lengthen" and "contract" is slightly misleading as well. What is often meant by contraction/expansion in Karate, however, is not so much an explanation of what the muscles do, as a relational description of the movements of various parts of the body. These parts (usually 2 joints) move closer to and further from each other due to the amount of flexion in a joint between them. This is the type of contraction/expansion that I would like to discuss here.

This type of flexing movement usually involves a tensing of certain muscles during the "contraction" portion of the movement. But, contrary to what many may like you to believe, the difference in overall muscle tension is often not much different in a "contraction" move than an "expansion" move. This is due to the fact that while muscles on one side (of the arm, for example) are tensing/shortening, the muscles on the other side usually relax/lengthen to compensate. It is true that one can tense a majority of muscles at once, or relax almost all the muscles at once. Although there is often a noticeable difference between the total amount of muscle tension in your body at impact/completion of a technique and the relatively relaxed state of preparation, the overall tension should not differ much during the pre-impact portion of execution of quick karate techniques.

So why all the emphasis on contraction/expansion? If you are trying to think of "squeezing" and "stretching" muscles, maybe you should concentrate on the individual muscles involved. Sometimes, it is advantageous to break down a move into the component parts to analyze the various tensions involved. But I think a more obvious way to think about this is to simply study the movement of the joints. The muscles will do their work if the various body parts are moving in the proper ways. And it's easier to keep track of, for example, where your knee is, than how much your various leg muscles are shortening/lengthening during a movement.

If you refer to my February article, you can see that I have already discussed a related point: relaxation vs. tension. As I mentioned in that article, it is usually advantageous to relax muscles to increase speed, and tighten muscles to gain more connection to the rest of the body, both of which help create force (Force = Mass x Acceleration--I will discuss this in more detail in a future article). So if we are trying to maximize speed in a technique (in this example, a punch), why would we want to "contract" (=tense) our muscles? This is my point. There can be a contraction between different body parts (closing the distance between the two points) existing with minimal muscle tension. In the case of a punch, there is a certain amount of muscle tension required to launch the fist towards the target. But the muscles which should be tensed are those of the torso more than that of the arms (There is always some tension in the legs, but that's a different story-again, see the February article for further comments). So while the punching arm is bent during the starting phase of the technique, the muscles of the arm are more relaxed. And when the arm is extended, the muscles momentarily tense. So the "contraction/expansion" of muscles is sometimes the opposite of the "contraction/expansion" of the moving body parts.

Copyright © 1998, Jon Keeling

Proper alignment is crucial for maximizing effectiveness of karate techniques. Through proper alignment of relavant body parts, we can use strength and speed more efficiently and effectively. And through practicing poorly-aligned techniques over and over, we can be inflicting unnecessary damage on our joints and muscles and developing bad techniques which may become even more difficult to fix later, once they become habitual.

Alignment can be studied through a variety of techniques and movements. In this article, we will be focusing our attention on a basic punch (gyakuzuki) as performed in basic front stance (zenkutsudachi). It should be noted, however, that the same study can be applied to all other Karate techniques, to varying degrees.

We learn early on in our karate training that a proper stance greatly increases the effectiveness of our punches, kicks, strikes and blocks. Many simply take this for granted, or simply agree that a lower stance means a stronger stance (which is usually, but not always, true). But how many of us have actually studied optimal body positioning? Beginners often question the need to be in a low, long stance when they first start practicing karate, since it slows them down so much and seems unnatural. But soon they realize that it's a great workout and they gradually learn to move faster in these awkward stances. Most of us stopped questioning that we must try to lower our hips as much as we can and just worked on trying to move as best we could from these positions. Others decided that they would rather have the speed gained by raising their hips from the basic positions taught by their instructors. Very few gain complete comfort in stances much lower than optimal (except for very flexible gymnasts or contortionists, maybe). But what is optimal?

We often hear instructors say that the power of a punch or kick comes from the hips. But what are the hips? Look at your hips and try to tell me that they are completely separate from your legs. They are actually the place where your legs meet your torso. So by telling you to use the power of your hips, they are saying, at least in part, to use the power of your legs. The legs, when combined with the lower torso, contain most of the largest muscle groups in your body. Even if you are a talented body-builder, chances are that your legs are still larger than your arms. So how do we create power in a punch? Of course we all know from training that we must utilize the power of our legs for maximum power. But how many of us are putting as much leg power into our punches as we can? Let's analyze this.

You have gone skiing for the weekend. Deciding you'd had enough skiing, you start your car, but it won't budge. It's stuck in the snow. What are you going to do? Face a spot on the wall and imagine it's your car. Try to push it out of the snow.

Look at the way your legs are positioned. Some people may have one leg back, some may have both back. Some are leaning one shoulder into the car, some are leaning their whole torso towards the car. What changes your power the most, though? Your upper body position varies the power only slightly. Most of the power comes from your legs. Push again and note how deep your stance is. Is your basic karate stance this low? Chances are that for most people, our basic karate stances would not be enough to move a large car out of the snow.

How low is enough? How low is too low? Is there such thing as "too low?" I believe that there is an optimal range for basic practice, which is slightly higher than that which would provide maximum power, since we would also like to have some mobility. We can alter our stances to maximize stability (low) OR mobility (high). To be in a stance that maximizes BOTH stability and mobility would be ideal, but this is not possible. But rather than thinking of "compromising" (forgoing one for the other), let's think of making the best combination of speed and power possible in our stances.

Get into a front stance that you think provides the best combination of stability and mobility. Face the wall in that stance and raise your fist to the wall, as in a reverse punch. Now press your fist into the wall. Do you feel where the power is coming from? Is the power coming from your legs? Is your stance now too low to move from? Are you properly channeling the power from your legs to your fist? We'll soon see.

I often remind students of the proper dimensions of the various stances. For a basic front stance, as currently practiced in JKA-style Shotokan, the length is twice the width. In body-part-measurements, since not everyone is the same height, the ideal measurements for basic front stance is approximately 2 shoulder-widths long x 1 shoulder-width wide, or roughly 3 foot-lengths long x 1 1/2 foot-lengths wide. Measurements such as this should always be taken between joints. So in the case of stances, use the ankles for your end-points. Check the dimensions of your front stance to see if this seems about right. Also, make sure your front knee is properly positioned above your toes. Is this about the same as your front stance in class everyday? Does this feel like a strong stance?

Now let's see if these are really the ideal dimensions of a good front stance. Let us observe what I call the "power lines" of this stance. By this, I mean how the power is being channeled. Following an imaginary line extending from the back leg, where does this lead? Extending an imaginary line from the front leg (to be more precise, from the part below the knee), where does that lead? As you can see by connecting these lines while in the basic front stance I've described above, the intersection is almost exactly where the fist is in a good gyakuzuki (or oizuki, or junzuki). This means that, at least for this example, the measurements I have described for a basic front stance are very close to ideal. For a very deep, strong punch, the stance should be even deeper to maximize strength, as we can see by the direction of these "power lines" and how they can be directed more laterally in a deeper stance. But if we make the stance too deep, we lose mobility, we can't move from this low. Some people may find that their proportions are different (for example, women tend to have smaller feet in proportion to their height), or that they are just not flexible enough to assume that ideal position. But for basic practice, trying to get as close to these measurements as possible is usually a good idea for creating effective, efficient technique.

So far I have only been discussing the idea of alignment in how it deals with directing, or channeling power in a static position. But there are other ways to study alignment that are very important in training. One is the idea that the various body parts should remain in positions that are more or less natural. One of the most important concepts to keep in mind is the alignment of the knees in relation to the feet. The knees should travel in a path dictated by the direction the foot is facing. This means that your knee should be above your toes, or directly in front of, or behind them, as much as possible. This is easy enough to see with the front leg in front stance. But most people seem to forget about this when it concerns the back leg. One problem is of course a lack of flexibility for many people. But if you can, you should try to get both feet (not just the front foot) facing as directly to the front as possible. If you do not do this, either 1) your back knee faces the side (and you lose power) or 2) your leg is out of alignment, placing unnecessary torque on your back knee. This may cause you pain and ultimately may lead to an operation if you are not careful. This proper alignment of the feet and knees is also better for creating efficient movements between stances. When you hear instructors talk about "turning on the heels," they are often referring to correcting alignment of the legs. We are concentrating mostly on static positions in this article. But when you start stepping, shifting and turning, this could become even more important.

Find a partner and observe each other's stances while assuming gyakuzuki (reverse punch) position in zenkutsudachi (front stance). Check the "power lines," preferably using bo's or sticks of some sort for more accurate indicators. Also, check the alignment of the feet and knees. Please give each other feedback.

Go back to your spot on the wall and push against it with your gyakuzuki and feel the way the power comes from your legs. Do you feel more connected now? Lift up your front leg and feel how important your back leg is. That is where the majority of power is coming from. Your front leg is more of a "stabilizer" for the power of the back leg. To really maximize the power of the legs in a punch, you should probably just hurl your fist towards your target and extend as far forward with your back leg as possible, not worrying about even touching the floor at all with your front foot.

Also, for maximizing strength, you should probably lean your upper body into the target. You should be able to see this obvious "power line" going straight through the whole body; from the back heel up through the torso and to the fist. When lifting or pushing a very heavy weight, like a car stuck in the snow, you usually lean into it. Why not do the same when punching? The reason is that we sometimes have to do something else after the punch (like block, or run away in the opposite direction). We should keep our backs straight (vertical) for better control of the technique itself, but maybe more importantly for the control between techniques. So the back leg is providing the strength and speed of the technique, but the torso and front leg are controlling/stabilizing the technique.

Alignment is better for your joints, better for creating effective techniques, and makes for a stronger, more controlled position between techniques.

Notice in practice how we sometimes lose the basic form as we concentrate more on speed and power. It is fine to compromise sometimes. But, especially for beginners, I advise you to think of form as the most important. It's easy enough to increase speed and power later. But to correct bad habits in form can be really difficult after many years of repetition.

Shotokan is composed of a sound scientific system of techniques, which can be proven through the application of geometry and physics principles. Some of the other Karate styles are very similar; Goju-, Wado- & Shito-Ryu styles are the other three main traditional Japanese styles. Although many of the techniques appear different, the principles involved are generally the same. Aikido, Kendo and other martial arts often employ similar principles, including those related to alignment. I, personally, believe that it goes beyond this; that Karate can be a true art form. Some practice Karate for self-defense. Some train to keep in shape. Some study the movements scientifically. There are many facets to Karate. Many of you don't care to get any deeper into the study of karate movements than I have done here (and it may have already been too much for some of you). But rest assured that what you are studying, if done correctly, is a sound system of movements, which can be used as healthy exercise, effective self-defense, or a way to improve your everyday life.

Relaxation and tension are both necessary parts of proper karate technique. Some people are naturally tense, and have an easy time tightening their muscles during a technique, but find it difficult to relax in between. Others tend to be more relaxed, and have an easy time flowing through motions which do not require any tension, but have difficulty tightening the muscles during techniques where it is important (usually at the moment of impact). The ability to make a movement tensed or relaxed, therefore, is often dependent on the particular individual.

Contrast

You may have a difficult time relaxing OR tensing muscles; most people find one state easier than the other. No matter which you find easier, you must try to enable yourself to switch back and forth at will to maximize the efficiency and effectiveness of your karate techniques. It is easy enough for most to flex and relax muscles slowly, in a controlled environment. But to quickly relax, then tense, and then relax again in a sparring situation takes much practice. This control of the contrast between tension and relaxation is one of the most important physical components of proper 'kime' (focus*), and should be a subject of study for any serious karateka. Below are two basic examples of this contrast.

*The actual definition of "kime" is "decision," as in "to have a decisive (=effective) technique." The term refers to both the physical and non-physical aspects of focus, among other things. In this article, I am refering only to the physical side of this focus, particularly the idea of muscular tension timing.

Contrast between tension & relaxation of the upper body when executing a basic gyakuzuki (reverse punch):

Although the tension in the lower body (the legs and hips) remains at nearly the same level throughout this technique (especially so if in performed in a basic front stance), most of the muscles of the upper body change from a relaxed state to tense during the punching motion. Although many are tempted to put a lot of tension in their upper arm at the moment the punching arm begins to move from its starting position, there is little need for such tension at that point. In fact, it will slow you down if you put too much tension into the arm early in its execution. Tension slows the speed that the muscles move. Imagine what happens to water when the temperature suddenly drops. Ice is hard, but it does not move quickly. Try to keep your upper body flowing, like the liquid state of the water, at least up until the moment of impact. Put only enough tension in the muscles of the arms, chest and back to get the arms to move in their proper courses. At the final instant, tense all the muscles of the body that you can. This is the idea of flowing like water at the beginning of the punch, but ending as hard as ice; same substance, different form.

Contrast between upper body relaxation & lower body tension when executing a basic maegeri (front kick):

I will not get into the tension and relaxation of the kicking leg itself here. What I would like to point out is the difference between the tension that exists in the legs through most of the kicking motion, and the almost total relaxation of the upper body throughout the movement. There is really no need for any more tension in the upper body than is required to keep your guard up (or wherever you choose to put your arms when kicking). Unless you are punching, striking or blocking at the same time as you kick, you should notice a large contrast between the tension of your legs and the relaxation of your upper body.

In both of the above examples, it should be noted that the muscles to be tensed are those located between the points of contact. The feet contact with the floor and the hand with the target, for gyakuzuki. All the muscles in between can add to the effectiveness of the punch. (Note that it is not really necessary to tense the pulling arm, as this is not between the points of connection.) For the kick, there is only one foot on the floor. Between that foot and the one at the target, only the leg muscles exist. Other (upper body) muscles do not contribute.

Practice:

For practicing proper contrast between relaxation and tension, I suggest the following exercise with chokuzuki (basic standing "straight" punch)-

1.

a) Stand in shizentai (natural standing position), with left arm extended in punching position and right arm drawn back as in normal practice.
Put only as much tension into the arms as is required to keep them from falling to your sides.

b) Open both hands to further relax your arms & wrists.

c) Slowly pull your left hand back as your right arm advances.

d) Only after your arms are in their final positions (like normal chokuzuki), rotate the wrists.

e) Close the hands, tensing all the muscles situated between the floor and the target. After about one second of total tension, relax.

f) Repeat until comfortable, gradually reducing the time of tension.

2. Try above with hands in fists the whole time, but keeping the same (lack of) tension in the hands & wrists.

3. Gradually increase speed.

4. Do again in zenkutsudachi.

5. Advanced karateka may want to try the same thing, but with the arms in jiyuu kamae (free sparring position), trying to create the same contrast between tension & relaxation in a shorter distance & time.

Very advanced karateka are capable of accelerating their hands (or feet) towards a target at great speeds, aided by proper relaxation. Then timing the tensing of many different muscle groups at the final instant to create explosive power. I've seen a man in his late 80's break a pile of roofing tiles in Japan without moving his hand more than about an inch from the top tile. And remember Bruce Lee's 'one-inch punch?' These are extreme examples of successful contrast between relaxation & tension utilized within a very short period of time.

For more on this subject, please see http://www.baylor.edu/~BUKarate/articles/relaxation.html

Jiyuu Kumite no Kihon - The Basics of Free Sparring
(Understanding the proper positioning of the various body parts in jiyuu kamae & how to move them.)

Variations of jiyuu kamae (sparring position)

By definition, a free-sparring stance/guard is "free," or up to the individual. Some points should be considered, however, regarding the effectiveness of various possibilities. For example, what is best for a tournament may not be best for a self-defense situation.

Stance and Guard

The free sparring position should be a position from which you can move most efficiently & effectively between various techniques. This means that you should be able to move forward, back, to the side, up, down, block, strike, kick, etc., as quickly and with as little energy as possible. Many mistake this to mean that they should stand up, as to be able to move quickly & easily, forgetting about strength & stability. Even sprinters (whose final position is much closer to standing than when we punch) start their run very low to the ground. There is a reason for this. We should keep our stances low to allow us to move into all kinds of techniques effectively, which usually requires an ending position in a low stance as well. Furthermore, the low stance provides for more stability & strength. The point of relaxation is important, though, and we should strive to assume a stance which allows both freedom of movement and strength in technique.

You should notice that the best way to be ready for any and all techniques is usually to average them. For example, if you are doing a drill which requires you to block or punch (but you don't know which until the final moment), you should probably be in a position midway between the two techniques, to be ready for either one. Now imagine all the possible techniques and average them. You should find that the resulting positions of the arms and legs are what you often see described as jiyuu kamae.

Why and how are self-defense and tournament stances different? In a self-defense situation, there may be more than one attacker, or some other stimulus of which the defender must remain conscious. Therefore, the awareness of the defender should be broadened and the feet/knees/guard "opened" as well. In a tournament, there are rules limiting techniques. We do not have to worry about multiple opponents. Nor do we have to worry about attackers grabbing excessively, eye-gouging, or kicking to the groin or knee. The various possibilities effect the ideal ready-stance/guard for that particular situation.

Body Positioning

Foot positions

The positioning of our feet is really the biggest variable in our stances. The feet can move very close to each other or vary far away, whereas the hips, for example, have a relatively small range of motion. The direction the feet face is also important, limiting the movement of the leg and hip that are connected to the floor through them. In a self-defense situation, the feet may be pointed slightly out. In a tournament situation, it is usually advantageous to keep the feet facing directly front, or as close to it as flexibility allows.

Knee positions

The positions of the knees are limited by the positions of the feet. The knees should always move in a path dictated by the direction the foot is facing. Remember, if your knees hurt, you are probably doing something wrong; check for proper alignment. Keeping the feet and knees pointing directly toward your opponent in a tournament situation provides for more efficient technique.

Hip positions

The position of the hips is even more limited than that of the knees. To keep the knees completely motionless would mean that the hips could not move. However, through a slight movement of the knees along the path of the foot, the hips can move. And through a small movement of the hips, we can create much power. The hips are the connection of the legs to the torso. Proper utilization of the power of the hips is crucial for creating strong techniques.

Posture

This is an easy one. Back straight (perpendicular to the floor) at all times. Although easy to remember, sometimes difficult to do.

Arm positions

Once again, the ideal position is one that affords the greatest efficiency between various techniques. The average height of the hands should be around the chest level in a tournament situation, lower for most self-defense situations. Regardless of the height of the elbows and fists, or amount of rotation of the wrists, the elbows should be kept as close to the torso as possible for maximization of both speed and power. In a tournament situation, it is advisable that the forearms point as directly towards your opponent as possible.

Movement between techniques

The most important (and usually most difficult) part of applying techniques from jiyuu kamae is the proper use of footwork. There are several possible stepping patterns. But as with all karate practice, repetition of the most basic patterns is crucial if we wish to move on to higher levels. Remember, the distance between the feet is narrower in jiyuu kamae (than our basic stances); don't try to narrow this too much further while stepping/shifting. Many people make the mistake of bringing their feet very close together while shifting forward to attack. Not only will this probably not score a point in a tournament--it may help your opponent bring you to the floor very quickly, due to the loss of stability inherent in such a maneuver! But remember, above all, jiyuu kamae is a tool to connect our basic techniques. No matter how fancy our footwork, if we cannot transfer this speed, power and agility to a final, basic technique, it is not worth much.

Final Thoughts

There are various related topics which can be studied in conjunction with jiyuu kamae training (timing, distance, etc.). Remember though, that before we should expect to be able to control someone else (dominate in a sparring situation), we should first be able to control ourselves as individuals, concentrating on proper technique.